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A Note From the Artistic Director Welcome to Henrik Ibsen’s An Enemy of the People, rendered by the preeminent translator, Paul Walsh, and with it, the opening of Yale Rep’s 2017–18 season! As the phrase “enemy of the people” found currency in President Donald J. Trump’s tweets at the beginning of 2017, I was drawn back to this script, written 135 years ago, to revisit what Ibsen knew about all of us—before any of us were even on the planet. It turns out that he was well-equipped to evoke our own time, and the forces threatening to unravel the fabric of our community: demagoguery, crony capitalism, demonization, nepotism, elitism, close-mindedness, self-delusion, and the relentless pursuit of economic advantage at the expense of our own health. It is inspiring to consider Ibsen’s proposition that open-mindedness is the same thing as morality. But it is also bracing to contemplate the extent to which we are increasingly more disposed to find fault with others than to work together to solve our problems. Who among us does not know what it feels like to name—or to be seen as—an enemy? How easy is it to take one’s eyes off the prize? The universal and the particular collide in Ibsen’s plays with extraordinary and lasting power. In his lifetime, he was almost the first, and certainly the greatest, dramatic chronicler of how people whom one actually meets in life—a mayor, a town doctor and his family, a newspaper editor, a sea captain, and others—might actually behave. Such deft writing makes his plays immediately humane and funny, and has allowed us to recruit a magnificent company of 17 actors embracing all the evocations of the human spirit, for better and for worse, that Ibsen articulated in this work. Just as nimble are the creative team, and the stage crew, all of whom have entered wholly and generously into the process of theatricalizing this play for and with you at this performance. I am deeply grateful to them for their inventive energy, and to you for your imaginative presence. We hope you will return when our season continues in November and December with Native Son, a new play by Nambi E. Kelley adapted from Richard Wright’s iconic novel, directed by Seret Scott. In January and February, Rude Mechs, the Texas-based theatre ensemble who have performed here before to sold-out houses, will debut their latest work, Field Guide, commissioned by Yale Rep. March and April bring Resident Director Liz Diamond’s staging of Father Comes Home from the Wars, Parts 1, 2 & 3, the first installment of Pulitzer Prize winner Suzan-Lori Parks’s new American Odyssey. Acclaimed Chilean theatre artist Guillermo Calderón’s play Kiss will close the season in April and May, in a new production staged by Resident Director Evan Yionoulis. As always, I look forward to hearing what you think about the play or any of your experiences at Yale Rep: my email address is firstname.lastname@example.org. Sincerely, James Bundy Artistic Director 6
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TRANSLATED FROM THE NORWEGIAN BY PAUL WALSH DIRECTED BY
JAMES BUNDY MATTHEW SUTTOR DAVID DORFMAN
TYE HUNT FITZGERALD CHAD KINSMAN BECCA TERPENNING GRACE ZANDARSKI
Casting Director TARA RUBIN CASTING LAURA SCHUTZEL, CSA
Yale Repertory Theatre gratefully acknowledges Carol L. Sirot for generously supporting the 2017–18 season. Yale Rep is supported in part by the Connecticut Department of Economic and Community Development.
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in order of speaking
Mrs. Catherine Stockmann
Mayor Peter Stockmann
Doctor Thomas Stockmann
JAMES JISOO MARONEY STEPHANIE MACHADO JARLATH CONROY
Aslaksen TYRONE MITCHELL HENDERSON Ensemble GREG WEBSTER ARBENDER ROBINSON MIKE BOLAND MARK SAGE HAMILTON BILL KUX MARIAH SAGE
Setting A coastal town in the south of Norway. THERE WILL BE ONE 15-MINUTE INTERMISSION.
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Rebel with a Myriad of Causes Henrik Ibsen didn’t just unsettle Western drama: he defied many of its conventions and pulled it into modernity. Like many of his characters, Ibsen railed against established ways of thinking. He distrusted any entity—religion, politics, even the family—that gave the will of the many dominion over the individual. The struggle for self-realization over societal obstacles was his personal and dramatic engine. A vigorous experimenter in dramatic form, Ibsen rarely repeated himself over his 50-year career. Every play was another manifesto in his individual and aesthetic revolution. Ibsen’s great success as a playwright may have been the result of the setbacks and failures he faced in his youth. Born in the small port town of Skien, Norway, he might have taken up the family trade, but his father’s mercantile business ran aground in 1836, when Ibsen was just eight years old. At the age of 15, he left school to become a pharmacist’s apprentice, and then studied on his own for university entrance exams. In his class-bound society, much hinged on academic success and access to higher education, but when Ibsen failed these exams in August 1850, he decided to pursue another career— playwriting. During his years working in the pharmacy, Ibsen had tried his hand at writing and published his first play, Catiline, about a rebellious Roman senator, in April 1850. Five months later, the Christiania Theater produced his second play, The Burial Mound. At the time, Norwegian culture was almost entirely imported from the Continent, so these modest achievements put Ibsen at the forefront of native Norwegian drama. For the next 13 years, he wrote and directed for theatres in Bergen and Christiania (as Oslo was known until 1925). His early epic verse dramas, like The Vikings at Helgeland (1858), were informed by the nationalistic fervor sweeping Norway. But, by 1864, he saw in the political change of the Norweigian national character a “swinishness” he could not bear. He and his family decided upon self-imposed exile, and he would not set foot on Norwegian soil for the next 27 years. 12
Henrik Ibsen: Rebel with a Myriad of Causes Living abroad, first in Italy and then in Germany, Ibsen entered a new phase of his career. Brand (1867) and Peer Gynt (1867) combine the lyrical and folkloric nature of his earlier work with a new focus on individuals who strive to create meaningful lives for themselves in the face of societal obstacles. Such plays pointed the way towards the next development, his realistic “socialproblem” plays. Beginning with The League of Youth in 1869, he abandoned verse in favor prose. Instead of well-worn legends, he turned to newspaper headlines and contemporary events for subject matter. His characters were no longer historic or mythic figures, but looked, sounded, and behaved just as the members of the audience did. He banished self-
consciously theatrical devices like asides and soliloquies from his stage. In A Doll’s House (1879), Ghosts (1881), An Enemy of the People (1882), and Hedda Gabler (1890), Ibsen presented complex arguments surrounding pressing issues. Never devolving into didactic lectures, these plays fomented further debate outside the theatre. Before a stroke in 1900 ended Ibsen’s writing career, he again broke new ground with the deeply symbolic and psychological works The Master Builder (1892), John Gabriel Borkman (1896), and When We Dead Awaken (1899). In them, characters are no longer at war with society, but with their own pasts, coming to grips with self-serving decisions. He died in 1906 in Christiania, a national hero.
PREVIOUS PAGE: Henrik Ibsen portrait by Erik Werenskiold, 1885. BELOW: Digermulen, Norway, 1890, courtesy of the Library of Congress, Prints and Photographs Division.
PARTY OF ONE Sitting in Rome’s Scandinavian Club, reading newspapers from home, Henrik Ibsen grew despondent about the marked political changes occurring in Norway during the early 1880s. A fierce advocate for free-thinking individualism, Ibsen was concerned about the emergence of political parties and surging populism in his homeland. An Enemy of the People, in which a town is pulled apart by divisive national and local forces, is his cautionary tale. An elongated stretch of mountains and coasts on the northern periphery of Europe, Norway had been ruled by foreign crowns since the 14th century. Its small economy was based on agriculture, timber, and shipping. Although its constitution—written during a brief attempt at independence in 1814—sought to establish popular sovereignty as the basis of government, in practice, the Swedish King’s appointed representatives controlled Norwegian national matters. This arrangement led to decades of tension between the king’s elite ministers and the Storting, the legislature elected by property-owning Norwegian men. But Norway’s difficult terrain, lack of transportation infrastructure, and sparse population distribution meant that isolated municipalities were effectively autonomous. Appointed mayors and elected town councils
held the sole power to tax citizens, which made strong local governments essential to economic development. During the Industrial Revolution, migration and urbanization fostered a new Norwegian middle-class of small business owners and entrepreneurs, all of whom wielded significant influence. By the early 1880s, loose factions were forming in reaction to such issues as universal suffrage, workers’ rights, public education, temperance, ending political patronage, and forcing ecclesiastical reforms in the powerful state church. Growing divisions among these new parties were seized upon and deepened by partisan newspapers. Early in 1882, the same year he wrote An Enemy of the People, Ibsen remarked, “I receive more and more proof that there is something demoralizing in engaging in politics and in joining parties.” However, despite the despair in his words, Ibsen couldn’t resist offering a response to his country’s turmoil: a play laying bare the nation’s problems. The unnamed town in the play sees a crisis which pits its mayor against his brother, a respected doctor, and their struggle represents the debates facing a rapidly modernizing Norway: national versus local, progress versus stability, and populism versus elitism. From his armchair in faraway Rome, Ibsen sought a path to Norway’s future. —CK
How Do You Say “ENEMY
A Brief History and Language Le
At 1:48pm on Friday, February 17, 2017, President Donald J. Trump pressed send on a tweet declaring @NYTimes, @NBCNews, @ABC, @ CBS, and @CNN, the preeminent members of his primary bugbear, the media, “the enem[ies] of the ng taxes nsed by risi ce in , E C American People!” Whether the 7 In 6 of imperial ed abuses tweeter-in-chief knew the history peror and perceiv veral of Em authority, se ors rn of that loaded phrase or not, ve incial go Nero’s prov n his e h W politicians and government officials . ainst him g a d lle e b re him the have used those words against their bandoned yal guard a ro ation ideological opposites for almost ar, the situ following ye e onceth two millennia. nable for te n u e m beca Rome, and —CK ler. He fled ru r la u p o p e Senate day after th later, just a my of the im “an ene declared h suicide. committed e h ,” le p o pe
k veled to Denmar In 1852, Ibsen tra y el here he lik and Germany, w akespeare’s Sh d re encounte st time. He also work for the fir ork of criticism discovered a w various types of which surveyed y, and domestic tragedy, comed or, Hermann dramas. Its auth Coriolanus d Hettner, praise e example fin ly al as an especi cal character of a psychologi uld have read tragedy. Ibsen co in Norwegian, ay Shakespeare’s pl as se is translated where the phra , an rm Ge or in “en folkefiende,” l ra ve se , ct fa “volksfeind.” In ted many scholars have no e characters th n ee tw similarities be n. d Dr. Stockman of Coriolanus an 15
Y OF THE PEOPLE” in …?:
esson of the Provocative Phrase
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In a speech given on December 25, 1793, Robespierre, at the beginning of the Reign of Terror, decried all those who stood against the sansculottes as their enemies and deserving of death. Robespierre’s impassioned rhetoric helped sharpen the revolutionaries’ knives and incited some of the worst violence of the French Revolution. Of course, he himself fell victim to the people, and their guillotine, in 1794.
