2025-26 SEASON
YALEREP.ORG
Yale Repertory Theatre, the internationally celebrated professional theater in residence at David Geffen School of Drama, has championed new work since 1966, producing well over 100 premieres—including two Pulitzer Prize winners and four other nominated finalists—by emerging and established playwrights. Seventeen Yale Rep productions have advanced to Broadway, garnering more than 40 Tony Award nominations and ten Tony Awards. Yale Rep is also the recipient of the Tony Award for Outstanding Regional Theatre. Established in 2008, Yale’s Binger Center for New Theatre has distinguished itself as one of the nation’s most robust and innovative new play programs. To date, the Binger Center has supported the work of more than 70 commissioned artists and underwritten the world premieres and subsequent productions of more than 30 new plays and musicals at Yale Rep and theaters across the country.
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David Geffen School of Drama and Yale Repertory Theatre train and advance leaders in the practice of every theatrical discipline, making art to inspire joy, empathy, and understanding in the world.
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We build our collective work on a foundation of mutual respect, prizing the contributions and accomplishments of the individual and of the team.
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We wrestle with compelling issues of our time. Energized by curiosity, invention, bravery, and humor, we challenge ourselves to risk and learn from failure and vulnerability.
Chinna Palmer, Brandon E. Burton, and Elizabeth Stahlmann in a scene from Nikolai Gogol’s The Inspector, newly adapted and directed by Yura Kordonsky. Yale Repertory Theatre, March 7-29, 2025. Photo © Joan Marcus.
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A NOTE FROM THE ARTISTIC DIRECTOR
Welcome to Yale Repertory Theatre and today’s performance of Hedda Gabler by Henrik Ibsen!
I have long believed that there are no good plays about people who are well-behaved, a corollary to which is that if everyone were behaving well all the time, we would no longer need the theater, because all the problems of the world should at that time be peacefully resolved. A person might wish there wasn’t any need for a play about a culture that denies women control of their bodies and circumscribes their career choices; we might wish there’d be no need for a play about fantasy, delusions, cowardice, and dysphoria, and the lengths to which people might go in pursuit of what they believe they deserve. Were such wishes to come true, Hedda Gabler, Ibsen’s masterful whodunit mashed up with farce, and ultimately tragedy, would surely disappear from the repertoire.
Yet at a moment when real life tragedies rattle the world at such scale and speed, one consolation of theater making is that it offers an opportunity to cast our imaginations into a world of interiority and character that speaks to what Ibsen called “the responsibilities and the guilt of the society to which [we] belong.” The ultimate subject of the play, he wrote in his notes, is “the conflict between one’s aims and one’s abilities, between what [one] proposes and what is actually possible, constituting at once both the tragedy and the comedy of [human]kind and of the individual.” If you’ve ever had a dream that didn’t come true or have told yourself—or anyone else—a lie, if you’ve ever felt constrained by convention or by gender roles in any society or institution, you may just see yourself in this play.
I am honored to work once again alongside Paul Walsh, whose translation of Ibsen’s An Enemy of the People I staged in 2017. Paul is wise, generous, subtle, humble and flexible, and more than any translator I know, sensitive to all the tools used by the playwright right in front of him. It is a joy, too, to bring the world of Hedda Gabler to life with the talented teams of talented artistic, technical, and management collaborators, and this incredible cohort of actors, each of whom I have admired for more than a decade and whose invention I thrill to every day.
Thank you for choosing to spend your time with us today. I look forward to seeing you again in the new year when Julia Masli, the acclaimed London-based Estonian clown, brings her impossible-to-describe-without-spoiling show ha ha ha ha ha ha ha to New Haven beginning January 20. And as always, I hope you will share your thoughts about Hedda Gabler or any of your Yale Rep experiences with me: my email address is james.bundy@yale.edu.
Sincerely,
James Bundy
NOVEMBER 28–DECEMBER 20, 2025
YALE REPERTORY THEATRE
James Bundy, Artistic Director | Florie Seery, Managing Director
PRESENTS
HEDDA GABLER
BY HENRIK IBSEN
TRANSLATED FROM THE NORWEGIAN
BY PAUL WALSH
DIRECTED BY JAMES
BUNDY
Scenic Designer
Jessie Baldinger
Costume Designer
Lyle Laize Qin
Lighting Designer
Larry Ortiz
Sound Designer
Emilee Biles
Hair Designer
Matthew Armentrout
Production Dramaturg
Timothy Hartel
Technical Director
Steph Lo
Fight and Intimacy Director
Kelsey Rainwater
Vocal and Dialect Coach
Walton Wilson
Casting Director
Calleri Jensen Davis
Stage Manager
Narda E. Alcorn
Yale Repertory Theatre gratefully acknowledges our 2025–26 season funders:
CAROL L. SIROT
SEASON SPONSOR:
Cast in order of speaking
Miss Juliane Tesman ............................................................................ Felicity Jones Latta
Berte .............................................................................................................. Mary Lou Rosato
Jorgen Tesman Max Gordon Moore
Mrs. Hedda Tesman Marianna Gailus
Mrs. Thea Elvsted ................................................................................. Stephanie Machado
Judge Brack........................................................................................................ Austin Durant
Eilert Lovborg ..................................................................................................... James Udom
Understudies
Jorgen Tesman ....................................................................................................... Jack Kelley
Mrs. Thea Elvsted Rebecca Rivera
Eilert Lovborg Erik Manuel Robles
Mrs. Hedda Tesman ......................................................................................... Emma Steiner
Miss Juliane Tesman/Berte ........................................................................... Grace Wissink
Judge Brack Mark Yarde
Assistant Stage Managers ............................................................................ Payton Gunner ................................................................................................. Caileigh Potter
Place
The Tesmans’ Villa Christiania, Norway
Time
September, 1890
Act 1: Morning
Act 2: Late Afternoon
Act 3: The Next Morning
Act 4: That Evening
There will be a 15-minute intermission between Act 2 and Act 3.
Atmospheric and Content Guidance
This production contains the use of theatrical herbal cigarettes which are tobacco- and nicotine-free, the sound of gunshots, and moments of bright light. Hedda Gabler deals with mature themes, including suicidal ideation and selfharm. Patrons are encouraged to contact the box office at (203) 432-1234 or yalerep@yale.edu if they wish to hear more details on how these themes manifest in the production.
IBSEN AND “THE WOMAN QUESTION”
Speaking at a banquet held in his honor by the Norwegian League for Women’s Rights (Norsk Kvinnesaksforening) in 1898, Ibsen rejected the idea that he was a feminist:
I must thank you for the toast
but must disclaim the honor of having consciously worked for the women’s
rights movement. I am not even quite clear as to just what this women’s rights movement really is. To me it has seemed a problem of mankind in general.
As an avowed humanist, Ibsen thought his plays shouldn’t privilege any group of people over another. He disavowed taking a didactic position in his drama, later saying in this same speech that that his “task has been the description of humanity” in which the “reader remolds the work beautifully and neatly, each according to his own personality.” In other words, Ibsen thought it was his responsibility to show society as it is. And by doing so, he believed that he could bring readers into a highly personal and socially critical engagement with his writing. In the speech to the League for Women’s Rights, Ibsen even described his readers
and audience as “collaborators” in the poetry of his work.
In this, Ibsen was greatly influenced by the 19th-century Danish literary critic George Brandes who advocated for a break from romanticism towards a social realism, which he called “The Modern Breakthrough.” Brandes argued “that a literature in our time is living is shown in that way that it debates problems.” Ibsen’s work doesn’t neatly describe a solution to the myriad social problems he dissects in his work. Instead, he uses the messiness of real life to enlist his audience as agents of meaning making. Ibsen wanted people to leave the theater arguing with whoever sat next to them about whether Nora should have slammed the door in A Doll’s House or if Thomas Stockman was right to inform the townsfolk about poisoned baths in An Enemy of the People. Things aren’t wrapped up neatly into solutions.
Ibsen’s distaste for group-think bubbles up throughout his plays, most especially in: An Enemy of the People (1882), A Doll’s House (1879), The Master Builder (1892), and here in Hedda Gabler (1891). He hoped that audiences would bring their own perspectives to his plays, for Ibsen crafted characters who themselves see the world differently from their community. Their morality and priorities chafe against the rules of social life; they think as individuals.
We find characters of this mold in Hilda Wangel in The Master Builder or Hedda in this play. The women of Ibsen’s drama are striking for their rejection of the patriarchal expectations of motherhood, family, and marriage. It’s no wonder suffragettes like Fernanda Nissen, the Norwegian 19th-century theater critic, Ibsen fan, and labor organizer, saw these women as exemplars for the feminist cause. His influence on the movement was international. English suffragette and actress Elizabeth Robins cited Ibsen as a foundation for both her performance and political work, and George Bernard Shaw wrote that “what is called the Woman Question has begun to agitate the stage” thanks to the Norwegian writer’s influence.
By flouting expectations, these independent women of Ibsen’s plays have been read as selfish or neglectful. They question the importance of motherhood, love, and marriage, which to this day underlie how women are valued in our society. They still hold the immense burden of perfect motherhood, of domesticity itself. In having women “behave badly,” Ibsen sets up another sort of debate for the audience: How much bad behavior can we accept? How much is too much?
To return to Ibsen’s address to the League for Women’s Rights in 1898, he finishes his short speech by arguing that women’s work to change the world should start in the maternal sphere. He said that it is the job of “mothers, by strenuous and sustained labor, to awaken a conscious feeling of culture and discipline.” Yet this seems counter to the very way his women characters defy the patriarchal structures of motherhood. The spirit of his characters undermines, or at the very least makes us question, Ibsen’s idea of women’s roles in the world. Perhaps he was hoping to start up another debate of sorts: How much can we trust an author?
