THE FAR COUNTRY, Yale Repertory Theatre, 2024

2023-24 SEASON

Yale acknowledges that indigenous peoples and nations, including Mohegan, Mashantucket Pequot, Eastern Pequot, Schaghticoke, Golden Hill Paugussett, Niantic, and the Quinnipiac and other Algonquian speaking peoples, have stewarded through generations the lands and waterways of what is now the state of Connecticut. We honor and respect the enduring relationship that exists between these peoples and nations and this land.

We also acknowledge the legacy of slavery in our region and the enslaved African people whose labor was exploited for generations to help establish the business of Yale University as well as the economy of Connecticut and the United States.

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.

Discovery

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.

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

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

Casting Director

Calleri Jensen Davis

Stage Manager

Alexus Jade Coney

Season Sponsor: APRIL 26–MAY 18, 2024

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:

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

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”

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.

A rural road in China, most likely in Guangdong province, c.1920.

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.

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

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.

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.

Hoisan

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.”

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.

1880

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.

September 1885

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

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

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.

Coaching papers 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.”

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.

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.

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 ChinatownFrancisco’s

A linen postcard from the 1930s by Stanley A. Piltz.

The first wave of Chinese migrants arrived in the U.S. in the mid-nineteenth century, some seeking work on the transcontinental railroad, others chasing the gold rush, and many joining industries like lumber and mining. As the Chinese population in California grew, San Francisco’s Chinatown began to develop. Restricted from the city proper due to racial discrimination, these migrants settled near the waterfront. Merchants and a network of Chinatown firms allowed migrants to send money home and import goods from China. This allowed Chinatown to maintain Cantonese restaurants and medicine shops, preserving and transplanting their food, goods, and traditions.

1903

1906

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.

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.

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.

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 for remembrance.

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?

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

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 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.

*Member of

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

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

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.

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.

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

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

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).

