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A NOTE FROM THE ARTISTIC DIRECTOR Welcome to A Doctor in Spite of Himself—and get ready for some serious silliness! I can’t think of a better way to wrap up 2011 at Yale Rep than with a little lot of laughter, nor a more qualified ringleader for the three ring circus of Molière’s uproarious satire than director Christopher Bayes. He and Steven Epp, whose last collaboration at our theatre was 2010’s delightful The Servant of Two Masters, have created an outrageous adaptation that is bursting with music and good-natured naughtiness. Being funny is hard work, but you’d never know it watching this remarkable ensemble of artists. This is a testament not only to the virtuosic skills of the individual performers, each an extraordinarily talented physical comedian, but also to the joyous sense of community that Chris Bayes builds during the weeks of rehearsal. After the run here in New Haven, the company will pack up and head west to begin performances at Berkeley Rep in February. Then in spring, Chris and Steve will re-mount the Yale Rep production of The Servant of Two Masters at The Shakespeare Theatre Company in Washington, DC. Back here in New Haven, 2012 will offer many pleasures and surprises for adventurous audiences. Acclaimed director Tina Landau (Broadway’s Superior Donuts) will stage the world premiere of Christina Anderson’s Good Goods, while Resident Director Liz Diamond brings to life The Winter’s Tale, Shakespeare’s tale of blinding jealousy and forgiveness. And Pulitzer Prize finalist Will Eno will make his Yale Rep debut alongside Sam Gold, who will direct the world premiere of The Realistic Joneses. I hope you’ll join us again soon. In fact, it’s not too late to subscribe to Yale Rep this season. You can even apply the cost of today’s admission to one of our convenient and affordable ticket packages, which start at less than $35 per show—and at $10 for students! Thank you for being here with us for this performance, especially during such a busy time of year. I hope you will help us spread the good word about the show to your friends and family who may also enjoy a couple of hours of laughter and good cheer! And please feel free to email me directly about this production (email@example.com); it is always a pleasure to hear from you. I look forward to seeing you again in 2012! Sincerely,
James Bundy Artistic Director
N OV E M B E R 2 6 T O D EC E M B E R 1 7 , 2 0 1 1
YALE REPERTORY THEATRE James Bundy, Artistic Director Victoria Nolan, Managing Director in a co-production with
BERKELEY REPERTORY THEATRE PRESENTS
BY MOLIÈRE ADAPTED BY CHRISTOPHER BAYES AND STEVEN EPP DIRECTED BY CHRISTOPHER BAYES Composer and Music Director Scenic Designer Costume Designer Lighting Designer Sound Designer Production Dramaturg Vocal Coach Casting Director Stage Manager
AARON HALVA MATT SAUNDERS KRISTIN FIEBIG YI ZHAO KEN GOODWIN BENJAMIN FAINSTEIN WALTON WILSON TARA RUBIN CASTING BRANDON CURTIS
A Doctor in Spite of Himself was commissioned by Intiman Theatre, Seattle, Washington, which produced the World Premiere in 2010. Kate Whoriskey, Artistic Director; Brian Colburn, Managing Director.
SEASON MEDIA SPONSOR
CAST (IN ORDER OF APPEARANCE)
CHIVAS MICHAEL STEVEN EPP JUSTINE WILLIAMS ALLEN GILMORE
Léandre, Old Man Sganarelle Martine, Perrin M. Robert, Géronte
JACOB MING TRENT
JULIE BRISKMAN RENATA FRIEDMAN
Jacqueline Lucinde, Puppeteer
THE BAND GREG C. POWERS ROBERTSON WITMER
Trombone, Tuba, Ukulele Accordion, Clarinet, Drums
A DOCTOR IN SPITE OF HIMSELF IS PERFORMED WITHOUT AN INTERMISSION.
Monsieur de Molière: A Life So Theatrical! A Wit Quite Fantastical! The quintessential Parisian, Jean-Baptiste Poquelin, who later invented for himself the moniker Molière, was born in 1622, the son of a Royal Court upholsterer. To cheer him up after the death of his mother, Poquelin’s grandfather introduced him to the performing arts at age ten; a fiery passion for the theatre ignited in the boy’s heart, and from that moment his constant desire was to enchant audiences with his acting. He received an education in philosophy and law at the Collège de Clermont but eschewed the inheritance of his father’s title to found the Théâtre Illustre with his lover-collaborator, the actress Madeleine Béjart. The venture flopped disastrously, and the backlash Molière suffered for his poor skills as a tragedian struck him like a kick in the teeth. The troupe hit the road and played in the French provinces for twelve years, where their fortunes went from vagrancy to celebrity upon the inclusion of Molière’s first comedies in the repertory. They returned to Paris,
Monsieur de Molière having secured a post as the official comedians of the King’s brother the Duc d’Orléans, where they quickly astonished King Louis XIV with their hilarious antics and biting satire. As Molière’s abilities as an entertainer blossomed, so did his talent for sparking scandal. Virtually every opening night incited outrage, most notably The Affected Young Ladies (Les Précieuses ridicules), The School for Wives (L’École des femmes), Dom Juan (Don Juan), and Tartuffe (Le Tartuffe); the latter play, a savage ridicule of hypocrisy which was perceived as a derisive comment on religious fervor, nearly led the playwright to the chopping block. Molière’s company performed tirelessly in the Palais Royal, gaining an unparalleled reputation for mocking social convention and the falsehood of so-called “learned men.” In 1673 Molière presented The Imaginary Invalid (La Malade imaginaire) and collapsed on stage during the fourth performance. He died later that night. In the seventeenth century, professional acting was synonymous with sinning for a salary; as such, Molière was refused a Christian burial. The loss of Molière left the French theatre scene in turmoil, leading the King to dictate a merger of the three official acting companies, a union which initiated the world’s first national theatre, the Comédie-Française.
In his 1900 treatise Laughter, French philosopher Henri Bergson writes that comedy “does not exist outside of what is strictly human,” concluding that “by laughter, society avenges itself for the liberties taken with it.” Few dramatists have been so consumed by this idea as Molière, whose passion for the theatre—and his certainty in its power to illuminate human inanity—propelled him to risk not just his inheritance and social status, but his very life, for the liberty of his art and the elicitation of our laughter.
—BENJAMIN FAINSTEIN, PRODUCTION DRAMATURG
MARIONETTES FROM A COLLECTION AT CIVICA SCUOLA D’ARTE DRAMMATICA, MILAN, 1840–1930.
Of Troupes and Tropes: Molière, the Ita The emergence of commedia dell’arte in the mid-sixteenth century marked the birth of professional acting. Troupes of nomadic performers proliferated across Italy before migrating to Paris some seventy years later at the behest of Cardinal Richelieu. The commedia style is comprised of familiar stock character types and comedic scenarios, combining improvisatory dialogue and gleeful bits of physical comedy known as lazzi. The plots usually revolve around a pair of witty, but naïve, barefaced young lovers (Innamorati), whose affections are constantly endangered by the harebrained escapades of their masked counterparts, among them arrogant generals (Capitano), pedantic merchants (Pantalone), capricious clowns (Arlequino), and grotesque doctors (Dottore). Molière delighted in these whimsical farces, which often featured pastoral settings and intrigues resulting from concealed identities, and he even trained with the Italian comedian Tiberio Fiorilli, the man who won fame for playing
Scaramouche. He drew inspiration from the Italian practice, but in adapting it for his own meticulously scripted verse, he shifted the locations indoors to drawing rooms, thereby increasing the topical bent of the humor and forcing French sophisticates to observe their own folly on stage. Furthermore, he reveled in commedia’s vulgarity but granted a greater dimensionality to the stock characters. Molière employed his wit to propel plot and character development in addition to displaying the virtuosity of his ensemble, thereby importing the scrappy spontaneity of commedia into a literary form. A Doctor in Spite of Himself (Le Médecin malgré lui) was composed hurriedly in 1666 to serve as theatrical triage for the tepid commercial response to The Misanthrope. It was common for Molière to devise and refurbish his plots from fables and other plays (occasioning constant charges of plagiarism), and the wildly successful Doctor was derived from a mishmash of sources in addition to the recognizable commedia
alians, and A Doctor in Spite of Himself scenarios. Molière evidently culled from the medieval French fabliau The Ugly Sight (Le Vilain mire), which relates the story of a woodsman who masquerades as a doctor; a tale by Rabelais about a cunning wife who feigns the loss of speech to deceive her husband; and his own troupe’s earlier plays Love, the Doctor (L’Amour médecin) and The Woodcutter (Le Fagotier). Sganarelle, the titular Doctor in Spite of Himself, appeared in many of Molière’s plays and was portrayed by the author. He appears generally as an egotistical bungler, vacillating between states of impulsive self-destruction and goofy dreaminess, possessed of both cunning and extreme gullibility. A Doctor in Spite of Himself would be the character’s final appearance in Molière’s oeuvre, and here, Sganarelle is elevated into an unwitting (and admittedly self-serving) parodist of pretention and agent of true love, performing double duty in satirizing the medical profession while abetting the union of two clever young lovers.