Paul Walsh, translator for this production, brilliantly describes Ibsen’s drama that “turns in on itself, to make the familiar known in new ways.” As we look backwards in time at Norway in the 1890s, look for what is still familiar. Let the spirit of interrogation and inquiry drive your experience, debate with your theater companion on your way home.
—Timothy Hartel, Production Dramaturg
1814
ABOVE:
The Norwegian Constitution is adopted, granting only men rights. Women are excluded from voting, office, property ownership, or university.
1839
Norway’s first school for girls opens (the Nissens Pigeskole).
1845
The Inheritance Rights Reform passes, granting conditional property rights to unmarried women. Married women still have no rights to property.
1854
The Equal Inheritance Law, a breakthrough for Norwegian women, granting them the same rights to inheritance as men.
1855
Camilla Collett, a leading figure for women’s rights and later friend of Ibsen, writes Amtmandens Døtre (The District Governor’s Daughter), considered by many to be Norway’s first feminist novel.
1869 Women are allowed to take exams for placement in secondary schools.
SMALL TOWN, BIG EYES
Written by Ibsen in the autumn and early winter of 1890, Hedda Gabler unfolds in a villa in Christiania (what’s now Oslo), Norway, roughly contemporaneous with the time of its writing. Within this interior world, a single home’s entertaining space, the forces of Norwegian society feel just beyond the walls. The home was considered a woman’s sphere, and their movements strictly regulated and surveilled at this time. Women were legally considered minors in Norway until 1888, just two years before Ibsen wrote Hedda Gabler. It wasn’t until 1890, the year of this play’s conception, that married women could own private property. Even walking alone as a woman was considered strange during the day and scandalous at night. Spending any time alone with a man who wasn’t your husband was a serious breach of propriety.
Women’s lives were narrowed by a lack of agency. Add to this Christiania’s small-town character. In the 19th century, Norway exploded with growth. Between the years 1800 and 1900 its population tripled, making it perhaps the fastest growing European country in that period. Christiania went from 10,000 people at the beginning of the century to 230,000 at its end, growing from a small provincial outpost to a true capital city.
But Christiania’s character did not evolve at the same pace as its population. As a new bourgeois class arose over the century, small-town surveillance remained the modus vivendi even as the city expanded. Kirsten
Seaver, in her introduction to The District Governor’s Daughters by Camilla Collette (the radical feminist novelist and friend of Ibsen), describes Norway’s capital in the latter half of the 19th century as a place where “people know a great deal about each other, believe themselves entitled to knowing even more and feel practically honor-bound to comment upon each other’s lives and behavior…. In that kind of social climate, the fear of such comments may in a very real way govern people’s lives.”
Even as technology surveils us today as nosy neighbors incessantly watched families like the Tesmans, it’s difficult for us to wrap our minds around what it must have been like to exist as a woman in middle-class, 19th-century Norway. It’s important to remember that through the window someone may be watching you, waiting to report what you’ve done. As you walk down the street, your whereabouts spread around town like wildfire. It’s a tinderbox, with the community looking for any small spark to ignite scandal.
EYES
Anna Rogstad is the first woman to teach at a public secondary school.
1882 Norwegian Association for Women’s Rights (Norsk Kvinnesaksforening) is established, with the goal of furthering legal rights, suffrage, and education.
1884
Unmarried wealthy women are allowed to vote in local elections. Married women still cannot.
1890
Married women are granted the right to own their own property. Ibsen writes Hedda Gabler, which will premier in Munich in 1891.
1898
All male citizens are granted suffrage; women are still not allowed to vote in national elections.
A CENTURY OF WOMEN’S RIGHTS IN
1900
Fernanda Nissen, theater critic, political activist, and fan of Ibsen, becomes the first female member of a political party’s national committee.
1913 All women are granted suffrage in Norway.
A MAN’S UNIVERISTY
Fredrik Carl Mülertz Størmer (1874 –1957) was a Norwegian mathematician best known for his enormous contributions towards the calculation of π. He was a student at the Royal Frederick University in Christiania during the 1890s, where he took a series of remarkable photographs. Disguising a large camera in a suit jacket, Størmer discreetly captured hundreds of images around town. He documented the quotidian outdoor life of the Norwegian city in a completely novel way, perhaps one of the first “candid cams.”
In 1814, the Norwegian Constitution established a new Kingdom of Norway, separating from the Kingdom of Denmark-Norway and joining the Swedes as a United Kingdom. One of the many changes to Norway was the removal of hereditary status for aristocrats, which was later expanded upon in an 1821 law that abolished all noble rights and privileges except for the King’s. It was a sea change in the makeup of Norwegian society. Suddenly, there was a missing upper class, and with its disappearance, some smelled opportunity. In the wake of this mix-up, an
expanding class of bourgeois capitalists filled this gap. Even more particularly, a university class of sorts emerged—coming from upper middle-class backgrounds to the nation’s sole university: Royal Frederick University in Christiania. It became the hub for elite society in 19th-century Norway. Each department of the university had only one full-time professor, a lifelong appointment given by the King. With a professorship came the elevated status of embedsmann, that of a high civil servant. A professorship meant status and stability, and it opened the opportunity for a better life for those without an inheritance.
Competition for these positions was fierce, with a job opening
potentially coming around once in a lifetime. The university became both a playground of laissez-faire capitalist competition and a kind of a pseudo-aristocracy, for those lucky enough to succeed. University subjects became more specialized, narrower in their approach to expand the relatively new country’s standing in the world. In his study of 19thcentury Northern European society The Protestant Ethic and the Spirit of Capitalism, Max Weber describes a shift from open and interested intellectuals to “specialists without spirit, sensualists without heart.” We can see this in Hedda Gabler with the difference between Lovborg and Tesman, between the Romantic and the specialist. The university is a site of power, possibility, and protection. Something Tesman has placed his— and his new family’s—bet on. Størmer’s photographs afford us a view into the life of the university
in Norway. We get a glimpse into this burgeoning academic society, a view that differs from the stiff portraiture of the day. But even in the smiles of Størmer’s unwitting subjects there’s a sense of momentum, of moving forward with a goal. Eyes are often set forward or down, focused on something in the distance. The streets seem conspicuously new and relatively empty; this is the start of a new modern era for Norway. This modern Norway is the place in which Tesman must compete for his future and secure it as a professor. House, security, and livelihood are all on the line. Failure isn’t an option.
—TH
CAST in alphabetical order
Biographies are submitted by the artists and edited for common house style by Yale Rep.
Austin Durant* (Judge Brack) is happy to return to Yale Rep, where he previously appeared in Assassins, American Night: The Battle of Juan José, Death of a Salesman, Hamlet, and Passion Play. His other credits include Moulin Rouge! The Musical, You Can’t Take It With You (Broadway); War (LCT3); War Horse, Macbeth (Lincoln Center Theater); Much Ado About Nothing, A Midsummer Night’s Dream (The Public Theater); Anna Christie, The Comedy of Errors (The Old Globe); A Doctor in Spite of Himself (Intiman Theater); Nathan the Wise (Classic Stage Company); Galas (Little Island); Mysterious Circumstances (Geffen Playhouse); The Illusion, One Flew Over the Cuckoo’s Nest, Oklahoma! (Berkshire Theatre Group). He has also appeared on the television programs Succession, Nurse Jackie, Person of Interest, and Elementary. He received his B.A. from Temple University and his M.F.A. from David Geffen School of Drama. Austin was a 2012 Leonore Annenberg Fellow.
Marianna Gailus* (Mrs. Hedda Tesman) recently performed the one-person play VANYA (adapted from Chekhov by Simon Stephens) as standby for Andrew Scott. Broadway: Patriots (Katya/Compromised Journalist). OffBroadway: cityscrape (Good Apples
Collective). Regional: Lizzy Bennet in Pride and Prejudice (Cleveland Playhouse). Juilliard: Indecent (Halina), Three Sisters (Masha), All’s Well That Ends Well (Parolles). Television: Law & Order. Recipient of the Laura Pels Prize in Acting for outstanding achievement. B.A., history, Yale College; M.F.A., Juilliard Group 51. She also studied maritime and global history at Pembroke College, Cambridge, UK. Profound thanks to James Bundy, Yale Repertory Theatre, and Henrik Ibsen.
Felicity Jones
Latta* (Miss Juliane Tesman) Broadway: Metamorphoses. Broadway Tour: The Curious Incident of the Dog in the NightTime. Off Broadway: The Captain’s Tiger with Athol Fugard (MTC), Measure for Measure (NY Shakespeare Festival), As You Like It (The Acting Company). Regional: ACT, Berkeley Rep, Centerstage, Geva, Goodman, Hartford Stage, Huntington, La Jolla Playhouse, McCarter, Seattle Repertory, The Old Globe, Westport Country Playhouse, Yale Rep. Artistic Associate with Theatre de la Jeune Lune: 1985–95. Associate Director at Lattawork Productions: ME PLURIBUS UNUM. Film and Television: Signs, Julie & Julia, The Blacklist, The Carrie Diaries, Wonderland, Deadline, Ed, and Law & Order. She is a 2014 Lunt-Fontanne Fellow.
