THE FAR COUNTRY, Yale Repertory Theatre, 2024

2023-2 4

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CONTENTS A Note from the Artistic Director......5

For This Production............................ 24

Title Page..................................................7

Yale Repertory Theatre Staff........... 25

Cast Page..................................................8

Accessibility Services and Team..... 28

From Our Dramaturgs...........................9

Events.....................................................30

Cast Bios.................................................. 16

Youth Programs.................................... 31

Understudy Bios................................... 18

David Geffen School of Drama Board of Advisors............................ 32

Creative Team Bios.............................20

Our Donors............................................ 32

Yale Repertory Theatre, the internationally celebrated professional theater in residence at David Geffen 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 ten 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 70 commissioned artists and underwritten the world premieres and subsequent productions of more than 30 new plays and musicals at Yale Rep and theaters across the country.

MISSION

David Geffen School of Drama and Yale Repertory Theatre train and advance leaders in the practice of every theatrical discipline, making art to inspire joy, empathy, and understanding in the world.

VALUES Artistry

We expand knowledge to nurture creativity and imaginative expression embracing the complexity of the human spirit.

Belonging

We put people first, centering wellbeing, inclusion, and equity for theatermakers and audiences through anti-racist and anti-oppressive practices.

Collaboration

We build our collective work on a foundation of mutual respect, prizing the contributions and accomplishments of the individual and of the team.

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We wrestle with compelling issues of our time. Energized by curiosity, invention, bravery, and humor, we challenge ourselves to risk and learn from failure and vulnerability.

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Alma Martinez and Camila Moreno in a scene from Mojada: A Medea in Los Angeles by Luis Alfaro, directed

by Laurie Woolery. Photo © Joan Marcus, 2023.

A NOTE FROM THE ARTISTIC DIRECTOR Welcome to Yale Repertory Theatre!

Thank you for joining us for today’s performance of The Far Country by Lloyd Suh. It is a joy to welcome Lloyd and director Ralph B. Peña, who collaborated on the stunning production of The Chinese Lady at Long Wharf Theatre in 2021, back to New Haven for their Yale Rep debuts.

I have been eager to bring The Far Country to Yale since seeing an earlier production in New York in 2022. I was transported by the history it recounts, which was virtually unknown to me at the time. With epic sweep and poignant intimacy, The Far Country is the story of an unlikely family’s harrowing journey from rural Taishan to San Francisco, at a time when the Chinese Exclusion Act barred migrants, fleeing poverty and starvation at home, from legally entering the United States. (The law was first passed in 1882 and remained in force in various forms through 1965.)

Now as then, I am moved by Lloyd’s powers of observation: The Far Country speaks not only to a painful period of American history that none of us were alive for, but also to the painful period of American history that we are living through now, as well as to the personal courage and compassion it takes to choose a family. Under Ralph’s direction, the company of actors, as well as the artistic, technical, and management teams, have brought the play to life for us with attention to large and small forces of history.

Over the course of the run of The Far Country, we will welcome nearly 750 high school students from New Haven Public Schools, who will attend a series of special morning matinee performances entirely free of charge through our annual WILL POWER! education program. Lloyd is the first Asian American playwright to be included in the program, which has introduced students to works by Luis Alfaro, Arthur Miller, Suzan-Lori Parks, William Shakespeare, and Stephen Sondheim, among others, since its launch in 2004.

The Far Country is also the final production of our 2023–24 season. Whether this is your first visit to Yale Rep, or you are longtime subscriber, thank you for choosing to spend your time with us. At the time of this writing, we are putting the finishing touches on our plans for the 2024–25 season. I can’t wait to share what we have in store with you!

In the meantime, I look forward to hearing your thoughts on The Far Country or any of your experiences at Yale Rep. My email address is james.bundy@yale.edu.

See you in the fall!

Sincerely, James Bundy 5

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Locations in New Haven, Branford and Madison

APRIL 26–MAY 18, 2024 YALE REPERTORY THEATRE

James Bundy, Artistic Director | Florie Seery, Managing Director PRESENTS

Scenic Designer

Kim Zhou Costume Designer

Kiyoshi Shaw Lighting Designer

Yichen Zhou Sound Design and Original Music

Joe Krempetz Xi (Zoey) Lin 林曦 Projection Designer

Hana S. Kim Hair Designer

Matthew Armentrout Production Dramaturg

A.B. Orme Technical Director

Matteo Lanzarotta Vocal and Dialect Coach

Midori Nakamura

The world premiere of The Far Country was presented by Atlantic Theatre Company, New York City, 2022.

Permission to use excerpts from the work of Genny Lim and Marlon K. Hom from Island: Poetry and History of Chinese Immigrants on Angel Island, 1910-1940 granted by University of Washington Press © 2014.

Production support for The Far Country is provided by Yale’s Binger Center for New Theatre.

The Far Country is presented through special arrangement with and all authorized performance materials are supplied by TRW Plays, 1180 Avenue of the Americas, Suite 640, New York, NY 10036. trwplays.com Yale Repertory Theatre gratefully acknowledges Carol L. Sirot for generously funding the 2023–24 season.

Yale Repertory Theatre thanks our 2023–24 season funders:

Casting Director

Calleri Jensen Davis Stage Manager

Alexus Jade Coney Season Sponsor:

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Cast in alphabetical order Low..................................................................................................................................... Tina Chilip Moon Gyet........................................................................................................................... Hao Feng Two........................................................................................................................ Đavid Lee Huỳnh Dean/Inspector........................................................................................................... Haskell King Yip/One.................................................................................................................. Jesse Cao Long Harriwell/Interpreter................................................................................................ Joe Osheroff Gee/Three......................................................................................................................... David Shih Yuen/Four................................................................................................... Joyce Meimei Zheng

Times and Places Time: 1909–1930 Places: San Francisco, USA, and Taishan, China There will be a 15-minute intermission.

Understudy Cast in alphabetical order Two, Yip/One................................................................................................ Sergio Mauritz Ang Dean/Inspector................................................................................................. Edoardo Benzoni Moon Gyet........................................................................................................ Anzi DeBenedetto Gee/Three........................................................................................................................... Paul Juhn Low, Yuen/Four......................................................................................................Christina Liang Harriwell/Interpreter................................................................................................. Max Sheldon

Assistant Stage Managers.................................................................................................... Nakia Shalice Avila

................................................................................................Hope Binfeng Ding .................................................................................................................................

Content Guidance

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The play refers to difficult subjects including anti-Chinese sentiment, xenophobia, forced incarceration, and attempted suicide. Production effects include haze, fog, and use of herbal cigarettes.

“With Laws Harsh as Tigers, I Had a Taste of All the Barbarities”

Imprints of the Chinese Exclusion Era

Poem carved onto the walls of the Chinese men’s barracks on Angel Island. © Justin Sullivan/Getty Images

Decades after the closure of Angel Island Immigration Station, a park ranger wandering the second floor of a neglected wooden building on this islet in San Francisco Bay came upon something extraordinary. The lead paint in what had once been the Chinese men’s barracks had worn away, revealing hundreds of poems, painstakingly etched in Chinese onto the wooden panels that wrap the room. Each scratched figure is a scar of the shameful—but quintessentially American—era of Chinese Exclusion, a period defined by a series of increasingly stringent anti-immigration laws. Most famously, 1882’s Chinese Exclusion Act banned Chinese laborers from entering the United States. People came anyway, forced to fabricate personal histories to fit through the few loopholes in these xenophobic laws. Between 1910 and 1940, thousands being held for months of processing in Angel Island’s cramped quarters turned the very building imprisoning them into an archive of their resilience.

This archive is at the root of Lloyd Suh’s The Far Country, which carefully constructs Angel Island as a purgatory between the story’s main locales. On one side of the Pacific, Suh introduces us to rural life in Guangdong 廣東 province as the Manchu-led Qing dynasty gasps its final breaths. On the other, three years after the devastating earthquake and fire of 1906, San Francisco and its Chinatown are still in the process of rebuilding. By the time our sometime-protagonist Moon Gyet travels from Guangdong to California, Angel Island has become an unavoidable and cruel intermediary for Chinese arrivals. Japanese, Russian, German, and other groups of immigrants also made their way through the station, occasionally referred to as the “Ellis Island of the West.” The Chinese immigrants held in this rickety wooden building endured dramatically worse conditions, significantly longer periods of detention, and far more extensive interrogations.

The poems on the walls of Angel Island testify to a legacy of Chinese American survival, a refusal to succumb to the obliviating powers of time and empire. The Far Country takes that refusal as a call to action, breathing radical new life into a history so often forgotten.

These pages sketch out a minimal timeline of the events leading up to and following this play. But presenting history as a series of two-dimensional dates, laws, and treaties can obscure the legacy of those without political power.

Attempts at a comprehensive historical narrative inevitably leave something out. Each page here attempts to strip a layer of paint from the walls of history and reveal a mark of the human beings who survived.

a, in Chin ng l road Guangdo a r u r A in ly like most ce, c.1920. provin

1859

The provincial government in 廣 東 (Guangdong) reluctantly authorizes foreign recruitment of Chinese laborers.

1869

The transcontinental railroad, built mainly by underpaid and exploited laborers from south China, is completed.

