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A Note From the Artistic Director Welcome to Father Comes Home From the Wars, Parts 1, 2 & 3 at Yale Repertory Theatre! This production marks a joyous reunion at our theatre for playwright Suzan-Lori Parks and director Liz Diamond, who collaborated on the world premieres of The Death of the Last Black Man in the Whole Entire World (1992) and The America Play (1994), both of which advanced to heralded runs at The Public Theater in New York City. Since then, Suzan-Lori Parks has garnered myriad awards and honors for her work, including the 2002 Pulitzer Prize in Drama for Topdog/Underdog and, most recently, the 2018 Windham-Campbell Prize, administered by the Beinecke Rare Book & Manuscript Library. This season, Liz Diamond celebrates her 25th anniversary as a Resident Director at Yale Rep, where her work has included distinguished productions of plays by Bertolt Brecht, Lucinda Coxon, Marcus Gardley, Seamus Heaney, Sunil Kuruvilla, William Shakespeare, and August Strindberg, in addition to her tremendous leadership as Chair of the Directing Department at Yale School of Drama. I am delighted you are here today to witness the remarkable artistry with which Liz and her artistic collaborators and company of actors have wrought this first installment of Suzan-Lori’s soulful American epic. The experience will be shared with more than a thousand high school students from New Haven and across the state who will attend two special morning matinee performances of the play as part of our annual WILL POWER! education program. The production will reach an even wider national audience when it travels to San Francisco’s American Conservatory Theater immediately following its run here at Yale. I’m also pleased to share with you our 2018–19 season, which includes the U.S. premiere of The Prisoner, created by legendary theatre artist Peter Brook and his longtime collaborator in Marie-Hélène Estienne, which is currently playing in Paris; an Afro-futurist production of Shakespeare’s Twelfth Night directed by Carl Cofield; and two world premieres: El Huracán by Charise Castro Smith, directed by Laurie Woolery; and Tori Sampson’s Cadillac Crew, directed by Jesse Rasmussen. A fifth production will be announced later this spring. I hope you’ll join us! Subscriptions are available now and are the most convenient way to guarantee the best seats—at the best prices—on the dates of your choice. As always, I look forward to hearing your thoughts about Father Comes Home From the Wars, or any of your experiences at Yale Rep. You can write to me directly at firstname.lastname@example.org. Sincerely, James Bundy Artistic Director 4
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MARCH 16–APRIL 7, 2018 YALE REPERTORY THEATRE James Bundy, Artistic Director Victoria Nolan, Managing Director IN ASSOCIATION WITH AMERICAN CONSERVATORY THEATER PRESENTS
FAT H E R W•A•R•S, PARTS 1, 2 & 3
COMES HOME FROM THE
BY S U Z A N - L O R I PA R K S DIRECTED BY L I Z D I A M O N D
Songs and Additional Music SUZAN-LORI PARKS Choreographer RANDY DUNCAN Scenic Designer RICCARDO HERNÁNDEZ Costume Designer SARAH NIETFELD Lighting Designer YI ZHAO Sound Design and Musical Direction FREDERICK KENNEDY Production Dramaturgs CATHERINE MARÍA RODRÍGUEZ CATHERINE SHEEHY Technical Director LATIANA (LT) GOURZONG Vocal and Dialect Coach CHANTAL JEAN-PIERRE Fight Director RICK SORDELET Wig Designer COOKIE JORDAN Casting Directors JANET FOSTER, CSA TARA RUBIN/LAURA SCHUTZEL, CSA Stage Manager SHELBY NORTH Father Comes Home From the Wars, Parts 1, 2 & 3 is presented by special arrangement with Samuel French, Inc. Father Comes Home From the Wars, Parts 1, 2 & 3 was developed by The Public Theater, Oskar Eustis, Artistic Director; Patrick Willingham, Executive Director, and had its world premiere there on October 27, 2014. The premiere was presented in association with The American Repertory Theater at Harvard University, Diane Paulus, Artistic Director; Diane Borger, Artistic Producer. Yale Repertory Theatre gratefully acknowledges Carol L. Sirot for generously funding the 2017–18 season. PRODUCTION SPONSOR
This production is sponsored in part by the National Endowment for the Arts. Yale Rep is supported in part by the Connecticut Department of Economic and Community Development.
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in order of appearance
PART 1: A Measure of a Man Early spring 1862. Far West Texas, in the middle of nowhere. An hour before dawn. Leader CHIVAS MICHAEL Second ROTIMI AGBABIAKA Third SAFIYA FREDERICKS Fourth ERRON CRAWFORD
The Oldest Old Man
STEVEN ANTHONY JONES
Hero JAMES UDOM Penny EBONI FLOWERS Homer JULIAN ELIJAH MARTINEZ
PART 2: A Battle in the Wilderness Late summer 1862. In a wooded area in the South, pretty much in the middle of nowhere. Around noon.
Smith, A Captive Union Soldier
DAN HIATT TOM PECINKA
Hero JAMES UDOM
PART 3: The Union of My Confederate Parts Fall 1863. Same as Part 1. An hour before sunset.
SAFIYA FREDERICKS ROTIMI AGBABIAKA CHIVAS MICHAEL
Homer JULIAN ELIJAH MARTINEZ
EBONI FLOWERS GREGORY WALLACE JAMES UDOM
MARTIN LUTHER McCOY
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PARKS & RE-CREATION “Each artist, regardless of medium or genre, who created before us should be of use.” —SUZAN-LORI PARKS, “TRADITION AND THE INDIVIDUAL TALENT” (1999)
What do Homer, Euripides, Shakespeare, Beckett, Rodgers & Hammerstein, and Aretha Franklin have in common? All of these artists have been “of use” to SuzanLori Parks as she was creating the first triptych in her “up-to-12-part” magnum opus, Father Comes Home From the Wars. Their works span nearly three millennia and multiple genres and moods, but Suzan-Lori has them at her fingers’ ends; they are all in her well-stocked larder. And Suzan-Lori Parks can cook. Some of them, like The Odyssey, have been so thoroughly made over, so thoroughly simmered in the stew of this new work that, while they flavor the whole, recognizable bits of them only rise to the surface occasionally in names—like Homer or Odd-See Dog or Penny—or tropes, like the soldier returning from a war that was begun for other men’s interest and who is long delayed by obstacles both obdurate and very soft. When the Oldest Old Man says, “My son was only doing his best/Caught as we all are between a rock and a hard place,” Parks evokes Scylla and Charybdis of the Greek epic to add a piquancy that may not be distinguishable to all palates, but it’s in there. The same is true of the great work that provides the roux, the thickening agent, for the play, Suzan-Lori’s beloved Bhagavad Gita. This section of the Mahabharata depicts the struggle of the young prince Arjuna to convince himself that his decision to fight in the war is in accord with dharma, an expression of the cosmic order. The tenets and teachings of this ancient epic are not only synthesized as the stage picture of Part 2, they comprise the very dramaturgy of the greater project in its entirety. Other allusions in the work behave more like quilt squares; they are fragments, allowed to keep hold of all their history even as they are stitched into the intricately designed fabric of her whole. And Suzan-Lori Parks can sew. So when you hear one of the Chorus of Runaway Slaves assert “ain’t nobody gonna turn me around,” an
continued on page 15
“UH LITTLE BIT UH NOBLE SOMETHIN”: THE African Americans have fought and died for this country since the Revolution. Suzan-Lori Parks, whose own father was career military, has been writing of black patriarchs returning from wars since 1989 when Mr. Sergeant Smith comes back without his legs in “Greeks,” the final part of her play, Imperceptible Mutabilities in the Third Kingdom. He’s been away so long his family isn’t sure they recognize him, but he had to go: “Always wanted to do me somethin noble. Not somethin better than what I deserved—just somethin noble. Uh little bit uh noble somethin. Like what they did in thuh olden days.” From Mr. Smith to Hero of Father Comes Home From the Wars, Parks finds the poetry in the paradox of men (and now women) fighting on behalf of a country that has consistently denied that these lives they’re willing to lay down truly matter. —CATHERINE SHEEHY, PRODUCTION DRAMATURG
History further repeats itself in the fact that in every war so far known to this the faithful Negro, and this in spite of all the years of bondage and oppression, in the history of any people more marvellous than these facts! Oh, to the living few, / Comrades, be just, be true. Hail them as heroes tried, / Fight with them side by side; Never in field or tent, / Scorn the Black Regiment. It is but a little thing to ask, they could ask no less: be just; but, oh, the shame of
—FROM THE NEGRO AS A
This story of gallantry of two American Negro soldiers [Henry Johnson and Needham beat off the enemy, killing or wounding five men although themselves wounded, holding the front line trenches in the St. Menehould region west of Verdun.
The boys of Company A are in good health and condition…. Camp life has lost AMERICAN REVOLUTION
WAR OF 1812
SPANISH AMERICAN WAR
AFRICAN AMERICAN SOLDIER’S QUANDARY We Would Only beg leave to say in the Person of this Negro Centers a Brave & gallant Soldier. —COL. WILLIAM PRESCOTT COMMENDING THE VALOR OF SALEM POOR, WHO FOUGHT AT BUNKER HILL, 1775
I was told by a gentleman with epaulets on his shoulders that I must go on board a large ship, which lay in the river…. This ship proved to be the Congress frigate, and I was told that I had been brought there to cook for the people belonging to her…. I strove by all means to please the officers and gentlemen who came on board; and in this I soon found my account. One gave me a halfworn coat, another an old shirt, and a third a cast-off waistcoat and pantaloons. Some presented me with small sums of money, and in this way, I soon found myself well-clothed and with more than a dollar in my pocket. —FROM SLAVERY IN THE UNITED STATES: A NARRATIVE OF THE LIFE AND ADVENTURES OF CHARLES BALL, A BLACK MAN, CHARLES A. BALL, 1836
country, the first blood, and, in some cases, the last also, has been shed by and of wrongs unspeakable. Under the sun there has nothing been known
it for those who need be asked.
