HAPPY DAYS, Yale Repertory Theatre, 2016

Page 1

2015– 16




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A NOTE FROM THE ARTISTIC DIRECTOR Thank you for joining us at Happy Days by Samuel Beckett! This extraordinary work brings two marvelous artists back to Yale Rep: Jarlath Conroy, who played a most memorable Gravedigger in Hamlet in 2013; and Dianne Wiest, whose magnificent performances in the 1980s electrified our audiences— as well as a generation of Yale School of Drama alumni who still cite her as an inspiration. Working with these actors, the designers, dramaturgs, and production staff, for more than a year now, has been an exhilarating challenge. Oddly or not, in the rehearsal hall this spring—for the first time in my professional experience—our company has gravitated to working on crosswords during breaks. It is perhaps a lucky thing that we are puzzlers, because Beckett has given us so much to piece together in this masterpiece. One layer of the play’s genius in construction is a weaving of simple physical action with complicated characters and their fragile memories. Another is a dance of illusion and reality in performance. A third is the minimalist theatrical poetry of an artist with broad enough taste to love both Shakespeare and vaudeville. To me, the miracle of Beckett’s wide-ranging aesthetic sensibility is that he brought such gifts to the illumination of our common vulnerability. The Nobel Prize winner certainly knew such frailty first hand. A gifted scholar, athlete, and musician, he didn’t achieve great literary success until late in his fifth decade. Before that, living modestly and writing with the help of allowances from his family, he battled myriad health problems and narrowly escaped death when stabbed in the chest for no reason by a pimp. He served with distinction in the French Resistance. He lost friends and relatives who died much too young, including in Nazi concentration camps. After World War II, tending to his mother during her debilitating final illness, Beckett had a revelation: “I became aware of my own folly. Only then did I begin to write the things I feel.”* Such humility in this gifted and courageous playwright has moved me to come to grips with the rigor of his art, and with the depth of his compassion. Predictably, this has brought me greater awareness of my own folly: it seems appropriate that I am both happy and sad about that. But I am only grateful to my collaborators for their partnership, and to you for joining us in the adventure of this show. I hope you’ll send me an email about your experience: james.bundy@yale.edu is the address! Sincerely,

James Bundy

*James Knowlson, Damned to Fame (New York: Grove Press, 1996), 319 6

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ENTER THE FEMALE SOLO MACH On October 8, 1960, Samuel Beckett took out a notebook, labeled it “Female Solo,” and began writing a one-act play about a woman (Mildred) trapped in the ground and her mostly silent husband (Edgar). At the time, the writer was getting ready to tie the knot with his long-time lover, Suzanne, whom he married in March of 1961. As he neared his wedding and the play neared production, Beckett renamed his characters Winnie and Willie, expanded the play to include a second act, and gave the piece its permanent title, Happy Days, which refers to a traditional toast between newlyweds—“a bumper”— in which they clink their flutes brimming with pink-fizz champagne, and look forward to, well, “happy days.” Below are a few excerpts from Beckett’s letters to Barbara Bray, a script editor for the BBC; Alan Schneider, his favorite American director; and Jacoba van Velde, a Dutch writer and one of Beckett’s translators. These epistolary glimpses shed pinpoint light on the author’s laborious writing process, his ennui, and his paradoxical relationship to artistic creation in which he felt there was “nothing to express, nothing with which to express, nothing from which to express, no power to express, no desire to express, together with the obligation to express.” ­—NAHUEL TELLERIA, PRODUCTION DRAMATURG

OCTOBER 10, 1960 To Barbara Bray: You have never understood what a rag I am and how little to be relied on and how little I can do for anyone and in brief how little there remains now of the being and the writer, how little of the little there ever was. It is like being in a wheel chair rolling slowly down and putting on the brakes every now and then to have a look round or just out of pusillanimity and then letting them off and waiting for the descent to resume, which it does not immediately the slope is still so gentle, and all the things one may say to oneself then, while waiting. […] I


know I might as well be saying this to the wind and the leaves and so suppose I am, like everything I ever said, having never grasped the nature of human conversation. I put the tip of my little finger into the imbedded female solo machine, to the extent of writing a few stage directions and a scrap of dialogue.

OCTOBER 16, 1960 To Barbara Bray: Most is stage directions so far and they are proving unusually difficult. So many objects (from bag), whole thing has to be watched very carefully. Suddenly realize she has

INE: THE AUTHOR AT WORK her spectacles on when they need to be off and so on or has forgotten to put down the mirror. It’s inclined as always in English to shit and pullulate—but there’s a play there all right I think—if I can restrain my native vulgarity.

OCTOBER 28, 1960 To Barbara Bray: I can’t make any headway with the play, sit at the table for hours unable to write a line. I suppose some work is done during this time, but nothing to show for it, not even a note. See a number of things already in first few pages that will have to be removed. […] I don’t really know what it is about—but nothing new here. Keep the help down to a minimum is the principle. Even the bag must not be too rich. Never [over-]do it, that’s the size of it. Wish I could renounce writing once and for all and just potter about for the rest of the…time. Perhaps start reading a little again.

MAY 20, 1961 To Alan Schneider: [S]ince beginning of May have been working on the new play and hope to start typing definitive text next week and to send it out towards end of month. You could go on laboring for ever on these things, but the time comes, and I think it has come here, when you have to let them go.

MAY 20, 1961 To Jacoba van Velde: I’ve gone back to Happy Days, and it will soon be finished. I’m not sure if it’s any good; I had to do it, that’s all. I could have done it better, but couldn’t manage to.

DECEMBER 1, 1960 To Barbara Bray: I was out drinking weeping & blathering all night in Montparnasse and am very hazy today. […] Done no work. Mildred still speechless under immovable parasol.

DECEMBER 8, 1960 To Barbara Bray: No headway with play. Have hardly given it a thought. See her sometimes— and he invisible in burrow. Faudrait un miracle. [It would take a miracle.] SAMUEL BECKETT’S SKETCHES AND SCRIPT FOR HAPPY DAYS © SAMUEL BECKETT ESTATE. LETTERS EXCERPTED FROM THE LETTERS OF SAMUEL BECKETT, VOLUME III: 1957–1965, CAMBRIDGE UNIVERSITY PRESS, 2014.


STUCK, UP: ON THE ARDUOUS But Winnie is different from her captive sisters; by far the most voluble, she is also largely, well, happy—the triumph of temperament over topography. Here is a woman, set quick in the earth, who, with grace and genuine good humor, continually counts her “many mercies,” “great mercies,” “abounding mercies,” in the face of the most horrific circumstances her maker could devise for her, as Beckett himself confessed to Brenda Bruce, the first British Winnie, who pushed him for insight when she was feeling “trapped” in the part:

Dame Peggy Ashcroft called the role of Winnie in Happy Days, “a summit part”—one that actresses will always aspire to undertake. Considering Samuel Beckett’s work in full, however, you could be forgiven for concluding that for Beckett a woman’s place was most often in the scenography: Nell in Endgame lives in a dustbin; Rockaby’s W is confined to a rocking chair; W1 and W2 are encased in urns on either side of the adulterous M in Play; and in Not I, Mouth has no body to offer the possibility of flight. Even the admittedly ambulatory May of Footfalls is allotted only a rectangle of light, one meter wide and the length of nine strides, which Beckett meticulously maps out in a diagram at the top of the play’s script. And Happy Days has its famous mound.