1876

45-year-old Ah Ling is shot in Truckee while fleeing the local chapter of the “Caucasian League” after they burned down a cabin filled with Chinese woodcutters. All the other woodcutters escaped. An all-white jury acquits Ling’s white murderer after nine minutes of deliberation.

Sunning, Albert Tschepe, 1906.

1842

The Treaty of Nanking cedes Hong Kong to the British as a colony, among other major concessions, ending the first “Opium War” between the weakened Manchu-led Qing dynasty and increasingly imperial Western powers.

1868

Qing and American officials sign The Burlingame Treaty, which limits American interference in Chinese affairs, advances American trade interests in China, and opens the doors for more extensive Chinese migration to the United States.

1875

In response to Sinophobic campaigns by white labor groups, Congress passes The Page Act, prohibiting entry by Chinese contract laborers and women suspected of being sex workers. This suspicion is so loosely defined that this law effectively bans Chinese women from entering the country.

1879

The Fifteen Passenger Bill prohibits port access to any ship from China carrying 15 or more passengers.

Proponents of the bill argue that the Chinese are “an indigestible element in our midst . . . without any adaptability to become citizens.”

Hoisan In 1909, China was recovering from a bombardment of Western imperial projects begun in the mid-nineteenth century. Beginning with both “Opium Wars,” a series of conflicts (spurred in part by British opposition to an attempted Chinese ban on opium, a commodity with heavy Western investment) that lasted from 1839-1862.

Guangdong, a rural southern province that was once the sole center of Chinese trade with the West, fell into economic ruin. Weakened by constant violence— from warfare and rebellion against Western forces and the crumbling Qing Dynasty—and economically stifled by the treaties that resolved the “Opium Wars” with Western powers, Guangdong was also defenseless against natural disasters.

Devastating floods and droughts led to widespread famine. These accumulating tribulations led Guangdong, the home province of most Chinese Americans during this period, to increasingly rely on money sent home by overseas laborers.

For laborers like the protagonists of The Far Country, who hail from Guangdong’s Hoisan 臺山 county (then called Sunning 新寧), working in the United States was the only way to feed themselves and their families back home. As a Sunning gazette from 1893 stated, “when the ships occasionally cannot [sail], kitchen fires immediately stop burning.” Today Hoisan refers to a population of 2.3 million—1 million living in the city itself and 1.3 million living overseas.

It’s a qiaoxiang—a town of emigrants, nicknamed “the First Home of the Overseas Chinese.” These emigrants are vital to Hoisan economically and socially.

When they return from abroad, after days or generations, they are embraced as Hoisanese.

September 1885

1880

An armed white mob in Rock Springs, Wyoming, massacres 28 Chinese miners after a dispute over a proposed strike by the Knights of Labor.

The United States and China sign the Angell Treaty, which calls for a ten-year pause in new arrivals from China, with the exception of white-collar workers.

1885–86

A wave of xenophobic pogroms pushes more than 15,000 Chinese people out of the United States in this two-year period.

“Paper Sons” By falsely claiming American nativity, Moon Gyet becomes a “paper son.” This is the common term for the countless Chinese migrants who came to the United States with fake documents having memorized fictional biographies, hoping to be admitted despite the immigration ban on Chinese laborers. The 14th amendment’s guarantee of birthright citizenship created one of the few avenues for bypassing the ban: if you could convince American authorities that you were either Americanborn or the child of American citizens, you could be granted entry. Given the desperate economic situation in Guangdong, thousands of people adopted false biographies in order to emigrate to the United States. Emigrants would

apers Coaching p

feverishly memorize coaching papers, which ensured their stories would be consistent with those of fictive family members when they were interrogated by U.S. immigration officials. These papers were typically destroyed before arrival on the American coast. Further updates—with instructions that helped keep multiple “paper sons’” stories straight—were often smuggled by kitchen workers onto Angel Island on scraps hidden under plates and, occasionally, in the food itself. The pressure on the immigrants was immense: any discrepancy, any failure to answer the impossibly detailed interrogation questions, could result in continued detention or deportation.

hidden in a

banana.

February 1885

300 Chinese Americans flee Eureka, California, in 48 hours following mob threats, including a sign next to a hanging effigy of a Chinese man saying: “Any Chinese seen on the street after three o’clock today will be hung to this gallows.”

1892

The Geary Act extends the Exclusion Act for another ten years. The law also requires all Chinese laborers to carry “resident permits” on them at all times. Permits require testimony from at least one white witness in order to get approved.

1882

The Chinese Exclusion Act expands and bans all Chinese laborers from entering the country for ten years.

1888

The Scott Act, removes an exemption for returning laborers from 1882’s Chinese Exclusion Act. 20,000 Chinese American workers are left stranded overseas as a result.

1898

A broad coalition of Chinese anti-imperial militants, dubbed “Boxers” by Western commentators, begin to strike Christian missionaries and European corporate and state actors in Northern China. Over the next few years, the militias behind the “Boxer Rebellions” enter a tenuous alliance with Qing imperial forces in an attempt to repel Western forces from the region.

Rebuilding San Francis co’s Chinatown The fir

A linen post card from th e 1930s

by Stanley A . Piltz.

st wave of Ch inese migrant s arrived in the U.S. in the mid -n in et eenth century, some seeking work on th e transcontinen tal railroad, ot hers chasing the go ld rush, and m any joining industries like lumber and m in ing. As the Chinese po pulation in Ca lif ornia grew, San Fran cisco’s Chinat ow n began to develop. Re stricted from th e city proper due to racial discrimin at ion, these migrants settle d near the wat er fr ont.

Merchants and a network of Ch in atown firms allowed migrants to se nd money home and impo rt goods from China. This allowed Chinat own to maintai n Cantonese restaurants an d medicine sh op s, preserving an d transplantin g their food, goods, and trad itions.

1903

1906

What will eventually be called the Immigration and Naturalization Service (INS) is established in the Department of Commerce and Labor.

1909

The events of The Far Country begin.

The Great Earthquake of 1906 devastates San Francisco, killing thousands and destroying over 80% of the city’s infrastructure. Many birth certificates and other identification documents disappear in the aftermath.

January 1910

Angel Island Immigration Station opens in San Francisco Bay.

1911

An uprising in 武昌区 (Wuchang) turns into a broader nationalist rebellion against the Qing dynasty, eventually leading to the establishment of the Republic of China.

After the earthquake and fire of 1906 destroyed the neighborhood, Sinophobic sentiments pushed to displace Chinatown in the rebuilding of San Francisco. In an effort to appeal to Western sensibilities, Chinatown merchants like Look Tin Eli reimagined Chinatown as a modern tourist hub. The architecture of this new Chinatown was inspired by the “Orient” of the white imagination.

While the resulting neighborhood did not resemble any actual places in China, its unique look became archetypical for future Chinese enclaves in the U.S. Chinatown residents built community through organizations to provide support in the face of neglect from the city government. Clans formed around shared family names and hometown districts in Guangdong. These groups offered various services, including travel aid, care for the sick, and legal advocacy. Chinatown provides the soil for our protagonists to plant new roots.

1917

The Immigration Act of 1917 implements literacy tests and a head tax on new immigrants over the age of 16 and expands exclusion to new arrivals from anywhere in the “Asiatic Barred Zone.”

1929

A new federal Immigration Act makes unauthorized entry into the United States a misdemeanor and re-entry after deportation a felony punishable by prison time and heavy fines.

1924

The Johnson-Reed Act extends Asian exclusion indefinitely, implements an extensive national origins quota system (that applies to everywhere but western Europe), and creates the Border Patrol.

October 1929 The stock market crashes, plunging the United States into The Great Depression.

1930

The final scene of our play.

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Between the far country that is China and the far country that is the United States, in the cramped barracks on Angel Island, Chinese immigrants resisted the Exclusion era in many ways: through mutual aid, through storytelling, through poetry. When the first round of poems drawn upon the walls there were painted over by guards, these poets replaced inking with etching.

Rosy narratives of the American melting pot and convenient historical amnesia may try to beautify our past, but memories cannot be erased. They imprint themselves on walls, in bodies, in language. From these imprints, Lloyd Suh has crafted a blueprint

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for remembrance.

105

4

Staging this play is an act of historiography—making clear through sheer presence that the era of Chinese Exclusion is not a closed book but an early chapter in an ongoing story. Quotas on Asian immigration remained in place for two decades following the Chinese Exclusion Act’s repeal in 1943, and many of the systems that led to and were created by the law continue to this day.

Western imperialism continues to create starvation and migration.

Children still languish in American immigration detention centers.

What memories, what stories, what poems are being forged right now? How can we fight attempts to paint over history?

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—A.B. Orme and Elliot Valentine, Production Dramaturgs

Tap or click here to read the poems in English.

CAST

in alphabetical order

Tina Chilip* (Low) Off-Broadway: The Knight of the Burning Pestle (Red Bull) and Twelfth Night (Classic Stage Company), both coproductions with Fiasco Theater; A Delicate Balance (Transport Group); Mothers (Playwrights Realm); Golden Child (Signature Theater); House Rules, Flipzoids (Ma-Yi Theater); A Dream Play (NAATCO). Regional: The Old Globe, Huntington Theatre, Guthrie, Hudson Valley Shakespeare, Actors Theatre of Louisville, Portland Center Stage, Berkeley Rep, Cincinnati Playhouse, Syracuse Stage, Trinity Rep. TV: Law & Order: SVU, Jessica Jones, It’s Bruno!, Law & Order: Criminal Intent, FBI: Most Wanted, The Good Fight, Elementary, Deception, Madam Secretary. Feature films: Nonnas, Miguel Wants to Fight, Doctor Doctor. Training: M.F.A., Brown/ Trinity Rep. Proud company member of Fiasco Theater and The Actors Center.