SOLDIER, CHRISTIAN A. FLEETWOOD, LATE SERGEANT-MAJOR, 4TH U. S. COLORED TROOPS, 1895
Roberts] who attacked a party of 25 Germans and completely routed and carries with it the announcement that Negros for about a month have been —FROM THE CHICAGO DEFENDER, MAY 25, 1918
its novelty, and the boys have settled down to living on Uncle Sam’s plan. —FROM A LETTER TO THE CLEVELAND GAZETTE, JAMES M. PIERCE, BUFFALO SOLDIER, 1898 WAR I
WORLD WAR II
PARKS & RE-CREATION continued from page 12 Aretha Franklin 78 might start spinning in the dim recesses of your memory. Or when another waxes on about “living in a brand new state,” you intuitively know that he’s talking about Oklahoma, because that’s a lyric lifted right from the title song of the iconic Broadway musical. Cooking and quilting, these are metaphors taken from “women’s work.” And perhaps that is no accident. In The Death of the Last Black Man in the Whole Entire World, Black Man with Watermelon implores Black Woman with Fried Drumstick, “Re-member me.” It’s Parks’s slant on the Egyptian myth of Osiris, in which Isis is called upon to gather the scattered parts of her brother/husband’s body in order to effect his resurrection. That was woman’s work, too. In the essay quoted above with a title cannily snatched from T.S. Eliot’s famous piece written four-score years before, Suzan-Lori talks about three traditions—the Great Tradition, the Personal Tradition, and the Tradition of the Next New Thing— that a writer must attend to, must, in fact, painstakingly tend. Perhaps there is something inherently (though by no means exclusively) gendered about the ability to take the DNA of existing work and combine it with your own so thoroughly and so comfortably as to create something completely new, full of its own particular potential—the Tradition of the Next New Thing— without worrying, “Is it mine?” It is. Father Comes Home From the Wars, Parts 1, 2 & 3 is pure Parks, a culmination of all that has come before it in her and through her. Now it belongs to us and the people who come after us; and now, like the work of Homer, Euripides, Shakespeare, and the Queen of Soul, it belongs to the ages. 15
THE ALLA Red, White, Tall tales make for great origin stories. Our national narrative is woven of many well-spun yarns: from the myth of indigenous hospitality toward their colonizers at the first Thanksgiving, to the obstinate belief that the Founding Fathers, who owned slaves and laid the foundations that legally dispossessed women, built an equitable and inclusive nation, to the persistent insistence that the Civil War was waged over the economy, states’ rights, or anything other than slavery. American folkloric and literary traditions also use tall tales to create our heroes—protagonists who express an independent spirit, don a brave face in the face of adversity, and pull themselves up by their bootstraps. Taken together, their extraordinariness seems an ordinary American attribute. With footholds in fact, fiction, or fable, these inspired individuals become storied, all-American heroes. What then does our love for zero-tohero narratives and the self-saved say about American self-worth and America itself? Our prized individualism and faith in meritocracy stem from the deep-rooted Protestant-Puritan emphasis on personal relationships with the Divine and belief in earthly recompense. We hold as a selfevident truth that fortune favors the brave because the “Great Master” upstairs does. Our culture credits success as proof of moral rectitude.
-AMERICAN HERO: and Very Blue Myth Thus, our heroes stand tall not only as national but moral exemplars. We root for underdogs—but saddle them with the blame and deny their heroic efforts if they don’t overcome. And that’s a telltale sign of our American character and overall values. For centuries, markers of supposed goodness have colored popular and legal discourse about who, among America’s dreamers and promise seekers, qualifies for inclusion and protection under law. Those who fall short are deemed morally corrupt or personally at fault. They are dismissed as un-American, unworthy of those allegedly inalienable human rights. American exceptionalism teems with racism. During the Civil War, for example, proponents of slavery defended the indefensible on moral grounds: with appeals to white supremacist ideals, they argued for Black bondage as a Christianizing, civilizing project. Still today, Americans make use of racist or bigoted rhetoric falsely to fault and further to punish the marginalized for their disenfranchisement, all while presumptively posturing that we know what’s best for others’ social betterment. Of course, such ill-logic ignores, and thus preserves, the historically uneven and perennially slanted playing field of our home turf. For her play set in Far West Texas, Suzan-Lori Parks draws deeply from the un-well of American history, from literary and theatre histories of the Old
West and the older East. She alludes to classical characterizations of the hero—as a representative figure and central character, favored by the gods and possessing some superhuman quality—to tell a distinctly American story featuring our most marginalized: the enslaved. Father Comes Home From the Wars, Parts 1, 2 & 3 charts the perilous terrain that Black folks have navigated in a nation built on their backbreaking work and broken promises made to them. To survive America, Black people have not just endured but beaten incredible odds. To thrive here, so the advisory adage goes, Black people must work twice or ten times as hard. And so, Parks posits the African American odyssey as our most American epic and Black people as all-American heroes. But Parks pushes past both a merely flipped script and an uncomplicated reversal of roles. Despite our country’s foundational Black/White paradigm, she sets us in gradated territories. Becoming topdog or even protagonist, Parks posits, does not a hero make. More often, it only makes for more or at least different underdogs. And, in fact, for those of us marked by History, the social climb may grant new privileges but not deliver power. With poetic imagination and daring compassion, Parks asks all Americans what our Freedom costs us—and to whom we afford it. —CATHERINE MARÍA RODRÍGUEZ, PRODUCTION DRAMATURG 16
Cast ROTIMI AGBABIAKA* (SECOND/SECOND RUNAWAY) is making his Yale Rep debut. He most recently appeared as Peg Leg in The Black Rider (Shotgun Players). Other credits include Bootycandy (Brava Theater); Sojourners, runboyrun (Magic Theatre); Choir Boy (Marin Theatre Company); A Raisin in the Sun (California Shakespeare Theatre); We Are Proud to Present a Presentation… (Just Theater); Once on This Island (TheatreWorks); The Amen Corner (Alter Theater); and several productions with the San Francisco Mime Troupe, where he is a Collective Member. As a director, he helmed the world premiere of VS. (TheatreFIRST). He won the Best Solo Performance award at the San Francisco Fringe Festival for his play Homeless, and his latest solo, Type/Caste, received the Theatre Bay Area Award for Outstanding Solo Production. Rotimi studied at the Moscow Art Theatre and received an MFA in acting from Northern Illinois University. rotimionline.com
ERRON CRAWFORD (FOURTH) is a second-year MFA candidate at Yale School of Drama, where his credits include Passion, Slave Play, and If Pretty Hurts Ugly Must Be a Muhfucka. He has also been seen in The Apple Tree, In the Red and Brown Water (Yale Cabaret); Antony + Cleopatra (Yale Summer Cabaret); The Wiz, Seven Guitars, Once on This Island (Carnegie Mellon); Black Nativity (Kenny Leon’s True Colors); and Scheherazade (FringeNYC), among others. Erron holds a BFA in musical theatre from Carnegie Mellon University and was a member of the Broadway Dreams Foundation and the Freddie Hendricks Youth Ensemble of Atlanta. EBONI FLOWERS* (PENNY) is overjoyed to be making her Yale Rep debut. Most recently she was seen in Too Heavy for Your Pocket at the Roundabout Theatre. Other New York credits include Dead Dog Park (Bedlam); Paradox of the Urban Cliché (Wild Project); Miss Julie (August Strindberg Rep); Court-Martial at Fort Devens (New Federal/Castillo Theatre). Other theatre credits include Too Heavy for Your Pocket (Alliance Theatre); Sex Acts (PushPush Theater); Psalm 13, Times (Freddie Hendricks Youth Ensemble of Atlanta); Three Sisters, The Trojan Women, The Winter’s Tale, Coriolanus, As You Like It, and Lilly’s Purple Plastic Purse (Alabama Shakespeare Festival). She has been seen on television in Blue Bloods, Show Me a Hero, and Friends of the People. Eboni received her Bachelor’s degree from Clark Atlanta University and her MFA from Alabama Shakespeare Festival/University of Alabama. *MEMBER OF ACTORS’ EQUITY ASSOCIATION, THE UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS. 17
SAFIYA FREDERICKS* (THIRD/THIRD RUNAWAY) is incredibly excited to be making her Yale Rep debut. Regional credits include Tom Stoppard’s The Hard Problem (American Conservatory Theater), Grandeur (Magic Theatre), the world premiere of Aubergine (Berkeley Repertory Theatre), Once on This Island (TheatreWorks), the Witch in Into the Woods (San Francisco Playhouse), Much Ado About Nothing and Black Odyssey (California Shakespeare Theater). Past favorites include The Civilians’s production of In the Footprint at Arts Emerson in Boston and By Hands Unknown at the New York Fringe Festival. On screen she can be seen as the female lead in Black Gold: America Is Still the Place alongside Mike Colter, Bitter Melon shot this past fall, and in the upcoming movie Sorry to Bother You, which premiered at Sundance. safiyafredericks.com
DAN HIATT* (THE COLONEL) was most recently seen at American Conservatory Theater in San Francisco as Petey in The Birthday Party. Other roles at A.C.T. include Polonius in Hamlet, James Reiss in King Charles III, and Sid Davis in Ah, Wilderness!. His other San Francisco Bay Area credits include Joe Turner’s Come and Gone and Dinner with Friends (Berkeley Repertory Theatre); The Life and Adventures of Nicholas Nickleby, Uncle Vanya, and many others (California Shakespeare Theater); The 39 Steps (TheatreWorks); Picasso at the Lapin Agile (Theatre on the Square); Breakfast with Mugabe (Aurora Theatre Company); and Anne Boleyn (Marin Theatre Company). Regional theatre credits include work with Shakespeare Theatre Company in Washington, D.C., Seattle Repertory Theatre, Arizona Theatre Company, Huntington Theatre Company, Pasadena Playhouse, Idaho Shakespeare Festival, Theatre Calgary, and Ford’s Theatre in Washington, D.C.
STEVEN ANTHONY JONES* (THE OLDEST OLD MAN) was the Artistic Director of the Lorraine Hansberry Theatre, the premier African American theatre company in the Bay Area. Most recently, he directed Philip Kan Gotanda’s After the War Blues at University of California, Berkeley. He has worked professionally on stage, and in television and film for 40 years. He has performed in the works of August Wilson, Charles Fuller, Athol Fugard, Tom Stoppard, Philip Kan Gotanda, Samuel Beckett, Harold Pinter, Molière, Shakespeare, Anton Chekhov, and others. He was in the original cast of the Pulitzer Prizewinning A Soldier’s Play produced by the Negro Ensemble Company (OBIE Award for Distinguished Ensemble Performance). He performed, taught, and directed at American Conservatory Theater for 22 years as a member of the core acting company. His film and television credits include two seasons of Midnight Caller and a recurring role on Trauma.
Cast JULIAN ELIJAH MARTINEZ* (HOMER) received his MFA from Yale School Drama where his credits include Othello, Fucking A, and The Winter’s Tale. He was also seen in The Brothers Size at Yale Cabaret and Adam Geist and We Are Proud to Present a Presentation... at Yale Summer Cabaret. New York credits include Alligator (New Georges) and Mud (Boundless Theater Company). Regional credits include The Square Root of 3 Sisters (Dmitry Krymov Lab); 9 Circles (Forum Theatre, Helen Hayes Outstanding Lead Actor in a Resident Play nomination); Locomotion (The John F. Kennedy Center); The Hampton Years (Theater J); Jekyll & Hyde (Synetic Theater); Romeo and Juliet, A Midsummer Night’s Dream, (Chesapeake Shakespeare Company); Man of La Mancha (Hangar Theater); Hamlet and All’s Well That Ends Well (Orlando Shakespeare Theater). Television includes Elementary, The Big Dogs, High School Lover (with James Franco), and Madam Secretary. Martinez is a former co-artistic director of Yale Cabaret and a company member of the Chesapeake Shakespeare Company, Developing Artists Theater Company, and the Full Stop Collective. Martinez currently resides in New York City.
MARTIN LUTHER McCOY* (THE MUSICIAN), actor, guitarist, singer/songwriter, producer, and soulman, is a San Francisco native. The thread that connects all of Martin Luther’s endeavors is his grounding in the verdant soil of African-American culture. An essential catalyst on the Bay Area’s fertile 1990s neo-soul scene, he continues to serve as a conduit for socially conscious music. On the cusp of releasing his fourth full-length studio album, a self-titled LP focusing on original material, Martin Luther also tours as lead singer with the interdisciplinary alt-art-rock performance group Moon Medicin, a project led by keyboardist and visual artist Sanford Biggers. Martin Luther perhaps is best known for his work with the seminal hip hop collective The Roots, as well as his performance in Julie Taymor’s 2007 film Across the Universe. He has performed with Dave Matthews, Jill Scott, Red Hot Chili Peppers, and many others.
