CLOUD NINE, Yale School of Drama, 2013.

n i N d u Clo

JANUARY 22 TO 26 ISEMAN THEATER 2012–13 SEASON

creating lasting impressions

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JANUARY 22 TO 26, 2013

YALE SCHOOL OF DRAMA JAMES BUNDY, DEAN

VICTORIA NOLAN, DEPUTY DEAN PRESENTS

Cloud Nine

By Caryl Churchill Directed by Margot Bordelon CREATIVE TEAM Scenic Designer Costume Designer Lighting Designer Sound Designer Composer Production Dramaturgs Stage Manager

KATE NOLL ELIVIA BOVENZI MASHA TSIMRING SAM FERGUSON PALMER HEFFERAN EMILY REILLY ALEXANDRA RIPP SONJA THORSON

CAST Joshua, Gerry Edward, Victoria Betty, Edward Clive, Cathy, Soldier Ellen, Mrs. Saunders, Betty Maud, Lin Harry, Martin

CHRIS BANNOW MOLLY BERNARD TIMOTHY HASSLER GABE LEVEY BRENDA MEANEY HANNAH LEIGH SORENSON MICKEY THEIS

Produced by special arrangement with Samuel French, Inc., New York City.

THERE WILL BE ONE FIFTEEN-MINUTE INTERMISSION.

“WHEN I CAME TO WRITE THE PLAY, I RETURNED TO AN IDEA THAT HAD BEEN TOUCHED ON BRIEFLY IN THE WORKSHOP—THE PARALLEL BETWEEN COLONIAL AND SEXUAL OPPRESSION....”

—CARYL CHURCHILL ON CLOUD NINE, 1983

BRITISH COLONIAL AFRICA UNDER QUEEN VICTORIA, 1880 The majority of “women (happily for them) are not very much troubled with sexual feeling of any kind.

”

—Gynecologist Dr. William Acton, The Functions and Disorders of the Reproductive Organs, in Childhood, Youth, Adult Age, and Advanced Life, Considered in the Physiological, Social, and Moral Relations, 1857

To treat [the “savage] kindly,

justly, considerately, lovingly; to try to do him every possible good, and chiefly, to bring his soul in contact with the Saviour, is part of our duty.

”

—Scottish writer R.M. Ballantyne, Six Months at the Cape; or, Letters to Periwinkle from South Africa, 1879

The man’s power is “active, progressive, defensive. He is eminently the doer, the creator, the discoverer, the defender.... But the woman’s power is for rule, not for battle— and her intellect is not for invention or creation, but for sweet ordering, arrangement, and decision.

”

—British art critic and social thinker John Ruskin, Sesame and Lilies, 1865

LONDON UNDER PRIME MINISTER MARGARET THATCHER, 1980: We were taught to work jolly “hard.

We were taught to prove

yourself; we were taught selfreliance; we were taught to live within our income. You were taught that cleanliness is next to godliness. You were taught selfrespect. You were taught always to give a hand to your neighbor.

You were taught tremendous pride in your country. All of these things are Victorian values. They are also perennial values.

”

—Margaret Thatcher, interview with LBC Radio, 1983

the Powder Room.

“I’mI’msicksickof ofpretending that some

fatuous male’s self-important pronouncements are the objects of my undivided attention, I’m sick of going to films and plays when

someone else wants to, and sick of having no opinions of my own about either. I’m sick of being a transvestite. I refuse to be a female impersonator. I am a woman, not a castrate.

”

—Germaine Greer, The Female Eunuch, 1970

To you, our gay sisters and “brothers, we say that you are

oppressed.... We will show you how we can use our righteous anger to uproot the present oppressive system with its decaying and constricting ideology, and how we, together with other oppressed groups, can start to form a new order, and a liberated lifestyle, from the alternatives which we offer.