Although Mao Zedong occasionally used the epithe t “enemy of the people,” as he did in a 1957 speech, the expression was viewed as too foreign for the nationalistic brand of communism practiced in the People’s Republic of China. Mao did , however, use the phrase to describe what he saw as the “enemy of the people of the entire world”—the imperialism of the United States.
Cast BEN ANDERSON (BILLING) is a third-year MFA candidate at Yale School of Drama, where his credits include Our Lady of 121st Street, New Domestic Architecture, The Dog Pack Play, Bulgaria! Revolt!, ’Tis Pity She’s a Whore, and Titus Andronicus. Regional credits include Indiana Repertory Theatre, The New Harmony Project, Yale Cabaret, Yale Summer Cabaret, and Yale Institute for Music Theatre. He is a member of The Road and Rogue Machine theatre companies in Los Angeles. Ben holds a BFA in theatre performance from the University of Evansville. MIKE BOLAND* (ENSEMBLE) is making his Yale Rep debut. He has performed on Broadway in An Enemy of the People, Off-Broadway in The Orphans’ Home Cycle (Drama Desk Award), and in national tours of Twelve Angry Men, West Side Story, and All My Sons. His regional theatre credits include productions at Hartford Stage, Long Wharf, Theaterworks, Playhouse on Park, Ivoryton, Music Theatre of Connecticut, Summer Theatre of New Canaan, Fulton, Coastal Carolina, Virginia Stage, Judson, Engeman, Westchester Broadway, Queens Theatre, Bristol Riverside, and Totem Pole. He has appeared on TV in Rubicon, Zero Hour, and Person of Interest; starred in the Prism Award-winning indie film Bobby Dogs; and is writer, director, and co-star of the web series Frank and Ernie. ATTICUS BURRELLO (EILIF STOCKMANN) recently played Les in Newsies at Connecticut Repertory Theatre. Other credits include Peter Cratchit (2016) and Turkey Boy (2015) in Hartford Stage’s A Christmas Carol, Michael in Peter Pan at Connecticut Repertory Theatre, Michael in Mary Poppins at E.O. Smith, Chris in a workshop of Bess Wohl’s Make Believe at Hartford Stage, and Caliban in The Tempest and Theseus/ Francis Flute in Midsummer Night’s Dream at Excursions in Learning Academy for Gifted and Talented Youth. TV and film: Blue Bloods on CBS and The Weekend Fix. Atticus is in eighth grade at the Ashford School in Ashford, Connecticut.
ENRICO COLANTONI* (MAYOR PETER STOCKMANN) previously appeared at Yale Rep in Hamlet (1992). He is a 1993 graduate of Yale School of Drama and appeared at Yale Cabaret in The Man with the Flower in His Mouth. New York theatre credits include The Merry Wives of Windsor (The Public Theater/Shakespeare in the Park) and Arabian Nights (Manhattan Theatre Club). Regional and international: The Distance from Here (Almeida Theatre, London), Dracula (The Old Globe, San Diego), and The Triumph of Love (Guthrie Theater, Minneapolis). Film and television: Just Shoot Me!, Veronica Mars, Person of Interest, Flashpoint, Galaxy Quest, Contagion, and A.I. He is a Beinecke Fellow at Yale School of Drama this fall. 17
JARLATH CONROY* (MORTEN KIIL) previously appeared at Yale Rep in Happy Days and Hamlet. His Broadway credits include The Seagull; The Weir; The Iceman Cometh; On the Waterfront; Philadelphia, Here I Come!; The Visit; Ghetto; Macbeth; and Comedians. His Off-Broadway credits include Happy Days, Loot, The Coward, A Man of No Importance, Pigtown, A Life, Our Lady of Sligo, A Couple of Blaguards, Gardenia, the American premiere of Translations, and The Matchmaker. His regional theatre credits include Outside Mullingar; The Homecoming; Da; The Steward of Christendom (Barrymore Award); Juno and the Paycock (Helen Hayes Award); Henry V (Helen Hayes Award nomination); Faith Healer; Molly Sweeney; Twelfth Night; Ah, Wilderness!; The Plough and the Stars; and A Christmas Carol. At the Royal Court: Cromwell and Hamlet. He has also directed productions of True West and Human Resources. His film and television appearances include Erica Fae’s To Keep the Light, Putzel, True Grit (2010), The Art of Getting By, Across the Universe, Kinsey, Stay, Day of the Dead, Heaven’s Gate, Law & Order: SVU, NYPD Blue, Law & Order: Criminal Intent, The Beat, Summer, and A Marriage: O’Keeffe and Stieglitz. MARK SAGE HAMILTON* (ENSEMBLE) was most recently seen in the Elm Shakespeare Company’s production of Romeo and Juliet as Lord Capulet. Appearances at Yale Rep include Death of a Salesman with Charles S. Dutton and King Lear with Avery Brooks. New York credits include Richard III (American Theatre of Actors), The Tempest (Columbia University), and Thirst (Provincetown Playhouse). Regional credits include King Lear (Cincinnati Playhouse in the Park), A Streetcar Named Desire (Hartford Stage Company), Romeo and Juliet (Prince) and The Tempest (Gonzalo) with the Elm Shakespeare Company. Mr. Hamilton earned his MFA from Ohio University, and is a graduate of Fairfield University and a member of The Theatre Artists Workshop of Connecticut.
TYRONE MITCHELL HENDERSON* (ASLAKSEN) is the founder of Quick Silver Theater Company. Previously at Yale Rep: The America Play, The Piano Lesson, The Winter’s Tale, and War. New York credits: Rancho Viejo; Bring in ’Da Noise, Bring in ’Da Funk national tour, The Piano Lesson, The Tempest, Two Noble Kinsmen, The Public Sings, King Lear. Additional regional credits include Topdog/Underdog, Aubergine, The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures, Angels in America, The Trip to Bountiful, Tartuffe, Radio Golf, The 39 Steps, Romeo and Juliet, Julius Caesar, Antony and Cleopatra, Othello, Hamlet, Intimate Apparel, Yellowman, Jitney, All My Sons, The Crucible, and Blues for an Alabama Sky. Television: Sneaky Pete, Elementary, Orange Is the New Black,
*MEMBER OF ACTORS’ EQUITY ASSOCIATION, THE UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS. 18
Cast Unforgettable, The Following, Boardwalk Empire, Suits (pilot), five episodes of the Law & Order franchise. Film: The Upside (2018), Unforgettable, Ride for Your Life, and The Treatment. TyroneMitchellHenderson.com
BILL KUX* (ENSEMBLE) has appeared at Yale Rep in Much Ado About Nothing, The Philanderer, and The Psychic Lives of Savages. On Broadway he has been seen in Gore Vidal’s The Best Man, The Trip to Bountiful, and Ain’t Broadway Grand. He toured the country in Death of a Salesman with Hal Holbrook. Off-Broadway appearances include Incident at Vichy, The Philanthropist, Absent Friends, Baby with the Bathwater, and Summer of ’42. He has appeared at regional theatres including La Jolla Playhouse, Long Wharf, Seattle Rep, Arena Stage, and over 10 years with Hartford Stage. He is a graduate of Yale School of Drama. STEPHANIE MACHADO (PETRA STOCKMANN) is a third-year MFA candidate at Yale School of Drama, where she has been seen in A Midsummer Night’s Dream, Bulgaria! Revolt!, Blood Wedding, and Amy and the Orphans. Other credits include Cloud Tectonics (Yale Cabaret). She holds a BFA in acting from Southern Methodist University and is a graduate of New World School of the Arts in Miami, Florida. stephaniemmachado.com JAMES JISOO MARONEY (MORTEN STOCKMANN) is thrilled to be making his Yale Rep debut. He most recently performed the role of Mercutio in Romeo and Juliet in Elm Shakespeare Company’s summer theater program. Favorite roles include Prince Eric in The Little Mermaid, Simba in The Lion King, Jr., Charlie Brown in A Charlie Brown Christmas, and Billy Jay Ray in Wicked Witch of The West: Kansas or Bust (Pantochino Productions). He received the Best Young Actor Under Age 25 Award from Broadway World in January 2016.
JOEY PARSONS* (MRS. CATHERINE STOCKMANN) Previous Yale Rep productions include Measure for Measure and The Comedy of Errors. Other theatre credits include Vanity Fair, Stupid F**king Bird, The Rivals, Figaro, The Misanthrope, Wittenberg (The Pearl Theatre); A Midsummer Night’s Dream (The Pearl/Hudson Valley Shakespeare Festival, Drama League Nomination); A Little Journey (The Mint Theatre); Not Medea, Gidion’s Knot, Dear Sara Jane, Fifty Words (Contemporary American Theater Festival); Blithe Spirit (Syracuse Stage); God of Carnage (Arizona Theatre Company/San Jose Rep, San Francisco Bay Area Theatre Critic’s Circle Award: Outstanding Principal Actress); Rabbit Hole 19
(Pittsburgh Public/Hartford TheatreWorks); Dead Man’s Cell Phone (Hartford TheatreWorks); The Shape of Things (The Repertory Theatre of St. Louis); The Tempest, As You Like It, Richard III, The Winter’s Tale, The Merry Wives of Windsor, and Two Gentlemen of Verona (Hudson Valley Shakespeare Festival). Television: Madam Secretary, The Mysteries of Laura, Law & Order: SVU, Law & Order: Trial By Jury, Third Watch, Deadline. Film: Before/During/After, Lightning Jack. MFA: Yale School of Drama.
