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A NOTE FROM THE ARTISTIC DIRECTOR Welcome to Yale Repertory Theatre’s production of Eclipsed! Many of you may remember playwright Danai Gurira, the co-author of In the Continuum, from her appearance in that play (alongside her collaborator Nikkole Salter) here at Yale Rep in 2007, on the heels of their celebrated run in New York.

That experience not only allowed Yale Rep to present an acclaimed, award-winning play for New Haven audiences, but initiated a deeper artistic relationship with Danai, who at that time had already begun work on a new play about women in Liberia during that country’s second Civil War. I’ve had the privilege of watching that play—Eclipsed—develop over the course of the last two years, and I am thrilled to share its generous spirit, rich humanity, and humor with you. © 2008 Hospitality 3

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Eclipsed has had three near-simultaneous productions this fall (Woolly Mammoth Theatre in Washington, DC; Mark Taper Forum in Los Angeles; and Yale Rep), a rare occurrence for a new play and a testament to Danai’s gifts as a storyteller. As you’ll read in the next pages, in Danai’s own words, she traveled to Liberia and conducted interviews with women who inspired the characters in Eclipsed. As a producer and audience member, I am drawn to her extraordinary ability to transform real stories—the stuff of documentary—into keenly perceptive, imaginative drama that honors the women and the history she encountered. Yale Rep’s commitment to new works will continue this season with the world premieres of POP!, a musical by Maggie-Kate Coleman and Anna K. Jacobs set in Andy Warhol’s legendary Factory, directed by Mark Brokaw; and Rinne Groff’s play, Compulsion, inspired by the story of Meyer Levin, directed by Oskar Eustis, and featuring Mandy Patinkin in his Yale Rep debut. If you’re interested in what’s new in the American theatre, you’re in the right place. And please, help us spread the word about Eclipsed by telling your family, friends, and colleagues, and by sharing our web content (yalerep.org) on your own Facebook or MySpace pages or Twitter feeds. Thank you for being here. I look to seeing you back at Yale Rep soon! Sincerely,

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James Bundy Artistic Director james.bundy@yale.edu 3

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Eclipsed was originally produced in August 2009 by Woolly Mammoth Theatre Company, Washington, DC, Howard Shalwitz, Artistic Director, Jeffrey Herrmann, Managing Director. Eclipsed was developed with the support of McCarter Theatre Center, Princeton, NJ, Emily Mann, Artistic Director, and by the Ojai Playwrights Conference, Robert Egan, Artistic Director.

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Phenomenal Women


pascale armand


stacey sargeant


adepero oduye

The Girl

zainab jah shona tucker

Maima Rita

Setting Liberia: Bomi County, a LURD rebel army camp, 2003. There will be one fifteen-minute intermission.

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Playwright Danai Gurira, in partnership with Princeton’s McCarter Theatre Center, received a TCG New Generations grant, which allowed her to travel to Liberia and interview women who had survived the Civil Wars. In her own words, she describes the photo that inspired her journey to Liberia, and the women she met there: It was really an image that struck me concerning Liberian women and war: a New York Times article that had a picture of the Liberian woman rebel fighter, Black Diamond. She’s quite well-known at this point, and her corps of women was feared during the Liberian war. They were members of the women’s fighting core of LURD, a rebel faction. They were all standing there beautifully, very funkily clad, in jeans and slinky tops and berets; their hair was all well done; and they all had AK-47s slung over their shoulders and very steely glares as they looked into the camera. I honestly had never seen such an image in my life: feminine, glamorous, intimidating, powerful, belligerent, and African. I became completely enthralled. What stories rested behind those eyes. I knew at that moment, I had to endeavor to find out.

We always hear about African war, but we never really hear about women and how they survive a war terrain. Liberian women did more than survive. The more I researched them, the more complex the experiences of the female rebel fighters proved to be. I was also exposed to another group of Liberian women, who did the unthinkable. You look at Liberia now, and it is impossible to not see that a vicious war has taken place. There’s nowhere to hide. At the same time it is the first country in Africa that has a female president. How paradoxical, but it is not at all by accident! The lesson that Liberia teaches in that regard is very powerful. Some Liberian women, the “Peace Women,” stood up and led their country to peace and stability, at complete risk to their lives. Through courageous and selfless means they ended a senseless, vicious conflict. All the female leadership there today is the direct manifestation of how they brought consciousness and peace to that country. The names of the characters in the play— Helena, Maima, Rita, Bessie—are the real names of women I met and got to know. I met Etweda Cooper, the head of the Liberian Women’s Initiative, and another phenomenal Liberian woman. Learning about her navigation through the war zone, her heroic work with many other women fighting for peace and “genderizing” the treaty agendas, made some instantaneous alterations to my dramatic narrative. I was moved by her, inspired by her, and changed by her; we found an almost immediate powerful connection. We shared much common ground in our thoughts and hopes about the continent we both call home. This play is my humble attempt to give voice to women who navigate these vicious terrains not of their making. To give their stories, their personhoods, their eclipsed light a full—though fleeting—chance to shine.



Tailoring (Then “Taylor”ing) an African Democracy In 1821, a 43,000 square-mile region on the west coast of Africa became Liberia when free-born African Americans and freed US slaves settled there. This emigration was sponsored by the American Colonization Society (ACS), an unlikely alliance of abolitionists, who called for the freed slaves’ voluntary repatriation, and slave owners, who sought to retain the institution of slavery in the US by relocating the free blacks to Africa. The settlers named the capital Monrovia after President James Monroe, and in 1847, they declared Republic of Liberia’s independence from the United States. Liberia means “land of liberty.” However, the immigrants’ freedom came at the price of colonizing the original inhabitants, who were descendants of more than fifteen African tribes that occupied the land since the 12th century and who still make up more than 95% of the entire population. With industrial support from the United States, the settlers, also called Americo-Liberians, cultivated Liberia’s rich natural resources: rice, coffee, iron ore, diamonds, and rubber. In 1926, America’s Firestone Tire and Rubber Company opened one of the world’s biggest rubber plantations in Liberia. The Americo-Liberians also built churches and schools with the aim of “civilizing” the indigenous people with their Christian values. English became the official language, and the constitution borrowed heavily from the Constitution of the United States. Yet, the indigenous Liberians were not given citizenship until 1904 and were not granted the right to vote until 1946. The Americo-Liberians exclusively governed the country until 1980, when a military coup broke out under the leadership of Master Sergeant Samuel K. Doe. Doe, a member of the Krahn tribe, was the first Liberian head of state of fully African heritage. His era (1980 to 1989) was marked by terror, political corruption, economic downfall, and human rights abuses. Fearful of a counter-coup, Doe only appointed members of his own tribe to government posts, while swiftly eliminating—even executing—members of opposing parties. Doe proclaimed himself anti-communist and maintained a friendly relationship with the United States as a Cold War ally. In the US-proposed presidential election in 1985, Doe declared himself a democratically elected leader, although the result was considered blatantly fraudulent. His continuous corruption and ethnic oppression contributed to the loss of foreign aid to his nation. With the imminent ending of the Cold War, the United States also withdrew its support. In 1989, Charles Taylor, a former government official under Doe, led the rebel National Patriotic Front of Liberia (NPFL) against Doe, starting what is called the Great War or the First Civil War. 8

