FIELD GUIDE, Yale Repertory Theatre, 2018

Page 1


2017– 18


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A Note From the Artistic Director Welcome to the world premiere of Field Guide! I am delighted to welcome Rude Mechs back to New Haven for their third show at Yale Rep, where Now Now Oh Now and The Method Gun were presented in recent seasons to standing room only audiences as part of our annual No Boundaries performance series. The Method Gun, in particular—about a long-aborning production of A Streetcar Named Desire performed without any of its main characters—was a transformational production for me as an audience member and as an artist: it was unlike anything I had ever witnessed on stage before and so different from anything I would be remotely capable of doing myself. I kick myself to this day that when Now Now Oh Now played here in New Haven I was ill and missed seeing it, but I am thrilled that this new show will give many more Yale Rep audience members the chance to experience the astonishing magic this company has been honing in Austin, Texas, and touring across the country, for more than two decades. Field Guide was commissioned by Yale Rep and represents a unique partnership between our theatre and Rude Mechs, whose collaborative approach to making plays relies on each member of the company contributing to the entire production. Much of the work on Field Guide coincided with a time of transition for the company: Yale Rep has supported their work through several residencies here on campus as they have faced the daunting task of finding a new permanent home for the company in Austin. This play, I think it is safe to say, will feel singular to you. But if you have had the chance to see The Method Gun or Now Now Oh Now here, or any of Rude Mechs’ other work in New York or on tour around the country, you will likely recognize the company’s remarkable ability to explore weighty themes—like morality, faith, and failure—in generously theatrical ways and always with a sense of humor. I’m so glad you are here with us today and I hope that you will return soon. Up next at Yale Rep is Father Comes Home From the Wars, Parts 1, 2 & 3, the first installment of a new American Odyssey by Pulitzer Prize winner Suzan-Lori Parks, directed by Liz Diamond, running March 16–April 7. And later in the spring, we will close the season with Kiss, a remarkable new play by acclaimed Chilean theatre artist Guillermo Calderón, staged by Evan Yionoulis, April 27–May 19. As always, I look forward to hearing your thoughts about Field Guide or any of your experiences at Yale Rep. My email address is Sincerely, James Bundy Artistic Director 4

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JANUARY 26–FEBRUARY 17, 2018 YALE REPERTORY THEATRE James Bundy, Artistic Director Victoria Nolan, Managing Director






Scenic Design


Sound Design


Original Music


Lighting Design


Costume Design


Production Dramaturgy

Stage Management


Fight Direction


Technical Direction



Field Guide was commissioned by Yale Rep. Development and production support are provided by Yale’s Binger Center for New Theatre. Yale Repertory Theatre gratefully acknowledges Carol L. Sirot for generously funding the 2017-18 season and Time Warner Foundation Inc. for its support of the Binger Center for New Theatre. Yale Rep is supported in part by the Connecticut Department of Economic and Community Development.



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in alphabetical order Alyosha MARI AKITA Fyodor LOWELL BARTHOLOMEE Smerdyakov ROBERT S. FISHER Ivan THOMAS GRAVES

Grigory, Katya, Grushenka



Rude Mechs creates new works collaboratively and relies on every artist in the room contributing to everything from design and direction to text and performance. Field Guide was created by Mari Akita, Lowell Bartholomee, Kenny Chilton, Madge Darlington, Eric Dyer, Robert S. Fisher, Aaron Flynn, Thomas Graves, Kevin Jacaman, Hannah Kenah, Lana Lesley, Kirk Lynn, Graham Reynolds, Brian H Scott, Shawn Sides, and Dallas Tate.


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FIELD GUIDES FOR FIELD GUIDE Fyodor Dostoevsky (1820–1881) wrote The Brothers Karamazov at the end of his life. At once a sprawling family drama and a gripping whodunit, this great novel depicts the realities of 19th-century Russian life while posing powerful philosophical questions about the existence of God, the truth of human nature, and the complexities of morality. It is the Rude Mechs’ intuition that investigations contain more than just Dostoevsky’s idiosyncratically personal preoccupations. Might Dostoevsky have created more than a masterful novel? What if he wrought something deeper—a story that might guide us through our lives, a field guide for living? —AMY BORATKO, PRODUCTION DRAMATURG



l e v Tra ERS TH V O BR AZO E TH RAM KA 10

Kar ama zov Wat chin g:



The male Karamazov comes in five dominant, but distinct, varieties. Because some Karamazov men are dangerous, one should observe the male from a distance, perhaps from a comfortable perch with the aid of binoculars, to verify before approaching in the wild.

Dmitri Fyodorovich Karamazov

The Sensualist The oldest son who doesn’t fall so far from the tree. Like Papa Fyodor, loves drinking and women. In desperate need of his inheritance. Though engaged to Katya, has a passion for a woman named Grushenka.

Fyodor Pavlovich Karamazov

The Father Twice-married decadent sponge, clawing his way up the landowning class ladder. A buffoon, loves to ridicule others. Prone to insolence, misogyny, and greed. Women should be especially cautious upon encountering him.