”

—Gay Liberation Front, Manifesto, 1971, revised in 1978

UNITED STATES UNDER PRESIDENT BARACK OBAMA, 2013: cannot continue to lead the family of nations around the world “if weAmerica suffer the collapse of the family here at home. ” strongly believe that women can ‘have it all’ (and that men “canI still too). I believe that we can ‘have it all at the same time.’ But not —Republican Mitt Romney, press conference announcing his Presidential candidacy, 2007

today, not with the way America’s economy and society are currently structured....

”

—Anne-Marie Slaughter, “Why Women Still Can’t Have it All,” The Atlantic Monthly, 2012

“

Fifty-eight years after it banned discrimination in public education, the Supreme Court has set the stage for the defining civil rights decision of this era—agreeing to hear two cases challenging laws that define marriage to exclude couples of the same sex.

”

—Editorial, “Next Civil Rights Landmark,” The New York Times, 2012 —EMILY REILLY AND ALEXANDRA RIPP, PROUCTION DRAMATURGS

CAST CHRIS BANNOW (JOSHUA, GERRY) is a second-year MFA candidate at Yale School of Drama, where his credits include Iphigenia Among the Stars and Petty Harbour.

His regional credits include A Civil War Christmas (Huntington Theatre Company); The Elephant Man, The Comedy of Errors (Williamstown Theatre Festival); Speech and Debate (Wellfleet Harbor Actors Theater); The Tempest (Olney Theatre); The Winter’s Tale and Three Sisters (Yale Repertory Theatre, understudy). Film: Not Fade Away. Chris is a founding member of Special Sauce Company and will serve as Associate Artistic Director of the 2013 Summer Cabaret season. Upcoming: Hamlet at Yale Repertory Theatre.

MOLLY BERNARD (EDWARD, VICTORIA) is a third-year MFA candidate at Yale School of Drama, where her credits include King Lear, Fen, Mexico Play (A Farmer’s Almanac), Outlaw Jean, Passing, She Rode Horses Like the Stock Exchange, and Angels in America, Part Two: Perestroika. Other credits include Church, 100-Year Spacetrip, pleasureD (Yale Cabaret); As You Like It, The Tempest (Yale Summer Cabaret); The Philadelphia Story and As You Like It (Chautauqua Theater Company). Molly is a graduate of Skidmore College with a BS in theatre and Soviet & Post-Soviet studies.

TIMOTHY HASSLER (BETTY, EDWARD) is a third-year MFA candidate at Yale School of Drama, where his credits include Cymbeline; Angels in America, Part Two: Perestroika; Arcadia; No More Sad Things; and Eligible Receivers. He was also seen in Yale Repertory Theatre’s production of The Winter’s Tale directed by Liz Diamond. Other credits include As You Like It, The Tempest (Yale Summer Cabaret); Trannequin! A New Musical, reWilding, Carnival/Invisible, Ain’t Gonna Make it, and Cat Club (Yale Cabaret).

Timothy is from Atlanta and received a BS in theatre studies from the University of Evansville.

GABE LEVEY (CLIVE, CATHY, SOLDIER) is a second-year MFA candidate at Yale School of Drama, where his credits include Vieux Carré, Mexico Play (A Farmer’s Almanac), Petty Harbour, She Rode Horses Like the Stock Exchange, and What a Very Pretty Pageant!. New York credits include King Lear with Alvin Epstein (Actors Shakespeare Project and La MaMa E.T.C.); The Octoroon (P.S. 122); Ross, Linnea (Storm Theatre); Have I None, Mad Forest (Columbia Stages); Suicide Sundays (Producers Club); How I Won the Campbell Prize (Triskelion Arts); Theremin, and Happy Sauce (New York Fringe Festival). Film and television credits include What’s Up Lovely and Downers Grove. Also a theatre maker, Gabe has created and performed work in residence at One Arm Red, NYU, Center for Performance Research, Brooklyn Arts Council, IRT, and Yale Cabaret, which presented his original one-man show Brainsongs, or the play about the dinosaur farm last year. He received his BFA from Boston University.