Hao Feng* (Moon Gyet) is honored to be making his Yale Rep debut, especially as a part of this telling of a vital part of Asian American history that has often deliberately been neglected from the American curriculum. Thank you, Lloyd, for weaving this powerful story with your mellifluous language.

Theater: Grumpy Monkey, The Musical (Pasadena Playhouse); The Dance and the Railroad (A Noise Within/ Artists at Play); Twelfth Night, Pericles (Independent Shakespeare Company); Nightwalk in the Chinese Garden (The 16

Huntington Library/CalArts Center for New Performance). Film: Twisted Little Lies (Lifetime). Voiceover: Heavenly Delusion (Hulu), Alchemy of Souls (Netflix), Soundtrack #1 (Disney+).

M.F.A., acting, CalArts; M.Phil, music and science, University of Cambridge; B.S. in neuroscience and B.A. in piano performance, Emory University. In his free time, Hao can be found doing martial arts, photography, or eating.

Mostly eating. @haothefeng

Đavid Lee Huỳnh* (Two) is an actor and writer based in NYC. Off-Broadway: The Merchant of Venice (Theatre for a New Audience), ONCE UPON A (korean) TIME (Ma-Yi Theater Company), the Drama Desk-nominated Henry VI (NAATCO), Mrs. Warren’s Profession (Gingold Theatrical Group), The Trial of the Catonsville Nine (Transport Group), Warrior Sisters of Wu, No-No Boy, The Emperor’s Nightingale (Pan Asian Rep). Regional: Alley Theatre, Oregon Shakespeare, Everyman Theatre, Mixed Blood, and many others. Television/ film: Blue Bloods, FBI, Solitary, Children of the Dust. He stars in the Dungeons & Dragons television show Encounter Party streaming on Freevee and Plex. M.F.A., University of Houston. davidleehuynh.com | @huynhsome

Haskell King* (Dean/Inspector) OffBroadway: Russian Troll Farm (Vineyard Theatre); Kingfishers Catch Fire (Irish Rep); Please Continue, Isaac’s Eye, Photograph 51, Turnabout (Ensemble

Studio Theatre); Mother (wild project); Elvis and Juliet (Abingdon Theatre).

Regional: Russian Troll Farm (Geva Theatre). Television: Dear Edward, Law & Order: Criminal Intent. Film: The Heart Stays, The Fly Room, Shadows and Lies.

Jesse Cao Long he/him (Yip/One) is pleased to be making his Yale Rep debut.

Previous theater credits include Short Stack 2 (Ma-Yi Theater Company); Big Love and Middletown (Columbia University); Translations (Barnard College); and Hamlet and Twelfth Night (RADA). He is currently a first-year M.F.A. Acting student at Columbia University and holds a B.A. in Modern East Asian and 20th-Century American History from Columbia University. @paroldhinter

Joe Osheroff* (Harriwell/Interpreter) First time at Yale Rep! National Tour: War Horse. Off-Broadway: The Public, The Acting Company. Regional highlights: Molly’s Hammer, The Other Place, The Drawer Boy, A Midsummer Night’s Dream, The Merchant of Venice, Proof, The War of the Roses, As You Like It, The Caucasian Chalk Circle.

Television: Law & Order: Criminal Intent, Quantico, The Blacklist, East New York, Blue Bloods, plus various commercials and voiceovers. Thank you, Roger Paul Inc.! Love to KLC and SP.

David Shih* he/him (Gee/Three) Broadway: Life of Pi. Off-Broadway: Will Eno’s Gnit (Theater for a New Audience); KPOP (Ars Nova); ONCE UPON A (korean) TIME, Bike America (Ma-Yi); Henry VI (NAATCO); Awake and Sing! (NAATCO/The Public); Somebody’s Daughter (2ST); Crane Story (Playwrights Realm).

Regional: SUMO, Tiger Style! (La Jolla Playhouse); Life of Pi (A.R.T.); Kim’s Convenience (Westport Country Playhouse); The Paper Dreams of Harry Chin (Indiana Rep); The Great Wave (Berkeley Rep). Television: Law & Order, Billions, Hunters, City on a Hill, Iron Fist, The Path, Blindspot, Elementary, Madam Secretary, The Blacklist, Unforgettable. Film: The Amazing Spider-Man 2, Eighth Grade, Mr. Sushi, Saving Face. He is the voice of Eddie Toh in Grand Theft Auto V.

Joyce Meimei Zheng she/her (Yuen/ Four) is a proud Jersey Girl, daughter of Chinese immigrants, and lover of song. She is so excited to make her Yale Rep debut with this formidable team and this beautiful play. She holds a B.F.A. from Mason Gross School of Arts at Rutgers University. Recent credits: A Christmas Carol (Alabama Shakespeare Festival), Macbeth (Double Feature Plays), Vicky & Frank (Form Theatricals), Irina in Three Sisters (Rutgers), Enobarbus in The

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

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CAST

in alphabetical order Tragedy of Antony and Cleopatra (Rutgers at Shakespeare’s Globe), Bounty in Chinatown (LF8 Studios debut short). @irokpink. Jesus loves you. She dedicates this performance to Mama, Baba, Derek, 外公, 奶奶, and the rest of her family in the far country.

UNDERSTUDY CAST in alphabetical order

Sergio Mauritz Ang* he/they (understudy for Two, Yip/One) is making their Yale Rep debut. New York: Learning How to Read by Moonlight (Leviathan Lab), Colman Domingo’s The Brother(s) (Out of the Box Theatrics), Anna in the Tropics (Gallery Players), Summertime (Between Two Boroughs). Regional: Pride and Prejudice (Hartford Stage); Song of Me (Stages, Houston); Yoga Play, The Skin of Our Teeth, A Wrinkle in Time, As You Like It, Julius Caesar, Ragtime (PlayMakers Rep); Flowers of Hawaii (Chautauqua Theater Company); Bruise & Thorn (PlayPenn); Peter and the Starcatcher (Kitchen Theatre Company); Mañanas de Abril y Mayo (Connecticut Free Shakespeare).

Film: Relay (Black Bear Films).

Television: The Other Two (HBO Max); Law and Order: SVU (NBC). M.F.A. in acting, UNC Chapel Hill; B.F.A. in acting, Brooklyn College. LaGuardia Arts High School. 谢谢大家 The Far Country Team, my beloved husband, BWA and CLA Fam. For 爸 and 媽 who sacrificed everything to live in this country. sergiomauritzang.com 18

Edoardo Benzoni (understudy for Dean/Inspector) is a second-year M.F.A. acting candidate at David Geffen School of Drama, where he has been seen in Uncle Vanya, How to Live on Earth, and A Midsummer Night’s Dream. Other credits include We F*cked Up (Yale Cabaret); Pride and Prejudice, Cannabis Passover, The Light and the Dark (Chautauqua Theater Company); and The Importance of Being Earnest (Chalk Rep). He received his bachelor’s degree from University of California, Berkeley.

Anzi DeBenedetto he/him (understudy for Moon Gyet) is a graduate of NYU Tisch (Atlantic and Stonestreet studios) in 2021. Recent theater includes Chamber Theatre’s Encore national tour in which he played 10 characters, and the title role in Thom Pain (based on nothing), a Bella Abzug Park public performance in NYC. Television and film credits include CBS’s FBI, Amazon Studios’ Chemical Hearts, and A24’s Y2K. Upcoming: Rosemead, starring Lucy Liu. Anzi is honored to be working at Yale Repertory Theatre with Ralph B. Peña and would like to especially thank his parents for all their love and support.

Paul Juhn* (understudy for Gee/ Three) Theater credits include Coleman ’72 (South Coast Rep); A Delicate Balance (Transport Group/ NAATCO); Snow in Midsummer (Classic Stage Company); Henry VI (NAATCO); The Good Person of Szechwan (The Public Theater); The Great Wave (Berkeley Rep); Hannah and the Dread Gazebo, The Merry Wives of Windsor, The Winter’s Tale, Antony and Cleopatra (Oregon Shakespeare Festival); White Chocolate (The Culture Project); Sides: the Fear is Real (Mr. Miyagi’s Theatre Company); wAve (Ma-Yi Theater). Film and television credits include Dr. Death, Girls5Eva, The Blacklist, Unbreakable Kimmy Schmidt, Law & Order, Salt, Quantico, 30 Rock, Person of Interest, Works of ART. Paul is a member of Mr. Miyagi’s Theater Company. M.F.A., UCSD.

Christina Liang* (understudy for Low, Yuen/Four) is excited to be understudying in The Far Country at Yale Rep. She is an actress and writer based in New York. Her theater credits include The Chinese Lady (Kitchen Theatre Company); Pride and Prejudice (Triad Stage); Three Musketeers: 1941 (Project Y

Theatre); Quack (Alley Theatre); Issei, He Say (New Jersey Rep); A Christmas Carol, Love and Information, and Ah, Wilderness! (A.C.T.). She has also appeared on FBI: Most Wanted (CBS) and Grand Theft Auto Online (Rockstar). M.F.A., A.C.T, acting; B.A., NYU, individualized studies.