Alexei Fyodorovich Karamazov The Spiritualist Also known as “Alyosha,” this Karamazov has a penchant for religiosity. Can be found at the monastery, following his beloved Father Zosima. Dreams of becoming a monk. Enjoys levitation.


Ivan Fyodorovich Karamazov

The Intellectual Often found brooding over life’s philosophical questions. He can’t understand how God can exist when there is so much suffering in the world. To coax him closer, one might offer a volume of Kant’s writings or memorize some long-form poetry about the Spanish Inquisition.

Pavel Fyodorovich Smerdyakov

The Bastard He’s a Karamazov by blood, but his name literally means “son of the stinking one.” Raised by the old servant Grigory, often acts—and feels—more like household help than a member of the family. Stray cats should be especially cautious upon encountering him.

PREY OR PREDATOR? FEMALE BIRDS TO WATCH Although The Brothers Karamazov seems dominated by these massive bears, look to the skies to see these beautiful doves.

Katerina Ivanovna Verkhovtseva

Dmitri’s Fiancée Also known as “Katya.” Engaged to Dmitri but desired by Ivan.

Agrafena Alexandrovna Svetlova

A Charming Vixen Also known as “Grushenka.” Can be found at the apex of a love triangle with Fyodor and Dmitri.


Travel S KARAMAZOV TOP SIX EVENTS IN THE BROTHER and extremely long—novel? Only have 48 hours to experience Dostoevsky’s grand— weekend. Here are some of the highlights for an exciting 19th-century Russian


The Grand Inquisitor. This poetic parable, recited by Ivan, posits an encounter in Inquisition Spain between Christ and the Grand Inquisitor. Are humans free? Does the divine exist? Does Ivan—or his holy brother Alyosha—hold the keys to unlock life’s fundamental mysteries?

The Stinking Death of Father Zosima. The holy Elder, teacher to Alyosha, dies. The locals—and his fellow monks—believe the body of such a pure soul will not decay. But, alas, mere hours after Zosima’s death, his body begins to stink. Does this shake the fundamental faith of believers or cast doubt upon the worthiness of Zosima’s soul?


Love Triangles. Dmitri loves the vibrant and vivacious Grushenka, but he’s still engaged to Katya and is financially indebted to her. Ivan loves Katya and thinks Dmitri is unworthy of her steadfast devotion. Fyodor, however, finds Grushenka tantalizing, forcing a rivalry between father and son for her affections.


Fyodor’s Murder. With a father so despicable and grotesque, all of the Karamazov brothers have motive to kill. But who actually ends up with Fyodor’s blood on his hands?

The Trial. In a satire of the Russian court system, passions run to a frenzy. Ivan descends into a madness—his own guilt and morality manifesting itself physically—as he recalls a confession that his half-brother Smerdyakov made to him about Fyodor’s death. Katya, worried about Ivan’s health, produces a letter written by a drunk Dmitri: he writes that he wants to kill his father. Dmitri’s words damn him, but was justice really served?

Dmitri’s Punishment. Convicted of killing his father, Dmitri is sentenced to a Siberian labor camp. But others hope to bribe guards and facilitate his escape. Will Dmitri escape the twenty-year sentence and flee to America?



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Rude Mechs RUDE MECHS is an Austin, Texas-based theatre collective that has created a

genre-averse slate of about 30 new plays since 1996. What these works hold in common are the use of play to make performance, the use of theatres as meeting places for audiences and artists, and the use of humor as a tool for intellectual investigation. They tour their original work nationally and abroad whenever they can; maintain Rude Studios, a suite of studios in Austin for use by arts groups of every discipline; manage a scenic lending library; and run a year-round arts education program for teens. Thrilled to be back in New Haven for their third production at Yale Rep, the Rudes touring productions include The Method Gun, I’ve Never Been So Happy, Get Your War On, Cherrywood, Lipstick Traces, Match-Play, Now Now Oh Now, Stop Hitting Yourself, and How Late It Was, How Late.