The war lasted for seven years. Over 200,000 civilians lost their lives, and Liberia’s infrastructure was utterly demolished. Intensive UN mediation led to a cease-fire, and Charles Taylor was elected President of Liberia in 1997. However, atrocities prevailed under Taylor’s regime. The United States accused him of fueling the civil war in neighboring Sierra Leone in exchange for diamonds. Taylor ordered the murder, rape, and torture of civilians and the conscription of child soldiers. Rebels arose in organized forces such as LURD (Liberians United for Reconciliation and Democracy) and MODEL (Movement for Democracy in Liberia), inciting the Second Civil War in 1999. The conflict came to an end in 2003 when Taylor resigned under intense international pressure. He was charged with war crimes and crimes against humanity by the Special Court of Sierra Leone and is currently on trial at The Hague in the Netherlands. The transitional government, aided by the UN, put its major effort into the disarmament and education of the war-scarred Liberians. In 2005, Ellen Johnson-Sirleaf, a Harvardeducated former Minister of Finance, became the first female head of state in Africa when she was elected President (defeating former international soccer star George Weah). Under Johnson-Sirleaf, Liberia has gradually regained political and economic stability. However, in 2009, six years after the 14-year-long bloodshed officially ended, the questions of reciprocity for war victims and bringing the war’s perpetrators to justice still remain. —WALTER BYONGSOK CHON, PRODUCTION DRAMATURG

A Small Small Note on Dialect The Liberian dialect of English spoken today is a testament to the nation’s history. English became the official language of Liberia almost as soon as the first group of African Americans claimed the land. The new settlers considered English an emblem of “civilized” western culture—in their opinion superior to the more than 25 tribal languages—and established it as the language of government, formal education, and international commerce. In its written form, there is little difference between Liberian English and American English. However, Liberian English in its spoken form has developed its own cadence, combining the dialect of the 19th-century Americans with the sound system of the tribal languages. Like any dialect, spoken Liberian English has its own characteristics. For example, an “oh” sound is sometimes added to the ends of words or sentences, and a word might be repeated for emphasis. —WBC 9

The Mothers, Wives, Daughters, and Makers of Liberty Betsy Ross x 7: A Flag for Liberia In 1847, Liberian governor (and soon-to-be first president) Joseph Roberts appointed seven women to the historic task of making a flag for the new nation. The women, led by Susanna Waring-Lewis, collaboratively designed and hand-stitched Liberia’s first flag in silk. Presented on August 24, 1847, a day now celebrated as “Flag Day,” the Liberian Flag contains symbols representing the new nation’s history and ideals. With a design that recalls Liberia’s American connection, the eleven stripes represent the eleven signers of the country’s Declaration of Independence; the red stripes represent the blood that was shed in the struggle for the land; and the white stripes represent purity and moral excellence. Inside the dark blue field, signifying both fidelity and the continent of Africa—giving the flag the nickname “Lone Star”­ —lies a white star, the symbol of Liberia as the (then) lone independent African Republic.

Liberian Women and Marriage Before the region was incorporated as a nation, polygyny was the practice of the native tribes in the land now called Liberia. (The more specific term “polygyny” is the practice of one man having more than one wife, while the more common “polygamy” may be applied to both men and women.) With a ratio of ten women to every man, polygyny emerged in this deeply patriarchal society as a way to mitigate the fear that unmarried women would cause social disorder by stealing other women’s husbands or engaging in prostitution. In this agrarian society, the practice was seen as a way to share collective responsibilities and communal ownership of farms. Wives were treated as free labor, procreators (producing more free labor), and/or economic property. Men measured their political and economic fortunes by the number of wives they had, and they paid bridewealth or dowries to acquire more. Despite their largely passive status, women enjoyed some autonomy. The first wife played a role in the acquisition of her junior wives, usually recruiting household help. Women were also free to divorce their husbands on grounds of neglect or abuse, and some women used this system to their advantage, hoping to find a “better” husband. Americo-Liberians tried to spread monogamous Christian unions, but polygyny is still practiced, particularly by a powerful few. During the Civil Wars, women were often taken by force to be wives of soldiers or commanding officers. The number of wives measured a soldier’s status, and women were treated as war trophies and forced into sexual slavery. The UN estimated that approximately 70% of Liberian women had been the victims of sexual violence during the wars.

Liberian Women-at-Arms At one point, women made up 35% of the Liberian Civil War military forces. With their AK-47s, tight jeans, and bandanas, the female soldiers were as much an object of terror to civilians as their male counterparts. Though some women were victims of forced conscription, many chose to jump into the masculine battle zone. Black Diamond, leader of the Women Artillery Commandos (WAC), said she joined the rebel forces after Charles Taylor’s soldiers gang-raped her in 1999. One of her fellow soldiers reported joining WAC to escape her father’s physical and sexual abuse. While guns provided women protection from men, they also offered them a 10

chance to overcome poverty—in some cases at the expense of law-abiding, helpless citizens. Fighting in the war also provided these women a sense of equality with men. They tended to act fiercely, shooting more enemies or looting more goods than their male comrades, earning themselves high respect in the military hierarchy.

Path to Peace Throughout both Civil Wars in Liberia (1989–2003), some Liberian women black diamond (center) and the women artillery commandos. found non-violent means to promote Associated Press photo. peace. At the beginning of the First Civil War, groups of women provided war victims with shelter and food. This effort developed into a unified movement and, in 1994, the Liberian Women’s Initiative (LWI) was founded with the mission of “promoting nonviolent conflict resolution and civic education.” LWI organized public demonstrations, calling for disarmament and stopping gun sales in Liberia. Even with a lack of funding and little attention from the government and international communities, women’s organizations spread beyond national borders to Sierra Leone and Guinea. Besides the demonstrations, the organizations initiated reconstruction programs, peace seminars, and voter education. As the conflict between the government army and the rebel forces (LURD, MODEL) escalated in 2003, over 1,000 women from various organizations including LWI, WIPNET (Women in Peacebuilding Network), and MARWOPNET (Mano River Women’s Peace Network), dressed in white, occupied streets, markets, and government buildings. They chanted, fasted, and made speeches—demanding a cease-fire and international military intervention. Their public plea led to a formal peace talk between the Liberian government and the opposing parties in Accra, Ghana, in June 2003. At last, on August 18, 2003, after several failed attempts at a cease-fire and extended demonstrations, the government, LURD, MODEL, and other political parties signed a peace agreement. —WBC For more information about organizations that are continuing to promote peace in Liberia and further women’s rights around the globe, please visit the following websites. the United Nations Mission in Liberia: unmil.org the United Nations Development Fund for Women: unifem.org the Women’s International League for Peace and Freedom: peacewomen.org Pray the devil back to hell: praythedevilbacktohell.com Friends of Liberia: fol.org PEACE IS LOUD: peaceisloud.org 11

WarandPeace: Liberia from 1979–2003 1979


July 1997

Native Liberians, fed up with the discrimination leveled against them by the AmericoLiberians, demonstrate against President James Tolbert for increasing rice prices in what’s now known as the “Rice Riot.”