Max Sheldon he/him (understudy for Harriwell/Interpreter) is a first-year actor at David Geffen School of Drama and is thrilled to be working with the incredible team of The Far Country. His credits include Finian’s Rainbow (Irish Rep); Afloat (WP Theater); West Side Story, Peter and The Starcatcher (Weston Playhouse); and Dracula, or the Undead (Williamstown Theatre Festival). Film and television credits include Law & Order: Organized Crime (NBC), Theater Camp (Searchlight Pictures), Red Oaks (Amazon), and The Path (Hulu). Max is a proud graduate of NYU Tisch School of the Arts. Max would like to thank his family, his chosen family, all of his teachers, Ted Walch, and his parents for their love and unwavering belief.

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

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CREATIVE TEAM in alphabetical order

Matthew Armentrout (Hair Designer) previously worked at Yale Rep on Escaped Alone, Wish You Were Here, The Brightest Thing in the World, Edward Albee’s Who’s Afraid of Virginia Woolf?, Today is My Birthday, and Manahatta. Broadway: Birthday Candles, Paradise Square, Flying Over Sunset, and Bernhardt/Hamlet.

Off-Broadway: Merrily We Roll Along (Roundabout), Othello (Shakespeare in the Park). Regional: Bliss (The 5th Avenue Theatre), Jitney (National Tour), Paradise Square (Berkeley Repertory Theatre).

Nakia Shalice Avila she/they (Assistant Stage Manager) is a black afro-latine abolitionist, dreamer, and multi-hyphenate artist. Credits include The Salvagers; Today is My Birthday; the ripple, the wave that carried me home (Yale Rep); Skeleton Crew, Othello (Trinity Repertory Company); Big River (Utah Shakespeare Festival); Familiar, True West (Steppenwolf Theatre Company); I was waiting for the echo of a better day (Fisher Center at Bard); The Tempest (Elm Shakespeare Company); the father, the son, and the holy spirit (Yale Summer Cabaret); love i awethu further, Hedda Gabler, Ghosts, and Macbeth (David Geffen School of Drama). Nakia holds a B.A. in psychology from Claflin University. They dedicate their work on this production to the black and queer stage managers before them.

Calleri Jensen Davis (Casting Director) is a creative casting partnership among James Calleri, Erica Jensen, and Paul Davis of over 20 years. They began their collaboration with Yale Rep last season with Mojada: A Medea in Los Angeles and the ripple, the wave that carried me home. Broadway credits: The Piano Lesson, Topdog/Underdog, for colored girls..., Thoughts of a Colored Man, Burn This, Fool for Love, The Elephant Man, Hedwig and the Angry Inch, Of Mice and Men, Venus in Fur, A Raisin in the Sun, 33 Variations.

Television: Love Life, Queens, Dickinson, and The Path, to name a few. callerijensendavis.com Alexus Jade Coney* (Stage Manager) is a graduating M.F.A. candidate in stage management at David Geffen School of Drama, where she has worked on Furlough’s Paradise, Marys Seacole, Love’s Labor’s Lost, Manning, and Bodas de sangre/Blood Wedding. Other credits include The Bleeding Class (Chautauqua Theater Company); The Salvagers, Edward Albee’s Who’s Afraid of Virginia Woolf?, Between Two Knees (Yale Rep); The Royale, burnbabyburn: an american dream, and Bakkhai (Yale Cabaret). Alexus was the Stage Management Apprentice for New York Stage and Film’s 2023 Summer Season. She proudly holds a B.A. in English from Yale University and dedicates her final production as a Yale student to her parents, Jackie and Bryan Coney—thank you for lifting

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

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her up throughout life and especially the last eight years. “Every truly great accomplishment is at first impossible.”

Hope Binfeng Ding she/her (Assistant Stage Manager) is a second-year M.F.A. candidate in stage management at David Geffen School of Drama, originally from Shenzhen, China.

Credits at the Geffen School include Uncle Vanya, Ghosts, Next to Normal, Grand Concourse, and The Winter’s Tale.

Other selected credits include Romeo and Juliet (NAATCO); Aubergine, The Scarlet Letter (South Coast Rep); The Heart of Rock and Roll (The Old Globe); Sleep No More Shanghai; Eye of the Storm Stunt Spectacular (Disney Shanghai). B.A., UC San Diego.

Hana S. Kim she/her (Projection Designer) Broadway: The Old Man and the Pool; Summer, 1976; The Outsiders.

Off-Broadway: The Harder They Come, The Visitor (Lucille Lortel nomination), and Eve’s Song at The Public Theater; Everything Rises (BAM); Magdalene (Prototype Festival). New music/ opera: L’Orfeo (Santa Fe Opera), Sweet Land (The Industry), The Anonymous Lover (Los Angeles Opera). Regional: Geffen Playhouse, Oregon Shakespeare Festival, South Coast Rep, Magic Theatre, A.C.T, among others. Hana is the recipient of the Princess Grace, Center Theatre Group’s Sherwood, Helen Hayes, and LA Drama Critics Circle Distinguished Achievement awards, among others. hananow.com

Joe Krempetz (Sound Design and Original Music) is a sound designer and composer from the San Francisco Bay Area. Recent credits include Edward Albee’s Who’s Afraid of Virginia Woolf?

(Yale Rep); Fucking A, Julius Caesar (David Geffen School of Drama); Transpositions (Yale Schwarzman Center); and Upwelling (multiple Bay Area venues). As a sound engineer, Joe has worked with Microsoft, Stanford University, Berkeley Rep, Theaterworks Silicon Valley, IFAI, and many others. Recently, Joe designed sound for Voices of the New Belarus, an installation for the Oslo Freedom Forum. He is easily Google-able.

Matteo Lanzarotta (Technical Director) is a second-year M.F.A. candidate at David Geffen School of Drama. He served as an assistant technical director for Wish You Were Here at Yale Rep and Next to Normal at the Geffen School. Before Yale, he worked on various productions in New York City and spent many summers at Williamstown Theatre Festival. He is very excited to be the technical director for The Far Country and would like to thank everyone who has helped him succeed here—too many to list, but you know who you are.

Xi (Zoey) Lin 林曦 (Sound Design and Original Music) is a native of Nanjing, China, and holds a B.A. in theater arts and a B.M. in piano performance from Lawrence University.

She is currently an M.F.A. candidate at David Geffen School of Drama.

Previous credits include original music composition for Morpho Studio’s digital

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CREATIVE TEAM in alphabetical order

fashion collection releases of「CORAL 珊瑚」and VINCENT at Beijing Fashion Week, the Carlotta Festival 2023 (production sound engineer) and Next to Normal (assistant sound designer and engineer) at the Geffen School, and Detroit ’67 (Princeton Summer Theatre, sound designer). xizoeylin.com

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Midori Nakamura (Vocal and Dialect Coach) is a Brooklyn-based teaching artist and Designated Linklater Voice Teacher. She teaches voice for David Geffen School of Drama, The Linklater Center in New York, the Maggie Flanigan Studio, and NYU Tisch at The Lee Strasberg Theatre & Film Institute.

She has also taught for Columbia University’s Social Impact Fellowship and LAByrinth Theater’s Intensive Ensemble, as well as coaching private clients in both acting and voice. As an actor, she has worked in film, TV, on Broadway, Off-Broadway, for Shakespeare in the Park, at the Kennedy Center, at the RSC, and in regional theater. She has acted alongside Philip Seymour Hoffman, Alec Baldwin, Anthony Hopkins, Patrick Stewart, Angela Bassett, Bill Irwin, Keanu Reeves, Michael C. Hall, Liev Schreiber, Karen Allen, Del Close, Kim Cattrall, and Jennifer Aniston. Directors she has acted under include George C. Wolfe, Morgan Freeman, Lena Dunham, Barry Levenson, Peter Sellars, Nicholas Hytner, Austin Pendleton, James Lapine, Jerzy Grotowski, and Joe Chaikin. Midori codirected, co-produced, and co-edited T’an Bakhtale, a documentary about the Russian Roma, which received awards from the American Association of Anthropology and the Royal Anthropological Institute. She assisted Karen Allen in her directorial debut, A Tree, A Rock, A Cloud.

A.B. Orme (Production Dramaturg) is a second-year M.F.A. candidate at David Geffen School of Drama, interested in bringing the worlds of scholarship, performance, and activism into more honest and generative conversation with one another. On the page and on the stage, they love to explore queer theater, theaters of the left, and the legacies of early modern verse drama.

Geffen School credits include The Alley and Solstice. They currently serve as the Co-Managing Editor of Theater, Yale’s journal of drama and performance.

Permanent Ceasefire Now.

Ralph B. Peña (Director) is an OBIE Award-winning theater maker based in New York City. Recent directing credits include the world premiere of Lisa Sanaye Dring’s SUMO at La Jolla Playhouse; Lloyd Suh’s The Chinese Lady at The Public Theater, Indiana Rep, Long Wharf Theatre, Barrington Stage (Drama Desk, Lortel, New York Outer Critics, Connecticut Critics Circle nominations); Michael Lew’s Tiger Style! at South Coast Repertory; and Daniel K. Isaac’s ONCE UPON A (korean) TIME for Ma-Yi Theater Company, where he is currently Producing Artistic Director.

