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A NOTE FROM THE ARTISTIC DIRECTOR Welcome to The House that will not Stand, the final production of Yale Repertory Theatre’s 2013–14 season! I am delighted to share with you this new work by poetplaywright Marcus Gardley, whose play dance of the holy ghosts premiered at Yale Rep in 2006, and introduce you to director Patricia McGregor, making her Yale Rep debut. In The House that will not Stand, Marcus, Patricia, and their gifted cast and artistic collaborators have accomplished something truly remarkable: they reach back almost two centuries to a period in American history that will be unfamiliar to many of us and infuse it with poetic language, musicality, and a distinctly contemporary sensibility. A world premiere co-production with Berkeley Repertory Theatre (where it played earlier this spring), The House that will not Stand is the latest example of Yale Rep’s fruitful relationship with our colleagues in California, providing artists with the unique opportunity of presenting their work to audiences on both sides of the country. In recent years, this collaboration has also included the world premiere translation of the opera Brundibar created by Maurice Sendak and Tony Kushner, Sarah Ruhl’s version of Three Sisters, and Christopher Bayes’s productions of A Doctor in Spite of Himself and Accidental Death of an Anarchist. Thank you for being here with us today. The House that will not Stand runs through May 10 only, so please help us spread the word to your friends, family, and colleagues who love bold theatrical storytelling as we do. As always, I look forward to hearing what you think about the play or any of your experiences at Yale Rep: my email is firstname.lastname@example.org. And I look forward the seeing you back at Yale Rep in the fall: the 2014–15 season opens with Tom Stoppard’s Arcadia and also includes Bertolt Brecht’s The Caucasian Chalk Circle, and three Yale Rep-commissioned world premieres: War by Branden Jacobs-Jenkins, Familiar by Danai Gurira, and Elevada by Sheila Callaghan. I can hardly wait! Sincerely, James Bundy
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YALE REPERTORY THEATRE James Bundy, Artistic Director Victoria Nolan, Managing Director in a co-production with
BERKELEY REPERTORY THEATRE PRESENTS THE WORLD PREMIERE OF
By MARCUS GARDLEY Directed by PATRICIA McGREGOR Choreographer Scenic Designer Costume Designer Lighting Designer Sound Designer and Original Composition Vocal Arrangements and Additional Original Composition Casting Directors Stage Manager
PALOMA McGREGOR ANTJE ELLERMANN KATHERINE O’NEILL RUSSELL H. CHAMPA KEITH TOWNSEND OBADIKE HARRIETT D. FOY TARA RUBIN AMY POTOZKIN JAMES MOUNTCASTLE
The House that will not Stand was commissioned by Berkeley Rep and developed at The Ground Floor: Berkeley Rep’s Center for the Development and Creation of New Work. The House that will not Stand was originally presented by New York Stage and Film Company and The Powerhouse Theater at Vassar in July, 2012. Production support is provided by Yale’s Binger Center for New Theatre and the Andrew W. Mellon Foundation.
YALE REP IS SUPPORTED IN PART BY THE DEPARTMENT OF ECONOMIC AND COMMUNITY DEVELOPMENT
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CAST in alphabetical order Odette
HARRIETT D. FOY
La Veuve, Marie Josephine
FLOR DE LIZ PEREZ
TIFFANY RACHELLE STEWART
SETTING New Orleans, 1836 THERE WILL BE ONE FIFTEEN-MINUTE INTERMISSION.
PLAÇAGE: An Overlooked Corner of History Surprisingly little is written about the free women of color who populated antebellum New Orleans and the system of plaçage that many of them entered into. These women stood at the nexus of two things that we as a society have historically found uncomfortable to examine: race relations and female sexuality. This double whammy may be what helped sweep them under our collective rug. The term plaçage came from the French word placer, or “to place,” and described formal arrangements between white men and free women of color, since the law at the time forbade interracial marriages. So in essence, a quadroon (the literal definition means a woman who was one-quarter black and three-quarters white, but as generations intermingled, it referred more generally to a free woman of mixed race) was “placed” with a white man by her mother. The mother received a sum of money for this transaction, much like a traditional dowry. Business and pleasure intersected at quadroon balls—lavish affairs where girls would dress to the nines and affluent white men footed the bill. Quadroons earned a reputation of being beautiful, exotic, and seductive, which drew society’s curiosity as well as its scorn. They occupied a singular place in the collective imagination, which created a very complex set of feelings among the public. On the one hand, quadroons were recognized for their impeccable grace, manners, charm, and intelligence; and on the other, they were criticized for their wily manstealing and their failure to disguise their sensuality. 10
Once he took on a placée, a man customarily purchased a house for her, marking the official beginning of their life together. He was obligated to provide for her and any children they might have for as long as the relationship lasted. (If the relationship ended, he was required to pay her a severance of money or property or both, so she did not end up destitute.) Sometimes, as was common in the area of Faubourg Tremé, the man would live with his placée; other times he would live with his white wife and family. These relationships were sometimes called mariages de la main gauche or “left-handed marriages.” While the law prohibited these couples from becoming husband and wife, it also declared any other kind of interracial relationship illegal. This was widely ignored and unenforced, however, so plaçage became relatively common despite being technically illegal. It was even expected that when a man died, he would divide his estate between his legal wife and her children and his placée and hers. Often, the wife attempted to sue the placée on the grounds that there was no legal basis for her husband’s other life, and the courts more often than not upheld the man’s will and backed the placée. (This began to change around the late 1820s, and by 1836 when the play takes place, placées no longer benefited from these under-the-table situations.) Perhaps society initially tolerated plaçage because it arose largely out of demographic circumstances. As New Orleans was being settled, the population of white men greatly outnumbered the population of white women. White men largely comprised the explorers and entrepreneurs attracted to the nascent
city. White women often did not accompany their husbands on their new adventures. On the other side of the equation, the average life span for a free man of color was very short, and the ratio of free women of color to free men of color stood at about 7 to 1. So in some ways it made very practical sense that white men and free women of color formed relationships. The unique history of New Orleans also paved the way for a system like plaçage to flourish. Due to its origins as first a French and then a Spanish colony, Louisiana’s prestatehood laws regarding slavery resembled those of Europe rather than the United States. They had a more complicated racial hierarchy and allowed room for slaves to work to buy their own freedom, and this helped to create a bourgeoning population of free people of color. Their numbers were augmented by Haitians descending upon New Orleans after the revolution there, and by white men freeing their placées and their children. Free people of color made up 33 percent of the population of New Orleans by 1805. As this previously overlooked corner of history gradually accumulates scholarly attention, an argument has arisen over whether or not plaçage can ever be seen in a positive light. Some posit that it was a woman’s choice to enter into this kind of relationship and even label it empowering. They see the fact that some free women of color followed different paths as proof that plaçage was not a lifestyle that was forced upon them. Some women ran their own businesses or worked a trade and did not depend on their sexuality for their livelihood. Becoming a placée offered a woman status in society and a comfortable living that she would have had no opportunity to procure on her own. Others feel that the power dynamic in these relationships was inherently skewed—the two parties involved could never be on
equal footing, and therefore a man’s taking on a placée was automatically an act of domination. It is seen as simply another form of slavery—though a quadroon wasn’t toiling on a plantation, she still belonged to a white master and was required to bend to his will. It’s a complicated question to ponder. Free people of color had more rights than slaves, but far fewer than whites, and their lives were by no means full of the choice that the word “free” implies. Laws and attitudes regarding race at the time sent a very clear message that all people were not created equal. Plaçage did give some women a chance to make the best of a bad situation— one where she had little hope of family or comfort within her own class. But it also impeded her ability to truly live up to her status as a free woman. —MADELEINE OLDHAM, BERKELEY REPERTORY THEATRE
PORTRAIT OF BETSY BY FRANÇOIS JACQUES FLEISCHBEIN, 1837. COURTESY OF THE HISTORIC NEW ORLEANS COLLECTION.