Field Guide Company MARI AKITA (ALYOSHA) is a dancer and performance artist based in Austin, Texas. In addition to creating and performing her own original dance performance works, Mari has performed in Phil Soltanoff’s i/o, L.A. Party, and An Evening with William Shatner Asterisk; LOLA’s Chamber Opera We Might Be Struck by Lightning; and The Neal Medlyn Experience, Linda Mary Montano as Mother Teresa. She has collaborated with Lauren K. Tietz for her video projects and choreographed for Monkey Town 6 and the band Foot Patrol. Mari has performed in Fusebox, Coil, PuSh, Mass Live Arts, and LAX Festival. LOWELL BARTHOLOMEE (FYODOR) is a Rude Mechs company member and has appeared in company productions of 300 Plays About Vladimir Putin, Decameron: Day 7: Revenge, Pale Idiot (2005), Get Your War On! (European Tour), The Method Gun (workshop), I’ve Never Been So Happy, Fixing King John, and Fixing Timon of Athens and has served as their stage manager for the touring productions of The Method Gun and Now Now Oh Now. He has numerous credits and local awards as an actor, video and sound designer, producer, and director for various theatre companies in Austin, Texas. His film and television credits include American Crime (ABC), The Leftovers (HBO), and several independent films including Holy Hell, which he co-wrote, produced, and premiered at the Austin Film Festival in 2009. AMY BORATKO (PRODUCTION DRAMATURGY) is the Literary Manager at Yale Rep and has previously served as dramaturg on the Yale Rep productions of Mary Jane, Imogen Says Nothing, peerless, Indecent, War, The Fairytale Lives of Russian Girls, Dear Elizabeth, The Realistic Joneses, Good Goods, Belleville, Autumn Sonata, We Have Always Lived in the Castle, Battle of Black and Dogs, Compulsion, Notes from Underground, A Woman of No Importance, Eurydice, and The Cherry Orchard. Other dramaturgy credits include The Time of Your Life, The Summer People, Romeo and Juliet, The War Is Over (Yale School of Drama), as well as Voice and Vision’s ENVISION Retreat at Bard College. She has been a teaching fellow at Yale 15

College and Yale School of Drama and was a managing editor of Theater magazine. A graduate of Rice University, she received her MFA in dramaturgy and dramatic criticism from Yale School of Drama.

ERIC DYER (SCENIC DESIGN) is a Brooklyn-based artist, builder, and theatremaker. He is a founding member of the performance ensemble Radiohole, with whom he has produced 12 original productions, two plays, and co-founded the venue the Collapsable Hole. Radiohole has also performed at P.S. 122, the Kitchen, La Mama E.T.C., the Performing Garage, as well as toured nationally and internationally. This spring at Stanford University, the company will deliver a lecture and workshop on its production Inflatable Frankenstein to mark the 200th anniversary of the publication of Mary Shelley’s Frankenstein. The company also plans to present its most recent production, Tarzana (text by Jason Grote) in Berlin this fall. Radiohole is currently at work on a new piece based on its response to the #metoo movement. Eric has also worked with the Wooster Group, Richard Foreman, Elevator Repair Service, Young Jean Lee, NYC Players, The Builders Association, and many others as a designer, technical director, production manager, or performer. ROBERT S. FISHER (SOUND DESIGN; SMERDYAKOV) is a Rude Mechs company member and Creative Director of Audio Art & Science. As a sound designer, musician, and performer with Rude Mechs, Robert has co-created, designed and/or performed in Rude productions since 2000, including most recently Requiem for Tesla, Fixing Timon of Athens, Match-Play, and Now Now Oh Now. Also a member of Hyde Park Theatre, Robert recently designed the southwestern premieres of The Wolves, The Moors, and John.

THOMAS GRAVES (IVAN) is a Co-Producing Artistic Director for Rude Mechs in Austin, Texas. As such he has developed, performed in, and produced The Method Gun, I’ve Never Been So Happy, Now Now Oh Now, and Stop Hitting Yourself. He is currently directing and designing one of Rude Mechs’ next projects, Not Every Mountain, which will appear at the Guthrie Theater in Minneapolis in the summer of 2018. Along with Philadelphia-based artist Jennifer Kidwell, Graves is building a new performance piece entitled Table. He was a co-creator and performer of Dayna Hanson’s The Clay Duke and has performed across North America and Europe as a dancer and choreographer for the queer performance group Christeene. Thomas holds an MFA in performance as public practice from the University of Texas at Austin. BIANCA A. HOOI* (STAGE MANAGEMENT) is a third-year MFA candidate at Yale School of Drama, where her credits include If Pretty Hurts Ugly Must Be a Muhfucka, The Three Sisters, and Our Lady of 121st Street, and she was the assistant stage manager for The Oresteia and New Domestic Architecture. Her other credits include assistant stage manager for Seven Guitars and production assistant for the world premiere of Indecent, both at Yale Rep. *MEMBER OF ACTORS’ EQUITY ASSOCIATION, THE UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS.


Field Guide Company HANNAH KENAH (TEXT; GRIGORY, KATYA, GRUSHENKA) is a performer, writer, and company member

with Rude Mechs and has been developing work with the company since 2008, including national tours of The Method Gun and Stop Hitting Yourself. She served as the writer for Rude Mechs’ Now Now Oh Now. With Salvage Vanguard Theater, Hannah wrote and performed in Guest by Courtesy which was selected for Fusebox Festival 2013, then traveled to Sofia, Bulgaria, and was produced by Brooklyn Yard. SVT produced her play, With Great Difficulty Alice Sits, in fall 2016. Her play Everything Is Established received an honorable mention on the 2015 Kilroys List and was produced by Harbor Stage Company in the summer of 2017. Hannah received her BA from Dartmouth College, attended Dell’Arte International, and is currently studying playwriting as a Michener Fellow at the University of Texas at Austin.

