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A NOTE FROM THE ARTISTIC DIRECTOR Welcome to Yale Rep and The Caucasian Chalk Circle by Bertolt Brecht! I am delighted you are here today to share the work of this remarkable company led by Liz Diamond, our OBIE Awardwinning resident director whose rich and varied work at Yale Rep has included premieres of plays by Suzan-Lori Parks, Lucinda Coxon, and Marcus Gardley, as well as vibrant productions of works by William Shakespeare, August Strindberg, and Bertolt Brecht. Her 1993 staging of the latter’s St. Joan of the Stockyards garnered her the Connecticut Critics Circle Award for Outstanding Director. Liz is joined by a diverse group of artists—many of whom will be familiar to frequent Yale Rep audience members—as well as others making their Yale Rep debuts, including Pulitzer Prize-winning composer and Yale School of Music professor David Lang. Together they’ve created an astonishing landscape on which to play out Brecht’s theatrical, lyrical, and bitingly satiric masterpiece. Nearly a thousand high school students from New Haven and across the state will join us for this production as part of our annual WILL POWER! education program. We are grateful to the many supporters of Yale Rep who have made it possible for these students to attend what is likely their first production of a play by Bertolt Brecht—and maybe also their first live theatre experience. As always, I look forward to hearing your thoughts about The Caucasian Chalk Circle, or any of your experiences at Yale Rep. My email address is james.bundy@yale.edu. Thank you for joining us! Sincerely,

James Bundy Artistic Director

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YALE REPERTORY THEATRE James Bundy, Artistic Director Victoria Nolan, Managing Director

PRESENTS

By BERTOLT BRECHT Translated by JAMES and TANIA STERN with W.H. AUDEN Directed by LIZ DIAMOND Composer Choreographer Music Director Scenic Designer Costume Designer Lighting Designer Sound Designer Vocal Coach Singing Coach Fight Director Production Dramaturgs Casting Director Stage Manager

DAVID LANG RANDY DUNCAN DANIEL SCHLOSBERG CHIKA SHIMIZU SOULE GOLDEN STEPHEN STRAWBRIDGE MATT TIERNEY GRACE ZANDARSKI ANNE TOFFLEMIRE RICK SORDELET DAVID E. BRUIN DAVID CLAUSON TARA RUBIN CASTING SHANNON L. GAUGHF

ADDITIONAL MUSICAL ARRANGEMENTS BY DANIEL SCHLOSBERG AND DREW McVETY The Caucasian Chalk Circle (The Auden/Stern translation) is presented by special arrangement with Samuel French, Inc. Yale Rep’s 2014–15 season has been made possible in part by a gift from Tracy Chutorian Semler and is supported by the Connecticut Department of Economic and Community Development.

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CAST in alphabetical order Servant, Ensemble

AARON BARTZ

First Doctor, First Architect, First Lawyer, Ensemble

HARRY BOUVY

Valet, First Ironshirt, Ensemble Ludovica, Ensemble Nurse, Elder Lady, Ensemble Simon, Ensemble Corporal, Ensemble Natella, Sister-in-Law, Ensemble Adjutant, Yussup, Ensemble Shauva, Ensemble Governor, Monk, Ensemble Fat Prince, Lavrenti, Ensemble Michael The Singer/Azdak Cook, Mother-in-Law, Granny, Ensemble Grusha Second Doctor, Second Architect, Second Lawyer, Ensemble

ANDREW BURNAP ANNE KATHERINE HÄGG TRACEY CONYER LEE JONATHAN MAJORS DREW McVETY BRENDA MEANEY AUBIE MERRYLEES CHIVAS MICHAEL MAX GORDON MOORE JESSE J. PEREZ KOURTNEY SAVAGE FRED THORNLEY IV STEVEN SKYBELL JULYANA SOELISTYO SHAUNETTE RENÉE WILSON LIZ WISAN

MUSICIANS AARON BARTZ ANDREW BURNAP DREW McVETY DANIEL SCHLOSBERG

SETTING GRUSINIA THERE WILL BE ONE 15-MINUTE INTERMISSION. 7


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Brecht’s Flight

From 1933 to 1948, Brecht and his family circumnavigated the globe, seeking safety from persecution and war. After the Nazis came to power, Brecht, who had been blacklisted, his wife, the actress Helene Weigel (who was Jewish), and their children, Stefan and Barbara, fled Germany and became refugees for the next fifteen years. Like so many of the characters in The Caucasian Chalk Circle, Brecht depended on the generosity of others and had many close calls with danger. His poems during this period, which he often calls “the dark times,” express the depression and devastation he experienced while in exile. This timeline captures the significant events of his flight and ultimate return to Germany.

1898

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February 10 1 Augsburg, Germany Eugen Berthold Friedrich Brecht is born.

1933

February 27 2 Berlin The Reichstag, the building that housed the German government, is burned down. The Nazis declare a state of emergency and suspend many civil liberties. February 28 3 Prague Fearing that he may be arrested or worse, Brecht and Weigel flee Germany on an early morning train to Prague. Later that day, the Gestapo search Brecht’s apartment.

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March 4 Vienna Brecht and Weigel travel from Prague to Vienna, Weigel’s hometown. Their son, Stefan, joins them by plane, while their daughter, Barbara, has to be smuggled out of Germany by Elisabeth Hauptmann, an important Brecht collaborator, and Mari Hold, the Brecht family housekeeper. 5 Svendborg, Denmark Brecht, his family, and several of his other collaborators, including Ruth Berlau and Margarete Steffin, live in a house on the Svendborg Sound, belonging to Danish author Karen Michaelis, who supports them financially for the next six years.

1935

Moscow, Russia The Nazis revoke Brecht’s German citizenship. Brecht visits 6 Paris, 7 Moscow, and 8 New York. In addition to trying to get his extant work produced outside Germany (where his books are being burned), Brecht starts writing The Threepenny Novel, in the hopes of making money.


Brecht’s Flight 9

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10 7 11

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SEPTEMBER 1, 1939: GERMANY INVADES POLAND, SETTING OFF WORLD WAR II.

1939

9 Stockholm, Sweden After the Nazis occupy Czechoslovakia, Brecht and his companions flee Denmark. Ninnan Santesson, a wealthy Swedish sculptor, gives the Brechts shelter on the island of Lidingø near Stockholm. Sensing that war is imminent, Brecht applies for an American visa. Given his Communist sympathies and the flood of German applications, the prospect of acquiring an immigration visa is dim. Brecht’s father dies unexpectedly, but because Brecht is no longer a German citizen, he is not eligible to receive any of theinheritance.

1940

10 Helsinki, Finland After the Nazis invade Denmark and Norway, the Brechts seek refuge in Finland with virtually no money and few possessions.

1941

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May 3 10 Helsinki, Finland Brecht and his family receive their American visas. 7 Moscow, Russia En route to the US, the Brechts take a train from Finland to Moscow. The NKVD (later the KGB) had labeled Brecht as a “Trotskyist,” meaning a potential enemy of the USSR, and spy on him and his circle. May 30 Brecht and his family set out on the Trans-Siberian Railway for Vladivostok where they will take a Swedish boat to Los Angeles.

June 13 12 Vladivostok The Brechts set sail for the US. It is the last boat from the USSR to the US, and later that month, the US stops issuing visas to Germans entirely.

JUNE 22, 1941: GERMANY INVADES RUSSIA. 11 Siberia, Russia While en route to Vladivostock, Brecht receives a telegram that Margarete Steffin has died of tuberculosis. Her passing devastates Brecht.

13 Manila, the Philippines Upon arriving in the Philippines, the Brecht family’s ship is delayed for five days because of a typhoon.


1944

12 Los Angeles, California Brecht finishes the first draft of The Caucasian Chalk Circle.

1941

July 21 14 Los Angeles, California The Brecht family arrives in Los Angeles. They live in a house paid for by a group of German émigrés in Santa Monica, including the well-known novelists Thomas Mann and Lion Feuchtwanger. Brecht feels isolated, impoverished, and artistically frustrated while in L.A., a place he directly compares to Hell in his poem, “On Thinking about Hell.” When Brecht arrives in L.A., he learns that his close friend, the philosopher Walter Benjamin, had committed suicide a year earlier in France. The FBI surveils Brecht for the entirety of his time in the US.

1943

Eastern Front Brecht’s estranged first son, Frank Banholzer, is killed in combat on the Eastern front fighting for Nazi Germany. Brecht does not learn of his death until 1946.

In September, Ruth Berlau gives birth to a child by Brecht. His name is Michel. The baby is born premature and dies days after his birth.

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MAY 8, 1945: GERMANY SURRENDERS TO THE ALLIED FORCES, ENDING WORLD WAR II.

1947

October 29 15 Washington, DC Brecht testifies before the House Un-American Activities Committee because he is suspected of having ties to the Communist Party. The next day, Brecht and Weigel fly to 6 Paris and then on to 16 Zurich, never to return to America. Zurich, Switzerland Brecht settles in Switzerland, where he lives and works before deciding whether to stay in Zurich, move to West Germany, or move back to East Berlin.

1949

17 East Berlin, East Germany Brecht and his family move back to Berlin after fourteen years, where he establishes the Berliner Ensemble at the Theater am Schiffbauerdamm. The company and the theatre survive to this day.

1956

East Berlin, East Germany Brecht dies from heart failure.

—DAVID E. BRUIN, PRODUCTION DRAMATURG


Grusinia: Then and Now The title of Brecht’s play comes from its setting in the Caucasus region, which includes the Caucasus Mountains and the surrounding area bordered by Russia (north), the Middle East (south), the Black Sea (west), and the Caspian Sea (east). While Grusinia is Brecht’s invention, the play includes references to several cities in the modern-day countries of Georgia and Azerbaijan. For example, Nukha, where Grusha is from, is the historical name of Shaki in northwestern Azerbaijan, and Tiflis, the capital of Grusinia, is the historical name of Tbilisi, the capital of Georgia. Brecht may have had many reasons for choosing the Caucasus. Both Joseph Stalin and Vladimir Mayakovsky, the Russian playwright and director who had a significant influence on Brecht, were born in Georgia. Additionally, during World War II, both the Nazis and the Soviets coveted the Caucasus for its oil reserves. After the Battle of Stalingrad, it was the first region that the Soviets liberated from German forces. In creating the visual world of our production, the creative team has set the play in an imaginary contemporary country, a “failed state,” where contending factions vie for power in the wake of a botched coup d’état. We’ve drawn from the terrible, the tender, and the ludicrous images of our times in trying to capture the tragic and comic timbre of Brecht’s great play. From such images, we have tried to create a world that resonates both with Brecht’s text and with our own contemporary struggles for peace and justice. —DEB

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SYRIAN KURDISH REFUGEES EN ROUTE TO SHELTERS, PHOTO BY BRYAN DENTON; A WOMAN AND HER BABY RETURN HOME TO CHECHNYA, PHOTO BY GLEB GARANICH/REUTERS; OUTSIDE A PRISON IN BAIDOA, SOMALIA DURING THE CIVIL WAR, PHOTO BY PATRICK CHAUVEL/ SYGMA, 1993. ALL PHOTOS COURTESY OF CORBIS.