IN THE KITCHEN WIT For poet-playwright Marcus Gardley, earning his MFA at Yale School of Drama was like being awarded a Michelin star. Comparing his writing process to formulating an intricate recipe, Gardley prefers to cook an unconventional meal, as seen in the world premiere of his play, The House that will not Stand. Berkeley Repertory Theatre’s Sam Basger had a few questions for Marcus on his process of shaping this simmering piece of history into, as they once said in New Orleans, le grand repas. SAM BASGER: Why did you want to tell the story of The House that will not Stand? MARCUS GARDLEY: I am obsessed
PHOTO BY JARED OATES.
with history and especially stories that got buried or that most people do not know about. Most of my work is about digging up history and comparing it to the present. I truly believe that in order for us, as citizens of the world, to move forward we must first deal with, learn from, and speak honestly about the past. This play, for me, is a prime example of that. It deals with a period in American history when free people of color, predominately African American women, had a lot of power due to the custom of plaçage. Plaçage is the system of common-law marriages and relationships these women had with white men under the Code Noir, a series of regulations that allowed, amongst other things, for African Americans to inherit property and other assets upon the death of their white lovers. In a sense, these women were both concubines and also some of the most powerful individuals in New Orleans in the 1700s and early 1800s.
H MARCUS GARDLEY SB: What was the most surprising thing that you uncovered in your research?
SB: What does your writing process generally entail?
MG: There were a lot of surprising
to describe it. I like to cook. I am not interested in conventional storytelling. It gets me in trouble. A lot of people want stories told one way, especially critics. I think theatre is boring young audiences, because the narrative, the central plots, are all linear and predictable. I am not interested in this mode of storytelling. I like to take dissimilar things and put them in a play and mix it in. I like to discover. I take a history, obscure music, poetic language, dance of some type, mythic characters usually, elements of magical realism, and a historic artifact of some kind and create a play with those different ingredients.
things in my research. The most surprising happened when I went to New Orleans last Easter and discovered that one of the characters in the play had a street named after her. She started the first African American order of nuns in the United States. I went on a random tour and soon realized I was learning invaluable information about my play and the history of the characters. I felt like the ghosts were speaking to me, which is a very real thing in New Orleans. The people have a unique relationship with spirits partly because no one can be buried in the ground because the city is only so far above sea level.
SB: Tell us about the development process for House. How did the play evolve over time? MG: Initially, I set out to write about the time period, and then I realized I needed to write about African American women specifically. After this realization, the other major threads just fell into place: the notion of freedom and African Americans who had slaves, and how music, poetry, and family ties play into the central narrative. It all just came together like a tapestry. All of the threads came to me organically. This play, unlike most plays, was very therapeutic to write. I read volumes of research, months and months of endless texts, and the story just flooded out of me once I put pen to paper, or shall I say, finger to keys.
MG: I write a recipe. This is the best way
SB: Who are some of your favorite playwrights? MG: I would say Federico GarcĂa Lorca, Bertolt Brecht, Octavio Solis, Lynn Nottage, Alice Childress, James Baldwin, Dario Fo, Tennessee Williams, and some Shakespeare.
SB: What are you working on next? MG: I am writing a musical about the landmark Supreme Court decision on interracial marriage in the U.S. in the case of Loving v. Virginia, along with director Patricia McGregor and composer Justin Ellington.
CAST JONIECE ABBOTT-PRATT* (ODETTE) previously appeared in Yale Rep’s 2011 production of The Piano Lesson. Her New York credits include The Good Negro (The Public Theater) and Alondra Was Here (Wild Project). She’s been seen regionally in The House that will not Stand (Berkeley Rep); Stick Fly (Arden Theatre Company); A Raisin in the Sun (Palm Beach Dramaworks); Slippery as Sin (Passage Theatre Company); Ma Rainey’s Black Bottom (Huntington Theatre Company); Gem of the Ocean (Hartford Stage); The Piano Lesson (Delaware Theatre Company); The Good Negro (Dallas Theater Center); Mama’s Gonna Buy You (William Inge Theatre Festival); Stick Fly, The Overwhelming (Contemporary American Theater Festival); False Creeds (Alliance Theatre); Breath, Boom (Synchronicity Performance Group); and The Doll Plays (Actor’s Express). Joniece attended Clark Atlanta University and received her MFA from the University of Iowa.
HARRIETT D. FOY * (MAKEDA; VOCAL ARRANGEMENTS AND ADDITIONAL ORIGINAL COMPOSITIONS) previously appeared at Yale Rep in the world premiere of Marcus Gardley’s dance of the holy ghosts in 2006. She has appeared on Broadway in Mamma Mia! and covered roles in The American Plan and Once on This Island. Her Off-Broadway credits include The Total Bent, Marcus Gardley’s On the Levee (AUDELCO nomination), and Crowns (AUDELCO Award for ensemble), and she can be heard on the Off-Broadway cast recordings of Reunion, Inside Out, and Lone Star Love. Harriett has performed around the world in LMNOP and Amazing Grace (Goodspeed Musicals); F2M (New York Stage and Film’s Powerhouse Theater); The Women of Brewster Place and Polk County (Arena Stage, Helen Hayes nominations for both plays); After the War (American Conservatory Theater); Seven Guitars (Center Stage); A Christmas Carol (McCarter Theatre Center); Ambassador Satch in Dubai; her one-woman show My Soul Looks Back in Wonder (directed by Marcus Gardley) at Fordham United Baptist Church; and the African American Spirituals Concert at Merkin Hall (debut). Her film credits include Winter’s Tale, All Good Things, and In the Family. She has appeared in the TV shows Onion News Empire, Hostages, Orange is the New Black, Unforgettable, Law & Order, and Rescue Me. Harriett received her BFA from Howard University. With God, all things are possible! harriettdfoy.com
LIZAN MITCHELL* (BEARTRICE) Lizan’s 2013 theatre credits include The Trip to Bountiful (Cleveland Play House), Marcus Gardley’s The Gospel of Lovingkindness (Brown/Trinity Repertory Theatre), This Was the End (Prelude 13 at CUNY), and Bil Wright’s Celebrating Adrienne Kennedy (Phoenix Theatre Ensemble). She has performed on Broadway in Electra, Having Our Say, and So Long on Lonely Street, and Off-Broadway in Rosmersholm, For Colored Girls… (25th anniversary show), Cell, and The Hurricane Katrina Comedy Festival (New York Fringe Festival, Best Play). Her 14
film and television credits include The Human Stain, John Adams (HBO), The Preacher’s Wife, The Good Wife, Sesame Street, Law & Order, The Wire, and The Golden Boy. Lizan has received a Black Theatre Alliance Award, a Helen Hayes Award, an AUDELCO Award for Best Actress, and Drama Desk and Outer Critics Circle Award nominations.
PETRONIA PALEY* (LA VEUVE, MARIE JOSEPHINE) previously appeared at Yale Rep in King Lear in 2004. Her other New York credits include Volumnia in Coriolanus and Gertrude in Hamlet (Take Wing and Soar Productions); Clytemnestra in Electra (AUDELCO Award) and Madame Ranevskya in The Cherry Orchard (AUDELCO nomination) at the Classical Theatre of Harlem; Dr. Iris Preston in Relativity (Ensemble Studio Theatre, AUDELCO nomination); Gratiana in The Revenger’s Tragedy (Red Bull Theater); The Trial of One Short-Sighted Black Woman vs Mammy Louise and Safreeta Mae (New Federal Theatre, AUDELCO Award); Dr. Tanya Baker in Stray (Cherry Lane Theatre); and understudied the role of Ethel in the Broadway production of On Golden Pond. Petronia’s regional theatre credits include A Raisin in the Sun at (Crossroads Theatre Company); Death of a Salesman (Oberlin College); The Trojan Women (Helen Hayes nomination), The Oedipus Plays (Shakespeare Theatre); Nothing Sacred and A Midsummer Night’s Dream (Arena Stage). Petronia’s one-person show On the Way to Timbuktu was first produced at Ensemble Studio Theatre and received an AUDELCO Award. Her film and television credits include Transporter, 2 Days in New York, Almost Summer, White Girl, Damages, Solomon Northup’s Odyssey, Guiding Light, and Another World. Petronia has also directed both classical and contemporary plays. I dedicate these performances to my beloved mother, Florence, who loved, supported, and blessed my endeavors to be a performing artist.