CHIVAS MICHAEL* (LEADER/FIRST RUNAWAY) previously appeared at Yale Rep in The Caucasian Chalk Circle and A Doctor in Spite of Himself. His other theatre credits include Antony and Cleopatra (The Royal Shakespeare Company, London; The Public Theater); Brooklyn Omnibus (Brooklyn Academy of Music); Romeo and Juliet (Classic Stage Company); The Broadway Problem (Lincoln Center concert); Sliding Into the Beast (New York Theatre Workshop); Wild With Happy (Center Stage); The Servant of Two Masters (Guthrie Theater); A Doctor In Spite of Himself (Berkeley Rep); A Funny Thing Happened on the Way To The Forum (Williamstown Theatre Festival); Much Ado
*MEMBER OF ACTORS’ EQUITY ASSOCIATION, THE UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS.
About Nothing, A Midsummer Night’s Dream (Shakespeare on the Sound); Hamlet, The Illusion (New Orleans Shakespeare Festival); and Airline Highway (Southern Rep). Film credits include Fish: The True Story of a Boy in a Man’s Prison. Education: BA, Dillard University; MFA, NYU’s Graduate Acting Program.
TOM PECINKA* (SMITH, A CAPTIVE UNION SOLDIER) was last seen at Yale Rep in Arcadia, for which he received a Connecticut Critics Circle Award nomination. Off-Broadway: He Brought Her Heart Back in a Box (Theatre for a New Audience), Troilus and Cressida (Shakespeare in the Park/ The Public Theater), The Soldier’s Tale (Carnegie Hall), Torch Song (Second Stage). Regional: Cloud 9 (Connecticut Critics Circle Nomination) and A Midsummer Night’s Dream, both at Hartford Stage; Deathtrap, Design for Living, The Cat and the Canary (Berkshire Theatre Festival); As You Like It, The Two Gentlemen of Verona (Shakespeare on the Sound). Education: BA, Fordham University; MFA, Yale School of Drama. tompecinka.com
JAMES UDOM* (HERO/ULYSSES) is in his third year of training at Yale School of Drama, where he has been seen in Death of Yazdgerd, Sweat, If Pretty Hurts Ugly Must be a Muhfucka, A Midsummer Night’s Dream, Othello, Bluebeard’s Wife, Some Bodies Travel, and Our Lady of 121st Street. His other credits include Salt Pepper Ketchup, The Slow Sound of Snow, The Light Is...., and Thunder Above, Deeps Below (Yale Cabaret); Mies Julie (Yale Summer Cabaret); Tamburlaine (Theatre for a New Audience); Macbeth (The Public Theater); The Winter’s Tale (Pearl Theatre Company); Julius Caesar (Shakespeare & Company); Romeo and Juliet (Elm Shakespeare Co); Of Mice and Men, King Lear (Hubbard Hall); Macbeth, Twelfth Night, and The Odyssey (We Players), among others. He has trained with Shakespeare & Company, Steppenwolf, and Dell’Arte International Ensemble. James is the recipient of the 2017 Princess Grace Award (Grace LeVine Theatre Award), and received the National Irene Ryan Scholarship Award for Best Actor in 2012.
GREGORY WALLACE* (ODYSSEY DOG) is an actor, director, and teaching artist with over 40 years of experience in the professional theatre. His career includes numerous appearances on Broadway, Off-Broadway, and in regional theatres, where he has worked with some of the leading directors in the American theatre, including John Doyle, Adrian Hall, JoAnne Akalaitis, Mark Lamos, Irene Lewis, Austin Pendleton, Carey Perloff, Lisa Peterson, John Rando, Mark Rucker, and Ruben Santiago-Hudson. From 1999–2011, he was a member of the resident acting company at American Conservatory Theater,
Cast where his credits included Clybourne Park, Marcus: or the Secret of Sweet, Travesties, Gem of the Ocean, A Doll’s House, The Three Sisters, Waiting for Godot, “Master Harold”…and the Boys, and Angels in America. As an actor, he’s been involved in the development of new plays such as Robert O’Hara’s Insurrection: Holding History, Peter Parnell’s The Cider House Rules, Philip Kan Gotanda’s After the War, and Lillian Groag’s War Music. While at A.C.T., he was a core faculty member in the MFA Acting program, where he also directed a number of productions for the Conservatory. From 2011–2016, he served as Head of Graduate Acting at University of California, San Diego. He is currently a Professor in the Practice of Acting at Yale School of Drama. He received his BFA in acting at New York University and his MFA in acting at Yale School of Drama.
Creative Team LIZ DIAMOND (DIRECTOR) celebrates her 25th year as a Resident Director during Yale Repertory Theatre’s 2017–18 season and serves as Chair of the Directing Department at Yale School of Drama. Productions at Yale Rep include The Winter’s Tale, Lucinda Coxon’s Happy Now? (also at Primary Stages in New York), Marcus Gardley’s dance of the holy ghosts, Strindberg’s Miss Julie, Sunil Kuruvilla’s Fighting Words and Rice Boy, Seamus Heaney’s The Cure at Troy, Brecht’s The Caucasian Chalk Circle and St. Joan of the Stockyards, and the premieres of The America Play and The Death of the Last Black Man in the Whole Entire World by Suzan-Lori Parks. She has directed new plays and classical works at theatres including American Repertory Theater, The Public Theater, Vineyard Theatre, Theatre for a New Audience, Oregon Shakespeare Festival, and Westport Country Playhouse, and has won the OBIE and the Connecticut Critics Circle Awards for Outstanding Direction. Additional projects at Yale include Diamond’s staging of her translation of Stravinsky’s L’Histoire du Soldat, in a joint Yale School of Drama/Yale School of Music production at Carnegie Hall, as well as Matthew Suttor’s and Timothy Young’s musical adaptation of Blaise Cendrar’s Prose du Transsiberien for the Beinecke Library’s 50th-anniversary celebration.
RANDY DUNCAN (CHOREOGRAPHER) previously choreographed The Caucasian Chalk Circle and The Winter’s Tale at Yale Rep. He has the unique privilege to be a three-time recipient of Chicago’s prestigious Ruth Page Award for Outstanding Choreographer of the Year. He’s received the Artistic Achievement Award from the Chicago National Association of Dance Masters and three Black Theatre Alliance Awards. He earned an American Choreography Award nomination for his work in the movie Save the Last Dance starring Julia Stiles. Mr. Duncan’s work can be seen in the companies of the Joffrey Ballet, Giordano Jazz Dance Chicago, BalletMet Columbus, among many others. His theatre credits include the Goodman Theatre, South Coast Repertory, Actors Theatre of Louisville, and Oregon Shakespeare Festival, creating choreography for productions such as Hair, Carousel, Zoot Suit, Once on This Island, The Rose Tattoo, Amadeus, Antigone, the Portland Opera production of The Pirates of Penzance, and the Pulitzer Prize-winning play
Ruined. Randy continues his support for HIV/AIDS causes by donating his time and choreography to Dance for Life. He teaches worldwide and for the past 23 years has been on the faculty of The Chicago Academy for the Arts, where he serves as Dance Department Chair.
JANET FOSTER (CASTING DIRECTOR) has cast for American Conservatory Theater for six seasons including Hamlet, The Hard Problem, King Charles III, John, Arcadia, Stuck Elevator, The Orphan of Zhao, Napoli!, Elektra, Endgame, Play, and Scorched. On Broadway she cast The Light in the Piazza (Artios Award nomination), Lennon, Ma Rainey’s Black Bottom, and Taking Sides (co-cast). Off-Broadway credits include True Love, Floyd Collins, The Monogamist, A Cheever Evening, and Later Life. Regionally, she has worked at Intiman Theatre, Seattle Repertory Theatre, California Shakespeare Theater, Berkeley Repertory Theatre, Yale Repertory Theatre, Goodman Theatre, Steppenwolf Theatre Company, The Old Globe, and American Repertory Theater. Film, television, and radio credits include Cosby, Tracey Takes on New York, The Deal, Advice from a Caterpillar, The Day That Lehman Died (Peabody, SONY, and Wincott awards), and “T” Is for Tom (Tom Stoppard radio plays, WNYC and WQXR). She also cast LifeAfter, a GE Theater podcast.
LATIANA (LT) GOURZONG (TECHNICAL DIRECTOR), originally from Ocean Township, New Jersey, is a second-year MFA candidate at Yale School of Drama. Previous Yale Rep credits include Seven Guitars (assistant technical director) and Mary Jane (master electrician). She has previously served as the technical director for The Shakespeare Theatre of New Jersey, Finger Lakes Musical Theatre Festival, and Washington and Lee University, as well as an associate at Williamstown Theatre Festival. LT holds a BFA in technical direction from Rutgers University, Mason Gross School of the Arts.
RICCARDO HERNÁNDEZ (SCENIC DESIGNER) Yale Rep: Assassins, Indecent, Marie Antoinette, Autumn Sonata, The Battle of Black and Dogs, The Evildoers, The America Play, The Death of the Last Black Man in the Whole Entire World. Broadway: Indecent; The Gin Game; The Gershwins’ Porgy and Bess; The People in the Picture; Caroline, or Change (National Theater London); Elaine Stritch at Liberty (Old Vic); Topdog/Underdog (Royal Court); Bells Are Ringing; Parade (Tony, Drama Desk Nominations); Bring in ’Da Noise, Bring in ’Da Funk; The Tempest. He has designed over 250 U.S. and International theatre and opera productions, most recently Admissions (Lincoln Center Theater); Claudia Rankine’s The White Card directed by Diane Paulus (A.R.T.); Oedipus El Rey (The Public Theater); Red Speedo (Drama Desk nomination), The Invisible Hand (Henry Hewes Design Award) at New York Theatre Workshop; Splendid’s (Théâtre National de la Colline Paris); The Skin of Our Teeth (Theatre for a New Audience); Don Giovanni (Santa Fe Opera); Grounded (The Public Theater, Westport Country Playhouse); La Mouette (Cour d’Honneur, Palais des Papes: Festival d’Avignon); Abigail’s Party (Oslo National Theatre); The Dead (Abbey Theatre). OBIE Award for Sustained Excellence in Scenic Design. He serves on the faculty of Yale School of Drama.
Creative Team CHANTAL JEAN-PIERRE (VOCAL AND DIALECT COACH) is thrilled to work with Yale Rep on such a compelling play. She is also a professional theatre and television actress. Dialect coaching credits include Berkeley Repertory Theatre, La Jolla Playhouse, Roundabout Theatre Company, McCarter Theatre, George Street Playhouse, Classical Theater of Harlem, Minetta Lane Theatre, HERE Art Center, Playwrights Realm, and more. Visit pierreactingcoach.com or chantaljean-pierre.com for more about her work.
COOKIE JORDAN (WIG DESIGNER) Broadway: Once on This Island, Sunday in the Park with George, In Transit, Eclipsed, Side Show, After Midnight, Fela!, A View From the Bridge. Off-Broadway: In the Blood, The Death of the Last Black Man in the Whole Entire World (Signature Theatre); A Midsummers Night’s Dream (Shakespeare in the Park). Tours: Fela! (U.S. and European Tours), Dirty Dancing. Cookie received an Emmy nomination for makeup design for NBC’s The Wiz Live!.