ARBENDER ROBINSON* (ENSEMBLE) is excited to be making his Yale Rep debut. Arbender has spent the past 15 years on Broadway in Hairspray, Disney’s The Little Mermaid and The Lion King, Hair, Ragtime, The Book of Mormon, Beautiful: The Carole King Musical, Les Misérables, Shuffle Along, and In Transit. Regionally, Arbender has performed in Tod, the Boy Tod; Measure for Measure; Fences; A Raisin in the Sun; The Boys Next Door; and Smokey Joe’s Café. Arbender is a Chicago-area native and a proud graduate of Viterbo University in La Crosse, Wisconsin. arbender.com
REG ROGERS* (DOCTOR THOMAS STOCKMANN) Previous Yale Rep credits: Largo Desolato, Hamlet, The Beauty Part, Figaro/Figaro, Landscape of the Body, and Rough Crossing. Recent New York theatre: Present Laughter, Privacy, You Can’t Take It with You. Not so recent: The Royal Family (Outer Critics Circle nomination), The Pain and the Itch, Cellini, The Dazzle (OBIE and Lucille Lortel Awards), Holiday (Tony Award nomination). Film and television includes Primal Fear, Runaway Bride, Igby Goes Down, Analyze That, Lovely by Surprise, I Shot Andy Warhol, Friends, Hell on Wheels, The Americans, Boardwalk Empire, Flesh and Bone, and The Knick. He is a Beinecke Fellow at Yale School of Drama this fall.
BOBBY ROMAN (HOVSTAD) is a third-year MFA candidate at Yale School of Drama, where his credits include Titus Andronicus, Othello, Blood Wedding, and Our Lady of 121st Street. Other credits include Cloud Tectonics and North of Providence at Yale Cabaret. He has appeared in productions at Times Square Arts Center, Manhattan Repertory Theatre, 59e59, and Cabrini Repertory Theater, among others, as well as several independent films. He is a graduate of the William Esper Studio Conservatory as well as a recipient of the Jerome L. Greene Foundation scholarship. bobbyromanactor.com *MEMBER OF ACTORS’ EQUITY ASSOCIATION, THE UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS. 20
Cast MARIAH SAGE* (ENSEMBLE) has performed with theatres across the country and in Europe, including Trinity Rep; The Cleveland Play House; The Apollo in Dusseldorf, Germany; and many productions with Theatre 4, a company she co-founded. She recently performed in Heart, a new play she co-wrote, at Cleveland Public Theatre. Mariah is on the theatre faculty at Quinnipiac University. She is also the founder of Present & Perform, an audition preparation and private coaching company in New Haven (presentandperform.com). Mariah earned her BFA in drama at NYU/ Tisch and her MFA in acting at Brown University/Trinity Rep. SETAREKI WAINIQOLO (CAPTAIN HORSTER) is a thirdyear MFA candidate at Yale School of Drama, where his credits include ’Tis Pity She’s a Whore, The Three Sisters, and Our Lady of 121st Street. Originally from Fiji, he holds a BA in theatre arts from California Lutheran University.
GREG WEBSTER* (ENSEMBLE) has worked as an actor, director, teacher, and choreographer from Broadway to the West End as well as regional theatres throughout the United States. Greg is the founding Artistic Director of the internationally-acclaimed Split Knuckle Theatre Company, which has performed in 22 countries to date. Northeast credits include Hartford Stage Company, Long Wharf Theatre, Shakespeare and Company, and Connecticut Repertory Theatre. Teaching: He is an Assistant Professor of Movement Theater at the professional actor-training program at University of Connecticut and is responsible for teaching the pedagogy of the French theatre master Jacques Lecoq and stage combat. Education/training: He is a graduate of the London International School for Performing Arts. He holds an MFA from University of Missouri-Kansas City. He is an accomplished martial artist, Authentic Pilates instructor, Gyrotonic® teacher, and personal trainer. He holds a black belt in Aikido and is a former Golden Gloves boxer.
Creative Team JAMES BUNDY (DIRECTOR) Please see page 25 for his bio. SOPHIA CHOI (COSTUME DESIGNER) is a third-year MFA candidate at Yale
School of Drama, where her credits include A Midsummer Night’s Dream, The Three Sisters, and New Domestic Architecture. Other Yale credits include Lear, Mies Julie (Yale Summer Cabaret); The Other World, The Slow Sound of Snow, and Caught (Yale Cabaret). Other design credits include Pride and Prejudice (Theatre VCU) and Oddstruck (2016 Richmond International Film Festival selection). Sophia received first place at the SETC Design Competitions in 2014 and 2015 and holds a BFA in theatre design from Virginia Commonwealth University. sophia-choi.com
DAVID DORFMAN (CHOREOGRAPHER) is pleased to return to Yale Rep, where his previous credits include Assassins and Indecent, which marked his Broadway debut earlier this year, and for which he received a Lortel Award and Chita nomination for its Off-Broadway run at Vineyard Theatre. David Dorfman Dance is celebrating its 30th anniversary in 2017 with a new dance, Aroundtown, at Brooklyn Academy of Music’s Next Wave Festival November 8–11. DD has been Professor of Dance at Connecticut College since 2004, and is the recipient of a Guggenheim fellowship; four NEA fellowships; a New York Dance and Performance Bessie Award; and a Best Choreography Barrymore Award in Philadelphia for Green Violin, directed by Rebecca Taichman. In 2014–15 DDD traveled to Central Asia via the State Department, DanceMotion USA, and BAM. His work can currently be seen in Our Town, a co-production of Deaf West and Pasadena Playhouse. He especially thanks James Bundy once again, and this incredible cast. daviddorfmandance.org
TYE HUNT FITZGERALD (SOUND DESIGNER) is in his third year of training at Yale School of Drama. Hailing from Toronto, Canada, where he worked as a freelance theatrical sound designer, mixer, technician, and recording engineer, Tye previously studied music production and engineering at Fanshawe. Select sound design credits include Feral Child, Concord Floral (Suburban Beast Theatre); The Amy Project—Zero Visibility (Summerworks Theatre Festival); Slouch, Cloud Tectonics, The Slow Sound of Snow, Thunder Above, Deeps Below (Yale Cabaret); Lear (Yale Summer Cabaret); and The Three Sisters (Yale School of Drama). Previously at Yale Rep his Assistant Sound Design and Engineer credits include peerless, Cymbeline, and Assassins. Tye was also a co-artist on Anonymous, By Anonymous, a performance art installation at the Yale University Art Gallery.
CHAD KINSMAN (PRODUCTION DRAMATURG) is a third-year MFA candidate at Yale School of Drama, where his credits include Everything That Never Happened, The Dog Pack Play, and A Midsummer Night’s Dream. Other credits include Current Location, Kaspar, and Xander Xyst, Dragon: 1 (Yale Cabaret); and multiple staged readings at Westport Country Playhouse. Chad is a co-facilitator of Analyzing and Mobilizing Privilege, a group for aspiring allies in social justice issues at the School of Drama. Chad has a Bachelor of Fine Arts from Stephen F. Austin State University in Nacogdoches, Texas. He was also the general manager of the 2017 Dwight/ Edgewood Project.
JAMES MOUNTCASTLE* (STAGE MANAGER) Please see page 27 for his bio. TARA RUBIN CASTING (CASTING DIRECTOR) has been casting at Yale Rep since 2004. Selected Broadway: Falsettos; A Bronx Tale; Dear Evan Hansen; Cats; Disaster!; School of Rock; Doctor Zhivago; It Shoulda Been You; Gigi; Bullets Over Broadway; Aladdin; Les Misérables; Mothers and Sons; Big Fish; The Heiress; How to Succeed in Business Without Really Trying; A Little Night Music; Billy Elliot; Shrek; Guys and Dolls; Young Frankenstein; The Little Mermaid; Mary Poppins; Spamalot; *MEMBER OF ACTORS’ EQUITY ASSOCIATION, THE UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS. 22
Creative Team The 25th Annual Putnam County Spelling Bee; The Producers; Mamma Mia!; Jersey Boys; The Phantom of the Opera. Off-Broadway: Here Lies Love; Old Jews Telling Jokes; Love, Loss, and What I Wore. Regional: Paper Mill Playhouse, La Jolla Playhouse, The Old Globe, Bucks County Playhouse.
