IS GOD IS, David Geffen School of Drama, 2026

2025–26 SEASON 100TH ANNIVERSARY

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Celebrating its 100th anniversary this year, David Geffen School of Drama at Yale, in partnership with Yale Repertory Theatre, trains and advances leaders in the practice of every theatrical discipline, making art to inspire joy, empathy, and understanding in the world.

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

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

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

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

drama.yale.edu A scene from Macbeth by William Shakespeare, adapted by Jasmine Brooks ’26 and Tia Smith ’26, directed by Jasmine Brooks. Photo © T. Charles Erickson.

Yale acknowledges that indigenous peoples and nations, including Mohegan, Mashantucket Pequot, Eastern Pequot, Schaghticoke, Golden Hill Paugussett, Niantic, and the Quinnipiac and other Algonquian speaking peoples, have stewarded through generations the lands and waterways of what is now the state of Connecticut. We honor and respect the enduring relationship that exists between these peoples and nations and this land.

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

contents Title Page................................................................................................. 1 Cast/Setting/Content........................................................................... 2 “A Gathering of Black Women’s Treasures”...................................3 Company Bios........................................................................................ 5 For this Production............................................................................ 11 David Geffen School of Drama Staff............................................. 12

JANUARY 24–30, 2026 DAVID GEFFEN SCHOOL OF DRAMA AT YALE James Bundy, Elizabeth Parker Ware Dean Florie Seery, Associate Dean Chantal Rodriguez, Associate Dean Carla L. Jackson, Assistant Dean Nancy Yao, Assistant Dean of Student Life Liz Diamond, Chair of Directing PRESENTS

Is God Is

Aleshea Harris D IRECT ED BY Jasmine Brooks BY

Scenic Designer

Hair and Wig Designer

Costume Designer

Production Dramaturg

Lighting Designer

Technical Director

Sound Designer

Fight and Intimacy Directors

Romello Huins Allison Morgan

Qier Luo 罗绮儿 Nicky Milou Brekhof Projection Designer

Dwight Bellisimo

Prosthetics Designer

Lauren F. Walker/Braids By Lo Tia Smith

Aaron Frongillo

Kelsey Rainwater Michael Rossmy Stage Manager

Rethabile Headbush

Tyler Green

Is God Is is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. concordtheatricals.com This production is supported by the Benjamin Mordecai III Production Fund.

SEASON SPONSOR 1

cast

in order of appearance Racine.............................................................................................................. Tyler Clarke Anaia........................................................................................................Olamide Oladeji She............................................................................................................. Bella Orobaton Chuck Hall................................................................................................ Shawn Bowers Riley................................................................................................................... Mark Yarde Scotch.................................................................................................. Kieron J. Anthony Angie.................................................................................................... Lolade Agunbiade Man................................................................................................... Erik Manuel Robles

setting Northeast, Dirty South, Californ-eye-ayy.

content and atmospheric guidance Is God Is contains depictions of burns, fire, death, suicide, and physical violence; references to domestic abuse and suicidal ideation; anti-Black woman language; haze; fog; and flashing lights.

Is God Is is performed without an intermission.

recording and photo policy The videotaping or making of electronic or other audio and/or visual recordings of this production and distributing recordings or streams in any medium, including the internet, is strictly prohibited, a violation of the author(s)’s rights and actionable under United States states copyright law. For more information, please visit: concordtheatricals.com/resources/protecting-artists

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A Gathering of Black In Aleshea Harris’s Is God Is (2016), twin sisters Racine and Anaia embark on an epic, cross-country adventure to avenge the suffering of their mother, She, before her imminent death. She commands her estranged daughters to “bring me back some treasures” from their journey. And so, Racine and Anaia collect souvenirs as they travel from the Northeast to the Dirty South to the West. As a writer, Harris, too, collects souvenirs. Taking inspiration from novelist Toni Morrison (1931– 2019), poet-playwright Ntozake Shange (1948–2018), R&B-pop singer Rihanna (b. 1988), and more, Is God Is presents itself as a treasure chest of 20th- and 21st-century Black women’s cultural production. Harris innovates on the work of her predecessors and contemporaries to craft an unapologetic story about the lengths to which Black women must go to seek justice for themselves and their loved ones.

Scars

Is God Is shares resonances with Morrison’s 1987 masterpiece, Beloved, in which a formerly enslaved Black woman named Sethe kills her infant daughter to protect the child from slavery. According to Harris, “Morrison is a great space of influence” on her work. Scars are a motif in Beloved and Harris’s play. Sethe bears a chokecherry tree-shaped scar on her back, an amalgamation of whippings she received while enslaved. Harris’s protagonists, Racine and Anaia, along with She, have sustained burns from a fire started by their father eighteen years ago. For director Jasmine 3

Brooks, scars in Is God Is are a physical manifestation of misogynoir, a term coined by Moya Bailey that describes the unique combination of racism and sexism that Black women experience.