For Ma-Yi he has directed the world premieres of Hansol Jung’s Among the Dead (The New York Times Critic’s Pick), Michael Lew’s microcrisis, Lloyd Suh’s The Wong Kids (Off Broadway, Alliance Best Children’s Play), and Children of Vonderly (both also NYT Critic’s Picks).

He wrote and directed the short film Vancouver (Cannes World Film Festival, L.A. Indie Festival, NY International Film Award for Best Short and Best Director, 2023 UNIMA Citation of Excellence), and the documentary The First Twenty: 20 Years of Asian American Playwriting for PBS/ALL ARTS.

Kiyoshi Shaw he/him (Costume Designer) is a fourth-year M.F.A. candidate at David Geffen School of Drama, where he has designed costumes for Ibsen’s Ghosts and Shakespeare’s Julius Caesar. He received his B.F.A. in costume design and technology from Virginia Commonwealth University, where he designed costumes for One Flew Over the Cuckoo’s Nest.

Assistant credits include Fly at Ford’s Theatre, Bodas de sangre/ Blood Wedding at the Geffen School, and Choir Boy at Yale Rep. Lloyd Suh (Playwright) is also the author of The Heart Sellers, which premiered last February at Milwaukee Rep, and later played at the Huntington Theatre. Other plays include The Chinese Lady, Bina’s Six Apples, Charles Francis Chan Jr.’s Exotic Oriental Murder Mystery, American Hwangap, and more, and have been produced across the country, with Ma-Yi, Atlantic, The Public Theater, Alliance, Children’s Theatre Company, Magic, Long Wharf Theatre, Denver Center, Ensemble Studio Theatre, and more, including internationally at the Cultural Center of the Philippines and with PCPA at the Guerilla Theatre in Seoul, Korea.

He is the recipient of the Steinberg Playwright Award, the Herb Alpert Award in the Arts, the Horton Foote Prize, and a Guggenheim Fellowship.

He is a Resident Playwright at New Dramatists and was elected in 2016 to the Dramatists Guild Council.

Kim Zhou she/her/hers (Scenic Designer) is a Chinese-born set designer and theater maker. Her recent credits include Next to Normal (David Geffen School of Drama); Pride365 (Yale Summer Cabaret); La Doriclea (associate scenic design, Yale Baroque Opera); The Fairy Queen (Crescent Theater); And the Beetle Hums (playwright), Every Brilliant Thing, We Fucked Up, Dr. Ride’s American Beach House, and We’re Gonna Die (Yale Cabaret).

She received her bachelor’s degree from OCAD University in Toronto, where she studied and practiced architecture design. She is in her final year of training at David Geffen School of Drama. kimzhou.com | @kimx.zhou

Yichen Zhou (Lighting Designer) is a theater designer born and raised in China and is currently pursuing an M.F.A. at David Geffen School of Drama. In her theatrical practice, she is deeply fascinated by the stories told through space and the truth one can find through imagination.

Selected recent credits include Invasive Species (The Tank); The Rasa Project (National Sawdust); Furlough’s Paradise, Marys Seacole, Ghosts (Geffen School); If We Could Turn Back Time (Connecticut College); burnbabyburn: an american dream (Yale Summer Cabaret); and A Number (Beijing Inside-Out Theatre).

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ARTISTIC Assistant Director

Steph Lo 盧胤沂

Destyne Miller

Front of House Mix Engineer

Assistant Scenic Designer

Jennifer Yuqing Cao Assistant Costume Designer

Allison Morgan Associate Lighting Designer

Eitan Acks Assistant Lighting Designer

Gib Gibney Assistant Sound Designer and Engineer

Robert Salerno Associate Projection Designer

John Horzen Assistant Dramaturg

Elliot Valentine Toisanese Language Consultant

Karen Huie Additional Translation

Stephanie Smith Projection Engineer

Constanza Etchechury López Projection Programmer

Cheyenne Doczi Run Crew

Matthew Chong, KT Farmer, Lilliana Gonzalez, Rosemary Lisa Jones, Twaha Abdul Majeed, Georgia Petersen, Annie Wang Run Crew Swing

Kemar Jewel Rehearsal Assistant

Chloe Xiaonan Liu

ADMINISTRATION Associate Managing Director

Chloe Knight

Xi (Zoey) Lin 林曦

Assistant Managing Director

PRODUCTION

Management Assistants

Production Manager

Sydney Raine Garick Assistant Production Manager

Yun Wu 吳昀 Assistant Technical Directors

Nicolas Benavides Steven Blasberg Alex Theisen Technical Designer

Shawn Poellet Properties Manager

Nickie Dubick 24

Production Electrician

Jeremy Landes Iyanna Huffington Whitney Mithra Seyedi Kavya Shetty Taylor Ybarra Company Manager

Sarah Machiko Haber Assistant Company Managers

Claudia Campos Joy Chen Victoria McNaughton Sarah Saifi Mithra Seyedi House Managers

Joy Chen Kavya Shetty

SPECIAL THANKS Dustin Chinn; Daisy Yee; Christine Mok; Annie MacRae; Neil Pepe; Loretta Greco; Beth Blickers; Kimber Lee; Andrea Hiebler; Krista Williams; Jennifer Chang; A.K. Howard; Edward Tepporn; and everyone at the Angel Island Immigration Station Foundation, and especially to Him Mark Lai, Genny Lim and Judy Yung for their extraordinary scholarship and work in uncovering and documenting this history, particularly through Island: Poetry and History of Chinese Immigrants on Angel Island, 1910-1940, University of Washington Press, 2014, and Angel Island: Immigrant Gateway to America, Oxford University Press, 2012; and to Erika Lee, for her At America’s Gates: Chinese Immigration During the Exclusion Era, 1882-1943, University of North Carolina Press, 2003; Emily Chew; Jennifer Heikkila Díaz; Russell Nauman; Michael Meng, Librarian for Chinese Studies at Yale and Head of Yale’s East Asia Library, for his research guidance to the production’s dramaturgy team.

YALE REPERTORY THEATRE STAFF Artistic Director James Bundy Managing Director Florie Seery Associate Artistic Director, Director of New Play Programs Chantal Rodriguez

Lighting Design Advisors Alan C. Edwards Stephen Strawbridge Projection Design Advisor Shawn Lovell-Boyle Sound Design Advisor Jill BC Du Boff

General Manager Carla L. Jackson

Voice and Text Advisor Grace Zandarski

Artistic Resident Artists

Resident Fight and Intimacy Directors Kelsey Rainwater Michael Rossmy

Playwright in Residence Tarell Alvin McCraney Resident Directors Lileana Blain-Cruz Liz Diamond Tamilla Woodard Dramaturgy Advisor Amy Boratko Resident Dramaturg Catherine Sheehy Set Design Advisor Riccardo Hernández Resident Set Designer Michael Yeargan Costume Design Advisors Oana Botez Ilona Somogyi Resident Costume Designer Toni-Leslie James

Stage Management Advisor Narda E. Alcorn Associate Artists 52nd Street Project, Kama Ginkas, Mark Lamos, MTYZ Theatre/Moscow New Generation Theatre, Bill Rauch, Sarah Ruhl, Henrietta Yanovskaya

Artistic Management Production Stage Manager James Mountcastle Senior Artistic Producer Amy Boratko Associate Producer Kay Perdue Meadows Artistic Fellows Jisun Kim Madeline Pages

Casting James Calleri Erica Jensen Paul Davis Senior Administrative Assistant to the Artistic Director and Associate Artistic Director Josie Brown Senior Administrative Assistant for Directing, Dramaturgy and Dramatic Criticism, Playwriting, and Stage Management Laurie Coppola Senior Administrative Assistant for Design Kate Begley Baker Senior Administrative Assistant for the Acting Program Krista DeVellis Library Services Erin Carney

PRODUCTION Production Management

Director of Production Shaminda Amarakoon Production Manager Jonathan Reed Production Manager for Studio Projects and Special Events C. Nikki Mills

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YALE REPERTORY THEATRE STAFF Scenery

Technical Director for Yale Rep Neil Mulligan Technical Directors for David Geffen School of Drama Latiana “LT” Gourzong Matt Welander Electro Mechanical Laboratory Supervisor Eric Lin Scene Shop Supervisor Eric Sparks Senior Lead Carpenter Matt Gaffney Lead Carpenters Ryan Gardner Doug Kester Kat McCarthey Sharon Reinhart Carpenter David Di Fabio Carpentry Intern Isaac Lau

Painting

Scenic Charge Mikah Berky Scenic Artists Lia Akkerhuis Nathan Jasunas Paint Interns Nicole Goldstein Laam Tsang

Properties

Interim Senior Draper Susan Aziz Senior First Hands Deborah Bloch Patricia Van Horn First Hand Anna Blankenberger

Costume Shop Manager Christine Szczepanski

Assistant Managing Director Jeremy Landes

Management Assistant Iyanna Huffington Whitney

Costume Interns Amani Jaramoga Annie Wang

Company Manager Sarah Machiko Haber

Electrics

Lighting Supervisor Donald W. Titus Senior House Electricians Jennifer Carlson Linda-Cristal Young Electricians Katie Brown Alary Sutherland Ryan White

Assistant Company Managers Joy Chen Victoria McNaughton

Development & Alumni Affairs Senior Director of Development and Alumni Affairs Deborah S. Berman