Molière wrote extensively about the way forced marriages turn love into a commodity, and, in his plays, those who dictate economics over love become tantamount to criminals. Much of Molière’s impact resulted from his acute awareness of what was funny— and what could be made fun of—during his era. So while A Doctor in Spite of Himself has never ranked amongst the playwright’s masterpieces, it provided him with abundant opportunities to win over crowds with scattershot jabs at everyone from Aristotle and Hippocrates to provincial folk and dysfunctional couples. In this new adaptation, Christopher Bayes and Steven Epp have taken up the same tradition, culling from comedic styles ranging from commedia dell’arte to the tramps of early twentiethcentury cinema to cultural signifiers cleft from the collective consciousness of 2011; just as Molière before them, they have striven to create a work of art that lives in the present moment without, for a moment, forgetting its past. —BF
MASCHERE ITALIANE (ITALIAN MASKS), BY GALLO GALLINA, CA 1830.
CAST JULIE BRISKMAN* (JACQUELINE) is honored to be making her Yale Rep debut working with her dear friend Christopher Bayes. A resident of Seattle since 2000, Julie has performed leading roles at Seattle’s major theatres, including Sarah in Spinning into Butter, Anne Hathaway in The Beard of Avon, and Beline in The Imaginary Invalid at Seattle Repertory Theatre; Sylvia Fowler in The Women, Eppie in The Lady with All the Answers (Gregory Award nominee), Jo/Mae in Dirty Blonde, Jane Hopcroft in Absurd Person Singular, and Lottie in Enchanted April at ACT Theatre; and Jenny Diver in The Threepenny Opera at Seattle Shakespeare Company. She was a member of the Guthrie Theater acting company for seven seasons, where her roles ranged from Olga in The Three Sisters to the title role in Molly Sweeney. National credits include Milwaukee Repertory Theatre, Arizona Theater Company, Portland Center Stage, Trinity Repertory Company, and The Old Globe. Julie is a proud producing core ensemble member of The Seagull Project and will be seen as Arkadina in February 2013. LIAM CRAIG* (LUCAS, THIBAUT) is excited to return to Yale Rep, where he last appeared in The Servant of Two Masters. His New York credits include the Broadway production of Boeing Boeing (understudying and performing the role of Robert) and Off-Broadway productions of The Internationalist (Vineyard Theatre), Aunt Dan and Lemon (The New Group), Two Noble Kinsmen (The Public Theater), and Don Juan (Theatre for a New Audience). His regional theatre credits include The Wild Duck (Bard Summerscape), A Christmas Story (Actors Theatre of Louisville), The Scene (Hartford Stage, Alley Theatre), The Lady from the Sea (Intiman Theatre), and Henry V (Shakespeare on the Sound). Television and film: Unforgettable, Mercy, Rescue Me, Boston Legal, Law & Order, Law & Order: Special Victims Unit, Late Night with Conan O’Brien, and The Royal Tenenbaums. Liam received his BA in English and theater studies from Yale College and his MFA from NYU’s Tisch School of the Arts Graduate Acting Program. STEVEN EPP* (CO-ADAPTER, SGANARELLE) was an actor, writer, and Co-Artistic Director at Theatre de la Jeune Lune, winner of the 2005 Tony Award for Outstanding Regional Theatre, from 1983–2008. Title roles there included Tartuffe, Crusoe, Hamlet, Gulliver, Figaro, and The Miser; as well as major roles in Yang Zen Froggs, Romeo and Juliet, Cyrano, Children of Paradise, Scapin, Germinal, Don Juan Giovanni, The Three Musketeers, Twelfth Night, The Magic Flute, The Hunchback of Notre Dame, The Seagull, and The Little Prince. His Yale Rep appearances include Theatre de la Jeune Lune’s Children of Paradise in 1993 and Truffaldino in 2010’s The Servant of Two Masters, directed by Christopher Bayes. His other theatre credits include productions at the Guthrie Theater, La Jolla Playhouse, 16
*MEMBER OF ACTORS’ EQUITY ASSOCIATION, UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS.
Berkeley Repertory Theatre, Trinity Repertory Company, Spoleto Festival, American Repertory Theatre, Actors Theatre of Louisville, Alley Theatre, Intiman Theatre, CENTERSTAGE, and Off-Broadway’s The New Victory Theater. Steven is the Co-Artistic Director of The Moving Company. Steven holds a degree in theatre and history from Gustavus Adolphus College. He was a 1999 Fox Fellow and is a 2009 McKnight Theatre Artist Fellow. He lives in Minneapolis with his wife and three children.
RENATA FRIEDMAN* (LUCINDE, PUPPETEER) New York credits include A Midsummer Night’s Dream (New Victory Theater), The Importance of Being Earnest (Aquila Theatre Company), and The K of D (New York International Fringe Festival and Fringe Encores). Regional credits include The K of D (Seattle Repertory Theatre, Illusion Theater); The Scarlet Letter, A Doctor in Spite of Himself (Intiman Theatre); The Cherry Sisters Revisited (Actors Theatre of Louisville and Humana Festival); Eurydice, The Female of the Species, Vincent in Brixton (ACT Theatre); My Name Is Asher Lev (Barrington Stage Company); Hamlet, Pharaoh Serket, Jason and the Golden Fleece (Seattle Children’s Theatre); the Orchard Project; the Icicle Creek Theatre Festival; and a national repertory tour with the Aquila Theatre Company. She is a graduate of New York University.
ALLEN GILMORE* (M. ROBERT, GÉRONTE) is happy to return to Yale Rep, where he last appeared in The Servant of Two Masters. His other collaborations with director Chris Bayes include Scapin at Idaho Shakespeare Festival, Intiman Theatre, and Court Theatre (BTA nomination); The Comedy of Errors at Idaho Shakespeare Festival; Endgame at Court Theatre; and A Doctor in Spite of Himself at Intiman Theatre (Footlight Award). He recently performed as The Player in Rosencrantz and Guildenstern Are Dead at Writers’ Theater (BroadwayWorld Chicago nomination) and as Athos in The Three Musketeers at Shakespeare Santa Cruz. Other favorite roles include Othello and Iago in Othello, Bynum in Joe Turner’s Come and Gone (Jeff, Black Theater Alliance award nominations), Cyrano in Cyrano de Bergerac, James Hewlett in The African Company Presents Richard the Third (AUDELCO Award), and Siswe Banzi Is Dead (Jeff, BTA nominations). Allen is from Texas and is a US Army Infantry veteran.
CHIVAS MICHAEL* (LÉANDRE, OLD MAN) Off-Broadway work includes Brooklyn Omnibus (Brooklyn Academy of Music), Romeo and Juliet (Classic Stage Company), The Broadway Problem (Lincoln Center Concert), and Sliding into the Beast (New York Theatre Workshop). Regional credits include 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 (Tulane Shakespeare Festival); A Chorus Line, Oklahoma! (Porthouse Theatre); Flyin’ West, Once on This Island, I Am a Man (Mahogany Theatre). University work includes The Winter’s Tale, Our 17
CAST Lady of 121st Street, Kalakkuta Show, Rocket to the Moon, Gem of the Ocean, A Month in the Country, A Raisin in the Sun (NYU); El Haj Milik and The Wiz (Dillard University). Film credits include Fish: The True Story of a Boy in a Man’s Prison. Education: BA, Dillard University; MFA, NYU’s Tisch School of the Arts Graduate Acting Program.
