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A Note From the Artistic Director Welcome to the world premiere of Imogen Says Nothing! In the earliest published versions of Shakespeare’s Much Ado About Nothing, a character named Imogen—the wife of Leonato, the governor of Messina, and mother of Hero, the bride-to-be at the center of the play—walks on and off stage twice but is given no words to speak. She disappeared entirely when even her silent presence in the stage directions was omitted from subsequent editions. With wit and urgency, playwright Aditi Brennan Kapil not only restores those cuts, she gives voice to Imogen in a new play of her own. As we celebrate Yale Rep’s 50th Anniversary, and our rich history of producing both new work and bold interpretations of the classics, Imogen Says Nothing subversively hijacks the canon. In Aditi’s new play, William Shakespeare is not the center of attention, and we hear from those who have been at the margins of the period’s history. Commissioned by Yale Rep and supported by Yale’s Binger Center for New Theatre, Imogen Says Nothing has been influenced by the programs and collections of the University. Aditi’s 2012 trip to New Haven coincided with the Shakespeare at Yale celebration, during which she attended a performance of The Winter’s Tale directed by Liz Diamond at Yale Rep, pored over a copy of the First Folio in which Imogen’s name is printed, researched bear baitings (a violent, popular entertainment in Shakespeare’s day) in the stacks at Sterling Memorial Library, and discovered a town misnamed Quaere on a map by John Speed at the Yale Center for British Art. Imogen Says Nothing owes much to the spirit in Shakespeare’s work, even as it exuberantly reimagines his world. Aditi, along with director Laurie Woolery and their team of gifted collaborators, has created a fantastical world raising questions of identity and erasure in our past and in our own time. Such issues only become more pressing—and vulnerable populations become more vulnerable—as our national discourse is increasingly chaotic, uncertain, and unmoored from facts. And so, on the eve of the Inauguration, Yale Rep and Yale School of Drama joined with other members of the New Haven theatre community and the field nationwide to launch The Ghostlight Project. Inspired by the tradition of leaving a ghost light on in a darkened theatre, we joined with theatres from Broadway to high schools and colleges, community theatres and professional theatres of all sizes, to stand for and protect the values of inclusion, participation, and compassion for everyone—regardless of race, class, religion, country of origin, immigration status, (dis)ability, gender identity, and/or sexual orientation. (For more information, please visit: theghostlightproject.com) Thank you for joining us today. As always, I look forward to your thoughts about Imogen Says Nothing or any of your experiences at Yale Rep. My email address is james.bundy@yale.edu. Sincerely, James Bundy

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YALE REPERTORY THEATRE James Bundy, Artistic Director Victoria Nolan, Managing Director PRESENTS THE WORLD PREMIERE OF

BY

ADITI BRENNAN KAPIL DIRECTED BY

LAURIE WOOLERY Scenic Designer Costume Designer Lighting Designer Sound Designer Projection Designer Production Dramaturgs Technical Director Dialect Coach Fight Director Casting Director

CLAIRE MARIE DeLISO HAYDEE ZELIDETH DAVID WEINER CHRISTOPHER ROSS-EWART YANA BIRŸKOVA AMY BORATKO CHARLES O’MALLEY WILLIAM HARTLEY STEPHEN GABIS RICK SORDELET TARA RUBIN CASTING LAURA SCHUTZEL, CSA

BENJAMIN EDWARD CRAMER PFISTER

Stage Manager

Imogen Says Nothing was commissioned by Yale Rep. Development and production support are provided by Yale’s Binger Center for New Theatre. Imogen Says Nothing is the recipient of a 2016 Edgerton Foundation New Play Award. This production is sponsored in part by the National Endowment for the Arts. Yale Repertory Theatre gratefully acknowledges The Burry Fredrik Foundation and Carol L. Sirot for generously supporting the 50th Anniversary Season. Yale Rep is supported in part by the Connecticut Department of Economic and Community Development.

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Cast Imogen

ASHLIE ATKINSON

HUMANS CHRISTOPHER RYAN GRANT

John Heminges

Henry Condell

Alexander Cooke

Nicholas Tooley

Richard Burbage

William Shakespeare, Warden

Crier, Isaac

BEN HORNER

Anna Roos

ZENZI WILLIAMS

HUBERT POINT-DU JOUR CHRISTOPHER GEARY RICARDO DÁVILA THOM SESMA DAISUKE TSUJI

BEARS ZENZI WILLIAMS

Bear on Ice

Harry Hunks

THOM SESMA

Ned Whiting

CHRISTOPHER RYAN GRANT

The Fluffies

RICARDO DÁVILA

CHRISTOPHER GEARY

Place

London and surrounds

Time Act I: Late 1598 Act II: Spring 1599 Act III: 1613, then 1623

THERE WILL BE ONE FIFTEEN-MINUTE INTERMISSION BETWEEN ACTS I AND II.

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ABSENCE IS A FEARSOME THING:

An Interview with Aditi Brennan Kapil

Playwright Aditi Brennan Kapil often calls Imogen Says Nothing a “revisionist hijacking of history.” Production Dramaturg Charles O’Malley sat down with Aditi to talk about her writing process and how she’s using the play to give voice to those who have been expunged from the literary canon.

Charles O’Malley: Yale Rep commissioned you to write a play in 2011. How did the idea for Imogen Says Nothing emerge? Aditi Brennan Kapil: Years ago, I was cast as Imogen in a college production of Much Ado About Nothing. Imogen, Leonato’s wife, only appears in a few stage directions in the quarto and first two folio editions of the play, and she has no lines—she’s most likely the result of a typo, a cut. There’s even some debate about her name—it’s actually spelled Innogen in the quarto and folios. By the eighteenth century, she is “expunged” from Theobald’s edition of Shakespeare’s works and relegated to a footnote. Many contemporary editions don’t include her at all. A few performances into the run, I was silently holding Leonato’s arm when Beatrice said the line, “the one is like an image, and says nothing,” and I heard “Imogen says nothing.” Whatever the actual history of this ghost character, in that moment Beatrice mocking my silence made an impression. And when Yale offered me a commission, I proposed writing Imogen her own play as a way to explore 9


the voices that have been cut and excluded from our canon and investigate the consequences of absence.

CO: How did you begin to write the play? ABK: I visited the campus in 2012 during the Shakespeare at Yale celebration, and delved into all of the Elizabethan and Shakespearean resources available. I had lunch with Yale Rep’s artistic staff; saw Liz Diamond’s production of The Winter’s Tale (the play with the famous “Exit, pursued by a bear” stage direction); and met with Lawrence Manley in the English Department, who gamely answered questions and shared amazing Shakespeare anecdotes. I wandered the Beinecke where the folios were on display: one was open to Much Ado. At Sterling Memorial Library, the librarians sent me to one of those weird half-floors where you feel like everyone’s forgotten about you. I found the shelf where everything felt relevant and sat on the floor reading for hours, that’s where my obsession with bear baitings, Shakespeare’s main entertainment competition once they moved from Shoreditch to the Globe in Bankside, began. The Yale Center for British Art had a gorgeous exhibit of maps out that week—I lost hours there, too—and found a map of Wiltshire from John Speed’s The Theatre of the Empire of Great Britaine. There was a little plaque beneath the display case about a peculiarity in this map, the town of North Burcombe in Wiltshire had been mislabeled Quaere, the Latin word for query. Speed likely copied a mistake cartographer Christopher Saxton left in a map he made a few decades earlier—it was a note to himself to look up the name of the town later. The misnaming stuck for 145 years. Upon further research I discovered that North Burcombe is now in fact gone; they built the A30 motorway through it, which seemed to me poetic. Another typo, an absence, with lasting consequences. At some point during that week, an organizing principle took hold. In a play about being absent, these lost and missing pieces of our past might find a home, in metaphor at least.

CO: With the wealth of writing and research on Shakespeare and this time period, there’s so much history for you to wade through as a playwright. What has been your relationship to history—how do you use these sources in your work? And how do you remix or hijack them? ABK: I try to write from an informed place. It’s a purposeful re-taking and re-mythologizing. I feel like it’s essential to engage in acts of re-mythologizing, re-investigating, active thinking about our moment, particularly for women, for minorities, for immigrants, but, really, for each generation as it comes of age intellectually. 10


In the case of Imogen, when I embrace and when I reject history is intentional. It’s revisionist, it’s a hijacking. I wanted to investigate what happens when the people you cut out of history decide to come take it back. We’re a society built on oppression and erasure: in the last few years I’ve heard people wondering why feminists are so pissed off; why minorities are so pissed off; why, in spite of incremental progress, societies that have been historically disenfranchised are still so pissed off. I’m a huge fan of progress, incremental or otherwise, but systemic oppression has consequences. A bear you meet in the wild might not much care about you unless you get stupid and jump him, but barring that, human and bear can probably manage to coexist. But if a human were to capture that bear, cage it for years, stab it, tether it, and sic dogs on it for sport, that bear’s going to develop a problem with humans. And when you open the cage and tell it that now it’s free, it’s going to come out of that cage angry. That’s how nature works. I love Shakespeare, but the white male canon of literature can stand to be hijacked by a wild and woolly feminist re-telling of our story. I’m pretty sure he can handle it.