BRENDA MEANEY (ELLEN, MRS. SAUNDERS, BETTY) is a third-year MFA candidate at Yale School of Drama, where she appeared in Fox Play, Antony and Cleopatra, The Seagull, Outlaw Jean, The Tall Girls, She Rode Horses Like the Stock Exchange, and Angels in America, Part Two: Perestroika. Recent work includes Hong Kong Dinosaur

(Yale Cabaret); The Tempest, As You Like It (Yale Summer Cabaret); Basin (Abbey Theatre Studio/Anu Productions, Absolut Dublin Theatre Festival Fringe); The Way of the Language: Voices from the War on Terror (Painted Filly Theatre, Bleecker Street Theatre, NYC/ Project Arts Centre, Dublin); and Memory Deleted (commissioned by the Beltable Theatre, Limerick). Television: Love/Hate (Radio Teilifís Éireann). Brenda is an associate artist of Painted Filly Theatre, a Dublin-based company dedicated to the development of new writing. She received her BA in art history from Trinity College, University of Dublin.

HANNAH LEIGH SORENSON (MAUD, LIN) is a third-year MFA candidate at Yale School of Drama, where she appeared in Blueberry Toast, Titus Andronicus, Outlaw Jean, Passing, The Game Room, and Angels in America, Part Two: Perestroika. Other credits include This., Dracula, Carnival/Invisible (Yale Cabaret); The Secret in the Wings, Of Ogres Retold (Yale Summer Cabaret); Twelfth Night, the title role in Eurydice, Spring Awakening, The Maids, Les Belles Soeur, Action, and The Little Prince (St. Olaf College). She received her BA in theatre from St. Olaf College.

MICKEY THEIS (HARRY, MARTIN) is a second-year MFA candidate at Yale School of Drama, where his credits include Vieux Carré, Blueberry Toast, and The Bachelors.

Yale Cabaret credits include Cowboy Mouth, This., reWilding, The Secret in the Wings, and Clutch Yr Amplified Heart Tightly and Pretend. Mickey is a former member of Motel Motel, a band with which he toured internationally and recorded The Big Island (2010) and New Denver (2008). He received his BA in literary studies from Eugene Lang College, The New School for Liberal Arts.

CREATIVE TEAM MARGOT BORDELON (DIRECTOR) is a third-year MFA candidate at Yale School of Drama, where she directed William Shakespeare’s Antony and Cleopatra, A Duck on a Bike by Amelia Roper, and Game Room by Justin Taylor. Other credits include The Secret in the Wings by Mary Zimmerman (Yale Summer Cabaret) and This. by Mary Laws (Yale Cabaret). She moved to the east coast after spending six years in Chicago where she worked as a director, writer, and performer. She is a founding member of Theatre Seven of Chicago, where she conceived and directed We Live Here; Lies & Liars; and Yes, This Really Happened to Me (all with Cassy Sanders). Margot spent four seasons working at Lookingglass Theatre, where she served as literary manager and company dramaturg. In Chicago she also worked for Collaboraction, Timeline, Pavement Group, Live Bait, Around the Coyote, Bailiwick, Hell in a Handbag, and Steppenwolf Theatre Company, where she assistant directed for both Tina Landau and Austin Pendleton.

She spent three years as a storyteller for 2nd Story, and her autobiographical work has been seen numerous times on the Victory Gardens stage, including her one-woman show You Are Here. Margot originally hails from Seattle where she worked for Seattle Repertory Theatre, Empty Space, University of Washington PATP, Live Girls! and Double

CREATIVE TEAM Shot Productions. She is a proud graduate of Cornish College of the Arts, where she received her BFA in theatre with an emphasis in original work. margotbordelon.com

ELIVIA BOVENZI (COSTUME DESIGNER) is a second-year MFA candidate at Yale School of Drama. Her credits include The Yiddish King Lear (Yale Cabaret), Good Goods (assistant costume design, Yale Repertory Theatre), and Doctor Faustus Lights the Lights (Yale School of Drama). Other costume design credits are Peter Pan: The Musical, Urinetown, The Heiress, A Piece of My Heart, and Whose Life Is It Anyway? at Russell Sage College in Troy, NY, where she worked as the costume shop manager.