GREG C. POWERS (TROMBONE, TUBA, UKULELE) Seattleborn musician Greg Powers is overjoyed to be making his debut at Yale Rep. After years of toiling in pits, Greg is pleased to be appearing on the actual stage. He performs on trombone, tuba, ukulele, didjeridu, garden hoses, and more. Since his graduation from the University of Washington, Greg has been on a musical journey across the globe. A Fulbright Fellow to India, he is a pioneer in adapting Hindustani Music to the trombone, and the only trombonist on earth performing in the Dhrupad style. Pran, Greg’s collaboration with Stuart Dempster, has just released its new CD, Traveler’s Todi. He is at home playing salsa, rock, Banda, Dixie, swing, avant garde, and jazz; and you are as likely to find him in a burlesque theatre as in a symphony hall. Greg performs regularly with The Pacific Brass Quintet, The Village Theatre, The Bellevue Philharmonic, The Fremont Moisture Festival, La Banda Gozona, and The Bavarian Village Band.
JACOB MING TRENT* (VALÈRE, CHERUB) Broadway work includes Shrek the Musical (original cast, Papa Ogre; understudy Shrek). Off-Broadway credits include The Merchant of Venice (Theatre for a New Audience), On the Levee (Lincoln Center Theater’s LCT3), and Widowers’ Houses (Epic Theatre Ensemble). National tours include The Merchant of Venice, The 25th Annual Putnam County Spelling Bee, The Two Gentlemen of Verona, and Continental Divide (Time Magazine Theatre Event of the Year). Jacob has also appeared in workshops, readings, and productions with Playwrights Horizons, The Public Theater, New Georges, McCarter Theatre, Barbican Theatre, Birmingham Rep, La Jolla Playhouse, Berkeley Rep, Long Wharf, American Conservatory Theater, The Acting Company, and Pittsburgh City Theater. TV credits include Law & Order, Bored to Death, and Unforgettable. Education: The Public Theater’s Shakespeare Lab; MFA, American Conservatory Theater.
JUSTINE WILLIAMS* (MARTINE, PERRIN) is making her Yale Rep debut. New York and regional theatre credits include My New Best Friend (world premiere, Brown/Trinity Playwrights Rep); Journey to the Ocean, directed by Aya Ogawa (The Foundry Theatre); Murder in the Cathedral, directed by Alec Duffy (Hoi Polloi); Galileo, Illyria, Child’s Christmas in Wales (Shakespeare Theatre of New Jersey); The Illusion (Chautauqua Theatre Company); and Falfurious (The Culture Project/Women Center Stage). With The Glass Contraption: Clowns (The Public Theater and NY Clown Theatre 18
*MEMBER OF ACTORS’ EQUITY ASSOCIATION, UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS.
Festival, directed by Chris Bayes) and The Amazing Ted Show! (Ars Nova and the National Arts Festival in South Africa). Film credits include He’s Way More Famous Than You and Facedancing (Official Selection, Maryland Film Festival). As a singer, Justine has worked with numerous bands and vocal ensembles performing at Joe’s Pub, Drom, and other NY venues. Education/Training: Brown University, The Actors Center Conservatory, and École Philipe Gaulier in Paris.
ROBERTSON WITMER (ACCORDION, CLARINET, DRUMS) lives in Seattle, where he works as a freelance composer, musician, and sound designer. Recent performance credits include Go, Dog. Go! at Seattle Children’s Theater; A Doctor in Spite of Himself at Intiman Theatre; WEST at On the Boards; and Seven Brides for Seven Brothers at The 5th Avenue Theatre. His recent work as a composer and sound designer includes A Midsummer Night’s Dream and Hamlet (Seattle Shakespeare Company); Of Mice and Men (Seattle Repertory Theatre); O Lovely Glowworm (New Century Theater Company); and Cloud 9 (Strawberry Theater Workshop). Rob also performs with many bands, including The Toucans, The Love Markets, and “Awesome.”
CREATIVE TEAM CHRISTOPHER BAYES (CO-ADAPTER, DIRECTOR) began his theatre career with the Tony Award-winning Theatre de la Jeune Lune where he worked for five years as an actor, director, composer, designer, and artistic associate. In 1989 he joined the acting company of the Guthrie Theater for over twenty productions, including The Tempest, King Lear, Marat/Sade, The Triumph of Love, and his one-man show This Ridiculous Dreaming, based on Boll’s novel The Clown. Directing credits include productions at Yale Rep (The Servant of Two Masters, 2010, which will be remounted at The Shakespeare Theatre Company in Washington, DC, this spring; The Birds, 2001), Intiman Theatre, Court Theatre, Trinity Repertory Company, Touchstone Theater, and Idaho Shakespeare Festival. His New York work includes HERE Arts Center, P.S. 122, Dixon Place, The Flea Theater, The Public Theater, The Juilliard School, and NYU’s Graduate Acting Program. He served as Movement Director and Creator of Additional Movement for the Broadway and national touring productions of The 39 Steps (The Roundabout’s American Airlines, Cort, and Helen Hayes Theatres). He is a 1999/2000 Fox Fellow. He has served on the faculty of The Juilliard School, NYU’s Graduate Acting Program, Head of Movement and Physical Theater at The Brown/Trinity Consortium and taught workshops for Cirque du Soliel, The Big Apple Circus, The Public Theater’s Shakespeare Lab and Williamstown Theatre Festival among others. He is currently an Associate Professor at Yale School of Drama and Head of Physical Acting.
CREATIVE TEAM BRANDON CURTIS* (STAGE MANAGER) is a third-year MFA candidate at Yale School of Drama, where his credits include Passing, Macbeth, La Ronde, and the things are against us. He also worked on Bossa Nova at Yale Rep last season. Other credits include Rose Mark’d Queen, The Phoenix, Hedwig and the Angry Inch (Yale Summer Cabaret); Passing, 100 Year Space Trip, and The Maids (Yale Cabaret). Brandon holds a BA in theatre from The Ohio State University. BENJAMIN FAINSTEIN (PRODUCTION DRAMATURG) is a second-year MFA candidate at Yale School of Drama, where he has worked on The Tall Girls, Ruzante, and The Game Room. His Yale Cabaret credits include Future Oprah Lovesong and Crumbs. Last summer he directed four plays for The Dwight/Edgewood Project, and he is currently collaborating on Yale School of Drama’s upcoming production of Shakespeare’s Julius Caesar. He is the former Co-Founding Artistic Director of Whistler in the Dark Theatre. His work as a playwright has been produced in New York, Boston, and Washington, DC.
KRISTIN FIEBIG (COSTUME DESIGNER) is a third-year MFA candidate at Yale School of Drama, where her credits include A Streetcar Named Desire and Twelfth Night. Her other credits include As You Like It (Yale Summer Cabaret); Passing, Radio Station (Yale Cabaret); The Mad 7 (NYC Fringe Festival, McCarter Theatre’s INFestival); The Chimes, Missing Celia Rose (Summer Play Festival); Once Upon a Mattress, La Clemenza di Tito (Westminster Choir College); A Streetcar Named Desire, Hedda Gabler, Uncommon Women and Others (Princeton University); Kiss Me, Kate and Floyd Collins (Syracuse University). She received her BFA from Syracuse University.
KEN GOODWIN (SOUND DESIGNER) is a third-year MFA candidate at Yale School of Drama. A sound designer and engineer originally hailing from upstate New York and Pennsylvania, he has worked with a number of companies in the US and UK, ranging from drama and musical theatre to opera and rock-n-roll. Ken’s background also includes a number of corporate clients and touring dance companies. His credits include Emilie (Spoleto Festival USA); Cooking with the Calamari Sisters, Miss Saigon, Peter Pan, Thoroughly Modern Millie (Merry-Go-Round Playhouse); What a Glorious Feeling, Brush the Summer By, Murder for Two: A Killer Musical, Loving Leo (Adirondack Theatre Festival); 1776, Into the Woods, and Manon Lescaut (Utah Festival Opera). Ken has worked on over fifteen productions at Yale Cabaret and serves as an Artistic Associate for its 44th season. Ken has also worked with numerous live bands at nightclubs and festivals in Pennsylvania and New Jersey for Events Staging Co. He holds a BA in theatre production and design with a minor in music technology from Susquehanna University.