LANA LESLEY (DMITRI) A Co-Founder and Co-Producing

Artistic Director for Rude Mechs, Lana has created, produced, and/or performed in over thirty original Rude Mechs productions, including Stop Hitting Yourself, Now Now Oh Now, I’ve Never Been So Happy (co-director), and The Method Gun. Lana has performed in select festivals and venues including Brisbane’s WTF, BITE, Culturgest, The Arches, Kiasma Festival, Szene Salzburg, Philadelphia Live Arts, UCLA Live!, Walker Art Center, Wexner Center for the Arts, and the Krannert Center for the Performing Arts. Lana’s work as a voice-over artist includes Hawk Girl, Lady Blackhawk, and Giganta for DC Universe Online, Ibuki (feature role) in the Dai Guard series, and Saki (starring role) in the live-action film Gun Crazy: A Woman from Nowhere. Lana is currently co-creating a new play with Peter Stopschinski and Paul Soileau, Design for Everyone, and working on a graphic novel version of Rude Mechs’ adaptation of Greil Marcus’s book Lipstick Traces.

GRAHAM REYNOLDS (ORIGINAL MUSIC) Called “the quintessential modern composer” by the London Independent, Austin-based composer-bandleaderimproviser Graham Reynolds creates, performs, and records music for film, theatre, dance, rock clubs, and concert halls. Heard throughout the world in films, television, stage, and radio, he’s worked with collaborators ranging from Richard Linklater and Jack Black to DJ Spooky and Ballet Austin. He is a company member with the internationally acclaimed Rude Mechs theatre collective, resident composer with Salvage Vanguard Theater and Forklift Danceworks, and Artistic Director of Golden Hornet, a commissioning and concert producing non-profit. He recently scored Linklater’s Last Flag Flying, featuring Steve Carell, Bryan Cranston, and Laurence Fishburne, for Amazon Studios. His many accolades include a Creative Capital Award for Pancho Villa from a Safe Distance, a chamber opera created with librettists Lagartijas Tiradas al Sol (Mexico City) and director Shawn Sides, the final part of his decade-long project, The Marfa Triptych. Find out more at


BRIAN H SCOTT (LIGHTING DESIGN) is a theatrical designer working primarily in the medium of light. As a SITI Company member and resident Lighting Designer since 1997, he has had the good fortune to focus on the creation of new work and the re-investigation of classic texts through a contemporary, as well as, a physically and visually rigorous lens. His collaborations as a company member of Rude Mechs in Austin, Texas, have offered equally invigorating opportunities to create new work through contemporary eyes, in addition to sweeping adaptations of such literary works as Greil Marcus’s look at the history of counter culture, Lipstick Traces, and James Kelman’s book, How Late It Was, How Late. SHAWN SIDES (DIRECTION) is a Co-Founder and a Co-Producing Artistic

Director of Rude Mechs in Austin, Texas, where she has co-conceived, co-adapted, and directed a new work every year, give or take, since 1996, including Off-Broadway and touring productions of Lipstick Traces, Stop Hitting Yourself, Get Your War On, The Method Gun, and Dionysus in 69 in ’09. She most recently directed Pancho Villa from a Safe Distance, a chamber opera by Graham Reynolds, libretto by Lagartijas Tiradas al Sol. Shawn is a 2015 Doris Duke Performing Artist Award recipient.

RICK SORDELET (FIGHT DIRECTION) 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. STEPH WAASER (TECHNICAL DIRECTION) is a third-year MFA candidate at Yale School of Drama. Previous Yale Rep credits include An Enemy of the People (assistant technical director) and Assassins (technical director). Her professional production work includes Williamstown Theatre Festival, PlayMakers Repertory Company, Pennsylvania Shakespeare Festival, Baltimore Center Stage, and Hudson Scenic Studios, among others. Steph earned her bachelor’s degree at the University of North Carolina, Chapel Hill. SARAH WOODHAM (COSTUME DESIGN) is a third-year MFA candidate at Yale School of Drama, where her credits include The Hour of Great Mercy, ’Tis Pity She’s a Whore, and Amy and the Orphans. Other credits include Styx Songs (Yale Cabaret); Phaedra’s Love and Adam Geist (Yale Summer Cabaret). She holds a BFA in fashion and design from The University of Trinidad and Tobago (Caribbean Academy of Fashion and Design), where she designed An Echo in the Bone for The Trinidad Theatre Workshop. She is a winner of the Meiling Designer Critique Award, a freelance storyboard artist, graphic designer, and co-director of her own fashion print house, A Memory Emerging New (A.M.E.N.) Print House. 18