Charles Taylor, a former government official, leads an armed incursion against Doe, beginning the First Civil War.

Garnering 70% of votes, Charles Taylor is elected president of Liberia. Ellen Johnson-Sirleaf comes in second (9%).

April 1980 Non-commissioned officers stage a military coup, assassinate President Tolbert, and create a military government with Samuel K. Doe as head of state.

1982 Doe meets Ronald Reagan at the White House.

1990 Doe is abducted, tortured, and executed by another insurgent, Prince Johnson. The video of Doe’s execution is seen on news reports around the world.

March 1998 Bill Clinton is the first US President since Jimmy Carter to visit Africa, traveling to Ghana, Uganda, Senegal, South Africa, Rwanda, and Botswana.

1991 The Cold War ends with the collapse of the Soviet Union; the United States emerges as the world’s dominant military power.

October 1993 The US Army’s humanitarian mission in Somalia turns into warfare against Somali warlord Mohamed Farrah Aidid. 19 Americans and hundreds of Somali militia and civilians are killed.


1998 Bill Clinton admits publicly that he had an “improper physical relationship” with White House intern Monica Lewinsky from 1995 to 1997. Clinton is impeached by the US House of Representatives but is acquitted of charges.


March–June 2003

July 25, 2003

Charles Taylor is accused of supporting Sierra Leone’s rebel movement by trading arms and other resources for diamonds. (Civil War, led by the Revolutionary United Front (RUF), breaks out in Sierra Leone in 1991 and lasts for 11 years.)

Various women’s organizations organize rallies and protests against the war.

George W. Bush orders the deployment of 2,300 marines to Liberia. The troops arrive on August 6.

June 2003

August 1, 2003

LURD and MODEL control an estimated 80% of Liberia.

UN Security Council authorizes Economic Community of West African States (ECOWAS) to launch peacekeeping mission in Liberia.

June 4, 2003 August 2000 Bill Clinton visits Africa for the second time, going to Nigeria, Tanzania, and Egypt.

Peace talks begin in Accra, Ghana. A cease-fire is signed, but the fighting continues.

June 18, 2003 May 2001 Thousands of Liberian women march to the UN office in Monrovia, requesting international intervention in the conflict in Liberia.

March 2003 A second rebel faction, Movement for Democracy in Liberia (MODEL), begins fighting in eastern Liberia.

One hundred women march to the US Embassy, calling for immediate and direct intervention by the US government.

July 2003 George W. Bush visits Senegal, South Africa, Botswana, Uganda, and Nigeria.

August 11, 2003 Charles Taylor resigns and goes into exile in Nigeria.

August 15, 2003 Liberian women set forth “The Golden Tulip Declaration,” regarding inclusion of women in all existing and proposed institutions and structures of government.

August 18, 2003 A peace agreement among the warring parties is signed in Accra. —WBC

1999 Fomenting the Second Civil War, Liberians United for Reconciliation and Democracy (LURD) launches rebellion against Taylor in the north.

Liberian Women’s Initiative (LWI) is founded. from left: charles taylor, former liberian president; former united states president bill clinton in uganda holding a child named after him; Ellen Johnson-Sirleaf, the current and first woman president of liberia.




cast PASCALE ARMAND (BESSIE) is delighted to return to Yale Rep, where she appeared in the 2005 world premiere of dance of the holy ghosts. Since then, she has appeared in August Wilson’s Gem of the Ocean (Arena Stage), Doubt (Vermont Stage Company), Gee’s Bend (Kansas City Repertory Theatre), and the McCarter Theatre workshop of Eclipsed. Her other theatre credits include As You Like It (Hangar Theatre); Blues for an Alabama Sky, Hamlet (Syracuse Stage); Four (Manhattan Theatre Club); Breath Boom (Playwrights Horizons); The Piano Lesson, Jitney (Actors Theatre of Louisville), as well as productions at La Jolla Playhouse and American Repertory Theatre. TV and film appearances include Law & Order: Criminal Intent, Law & Order: Trial by Jury, Strangers with Candy, and Kinsey.

STACEY SARGEANT (HELENA) is thrilled to be making her Yale Rep debut in the role of Helena, which she performed in the McCarter Theatre workshop. Other theater credits include Legally Blonde: The Musical (1st National Tour); Passing Strange, Two Gentlemen of Verona (The Public Theater); The Exonerated (Off-Broadway); Damn Yankees, Purlie (City Center Encores!); George C. Wolfe’s Harlem Song (Harlem’s Apollo Theater); Little Ham (AUDELCO Award nomination); A Midsummer Night’s Dream (McCarter Theatre, Paper Mill Playhouse); Kiss Me, Kate (Paper Mill Playhouse); The Color Purple (Alliance Theater); and Rent (Weston Playhouse). Her television appearances include Law & Order: SVU and Guiding Light. www.staceysargeant.com

SHONA TUCKER (RITA) recently completed three years as ZAINAB JAH (MAIMA) Born in London, Zainab spent her childhood in Sierra Leone, where she was a regular on children’s television shows, and studied at the London School of Contemporary Dance and Leeds University, Yorkshire, UK. Her recent theatre credits include Azmera in Tranced (Merrimack Repertory Theatre), Mayme in Intimate Apparel (W.H.A.T.), Helen in Trojan Women (Classical Theatre of Harlem), In Darfur (The Public Theater), and Veronica Jonkers in the national tour of Athol Fugard’s Valley Song. Her film and television credits include 100 Center Street directed by Sidney Lumet, Dinner Rush with Danny Aiello, and Law & Order. She received the 2007 and 2009 Fresh Fruit Festival Best Actress Awards for Nick Mwaluko’s Waafrika and S/HE.

a company member at Oregon Shakespeare Festival, acting in such plays as Fences, A Midsummer Night’s Dream, Gem of the Ocean, and Bus Stop. Her Off-Broadway theatre credits include productions at New York Theatre Workshop, The Actors Center, Lincoln Center Theater Directors Lab, The Public Theater, Circle in the Square, Playwrights Horizons, Manhattan Theatre Club, and La MaMa. She has worked at numerous regional theatres including Williamstown Theatre Festival, Actors Theatre of Louisville, Stageworks/Hudson, Arena Stage, The Acting Company, and American Conservatory Theater. Her film and television credits include the upcoming short, North Country; the short Walk the Fish featured in the film Cosmopolitan; Preaching to the Choir: On the One; Third Watch; New York Undercover; Law & Order; One Life to Live; and Trinity. Ms. Tucker is the Acting Professor at Vassar College. A Schomburg Fellow and Fulbright Scholar, she earned her BS from Northwestern University and MFA in Acting at NYU’s Tisch School of the Arts.