FREDERICK KENNEDY (SOUND DESIGN AND MUSICAL DIRECTION) is a third-year MFA candidate at Yale School of Drama, where his credits include If Pretty Hurts Ugly Must Be a Muhfucka, ’Tis Pity She’s a Whore, and Othello. Other credits include Native Son (Yale Repertory Theatre); The Trojan Women, Adam Geist, Alice In Wonderland, Envy: the Concert (Yale Summer Cabaret); Re:Union, Débâcles, Lake Kelsey, Vignette of a Recollection, The Bitter Tears of Petra Von Kant, And Tell Sad Stories of the Death of Queens, How We Died of Disease-Related Illnesses, and I’m With You in Rockland (Yale Cabaret). In addition, he recently wrote, co-directed, and performed in Collisions, also at Yale Cabaret, and was the associate sound designer and music coordinator for Yale Rep’s Scenes from Court Life, or the whipping boy and his prince. Prior to Yale, Frederick worked full time as a musician, producer, and educator in New York City, where he taught music production at City University of New York and appeared as a drummer on more than 50 albums. His diverse musical career has taken him on tours throughout North America and Europe, as well as to parts of South America, the Caribbean, and the South Pacific.
SARAH NIETFELD (COSTUME DESIGNER) is a third-year MFA candidate at Yale School of Drama, where her credits include Everything That Never Happened and Bulgaria! Revolt!. Other credits include scenic design for And Tell Sad Stories of the Death of Queens, The Quonsets, This Sweet Affliction, and costume design for How We Died of Disease-Related Illness (Yale Cabaret); costume design for Antarctica! Which Is to Say Nowhere (Yale Summer Cabaret); August: Osage County (Balagan Theatre); Once in a Lifetime (Theater Anonymous); Austen Translation (Jet City Improv); Pride and Prejudice, The Old Maid and the Thief, and Incite (Cornish College of the Arts). Born in Ireland and raised in Seattle, Sarah holds a BFA in performance production and costume design from Cornish College of the Arts. She has interned with Seattle Opera, Guthrie Theatre, and the Royal Lyceum in Edinburgh and has also worked at Colonial Williamsburg, La Jolla Playhouse, and Fuel Theatre in London in association with the National Theatre. *MEMBER OF ACTORS’ EQUITY ASSOCIATION, THE UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS. 23
SHELBY NORTH* (STAGE MANAGER) is a third-year MFA candidate at Yale School of Drama, where her credits include Bulgaria! Revolt!, Macbeth, and Best Lesbian Erotica 1995. Other credits include Assassins (Yale Repertory Theatre, assistant stage manager); Thoreau, or Return to Walden; Fiorello!; Constellations; Million Dollar Quartet (Berkshire Theatre Group); Amy and the Orphans (New York Stage and Film). Shelby has a BA in drama from College of Charleston.
SUZAN-LORI PARKS (PLAYWRIGHT, SONGS, ADDITIONAL MUSIC) Named one of Time magazine’s “100 Innovators for the Next New Wave” in 2002, SuzanLori Parks became the first African American woman to receive the Pulitzer Prize in Drama for her Broadway hit Topdog/Underdog. A MacArthur “Genius” Award and Gish Prize recipient, she has also been awarded grants by the National Endowment for the Arts, the Rockefeller Foundation, the Ford Foundation, the New York State Council on the Arts and the New York Foundation for the Arts. Father Comes Home From the Wars, Parts 1, 2 & 3 had its world premiere at The Public Theater and has also been staged at American Repertory Theater and Center Theatre Group. The play was named a finalist for the 2015 Pulitzer Prize for Drama and was awarded the 2015 Edward M. Kennedy Prize for Drama Inspired by American History as well as the 2014 Horton Foote Prize. Parks’s work on The Gershwin’s Porgy and Bess was honored with the 2012 Tony Award. Her numerous plays include The Book of Grace, In the Blood (2000 Pulitzer Prize finalist), Venus (1996 OBIE Award), 365 Days/365 Plays, and The Death of the Last Black Man in the Whole Entire World, among others. Parks’s novel Getting Mother’s Body was published by Random House. Her screenplays include Girl 6 written for Spike Lee, as well as works for Brad Pitt, Denzel Washington, and Jodie Foster. Her adaptation of Zora Neale Hurston’s novel Their Eyes Were Watching God premiered on ABC’s “Oprah Winfrey Presents.” Parks is currently writing an adaptation of the film The Harder They Come for a live stage musical. Parks is the Master Writer Chair at The Public Theater, and she serves as a professor in dramatic writing at New York University’s Tisch School of the Arts.
CATHERINE MARÍA RODRÍGUEZ (PRODUCTION DRAMATURG) names New Orleans and Nicaragua home and calls culture-making her vocation. At Yale, her credits include founding El Colectivo, Yale School of Drama’s Latinx affinity space, as well as dramaturging Seven Guitars (Yale Repertory Theatre); If Pretty Hurts Ugly Must be a Muhfucka, Amy and the Orphans (Yale School of Drama); Antony + Cleopatra (Yale Summer Cabaret); and Camille, This American Wife, And Tell Sad Stories of the Death of Queens (Yale Cabaret). She currently serves on the Latinx Theatre Commons’s Advisory Committee and Literary Managers & Dramaturgs of the Americas’ Board of Directors. Past credits include Joe’s Pub/Kimmel Center, National Endowment for the Arts, Baltimore Center Stage, El Círculo Teatral (México), Borderlands, Steppenwolf, and Northwestern University (Performance Studies). She is a third-year MFA candidate at Yale School of Drama in Dramaturgy and Dramatic Criticism. Carnegie Mellon: BFA, dramaturgy; BA, Latinx studies. Twitter: @latinadramaturg. With gratitude to the ancestors, nuestrxs antepasadxs aún presentes. Mando amor a mis comunidades: “We out here. We’ve been here. We ain’t leaving. We are loved.”. Mark it: Black Lives Matter. 24
Creative Team TARA RUBIN (CASTING DIRECTOR) has been casting at Yale Rep since 2004. Selected Broadway: Falsettos; A Bronx Tale; Dear Evan Hansen; Cats; Disaster!; School of Rock; Doctor Zhivago; It Shoulda Been You; Gigi; Bullets Over Broadway; Aladdin; Les Misérables, Mothers and Sons; Big Fish; The Heiress; How to Succeed in Business Without Really Trying; A Little Night Music; Billy Elliot; Shrek; Guys and Dolls; Young Frankenstein; The Little Mermaid; Mary Poppins; Spamalot; The 25th Annual Putnam County Spelling Bee; The Producers; Mamma Mia!; Jersey Boys; The Phantom of the Opera. Off-Broadway: Here Lies Love; Old Jews Telling Jokes; Love, Loss, and What I Wore. Regional: Paper Mill Playhouse, La Jolla Playhouse, The Old Globe, Bucks County Playhouse.
CATHERINE SHEEHY (PRODUCTION DRAMATURG) is Resident Dramaturg at Yale Repertory Theatre and the Chair of Dramaturgy and Dramatic Criticism at Yale School of Drama. Her Yale Rep credits include Happy Days, Elevada, These Paper Bullets!, In a Year with 13 Moons, The Winter’s Tale, Bossa Nova, POP!, Trouble in Mind, and The King Stag (which she also co-adapted with Evan and Mike Yionoulis). She’s a founding member of New Neighborhood. Her adaptation of Pride and Prejudice has been produced at Asolo Repertory Theatre and Dallas Theater Center. She has worked at Theatre for a New Audience, Royal Shakespeare Company, The Public Theater, Yale Institute for Music Theatre, the Signature Theatre, O’Neill Playwrights Conference, Center Stage, Shakespeare Santa Cruz, and on a project in development at HBO. She is a former associate editor of American Theatre and a former editor of Theater magazine. She received her doctorate from Yale in 1999 for her dissertation: If You Care to Blast for It: Excavating the Lost Comic Masterpieces of the American Canon.
RICK SORDELET (FIGHT DIRECTOR) and his son, Christian Kelly-Sordelet, are the creators of Sordelet Inc., a stage combat company. Among their credits are 72 Broadway productions, including The Lion King and Beauty and the Beast, and more than 60 first-class productions on five continents in hundreds of cities around the world. Rick and Christian have been fight directors for dozens of regional theatres around the U.S. Their shows range from Sam Shepard to William Shakespeare. They have four National Tours running across America and Beauty and the Beast internationally. Both Rick and Christian are stunt coordinators for television and film with over 1000 episodes of daytime television and numerous feature films. Rick teaches stage combat for Yale School of Drama and with Christian at HB Studio in NYC. sordeletink.com
YI ZHAO (LIGHTING DESIGNER) Previous Yale Rep credits include Assassins, War, In a Year with 13 Moons (co-designed with Jennifer Tipton), and A Doctor in Spite of Himself, which was also seen at Berkeley Repertory Theatre. Other theatre credits include Pipeline (Lincoln Center Theater; to be featured on Live From Lincoln Center on PBS); Actually (Manhattan Theatre Club); Suzan-Lori Parks’s In The Blood and The Death of the Last Black Man in the Whole Entire World (Signature Theatre); Revolt. She Said. Revolt Again., FUTURITY (Soho Rep.); Red Speedo (New York
Theatre Workshop); The Bluest Eye (Guthrie Theatre); Water by the Spoonful (Mark Taper Forum); Hamlet (Shakespeare Theatre DC); Henry IV Part 1, The Winter’s Tale, Much Ado About Nothing (Oregon Shakespeare Festival); and productions with Dallas Theater Center, The Wilma Theater, etc. His designs for opera, music, and dance have been seen at ArtsEmerson, Curtis Institute of Music, Prototype Festival, Krannert Center for the Performing Arts, and Ballet de Lorraine in France. He is a graduate of Yale School of Drama and is a recipient of the 2016 Vilcek Prize for Creative Promise in Theatre. yi-zhao.com
AMERICAN CONSERVATORY THEATER (CO-PRODUCER), San Francisco’s Tony Award–winning nonprofit theatre, nurtures live theatre through dynamic productions, intensive actor training, and community engagement. We embrace our responsibility to conserve, renew, and reinvent our rich theatrical traditions, while exploring new artistic forms and communities. A.C.T. opened its first San Francisco season in 1967 and has since performed more than 350 productions to more than seven million people. A.C.T.’s 50-year-old Conservatory features our Master of Fine Arts actor training program, our Summer Training Congress that attracts students worldwide, and the San Francisco Semester, a study-abroad opportunity for undergraduates. Other programs include the Young Conservatory (students aged 8–19) and Studio A.C.T., theater study for adults. A.C.T. also brings theatre-based arts education to 16,000 Bay Area students annually. With our increased presence in the Central Market neighborhood marked by the renovation of The Strand Theater, A.C.T. plays a leadership role in securing the future of theatre for San Francisco and the nation.
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GUILLERMO CALDERÓN EVAN YIONOULIS DIRECTED BY
Yale Repertory Theatre JAMES BUNDY (ARTISTIC DIRECTOR) is in his 16th year as Dean of Yale School of Drama and Artistic Director of Yale Repertory Theatre. In his first 15 seasons, Yale Rep has produced more than 30 world, American, and regional premieres,nine of which have been honored by the Connecticut Critics Circle with the award for Best Production of the year and two of which have been Pulitzer Prize finalists. During this time, Yale Rep also has commissioned more than 50 artists to write new work and provided low-cost theatre tickets to thousands of middle and high school students from Greater New Haven through WILL POWER!, an educational program initiated in 2004. In addition to his work at Yale Rep, he has directed productions at Oregon Shakespeare Festival, Great Lakes Theater Festival, The Acting Company, California Shakespeare Festival, Alabama Shakespeare Festival, and The Juilliard School Drama Division. A recipient of the Connecticut Critics Circle’s Tom Killen Award for extraordinary contributions to Connecticut professional theatre in 2007, Mr. Bundy served from 2007–13 on the board of directors of Theatre Communications Group, the national service organization for nonprofit theatre. Previously, he worked as Associate Producing Director of The Acting Company, Managing Director of Cornerstone Theater Company, and Artistic Director of Great Lakes Theater Festival. He is a graduate of Harvard College; he trained at the London Academy of Music and Dramatic Art and Yale School of Drama.