AARON HALVA (COMPOSER, MUSIC DIRECTOR) Raised amongst polkas and hymns in Iowa, Aaron has since studied music in Cuba, Puerto Rico, Argentina, Greece, and Spain. New York composition credits include Red Noses, Four by Feydeau, The Bourgeois Gentleman, The Molière One Acts, Monsieur de Pourceaugnac, The Love of Three Oranges, The Big Day, The Fiasco Bros. Circus, The Birds (The Juilliard School); The Imaginary Invalid, The New Place, We Won’t Pay! We Won’t Pay!, The Reluctant Doctor 20
*MEMBER OF ACTORS’ EQUITY ASSOCIATION, UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS.
of Love (New York University’s Tisch School of the Arts Graduate Acting Program); and Timeslips (HERE Performing Arts Center). Other composition and performance credits include The Servant of Two Masters, Ubu Rex (Yale Repertory Theatre); Ballywoonde (Edinburgh Fringe Festival); The Molière Impromptu (Trinity Repertory Company); and A Doctor in Spite of Himself (Intiman Theatre). Recent film credits include Wall Street II as leader and arranger for Nu D’Lux, a New York-based Cuban/Latin style Son Montuno group.
TARA RUBIN CASTING (CASTING DIRECTOR) has been casting at Yale Rep since 2004. Broadway: How to Succeed in Business Without Really Trying; Promises, Promises; A Little Night Music; Billy Elliot; Shrek; Guys and Dolls; The Country Girl; Rock ’n’ Roll; The Farnsworth Invention; Young Frankenstein; The Little Mermaid; Mary Poppins; My Fair Lady; The Pirate Queen; Les Misérables; The History Boys; Spamalot; Jersey Boys; The 25th Annual Putnam County Spelling Bee; The Producers; Mamma Mia!; Imaginary Friends; The Phantom of the Opera; Oklahoma!. Lincoln Center Theater: Happiness, The Frogs, Contact, Thou Shalt Not. Off-Broadway: Love, Loss, and What I Wore and Second Stage Theatre. Regional: Kennedy Center, La Jolla Playhouse, Dallas Theater Center. MATT SAUNDERS (SCENIC DESIGNER) is a third-year MFA candidate at Yale School of Drama, where his credits include The Tall Girls (sets) and Jib (projections and sets). He has designed over seventy shows for various companies, including The Wilma Theater, Arden Theatre Company, Walnut Street Theatre, Pig Iron Theatre Company, the Bessie Award-winning Headlong Dance Theater, and the Tony Award-winning Children’s Theatre Company in Minneapolis. He is also the Associate Artistic Director of New Paradise Laboratories (NPL) and has been involved in all of NPL’s works as both a scenic designer and a performer, most notably in Batch at the Humana Festival of New American Plays. Matt’s 2008 design for NPL’s Fatebook was selected to represent American Set Design at the 2011 Prague Quadrennial. Matt is the recipient of the 2007 F. Otto Haas Award for an Emerging Philadelphia Theatre Artist. He is also a Barrymore Award-winning performer. Matt is a graduate of Virginia Tech with a BA in theatre and visual art. He is also a graduate of the Scuola Internazionale dell’Attore Comico in Reggio Emilia, Italy, conducted by master teacher Antonio Fava. mattsaunders.net WALTON WILSON (VOCAL COACH) is Head of Voice and Speech at Yale School of Drama. He was trained and designated as a voice teacher by Master Teacher Kristin Linklater and was trained and certified as an associate teacher by Master Teacher Catherine Fitzmaurice. He also studied with Richard Armstrong, Meredith Monk, and Patsy Rodenburg. His New York credits include The Violet Hour, Golden Child, and Victor/Victoria on Broadway; and the world premiere productions of The Laramie Project and The Laramie Project: 10 Years Later, and Endangered Species. Regional theatre credits include productions at Actors Theatre of Louisville, American Repertory Theatre, Long Wharf Theatre, McCarter Theatre, Shakespeare & Company, and Williamstown Theatre Festival. At Yale Rep, he has served as voice and dialect coach 21
CREATIVE TEAM on Autumn Sonata, Battle of Black and Dogs, Notes from Underground, Boleros for the Disenchanted, The Evildoers, The Unmentionables, The Cherry Orchard, The Intelligent Design of Jenny Chow, The Black Monk, Medea/Macbeth/Cinderella, Betty’s Summer Vacation, The Birds, and Richard III.
YI ZHAO (LIGHTING DESIGNER) is a third-year MFA candidate at Yale School of Drama, where he designed lighting for Passing, Jib, Eurydice, and Othello. Yale Cabaret credits include hundredyearspacetrip, Into the Blue, Underneath the Lintel, and Nijinsky’s Last Dance. Professional credits include John Moran and Saori Tsukada’s touring dance operetta Saori’s Birthday! (US and Europe), multiple plays directed by Anna Brenner, and shows at P.S. 122, Ontological-Hysteric Theater, the Chocolate Factory, and other venues in New York and Chicago. Yi grew up in Beijing and Paris and graduated from the University of Chicago. He is also a photographer. yi-zhao.com. BERKELEY REPERTORY THEATRE has grown from a storefront stage to a national leader in innovative theatre. Known for its core values of imagination and excellence, as well as its educated and adventurous audience, the nonprofit has provided a welcoming home for emerging and established artists since 1968. With two stages, a school, and a Tony Award for Outstanding Regional Theatre, Berkeley Rep is proud to premiere exhilarating new plays. In the last six years, the company has helped send six shows to Broadway: American Idiot, Bridge & Tunnel, Ghetto Klown, In the Next Room (or the vibrator play), Passing Strange, and Wishful Drinking. Another seven landed Off-Broadway, one moved to London, two turned into films, and others have toured the nation. Come see tomorrow’s plays today at Berkeley Rep.