CO: We could have been doing this play under the first woman president of the United States, but we are not. The urgency of erased voices has increased, and the fight against systemic oppression is facing more hurdles. With the gravity of the political climate and the themes of Imogen, how do you balance those with the play’s rich and robust comedy? ABK: As an artist—not a politician, journalist, or historian—I feel a huge responsibility to my art form. I want to entertain the hell out of an audience, and I want them to have a profound experience both intellectually and emotionally. I want them laughing, scared, thrilled, dissecting it on the way home; I want to get to them in every way that our multi-dimensional medium can get to people. All of that said, the harder a topic is, the funnier I tend to write the play. Comedy is a great way to get away with a much deeper conversation with an audience, laughter is an amazing unifier. Shakespeare was a master at mixing high-brow and low-brow, profound drama and bawdy antics, philosophical discourse on the nature of morality and mortality interrupted by drunks with lewd jokes and prat falls, all working toward a common thematic through line. People of all classes came to his plays: the groundlings in the pit and the wealthy in the upper levels, they all laughed at the same jokes and thought their deep thoughts together.

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Today, we often don’t allow the high-brow and low-brow to coexist. As a result, we seldom invite the full scope of humanity to come together in our theatres and simultaneously enjoy both fart jokes and philosophical issues. I think it’s hugely important both to strip elitism out of theatre and constantly raise the standard for intellectual discourse.

CO: You’re not just a playwright, but also an actor and a director. How does your job as an actor and director affect how you write plays? ABK: I apprenticed as an actor, learning the craft in front of audiences, for years. Directing came next. I didn’t become a playwright until I had something I needed to say. But at my core I’m still an actor, trying to make that moment between performance and audience into amazing theatre. To me, the purpose of art is to facilitate healthy conversation in society, to maintain a constant dialogue that keeps us from blowing each other up instead. That’s why the arts matter, that’s why we need them and why governments should place value on them, to prevent us from growing polarized. We’re not always succeeding, but we’re trying. TOP: DETAIL FROM CHRISTOPHER SAXTON’S MAP OF WILTSHIRE, CA. 1578, YALE CENTER FOR BRITISH ART, PAUL MELLON COLLECTION. BOTTOM: DETAIL FROM QUARTO OF MUCH ADOE ABOUT NOTHING, CA. 1600, FOLGER SHAKESPEARE LIBRARY. 12


Cast ASHLIE ATKINSON* (IMOGEN) is making her Yale Rep

debut. She won a Theatre World Award as well as Lortel and Outer Critics Circle nominations for originating the role of Helen in Neil LaBute’s Fat Pig. Other New York theatre credits include Steve (The New Group); The Ritz (Roundabout Theatre Company); The Butcher of Baraboo (Second Stage Theatre); Psychomachia, Making Marilyn (Bridge Theatre Company); and Sam Mendes’s world-spanning Bridge Project productions of As You Like It and The Tempest. Regional productions include the original casts of The Forgotten Woman (Bay Street Theater) and January Joiner (Long Wharf Theatre) as well as productions of Love, Loss, and What I Wore (Rubicon Theatre Company), The Book Club Play (Arena Stage), and Fat Pig (Geffen Playhouse). Her film and TV credits include The Wolf of Wall Street, Bridge of Spies, Certain Women, Inside Man, Compliance, All Good Things, The Invention of Lying, Eat Pray Love, Blood Stripe, The Lennon Report, My Best Day, and the upcoming Nowhere, Michigan; the upcoming HBO series Crashing, as well as Divorce, Odd Mom Out, Blue Bloods, High Maintenance, The Good Wife, Nurse Jackie, Elementary, 30 Rock, Boardwalk Empire, Your Pretty Face Is Going to Hell, Bored to Death, Louie, Rescue Me, Law & Order, SVU, and Criminal Intent. Ashlie also plays the character Lenni in the brand new Ubisoft video game Watchdogs_2. She is a proud Arkansas native and South Brooklyn resident, a graduate of Hendrix College and The Neighborhood Playhouse, a participant in the ATrainPlays and the 24 Hour Musicals, and a former skater and current board member for the 5-time World Champions, Gotham Girls Roller Derby (under the name Margaret Thrasher, Prime Minister of Your Demise).

RICARDO DÁVILA (NICHOLAS TOOLEY, FLUFFY 2) is

a third-year MFA candidate at Yale School of Drama, where he has been seen in The Dog Pack Play, The Oresteia, The Skin of Our Teeth, and The Children. His credits include Leonce and Lena (Yale Cabaret), The Mysteries (The Flea), Mariquitas (Theater for the New City), and Mary Stuart (New York University). He holds a degree in acting from NYU Tisch School of the Arts.

CHRISTOPHER GEARY* (ALEXANDER COOKE, FLUFFY 1) previously appeared at Yale Rep in Cymbeline and These Paper Bullets!. Other credits include These Paper Bullets! (Atlantic Theater and Geffen Playhouse); Design for Living, The Cat and the Canary (Berkshire Theatre Group); Losing Tom Pecinka (Ice Factory and New Ohio Theatre); Altogether Reckless, The Seagull, The Master and Margarita, THUNDERBODIES, Peter Pan, Sagittarius Ponderosa (Yale School of Drama); The Small Things, We Know Edie La Minx Had a Gun, and A New

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Saint For A New World (Yale Cabaret). Christopher received his MFA from Yale School of Drama and his BA in theatre performance from Fordham College at Lincoln Center. Christopher is a proud member of New Neighborhood.

CHRISTOPHER RYAN GRANT* (JOHN HEMINGES, NED WHITING) previously appeared at Yale Rep in All’s Well That Ends Well and Richard II. Theatre credits include the Broadway, Off-Broadway, and 1st National Touring productions of Million Dollar Quartet; in New York, work at The Public Theater, Lincoln Center, New World Stages, The Wild Project, IRT Theater, Rattlestick Playwrights Theater, Cherry Lane Theatre, Joe’s Pub, The Red Fern, and Three Day Hangover; and at regional theatres including The Shakespeare Theatre Company, New York Stage & Film, The MUNY, Delaware Theatre Company, Two River Theatre, and The O’Neill Theater Center. Film and television: Rolling on the Floor Laughing (Official Selections for Sundance, Milan, and Toronto Film Festivals), Hard Times For Softcore (short), and Nella Knightly (Nickelodeon). Education: University of Evansville, BFA; British American Drama Academy at Oxford; Yale School of Drama, MFA. He is a proud member of The Actors Center.

BEN HORNER* (CRIER, ISAAC) previously appeared at Yale Rep in Romeo and Juliet. His Broadway credits include The Curious Incident of the Dog in the Night-Time, War Horse, and Macbeth. Other credits include An Octoroon (Soho Rep.); The Gods Are Pounding My Head!, Zomboid (Ontological-Hysteric Theatre); Bingo with the Indians (The Flea Theatre); The Tempest (Colorado Shakespeare Festival); and Macbeth (Smith Street Stage). Film and TV credits include Luke Cage, Person of Interest, Deliver Us from Evil. He received his MFA from Yale School of Drama. Ben lives in Greenwich Village with his wife and two children. For ECH.

HUBERT POINT-DU JOUR* (HENRY CONDELL) Some of Hubert’s stage work includes Sojourners (The Playwrights Realm; upcoming at New York Theatre Workshop), The Model Apartment (Primary Stages), Angels in America (Signature Theatre), A Fable (Rattlestick Playwrights Theater), 365 Days/365 Plays (The Public Theater), Nightlands (New Georges), The Tempest (Target Margin), Every Angel Is Brutal (Clubbed Thumb), and the OBIE-winning plays A Beautiful Day in November on the Banks of the Greatest of the Great Lakes (Women’s Project Theater/New Georges) and A Map of Virtue (13P). Select regional credits include The Lion in Winter (Two River Theater), Blue Door (Seattle Rep), Romeo and Juliet (The Shakespeare Theater Company), and A Raisin in the Sun (Westport Country Playhouse directed by Phylicia Rashad). Television appearances include The Path *MEMBER OF ACTORS’ EQUITY ASSOCIATION, THE UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS

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Cast (Hulu), Happyish (Showtime), The Good Wife (CBS), Law and Order: SVU (NBC), Over/Under (USA), and Black Jack (Comedy Central pilot). He can be seen in the upcoming films Trouble by Theresa Rebeck and Where is Kyra?. He trained at NYU and is a YoungArts award recipient.

THOM SESMA* (RICHARD BURBAGE, HARRY HUNKS) made his Yale Rep debut in Howard Korder’s Search and Destroy (1990). Credits include leading roles in numerous Broadway and national productions; Off-Broadway at New York Shakespeare Festival/The Public Theater, Roundabout Theatre Company, NAATCO, Epic Ensemble, The Drama Dept., Second Stage, and more; regional appearances at McCarter Theatre Center, The Old Globe, Center Stage, Cincinnati Playhouse, The Repertory Theatre of St. Louis, MUNY, Pasadena Playhouse, and others. Film and television guest appearances include Madam Secretary, Gotham, Jessica Jones, Single Ladies, The Good Wife, Person of Interest, Law & Order, Over/Under, Lay the Favorite, Canterbury’s Law, and Third Watch. Proud member: AEA, SAG-AFTRA. Thom lives in New York City with his wife, Penelope Daulton. Colossians 3:12-17.

DAISUKE TSUJI* (WILLIAM SHAKESPEARE, WARDEN)

is making his Yale Rep debut. His recent credits include the title role in The Orphan of Zhao (American Conservatory Theater/La Jolla Playhouse); Johnny/Game Show Host in American Night (Kirk Douglas Theatre); and four seasons at the Oregon Shakespeare Festival, where he played the Fool in King Lear and Ravelli in Animal Crackers, among others. He has also performed as a clown in Cirque du Soleil’s Dralion and created/performed in his own clown show, Clowns Are Peoples Too. His film and television credits include Brockmire, The Man in the High Castle, The Blacklist, and Letters from Iwo Jima. He is an LA-based actor who received his BA at UCLA.