Putting the “Epic” in Epic Theatre, or Brecht and Music In the early 1920s, Brecht began his rise to fame as a singer-songwriter and poet. Perpetually clad in his trademark leather jacket, he suggested a bohemian Orpheus when he sang with a slightly high-pitched nasal tone, accompanying himself on an acoustic guitar (one biographer compares his style to that of the young Bob Dylan). He was, by every account, a mesmerizing performer and enfant terrible. He wrote lyrics imbued with illicit sex, murder, and a myriad of other taboos, and set them to familiar ballad and folk song structures. Even after he stopped performing, music continued to play a major part in many of his works. He not only filled his plays with songs—even achieving a runaway hit with The Threepenny Opera’s “Mack the Knife”—but he also wrote extensively on the role of music in his theoretical works, where he posits music as a conduit allowing characters to suspend the action in order to reflect or comment on the events and themes of the play. Brecht’s love of music and poetry may explain in part why he named his Epic Theatre in the spirit of Homer’s epic poems. In addition to sharing many of the same core elements, including an episodic structure, narrated action, and swift changes in setting and time, both genres use words and music together to tell a story. The word “epic” comes from the ancient Greek word epos, which has a wide range of meanings including “word,” “song,” and “tale.” Ancient Greek bards sang The Iliad and The Odyssey accompanied by music.

The figure of the bard, of whom young Brecht himself is a fine example, appears throughout his work, including The Singer/ Azdak in The Caucasian Chalk Circle. While Brecht was writing the play, he said that he wanted it to have “a kind of music to which lengthy epics can be narrated.” “After all,” he pointed out, “Homer was sung.” Paul Dessau, a longtime Brecht collaborator, composed the music for the original 1954 Berliner Ensemble production. Our production features music composed by Yale’s renowned composer David Lang, whose music, like the play itself, harkens back to traditional forms while creating a sound that is totally original.

—DEB

PORTRAIT OF BERTOLT BRECHT BY RUDOLF SCHLICHTER, 1926. PHOTOGRAPHED BY ALFREDO DAGLI ORTI, COURTESY OF THE ART ARCHIVE/CORBIS.

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Dissecting a Civil War 14

As high school biology teachers can attest, sometimes the best way to understand an organism is to dissect it. In The Caucasian Chalk Circle, Brecht wields his scalpel to take apart the modern civil war. A coup d’état goes awry, and various factions compete for dominance in the ensuing vacuum of power. This play demonstrates, with careful craft, how the power struggles of a corrupt elite impact everyday transactions, intimate relationships, and moral choices of ordinary people. The Great Leader, a cosmopolitan technocratic tyrant, vies with the Fat Prince, a vestige of traditional dynastic authority, in a struggle for supremacy. With his fictional country Grusinia, Brecht offers us a case study in power politics run amok:

1. 2. 3. 4. 5. 6.

We witness the Fat Prince launch a coup. We see the coup fail to kill the Great Leader, creating a power vacuum. We hear how the workers seize this moment to rise up and demand a new order. We see the military throw its weight behind whoever seems momentarily in charge. We bear witness to atrocities committed as fear mounts and civil order collapses. We watch how simple acts of human kindness come to require either suicidal heroism (Grusha), or soul-destroying cheating (Azdak).

Brecht has harnessed his knowledge of realpolitik and history to create his fictional plot: a coup bottoms out and leads to destruction, disorder, and civil war. Can this chaos really lead to a new and more just social order? It’s an epic battle between cynicism and hope, and the outcome is still anything but sure. —DAVID CLAUSON, PRODUCTION DRAMATURG


CAST AARON BARTZ (SERVANT, MUSICIAN, ENSEMBLE) is making his Yale Rep debut. He is a third-year MFA candidate at Yale School of Drama, where his credits include Altogether Reckless, The Seagull, The Master and Margarita, Bird Fire Fly, Twelfth Night, Peter Pan, Platonov, and King Richard 2. Other credits include A Map of Virtue, We Are Proud to Present a Presentation About the Herero of Namibia…, Middletown, the Summer Shorts Festival, and Why Torture Is Wrong, and the People Who Love Them (Yale Summer Cabaret); A New Saint for a New World, Have I None, and Beginners by Raymond Carver, or What We Talk About When We Talk About Love (Yale Cabaret); Hamlet, The Beaux’ Stratagem (Texas Shakespeare Festival); Macbeth, A Midsummer Night’s Dream (Shakespeare Theatre of New Jersey LIVE! tour); and To Kill a Mockingbird (Montana Repertory Theatre, national tour). BFA: University of Montana. aaronkbartz.com

HARRY BOUVY* (FIRST DOCTOR, FIRST ARCHITECT, FIRST LAWYER, ENSEMBLE) makes his Yale Rep debut with this production. His Connecticut theatre credits include Christmas on the Rocks, among numerous other performances at TheaterWorks in Hartford. For a year and a half, he played Hannibal Lecter and Dr. Chilton in the Off-Broadway smash, Silence! The Musical (and can be heard on the original cast recording). A native of Pittsburgh, he has been seen there as Vanya in Vanya and Sonia and Masha and Spike (City Theatre); Yvan in Art (Pittsburgh Public Theater); and spent two seasons at the Three Rivers Shakespeare Festival. Harry played Carmen Ghia in the national tour of The Producers (Helen Hayes nomination), Sir Robin in the Las Vegas company of Spamalot, and Nathan Detroit in Guys and Dolls at Great Lakes Theater Festival in Cleveland. Favorite regional credits include Angels in America (Syracuse Stage) and four one-man shows: I Am My Own Wife, Chesapeake, Fully Committed, and This Wonderful Life. Film and television credits: The Producers, The Good Wife, Law & Order, and Sex and the City. harrybouvy.com

ANDREW BURNAP (VALET, FIRST IRONSHIRT, MUSICIAN, ENSEMBLE) is thrilled to be making his Yale Rep debut. He is a second-year MFA candidate at Yale School of Drama, where his credits include The Seagull, Paradise Lost, and In Arabia We’d All Be Kings. Other credits include King Lear (The Public Theater); The Two Gentlemen of Verona, Coriolanus, All’s Well That Ends Well (Commonwealth Shakespeare Company); Why Torture Is Wrong, and the People Who Love Them (Yale Summer Cabaret); The Maids, Rose and the Rime, and Episode #121: Catfight (Yale Cabaret). Andrew holds a BFA in theatre from the University of Rhode Island.

*MEMBER OF ACTORS’ EQUITY ASSOCIATION, THE UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS ** APPEARS COURTESY OF ACTORS’ EQUITY ASSOCIATION

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ANNE KATHERINE HÄGG** (LUDOVICA, ENSEMBLE) is a second-year MFA candidate at Yale School of Drama, where her credits include Don Juan, Paradise Lost, THUNDERBODIES, and This Flat Earth. Other credits include A New Saint for a New World (Yale Cabaret), Dancing at Lughnasa (Irish Repertory Theatre), Boeing Boeing (New Harmony Theatre), and The Most Happy Fella (The Acorn at Theatre Row). Last summer Annie studied at the British American Drama Academy in Oxford, England. She holds a BA in international history from the London School of Economics and Political Science.

TRACEY CONYER LEE* (NURSE, ELDER LADY, ENSEMBLE) is making her Yale Rep debut. Her New York credits include Bedbugs!!!, Sistas, Lords Resistance, and Standing Up: Bathroom Talk & Other Stuff We Learn from Dad. Regional highlights include Paula Vogel’s A Civil War Christmas (Center Stage); the Humana Festival of New American Plays at Actors Theatre of Louisville; and six short plays including her own, Poor Posturing, for the Fire This Time Festival in Boston. Other regional credits include St. Louis Rep, Theater of the Stars, Great Lakes Theater Festival, Cincinnati Playhouse, Interact, TheaterWorks, Cleveland Playhouse, Delaware Theatre Company, Westport Playhouse, Merrimack Rep, Virginia Stage, Florida Stage, Ogunquit Playhouse, Weston Playhouse, Cape Playhouse, Laguna Playhouse, Pittsburgh CLO, and Syracuse Stage. Television roles include Smash, Ed, and recurring roles on Law & Order: Criminal Intent, Guiding Light, and All My Children. She received an Audience Award for Best Actress at the Appalachian Film Festival. She is currently writing and producing five independent web projects. Next up: Lady Day at Emerson’s Bar & Grill. traceyconyerlee.com

JONATHAN MAJORS** (SIMON, ENSEMBLE) is a second-year MFA candidate at Yale School of Drama, where his credits include Cardboard Piano, Paradise Lost, and The Seagull. New York and regional credits include Ma Rainey’s Black Bottom, Fences (The Greene Space August Wilson Century Cycle); Fences (Virginia Stage Company); Cry Old Kingdom (Actors Theatre of Louisville); A Raisin in the Sun, The Tempest (Chautauqua Theater Company); The Brothers Size, The Defendant, and Touch (Yale Cabaret). Jonathan holds a BFA from the University of North Carolina School of the Arts.

DREW McVETY* (CORPORAL, MUSICIAN, ENSEMBLE) makes his Yale Rep debut with this production. His Broadway credits include The Last Ship, Cyrano De Bergerac, Billy Elliot, Sunday in the Park with George, Spamalot, Frozen, Big River, Titanic, and The Heidi Chronicles. Off-Broadway: Charles Ives Take Me Home (Rattlestick Playwrights Theater); Lone Star Love; Corpus Christi (Manhattan Theatre Club, Drama Desk nomination); This Lime Tree Bower (Primary Stages); The Substance of Fire (Lincoln Center Theater); Twelfth Night, A Doll’s House (The Public Theater/Acting Company); Rosemary for Remembrance (Atlantic Theater); Red Memories

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CAST (Circle Rep); Pericles, Spyz (Workhouse); as well as productions at Tiny Mythic, HERE Arts Center, Lincoln Center Directors Lab, and New York Stage and Film. Regional credits include A Civil War Christmas and Fathers and Sons at Long Wharf as well as productions at 5th Avenue Theatre in Seattle; Portland Stage; Pittsburgh Public Theater; and Fulton Opera House. Television and Film: Black Box, Blue Bloods, Royal Pains, Unforgettable, Law & Order, Law & Order: SVU, Law & Order: CI, The Days and Nights of Molly Dodd, Guiding Light, Another World, All My Children, As the World Turns, Days of Our Lives, The Strange Case of Wilheim Reich, Henry’s Crime, New York Summer Project, and Red Herring.

BRENDA MEANEY* (NATELLA, SISTER-IN-LAW, ENSEMBLE)

made her Yale Rep debut last season in Owners by Caryl Churchill. Her other recent theatre credits include Indian Ink (Roundabout Theatre Company, American Conservatory Theater); Venus in Fur (ACT); and One Slight Hitch (Wellfleet Harbor Actors Theater). International theatre credits include Basin (Abbey Theatre Studio/ Anu), The Way of the Language: Voices from the War on Terror (Painted Filly/Project Arts Centre, Dublin), and Memory Deleted (Beltable Theatre, Limerick). Brenda is a graduate of Yale School of Drama, where she appeared in various productions including Cloud Nine, The Seagull, The Tall Girls, and Angels in America. Television: Anna in Hell on Wheels (AMC) and Love/ Hate (Radio Teilifís Éireann).