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YALE REPERTORY THEATRE JAMES BUNDY (ARTISTIC DIRECTOR) is in his tenth year as Dean of Yale School of Drama and Artistic Director of Yale Repertory Theatre. In his first nine seasons, Yale Rep has produced more than twenty world, American, and regional premieres, six 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 has also commissioned more than two dozen artists to write new work and provided low-cost theatre tickets and classroom visits to thousands of middle and high school students from Greater New Haven through WILL POWER!, an educational program initiated in 2004. Mr. Bundy’s directing credits include The Psychic Life of Savages, The Ladies of the Camellias, All’s Well That Ends Well, A Woman of No Importance, Death of a Salesman, and A Delicate Balance at Yale Rep, as well as productions at 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 currently serves 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 and Yale School of Drama. VICTORIA NOLAN (MANAGING DIRECTOR) is in her 19th 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 CENTERSTAGE, 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) is in her seventh year at Yale Rep and is also director of the new play programs of the Yale Center for New Theatre, an artist-driven initiative that supports the creation of new plays and musicals for the American stage through commissions, residencies, workshops, and productions. Ms. Kiger came to Yale Rep from South Coast Repertory (SCR), where she was Literary Manager from 2000 to 2005 and served as Co-Director of the Pacific
Playwrights Festival. She was dramaturg on more than 40 new plays at SCR, including the world premieres of Rolin Jones’s The Intelligent Design of Jenny Chow, Amy Freed’s The Beard of Avon, and the West Coast premieres of Sarah Ruhl’s The Clean House and Nilo Cruz’s Anna in the Tropics. Prior to that, she served as production dramaturg at American Repertory Theatre, collaborating with Robert Brustein, Robert Woodruff, Liz Diamond, and Kate Whoriskey, and with multi-media director Bob McGrath on stage adaptations of Robert Coover’s Charlie in the House of Rue and Mac Wellman’s Hypatia. 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 in Dramaturgy at the American Repertory Theatre Institute for Advanced Theatre Training at Harvard University, where she taught courses in acting and dramatic arts. BRONISLAW SAMMLER (PRODUCTION SUPERVISOR) 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 Yale’s President, Richard C. Levin. He is co-editor of Technical Brief and Technical Design Solutions for Theatre, Vols. I & II. 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 We Have Always Lived in the Castle, The Master Builder, Passion Play, Richard II, Eurydice, a new adaptation of The Cherry Orchard, and the world premiere of The Clean House. A professional stage manager for more than twenty years, he has worked in regional, stock, and Broadway theatre. 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, CENTERSTAGE 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 12 years old, and Katie, age 10. 25
YALE REPERTORY THEATRE STAFF James Bundy, Artistic Director Victoria Nolan, Managing Director Jennifer Kiger, Associate Artistic Director
Resident Artists Paula Vogel, Playwright-in-Residence Liz Diamond, Evan Yionoulis, Resident Directors Catherine Sheehy, Resident Dramaturg Ming Cho Lee, Set Design Advisor Michael Yeargan, Resident Set Designer Jane Greenwood, 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
Finance and Information Technology Katherine D. Burgueño, Director of Finance and Human Resources Denise Zaczek, Associate Director of Finance Cristal Coleman, Alex Grennan, Ashlie Russell, Business Office Specialists Randall Rode, Information Technology Director Daryl Brereton, Associate Information Technology Director Mara Hazzard-Wallingford, Director, Yale Tessitura Consortium Toni Ann Simiola, Senior Administrative Assistant to Business Office, Information Technology, Operations, and Tessitura
Marketing, Communications, and Audience Services Anne Trites, Director of Marketing and Communications Steven Padla, Senior Associate Director of Communications Daniel Cress, Senior Associate Director of Marketing Rachel Smith, Associate Director of Marketing DeDe Jacobs-Komisar, Associate Director of Marketing Associate Artists Sarah Stevens-Morling, Online Communications and 52nd Street Project, Kama Ginkas, Mark Lamos, Advertising Manager MTYZ Theatre/Moscow New Generations Theatre, Marguerite Elliott, Publications Manager Bill Rauch, Sarah Ruhl, Henrietta Yanovskaya Anne Flammang, Shane Hudson, Marketing Assistants Kathleen Martin, Graphic Design and Production Assistant Artistic Administration Fraver, Graphic Designer Amy Boratko, Literary Manager Joan Marcus, Production Photographer Kay Perdue Meadows, Artistic Associate Janna J. Ellis, Associate Director of Audience Services Tanya Dean, Artistic Coordinator and Tessitura Specialist Elliot B. Quick, Anne Seiwerath, Literary Associates Laura Kirk, Assistant Audience Services Director Tara Rubin, C.S.A.; Merri Sugarman, C.S.A.; Shane Quinn, Audience Services Assistant Eric Woodall, C.S.A.; Lindsay Levine; Kaitlin Shaw; Tracy Baldini, Subscriptions Coordinator Evan Beck, Brittany Behrens, Amanda Bermudez, Stephanie Yankwitt, Casting Ruth M. Feldman, Director of Education and Amanda Culp, Courtney Engle, Gabriel Levey, Accessibility Services Tiffany Lin, Emily Sanna, William Smith, Teresa Mensz, Library Services Assistant Joanna Wilson, Box Office Assistants Josie Brown, Senior Administrative Assistant to the Artistic Director and Associate Artistic Director Operations Laurie Coppola, Senior Administrative Assistant for Diane Galt, Director of Facility Operations Rich Abrams, Operations Associate the Directing, Dramaturgy and Dramatic Criticism, Paul Catalano, Arts and Drama Zone Superintendent Playwriting, and Stage Management Departments Mary Volk, Senior Administrative Assistant for the Krista J. MacLellan, 217 Park and 212 York Superintendent VonDeen Ricks, Senior Custodian Design and Sound Design Departments Marcia Riley, Facility Steward Lucille Bochert, Norma Crimley, Donell D’Gioia, ADMINISTRATION Karena Fiorenza Ingersoll, Jaeeun Joo, Ty Frost, Mark Roy, Custodians Associate Managing Directors Michael Bateman, Lico Whitfield, Theater Safety and Occupational Health Assistant Managing Directors William J. Reynolds, Director of Theater Safety Lauren Wainwright, Xaq Webb, Management Assistants and Occupational Health Emalie Mayo, Senior Administrative Assistant Jacob Thompson, Security Officer Ed Jooss, Audience Safety Officer to the Managing Director Fred Geier, Customer Service and Safety Officer Reynaldi Lolong, Company Manager Yu Shen, Xaq Webb, Assistant Company Managers Development and Alumni Affairs Deborah S. Berman, Director of Development and Alumni Affairs Barry Kaplan, Senior Staff Writer Susan C. Clark, Laura J. Eckelman, Development Associates Belene Day, Senior Administrative Assistant to Development and Marketing & Communications Eric Gershman, Development Assistant
Bronislaw J. Sammler, Production Supervisor James Mountcastle, Production Stage Manager Jonathan Reed, Senior Associate Production Supervisor Grace O’Brien, Senior Administrative Assistant to the Production Department
Costumes Tom McAlister, Costume Shop Manager Robin Hirsch, Associate Costume Shop Manager Mary Zihal, Senior Draper Clarissa Wylie Youngberg, Draper Deborah Bloch, Senior First Hand Linda Kelley-Dodd, Costume Project Coordinator Denise O’Brien, Wig and Hair Design Barbara Bodine, Company Hairdresser Linda Wingerter, Costume Stock Manager Greta Schmitt, Assistant to the Costume Shop Manager Electrics Donald W. Titus, Lighting Supervisor Jason Wells, Linda Young, Head Electricians Emily Erdman, Assistant to the Lighting Supervisor Painting Ru-Jun Wang, Scenic Charge Angie Meninger, Scenic Artist Keri Kriston, Assistant Scenic Artist Allison Jackson, Nathan Jasunas, Assistants to the Painting Supervisor Properties Brian Cookson, Properties Master David P. Schrader, Properties Craftsperson Jennifer McClure, Properties Assistant Bill Batschelet, Properties Stock Manager Scenery Colin Buckhurst, Don Harvey, Neil Mulligan, Technical Directors Alan Hendrickson, Electro Mechanical Laboratory Supervisor Eric Sparks, Shop Foreman Matt Gaffney, Sharon Reinhart, Master Shop Carpenters Brandon Fuller, Ryan Gardner, Shop Carpenters C. Nikki Mills, Kenyth X. Thomason, Jacqueline Deniz Young, Assistants to the Technical Director Sound Josh Loar, Sound Supervisor Paul Bozzi, Staff Sound Engineer Jacob Riley, Jennifer Timms, Assistants to the Sound Supervisor Projections Erich Bolton, Projection Supervisor Micah Stieglitz, Head Projection Technician Stage Operations Janet Cunningham, Stage Carpenter Kate Begley Baker, Properties Runner Elizabeth Bolster, Wardrobe Supervisor Charles Harbert, Sound Operator
ADDITIONAL STAFF FOR A DOCTOR IN SPITE OF HIMSELF
Jen Wineman, Assistant Director Portia Elmer, Assistant Scenic Designer Seth Bodie, Assistant Costume Designer Masha Tsimring, Assistant Lighting Designer Sam Furguson, Assistant Sound Designer and Engineer Geoff Boronda, Assistant Stage Manager Shaminda Amarakoon, Associate Production Supervisor Jonathan Pellow, Technical Director Nicole Bromley, Kenyth X. Thomason, Assistant Technical Directors Nicholas Christiani, Master Electrician Andrew V. Wallace, Assistant Properties Master Harry Johnson, Draper Brittany Behrens, House Manager Robert Chikar, Catherine Costanzo, Prema Cruz, Nina Hyun Seung Lee, Gina Noele Odierno, Martin T. Schnellinger, Alyssa Simmons, Jacqueline Deniz Young, Melissa Zimmerman, Run Crew UNDERSTUDIES Josiah Bania, Valère, Cherub Chris Henry, Sganarelle Merlin Huff, Lucas, Thibaut Gabriel Levey, M. Robert, Géronte Jillian Taylor, Lucinde, Puppeteer Alexandra Trow, Jacqueline Sophie von Haselberg, Martine, Perrin Mitchell Winter, Léandre, Old Man
SPECIAL THANKS Anything But Costumes, Katrina Lwoncyk
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. A Doctor in Spite of Himself November 26 to December 17, 2011 Yale Repertory Theatre, 1120 Chapel Street
YALE CENTER FOR NEW THEATRE YALE REPERTORY THEATRE is dedicated to the production of new plays and bold interpretations of classics and has produced well over 100 premieres—including two Pulitzer Prize winners and four other nominated finalists—by emerging and established playwrights. Eleven 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. Professional assignments at Yale Repertory Theatre are integral components of the program at Yale School of Drama, the nation’s leading graduate theatre training conservatory. Established in 2008, the YALE CENTER FOR NEW THEATRE is an artist-driven initiative that devotes major resources to the commissioning, development, and production of new plays and musicals at Yale Rep and across the country. A key component of the Center’s work is the support of productions of Yale-commissioned works at theatres other than Yale Rep. The Center also facilitates residencies of playwrights and composers at Yale School of Drama. To date, the Yale Center for New Theatre has supported the work of more than thirty commissioned artists as well as the world premieres and subsequent productions of nine new American plays and musicals—including this season’s Belleville by Amy Herzog, Good Goods by Christina Anderson, and The Realistic Joneses by Will Eno. Dostoevsky’s Notes from Underground, adapted by Bill Camp and Robert Woodruff, was the first commissioned play supported by the Center to receive its world premiere at Yale Rep. In 2010, Notes had its West Coast premiere at La Jolla Playhouse and its New York premiere at Theatre for a New Audience, in association with the Baryshnikov Arts Center. The Center also supported the world premiere co-production of Rinne Groff’s Compulsion at Yale Rep, Berkeley Rep, and The Public Theater—as well as the world premiere of the Yale-commissioned On the Levee by Marcus Gardley, Todd Almond, and Lear deBessonet at Lincoln Center Theater’s LCT3.