ZENZI WILLIAMS* (ANNA ROOS, BEAR ON ICE) is making her Yale Rep debut. Her theatre credits include The Crucible (Broadway); Mother Courage and Her Children (Classic Stage Company); Altogether Reckless, The Seagull, The Master and Margarita, Measure for Measure, Platonov, and Wintertime (Yale School of Drama); all of what you love and none of what you hate (Yale Cabaret); and A Lover’s Tale (Berkshire Theatre Group). Zenzi studied at the British American Drama Academy and holds a BA in theatre from Temple University and an MFA from Yale School of Drama.

*MEMBER OF ACTORS’ EQUITY ASSOCIATION, THE UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS

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Creative Team YANA BIRŸKOVA (PROJECTION DESIGNER) is a third-year MFA candidate at Yale School of Drama, where her credits include Women Beware Women and Don Juan. Her other designs include the world premiere of Scenes from Court Life, or the whipping boy and his prince (Yale Repertory Theatre); The Square Root of Three Sisters (Dmitry Krymov Lab at Yale School of Drama); Don Quixote (Yale Opera); Mad Forest (UNC Wilmington); The Secretaries, We Are All Here (Yale Cabaret); The Life and Death of Doctor Faustus (Yale Summer Cabaret); 1/13/14 (Studio Tisch); Transport (Irish Repertory Theatre). Her assistant credits include Elevada (Yale Repertory Theatre), The Master and Margarita (Yale School of Drama), and Deepest Man (3-Legged Dog). Originally from Moscow, Russia, Yana holds a BA in film studies from the University of North Carolina at Wilmington. yanabiryukova.com

AMY BORATKO (PRODUCTION DRAMATURG) is the Literary Manager at Yale Rep and has previously served as dramaturg on the Yale Rep productions of peerless, Indecent, War, The Fairytale Lives of Russian Girls, Dear Elizabeth, The Realistic Joneses, Good Goods, Belleville, Autumn Sonata, We Have Always Lived in the Castle, Battle of Black and Dogs, Compulsion, Notes from Underground, A Woman of No Importance, Eurydice, and The Cherry Orchard. Other dramaturgy credits include The Time of Your Life, The Summer People, Romeo and Juliet, The War Is Over (Yale School of Drama), as well as Voice and Vision’s ENVISION Retreat at Bard College. She has been a teaching fellow at Yale College and Yale School of Drama and was a managing editor of Theater magazine. A graduate of Rice University, she received her MFA in dramaturgy and dramatic criticism from Yale School of Drama.

CLAIRE MARIE DeLISO (SCENIC DESIGNER) is a third-year MFA candidate at Yale School of Drama, where her credits include New Domestic Architecture and Women Beware Women. Other credits include The Bitter Tears of Petra von Kant, Boris Yeltsin, Shiny Objects (Yale Cabaret); Midsummer, The Life and Death of Doctor Faustus (Yale Summer Cabaret); The Doll People, Private Lives, Some Mother’s Son, Hedda Gabler (Smith College); Red, God of Carnage, Painting Churches, and Mr. Burns, a post-electric play (New Century Theatre). Claire’s film and television work includes production and costume design for the full-length independent film BadPuss: A Popumentary; Spooners (short), The Stand-ins (web series), the feature Adult Beginners (production assistant), Unforgettable (assistant). Claire was born and raised in a small town in the south of France and received her BA from Smith College.

STEPHEN GABIS (DIALECT COACH) Previous Yale Rep productions include Indecent, Arcadia, These Paper Bullets!, Stones in His Pockets, A Woman of No Importance, Safe in Hell, The People Next Door, The Clean House, The Ladies of the Camellias, and The Way of the World. His Broadway and Off-Broadway credits include The Dead, 1904; Heisenberg; Love, Love, Love; Incognito; Shining City; Hedwig and the Angry Inch; Outside Mullingar; The Winslow Boy; Transport; Loot; Juno and the Paycock; Once; The Book of Mormon; Tribes; Man and Boy; The 39 Steps; Lombardi; Lend Me a Tenor; A View from the Bridge; Becoming Dr. Ruth; Look Back in Anger; The Weir; The Freedom of the City; Memphis; Jersey Boys; A Day in the Death of Joe 16


Creative Team Egg; Bluebird; Through a Glass Darkly; The Shaggs; Kin; By the Way, Meet Vera Stark; The Lieutenant of Inishmore; Brighton Beach Memoirs; When the Rain Stops Falling; The Emperor Jones; Doubt; Frozen; Port Authority; Dublin Carol; and Stuff Happens. Selected film and TV credits include Bull, Spotlight, Stonewall, Boardwalk Empire, Prime Suspect, Million Dollar Baby, Bernard and Doris, Salt, Across the Universe, Mildred Pierce, The Notorious Bettie Page, and Confessions of a Dangerous Mind.

WILLIAM HARTLEY (TECHNICAL DIRECTOR) is a third-year MFA candidate at

Yale School of Drama, where his credits include The Skin of Our Teeth and The Master and Margarita. Previously at Yale Rep, Will served as assistant technical director for Scenes from Court Life, or the whipping boy and his prince and Cymbeline. Prior to Yale, he served as technical director for the Colorado Shakespeare Festival, the Berkshire Theatre Festival, and The Barnstormers Theatre. Will has a BA in theatre arts with an emphasis in technical theatre and design from the University of San Diego.

ADITI BRENNAN KAPIL (PLAYWRIGHT) is a writer, actress, and director of

Bulgarian and Indian descent. She was raised in Sweden, resides in Minneapolis, Minnesota, and her work is produced nationally and internationally. Love Person, a four-part love story in Sanskrit, ASL, and English, received the Stavis Playwriting Award in 2009. Agnes Under The Big Top, a tall tale was selected as a 2009 Distinguished New Play Development Project by the NEA New Play Development Program hosted by Arena Stage and premiered at Mixed Blood Theatre and Long Wharf Theatre in 2011, and Borderlands Theater (AZ) in 2012 in a National New Play Network rolling world premiere. The “Displaced Hindu Gods” Trilogy plays have been produced across the U.S. and in the U.K. Brahman/i and The Chronicles of Kalki received an unprecedented double nomination for the James Tait Black Prize, University of Edinburgh, U.K. In March 2017 South Coast Repertory Theatre (CA) will premiere the commissioned play Orange. In addition, Aditi is working on commissions with La Jolla Playhouse and Oregon Shakespeare Festival. She is the Playwright-in-Residence at Mixed Blood Theatre, an Artistic Associate at Park Square Theatre, a Core Writer at the Playwrights’ Center in Minneapolis, and a Resident Playwright at New Dramatists. aditikapil.com

CHARLES O’MALLEY (PRODUCTION DRAMATURG) is a second-year MFA candidate at Yale School of Drama, where his credits include Our Lady of 121st Street and Bluebeard’s Wife, a tale of (gay) marriage and (queer) death. Yale Cabaret credits include Styx Songs and Boris Yeltsin. Professionally, he has worked at the Goodman Theatre, Chicago Shakespeare Theater, Victory Gardens Theater, Jackalope Theatre, About Face Theatre, the Bay Area Playwrights Festival, and elsewhere. He has presented his research at the American Society for Theatre Research, the Comparative Drama Conference, and the Ford Symposium; and written for Indiewire and Routledge. He is currently a managing editor for Theater magazine, and he holds a BA in drama and art history from Vassar College. This spring, his play The Other World will be produced at Yale Cabaret.

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BENJAMIN EDWARD CRAMER PFISTER* (STAGE MANAGER) is a third-year MFA candidate at Yale School of Drama, where his credits include New Domestic Architecture, Riverbank: A Noh Play for Northerly Americans, Don Juan, Coriolanus, and Fucking A. He was the assistant stage manager for peerless and Scenes from Court Life, or a whipping boy and his prince at Yale Rep. Ben has a BA in theatre and dance from The College of Wooster.

CHRISTOPHER ROSS-EWART (SOUND DESIGNER) is a third-year MFA candidate at Yale School of Drama, where his credits include Macbeth and The Skin of Our Teeth. He is a frequent designer, composer, and performer for both Yale Cabaret and Yale Summer Cabaret. His music and design for dancer Yang Hao have been presented in the Hong Kong Arts Festival, the International Festival of Arts & Ideas in New Haven, and Germany’s Internationale Tanzmesse NRW. His show, Explosions for the 21st Century, will be presented at the 2017 Festival of Original Theatre at the University of Toronto. Other credits include Summer Valley Fair (designer, New York Musical Theatre Festival) and I Am Very Far (designer, composer, performer, Summerworks Festival). BA: University of Toronto.

TARA RUBIN CASTING (CASTING DIRECTOR) has been casting at Yale Rep since 2004. Selected Broadway: Falsettos (upcoming); A Bronx Tale (upcoming); Dear Evan Hansen (upcoming); Cats; Disaster!; School of Rock; Dr Zhivago; It Shoulda Been You; Gigi; Bullets Over Broadway; Aladdin; Les Misérables; Mothers and Sons; Big Fish; The Heiress; How to Succeed in Business Without Really Trying; A Little Night Music; Billy Elliot; Shrek; Guys and Dolls; Young Frankenstein; The Little Mermaid; Mary Poppins; Spamalot; The 25th Annual Putnam County Spelling Bee; The Producers; Mamma Mia!; Jersey Boys; The Phantom of the Opera. Off-Broadway: Here Lies Love; Old Jews Telling Jokes; Love, Loss, and What I Wore. Regional: Paper Mill Playhouse, La Jolla Playhouse, The Old Globe, Bucks County Playhouse.