AUBIE MERRYLEES (ADJUTANT, YUSSUP, ENSEMBLE) is a

second-year MFA candidate at Yale School of Drama, where his credits include Don Juan, Riverbank: A Noh Play for Northerly Americans, Paradise Lost, and In Arabia We’d All Be Kings. At Yale Summer Cabaret: Middletown, A Map of Virtue, and Why Torture is Wrong, and the People Who Love Them. Originally from Philadelphia, Aubie has appeared in Charlotte’s Web, Women in Jep, and Rachel Bonds’s At the Old Place (Arden Theatre Company); The Aliens (Theatre Exile, Barrymore nomination); My Romantic History (Inis Nua); The Liar (The Lantern); and A Bright New Boise (Simpatico). Aubie is also a company member at People’s Light & Theatre, where he has acted in over ten productions, including End Days, One Flew Over the Cuckoo’s Nest, Beautiful Boy, Stargirl, and A Wrinkle in Time. He is a graduate of Brown University. For Mom.

CHIVAS MICHAEL* (SHAUVA, ENSEMBLE) previously

appeared at Yale Rep in A Doctor in Spite of Himself. His other theatre credits include Antony and Cleopatra (The Royal Shakespeare Company, London; The Public Theater); Brooklyn Omnibus (Brooklyn Academy of Music), Romeo and Juliet (Classic Stage Company); The Broadway Problem (Lincoln Center concert); Sliding into the Beast (New York Theatre Workshop); Wild with Happy (Center Stage); The Servant of Two Masters (Guthrie Theater); A Doctor in Spite of Himself (Berkeley Rep); A Funny Thing Happened on the Way to the Forum (Williamstown Theatre Festival); Much Ado About Nothing, A Midsummer Night’s Dream (Shakespeare on the Sound); Hamlet (New 18

*MEMBER OF ACTORS’ EQUITY ASSOCIATION, THE UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS


Orleans Shakespeare Festival); A Chorus Line and Oklahoma! (Porthouse Theatre). Film credits include Fish: The True Story of a Boy in a Man’s Prison. Education: BA, Dillard University; MFA, NYU’s Graduate Acting Program.

MAX GORDON MOORE* (GOVERNOR, MONK, ENSEMBLE) made his Yale Rep debut earlier this season in Tom Stoppard’s Arcadia. Other recent credits include Time and the Conways (The Old Globe); Don Juan in Hell (Project Shaw); The Master Builder with John Turturro (Brooklyn Academy of Music); Relatively Speaking on Broadway; Man and Superman, It’s A Wonderful Life (Irish Repertory Theatre); and The American Song Project (Flea Theater). Regional theatre includes Tragedy: A Tragedy (Berkeley Rep); The Seagull (Cleveland Playhouse); Richard III, As You Like It, The Merry Wives of Windsor, The Merchant of Venice (California Shakespeare Theater); Bach at Leipzig (A Contemporary Theatre); John Bull’s Other Island (Geva Theatre); Pleasure and Pain (Magic Theatre); Private Jokes, Public Places (Aurora Theatre); Learned Ladies, The Two Gentlemen of Verona (Texas Shakespeare Festival); and Family Alchemy (Traveling Jewish Theatre). Film and television: Gods Behaving Badly, The Terrors of Basket-Weaving, Madam Secretary, and The Good Wife. MFA, Yale School of Drama, Herschel Williams Prize in Acting.

JESSE J. PEREZ* (FAT PRINCE, LAVRENTI, ENSEMBLE) previously appeared in Yale Rep’s productions of Accidental Death of an Anarchist, In a Year with 13 Moons, The Servant of Two Masters, Lulu, The Cherry Orchard, and The Taming of the Shrew. His New York credits include Triple Happiness (Second Stage Theatre), Barrio Girl (Summer Play Festival), Recent Tragic Events (Playwrights Horizons), In the Penal Colony (Classic Stage Company), Up Against the Wind (New York Theatre Workshop), and Lucia di Lammermoor (The Metropolitan Opera). Regional theatre productions include A Midsummer Night’s Dream, Othello, Much Ado About Nothing (Shakespeare on the Sound); Hard Weather Boating Party (Humana Festival of New Plays); Arabian Nights (Berkeley Rep); Argonautika, Looking Glass Alice, Cascabel (Lookingglass Theatre Company); Pericles, Candide (Goodman Theatre, The Shakespeare Theatre); The Servant of Two Masters (The Shakespeare Theatre, Guthrie Theater); and Hamlet (McCarter Theatre Center). Film and television: American Splendor, Enter Nowhere, Playing God, Kazaam, Person of Interest, Life on Mars, Law & Order, Law & Order: SVU, The Job, and Third Watch. He is a graduate of The Juilliard School.

KOURTNEY SAVAGE (MICHAEL) is making her Yale Rep debut. She is a first-grader at John C. Daniels Magnet School of International Communication. She is the oldest of three and loves reading, dancing, singing, and being with her family and friends.

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CAST DANIEL SCHLOSBERG (MUSIC DIRECTOR, MUSICIAN) is a recipient of the 2014 Charles Ives Scholarship from the American Academy of Arts and Letters and 2014 ASCAP Morton Gould Young Composer Award. His compositions have been played by the Dover Quartet, Cabrillo Festival Orchestra, Buffalo Philharmonic, Yale Philharmonia, Aspen Contemporary Ensemble, Antico Moderno, Lorelei Ensemble, Yale Baroque Ensemble, New Morse Code, and counter)induction. Various recent credits include his chamber opera Frau Trude (Center City Opera Theater, Philadelphia); Peter Pan, Sunday in the Park with George (Yale School of Drama); The Seven Deadly Sins (Heartbeat Opera); A Lover’s Tale (Berkshire Theatre Festival); his choral pieces Letter (Yale Glee Club, Hong Kong) and nightingale + rose (Simon Carrington, Norfolk Music Festival); strange ancestors (Carnegie Hall); and RiteNow Project. Daniel has written for and performed with David Shifrin, Fred Sherry, Ani Kavafian, Peter Wiley, and Tara Helen O’Connor. He currently holds commissions from BodyVox Dance Company, Mousai Ensemble, and the Yale Symphony Orchestra. He is a cofounder of the composer/performer ensemble INVISIBLE ANATOMY, which will debut with concerts in New York and Beijing in April and June. Education: BA, Yale College; MM and MMA, Yale School of Music. danschlosbergmusic.com

STEVEN SKYBELL* (THE SINGER/AZDAK) previously appeared at Yale Rep in Ah, Wilderness!, Apocalyptic Butterflies, Sarcophagus, and Neapolitan Ghosts. His Broadway credits include Pal Joey, Wicked, The Full Monty, Love! Valour! Compassion!, Cafe Crown, and Ah Wilderness! Off-Broadway: Antigone in New York (OBIE Award, Vineyard Theatre); The Lesson (Atlantic Theater Company); The Controversy (US premiere), Antony and Cleopatra, Love’s Labour’s Lost, Troilus and Cressida, Much Ado About Nothing, Henry VI Parts I, II, and III (The Public Theater); A Midsummer Night’s Dream (Classic Stage Company); Richard II, Richard III, As You Like It, Titus Andronicus, Tamburlaine the Great (Theatre for a New Audience); and What Didn’t Happen (world premiere, Playwrights Horizons). Regional credits include Camelot (Helen Hayes nomination), Uncle Vanya (McCarter Theatre, La Jolla Playhouse), and Hamlet (California Shakespeare Festival). He is an inaugural company member of Shakespeare’s Globe. Film and television: Elementary, 666 Park Avenue, Simply Irresistible, Cradle Will Rock, Tom and Francie, Everybody Wins, Sex and the City, Law & Order, and Queens Supreme. Education: MFA, Yale School of Drama; BA, Yale College; Certificate in Acting, British American Drama Academy, Balliol College, Oxford.

JULYANA SOELISTYO* (COOK, MOTHER-IN-LAW, GRANNY, ENSEMBLE) previously appeared at Yale Rep in Iphigenia at Aulis. Broadway: David Henry Hwang’s Golden Child (Drama League Award, Clarence Derwent Award; Outer Critics Circle, Tony nominations). Off-Broadway credits include Seven with Meryl Streep (directed by Julie Taymor), Armanda Ragusa in The Glorious Ones (Lincoln Center Theater), On The Town (City Center), The House of Bernarda Alba, and Pericles directed by 20


Bartlett Sher (Brooklyn Academy of Music). Regional and international: Orphan Of Zhao (American Conservatory Theater, La Jolla Playhouse), Wild Swans (A.R.T.; The Young Vic, London), and The Children of Heracles directed by Peter Sellars (Bottrop, Cambridge, Rome, Paris). Film and television: Bringing Out the Dead directed by Martin Scorsese, Ariel in The Tempest with Christopher Plummer, Law and Order, and Earthly Possessions directed by James Lapine.

FRED THORNLEY IV (MICHAEL) is making his Yale Rep debut. He is a fourth-grade student at Noah Webster Micro Society School in Hartford. His previous theatre credits include A Christmas Carol (Hartford Stage, 2010–2014); Carousel (Goodspeed Opera House); and Our Town (Long Wharf Theatre). Fred has trained in tap and jazz at U-HARTT and Hartford Stage and was named Micro Student of the Year in 2013 and 2014.

SHAUNETTE RENÉE WILSON (GRUSHA) is a second-year MFA candidate at Yale School of Drama, where her credits include The Seagull, Paradise Lost, and Cardboard Piano. Other credits include The Defendant and Look Up, Speak Nicely, and Don’t Twiddle Your Fingers All the Time (Yale Cabaret); We Are Proud to Present a Presentation About the Herero of Namibia..., Middletown (Yale Summer Cabaret); The Marriage of Bette and Boo, Undone, A Dybbuk, Macbeth, and Romeo and Juliet (Queens College). Shaunette holds a BA in drama and theatre from Queens College.

LIZ WISAN* (SECOND DOCTOR, SECOND ARCHITECT, SECOND LAWYER, ENSEMBLE) previously appeared at Yale Rep in These Paper Bullets!, The Servant of Two Masters, and A Woman of No Importance. Her New York credits include Other Desert Cities (Lincoln Center Theater and Broadway); The Tempest (La MaMa); Bill W. & Dr. Bob (Soho Playhouse); Billy Witch (Astoria Performing Arts Center); Miss Lilly Gets Boned, My Base and Scurvy Heart, and The Sporting Life (Studio 42, Resident Artist). Regional credits include Absurd Person Singular (Two River Theater); The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures (Berkeley Rep); Christopher Bayes’s The Servant of Two Masters (Shakespeare Theatre Company, Guthrie Theater, ArtsEmerson, Seattle Rep); The Merchant of Venice (Shakespeare Theatre Company); Hannah (Premiere Stages); The Winter’s Tale (Chautauqua Theater Company); Anything Goes, Twelfth Night, and Cloud Tectonics (Williamstown Theatre Festival). Television and film credits include Elementary, Ready or Knot, and Bitches (short). Liz also performs long-form and musical improv in NYC and writes and performs stand-up and sketch comedy. MFA: Yale School of Drama.

*MEMBER OF ACTORS’ EQUITY ASSOCIATION, THE UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS

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CREATIVE TEAM DAVID E. BRUIN (PRODUCTION DRAMATURG) is a second-year MFA candidate at Yale School of Drama, where his credits include Bird Fire Fly. Select other credits include Quartet, Don’t Be Too Surprised, The Crazy Shepherds of Rebellion, Derivatives, and Beginners by Raymond Carver, or What We Talk About When We Talk About Love (Yale Cabaret); Handbook for an American Revolutionary (Gym at Judson); The Imaginary Life of Millo St. Jean (Snapdragon); and The Assassins Chase Pinocchio (Immediate Medium). He is a Managing Editor at Yale’s Theater magazine. In the summer of 2014, he worked as the Research Assistant at Sustain Arts, a project of the Harvard Kennedy School of Government. Prior to Yale, he served as the Co-Founding Producing Artistic Director of Snapdragon and as the Campaign Associate at Signature Theatre in New York City. David holds a BA in philosophy and theatre arts from Boston College.