Yale Repertory Theatre JAMES BUNDY (ARTISTIC DIRECTOR) is in his 16th year as Dean of Yale School of Drama and Artistic Director of Yale Repertory Theatre. In his first 15 seasons, Yale Rep has produced more than 30 world, American, and regional premieres, nine of which have been honored by the Connecticut Critics Circle with the award for Best Production of the year and two of which have been Pulitzer Prize finalists. During this time, Yale Rep also has commissioned more than 50 artists to write new work and provided low-cost theatre tickets to thousands of middle and high school students from Greater New Haven through WILL POWER!, an educational program initiated in 2004. In addition to his work at Yale Rep, he has directed productions at Oregon Shakespeare Festival, Great Lakes Theater Festival, The Acting Company, California Shakespeare Festival, Alabama Shakespeare Festival, and The Juilliard School Drama Division. A recipient of the Connecticut Critics Circle’s Tom Killen Award for extraordinary contributions to Connecticut professional theatre in 2007, Mr. Bundy served from 2007–13 on the board of directors of Theatre Communications Group, the national service organization for nonprofit theatre. Previously, he worked as Associate Producing Director of The Acting Company, Managing Director of Cornerstone Theater Company, and Artistic Director of Great Lakes Theater Festival. He is a graduate of Harvard College; he trained at the London Academy of Music and Dramatic Art and Yale School of Drama. VICTORIA NOLAN (MANAGING DIRECTOR) is in her 25th year as Managing Director of Yale Repertory Theatre, serves as Deputy Dean of Yale School of Drama, and is on its faculty. She was previously Managing Director of Indiana Repertory Theatre, Associate Managing Director at Baltimore’s Center Stage, Managing Director at Ram Island Dance Company in Portland, Maine; and she has held various positions at Loeb Drama Center of Harvard University; TAG Foundation, an organization producing Off-Broadway modern dance festivals; and Boston University School for the Arts. Ms. Nolan has been an evaluator for the National Endowment for the Arts, for which she has chaired numerous grant panels, and has served on other panels and foundation review boards including the AT&T Foundation, The Heinz Family Foundation, Lila Wallace-Reader’s Digest Fund, and the Metropolitan Life Foundation. She has also served on the Executive Committee of the League of Resident Theatres (LORT) and on numerous negotiating teams for national labor contracts. A Fellow at Yale’s Saybrook College, she is the recipient of the Betsy L. Mahaffey Arts Administration Fellowship Award from the State of Connecticut and the Elm/Ivy Award, given jointly by Yale University and the City of New Haven for distinguished service to the community.


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 JosÊ; 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 London’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.


Field Guide Staff

Yale Repertory Theatre Staff

ARTISTIC Aneesha Kudtarkar, Assistant Director Alicia Austin, Assistant Costume Designer Megumi Katayama, Associate Sound Designer Wei Hsuan Wang, Assistant Sound Designer and Engineer Olivia Plath, Assistant Stage Manager

James Bundy, Artistic Director Victoria Nolan, Managing Director Jennifer Kiger, Associate Artistic Director Director of New Play Programs

PRODUCTION William Neuman, Associate Production Manager Hao-En Hu, Erin Keller Tiffany, Assistant Technical Directors Jonathan Jolly, Assistant Properties Master Robin Hirsch, Costume Craft Artisan Harry Beauregard, Master Electrician Dani Barlow, Kari Olmon, Charles O’Malley, Ariel Sibert, Run Crew ADMINISTRATION Laurie Ortega-Murphy, House Manager UNDERSTUDIES José Espinosa, Ivan Patricia Fa’asua, Fyodor Amandla Jahava, Dmitri Jake Ryan Lozano, Alyosha Sohina Sidhu, Grigory, Katya, Grushenka Devin White, Smerdyakov Rude Mechs Exclusive Worldwide Tour Representation: ArKtype Thomas O. Kriegsmann, President 917.386.5468 fax: 212.749.7696 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.

Field Guide January 26–February 17, 2018 Yale Repertory Theatre, 1120 Chapel Street


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 Li, Melissa Rose, Associate Managing Directors Armando Huipe, Leandro A. Zaneti, Assistant Managing Directors Emalie Mayo, Senior Administrative Assistant to the Managing Director Dani Barlow, Markie Gray, Management Assistants Caitlin Crombleholme, Lisa D. Richardson, Company Managers Lucia Bacqué, 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

Yale Repertory Theatre Staff Alice Kenney, Development Associate (on leave) 
Jean Gresham, Interim Development Associate 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 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, 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, Samantha Else, Jordan Graf, 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 Diane Galt, Director of Facility Operations Nadir Balan, Operations Associate 25

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

collective consciousness theatre

Directed by Jenny Nelson

by Dominique Morisseau February 22 — March 11









YALER 4 3 2 . 1 2 G 3 EP@Y ALE.E 4 DU





UNIVERSITY THEATRE, 222 York Street 203.432.1234 26



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.



27War 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.




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.