Sound

Deputy Director of Operations for Development and Alumni Affairs Susan C. Clark

Senior Lead Sound Engineer Stephanie Smith

Associate Director of Development and Alumni Affairs Jacob Santos

Sound Supervisor Mike Backhaus

Projections

Costumes

Associate Managing Directors Jake Hurwitz Chloe Knight A.J. Roy

Costume Stock Manager Jamie Farkas

Properties Craftsperson David P. Schrader

Properties Intern Destany Langfield

ADMINISTRATION General Management

Senior Administrative Assistant to the Managing Director and General Manager Sarah Masotta

Sound Intern Robert Salerno

Properties Stock Manager Mark Dionne

Light Board Programmer Sabrina Idom

Costume Project Coordinator Linda Kelley-Dodd

Properties Supervisor Jennifer McClure

Properties Associate Zach Faber

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Senior Drapers Clarissa Wylie Youngberg Mary Zihal

Projection Supervisor Anja Powell Projection Technician Erin Pleake

Stage Operations Stage Carpenter Janet Cunningham

Lead Wardrobe Supervisor Elizabeth Bolster Lead Properties Runner William Ordynowicz

Assistant Director of Development & Alumni Affairs Mikayla Stanley Senior Administrative Assistant to Development and Alumni Affairs Jennifer E. Alzona Development Associate Delaney Kelley

Finance, Human Resources, & Digital Technology

Director of Finance and Business Administration/Lead Administrator Nicola Blake

Human Resources Business Partner Trinh DiNoto Director, Yale Tessitura Consortium, and Web Technology Janna J. Ellis Manager, Business Operations Martha Boateng Business Office Analyst Shainn Reaves

Assistant Director of Marketing and Communications Roman Sanchez Community Engagement Associate a.k. payne Senior Administrative Assistant for Marketing and Communications Mishelle Raza

Digital Communications Associate George Tinari

Interim Senior Administrative Assistant for Marketing and Communications Rachel Zwick

Business Office Specialists Moriah Clarke Karem Orellana-Flores

Marketing and Communications Assistant Claudia Campos

Business Office Assistant Asberry Thomas

Publications Manager Marquerite Elliott

Digital Technology Associates Edison Dule Garry Heyward

Production Photographer Joan Marcus

Senior Administrative Assistant to Business Office, Digital and Web Technology, Facility Operations, Human Resources, Tessitura Monique Moore Database Application Consultants Ben Silvert Erich Bolton Bo Du

Marketing, Communications, & Audience Services Director of Marketing Daniel Cress

Director of Communications Steven Padla Senior Associate Director of Marketing and Communications Caitlin Griffin Associate Director of Marketing and Communications Samanta Cubias

Art and Design Paul Evan Jeffrey/ Passage Design Videographer David Kane

Accessibility Assistant Prentiss Patrick-Carter Ushers Calum Baker, Danielys Batista, Tracy Bennett, Maura Bozeman, Logan Carr, Josh Ellis, Gerson Espinoza Campos, Megan Foster, Lydia Gompper, Celete Kato, Şeyma Kaya, Di’Jhon McCoy, Keenan Miller, Bonnie Moeller, William Romain, Jana Ross, Mao Shiotsu, Jonathan Singleton, Nicole Stack, Larsson Youngberg

Theater Safety and Occupational Health Director of Theater Safety and Occupational Health Anna Glover Assistant Director of Theater Safety Kelly O’Loughlin Associate Safety Advisors Cian Jaspar Freeman Timothy “TJ” Wildow

Operations

Director of Facility Operations Nadir Balan

Director of Audience Services Laura Kirk

Associate Director of Operations Brandon Fuller

Assistant Director of Audience Services Shane Quinn

Operations Assistant Kelvin Essilfie

Subscriptions Coordinator Tracy Baldini Audience Services Associate Molly Leona Customer Service and Safety Officers Ralph Black, Jr. Kevin Delaney Ed Jooss Box Office Assistants Pilar Bylinsky, Jordi Bertrán Ramírez, Emma Fusco, Sydney Raine Garick, Jordan Graf, Elliot Valentine, Kenneth Murray, Timothy “TJ” Wildow

Arts and Graduate Studies Superintendents Jennifer Draughn Francisco Eduardo Pimentel Custodial Team Leaders Andrew Mastriano Sherry Stanley Facility Stewards Ronald Douglas Marcia Riley Custodians Tylon Frost, Willia Grant, Cassandra Hobby, Melloney Lucas, Shanna Ramos, Jerome Sonia

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Yale Repertory Theatre operates under an agreement between the League of Resident Theatres (LORT) and Actors’ Equity Association (AEA), the Union of Professional Actors and Stage Managers in the United States.

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

The Far Country, April 26–May 18, 2024.

Yale Repertory Theatre, 1120 Chapel Street, New Haven, Connecticut.

ACCESSIBILITY SERVICES May 11 at 2PM Audio Description Pre-show description begins at 1:45PM A live narration of the play’s action, sets, and costumes for patrons who are blind or have low vision.

Free listening devices, headsets, and neck loops, and Sensory items as well as Braille and large print programs are available at the concierge desk in the theater lobby.

Touch Tour Prior to a performance, patrons who are blind or have low vision touch fabric samples, rehearsal props, and building materials to understand what better comprises the production design.

Yale Repertory Theatre gratefully acknowledges the Carol L. Sirot Foundation for underwriting the assistive listening systems in our theaters.

May 11 at 8PM American Sign Language (ASL) An ASL-interpreted performance for patrons who are deaf or have hearing loss.

For more information about our accessibility services or to provide feedback about your experience, contact Laura Kirk, Director of Audience Services: 203.432.1234 or laura.kirk@yale.edu.

May 18 at 2PM Open Captioning

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A digital display of the play’s dialogue as it’s spoken for patrons who are deaf or have hearing loss.

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

ACCESSIBILITY TEAM in alphabetical order

Lucy Annett (ASL Interpreter) is thrilled to be making her return to Yale Rep having previously interpreted for The Brightest Thing in the World. Based in San Diego, she has interpreted for productions at American Repertory Theater, Broadway Across America, Oregon Shakespeare Festival, and Center Theatre Group, among others. Having a background in music and interpreting for nearly 25 years, she enjoys the opportunity to be in a performing environment. She is grateful to her loved ones for their support, especially her kiddo.

David Chu/c2inc-caption coalition (Open Captioner) is a 501(c)3 nonprofit consultant and the leading provider of professional Live Performance Captioning (sm) for theatrical and cultural presentations. c2 members hold the distinction of being the very first to caption live theater (the Paper Mill Playhouse, NJ), the first to debut on Broadway and Off-Broadway, and have introduced open captioning in prestigious theaters across the country and in London. Captioning in theater has gained momentum and acceptance by theatergoers since its debut in 1996. It addresses the needs of a far larger audience of hard of hearing and deaf people, which includes those who do not use sign language, are late deafened, not self-identified with hearing loss, and those who simply might have missed a punch line.

Marydell Merrill (Audio Describer) is an audio describer for Yale Rep and Hartford Stage and the Artistic Director of Hamden High School’s Mainstage Ensemble. Credits include Yale Rep’s

WILL POWER!; the Connecticut Association for Physical Fitness, Health, Recreation, and Dance; Breakdancing Shakespeare at Hartford Stage (Master Teaching Artist); and several regional and national educational theater festivals and conferences. Marydell is a national theater performance adjudicator and a member of the national screening team of exemplary high school theatrical productions for the Educational Theatre Association. Awards: 2014 Northeast Educational Theatre Festival Hall of Fame, 2014 International Thespian Society Inspirational Theatre Educator Award, and the 2017 Connecticut Theatre Educator of the Year from the Connecticut Chapter of the International Thespian Society. A member of Actors’ Equity Association, she has performed with several companies including Long Wharf Theatre and Connecticut Free Shakespeare.

Travis Giuse Nguyễn he/él (ASL Interpreter) is a multilingual interpreter (American Sign Language/English/ Spanish/Vietnamese) based in the Greater Houston area. Certified under the Texas Board for the Evaluation of Interpreters (BEI) and the National Board for Certified Medical Interpreters (NBCMI), Travis enjoys providing language accessibility to stakeholders such as medical providers, patients, and theatergoers. In the performing arts world, Travis has had the privilege of working with theater productions at multiple venues, including American Repertory Theater, Moonbox Productions, Cleveland Play House, and Alley Theatre. When not interpreting, Travis enjoys knitting, sewing, and gardening.

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EVENTS! AAPI GATHERS

THURSDAY, MAY 9 at 6PM

Throughout the run of The Far Country, Yale Rep will host programming related to the production and in celebration with and of the AAPI community. Visit yalerep.org for the full calendar of events.

Yale Rep @ NHFPL Fair Haven Branch, 182 Grand Ave Join us for a conversation in English and Spanish about the themes of The Far Country and learn about Yale Rep’s Spanish captioned performance.

SATURDAY, APRIL 27 at 8PM TUESDAY, MAY 7 AT 8PM

SATURDAY, MAY 11 at 11AM

Post-Show Conversation Join us in the August Wilson Lounge following the performance for a conversation about the show with our production dramaturgs.

MONDAY, APRIL 29 at 8PM AAPI Gathers Night at Yale Rep

WEDNESDAY, MAY 8 at 1PM

Pre-Show Reception and Conversation Please join us for refreshments in the August Wilson Lounge, where members of the creative team will hold a discussion about the play at 1:20PM.