VICTORIA NOLAN (MANAGING DIRECTOR) is in her 25th year as Managing Director of Yale Repertory Theatre, serves as Deputy Dean of Yale School of Drama, and is on its faculty. She was previously Managing Director of Indiana Repertory Theatre, Associate Managing Director at Baltimore’s Center Stage, Managing Director at Ram Island Dance Company in Portland, Maine; and she has held various positions at Loeb Drama Center of Harvard University; TAG Foundation, an organization producing Off-Broadway modern dance festivals; and Boston University School for the Arts. Ms. Nolan has been an evaluator for the National Endowment for the Arts, for which she has chaired numerous grant panels, and has served on other panels and foundation review boards including the AT&T Foundation, The Heinz Family Foundation, Lila WallaceReader’s Digest Fund, and the Metropolitan Life Foundation. She has also served on the Executive Committee of the League of Resident Theatres (LORT) and on numerous negotiating teams for national labor contracts. A Fellow at Yale’s Saybrook College, she is the recipient of the Betsy L. Mahaffey Arts Administration Fellowship Award from the State of Connecticut and the Elm/Ivy Award, given jointly by Yale University and the City of New Haven for distinguished service to the community.
JENNIFER KIGER (ASSOCIATE ARTISTIC DIRECTOR AND DIRECTOR OF NEW PLAY PROGRAMS) is in her 13th year as the Associate Artistic Director of Yale Repertory Theatre and is also the Director of New Play Programs of Yale’s Binger Center for New Theatre. Since its founding in 2008, the Binger Center has supported the work of more than 50 commissioned artists and underwritten the world premieres and subsequent productions of 27 new American plays and musicals at Yale Rep and theatres across the country. Ms. Kiger came to Yale Rep from South Coast Repertory, where she was Literary Manager from 2000–2005 and Co-Director of the Pacific Playwrights Festival. Prior to that, she was a production dramaturg at American Repertory Theater and adapted Robert Coover’s Charlie in the House of Rue and Mac Wellman’s Hypatia for the stage with director Bob McGrath. She has been a dramaturg for the Playwrights Center of Minneapolis and Boston Theatre Works; a panelist for the National Endowment for the Arts and the California Arts Council; and a consultant for the Fuller Road Artist Residency. She is a founding member of the theatre and television company, New Neighborhood. Ms. Kiger completed her professional training at the American Repertory Theater Institute for Advanced Theater Training at Harvard University, where she taught courses in acting and dramatic arts. She is currently on the playwriting faculty of Yale School of Drama.
SHAMINDA AMARAKOON (DIRECTOR OF PRODUCTION) was recently appointed Chair of the Technical Design and Production Department for Yale School of Drama. Previously, he was the production manager at Second Stage Theatre, coordinating the execution of all design elements and consulting on the renovation of their new Broadway house, the Helen Hayes Theatre. Prior to joining Second Stage, he worked for various Broadway, Off-Broadway, and national tours through Tech Production Services and Lincoln Center Theater. He has also worked as a carpenter, technical director, project manager, and in production management at Yale Repertory Theatre, Merry-Go-Round Playhouse (Auburn, New York), Shakespeare Theatre Company (Washington, D.C.), Center Theater Group (Los Angeles), and Show Motion (Milford, CT). Regional credits include: Jersey Boys (National and Asian tours), Rock of Ages (Las Vegas), Seminar (Los Angeles). Off-Broadway credits include Notes from the Field (starring Anna Deavere Smith, Second Stage); Dada Woof Papa Hot, Preludes (Lincoln Center Theater). Broadway credits include The Heiress, Ann, Lucky Guy (starring Tom Hanks), Rocky, and The King and I; and YouTube Brandcast 2014 at Madison Square Garden. BA, Alfred University; MFA, Yale School of Drama.
Yale Repertory Theatre JONATHAN A. REED (PRODUCTION MANAGER) has
been the Production Manager for Yale School of Drama and Yale Repertory Theatre since 2013. Also a member of the Technical Design and Production faculty, teaching courses in management, planning, and technology, Mr. Reed serves on the Yale Summer Cabaret advisory board and as a Faculty Affiliate at the Center for Collaborative Arts and Media. Prior to Yale, he worked as the Technical Director for the Cornell College Department of Theatre and Communication Studies and the Arrow Rock Lyceum Theatre. Mr. Reed has also served as a freelance lighting and sound designer for companies including the Riverside Theatre, Orchesis Dance Company, Open Stage Theatre, and Pennsylvania Centre Stage. He is married to soprano Sarah Comfort Reed, and they have two children, Emma and Henry. BFA, Pennsylvania State University; MFA, Yale School of Drama.
JAMES MOUNTCASTLE (PRODUCTION STAGE MANAGER) has been at Yale Rep since 2004. He has stage managed productions of An Enemy of the People; Scenes from Court Life, or the whipping boy and his prince; Arcadia; A Streetcar Named Desire; American Night: The Ballad of Juan JosĂŠ; Three Sisters; The Master Builder; Passion Play; Eurydice; and the world premiere of The Clean House. Broadway credits include Damn Yankees, Jekyll & Hyde, Judgment at Nuremberg, The Boys from Syracuse, The Smell of the Kill, Life (x) 3, and Wonderful Town. Mr. Mountcastle spent several Christmas seasons in New York City as stage manager for A Christmas Carol The Musical at Madison Square Garden. Broadway national tours include City of Angels, Falsettos, and My Fair Lady. He served as Production Stage Manager for Damn Yankees starring Jerry Lewis for both its national tour and at the Adelphi Theatre in Londonâ€™s West End. In addition, Mr. Mountcastle has worked at The Kennedy Center, Center Stage in Baltimore, Actors Theatre of Louisville, Brooklyn Academy of Music, and elsewhere. James and his wife Julie live in North Haven and are the proud parents of two girls, Ellie and Katie.
BY MAJKIN HOLMQUIST DIRECTED BY RORY PELSUE
THE GIRL IS CHAINED
BY GENNE MURPHY DIRECTED BY SHADI GHAHERI
MARTY AND THE HANDS THAT COULD
BY JOSH WILDER DIRECTED BY LUCIE DAWKINS
203.432.1234 email@example.com I S E M A N T H E AT E R, 1 1 5 6 C H A P E L ST R E E T, N E W H AV E N , CT LEFT TO RIGHT: MAJKIN HOLMQUIST, GENNE MURPHY, AND JOSH WILDER. PHOTO BY JOAN MARCUS, 2017.
JAMES BUNDY, DEAN VICTORIA NOLAN, DEPUTY DEAN TARELL ALVIN McCRANEY, CHAIR OF PLAYWRITING
Father Comes Home From the Wars Parts 1, 2 & 3 Staff ARTISTIC Kat Yen, Assistant Director Maruti Evans, Associate Scenic Designer Sarah Karl, Assistant Scenic Designer Stephanie Bahniuk, Assistant Costume Designer Marika Kent, Associate Lighting Designer Rajiv Shah, Assistant Sound Designer and Engineer Shelby North, Fight Captain John Carlin, Assistant Stage Manager Zachry J. Bailey, Production Assistant
PRODUCTION Valerie Tu, Associate Production Manager Kevin Belcher, Dashiell Menard, Jon West, Assistant Technical Directors Bryanna Kim, Assistant Properties Master Daniela Fresard, Master Electrician Nikki Fazzone, Judianne Wallace, Drapers Samantha Haddow, Milliner Lucia BacquĂŠ, Sophia Choi, Markie Gray, Evan Hill, Christopher Puglisi, Run Crew ADMINISTRATION Caitlin Volz, House Manager UNDERSTUDIES Brandon E. Burton, Leader/First Runaway Erron Crawford, Odyssey Dog Robert Hart, Hero/Ulysses Sean Boyce Johnson, Homer Kineta Kunutu, Penny Patrick Madden*, The Colonel JJ McGlone, Smith, A Captive Union Soldier Curt Morlaye, Second/Second Runaway Myke Ross, The Musician Setareki Wainiqolo, The Oldest Old Man Gregory Wallace*, Fourth Adrienne Wells*, Third/Third Runaway *Member of Actorsâ€™ Equity Association, the union of professional actors and stage managers.
