HEDDA GABLER, Yale Repertory Theatre, 2025

2025-2 6

SEASO N

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.

MISSION

David Geffen School of Drama and Yale Repertory Theatre train and advance leaders in the practice of every theatrical discipline, making art to inspire joy, empathy, and understanding in the world.

VALUES Artistry

We expand knowledge to nurture creativity and imaginative expression embracing the complexity of the human spirit.

Belonging We put people first, centering wellbeing, inclusion, and equity for theatermakers and audiences through anti-racist and anti-oppressive practices.

Collaboration We build our collective work on a foundation of mutual respect, prizing the contributions and accomplishments of the individual and of the team.

Discovery We wrestle with compelling issues of our time. Energized by curiosity, invention, bravery, and humor, we challenge ourselves to risk and learn from failure and vulnerability.

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

CONTENTS A Note from the Artistic Director......5 Title Page..................................................6

Yale Repertory Theatre and David Geffen School of Drama Staff........................................ 24

Cast Page..................................................7

Events..................................................... 28

About the Play....................................... 8

Youth Programs................................... 29

Cast Bios..................................................14

Accessibility Services and Team.....30

Understudy Bios................................... 16

David Geffen School of Drama Board of Advisors............................ 34

Creative Team Bios.............................. 17 For This Production............................ 22

Our Donors............................................ 34

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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 5

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

Technical Director

Jessie Baldinger

Steph Lo 盧胤沂

Costume Designer

Fight and Intimacy Director

Lyle Laize Qin

Kelsey Rainwater

Lighting Designer

Vocal and Dialect Coach

Larry Ortiz

Walton Wilson

Sound Designer

Casting Director

Emilee Biles

Calleri Jensen Davis

Hair Designer

Stage Manager

Matthew Armentrout

Narda E. Alcorn

Production Dramaturg

Timothy Hartel

Yale Repertory Theatre gratefully acknowledges our 2025–26 season funders:

CAROL L. SIROT SEASON SPONSOR:

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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.

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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 8

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 ABOVE: IBSEN IN THE CAFE OF THE GRAND HOTEL, CHRISTIANA, EDVARD MUNCH, 1902.

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.

A C E N T U RY O F WO M E N ’ S R I G H T S I N N O R WAY

1814

The Norwegian Constitution is adopted, granting only men rights.

Women are excluded from voting, office, property ownership, or university.

S MALL TOW N , B I G E Y 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.

—TH

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.

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 C E N T U RY O F WO M E N ’ S R I G H T S I N N O R WAY

ES

1876

Anna Rogstad is the first woman to teach at a public secondary school.

A MAN’S UNIVERSIT 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

TY 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

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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 15

CAST

in alphabetical order 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

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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.

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

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 17

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 18

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 19

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 20

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.

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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 22

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

An Extraordinary K-12 Independent Education in North Haven, CT

Creativity Knowledge Purpose

Join us for an upcoming information session and campus tour 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

www.slateschool.org 23

Yale Repertory Theatre and David Geffen School of Dram 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

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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

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

ARTISTIC

Yale Rep Resident Artists

Playwright in Residence Tarell Alvin McCraney Resident Directors Lileana Blain-Cruz Liz Diamond Tamilla Woodard

Yale Rep Senior Artistic Producer Amy Boratko Yale Rep Associate Producer Kay Perdue Meadows Yale Rep Artistic Fellow Hannah Fennell Gellman

Dramaturgy Advisor Amy Boratko

Yale Rep Casting James Calleri Erica Jensen Paul Davis

Resident Dramaturg Catherine Sheehy

Editor, Theater magazine Tom Sellar

Set Design Advisor Riccardo Hernández Resident Set Designer Michael Yeargan Costume Design Advisors Oana Botez Ilona Somogyi Resident Costume Designer Toni-Leslie James

Managing Editor, Theater magazine Gabrielle Hoyt Senior Associate Editor, David Geffen School of Drama Alumni Magazine Catherine Sheehy

ma Staff 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

First Hand Maria Teodosio

Wood Shop Foreperson Ryan Gardner

Costume Project Coordinator Linda Kelley-Dodd

Lead Carpenters Doug Kester Kat McCarthey Sharon Reinhart Abigail “Galleon” Richard Carpenter Joel Morain Carpentry Interns Kai Hancock Red Wehrmann

Costume Stock Manager Jamie Farkas Costume Technology Intern Eli Oremland

Electrics

Lighting Supervisor Donald W. Titus

Painting

Senior House Electricians Price Foster Linda-Cristal Young

Interim Scenic Charge Lia Akkerhuis

Electricians Ben Njus Aspen Rogers Alex Zinovenko

Scenic Charge Mikah Berky

Lead Scenic Artist Nathan Jasunas Paint Intern Michaela Meyer

Properties

Properties Supervisor Jennifer McClure Associate Properties Supervisor Katie Pulling Properties Craftsperson Steve Lopez