COMMISSIONED ARTISTS David Adjmi, Todd Almond, Hilary Bell, Adam Bock, Bill Camp, Lear deBessonet, Will Eno, Marcus Gardley, Matt Gould, Kirsten Greenidge, Danai Gurira, Ann Marie Healy, Amy Herzog, Naomi Iizuka, Branden Jacobs-Jenkins, Aditi Brennan Kapil, Carson Kreitzer, Dan LeFranc, Elizabeth Meriwether, Scott Murphy, Julie Marie Myatt, David LeFort Nugent, Lina Patel, Jay Reiss, Sarah Ruhl, Octavio Solis, Lucy Thurber, Alice Tuan, Paula Vogel, Kathryn Walat, Anne Washburn, Marisa Wegrzyn, and Robert Woodruff
Yale Rep productions supported by the YALE CENTER FOR NEW THEATRE, clockwise from the top: Merritt Janson and Bill Camp in Notes from Underground, 2009; Cristin Paige and Randy Harrison (background: Leslie Kritzer and Emily Swallow) in POP!, 2009; Jenn Gambatese and Sean Palmer in We Have Always Lived in the Castle, 2010; Ella Joyce and Frances Choy-Kee in Bossa Nova, 2010; and Maria Dizzia and Gilbert Owuor in Belleville, 2011. Photos by Joan Marcus. 29
FOR YOUR INFORMATION
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: firstname.lastname@example.org
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 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 Ruth M. Feldman, Director of Education and Accessibility Services, at 203.432.8425 or email@example.com.
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 downstairs. Please contact the concierge for assistance with the elevator. EMERGENCY CALLS Please leave your cell phone and/or beeper, name, and seat number with the concierge. We’ll notify you if necessary. The emergency-only telephone number at Yale Rep is 203.764.4014. GROUP RATES Discounted tickets are available for groups of ten or more. Please call 203.432.1572. 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. 30
Yale Repertory Theatre’s accessibility services are supported in part by The Seedlings Foundation and the Carol L. Sirot Foundation. Yale Repertory Theatre gratefully acknowledges the Carol L. Sirot Foundation for underwriting the assistive listening systems in our theatres. AUDIO DESCRIBED (AD) A live narration of the play’s action, sets, and costumes for patrons who are blind or low vision. OPEN CAPTIONING (OC) You’ll never again have to ask, “What did they say?” Open Captioning provides 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.
A Doctor in Spite of Himself Good Goods The Winter’s Tale The Realistic Joneses
Dec 10 Feb 18 Mar 31 May 5
Dec 17 Feb 25 Apr 7 May 12
c2inc is pleased to be the official Open Captioning provider of Yale Repertory Theatre.
YALE REP’S EDUCATION PROGRAMS As part of Yale Rep’s commitment to our community, we provide two significant youth theatre programs. Since our 2003–04 season, WILL POWER!, which offers teacher training and curricular support prior to seeing a selected play at Yale Rep, has served more than 15,000 Connecticut students and educators. The Dwight/Edgewood Project brings eight middle school students from New Haven’s Augusta Lewis Troup Middle School to Yale Rep for a monthlong, after-school playwriting program designed to strengthen their self-esteem and creative expression.
FROM TOP: SCHOOLS GATHERING FOR WILL POWER!; THE DWIGHT/EDGEWOOD PROJECT, 2011.
Yale Rep’s education programs are supported in part by Allegra Print and Imaging; Anna Fitch Ardenghi General Charitable Purpose Trust, Bank of America, Trustee; Estate of Cynthia K. Barrington; Deborah S. Berman; Bob and Priscilla Dannies; Bruce Graham; the Lucille Lortel Foundation; Romaine A. Macomb; Mrs. Romaine Macomb; Jane Marcher Foundation; Jim and Dawn Miller; NewAlliance Foundation; Robbin A. Seipold; Sandra Shaner; Cheever and Sally Tyler; Esme Usdan; Charles and Patricia Walkup; and Bert and Martha Weisbart.