DAVID CLAUSON (PRODUCTION DRAMATURG) is a second-year MFA candidate at Yale School of Drama, where his credits include In Arabia We’d All Be Kings and This Flat Earth. Other dramaturgy credits include American Gothic, He Left Quietly, and We Fight We Die (Yale Cabaret). He has served as a literary intern at the City Theatre of Pittsburgh. David was a mentor for middle and high school playwrights in the City Theatre’s 2013 Young Playwrights’ Festival and Yale Repertory Theatre’s Dwight/Edgewood Project in 2014. He is an alumnus of the Residential College in the Arts and Humanities and the Department of Theatre at Michigan State University.

LIZ DIAMOND (DIRECTOR) is a Resident Director at Yale Repertory Theatre and serves as Chair of the Directing Department at Yale School of Drama. Productions at Yale Rep include The Winter’s Tale, Lucinda Coxon’s Happy Now? (also at Primary Stages in New York), Marcus Gardley’s dance of the holy ghosts, Strindberg’s Miss Julie, Sunil Kuruvilla’s Fighting Words and Rice Boy, Seamus Heaney’s The Cure at Troy, Brecht’s St. Joan of the Stockyards, and the premieres of The America Play and The Death of the Last Black Man in the Whole Entire World by Suzan-Lori Parks. She has directed new plays and classical works at theatres including the Oregon Shakespeare Festival, American Repertory Theatre, The Public Theater, Vineyard Theatre, and Theatre for a New Audience, and has won the OBIE and the Connecticut Critics Circle Awards for Outstanding Direction. Last year she had the pleasure of translating and directing Stravinsky’s L’Histoire du Soldat, in a joint Yale School of Drama/Yale School of Music production at New York’s Carnegie Hall, as well as Matthew Suttor’s and Timothy Young’s musical adaptation of Blaise Cendrar’s Prose du Transsiberien for the Beinecke Library’s 50th anniversary celebration. She lives in New York City with her husband, Ralph Chipman, and daughter, Hanna.

RANDY DUNCAN (CHOREOGRAPHER) made his Yale Rep debut with The Winter’s Tale directed by Liz Diamond. He has the unique privilege to be a three-time recipient of Chicago’s prestigious Ruth Page Award for Outstanding Choreographer of the Year. He’s received the Artistic Achievement Award from the Chicago National Association of Dance Masters and three Black Theatre Alliance Awards. He earned an American Choreography Award nomination for his work in the movie Save the Last Dance starring Julia Stiles. Mr. Duncan’s work can be seen in the companies of the Joffrey Ballet,

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Giordano Jazz Dance Chicago, River North Chicago Dance Company, Bat-Dor Dance Company of Israel, BalletMet Columbus, among many others. His theatre credits include the Goodman Theatre, South Coast Repertory, Actors Theatre of Louisville, and Oregon Shakespeare Festival, creating choreography for productions such as Hair, Carousel, Zoot Suit, Once on This Island, The Rose Tattoo, Amadeus, Antigone, The Pirates of Penzance, and the Pulitzer Prize-winning play Ruined. Randy continues his support for HIV/AIDS causes by donating his time and choreography to Dance for Life. He teaches worldwide and for the past 21 years has been on the faculty of The Chicago Academy for the Arts, where he serves as Dance Department Chair.

SHANNON L. GAUGHF* (STAGE MANAGER) is excited to be returning to Yale Rep, where she previously served as assistant stage manager for Owners and Arcadia. She is a third-year MFA candidate at Yale School of Drama, where her credits include Romeo and Juliet, Hedda Gabler, and THUNDERBODIES. Other credits include Hello, Dolly! (production assistant, Goodspeed Musicals); Chess, The Light in the Piazza, and Anything Goes (assistant stage manager, Willows Theatre Company). She also served as the production stage manager for Footlight Players in Indiana, Pennsylvania. Shannon holds a BA in technical theatre and design from Saint Mary’s College of California. She is the recipient of the Patricia M. Brodkin Scholarship and is a proud member of Actors’ Equity Association.

SOULE GOLDEN (COSTUME DESIGNER) is a third-year MFA candidate at Yale School of Drama, where she designed Hedda Gabler last season. Yale Cabaret credits include Milk, Milk, Lemonade; The Ugly One; and The Most Beautiful Thing in the World. Before Yale, she designed Dance Cartel’s On the Floor at the Ace Hotel in New York; Reefer Madness, Caroline, or Change (Gallery Players, Brooklyn); The Music Man (Light Opera Works, Chicago); Cugat!, and Deshar Alhat (Luna Negra Dance Company, Chicago), among others. She began her theatre career at Santa Fe Opera and Joffrey Ballet and has worked with San Francisco Opera, Chicago Children’s Theatre, Cedar Lake Contemporary Ballet, Cirque du Soleil, and on Broadway. BS, textiles, Cornell University. soulegolden.com

DAVID LANG (COMPOSER) won the 2008 Pulitzer Prize in Music for the little match girl passion. Its recording received a Grammy Award for Best Small Ensemble Performance. Lang has also been the recipient of the Rome Prize, Le Chevalier des Arts et des Lettres, and was Musical America’s 2013 Composer of the Year. He was the 2013–14 Debs Chair Composer’s Chair at Carnegie Hall and is the 2014–15 Composerin-Residence at de Doelen in Rotterdam. This season includes premieres for Sage Gateshead, Tanglewood Music Center, musikFabrik, Bamberg Symphony, and Trio Mediaeval and Saltarello. Lang’s music is used regularly for ballet and modern dance by such choreographers as Twyla Tharp, Susan Marshall, Edouard Lock, and Benjamin Millepied, who choreographed a new piece by Lang for the L.A. Dance Project at BAM in 2014. Film credits include Jonathan Parker’s (Untitled), The Woodmans, Requiem for a Dream, La Grande Bellezza, and upcoming, Youth. Lang co-founded the Bang on a Can music collective and he is Professor of Composition at the Yale School of Music. davidlangmusic.com *MEMBER OF ACTORS’ EQUITY ASSOCIATION, THE UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS

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CREATIVE TEAM TARA RUBIN CASTING (CASTING DIRECTOR) has been casting at Yale Rep since 2004. Selected Broadway: Bullets Over Broadway; Aladdin; A Time To Kill; Big Fish; The Heiress; One Man, Two Guvnors (US Casting); Ghost; How to Succeed in Business Without Really Trying; Promises, Promises; A Little Night Music; Billy Elliot; Shrek; Guys and Dolls; The Farnsworth Invention; Young Frankenstein; The Little Mermaid; Mary Poppins; Les Misérables; Spamalot; Jersey Boys; The 25th Annual Putnam County Spelling Bee; The Producers; Mamma Mia!; The Phantom of the Opera; Contact. OffBroadway: Love, Loss, and What I Wore; Old Jews Telling Jokes. Regional: The Kennedy Center, La Jolla Playhouse, Dallas Theater Center, The Old Globe, Westport Country Playhouse, Bucks County Playhouse. Film: Lucky Stiff, The Producers.

CHIKA SHIMIZU (SCENIC DESIGNER) is a third-year MFA candidate at Yale School of Drama, where she has designed the sets for Twelfth Night, or What You Will and The Visit. Her other credits include Don’t Be Too Surprised, MuZeum (Yale Cabaret); Ordinary Days (Imagined Life Theatre); Ching Chong Chinaman (Artists at Play); Romeo and Juliet, Tartuffe, Salon du Soiree, and a number of dance theatre pieces (Cal State Fullerton). She has worked as the assistant set designer for Myung Hee Cho on The Magic Flute (Canadian Opera Company) and Emotional Creature (Barkeley Repertory Theatre). Chika holds a BA in theatre arts, design and technical production from California State University, Fullerton. chikashimizu.com

RICK SORDELET (FIGHT DIRECTOR) Theatre credits include 65 Broadway productions and 60 productions on five continents in hundreds of cities around the world including Beauty and the Beast, The Lion King, Waiting for Godot and No Man’s Land, Ben Hur Live (Rome, European Tour), and currently Big Love for Signature Theatre. Opera: Cyrano starring Placido Domingo (Metropolitan Opera, The Royal Opera House, La Scalla), and Don Carlo and Cold Mountain (Santa Fe Opera). Film: The Game Plan, Dan in Real Life, and Hamlet. Rick was Chief Stunt Coordinator for Guiding Light for 12 years and One Life to Live, representing over 1,000 episodes of daytime television. Upcoming: Misery on Broadway starring Bruce Willis and Cymbeline this summer for The Public Theater’s Shakespeare in the Park. Rick sits on the board of the Shakespeare Theatre of New Jersey and teaches at Yale School of Drama and HB Studio. He is a recipient of an Edith Oliver Award for Sustained Excellence from the Lucille Lortel Foundation and a Jeff Award for Best Fight Direction for Romeo and Juliet (Chicago Shakespeare Theater). Rick has created the new stage combat company, Sordelet INK, with his son Christian KellySordelet. They have over thirty years of action movement experience for film, television, and stage. sordeletINK.com

STEPHEN STRAWBRIDGE (LIGHTING DESIGNER) has designed over 200 productions on and off Broadway, at most leading regional theatres and opera houses across the US and internationally in Bergen, Copenhagen, The Hague, Hong Kong, Lisbon, Linz, Munich, Naples, São Paulo, Stockholm, and Vienna. Recent: Othello with Richard Thomas and Blair Underwood for The Old Globe, San Diego; Henry IV, Parts I and II with Stacy Keach for Shakespeare Theatre, Washington, DC; Tarell Alvin McCraney’s Antony and Cleopatra for Royal Shakespeare Company, Stratford-upon-Avon, and The Public Theater in New York. Mr. Strawbridge has numerous pieces in the repertory of Alison Chase Performance and Pilobolus Dance Theatre. Upcoming work includes new plays 24


by A.R. Gurney and Athol Fugard. Awards and nominations: American Theatre Wing, Bay Area Theatre Critics Circle, Connecticut Critics Circle, Dallas-Fort Worth Theater Critics Forum, Helen Hayes, Henry Hewes Design, and Lucille Lortel. Co-chair, Design Department, Yale School of Drama; Resident Lighting Designer, Yale Repertory Theatre.

MATT TIERNEY (SOUND DESIGNER) New York credits include the Broadway production of Machinal (2014 Tony Award nomination, Drama Desk Award; Roundabout Theatre Company); Our Lady of Kibeho (Signature Theatre); Pocatello, The (curious case of the) Watson Intelligence, Detroit (2013 Lortel nomination), Kin, This (Playwrights Horizons); A Midsummer Night’s Dream directed by Julie Taymor (Theatre for a New Audience); generations, An Octoroon, Uncle Vanya, The Ugly One, A Public Reading Of An Unproduced Screenplay About The Death Of Walt Disney, and Blasted (Hewes Award), all at Soho Rep.; Arguendo (The Public Theater); Luck of the Irish (LCT3); Elevator Repair Service’s The Sound and the Fury (April Seventh, 1928) (2009 Lortel nomination) and The Select (The Sun Also Rises) (2012 Lortel, OBIE Awards); The Wooster Group’s Hamlet (2008 Lortel nomination), Who’s Your Dada?!, and The Emperor Jones; and Young Jean Lee’s Lear, The Shipment, and Church. Regional credits include Shakespeare Theatre Company, McCarter Theatre Center, American Repertory Theater, Alley Theatre, Woolly Mammoth Theatre Company, Long Wharf Theatre, and Center Theatre Group.