RICK SORDELET (FIGHT DIRECTOR) Rick and his son, Christian Kelly-Sordelet are the creators of Sordelet Inc., an exciting new stage combat company bringing over 30 years of action movement experience to the entertainment community. 72 Broadway credits include The Lion King, Beauty and the Beast also the national tours of Beauty and the Beast and Les Miserables. Also, 52 first-class productions worldwide including Ben Hur Live in Rome and European Tour. Opera: Cyrano (starring Placido Domingo) at the Metropolitan Opera, The Royal Opera House and La Scala, in Milan; Don Carlo directed by Nicholas Hytner at the Met; Heart of the Soldier, a new opera at San Francisco Opera; Cold Mountain, Don Giovanni, Romeo and Juliet, and La Fanciulla del west for Santa Fe Opera. Film: The Game Plan, Dan in Real Life, Brave New Jersey, Liv. Television: stunt coordinators for the new hit comedy series Kevin Can Wait on CBS, 12 years as stunt coordinators for Guiding Light. Rick is an instructor at Yale School of Drama, CUNY Harlem, HB Studio. He is a board member for the Shakespeare Theatre of New Jersey. Awards: Edith Oliver Award for Sustained Excellence from the Lucille Lortel Off-Broadway League, Jeff Award for Best Fight *MEMBER OF ACTORS’ EQUITY ASSOCIATION, THE UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS

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Creative Team Direction for Romeo and Juliet at Chicago Shakespeare Theater. Rick is the author of the play Buried Treasure. Upcoming feature film: 20,000 Leagues Under the Sea, directed by Bryan Singer. sordeletink.com

DAVID WEINER (LIGHTING DESIGNER) is making his Yale Rep debut. Broadway credits include Stephen King’s Misery, Romeo and Juliet, Dead Accounts, Grace, Godspell, The Normal Heart, Reasons to Be Pretty, Butley, The Real Thing, Dinner at Eight, and Betrayal. Off-Broadway: Manhattan Theatre Club, Second Stage Theatre, Playwrights Horizons, MCC Theater, The Public Theater, New York Theatre Workshop, Theatre for a New Audience, Vineyard Theatre, Atlantic Theater Company. Regional: Steppenwolf Theatre Company, Goodman Theatre, Center Theatre Group, Oregon Shakespeare Festival, Guthrie Theater, La Jolla Playhouse, McCarter Theatre, Huntington Theatre Company, American Repertory Theater, Williamstown Theatre Festival, American Conservatory Theater, New York Stage & Film, Berkeley Repertory Theatre. Awards: Three Lucille Lortel Awards (Guards At The Taj, Through a Glass Darkly, Rodney’s Wife); LA Ovation Award (Venice); Drama Desk nomination (A Small Fire); American Theater Wing Hewes Design Award nominations (Reasons to be Pretty, This Beautiful City, Pumpgirl, The Overwhelming, The Seven). DavidWeinerDesign.com

LAURIE WOOLERY (DIRECTOR) is a director, playwright, educator, facilitator, community organizer, and producer who has worked at the Oregon Shakespeare Festival, The Public Theater, Goodman Theatre, Cornerstone Theater Company, Trinity Repertory, South Coast Repertory, Mark Taper Forum, Denver Center, Los Angeles Philharmonic, Los Angeles Theatre Center, Inge Center for the Arts, Plaza de la Raza/ RedCAT, Ricardo Montalban Theatre, Deaf-West Theatre, Highways Performance Space, Sundance Playwrights Lab as well as the Sundance Children’s Theater. Her solo play Salvadorian Moon/African Sky was commissioned by Cornerstone Theater Company and performed in their citywide Festival of Faith. Currently, Laurie is the Director of Public Works at The Public Theater. Ms. Woolery is the former Associate Artistic Director of Cornerstone Theater Company, artist-in-residence at Hollygrove Children’s Home, and former Theatre Conservatory Director at South Coast Repertory. Laurie has taught at Princeton, NYU, USC, CalArts, Citrus College, California State University at Northridge and Los Angeles, and serves on the Board of the Latino Producers Action Network. Ms. Woolery is the recipient of the Fuller Road Fellowship for Female Directors of Color and a founding member of The Sol Project. solproject.org

HAYDEE ZELIDETH (COSTUME DESIGNER) is a third-year MFA candidate at Yale School of Drama, where she designed the costumes for The Skin of Our Teeth and The Merchant of Venice. Her credits include several Yale Cabaret shows such as Alice in Wonderland, The Bitter Tears of Petra Von Kant, and Orlando; the world premiere of A Woman in Morocco at The Butler School of Music (University of Texas at Austin); Design for Living, The Winter’s Tale, and Pride and Prejudice (Austin Shakespeare Company). She has also designed and worked on costumes for independent films, television, and music videos. She received her BA in theatre from the University of Texas at Austin. haydeezelideth.com 19


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Yale Repertory Theatre JAMES BUNDY (ARTISTIC DIRECTOR) is in his 15th year as Dean of Yale School of Drama and Artistic Director of Yale Repertory Theatre. In his first 14 seasons, Yale Rep has produced more than 30 world, American, and regional premieres, nine of which have been honored by the Connecticut Critics Circle with the award for Best Production of the year and two of which have been Pulitzer Prize finalists. During this time, Yale Rep also has commissioned more than 50 artists to write new work and provided low-cost theatre tickets to thousands of middle and high school students from Greater New Haven through WILL POWER!, an educational program initiated in 2004. In addition to his work at Yale Rep, he has directed productions at Oregon Shakespeare Festival, Great Lakes Theater Festival, The Acting Company, California Shakespeare Festival, Alabama Shakespeare Festival, and The Juilliard School Drama Division. A recipient of the Connecticut Critics Circle’s Tom Killen Award for extraordinary contributions to Connecticut professional theatre in 2007, Mr. Bundy served from 2007–13 on the board of directors of Theatre Communications Group, the national service organization for nonprofit theatre. Previously, he worked as Associate Producing Director of The Acting Company, Managing Director of Cornerstone Theater Company, and Artistic Director of Great Lakes Theater Festival. He is a graduate of Harvard College; he trained at the London Academy of Music and Dramatic Art and Yale School of Drama.

VICTORIA NOLAN (MANAGING DIRECTOR) is in her 24th 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. 21


JENNIFER KIGER (ASSOCIATE ARTISTIC DIRECTOR AND DIRECTOR OF NEW PLAY PROGRAMS) is in her twelfth year as the Associate Artistic Director of Yale Repertory Theatre and is also the Director of New Play Programs of Yale’s Binger Center for New Theatre. Since its founding in 2008, the Binger Center has supported the work of more than 50 commissioned artists and underwritten the world premieres and subsequent productions of 24 new American plays and musicals at Yale Rep and theatres across the country. Ms. Kiger came to Yale Rep from South Coast Repertory, where she was Literary Manager from 2000–2005 and Co-Director of the Pacific Playwrights Festival. Prior to that, she was a production dramaturg at American Repertory Theater and adapted Robert Coover’s Charlie in the House of Rue and Mac Wellman’s Hypatia for the stage with director Bob McGrath. She has been a dramaturg for the Playwrights Center of Minneapolis and Boston Theatre Works; a panelist for the National Endowment for the Arts and the California Arts Council; and a consultant for the Fuller Road Artist Residency. She is a founding member of the theatre and television company, New Neighborhood. Ms. Kiger completed her professional training at the American Repertory Theater Institute for Advanced Theater Training at Harvard University, where she taught courses in acting and dramatic arts. She is currently the Interim Chair of the Playwriting Department of Yale School of Drama.

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

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Yale Repertory Theatre JONATHAN A. REED (PRODUCTION MANAGER) has been the Production Manager for Yale School of Drama and Yale Repertory Theatre since 2013. Also a member of the Technical Design and Production faculty, teaching courses in management, planning and technology, Mr. Reed serves on the Yale Summer Cabaret and Yale Digital Media Center for the Arts advisory boards. Prior to Yale, he worked as the Technical Director for the Cornell College Department of Theatre and Communication Studies and the Arrow Rock Lyceum Theatre. Mr. Reed has also served as a freelance lighting and sound designer for companies including the Riverside Theatre, Orchesis Dance Company, Open Stage Theatre, and Pennsylvania Centre Stage. He is married to soprano Sarah Comfort Reed, and they have two children, Emma and Henry. BFA, Pennsylvania State University; MFA, Yale School of Drama.

JAMES MOUNTCASTLE (PRODUCTION STAGE MANAGER), has been at Yale Rep since 2004. He has stage managed productions of Scenes From Court Life, or a whipping boy and his prince; Arcadia; A Streetcar Named Desire; American Night: The Ballad of Juan José; Three Sisters; The Master Builder; Passion Play; Eurydice; and the world premiere of The Clean House. Broadway credits include Damn Yankees, Jekyll & Hyde, Judgment at Nuremberg, The Boys from Syracuse, The Smell of the Kill, Life x(3), and Wonderful Town. Mr. Mountcastle spent several Christmas seasons in New York City as stage manager for A Christmas Carol The Musical at Madison Square Garden. Broadway national tours include City of Angels, Falsettos, and My Fair Lady. He served as Production Stage Manager for Damn Yankees starring Jerry Lewis for both its national tour and at the Adelphi Theatre in London’s West End. In addition, Mr. Mountcastle has worked at The Kennedy Center, Center Stage in Baltimore, Actors Theatre of Louisville, Brooklyn Academy of Music, and elsewhere. James and his wife Julie live in North Haven and are the proud parents of two girls, Ellie and Katie.