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
Stephanie Machado* (Mrs.Thea Elvsted) is thrilled to be returning to Yale Rep, where she previously appeared in An Enemy of the People. Recent credits: Gods Untitled (Playwrights Horizons, New Works Lab); Bartolomé de las Casas Ruins My Pool (The Public, New Work Series); Laughs in Spanish (Hartford Stage, Denver Center); Two Sisters and a Piano (Miami New Drama); Sabina (Portland Stage); The Gradient (Repertory Theatre of St. Louis); Measure for Measure (Actors Theater/ Fiasco Theater); Indecent, Assassins understudy, Yale Rep). Educational: Passion, Amy and the Orphans, The Winter’s Tale, Bulgaria! Revolt!, Blood Wedding, and A Midsummer Night’s Dream (David Geffen School of Drama). Television: Evil (CBS). She received her B.F.A. from SMU, and her M.F.A. from David Geffen School of Drama (Jerome L. Green Fellow, Oliver Thorndike Award).
Max Gordon Moore* (Jorgen Tesman) is thrilled to be returning to the Yale Rep after appearing in Indecent, The Caucasian Chalk Circle, and Arcadia
His appearances on Broadway include Elton John’s Tammy Faye, The Nap, Saint Joan (MTC); Indecent, and Relatively Speaking. Off-Broadway appearances include The Trees (Playwrights Horizons); The Golden Shield, Man From Nebraska (Second Stage); Love Love Love (Studio
Theatre); Describe the Night (Atlantic Theater); Coriolanus (The Public Theater); The Master Builder (BAM); Mothers (the Playwrights Realm); Man and Superman, and It’s a Wonderful Life (Irish Rep). Television and film appearances include New Amsterdam, East New York, Here Today, Succession, NCIS: New Orleans, Instinct, Madam Secretary, and The Good Wife. Moore is a graduate of Sarah Lawrence College and David Geffen School of Drama.
Mary Lou Rosato* (Berte) Broadway: Once Upon a Mattress, The Suicide, The School for Scandal, The Inspector General. Off-Broadway: Henry V, The Skin of Our Teeth (Theatre for a New Audience); The Government Inspector (Red Bull); The Misanthrope, The Winter’s Tale (Classic Stage Company); King Philip’s Head Is Still on That Pike Just Down the Road (Clubbed Thumb). The Acting Company (seven seasons): The School for Scandal (Drama Desk Award), The Robber Bridegroom (Drama Desk nomination), The Cradle Will Rock (Off-Broadway/Old Vic, London).
Regional: American Repertory Theater, Guthrie Theater, Old Globe (Summer 2025), Mark Taper Forum, Shakespeare Theatre, South Coast Rep, McCarter, Yale Rep, St. Nicholas, Chicago (Jeff Awards: The Primary English Class, The Curse of an Aching Heart). Television/ film: Warehouse 13, Law & Order: SVU, Titus, Caroline in the City, Two Bits, Quiz Show, The Hudsucker Proxy, The Wedding Banquet, Illuminata, Spike of Bensonhurst. Mary Lou is a lecturer
in acting at David Geffen School of Drama, and has taught at CalArts (CoHead, B.F.A. acting program), Tisch at NYU, Stella Adler, and BADA in Oxford, England. Her directing credits include As You Like It (Juilliard), Henry V (TAC), The Beaux’ Stratagem (Pearl Theater), Richard II (Creative Pulse, LA). Member AEA, SAG-AFTRA, SDC. Founding Member of The Acting Company. Education: Juilliard Drama (Group 1).
James Udom* (Eilert Lovborg) is thrilled to be returning home to the Yale Rep stage in Hedda Gabler. OffBroadway: Henry IV (Theatre for a New Audience), The Rolling Stone (Lincoln Center Theater), The Revolving Cycles Truly and Steadily Roll’d (The Playwrights Realm), Mies Julie (Classic Stage Company), Macbeth (The Public Theater), The Winter’s Tale (Pearl Theatre Company), Tamburlaine (Theatre for a New Audience). Regional: Primary Trust (La Jolla Playhouse); The Taming of The Shrew (The Old Globe); Father Comes Home From the Wars, Parts 1, 2 & 3 (Yale Rep and American Conservatory Theatre, San Francisco Bay Area Critics Circle Award for Best Actor); Julius Caesar (Shakespeare and Company); Romeo and Juliet (Elm Shakespeare Company); Of Mice and Men, King Lear (Theatre Company at Hubbard Hall); Twelfth Night, The Odyssey (WE
Players); among many others. Film and television: Chief of War, Echo 3 (Apple TV); The Accused (Fox/Hulu); The Tragedy of Macbeth (A24); Murder City (Village Roadshow Pictures); Judas and the Black Messiah (Warner Bros.); Crown Heights (Amazon Studios); Chicago PD, Law and Order: SVU (NBC); Evil (CBS). M.F.A., David Geffen School of Drama (Herschel Williams Prize). James is the recipient of the 2017 Princess Grace Award for Acting (Grace Levine Theatre Award).
UNDERSTUDIES
Jack Kelley (understudy for Jorgen Tesman) is a secondyear actor at David Geffen School of Drama and is thrilled to be part of this production. He received his B.F.A. in acting from Texas State University in 2024.
Rebecca Rivera (understudy for Mrs. Thea Elvsted) is a second-year M.F.A. acting candidate at David Geffen School of Drama, where her credits include Three Sisters and Silence/The Village. She was born and raised in Brooklyn, New York. She would like to thank her parents and sisters for their fierce and endless love and support.
Erik Manuel Robles (understudy for Eilert Lovborg) is a proud Afro-Latino storyteller, born and raised in Providence, Rhode Island, currently in his third-year as an M.F.A. candidate at David Geffen School of Drama. Recent credits: A Doll’s House, Kilele, The Care & Keeping of You Pages 7677, rent free (Geffen School); Much Ado About Nothing (Commonwealth Shakespeare); Sweat, A Midsummer Night’s Dream, Ironbound (Gamm Theatre); Burning Patience (Martha’s Vineyard Playhouse). “Bienaventurado el que sabe que compartir un dolor es dividirlo y compartir una alegría es multiplicarla. Bienaventurado este lugar y este momento, amigo mío, porque la vida es aquí y ahora y contigo.” —Facundo Cabral
Emma Steiner (understudy for Mrs. Hedda Tesman) is a third-year actor at David Geffen School of Drama, where she has been seen in Three Sisters, Charity, Kilele, The Day the Butcher Shop Closed, A Doll’s House, and Pearl’s Beauty Salon. In 2021, she graduated with a B.F.A. in acting from the University of Michigan. Big, big love to her family and friends.
Grace Wissink (understudy for Miss Juliane Tesman and Berte) is a second-year actor at David Geffen School of Drama, where her credits include Silence/
The Village. She received her B.A. in dramatic art from the University of North Carolina at Chapel Hill.
Mark Yarde (understudy for Judge Brack) is a second-year actor at David Geffen School of Drama, where he was recently seen in Three Sisters You may recognize him from his work at Yale Cabaret, Is this Mom? and it’s not you, it’s the end of the world. He is excited to be part of this cast and team.
CREATIVE TEAM
Narda E. Alcorn* she/her (Stage Manager) is Chair of the Stage Management program and Professor in the Practice at David Geffen School of Drama. For Yale Repertory Theatre, Narda has managed August Wilson’s Radio Golf and Antigone in New York. Broadway credits include Othello, Mary Jane, Choir Boy, The Iceman Cometh, four August Wilson premieres, two August Wilson revivals, two revivals of A Raisin in the Sun, and a decade with The Lion King. Narda has worked as a cultural facilitator for several shows, including the Broadway productions of Fat Ham and Suffs. She is co-author of Stage Management Theory as a Guide to Practice: Cultivating a Creative Approach.
Matthew Armentrout (Hair Designer). Broadway: Redwood, A Wonderful World, The Mother Play, Paradise Square (Drama Desk nominee), Birthday Candles, Flying Over Sunset, The Sound Inside, Bernhardt/Hamlet. Off-Broadway: The
CREATIVE TEAM
in alphabetical order
Last Bimbo of the Apocalypse (The New Group); The Gardens of Anuncia (Lincoln Center Theater); Dear World (NYCC Encores!); Suffs, The Visitor (The Public); Merrily We Roll Along (Roundabout); Othello (NY Stage and Film). National Tour: Jitney. Regional: The Untitled Unauthorized Hunter S. Thompson Musical (Signature Theatre); The Inspector, Edward Albee’s Who’s Afraid of Virginia Woolf? (Yale Rep); 3 Summers of Lincoln (La Jolla Playhouse); Midnight in The Garden of Good and Evil (The Goodman Theatre); Gatsby (A.R.T.); A Transparent Musical (Center Theatre Group); Ava: The Secret Conversations (Geffen Playhouse); Bliss! (The 5th Avenue).
Television: The Marvelous Mrs Maisel (Emmy Nominee).
Jessie Baldinger (Scenic Designer) is a third-year M.F.A. candidate at David Geffen School of Drama. Select previous credits include Metamorphoses (the Geffen School), Iolanta (Yale Opera), Pride of Doves (Yale Cabaret), As You Like It (Nashville Shakespeare Festival), Homofermenters (Ars Nova ANT Fest), and assistant set designer on JOB and I Need That (Broadway). Baldinger grew up in West Palm Beach, Florida, and is a graduate of Northwestern University.