ADEPERO ODUYE (THE GIRL) hails from Brooklyn by way of Nigeria. Her theatre credits include The Bluest Eye (Hartford Stage, Long Wharf Theatre) and Fela Kuti Project directed and choreographed by Bill T. Jones. Film and television credits include the award-winning short Pariah (2008 Sundance Film Festival), On the Outs, Half Nelson, The Unusuals, Law & Order, and Law & Order: Criminal Intent. A one-time Manhattan Monologue Slam Champion, she is a graduate of Cornell University, and she studied acting with Wynn Handman, Austin Pendelton, and Susan Batson.



creative team

creative team

broken chord collective (sound designer/COMPOSER) composes and

elizabeth barrett groth (costume designer) is a third-year MFA candidate at

designs music and sound for theatre. The sound design and music for Eclipsed was created by collective members Daniel Baker and Aaron Meicht. Other credits include productions in New York at Atlantic Theater Company, Cherry Lane Theatre, Juilliard, Keen Company, La MaMa E.T.C., Primary Stages, Manhattan Theatre Club, Rattlestick Playwrights Theater, Second Stage Theatre, and Women’s Project. Regional credits include productions at Dallas Theater Center, Geva Theatre Center, Hartford Stage, Long Wharf Theatre, Oregon Shakespeare Festival, Shakespeare Theatre Company (Washington DC), Weston Playhouse, Westport Country Playhouse, Portland Center Stage, and Passage Theatre Company. www.brokenchordcollective.com

Yale School of Drama, where her credits include costumes for Jelly’s Last Jam and the set for American Catnip (Carlotta Festival of New Plays). Other credits include sets and costumes for The Five Fists of Science, One for the Road (Yale Cabaret); Late: A Cowboy Song, The Mystery of Irma Vep, and Fly-by-Night: A New Musical (Yale Summer Cabaret). She has worked as a costume designer and assistant costume designer at the Folger Elizabethan Theatre, Woolly Mammoth Theatre Company, Huntington Theatre Company, Boston University Opera Institute, American Repertory Theatre’s Institute for Advanced Theatre Training, and Berkshire Theatre Festival. Her designs for the Silk Road Dance Company’s American premiere of Egypta were nominated for a 2004 DC Metro Dance Award. She received a BA in fine arts and art history from George Washington University.

germÁn cardenÁs (scenic designer) is a third-year MFA candidate at Yale School of Drama, where his credits include last season’s Jelly’s Last Jam. He received a BA in architecture at Universidad Nacional Autónoma de Mexico, Mexico City (2000). After working as an architect, Germán co-designed several productions, including Doubt, Mixed Emotions, The Robbers, The Overcoat, The Comedy of Errors, The Taming of the Shrew, Venus, El Método Gronhölm, La Piel, Mi Joven Corazón Idiota, and La Nueva Familia, and the musicals Hoy No Me Puedo Levantar, Emperadores de la Antártida, and The Producers. He designed sets and lights for Am Ziel by Thomas Bernhard. Germán is the recipient of the National Fund for Culture and the Arts (FONCA) Foreign Studies Program Scholarship.

walter byongsok chon (production dramaturg) is a third-year MFA candidate at Yale School of Drama, where his credits include The French Play and I Am a Superhero (Carlotta Festival of New Plays). He served as production dramaturg on last season’s production of Rough Crossing at Yale Rep. His Yale Cabaret credits include Be Aggressive and Mask Ritual: Electra. On stage, he appeared as Nachum in Fiddler on the Roof at Edison Theatre in St. Louis. He recently worked in new play development at the Eugene O’Neill Theater Center National Playwrights Conference. Walter studied Shakespeare at the Globe Theatre and received his BA in English from Sungkyunkwan University in Korea and his MA in theatre studies from Washington University in St. Louis.

marcus doshi (lighting designer) previously designed lighting for the Yale Rep productions of The Imaginary Invalid and Iphigenia at Aulis. Recent productions in New York include A Boy and His Soul (Vineyard Theatre); The Blue Rider in Performance (Guggenheim Works & Process); Things of Dry Hours (New York Theatre Workshop); Othello (Lucille Lortel Award nomination), Hamlet (Drama Desk Award nomination) at Theatre for a New Audience; The First Breeze of Summer (Audelco Award, Signature Theatre Company); and With a Single Step: Stories in the Making of America, the permanent exhibition at the Museum of Chinese in America. His other credits include productions at Moving Theater (company member), Khmer Arts Ensemble, The New Group, Soho Rep, The Joyce, The Mint, Lincoln Center, Chicago Shakespeare, Seattle Rep, Portland Center Stage, Hartford Stage, Seattle Opera, Virginia Opera, Boston Lyric Opera, Lyric Opera of Kansas City, Greenwich Music Festival, Florentine Opera; and internationally in Edinburgh, London, Amsterdam, Castres, Venice, Vienna, Mumbai, Delhi, and Phnom Penh, among others. Marcus is a graduate of Wabash College and Yale School of Drama. www.marcusdoshi.com 16

danai gurira (playwright) was born in the US to Zimbabwean parents and raised in Zimbabwe. She co-created and performed in the award-winning, two-woman play In the Continuum, which premiered Off-Broadway and toured the US (including Yale Rep, 2007) and Southern Africa. For her work on that production, Danai received the 2007 Helen Hayes Award (Best Actress), a 2006 OBIE Award, the 2006 Outer Critics Circle John Gassner Memorial Playwriting Award, and the 2004 Global Tolerance Award (Friends of the United Nations), and was honored by the Theatre Hall of Fame. Her recent acting credits include the film The Visitor and Lincoln Center Theater’s production of Joe Turner’s Come and Gone. She is the recipient of a 2008 TCG New Generations travel grant for Eclipsed and has taught playwriting and acting in Liberia, Zimbabwe, and South Africa. She is developing a play about the current situation in Zimbabwe with the Royal Court in London and completing another Zimbabwean piece entitled The Convert. She received her MFA in acting from New York University.

karen hashley (stage manager) is a third-year MFA candidate at Yale School of Drama, where her credits include American Catnip, Good Egg (Carlotta Festival of New Plays); The Ghost Sonata; Pericles; and 99 Ways to F@%k a Swan. She served as assistant stage manager on Yale Rep’s productions of The Master Builder and Passion Play. Other credits include All My Sons, The Last Night of Ballyhoo, Pentecost, and The Trial, as well as the US premiere of Sir Fredrick Ashton’s Cinderella with the Joffrey Ballet. Karen received a BFA in stage management from The Theatre School at DePaul University.

beth mcguire (vocal and dialect coach) Vocal and dialect coach credits include the Off-Broadway productions of The Overwhelming (Roundabout Theatre Company); The Black Eyed (New York Theatre Workshop); Five by Tenn (Manhattan Theatre Club); People Be Heard (Playwrights Horizons); Candida, Gas Light (The Roundtable Ensemble); Free Market (The Working Theatre); Exit Cuckoo (Midtown International Theatre Festival); and a workshop of In Darfur (The Public Theater). Regional: Death of a Salesman, Lydia, All’s Well That Ends Well, dance of the holy ghosts, The Mystery Plays, The Taming of the Shrew, King Lear, Iphigenia at Aulis, Kingdom of Earth (Yale Rep); Hamlet, Carnival, King John, The Glass Menagerie (Shakespeare Theatre of New Jersey); The Cook (Hartford Stage); and Crimes of the Heart (The Cape Playhouse). Ms. McGuire is currently on faculty at Yale School of Drama; is a member of VASTA (The Voice and Speech Trainers Association), Actors’ Equity, SAG, and AFTRA; and is an actress with over 25 years of performance experience. 17

creative team TARA RUBIN CASTING (CASTING DIRECTORS) has been casting at Yale Rep since