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Imogen Says Nothing Staff ARTISTIC Peter Andersen, Assistant Director Jessie Chen, Assistant Scenic Designer Matthew R. Malone, Assistant Costume Designer Paige Seber, Assistant Lighting Designer Roxy Jia, Assistant Sound Designer and Engineer Wladimiro A. Woyno R., Assistant Projection Designer Grace Zandarski, Vocal Coach Caitlin O’Rourke, Assistant Stage Manager PRODUCTION Harry Beauregard, Associate Production Manager Ben Clark, Michael Hsu, Wei-hsuan Wang, Assistant Technical Directors Logan Baker, Assistant Properties Manager Alexandra Reynolds, Master Electrician Kelly Rae Fayton, Projection Engineer Nikki Fazzone, Judianne Wallace, Drapers Jake Adams, Laura Cornwall, Michael Costagliola, Maria Inês Marquez, Michael Schermann, Patrick Young, Run Crew ADMINISTRATION Lisa D. Richardson, House Manager UNDERSTUDIES Sebastian Arboleda, John Heminges, Ned Whiting Marié Botha, Imogen José Espinosa, Alexander Cooke, Fluffy 1 Barbaro Guzman, Crier, Isaac Sydney Lemmon, Anna Roos, Bear on Ice Jake Ryan Lozano, William Shakespeare, Warden Hudson Oznowicz, Richard Burbage, Harry Hunks Arturo Soria, Henry Condell Curtis Williams, Nicholas Tooley, Fluffy 2 SPECIAL THANKS Yale Center for British Art: Megan Czekaj, Meredith Hale, Elisabeth Fairman, Abbie Kundishora, Beth Morris, Sarah Welcome; Anders Winroth; the Elizabethan Club; Lawrence Manley; the Lark; Lisa Channer; The Playwrights’ Center; Heather F. Phillips; Sean Brennan; Antje Oegel; New Dramatists; Oskar Eustis, Lear deBessonet and The Public Theater; Elena V. Ramos; Barbra Berlovitz; Skyler Nowinksi; Dan Hopman; Nathan Christopher; Tyler Michaels; Terry Hempleman; Alex Brightwell; Christina 25

Baldwin; Julien Hawthrone; Tina Benko; Ashley Bryant; William Jackson Harper; Tyrone Mitchell Henderson; Slate Holmgren; Alex Moggridge; Max Gordon Moore; Mickey Theis; Michael Braun; Austin Durant; Brian Tyree Henry; Adam Langdon; Jessica Love; Liz Wisan

Yale Repertory Theatre Staff James Bundy, Artistic Director Victoria Nolan, Managing Director Jennifer Kiger, Associate Artistic Director Director of New Play Programs ARTISTIC Resident Artists Paula Vogel, Playwright in Residence Liz Diamond, Evan Yionoulis, Resident Directors Catherine Sheehy, Resident Dramaturg Michael Yeargan, Set Design Advisor, Resident Set Designer Ilona Somogyi, Costume Design Advisor Jess Goldstein, Resident Costume Designer Jennifer Tipton, Lighting Design Advisor Stephen Strawbridge, Resident Lighting Designer David Budries, Sound Design Advisor Walton Wilson, Voice and Speech Advisor Rick Sordelet, Fight Advisor Mary Hunter, Stage Management Advisor Associate Artists 52nd Street Project, Kama Ginkas, Mark Lamos, MTYZ Theatre/Moscow New Generations Theatre, Bill Rauch, Sarah Ruhl, Henrietta Yanovskaya Artistic Management James Mountcastle, Production Stage Manager Amy Boratko, Literary Manager Kay Perdue Meadows, Artistic Associate Jocelyn Prince, Artistic Coordinator Rachel Carpman, Literary Associate Tara Rubin, CSA; Lindsay Levine, CSA; Laura Schutzel, CSA; Kaitlin Shaw, CSA; Merri Sugarman, CSA; Eric Woodall, CSA; Claire Burke; Felicia Rudolph, Casting Josie Brown, Senior Administrative Assistant to the Artistic Director and Associate Artistic Director


Laurie Coppola, Senior Administrative Assistant for the Directing, Dramaturgy and Dramatic Criticism, Playwriting, and Stage Management Departments Mary Volk, Senior Administrative Assistant for the Design and Sound Design Departments Kate Begley Baker, Interim Senior Administrative Assistant for the Design and Sound Design Departments Lindsay King, Library Services PRODUCTION Production Management Bronislaw J. Sammler, Head of Production Jonathan Reed, Production Manager C. Nikki Mills, Associate Head of Production and Student Labor Supervisor Grace O’Brien, Senior Administrative Assistant to the Production and Theater Safety and Occupational Health Departments Scenery Neil Mulligan, Matt Welander, Technical Directors Alan Hendrickson, Electro Mechanical Laboratory Supervisor Eric Sparks, Shop Foreman Matt Gaffney, Ryan Gardner, Sharon Reinhart, Master Shop Carpenters Alex McNamara, Shop Carpenter Trent Davis, Interim Shop Carpenter Bryanna Kim, Brian Pacelli, Assistants to the Technical Director Painting Ru-Jun Wang, Scenic Charge Lia Akkerhuis, Nathan Jasunas, Scenic Artists Olga Tyurikova, Assistant to the Painting Supervisor Properties Jennifer McClure, Properties Master David P. Schrader, Properties Craftsperson Ashley Flowers, Properties Assistant Bill Batschelet, Properties Stock Manager Logan Baker, Michael Schermann, Assistants to the Properties Master Costumes Tom McAlister, Costume Shop Manager Harry Johnson, Clarissa Wylie Youngberg, Mary Zihal, Senior Drapers Deborah Bloch, Patricia Van Horn, Senior First Hands

Linda Kelley-Dodd, Costume Project Coordinator Denise O’Brien, Wig and Hair Design Barbara Bodine, Company Hairdresser Elizabeth Beale, Costume Stock Manager Jamie Farkas, Rachel Gregory, Assistants to the Costume Shop Manager Electrics Donald W. Titus, Lighting Supervisor Jennifer Carlson, Linda-Cristal Young, Senior Head Electricians Mayumi Nishiyama, Assistant to the Lighting Supervisor Sound Mike Backhaus, Sound Supervisor Stephanie Smith, Staff Sound Engineer Roxy Jia, Haley Wolf, Assistants to the Sound Supervisor Projections Erich Bolton, Projection Supervisor Mike Paddock, Head Projection Technician Stage Operations Janet Cunningham, Stage Carpenter Elizabeth Bolster, Wardrobe Supervisor Jacob Riley, FOH Mix Engineer Mark Bailey, Light Board Programmer ADMINISTRATION General Management Flo Low, Gretchen Wright, Associate Managing Directors Trent Anderson, Melissa Rose, Sylvia Xiaomeng Zhang, Assistant Managing Directors Emalie Mayo, Senior Administrative Assistant to the Managing Director Jaime Totti, Leandro A. Zaneti, Management Assistants Al Heartley, Rachel Shuey, Company Managers Caitlin Crombleholme, Leandro A. Zaneti, Assistant Company Managers Development and Alumni Affairs Deborah S. Berman, Director of Development and Alumni Affairs
 Janice Muirhead, Senior Associate Director of Institutional Giving
 Susan C. Clark, Senior Associate Director of Operations for Development and Alumni Affairs
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Yale Repertory Theatre Staff Joanna Romberg, Senior Associate Director of Annual Giving and Special Projects
 Chiara Klein, Associate Director of Development and Alumni Affairs
 Jennifer E. Alzona, Senior Administrative Assistant to Development and Marketing & Communications
 Alice Kenney, Development Associate
 Caitlin Crombleholme, Rebecca Hampe, Jaime Totti, Development Assistants Finance and Human Resources Katherine D. Burgueño, Director of Finance and Human Resources Erin Ethier, Business Manager Janna J. Ellis, Director, Yale Tessitura Consortium Chris Fuller, Preston Mock, Business Office Specialists Shainn Reaves, Senior Administrative Assistant to Business Office, Digital Technology, Operations, and Tessitura Susan Ireland, Ashlie Russell, Business Office Assistants Marketing, Communications, and Audience Services Daniel Cress, Director of Marketing Steven Padla, Director of Communications Caitlin Griffin, Senior Associate Director of Marketing and Communications Emily Reeder, Associate Director of Marketing and Communications Armando Huipe, Gwyneth Muller, Malenky Welsh, Marketing and Communications Assistants Marguerite Elliott, Publications Manager Laura Kirk, Director of Audience Services Shane Quinn, Assistant Director of Audience Services Tracy Baldini, Subscriptions Coordinator Roger-Paul Snell, Audience Services Assistant Alexandra Cadena, Sara Cho, Jordan Graf, Nicolette Mántica, Kenneth Murray, Alexis Payne, Tarleton Watkins, Box Office Assistants Erika Anclade, Tracy Bennett, Tasha Boyer, Rachel Brodwin, Denyse Burke, Kerry Burke-McCloud, Billy Cavell, Sabrina Clevenger, Cara Correll, Paige Cunningham, Aryssa Damron, Daniel Diaz-Vita, Adam D’Sa, Rebecca Hampe, Hannah Herzog, Jamie Inwood, Michaela Johnson, Shawn Luciani, Bonnie Moeller, Ashley Stanbury, 27

Monica Traniello, Elizabeth Wiet, Cate Worthington, Larsson Youngberg, Ushers Paul Evan Jeffrey, Art and Design Joan Marcus, Production Photographer David Kane, Videography Operations Diane Galt, Director of Facility Operations Nadir Balan, Operations Associate Jennifer Draughn, Arts and Graduate Studies Superintendent Sherry Stanley, Team Leader Michael Humbert, Facility Steward Donell DiGioia, Ty Frost, Kathy Langston, Mark Roy, Jerome Sonia, Custodians Digital Technology Chris Kilbourne, Director of Digital Technology Luis Serrano, Web and Email Services Associate Joe Whalley, Interim Digital Technology Assistant Don Harvey, Ron Rode, Ben Silvert, Database Application Consultants Theater Safety and Occupational Health William J. Reynolds, Director of Theater Safety and Occupational Health Jacob Thompson, Security Officer Ed Jooss, Audience Safety Officer Kevin Delaney, John Marquez, Customer Service and Safety Officers

The Actors and Stage Manager employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers. The Scenic, Costume, Lighting, and Sound Designers in LORT are represented by United Artists Local USA-829, IATSE. Yale Repertory Theatre operates under an agreement between the League of Resident Theatres (LORT) and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Imogen Says Nothing January 20–February 11, 2017 Yale Repertory Theatre, 1120 Chapel Street


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WINNER!