ANNE TOFFLEMIRE (SINGING COACH) was raised in Northern California, where she starred in the long running San Francisco productions of Side by Side by Sondheim and Rap Master Ronnie; there she was discovered by the Academy Award winning lyricist Sammy Cahn, with whom she toured nationally and internationally in his Sammy Cahn: Words and Music. Her other theatre credits include Peter Pan opposite Cathy Rigby, Maria in West Side Story, A Little Night Music, and Mama Rose in Gypsy. A winner of the Backstage Bistro Award for Outstanding Vocalist, Anne has appeared in New York at Birdland, Firebird Café, Delmonico’s, the Cabaret Convention at Town Hall, and Eighty Eights, at the Plush Room in San Francisco, and at the Gardenia in Los Angeles. Her CD, Let’s Face the Music, was released by Harbinger Records. She teaches at the National Theater Institute, Neighborhood Music School, and Yale School of Drama, as well as privately.

GRACE ZANDARSKI (VOCAL COACH) has been a member of the Voice and Speech faculty at Yale School of Drama since 2002. Her vocal coaching credits include the recent Mike Nichols productions of Death of a Salesman and Betrayal on Broadway; The Comedy of Errors, The Master Builder, Romeo and Juliet, Three Sisters, The Winter’s Tale, and Hamlet at Yale Rep; as well as productions at the Signature Theatre Company, The Public Theater, New Victory Theatre, McCarter Theatre, and BAM. Grace also serves on the faculty of Fordham University. She has taught master classes for the Lincoln Center Directors Lab and The Public Theater’s Shakespeare Lab. She was named Associate Teacher of Fitzmaurice Voicework in 1998. She has worked with actors and professionals from a variety of backgrounds, including the financial sector, law, and sales, as well as celebrity speakers and politicians. In addition, she continues to work as an actor and director. Acting credits include the McCarter Theatre, Wilma Theater, Oregon Shakespeare Festival, and American Conservatory Theater. Education: MFA, American Conservatory Theater; BA, Princeton University. 25


YALE REPERTORY THEATRE JAMES BUNDY (ARTISTIC DIRECTOR) is in his 13th year as Dean of Yale School of Drama and Artistic Director of Yale Repertory Theatre. In his first 12 seasons, Yale Rep has produced more than 30 world, American, and regional premieres, eight of which have been honored by the Connecticut Critics Circle with the award for Best Production of the year and two of which have been Pulitzer Prize finalists. During this time, Yale Rep also has commissioned more than 40 artists to write new work and provided low-cost theatre tickets to thousands of middle and high school students from Greater New Haven through WILL POWER!, an educational program initiated in 2004. In addition to his work at Yale Rep, he has directed productions at Oregon Shakespeare Festival, Great Lakes Theater Festival, The Acting Company, California Shakespeare Festival, Alabama Shakespeare Festival, and The Juilliard School Drama Division. A recipient of the Connecticut Critics Circle’s Tom Killen Award for extraordinary contributions to Connecticut professional theatre in 2007, Mr. Bundy served from 2007–13 on the board of directors of Theatre Communications Group, the national service organization for nonprofit theatre. Previously, he worked as Associate Producing Director of The Acting Company, Managing Director of Cornerstone Theater Company, and Artistic Director of Great Lakes Theater Festival. He is a graduate of Harvard College; he trained at the London Academy of Music and Dramatic Art and Yale School of Drama. VICTORIA NOLAN (MANAGING DIRECTOR) is in her 22nd year as Managing Director of Yale Repertory Theatre, serves as Deputy Dean of Yale School of Drama, and is on its faculty. She was previously Managing Director of Indiana Repertory Theatre, Associate Managing Director at Baltimore’s Center Stage, Managing Director at Ram Island Dance Company in Portland, Maine; and she has held various positions at Loeb Drama Center of Harvard University; TAG Foundation, an organization producing Off-Broadway modern dance festivals; and Boston University School for the Arts. Ms. Nolan has been an evaluator for the National Endowment for the Arts, for which she has chaired numerous grant panels, and has served on other panels and foundation review boards including the AT&T Foundation, The Heinz Family Foundation, Lila Wallace-Reader’s Digest Fund, and the Metropolitan Life Foundation. She has also served on the Executive Committee of the League of Resident Theatres (LORT) and on numerous negotiating teams for national labor contracts. A Fellow at Yale’s Saybrook College, she is the recipient of the Betsy L. Mahaffey Arts Administration Fellowship Award from the State of Connecticut and the Elm/Ivy Award, given jointly by Yale University and the City of New Haven for distinguished service to the community. JENNIFER KIGER (ASSOCIATE ARTISTIC DIRECTOR AND DIRECTOR OF NEW PLAY PROGRAMS) is in her tenth year as Associate Artistic Director of Yale Repertory Theatre and is also the Director of New Play Programs of Yale’s Binger Center for New Theatre, an artist-driven initiative that supports the creation of new work for the American stage through commissions, residencies, workshops, and productions. Since its founding in 2008, the Binger Center has supported the work of more than 40 commissioned artists and underwritten the 26


world premieres and subsequent productions of 18 new American plays and musicals at Yale Rep and theatres across the country. Ms. Kiger came to Yale Rep from South Coast Repertory, where she was Literary Manager from 2000–2005 and served as CoDirector of the Pacific Playwrights Festival. She was dramaturg for more than 40 new plays at SCR. Prior to that, she served as production dramaturg at American Repertory Theater, collaborating with directors Robert Brustein, Robert Woodruff, Liz Diamond, and Kate Whoriskey. She adapted Robert Coover’s Charlie in the House of Rue and Mac Wellman’s Hypatia for the stage with director Bob McGrath. She has been a dramaturg for the Playwrights Center of Minneapolis and Boston Theatre Works and a panelist for the National Endowment for the Arts and the California Arts Council. Ms. Kiger completed her training at the American Repertory Theater Institute for Advanced Theater Training at Harvard University, where she taught courses in acting and dramatic arts. She is currently on the playwriting faculty of Yale School of Drama. BRONISLAW SAMMLER (HEAD OF PRODUCTION) has been Chair of Yale School of Drama’s acclaimed Technical Design and Production Department since 1980. In 2007 he was named the Henry McCormick Professor (Adjunct) of Technical Design and Production by former Yale President, Richard C. Levin. He is co-editor of Technical Brief and Technical Design Solutions for Theatre, Vols. I, II, & III. He co-authored Structural Design for the Stage, which won the United States Institute of Theatre Technology’s (USITT) Golden Pen Award. Demonstrating his commitment to excellence in technical education and professional production, he co-founded USITT’s National Theatre Technology Exhibit, an on-going biennial event; he has served as a commissioner and a director at-large and is a lifetime Fellow of the Institute. He was honored as Educator of the Year in 2006 by the New England Theatre Conference and chosen to receive the USITT Distinguished Achievement Award in Technical Production in 2009. His production management techniques and his introduction of structural design to scenic technology are being employed in both educational and professional theatres throughout the world. JAMES MOUNTCASTLE (PRODUCTION STAGE MANAGER) has been at Yale Rep since 2004. He has stage managed productions of Arcadia, The House that will not Stand, A Streetcar Named Desire, American Night: The Ballad of Juan José, Three Sisters, We Have Always Lived in the Castle, The Master Builder, Passion Play, Eurydice, and the world premiere of The Clean House. Broadway credits include Damn Yankees, Jekyll & Hyde, Judgment at Nuremberg, The Boys from Syracuse, The Smell of the Kill, Life x(3), and Wonderful Town. Mr. Mountcastle spent several Christmas seasons in New York City as stage manager for the now legendary production of A Christmas Carol at Madison Square Garden. Broadway national tours include City of Angels, Falsettos, and My Fair Lady. He served as Production Stage Manager for Damn Yankees starring Jerry Lewis for both its national tour and at the Adelphi Theatre in London’s West End. In addition, Mr. Mountcastle has worked at The Kennedy Center, Center Stage in Baltimore, Actors Theatre of Louisville, Brooklyn Academy of Music, and elsewhere. James and his wife Julie live in North Haven and are the very proud parents of two beautiful girls: Ellie, who is 16 years old, and Katie, age 14. 27


THE CAUCASIAN CHALK CIRCLE STAFF ARTISTIC

Jesse Rasmussen, Assistant Director Joo Hyun Kim, Assistant Scenic Designer An-lin Dauber, Assistant Costume Designer Andrew F. Griffin, Assistant Lighting Designer Ian Williams, Associate Sound Designer Mitch Massaro, Assistant Sound Designer and Engineer Kristen Ferguson, Assistant Projection Designer Paul Rubin, Aerial Effects Choreographer Shannon L. Gaughf, Fight Captain Kelly Montgomery, Assistant Stage Manager

PRODUCTION

Kat Wepler, Associate Production Manager Rose Bochansky, Technical Director Emily Erdman, Michael Hsu, Assistant Technical Directors Scott Keith, Assistant Properties Master Krystin Matsumoto, Master Electrician Jeong Sik Yoo, Projection Engineer Paula R. Clarkson, Ben Pfister, Production Assistants Grier Coleman, Elizabeth Dinkova, Adrian Martinez Frausto, Josh Goulding, William Hartley, Corin Killins, Maria Inês Marques, Leora Morris, Jason Najjoum, Tori Sampson, Rebecca Stoll, Nahuel Telleria, Run Crew

ADMINISTRATION

Emily Reeder, House Manager

UNDERSTUDIES

Sebastian Arboleda, Fat Prince, Lavrenti, Ensemble Jenelle Chu, Natella, Sister-in-Law, Ensemble Paul Cooper, Adjutant, Yussup, Ensemble Anna Crivelli, Ludovica, Ensemble Ricardo Dávila, Shauva, Ensemble Edmund Donovan,** Governor, Monk, Ensemble Brontë England-Nelson, Cook, Mother-in-Law, Ensemble Dylan Frederick, The Singer/Azdak Eston Fung, Corporal, Ensemble Jonathan Higginbotham, Simon, Ensemble Sean Patrick Higgins, Servant, Ensemble Maura Hooper, Grusha Galen Kane, Valet, First Ironshirt, Ensemble Sydney Lemmon, Nurse, Elder Lady, Ensemble Kourtney Savage, Michael Bradley James Tejeda, First Doctor, First Architect, First Lawyer, Ensemble Fred Thornley IV, Michael Ariana Venturi, Second Doctor, Second Architect, Second Lawyer, Ensemble Benjamin Wallace, Musician ** Appears courtesy of Actors’ Equity Association

SPECIAL THANKS

Ralph Chipman and Hanna Diamond Chipman; David Chambers; Eric Ting

FROM THE DIRECTOR

I would like to thank Yale School of Drama’s “College of Directors” for their generous and imaginative contributions to my work on this production. Our explorations of The Caucasian Chalk Circle in labs and seminars over the past year have helped me immeasurably in deepening my understanding of this great play. Images and ideas have found their way into the show from our testing and “trying on of ideas” together. To Sara Holdren, Jessica Holt, Andrej Visky, Yagil Eliraz, Luke Harlan, Leora Morris, Elizabeth Dinkova, Kevin Hourigan, Jesse Rasmussen, Sonja Berggren, Mohammad Aghebati, Cole Lewis, Katherine McGerr, and Dustin Wills—heartfelt thanks.