KRISTA SMITH (LIGHTING DESIGNER) is a third-year MFA candidate at Yale School of Drama, where her credits include Everything That Never Happened, The Hour of Great Mercy, Bulgaria! Revolt!, and The Merchant of Venice. Other credits include Lear, Antony + Cleopatra, Adam Geist, Alice in Wonderland (Yale Summer Cabaret); And Tell Sad Stories of the Death of Queens, Dutch Masters, Styx Songs, Collisions, and Débâcles (Yale Cabaret). Originally from Albany, California, her regional credits include The Marriage of Figaro, Once on This Island, Jacques Brel Is Alive and Well and Living in Paris, Rent (Cinnabar Theater); The Great Tragedies by Mike Daisey (California Shakespeare Theater); Anatol (Aurora Theatre); Fire Work (Theatre FIRST); Little Brother (Custom Made Theatre); A Doll’s House, The Wild Party, Flu Season, Sueño (A.C.T. Conservatory); and Equus (Boxcar Theatre). She received her BA in drama from San Francisco State University. KristaSmithLD.com
EMONA STOYKOVA (SCENIC DESIGNER) is a third-year MFA candidate at Yale School of Drama, where her credits include The Hour of Great Mercy and Bulgaria! Revolt!. As an intern at the National Theatre, Bulgaria, she worked on Enchanted Night and Life Is Beautiful. American design credits include The Meal (Yale Cabaret); Kaspar (Acme Corporation); Mary Hartman, Mary Hartman (Annex Theatre); and Potatoes of August (E.M.P Collective). Film work includes costume design for Me, You, Nobody Else and Tales (short). She holds BAs in scenography and in theory and practice of art education from the National Academy of Arts in Sofia, Bulgaria, as well as a professional qualification in painting from the National School of Fine Arts. MATTHEW SUTTOR (COMPOSER), New Zealand-born Matthew Suttor is Professor in the Practice and Director of the Laurie Beechman Center for Theatrical Sound Design and Music at Yale School of Drama. Often combining acoustic forces with music technology, Suttor has composed operas, dance works, and music for all kinds of theatrical productions as well as chamber music, sacred pieces, sound installations, and scores for television. Suttor’s work in opera and dance includes Don Juan in Prague, in collaboration with director David Chambers, for the Bard SummerScape Festival and revised for the Mozart Prague Festival, the Guggenheim Works and Process series, and the BAM Next Wave Festival. His opera, The Trial of the Cannibal Dog, premiered at the International Festival of the Arts, Wellington, New Zealand, and was broadcast by Radio New Zealand, and I Find Comfort in Thunder for the Folkwang Tanzstudio, Essen, toured Germany. Concert works, installations, and television scores include Syntagma, commissioned by the Yale Institute of Sacred Music, La Prose du Transsibérien, for narrator and chamber ensemble and HxWxL both commissioned by the Beinecke Library, the Eastman School of Music commissioned Buntpapier, and he composed the score for Zoomslide’s two-season television series Real Pasifik. Yale Repertory Theatre
productions include The Intelligent Design of Jenny Chow, All’s Well That Ends Well, The Winter’s Tale, and Arcadia. A Fulbright Scholar, Suttor received a doctorate in composition from Columbia University.
BECCA TERPENNING (TECHNICAL DIRECTOR) is a third-year MFA candidate at Yale School of Drama. Prior to coming to graduate school, she was a staff carpenter at the Juilliard School and the Assistant Technical Director at the Signature Theatre in New York City. Last summer she acted as the Festival Technical Director of Williamstown Theatre Festival. She received her BFA from Ithaca College and owes her career track to the foundations she gained there.
PAUL WALSH (TRANSLATOR) is Professor in the Practice of Dramaturgy and Dramatic Criticism at Yale School of Drama. This is his fifth Ibsen translation to be produced professionally. Other translations include A Doll’s House (American Conservatory Theater, Chesapeake Shakespeare Company, Theatre Vertigo, Williamstown Theatre Festival), The Master Builder (Aurora Theatre, Yale Repertory Theatre, People’s Light & Theatre Company), Hedda Gabler (American Conservatory Theater, Penobscot Theatre Company, Actors Collective, Yale School of Drama, Cutting Ball Theater), and John Gabriel Borkman (Stratford Festival). His translations of August Strindberg’s five Chamber Plays (2012) and A Dreamplay (2015) were produced by Cutting Ball Theater under the direction of Rob Melrose. Walsh has worked as dramaturg, translator, and co-author with theater companies across the country, including Theatre de la Jeune Lune, where he collaborated on such award-winning productions as Children of Paradise: Shooting a Dream, Don Juan Giovanni, Germinal and The Hunchback of Notre Dame. Walsh received a Ph.D. from the Graduate Centre for the Study of Drama at the University of Toronto. GRACE ZANDARSKI (VOCAL COACH) is an Assistant Professor Adjunct of Acting at Yale School of Drama, where she has taught on the voice and speech faculty since 2002. Her vocal coaching credits include Blackbird Cabaret and Mike Nichols’s productions of Death of a Salesman and Betrayal on Broadway; Cymbeline, The Caucasian Chalk Circle, The Master Builder, Romeo and Juliet, The Winter’s Tale, and Hamlet at Yale Rep; as well as productions at the Signature Theatre Company, The Public Theater, New Victory Theatre, McCarter Theatre, and BAM. Grace also serves on the faculty of Fordham University. She has taught master classes for the Lincoln Center Directors Lab and The Public Theater’s Shakespeare Lab. She was named Associate Teacher of Fitzmaurice Voicework in 1998, and has worked with actors and professionals from a variety of backgrounds, including the financial sector, law, and sales, as well as celebrity speakers and politicians. In addition, she continues to work as an actor and director. She is Co-Artistic Director of the Actors Center Workshop Company in New York. Acting credits include the McCarter Theatre, Wilma Theater, Oregon Shakespeare Festival, Ashland, and American Conservatory Theater. Education: MFA, American Conservatory Theater; BA, Princeton University. Grace lives in New York City.
Yale Repertory Theatre JAMES BUNDY (ARTISTIC DIRECTOR) is in his 16th year as Dean of Yale School of Drama and Artistic Director of Yale Repertory Theatre. In his first 15 seasons, Yale Rep has produced more than 30 world, American, and regional premieres, nine of which have been honored by the Connecticut Critics Circle with the award for Best Production of the year and two of which have been Pulitzer Prize finalists. During this time, Yale Rep also has commissioned more than 50 artists to write new work and provided low-cost theatre tickets to thousands of middle and high school students from Greater New Haven through WILL POWER!, an educational program initiated in 2004. In addition to his work at Yale Rep, he has directed productions at Oregon Shakespeare Festival, Great Lakes Theater Festival, The Acting Company, California Shakespeare Festival, Alabama Shakespeare Festival, and The Juilliard School Drama Division. A recipient of the Connecticut Critics Circle’s Tom Killen Award for extraordinary contributions to Connecticut professional theatre in 2007, Mr. Bundy served from 2007–13 on the board of directors of Theatre Communications Group, the national service organization for nonprofit theatre. Previously, he worked as Associate Producing Director of The Acting Company, Managing Director of Cornerstone Theater Company, and Artistic Director of Great Lakes Theater Festival. He is a graduate of Harvard College; he trained at the London Academy of Music and Dramatic Art and Yale School of Drama.
VICTORIA NOLAN (MANAGING DIRECTOR) is in her 25th year as Managing Director of Yale Repertory Theatre, serves as Deputy Dean of Yale School of Drama, and is on its faculty. She was previously Managing Director of Indiana Repertory Theatre, Associate Managing Director at Baltimore’s Center Stage, Managing Director at Ram Island Dance Company in Portland, Maine; and she has held various positions at Loeb Drama Center of Harvard University; TAG Foundation, an organization producing Off-Broadway modern dance festivals; and Boston University School for the Arts. Ms. Nolan has been an evaluator for the National Endowment for the Arts, for which she has chaired numerous grant panels, and has served on other panels and foundation review boards including the AT&T Foundation, The Heinz Family Foundation, Lila Wallace-Reader’s Digest Fund, and the Metropolitan Life Foundation. She has also served on the Executive Committee of the League of Resident Theatres (LORT) and on numerous negotiating teams for national labor contracts. A Fellow at Yale’s Saybrook College, she is the recipient of the Betsy L. Mahaffey Arts Administration Fellowship Award from the State of Connecticut and the Elm/Ivy Award, given jointly by Yale University and the City of New Haven for distinguished service to the community. 25
JENNIFER KIGER (ASSOCIATE ARTISTIC DIRECTOR AND DIRECTOR OF NEW PLAY PROGRAMS) is in her thirteenth year as the Associate Artistic Director of Yale Repertory Theatre and is also the Director of New Play Programs of Yale’s Binger Center for New Theatre. Since its founding in 2008, the Binger Center has supported the work of more than 50 commissioned artists and underwritten the world premieres and subsequent productions of 25 new American plays and musicals at Yale Rep and theatres across the country. Ms. Kiger came to Yale Rep from South Coast Repertory, where she was Literary Manager from 2000–2005 and Co-Director of the Pacific Playwrights Festival. Prior to that, she was a production dramaturg at American Repertory Theater and adapted Robert Coover’s Charlie in the House of Rue and Mac Wellman’s Hypatia for the stage with director Bob McGrath. She has been a dramaturg for the Playwrights Center of Minneapolis and Boston Theatre Works; a panelist for the National Endowment for the Arts and the California Arts Council; and a consultant for the Fuller Road Artist Residency. She is a founding member of the theatre and television company, New Neighborhood. Ms. Kiger completed her professional training at the American Repertory Theater Institute for Advanced Theater Training at Harvard University, where she taught courses in acting and dramatic arts. She is currently on the playwriting faculty of Yale School of Drama.
SHAMINDA AMARAKOON (DIRECTOR OF PRODUCTION) was recently appointed Chair of the Technical Design and Production Department for Yale School of Drama. Previously, he was the production manager at Second Stage Theatre, coordinating the execution of all design elements and consulting on the renovation of their new Broadway house, the Helen Hayes Theatre. Prior to joining Second Stage, he worked for various Broadway, Off-Broadway, and national tours through Tech Production Services and Lincoln Center Theater. He has also worked as a carpenter, technical director, project manager, and in production management at Yale Repertory Theatre, Merry-Go-Round Playhouse (Auburn, New York), Shakespeare Theatre Company (Washington, DC), Center Theater Group (Los Angeles), and Show Motion (Milford, CT). Regional credits include: Jersey Boys (National and Asian tours), Rock of Ages (Las Vegas), Seminar (Los Angeles). Off-Broadway credits include Notes from the Field (starring Anna Deavere Smith, Second Stage); Dada Woof Papa Hot, Preludes (Lincoln Center Theater). Broadway credits include The Heiress, Ann, Lucky Guy (starring Tom Hanks), Rocky, and The King and I; and YouTube Brandcast 2014 at Madison Square Garden. BA, Alfred University; MFA, Yale School of Drama.