Emilee Biles (Sound Designer) is a multi-instrumentalist, songwriter, and engineer in her third year at David Geffen School of Drama, where she has designed Sort, Ain’t No Mo’, The Tragedy of Coriolanus, and many shows at Yale Cabaret. Her debut musical-in-progress, rye savior, was presented at Yale Summer Cabaret Season 51: Petri Dish. Select credits
include Cost of Living (Broadway, Assistant Sound Design); Spunk (Associate Sound Design), The Salvagers (Assistant Sound Design) at Yale Rep; Into the Woods (Dallas Theater Center, Associate Sound Design); The Manic Monologues (WaterTower Theatre); The Play that Goes Wrong (Stage West); The Elephant Man (Theatre 3). Studio: letters to nowhere EP by e.vangeline (Recording Artist & Producer). @emilee.party
James Bundy (Director) has served as Elizabeth Parker Ware Dean of David Geffen School of Drama at Yale and Artistic Director of Yale Repertory Theatre since 2002. He teaches in the Acting and Directing programs at the School and in the Theater, Dance, and Performance Studies program at Yale College. During his tenure, Yale Rep has produced more than thirty world, American, and regional premieres, ten of which have been honored by the Connecticut Critics Circle as Best Production of the year and two of which have been Pulitzer Prize finalists. Through WILL POWER!, an educational program initiated in 2004, Yale Rep has provided low- to no-cost theater tickets and classroom visits to thousands of high school students from Greater New Haven. The Binger Center for New Theatre, founded in 2008, has enabled the theatre to commission more than 75 artists to create new work. James has directed productions at the Mark Taper Forum, Theater for a New Audience, Oregon Shakespeare Festival, Great Lakes Theater Festival, The Acting Company, California Shakespeare Festival, Alabama Shakespeare Festival, and
The Juilliard School Drama Division. He served from 2007-13 on the board of directors of Theatre Communications Group. 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. James is a graduate of Harvard College and David Geffen School of Drama; he also trained at the London Academy of Music and Dramatic Art.
Calleri Jensen Davis (Casting Directors) is a creative casting partnership among James Calleri, Erica Jensen, and Paul Davis of over 20 years. They began their collaboration with Yale Rep in 2023 with Mojada: A Medea in Los Angeles and the ripple, the wave that carried me home. Broadway credits: The Piano Lesson, Topdog/ Underdog, for colored girls..., Thoughts of a Colored Man, Burn This, Fool for Love, The Elephant Man, Hedwig and the Angry Inch, Of Mice and Men, Venus in Fur, A Raisin in the Sun, 33 Variations Television: Love Life, Queens, Dickinson, and The Path, to name a few.
Payton Gunner she/her (Assistant Stage Manager) is from Atlanta, Georgia, and is a second-year M.F.A. candidate at David Geffen School of Drama, where her credits include The Care and Keeping of You Pages 76-77, The Tragedy of Coriolanus, and Silence/ The Village. Other credits include The Complete Works of William Shakespeare (abridged) (The Shakespeare Theater of New Jersey); The Pickleball Wars (Wellfleet Harbor Actors Theater); X: The Life and Times of Malcolm X (Odyssey Opera). B.A., Brandeis University. Payton sends her love and gratitude to her family and friends.
Timothy Hartel (Production Dramaturg) is a second-year M.F.A. candidate in dramaturgy and dramatic criticism at David Geffen School of Drama and a managing editor for Theater magazine. Before coming to Yale, Hartel worked for several years in the performing arts and film department of the Massachusetts Museum of Contemporary Art, where he was awarded an Andrew W. Mellon Fellowship. As a theater artist, researcher, and curator, Hartel is particularly interested in questions around modernity, experimentation, and memory. He holds a B.A. in theater from Hamilton College.
Steph Lo (Technical Director), from Hong Kong and based in Taipei, is a technical director and lighting designer whose work merges technical innovation with poetic light. They are completing an M.F.A. in technical design and production at David Geffen School of Drama, after earning an M.F.A. in lighting design from Taipei National University of the Arts in 2020. Their technical direction work includes We TAIWAN—Telling Tent (Expo 2025, Osaka), Taipei Lantern Festival’s Main Lantern “TAIPEI 40” spaceship, and “Cyborg Eros” by Anarchy Dance Theater. In 2022, Steph Lo and collaborator Cathy Ho won First Place in Technical Invention Prize (TIP), and their designs Resonance and The Bacchae were finalists for Emerging Lighting Design at World Stage Design.
Larry Ortiz (Lighting Designer) is a third-year M.F.A. candidate at David Geffen School of Drama, originally from El Paso, Texas. Select lighting design credits include La muerte y la doncella, La pasion segun antigona perez
CREATIVE TEAM
in alphabetical order
(Repertorio Español, Off-Broadway); Sort, Kilele, A Midsummer Night’s Dream (the Geffen School); Lepke in the Night, H.E.A.T.T. (Connecticut College); Can the Peruvian Speak?, Witch (Yale Cabaret); Let It Be—A Beatles Musical, Vanya and Sonia and Masha and Spike (Okoboji Summer Theatre). Larry Ortiz graduated from The University of Texas at El Paso with a B.F.A. in theater.
Caileigh Potter she/her (Assistant Stage Manager) is a third-year M.F. A. candidate at David Geffen School of Drama. She holds a B.A. in theater and a minor in biology from Florida State University. Select stage management credits include The Inspector (Yale Rep); the Carlotta Festival, The Care and Keeping of You Pages 76-77, A Midsummer Night’s Dream, Cleansed, The Misanthrope (Geffen School); Measure for Measure, Suor Angelica/ Gianni Schicchi, New Dances 2022 (The Juilliard School); Marisol, Hairspray, Pinkalicious the Musical (Florida State University). Caileigh is also a 2023 graduate of The Juilliard School Stage Management Apprenticeship Program. She would like to thank her family and friends for their endless love and support!
Lyle Laize Qin he/him (Costume Designer) is a theater designer from China, whose work explores the intersection of history and contemporary storytelling, blending classical silhouettes with modern textures and cultural references. With experience across theater, television, fashion, and media he brings a cross-cultural and cross-disciplinary approach to design. He holds a B.F.A. in environmental design (fashion and interior design) from the Sino-UK
program between Donghua University and the University of Edinburgh and is currently a third-year M.F.A. candidate at David Geffen School of Drama. His credits include Metamorphoses, Macbeth (the Geffen School); BAKAS (Yale Cabaret); and The Mailroom (New Haven Off-Broadway Theater), with assistant and collaborative credits on Fucking A (the Geffen School), Escaped Alone (Yale Rep), and Summer Refuge (television, assistant Art Director). Recipient of the 2024 Jay and Rhonda Keene Scholarship for Costume Design.
Kelsey Rainwater (Fight and Intimacy Director) is an intimacy and fight director, and actress based out of the ancestral lands of the Quinnipiac people. Rainwater’s recent work was seen in The Last Five Years on Broadway and Saturday Church at NYTW. Some of her other credits include Liberation at Roundabout, and Hell’s Kitchen on Broadway; Walden at Second Stage; Hot Wing King at Hartford Stage; In the Southern Breeze, Measure for Measure, Jordans, Manahatta, and Suzan-Lori Parks’s Sally and Tom and White Noise at The Public Theater; Blues for an Alabama Sky with the Keen Company; Notes on Killing..., The Inspector, Wish You Were Here, Between Two Knees, Edward Albee’s Who’s Afraid of Virginia Woolf?, Mojada: A Medea in Los Angeles, and the ripple, the wave that carried me home at Yale Rep. Film and television: Baby Ruby, The Green Veil. She is a Lecturer in acting at David Geffen School of Drama, where she co-teaches stage combat and intimacy, and is a Resident Fight and Intimacy Director for Yale Rep.
Paul Walsh (Translator) Professor in the Practice of Dramaturgy and Dramatic Criticism at David Geffen School of Drama, Paul Walsh has worked as dramaturg, translator, and co-author at theater companies across the country, including nine years as dramaturg at the American Conservatory Theater in San Francisco. Six of his translations of plays by Henrik Ibsen (A Doll’s House, Ghosts, An Enemy of the People, Hedda Gabler, The Master Builder, and John Gabriel Borkman) have been produced at such theaters as Yale Repertory Theatre, American Conservatory Theater, Seattle Repertory Theatre, the Williamstown Theatre Festival, and the Stratford Festival. With Theatre de la Jeune Lune in Minneapolis, he collaborated on award-winning productions such as Children of Paradise: Shooting a Dream, 1789, Don Juan Giovanni, Germinal, and The Hunchback of Notre Dame. Walsh received a Ph.D. from the Graduate Centre for the Study of Drama at the University of Toronto.
Walton Wilson he/him (Vocal and Dialect Coach) is a member of the Acting faculty at David Geffen School of Drama at Yale. He was trained and designated as a voice teacher by Kristin Linklater and was later trained and certified as an associate teacher by Catherine Fitzmaurice. His ongoing studies include working with voice teachers such as Richard Armstrong, Andrea Haring, Meredith Monk, Natsuko Ohama, Patsy Rodenburg, and members of the Roy Hart Theatre. As a voice and dialect coach, his New York credits include The Violet Hour and Golden Child on Broadway as well as the world premiere productions of The
Laramie Project, The Laramie Project: 10 Years Later; and Endangered Species Regional credits include serving as a voice and dialect coach on productions at Actors Theatre of Louisville, American Repertory Theater, Berkshire Theatre Group, Dorset Theatre Festival, Double Edge Theatre, Long Wharf Theatre, McCarter Theatre, Shakespeare & Company, Swine Palace Theatre, and Williamstown Theatre Festival. At Yale Rep, he has served as voice and dialect coach for Nikolai Gogol’s The Inspector, Edward Albee’s Who’s Afraid of Virginia Woolf?, 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.
Henrik Ibsen (1828-1906), Norwegian playwright and theatre director who is often considered the father of modern European drama, continues to have a rich life on global stages. While his early works were largely ignored, in the 1870s he began to gain recognition for his plays including A Doll’s House (1879), Ghosts (1881), and Hedda Gabler (1890), which were groundbreaking in their realistic portrayal of controversial societal issues. Yale Rep has produced Ibsen seven times in its history including, most recently, An Enemy of the People in 2017 and The Master Builder in 2009.