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YALE REPERTORY THEATRE STAFF James Bundy, Artistic Director Victoria Nolan, Managing Director Jennifer Kiger, Associate Artistic Director Director of New Play Programs

ARTISTIC

Resident Artists Paula Vogel, Playwright in Residence Liz Diamond, Evan Yionoulis, Resident Directors Catherine Sheehy, Resident Dramaturg Michael Yeargan, Set Design Advisor, Resident Set Designer Ilona Somogyi, Costume Design Advisor Jess Goldstein, Resident Costume Designer Jennifer Tipton, Lighting Design Advisor Stephen Strawbridge, Resident Lighting Designer David Budries, Sound Design Advisor Walton Wilson, Voice and Speech Advisor Rick Sordelet, Fight Advisor Mary Hunter, Stage Management Advisor Associate Artists 52nd Street Project, Kama Ginkas, Mark Lamos, MTYZ Theatre/Moscow New Generations Theatre, Bill Rauch, Sarah Ruhl, Henrietta Yanovskaya Artistic Management James Mountcastle, Production Stage Manager Amy Boratko, Literary Manager Kay Perdue Meadows, Artistic Associate Benjamin Fainstein, Artistic Coordinator Helen C. Jaksch, Kelly Kerwin, Literary Associates Tara Rubin, C.S.A.; Laura Schutzel, C.S.A.; Lindsay Levine, C.S.A.; Kaitlin Shaw C.S.A.; Eric Woodall, C.S.A.; Scott Anderson, Casting Lindsay King, Teresa Mensz, Library Services Josie Brown, Senior Administrative Assistant to the Artistic Director and Associate Artistic Director Laurie Coppola, Senior Administrative Assistant for the Directing, Dramaturgy and Dramatic Criticism, Playwriting, and Stage Management Departments Mary Volk, Senior Administrative Assistant for the Design, Sound Design, and Projection Departments

PRODUCTION

Production Management Bronislaw J. Sammler, Head of Production Jonathan Reed, Production Manager Edward Lapine, Associate Head of Production and Student Labor Supervisor Grace O’Brien, Senior Administrative Assistant to the Production and Theater Safety and Occupational Health Departments 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 Emmet Sellars, Carpenter Samantha Catanzaro, Kelly Rae Fayton, Alexandra Reynolds, Assistants to the Technical Director


Painting Ru-Jun Wang, Scenic Charge Lia Akkerhuis, Nathan Jasunas, Assistant Scenic Artists Emily Baldasarra, Assistant to the Painting Supervisor Properties Brian Cookson, Properties Master David P. Schrader, Properties Craftsperson Jennifer McClure, Master Properties Assistant Bill Batschelet, Properties Stock Manager Ashley Flowers, Assistant to the Properties Manager Costumes Tom McAlister, Costume Shop Manager Robin Hirsch, Associate Costume Shop Manager Clarissa Wylie Youngberg, Mary Zihal, Senior Drapers Deborah Bloch, Harry Johnson, Senior First Hands Linda Kelley-Dodd, Costume Project Coordinator Denise O’Brien, Wig and Hair Design Barbara Bodine, Company Hairdresser Linda Wingerter, Costume Stock Manager Christina King, Assistant to the Costume Shop Manager Electrics Donald W. Titus, Lighting Supervisor Brian Quiricone, Linda-Cristal Young, Senior Head Electricians Sound Mike Backhaus, Sound Supervisor Monica Avila, Staff Sound Engineer Jessica Hawkins, Stephanie Smith, Assistants to the Sound Supervisor Projections Erich Bolton, Projection Supervisor Mike Paddock, Head Projection Technician Stage Operations Janet Cunningham, Stage Carpenter Kate Begley Baker, Head Properties Runner Elizabeth Bolster, Wardrobe Supervisor Jacob Riley, FOH Mix Engineer

ADMINISTRATION

General Management Louisa Balch, Sarah Williams, Associate Managing Directors Steven C. Koernig, Stephanie Rolland, Assistant Managing Directors Emalie Mayo, Senior Administrative Assistant to the Managing Director Annie Middleton, Company Manager Adam Frank, Flo Low, Assistant Company Managers Development and Alumni Affairs Deborah S. Berman, Director of Development and Alumni Affairs Janice Muirhead, Senior Associate Director of Development Eric Gershman, Associate Director of Development Barry Kaplan, Senior Staff Writer Susan C. Clark, Development and Alumni Affairs Officer Katherine Ingram, Development Associate Belene Day, Senior Administrative Assistant to Development and Marketing & Communications

Finance and Human Resources Katherine D. Burgueño, Director of Finance and Human Resources Cristal Coleman, Joanna Romberg, Jennifer Truong, Business Office Specialists Janna J. Ellis, Director, Yale Tessitura Consortium Toni Ann Simiola, Senior Administrative Assistant to Business Office; Technology, Media, and Web Services; Operations; and Tessitura Ashlie Russell, Business Office Associate Marketing, Communications, and Audience Services Daniel Cress, Director of Marketing Steven Padla, Director of Communications Anh Lê, Associate Director of Marketing Marguerite Elliott, Publications Manager Caitlin Griffin, Marketing and Communications Assistant Paul Evan Jeffrey, Art and Design Joan Marcus, Production Photographer Laura Kirk, Associate Director of Audience Services Shane Quinn, Assistant Director of Audience Services Tracy Baldini, Subscriptions Coordinator Roger-Paul Snell, Audience Services Assistant Charles Cowen, Nathaniel Dolquist, Paul Hanna-Cook, Adam Jenkinson, Katie Metcalf, Andrew Moore, Kenneth Murray, Peter Schattauer, Box Office Assistants Operations Diane Galt, Director of Facility Operations Nadir Balan, Interim Operations Associate Ian Dunn, Operations Associate—on leave Joe Proto, Arts and Graduate Studies Superintendent Vondeen Ricks, Team Leader Michael Humbert, Facility Steward Lucille Bochert, Tylon Frost, Kathy Langston, Warren Lyde, Patrick Martin, Louis Moore, Mark Roy, Custodians Technology, Media, and Web Services Sarah Stevens-Morling, Director of Technology, Media, and Web Services Daryl Brereton, Associate Director of Technology, Media, and Web Services Kathleen Martin, Web Services Associate 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, Fred Geier, Patrick Grant, John Marquez, Customer Service and Safety Officers

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

The Scenic, Costume, Lighting, and Sound Designers in LORT are represented by United Artists Local USA-829, IATSE. Yale Repertory Theatre operates under an agreement between the League of Resident Theatres (LORT) and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

The Caucasian Chalk Circle March 20–April 11, 2015 University Theatre, 222 York Street

YALEREP.ORG

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Winner! 2014 Outstanding Production of a Play CONNECTICUT CRITICS CIRCLE

These Paper Bullets! adapted by Rolin Jones from William Shakespeare’s Much Ado About Nothing, with songs by Billie Joe Armstrong; Yale Rep, world premiere, 2014.

BINGER CENTER FOR NEW THEATRE YALE REPERTORY THEATRE, the internationally celebrated professional theatre in residence at Yale School of Drama, has championed new work since 1966, producing well over 100 premieres—including two Pulitzer Prize winners and four other nominated finalists—by emerging and established playwrights. Twelve Yale Rep productions have advanced to Broadway, garnering more than 40 Tony Award nominations and eight Tony Awards. Yale Rep is also the recipient of the Tony Award for Outstanding Regional Theatre. Established in 2008, Yale’s BINGER CENTER FOR NEW THEATRE has distinguished itself as one of the nation’s most robust and innovative new play programs. To date, the Binger Center has supported the work of more than 40 commissioned artists and underwritten the world premieres and subsequent productions of 18 new American plays and musicals at Yale Rep and theatres across the country—including this season’s War by Branden Jacobs-Jenkins, Familiar by Danai Gurira, and Elevada by Sheila Callaghan. For more information, including a complete list of Yale Rep commissioned artists, please visit yalerep.org/center. Photos by T. Charles Erickson, Joan Marcus, Carol Rosegg, and Richard Termine.

“Thoughtful and truly thought-provoking. So eye-opening that it almost blinds you.”

THE NEW YORK TIMES

War by Branden Jacobs-Jenkins; Yale Rep, world premiere, 2014.

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Winner! 2013 Outstanding Production of a Play CONNECTICUT CRITICS CIRCLE

Marie Antoinette by David Adjmi; Yale Rep and American Repertory Theater, world premiere, 2012; Soho Rep., New York premiere, 2013.

“An ecstasy of theatrical surprises!” NEW HAVEN ADVOCATE

Top Ten Plays of the Year, 2011 and 2013! THE NEW YORK TIMES

Belleville by Amy Herzog; Yale Rep, world premiere, 2011; New York Theatre Workshop, New York premiere, 2013.

In a Year with 13 Moons adapted by Bill Camp and Robert Woodruff from the film and screenplay by Rainer Werner Fassbinder; Yale Rep, world premiere, 2013.

Top Ten Plays of the Year, 2012 and 2014!

THE NEW YORK TIMES

Best Broadway Play of 2014! USA TODAY

The Realistic Joneses by Will Eno; Yale Rep, world premiere, 2012; Broadway premiere, 2014.

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FOR YOUR INFORMATION

ACCESSIBILITY SERVICES

HOW TO REACH US Yale Repertory Theatre Box Office 1120 Chapel Street (at York St.) PO Box 208244, New Haven, CT 06520 203.432.1234 Email: yalerep@yale.edu

Yale Repertory Theatre offers all patrons the most comprehensive accessibility services program in Connecticut, including a season of open-captioned and audiodescribed performances, a free assistive FM listening system, large-print and Braille programs, wheelchair accessibility with an elevator entrance into the Yale Rep Theatre located on the left side of the building, and accessible seating. For more information about the theatre’s accessibility services, contact Laura Kirk, Associate Director of Audience Services, at 203.432.1522 or laura.kirk@yale.edu.

BOX OFFICE HOURS Monday to Friday from 10AM to 5PM Saturday from 12PM to 5PM Until 8PM on all show nights FIRE NOTICE Illuminated signs above each door indicate emergency exits. Please check for the nearest exit. In the event of an emergency, you will be notified by theatre personnel and assisted in the evacuation of the building. RESTROOMS Restrooms are located in the lower level of the building. EMERGENCY CALLS Please leave your cell phone, name, and seat number with the concierge. We’ll notify you if necessary. The emergencyonly telephone number at Yale Rep is 203.764.4014. GROUP RATES Discounted tickets are available for groups of ten or more. Please call 203.432.1234. SEATING POLICY Everyone must have a ticket. Sorry, no children in arms or on laps. Patrons who become disruptive will be asked to leave the theatre.

THE TAKING OF PHOTOGRAPHS OR THE USE OF RECORDING DEVICES OF ANY KIND IN THE THEATRE WITHOUT THE WRITTEN PERMISSION OF THE MANAGEMENT IS PROHIBITED.