Well, I thought that the most dreadful thing that could happen to anybody would be not to be allowed to sleep so that just as you’re dropping off there’d be a ‘Dong’ and you’d have to keep awake; you’re sinking into the ground alive and it’s full of ants; and the sun is shining endlessly day and night and there is not a tree … there’d be no shade, nothing, and that bell wakes you up all the time and all you’ve got is a little parcel of things to see you through life…. And I thought who would cope with that and go down singing, only a woman. And so Winnie sings, and prays, and reminisces, and waxes sentimental and philosophical, for she alone among Beckett’s women is an eternal—with all the sinister relentlessness of that word—optimist. The list of things that she “find[s] so wonderful” is as long as your arm. Maybe the playwright has stuck Winnie in a mound simply because

S ART OF GOING DOWN SINGING the loft of her optimism, her even-to-hercreator-inexplicable buoyancy, might just cause her to float up, up, and out of the proscenium. Winnie wonders at one point if Newton’s old principle is still operative: “Is gravity what it was, Willie, I fancy not.” She feels that some days she must “cling on” or she’ll be “sucked up” “…into the blue, like gossamer.” When her mate can’t confirm her suspicion that gravity is gone in the teeth, she concludes the difference between them is biological, “Ah well natural laws, natural laws, I suppose it’s like everything else, it all depends on the creature you happen to be.” Whether a matter of genetics or just good bourgeois breeding, Winnie bravely summons all her resources to keep sorrow from “breaking in.” It’s not certain, however, that Beckett figures such positivity as entirely desirable. Winnie is all but forced to look on the bright side; she knows “mustn’t complain” and enjoins herself to “be a good girl, Winnie.” Dimly aware of a time “when [she] was not caught—in this way,” she is still so far from resenting her fate that as she directs Willie to back into his little niche in the rock so


he doesn’t get trapped “head foremost,” she exclaims to herself, “What a curse, mobility!” Perhaps her fixity seems to Winnie her lot as wife. As Brenda Bruce put it, Beckett “was talking about a woman’s life. Let’s face it.” Or maybe Beckett, whose remarkable erudition was Winnie’s dowry, recalled the image John Donne created in “A Valediction Forbidding Mourning” of woman as the sharp foot of the compass that “makes no show to move”:

And though it in the center sit, Yet when the other far doth roam, It leans and hearkens after it And grows erect, as that comes home. In any case, Winnie takes everything Beckett can think to throw at her and somehow retains a spark of hope that outshines “the blaze of hellish light” beating down on her. Cue the singing. ­—­CATHERINE SHEEHY, PRODUCTION DRAMATURG

“WHAT ARE THOSE IMMOR A Key to Keeping Up with Winnie

Like her beloved “big black bag,” whose contents she is sure she couldn’t enumerate—“the dept of memory, philosophy, housewifery, and poetry. The last of these, the residue of a robust bourge as she clutches for them in “evil hours.” That little treasure is from Goethe. Her other references i Augustine, The Rubaiyat of Omar Kayyam, and poems by Yeats, Keats, Gray, and Browning from a his notes also names Byron and Shelley as the sources of the two lines in Act II that she can’t sum For those who know the verses she’s citing and the works from which Beckett plucked them, ther remarkably apposite in her selections. To help you keep up, here is but one shelf from Winnie’s li

[..T]he exhaustion consequent on the loss of even a very little of the semen is conspicuous because the body is deprived of the ultimate gain drawn from the nutriment. […So] as a general rule the result of intercourse is exhaustion and weakness rather than relief […]. —ARISTOTLE, GENERATION OF ANIMALS

Fear no more the heat o’ the sun, Nor the furious winter’s rages; Thou thy worldly task hath done, Home art gone, and ta’en thy wages […] —WILLIAM SHAKESPEARE, CYMBELINE, 4.2


hs in particular, who knows what treasures”—Winnie’s mind is a hold-all for bits and bobs ois education, either bubble up as barnacled quotations or sink into the mire of her muddle nclude four different Shakespeare plays, Milton’s Paradise Lost—twice, the Bible, Aristotle, St. piece the playwright himself later admitted he couldn’t remember. (It was Paracelsus.) Beckett in m mon up at all. e is both irony and poignancy in Winnie’s allusions. She may not be letter-perfect, but she’s brary of the mind. —CAS and NT

A Book of Verses underneath the Bough, A Jug of Wine, a Loaf of Bread—and Thou Beside me singing in the Wilderness— Oh, Wilderness were Paradise enow!

Hail, holy Light, offspring of Heaven first-born! Or of the Eternal coeternal beam May I express thee unblamed? since God is light […] —JOHN MILTON, PARADISE LOST, BOOK 3


[…] O fleeting joys Of Paradise, dear bought with lasting woes! Did I request thee, Maker, from my clay To mould me man? Did I solicit thee From darkness to promote me, or here place In this delicious Garden? As my will Concurred not to my being, it were but right And equal to reduce me to my dust […] —JOHN MILTON, PARADISE LOST, BOOK 10

O, what a noble mind is here o’erthrown! […] And I, of ladies most deject and wretched, That suck’d the honey of his music vows, Now see that noble and most sovereign reason, Like sweet bells jangled, out of tune and harsh; That unmatch’d form and feature of blown youth Blasted with ecstasy: O, woe is me, T’have seen what I have seen, see what I see! —WILLIAM SHAKESPEARE, HAMLET, 3.1 PHOTO BY JENNIFER SCHMIDT

CAST JARLATH CONROY (WILLIE) previously appeared at Yale Rep in Hamlet in 2013. His Broadway credits include The Seagull; The Weir; The Iceman Cometh; On the Waterfront; Philadelphia, Here I Come!; The Visit; Ghetto; Macbeth; and Comedians. His Off-Broadway credits include Loot, The Coward, A Man of No Importance, Pigtown, A Life, Our Lady of Sligo, A Couple of Blaguards, Gardenia, the American premiere of Translations, and The Matchmaker. His regional theatre credits include Outside Mullingar; The Homecoming; Da; The Steward of Christendom (Barrymore Award); Juno and the Paycock (Helen Hayes Award); Henry V (Helen Hayes Award nomination); Faith Healer; Molly Sweeney; Twelfth Night; Ah, Wilderness!; The Plough and the Stars; and A Christmas Carol. At the Royal Court: Cromwell and Hamlet. He has also directed productions of True West and Human Resources. His film and television appearances include Putzel, True Grit (2010), The Art of Getting By, Across the Universe, Kinsey, Stay, Day of the Dead, Heaven’s Gate, Law & Order: SVU, NYPD Blue, Law & Order: Criminal Intent, The Beat, Summer, and A Marriage: O’Keeffe and Stieglitz.

DIANNE WIEST (WINNIE) previously appeared at Yale Rep in Hedda Gabler and A Doll House. Her New York theatre credits include Rasheeda Speaking (The New Group), The Cherry Orchard (Classic Stage Company), Arthur Miller’s All My Sons on Broadway, The Seagull (CSC), Third, Memory House, Salome and Oedipus with Al Pacino, The Shawl, Hunting Cockroaches, After the Fall, Beyond Therapy, and The Art of Dining. Her film credits include Five Nights in Maine; Sisters; The Humbling; Synecdoche, New York; A Guide to Recognizing Your Saints; Hannah and Her Sisters (Academy Award); The Purple Rose of Cairo; Radio Days; September; Bullets Over Broadway (Academy Award); Parenthood (Academy Award nomination); Rabbit Hole; Footloose; Edward Scissorhands; and The Birdcage. She received Emmy Awards for her performances in The Road to Avonlea and the HBO series In Treatment and currently appears in the CBS series Life in Pieces. Ms. Wiest is a Beinecke Fellow at Yale School of Drama this spring.