28 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 ($50,000 and above)

GUARANTORS ($25,000–$49,999)

Joan Channick and Ruth Hein Schmitt William Connor Burry Fredrik Foundation Michael S. David Connecticut Department Nina Adams and PATRONS Jon Farley of Economic and Moreson Kaplan Marc Flanagan Community Development ($5,000–$9,999) Anonymous (2) Anna Fitch Ardenghi Trust, Anthony Forman Marty and Perry Granoff John B. Beinecke Bank of America, Trustee Fred Gorelick and Mabel Burchard Fischer Sonja Berggren and John Badham Cheryl MacLachlan Grant Foundation Patrick Seaver Foster Bam Catherine Hazlehurst The Laurents/Hatcher Lynne and Roger Bolton Pun Bandhu da Cruz Foundation Lois Chiles and Richard Carmine Boccuzzi and Alan Hendrickson Newman’s Own Gilder Bernard Lumpkin JANA Foundation Foundation Nicholas Ciriello Brett Dalton Rik Kaye Robina Foundation in Edgerton Foundation Annie LaCourt memory of Peter Karoff The Frederick A. DeLuca Lily Fan Foundation George Lindsay, Jr. Eugene Shewmaker Anita Pamintuan Fusco Terry Fitzpatrick George A. and Grace Virginia B. Toulmin and Dino Fusco Barbara and Richard Long Foundation, Bank Foundation The Horace W. Franke of America, N.A., Goldsmith Foundation David Freeman Co-Trustee BENEFACTORS Jerome L. Greene Albert R. Gurney* Irene Sofia Lucio ($10,000–$24,999) Foundation William Ludel Americana Arts Foundation Jane Head Lane Heard and Sally Horchow Jonathan S. Miller Bank of America Margaret Bauer Linda Gulder Huett Victoria Nolan and Foundation Stephen J. Hoffman Ellen Iseman Clark Crolius Mary L. Bundy William and Sarah Hyman Aja Naomi King Richard Ostreicher Jim Burrows David Johnson The Ethel & Abe Lapides Dw Phineas Perkins Geoffrey Ashton Johnson Connecticut Humanities Foundation Kenneth J. Stein The Noël Coward Rocco Landesman Charles E. Letts III Alec and Aimee Scribner Foundation Jennifer Lindstrom Irene Sophia Lucio Ron Van Lieu Michael Diamond The Frederick Loewe Marissa Neitling United Illuminating & Heidi Ettinger Foundation NewAlliance Foundation Southern Connecticut Quina Fonseca Neil Mazzella Carol Ostrow Gas Donald Granger Tom Moore James Phills, Jr. Ruth and Steve Hendel James Munson DIRECTOR’S CIRCLE Bryce Pinkham Hasbro, Inc. Alan Poul ($1,000–$2,499) Catherine MacNeil Hollinger Pam and Jeff Rank Robina Foundation Victor and Laura Altshul Russ Rosensweig J.M. Kaplan Fund Tracy Chutorian Semler Amy Aquino and Nancy Sasser The Ted and Mary Jo Shen Ben Ledbetter and Michael and Riki Sheehan Drew McCoy Deborah Freedman Charitable Gift Fund Paula Armbruster Philip J. Smith Sarah Long The Shubert Foundation Alexander Bagnall Sophie von Haselberg Lucille Lortel Foundation Jeremy Smith John Lee Beatty Mark Weaver Angela and Donald Lowy* Stephen Timbers Jody Locker Berger Tien-Tsung Ma Time Warner Foundation PRODUCER’S CIRCLE Molly Bernard Nesrin and Andrew Tisdale Arthur and Merle Nacht ($2,500–$4,999) Mark Brokaw National Endowment Edward Trach Deborah Applegate Cyndi Brown for the Arts Esme Usdan and Bruce Tulgan James T. Brown Lupita Nyong’o Mark Blankenship Kate Burton Liev Schreiber Donald and Mary Brown Tom Bussey Talia Shire Schwartzman Alexandra Cadena The Seedlings Foundation James Bundy Ben Cameron Ian Calderon Carol L. Sirot 29


Trust for Mutual Understanding Donald Ware

Cosmo Catalano, Jr. Patricia Clarkson Peggy Cowles Stephen Coy Catherine and Elwood Davis Ramon Delgado Martin Desjardins Christopher Durang Terry Dwyer Patricia Egan and Peter Hegeman Kyoung-Jun Eo Glen R. Fasman Eric Gershman and Katie Liberman Richard Gold and Patricia Bennett Naomi Grabel Judith Hanson David Hawkanson Alys Holden Donald Holder Carol Thompson Hemingway Christopher Hourcle Shane Hudson Jaeeun Joo James Earl Jewell Rolin Jones Ann Judd and Bennett Pudlin Jane Kaczmarek Gregory Kandel Elizabeth Katz and Reed Hundt Helen Kauder and Barry Nalebuff Dr. Gary and Hedda Kopf Edward Lapine Max Leventhal and Susan Booth Kenneth Lewis Brian Mann Thomas G. Masse and James M. Perlotto, MD Susan Medak and Greg Murphy Samual Michael Richard Mone David E. Moore Neil Mulligan Jim and Eileen Mydosh Jason Najjoum Chris Noth Arthur Oliner F. Richard Pappas Daniel Perez Amy Povich Kathy and George Priest Carol A. Prugh Brittany and Will Rall Lance Reddick Jon and Sarah Reed Bill and Sharon Reynolds Ross Richards Dr. Michael Rigsby and Prof. Richard Lalli Mark C. Rosenthal Arlene Szczarba Anne Seiwerath Benjamin Slotznick Dr. Matthew Specter and Ms. Marjan Mashhadi Shepard and Marlene Stone Abby Roth and R. Lee Stump David and Julie Sword