FOR THIS PRODUCTION
artistic
Assistant Director
Juliana Morales Carreño
Assistant Scenic
Designer
Wenjin Zhang
Assistant Costume
Designer
Zhimeng Liu
Assistant Lighting
Designer
Richard Lee
Associate Sound
Designer
Jinling Duan 段珒苓
Piano Consultant and Recording Artist
Leanne Jin
Assistant Sound Designer and Engineer
CeCe Smith
Millinery
Nicole Brooks Sanwandee
production
Associate Production Manager
Shannon Dodson
Assistant Technical Directors
Steven Blasberg
Jacob DeSousa
Kai Hancock
Assistant Properties Manager
Allie Posner
Production Electrician
Chloe Waters
Wig Supervisor
Chynah Gayton
Wig Supervisor Sub
KT Farmer
Draper Carmel Dundon
Run Crew
Zendell Addai, Lexi Ashraf, Hiếu
Ngọc Bùi, Surrey Houlker, Destyne R. Miller, Claire Young
Run Crew Swings
Constant Dzah, Jonathan Fong 馮子睿
administration
Associate Managing Director
Victoria McNaughton
Assistant Managing Director
Kay Nilest
Management Assistants
Jenn London Quinn O’Connor
Rhayna Poulin
Company Manager
Gaby Rodriguez
Assistant Company Manager
Roberto Di Donato
House Managers
Ebonee Johnson
Kiara Rivera
Production Photographer
Joan Marcus
Poster Art and Design
Paul Evan Jeffrey/Passage Design
Cover Photo of Marianna Gailus
Bryan Berbella
special thanks
Melissa Barton, Rana Bates, Nora Bundy, Marjorie Lemmon, James and Julie Mountcastle, Michele Sammarco and McCarter Theatre Center, Mariya Sudarska and A.R.T., Anne Tofflemire
SLATE SCHOOL
Upper School (Grades 7 - 12)
December 10 at 9:30 am
January 7 at 9:30 am
Lower School (Grades K - 6)
December 17 at 9:30 am January 14 at 9:30 am
Yale Repertory Theatre and David Geffen School of Drama
Artistic Director/ Elizabeth Parker Ware Dean
James Bundy
Managing Director/ Associate Dean
Florie Seery
Associate Artistic Director, Director of New Play Programs/Associate Dean
Chantal Rodriguez
General Manager/ Assistant Dean
Carla L. Jackson
Assistant Dean of Student Life
Nancy Yao
Academic Programs
Chair, Acting Program
Tamilla Woodard
Associate Chair, Acting Program
Grace Zandarski
Co-Chair, Design Program and Head of Set Design Concentration
Riccardo Hernández
Co-Chair, Design Program and Head of Costume Design Concentration
Toni-Leslie James
Head of Sound Design Concentration
Jill BC Du Boff
Head of Projection Design Concentration
Wendall K. Harrington
Head of Lighting Design Concentration
Donald Holder
Chair, Directing Program
Liz Diamond
Associate Chair, Directing Program
Yura Kordonsky
Chair, Dramaturgy and Dramatic Criticism Program
Catherine Sheehy
Associate Chair, Dramaturgy and Dramatic Criticism Program
Kimberly Jannarone
Co-Chairs, Playwriting Program
Anne Erbe
Marcus Gardley
Chair, Stage Management Program
Narda E. Alcorn
Associate Chair, Stage Management Program
James Mountcastle
Chair, Technical Design and Production Program
Shaminda Amarakoon
Associate Chair, Technical Design and Production Program
Jennifer McClure
Chair, Theater Management Program
Joshua Borenstein
ARTISTIC
Yale Rep
Resident Artists
Playwright in Residence
Tarell Alvin McCraney
Resident Directors
Lileana Blain-Cruz
Liz Diamond
Tamilla Woodard
Dramaturgy Advisor
Amy Boratko
Resident Dramaturg
Catherine Sheehy
Set Design Advisor
Riccardo Hernández
Resident Set Designer
Michael Yeargan
Costume Design Advisors
Oana Botez
Ilona Somogyi
Resident Costume Designer
Toni-Leslie James
Lighting Design Advisors
Alan C. Edwards
Donald Holder
Projection Design Advisor
Shawn Lovell-Boyle
Sound Design Advisor
Jill BC Du Boff
Voice and Text Advisor
Grace Zandarski
Resident Fight and Intimacy Directors
Kelsey Rainwater
Michael Rossmy
Stage Management Advisor
Narda E. Alcorn
Associate Artists 52nd Street Project, Kama Ginkas, Mark Lamos, MTYZ
Theatre/Moscow New Generation Theatre, Bill Rauch, Sarah Ruhl, Henrietta Yanovskaya
Artistic Administration
Production Stage Manager
James Mountcastle
Yale Rep Senior Artistic Producer
Amy Boratko
Yale Rep Associate Producer
Kay Perdue Meadows
Yale Rep Artistic Fellow
Hannah Fennell Gellman
Yale Rep Artistic Coordinator
Mithra Seyedi
Yale Rep Casting
James Calleri
Erica Jensen
Paul Davis
Editor, Theater magazine
Tom Sellar
Managing Editor, Theater magazine
Gabrielle Hoyt
Senior Associate Editor, David Geffen School of Drama Alumni Magazine
Catherine Sheehy
Senior Executive Assistant to the Artistic Director/Dean
Grace O’Brien
Senior Administrative Assistant for Directing, Dramaturgy and Dramatic Criticism, Playwriting, Stage Management programs, and Theater magazine
Laurie Coppola
Senior Administrative Assistant, Design Program
Kate Begley Baker
Senior Administrative Assistant, Acting Program
Krista DeVellis
Library Services
Erin Carney
PRODUCTION
Production Management
Director of Production
Shaminda Amarakoon
Production Manager
Jonathan Reed
Production Manager for Studio Projects and Special Events
C. Nikki Mills
Senior Administrative Assistant to Production, Theater Safety, and the Technical Design and Production Program
Rachel Zwick
Scenery
Technical Director for Yale
Rep and Fall Protection Program Administrator
Neil Mulligan
Technical Directors for David Geffen School of Drama
Latiana “LT” Gourzong
Matt Welander (on leave, fall 2025)
Electro Mechanical Laboratory Supervisor
Eric Lin
Metal Shop Foreperson
Matt Gaffney
Wood Shop Foreperson
Ryan Gardner
Lead Carpenters
Doug Kester
Kat McCarthey
Sharon Reinhart
Abigail “Galleon” Richard
Carpenter
Joel Morain
Carpentry Interns
Kai Hancock
Red Wehrmann
Painting
Scenic Charge
Mikah Berky
Lead Scenic Artists
Lia Akkerhuis
Nathan Jasunas
Paint Intern
Michaela Meyer
Properties
Properties Supervisor
Jennifer McClure
Associate Properties Supervisor
Katie Pulling
Properties Craftsperson
Steve Lopez
Properties Associate
Zach Faber
Properties Stock Manager
Mark Dionne
Properties Interns
Lee Donegan
Susan Gibbs
Costumes
Costume Shop Manager
Christine Szczepanski
Senior Drapers
Susan Aziz
Clarissa Wylie Youngberg
Mary Zihal
Senior First Hands
Deborah Bloch
Patricia Van Horn
First Hand
Maria Teodosio
Costume Project Coordinator
Linda Kelley-Dodd
Costume Stock Manager
Jamie Farkas
Costume Technology Intern
Eli Oremland
Electrics
Lighting Supervisor
Donald W. Titus
Senior House Electricians
Price Foster
Linda-Cristal Young
Electricians
Ben Njus
Aspen Rogers
Alex Zinovenko
Electrics Interns
Toni Carton
Gabriel Landes
Sound
Sound Supervisor
Mike Backhaus
Lead Sound Engineer
Mariah Keener
Sound Interns
Jay Korter
Skylar Linker
Projections
Projection Supervisor
Anja Powell
Lead Projection Technician
Solomon Sheffield
Projection Interns
Naomi Rodriguez
Sarah Webb
Stage Operations
Stage Carpenter
Janet Cunningham
Lead Wardrobe Supervisor
Elizabeth Bolster
Lead Properties Runner
William Ordynowicz
Yale Repertory Theatre and David Geffen School of Drama
Light Board Programmer
Sabrina Idom
Lead Front of House
Mix Engineer
Keirsten Lamora
ADMINISTRATION
General Management
Associate Managing Directors
Joy (Xiaoyue) Chen
Victoria McNaughton
Kavya Shetty
Iyanna Huffington Whitney
Assistant Managing Director
Kay Nilest
Senior Administrative
Assistant to the Managing Director, General Manager, and Theater Management Program
Sarah Masotta
Interim Senior Administrative
Assistant to the Managing Director, General Manager, and Theater Management Program
Carolina Tandayamo
Management Assistants
Jenn London
Rhayna Poulin
Development & Alumni Affairs
Senior Director of Development and Alumni Affairs and Editor, David Geffen School of Drama Alumni Magazine
Deborah S. Berman
Deputy Director of Operations for Development and Alumni Affairs
Susan C. Clark
Senior Associate Director of Development and Alumni Affairs
Scott Bartelson
Associate Director of Development and Alumni Affairs
Claudia Campos
Assistant Director of Development and Alumni Affairs
Alesandra Reto Lopez
Alumni Affairs Officer and Senior Writer
Cayenne Douglass
Senior Administrative Assistant to Development and Alumni Affairs
Jennifer E. Alzona
Development and Alumni Affairs Assistant
Chanel Johnson
Finance, Human Resources, & Digital Technology
Director of Finance and Business Administration/Lead Administrator
Nicola Blake
Human Resources Business Partner
Trinh DiNoto
Manager, Staff and Faculty Affairs
Malaika Green El Hamel
Director of Theater and Information Technology
Eric Lin
Director, Yale Tessitura Consortium, and Web Technology
Janna J. Ellis
Manager, Business Operations
Martha O. Boateng
Business Office Analyst
Shainn Reaves
Financial Analyst
Juliana Norman
Web Technology Assistant
Kenneth Murray
Business Office Specialists
Moriah Clarke
Karem Orellana-Flores
Digital Technology Associates
Edison Dule
Garry Heyward
Database Application Consultants
Ben Silvert
Erich Bolton
Financial Aid, Admissions, and Student Services
Director of Financial Aid
Andre Massiah
Registrar/Admissions
Administrator
Ariel Yan
Non-Clinical Counselor
Krista Dobson
Senior Administrative
Assistant to Financial Aid and Registrar/Admissions
Administrator
Laura Torino
Marketing, Communications, & Audience Services
Director of Marketing
Daniel Cress
Director of Communications
Steven Padla
Senior Associate Director of Marketing and Communications
Caitlin Griffin
Associate Director of Marketing and Communications
Taylor Ybarra
Assistant Director of Marketing and Communications
Jazzmin Bonner
Senior Administrative
Assistant to Marketing and Communications
Mishelle Raza
Marketing Assistant
Quinn O’Connor
General Press Representative
Blake Zidell & Associates
Publications Manager and Program Designer
Marguerite Elliott
Director of Audience Services
Laura Kirk
Assistant Director of Audience Services
Shane Quinn
Subscriptions Coordinator
Tracy Baldini
Audience Services Associate
Molly Leona
Customer Service and Safety Officers
Teo Baldwin
Ralph Black, Jr.