SPECIAL THANKS Ralph Chipman, Hanna Diamond Chipman, Yura Kordonsky, The Yale School of Drama College of Directors
Yale Repertory Theatre Staff James Bundy, Artistic Director Victoria Nolan, Managing Director Jennifer Kiger, Associate Artistic Director and Director of New Play Programs ARTISTIC Resident Artists Tarell Alvin McCraney, Playwright in Residence Liz Diamond, Evan Yionoulis, Resident Directors Catherine Sheehy, Resident Dramaturg Michael Yeargan, Set Design Advisor, Resident Set Designer Ilona Somogyi, Costume Design Advisor Jess Goldstein, Resident Costume Designer Jennifer Tipton, Lighting Design Advisor Stephen Strawbridge, Resident Lighting Designer David Budries, Sound Design Advisor Walton Wilson, Voice and Speech Advisor Rick Sordelet, Fight Advisor Mary Hunter, Stage Management Advisor Associate Artists 52nd Street Project, Kama Ginkas, Mark Lamos, MTYZ Theatre/Moscow New Generations Theatre, Bill Rauch, Sarah Ruhl, Henrietta Yanovskaya Artistic Management James Mountcastle, Production Stage Manager Amy Boratko, Literary Manager Kay Perdue Meadows, Artistic Associate Jocelyn Prince, Artistic Coordinator Ashley Chang, Literary Associate Tara Rubin, CSA; Lindsay Levine, CSA; Laura Schutzel, CSA; Kaitlin Shaw, CSA; Merri Sugarman, CSA; Eric Woodall, CSA; Claire Burke; Felicia Rudolph, Casting Josie Brown, Senior Administrative Assistant to the Artistic Director and Associate Artistic Director Laurie Coppola, Senior Administrative Assistant for the Directing, Dramaturgy and Dramatic Criticism, Playwriting, and Stage Management Departments Kate Begley Baker, Senior Administrative Assistant for the Design and Sound Design Departments Ellen Lange, Senior Administrative Assistant for the Acting Department Lindsay King, Library Services
PRODUCTION Production Management Shaminda Amarakoon, Director of Production Jonathan Reed, Production Manager C. Nikki Mills, Associate Head of Production and Student Labor Supervisor Grace O’Brien, Senior Administrative Assistant to the Production and Theater Safety and Occupational Health Departments
Electrics Donald W. Titus, Lighting Supervisor Jennifer Carlson, Linda-Cristal Young, Senior Head Electricians Daniela Fresard, Assistant to the Lighting Supervisor
Scenery Neil Mulligan (on leave), Matt Welander, Technical Directors Lily Twining, Interim Technical Director Alan Hendrickson, Electro Mechanical Laboratory Supervisor Eric Sparks, Shop Foreman Matt Gaffney, Ryan Gardner, Sharon Reinhart, Libby Stone, Master Shop Carpenters Jessica Hernandez, Erin Tiffany, Assistants to the Technical Directors
Projections Erich Bolton, Projection Supervisor Mike Paddock, Head Projection Technician Ellen Reid, Assistant to the Projection Supervisor
Painting Ru-Jun Wang, Scenic Charge Lia Akkerhuis, Nathan Jasunas, Scenic Artists Hyejin Son, Assistant to the Painting Supervisor Properties Jennifer McClure, Properties Master David P. Schrader, Properties Craftsperson Ashley Flowers, Properties Assistant Molly Gambardella, Interim Properties Stock Manager Amanda Creech, Madeleine Winward, Assistants to the Properties Master Costumes Tom McAlister, Costume Shop Manager Harry Johnson, Clarissa Wylie Youngberg, Mary Zihal, Senior Drapers Deborah Bloch, Patricia Van Horn, Senior First Hands Linda Kelley-Dodd, Costume Project Coordinator Denise O’Brien, Wig and Hair Design Barbara Bodine, Company Hairdresser Elizabeth Beale, Costume Stock Manager Logan Baker, Assistant to the Costume Shop Manager
Sound Mike Backhaus, Sound Supervisor Stephanie Smith, Staff Sound Engineer Ruoxi Jia, Assistant to the Sound Supervisor
Stage Operations Janet Cunningham, Stage Carpenter Elizabeth Bolster, Wardrobe Supervisor Billy Ordynowicz, Head Properties Runner Jacob Riley, FOH Mix Engineer David Willmore, Light Board Programmer ADMINISTRATION General Management Kelvin Dinkins, Jr., General Manager Adam J. Frank, Ruoran (Kathy) Li, Melissa Rose, Associate Managing Directors Armando Huipe, Leandro A. Zaneti, Assistant Managing Directors Emalie Mayo, Senior Administrative Assistant to the Managing Director Markie Gray, Management Assistant Caitlin Crombleholme, Company Manager Dani Barlow, Carl Holvick, Assistant Company Managers Development and Alumni Affairs Deborah S. Berman, Director of Development and Alumni Affairs Janice Muirhead, Senior Associate Director of Institutional Giving Susan C. Clark, Senior Associate Director of Operations for Development and Alumni Affairs Joanna Romberg, Senior Associate Director of Annual Giving and Special Projects Al Heartley, Associate Director of Development and Alumni Affairs Jennifer E. Alzona, Senior Administrative Assistant to Development and Marketing & Communications Jean Gresham, Interim Development Associate Laurie Ortega-Murphy, Development Assistant 32
Yale Repertory Theatre Staff Finance and Human Resources Katherine D. Burgueño, Director of Finance and Human Resources Erin Ethier, Business Manager Janna J. Ellis, Director, Yale Tessitura Consortium Stacie Wcislo, Business Office Analyst Preston Mock, Teressa Reese, Business Office Specialists Shainn Reaves, Senior Administrative Assistant to Business Office, Digital Technology, Operations, and Tessitura Ann Corris, Business Operations Portfololio Analyst Ashlie Russell, Business Office Assistant Marketing, Communications, and Audience Services Daniel Cress, Director of Marketing Steven Padla, Director of Communications Caitlin Griffin, Senior Associate Director of Marketing and Communications Sylvia Xiaomeng Zhang, Associate Director of Marketing and Communications Marguerite Elliott, Publications Manager Lucia Bacqué, Carl Holvick, Malenky Welsh, Marketing and Communications Assistants Laura Kirk, Director of Audience Services Shane Quinn, Assistant Director of Audience Services Tracy Baldini, Subscriptions Coordinator Kenneth Murray, Interim Audience Services Assistant Mikaela Boone, Sara Cho, Gabrielle Colangelo, Samantha Else, Jordan Graf, Christian Milian, Amir Rezvani, Elijah Weaver, Box Office Assistants Erika Anclade, Tracy Bennett, Tasha Boyer, Rachel Brodwin, Denyse Burke, Sabrina Clevenger, Cara Correll, Kristina Cuello, Paige Cunningham, Aryssa Damron, Daniel Diaz-Vita, Hannah Herzog, Taylor Hoffman, Alexandra Leone, Shawn Luciani, Bonnie Moeller, Anna Piwowar, Hannah Sachs, Monica Traniello, Cody Whetstone, Elizabeth Wiet, Cate Worthington, Larsson Youngberg, Ushers Paul Evan Jeffrey, Art and Design Joan Marcus, Production Photographer David Kane, Videography
Operations Nadir Balan, Interim Director of Facility Operations Devin Matlock, Interim Operations Associate Jennifer Draughn, Michael Halpern, Arts and Graduate Studies Superintendents Andy Mastriano, Sherry Stanley, Team Leaders Michael Humbert, Marcia Riley, Facility Stewards Tylon Frost, James Hansberry, Rodney Heard, Kathy Langston, Patrick Martin, Andy Martino, Shanna Ramos, Mark Roy, Custodians Digital Technology Chris Kilbourne, Director of Digital Technology Andre Griffith, Digital Technology Associate Luis Serrano, Web and Email Services Associate Ron Rode, Ben Silvert, Database Application Consultants Theater Safety and Occupational Health Anna Glover, Director of Theater Safety and Occupational Health Kevin Delaney, Ed Jooss, John Marquez, Customer Service and Safety Officers
The Director and Choreographer are members of the STAGE DIRECTORS AND CHOREOGRAPHERS SOCIETY, a national theatrical labor union.
The Stage Manager employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers. The Scenic, Costume, Lighting, and Sound Designers in LORT are represented by United Artists Local USA-829, IATSE.
Yale Repertory Theatre operates under an agreement between the League of Resident Theatres (LORT) and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
Father Comes Home From the Wars, Parts 1, 2 & 3 March 16–April 7, 2018 University Theatre, 222 York Street
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Vegan & Vegetarian Menu 34
2014 OUTSTANDING PRODUCTION OF A PLAY CONNECTICUT CRITICS CIRCLE
These Paper Bullets! by Rolin Jones, with songs by Billie Joe Armstrong; Yale Rep, world premiere, 2014; Geffen Playhouse, west coast premiere, 2015; Atlantic Theater Company, New York premiere, 2015.
BINGER CENTER FOR NEW THEATRE YALE REPERTORY THEATRE, the internationally celebrated professional theatre in residence at Yale School of Drama, has championed new work since 1966, producing well over 100 premieres—including two Pulitzer Prize winners and four other nominated finalists—by emerging and established playwrights. Seventeen Yale Rep productions have advanced to Broadway, garnering more than 40 Tony Award nominations and 10 Tony Awards. Yale Rep is also the recipient of the Tony Award for Outstanding Regional Theatre. Established in 2008, Yale’s BINGER CENTER FOR NEW THEATRE has distinguished itself as one of the nation’s most robust and innovative new play programs. To date, the Binger Center has supported the work of more than 50 commissioned artists and underwritten the world premieres and subsequent productions of 27 new American plays and musicals at Yale Rep and theatres across the country.
Photos by Joan Marcus and Carol Rosegg.
“A SHARP DRAMA ABOUT
FORGIVENESS, GENEROSITY, AND FAMILY.” TIME OUT NEW YORK
35War by Branden Jacobs-Jenkins; Yale Rep, world premiere, 2014; Lincoln Center Theatre’s LCT3, New York premiere, 2016.
TWO 2017 TONY AWARDS Indecent created by Paula Vogel and Rebecca Taichman; Yale Rep and La Jolla Playhouse, world premiere, 2015; Vineyard Theatre, New York premiere, 2016; Broadway premiere, April 2017.
“THE BEST NEW PLAY SO FAR THIS YEAR!”
“FIERCELY FUNNY!” THE NEW YORK TIMES
WALL STREET JOURNAL
Mary Jane by Amy Herzog; Yale Rep, world premiere, 2017; New York Theatre Workshop, New York premiere, 2017.
Familiar by Danai Gurira; Yale Rep, world premiere, 2015; Playwrights Horizons, New York premiere, 2016.