Yale Rep @ NHFPL Ives Main Library, 133 Elm St Join us for a family-friendly storytime and craft activity related to the historical content of the play.

SATURDAY, MAY 11 at 2PM Talk Back Join us after the show for a conversation about the play and its themes with members of the company.

FRIDAY, MAY 17 at 8PM Spanish Language Captioning La presentación del 17 de mayo será subtitulada en español.

This performance will be open-captioned in Spanish.

All events are subject to change. Additional details at yalerep.org.

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YOUTH PROGRAMS WILL POWER! is Yale Rep’s annual educational initiative, designed to bring middle and high school students to see live theater. Since our 2003–04 season, WILL POWER! has served more than 20,000 Connecticut students and educators.

This spring we will offer programming centered on Lloyd Suh’s The Far Country to New Haven Public Schools students and educators. In previous seasons, the program has included early school-time matinees, free or heavily subsidized tickets, study guides, and post-performance discussions with actors and members of the creative teams. WILL POWER! is committed to giving teachers curricular support through free workshops and professional development about the content and themes of the plays.

THE DWIGHT/EDGEWOOD PROJECT (D/EP) is a community engagement program of Yale Rep and David Geffen School of Drama for middle schoolaged students from Barnard Environmental Science and Technology Magnet School, a K-8 school located on the edge of the Dwight and Edgewood neighborhoods in New Haven. The students are paired with mentors from the Geffen School to write their own plays.

Yale Rep’s youth programs are supported by The Robert and Mercedes Eichholz Foundation, NewAlliance Foundation, and the Esme Usdan Community Youth Fund.

Forget Me Not Flower Shop

Daily Deliveries

European Style

to the Greater

Floral Designs

New Haven

Gourmet Gift Baskets House Plants

Area

www.forgetmenotfloristCT.com 39 State Street, North Haven CT (203) 248-7589 31

DAVID GEFFEN SCHOOL OF DRAMA BOARD OF ADVISORS John B. Beinecke YC ’69, Chair Jeremy Smith ’76, Vice Chair Nina Adams MS ’69, NUR ’77 Amy Aquino ’86 Rudy Aragon LAW ’79 John Badham ’63, YC ’61 Pun Bandhu ’01 Sonja Berggren Special Research Fellow ’13 Frances Black ’09 Carmine Boccuzzi YC ’90, LAW ’94 Lynne Bolton James Chen ’08 Lois Chiles Patricia Clarkson ’85 Edgar M. Cullman III ’02, YC ’97 Michael David ’68

Wendy Davies Special Research Fellow ’21 Sasha Emerson ’84 Lily Fan YC ’01, LAW ’04 Terry Fitzpatrick ’83 Marc Flanagan ’70 Anita Pamintuan Fusco YC ’90 David Alan Grier ’81 Sally Horchow YC ’92 Ellen Iseman YC ’76 David G. Johnson YC ’78 Rolin Jones ’04 Sarah Long ’92, YC ’85 Cathy MacNeil-Hollinger ’86 Brian Mann ’79 Drew McCoy David Milch YC ’66 Jennifer Harrison Newman ’11 Richard Ostreicher ’79

Carol Ostrow ’80 Maulik Pancholy ’03 Daphne Rubin-Vega Tracy Chutorian Semler YC ’86 Michael Sheehan ’76 Anna Deavere Smith DFAH ’14 Woody Taft YC ’92 Andrew Tisdale Edward Trach ’58 Julie Turaj YC ’94 Esme Usdan YC ’77 Courtney B. Vance ’86 Donald R. Ware YC ’71 Shana C. Waterman YC ’94, LAW ’00 Kim Williams Henry Winkler ’70 Amanda Wallace Woods ’03

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

Anonymous John B. Beinecke Sonja Berggren and Patrick Seaver Lois Chiles Estate of Nicholas Diggs* Estate of Richard Diggs* The Robert and Mercedes Eichholz Foundation Anita Pamintuan Fusco and Dino Fusco David Geffen Foundation David G. Johnson Neil Mazzella Talia Shire Schwartzman The Shubert Foundation Jeremy Smith Woody Taft Stephen Timbers Edward Trach Julie Turaj and Rob Pohly Esme Usdan Donald R. Ware

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GUARANTORS ($25,000–$49,999)

Americana Arts Foundation Reginald J. Brown and Tiffeny F. Sanchez Connecticut Department of Economic and Community Development Sarah Long National Endowment for the Arts Tracy Chutorian Semler The Sir Peter Shaffer Charitable Foundation

BENEFACTORS ($10,000–$24,999)

Nina Adams and Moreson Kaplan Rudy Aragon Carmine Boccuzzi and Bernard Lumpkin Lynne and Roger Bolton James and Deborah Burrows Foundation Burry Fredrik Foundation Wendy Davies Michael Diamond* *deceased

Mabel Burchard Fischer Grant Foundation Lucille Lortel Foundation Cathy MacNeil-Hollinger and Mark Hollinger Princess Grace Foundation Michael and Riki Sheehan Carol L. Sirot Trust for Mutual Understanding

PATRONS ($5,000–$9,999)

Pun Bandhu Eugene G. & Margaret M. Blackford Memorial Fund for the Blind, Bank of America, N.A.,Trustee Santino Blumetti James Bundy and Anne Tofflemire CT Humanities Michael S. David Terry Fitzpatrick Howard Gilman Foundation Bigelow Greene James Guerry Hood Brian Tyree Henry

Sally Horchow Rolin Jones Tien-Tsung Ma David and Leni Moore Family Foundation NewAlliance Foundation Carol Ostrow

PRODUCER’S CIRCLE ($2,500–$4,999)

Anonymous Ed Barlow Lisa Barlow Angela Bassett Frances Black Cyndi Brown Ian Calderon Joan Channick Lily Fan Deborah Freedman and Ben Ledbetter Fred Gorelick and Cheryl MacLachlan Ellen Iseman JANA Foundation Ann Judd and Bennett Pudlin Rocco Landesman George Lindsay, Jr.

Tarell Alvin McCraney Leonard Molczadski in honor of Norman Walsh Taylor Richard Ostreicher Pam and Jeff Rank Bill and Sharon Reynolds Estate of June M. Rosenblatt Abby Roth and R. Lee Stump Daphne Rubin-Vega and Thomas Costanzo

Max Leventhal Matthew H. Lewis Eric Lin Charles H. Long Chih-Lung Liu Virginia (Wendy) Riggs John McAndrew Kellen McNally Cathy C. Mock Janice Muirhead Vicki Nolan and Clark Crolius Janet Oetinger Arthur Oliner F. Richard Pappas DIRECTOR’S Jonathan Pellow CIRCLE Dw Phineas Perkins ($1,000–$2,499) Louise Perkins and Chuck Adomanis Jeff Glans Laura and Victor Altshul Jeffrey Powell and Debby Applegate and Adalgisa Caccone Bruce Tulgan Kathy and George Priest Paula Armbruster Alec Purves PARTNERS Richard C. Beacham Faye and Asghar ($500–$999) John Lee Beatty Rastegar Donna Alexander Anne and Guido Jon and Sarah Reed ASSA ABLOY Calabresi Anne Renner Shaminda and Carole James Chen Ted Robb Bob and Priscilla Dannies Amarakoon Richard and Alice Baxter Howard Rogut Elwood and Catherine Russ Lori Rosensweig Miles Benickes Davis Robin Sauerteig David J. Berendes Ramon Delgado Florie Seery Ashley Bishop Lynn Doucette-Stamm Anna Deavere Smith John and Suzanne Melanie Ginter Matthew Specter and Bourdeaux Jon Farley Marjan Mashhadi Shawn Boyle Lindy Lee Gold Dr. and Mrs. Dennis D. Joy Carlin LT Gourzong Spencer Lawrence Casey Eric M. Glover James Steerman Sarah Bartlo Chaplin Rob Greenberg Kenneth J. Stein Audrey Conrad Mark Haber and Chiyo David Sword Daniel Cooperman and Moriuchi John Turturro and Mariel Harris William B. Halbert Katherine Borowitz Laura Copenhaver Jane Head Paul Walsh Sean Cullen Dale and Stephen Stephanie Waaser Robert Dealy Hoffman Kristan and Nathaniel Sasha Emerson Suzanne Jackson Wells Peter Entin Pam Jordan Vera Wells Betty and Joshua Abby Kenigsberg Walton Wilson Goldberg Fran Kumin Steven Wolff The Ethel & Abe Lapides Paul Goldberg Amanda Wallace Woods Bill and Marcy Grambo Foundation Nancy Yao Carolyn Gray Charles Letts Robert Zoland Regina Guggenheim Kenneth Lewis Judy Hansen Jennifer Lindstrom INVESTORS David Henry Hwang Chih-Lung Liu ($250–$499) Sanghun Joung Brian Mann Actors’ Equity Helen Kauder and John McAndrew Foundation Barry Nalebuff Jim and Eileen Mydosh Clayton Austin Harvey Kliman and Stephen Newman in Alexander Bagnall Sandra Stein memory of Ruth Hunt Michael Bianco Corby S. Kummer Newman Jacob G. Padrón Ross S. Richards Russ Rosensweig Traci D. Shed Barbara Siegler Slotznick Family Fund, a charitable fund of The Foundation for Enhancing Communities Shepard and Marlene Stone Courtney B. Vance Carol M. Waaser Shana C. Waterman George C. White Carolyn Seely Wiener Kim Williams The Raul Yanes and Sara Hazelwood Foundation