Yale Repertory Theatre JONATHAN A. REED (PRODUCTION MANAGER) has been the Production Manager for Yale School of Drama and Yale Repertory Theatre since 2013. Also a member of the Technical Design and Production faculty, teaching courses in management, planning, and technology, Mr. Reed serves on the Yale Summer Cabaret advisory board and as a Faculty Affiliate at the Center for Collaborative Arts and Media. Prior to Yale, he worked as the Technical Director for the Cornell College Department of Theatre and Communication Studies and the Arrow Rock Lyceum Theatre. Mr. Reed has also served as a freelance lighting and sound designer for companies including the Riverside Theatre, Orchesis Dance Company, Open Stage Theatre, and Pennsylvania Centre Stage. He is married to soprano Sarah Comfort Reed, and they have two children, Emma and Henry. BFA, Pennsylvania State University; MFA, Yale School of Drama.
JAMES MOUNTCASTLE (PRODUCTION STAGE MANAGER) has been at Yale Rep since 2004. He has stage managed productions of Scenes from Court Life, or the whipping boy and his prince; Arcadia; A Streetcar Named Desire; American Night: The Ballad of Juan JosĂŠ; Three Sisters; The Master Builder; Passion Play; Eurydice; and the world premiere of The Clean House. Broadway credits include Damn Yankees, Jekyll & Hyde, Judgment at Nuremberg, The Boys from Syracuse, The Smell of the Kill, Life (x) 3, and Wonderful Town. Mr. Mountcastle spent several Christmas seasons in New York City as stage manager for A Christmas Carol The Musical 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 Londonâ€™s West End. In addition, Mr. Mountcastle has worked at The Kennedy Center, Center Stage in Baltimore, Actors Theatre of Louisville, Brooklyn Academy of Music, and elsewhere. James and his wife Julie live in North Haven and are the proud parents of two girls, Ellie and Katie.
An Enemy of the People Staff Yale Repertory Theatre Staff ARTISTIC Kari Olmon, Assistant Director Riw Rakkulchon, Assistant Scenic Designer Yunzhu Zeng, Assistant Costume Designer Samuel Kwan Chi Chan, Assistant Lighting Designer Andrew Rovner, Assistant Sound Designer and Engineer Arbender Robinson, Dance Captain Cleek Schrey, Music Haven Quartet, Triplepoint Trio, Recorded Musicians Bianca A. Hooi, Assistant Stage Manager PRODUCTION William Neuman, Associate Production Manager Chimmy Anne Gunn, David Phelps, Steph Waaser, Assistant Technical Directors Tatsuya Ito, Assistant Properties Master Kirk Keen, Master Electrician Juliana Aiden, Evan Christian Anderson, Brianne Bolante, Logan Ellis, Erin Earle Fleming, Carl Hovick, Sarah Nietfeld, Ilia Paulino, Ellen Reid, Run Crew Justin Meadows, Child Supervisor ADMINISTRATION Markie Gray, House Manager UNDERSTUDIES Mike Boland*, Mayor Peter Stockmann Jacob Chandler, Morten/Eilif Stockmann Gregory Georges, Ensemble (Mark Sage Hamilton) Mark Sage Hamilton*, Aslaksen Manu Kumasi**, Ensemble (Arbender Robinson) Bill Kux*, Morten Kiil Zoe Mann, Ensemble (Mariah Sage ) JJ McGlone, Ensemble (Greg Webster) Francesca Fernandez McKenzie, Petra Stockmann John Evans Reese**, Ensemble (Mike Boland, Bill Kux) Arbender Robinson*, Captain Horster Mariah Sage*, Mrs. Catherine Stockmann Dario Sanchez, Hovstad Greg Webster*, Doctor Thomas Stockmann Devin White, Billing *Member of Actorsâ€™ Equity Association (AEA), the Union of Professional Actors and Stage Managers **Appears courtesy of AEA
SPECIAL THANKS Ron DeMarco and Lisa Guild at Emerson College, Dr. Denise Ho, Long Wharf Theatre properties department, Ruoran Li, Music Haven, Rick Sordelet, Anne Tofflemire 29
James Bundy, Artistic Director Victoria Nolan, Managing Director Jennifer Kiger, Associate Artistic Director Director of New Play Programs ARTISTIC Resident Artists Tarell Alvin McCraney, Playwright in Residence Liz Diamond, Evan Yionoulis, Resident Directors Catherine Sheehy, Resident Dramaturg Michael Yeargan, Set Design Advisor, Resident Set Designer Ilona Somogyi, Costume Design Advisor Jess Goldstein, Resident Costume Designer Jennifer Tipton, Lighting Design Advisor Stephen Strawbridge, Resident Lighting Designer David Budries, Sound Design Advisor Walton Wilson, Voice and Speech Advisor Rick Sordelet, Fight Advisor Mary Hunter, Stage Management Advisor Associate Artists 52nd Street Project, Kama Ginkas, Mark Lamos, MTYZ Theatre/Moscow New Generations Theatre, Bill Rauch, Sarah Ruhl, Henrietta Yanovskaya Artistic Management James Mountcastle, Production Stage Manager Amy Boratko, Literary Manager Kay Perdue Meadows, Artistic Associate Jocelyn Prince, Artistic Coordinator Ashley Chang, Literary Associate Tara Rubin, CSA; Lindsay Levine, CSA; Laura Schutzel, CSA; Kaitlin Shaw, CSA; Merri Sugarman, CSA; Eric Woodall, CSA; Claire Burke; Felicia Rudolph, Casting Josie Brown, Senior Administrative Assistant to the Artistic Director and Associate Artistic Director Laurie Coppola, Senior Administrative Assistant for the Directing, Dramaturgy and Dramatic Criticism, Playwriting, and Stage Management Departments Kate Begley Baker, Senior Administrative Assistant for the Design and Sound Design Departments
Ellen Lange, Senior Administrative Assistant for the Acting Department Lindsay King, Library Services
Elizabeth Beale, Costume Stock Manager Logan Baker, Assistant to the Costume Shop Manager
PRODUCTION Production Management Shaminda Amarakoon, Director of Production Jonathan Reed, Production Manager C. Nikki Mills, Associate Head of Production and Student Labor Supervisor Grace O’Brien, Senior Administrative Assistant to the Production and Theater Safety and Occupational Health Departments
Electrics Donald W. Titus, Lighting Supervisor Jennifer Carlson, Linda-Cristal Young, Senior Head Electricians Daniela Fresard, Assistant to the Lighting Supervisor
Scenery Neil Mulligan, Matt Welander, Technical Directors Alan Hendrickson, Electro Mechanical Laboratory Supervisor Eric Sparks, Shop Foreman Matt Gaffney, Ryan Gardner, Sharon Reinhart, Libby Stone, Master Shop Carpenters Jessica Hernandez, Erin Tiffany, Assistants to the Technical Directors
Projections Erich Bolton, Projection Supervisor Mike Paddock, Head Projection Technician Ellen Reid, Assistant to the Projection Supervisor
Painting Ru-Jun Wang, Scenic Charge Lia Akkerhuis, Nathan Jasunas, Scenic Artists Hyejin Son, Assistant to the Painting Supervisor Properties Jennifer McClure, Properties Master David P. Schrader, Properties Craftsperson Ashley Flowers, Properties Assistant Bill Batschelet, Properties Stock Manager (on leave) Amanda Creech, Madeleine Winward, Assistants to the Properties Master Costumes Tom McAlister, Costume Shop Manager Harry Johnson, Clarissa Wylie Youngberg, Mary Zihal, Senior Drapers Deborah Bloch, Patricia Van Horn, Senior First Hands Linda Kelley-Dodd, Costume Project Coordinator Denise O’Brien, Wig and Hair Design Barbara Bodine, Company Hairdresser
Sound Mike Backhaus, Sound Supervisor Stephanie Smith, Staff Sound Engineer Roxy Jia, Assistant to the Sound Supervisor
Stage Operations Janet Cunningham, Stage Carpenter Elizabeth Bolster, Wardrobe Supervisor Billy Ordynowicz, Head Properties Runner Jacob Riley, FOH Mix Engineer ADMINISTRATION General Management Adam Frank, Ruoran Li, Melissa Rose, Associate Managing Directors Laura Cornwall, Gwyneth Muller, Assistant Managing Directors Emalie Mayo, Senior Administrative Assistant to the Managing Director Dani Barlow, Carl Holvick, Laurie Ortega Murphy, Management Assistants Lisa D. Richardson, Company Manager Laurie Ortega-Murphy, Caitlin Volz, Assistant Company Managers Development and Alumni Affairs Deborah S. Berman, Director of Development and Alumni Affairs Janice Muirhead, Senior Associate Director of Institutional Giving Susan C. Clark, Senior Associate Director of Operations for Development and Alumni Affairs Joanna Romberg, Senior Associate Director of Annual Giving and Special Projects Al Heartley, Associate Director of Development and Alumni Affairs 30
Yale Repertory Theatre Staff Jennifer E. Alzona, Senior Administrative Assistant to Development and Marketing & Communications Alice Kenney, Development Associate Jeanne Gresham, Interim Development Associate Lucia Bacqué, Dani Barlow, Development Assistants Finance and Human Resources Katherine D. Burgueño, Director of Finance and Human Resources Erin Ethier, Business Manager Janna J. Ellis, Director, Yale Tessitura Consortium Stacie Wcislo, Business Office Analyst Preston Mock, Business Office Specialist Karen M. Areda, Interim Business Office Specialist Shainn Reaves, Senior Administrative Assistant to Business Office, Digital Technology, Operations, and Tessitura Ashlie Russell, Business Office Assistant Marketing, Communications, and Audience Services Daniel Cress, Director of Marketing Steven Padla, Director of Communications Caitlin Griffin, Senior Associate Director of Marketing and Communications Sylvia Xiaomeng Zhang, Associate Director of Marketing and Communications Marguerite Elliott, Publications Manager Markie Gray, Laurie Ortega-Murphy, Caitlin Volz, Marketing and Communications Assistants Laura Kirk, Director of Audience Services Shane Quinn, Assistant Director of Audience Services Tracy Baldini, Subscriptions Coordinator Roger-Paul Snell, Audience Services Assistant Mikaela Boone, Sara Cho, Jordan Graf, Nicolette Mántica, Kenneth Murray, Alexis Payne, Amir Rezvani, Elijah Weaver, Box Office Assistants Erika Anclade, Tracy Bennett, Tasha Boyer, Rachel Brodwin, Denyse Burke, Sabrina Clevenger, Cara Correll, Kristina Cuello, Paige Cunningham, Aryssa Damron, Daniel Diaz-Vita, Christopher Hazlaris, Hannah Herzog, Taylor Hoffman, Alexandra Leone, Shawn Luciani, Bonnie Moeller, Anna 31
Piwowar, Hannah Sachs, Monica Traniello, Cody Whetstone, Elizabeth Wiet, Cate Worthington, Larsson Youngberg, Ushers Paul Evan Jeffrey, Art and Design Joan Marcus, Production Photographer David Kane, Videography Operations Diane Galt, Director of Facility Operations Nadir Balan, Operations Associate Jennifer Draughn, Michael Halpern, Arts and Graduate Studies Superintendents Andy Mastriano, Sherry Stanley, Team Leaders Michael Humbert, Marcia Riley, Facility Stewards Tylon Frost, Rodney Heard, Kathy Langston, Mark Roy, Jerome Sonia, Custodians Digital Technology Chris Kilbourne, Director of Digital Technology Andre Griffith, Digital Technology Associate Luis Serrano, Web and Email Services Associate Don Harvey, Ron Rode, Ben Silvert, Database Application Consultants Theater Safety and Occupational Health Anna Glover, Director of Theater Safety and Occupational Health Kevin Delaney, Ed Jooss, John Marquez, Customer Service and Safety Officers
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. 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.