CREATIVE TEAM JAMES BUNDY (DIRECTOR) Please see page 21 for his bio. IZMIR ICKBAL (SCENIC DESIGNER) is a third-year MFA candidate at Yale School of Drama, where his credits include Deer and the Lovers and The Troublesome Reign of King John. Other credits include Cloud Tectonics, Touch, A New Saint for a New World (Yale Cabaret); The Gunpowder Trail, Hearth (The Esplanade Theatre Studio, Singapore); Nadirah, Charged, Not Counted (Teater Ekamatra, Singapore); Dairyland, 17

and The Guadalupe (Chautauqua Theater Company). Izmir holds a BA in theatre studies and English literature from the National University of Singapore.

KATE MARVIN (SOUND DESIGNER) is a third-year MFA candidate at Yale School of Drama, where her credits include Women Beware Women, Riverbank: A Noh Play for Northerly Americans, and The Seagull. Other credits include Elevada (Yale Repertory Theatre); Chimpanzee (St. Ann’s Warehouse Puppet Lab); POZHAR! (or Time Machine Ignition), Uncle Vanya, The Tempest, Second Language, The Magic Flute: A SoundOpEra (Target Margin Theater); The Latvia Project (warner|shaw); Set in the Living Room of a Small Town American Play, Doctor Faustus, and The Three Seagulls, or MASHAMASHAMASHA! (Theater Reconstruction Ensemble). Kate was a resident sound designer for Yale Summer Cabaret’s 40th and 41st seasons and has designed 17 shows for Yale Cabaret. She is also the Associate Artistic Director of Theater Reconstruction Ensemble and an associate artist with Target Margin Theater.

KELLY MONTGOMERY (STAGE MANAGER) is a third-year MFA candidate at Yale School of Drama, where her credits include The Seagull, As You Like It, and Peter Pan. Other credits include The Caucasian Chalk Circle (assistant stage manager, Yale Repertory Theatre); Sweet Bird of Youth, A Christmas Carol, Other Desert Cities, Measure for Measure, The Jungle Book, and By the Way, Meet Vera Stark (Goodman Theatre); Welcome Yule (Chicago Symphony Orchestra); A Chorus Line, Legally Blonde, Sunset Boulevard, 42nd Street, Always…Patsy Cline (Maine State Music Theatre); Heroes, Mourning Becomes Electra, Chesapeake (Remy Bumppo Theatre Company); Not Wanted on the Voyage (American Music Theatre); Kelly also serves as the Production Stage Manager at Transcendence Theatre Company. She is a graduate of the Theatre School at DePaul University where she holds a BFA in stage management.

TARA RUBIN CASTING (CASTING DIRECTOR) has been casting at Yale Rep since 2004. Selected Broadway: School of Rock; Bullets Over Broadway; Aladdin; A Time to Kill; Big Fish; The Heiress; One Man, Two Guvnors (U.S. Casting); Ghost; How to Succeed in Business Without Really Trying; Promises, Promises; A Little Night Music; Billy Elliot; Shrek; Guys and Dolls; The Farnsworth Invention; Young Frankenstein; The Little Mermaid; Mary Poppins; Les Misérables; Spamalot; Jersey Boys; The 25th Annual Putnam County Spelling Bee; The Producers; Mamma Mia!; The Phantom of the Opera; Contact. Off-Broadway: Love, Loss, and What I Wore; Old Jews Telling Jokes. Regional: The Kennedy Center, La Jolla Playhouse, Dallas Theater Center, The Old Globe, Westport Country Playhouse, Bucks County Playhouse. Film: Lucky Stiff, The Producers.

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 Elevada, These Paper Bullets!, In a Year with 13 Moons, The Winter’s Tale, Bossa Nova, POP!, Trouble in Mind, and The King


CREATIVE TEAM 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 the Royal Shakespeare Company, The Public Theater, Yale Institute for Music Theatre, the Signature Theatre, O’Neill Playwrights Conference, Center Stage, and in New York and Ireland with the late Joseph Chaikin. For four seasons she was Festival Dramaturg at Shakespeare Santa Cruz. 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.

STEPHEN STRAWBRIDGE (LIGHTING DESIGNER) has designed more than 200 productions on and off Broadway and at most leading regional theatres and opera houses across the U.S. His work has been seen internationally in Bergen, Copenhagen, The Hague, Hong Kong, Linz, Lisbon, Munich, Naples, São Paulo, Stockholm, and Vienna. Artistic collaborators have included such notable directors and choreographers as Martha Clarke, Graciela Daniele, Gordon Edelstein, Barry Edelstein, Richard Foreman, Athol Fugard, Loretta Greco, Mark Lamos, Trevor Nunn, Emily Mann, Bartlett Sher, Rebecca Taichman, John Tillinger, Robert Wilson, and Robert Woodruff. He has numerous pieces in the repertoires of Pilobolus Dance Theatre and Alison Chase/Performance. Recent work includes Pericles at Theatre for a New Audience; Echo in Camera for Dialog Festival 2015, Wrocław, Poland; Broken Glass at Westport Country Playhouse; Fred’s Diner at the Magic Theatre in San Francisco; Love and Money by A.R. Gurney and Athol Fugard’s The Painted Rocks at Revolver Creek for the Signature Theatre in New York. He has been recognized with numerous awards and nominations including the American Theatre Wing, Bay Area Theatre Critics Circle, Connecticut Critics Circle, Dallas-Fort Worth Theater Critics Forum, Helen Hayes, Henry Hewes Design, and Lucille Lortel. He is Co-Chair of the Design Department at Yale School of Drama and Resident Lighting Designer for Yale Repertory Theatre.

NAHUEL TELLERIA (PRODUCTION DRAMATURG) is a third-year MFA candidate at Yale School of Drama, where his credits include Women Beware Women, The Rules, and This Fucking Commedia Project. He has acted, directed, and dramaturged at Yale Cabaret, and served as a mentor for the Dwight/Edgewood Project two years in a row. Nahuel has a BA in English and drama/theatre arts from Columbia University and an MA in humanities from the University of Chicago.


ALEXAE VISEL (COSTUME DESIGNER) is a third-year MFA candidate at Yale School of Drama, where she designed the costumes for Women Beware Women, The Children, and Paradise Lost. Other designs include Awake and Sing! (NAATCO at The Public Theater), Zero Scenario, and Episode #121: Catfight (Yale Cabaret). Originally based in San Francisco, her designs were seen in The Coast of Utopia: Parts I and II, Sea of Reeds (Shotgun Players); The Comedy of Errors, Cymbeline, The Two Gentlemen of Verona (San Francisco Shakespeare Festival); and Octopus (Magic Theatre). Alexae holds a BFA in theatrical design and production from The College Conservatory of Music at the University of Cincinnati.