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AUDIO DESCRIPTION (AD) A live narration of the play’s action, sets, and costumes for patrons who are blind or low vision. OPEN CAPTIONING (OC) A digital display of the play’s dialogue as it’s spoken. Open Captioning and Audio Described performances are on Saturdays at 2PM. AD pre-show description begins at 1:45PM.

The Caucasian Chalk Circle

APR 4

APR 11

Elevada

MAY 9

MAY 16

Yale Repertory Theatre thanks the Eugene G. and Margaret M. Blackford Memorial Fund, Bank of America, Co-Trustee, for its support of audio description services for our patrons. Support for The Caucasian Chalk Circle Open Captioning provided by the Frederick A. DeLuca Foundation

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


EDUCATION PROGRAMS As a part of Yale Rep’s commitment to our community, we provide two significant annual educational outreach programs. WILL POWER! offers specially-priced tickets and early school-time matinees for middle and high school students for one of Yale Rep’s productions every season. Since our 2003–04 season, WILL POWER! has served more than 20,000 Connecticut students and educators. The Dwight/Edgewood Project brings middle school students to Yale School of Drama for a month-long, after-school playwriting program designed to strengthen their self-esteem and creative expression. Yale Rep’s education programs are supported in part by the Josef and Anni Albers Foundation; Allegra Print and Imaging; Alyssa Anderson; The Anna Fitch Ardenghi Trust, Bank of America, Trustee; Carolyn Foundation; Susan C. Clark; CT Humanities; Bob and Priscilla Dannies; Bruce Graham; the George A. & Grace L. Long Foundation, Bank of America, N.A. and Alan S. Parker, Esq., Co-Trustees; the Lucille Lortel Foundation; Romaine A. Macomb; Mrs. Romaine Macomb; Jane Marcher Foundation; Dawn G. Miller; Beth Morrison; Arthur and Merle Nacht; NewAlliance Foundation; Barret O’Brien; Bryce Pinkham; Jorge Rodríguez; Robbin A. Seipold; Sandra Shaner; Cheever and Sally Tyler; Esme Usdan; Charles and Patricia Walkup; Bert and Martha Weisbart; Jonathan Wemette; and Becca Wolff. LEFT, FROM TOP: SCHOOLS GATHERING FOR WILL POWER!, DWIGHT/EDGEWOOD PROJECT (DEP) WORKSHOP, AND A DEP PERFORMANCE, 2014.

SPONSORSHIP: COMMUNITY PARTNERS Allegra Print and Imaging Box 63 American Bar and Grill Café Romeo Katalina’s Bakery

Kelly’s GastroPUB GHP Printing and Mailing Heirloom Hull’s Art Supply and Framing

ROÌA Savour Catering The Study at Yale Willoughby’s Coffee and Tea

This list includes current pledges, gifts, and grants received from January 1, 2014, through March 1, 2015.

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YALE SCHOOL OF DRAMA BOARD OF ADVISORS John B. Beinecke, Chair John Badham, Vice Chair Jeremy Smith, Vice Chair Amy Aquino Sonja Berggren Lynne Bolton Carmine Boccuzzi Clare Brinkley Sterling B. Brinkley, Jr. Kate Burton Lois Chiles Patricia Clarkson Edgar M. Cullman III

Scott Delman Michael Diamond Polly Draper Charles S. Dutton Sasha Emerson Heidi Ettinger Terry Fitzpatrick Marc Flanagan Marcus Dean Fuller Anita Pamintuan Fusco Donald Granger David Marshall Grant Ethan Heard

Ruth Hendel Catherine MacNeil Hollinger David Henry Hwang Ellen Iseman David Johnson Asaad Kelada Sarah Long Donald Lowy Elizabeth Margid Drew McCoy Tarell Alvin McCraney David Milch

Tom Moore Arthur Nacht Carol Ostrow Amy Povich Liev Schreiber Tony Shalhoub Michael Sheehan Anna Deavere Smith Edward Trach Courtney B. Vance Henry Winkler Amanda Wallace Woods

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

Anonymous (2) John B. Beinecke Sonja Berggren and Patrick Seaver Lynne and Roger Bolton Sterling and Clare Brinkley Lois Chiles and Richard Gilder Nicholas Ciriello Edgar M. Cullman, Jr. Edgar M. Cullman III Connecticut Department of Economic and Community Development Anita Pamintuan Fusco and Dino Fusco The Horace W. Goldsmith Foundation Lane Heard and Margaret Bauer Stephen J. Hoffman Frederick Iseman David Johnson Adrian and Nina Jones Jennifer Lindstrom The Frederick Loewe Foundation Andrew W. Mellon Foundation Pam and Jeff Rank Robert Riordan Robina Foundation Linda Frank Rodman Talia Shire Schwartzman The Shubert Foundation Stephen Timbers Jennifer Tipton Edward Trach Kara Unterberg Esme Usdan Albert Zuckerman

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GUARANTORS ($25,000–$49,999)

Anonymous Burry Fredrik Foundation CT Humanities Council, Inc. Educational Foundation of America Heidi Ettinger Ruth and Steve Hendel National Endowment for the Arts Neil Mazzella James Munson Tracy Chutorian Semler Jeremy Smith G. Erwin Steward

BENEFACTORS ($10,000–$24,999)

Nina Adams and Moreson Kaplan Americana Arts Foundation Mary L. Bundy John Conklin The Cornelius-Schecter Family Fund Michael Diamond Christopher Durang Edgerton Foundation Albert R. Gurney Catherine MacNeil Hollinger Ellen Iseman Rocco Landesman Sarah Long Lucille Lortel Foundation Donald Lowy The Adam Mickiewicz Institute Carol Ostrow Alec and Aimee Scribner The Seedlings Foundation Ted and Mary Jo Shen Trust for Mutual Understanding Carolyn Seely Wiener

PATRONS ($5,000–$9,999)

The Josef and Anni Albers Foundation Deborah Applegate and Bruce Tulgan Amy Aquino and Drew McCoy John Badham Alexander Bagnall Foster Bam The Eugene G. and Margaret M. Blackford Memorial Fund, Bank of America, Co-Trustee Carmine Boccuzzi and Bernard Lumpkin Jim Burrows Carolyn Foundation The Noël Coward Foundation Scott Delman Polly Draper Jane Head Terry Fitzpatrick Marc Flanagan Barbara and Richard Franke Donald Granger Mabel Burchard Fischer Grant Foundation Ben Ledbetter and Deborah Freedman Arthur and Merle Nacht Lupita Nyong’o Michael and Riki Sheehan Philip J. Smith Amanda Wallace Woods

PRODUCER’S CIRCLE ($2,500-4,999)

Donald Brown Ben Cameron The Frederick A. DeLuca Foundation Sasha Emerson Marcus Dean Fuller

Fred Gorelick and Cheryl MacLachlan JANA Foundation The Ethel & Abe Lapides Foundation The George A. and Grace L. Long Foundation William Ludel Jenny Mannis and Henry Wishcamper Dw Phineas Perkins Jack Pierson Ben and Laraine Sammler Eugene Shewmaker Joel and Joan Smilow Courtney B. Vance

DIRECTOR’S CIRCLE ($1,000–$2,499)

Anna Fitch Ardenghi Trust, Bank of America, Trustee Jody Locker Berger Deborah S. and Bruce M. Berman Jeffrey A. Bleckner Edward Blunt Cyndi Brown James Bundy Joan D. Channick Patricia Clarkson Bill Connor Peggy Cowles Michael S. David Ramon Delgado The Cory & Bob Donnalley Charitable Foundation Glen R. Fasman Melanie Ginter and John Lapides Stephen Godchaux Judith Hansen Karsten Harries and Elizabeth Langhorne Linda Gulder Huett Mary and Arthur Hunt James Earl Jewell


Rolin Jones Reed and Elizabeth Hundt Jane Kaczmarek Barnet Kellman Roger Kenvin Anne Simone Kleinman Dr. Gary and Hedda Kopf George N. Lindsay, Jr. Peter Marshall Thomas Masse and Dr. James Perlotto Tarell Alvin McCraney Dawn G. Miller Tom Moore Garrett and Mary Moran NewAlliance Foundation Chris Noth Richard Ostreicher F. Richard Pappas Lucy and Piers Playfair Amy Povich Kathy and George Priest Dr. Michael Rigsby and Prof. Richard Lalli Gordon Rogoff Liev Schreiber Marie S. Sherer Benjamin Slotznick Anna Deavere Smith Dr. Matthew Specter and Ms. Marjan Mashhadi Kenneth J. Stein Shepard and Marlene Stone Lee Stump David Sword Arlene Szczarba John Henry Thomas III Patricia Thurston Carol M. Waaser Cliff Warner Barbara Wohlsen George Zdru

PARTNERS ($500–$999)

Emily Aber and Robert Wechsler Actors’ Equity Foundation Mr. and Mrs. B. N. Ashfield Emily Bakemeier Christopher Barreca Robert L. Barth Sarah Bartlo John Lee Beatty Debbie Bisno and David Goldman Susan Brady and Mark Loeffler Mark Brokaw James T. and Alice B. Brown

Judith H. Brown Jonathan Busky Ian Calderon Dr. Michael Cappello and Kerry Robinson Joy G. Carlin Cosmo Catalano, Jr. Robert Cotnoir Marycharlotte Cummings John W. Cunningham Ernestine and Ronald Cwik Robert Dealy Bernard Engel Roberta Enoch and Steven Canner Peter Entin Betty Goldberg David Marshall Grant Rob Greenberg Regina Guggenheim William B. Halbert Katherine W. Haskins Barbara Hauptman Ethan Heard Carol Thompson Hemingway Donald Holder John Robert Hood David Henry Hwang Asaad Kelada Alan Kibbe Harvey Kliman and Sandra Stein Mildred Kuner Katherine Anne Latham Maryanne Lavan Charles Long and Roe Curtis Linda Lorimer and Charles Ellis Dr. and Mrs. Robert W. Lyons Timothy Mackabee Romaine A. Macomb Brian Mann John McAndrew George Miller and Virginia Fallon Janice Muirhead Laura Naramore Victoria Nolan and Clark Crolius Arthur Oliner Louise Perkins and Jeff Glans Brittany Behrens and William Rall Bill and Sharon Reynolds Steve Robman Abigail Roth Mr. and Mrs. Michael Schmertzler Sandra Shaner Erich Stratmann Lee Styslinger III

Zelma Weisfeld Vera Wells Steven Wolff Evan Yionoulis Steve Zuckerman

INVESTORS ($250–$499)

Victor and Laura Altshul Frances Ashley Mary Ellen and Thomas Atkins Sandra and Kirk Baird James Bakkom Robert Baldwin Lee-ann Boatwright Drs. Linda Bockenstedt and Jonathan Fine Katherine Borowitz Tom Broecker Claudia Brown William J. Buck Dr. Adalgisa Caccone and Prof. Jeffrey Powell Anne and Guido Calabresi Lawrence Casey Dr. and Mrs. W.K. Chandler Barbara Jean and Nicholas Cimmino Aurélia and Ben Cohen Robert S. Cohen William Connolly Audrey Conrad Daniel R. Cooperman and Mariel Harris Stephen Coy Charles Dillingham Dennis Dorn Terrence Dwyer Kem and Phoebe Edwards Pat Egan Dustin Eshenroder Susan and Fred Finkelstein Joel Fontaine Anthony Forman Walter M. Frankenberger III James Gardner Joseph Gantman Bruce Graham Elizabeth M. Greene Anne K. Gregerson Eduardo Groisman Douglas Harvey Barbara Hauptman Michael Haymes and Logan Green Dr. Lothar Hennighausen Jeffrey Herrmann Jennifer Hershey-Benen Kathleen Houle