FLOR DE LIZ PEREZ* (MAUDE LYNN) is honored to be making her Yale Rep debut. Her other regional theatre credits include the world premiere of Seven Homeless Mammoths Wander New England, directed by Ken Rus Schmoll (Two River Theater Company); In the Continuum, directed by Liesl Tommy; and Nicholas Nickleby, directed by Joe Haj/Tom Quaintance (PlayMakers Repertory Company). She is an ensemble member/ performer with New York’s Neo-Futurists in Too Much Light Makes the Baby Go Blind and an associate artist with Theatre 167. She has also performed in the world premiere of In the Time of the Butterflies, under the direction of Jose Zayas at Repertorio Español, which won the 2011 HOLA Award for Best Ensemble. Her film and television credits include the independent feature The House that Jack Built (directed by Henry Barrial), The Good Wife, and Made in Jersey. Flor De Liz received an MFA in acting at the University of North Carolina at Chapel Hill. She is a member of AEA/AFTRA/SAG. flordelizperez.com *MEMBER OF ACTORS’ EQUITY ASSOCIATION, THE UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS.
CAST JOCELYN PLEASANT (PERCUSSIONIST) is a percussionist and educator from Bloomfield, Connecticut. She received her first formal training from the Hartt School Community Division in classical percussion at age 10. In addition, she studied African percussion and jazz drum set at the Artists Collective, Jackie and Dollie McLean’s community arts center in Hartford. Jocelyn continued her music studies at George Washington University in Washington, D.C., as a Presidential Arts Scholar and American Studies major, where she earned a BA in 2004. She now resides in Middletown and teaches and performs in a variety of genres and settings. She is currently on staff at the Greater Hartford Academy of the Arts, the Artists Collective, and Green Street Arts Center. She has performed with Jay Hoggard, Steve Davis, Warren Byrd, Phil Bowler, Kim Clarke, Paul Brown, Nat Reeves, Shawnn Monteiro, Sumi Tonooka, Sankofa Kuumba (Hartford), and many others.
RAY REINHARDT* (LAZARE) is making his Yale Rep debut. In his over 40 years as an actor, Ray has had a wonderful time working at esteemed Bay Area theatres such as American Conservatory Theater (for 25 years in various roles, including leads in Desire Under the Elms, The Visit, The Miser, Sleuth, and Cyrano de Bergerac); Berkeley Rep as Con Melody in Touch of the Poet and James Tyrone in Long Day’s Journey into Night; San Jose Repertory Theatre as Willy Loman in Death of a Salesman; Marin Shakespeare Company and San Francisco Shakespeare Festival in the title role of King Lear; Aurora Theatre Company as Gregory Solomon in The Price and Jacob in Awake and Sing!; and SF Playhouse in The Fantasticks and Storefront Church. He has performed on Broadway in A Flea in Her Ear and in Tiny Alice with Sir John Gielgud, as well in television and film.
TIFFANY RACHELLE STEWART* (AGNÈS) is making her Yale Rep debut. She was most recently seen in the Alliance Theatre’s production of By The Way, Meet Vera Stark. Her New York credits include Blood Dazzler (Harlem Stage), A Midsummer Night’s Dream (Lyceum Theatre), and Obama Drama (45th Street Theatre). Her other regional credits include Conference of the Birds (Folger Theatre), The African Company Presents Richard III and Love’s Labour’s Lost (Oregon Shakespeare Festival). Her film and television work includes the short Hotel Pennsylvania, which screened in New York as well as several international film festivals including Cannes; All My Children; and Royal Pains. Tiffany is also an avid dancer and choreographer, most recently choreographing the world premiere musical The Unfortunates at the Oregon Shakespeare Festival. Tiffany received her MFA in acting from Yale School of Drama in 2007.
*MEMBER OF ACTORS’ EQUITY ASSOCIATION, THE UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS.
CREATIVE TEAM RUSSELL H. CHAMPA (LIGHTING DESIGNER) Previous Yale Rep credits include Sarah Ruhl’s Dear Elizabeth and Eurydice. His current and recent projects include Intimacy (The New Group); The Patron Saint of Sea Monsters (Playwrights Horizons); Water by the Spoonful, Modern Terrorism (Second Stage Theatre); The TwentySeventh Man (The Public Theater); and The Grand Manner (Lincoln Center Theater). On Broadway, Russell has designed In the Next Room (or the vibrator play) at the Lyceum Theatre and Julia Sweeney’s God Said “Ha!” also at the Lyceum. Other New York theatres he has designed for include Manhattan Theatre Club, Classic Stage Company, New York Stage and Film, and La MaMa Experimental Theatre Club. Regionally, Russell has designed for Berkeley Rep, American Conservatory Theater, the Wilma Theater, Arena Stage, the Old Globe, California Shakespeare Theater, Trinity Repertory Company, the Mark Taper Forum, and the Kennedy Center.
ANTJE ELLERMANN (SCENIC DESIGNER) is making her Yale Rep debut. In New York she has designed shows at Signature Theatre Company, Theatre for a New Audience, the Play Company, Irish Repertory Theatre, New York Stage and Film, Manhattan Ensemble Theater, and New York Theatre Workshop. Her regional theatre credits include productions at Berkeley Rep, Actors Theatre of Louisville, Steppenwolf Theatre Company, Philadelphia Theatre Company, Cleveland Play House, Williamstown Theatre Festival, Trinity Repertory Company, the Huntington Theatre Company, Arena Stage, the Denver Center Theatre Company, the Geffen Playhouse, Seattle Repertory Theatre, Mass MoCA, Bard SummerScape, and Pittsburgh Opera Center. She has been nominated for a Lucille Lortel Award, a Helen Hayes Award, an Ovation Award for 9 Parts of Desire, and an Emmy Award for Becoming American: The Chinese Experience on PBS.
MARCUS GARDLEY (PLAYWRIGHT) is a Bay Area-born poet-playwright who is the 2012 James Baldwin Fellow. He is also the 2011 Pen/Laura Pels International Foundation for Theater Award for a Playwright in Midcareer and a Mellon Foundation grantee for a playwriting residency with Victory Gardens in Chicago. The New Yorker has described Marcus as “the heir to García Lorca, Pirandello, and Tennessee Williams.” His play The Box: A Black Comedy is being presented this spring at The Foundry Theatre in New York. His play dance of the holy ghosts had its world premiere at Yale Rep in 2006 and recently played at Center Stage in Baltimore to critical acclaim; and his epic trilogy The Road Weeps, the Well Runs Dry about the migration of African American and Indigenous people from Florida to Oklahoma is having a national tour. His play Every Tongue Confess had its world premiere at Arena Stage starring Phylicia Rashad and directed by Kenny Leon and recently was seen at Atlanta’s Horizon Theatre. It was nominated for the Harold and Mimi Steinberg/American Theatre Critics New Play Award, the Charles MacArthur Award for Outstanding New Play, and was the recipient of the Edgerton Foundation New American Play Award. His musical On the Levee, commissioned by Yale Rep, premiered in 2010 at Lincoln Center Theater’s LCT3 and was nominated for 11 AUDELCO Awards including outstanding playwright. He is the recipient of the 2011 17
CREATIVE TEAM Aetna New Voices Fellowship at Hartford Stage, the Helen Merrill Award, a Kellsering Honor, the Gerbode Emerging Playwright Award, the National Alliance for Musical Theatre Award, a Mid Atlantic Arts Foundation grant, the Eugene O’Neill Memorial Scholarship, and the ASCAP Foundation Cole Porter Award, and he participated in the NEA/TCG Theatre Residency Program for Playwrights. He holds an MFA in playwriting from Yale School of Drama and is a member of the Dramatists Guild of America and the Lark Play Development Center. Marcus is a professor of theatre and performance studies at Brown University.