2004. Broadway: A Little Night Music, Billy Elliot (Adult Casting), Shrek, Guys and Dolls, The Little Mermaid, Mary Poppins, Jersey Boys, The Producers, Mamma Mia!, The Phantom of the Opera, The Country Girl, Young Frankenstein, The Farnsworth Invention, Rock ’n’ Roll, The History Boys (US casting), Les Misérables, Spamalot, The 25th Annual Putnam County Spelling Bee, The Pirate Queen, Good Vibrations, Bombay Dreams, Oklahoma!, Flower Drum Song, Imaginary Friends, Metamorphoses (New York casting). Lincoln Center Theater: Happiness, The Frogs, Contact, Thou Shalt Not, A Man of No Importance, Anything Goes (concert). The Kennedy Center: Mame, Mister Roberts, The Sondheim Celebration, and Tennessee Williams Explored. Film: The Producers: The Musical. Members, Casting Society of America.

RICK SORDELET (FIGHT director) 44 Broadway productions, including Disney’s The

LIESL TOMMY (director) previously directed the McCarter Theatre workshop and world premiere of Eclipsed at Woolly Mammoth Theatre Company. She has also directed the world premieres of A History of Light (Contemporary American Theatre Festival), Angela’s Mixtape (Synchronicity Performance Group, New Georges), The Good Negro (Sundance Theatre Institute, Dallas Theater Center, The Public Theater), and A Stone’s Throw (Women’s Project). Her other theatre credits include Yankee Tavern, Stick Fly (CATF); A Christmas Carol (Trinity Rep); In the Continuum (Playmakers Rep); Flight (City Theatre); Hydriotaphia, Camino Real (Trinity Rep/Brown Consortium); Isaac and Ishmael (Chautauqua Theatre Institute); Small Tragedy, Medea Project (NYU/Strasberg Institute); Split Ends (La MaMa E.T.C.); Bus, Family Ties (Cristian Panaite Play Company) for the Romania Kiss Me! Festival; Misterioso 119 (Berkshire Theatre Festival, Act French Festival/Lark Theatre); Adventures of Barrio Grrrl (Summer Play Festival); Uncle Vanya and Our Lady of 121st Street (Juilliard). She was awarded the NEA/TCG Directors Grant and the New York Theatre Workshop Casting/Directing Fellowship, is a member of the Soho Rep Writer/Director Lab and Lincoln Center Theater Directors Lab, and is a New York Theatre Workshop Usual Suspect. Liesl has taught directing at Trinity Rep/Brown University’s MFA Directing Program and acting at NYU’s Tisch School of the Arts. She is a native of Cape Town, South Africa. 18




Lion King, Beauty and the Beast, Tarzan, The Little Mermaid, and Aida. He has staged the fights for the opera Cyrano de Bergerac starring Placido Domingo at the Metropolitan Opera, The Royal Opera House, and the LaScala in Milan, Italy; and for over 40 productions on five continents. Film: The Game Plan starring Dwayne “The Rock” Johnson; Dan in Real Life starring Steve Carell and Juliette Binoche; and Hamlet starring Campbell Scott. He served as the chief stunt coordinator for Guiding Light and staged the fights for First Jedi, a CD-ROM for George Lucas. Rick received the Lucille Lortel Award for Sustained Excellence in 2007. He teaches at Yale School of Drama, The New School for Drama, and The Neighborhood Playhouse. He is a company member of The Drama Dept., a board member of The Shakespeare Theatre of New Jersey, and the author of the play Buried Treasure. He is married to actress Kathleen Kelly and has three children: Kaelan, Christian, and Collin.





DEC 19/2PM


yale repertory theatre ARTISTIC DIRECTOR JAMES BUNDY is in his eighth year as Dean of Yale School of Drama and Artistic Director of Yale Repertory Theatre. In his first seven seasons, Yale Rep has produced more than twenty world, American, and regional premieres, three 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 twenty 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, and Death of a Salesman 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.

MANAGING DIRECTOR VICTORIA NOLAN is in her 18th 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 2000 recipient of the Betsy L. Mahaffey Arts Administration Fellowship Award from the State of Connecticut and the 2005 recipient of the Elm/Ivy Award, given jointly by Yale University and the City of New Haven for distinguished service to the community.

ASSOCIATE ARTISTIC DIRECTOR JENNIFER KIGER is in her fifth year at Yale Rep and is also director of the new play programs of the Yale Center for New Theatre, an integrated, playwrightdriven 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 Co20

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.

PRODUCTION SUPERVISOR BRONISLAW SAMMLER 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. His book Structural Design for the Stage won the United States Institute of Theatre Technology’s Golden Pen Award. Demonstrating his commitment to excellence in technical education and professional production, he founded USITT’s National Theatre Technology Exhibit, an on-going biennial event; he has served as a commissioner and a directorat-large and is a lifetime Fellow of North America’s Theatre Technology Association. He was honored as Educator of the Year in 2006 by the New England Theatre Conference. 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.

PRODUCTION STAGE MANAGER JAMES MOUNTCASTLE has been at Yale Rep since 2004. He has stage managed productions of 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 10 years old, and Katie, age 8.


yale repertory theatre staff James Bundy, Artistic Director Victoria Nolan, Managing Director Jennifer Kiger, Associate Artistic Director

ARTISTIC 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 Associate Artists 52nd Street Project, Kama Ginkas, Mark Lamos, MTYZ Theatre/Moscow New Generations Theatre, Bill Rauch, Sarah Ruhl, Henrietta Yanovskaya Commissioned Artists David Adjmi, Todd Almond, Hilary Bell, Adam Bock, Bill Camp, Will Eno, Marcus Gardley, Ann Marie Healy, Amy Herzog, Naomi Iizuka, Dan LeFranc, Liz Meriwether, Scott Murphy, Julie Marie Myatt, Jay Reiss, Octavio Solis, Paula Vogel, Kathryn Walat, Anne Washburn, Marisa Wegrzyn, Robert Woodruff