WALTON WILSON (VOCAL COACH) is Chair of Acting at Yale School of Drama. He was trained and designated as a voice teacher by Master Teacher Kristin Linklater and was trained and certified as an associate teacher by Master Teacher Catherine Fitzmaurice. He also studied with Richard Armstrong, Meredith Monk, and Patsy Rodenburg. As a voice/dialect coach, his New York credits include The Violet Hour and Golden Child on Broadway; the world premiere productions of The Laramie Project and The Laramie Project: 10 Years Later; and Endangered Species. Regional credits include productions at Actors Theatre of Louisville, American Repertory Theater, Long Wharf Theatre, McCarter Theatre, Shakespeare & Company, and Williamstown Theatre Festival. At Yale Rep, he has served as voice and dialect coach for peerless, Accidental Death of an Anarchist, In a Year with 13 Moons, A Doctor in Spite of Himself, Autumn Sonata, Battle of Black and Dogs, Notes from Underground, Boleros for the Disenchanted, The Evildoers, The Unmentionables, The Cherry Orchard, The Intelligent Design of Jenny Chow, The Black Monk, Medea/Macbeth/ Cinderella, Betty’s Summer Vacation, The Birds, and Richard III.

JESSICA WOLF (MOVEMENT COACH) is an internationally recognized teacher of the Alexander Technique. She is one of the few Alexander professionals in the United States who has been teaching for more than 35 years, and she maintains a private practice in New York City. She established the Alexander Technique program at Yale School of Drama in 1998, where she holds the position of Associate Professor Adjunct of Acting. She is the founder and director of Jessica Wolf’s Art of Breathing, a postgraduate training program for Alexander teachers which combines principles of the Alexander technique and breathing coordination. In 2013, she produced the first three-dimensional animated film of the respiratory system and published Jessica Wolf’s Art of Breathing: Collected Articles. She is also a certified Laban Movement Analyst. Other faculty appointments include the Aspen Music Festival, The Juilliard School, SUNY Purchase, Circle in the Square Theatre School, Hunter College, Sarah Lawrence College, and the Verbier Music Festival. Jessica coaches performing artists on and Off-Broadway and in films and television.


YALE REPERTORY THEATRE JAMES BUNDY (ARTISTIC DIRECTOR) is in his 14th year as Dean of Yale School of Drama and Artistic Director of Yale Repertory Theatre. In his first 13 seasons, Yale Rep has produced more than 30 world, American, and regional premieres, eight 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 23rd 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 OffBroadway 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 eleventh 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 21 new American plays and musicals at Yale Rep and theatres 21

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 producing 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.

BRONISLAW SAMMLER (HEAD OF PRODUCTION) has been Chair of Yale School of Drama’s acclaimed Technical Design and Production Department since 1980. In 2007 he was named the Henry McCormick Professor Adjunct of Technical Design and Production by former Yale President, Richard C. Levin. He is coeditor of Technical Brief and Technical Design Solutions for Theatre, Vols. I, II, & III. He co-authored Structural Design for the Stage, which won the United States Institute of Theatre Technology’s (USITT) Golden Pen Award. Demonstrating his commitment to excellence in technical education and professional production, he co-founded USITT’s National Theatre Technology Exhibit, an on-going biennial event; he has served as a commissioner and a director at-large and is a lifetime Fellow of the Institute. He was honored as Educator of the Year in 2006 by the New England Theatre Conference and chosen to receive the USITT Distinguished Achievement Award in Technical Production in 2009. His production management techniques and his introduction of structural design to scenic technology are being employed in both educational and professional theatres throughout the world.

JAMES MOUNTCASTLE (PRODUCTION STAGE MANAGER), has been at Yale Rep since 2004. He has stage managed productions of Arcadia, The House that will not Stand, A Streetcar Named Desire, American Night: The Ballad of Juan José, Three Sisters, We Have Always Lived in the Castle, 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 the now legendary production of A Christmas Carol 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 very proud parents of two beautiful girls: Ellie, who is 17 years old, and Katie, age 15. 22


Lucie Dawkins, Assistant Director Ryan Emens, Assistant Scenic Designer Sarah Woodham, Assistant Costume Designer Benjamin Ehrenreich, Assistant Lighting Designer Matthew Fischer, Assistant Sound Designer and Engineer Helen Irene Muller, Assistant Stage Manager


Scott D. Keith, Associate Production Manager Lydia Pustell, Technical Director Alexandra Reynolds, Becca Terpenning, Assistant Technical Directors Tannis Boyajian, Master Electrician Melissa Rose, Run Crew


Rachel Shuey, House Manager


Sydney Lemmon, Winnie Jake Lozano, Willie


Hearing Health Care Associates, Kimberly Jannarone, Kara Reilly, Anne Tofflemire

The Actors and Stage Manager employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers.

YALE REPERTORY THEATRE STAFF James Bundy, Artistic Director Victoria Nolan, Managing Director Jennifer Kiger, Associate Artistic Director Director of New Play Programs


Resident Artists Paula Vogel, 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 Rachel Carpman, Literary Associate Tara Rubin, CSA; Lindsay Levine, CSA; Laura Schutzel, CSA; Kaitlin Shaw, CSA; Merri Sugarman, CSA; Eric Woodall, CSA; Claire Burke; Emma Atherton, Casting Lindsay King, Teresa Mensz, Library Services 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 Mary Volk, Senior Administrative Assistant for the Design, Sound Design, and Projection Departments

PRODUCTION 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.

Happy Days April 29–May 21, 2016 Yale Repertory Theatre, 1120 Chapel Street


Production Management Bronislaw J. Sammler, Head 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 Scenery Neil Mulligan, Matt Welander, Technical Directors Alan Hendrickson, Electro Mechanical Laboratory Supervisor Eric Sparks, Shop Foreman Matt Gaffney, Ryan Gardner, Sharon Reinhart, Master Shop Carpenters Alex McNamara, Shop Carpenter Bryanna Kim, Jill Chandler Salisbury, Assistants to the Technical Director

Painting Ru-Jun Wang, Scenic Charge Lia Akkerhuis, Nathan Jasunas, Assistant Scenic Artists Daniel Cogan, Assistant to the Painting Supervisor Properties Jennifer McClure, Properties Master David P. Schrader, Properties Craftsperson Ted Griffith, Ashley Flowers, Properties Assistants Bill Batschelet, Properties Stock Manager Costumes Tom McAlister, Costume Shop Manager Robin Hirsch, Associate Costume Shop Manager Clarissa Wylie Youngberg, Mary Zihal, Senior Drapers Deborah Bloch, Harry Johnson, Senior First Hands Linda Kelley-Dodd, Costume Project Coordinator Paul Huntley, Denise O’Brien, Wig and Hair Design Barbara Bodine, Company Hairdresser Elizabeth Beale, Costume Stock Manager Jamie Farkas, Assistant to the Costume Shop Manager Electrics Donald W. Titus, Lighting Supervisor Brian Quiricone, Linda-Cristal Young, Senior Head Electricians Sound Mike Backhaus, Sound Supervisor Stephanie Smith, Staff Sound Engineer Ien DeNio, Matthew Fischer, Assistants to the Sound Supervisor Projections Erich Bolton, Projection Supervisor Mike Paddock, Head Projection Technician Brittany Bland, Assistant to the Projection Supervisor Stage Operations Janet Cunningham, Stage Carpenter Kate Begley Baker, Head Properties Runner Elizabeth Bolster, Wardrobe Supervisor Jacob Riley, FOH Mix Engineer Mark Bailey, Light Board Programmer