An Enemy of the People October 6–28, 2017 University Theatre, 222 York Street
Pizza - Espresso - Latte - Coffee - Breakfast - Lunch
Gluten Free - Daily Fresh Baked Goods - Catering - Deliveries
Café Romeo 534 Orange Street New Haven CT 06511 P: 203-865-2233 F: 203-865– 2236 email@example.com
Wood Stone Oven Pizza
Vegan & Vegetarian Menu 32
2014 OUTSTANDING PRODUCTION OF A PLAY CONNECTICUT CRITICS CIRCLE
These Paper Bullets! by Rolin Jones, with songs by Billie Joe Armstrong; Yale Rep, world premiere, 2014; Geffen Playhouse, west coast premiere, 2015; Atlantic Theater Company, New York premiere, 2015.
BINGER CENTER FOR NEW THEATRE YALE REPERTORY THEATRE, the internationally celebrated professional theatre in residence at Yale School of Drama, has championed new work since 1966, producing well over 100 premieres—including two Pulitzer Prize winners and four other nominated finalists—by emerging and established playwrights. Seventeen Yale Rep productions have advanced to Broadway, garnering more than 40 Tony Award nominations and 10 Tony Awards. Yale Rep is also the recipient of the Tony Award for Outstanding Regional Theatre. Established in 2008, Yale’s BINGER CENTER FOR NEW THEATRE has distinguished itself as one of the nation’s most robust and innovative new play programs. To date, the Binger Center has supported the work of more than 50 commissioned artists and underwritten the world premieres and subsequent productions of 25 new American plays and musicals at Yale Rep and theatres across the country.
Photos by Joan Marcus and Carol Rosegg.
“A SHARP DRAMA ABOUT
FORGIVENESS, GENEROSITY, AND FAMILY.” TIME OUT NEW YORK
33 War by Branden Jacobs-Jenkins; Yale Rep, world premiere, 2014; Lincoln Center Theatre’s LCT3, New York premiere, 2016.
TWO 2017 TONY AWARDS Indecent created by Paula Vogel and Rebecca Taichman; Yale Rep and La Jolla Playhouse, world premiere, 2015; Vineyard Theatre, New York premiere, 2016; Broadway premiere, April 2017.
“THE BEST NEW PLAY SO FAR THIS YEAR!”
“FIERCELY FUNNY!” THE NEW YORK TIMES
WALL STREET JOURNAL
Mary Jane by Amy Herzog; Yale Rep, world premiere, 2017; New York Theatre Workshop, New York premiere, 2017.
Familiar by Danai Gurira; Yale Rep, world premiere, 2015; Playwrights Horizons, New York premiere, 2016.
“FEMINISM, UN-WHITEWASHED. BEAUTIFUL, FUNNY, AND CHILLING.” NEW HAVEN INDEPENDENT
Imogen Says Nothing by Aditi Brennan Kapil; Yale Rep, world premiere, 2017.34
Yale School of Drama Board of Advisors John B. Beinecke, Chair Scott Delman John Badham, Vice Chair Michael Diamond Jeremy Smith, Vice Chair Polly Draper Charles S. Dutton Nina Adams Sasha Emerson Amy Aquino Heidi Ettinger Sonja Berggren Lily Fan Carmine Boccuzzi Terry Fitzpatrick Lynne Bolton Marc Flanagan Clare Brinkley Marcus Dean Fuller Sterling B. Brinkley, Jr. Anita Pamintuan Fusco Kate Burton Donald Granger Lois Chiles David Marshall Grant Patricia Clarkson David Alan Grier Edgar M. Cullman III Ruth Hendel
Catherine MacNeil Hollinger Sally Horchow Ellen Iseman David Johnson Jane Kaczmarek Asaad Kelada Sarah Long Elizabeth Margid Drew McCoy David Milch Tom Moore Arthur Nacht Jennifer Harrison Newman
Lupita Nyong’o Carol Ostrow Amy Povich Liev Schreiber Tracy Chutorian Semler Tony Shalhoub Michael Sheehan Anna Deavere Smith Andrew Tisdale Edward Trach Esme Usdan Courtney B. Vance Donald Ware Henry Winkler Amanda Wallace Woods
Thank you to the generous contributors to Yale School of Drama and Yale Repertory Theatre LEADERSHIP SOCIETY ($50,000 and above)
Nina Adams and Moreson Kaplan Anonymous (2) John B. Beinecke Sonja Berggren and Patrick Seaver Lynne and Roger Bolton Lois Chiles and Richard Gilder Nicholas Ciriello Edgerton Foundation Lily Fan Anita Pamintuan Fusco and Dino Fusco The Horace W. Goldsmith Foundation Jerome L. Greene Foundation Lane Heard and Margaret Bauer Stephen J. Hoffman William and Sarah Hyman David Johnson Geoffrey Ashton Johnson Rocco Landesman Jennifer Lindstrom The Frederick Loewe Foundation Neil Mazzella Tom Moore James Munson Alan Poul Robina Foundation Tracy Chutorian Semler The Ted and Mary Jo Shen Charitable Gift Fund The Shubert Foundation Jeremy Smith Stephen Timbers Time Warner Foundation Nesrin and Andrew Tisdale Edward Trach Esme Usdan
Trust for Mutual Understanding Donald Ware
Joan Channick and Ruth Hein Schmitt William Connor Michael S. David Jon Farley PATRONS Marc Flanagan ($5,000–$9,999) Anna Fitch Ardenghi Trust, Anthony Forman Bank of America, Trustee Fred Gorelick and Cheryl MacLachlan John Badham Catherine Hazlehurst Foster Bam da Cruz Carmine Boccuzzi and Alan Hendrickson Bernard Lumpkin JANA Foundation Brett Dalton Rik Kaye The Frederick A. DeLuca Annie LaCourt Foundation George Lindsay, Jr. Christopher Durang George A. and Grace Terry Fitzpatrick Long Foundation, Bank Barbara and Richard of America, N.A., Franke BENEFACTORS Co-Trustee David Freeman ($10,000–$24,999) Irene Sofia Lucio Albert R. Gurney* Americana Arts Foundation William Ludel Jane Head Bank of America Jonathan S. Miller Sally Horchow Foundation Victoria Nolan and Linda Gulder Huett Mary L. Bundy Clark Crolius Ellen Iseman Jim Burrows Richard Ostreicher Aja Naomi King Connecticut Humanities Dw Phineas Perkins The Ethel & Abe Lapides The Noël Coward Kenneth J. Stein Foundation Foundation Alec and Aimee Scribner Charles E. Letts III Michael Diamond Ron Van Lieu Marissa Neitling Heidi Ettinger NewAlliance Foundation Quina Fonseca Carol Ostrow DIRECTOR’S CIRCLE Donald Granger James Phills, Jr. ($1,000–$2,499) Hasbro, Inc. Victor and Laura Altshul Catherine MacNeil Hollinger Bryce Pinkham Pam and Jeff Rank Amy Aquino and J.M. Kaplan Fund Russ Rosensweig Drew McCoy Ben Ledbetter and Nancy Sasser Alexander Bagnall Deborah Freedman Michael and Riki Sheehan John Lee Beatty Sarah Long Philip J. Smith Jody Locker Berger Lucille Lortel Foundation Molly Bernard Angela and Donald Lowy* Sophie von Haselberg Mark Weaver Mark Brokaw Tien-Tsung Ma Cyndi Brown Arthur and Merle Nacht PRODUCER’S CIRCLE James T. Brown National Endowment Kate Burton ($2,500–$4,999) for the Arts Tom Bussey Deborah Applegate Lupita Nyong’o Alexandra Cadena and Bruce Tulgan Liev Schreiber Ian Calderon Mark Blankenship Talia Shire Schwartzman Cosmo Catalano, Jr. The Seedlings Foundation Donald and Mary Brown Patricia Clarkson James Bundy Carol L. Sirot Peggy Cowles Ben Cameron Burry Fredrik Foundation Connecticut Department of Economic and Community Development Ruth and Steve Hendel Marty and Perry Granoff Mabel Burchard Fischer Grant Foundation The Laurents/Hatcher Foundation Newman’s Own Foundation Robina Foundation in memory of Peter Karoff Eugene Shewmaker Virginia B. Toulmin Foundation
Stephen Coy Catherine and Elwood Davis Ramon Delgado Martin Desjardins Terry Dwyer Patricia Egan and Peter Hegeman Kyoung-Jun Eo Glen R. Fasman Richard Gold and Patricia Bennett Naomi Grabel Judith Hanson David Hawkanson Alys Holden Donald Holder Carol Thompson Hemingway Christopher Hourcle Shane Hudson Jaeeun Joo James Earl Jewell Rolin Jones Ann Judd and Bennett Pudlin Jane Kaczmarek Gregory Kandel Elizabeth Katz and Reed Hundt Helen Kauder and Barry Nalebuff Dr. Gary and Hedda Kopf Edward Lapine Max Leventhal and Susan Booth Kenneth Lewis Thomas G. Masse and James M. Perlotto, MD Susan Medak and Greg Murphy Samual Michael Richard Mone David E. Moore Neil Mulligan Jim and Eileen Mydosh Jason Najjoum Chris Noth Arthur Oliner F. Richard Pappas Daniel Perez Amy Povich Kathy and George Priest Carol A. Prugh Brittany and Will Rall Lance Reddick Jon and Sarah Reed Bill and Sharon Reynolds Ross Richards Dr. Michael Rigsby and Prof. Richard Lalli Mark C. Rosenthal Anne Seiwerath Benjamin Slotznick Dr. Matthew Specter and Ms. Marjan Mashhadi Shepard and Marlene Stone Abby Roth and R. Lee Stump David and Julie Sword John Thomas III Benjamin Thoron and Patricia Saraniero