Kevin Delaney
Box Office Assistants
Pilar Bylinsky, Emma Fusco, Mel Hornyak, Aaron Magloire, Diana
Shyshkova
Accessibility Assistants
Abigail Murphy
Prentiss Patrick-Carter
Ushers
Mia Bauer, Maura Bozeman, Alex Brooks, Logan Carr, Jackie Cook, Gerson Espinoza Campos, Kelvin Esselfie, Anna Forbes, Isaac Kozukhin, Nat Lopez, Kristin Loughry, Bonnie Moeller, Sarah Ramos-Gonzalez, Eric Regis, William Romain, Jonathan Singleton, Nicole Stack, Kane Trundle, Julia Weston, Larsson Youngberg
Theater Safety and Occupational Health
Director of Theater Safety and Occupational Health
Anna Glover
Assistant Director of Theater Safety
Kelly O’Loughlin
Associate Safety Advisors
Mara Bredovskis
Tamara Morris-Thompson
Nat King Taylor
OPERATIONS
Director of Facility Operations
Nadir Balan
Associate Director of Operations
Brandon Fuller
Interim Associate Director of Operations
Aleks Landolfi
Operations Assistant
Devon Reaves
Facilities Area Manager
Joey Adcock
Arts and Graduate Studies Superintendents
Jennifer Draughn
Francisco Eduardo Pimentel
Custodial Team Leaders
Andrew Mastriano
Sherry Stanley
Facility Stewards
Ronald Douglas
Marcia Riley
Custodians
Leo Torres, Sulema Hamilton, Rodney Heard, Jessica Hernandez, Cassandra Hobby, Wendy Jerez, Melloney Lucas, Shanna Ramos, Johnny Stanley, Jerome Sonia
Yale Repertory Theatre and David Geffen School of Drama are supported by the work of over 150 faculty members.
For a complete faculty listing by program and department, please visit drama.yale.edu/about-us
Yale Repertory Theatre operates under an agreement between the League of Resident Theatres (LORT) and Actors’ Equity Association (AEA), the Union of Professional Actors and Stage Managers in the United States.
The Scenic, Costume, Lighting, and Sound Designers in LORT are represented by United Artists Local USA-829, IATSE.
The Director is a member of the STAGE DIRECTORS AND CHOREOGRAPHERS SOCIETY, a national theatrical labor union.
HEDDA GABLER
EVENTS
SATURDAY, NOVEMBER 29 at 8PM
MONDAY, DECEMBER 1 at 8PM
Post-Show Discussion
Join us downstairs in the August Wilson Lounge following the performance for a conversation about the show with Yale Rep artistic staff.
WEDNESDAY, DECEMBER 10 at 1PM
Pre-Show Reception and Conversation
Please join us for refreshments downstairs in the August Wilson Lounge, where members of the creative team will hold a discussion about the play at 1:20PM.
SATURDAY, DECEMBER 13 at 2PM Talk Back
Join us after the performance for a conversation about the play and its themes with members of the company.
FRIDAY, DECEMBER 19 at 8PM
Spanish-Language Captioning
La presentación del 19 de diciembre será subtitulada en español. This performance will be open-captioned in Spanish.
All events are subject to change. Additional details at yalerep.org.
YOUTH PROGRAMS
WILL POWER! is Yale Rep’s annual educational initiative, designed to bring middle and high school students to see live theater. Since our 2003–04 season, WILL POWER! has served more than 20,000 Connecticut students and educators. This season we will offer programming centered on Zora Neale Hurston’s Spunk and Furlough’s Paradise by a.k. payne to New Haven Public Schools students and educators. In previous seasons, the program has included early school-time matinees, free or heavily subsidized tickets, study guides, and post-performance discussions with actors and members of the creative teams. WILL POWER! is committed to giving teachers curricular support through free workshops and professional development about the content and themes of the plays.
THE DWIGHT/EDGEWOOD PROJECT (D/EP)
The Dwight/Edgewood Project (D/EP) is a community outreach program of Yale Repertory Theatre and David Geffen School of Drama. Created in 1995 by theater management student Ricardo Morris (’97), D/EP pairs middle school students from New Haven schools with students from the Geffen School, who serve as mentors in an intensive four-week playwriting program.
Modeled after the 52nd Street Project, students learn the basics of Playmaking, spend a weekend away at a writing retreat to complete their plays, and return for a rehearsal and tech process. The process culminates in two evenings of fully produced performances open to the public. Through its values of community care, joy, curiosity, empowerment, and equity, D/EP has helped to develop over 200 original plays written by young people from the Dwight and Edgewood neighborhoods of New Haven.
In 2024, D/EP hosted a conference and reunion in celebration of the legacy of the D/EP Project Coordinator Emalie A. Mayo. In 2025, D/EP celebrated its 30th anniversary season.
Yale Rep’s youth programs are supported by The Robert and Mercedes Eichholz Foundation, NewAlliance Foundation, and the Esme Usdan Community Youth Fund
CREATED AND PERFORMED BY
JULIA MASLI
DIRECTED BY
January 20 to February 7
ACCESSIBILITY SERVICES
December 13 at 2PM
Touch Tour (at 1PM)
Prior to this performance, patrons who are blind or have low vision touch fabric samples, rehearsal props, and building materials to understand better what comprises the production design.
Audio Description
Pre-show description begins at 1:45PM
A live narration of the play’s action, sets, and costumes for patrons who are blind or have low vision.
December 13 at 8PM
American Sign Language
An ASL-interpreted performance for patrons who are deaf or have hearing loss.
December 20 at 2PM
Open Captioning
A digital display of the play’s dialogue as it’s spoken for patrons who are deaf or have hearing loss.
c2 is pleased to be the official Open Captioning Provider of Yale Rep.
Free listening devices, headsets, and neck loops, and sensory items as well as Braille and large print programs are available at the concierge desk in the theater lobby.
Yale Repertory Theatre gratefully acknowledges the Carol L. Sirot Foundation for underwriting the assistive listening systems in our theaters.
Plan Ahead!
Upcoming accessibility services for ha ha ha ha ha ha ha, created and performed by Julia Masli, directed by Kim Noble.
Audio Description January 31 at 2PM
ASL
January 31 at 8PM
Open Captioning February 7 at 2PM
For more information about our accessibility services or to provide feedback about your experience, contact Laura Kirk, Director of Audience Services: 203.432.1234 or laura.kirk@yale.edu.
ACCESSIBILITY TEAM
Victor Blanco (ASL Interpreter) is an ASL interpreter whose interest in theater began at the University of Virginia when he joined the First Year Players. Since then, he has combined his love for theater and American Sign Language by interpreting for a variety of theatrical performances ranging from An Irish Carol at the Keegan Theatre in Washington, DC to Hamilton at the Richard Rodgers Theatre in New York. Victor has also worked with Yale Rep on The Salvagers and he is thrilled to be back.
Michelle Banks (ASL Coach), a native of Washington, D.C., is an award-winning actress, writer, director, and producer. She is the Co-Founder and Artistic Director of Visionaries of the Creative Arts (VOCA). She is the 2022 recipient of the D.C. area Black Deaf Advocates Award for Outstanding Achievements in Theater for Deaf BIPOC Artists and the 2017 recipient of Gallaudet University’s Laurent Clerc Award for her contribution to theater. Acting credits include Girlfriends, Soul Food, Compensation (film), The C.A. Lyons Project (Alliance Theatre), Reflections of a Black Deaf Woman (one- woman show), and Big River (Mark Taper Forum, Ford Theater). Directing: Camellia For Camille (Deaf Spotlight’s Short Play Festival), Trash (JACK, IRT); ISM and ISM II (Atlas Performing Arts Center); and A Raisin in the Sun (Gallaudet University, Atlas Performing Arts Center). Michelle also served as Director of Artistic Sign Language (DASL) for The Music Man (Olney) and For Colored Girls...(Broadway).