General Management Emika Abe, Sooyoung Hwang, Associate Managing Directors Emily Reeder, Assistant Managing Director Emalie Mayo, Senior Administrative Assistant to the Managing Director Rachel Shuey, Sylvia Xiaomeng Zhang, Management Assistants Flo Low, Company Manager Trent Anderson, Sylvia Xiaomeng Zhang, Assistant Company Managers Development and Alumni Affairs Deborah S. Berman, Director of Development and Alumni Affairs Janice Muirhead, Senior Associate Director of Development Susan C. Clark, Development and Alumni Affairs Officer Joanna Romberg, Associate Director of Development

Alice Kenney, Jennifer Schmidt, Development Associates Sam Linden, Development Assistant Jennifer E. Alzona, Senior Administrative Assistant to Development and Marketing & Communications Finance and Human Resources Katherine D. BurgueĂąo, Director of Finance and Human Resources Erin Ethier, Business Manager Janna J. Ellis, Director, Yale Tessitura Consortium Monica Avila, Chris Fuller, Preston Mock, Business Office Specialists Shainn Reaves, Senior Administrative Assistant to Business Office, Digital Technology, Operations, and Tessitura Marketing, Communications, and Audience Services Daniel Cress, Director of Marketing Steven Padla, Director of Communications Caitlin Griffin, Senior Associate Director of Marketing and Communications Libby Peterson, Associate Director of Marketing and Communications Kathy Li, Marketing and Communications Assistant Marguerite Elliott, Publications Manager Paul Evan Jeffrey, Art and Design Joan Marcus, Production Photographer David Kane, Videography Laura Kirk, Director of Audience Services Shane Quinn, Assistant Director of Audience Services Tracy Baldini, Subscriptions Coordinator Roger-Paul Snell, Audience Services Assistant Alexandra Cadena, Jordan Graf, Anthony Jasper, Katie Metcalf, Kenneth Murray, Kyra Riley, Aaron Wegner, Box Office Assistants Operations Diane Galt, Director of Facility Operations Nadir Balan, Interim Operations Associate Jennifer Draughn, Arts and Graduate Studies Superintendent Vondeen Ricks, Sherry Stanley, Team Leaders Michael Humbert, Facility Steward Lucille Bochert, Tylon Frost, Kathy Langston, Warren Lyde, Patrick Martin, Mark Roy, Custodians Digital Technology Chris Kilbourne, Director of Digital Technology Daryl Brereton, Associate Director of Digital Technology Kathleen Martin, Web Services Associate Don Harvey, Ron Rode, Ben Silvert, Database Application Consultants Theater Safety and Occupational Health William J. Reynolds, Director of Theater Safety and Occupational Health Jacob Thompson, Security Officer Ed Jooss, Audience Safety Officer Kevin Delaney, John Marquez, Customer Service and Safety Officers


Winner! 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. Twelve Yale Rep productions have advanced to Broadway, garnering more than 40 Tony Award nominations and eight 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 21 new American plays and musicals at Yale Rep and theatres across the country—including this season’s Indecent created by Paula Vogel and Rebecca Taichman, peerless by Jiehae Park, and The Moors by Jen Silverman. For more information, including a complete list of Yale Rep commissioned artists, please visit yalerep.org/center. Photos by T. Charles Erickson, Joan Marcus, and Carol Rosegg.

“Thoughtful and truly thought-provoking. So eye-opening that it almost blinds you.” the new York times

War by Branden Jacobs-Jenkins; Yale Rep, world premiere, 2014; Lincoln Center 25 Theatre’s LCT3, New York premiere, May–July 2016.

Winner! 2013 Outstanding Production of a Play ConneCtiCut CritiCs CirCle

Marie Antoinette by David Adjmi; Yale Rep and American Repertory Theater, world premiere, 2012; Soho Rep., New York premiere, 2013.

“Resonates and illuminates!”

“Triumphs on all fronts!”

new hAven register

new hAven register

Indecent created by Paula Vogel and Rebecca Taichman; Yale Rep and La Jolla Playhouse, world premiere; 2015; Vineyard Theatre, New York premiere, now–June.

Familiar by Danai Gurira; Yale Rep, world premiere, 2015; Playwrights Horizons, New York premiere, 2016.

Top Ten Plays of the Year, 2012 and 2014! the new York times

Best Broadway Play of 2014! usA todAY

The Realistic Joneses by Will Eno; Yale Rep, world premiere, 2012; Broadway premiere, 2014. 26

YALE SCHOOL OF DRAMA BOARD OF ADVISORS John B. Beinecke, Chair John Badham, Vice Chair Jeremy Smith, Vice Chair Amy Aquino Sonja Berggren Lynne Bolton Carmine Boccuzzi 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 Ethan Heard Ruth Hendel

Catherine MacNeil Hollinger Sally Horchow Ellen Iseman David Johnson Asaad Kelada Sarah Long Donald Lowy Elizabeth Margid Drew McCoy Tarell Alvin McCraney 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 Courtney B. Vance 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)

Dmitry Ananiev Anonymous (2) John B. Beinecke Sonja Berggren and Patrick Seaver Lynne and Roger Bolton Burry Fredrik Foundation Lois Chiles and Richard Gilder Nicholas Ciriello Edgar M. Cullman, Jr. Edgar M. Cullman III Connecticut Department of Economic and Community Development Anita Pamintuan Fusco and Dino Fusco The Horace W. Goldsmith Foundation Lane Heard and Margaret Bauer Stephen J. Hoffman S. Roger Horchow William and Sarah Hyman Frederick Iseman David Johnson Jennifer Lindstrom The Frederick Loewe Foundation Neil Mazzella Andrew W. Mellon Foundation Alan Poul Pam and Jeff Rank Robert Riordan Robina Foundation Linda and Larry Rodman Talia Shire Schwartzman Tracy Chutorian Semler The Ted and Mary Jo Shen Charitable Gift Fund The Shubert Foundation Jeremy Smith Stephen Timbers Jennifer Tipton Nesrin and Andrew Tisdale


Edward Trach Trust for Mutual Understanding Kara Unterberg Esme Usdan Cliff Warner Albert Zuckerman

GUARANTORS ($25,000–$49,999)

Edgerton Foundation Heidi Ettinger Ruth and Steve Hendel Azamat Kumykov National Endowment for the Arts James Munson Righteous Persons Foundation G. Erwin Steward

BENEFACTORS ($10,000–$24,999)

Nina Adams and Moreson Kaplan Americana Arts Foundation Carmine Boccuzzi and Bernard Lumpkin Mary L. Bundy Jim Burrows Scott Delman Michael Diamond Educational Foundation of America Lily Fan Quina Fonseca Mabel Burchard Fischer Grant Foundation Catherine MacNeil Hollinger Ellen Iseman Adrian and Nina Jones J.M. Kaplan Fund Sarah Long Lucille Lortel Foundation Donald and Angela Lowy Roz and Jerry Meyer The Adam Mickiewicz Institute Lupita Nyong’o

Carol Ostrow Aram Piruzyan Alec and Aimee Scribner The Seedlings Foundation Jonathan Marc Sherman, in honor of Dr. Ronald Sherman Theatre Communications Group

PATRONS ($5,000–$9,999)

The Josef and Anni Albers Foundation Deborah Applegate and Bruce Tulgan John Badham Foster Bam The Eugene G. and Margaret M. Blackford Memorial Fund, Bank of America, Co-Trustee Carolyn Foundation The Noël Coward Foundation Polly Draper Christopher Durang Terry Fitzpatrick Marc Flanagan Barbara and Richard Franke Marcus Dean Fuller Donald Granger Albert R. Gurney Jane Head Linda Gulder Huett Ben Ledbetter and Deborah Freedman Tom Moore Arthur and Merle Nacht New England Foundation for the Arts Mark C. Rosenthal Ben and Laraine Sammler Michael and Riki Sheehan Philip J. Smith Amanda Wallace Woods