2014 OUTSTANDING PRODUCTION OF A PLAY CONNECTICUT CRITICS CIRCLE

These Paper Bullets! by Rolin Jones, with songs by Billie Joe Armstrong; Yale Rep, world premiere, 2014; Geffen Playhouse, west coast premiere, 2015; Atlantic Theater Company, New York premiere, 2015.

Binger Center for New Theatre YALE REPERTORY THEATRE, the internationally celebrated professional theatre in residence at Yale School of Drama, has championed new work since 1966, producing well over 100 premieres—including two Pulitzer Prize winners and four other nominated finalists. Twelve Yale Rep productions have advanced to Broadway, garnering more than 40 Tony Award nominations and eight Tony Awards. Yale Rep is also the recipient of the Tony Award for Outstanding Regional Theatre. Established in 2008, Yale’s BINGER CENTER FOR NEW THEATRE has distinguished itself as one of the nation’s most robust and innovative new play programs. To date, the Binger Center has supported the work of more than 50 commissioned artists and underwritten the world premieres and subsequent productions of 24 new American plays and musicals at Yale Rep and theatres across the country—including this season’s Scenes from Court Life by Sarah Ruhl, Imogen Says Nothing by Aditi Brennan Kapil, and Mary Jane by Amy Herzog. Photos by Joan Marcus and Carol Rosegg.

“A SHARP DRAMA ABOUT

FORGIVENESS, GENEROSITY, AND FAMILY.” TIME OUT NEW YORK

War by Branden Jacobs-Jenkins; Yale Rep, world premiere, 2014; Lincoln Center Theatre’s LCT3, New York premiere, 2016. 29


WINNER!

2016 OUTSTANDING PRODUCTION OF A PLAY CONNECTICUT CRITICS CIRCLE

Indecent created by Paula Vogel and Rebecca Taichman; Yale Rep and La Jolla Playhouse, world premiere, 2015; Vineyard Theatre, New York premiere, 2016; upcoming Broadway, 2017.

“FIERCELY FUNNY!” THE NEW YORK TIMES

“SPLENDID!” NEW HAVEN REGISTER

peerless by Jiehae Park. Yale Rep, world premiere, 2015.

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

“BEST BROADWAY PLAY OF 2014!” USA TODAY

The Realistic Joneses by Will Eno; Yale Rep, world premiere, 2012; Broadway premiere, 2014. 30


Yale School of Drama Board of Advisors John B. Beinecke, Chair Michael Diamond John Badham, Vice Chair Polly Draper Jeremy Smith, Vice Chair Charles S. Dutton Sasha Emerson Nina Adams Heidi Ettinger Amy Aquino Lily Fan Sonja Berggren Terry Fitzpatrick Carmine Boccuzzi Marc Flanagan Lynne Bolton Marcus Dean Fuller Clare Brinkley Anita Pamintuan Fusco Sterling B. Brinkley, Jr. Donald Granger Kate Burton David Marshall Grant Lois Chiles David Alan Grier Patricia Clarkson Ruth Hendel Edgar M. Cullman III Catherine MacNeil Scott Delman Hollinger

Sally Horchow Ellen Iseman David Johnson Jane Kaczmarek Asaad Kelada Sarah Long Donald Lowy Elizabeth Margid Drew McCoy Tarell Alvin McCraney David Milch Tom Moore Arthur Nacht Jennifer Harrison Newman Lupita Nyong’o

Carol Ostrow Amy Povich Liev Schreiber Tracy Chutorian Semler Tony Shalhoub Michael Sheehan Anna Deavere Smith Andrew Tisdale Edward Trach Esme Usdan Courtney B. Vance Donald Ware Henry Winkler Amanda Wallace Woods

Thank you to the generous contributors to Yale School of Drama and Yale Repertory Theatre LEADERSHIP SOCIETY ($50,000 and above)

Dmitry Ananiev Anonymous (2) John B. Beinecke Sonja Berggren and Patrick Seaver Lynne and Roger Bolton Burry Fredrik Foundation Lois Chiles and Richard Gilder Nicholas Ciriello Edgar M. Cullman, Jr. Edgar M. Cullman III Edgerton Foundation Heidi Ettinger Lily Fan Anita Pamintuan Fusco and Dino Fusco The Horace W. Goldsmith Foundation Lane Heard and Margaret Bauer Stephen J. Hoffman William and Sarah Hyman David Johnson Geoffrey Ashton Johnson Rocco Landesman The Frederick Loewe Foundation Neil Mazzella James Munson Alan Poul Pam and Jeff Rank Robert Riordan Robina Foundation Linda and Larry Rodman Talia Shire Schwartzman Tracy Chutorian Semler The Ted and Mary Jo Shen Charitable Gift Fund The Shubert Foundation Jeremy Smith 31

Stephen Timbers Time Warner Foundation Jennifer Tipton Nesrin and Andrew Tisdale Edward Trach Trust for Mutual Understanding Kara Unterberg Esme Usdan Albert Zuckerman

GUARANTORS ($25,000–$49,999)

Connecticut Department of Economic and Community Development Ruth and Steve Hendel Azamat Kumykov Mabel Burchard Fischer Grant Foundation The Laurents/Hatcher Foundation Righteous Persons Foundation Virginia B. Toulmin Foundation

BENEFACTORS ($10,000–$24,999)

Nina Adams and Moreson Kaplan Americana Arts Foundation Bank of America Foundation Carmine Boccuzzi and Bernard Lumpkin Mary L. Bundy Jim Burrows The Noël Coward Foundation Scott Delman Michael Diamond Educational Foundation of America

Charles Finch Quina Fonseca Donald Granger Catherine MacNeil Hollinger J.M. Kaplan Fund Sarah Long Lucille Lortel Foundation Donald and Angela Lowy Roz and Jerry Meyer Tom Moore National Endowment for the Arts Lupita Nyong’o Aram Piruzyan The Seedlings Foundation Jonathan Marc Sherman, in honor of Dr. Ronald Sherman Carol L. Sirot Theatre Communications Group Cliff Warner

PATRONS ($5,000–$9,999)

Deborah Applegate and Bruce Tulgan John Badham Foster Bam The Eugene G. and Margaret M. Blackford Memorial Fund, Bank of America, Co-Trustee The Frederick A. DeLuca Foundation Polly Draper Christopher Durang Terry Fitzpatrick Barbara and Richard Franke David Freeman Marcus Dean Fuller Albert R. Gurney Sally Horchow

Linda Gulder Huett Ellen Iseman Adrian and Nina Jones The Ethel & Abe Lapides Foundation Ben Ledbetter and Deborah Freedman David Freeman Jennifer Lindstrom Arthur and Merle Nacht New England Foundation for the Arts Carol Ostrow Mark C. Rosenthal Ben and Laraine Sammler Michael and Riki Sheehan Philip J. Smith Donald Ware

PRODUCER’S CIRCLE ($2,500–$4,999)

Anna Fitch Ardenghi Trust, Bank of America,Trustee Mark Blankenship Shirley Brandman and Howard Shapiro Donald and Mary Brown Thomas Bruce James Bundy Ben Cameron Michael S. David Marc Flanagan Samuel French Inc. Fred Gorelick and Cheryl MacLachlan Alan Hendrickson JANA Foundation Jewish Federation of Greater New Haven George A. and Grace Long Foundation, Bank of America, N.A., Co-Trustee William Ludel NewAlliance Foundation


Thomas Middleton Dw Phineas Perkins Abby Roth and R. Lee Stump Alec and Aimee Scribner Amanda Wallace Woods

DIRECTOR’S CIRCLE ($1,000–$2,499)