Prior to costume design, Elivia studied acting and holds a BS in musical theatre from Russell Sage.

SAM FERGUSON (SOUND DESIGNER) is a second-year MFA candidate at Yale School of Drama. He was born in Toronto, Canada and moved to Vancouver, British Columbia, when he was seventeen to train with acclaimed electro-acoustic music composer, Berry Truax. Upon returning to his hometown of Toronto, Sam became involved in theatre professionally with Freedom 85, which went on to the New York International Fringe Festival and won the Audience Choice Award.

PALMER HEFFERAN (COMPOSER) also composed original music for Margot Bordelon’s production of Antony and Cleopatra (Yale School of Drama). Sound design credits include American Night: The Ballad of Juan José (Yale Repertory Theatre), Heroes (American Players Theatre), Fracturing (Sweeter Theater), Tio Pepe (The Public Theater), Call Me Anne (Access Theater), and Cymbeline (Yale School of Drama). She also served as assistant sound designer on American Hwangap (The Play Company); Boy’s Life (Second Stage Theatre); Fifty Words (MCC Theater); Dying City, Hedda Gabler (Hartford Stage); Dinner with Friends, Tartuffe (Westport Country Playhouse); Beyond Therapy (Williamstown Theatre Festival); We Have Always Lived in the Castle and The Piano Lesson (Yale Repertory Theatre). Her original compositions were presented in the 2011 Prague Quadrennial as part of the International Theatre Soundscore and Music Composition Exhibition. Palmer holds a BFA from Savannah College of Art and Design and is a third-year MFA candidate at Yale School of Drama. palmerhefferan.com

KATE NOLL (SCENIC DESIGNER) is a second-year MFA candidate at Yale School of Drama. Previously she assisted artist and director Doug Fitch with his Cunning Little Vixen for the New York Philharmonic, The Abduction from the Seraglio for the Teatro del Lago in Chile, and a new production of Peter and the Wolf. She has been a resident set designer at the Sundance Directors Lab, where she workshopped the film Beasts of the Southern Wild. At Yale Cabaret, she designed sets for Funnyhouse of a Negro, The Fatal Eggs, and Rey Planta. Before coming to New Haven, she lived in New York, Amsterdam, and Rome, where she practiced as a studio artist. Kate holds a BFA in painting from the Rhode Island School of Design.

EMILY REILLY (PRODUCTION DRAMATURG) is a third-year MFA candidate at Yale School of Drama, where she served as dramaturg on Arcadia, Outlaw Jean, and Eligible Receivers. She served as assistant director on Liz Diamond’s production of The Winter’s Tale at Yale Repertory Theatre. At Yale Cabaret she performed in The Wedding Reception, Persona, and Trannequin! A New Musical. Devised projects include the 12-hour performance piece The Wreckers and Anothing Thing, a performance piece based on Samuel Beckett’s Texts For Nothing. In August 2011 she directed Minute After Midday at the Edinburgh Fringe Festival, where it was awarded a Fringe First Award. The production then transferred to the Project Arts Centre in Dublin and the Tron Theatre in Glasgow. Last summer, Emily participated in The Urban Bush Women’s Summer Leadership Institute in New Orleans. She received her BA in English literature and theatre studies from Trinity College in Dublin.

ALEXANDRA RIPP (PRODUCTION DRAMATURG) is a third-year MFA candidate at Yale School of Drama. She served as assistant dramaturg on The Piano Lesson and production dramaturg on Good Goods and Belleville at Yale Repertory Theatre. She was literary intern at McCarter Theatre, where she was the assistant dramaturg on Take Flight and Fetch Clay, Make Man. Alex’s translation of Rey Planta by Chilean theatre artist Manuela Infante was produced by Yale Cabaret last fall, and her review of the play’s Santiago production will shortly be published in Theater magazine, where she previously served as managing editor. She is a graduate of Princeton University, where she majored in Spanish and Portuguese languages and culture.