Gracy Brown (Audio Describer) is a New Haven-based award-winning actor, director, and educator, has an extensive list of credits, including various roles at Elm Shakespeare Company, Long Wharf Theatre, Great Lakes Theater Festival, Edinburgh Fringe Festival, Cornerstone Theatre Company, Mark Taper Forum, and Collective Consciousness Theatre Company. Gracy is an alumna of Southern Connecticut State University, where she earned a B.A. in theater. She is a proud member of Actors’ Equity Association.
David Chu/c2inc-caption coalition (Open Captioner) is a 501(c)3 nonprofit consultant and the leading provider of professional Live Performance Captioning (sm) for theatrical and cultural presentations. c2 members hold the distinction of being the very first to caption live theater (the Paper Mill Playhouse, NJ), the first to debut on Broadway and Off-Broadway, and have introduced open captioning in prestigious theaters across the country and in London. Captioning in theater has gained momentum and acceptance by theatergoers since its debut in 1996. It addresses the needs of a far larger audience of hard of hearing and deaf people, which includes those who do not use sign language, are late deafened, not selfidentified with hearing loss, and those who simply might have missed a punch line.
Carla K. Mato (ASL Interpreter) is an experienced theatrical and legal ASL interpreter dedicated to connecting Deaf and hearing audiences through the shared experience of live performance. Her theatrical interpreting credits include A Comedy of Tenors, Ragtime, and I’m Not Rappaport at Paper Mill Playhouse in Millburn, New Jersey. A graduate of the Interpreting for the Theatre Institute, a collaboration between the Juilliard School and Theatre Development Fund (TDF), Carla is also an active performer and producer in community theater. She has appeared in Mary Poppins, Footloose, and The Little Mermaid with Wyckoff Y Arts, and has recently served as Executive Producer and performer for FLOW Follies, supporting scholarships for the Ramapo and Indian Hills Regional High Schools in Franklin Lakes, New Jersey.
Photo by Delvin Ortega
DAVID GEFFEN SCHOOL OF DRAMA BOARD
OF ADVISORS
Julie Turaj YC ’94, Chair
Jeremy Smith ’76, East Coast Vice Chair
John Badham ’63, YC ’61, West Coast Vice Chair
Nina Adams MS ’69, NUR ’77
Rudy Aragon LAW ’79
Amy Aquino ’86
Pun Bandhu ’01
John B. Beinecke YC ’69
Sonja Berggren Special Research Fellow ’13
Frances Black ’09
Carmine Boccuzzi YC ’90, LAW ’94
Lynne Bolton
Lois Chiles
Patricia Clarkson ’85
Edgar M. Cullman III ’02, YC ’97
Michael David ’68
Wendy Davies Special Research Fellow ‘21
Sasha Emerson ’84
Lily Fan YC ’01, LAW ’04
Terry Fitzpatrick ’83
Marc Flanagan ’70
Anita Pamintuan Fusco YC ’90
David Alan Grier ’81
Sally Horchow YC ’92
Ellen Iseman YC ’76
David G. Johnson YC ’78
Sarah Long ’92, YC ’85
Cathy MacNeil-Hollinger ’86
Brian Mann ’79
Drew McCoy
David Milch YC ’66
Jennifer Harrison Newman ’11
Richard Ostreicher ’79
Carol Ostrow ’80
Maulik Pancholy ’03
Daphne Rubin-Vega
Tracy Chutorian Semler YC ’86
Michael Sheehan ’76
Anna Deavere Smith HON ’14
Woody Taft YC ’92
Andrew Tisdale
Edward Trach ’58
Esme Usdan YC ’77
Courtney B. Vance ’86
Donald Ware YC ’71
Shana C. Waterman YC ’94, LAW ’00
Kim Williams
Henry Winkler ’70
Amanda Wallace Woods ’03
Thank you to the generous contributors to David Geffen School of Drama and Yale Repertory Theatre
LEADERSHIP SOCIETY
($50,000+)
Anand S. Ahuja and Sonam A. Kapoor
Americana Arts Foundation
Anonymous
Sallie Baldwin Bam
John B. Beinecke
Sonja Berggren and Patrick Seaver
Lois Chiles
Connecticut Department of Economic and Community Development
The Robert and Mercedes Eichholz Foundation
Estate of William J. Evans, Jr*
Anita Pamintuan Fusco and Dino Fusco
David Geffen Foundation
The Horace W. Goldsmith Foundation
Steve Grecco
Estate of Elizabeth Rhodes Holloway*
David G. Johnson
Sharon and Jim Lowe
Estate of Robert D. Mitchell*
Brian Ong
Talia Shire Schwartzman
Tracy Chutorian Semler
The Shubert Foundation
Stephen Timbers
Edward Trach
Julie Turaj and Rob Pohly
Esme Usdan
Donald R. Ware
GUARANTORS
($25,000–$49,999)
The Roy Cockrum Foundation
Wendy Davies
Sarah Long
Cathy MacNeil-Hollinger and Mark Hollinger
Neil Mazzella
The Sir Peter Shaffer
Charitable Foundation
Jeremy Smith
Woody Taft
BENEFACTORS
($10,000–$24,999)
Nina Adams and Moreson Kaplan
Rudy and Jeanne Aragon
Cornelia T. Bailey Foundation
Pun Bandhu
Ed Barlow
Carmine Boccuzzi and Bernard Lumpkin
Lynne and Roger Bolton
James and Deborah Burrows Foundation
Lily Fan
Ruth and Charles Grannick Jr. Fund at The Community Foundation for Greater New Haven
Mabel Burchard Fischer Grant Foundation
Burry Fredrik Foundation
Rolin Jones
Estate of Stephen R. Lawson*
Lucille Lortel Foundation
Tarell Alvin McCraney
Richard Ostreicher
Michael and Riki Sheehan
Carol L. Sirot
Trust for Mutual Understanding
PATRONS
($5,000–$9,999)
Eugene G. & Margaret M. Blackford Memorial Fund for the Blind, Bank of America, N.A.,Trustee
Santino Blumetti
Joan Channick
Michael S. David
Terry Fitzpatrick
Marcus Gardley
Howard Gilman Foundation
Sally Horchow
Tien-Tsung Ma
David and Leni Moore
Family Foundation
James Munson
Jason Najjoum
NewAlliance Foundation
Carol Ostrow
*deceased
PRODUCER’S CIRCLE
($2,500–$4,999)
Anonymous
John Badham
Nancy Bynum
Ian Calderon
Francis Carling
Bob and Priscilla Dannies
Deborah Freedman and Ben Ledbetter
Will Gaines
Fred Gorelick and Cheryl MacLachlan
Lane Heard
Ellen Iseman
JANA Foundation
Ann Judd and Bennett Pudlin
Fran Kumin
Rocco Landesman
Pam and Jeff Rank
Bill and Sharon Reynolds
Abby Roth and R. Lee Stump
Daphne Rubin-Vega and Thomas Costanzo
Rosalie Stemer and Stuart Feldman
Amanda Wallace Woods
Nancy Yao
DIRECTOR’S CIRCLE
($1,000–$2,499)
Bruce Altman and Darcy MCGraw
Debby Applegate and Bruce Tulgan
Paula Armbruster
John Lee Beatty
Karen BedrosianRichardson
Deborah S. Berman
Frances Black
Dorothy and Jim Bridgeman
Andrew Brolin
James Bundy and Anne Tofflemire
Anne and Guido Calabresi
Enrico Colantoni
Ramon Delgado
Deeksha Gaur
Melanie Ginter
Eric M. Glover
Betty and Joshua Goldberg
Naomi Grabel
Rob Greenberg
Barry and Maggie Grove
Mark Haber and Chiyo Moriuchi
William Halbert
Judy Hansen
Andy Hamingson
Jane Head
James Guerry Hood
Pam Jordan
Elizabeth Kaiden
The Ethel & Abe Lapides Foundation
Charles Letts
George Lindsay, Jr.
Jennifer Lindstrom
Linda Lorimer and Charley Ellis
Brian Mann
Ed Martenson
John McAndrew
Maulik Pancholy
F. Richard Pappas
Ben Sammler
Mark Schmitt and Holly Yeager
Florie Seery
Shekar Shetty
Slotznick Family Fund, a charitable fund of The Foundation for Enhancing Communities
Mark Stevens
Shepard and Marlene Stone
Anne Trites
Courtney B. Vance
Chris Wall, Daniel Schmitt, Henry Schmitt, and William Schmitt
Carolyn Seely Wiener
Kim Williams
PARTNERS
($500–$999)
Donna Alexander
Shaminda and Carole Amarakoon
Michael Barker and Heidi Hanson
Richard and Alice Baxter
Ashley Bishop
Josh Borenstein
Eleanor J. Burgess
Claudia Campos
Joy Carlin
The Leo J. & Celia Carlin Fund
Peter Chance
Sarah Bartlo Chaplin
Bill Conner
Bill Connington
Daniel Cooperman and Mariel Harris
Sean Cullen
Elwood and Catherine Davis
Kelvin Dinkins, Jr.