Mildred Kuner Melanie Ginter and John Lapides Jim Larkin Suttirat Larlarb Maryanne Lavan Kenneth Lewis Malia Lewis Chi-Lung Lui Charles H. Long Linda Lorimer and Charles Ellis Timothy Mackabee Jenny Mannis and Henry Wishcamper PARTNERS John McAndrew ($500–$999) Peter and Wendy McCabe Actors’ Equity Andrew McClintock Foundation Dawn G. Miller Donna Alexander Daniel Mufson In memory of Anna Gayther Myers, Jr. Altman Mariko Nakasone Mr. and Mrs. B.N. Ashfield Regina and Thomas Emily P. Bakemeier and Neville Alain G. Moureaux William and Barbara Michael Baumgarten Nordhaus Deborah S. and Laura Patterson Bruce M. Berman Louise Perkins and Ashley Bishop Jeff Glans Jeff Bleckner Point Harbor Fund of Erich Bolton the Maine Community Michael Boyle Foundation Anne and Guido Calabresi Faye and Asghar Rastegar Dr. Paul D. Cleary David and Barbara Reif Bill Connington Constanza Romero Daniel Cooperman Melissa Rose Bob and Priscilla Dannies Kimberly Rosenstock Richard Sutton Davis Suzanne Sato Robert Dealy Sandra Shaner The Cory & Bob Donnalley Rachel Shuey Charitable Foundation James Steerman Polly Draper Rosalie Stemer and Eric Elice Stuart Feldman Sasha Emerson Nausica Stergiou Bernard Engel Marsha Beach Stewart Roberta Enoch and Erich Stratmann Steven Canner Tom Sullivan Peter Entin Matthew Suttor Susan and Fred Don Titus Finkelstein Anne Trites and Randy Fullerton Kent McKay James Gardner John Turturro and Betty Goldberg Katherine Borowitz David Marshall Grant Courtney B. Vance Rob Greenberg Paul Walsh Anne Gregerson Steven Waxler Eduardo Groisman Kristan and Nathan Wells Barry and Maggie Grove Carolyn Seely Wiener Regina Guggenheim Harry Weintraub William B. Halbert Steven Wolff Karsten Harries and Lila Wolff-Wilkinson Elizabeth Langhorne David York Doug Harvey INVESTORS Christopher Higgins Michael and Gabrielle ($250–$499) Shaminda Amarakoon Hirschfeld Mary Ellen and James Guerry Hood Thomas Atkins Mary and Arthur Hunt Mamoudou Athie Peter Hunt Clayton Austin David Henry Hwang James Bakkom Ann Johnson and Christopher Barreca Mark Stevens Martha and Michael Todd Berling Patricia Bennett and Jurczak Rich Gold Abby Kenigsberg Michael Bianco Harvey Kliman and Georg’Ann Bona Sandra Stein Susan Brady and David Kriebs Mark Loeffler Drew Kufta

John Thomas III Benjamin Thoron and Patricia Saraniero Sarah Treem Joan van Ark Sylvia Van Sinderen and James Sinclair Carol M. Waaser Lauren Wainwright Evan Yionoulis Don and Clarissa Youngberg Robert Zoland Steve Zuckerman

Tom Broecker Claudia Brown William Buck 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 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 Dr. and Mrs. James Galligan Joseph Gantman Deeksha Gaur Marian Godfrey Joseph Hamlin Scott Hansen Douglas Harvey Barbara Hauptman Ethan Heard Nicole and Larry Heath Ann Hellerman Jennifer Hershey Phillip Howse Peter Hunt Karena Ingersoll Raymond Inkel Joanna and Lee A. Jacobus Ann Johnson Sanghun Joung Pam Jordan Dr. Unni Karunakara Bruce Katzman Rik Kaye Barnet Kellman Kieran Kelly Ashley York Kennedy Alan Kibbe Lindsay King Matthew Krashan Lisa Kugelman and Roy Wiseman Bernard Kukoff Frances Kumin James Lile Mary Rose Lloyd Suzanne Cryer Luke Nancy Lyon Andy Lyons Dr. and Mrs. Robert W. Lyons Linda Maerz and David Wilson Adam Man Marvin March Elizabeth Margid Peter Marshall Deborah McGraw 30