Sarah Treem Joan van Ark Sylvia Van Sinderen and James Sinclair Carol M. Waaser Lauren Wainwright Evan Yionoulis Don and Clarissa Youngberg Robert Zoland Steve Zuckerman
Martha and Michael Jurczak Abby Kenigsberg Harvey Kliman and Sandra Stein David Kriebs Drew Kufta Mildred Kuner Melanie Ginter and John Lapides Jim Larkin Suttirat Larlarb Maryanne Lavan PARTNERS Kenneth Lewis ($500–$999) Malia Lewis Actors’ Equity Chi-Lung Lui Foundation Charles H. Long Donna Alexander Linda Lorimer and In memory of Anna Charles Ellis Altman Mr. and Mrs. B.N. Ashfield Timothy Mackabee Brian Mann Emily P. Bakemeier and Jenny Mannis and Alain G. Moureaux Henry Wishcamper Michael Baumgarten John McAndrew Patricia Bennett and Peter and Wendy McCabe Rich Gold Andrew McClintock Deborah S. and Dawn G. Miller Bruce M. Berman Daniel Mufson Ashley Bishop Gayther Myers, Jr. Jeff Bleckner Mariko Nakasone Erich Bolton Regina and Thomas Michael Boyle Neville Claudia Brown Anne and Guido Calabresi William and Barbara Nordhaus Robert Campbell Laura Patterson Dr. Paul D. Cleary Louise Perkins and Bill Connington Bob and Priscilla Dannies Jeff Glans Faye and Asghar Rastegar Richard Sutton Davis Constanza Romero Robert Dealy The Cory & Bob Donnalley Melissa Rose Kimberly Rosenstock Charitable Foundation Suzanne Sato Eric Elice Sandra Shaner Sasha Emerson Rachel Shuey Bernard Engel James Steerman Roberta Enoch and Rosalie Stemer and Steven Canner Stuart Feldman Peter Entin Nausica Stergiou Susan and Fred Marsha Beach Stewart Finkelstein Erich Stratmann Randy Fullerton Tom Sullivan James Gardner Matthew Suttor Eric Gershman and Don Titus Katie Liberman Anne Trites and Betty Goldberg Kent McKay David Marshall Grant John Turturro and Rob Greenberg Katherine Borowitz Anne Gregerson Courtney B. Vance Eduardo Groisman Paul Walsh Barry and Maggie Grove Steven Waxler Regina Guggenheim Kristan and Nathan Wells William B. Halbert Carolyn Seely Wiener Karsten Harries and Harry Weintraub Elizabeth Langhorne Steven Wolff Doug Harvey Lila Wolff-Wilkinson Christopher Higgins Michael and Gabrielle David York Hirschfeld James Guerry Hood INVESTORS Mary and Arthur Hunt ($250–$499) Peter Hunt Shaminda Amarakoon David Henry Hwang Mary Ellen and Ann Johnson and Thomas Atkins Mark Stevens Mamoudou Athie Clayton Austin
James Bakkom Christopher Barreca Todd Berling Michael Bianco Georg’Ann Bona Susan Brady and Mark Loeffler Tom Broecker William Buck April Busch Jonathan Busky Richard Bynum Dr. Michael Cappello and Kerry Robinson Lawrence Casey Dr. and Mrs. W.K. Chandler Barbara Jean and Nicholas Cimmino Nicholas Christiani Darren Clark Lani Click Melissa Cochran Robert S. Cohen Patricia Collins Audrey Conrad John W. Cunningham Laura Davis and David Soper Aziz Dehkan and Barbara Moss Dennis Dorn Kem and Phoebe Edwards Fine Family Joel Fontaine Dr. and Mrs. James Galligan Joseph Gantman Deeksha Gaur Marian Godfrey Joseph Hamlin Scott Hansen Douglas Harvey Barbara Hauptman Ethan Heard Nicole and Larry Heath Ann Hellerman Jennifer Hershey Phillip Howse Karena Ingersoll Raymond Inkel Joanna and Lee A. Jacobus Ann Johnson Sanghun Joung Pam Jordan Dr. Unni Karunakara Bruce Katzman Rik Kaye Barnet Kellman Kieran Kelly Ashley York Kennedy Alan Kibbe Lindsay King Matthew Krashan Lisa Kugelman and Roy Wiseman Bernard Kukoff Frances Kumin James Lile Mary Rose Lloyd Suzanne Cryer Luke Nancy Lyon Andy Lyons 36
Contributors to Yale School of Drama and Yale Repertory Theatre Dr. and Mrs. Robert W. Lyons Linda Maerz and David Wilson Elizabeth Margid Peter Marshall Deborah McGraw Annie Middleton Thomas Middleton George Miller and Virginia Fallon George Morfogen Aaron Moss Janice Muirhead David Muse David Nancarrow James Naughton Jane Nowosadko George and Marjorie O’Brien Janet Oetinger Maulik Pancholy Michael Parrella James Perakis Geoffrey Pierson Stephen Pollack Jeffrey Powell and Adalgisa Caccone Meghan Pressman Jeffry Provost Alec and Drika Purves Fred Ramage Barbara and David Reif Daniel and Irene Mrose Rissi Steve Robman Peter Roberts Gene Rogers Howard Rogut Fernande E. Ross Jean and Ron Rozett Steven Saklad Robert Sandberg Dana Sanders Robin Sauerteig Dr. Mark Schoenfeld Morris and Annelies Sheehan William and Elizabeth Sledge Dr. and Mrs. Dennis D. Spencer Mary C. Stark Regina Starolis Bernard Sundstedt Jillian Taylor Richard B. Trousdell Marge Vallee Michael Van Dyke Wendy and Peter Wells Vera Wells Dana Westberg George C. White Karen White Guy and Judith Yale
Anonymous Emika Abe Paola Allais Acree Christopher Akerlind Michael Albano 37
Sarah Jean Albertson Narda Alcorn Rachel Alderman Lorraine Alfano Liz Alsina Richard Ambacher Stephen and Judy August Angelina Avallone Michael Backhaus Sandra and Kirk Baird Dylan Baker Dr. Francis Baran Russell Barbour Robert Barr William and Donna Batsford Richard Baxter Nancy and Richard Beals James Bellavance Michael and Jennifer Bennick Alex Bergeron Martin Blanco Anders Bolang Erik Bolling Josh Borenstein Marcus and Kellie Bosenberg John Boyd* Michael Boyle Shawn Boyle Amy Brewer and David Sacco James and Dorothy Bridgeman Linda Briggs and Joseph Kittredge Carole and Arthur Broadus Michael Broh Linda Broker Arvin Brown Christopher Brown Julie Brown Warwick Brown Stephen Bundy Richard Butler Susan Wheeler Byck Michael Cadden Susan Cahan David Calica Kathryn A. Calnan H. Lloyd Carbaugh Elisa and Jonathan Cardone Lisa Carling Raymond Carver Sami Joan Casler David Chambers Ricardo and Jenny Chavira Terri Chegwidden James Chen Myung Hee Cho King-Fai Chung Cynthia Clair Katherine D. Cline Aurélia and Ben Cohen Judith Colton and Wayne Meeks Forrest Compton Scott Conn Bill Connington
Kristin Connolly Daniel R. Cooperman and Mariel Harris Aaron Copp Jennifer Corman Rachel Cornish Robert Cotnoir Caitlin Crombleholme Douglas and Roseline Crowley Sean Cullen Scott Cummings Phillip L. Cundiff Sr. William Curran Donato Joseph D’Albis Brian Dambacher F. Mitchell Dana Sue and Gus Davis Nigel W. Daw Katherine Day Mr. and Mrs. Paul DeCoster Sarah and Ted DeLong Elizabeth DeLuca Connie and Peter Dickinson Derek DiGregorio Melinda DiVicino Alexander Dodge Merle Dowling Megan and Leon Doyon Ms. JoAnne E. Droller, R.N. Jeanne Drury John Duran Fran Egler Robert Einienkel Dr. Marc Eisenberg Nancy Reeder El Bouhali Janann Eldredge Elizabeth English Jennifer Endicott Emley David Epstein Dustin Eshenroder Christine Estabrook Frank and Ellen Estes Femi Euba Connie Evans Jerry N. Evans Douglass Everhart John D. Ezell Michael Fain Ann Farris Richard and Barbara Feldman Erin Felgar Mr. and Mrs. Kenneth Fellows Paul and Susan Birke Fiedler Andria Fiegel Anne Flammang Madlyn and Richard Flavell Keith Fowler Adam Frank Walter M. Frankenberger III Donald Fried Richard Fuhrman Christopher Fuller David Gainey Jane and Charles Gardiner Barbara and Gerald Gaab Josh Galperin
David and Joan Geetter Lauren Ghaffari Robert Glen William Glenn Nina Glickson and Worth David Stephen Godchaux Lindy Lee Gold Robert Goldsby Diane Goldsmith Steven Gore Charles Grammer Hannah Grannemann Bigelow Green Elizabeth M. Green Elizabeth Greenspan and Walt Dolde Michael Gross Corin Gutteridge David Hale Amanda Haley Alexander Hammond Ann and Jerome R. Hanley Caitie Hannon Lawrence and Roberta Harris Doug Harvey Brian Hastert James Hazen Al Heartley Beth Heller Robert Heller Ann Hellerman Steve Hendrickson Chris Henry Jeffrey Herrmann Joan and Dennis Hickey Roderick Hickey Christopher Higgins Gabrielle and Michael Hirschfeld Elizabeth Holloway Betsy Hoos Nicholas Hormann Kathleen Houle David Howson Evelyn Huffman Chuck Hughes Derek Hunt Peter H. Hunt John Huntington Sooyoung Hwang John and Patricia Ireland John W. Jacobsen Chris Jaehnig Ina and Robert Jaffee Eliot and Lois Jameson William Jelley Elizabeth Johnson Geoffrey A. Johnson Donald E. Jones, Jr. Elizabeth Kaiden Jonathan Kalb Carol Kaplan Dr. and Mrs. Michael Kashgarian Dr. Jane Katcher Patricia Keenan Jay Keene Asaad Kelada Roger Kenvin Carol Soucek King