Development and Alumni Affairs Deborah S. Berman, Director of Development and Alumni Affairs Debbie Ellinghaus, Senior Associate Director of Development and Alumni Affairs Ann M.K. McLaughlin, Senior Associate Director of Development, Yale Repertory Theatre Whitney Estrin, Associate Director of Development Susan C. Clark, Development Associate Matthew Gutschick, Development Assistant Belene Day, Senior Administrative Assistant to Development and Marketing and Communications Finance and Information Technology Katherine D. Burgueño, Director of Finance and Human Resources Sheila Daykin, Associate Director of Finance Cristal Coleman, Magaly Costa, Maria Frey, Business Office Specialists Randall Rode, Information Technology Director Daryl Brereton, Associate Information Technology Director Niti Mehta, Information Technology Assistant Mara Hazzard, 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, Associate Director of Marketing Shinhyoung Shon, Associate Director of Marketing and Communications Devon Smith, Director of Analytics Rachel Smith, Associate Director of Marketing and Artistic Administration Audience Services Amy Boratko, Literary Manager Sarah Stevens-Morling, Online Communications and Alex Grennan, Kay Perdue Meadows, Artistic Coordinators Print Advertising Manager Brian Valencia, Walter Byongsok Chon, Literary Associates Maggie Elliott, Marketing and Publications Manager Tara Rubin, CSA, Laura Schutzel, CSA, Casting Directors Kit McKay, Marketing Assistant Eric Woodall, Merri Sugarman, Casting Associates Scott McKowen, Punch & Judy Inc., Graphic Designers Paige Blansfield, Rebecca Carfagna, Dale Brown, David Cooper, Photographer Casting Assistants Joan Marcus, Production Photographer Ruth M. Feldman, Director of Education and Janna J. Ellis, Associate Director of Audience Services Accessibility Services and Tessitura Specialist Teresa Mensz, Library Services Assistant Tracy Baldini, Laura Kirk, Assistant Audience Services Directors Josie Brown, Senior Administrative Assistant to the Audrey Rogers, Group Sales Manager Artistic Director and Associate Artistic Director London Moses, Audience Services Assistant Kathleen Driscoll, Senior Administrative Assistant for Courtney Engle, Ruth Kim, Tiffany Lin, Sue Malone, the Directing, Dramaturgy and Dramatic Criticism, William Smith, Anya Van Wagtendonk, Joanna Wilson, Playwriting, and Stage Management Department Box Office Assistants Mary Volk, Senior Administrative Assistant for the Design and Sound Design Departments Operations William J. Reynolds, Director of Theater Safety ADMINISTRATION and Occupational Health Michael Barker, Belina Mizrahi, Meghan Pressman, Mike Vandercook, Interim Facilities and Operations Manager Associate Managing Directors Rich Abrams, Operations Associate Art Priromprintr, Assistant Managing Director Jacob Thompson, Security Officer Karena Fiorenza Ingersoll, Management Assistant Ed Jooss, Audience Safety Officer Emalie Mayo, Senior Administrative Assistant Fred Grier, Customer Service and Safety Officer to the Managing Director Ben Holder, Ron Maybrey, Custodial Supervisors Martha Olivo Jurczak, Company Manager Lucille Bochert, Vermont Ford, Warren Lyde, Vondeen Ricks, Mark Roy, Custodians 22

PRODUCTION Bronislaw J. Sammler, Production Supervisor James Mountcastle, Production Stage Manager Jonathan Reed, Senior Associate Production Supervisor Marla J. Beck, 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, First Hand Linda Kelley-Dodd, Costume Project Coordinator Barbara Bodine, Company Hairdresser Linda Wingerter, Costume Stock Manager Robert Snipes, Assistant to the Costume Shop Manager Electrics Donald W. Titus, Lighting Supervisor Jason Wells, Linda Young, Head Electricians Painting Ru-Jun Wang, Resident Scenic Charge Angie Meninger, Scenic Artist Nora Hyland, Assistant Scenic Artist Jennifer Herbert, Assistant to the Painting Supervisor Properties Brian Cookson, Properties Master David P. Schrader, Properties Craftsperson Jennifer McClure, Properties Assistant Rachel Reynolds, Properties Stock Manager Nishi l. Hamrick, Assistant to the Properties Manager Scenery Don Harvey, Neil Mulligan, Technical Directors Alan Hendrickson, Electro Mechanical Laboratory Supervisor Eric Sparks, Shop Foreman Matt Gaffney, Sharon Reinhart, Master Carpenters Lisa McDaniel, Ryan Gardner, Shop Carpenters Amy Jonas, Michael Backhaus, Assistants to the Technical Director Sound Josh Loar, Sound Supervisor Paul Bozzi, Staff Sound Engineer Palmer Heffernan, Nicholas Pope, Assistants to the Sound Supervisor

ADDITIONAL STAFF FOR ECLIPSED Susan Soon He Stanton, Assistant Director Wan Ki Lo, Assistant Scenic Designer Mark Nagle, Assistant Costume Designer Hyun Seung Lee, Assistant Lighting Designer Allison Hall Johnson, Assistant Stage Manager Stephen C. Henson, Associate Production Supervisor Brian Dambacher, Technical Director Shaminda Amarakoon, Hsiao-Ya Chen, Assistant Technical Directors Christopher Swetcky, Master Electrician Nicholas Pope, Sound Engineer Denise O’Brien, Wig Design DeDe Jacobs Komisar, Assistant Company Manager Kate E. Liberman, House Manager DeDe M. Ayite, Scott L. Nielsen, Brad Wallis Tuggle, Marie Yokoyama, Run Crew Karen Hashley, Fight Captain UNDERSTUDIES Miriam Hyman, Maima Lindsey McWhorter, Bessie / Rita Lupita N’yongo, The Girl Da’Vine Joy Randolph, Helena SPECIAL THANKS Boland Production Supply, Inc; Joe Gams and the Branford Gun Club; Ireri Chávez Bárcenas; Cárdenas Alaminos Family; Chávez Bárcenas Family; Kyala y Shatzy The playwright would like to thank Juli Endee, Etweda “Sugars” Cooper, Rita Wheazor, and all the women in Liberia who entrusted her with their stories. 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 Actors and Stage Manager employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers.

The Scenic, Costume, Lighting, and Sound Designers in LORT are represented by United Artists Local USA-829, IATSE.

Projections Erik Trester, Head Projection Technician Stage Operations Janet Cunningham, Stage Carpenter Kate Begley Baker, Properties Runner Charles Harbert, Sound Operator Elizabeth Bolster, Wardrobe Supervisor

Eclipsed, October 23 to November 14, 2009. Yale Repertory Theatre, 1120 Chapel Street.



By Jean Racine Translated by Ted Hughes Directed by Christopher Mirto


By Arthur Schnitzler Translated by Carl R. Mueller Directed by Jesse Jou


LOVE DEATH Three radically different, and equally provocative, plays about what it means—and what it costs—to desire, to love, and to be truly alive.


drama.yale.edu 203.432.1234 TELETYPE ORDERS: 203.432.1521

yale repertory theatre annual fund Go Beyond the Show… Make a gift to Yale Repertory Theatre’s Annual Fund to support the national and international artists you see on our stage, to provide resources for early career and leading playwrights, to create original work at Yale, and to maintain our tradition of artistic excellence and leadership in the American theatre. Your generosity also sustains Yale Rep’s community programs, like WILL POWER!, which introduces nearly 2,000 middle and high school students annually to the power of live theatre, and The Dwight/Edgewood Project, a unique outreach program that, through playwriting, strengthens the self-esteem and creative expression of students from New Haven’s Augusta Lewis Troup and Wexler/Grant Community schools. Your tax-deductible gift to Yale Rep’s Annual Fund—at any level—plays a significant role in contributing to our ability as a nonprofit theatre to bring the best work to our stages and share it with the Greater New Haven community. For more information on how to make a donation, please contact Sue Clark, Development Associate, at (203) 432-1559, susan.clark@yale.edu, or go to www.yalerep.org/donate.