ARTISTIC

Assistant Director

Destyne Miller

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

Xi (Zoey) Lin 林曦

PRODUCTION

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

Production Electrician

Steph Lo 盧胤沂

Front of House Mix Engineer

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

Assistant Managing Director

Jeremy Landes

Management Assistants

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

General Manager

Carla L. Jackson

Artistic

Resident Artists

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

Lighting Design Advisors

Alan C. Edwards

Stephen Strawbridge

Projection Design Advisor

Shawn Lovell-Boyle

Sound Design Advisor

Jill BC Du Boff

Voice and Text Advisor

Grace Zandarski

Resident Fight and Intimacy Directors

Kelsey Rainwater

Michael Rossmy

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

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

Properties Supervisor

Jennifer McClure

Properties Craftsperson

David P. Schrader

Properties Associate

Zach Faber

Properties Stock Manager

Mark Dionne

Properties Intern

Destany Langfield

Costumes

Costume Shop Manager

Christine Szczepanski

Senior Drapers

Clarissa Wylie Youngberg

Mary Zihal

Interim

Senior Draper

Susan Aziz

Senior First Hands

Deborah Bloch

Patricia Van Horn

First Hand

Anna Blankenberger

Costume Project Coordinator

Linda Kelley-Dodd

Costume Stock Manager

Jamie Farkas

Costume Interns

Amani Jaramoga

Annie Wang

Electrics

Lighting Supervisor

Donald W. Titus

Senior House Electricians

Jennifer Carlson

Linda-Cristal Young

Electricians

Katie Brown

Alary Sutherland

Ryan White

Sound

Sound Supervisor

Mike Backhaus

Senior Lead Sound Engineer

Stephanie Smith

Sound Intern

Robert Salerno

Projections

Projection Supervisor

Anja Powell

Projection Technician

Erin Pleake

Stage Operations

Stage Carpenter

Janet Cunningham

Lead Wardrobe Supervisor

Elizabeth Bolster

Lead Properties Runner

William Ordynowicz

Light Board Programmer

Sabrina Idom

ADMINISTRATION

General Management

Associate Managing Directors

Jake Hurwitz

Chloe Knight

A.J. Roy

Assistant Managing Director

Jeremy Landes

Senior Administrative

Assistant to the Managing Director and General Manager

Sarah Masotta

Management Assistant

Iyanna Huffington Whitney

Company Manager

Sarah Machiko Haber

Assistant Company Managers

Joy Chen

Victoria McNaughton

Development & Alumni Affairs

Senior Director of Development and Alumni Affairs

Deborah S. Berman

Deputy Director of Operations for Development and Alumni Affairs

Susan C. Clark

Associate Director of Development and Alumni Affairs

Jacob Santos

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

Digital Communications Associate

George Tinari

Business Office Specialists

Moriah Clarke

Karem Orellana-Flores

Business Office Assistant

Asberry Thomas

Digital Technology Associates

Edison Dule

Garry Heyward

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

Assistant Director of Marketing and Communications

Roman Sanchez

Community Engagement Associate a.k. payne

Senior Administrative Assistant for Marketing and Communications

Mishelle Raza

Interim Senior Administrative Assistant for Marketing and Communications

Rachel Zwick

Marketing and Communications Assistant

Claudia Campos

Publications Manager

Marquerite Elliott

Production Photographer

Joan Marcus

Art and Design

Paul Evan Jeffrey/ Passage Design

Videographer

David Kane

Director of Audience Services

Laura Kirk

Assistant Director of Audience Services

Shane Quinn

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

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

Associate Director of Operations

Brandon Fuller

Operations Assistant

Kelvin Essilfie

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

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.

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.

May 11 at 8PM

American Sign Language (ASL)

An ASL-interpreted performance for patrons who are deaf or have hearing loss.

May 18 at 2PM

Open Captioning

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

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.

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

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.

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.

EVENTS!

AAPI GATHERS

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.

SATURDAY, APRIL 27 at 8PM

TUESDAY, MAY 7 AT 8PM

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.

THURSDAY, MAY 9 at 6PM

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, MAY 11 at 11AM

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.

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

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

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

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

DIRECTOR’S CIRCLE

($1,000–$2,499)

Chuck Adomanis

Laura and Victor Altshul

Debby Applegate and Bruce Tulgan

Paula Armbruster

Richard C. Beacham

John Lee Beatty

Anne and Guido Calabresi

James Chen

Bob and Priscilla Dannies

Elwood and Catherine Davis

Ramon Delgado

Lynn Doucette-Stamm

Melanie Ginter

Jon Farley

Lindy Lee Gold

LT Gourzong

Eric M. Glover

Rob Greenberg

Mark Haber and Chiyo Moriuchi

William B. Halbert

Jane Head

Dale and Stephen Hoffman

Suzanne Jackson

Pam Jordan

Abby Kenigsberg

Fran Kumin

The Ethel & Abe Lapides Foundation

Charles Letts

Kenneth Lewis

Jennifer Lindstrom

Chih-Lung Liu

Brian Mann

John McAndrew

Jim and Eileen Mydosh

Stephen Newman in memory of Ruth Hunt 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

PARTNERS

($500–$999)

Donna Alexander

ASSA ABLOY

Shaminda and Carole Amarakoon

Richard and Alice Baxter

Miles Benickes

David J. Berendes

Ashley Bishop

John and Suzanne Bourdeaux

Shawn Boyle

Joy Carlin

Lawrence Casey

Sarah Bartlo Chaplin

Audrey Conrad

Daniel Cooperman and Mariel Harris

Laura Copenhaver

Sean Cullen

Robert Dealy

Sasha Emerson

Peter Entin

Betty and Joshua Goldberg

Paul Goldberg

Bill and Marcy Grambo

Carolyn Gray

Regina Guggenheim

Judy Hansen

David Henry Hwang

Sanghun Joung

Helen Kauder and Barry Nalebuff

Harvey Kliman and Sandra Stein

Corby S. Kummer

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

Jonathan Pellow

Dw Phineas Perkins

Louise Perkins and Jeff Glans

Jeffrey Powell and Adalgisa Caccone

Kathy and George Priest

Alec Purves

Faye and Asghar

Rastegar

Jon and Sarah Reed

Anne Renner

Ted Robb

Howard Rogut

Russ Lori Rosensweig

Robin Sauerteig

Florie Seery

Anna Deavere Smith

Matthew Specter and Marjan Mashhadi

Dr. and Mrs. Dennis D. Spencer

James Steerman

Kenneth J. Stein

David Sword

John Turturro and Katherine Borowitz

Paul Walsh

Stephanie Waaser

Kristan and Nathaniel Wells

Vera Wells

Walton Wilson

Steven Wolff

Amanda Wallace Woods

Nancy Yao

Robert Zoland

INVESTORS

($250–$499)