Electrics Interns Toni Carton Gabriel Landes

Sound

Sound Supervisor Mike Backhaus Lead Sound Engineer Mariah Keener Sound Interns Jay Korter Skylar Linker

Projections

Properties Associate Zach Faber

Projection Supervisor Anja Powell

Properties Stock Manager Mark Dionne

Lead Projection Technician Solomon Sheffield

Properties Interns Lee Donegan Susan Gibbs

Costumes

Costume Shop Manager Christine Szczepanski Senior Drapers Susan Aziz Clarissa Wylie Youngberg Mary Zihal

Projection Interns Naomi Rodriguez Sarah Webb

Stage Operations Stage Carpenter Janet Cunningham

Lead Wardrobe Supervisor Elizabeth Bolster Lead Properties Runner William Ordynowicz

Senior First Hands Deborah Bloch Patricia Van Horn

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Yale Repertory Theatre and David Geffen School of Dram 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

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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

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

Director of Theater and Information Technology Eric Lin

Senior Associate Director of Marketing and Communications Caitlin Griffin

Director, Yale Tessitura Consortium, and Web Technology Janna J. Ellis

Associate Director of Marketing and Communications Taylor Ybarra

Manager, Business Operations Martha O. Boateng

Assistant Director of Marketing and Communications Jazzmin Bonner

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

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

ma Staff 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

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.

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

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.

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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.

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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

KIM NOBLE A WOOLLY MAMMOTH THEATRE COMPANY TOURING PRODUCTION

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.

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.

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.

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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.

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65 HOWE STREET NEW HAVEN HOUSEOFNAAN.COM

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Photo by Delvin Ortega

Experience the history, identity, and culture of the Taínos, the Indigenous peoples of the northern Caribbean islands in this new bilingual exhibition.

Experimenta la historia, la identidad y la cultura de los Taínos, los pueblos indígenas de las islas del norte del Caribe, en esta nueva exposición bilingüe.

170 Whitney Ave, New Haven, CT 06520 203.432.8987 | peabody.yale.edu December 13, 2025 through June 21, 2026

Caribbean Indigenous Resistance / Resistencia indígena del Caribe ¡Taíno Vive! is organized by the Smithsonian Institution Traveling Exhibition Service in collaboration with the National Museum of the American Indian and the National Museum of the American Latino.

This exhibition received federal support from the Latino Initiatives Pool, administered by the National Museum of the American Latino.

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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*

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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)

Rob Greenberg Barry and Maggie Grove Mark Haber and Chiyo Moriuchi Anonymous William Halbert John Badham Judy Hansen Nancy Bynum Andy Hamingson Ian Calderon Jane Head Francis Carling Bob and Priscilla Dannies James Guerry Hood Pam Jordan Deborah Freedman and Elizabeth Kaiden Ben Ledbetter The Ethel & Abe Lapides Will Gaines Foundation Fred Gorelick and Charles Letts Cheryl MacLachlan George Lindsay, Jr. Lane Heard Jennifer Lindstrom Ellen Iseman Linda Lorimer and JANA Foundation Charley Ellis Ann Judd and Brian Mann Bennett Pudlin Ed Martenson Fran Kumin John McAndrew Rocco Landesman Maulik Pancholy Pam and Jeff Rank Bill and Sharon Reynolds F. Richard Pappas Ben Sammler Abby Roth and Mark Schmitt and R. Lee Stump Holly Yeager Daphne Rubin-Vega and Florie Seery Thomas Costanzo Shekar Shetty Rosalie Stemer and Slotznick Family Fund, Stuart Feldman a charitable fund of Amanda Wallace Woods The Foundation for Nancy Yao Enhancing Communities DIRECTOR’S Mark Stevens CIRCLE Shepard and Marlene ($1,000–$2,499) Stone Bruce Altman and Darcy Anne Trites MCGraw Courtney B. Vance Debby Applegate and Chris Wall, Daniel Bruce Tulgan Schmitt, Henry Schmitt, Paula Armbruster and William Schmitt John Lee Beatty Carolyn Seely Wiener Karen BedrosianKim Williams Richardson Deborah S. Berman PARTNERS Frances Black ($500–$999) Dorothy and Jim Donna Alexander Bridgeman Shaminda and Carole Andrew Brolin Amarakoon James Bundy and Michael Barker and Anne Tofflemire Heidi Hanson Anne and Guido Richard and Alice Baxter Calabresi Ashley Bishop Enrico Colantoni Josh Borenstein Ramon Delgado Eleanor J. Burgess Deeksha Gaur Claudia Campos Melanie Ginter Joy Carlin Eric M. Glover The Leo J. & Celia Carlin Betty and Joshua Fund Goldberg Peter Chance Naomi Grabel

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

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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

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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

These lists includes current pledges, gifts, and grants received from July 1, 2024, through November 1, 2025.

MAKE A GIFT! When you make a gift to Yale Rep’s Annual Fund, you support the creative work on our stage and our education programs in New Haven. For more information, or to make a donation, please call Susan C. Clark, 203.432.1559.

You can also give online at yalerep.org/support.

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