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Adapted by Sarah Ruhl Directed by Jen Wineman


Mail to: Development Office, Yale Repertory Theatre, P.O. Box 208244, New Haven, CT 06520-8244

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to Yale School of Drama and Yale Repertory Theatre LEADERSHIP SOCIETY ($50,000 and above)

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DIRECTOR’S CIRCLE ($1,000-$4,999) Anna Fitch Ardenghi General Charitable Purpose Trust, Bank of America, Trustee Cornelia Barr Margaret A. Bauer Deborah S. Berman Jeffrey A. Bleckner Thomas Bruce James Bundy CEC Artslink Joan D. Channick Patricia Clarkson Enrico L. Colantoni Community Foundation of Greater New Haven Peggy Cowles William E. Curran, Jr. Michael Diamond Henry Dunn Terry Kevin Fitzpatrick Marcus Dean Fuller Fred Gorelick and Cheryl MacLachlan Donald Granger Anne Hamburger Andrew and Jennifer Hamilton Richard Harrison Donald A. Harvey James Earl Jewell Donald and Candice Kohn

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Martin Caan and Carol Petschek Donald Cairns Ian Calderon Joy G. Carlin Cosmo Catalano, Jr. Jenny and Ricardo Chavira John Conklin Robert Cotnoir Anna E. Crouse Susan Curtis Ernestine and Ronald Cwik Bob and Priscilla Dannies Drew S. Days III and Ann R. Langdon Ramon L. Delgado Elizabeth Doyle Mary Elder Eric Elice Jenifer Endicott Roberta Enoch and Steven Canner Peter Entin Abigail Evans Teresa Eyring Glen R. Fasman Stephen L. Godchaux David Goldman and Debbie Bisno James W. Gousseff Wray Steven Graham Rob Greenberg D. Keith Hargreaves Karsten Harries Katherine W. Haskins Michael Haymes and Logan Green Jane C. Head Carol Thompson Hemingway Kathryn Hirsch Kathleen Houle Barnet K. Kellman Charles Kimbrough Francis N. Levy Kenneth Lewis George N. Lindsay, Jr Chih-Lung Liu Brian Mann John McAndrew David E. Moore Arthur Oliner James M. Perlotto Thomas J. Peterson Carol A. Prugh John Rhee Alan Rosenberg David Saltzman Suzanne Sato G. Erwin Steward

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John Robert Hood Christine Jahnke Rolin Jones Cynthia Kaback Edward Kaye Ashley York Kennedy Richard H. Klein Diana E.E. and Fred S. Kleiner Harvey Kliman and Sandra Stein David Kriebs Frances Kumin William Kux James Lapine Michael John Lassell Richard and Elaine Lau Dr. Robert and Inez Liftig Jane Lyman Thomas Lynch Sandra Manley Delia Maroney and Jolie Damiano Glenn and Susan McNamara Carol and Arthur Mikesell Jeffrey Milet Daniel Mufson Victoria Nolan and Clark Crolius Dwight Odle Louise Perkins and Jeff Glans Laura Perlow Elizabeth Prete and Peter Hentschel Stephen Pollock Asghar and Faye Rastegar Ronald Recasner Bill and Sharon Reynolds Ross Sumner Richards Harry M. Ritchie Dawn Robertson Laila Robins Lori Robishaw Steve Robman Dorothy Rostov Dr. Ortwin Rusch Alvin Schecter Larry Schwartz and Russ Rosensweig Alexander Scribner Paul Selfa Sandra Shaner Rachel Sheinkin Mark and Cindy Slane Erich William Stratmann Paul Charles Tigue III Suzanne Tucker David J. Ward Vera Wells Dana Westberg Judith and Guy Yale

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Fredrica Klemm Donald Knight Daniel Koetting Harvey and Ruth Koizim Stephen Kovel Brenda and Justin Kreuzer Joan Kron Bernard Kukoff Raymond T. Kurdt Mitchell Kurtz Howard and Shirley Lamar Marie Landry and Peter Aronson Thomas Lanter David Larson C. James Lawler Gerard Leahy Wing Lee Charles E. Letts III Emily Leue Bradford Lewis Irene Lewis Jeremy Licht Alan Lichtenstein Martha Lidji Bertram Linder Jennifer Lindstrom Romulus Linney Bruce Lockwood Edgar Loessin Robert Hamilton Long II Frank Lopez Sara Low Jean Murkland Luburg Suzanne Cryer Luke Everett Lunning, Jr. Paul David Lukather Thomas Lynch Andi Lyons Janell M. MacArthur Elizabeth M. MacKay Lizbeth Mackay Laura Brown MacKinnon Wendy MacLeod Mrs. Romaine Macomb Alan Mokler MacVey Peter Andrew Malbuisson Joan Manning Peter Marcuse Jonathan Marks Robin Marshall Craig Martin Margaret P. Mason and Samuel W. Bowlby Peter Mason Richard Mason Carole A. Masters Gayle Maurin Beverly May Mary McCabe Tarell Alvin McCraney John and Rebecca McCullough

Robert A. McDonald Brian McEleney Thomas McGowan Deborah McGraw Robert J. McKinna Ann and Chad McLaughlin Patricia McMahon Bruce W. McMullan Susan McNamara Lynne Meadow Mr. and Mrs. James Meisner Stephen W. Mendillo Donald Michaelis Brina Milikowsky George Miller and Virginia Fallon Jonathan Miller Robert J. Miller Saul and Sandy Milles Inga-Brita Mills Mary Jane Minkin and Steve Pincus Cheryl Mintz Lawrence Mirkin Stanley and Phyllis Mishkin Thomas Reed Mohan Richard R. Mone Donald W. Moreland George Morfogen Paul and Maureen Moses Grafton V. Mouen Carol Bretz Murray-Negron Gayther Myers, Jr. David Nancarrow James Naughton Tina C. Navarro William Ndini Tobin Nellhaus Christianna Nelson Regina and Thomas Neville Martha New Ruth Hunt Newman Dr. Nickolas Nickou William and Barbara Nordhaus Mimi and Harold Obstler Dwight R. Odle Janet Oetinger Ann Okerson Richard Olson Fran and Ed O’Neill Sara Ormond Lori Ott Kendric T. Packer Joan D. Pape