PALOMA McGREGOR (CHOREOGRAPHER) is making her Yale Rep debut. She is a Harlem-based movement artist, journalist, and community builder. Recent choreography credits include A Civil War Christmas (Center Stage); The Winter’s Tale, Spunk (California Shakespeare Theater); Four Electric Ghosts (The Kitchen); Children of Killers (Castillo Theatre); For a Barbarian Woman (Fordham University); Indomitable: James Brown (SummerStage); and Blood Dazzler (Harlem Stage). She co-founded Angela’s Pulse with her sister, director Patricia McGregor, to create and produce collaborative performance work rooted in building community and illuminating bold, new stories. They are currently collaborating with Marcus Gardley and composer Justin Ellington on a new musical about the Supreme Court case Loving v. Virginia. Paloma is also developing Building a Better Fishtrap, an iterative performance project about water, memory, and home, inspired by the stories of her father, an 88-year-old fisherman. She is an artist in residence at New York University’s Hemispheric Institute of Performance and Politics, has written extensively about dance and civic engagement, and created Dancing While Black, an initiative to support the work of black dance artists. After leaving a career as a newspaper journalist, Paloma toured internationally for six years with Urban Bush Women dance company and has performed work by choreographers Liz Lerman, Cassie Meador, Christal Brown, Jill Sigman, Camille A. Brown, and others.
PATRICIA McGREGOR (DIRECTOR) is making her Yale Rep debut. Patricia is a Harlem-based director, writer, and deviser of new work. Recent credits include The Winter’s Tale and Spunk at California Shakespeare Theater and the world premiere of Hurt Village at Signature Theatre Company. Other directing credits include Holding It Down, Becky Shaw, Adoration of the Old Woman, The Mountaintop, In the Cypher, Girl Shake Loose Her Skin, Jelly’s Last Jam, Romeo and Juliet, Four Electric Ghosts, Cloud Tectonics, Eleemosynary, The French Play, Lady Day at Emerson’s Bar and Grill, Sidewalk Opera, Dancing in the Dark, The Covering Skyline, and In the Meantime. She has worked on Broadway and at venues including New York’s Shakespeare in the Park, Brooklyn Academy of Music, Second Stage Theatre, The Public Theater, The Kitchen, the Eugene O’Neill Theater Center, Lincoln Center Institute, Exit Art, and Nuyorican Poets Café. She co-founded Angela’s Pulse with her sister, choreographer Paloma McGregor. Angela’s Pulse creates vital choreoplays and fosters collaboration among artists, educators, organizers, academics, and other diverse communities in *MEMBER OF ACTORS’ EQUITY ASSOCIATION, THE UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS.
order to illuminate undertold stories, infuse meaning into the audience experience, and animate progress through the arts. Patricia is a graduate of Yale School of Drama where she was a Paul and Daisy Soros Fellow and artistic director of Yale Cabaret.
JAMES MOUNTCASTLE* (PRODUCTION STAGE MANAGER) Please see page 23. KEITH TOWNSEND OBADIKE (SOUND DESIGNER AND ORIGINAL COMPOSITIONS) Keith’s sound design and composition credits include The Mystery Plays (Connecticut Critics Circle Award for Sound Design) at Yale Repertory Theatre and Second Stage Theatre; The Winter’s Tale (Milwaukee Shakespeare); Twilight: Los Angeles, 1992 (Lincoln Center Institute); and Blood Dazzler (Harlem Stage). Many of Keith’s interdisciplinary artworks are done in collaboration with his wife Mendi Obadike. Their awards include a Rockefeller and New York Foundation for the Arts Fellowship. They have released two albums on Bridge Records, The Sour Thunder and Crosstalk, and exhibited artworks at the Studio Museum in Harlem, the Whitney Museum of American Art, and the Whitechapel Gallery in London, among other institutions. They debuted their opera-masquerade Four Electric Ghosts (choreographed by Paloma McGregor and directed by Patricia McGregor) at The Kitchen. They are currently developing a new sound-art series and a new operamasquerade, TaRonda Who Wore White Gloves.
KATHERINE O’NEILL (COSTUME DESIGNER) previously designed the costumes for Yale Rep’s production of Death of a Salesman. Katherine’s New York credits include A Midsummer Night’s Dream and The Whale Play (New Theater House), In the Cypher (Nuyorican Poets Café), and Blood Dazzler (Harlem Stage). Her designs have been seen around the country in The Taming of the Shrew (California Shakespeare Theater); Island of Slaves, Love Song (Orfeo Group); The Emancipation of Mandy and Miz Ellie (Company One); Ti Jean and his Brothers (Central Square Theater); A Christmas Story (New Repertory Theatre); and Cosi Fan Tutti (Commonwealth Opera Company). Katherine received her MFA from Yale School of Drama.
AMY POTOZKIN (CASTING DIRECTOR) ) A native New Yorker, Amy moved west in 1990 when she was hired to work for Berkeley Rep. Through the years she has also had the pleasure of casting projects for ACT—A Contemporary Theatre (Seattle), Arizona Theatre Company, Aurora Theatre Company, B Street Theatre, Bay Area Playwrights Festival, Dallas Theater Center, Marin Theatre Company, the Marsh, San Jose Repertory Theatre, Social Impact Productions Inc., and Traveling Jewish Theatre. Amy cast roles for various indie films: Conceiving Ada, starring Tilda Swinton; Haiku Tunnel and the upcoming Love and Taxes, both by Josh Kornbluth; and the upcoming feature film Beyond Redemption by Britta Sjogren. Amy received her MFA from Brandeis University, where she was also an artist in residence. She has been a coach to hundreds of actors, teaches acting at Mills College, and leads workshops at Berkeley Rep’s School of Theatre and numerous other venues in the Bay Area. Amy is a member of CSA, the Casting Society of America. 19
CREATIVE TEAM TARA RUBIN CASTING (CASTING DIRECTOR) has been casting at Yale Rep since 2004. Selected Broadway: Bullets Over Broadway; Aladdin; A Time To Kill; Big Fish; The Heiress; One Man, Two Guvnors (US Casting); Ghost; How to Succeed in Business Without Really Trying; Promises, Promises; A Little Night Music; Billy Elliot; Shrek; Guys and Dolls; The Farnsworth Invention; Young Frankenstein; The Little Mermaid; Mary Poppins; Les Misérables; Spamalot; Jersey Boys; The 25th Annual Putman County Spelling Bee; The Producers; Mamma Mia!; The Phantom of the Opera; Contact. OffBroadway: Love, Loss, and What I Wore; Old Jews Telling Jokes. Regional: The Kennedy Center, La Jolla Playhouse, Dallas Theater Center, The Old Globe, Westport Country Playhouse, Bucks County Playhouse. Film: Lucky Stiff, The Producers.
BERKELEY REPERTORY THEATRE (CO-PRODUCER) has grown from a storefront stage to an international leader in innovative theatre. Known for its core values of imagination and excellence, as well as its educated and adventurous audience, the nonprofit has provided a welcoming home for emerging and established artists since 1968. In four decades, four million people have enjoyed more than 300 shows at Berkeley Rep. These shows have gone on to win five Tony Awards, seven OBIE Awards, nine Drama Desk Awards, one Grammy Award, and many other honors. In recognition of its place on the national stage, Berkeley Rep received the Tony Award for Outstanding Regional Theatre in 1997. Its bustling facilities—the 600-seat Roda Theatre, the 400seat Thrust Stage, the Berkeley Rep School of Theatre, the Osher Studio, and a spacious new campus in West Berkeley—are helping revitalize a renowned city. See tomorrow’s T:4.75” plays today at Berkeley Rep.
A PLEASURABLE RUSH UNMATCHED BY ANYTHING I’VE SEEN THIS SEASON.