Victor and Laura Altshul Peter Andrew Amy Aquino and Drew McCoy Paula Armbruster Paul F. Balser, Sr. Barbara Bartlett John Lee Beatty Jody Locker Berger Deborah S. and Bruce M. Berman Mark Brokaw Cyndi Brown James T. Brown Kate Burton Alexandra Cadena Joan Channick and Ruth Hein Schmitt Patricia Clarkson William Conner Sue Ann Gilfillan Converse and Tony Converse Peggy Cowles Catherine and Elwood Davis Ramon Delgado Glen R. Fasman Naomi Grabel Eduardo Groisman Mary and Arthur Hunt James Earl Jewell Rolin Jones Ann Judd and Bennett Pudlin Jane Kaczmarek Elizabeth Katz and Reed Hundt Helen Kauder and Barry Nalebuff Roger Kenvin George N. Lindsay, Jr. Thomas G. Masse and James M. Perlotto, MD Tarell Alvin McCraney Susan Medak and Greg Murphy David Moore Garrett and Mary Moran Neil Mulligan Jim and Eileen Mydosh Richard Ostreicher F. Richard Pappas Amy Povich Kathy and George Priest Carol A. Prugh William H. Prusoff Foundation Lance Reddick The Rodgers and Hammerstein Foundation

Anne Seiwerath Eugene Shewmaker Benjamin Slotznick Dr. Matthew Specter and Ms. Marjan Mashhadi Carol and Arthur Spinner Kenneth J. Stein Shepard and Marlene Stone David Sword Arlene Szczarba Joan van Ark Sylvia Van Sinderen and James Sinclair Carol M. Waaser Wendy Zimmermann and Stephen Cutler Steve Zuckerman

PARTNERS ($500–$999)

Actors’ Equity Foundation Donna Alexander Mr. and Mrs. B.N. Ashfield Emily P. Bakemeier and Alain G. Moureaux Edward Blunt Claudia Brown Anne and Guido Calabresi Ian Calderon Dr. Michael Cappello and Kerry Robinson Cosmo Catalano, Jr. Dr. Paul D. Cleary Bill Connington Bob and Priscilla Dannies Richard Sutton Davis Robert Dealy The Cory & Bob Donnalley Charitable Foundation Sasha Emerson Bernard Engel Roberta Enoch and Steven Canner Peter Entin Kyoung-Jun Eo ERJ Fund Susan and Fred Finkelstein Anthony Foreman James Gardner Eric Gershman and Katie Liberman Betty Goldberg Kris and Marc Granetz David Marshall Grant Rob Greenberg Regina Guggenheim William B. Halbert Karsten Harries and Elizabeth Langhorne Barbara Hauptman Jane Head Ethan Heard

Carol Thompson Hemingway Donald Holder Peter Hunt Raymond Inkel Gregory Kandel Harvey Kliman and Sandra Stein Dr. Gary and Hedda Kopf Mildred Kuner Melanie Ginter and John Lapides Maryanne Lavan Chi-Lung Lui Charles H. Long Linda Lorimer and Charles Ellis Timothy Mackabee Brian Mann Jenny Mannis and Henry Wishcamper John McAndrew Peter and Wendy McCabe Daniel Mufson Gayther Myers, Jr. Laura Naramore Victoria Nolan and Clark Crolius William and Barbara Nordhaus Arthur Oliner Louise Perkins and Jeff Glans Faye and Asghar Rastegar Jon and Sarah Reed Bill and Sharon Reynolds Dr. Michael Rigsby and Prof. Richard Lalli Steve Robman Dr. Mark Schoenfeld Liev Schreiber Sandra Shaner James Steerman Nausica Stergiou Marsha Beach Stewart Matthew Suttor Don Titus Julie Turaj and Robert Pohly John Turturro and Katherine Borowitz Courtney B. Vance Sophie von Haselberg Paul Walsh Robert Wechsler and Emily Aber Carolyn Seely Wiener Harry Weintraub Steven Wolff Evan Yionoulis

INVESTORS ($250–$499)

Mary Ellen and Thomas Atkins Alexander Bagnall James Bakkom

Christopher Barreca Sarah Bartlo Ashley Bishop Susan Brady and Mark Loeffler Tom Broecker Dr. and Mrs. W.K. Chandler Barbara Jean and Nicholas Cimmino Lani Click Robert S. Cohen Audrey Conrad Daniel R. Cooperman and Mariel Harris Stephen Coy John W. Cunningham Laura Davis and David Soper Aziz Dehkan and Barbara Moss Charles Dillingham Dennis Dorn Kem and Phoebe Edwards Fine Family Randy Fullerton Dr. and Mrs. James Galligan Joseph Gantman Stephen Godchaux Marian Godfrey Greer Goodman Scott Hansen Douglas Harvey Anne Gregerson Nicole and Larry Heath Mona Heinz-Barreca Molly Hennighausen Amy Herzog Phillip Howse David Henry Hwang Joanna and Lee A. Jacobus Kirk Jackson Pam Jordan Dr. Unni Karunakara Bruce Katzman Rik Kaye Barnet Kellman Alan Kibbe Lindsay King David Kriebs Lisa Kugelman and Roy Wiseman Bernard Kukoff Frances Kumin Michael Lassell Kenneth Lewis Nancy Lyon Linda Maerz and David Wilson Elizabeth Margid Deborah McGraw George Miller and Virginia Fallon George Morfogen Janice Muirhead David Nancarrow Regina and Thomas Neville 32


Contributors to Yale School of Drama and Yale Repertory Theatre Jane Nowosadko George and Marjorie O’Brien Janet Oetinger Steven Oxman Maulik Pancholy Michael Parrella Cesar Pelli James Perakis Geoffrey Pierson Stephen Pollack Jeffrey Powell and Adalgisa Caccone Meghan Pressman Alec and Drika Purves Barbara and David Reif Daniel and Irene Mrose Rissi Howard Rogut Russ Rosensweig Fernande E. Ross Jean and Ron Rozett Dana Sanders Robin Sauerteig Suzanne Sato Morris and Annelies Sheehan William and Elizabeth Sledge Mary C. Stark Regina Starolis Erich Stratmann Bernard Sundstedt Richard B. Trousdell Marge Vallee William and Phyllis Warfel Wendy and Peter Wells Vera Wells Dana Westberg George C. White Karen White Lila Wolff-Wilkinson Guy and Judith Yale

FRIENDS ($100–$249)

Anonymous Emika Abe Paola Allais Acree Christopher Akerlind Michael Albano Sarah Jean Albertson Narda Alcorn Rachel Alderman Lorraine Alfano Liz Alsina Shaminda Amarakoon Richard Ambacher Stephen and Judy August Clayton Austin Angelina Avallone Michael Backhaus Sandra and Kirk Baird Russell Barbour Robert Barr Michael Bateman William and Donna Batsford Michael Baumgarten 33

Richard Baxter Nancy and Richard Beals James Bellavance Michael and Jennifer Bennick Martin Blanco Anders Bolang Josh Borenstein Marcus and Kellie Bosenberg Shawn Boyle Amy Brewer and David Sacco James and Dorothy Bridgeman Linda Briggs and Joseph Kittredge Carole and Arthur Broadus Linda Broker Arvin Brown Christopher Brown Julie Brown Warwick Brown William Buck Stephen Bundy Jonathan Busky Richard Butler Susan Wheeler Byck Michael Cadden Susan Cahan David Calica Kathryn A. Calnan Lisa Carling Raymond Carver Sami Joan Casler David Chambers Ricardo and Jenny Chavira Terri Chegwidden King-Fai Chung Cynthia Clair Katherine D. Cline Aurélia and Ben Cohen Judith Colton and Wayne Meeks Forrest Compton Bill Connington Aaron Copp Robert Cotnoir Douglas and Roseline Crowley Sean Cullen Scott Cummings Phillip L. Cundiff Sr. Donato Joseph D’Albis F. Mitchell Dana Sue and Gus Davis Nigel W. Daw Katherine Day Mr. and Mrs. Paul DeCoster Sarah and Ted DeLong Elizabeth DeLuca Connie and Peter Dickinson Derek DiGregorio Melinda DiVicino Alexander Dodge

Merle Dowling Megan and Leon Doyon Ms. JoAnne E. Droller, R.N. Jeanne Drury John Duran Fran Egler Robert Einienkel Dr. Marc Eisenberg Nancy Reeder El Bouhali Janann Eldredge Elizabeth English Jennifer Endicott Emley David Epstein Dustin Eshenroder Christine Estabrook Frank and Ellen Estes Femi Euba Connie Evans Jerry N. Evans Douglass Everhart John D. Ezell Michael Fain Ann Farris Richard and Barbara Feldman Mr. and Mrs. Kenneth Fellows Paul and Susan Birke Fiedler Andria Fiegel Madlyn and Richard Flavell Keith Fowler Walter M. Frankenberger III Donald Fried Richard Fuhrman David Gainey Jane and Charles Gardiner Leah Gardiner Barbara and Gerald Gaab Josh Galperin Steven Gefroh Lauren Ghaffari Robert Glen William Glenn Nina Glickson and Worth David Lindy Lee Gold Betty and Joshua Goldberg Robert Goldsby Steven Gore Charles Grammer Hannah Grannemann Bigelow Green Elizabeth M. Green Elizabeth Greenspan and Walt Dolde Michael Gross John Guare David Hale Alexander Hammond Ann and Jerome R. Hanley Caitie Hannon Lawrence and Roberta Harris