Susan Brady and Mark Loeffler James and Dorothy Bridgeman Tom Broecker Donald Brown Suzanne Bruhn Mr. and Mrs. Robert Buckholz Kate Burton Michael Cadden Sarah Cain Nicholas Cimmino Jeffrey Cohen Daniel Cress Claire A. Criscuolo Janet Cunningham Rick Davis Kem and Phoebe Edwards Kenneth Elliott Robert Emmons Michael Fain Richard and Barbara Feldman Deborah and Henry Fernandez Tony Forman David Freeman Richard Fuhrman Randy Fullerton Shaina Graboyes Casey Grambo Ann Hanley Judith Hansen Karen Hansen and Andrew Bundy Jennifer Hershey Chuck Hughes John Huntington Candace Jackson Chris Jaehnig Galen Kane Edward Kaye Alan Kibbe Hedda and Gary Kopf Mitchell Kurtz Gabriela Lee Irene Lewis Thomas G. Masse and James M. Perlotto, MD Pamela and Donald Michaelis Kathryn Milano David Muse Regina and Thomas Neville Barbara and William Nordhaus

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Thank you to the generous contributors to David Geffen School Adam O’Byrne Kevin and Margaret O’Halloran Steven Padla Gamal Palmer Michael Parrella Michael Posnick Dr. Michael Rigsby and Prof. Richard Lalli Tialoc Rivas Steve Robman Erin Rocha Chantal Rodriguez Constanza Romero Allen Rosenshine Nan Ross Donald Sanders Suzanne Sato Kenneth Schlesinger Georg Schreiber Paul Selfa David Soper and Laura Davis Erich Stratmann Matthew Tanico Josh Taylor Deb Trout Lisa Yancey

FRIENDS ($100–$249)

Ikeena Aberdeen Jessica Adler Michael Albano Sarah Albertson Narda E. Alcorn Jeffrey Alexander Glenn Anderson Kaitlyn Anderson Michael Annand Anonymous William Armstrong Nancy Babington Michael Banta Dr. Francis A. Baran Warren Bass William and Donna Batsford Michael Baumgarten Richard Beals James Bender Vivien Blackford Mark Bly Joseph Brennan Amy Brewer and David Sacco* Emiko Brewer Linda Broker

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Bonnie Kramm Sarah Fornia Arvin Brown David Kriebs Raymond Forton Christopher P. Brown Joan Kron Keith Fowler Donald and Mary Brown Stephen and Nancy Brown Walter M. Frankenberger III Azan Kung Gerald E. Gaab Susan Laity Colin Buckhurst Carol Gallagher Marie Landry and Peter Stephen Bundy Don and Margery Galluzzi Aronson Katherine and Chava Michael Lassell Leah C. Gardiner Burgueño Martha Lidji Lazar Rachana Garg Richard Butler Elizabeth Lewis Christopher Geary Susan Byck Fred Lindauer Tobe Gerard Kathryn A. Calnan Jerry Lodynsky Barry Gladue Vincent Cardinal Robert H. Long II Stephen L. Godchaux Catherine and Steven Everett Lunning Lorraine Golan Carlson Nancy F. Lyon Carol Goldberg Andrew Carson Andi Lyons Donna Golden Sami Joan Casler Peter Malbuisson Susan Goldin Zoe Z. Chance Jonathan Marks Naomi Grabel King-Fai Chung Edwin Martin Charles Grammer Nicole Ciomek Sarah Massotta Hannah Grannemann Cynthia Clair Robert McCaw Jason Gray Susan Clark Deborah McGraw Stephen R. Grecco Aaron Copp Bill McGuire Greg Guthe Jennifer Corman James Meisner and Julie Haber Jane Cox Marilyn Lord Dr. James L. Hadler Caitlin E. Crombleholme Jonathan Miller Marion Hampton Douglas and Roseline Cheryl Mintz Alexander Hammond Crowley Marta Moret Scott Hansen Samanta Cubias Richard Mone Phyllis Cummings-Texeira Roberta and Lawrence Michele Moriuchi Harris John Cunningham Beth Morrison Michael Haymes Jonathan Daen Jason Najjoum James Hazen Anne Danenberg James Naughton Steve Hendrickson Timothy Davidson Tina Navarro Thomas Herman Connie and Peter Kaye Neale Ashton Heyl Dickinson Jennifer Harrison Elizabeth Holloway* Derek DiGregorio Newman Nicholas Hormann Trinh DiNoto Jane Nowosadko Kathleen Houle Melinda DiVicino Deb and Ron Nudel Evelyn Huffman Donna Doherty Tom O’Connor Charles Hughes Dennis Dorn Leah Ogawa Derek Hunt Patricia Doukas Max Okst Jennifer Ito Megan and Leon Doyon Kendric T. Packer Tatsuya Ito Samuel Duncan Dr. and Mrs. Michael Parry Carla L. Jackson John Duran Linda and Peter Perdue John W. Jacobsen Ann D’Zmura William Peters Eliot and Lois Jameson Laura Eckelman Linda Polgar Jean Jones Fran Egler William Purves Jonathan Kalb Robert Einenkel Norman Redlich Nancy Reeder El Bouhali Jay B. Keene Ralph Redpath Kiernan Kelly Samantha Else Deborah J. Reissman Young H. Kim Frank and Ellen Estes Carolynn Richer Amir Kishon Femi Euba Joan Robbins Lawrence Klein Connie Evans Nathan Roberts Fredrica Klemm Teresa Eyring Peter S. Roberts Chloe Knight Ann Farris Brian Robinson Steve Koernig Paul Fiedler and Susan Lori Robishaw Daniel Koetting Birke Fiedler Miguel Rosadu David and Julie Koppel Terry S. Flagg

of Drama and Yale Repertory Theatre Robin Rose Donald Rossler David Sacco*and Amy Brewer Dr. Robert and Marcia Safirstein Steven Saklad Robert Sandberg Cynthia Santos-DeCure Peggy Sasso Joel Schechter Rita Scheeler Steven Schmidt Jennifer Schwartz Alexander Scribner Patrick Seeley Tom Sellar Subrata K. Sen Suzanne Sessions

Sandra Shaner John K. Sheehan Catherine Sheehy Lorraine Siggins Gilbert and Ruth Small Helena L. Sokoloff Suzanne Solensky and Jay Rozgonyi Aleta Staton Howard Steinman Rosalie Stemer Marcus Stern John Stevens Mark Stevens Marsha Beach Stewart Mark Sullivan Thomas Sullivan Tucker Sweitzer Bob Tanner

Michelle Tattenbaum Douglas Taylor Jane Savitt Tennen Ashley Thomas Patti Thorp David F. Toser Katherine Touart Russell L. Treyz Adam Tucker Lloyd Tucker Joan Van Ark Pamela Vercillo Elaine Wackerly Adin Walker Christine Wall Jaylene Wallace Erik Walstad David Ward Joan Waricha

Jon West Peter White Dr. Robert White Robert Wildman Alexandra Witchel Barbara Wohlsen

EMPLOYER MATCHING GIFTS

Ameriprise Financial The Benevity Community Impact Fund Covidien The Prospect Hill Foundation

IN KIND

Andrew and Nesrin Tisdale

*deceased

Gifts to the For Humanity campaign and David Geffen School of Drama New Facility Fund Anonymous (3) Nina Adams and Moreson Kaplan Amy Aquino and Drew McCoy Rudy Aragon John Badham Pun Bandhu Frances and Ed Barlow John B. Beinecke Sonja Berggren and Patrick Seaver Frances Black and Matthew Strauss Carmine Boccuzzi and Bernard Lumpkin James Bundy and Anne Tofflemire Lois Chiles

Michael David and Lauren Mitchell Wendy Davies Scott Delman Michael Diamond* and Amy Miller Estate of Nicholas Diggs* Estate of Richard Diggs* Sasha Emerson Lily Fan Terry Fitzpatrick Barbara Franke Anita Pamintuan Fusco and Dino Fusco David Marshall Grant Gilder Foundation The Hastings and Barcone Trust

Lane Heard and Margaret Bauer Cheryl Henson Sally Horchow Ellen Iseman David G. Johnson Rolin Jones Jane Kaczmarek Cathy MacNeil-Hollinger and Mark Hollinger Brian Mann Jennifer Harrison Newman Richard Ostreicher Daphne Rubin-Vega and Thomas Costanzo Julie Turaj and Rob Pohly Tracy Chutorian Semler

Michael and Riki Sheehan Woody Taft Andrew and Nesrin Tisdale Ed Trach Esme Usdan Shana C. Waterman Amanda Wallace Woods and Eric Wasserstrom The Prospect Hill Foundation Jeremy Smith Courtney B. Vance Donald and Susan Ware Henry Winkler *deceased

These lists includes current pledges, gifts, and grants received from January 1, 2023, through April 1, 2024.

MAKE A GIFT! When you make a gift to Yale Rep’s Annual Fund, you support the creative work on our stage and our education programs in New Haven. For more information, or to make a donation, please call Susan C. Clark, 203.432.1559.

You can also give online at yalerep.org/support.

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