“FEMINISM, UN-WHITEWASHED. BEAUTIFUL, FUNNY, AND CHILLING.” NEW HAVEN INDEPENDENT
36 Imogen Says Nothing by Aditi Brennan Kapil; Yale Rep, world premiere, 2017.
Yale School of Drama Board of Advisors John B. Beinecke, Chair John Badham, Vice Chair Jeremy Smith, Vice Chair Nina Adams Amy Aquino Pun Bandhu Sonja Berggren Carmine Boccuzzi Lynne Bolton Clare Brinkley Sterling B. Brinkley, Jr. Kate Burton Lois Chiles Patricia Clarkson Edgar M. Cullman III Scott Delman
Michael Diamond Polly Draper Charles S. Dutton Sasha Emerson Heidi Ettinger Lily Fan Terry Fitzpatrick Marc Flanagan Marcus Dean Fuller Anita Pamintuan Fusco Donald Granger David Marshall Grant David Alan Grier Ruth Hendel Catherine MacNeil Hollinger
Sally Horchow Ellen Iseman David Johnson Rolin Jones Jane Kaczmarek Asaad Kelada Sarah Long Brian Mann Elizabeth Margid Drew McCoy David Milch Tom Moore Arthur Nacht Jennifer Harrison Newman Lupita Nyong’o
Carol Ostrow Amy Povich Liev Schreiber Tracy Chutorian Semler Tony Shalhoub Michael Sheehan Anna Deavere Smith Andrew Tisdale Edward Trach Esme Usdan Courtney B. Vance Donald Ware Henry Winkler Amanda Wallace Woods
Thank you to the generous contributors to Yale School of Drama and Yale Repertory Theatre LEADERSHIP SOCIETY Mabel Burchard Fischer ($50,000 and above) Grant Foundation
Anthony Forman Fred Gorelick and Cheryl The Laurents/Hatcher Nina Adams and Anna Fitch Ardenghi Trust, MacLachlan Foundation Moreson Kaplan Bank of America, Trustee Catherine Hazlehurst Newman’s Own da Cruz Anonymous (2) John Badham Foundation Alan Hendrickson John B. Beinecke Foster Bam Robina Foundation in JANA Foundation Sonja Berggren and Pun Bandhu memory of Peter Karoff Carmine Boccuzzi and Rolin Jones Patrick Seaver Eugene Shewmaker Rik Kaye Lynne and Roger Bolton Bernard Lumpkin Virginia B. Toulmin Annie LaCourt Lois Chiles and Richard Brett Dalton Foundation The Ethel & Abe Lapides Gilder The Frederick A. DeLuca Foundation Nicholas Ciriello Foundation George A. and Grace BENEFACTORS Edgerton Foundation Terry Fitzpatrick Long Foundation,Bank Anita Pamintuan Fusco Barbara and Richard ($10,000–$24,999) of America, N.A., and Dino Fusco Franke Louis Alexander Co-Trustee The Horace W. Americana Arts Foundation Albert R. Gurney* Jonathan S. Miller Goldsmith Foundation Jane Head Bank of America Victoria Nolan and Jerome L. Greene Sally Horchow Foundation Clark Crolius Foundation Clare and Sterling Brinkley Linda Gulder Huett Richard Ostreicher Lane Heard and Ellen Iseman Mary L. Bundy Thomas G. Masse and Margaret Bauer Aja Naomi King Jim Burrows James M. Perlotto, MD William and Sarah Hyman Connecticut Humanities Eugene Leitermann Kenneth J. Stein David Johnson Charles E. Letts III The Noël Coward Alec and Aimee Scribner Geoffrey Ashton Johnson Foundation Irene Sophia Lucio Ron Van Lieu Rocco Landesman Marissa Neitling Michael Diamond United Illuminating & Jennifer Lindstrom NewAlliance Foundation Heidi Ettinger Southern Connecticut Gas The Frederick Loewe Carol Ostrow Lily Fan Foundation James Phills, Jr. Quina Fonseca DIRECTOR’S CIRCLE Neil Mazzella Bryce Pinkham Donald Granger Tom Moore Pam and Jeff Rank Ruth and Steve Hendel ($1,000–$2,499) James Munson Russ Rosensweig Hasbro, Inc. Victor and Laura Altshul Alan Poul Catherine MacNeil Hollinger Nancy Sasser Amy Aquino and Robina Foundation Michael and Riki Sheehan Drew McCoy J.M. Kaplan Fund Tracy Chutorian Semler Philip J. Smith Ben Ledbetter and Paula Armbruster The Ted and Mary Jo Shen Deborah Freedman Sophie von Haselberg Alexander Bagnall Charitable Gift Fund Mark Weaver Sarah Long Jody Locker Berger The Shubert Foundation Lucille Lortel Foundation Molly Bernard Jeremy Smith Angela and Donald Lowy* PRODUCER’S CIRCLE Mark Brokaw Stephen Timbers Tien-Tsung Ma James T. Brown ($2,500–$4,999) Time Warner Foundation Arthur and Merle Nacht Thomas Bruce Deborah Applegate Nesrin and Andrew Tisdale National Endowment Kate Burton and Bruce Tulgan Edward Trach for the Arts Tom Bussey John Lee Beatty Esme Usdan Lupita Nyong’o Alexandra Cadena Mark Blankenship Liev Schreiber Ian Calderon Donald and Mary Brown Talia Shire Schwartzman Cosmo Catalano, Jr. GUARANTORS James Bundy The Seedlings Foundation Ben Cameron CEC Artslink ($25,000–$49,999) Carol L. Sirot Patricia Clarkson Burry Fredrik Foundation Joan Channick and Ruth Trust for Mutual Peggy Cowles Connecticut Department Hein Schmitt Understanding Stephen Coy of Economic and William Connor Catherine and Elwood Community Development Donald Ware Michael S. David Davis Marty and Perry Granoff Jon Farley Ramon Delgado Marc Flanagan 37
Martin Desjardins Alexander Dodge Christopher Durang Terry Dwyer Patricia Egan and Peter Hegeman Kyoung-Jun Eo Glen R. Fasman Anthony Forman Eric Gershman and Katie Liberman Marian Godfrey Richard Gold and Patricia Bennett Naomi Grabel Rob Greenberg Judith Hanson Jeremy O. Harris David Hawkanson Patrick Herold Stephen J. Hoffman Alys Holden Donald Holder Carol Thompson Hemingway James Guerry Hood Christopher Hourcle Shane Hudson Jaeeun Joo James Earl Jewell Ann Judd and Bennett Pudlin Jane Kaczmarek Gregory Kandel Elizabeth Katz and Reed Hundt Helen Kauder and Barry Nalebuff Dr. Gary and Hedda Kopf Edward Lapine Max Leventhal and Susan Booth George Lindsay, Jr. William Ludel Emily Mann Brian Mann Robert Marx Susan Medak and Greg Murphy Samual Michael Richard Mone David E. Moore George Morfogen Neil Mulligan Jim and Eileen Mydosh Jason Najjoum Chris Noth Arthur Oliner F. Richard Pappas Daniel Perez Dw Phineas Perkins Amy Povich Kathy and George Priest Carol A. Prugh Brittany and Will Rall Lance Reddick Jon and Sarah Reed Bill and Sharon Reynolds Ross Richards Dr. Michael Rigsby and Prof. Richard Lalli Mark C. Rosenthal Arlene Szczarba Anne Seiwerath Benjamin Slotznick Dr. Matthew Specter and Ms. Marjan Mashhadi Adam Stockhausen Shepard and Marlene Stone
Abby Roth and R. Lee David Henry Hwang Stump Ann Johnson and David and Julie Sword Mark Stevens John Thomas III Martha and Michael Benjamin Thoron and Jurczak Patricia Saraniero Abby Kenigsberg Jennifer Tipton Harvey Kliman and Sarah Treem Sandra Stein Joan van Ark David Kriebs Sylvia Van Sinderen and Drew Kufta James Sinclair Mildred Kuner Carol M. Waaser Robert Goldsby Lauren Wainwright Melanie Ginter and Steven Waxler John Lapides Evan Yionoulis Jim Larkin Don and Clarissa Suttirat Larlarb Youngberg Maryanne Lavan Robert Zoland Kenneth Lewis Steve Zuckerman Malia Lewis The Loo Family Chi-Lung Lui PARTNERS Charles H. Long ($500–$999) Actors’ Equity Foundation Linda Lorimer and Charles Ellis Donna Alexander In memory of Anna Altman Nancy Maasbach Mr. and Mrs. B.N. Ashfield Timothy Mackabee Jenny Mannis and Mary Ellen and Thomas Henry Wishcamper Atkins John McAndrew Emily P. Bakemeier and Peter and Wendy McCabe Alain G. Moureaux Andrew McClintock Michael Baumgarten Deborah S. and Bruce M. Dawn G. Miller Daniel Mufson Berman Gayther Myers, Jr. Ashley Bishop Mariko Nakasone Jeff Bleckner Regina and Thomas Neville Erich Bolton William and Barbara Michael Boyle Anne and Guido Calabresi Nordhaus Laura Patterson Joy Carlin James Perakis Lawrence Casey Louise Perkins and Sarah Bartlo Chapin Jeff Glans Myung Hee Cho Point Harbor Fund of Dr. Paul D. Cleary the Maine Community Bill Connington Foundation Daniel Cooperman Bob and Priscilla Dannies Stephen Pollock Faye and Asghar Rastegar Richard Sutton Davis David and Barbara Reif Robert Dealy The Cory & Bob Donnalley Anne Renner Constanza Romero Charitable Foundation Melissa Rose Polly Draper Kimberly Rosenstock Eric Elice Suzanne Sato Sasha Emerson Sandra Shaner Bernard Engel Rachel Shuey Roberta Enoch and James Steerman Steven Canner Rosalie Stemer and Peter Entin Stuart Feldman Susan and Fred Nausica Stergiou Finkelstein Marsha Beach Stewart Randy Fullerton Erich Stratmann Leiko Fuseya Tom Sullivan James Gardner Matthew Suttor Betty and Joshua Don Titus Goldberg Anne Trites and David Marshall Grant Kent McKay Anne Gregerson Emmy Tu Eduardo Groisman John Turturro and Barry and Maggie Grove Katherine Borowitz Regina Guggenheim Courtney B. Vance Lorence Gutterman Paul Walsh William B. Halbert Kristan and Nathan Wells Karsten Harries and Carolyn Seely Wiener Elizabeth Langhorne Harry Weintraub Doug Harvey Steven Wolff Christopher Higgins Lila Wolff-Wilkinson Michael and Gabrielle David York Hirschfeld David Howson Carolyn Hsu-Balcer Mary and Arthur Hunt Peter Hunt
Liz Alsina Shaminda Amarakoon Arnold Aronson Mamoudou Athie Clayton Austin James Bakkom Christopher Barreca Richard and Alice Baxter Todd Berling Patricia Bennett and Rich Gold Michael Bianco Georg’Ann Bona Susan Brady and Mark Loeffler Tom Broecker Claudia Brown William Buck Robert Buckholz April Busch Jonathan Busky Richard Bynum Michael Cadden Dr. Michael Cappello and Kerry Robinson Lawrence Casey Dr. and Mrs. W.K. Chandler Barbara Jean and Nicholas Cimmino Nicholas Christiani Darren Clark Lani Click Melissa Cochran Robert S. Cohen Patricia Collins Bill Connington Audrey Conrad John W. Cunningham F. Mitchell Dana Laura Davis and David Soper Aziz Dehkan and Barbara Moss Dennis Dorn Kem and Phoebe Edwards Fine Family Joel Fontaine David Freeman Dr. and Mrs. James Galligan Joseph Gantman Deeksha Gaur Stephen Godchaux Rob Greenberg Joseph Hamlin Scott Hansen Douglas Harvey Barbara Hauptman Ethan Heard Nicole and Larry Heath Ann Hellerman Jennifer Hershey Phillip Howse Peter Hunt David Henry Hwang Karena Ingersoll Raymond Inkel Joanna and Lee A. Jacobus Ann Johnson Sanghun Joung Pam Jordan Elizabeth Kaiden Dr. Unni Karunakara Bruce Katzman Rik Kaye Barnet Kellman Kieran Kelly Ashley York Kennedy 38
Contributors to Yale School of Drama and Yale Repertory Theatre Alan Kibbe Lindsay King Matthew Krashan David Kriebs Lisa Kugelman and Roy Wiseman Bernard Kukoff Frances Kumin Wing Lee James Lile Mary Rose Lloyd Suzanne Cryer Luke Nancy Lyon Andy Lyons Dr. and Mrs. Robert W. Lyons Linda Maerz and David Wilson Adam Man Marvin March Elizabeth Margid Peter Marshall Deborah McGraw Annie Middleton Thomas Middleton George Miller and Virginia Fallon Aaron Moss Janice Muirhead David Muse David Nancarrow James Naughton Andrea Nellis Jane Nowosadko George and Marjorie O’Brien Janet Oetinger Maulik Pancholy Michael Parrella Bruce Payne and Jack Thomas James Perakis Lisa Rigsby Peterson Geoffrey Pierson Point Harbor Fund of the Maine Community Foundation Stephen Pollack Jeffrey Powell and Adalgisa Caccone Meghan Pressman Jeffry Provost Alec and Drika Purves Sarah Rafferty Fred Ramage Daniel and Irene Mrose Rissi Steve Robman Peter Roberts Gene Rogers Howard Rogut Fernande E. Ross Jean and Ron Rozett Helen Sacks Steven Saklad Robert Sandberg Dana Sanders Robin Sauerteig Dr. Mark Schoenfeld Morris and Annelies Sheehan William and Elizabeth Sledge Dr. and Mrs. Dennis D. Spencer Mary C. Stark Regina Starolis Stephen Strawbridge Bernard Sundstedt Jillian Taylor 39