SONJA THORSON (STAGE MANAGER) is a second-year MFA candidate at Yale School of Drama, where her credits include Titus Andronicus, The Seagull, and Rodeo. Other credits include Marie Antoinette (assistant stage manager, Yale Repertory Theatre), Persona (Yale Cabaret), Steerage Song (Theater Latté Da), Heaven (Flying Foot Forum, The Guthrie Theater), Song of Extinction (Theater Latté Da, The Guthrie Theater), A Serious Man (NBC/Universal), and Dr. Seuss’ The 500 Hats of Bartholomew Cubbins (Children’s Theatre Company). Sonja received her BS in theatre from South Dakota State University.

MASHA TSIMRING (LIGHTING DESIGNER) is a third-year MFA candidate at Yale School of Drama, where her credits include Petty Harbour, The Seagull, Doctor Faustus Lights the Lights, and The Taming of the Shrew. Other credits include American Night: The Ballad of Juan José (Yale Repertory Theatre); Funnyhouse of a Negro, Basement Hades, Church, Persona, Dorian Gray, pleasureD, Debut Track One Chord One Verse One (or, The Shed) (Yale Cabaret); Fireworks Festival (Berkeley Repertory Theatre); The Norman Conquests, Skylight (Shotgun Players); Once in a Lifetime (ACT Conservatory); Printz Dance Project (Cowell Theater); and Drip (Crowded Fire). Masha received her BFA from Emerson College. mashald.com

STAFF FOR CLOUD NINE ARTISTIC Assistant Scenic Designer Assistant Costume Designer Assistant Lighting Designer Assistant Sound Designer/Engineer Assistant Stage Manager

Adrián Martínez Frausto Soule Golden Shawn Boyle Tyler Kieffer Emily DeNardo

PRODUCTION Associate Production Supervisor Technical Director Assistant Technical Directors Master Electrician Properties Master Stage Carpenter Costume Shop Manager Associate Costume Shop Manager Senior Draper Draper Senior First Hands Master Shop Carpenter Scenic Charge Head Electrician Staff Sound Engineer Build Crew

Paint Crew Props Crew Lighting Crew

Sound Crew Run Crew

Nicole Bromley Eric Casanova Lee O’Reilly, Kenyth X. Thomason Emily Erdman Jeong Sik Yoo C. Nikki Mills Tom McAlister Robin Hirsch Mary Zihal Clarissa Wylie Youngberg Deborah Bloch, Harry Johnson Ryan Gardner Ru-Jun Wang Brian Quiricone Paul Bozzi Nicholas Christiani, Tom Harper, Mike Harvey, Nora Hyland, Christina Keryczynskyj, Andy Knauff, Clare McCormick, Tommy Rose, Brian Smallwood, Dade Veron, Elizabeth Zevin Carmen Martinez, Kristen Robinson Seth Bodie, Jungah Han Kaitlyn Anderson, Kate Attwell, Whitney Dibo, Matthew Groeneveld, Hunter Kaczorowski, Martha Jane Kaufman, Mary Laws, Tommy Rose, Hannah Sullivan, Barbara Tan-Tiongco Steven Brush Sang Ahn, Kurt Boetcher, Jabari Brisport, Lauren Dubowski, Nathan Jasunas, Hansol Jung, Kate Tarker

ADMINISTRATION Associate Managing Director Assistant Managing Director Management Assistant House Manager

Jennifer Lagundino Alyssa Simmons Louisa Balch Alyssa Simmons

SPECIAL THANKS

Joel Abbott, Kate Attwell, Kraig Binkowski, Ethan Heard, Angela Huston, Drew Lichtenberg, Beth Morris, Jack Tamburri, Dustin Wills

OPENING NIGHT SPONSOR

Cloud Nine January 22 to 26, 2013 Iseman Theater, 1156 Chapel Street

Irish Pub & Restaurant I I T Y W I M W Y B M A D

1166 Chapel Street New Haven, CT 06511 203.777.4367

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Source: Q1 2012 Omniture; Jan. 2012 Comscore.