SPONSORSHIP: COMMUNITY PARTNERS Allegra Print and Imaging Est Est Est Fleur de Lys Floral and Gifts Heirloom Hull’s Arts Supply and Framing Koji Mionetto New Haven Register
The Study at Yale, a Boutique Hotel Take the Cake GHP Printing and Mailing Willoughby’s Coffee and Tea WSHU Public Radio Group The Yale Bookstore Yellowbook
These lists include current pledges, gifts, and grants received from July 1, 2010‚ through September 1, 2011. 31
to Yale School of Drama and Yale Repertory Theatre LEADERSHIP SOCIETY ($50,000 and above) Anonymous Anonymous John Badham John B. Beinecke* Nicholas Ciriello Sterling and Clare Brinkley* Edgar M. Cullman, Jr. Edgar M. Cullman III Scott M. Delman* A.R. Gurney F. Lane Heard III Frederick Iseman* David Johnson Adrian and Nina Jones* Tim Jones and Annie Cardelús* Jennifer Lindstrom* Neil Mazzella Andrew W. Mellon Foundation William S. Monaghan Mary B. Reynolds Robert Riordan Robina Foundation Talia Shire Schwartzman The Shubert Foundation Stephen Timbers Edward Trach* Esme Usdan* GUARANTORS ($25,000–$49,999) Anonymous Lois Chiles and Richard Gilder* Educational Foundation of America Peter Entin* Heidi Ettinger* Estate of Edward Kleno National Endowment for the Arts National Endowment for the Arts, Arts Midwest, Shakespeare in American Communities Edward John Noble Foundation James Munson Reggie Van Lee Cliff Warner BENEFACTORS ($10,000–$24,999) Americana Arts Foundation* Anonymous Lynne and Roger Bolton Mary L. Bundy* CECArts Link
Michael Diamond Edgerton Foundation Ruth and Steve Hendel* Catherine MacNeil Hollinger* Ellen Iseman Lucille Lortel Foundation Donald B. Lowy Renova Sonja and Patrick Seaver* The Seedlings Foundation* Michael and Riki Sheehan* Jeremy Smith* Carol L. Sirot Foundation Trust for Mutual Understanding PRODUCER’S CIRCLE ($5,000–$9,999) Nina Adams and Moreson Kaplan* Deborah Applegate and Bruce Tulgan* Amy Aquino and Drew McCoy* Foster Bam Jim Burrows Bill Conner The Noel Coward Foundation Marc Flanagan Beth Galston* Linda Gulder Huett* Ben Ledbetter and Deborah Freedman Sarah Long Mionetto USA Carol Ostrow* F. Richard Pappas Linda Frank Rodman Philip J. Smith DIRECTOR’S CIRCLE ($1,000–$4,999) Actor’s Equity Foundation Anna Fitch Ardenghi General Charitable Purpose Trust, Bank of America, Trustee Mr. and Mrs. B. Ashfield* Cornelia Barr Robert L. Barth Estate of Cynthia K. Barrington John Lee Beatty* Jody Locker Berger* Deborah S. Berman* Bisno Productions* Jeffrey A. Bleckner* Katherine Borowitz* Thomas Bruce Robert W. Brundige, Jr. James Bundy
Ben Cameron* Joan D. Channick* Patricia Clarkson Sue Ann Gilfillan and Tony Converse* Peggy Cowles Marycharlotte Cummings* Michael S. David Glen R. Fasman Terry Kevin Fitzpatrick* Marcus Dean Fuller* Leiko Fuseya* David Goldman Fred Gorelick and Cheryl MacLachlan* Stephen Godchaux* James W. Gousseff* John Guare* Richard Harrison Katherine W. Haskins* Carol Thompson Hemingway James Ingalls James Earl Jewell Jane Kaczmarek The Ethel & Abe Lapides Foundation Sasha Emerson Levin George N. Lindsay, Jr Stephen Lindsay William Ludel* Dr. and Mrs. Robert W. Lyons* Jane Lyman* Tien-Tsung Ma* Romaine A. Macomb* Estate of James MacLaren Jenny Mannis and Henry Wishcamper* Jane Marcher Foundation Edward Martenson Thomas Masse and Dr. James Perlotto* Susan McNamara, MD* Dawn G. Miller Neil Mulligan* Arthur and Merle Nacht* NewAlliance Foundation Victoria Nolan and Clark Crolius* Richard Ostreicher* Steven Oxman* George and Kathy Priest* Sarah Rafferty* Ben and Laraine Sammler* Alvin Schechter* Liev Schreiber* Scoozzi Trattoria and Wine Bar Marie S. Sherer Eugene F. Shewmaker Benjamin Slotznick
Rachel Smith Kristin Sosnowsky Kenneth J. Stein* Shepard and Marlene Stone Charles Strotz Lee Stump* Sy Sussman* Robert and Arlene Szczarba* John Henry Thomas Thomas Thurston* Cheever and Sally Tyler* Courtney Vance* Thomas Wilner Amanda Wallace Woods* George Whelen IV* Albert J. Zuckerman* PARTNERS ($500–$999) In Memory of Herbert Altman Mary Ellen and Thomas Atkins* Alexander Bagnall* Alice B. and James T. Brown Joy G. Carlin* Anna Cascio* Cosmo Catalano, Jr.* John Conklin Bob and Priscilla Dannies* Ramon L. Delgado Cory and Bob Donnalley Charitable Foundation* Elizabeth Doyle* Roberta Enoch and Steven Canner* Peter Entin* Michael T. Fulton and Catherine Hernandez Wray Steven Graham* Donald Granger Rob Greenberg William B. Halbert* Karsten Harries and Elizabeth Langhorne* Barbara Hauptman Jane C. Head* Sara Hedgepath Jennifer Hershey* Donald Holder John Robert Hood* Albert Hurwitz* Rolin Jones* Donald and Candice Kohn Frances Kumin* Mildred Kuner* Edward Lapine* Charles Long and Roe Curtis*
Linda Lorimer and Charley Ellis Brian Mann John McAndrew Johanna D. McAuliffe* Susie Medak Daniel Mufson James Naughton Arthur Oliner Dw Phineas Perkins Stephen Pollock Amy Povich* Margaret Adair Quinn Pamela and Arthur Rank* Alan Rosenberg* Tony Shalhoub Sandra Shaner Theodore Shen Carol Spawn* Trainer Family Foundation Carol M. Waaser* William and Phyllis Warfel Zelma Weisfeld Vera Wells* Carolyn S. Wiener* Steven Wolff* Evan Yionoulis Catherine Zuber Steve Zuckerman* INVESTORS ($250â€“$499) Bruce Altman* Anonymous Susan and Bruce Ackerman Richard Ambacher* Mary B. Arnstein Dylan Baker* James Bakkom* Raymond Baldelli and Ronald Nicholes Robert Baldwin* Christopher Barreca Richard Bianchi* Robert Bienstock Susan Brady and Mark Loeffler* Tom Broecker Mark Brokaw* Claudia Brown Bruce and Janet Bunch Thomas Buttke and Judith Waters Anne and Guido Calabresi Ian Calderon Bozena Chepya Patricia J. Collins* Thomas Colville* George Corrin, Jr. John W. Cunningham Ernestine and Ronald Cwik
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*Donors who have generously participated in the Annual Fund Matching Challenge.
Melvin Bernhardt Henry and Joan Binder* William Bletzinger Anders Bolang* John Cummings Boyd Mark Boyer* John Breedis Mr. and Mrs. Scott J. Brennan Russell and Freddie Brenneman Cynthia Brizzell-Bates Theresa Broach Carole and Arthur Broadus Brenda and Howard Brody Arvin B. Brown Shawn Hamilton Brown* Oscar Lee Brownstein* Philip Bruns Robert Brustein Andrew Bundy and Karen Hansen* Gerard and Ann Burrow* Robert and Linda Burt Jonathan Busky* Sheldon Bustow* Susan Byck* Donald Cairns* Kathryn A. Calnan Vincent Cardinal Lisa Carling Susan Carney and Lincoln Caplan* Carolyn Foundation Adrienne Carter William E. Caruth Raymond Carver Sami Joan Casler Patricia Cavanaugh Dr. and Mrs. W.K. Chandler Edward Check Suellen G. Childs King-Fai Chung* Olive Chypre Nicholas and Barbara Jean Cimmino* Lani Click Becky and Gary Cline* Katherine D. Cline Margaretta M. Clulow Kevin and Roxanne Coady* Jack Cockerill Joel Cogen and Elizabeth Gilson Robert S. Cohen Thomas Colville James Congdon Kristen Connolly* William Connolly* Audrey Conrad Helen and Jack Cooper Aaron Copp