PRODUCER’S CIRCLE ($2,500–$4,999)

Anna Fitch Ardenghi Trust, Bank of America, Trustee Shirley Brandman and Howard Shapiro Donald Brown Thomas Bruce Ben Cameron Michael S. David The Frederick A. DeLuca Foundation Sasha Emerson Fred Gorelick and Cheryl MacLachlan Alan Hendrickson JANA Foundation Jewish Federation of Greater New Haven The Ethel & Abe Lapides Foundation The George A. and Grace L. Long Foundation William Ludel Jenny Mannis and Henry Wishcamper NewAlliance Foundation Dw Phineas Perkins Jack Pierson Joel and Joan Smilow Courtney B. Vance

DIRECTOR’S CIRCLE ($1,000–$2,499)

Victor and Laura Altshul Amy Aquino and Drew McCoy Paula Armbruster Paul F. Balser, Sr. Jody Locker Berger Deborah S. and Bruce M. Berman Debbie Bisno and David Goldman Jeffrey A. Bleckner Mark Brokaw Cyndi Brown James T. and Alice B. Brown James Bundy

Joan D. Channick Patricia Clarkson Sue Ann Gilfillan Converse and Tony Converse Peggy Cowles Catherine and Elwood Davis Ramon Delgado Glen R. Fasman Melanie Ginter and John Lapides Judith Hansen Karsten Harries and Elizabeth Langhorne James Earl Jewell Rolin Jones Ann Judd and Bennett Pudlin Jane Kaczmarek Elizabeth Katz and Reed Hundt Helen Kauder and Barry Nalebuff Abby Kenigsberg Roger Kenvin Anne Simone Kleinman George N. Lindsay, Jr. Peter Marshall Thomas Masse and James Perlotto, MD Tarell Alvin McCraney Dawn G. Miller David Moore Garrett and Mary Moran Neil Mulligan Chris Noth Richard Ostreicher F. Richard Pappas Amy Povich Kathy and George Priest Carol A. Prugh The Rodgers and Hammerstein Foundation Liev Schreiber Eugene Shewmaker Benjamin Slotznick Anna Deavere Smith Dr. Matthew Specter and Ms. Marjan Mashhadi Carol and Arthur Spinner Kenneth J. Stein Shepard and Marlene Stone Lee Stump David Sword Arlene Szczarba Carol M. Waaser Barbara Wohlsen George Zdru Wendy Zimmermann and Stephen Cutler

PARTNERS ($500–$999)

Emily Aber and Robert Wechsler Actors’ Equity Foundation Donna Alexander

Mr. and Mrs. B. N. Ashfield Emily P. Bakemeier and Alain G. Moureaux Christopher Barreca Robert L. Barth John Lee Beatty Edward Blunt Susan Brady and Mark Loeffler Jonathan Busky Ian Calderon Danielle and Thomas Canfield Dr. Michael Cappello and Kerry Robinson Cosmo Catalano, Jr. Jim Chervenak Dr. Paul D. Cleary Robert Cotnoir Ernestine and Ronald Cwik Bob and Priscilla Dannies Richard Sutton Davis Robert Dealy The Cory & Bob Donnalley Charitable Foundation Bernard Engel Roberta Enoch and Steven Canner Peter Entin Kyoung-Jun Eo Anthony Foreman James Gardner Betty Goldberg David Marshall Grant Rob Greenberg Elizabeth M. Greene Eduardo Groisman Regina Guggenheim William B. Halbert Douglas Harvey Katherine W. Haskins Barbara Hauptman Ethan Heard Mona Heinz-Barreca Carol Thompson Hemingway Donald Holder John Robert Hood Mary and Arthur Hunt Raymond Inkel Alan Kibbe Harvey Kliman and Sandra Stein Dr. Gary and Hedda Kopf Mildred Kuner Katherine Anne Latham Maryanne Lavan Chi-Lung Lui Charles Long and Roe Curtis Linda Lorimer and Charles Ellis Dr. and Mrs. Robert W. Lyons Timothy Mackabee Brian Mann Jane Marcher Foundation John McAndrew

Peter and Wendy McCabe George Miller and Virginia Fallon Janice Muirhead Laura Naramore Victoria Nolan and Clark Crolius William and Barbara Nordhaus Arthur Oliner Louise Perkins and Jeff Glans Faye and Asghar Rastegar Jon and Sarah Reed Bill and Sharon Reynolds Dr. Michael Rigsby and Prof. Richard Lalli Steve Robman Abigail Roth Dr. Mark Schoenfeld Sandra Shaner James Steerman Nausica Stergiou Marsha Beach Stewart Lee Styslinger III Patricia Thurston Don Titus John Turturro Sophie von Haselberg Zelma Weisfeld Carolyn Seely Wiener Steven Wolff Evan Yionoulis Steve Zuckerman

INVESTORS ($250–$499)

Mary Ellen and Thomas Atkins Alexander Bagnall James Bakkom Sarah Bartlo Drs. Linda Bockenstedt and Jonathan Fine Katherine Borowitz Tom Broecker Claudia Brown Anne and Guido Calabresi Dr. and Mrs. W.K. Chandler Barbara Jean and Nicholas Cimmino Robert S. Cohen Audrey Conrad Daniel R. Cooperman and Mariel Harris Stephen Coy John W. Cunningham Sue and Gus Davis Charles S. Dutton Kem and Phoebe Edwards Kyoung-Jun Eo Fine Family Susan and Fred Finkelstein David Freeman Randy Fullerton

Dr. and Mrs. James Galligan Joseph Gantman Stephen Godchaux Kris and Marc Granetz Scott Hansen Michael Haymes and Logan Green Molly Hennighausen Jennifer Hershey-Benen David Henry Hwang Joanna and Lee A. Jacobus Pam Jordan Richard Kaye Asaad Kelada Barnet Kellman Alan Kibbe David Kriebs Bernard Kukoff Frances Kumin William Kux Kenneth Lewis Nancy Lyon Laura Brown MacKinnon Linda Maerz and David Wilson Peter Andrew Malbuisson Elizabeth Margid Robert McDonald Deborah McGraw Lawrence Mirkin George Morfogen Gayther Myers, Jr. Regina and Thomas Neville Jane Nowosadko Gabriel Olszewski Maulik Pancholy Michael Parrella Stephen Pollack Jeffrey Powell and Adalgisa Caccone Meghan Pressman Alec and Drika Purves Sarah Rafferty Barbara and David Reif Daniel and Irene Mrose Rissi Howard Rogut Constanza Romero Allen and Missy Rosenshine Russ Rosensweig Jean and Ron Rozett Frank Sarmiento Robin Sauerteig Suzanne Sato Mr. and Mrs. Michael Schmertzler William and Elizabeth Sledge David Soper and Laura Davis Mary C. Stark Regina Starolis Erich Stratmann Bernard Sundstedt Matthew Suttor Patricia Thurston Richard B. Trousdell Leslie Urdang


Contributors to Yale School of Drama and Yale Repertory Theatre Marge Vallee Paul Walsh William and Phyllis Warfel Vera Wells Dana Westberg Karen White Lila Wolff-Wilkinson Andrew and Fiona Wood Arthur and Ann Yost Donald and Clarissa Youngberg John and Pat Zandy