Contributors to Yale School of Drama and Yale Repertory Theatre Annie Middleton Thomas Middleton George Miller and Virginia Fallon George Morfogen 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 James Perakis 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 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 andElizabeth Sledge Dr. and Mrs. Dennis D. Spencer Mary C. Stark Regina Starolis Bernard Sundstedt Jillian Taylor Richard B. Trousdell Marge Vallee Michael Van Dyke Wendy and Peter Wells Vera Wells Dana Westberg George C. White Karen White Walton Wilson Amanda Wallace Woods Guy and Judith Yale Arthur and Ann Yost

FRIENDS ($100–$249)

Anonymous Emika Abe Paola Allais Acree Christopher Akerlind Michael Albano Sarah Jean Albertson Narda Alcorn Rachel Alderman 31


Lorraine Alfano Liz Alsina Richard Ambacher Zach Appelman Stephen and Judy August Angelina Avallone Michael Backhaus Sandra and Kirk Baird Dylan Baker Dr. Francis Baran Russell Barbour Robert Barr William and Donna Batsford Richard Baxter Nancy and Richard Beals James Bellavance Michael and Jennifer Bennick Alex Bergeron Martin Blanco Anders Bolang Erik Bolling Josh Borenstein Marcus and Kellie Bosenberg John Boyd* Michael Boyle Shawn Boyle Leslie Brauman Amy Brewer and David Sacco James and Dorothy Bridgeman Linda Briggs and Joseph Kittredge Carole and Arthur Broadus Michael Broh Linda Broker Arvin Brown Christopher Brown Julie Brown Warwick Brown Oscar Brownstein Stephen Bundy Richard Butler Susan Wheeler Byck Susan Cahan David Calica Kathryn A. Calnan Robert Campbell H. Lloyd Carbaugh Elisa and Jonathan Cardone Lisa Carling 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 Forrest Compton Scott Conn Bill Connington Kristin Connolly

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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 Marshall Williams 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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Anita Pamintuan Fusco David Johnson Asaad Kelada Carol Ostrow Talia Shire Schwartzman Tracy Chutorian Semler


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 This list includes current pledges, gifts, and grants received from July 1, 2016, through January 1, 2018.


General Information

Accessibility Services

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

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

BOX OFFICE HOURS Monday to Friday: 10AM to 5PM Saturday: 12PM to 5PM Until 8PM on all show nights GROUP RATES Discounted tickets are available for groups of ten or more. Please call 203.432.1234. FIRE NOTICE Illuminated signs above each door indicate emergency exits. Please check for the nearest exit. In the event of an emergency, you will be notified by theatre personnel and assisted in the evacuation of the building.

OPEN CAPTIONING (OC): a digital display of the play’s dialogue as it’s spoken.

RESTROOMS Restrooms are located in the lower level of the building.

AD AND OC PERFORMANCE SCHEDULE All shows are at 2PM; the AD pre-show description begins at 1:45PM.

EMERGENCY CALLS Please leave your cell phone, name, and seat number with the concierge. We’ll notify you if necessary. The emergencyonly telephone number at Yale Repertory Theatre is 203.764.4014.

Feb 10 Feb 17 Field Guide

SEATING POLICY Everyone must have a ticket. Sorry, no children in arms or on laps. Patrons who arrive late or leave the theatre during the performance will be reseated at the discretion of house management. Those who become disruptive will be asked to leave the theatre.


AUDIO DESCRIPTION (AD): a live narration of the play’s action, sets, and costumes for patrons who are blind or low vision.

The taking of photographs or the use of recording devices of any kind in the theatre without the written permission of the management is prohibited.

Mar 31 Apr 7 Father Comes Home From the Wars, Parts 1, 2 & 3 May 12 May 19 Kiss

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

Yale Repertory Theatre thanks the Eugene G. and Margaret M. Blackford Memorial Fund, Bank of America, N.A, Co-Trustee, for its support of audio description services for our patrons.

Youth Programs As part of Yale Rep’s commitment to our community, we provide two significant youth programs. WILL POWER! offers specially-priced tickets and early schooltime matinees for high school students for select Yale Rep productions every season. Since our 2003–04 season, WILL POWER! has served more than 20,000 Connecticut students and educators. The Dwight/Edgewood Project brings middle school students to Yale School of Drama for a month-long, after-school playwriting program designed to strengthen their selfesteem and creative expression. Yale Rep’s youth programs are supported in part by The Anna Fitch Ardenghi Trust, Bank of America, Trustee; Bob and Priscilla Dannies; CT Humanities; Frederick A. DeLuca Foundation; Mr. and Mrs. Kenneth Fellows; the George A. & Grace L. Long Foundation, Bank of America, N.A. and Alan S. Parker, Esq., Co-Trustees; the Lucille Lortel Foundation; Dawn G. Miller; Arthur and Merle Nacht; NewAlliance Foundation; Newman’s Own; Sandra Shaner; Southern Connecticut Gas Company; United Illuminating Company; Esme Usdan. FROM THE TOP: Schools gathering for WILL POWER!, photo by Elizabeth Green; Dwight/Edgewood Project workshop and performance, 2017.

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