to Yale School of Drama and Yale Repertory Theatre Robert Cotnoir Stephen Coy* Dana S. Croll Timothy and Pamela Cronin Douglas and Roseline Crowley Jane Ann Crum* William H. Cuddy* Sean Cullen Donato Joseph D’Albis F. Mitchell Dana* Sue and Gus Davis Nigel W. Daw Barbara DeBaptiste* Mr. and Mrs. Paul DeCoster Elizabeth DeLuca Julia L. Devlin* Liz Diamond Jose A. Diaz George Di Cenzo Francis X. and Renee Dineen Gene Diskey Melinda DiVicino Michael Donahue* Christopher Donnelly Franchelle S. Dorn Merle Dowling JoAnne E. Droller, R.N. D. William Duell John A. Duran Karen and Edwin Duval East Coast Management & Consulting, LLC Mindy Eads* Mr. and Mrs. David Ebbin Douglas Edwards Frances L. Egler Dr. and Mrs. Richard Ehrenkranz Marc and Heidi Eisenberg Nancy Reeder El Bouhali* Janann Eldredge Prof. Robert Ellickson and Ms. Lynn Hammer Debbie Ellinghaus* Barbara T. Ellinghaus* Lucinda Thomas Embersits* Jenifer Endicott* Elizabeth English Dirk Epperson David Epstein Edith Dallas Ernst* Howard and Jackie Ertel Frank and Ellen Estes Dan and Elizabeth Esty Jerry N. Evans* Douglass Everhart* Eva Ewing John D. Ezell
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Anne Hamburger Alexander Hammond Ann T. Hanley* Jerome R. Hanley* David W. Hannegan Scott Hansen Harold Harlow John Harnagel Charlene Harrington Lyndsay N. Harris Betty and Walter Harris James T. Hatcher Scott Hawkins* Ihor Hayda James Hazen Robert Heller* Patricia Helwick Heather Henderson* Stephen Hendrickson* Jennifer Hershey-Benen Dennis Hickey* Roderick Lyons Hickey III* Christopher Higgins* Hill Regional Career High School Elizabeth Holloway Slate Holmgren* Amy Holzapfel Agnes Hood Carol V. Hoover Helena Hoover-Litty and Charles Litty* Mary B. Howard* David Howson* Evelyn Huffman* Hull’s Art Supply and Framing Derek Hunt Mary and Arthur Hunt Peter H. Hunt* Timothy and Diane Hunt Patricia Ireland Ihor Hayda Kirk Jackson John W. Jacobsen Chris Jaehnig* Drs. Donald and Diana Jaffe Ina and Robert Jaffee* Jim and Cynthia Jamieson Jeffrey’s, a restaurant Cynthia Lee Jenner* Geoffrey A. Johnson Marcia Johnson* Donald E. Jones, Jr. Elizabeth Kaiden* Jonathan Kalb Gregory Kandel Carol Kaplan Lloyd A. Kaplan James D. Karr Dr. and Mrs. Michael Kashgarian Bruce Katzman
Edward A. Kaye Jay Keene Asaad Kelada* Arthur J. Kelley, Jr. Abby Kenigsberg Bettyann Kevles Peter Young Hoon Kim Carol Souscek King Shirley Kirschner Dragan Klaic Raymond Klausen* Richard Klein Stephen Kovel Brenda and Justin Kreuzer Jonathan Krupp Bernard Kukoff Mitchell Kurtz William Kux* Howard and Shirley Lamar Marie Landry and Peter Aronson Nico Lang* David Larson Jeremy Larson Michael John Lassell Gerard Leahy Wing Lee* Charles E. Letts III Emily Leue Bradford Lewis* Irene Lewis Jeremy Licht Alan Lichtenstein Martha Lidji Bertram Linder Bruce Lockwood Edgar Loessin Robert Hamilton Long II Sara Low Henry Lowenstein Jean Murkland Luburg Suzanne Cryer Luke Paul David Lukather Nancy Lyon* Andi Lyons* Janell M. MacArthur Elizabeth M. MacKay* Lizbeth Mackay* Laura Brown MacKinnon Wendy MacLeod* Alan Mokler MacVey* Peter Andrew Malbuisson Penney Maloney* Joan Manning* Marvin March Peter Marcuse Elizabeth Margid Jonathan Marks Peter Marshall Robin Marshall Craig Martin Margaret Mason* Maria Mason and William Sybalsky
Richard Mason Carole A. Masters James and Margaret Mathis* Beverly May Amy Lipper McCauley* Alice McConnell* Tarell Alvin McCraney Robert A. McDonald Brian McEleney Thomas McGowan* April McGrath* Deborah McGraw Robert J. McKinna Paul McKinley Patricia McMahon* Bruce W. McMullan Lynne Meadow Mr. and Mrs. James Meisner Stephen W. Mendillo Andrew Metrick* Donald Michaelis* Brina Milikowsky George Miller and Virginia Fallon Jonathan Miller Robert J. Miller Inga-Brita Mills Mary Jane Minkin and Steve Pincus Jennifer Moeller* Richard R. Mone Donald W. Moreland George Morfogen* Anne Morrison* Emily Moskowitz* Grafton V. Mouen Carol Bretz Murray-Negron Gayther Myers, Jr.* David Nancarrow James Naughton Tina C. Navarro* Tobin Nellhaus Regina and Thomas Neville Martha New Ruth Hunt Newman Ronald Dean Nolen* Lynn Nottage* David Nugent* Dwight R. Odle Janet Oetinger Phyllis O’Hammel* Carolyn O’Keefe Ann Okerson Richard Olson* Fran and Ed O’Neill Sara Ormond
Lori Ott Kendric T. Packer Joan D. Pape Dr. and Mrs. Michael Parry John L. Peschel William Peters* Zane Pihlstrom Roberta Pilette* Stephen B. Pollock Lisa Porter Nancy B. Porter* Michael B. Posnick Jeffrey Powell Robert Provenza* Alvin S. Prusoff and Dr. Deborah DeRose William Purves Faye and Ashgar Rastegar Ronald Recasner Ralph Redpath Gail Reen James and Cynthia Reik Sandra and Gernot Reiners Mary B. Reynolds* Ross Sumner Richards* Brian Robinson* Lori Robishaw Gordon Rogoff Howard Rogut Joanna Romberg Philip Rosenberg* Russ Rosensweig* Fernande E. Ross John M. Rothman Jean and Ron Rozett* Jed Rubenfeld* Julia Meade Rudd Kevin Rupnik Dr. Ortwin Rusch* Frederick Russell John and Jeanette Ryan* Dr. and Mrs. Herbert S. Sacks Steven Saklad Peter Salovey and Marta Elisa Moret Clarence Salzer Robert Sandberg* Robert Sandine and Irene Kitzman Frank Sarmiento* Peggy Sasso* Cary Scapillato Joel Schechter Anne Schenck Kenneth Schlesinger* Mr. and Mrs. Michael Schmertzler
Ruth Hein Schmitt* William Schneider* Sanford and Carol Schreiber* Jennifer Schwartz Alexander Scribner Kathleen McElfresh Scott Forrest E. Sears* Paul Selfa* Subrata Sen* Shawn Senavinin* Paul H. Serenbetz Sandra Shaner Morris Sheehan Daniel Shindler* Paul R. Shortt* Mark Shufro Carol M. Sica Lorraine Siggins and Braxton McKee Lee Skolnick Betsy and William Sledge* Helena L. Sokoloff* Suzanne Solensky and Jay Rozgonyi* Alan Solomon E. Gray Smith, Jr.* Marian and Howard Spiro* Regina Starolis Louise Stein* Neal Ann Stephens John Stevens Joseph C. Stevens Marilyn and Robert Stewart* Mark Sullivan Thomas Sullivan Richard Guy Suttor David Loy Sword Douglas Taber* Jane Savitt Tennen* Muriel W. Test Paul J. Tines Eric Ting David F. Toser* Albert J. Toth* Tahlia Townsend Howard B. Treat Jr. Russell L. Treyz Richard B. Trousdell Deborah Trout Miriam S. Tulin Mr. and Mrs. Gregory Tumminio Marge Vallee Joan Van Ark Flora Van Dyke Michael Van Dyke Carrie Van Hallgren*
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EMPLOYER MATCHING GIFTS Aetna Foundation Component Engineers, Inc. Corning, Inc. General Electric Corporation IBM The John D. and Catherine T. MacArthur Foundation Mobil Foundation, Inc. Pfizer Pitney Bowes Procter & Gamble The Prospect Hill Foundation SBC Communications, Inc. United Technologies Corporation
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by wIllIaM shakEsPEarE DIrEctED by louIsa ProskE
dEcEmbER 10 TO 16 drama.yale.edu
YALE REPERTORY THEATRE worlD PrEMIErE
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FEbRuARY 3 TO 25
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ya l e center for british art
Johan Zoffany RA SOCI ET Y OB SERV ED October 27, 2011–February 12, 2012
1080 Chapel Street New Haven, CT 06520 Tues–Sat 10-5, Sun 12-5 877 BRIT ART britishart.yale.edu Admission is free
This exhibition has been co-organized by the Yale Center for British Art and the Royal Academy of Arts, London, and is supported by an indemnity from the Federal Council on the Arts and the Humanities. An accompanying exhibition, Adapting the Eye: An Archive of the British in India, 1770–1830, is on view through December 31. Organized by the Yale Center for British Art Johan Zoffany, The Sharp Family (detail), 1779–81, oil on canvas By Courtesy of the National Portrait Gallery, London, and the Lloyd-Baker Trustees
“Playing doctor” takes on a whole new meaning as a marital squabble escalates into comic pandemonium. The spirited Martine exacts revenge on...
Published on Jun 1, 2012
“Playing doctor” takes on a whole new meaning as a marital squabble escalates into comic pandemonium. The spirited Martine exacts revenge on...