FRIENDS ($100–$249)

Anonymous Paola Allais Acree Christopher Akerlind Michael Albano Sarah Jean Albertson Lorraine Alfano Richard Ambacher Glenn R. Anderson Susan and Donald Anderson William Atlee Stephen and Judy August Angelina Avallone Michael Backhaus Sandra and Kirk Baird Frank and Eileen Baker Russell Barbour Michael Baron and Ruth Magraw Robert Barr William and Donna Batsford Richard Baxter Nancy and Richard Beals James Bellavance Rev. Robert Beloin James Bender Michael and Jennifer Bennick Deborah Berke Melvin Bernhardt Donald and Sandra Bialos Robert Bienstock Ashley Bishop Anders Bolang Debra Booth Paul Bordeau Josh Borenstein Marcus and Kellie Bosenberg Amy Brewer and David Sacco James and Dorothy Bridgeman Linda Briggs and Joseph Kittredge Carole and Arthur Broadus Arvin Brown James E. Brown, MD Julie Brown Stephen and Nancy Brown


Robert Brustein Stephen Bundy James Burch Linda Burt Richard Butler Susan Wheeler Byck Michael Cadden Susan Cahan and Jürgen Bank Kathryn A. Calnan Ivan and Frances Capella Lisa Carling Sami Joan Casler Patricia Cavanaugh Terri Chegwidden Suellen G. Childs King-Fai Chung Cynthia Clair Lani Click Katherine D. Cline Aurélia and Ben Cohen Patricia J. Collins Judith Colton and Wayne Meeks Forrest Compton Kristin Connolly William Connolly David Conte Kathleen and Leo Cooney Aaron Copp Timothy and Pamela Cronin Julie Crowder Douglas and Roseline Crowley Sean Cullen Scott Cummings William Curran Donato Joseph D’Albis F. Mitchell Dana Nigel W. Daw Katherine Day Milagros DeCamps Mr. and Mrs. Paul DeCoster Aziz Dehkan and Barbara Moss Elizabeth DeLuca Julia L. Devlin Jose A. Diaz Connie and Peter Dickinson Derek DiGregorio Melinda DiVicino Merle Dowling Ms. JoAnne E. Droller, R.N. Jeanne Drury John Duran Rosemary Duthie Terrence Dwyer Laura Eckelman Fran Egler Robert Einienkel Nancy Reeder El Bouhali Janann Eldredge Elizabeth English Janna Ellis Dirk Epperson David Epstein

John Erman Dustin Eshenroder Christine Estabrook Frank and Ellen Estes Femi Euba Connie Evans Jerry N. Evans Douglass Everhart John D. Ezell Michael Fain Ann Farris Christopher Feeley Richard and Barbara Feldman Paul and Susan Birke Fiedler Madlyn and Richard Flavell Keith Fowler Walter M. Frankenberger III Deborah Fried and Kalman Watsky Donald Fried Richard Fuhrman Jane and Charles Gardiner Barbara and Gerald Gaab Steven Gefroh Stuart and Beverly Gerber Lauren Ghaffari Patricia Gilchrist Robert Glen William Glenn Nina Glickson and Worth David Lindy Lee Gold Betty and Joshua Goldberg Robert Goldsby Kris and Marc Granetz Connie Grappo Bigelow Green Elizabeth M. Green Sarah Greenblatt Linda Greenhouse and Eugene Fidell Elizabeth Greenspan and Walt Dolde Michael Gross John Guare Jessica and Corin Gutteridge David Hale Amanda Haley Alexander Hammond Ann and Jerome R. Hanley Charlene Harrington Lawrence and Roberta Harris Brian Hastert Ira Hauptman Ihor and Roma Hayda James Hazen Catherine Hazlehurst Nicole and Larry Heath Beth Heller Ann Hellerman Steve Hendrickson

Peter Hentschel and Elizabeth Prete Jeffrey Herrmann Jean Herzog Joan and Dennis Hickey Roderick Hickey Christopher Higgins Nathan Hinton Dean Hokanson Elizabeth Holloway James Hood Betsy Hoos Robert Hopkins Nicholas Hormann Kathleen Houle David Howson Evelyn Huffman Hull’s Art Supply and Framing Derek Hunt Peter H. Hunt John Huntington John and Patricia Ireland Suzanne Jackson Cary and Dick Jacobs Mary Ellen Jacobs John W. Jacobsen Chris Jaehnig Ina and Robert Jaffee Eliot and Lois Jameson Heide Janssen William Jelley Elizabeth Johnson Geoffrey A. Johnson Marcia Johnson Donald E. Jones, Jr. Elizabeth Kaiden Jonathan Kalb David and Linda Kalodner Carol Kaplan James D. Karr Dr. and Mrs. Michael Kashgarian Bruce Katzman Jay Keene Edward Kennedy Colette Kilroy Carol Soucek King Lindsay King Mrs. Shirley Kirschner Susan Kirschner Robinson Dr. Lawrence Klein Elise Knapp Stephen Kovel Daniel and Denise Krause Brenda and Justin Kreuzer Joan Kron L. Azan Kung Mark Kupferman Mitchell Kurtz Howard and Shirley Lamar Naomi Lamoreaux Stephanie Lamassa Marie Landry and Peter Aronson Catherine Lavoie

James and Cynthia Lawler Wing Lee Charles E. Letts III Irene Lewis Henry Lowenstein Suzanne Cryer Luke Everett Lunning Andi Lyons Jane Macfie Timothy Mackabee Lizbeth Mackay Wendy MacLeod Alan MacVey Anita Madzik James Magruder Dr. Maricar Malinis Jocelyn Malkin, MD Marvin March Peter Marcuse Orla and Mithat Mardin Jonathan Marks Barry Marshall Nancy Marx Maria Mason and William Sybalsky Carole Ann Masters Craig Mathers Sarah and Benjamin Mayer Peter McCandless Amy Lipper McCauley Matthew McCollum Brian McEleney Thomas McGowan Deborah McGraw Robert McKinna and Trudy Swenson Patricia McMahon Bruce McMullan Susan McNamara Lynne Meadow James Meisner and Marilyn Lord Robert Melrose Stephen W. Mendillo Donald Michaelis Carol Mihalik Kathryn Milano Aaliyah Miller and Karim Hadj Salem Bruce Miller Dr. George Miller Jonathan Miller Sandra Milles Marjorie Craig Mitchell Jennifer Moeller George Moredock David and Betsy Morgan Susan Morris Barbara Moss

Richard Munday and Rosemary Jones Robert Murray David Muse Jim and Eileen Mydosh Rachel Myers Rhoda F. Myers James Naughton Tina C. Navarro Meg Neville Jennifer Harrison Newman Ruth Hunt Newman Gail Nickowitz Liv Nilssen Nancy Nishball Deb and Ron Nudel George and Marjorie O’Brien Adam O’Byrne Arlene O’Connell Elizabeth O’Connell Dwight R. Odle Richard Olson Edward and Frances O’Neill Sara Ormond Kendric T. Packer Joan Pape Dr. and Mrs. Michael Parry William Peters Dr. Ismene Petrakis Roberta Pilette Bryce Pinkham David Podell Gladys Powers Art Priromprintr Robert Provenza William Purves James Quinn Ronald Recasner Gail Reen Cynthia Reik Dr. Jenna Reinen Peter S. Roberts Lori Robishaw Carolyn Rochester Priscilla Rockwell Stephen Rosenberg June Rosenblatt Fernande E. Ross Joseph Ross John Rothman Allan Rubenstein Dean and Maryanne Rupp Ortwin Rusch Tommy Russell John Barry Ryan Edward and Alice Saad