Plays as FUNNY and MOVING, as WONDERFUL and WEIRD as ‘The Realistic Joneses,’ do not appear often on Broadway. Or ever, really. Broadway has long been a place inhospitable to the truly active currents of contemporaryy theatre,, so the opening of Will Eno’s play at the p Lyceum Theatre is AN OCCASION WORTH CELEBRATING. CCAS SIO ION N WO WORT RTH CE CHARLES ISHERWOOD,
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The Realistic Joneses was commissioned by and premiered at Yale Repertory Theatre in 2012
YALE REPERTORY THEATRE JAMES BUNDY (ARTISTIC DIRECTOR) is in his twelfth year as Dean of Yale School of Drama and Artistic Director of Yale Repertory Theatre. In his first eleven seasons, Yale Rep has produced more than thirty world, American, and regional premieres, seven of which have been honored by the Connecticut Critics Circle with the award for Best Production of the year and two of which have been Pulitzer Prize finalists. During this time, Yale Rep has also commissioned more than forty artists to write new work and provided low-cost theatre tickets and classroom visits to thousands of middle and high school students from Greater New Haven through WILL POWER!, an educational program initiated in 2004. In addition to Yale Rep, he has directed productions at Great Lakes Theater Festival, The Acting Company, California Shakespeare Festival, Alabama Shakespeare Festival, and The Juilliard School Drama Division. A recipient of the Connecticut Critics Circle’s Tom Killen Award for extraordinary contributions to Connecticut professional theatre in 2007, Mr. Bundy currently serves on the board of directors of Theatre Communications Group, the national service organization for nonprofit theatre. Previously, he worked as Associate Producing Director of The Acting Company, Managing Director of Cornerstone Theater Company, and Artistic Director of Great Lakes Theater Festival. He is a graduate of Harvard College; he trained at the London Academy of Music and Dramatic Art and Yale School of Drama. VICTORIA NOLAN (MANAGING DIRECTOR) is in her 21st year as Managing Director of Yale Repertory Theatre, serves as Deputy Dean of Yale School of Drama, and is on its faculty. She was previously Managing Director of Indiana Repertory Theatre, Associate Managing Director at Baltimore’s Center Stage, Managing Director at Ram Island Dance Company in Portland, Maine; and she has held various positions at Loeb Drama Center of Harvard University; TAG Foundation, an organization producing Off-Broadway modern dance festivals; and Boston University School for the Arts. Ms. Nolan has been an evaluator for the National Endowment for the Arts, for which she has chaired numerous grant panels, and has served on other panels and foundation review boards including the AT&T Foundation, The Heinz Family Foundation, Lila Wallace-Reader’s Digest Fund, and the Metropolitan Life Foundation. She has also served on the Executive Committee of the League of Resident Theatres (LORT) and on numerous negotiating teams for national labor contracts. A Fellow at Yale’s Saybrook College, she is the recipient of the Betsy L. Mahaffey Arts Administration Fellowship Award from the State of Connecticut and the Elm/Ivy Award, given jointly by Yale University and the City of New Haven for distinguished service to the community. JENNIFER KIGER (ASSOCIATE ARTISTIC DIRECTOR AND DIRECTOR OF NEW PLAY PROGRAMS) is in her ninth year at Yale Rep and is also Director of the New Play Programs of Yale’s Binger Center for New Theatre, an artistdriven initiative that supports the creation of new plays and musicals for the American stage through commissions, residencies, workshops, and productions. Ms. Kiger came to Yale Rep from South Coast Repertory (SCR), where she was Literary Manager from 2000 to 2005 and served as Co-Director of the Pacific Playwrights Festival. She was dramaturg on more 22
than 40 new plays at SCR, including the world premieres of Rolin Jones’s The Intelligent Design of Jenny Chow, Amy Freed’s The Beard of Avon, and the West Coast premieres of Sarah Ruhl’s The Clean House and Nilo Cruz’s Anna in the Tropics. Prior to that, she served as production dramaturg at American Repertory Theatre, collaborating with Robert Brustein, Robert Woodruff, Liz Diamond, and Kate Whoriskey, and with multi-media director Bob McGrath on stage adaptations of Robert Coover’s Charlie in the House of Rue and Mac Wellman’s Hypatia. She has been a dramaturg for the Playwrights’ Center of Minneapolis and Boston Theatre Works and a panelist for the National Endowment for the Arts and the California Arts Council. Ms. Kiger completed her training in Dramaturgy at the American Repertory Theatre Institute for Advanced Theatre Training at Harvard University, where she taught courses in acting and dramatic arts. BRONISLAW SAMMLER (HEAD OF PRODUCTION) has been Chair of Yale School of Drama’s acclaimed Technical Design and Production Department since 1980. In 2007 he was named the Henry McCormick Professor (Adjunct) of Technical Design and Production by Yale’s President, Richard C. Levin. He is co-editor of Technical Brief and Technical Design Solutions for Theatre, Vols. I & II. He co-authored Structural Design for the Stage, which won the United States Institute of Theatre Technology’s (USITT) Golden Pen Award. Demonstrating his commitment to excellence in technical education and professional production, he co-founded USITT’s National Theatre Technology Exhibit, an on-going biennial event; he has served as a commissioner and a director at-large and is a lifetime Fellow of the Institute. He was honored as Educator of the Year in 2006 by the New England Theatre Conference and chosen to receive the USITT Distinguished Achievement Award in Technical Production in 2009. His production management techniques and his introduction of structural design to scenic technology are being employed in both educational and professional theatres throughout the world. JAMES MOUNTCASTLE (PRODUCTION STAGE MANAGER), has been at Yale Rep since 2004. He has stage managed productions of A Streetcar Named Desire, American Night: The Ballad of Juan José, Three Sisters, We Have Always Lived in the Castle, The Master Builder, Passion Play, Eurydice, and the world premiere of The Clean House. Broadway credits include Damn Yankees, Jekyll & Hyde, Judgment at Nuremberg, The Boys from Syracuse, The Smell of the Kill, Life x(3), and Wonderful Town. Mr. Mountcastle spent several Christmas seasons in New York City as stage manager for the now legendary production of A Christmas Carol at Madison Square Garden. Broadway national tours include City of Angels, Falsettos, and My Fair Lady. He served as Production Stage Manager for Damn Yankees starring Jerry Lewis for both its national tour and at the Adelphi Theatre in London’s West End. In addition, Mr. Mountcastle has worked at The Kennedy Center, Center Stage in Baltimore, Actors Theatre of Louisville, Brooklyn Academy of Music, and elsewhere. James and his wife Julie live in North Haven and are the very proud parents of two beautiful girls: Ellie, who is 15 years old, and Katie, age 13. 23