Actors’ Equity Foundation

Clayton Austin

Alexander Bagnall

Michael Bianco

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

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

Arvin Brown

Christopher P. Brown

Donald and Mary Brown

Stephen and Nancy Brown

Colin Buckhurst

Stephen Bundy

Katherine and Chava

Burgueño

Richard Butler

Susan Byck

Kathryn A. Calnan

Vincent Cardinal

Catherine and Steven Carlson

Andrew Carson

Sami Joan Casler

Zoe Z. Chance

King-Fai Chung

Nicole Ciomek

Cynthia Clair

Susan Clark

Aaron Copp

Jennifer Corman

Jane Cox

Caitlin E. Crombleholme

Douglas and Roseline

Crowley

Samanta Cubias

Phyllis Cummings-Texeira

John Cunningham

Jonathan Daen

Anne Danenberg

Timothy Davidson

Connie and Peter Dickinson

Derek DiGregorio

Trinh DiNoto

Melinda DiVicino

Donna Doherty

Dennis Dorn

Patricia Doukas

Megan and Leon Doyon

Samuel Duncan

John Duran

Ann D’Zmura

Laura Eckelman

Fran Egler

Robert Einenkel

Nancy Reeder El Bouhali

Samantha Else

Frank and Ellen Estes

Femi Euba

Connie Evans

Teresa Eyring

Ann Farris

Paul Fiedler and Susan

Birke Fiedler

Terry S. Flagg

Sarah Fornia

Raymond Forton

Keith Fowler

Walter M. Frankenberger III

Gerald E. Gaab

Carol Gallagher

Don and Margery Galluzzi

Leah C. Gardiner

Rachana Garg

Christopher Geary

Tobe Gerard

Barry Gladue

Stephen L. Godchaux

Lorraine Golan

Carol Goldberg

Donna Golden

Susan Goldin

Naomi Grabel

Charles Grammer

Hannah Grannemann

Jason Gray

Stephen R. Grecco

Greg Guthe

Julie Haber

Dr. James L. Hadler

Marion Hampton

Alexander Hammond

Scott Hansen

Roberta and Lawrence

Harris

Michael Haymes

James Hazen

Steve Hendrickson

Thomas Herman

Ashton Heyl

Elizabeth Holloway*

Nicholas Hormann

Kathleen Houle

Evelyn Huffman

Charles Hughes

Derek Hunt

Jennifer Ito

Tatsuya Ito

Carla L. Jackson

John W. Jacobsen

Eliot and Lois Jameson

Jean Jones

Jonathan Kalb

Jay B. Keene

Kiernan Kelly

Young H. Kim

Amir Kishon

Lawrence Klein

Fredrica Klemm

Chloe Knight

Steve Koernig

Daniel Koetting

David and Julie Koppel

Bonnie Kramm

David Kriebs

Joan Kron

Azan Kung

Susan Laity

Marie Landry and Peter Aronson

Michael Lassell

Martha Lidji Lazar

Elizabeth Lewis

Fred Lindauer

Jerry Lodynsky

Robert H. Long II

Everett Lunning

Nancy F. Lyon

Andi Lyons

Peter Malbuisson

Jonathan Marks

Edwin Martin

Sarah Massotta

Robert McCaw

Deborah McGraw

Bill McGuire

James Meisner and

Marilyn Lord

Jonathan Miller

Cheryl Mintz

Marta Moret

Richard Mone

Michele Moriuchi

Beth Morrison

Jason Najjoum

James Naughton

Tina Navarro

Kaye Neale

Jennifer Harrison

Newman

Jane Nowosadko

Deb and Ron Nudel

Tom O’Connor

Leah Ogawa

Max Okst

Kendric T. Packer

Dr. and Mrs. Michael Parry

Linda and Peter Perdue

William Peters

Linda Polgar

William Purves

Norman Redlich

Ralph Redpath

Deborah J. Reissman

Carolynn Richer

Joan Robbins

Nathan Roberts

Peter S. Roberts

Brian Robinson

Lori Robishaw

Miguel Rosadu

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

*deceased

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

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.