When Racine ponders, “You ever wanna scrape your scars off and see what’s underneath?” Harris is gesturing towards a world where Black women liberate ourselves from oppression by unleashing our pain.

Language and God

Harris belongs to a rich tradition of Black poet-playwrights. Poetics such as repetition, personification (“Fire bit me on my back and arms and ’Naia on her face,” remarks Racine), metaphors, and similes (“babies giggle like they got the sun in they mouth”) permeate Harris’s writing. As Harris transitioned from spoken word performance to playwriting, her career has resembled that of Shange, whose poetry became the script for the groundbreaking 1975 choreopoem, for colored girls who have considered suicide/when the rainbow is enuf. Whereas Shange blends multiple modes of performance (poetry, song, and dance), Harris combines several artistic genres, revealing in an author’s note that her “epic takes its cues from the ancient, the modern, the tragic, the Spaghetti Western, hip-hop, and Afropunk.” Like Shange, Harris renders Black women divine. Upon spiritually rebirthing herself, one of Shange’s characters announces, “i found god in myself.” By contrast, Racine and Anaia anoint their mother, instead of themselves, God because She “made us.”

Women’s Treasures Hip Hop

Hip hop informs Harris’s setting and narrative. The character She lives in the “Dirty South,” a phrase introduced in the 1995 song of the same name

by Atlanta rap group Goodie Mob. Harris wrote Is God Is while listening to Rihanna’s “Bitch Better Have My Money” (“BBHMM”). The music video for the 2015 trap hit, co-directed by Rihanna, struck Harris as a modern revenge narrative starring a Black woman. While historians estimate that one in four cowboys were Black, African Americans have largely been excluded from the Western genre.

Harris reveals, “as a child, I never saw a Black girl in those movies.” Like Rihanna in her music video, Racine

revels in revenge. “BBHMM” is a more recent example of how 20th- and 21st-century Black musicians use hip hop—as well as reggae and R&B—to challenge the Black diaspora’s erasure from and marginalization in Westerns.

Think of Solange’s 2019 visual album, When I Get Home, or the music video for the Fugees 1996 song “Cowboys,” in which American songstress Lauryn Hill and her Haitian and Haitian American bandmates sit in a movie theater as they watch themselves in a Western onscreen. Is God Is, a gathering of treasures from Black women’s art, invites Black women to imagine ourselves on an epic scale.

—Tia Smith, Production Dramaturg

Rihanna in her music video for “Bitch Better Have My Money,” directed by Rihanna and Leo Berne for Megaforce.

Biographies are submitted by the artists and edited for common house style by David Geffen

cast

in alphabetical order Lolade Agunbiade (Angie) is a

proud Nigerian American actor from Minnesota. She is a third-year M.F.A. candidate at David Geffen School of Drama. Her credits at the school include PROMOTER HOUSE, A Doll’s House, Coriolanus, Metamorphoses, and rent free as well as The Aughts at Yale Summer Cabaret. Lolade has a background in finance and loves to binge-watch financial literacy videos on YouTube. In her free time, she is probably watching sports or is shopping for plants to add to her collection. She would like to thank her family and friends for their unwavering love and support.

Kieron J. Anthony (Scotch) is a

second-year actor at David Geffen School of Drama, hailing from the sunny twin-island republic of Trinidad and Tobago. He is a University of Miami and Atlantic Acting School graduate. Look at God! Selected credits include Other People, You Can Tell a Tree by its Fruit (the Geffen School); The Inspector (understudy, Yale Rep); One Night in Miami (Colony Theater); King Lear (A.R.T./New York Studios); KIN (WP Theater); Field, Awakening (Signature Theatre); Inventing Anna (Netflix). @kieronjanthony

Shawn Bowers (Chuck Hall) is a

second-year M.F.A. candidate at David Geffen School of Drama. Yale Rep: Spunk (Willie Joe), The Inspector (understudy for Osip, The Judge).

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Broadway: Ain’t Too Proud—The Life and Times of the Temptations. OffBroadway: Jelly’s Last Jam (City Center Encores), The Harder They Come (The Public Theater). Additional credits: Ragtime, Rent, Beautiful: The Carole King Musical, Smokey Joe’s Cafe, After Midnight. Film: Rio Uphill (musical adaptation). Television: Tony Awards and Macy’s Thanksgiving Day Parade with the original cast of Ain’t Too Proud. He would like to thank his family and friends for their continuous love and support. @shawnedwardbowers

Tyler Clarke (Racine) is a third-

year actor at David Geffen School of Drama, where her credits include Macbeth, Ain’t No Mo’, and rent free.