Dr. Robert and Marcia Safirstein Steven Saklad Clarence Salzer Robert Sandberg Gail Sangree Peggy Sasso Denise Savage Joel Schechter Anne Schenck Kenneth Schlesinger Ruth Hein Schmitt William Schneider Judith and Morton Schomer Carol and Sanford Schreiber Georg Schreiber Jennifer Swartz Forrest E. Sears Paul Selfa Subrata K. Sen Morris Sheehan Yu Shen Paul R. Shortt Lorraine D. Siggins Bradley Drew Simon Mark and Cindy Slane Gilbert and Ruth Small E. Gray Smith, Jr. Helena L. Sokoloff Suzanne Solensky and Jay Rozgonyi Mary Louise and Dennis Spencer Marian Spiro Amanda Spooner Louise Stein Neal Ann Stephens John Stevens Joseph Stevens Kris Stone Pamela Strayer Howard Steinman Jaroslaw Strzemien William and Wilma Summers Mark Sullivan Tucker Sweitzer and Jerome Boryca Douglas Taylor Jeann and Joseph Terrazzano Aaron Tessler Roberta Thornton Eleanor Q. Tignor David F. Toser Albert Toth Mr. and Mrs. David Totman Russell L. Treyz

Deborah Trout Suzanne Tucker Gregory and Marguerite Tumminio Russell Vandenbroucke Arthur Vitello Eva Vizy Fred Voelpel Elaine Wackerly Mark Anthony Wade Charles and Patricia Walkup Barbara Wareck and Charles Perrow Betsy Watson Steven Waxler Rosa Weissman Peter and Wendy Wells Charles Werner J. Newton White Peter White Robert and Charlotte White Joan Whitney Lisa A. Wilde Robert Wildman Marshall Williams David Willson Annick Winokur and Peter Gilbert Alex Witchel Carl Wittenberg Andrew Wolf Guy and Judith Yale


Aetna Foundation Ameriprise Financial Chevron Corporation Corning, Inc. General Electric Corporation IBM Merck Company Foundation Mobil Foundation, Inc. Pfizer Procter & Gamble The Prospect Hill Foundation


John Beinecke Lynn Bolton Sasha Emerson Ellen Iseman David Johnson Donald and Angela Lowy Steve Zuckerman and Darlene Kaplan


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/donate. This list includes current pledges, gifts, and grants received from January 1, 2015, through April 15, 2016.




HOW TO REACH US Yale Repertory Theatre Box Office 1120 Chapel Street (at York Street) PO Box 208244, New Haven, CT 06520 203.432.1234 Email: yalerep@yale.edu

Yale Repertory Theatre offers all patrons the most comprehensive accessibility services program in Connecticut, including a season of open-captioned and audio-described performances, a free assistive FM listening system, largeprint 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 laura.kirk@yale.edu.

BOX OFFICE HOURS Monday to Friday from 10AM to 5PM Saturday from 12PM to 5PM Until 8PM on all show nights 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 emergency-only telephone number at Yale Repertory Theatre is 203.764.4014. GROUP RATES Discounted tickets are available for groups of ten or more. Please call 203.432.1234. SEATING POLICY Everyone must have a ticket. Sorry, no children in arms or on laps. Patrons who 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. 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. 31

AUDIO DESCRIPTION: a live narration of the play’s action, sets, and costumes for patrons who are blind or low vision. OPEN CAPTIONING: a digital display of the play’s dialogue as it’s spoken. Below are the AD and OC performance dates for this season. All shows are at 2PM; the AD pre-show discussion begins at 1:45PM.

Happy Days May 14

May 21

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.

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

EDUCATION PROGRAMS As a part of Yale Rep’s commitment to our community, we provide two significant annual educational outreach programs. WILL POWER! offers speciallypriced tickets and early school-time matinees for high school students for one of Yale Rep’s 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 self-esteem and creative expression. Yale Rep’s education programs are supported in part by the Josef and Anni Albers Foundation; Allegra Print and Imaging; The Anna Fitch Ardenghi Trust, Bank of America, Trustee; Carolyn Foundation; Frederick A. DeLuca Foundation; Bruce Graham; the George A. & Grace L. Long Foundation, Bank of America, N.A. and Alan S. Parker, Esq., Co-Trustees; the Lucille Lortel Foundation; Jane Marcher Foundation; Dawn G. Miller; Arthur and Merle Nacht; NewAlliance Foundation; Robbin A. Seipold; Sandra Shaner; Esme Usdan; Charles and Patricia Walkup. FROM THE TOP: SCHOOLS GATHERING FOR WILL POWER!; DWIGHT/EDGEWOOD PROJECT WORKSHOP, 2015.


GHP Printing and Mailing

Katz’s Deli

Atelier Florian

Harvest Wine Bar

Savour Catering

Atticus Bookstore Café


The Study at Yale

Box 63

Hull’s Art Supply and Framing

Tarry Lodge

Café Romeo Fleur de Lys

Katalina’s Bakery

Willoughby’s Coffee and Tea Yorkside Pizza

This list includes current pledges, gifts, and grants received from January 1, 2015, through April 15, 2016.



photograph by David Ottenstein

printing and mailing 475 heffernan drive, west haven, connecticut 06516 t 203 479 7500 f 203 479 7575 www.ghpmedia.com 34

943 Grand Avenue @ Olive Street • New Haven, CT 06511 tel (203) 865-5006 • fax (203) 865-7553

Graphic Design Marketing Services Business Cards Booklets & Programs Invitations & Cards Stationery Flyers Menus High Volume Copying Banners & Posters Lawn Signs Vinyl Lettering Mailing Services Bindery & Finishing Medical Forms Web Design Custom Apparel Promotional Products And Much More!

Your go Printer -to the Artfor s!

Free parking located in our lot on Olive Street


info@allegranewhaven.com • www.allegranewhaven.com

Amy And the OrphAns Lindsey FerrentinO By directed by LeOrA mOrris

sOme BOdies trAveL

By Jiréh BreOn hOLder and tOri sAmpsOn Lyrics by tOri sAmpsOn directed by mArgOt BOrdeLOn

new dOmestic Architecture BrendAn peLsue By directed by Luke hArLAn


203.432.1234 ysd.shows@yale.edu Iseman Theater, 1156 Chapel Street, New Haven, CT pHoToS © JoaN marCuS

JameS BuNdy, deaN VICTorIa NolaN, depuTy deaN JeaNIe o’Hare, CHaIr of playwrITINg


eat at a

locAl lEgENd! ~ established 1969 ~

Experience one of Yale’s most popular restaurants, a family tradition for over 40 years. Selected by Spoon University and The Huffington Post as Yale’s most iconic restaurant.

288 York Street, New Haven

YorksidePizza.com 203.787.7471




A full array of menu choices for lunch, dinner, and late night including beer, wine and slices Trays are available for catering pickup

A short walk from Yale Rep!

celebrate our reopening! Visit us on May 11, 2016

1080 Chapel Street, New Haven, CT | 877 brit art | britishart.yale.edu | #YCBAreopens Yale Center for British Art, photo by Michael Marsland


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