Doug Harvey Brian Hastert James Hazen Catherine Hazlehurst Beth Heller Robert Heller Ann Hellerman Steve Hendrickson Jeffrey Herrmann Joan and Dennis Hickey Roderick Hickey Christopher Higgins Elizabeth Holloway James Guerry Hood Nicholas Hormann Kathleen Houle David Howson Evelyn Huffman Charles Hughes Derek Hunt Peter H. Hunt John Huntington John and Patricia Ireland John W. Jacobsen Chris Jaehnig Ina and Robert Jaffee Eliot and Lois Jameson William Jelley Elizabeth Johnson Geoffrey A. Johnson Donald E. Jones, Jr. Martha Jurczak Elizabeth Kaiden Jonathan Kalb Carol Kaplan Dr. and Mrs. Michael Kashgarian Dr. Jane Katcher Richard Kaye Patricia Keenan Jay Keene Asaad Kelada Carol Soucek King Susan Kirschner Robinson and Shirley Kirschner William Kleb Dr. Lawrence Klein James Kleinmann Elise F. Knapp Brenda and Justin Kreuzer Susan Kruger and Family Ann Kuhlman and Adel Allouche Andrea Chi-Yen Kung Mitchell Kurtz William Kux Howard and Shirley Lamar Naomi Lamoreaux Marie Landry and Peter Aronson Suttirat Larlarb James and Cynthia Lawler Martha Lidji Lazar Jerry Limoncelli Wing Lee


Charles E. Letts III Max Leventhal Irene Lewis Rita Lipson Mary Rose Lloyd Arthur Lueking Suzanne Cryer Luke Everett Lunning Andi Lyons Dr. and Mrs. Robert W. Lyons Janell MacArthur Lizbeth Mackay Wendy MacLeod Alan MacVey James Magruder Dr. Maricar Malinis Jocelyn Malkin, MD Peter Maradudin Marvin March Frederick Marker Jonathan Marks Kenneth Martin Nancy Marx Maria Mason and William Sybalsky Ben and Sally Mayer Robert McDonald Thomas McGowan Robert McKinna and Trudy Swenson Patricia McMahon Susan McNamara Charles McNulty Lynne Meadow James Meisner and Marilyn Lord Robert Melrose Stephen W. Mendillo Donald Michaelis Carol Mikesell Kathryn Milano Bruce Miller Jonathan Miller Sandra Milles Lawrence Mirkin Frank Mitchell Jennifer Moeller George Moredock David and Betsy Morgan Richard Munday and Rosemary Jones David Muse Rachel Myers Rhoda F. Myers Mariko Nakasone James Naughton Tina C. Navarro

Jennifer Harrison Newman Ruth Hunt Newman Gail Nickowitz Liv Nilssen Mark Novom Deb and Ron Nudel Adam O’Byrne Dwight R. Odle Sara Ohly Edward and Frances O’Neill Sara Ormond Lori Ott Kendric T. Packer Jennifer Palmer Joan Pape Russell Parkman Dr. and Mrs. Michael Parry Laura Patterson Alexandra Paxton Amanda Peiffer William Peters Dr. Ismene Petrakis Bryce Pinkham Michael Posnick Gladys Powers Robert Provenza William Purves Sarah Rafferty Carolyn Rochester Ramsey and William Ramsey Sheila Robbins Nathan Roberts Peter S. Roberts Lori Robishaw Priscilla Rockwell Joanna Romberg Melina Root Stephen Rosenberg June Rosenblatt Claudia Arenas Rosenshield Joseph Ross Donald Rossler John Rothman Deborah Rovner Allan Rubenstein Dean and Maryanne Rupp Ortwin Rusch Raymond Rutan John Barry Ryan Dr. Robert and Marcia Safirstein Steven Saklad Robert Sandberg Donald Sanders Robert Sandine and Irene Kitzman

Peggy Sasso Joel Schechter Anne Schenck Kenneth Schlesinger Judith and Morton Schomer Georg Schreiber Jennifer Schwartz Forrest E. Sears Paul Selfa Subrata K. Sen Morris Sheehan Sally Shen Paul R. Shortt Lorraine D. Siggins Alyssa Simmons William Skipper Mark and Cindy Slane Gilbert and Ruth Small E. Gray Smith, Jr. Helena L. Sokoloff Suzanne Solensky and Jay Rozgonyi Dr. and Mrs. Dennis D. Spencer Amanda Spooner Charles Steckler Louise Stein Neal Ann Stephens John Stevens Frances Strauss Howard Steinman Michael Strickland Katherine Sugg William and Wilma Summers Mark Sullivan Thomas Sullivan Jane Suttell Tucker Sweitzer and Jerome Boryca Douglas Taylor Jean and Yeshvant Talati Jane Savitt Tennen J. Terrazzano Aaron Tessler Eleanor Q. Tignor, P.h.D David F. Toser Albert Toth Russell L. Treyz Ellen Tsangaris Deborah Trout Suzanne Tucker Gregory and Marguerite Tumminio Leslie Urdang Carrie Van Hallgren Fred Voelpel

Elaine Wackerly Mark Anthony Wade Charles and Patricia Walkup Erik Walstad Barbara Wareck and Charles Perrow Steven Waxler Mark Weaver John Weikart Rosa Weissman Peter and Wendy Wells Charles Werner Peter White Lisa A. Wilde Robert Wildman Marshall Williams David Willson Annick Winokur and Peter Gilbert Alex Witchel Carl Wittenberg Andrew Wolf Arthur and Ann Yost John and Pat Zandy Shoshana Zax

EMPLOYER MATCHING GIFTS

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

IN KIND

John Beinecke Lynn Bolton Sasha Emerson Lane Heard and Margaret Bauer Ellen Iseman David Johnson Donald and Angela Lowy Carol Ostrow Walton Wilson Steve Zuckerman and Darlene Kaplan

MAKE A GIFT!

When you make a gift to Yale Rep’s Annual Fund, you support the creative work on our stage and our innovative outreach programs. For moreinformation, or to make a donation, please call Susan Clark, 203.432.1559. You can also give online at yalerep.org/support. This list includes current pledges, gifts, and grants received from January 1, 2016, through January 1, 2017. 34


General Information

Accessibility Services

How to Reach Us Yale Repertory Theatre Box Office 1120 Chapel Street (at York Street) Post Office Box 208244, New Haven, CT 06520 203.432.1234 yalerep@yale.edu

Yale Repertory Theatre offers all patrons the most comprehensive accessibility services program in Connecticut, including a season of open-captioned and audiodescribed performances, a free assistive FM listening system, large-print and Braille programs, wheelchair accessibility with an elevator entrance into the Yale Rep Theatre (located on the left side of the building), and accessible seating. For more information about the theatre’s accessibility services, contact Laura Kirk, Director of Audience Services, at 203.432.1522 or laura.kirk@yale.edu.

Box Office Hours Monday to Friday from 10AM to 5PM Saturday from 12PM to 5PM Until 8PM on all show nights Fire Notice Illuminated signs above each door indicate emergency exits. Please check for the nearest exit. In the event of an emergency, you will be notified by theatre personnel and assisted in the evacuation of the building. Restrooms Restrooms are located in the lower level of the building. Emergency Calls Please leave your cell phone, name, and seat number with the concierge. We’ll notify you if necessary. The emergency-only telephone number at Yale Repertory Theatre is 203.764.4014. Group Rates Discounted tickets are available for groups of ten or more. Please call 203.432.1234. Seating Policy Everyone must have a ticket. Sorry, no children in arms or on laps. Patrons who arrive late or leave the theatre during the performance will be reseated at the discretion of house management. Those who become disruptive will be asked to leave the theatre. 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. 35

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

Imogen Says Nothing

Feb 4

Feb 11

Assassins

Apr 1

Apr 8

Mary Jane

May 13 May 20

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

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


Youth Programs As part of Yale Rep’s commitment to our community, we provide two significant youth programs. WILL POWER! offers specially-priced tickets and early schooltime matinees for high school students for select Yale Rep productions every season. Since our 2003–04 season, WILL POWER! has served more than 20,000 Connecticut students and educators. The Dwight/Edgewood Project brings middle school students to Yale School of Drama for a month-long, after-school playwriting program designed to strengthen their selfesteem and creative expression. Yale Rep’s youth programs are supported in part by Allegra Print and Imaging; The Anna Fitch Ardenghi Trust, Bank of America, Trustee; Bob and Pricilla Dannies; CT Humanities; Frederick A. DeLuca Foundation; Mr. and Mrs. Kenneth Fellows; 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; Dawn G. Miller; Arthur and Merle Nacht; NewAlliance Foundation; Robbin A. Seipold; Sandra Shaner; Esme Usdan; Charles and Patricia Walkup.

FROM THE TOP: SCHOOLS GATHERING FOR WILL POWER!. PHOTO BY ELIZABETH GREEN; DWIGHT/EDGEWOOD PROJECT WORKSHOP, 2016.

Sponsorship; Community Partners Allegra Print and Imaging Anaya Sushi Atelier Florian Atticus Bookstore Café Box 63 Café Romeo Claire’s Corner Copia Fleur de Lys

Four Flours GHP Printing and Mailing Harvest Wine Bar Heirloom Hull’s Art Supply and Framing Insomnia Cookies

Jonathan Edwards Winery Katz’s Deli La Cuisine Savour Catering The Study at Yale Tarry Lodge Willoughby’s Coffee and Tea

36


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Enlightened Princesses caroline, augusta, charlotte, and the shaping of the modern world

February 2–April 30, 2017

ya l e center for british art Free and open to the public 1080 Chapel Street, New Haven 877 brit art | britishart.yale.edu

Organized in association with

Johan Joseph Zoffany, Queen Charlotte (detail), 1771, oil on canvas, Royal Collection Trust, UK Š Her Majesty Queen Elizabeth II 2017


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JOHN FORD Directed by JESSE RASMUSSEN By

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Imogen Says Nothing program  

IMOGEN SAYS NOTHING, by Aditi Brennan Kapil, directed by Laurie Woolery. Yale Repertory Theatre, January 20-February 11, 2017

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