She also was seen in Spunk and understudied for Eden, both at Yale Rep. She greatly thanks her mother, her sister Javon, and her entire family for the unconditional love and undying support given while studying at the Geffen School. “What didn’t I didn’t I do?” —Anonymous @Tylerl_clarke

Olamide Oladeji she/her (Anaia) is

a second-year actor at David Geffen School of Drama, where she was last seen in Other People (2025 Langston Hughes Festival of New Work). Other credits include You Can Tell a Tree by its Fruit (2025 Carlotta Festival of New Plays) and The Inspector (understudy, Yale Repertory Theatre).

Bella Orobaton (She) is a playwright, director, educator, and third-year actor at David Geffen School of Drama, where her credits include

School of Drama.

Other People, Sort, The Tragedy of Coriolanus, Ain’t No Mo’, and rent free.

She trained at Cornish College of the Arts, where she graduated summa cum laude with a degree in original work. Previous theater credits include Life is a Drag (co-director), True Scum, Dance Nation (Yale Cabaret); Returning the Bones (National Association for Campus Activities); Tiara’s Hat Parade (BookIt Repertory Theatre’s educational tour); This Girl Laughs, This Girl Cries, This Girl Does Nothing (Arts West); Auntie Val (Freehold Theatre). Big thanks and love to her family, friends, and teachers! @budget_baddie

Erik Manuel Robles (Man) is a proud Afro-Latino storyteller, born and raised in Providence, Rhode Island, currently in his third year at David Geffen School of Drama. Recent credits: Hedda Gabler (understudy, Yale Rep); A Doll’s House, Kilele, The Care & Keeping of You Pages 76-77, rent free (Geffen School); Much Ado About Nothing (Commonwealth Shakespeare); Sweat, A Midsummer Night’s Dream, Ironbound (Gamm Theatre); Burning Patience (Martha’s Vineyard Playhouse). “Bienaventurado el que sabe que compartir un dolor es dividirlo y compartir una alegría es multiplicarla. Bienaventurado este lugar y este momento, amigo mío, porque la vida es aquí y ahora y contigo.” —Facundo Cabral

Mark Yarde (Riley) is a second-

year actor at David Geffen School of Drama, where he was recently seen in Three Sisters. He also understudied

Judge Brack in Hedda Gabler at Yale Rep this fall. You may also recognize him from his work at Yale Cabaret, Is this Mom? and it’s not you, it’s the end of the world. He is excited to be part of this cast and team. @markalocases

creative team in alphabetical order

Dwight Bellisimo (Projection

Designer) is a Bay Area native, with a B.F.A. in projection design from the Theatre School at DePaul University.

Dwight has been exploring new innovative approaches to integrating video in a variety of artistic mediums including installation, painting, sculpture, sketch comedy, and live performance. Recent mainstage educational projection design credits include Is God Is and A Wrinkle in Time at DePaul University. Professional credits include Projection Design for Working: A Musical, Indecent, Danceworks 2024: Emergence, and Me...Jane: The Dreams and Adventures of a Young Jane Goodall at The Wirtz Center for the Performing Arts at Northwestern University. bellisimodesign.com

Nicky Milou Brekhof (Sound

Designer) is a second-year M.F.A. candidate at David Geffen School of Drama, where her credits as assistant designer and engineer include Macbeth in Stride, The Inspector (Yale Rep); Les Liaisons Dangereuses (The Geffen School). Credits as an A2 include Hadestown (Carre, Amsterdam); Jesus Christ Superstar (Dutch Tour); The Bodyguard (Beatrix

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Theater, Utrecht). Nicky holds a B.F.A. in sound design for film and television from the Netherlands Film academy.

Jasmine Brooks (Director) is a

director and producer, and a thirdyear M.F.A. candidate in directing at David Geffen School of Drama.

Jasmine is the Co-Artistic Director of the 2025–26 Yale Cabaret.

Jasmine has directed new play workshops at the National New Play Network, Playwrights’ Center, San Diego Repertory Theatre, and more.