Dr. and Mrs. Michael Parry Usha Pasi Mary L. Pepe John L. Peschel William Peters Zane Pihlstrom Andrew Plummer Stephen B. Pollock Lisa Porter Michael B. Posnick Amy Povich Gladys S. Powers Robert Provenza Alvin S. Prusoff and Dr. Deborah DeRose Alec and Drika Purves William Purves Michael Quinn Sarah Rafferty Ronald Recasner Ralph Redpath Sandra and Gernot Reiners Joe Reynolds Mary B. Reynolds Ross Sumner Richards Lisa Steele Roach Brian Robinson Lori Robishaw Douglas Rogers Howard Rogut Joanna Romberg Melina Root Mrs. Samuel Ross John M. Rothman Ron and Jean Rozett Julia Meade Rudd Kevin Rupnik Frederick Russell Virginia Weaver Russell A. Raymond Rutan IV John Barry Ryan Helen and Herbert Sacks Steven Saklad Peter Salovey and Marta Elisa Moret Robert Sandberg Christopher Carter Sanderson Jack and Letha Sandweiss Frank Sarmiento Peggy Sasso Cary Scapillato Joel Schechter Anne Schenck Mr. and Mrs. Michael Schmertzler William Schneider

Georg Schreiber Jennifer Schwartz Kimberly A. Scott Forrest E. Sears Paul H. Serenbetz Sandra Shaner John Victor Shea Morris Sheehan Paul R. Shortt Carol M. Sica Lorraine Siggins and Braxton McKee Michael Vaughn Sims William Skipper Lee Skolnick William and Betsy Sledge Teresa Snider-Stein Suzanne Solensky and Jay Rozgonyi E. Gray Smith, Jr. Marian and Howard Spiro Mary C. Stark Charles Steckler Louise Stein Neal Ann Stephens John Stevens Joseph C. Stevens Marsha Beach Stewart Jaroslaw Strzemien Thomas Sullivan Richard Guy Suttor Tucker Sweitzer David Loy Sword Jack Sydow E. Richmond and Sue Talbot Paul J. Tines Eric Ting David F. Toser Albert Toth Tahlia Townsend Russell L. Treyz James Triner Richard B. Trousdell Deborah Trout Miriam S. Tulin Mr. and Mrs. Gregory Tumminio Melissa Turner Cheever and Sally Tyler Russell Vandenbroucke Joan Van Ark Flora Van Dyke Michael Van Dyke Carrie Van Hallgren Hyla and Barry Vine Fred Voelpel Fred Volkmar

Charles Walkup Elizabeth Walsh Barbara Wareck and Charles Perrow Anne C. Washburn John Ransford Watts Steven I. Waxler Gil Wechsler Betsy and Harry Welch Tan Falkowski Wells Thomas Werder Raymond Werner J. Newton White Peter White Robert and Charlotte White Joan Whitney Robert Wierzel Lisa A. Wilde Robert Wildman John and Virginia Wilkinson David Willson Catherine M. Wilson Marshall Williams Carl Wittenberg Bess Wohl Robin B. R. Wood Amanda Woods Tamilla Woodard Yun C. Wu Arthur Zigouras Albert Zuckerman

EMPLOYER MATCHING GIFTS Aetna Foundation 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

This list includes current pledges, gifts, and grants received from July 1, 2008‚ through October 15, 2009. For more information about making a donation to Yale Repertory Theatre, please contact Sue Clark at 203.432.1559 or susan.clark@yale.edu. 29

Yale Rep’s Education Programs

for your information how to reach us


Yale Repertory Theatre Box Office 1120 Chapel Street (at York St.) PO Box 1257, New Haven, CT 06505 203.432.1234 TTY (TELETYPE): 203.432.1521 yalerep@yale.edu

Restrooms are located downstairs. Please contact the concierge for assistance with the elevator.

box office hours Monday to Friday from 10AM to 5PM Saturday from 12 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.

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 10,000 Connecticut students and educators. The Dwight/ Edgewood Project brings ten middle school students from New Haven’s Augusta Lewis Troup and Wexler/ Grant Community schools to Yale Rep for a month-long, after-school playwriting program designed to strengthen their self-esteem and creative expression.

emergency calls Please leave your cell phone and/or beeper, name, and seat number with the concierge. We’ll notify you if necessary. Emergency-only telephone number at Yale Rep: 203.764.4014

group rates Discounted tickets are available for groups of ten or more. Please call 203.432.1572.

Yale Rep’s education programs are supported in part by Donald and Patricia Anderson; Anna Fitch Ardenghi General Charitable Purpose Trust, Bank of America, Trustee; Bank of America; Deborah S. Berman; Bianca F.-C. Calabresi; the Carolyn Foundation; Bob and Priscilla Dannies; the Lucille Lortel Foundation; Romaine A. Macomb; Mrs. Romaine Macomb; Jane Marcher Foundation; NewAlliance Foundation; Robbin A. Seipold; Sandra Shaner; Target Stores; Charles and Patricia Walkup; Bert and Martha Weisbart; and Esme Usdan.

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.


Yale Repertory Theatre offers all patrons the most comprehensive accessibility services program in Connecticut, including a season of open-captioned and audio-described performances, a free assistive listening system, large-print and Braille programs, a direct TTY (teletype) line to Yale Rep’s Box Office (203.432.1521), 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 rm.feldman@yale.edu. Yale Repertory Theatre’s accessibility services are supported in part by The Seedlings Foundation, the Carol L. Sirot Foundation‚ and Romaine A. Macomb.

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): You’ll


Nov 7

Nov 14

never again have to ask, “What did they say?” Open Captioning provides a digital display of the play’s dialogue as it’s spoken.


Dec 12

Dec 19


Feb 20

Feb 28

The Servant of Two Masters

Mar 27 Apr 3

Battle of Black and Dogs

May 1

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

Open Captioning and Audio Description performances are at 2PM. AD pre-show description begins at 1:45PM.

c2inc is pleased to be the official Open Captioning provider of Yale Repertory Theatre.

May 8

from top: schools gathering for WILL power!; the dwight/edgewood project, 2009.

SPONSORSHIP corporate sponsors Mionetto USA

Scoozzi Trattoria and Wine Bar

community sponsors Chestnut Fine Foods Connecticut Presort Est Est Est Fleur de Lys Floral and Gifts Hull’s Arts Supply and Framing New Haven Advocate

TD Bank

New Haven Register Thames Printing Company, Inc. WSHU Public Radio Group The Study at Yale, a Boutique Hotel Willoughby’s Coffee and Tea The Yale Bookstore Yellowbook

These lists include current pledges, gifts, and grants received from July 1, 2008‚ through October 15, 2009. 31

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This issue looks at how Romania’s theater has emerged from the end of Communism and the Ceaușescu era. Romania sits visibly on a generational divide, and many young people have grown impatient for progress. Their perspectives, as well as the work of Purcărete and his peers, are documented here. CONTEMPORARY CENSORSHIP AND PERFORMANCE

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(Uzbekistan)—and address both direct, state-sponsored suppression and the disparate cultural pressures that hamper theatrical expression, such as financial constraints and political, ethnic, and religious sensitivities.

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The contributors to this issue explore manifestations of theater censorship—from New York to Birmingham (England) to Zimbabwe to Beirut to Tashkent

Wormwood blurs the line between fantasy and reality in its portrayal of life in Poland under martial law. At once heartbreaking, humorous, and brutally physical, Wormwood—performed by the original Polish cast—is a rare remounting of the landmark 1985 production that prompted Theatre of the Eighth Day’s exile from Poland. PERFORMED IN POLISH WITH ENGLISH SUPERTITLES. FOR MATURE AUDIENCES.

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