YALE REPERTORY THEATRE STAFF James Bundy, Artistic Director Victoria Nolan, Managing Director Jennifer Kiger, Associate Artistic Director Director of New Play Programs
Susan C. Clark, Development and Alumni Affairs Officer Jane Youngberg, Development Associate Belene Day, Senior Administrative Assistant to Development and Marketing & Communications Steven C. Koernig, Development Assistant
Resident Artists Paula Vogel, Playwright-in-Residence Liz Diamond, Evan Yionoulis, Resident Directors Catherine Sheehy, Resident Dramaturg Michael Yeargan, Set Design Advisor, Resident Set Designer Ilona Somogyi, Costume Design Advisor Jess Goldstein, Resident Costume Designer Jennifer Tipton, Lighting Design Advisor Stephen Strawbridge, Resident Lighting Designer David Budries, Sound Design Advisor Walton Wilson, Voice and Speech Advisor Rick Sordelet, Fight Advisor Mary Hunter, Stage Management Advisor
Finance and Information Technology Katherine D. Burgue単o, Director of Finance and Human Resources Cristal Coleman, Joanna Romberg, Business Office Specialists Giana Cusanelli, Ashlie Russell, Business Office Assistants Sarah Stevens-Morling, Interim Director of Information and Communication Systems Daryl Brereton, Associate Information Technology Director Janna J. Ellis, Director, Yale Tessitura Consortium Toni Ann Simiola, Senior Administrative Assistant to Business Office, Information Technology, Operations, and Tessitura
Associate Artists 52nd Street Project, Kama Ginkas, Mark Lamos, MTYZ Theatre/Moscow New Generations Theatre, Bill Rauch, Sarah Ruhl, Henrietta Yanovskaya
Marketing, Communications, and Audience Services Anne Trites, Director of Marketing and Communications Steven Padla, Senior Associate Director of Communications Daniel Cress, Senior Associate Director of Marketing Rachel Smith, Associate Director of Marketing Brittany Behrens, Associate Director of Marketing Marguerite Elliott, Publications Manager Kathleen Martin, Online Communications Assistant Fraver, Graphic Designer Joan Marcus, Production Photographer Laura Kirk, Associate Director of Audience Services Shane Quinn, Interim Assistant Director of Audience Services Tracy Baldini, Subscriptions Coordinator Evan Beck, Paul Cook, Anthony Jasper, Katie Metcalf, Andrew Moore, Sophie Nethercut, Emily Sanna, Peter Schattauer, Elena Sokol, Box Office Assistants
Artistic Administration Amy Boratko, Literary Manager Ruth M. Feldman, Director of Education and Accessibility Services Kay Perdue Meadows, Artistic Associate Benjamin Fainstein, Artistic Coordinator Dana Tanner-Kennedy, Literary Associate Tara Rubin, C.S.A.; and Scott Anderson; Lindsay Levine, C.S.A.; Kaitlin Shaw, Eric Woodall, C.S.A.; Merri Sugarman, C.S.A, Casting Lindsay King, Teresa Mensz, Library Services Josie Brown, Senior Administrative Assistant to the Artistic Director and Associate Artistic Director Laurie Coppola, Senior Administrative Assistant for the Directing, Dramaturgy and Dramatic Criticism, Playwriting, and Stage Management Departments Mary Volk, Senior Administrative Assistant for the Design, Sound Design, and Projection Departments
ADMINISTRATION Caitie Hannon, Lauren Wainwright, Associate Managing Directors Molly Hennighausen, Assistant Managing Director Annie Middleton, Gretchen Wright, Management Assistants Emalie Mayo, Senior Administrative Assistant to the Managing Director Sarah Williams, Company Manager Sooyoung Hwang, Assistant Company Manager Development and Alumni Affairs Deborah S. Berman, Director of Development and Alumni Affairs Janice Muirhead, Senior Associate Director of Development Alyssa Simmons, Associate Director of Development Barry Kaplan, Senior Staff Writer
Operations Diane Galt, Director of Facility Operations Ian Dunn, Operations Associate Joe Proto, Arts and Drama Zone Superintendent VonDeen Ricks, Sherry Stanley, Team Leaders Marcia Riley, Facility Steward Lucille Bochert, Ty Frost, Kathy Langston, Warren Lyde, Patrick Martin, Louis Moore, Mark Roy, Custodians Theater Safety and Occupational Health William J. Reynolds, Director of Theater Safety and Occupational Health Jacob Thompson, Security Officer Ed Jooss, Audience Safety Officer Kevin Delaney, Fred Geier, Patrick Grant, John Marquez, Customer Service and Safety Officers
PRODUCTION Bronislaw J. Sammler, Head of Production James Mountcastle, Production Stage Manager Jonathan Reed, Production Manager Steven Schmidt, Associate Head of Production and Work-Study Supervisor Grace O’Brien, Senior Administrative Assistant to the Production and Theater Safety and Occupational Health Departments Scenery Neil Mulligan, Matt Welander, Technical Directors Alan Hendrickson, Electro Mechanical Laboratory Supervisor Eric Sparks, Shop Foreman Matt Gaffney, Ryan Gardner, Sharon Reinhart, Master Shop Carpenters Brandon Fuller, Shop Carpenter Kelly Rae Fayton, Alexandra Reynolds, Assistants to the Technical Director Painting Ru-Jun Wang, Scenic Charge Lia Akkerhuis, Nathan Jasunas, Assistant Scenic Artists Kevin Klakouski, Assistant to the Painting Supervisor Properties Brian Cookson, Properties Master David P. Schrader, Properties Craftsperson Jennifer McClure, Master Properties Assistant Bill Batschelet, Properties Stock Manager Elizabeth Zevin, Assistant to the Properties Manager Costumes Tom McAlister, Costume Shop Manager Robin Hirsch, Associate Costume Shop Manager Clarissa Wylie Youngberg, Mary Zihal, Senior Drapers Deborah Bloch, Harry Johnson, Senior First Hands Linda Kelley-Dodd, Costume Project Coordinator Denise O’Brien, Wig and Hair Design Barbara Bodine, Company Hairdresser Linda Wingerter, Costume Stock Manager Electrics Donald W. Titus, Lighting Supervisor Linda-Cristal Young, Senior Head Electrician Brian Quiricone, Head Electrician Daniel Hutchinson, Assistant to the Lighting Supervisor Sound Mike Backhaus, Sound Supervisor Monica Avila, Staff Sound Engineer Gahyae Ryu, Stephanie Smith, Assistants to the Sound Supervisor Projections Erich Bolton, Projection Supervisor
Stage Operations Janet Cunningham, Stage Carpenter Kate Begley Baker, Head Properties Runner Elizabeth Bolster, Wardrobe Supervisor Jacob Riley, FOH Mix Engineer
ADDITIONAL STAFF FOR THE HOUSE THAT WILL NOT STAND Leora Morris, Assistant Director Ryan Howell, Assistant Scenic Designer Stephanie Buchner, Assistant Lighting Designer David Budries, Associate Sound Designer Stephanie Smith, Assistant Sound Designer and Engineer Benjamin Fainstein, Dramaturg Sonja Thorson, Assistant Stage Manager Kate Newman, Associate Production Manager Ross Rundell, Technical Director James Lanius III, Assistant Technical Director Daniel Hutchinson, Master Electrician Rick Sordelet, Fight Consultant Jane Guyer Fujita, Vocal Consultant Harriett D. Foy, Dance Captain Chiara Klein, House Manager Asa Benally, Ashley Chang, Tom Harper, Jean Kim, Libby Peterson, Tommy Rose, Run Crew Understudies Chasten Harmon**, Odette, Maude Lynn Chalia La Tour, Beartrice Tiffany Mack, Agnès Matt Raich, Lazare Zenzi Williams, Makeda Shaunette Renée Wilson, La Veuve, Marie Josephine **Appears courtesy of Actors’ Equity Association. Special Thanks Freedome Bradley, Bun Lai, Long Wharf Theatre Properties Shop, Milford Photo
The Scenic, Costume, Lighting, and Sound Designers in LORT are represented by United Artists Local USA-829, IATSE.