Joanna and Lee A. Jacobus Elizabeth Johnson Abby Kenigsberg Ashley Kennedy Alan Kibbe David Kriebs Bernard Kukoff Frances Kumin William Kux Kenneth Lewis Laura Brown MacKinnon Linda Maerz and David Wilson Peter Andrew Malbuisson Elizabeth Margid Deborah McGraw Barry Nalebuff and Helen Kauder James Naughton Regina and Thomas Neville Jane Nowosadko William and Barbara Nordhaus Maulik Pancholy Michael Parrella Cesar Pelli Andy Perkins Stephan Pollack Michael Potts Meghan Pressman Bennett Pudlin Carol A. Prugh Alec and Drika Purves Margaret Adair Quinn Faye and Asghar Rastegar Jonathan and Sarah Reed Barbara and David Reif Daniel and Irene Mrose Rissi Howard Rogut Constanza Romero Russ Rosensweig Fernande Ross Jean and Ron Rozett Edgar and Marion Russell Edward and Alice Saad Suzanne Sato Joel Schechter Dr. Mark Schoenfeld Gale Sherwin Mark and Cindy Slane David Soper and Laura Davis Mary C. Stark Regina Starolis James Steerman Ted Stein Nausica Stergiou Bernard Sundstedt Matthew Suttor

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Contributors to Yale School of Drama and Yale Repertory Theatre Jack Thomas and Bruce Payne Patricia Thurston Suzanne Tucker Paul Walsh William and Phyllis Warfel Nathan Wells Dana Westberg Henry Winkler Alex Witchel Andrew and Fiona Wood Judith and Guy Yale Yale School of Drama, Acting Class of 2014 Donald and Clarissa Youngberg

FRIENDS ($100–$249)

Anonymous Paola Allais Acree Aged In Wood, LLC Christopher Akerlind Michael Albano Sarah Jean Albertson Narda Alcorn Ian and Rachel Alderman Dorothy Allen Richard Ambacher Glenn R. Anderson Susan and Donald Anderson Leif Ancker William Atlee Angelina Avallone Frank and Eileen Baker Raymond Baldelli and Ronald Nicholes Michael Baron and Ruth Magraw Robert Barr Edward and Barbara Barry William and Donna Batsford Richard Baxter Nancy and Richard Beals John Beck Rev. Robert Beloin James Bender Michael and Jennifer Bennick Deborah Berke Melvin Bernhardt Donald and Sandra Bialos Robert Bienstock Ashley Bishop Anders Bolang Debra Booth Paul Bordeau Marcus and Kellie Bosenberg Amy Brewer and David Sacco

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Linda Briggs and Joseph Kittredge Carole and Arthur Broadus James E. Brown, MD Julie Brown Stephen and Nancy Brown Robert Brustein Stephen Bundy James Burch Susan Wheeler Byck Michael Cadden Susan Cahan and Jürgen Bank Kathryn A. Calnan Ivan and Frances Capella Lisa Carling Anna Cascio Sami Joan Casler Patricia Cavanaugh Jim Chervenak Suellen G. Childs Susan and Fred Clark Katherine D. Cline Dennis and Wendy Cole Mr. and Mrs. Thomas Colville Patricia J. Collins Judith Colton Forrest Compton Kristin Connolly David Conte Kathleen and Leo Cooney Greg Copeland Aaron Copp Timothy and Pamela Cronin Julie Crowder Douglas and Roseline Crowley Sean Cullen Scott Cummings William Curran Donato Joseph D’Albis F. Mitchell Dana Sue and Gus Davis Nigel W. Daw Belene and Neil Day Katherine Day Mr. and Mrs. Paul DeCoster Aziz Dehkan and Barbara Moss Elizabeth DeLuca Julia L. Devlin Jose A. Diaz Mr. and Mrs. Peter Dickinson Melinda DiVicino Merle Dowling Ms. JoAnne E. Droller, R.N. Jeanne Drury

Mr. George and Diane Dumigan John Duran Rosemary Duthie Laura Eckelman Fran Egler Nancy Reeder El Bouhali Janann Eldredge Elizabeth English Janna Ellis Kyoung-Jun Eo Dirk Epperson David Epstein John Erman Christine Estabrook Frank and Ellen Estes Connie Evans Jerry N. Evans Douglass Everhart John D. Ezell Michael Fain Ann Farris Christopher Feeley Richard and Barbara Feldman Ruth M. Feldman Paul and Susan Fiedler Anne Flammang and Scott Deshong Keith Fowler Deborah Fried and Kalman Watsky Richard Fuhrman Randy Fullerton Barbara and Gerald Gaab Dr. and Mrs. James Galligan Josh Galperin and Sara Kuebbing Charles and Jane Gardiner Steven Gefroh Stuart and Beverly Gerber Patricia Gilchrist Robert Glen William Glenn Nina Glickson and Worth David Lindy Lee Gold Robert Goldsby Naomi Grabel Kris and Marc Granetz Connie Grappo Bigelow Green Sarah Greenblatt Elizabeth Greenspan and Walt Dolde Michael Gross John Guare Jessica and Corin Gutteridge David Hale Amanda Haley Alexander Hammond

Ann and Jerome R. Hanley Charlene Harrington Lawrence and Roberta Harris Brian Hastert Ira Hauptman Ihor and Roma Hayda James Hazen Nicole and Larry Heath Steve Hendrickson Peter Hentschel and Elizabeth Prete Roderick Hickey Nathan Hinton Dean Hokanson Elizabeth Holloway James Hood Robert Hopkins Nicholas Hormann David Howson Evelyn Huffman Hull’s Art Supply and Framing Derek Hunt Peter H. Hunt John Huntington John and Patricia Ireland Suzanne Jackson Cary and Dick Jacobs John W. Jacobsen Chris Jaehnig Ina and Robert Jaffee Eliot and Lois Jameson Heide Janssen Geoffrey A. Johnson Marcia Johnson Donald E. Jones, Jr. Elizabeth Kaiden Jonathan Kalb David and Linda Kalodner Carol Kaplan James D. Karr Dr. and Mrs. Michael Kashgarian Bruce Katzman Richard Kaye Jay Keene Edward Kennedy Colette Kilroy Carol Soucek King Mrs. Shirley Kirschner Susan Kirschner Robinson Lawrence Klein Stephen Kovel Daniel and Denise Krause Brenda and Justin Kreuzer Joan Kron L. Azan Kung Mark Kupferman Mitchell Kurtz


Howard and Shirley Lamar Stephanie Lamassa Marie Landry and Peter Aronson Ellen Lange James and Cynthia Lawler Wing Lee Charles E. Letts III Irene Lewis Henry Lowenstein Suzanne Cryer Luke Andi Lyons Jane Macfie Timothy Mackabee Lizbeth Mackay Wendy MacLeod Alan MacVey Anita Madzik Jocelyn Malkin, MD Marvin March Peter Marcuse Jonathan Marks Barry Marshall Maria Mason and William Sybalsky Carole Ann Masters Craig Mathers Sarah and Benjamin Mayer Peter McCandless Amy Lipper McCauley Robert McDonald Brian McEleney Thomas McGowan Robert McKinna and Trudy Swenson Patricia McMahon Bruce McMullan James Meisner and Marilyn Lord Robert Melrose Stephen W. Mendillo Donald Michaelis Carol Mihalik Aaliyah Miller and Karim Hadj Salem Bruce Miller Dr. George Miller Jonathan Miller Sandra Milles Meg Miroshnik Lawrence Mirkin Marjorie Craig Mitchell Jennifer Moeller

Richard R. Mone George Morfogen Susan Morris Barbara Moss Robert Murray David Muse Jim and Eileen Mydosh Gayther Myers, Jr. Rachel Myers David Nancarrow Tina C. Navarro Meg Neville Gail Nickowitz Nancy Nishball Deb and Ron Nudel George and Marjorie O’Brien Arlene O’Connell Elizabeth O’Connell Dwight R. Odle Richard Olson Edward and Francs O’Neill Sara Ormond Kendric T. Packer Dr. and Mrs. Michael Parry William Peters Roberta Pilette Bryce Pinkham David Podell Gladys Powers Art Priromprintr Robert Provenza William Purves James Quinn Sarah Rafferty Ronald Recasner Gail Reen Cynthia Reik Peter S. Roberts Lori Robishaw Carolyn Rochester Priscilla Rockwell John Rothman Dean and Maryanne Rupp Ortwin Rusch Tommy Russell Martin and Jane Sachs Steven Saklad Clarence Salzer Robert Sandberg Gail Sangree Frank Sarminento Peggy Sasso

Denise Savage Anne Schenck Kenneth Schlesinger Ruth Hein Schmitt William Schneider Carol and Sanford Schreiber Georg Schreiber Forrest E. Sears Paul Selfa Subrata K. Sen Vicki Shaghoian Sandra Shaner Paul R. Shortt Lorraine D. Siggins William and Betsy Sledge Gilbert and Ruth Small E. Gray Smith, Jr. Helena L. Sokoloff Suzanne Solensky and Jay Rozgonyi Mary Louise and Dennis Spencer Marian Spiro Amanda Spooner Louise Stein Neal Ann Stephens John Stevens Joseph Stevens Kris Stone Pamela Strayer Jaroslaw Strzemien William and Wilma Summers Mark Sullivan Jeann and Joseph Terrazzano Aaron Tessler Roberta Thornton Eleanor Q. Tignor David F. Toser Albert Toth Mr. and Mrs. David Totman Russell L. Treyz Richard B. Trousdell Deborah Trout Gregory and Marguerite Tumminio Marge Vallee Russell Vandenbroucke Arthur Vitello Eva Vizy Fred Voelpel Elaine Wackerly

Mark Anthony Wade Charles and Patricia Walkup Barbara Wareck and Charles Perrow Betsy Watson Steven Waxler Rosa Weissman Peter and Wendy Wells Charles Werner J. Newton White Peter White Robert and Charlotte White Joan Whitney Lisa A. Wilde Robert Wildman Marshall Williams David Willson The Winokur Family Foundation Carl Wittenberg Arthur and Ann Yost

EMPLOYER MATCHING GIFTS

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

IN KIND

John Beinecke Susan and Daniel Berman Sasha Emerson Ruth Hendel David Johnson Asaad Kelada Carol Ostrow ROÌA The Study at Yale Kara Unterberg

MAKE A GIFT!

When you make a gift to Yale Rep’s Annual Fund, you support the creative work on our stage and our innovative outreach programs. For more information, or to make a donation, please call Susan Clark, 203.432.1559. You can also give online at yalerep.org/donate. This list includes current pledges, gifts, and grants received from January 1, 2014, through March 1, 2015.

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THE CAUCASIAN CHALK CIRCLE  

THE CAUCASIAN CHALK CIRCLE By Bertolt Brecht, translated by James and Tania Stern with W.H. Auden, Directed by Liz Diamond. Yale Repertory T...

THE CAUCASIAN CHALK CIRCLE  

THE CAUCASIAN CHALK CIRCLE By Bertolt Brecht, translated by James and Tania Stern with W.H. Auden, Directed by Liz Diamond. Yale Repertory T...

Profile for yalerep