Caitlin Dutkiewicz
Sasha Emerson
Peter Entin
Jon and Karen Farley
LT Gourzong
Regina Guggenheim
The Raul Yanes and Sara Hazelwood Foundation
Alan Kibbe
Matthew H. Lewis
Eric Lin
Chih-Lung Liu
Ann and Bill Mesnard
Meg Miroshnik
Melissa Mizell
Chiyo Moriuchi
Merle and Arthur Nacht
Victoria Nolan and Clark Crolius
Barbara and William Nordhaus
Janet Oetinger
Arthur Oliner
Louise Perkins and Jeff Glans
Jeffrey Powell and Adalgisa Caccone
Alec Purves
Neil Qui
Faye and Asghar
Rastegar
Karen Bedrosian
Richardson
Chantal Rodriguez
Cynthia Santos-DeCure
James Sinclair and Sylvia
Van Sinderen
Matthew Sonnenfeld
Kyle Stamm
James Steerman
Neal Ann Stephens
Steven Strawbridge
David Sword
Tides Foundation
John Turturro and Katherine Borowitz
Emma Wang
Vera Wells
Robert Wildman
Walton Wilson
Steven Wolff
Judith and Guy Yale
Stephen Zuckerman
INVESTORS
($250–$499)
Narda E. Alcorn
Trent Anderson and Leandro Zaneti
Stephen and Judith August
Alexander Bagnall
Johannes Boeckmann
Susan Brady and Mark Loeffler
Tom Broecker
Donald and Mary Brown
Cathy and Steve Carlson
Aurélia Cohen
Claire A. Criscuolo
Caitlin Crombleholme
Jane Crum
Rick Davis
Liz Diamond
Laura Eckelman
Susan S. Ellis
Deborah and Henry Fernandez
Marsha Finley
Marc Flanagan
Adam Frank
David Freeman
Shelley Geballe
Jennifer Hershey
Bruce Katzman
Abby Kenigsberg
Alan Kibbe
Mitchell Kurtz
Irene Lewis
Katie Liberman and Eric Gershman
Silje Lier
Suzanne Cryer Luke and Greg Luke
Jonathan Marks*
Thomas G. Masse and James M. Perlotto, MD
Pamela and Donald Michaelis
Kathryn Milano
David Muse
Jennifer Harrison Newman
Stephen Newman in memory of Ruth Hunt
Newman
Bruce Payne and Jack Thomas
Michael Posnick
Jon and Sarah Reed
Steve Robman
Thank you to the generous contributors to David Geffen School
Nan Ross
Suzanne Sato
Kenneth Schlesinger
Paul Selfa
Sy Sussman
Matthew Tanico
Douglas Taylor
Katherine Touart
Richard Trousdell
Shana C. Waterman
Harold Wolpert
Yale-China Association
FRIENDS
($100–$249)
Melinda Agsten
Michael Albano
Alyssa Anderson-Kuntz
Michael Annand Anonymous
David Armstrong
William Armstrong
The Arts Council of Greater New Haven
Nancy and John Babington
Katalin Baltimore
Dani Barlow
Warren Bass
William and Donna Batsford
Elana Bildner
Mark Bly
Amy Brewer
Amy Bowers
Linda Broker
Arvin Brown
Stephen and Nancy Brown
Stephen Bundy
Michael Cadden
Kathryn Calnan
H. Lloyd Carbaugh
Sami Joan Casler
Kwan Chi Chan
Robert Channick
Cynthia Clair
Susan Clark
Ellen Cohen
Geoffrey Cohen
Leland Cole-Chu
Michael Connair
Ellen Cordes
Alama Cuervo
John Cunningham
Campbell Dalglish
Eric Dana
Sarah and Ted DeLong
Connie and Peter Dickinson
Derek DiGregorio
Kathleen Dimmick
Melinda DiVicino
Dennis Dorn
Laura Eckelman
Fran Egler
Robert Einenkel
Nancy Reeder
El Bouhali
Janna Ellis
David Epstein
Dustin Eshenroder
Frank and Ellen Estes
Femi Euba
Connie Evans
Michael Fain
Ann Farris
Mark Fitzpatrick
Sarah Fornia
Hugh Fortmiller
Richard Freeman
Richard Fuhrman
David Gainey
Don and Margery Galluzzi
Tobe Gerard
Barry Gladue
Martin and Cariole
Goldberg
Donna Golden
Melissa Goldman
Charles Grammer
Hannah Grannemann
Anne Gregerson
Michael Gross
John Guare
Annabel Guevara
Dr. James L. Hadler
Alexander Hammond
Ann Hanley
John Harnagel
Michael Haymes
Ethan Heard
Steve Hendrickson
Jeffrey Herrmann
Allison Hoffman
Christoper Higgins
Betsy Hoos
Nicholas Hormann
Kathleen Houle
David Howson
Melissa Huber
Evelyn Huffman
Charles Hughes
Derek Hunt
Jennifer Ito
Carla L. Jackson
Lee A. Jacobus
Tracey Jaeger
Chris Jaehnig
Eliot and Lois Jameson
Kimberly Jannarone
Elizabeth Johnson
Jean Jones
Martha Jurczak
Jay Keene
Barnet Kellman
Jim Kenny
Peter Young Hoon Kim
Natalie King
Lawrence Klein
George Klug
Glenn Knapp
Chloe Knight
Steve Koernig
David Kriebs
Susan Laity
Marie Landry and Peter Aronson
Martha Lidji Lazar
Gabriela Lee
Sheree Levine
Elizabeth Lewis
Malia Lewis
Erik Lier
Annie Lin
Fred Lindauer
Sam Linden
Jerry Lodynsky
Robert H. Long II
Judith Loughry
Everett Lunning
Nancy F. Lyon
Wendy MacLeod
Maite and ‘B’ito
Edwin Martin
Sarah Masotta
Maria E. Matasar-Padilla
Marya Mazor
Robert McCaw
Mary McCutcheon
Phyllis McGrath
James Meisner and Marilyn Lord
Jonathan Miller
Michele Millham
Lawrence Mirkin
Richard Mone
Sherry Mordecai
Frederick More
Michele Moriuchi
David Morgan
Leora Morris
Gwyneth Muller
Jan O’ Malley
Leah Ogawa
Jennifer B. Oliver
Richard Olson
Jacob G. Padrón
Joey Parnes
Lisa Rigsby Peterson
Michael Petrillo
Brenda Planck
Alan Plattus
William Purves
Sarah Rafferty
Mohamed A. Ramy
Michael Reiner
Deborah J. Reissman
Rachel Resnick
Lisa Richardson
Carolynn Richer
Felicia Riffelmacher
Joan Robbins
Katherine Roberts
Nathan Roberts
Peter S. Roberts
Lori Robishaw
Naomi Rogers
Erica Rooney
Miguel Rosadu
Robin Rose
Robert Rosenheck
Russ Rosensweig
Joseph Ross
Steven Saklad
Robert Sandberg
Sallie Sanders
Christopher Sanderson
Peggy Sasso
Arven Saunders
Joel Schechter
Rita Scheeler
Anne Schelling
Steven Schmidt
Jennifer Schwartz
Kathleen Scott
Alexander Scribner
Tom Sellar
Subrata K. Sen
Sandra Shaner
Jeremy Shapira
Catherine Sheehy
Kavya Shetty
of Drama and Yale Repertory Theatre
Graham Shiels
Gilbert and Ruth Small
James Smith
Teresa Snider-Stein
Helena L. Sokoloff
Suzanne Solensky and Jay Rozgonyi
Ilona K. Somogyi
Mikayla Stanley
Howard Steinman
Sandra Stein
John Stevens
Mark Sullivan
Jean and Yeshvant
Talati
Jane Savitt Tennen
Patrice Thomas
Patti Thorp
David F. Toser
David and Lisa Totman
Julie Trager
Russell L. Treyz
Shira Turner
Carrie Van Hallgren
Ariana Venturi
John Waldes
Jaylene Wallace
Paul Walsh
Erik Walstad
David Ward
Steven Waxler
Jonathan Wemette
Dr. Robert White
Alexandra Witchel
Christopher Yurkovsky and Deborah
McArthur
Liza Zenni
Yuhan Zhang
Gifts In Kind
Disney Theatrical Group
ETC Lighting
EMPLOYER MATCHING GIFTS
Ameriprise Financial
The Benevity Community Impact Fund
Covidien
The Prospect Hill Foundation
Gifts to the For Humanity campaign and David Geffen School of Drama New Facility Fund
Anonymous (3)
Nina Adams and Moreson Kaplan
Amy Aquino and Drew McCoy
Rudy Aragon
John Badham
Pun Bandhu
Frances and Ed Barlow
John B. Beinecke
Sonja Berggren and Patrick Seaver
Frances Black and Matthew Strauss
Carmine Boccuzzi and Bernard Lumpkin
Reginald Brown and Tiffeny Sanchez
James Bundy and Anne Tofflemire
Nancy Bynum
Lois Chiles
Michael David and Lauren Mitchell
Wendy Davies
Scott Delman
Michael Diamond* and Amy Miller
Estate of Nicholas Diggs*
Estate of Richard Diggs*
Sasha Emerson
Lily Fan
Terry Fitzpatrick
Barbara Franke
Anita Pamintuan Fusco and Dino Fusco
David Marshall Grant
Gilder Foundation
The Hastings and Barcone Trust
Lane Heard and Margaret Bauer
Cheryl Henson
Sally Horchow
Ellen Iseman
David G. Johnson
David H. Johnson
Rolin Jones
Jane Kaczmarek
James and Sharon Lowe
Cathy MacNeil-Hollinger and Mark Hollinger
Brian Mann
Lara Meiland-Shaw
Jennifer Harrison
Newman
Brian Ong
Richard Ostreicher
The Prospect Hill Foundation
Daphne Rubin-Vega and Thomas Costanzo
Julie Turaj and Rob Pohly
Tracy Chutorian Semler
Michael and Riki
Sheehan
Jeremy Smith
Woody Taft
Andrew and Nesrin Tisdale
Ed Trach
Esme Usdan
Donald and Susan Ware
Shana C. Waterman
Amanda Wallace Woods and Eric Wasserstrom
Dr. Jessica WeiserMcCarthy and Timothy McCarthy
Henry Winkler
*deceased