Richard B. Trousdell Marge Vallee Michael Van Dyke Elaine Wackerly Wendy and Peter Wells Vera Wells Dana Westberg George C. White Karen White Marshall Williams Walton Wilson Amanda Wallace Woods Guy and Judith Yale Arthur and Ann Yost
Raymond Carver Sami Joan Casler David Chambers Ricardo and Jenny Chavira Terri Chegwidden Hsiao-Ya Chen James Chen Myung Hee Cho King-Fai Chung Cynthia Clair Katherine D. Cline Aurélia and Ben Cohen Robert Cohen Judith Colton and Wayne Meeks FRIENDS Forrest Compton ($100–$249) Scott Conn Anonymous Bill Connington Emika Abe Kristin Connolly Paola Allais Acree Daniel R. Cooperman and Christopher Akerlind Mariel Harris Michael Albano Aaron Copp Sarah Jean Albertson Jennifer Corman Narda Alcorn Rachel and Matt Cornish Rachel and Ian Alderman Robert Cotnoir Lorraine Alfano Caitlin Crombleholme Liz Alsina Douglas and Roseline Richard Ambacher Crowley Zach Appelman Stephen and Judy August Sean Cullen Scott Cummings Angelina Avallone Phillip L. Cundiff Sr. Michael Backhaus William Curran Sandra and Kirk Baird Donato Joseph D’Albis Dylan Baker Brian Dambacher Dr. Francis Baran Sue and Gus Davis Russell Barbour Nigel W. Daw Robert Barr William and Donna Batsford Katherine Day Peter De Breteville Nancy and Richard Beals Mr. and Mrs. Paul James Bellavance DeCoster Michael and Jennifer Sheldon Deckelbaum Bennick Sarah and Ted DeLong Alex Bergeron Elizabeth DeLuca Martin Blanco Connie and Peter Anders Bolang Dickinson Erik Bolling Derek DiGregorio Josh Borenstein Melinda DiVicino Marcus and Kellie Merle Dowling Bosenberg Megan and Leon Doyon John Boyd* Ms. JoAnne E. Droller, R.N. Michael Boyle Jeanne Drury Shawn Boyle John Duran Leslie Brauman Fran Egler Amy Brewer and Robert Einienkel David Sacco Dr. Marc Eisenberg James and Dorothy Nancy Reeder El Bouhali Bridgeman Janann Eldredge Linda Briggs and Elizabeth English Joseph Kittredge Jennifer Endicott Emley Carole and Arthur David Epstein Broadus Dustin Eshenroder Michael Broh Christine Estabrook Linda Broker Frank and Ellen Estes Arvin Brown Femi Euba Christopher Brown Connie Evans Julie Brown Jerry N. Evans Warwick Brown Douglass Everhart Oscar Brownstein John D. Ezell Stephen Bundy Michael Fain Richard Butler Ann Farris Susan Wheeler Byck Richard and Barbara Susan Cahan Feldman David Calica Erin Felgar Kathryn A. Calnan Mr. and Mrs. Kenneth Robert Campbell Fellows H. Lloyd Carbaugh Elisa and Jonathan Cardone Paul and Susan Birke Fiedler Lisa Carling
Andria Fiegel Anne Flammang Madlyn and Richard Flavell Keith Fowler Adam Frank Walter M. Frankenberger III Donald Fried Richard Fuhrman Christopher Fuller David Gainey Jane and Charles Gardiner Barbara and Gerald Gaab Josh Galperin David and Joan Geetter Lauren Ghaffari Robert Glen William Glenn Nina Glickson and Worth David Stephen Godchaux Lindy Lee Gold Robert Goldsby Diane Goldsmith Steven Gore Charles Grammer Hannah Grannemann Bigelow Green Elizabeth M. Green Elizabeth Greenspan and Walt Dolde Michael Gross Corin Gutteridge David Hale Amanda Haley Alexander Hammond Ann and Jerome R. Hanley Caitie Hannon Lawrence and Roberta Harris Doug Harvey Brian Hastert James Hazen Al Heartley Beth Heller Robert Heller Ann Hellerman Steve Hendrickson Chris Henry Jeffrey Herrmann Joan and Dennis Hickey Roderick Hickey Christopher Higgins Gabrielle and Michael Hirschfeld Elizabeth Holloway Betsy Hoos Nicholas Hormann Kathleen Houle David Howson Evelyn Huffman Chuck Hughes Derek Hunt Peter H. Hunt John Huntington Sooyoung Hwang John and Patricia Ireland John W. Jacobsen Chris Jaehnig Ina and Robert Jaffee Eliot and Lois Jameson William Jelley Elizabeth Johnson Geoffrey A. Johnson Donald E. Jones, Jr. Jonathan Kalb Carol Kaplan
Dr. and Mrs. Michael Kashgarian Dr. Jane Katcher Edward Kaye Patricia Keenan Jay Keene Asaad Kelada Roger Kenvin Carol Soucek King Susan Kirschner-Robinson and Shirley Kirschner William Kleb Dr. Lawrence Klein James Kleinmann Elise F. Knapp Joseph Kovalick Brenda and Justin Kreuzer Susan Kruger and Family Ann Kuhlman and Adel Allouche Tom Kupp Andrea Chi-Yen Kung Mitchell Kurtz William Kux Ojin Kwon Howard and Shirley Lamar Naomi Lamoreaux Marie Landry and Peter Aronson Michael Lassell James and Cynthia Lawler Martha Lidji Lazar Jerry Limoncelli Fred Lindauer Rita Lipson Bona Lee Wing Lee Irene Lewis Sam Linden Rita Lipson Arthur Lueking Everett Lunning Janell MacArthur Lizbeth Mackay Wendy MacLeod Alan MacVey James Magruder Peter Malbuisson Dr. Maricar Malinis Jocelyn Malkin, MD Geertruida Malten Peter Maradudin Frederick Marker Patrick Markle Jonathan Marks Kenneth Martin Nancy Marx Maria Mason and William Sybalsky Ben and Sally Mayer Margaret and Robert McCaw Matthew McCollum Patrick and Linda McCrelles Robert McDonald Christopher McFarland Thomas McGowan Robert McKinna and Trudy Swenson
Patricia McMahon Susan McNamara Brian McManamon Charles McNulty Lynne Meadow James Meisner and Marilyn Lord Donald Michaelis Carol Mikesell Kathryn Milano Jonathan Miller Sandra Milles Lawrence Mirkin Frank Mitchell Jennifer Moeller George Moredock David and Betsy Morgan Richard Munday and Rosemary Jones Gather Myers Rachel Myers Rhoda F. Myers Tina C. Navarro Kate Newman Jennifer Harrison Newman Ruth Hunt Newman Gail Nickowitz Nancy Nishball Mark Novom Deb and Ron Nudel Adam O’Byrne Eileen O’Connor Dwight R. Odle Sara Ohly Edward and Frances O’Neill Alex Organ Sara Ormond Lori Ott Kendric T. Packer Joan Pape Russell Parkman Dr. and Mrs. Michael Parry Dr. Gary Pasternack Alexandra Paxton Amanda Peiffer William Peters Dr. Ismene Petrakis Michael Posnick Gladys Powers Robert Provenza William Purves Carolyn Rochester Ramsey and William Ramsey Da’Vine Joy Randolph Theodore Robb Sheila Robbins Nathan Roberts Peter S. Roberts Lori Robishaw Priscilla Rockwell Joanna Romberg Melina Root Stephen Rosenberg June Rosenblatt Claudia Arenas Rosenshield Joseph Ross Donald Rossler John Rothman Deborah Rovner
Allan Rubenstein Dean and Maryanne Rupp Janet Ruppert Ortwin Rusch Raymond Rutan John Barry Ryan David Sacco Dr. Robert and Marcia Safirstein Steven Saklad Donald Sanders Robert Sandine and Irene Kitzman Adam Saunders Peggy Sasso Joel Schechter Anne Schenck Kenneth Schlesinger Steven Schmidt Judith and Morton Schomer Georg Schreiber Jennifer Schwartz Kathleen McElfresh Scott Forrest E. Sears Paul Selfa Subrata K. Sen Morris Sheehan Sally Shen Paul R. Shortt Lorraine D. Siggins Alyssa Simmons William Skipper Mark and Cindy Slane Gilbert and Ruth Small E. Gray Smith, Jr. Helena L. Sokoloff Sarah Sokolovic Suzanne Solensky and Jay Rozgonyi Amanda Spooner Charles Steckler Louise Stein Neal Ann Stephens John Stevens Frances Strauss Howard Steinman Michael Strickland Jarek Strzemien Katherine Sugg William and Wilma Summers Tien-Yin Sun Erik Sunderman Mark Sullivan Thomas Sullivan Jane Suttell Tucker Sweitzer and Jerome Boryca Douglas Taylor Jean and Yeshvant Talati Jane Savitt Tennen J. Terrazzano Aaron Tessler Kat Tharp Pat Thomas Eleanor Q. Tignor, P.h.D David F. Toser Albert Toth David and Lisa Totman Russell L. Treyz
Ellen Tsangaris Deborah Trout Suzanne Tucker Gregory and Marguerite Tumminio Leslie Urdang Carrie Van Hallgren Dr. Stein Vermund Adina and Michael Verson-McQuilken Eva Vizy Fred Voelpel Mark Anthony Wade Kate and Andrew Wallace Erik Walstad Barbara Wareck and Charles Perrow Chris Weida John Weikart Rosa Weissman Matt and Mary Welander Peter and Wendy Wells Charles Werner Kathleen Whitby Peter White Robert and Charlotte White Lisa A. Wilde Robert Wildman Sarah Williams David Willson Gregory and Carrie Winkler Annick Winokur and Peter Gilbert Alex Witchel Carl Wittenberg Rachel and Stephen Wizner Andrew Wolf Gretchen Wright Lori-Ann Wynter John and Pat Zandy Shoshana Zax Sylvia Zhang Albert Zuckerman
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When you make a gift to Yale Rep’s Annual Fund, you support the creative work on our stage and our innovative outreach programs. For more information, or to make a donation, please call Susan Clark, 203.432.1559. You can also give online at yalerep.org/support. This list includes current pledges, gifts, and grants received from July 1, 2016, through March 1, 2018.
HOW TO REACH US Yale Repertory Theatre Box Office 1120 Chapel Street (at York Street) Post Office Box 208244 New Haven, CT 06520 203.432.1234 firstname.lastname@example.org
Yale Repertory Theatre offers all patrons the most comprehensive accessibility services program in Connecticut, including a season of open-captioned and audiodescribed performances, a free assistive FM listening system, large-print and Braille programs, wheelchair accessibility with an elevator entrance into the Yale Rep Theatre (located on the left side of the building), and accessible seating. For more information about the theatre’s accessibility services, contact Laura Kirk, Director of Audience Services, at 203.432.1522 or email@example.com.
BOX OFFICE HOURS Monday to Friday: 10AM to 5PM Saturday: 12PM to 5PM Until 8PM on all show nights GROUP RATES Discounted tickets are available for groups of ten or more. Please call 203.432.1234. FIRE NOTICE Illuminated signs above each door indicate emergency exits. Please check for the nearest exit. In the event of an emergency, you will be notified by theatre personnel and assisted in the evacuation of the building. RESTROOMS Restrooms are located in the lower level of the building. EMERGENCY CALLS Please leave your cell phone, name, and seat number with the concierge. We’ll notify you if necessary. The emergencyonly telephone number at the University Theatre is 203.432.0767. SEATING POLICY Everyone must have a ticket. Sorry, no children in arms or on laps. Patrons who arrive late or leave the theatre during the performance will be reseated at the discretion of house management. Those who become disruptive will be asked to leave the theatre.
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AD AND OC PERFORMANCE SCHEDULE All shows are at 2PM; the AD pre-show description begins at 1:45PM.
Mar 31 Apr 7 Father Comes Home From the Wars, Parts 1, 2 & 3 May 12 May 19 Kiss
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Father Comes Home From the Wars, Parts 1, 2 &3 by Suzan-Lori Parks, Directed by Liz Diamond. Yale Repertory Theatre, March 16–April 7, 2018.
Published on Mar 12, 2018
Father Comes Home From the Wars, Parts 1, 2 &3 by Suzan-Lori Parks, Directed by Liz Diamond. Yale Repertory Theatre, March 16–April 7, 2018.