Yale Repertory Theatre operates under an agreement between the League of Resident Theatres (LORT) and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. The House that will not Stand April 18–May 10, 2014 Yale Repertory Theatre, 1120 Chapel Street
BINGER CENTER FOR NEW THEATRE YALE REPERTORY THEATRE is dedicated to the production of new plays and bold interpretations of classics and has produced well over 100 premieres—including two Pulitzer Prize winners and four other nominated finalists—by emerging and established playwrights. Twelve Yale Rep productions have advanced to Broadway, garnering more than 40 Tony Award nominations and eight Tony Awards. Yale Rep is also the recipient of the Tony Award for Outstanding Regional Theatre. Professional assignments at Yale Repertory Theatre are integral components of the program at Yale School of Drama, the nation’s leading graduate theatre training conservatory. Established in 2008, Yale’s BINGER CENTER FOR NEW THEATRE is an artist-driven initiative that devotes major resources to the commissioning, development, and production of new plays and musicals at Yale Rep and across the country. To date, the Center has supported the work of more than 40 commissioned artists as well as the world premieres and subsequent productions of 15 new American plays and musicals—including this season’s The Fairytale Lives of Russian Girls by Meg Miroshnik; the Yale Rep-commissioned These Paper Bullets!, adapted by Rolin Jones from William Shakespeare’s Much Ado About Nothing, with songs by Billie Joe Armstrong; and Marcus Gardley’s The House that will not Stand. Other Binger Center-supported productions include the world premiere of Dostoevsky’s Notes from Underground, adapted by Bill Camp and Robert Woodruff, commissioned and produced by Yale Rep, and its subsequent west coast and NY premieres by La Jolla Playhouse and Theatre for a New Audience; the world premiere co-production of Rinne Groff’s Compulsion at Yale Rep, Berkeley Rep, and The Public Theater; the world premiere of the Yale-commissioned On the Levee by Marcus Gardley, Todd Almond, and Lear deBessonet at Lincoln Center Theater’s LCT3; the world premiere of Maggie-Kate Coleman and Anna K. Jacobs’s musical POP! at Yale Rep, as well as its productions at City Theatre in Pittsburgh and Virginia’s Firehouse Theatre Project; the world premiere of Amy Herzog’s Belleville at Yale Rep and its subsequent New York Theatre Workshop production; the world premiere of The Realistic Joneses by Will Eno at Yale Rep; and the world premiere co-production of David Adjmi’s Marie Antoinette at the American Repertory Theater and Yale Rep and its NY premiere at Soho Rep. Belleville and The Realistic Joneses, both Yale Rep commissions, were cited among the Top Ten of 2011 and 2012, respectively, by the New York Times. Will Eno’s The Realistic Joneses opened this spring at the Lyceum Theatre on Broadway. For more information, please visit yalerep.org/center.
COMMISSIONED ARTISTS David Adjmi, Todd Almond, Christina Anderson, Hilary Bell, Adam Bock, Sheila Callaghan, Bill Camp, Lucinda Coxon, Lear deBessonet, Will Eno, Dorothy Fortenberry, Marcus Gardley, Matt Gould, Kirsten Greenidge, Danai Gurira, Noah Haidle, Ann Marie Healy, Amy Herzog, Naomi Iizuka, Branden Jacobs-Jenkins, Rolin Jones, Aditi Brennan Kapil, Carson Kreitzer, Dan LeFranc, Elizabeth Meriwether, Meg Miroshnik, Scott Murphy, Julie Marie Myatt, David Lefort Nugent, Lina Patel, Jay Reiss, Amelia Roper, The Rude Mechs, Sarah Ruhl, Octavio Solis, Rebecca Taichman, Lucy Thurber, Alice Tuan, Paula Vogel, Kathryn Walat, Anne Washburn, Marisa Wegrzyn, Robert Woodruff 26
Yale Rep productions supported by the BINGER CENTER FOR NEW THEATRE, clockwise from the top: Merritt Janson and Bill Camp in Notes from Underground, 2009; Clifton Duncan, Angela Lewis, deâ€™Adre Aziza, and Marc Damon Johnson in Good Goods, 2012; Cristin Paige and Randy Harrison (background: Leslie Kritzer and Emily Swallow) in POP!, 2009; Maria Dizzia and Gilbert Owuor in Belleville, 2011; Teale Sperling and Marin Ireland in Marie Antoinette, 2012. All photos by Joan Marcus, except Marie Antoinette by T. Charles Erickson. 27
FOR YOUR INFORMATION
HOW TO REACH US Yale Repertory Theatre Box Office 1120 Chapel Street (at York St.) PO Box 208244, New Haven, CT 06520 203.432.1234 Email: email@example.com
Yale Repertory Theatre offers all patrons the most comprehensive accessibility services program in Connecticut, including a season of open-captioned and audiodescribed performances, a free assistive FM listening system, large-print and Braille programs, wheelchair accessibility with an elevator entrance into the Yale Rep Theatre located on the left side of the building, and accessible seating. For more information about the theatre’s accessibility services, contact Ruth M. Feldman, Director of Education and Accessibility Services, at 203.432.8425 or firstname.lastname@example.org.
BOX OFFICE HOURS Monday to Friday from 10AM to 5PM Saturday from 12PM to 5PM Until 8PM on all show nights FIRE NOTICE Illuminated signs above each door indicate emergency exits. Please check for the nearest exit. In the event of an emergency, you will be notified by theatre personnel and assisted in the evacuation of the building. RESTROOMS Restrooms are located in the lower level of the building. EMERGENCY CALLS Please leave your cell phone, name, and seat number with the concierge. We’ll notify you if necessary. The emergencyonly telephone number at Yale Rep is 203.764.4014. GROUP RATES Discounted tickets are available for groups of ten or more. Please call 203.432.1234. SEATING POLICY Everyone must have a ticket. Sorry, no children in arms or on laps. Patrons who become disruptive will be asked to leave the theatre.
Yale Repertory Theatre gratefully acknowledges the Carol L. Sirot Foundation for underwriting the assistive listening systems in our theatres.
AUDIO DESCRIPTION (AD) A live narration of the play’s action, sets, and costumes for patrons who are blind or low vision. Yale Repertory Theatre thanks the Eugene G. and Margaret M. Blackford Memorial Fund, Bank of America, Co-Trustee, for its support of audio description services for our patrons.
OPEN CAPTIONING (OC) A digital display of the play’s dialogue as it’s spoken. Open Captioning and Audio Described performances are on Saturdays at 2PM. AD pre-show description begins at 1:45PM.
The House that will not Stand May 3
THE TAKING OF PHOTOGRAPHS OR THE USE OF RECORDING DEVICES OF ANY KIND IN THE THEATRE WITHOUT THE WRITTEN PERMISSION OF THE MANAGEMENT IS PROHIBITED. 28
c2 is pleased to be the official Open Captioning provider of Yale Repertory Theatre.
YALE REP’S EDUCATION PROGRAMS As part of Yale Rep’s commitment to our community, we provide two significant youth theatre programs. Since our 2003–04 season, WILL POWER!, which offers teacher training and curricular support prior to seeing a selected play at Yale Rep, has served more than 20,000 Connecticut students and educators. The Dwight/Edgewood Project brings eight middle school students to Yale Rep for a month-long, after-school playwriting program designed to strengthen their selfesteem and creative expression. Yale Rep’s education programs are supported in part by the Josef and Anni Albers Foundation; Allegra Print and Imaging; The Anna Fitch-Ardenghi Trust, Bank of America, Trustee; Deborah S. Berman; Susan C. Clark; Roxanne Coady; CT Humanities; Bob and Priscilla Dannies; The Frederick A. DeLuca Foundation; Bruce Graham; the George A. & Grace L. Long Foundation, Bank of America, N.A. and Alan S. Parker, Esq., Co-Trustees; the Lucille Lortel Foundation; Romaine A. Macomb; Mrs. Romaine Macomb; Jane Marcher Foundation; Dawn G. Miller; Arthur and Merle Nacht; NewAlliance Foundation; Robbin A. Seipold; Sandra Shaner; Target ®; Cheever and Sally Tyler; Esme Usdan; Charles and Patricia Walkup; and Bert and Martha Weisbart. LEFT, FROM TOP: SCHOOLS GATHERING FOR WILL POWER!; WILL POWER! CLASSROOM WORKSHOP; REHEARSAL FOR THE DWIGHT/EDGEWOOD PROJECT, 2013.
SPONSORSHIP: COMMUNITY PARTNERS Allegra Print and Imaging Box 63 American Bar and Grill Elm City Wellness Fleur de Lys Floral and Gifts Geronimo Tequila Bar and Southwest Grill
GHP Printing and Mailing Heirloom Hull’s Art Supply and Framing New Haven Register Oaxaca Kitchen ROÌA
The Study at Yale Take the Cake Thali Thali Too Willoughby’s Coffee and Tea The Wine Thief The Yale Bookstore
This list includes current pledges, gifts, and grants received from January 1, 2013, through April 1, 2014.