Susan Kirschner Robinson and Shirley Kirschner William Kleb Dr. Lawrence Klein James Kleinmann Elise F. Knapp Joseph Kovalick Brenda and Justin Kreuzer Susan Kruger and Family Ann Kuhlman and Adel Allouche Andrea Chi-Yen Kung Mitchell Kurtz William Kux Howard and Shirley Lamar Naomi Lamoreaux Marie Landry and Peter Aronson Michael Lassell James and Cynthia Lawler Martha Lidji Lazar Jerry Limoncelli Fred Lindauer Rita Lipson Bona Lee Wing Lee Irene Lewis Sam Linden Rita Lipson Arthur Lueking Everett Lunning Janell MacArthur Lizbeth Mackay Wendy MacLeod Alan MacVey James Magruder Dr. Maricar Malinis Jocelyn Malkin, MD Geertruida Malten Peter Maradudin Marvin March Frederick Marker Jonathan Marks Kenneth Martin Nancy Marx Maria Mason and William Sybalsky Ben and Sally Mayer Matthew McCollum Robert McDonald Christopher McFarland Thomas McGowan Robert McKinna and Trudy Swenson Patricia McMahon Susan McNamara Brian McManamon Charles McNulty Lynne Meadow James Meisner and Marilyn Lord Donald Michaelis Carol Mikesell
Kathryn Milano Jonathan Miller Sandra Milles Lawrence Mirkin Frank Mitchell Jennifer Moeller George Moredock David and Betsy Morgan Richard Munday and Rosemary Jones Gather Myers Rachel Myers Rhoda F. Myers Tina C. Navarro Kate Newman Jennifer Harrison Newman Ruth Hunt Newman Gail Nickowitz Nancy Nishball Mark Novom Deb and Ron Nudel Adam O’Byrne Eileen O’Connor Dwight R. Odle Sara Ohly Edward and Frances O’Neill Alex Organ Sara Ormond Lori Ott Kendric T. Packer Joan Pape Russell Parkman Dr. and Mrs. Michael Parry Dr. Gary Pasternack Alexandra Paxton Amanda Peiffer William Peters Dr. Ismene Petrakis Michael Posnick Gladys Powers Robert Provenza William Purves Carolyn Rochester Ramsey and William Ramsey Da’Vine Joy Randolph Theodore Robb Sheila Robbins Nathan Roberts Peter S. Roberts Lori Robishaw Priscilla Rockwell Joanna Romberg Melina Root Stephen Rosenberg June Rosenblatt Claudia Arenas Rosenshield Joseph Ross Donald Rossler John Rothman Deborah Rovner Allan Rubenstein Dean and Maryanne Rupp Ortwin Rusch Raymond Rutan
John Barry Ryan Dr. Robert and Marcia Safirstein Steven Saklad Donald Sanders Robert Sandine and Irene Kitzman Adam Saunders Peggy Sasso Joel Schechter Anne Schenck Kenneth Schlesinger Steven Schmidt Judith and Morton Schomer Georg Schreiber Jennifer Schwartz Kathleen McElfresh Scott Forrest E. Sears Paul Selfa Subrata K. Sen Morris Sheehan Sally Shen Paul R. Shortt Lorraine D. Siggins Alyssa Simmons William Skipper Mark and Cindy Slane Gilbert and Ruth Small E. Gray Smith, Jr. Helena L. Sokoloff Sarah Sokolovic Suzanne Solensky and Jay Rozgonyi Amanda Spooner Charles Steckler Louise Stein Neal Ann Stephens John Stevens Frances Strauss Howard Steinman Michael Strickland Katherine Sugg William and Wilma Summers Erik Sunderman Mark Sullivan Thomas Sullivan Jane Suttell Tucker Sweitzer and Jerome Boryca Douglas Taylor Jean and Yeshvant Talati Jane Savitt Tennen J. Terrazzano Aaron Tessler Cat Tharpe Pat Thomas Eleanor Q. Tignor, P.h.D David F. Toser Albert Toth David and Lisa Totman Russell L. Treyz Ellen Tsangaris Deborah Trout
Suzanne Tucker Gregory and Marguerite Tumminio Leslie Urdang Carrie Van Hallgren Adina and Michael Verson-McQuilken Fred Voelpel Mark Anthony Wade Erik Walstad Barbara Wareck and Charles Perrow Chris Weida John Weikart Rosa Weissman Matt and Mary Welander Peter and Wendy Wells Charles Werner Kathleen Whitby Peter White Robert and Charlotte White Lisa A. Wilde Robert Wildman Marshall Williams Sarah Williams David Willson Annick Winokur and Peter Gilbert Alex Witchel Carl Wittenberg Rachel and Stephen Wizner Andrew Wolf Gretchen Wright Lori-Ann Wynter Arthur and Ann Yost John and Pat Zandy Shoshana Zax Sylvia Zhang
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When you make a gift to Yale Rep’s Annual Fund, you support the creative work on our stage and our innovative outreach programs. For more information, or to make a donation, please call Susan Clark, 203.432.1559. You can also give online at yalerep.org/support. This list includes current pledges, gifts, and grants received from July 1, 2016, through September 1, 2017.
HOW TO REACH US Yale Repertory Theatre Box Office 1120 Chapel Street (at York Street) Post Office Box 208244 New Haven, CT 06520 203.432.1234 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 FM listening system, large-print and Braille programs, wheelchair accessibility with an elevator entrance into the Yale Rep Theatre (located on the left side of the building), and accessible seating. For more information about the theatre’s accessibility services, contact Laura Kirk, Director of Audience Services, at 203.432.1522 or email@example.com.
BOX OFFICE HOURS Monday to Friday: 10AM to 5PM Saturday: 12PM to 5PM Until 8PM on all show nights GROUP RATES Discounted tickets are available for groups of ten or more. Please call 203.432.1234. 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.
OPEN CAPTIONING (OC): a digital display of the play’s dialogue as it’s spoken.
RESTROOMS Restrooms are located in the lower level of the building.
AD AND OC PERFORMANCE SCHEDULE All shows are at 2PM; the AD pre-show description begins at 1:45PM.
EMERGENCY CALLS Please leave your cell phone, name, and seat number with the concierge. We’ll notify you if necessary. The emergencyonly telephone number at the University Theatre is 203.432.0767.
Oct 21 Oct 28 An Enemy of the People
SEATING POLICY Everyone must have a ticket. Sorry, no children in arms or on laps. Patrons who arrive late or leave the theatre during the performance will be reseated at the discretion of house management. Those who become disruptive will be asked to leave the theatre.
AUDIO DESCRIPTION (AD): a live narration of the play’s action, sets, and costumes for patrons who are blind or low vision.
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.
Dec 9 Dec 16 Native Son Feb 10 Feb 17 Field Guide Mar 31 Apr 7 Father Comes Home From the Wars, Parts 1, 2 & 3 May 12 May 19 Kiss c2 is pleased to be the official Open Captioning Provider of Yale Repertory Theatre.
Yale Repertory Theatre thanks the Eugene G. and Margaret M. Blackford Memorial Fund, Bank of America, N.A, Co-Trustee, for its support of audio description services for our patrons.
Youth Programs As part of Yale Rep’s commitment to our community, we provide two significant youth programs. WILL POWER! offers specially-priced tickets and early schooltime matinees for high school students for select Yale Rep productions every season. Since our 2003–04 season, WILL POWER! has served more than 20,000 Connecticut students and educators. The Dwight/Edgewood Project brings middle school students to Yale School of Drama for a month-long, after-school playwriting program designed to strengthen their selfesteem and creative expression. Yale Rep’s youth programs are supported in part by The Anna Fitch Ardenghi Trust, Bank of America, Trustee; Bob and Pricilla Dannies; CT Humanities; Frederick A. DeLuca Foundation; Mr. and Mrs. Kenneth Fellows; the George A. & Grace L. Long Foundation, Bank of America, N.A. and Alan S. Parker, Esq., Co-Trustees; the Lucille Lortel Foundation; Dawn G. Miller; Arthur and Merle Nacht; NewAlliance Foundation; Newman’s Own; Sandra Shaner; Esme Usdan. FROM THE TOP: Schools gathering for Will Power!, photo by Elizabeth Green; Dwight/Edgewood Project workshop and performance, 2017.
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An Enemy of the People, by Henrik Ibsen, new translation by Paul Walsh, directed by James Bundy. Yale Repertory Theatre, October 6–28, 2017.