YALE SCHOOL OF DRAMA BOARD OF ADVISORS John B. Beinecke, Chair John Badham, Vice Chair Jeremy Smith, Vice Chair Amy Aquino John Lee Beatty Sonja Berggren Lynne Bolton Clare Brinkley Sterling B. Brinkley, Jr. Kate Burton Lois Chiles Patricia Clarkson
Edgar M. Cullman III Scott Delman Michael Diamond Polly Draper Charles S. Dutton Sasha Emerson Heidi Ettinger Terry Fitzpatrick Marc Flanagan Marcus Dean Fuller Anita Pamintuan Fusco Donald Granger
David Marshall Grant Ruth Hendel Catherine MacNeil- Hollinger David Henry Hwang Ellen Iseman David Johnson Asaad Kelada Sarah Long Donald Lowy Elizabeth Margid Drew McCoy
Tarell Alvin McCraney David Milch Arthur Nacht Carol Ostrow Amy Povich Liev Schreiber Tony Shalhoub Michael Sheehan Anna Deavere Smith Edward Trach Courtney B. Vance Henry Winkler
Thank you to the generous contributors to Yale School of Drama and Yale Repertory Theatre: LEADERSHIP SOCIETY ($50,000 and above)
Anonymous (2) John B. Beinecke Sonja Berggren and Patrick Seaver Lynne and Roger Bolton Sterling and Clare Brinkley Lois Chiles and Richard Gilder State of Connecticut, Office of the Arts Edgar M. Cullman, Jr. Edgar M. Cullman III Anita Pamintuan Fusco and Dino Fusco Horace W. Goldsmith Foundation Stephen J. Hoffman Frederick Iseman David Johnson Adrian and Nina Jones Jennifer Lindstrom Andrew W. Mellon Foundation Pam and Jeff Rank Robert Riordan Robina Foundation Linda Frank Rodman Talia Shire Schwartzman The Shubert Foundation Edward Trach Kara Unterberg Esme Usdan Reggie Van Lee
GUARANTORS ($25,000–$49,999) Anonymous The Alec Baldwin Foundation CT Humanities Council, Inc.
Educational Foundation of America Heidi Ettinger Ruth and Steve Hendel National Endowment for the Arts James Munson Eugene F. Shewmaker Jeremy Smith
Nina Adams and Moreson Kaplan The Josef and Anni Albers Foundation Americana Arts Foundation Mary L. Bundy The Cornelius-Schecter Family Fund Michael Diamond Christopher Durang Joseph Gantman Albert R. Gurney Catherine MacNeil- Hollinger Rocco Landesman Sarah Long Lucille Lortel Foundation Donald B. Lowy Neil Mazzella Carol Ostrow Joan Pape The Seedlings Foundation Ted and Mary Jo Shen Carol L. Sirot Foundation Trust for Mutual Understanding
Deborah Applegate and Bruce Tulgan Foster Bam
The Eugene G. and Margaret M. Blackford Memorial Fund, Bank of America, Co-Trustee Carmine Boccuzzi and Bernard Lumpkin Jim Burrows The Noël Coward Foundation Scott Delman Terry Fitzpatrick Marc Flanagan Barbara and Richard Franke Mabel Burchard Fischer Grant Foundation Ellen Iseman Ben Ledbetter and Deborah Freedman Arthur and Merle Nacht NewAlliance Foundation Michael and Riki Sheehan Philip J. Smith Warner Bros. Entertainment
PRODUCER’S CIRCLE ($2,500-4,999)
Anna Fitch Ardenghi Trust, Bank of America, Trustee John Badham Janice Johnson Barnum Ben Cameron Sasha Emerson Marcus Dean Fuller Diana and David Jacobs The Ethel & Abe Lapides Foundation The George A. and Grace L. Long Foundation, Bank of America, N.A. and Alan S. Parker, Esq., Co-Trustees William Ludel
Jenny Mannis and Henry Wishcamper The Adam Mickiewicz Institute DW Phineas Perkins Joel and Joan Smilow
DIRECTOR’S CIRCLE ($1,000–$2,499)
Amy Aquino and Drew McCoy Paula Armbruster Loreen Arbus Darren Bagert Alexander Bagnall Robert L. Barth Jody Locker Berger Deborah S. and Bruce M. Berman Bisno Productions Jeffrey A. Bleckner Michael Broh Thomas Bruce Ian Calderon Raymond Carver James Bundy Joan D. Channick Sue Ann Gilfillan and Tony Converse Peggy Cowles Michael S. David Ramon Delgado The Frederick A. DeLuca Foundation The Cory & Bob Donnalley Charitable Foundation Glen R. Fasman Lawrence and Megan Foley Melanie Ginter and John Lapides Stephen Godchaux Fred Gorelick and Cheryl MacLachlan James W. Gousseff
Donald Granger Richard Harrison Carol Thompson Hemingway Sally Horchow James Earl Jewell Rolin Jones Reed and Elizabeth Hundt Alan Kibbe Jane Kaczmarek Mildred Kuner Michele Lee George N. Lindsay, Jr. Dr. and Mrs. Robert W. Lyons Jane Lyman Romaine A. Macomb Jane Marcher Foundation Robert Marx Peter Marshall Thomas Masse and Dr. James Perlotto Peter McCandless Maeve McGuire Dawn G. Miller Donna Mills David and Leni Moore Family Foundation Victoria Nolan and Clark Crolius Richard Ostreicher F. Richard Pappas Lucy and Piers Playfair Eva Price and Avram Freedberg George and Kathy Priest Fred A. Rappoport Lance Reddick Dr. Michael Rigsby and Prof. Richard Lalli Joumana Rizk Gordon Rogoff Liev Schreiber Marie S. Sherer Benjamin Slotznick Kenneth J. Stein Shepard and Marlene Stone Erich Stratmann Lee Stump Arlene Szczarba Target John Henry Thomas Cheever and Sally Tyler Joan van Ark Courtney B. Vance Carol M. Waaser Cliff Warner George Zdru
Actors’ Equity Foundation Mr. and Mrs. B. Ashfield The Bruce Altman Family Mary Ellen and Thomas Atkins John Lee Beatty Irving and Jackie Blum Michael Bombara Susan Brady and Mark Loeffler Mark Brokaw James T. and Alice B. Brown Judith H. Brown Kimberly Rosenstock Dr. Michael Cappello and Kerry Robinson Joy G. Carlin Cosmo Catalano, Jr. Jim Chervenak Patricia Clarkson Paul Cleary Ernestine and Ronald Cwik Bob and Priscilla Dannies Richard Sutton Davis Roberta Enoch and Steven Canner Peter Entin Rob Greenberg Elizabeth M. Greene Jess Goldstein Robyn Goodman Regina Guggenheim William B. Halbert Karsten Harries and Elizabeth Langhorne Katherine W. Haskins Barbara Hauptman Jane C. Head Donald Holder John Robert Hood Raymond Inkel Walton Jones Jane Kaczmarek Barnet Kellman Alan Kibbe Edward Lapine Charles Long and Roe Curtis Chih-Lung Liu Brian Mann Vanessa Marshall John McAndrew George Miller and Virginia Fallon Daniel Mufson Janice Muirhead Arthur Oliner Louise Perkins and Jeff Glans Amy Povich
Daniel and Irene Mrose Rissi Aileen and Brian Roberts Suzanne Sato Alvin Schechter Mr. and Mrs. Michael Schmertzler Sandra Shaner Matthew Specter Peter and Paula Steere Marsha Stewart Jack Thomas and Bruce Payne Thomas Thurston Zelma Weisfeld Vera Wells Carolyn S. Wiener Steven Wolff Evan Yionoulis Steve Zuckerman
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The House that will not Stand, by Marcus Gardley, directed by Patricia McGregor. Yale Repertory Theatre, April 18 to May 10, 2014.
Published on Apr 16, 2014
The House that will not Stand, by Marcus Gardley, directed by Patricia McGregor. Yale Repertory Theatre, April 18 to May 10, 2014.