Jasmine is a 2025 recipient of the Cody Renard Richard Scholarship Program. Jasmine’s directing credits include Macbeth co-adapted with Tia Smith, Charity (David Geffen School of Drama); Pool (No Water), Pride of Doves, seven methods of killing kylie jenner (Yale Cabaret); Intimate Apparel by Lynn Nottage (Silverthorne Theatre Company); Bite Me (NNPN National Showcase of New Plays); Truth or Consequences (Fresh Ink Theatre). Jasmine’s associate/ assistant directing credits include Joe Turner’s Come and Gone (The Huntington, dir. Lili-Anne Brown); Twilight: Los Angeles, 1992 (American Repertory Theater, dir. Taibi Magar); The Bluest Eye (The Huntington, dir.

Awoye Timpo); BLKS (Speakeasy Stage, dir. Tonasia Jones); can i touch it? (NNPN National Showcase of New Plays, dir. Nicole Watson); Wolf Play (Company One Theatre, dir. Summer L. Williams); Vietgone (Company One Theatre, dir. Michelle Aguillon).

Jasmine holds a B.F.A. in theater arts from Boston University, School of Theatre. Jasminerosebrooks.com

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Aaron Frongillo he/him (Technical

Director) is a theatermaker originally from Massachusetts, and an M.F.A. candidate in the Technical Design and Production program at David Geffen School of Drama. He is also a graduate of Wagner College, where he completed a double major in theater performance and design, technology & management. Some notable past work includes assistant technical director for Metamorphoses at the Geffen School, Spunk at Yale Rep, and many shows at Yale Cabaret as production manager.

He hopes you enjoy the piece!

Tyler Green (Prosthetics Designer)

is a special effects makeup artist, prosthetic designer, and educator working across theater, film, television, and commercial media. He is the owner of Tyler Green FX Studio and Spookie Kitz LLC, where he designs and produces custom prosthetics, masks, and creature effects while training the next generation of makeup artists. Tyler has collaborated with theaters, schools, and production teams nationwide, bringing character-driven makeup designs to life through a balance of technical skill and creative storytelling. @TylerGreenFX | TylerGreenFX.com

Rethabile Headbush (Stage

Manager) is a third-year stage manager at David Geffen School of Drama. Raised in Johannesburg, South Africa, Rethabile has a background in and passion for devised and interdisciplinary theater. Credits include Steve Carter’s Eden (assistant stage manager) directed by Brandon J. Dirden at Yale Rep. New play credits

at the Geffen School include Surrey Houlker’s Hot Breakfast at Paul Bunyan Inn & Suites in the Beautiful City of Farville, USA; comfort ifeoma catchy’s You Can Tell a Tree by its Fruit. Further assistant stage management credits at the School include Jordan E. Cooper’s Ain’t No Mo’, Sarah Kane’s Cleansed, and Danielle Stagger’s new play rent free. Off-Broadway: RCI Theatricals Management Fellow for Mario Correa’s new play N/A directed by Diane Paulus.

Further credits include The Centre for the Less Good Idea’s SEASON 9 Programme, artsINSIDEOUT (ArtsIgnite) program, and D’haus’s Urgent Interactions Youth International Congress (Market Theatre Laboratory).

Romello Huins he/they (Scenic

Designer) is a Brooklyn native, the first August Wilson Fellow in Scenic Design at the Eugene O’Neill Center, and the recipient of the inaugural August Wilson Award for Theater Production and Design from the Kennedy Center. His notable work includes Witch at Yale Cabaret, The Book of Lucy at Brown University, Passing Strange with Shotgun Players, and Lady Day at Emerson’s Bar & Grill at NC Theater Raleigh. As assistant/ associate to Beowulf Boritt, he contributed to New York, New York (Tony), The Piano Lesson (Drama Desk), Ohio State Murders, and Freestyle Love Supreme. His piano design for The Piano Lesson was featured in The New York Times and archived at the National Museum of African American History and Culture. He holds a B.F.A. from UNCSA and is an M.F.A. candidate at David Geffen School of Drama.

Qier Luo 罗绮儿 (Lighting Designer)

is a lighting designer from Shanghai, China, and a second-year M.F.A. candidate at David Geffen School of Drama, where her credits include Coriolanus as well as Apologiae 4 & 5 at Yale Cabaret. China-based designs: Sanctuary (Shenzhen), A Statue of a Woman Doing Chores (Shanghai), Midnight Movie (Aranya), To Be Buried (Shanghai and Guangzhou); New York: Rooftop Somnambulism (Brooklyn), Venus (Waterwall Productions), The Tenants (NYWF); Philadelphia: Ship (Azuka Theatre), King Lear (Hepburn Theater), Fear Babies (Headlong Institute), Milky Way (The Fidget Space); Bloomington: Wonderful Town, The Heiress, Julius Caesar, The Resistible Rise of Arturo Ui, and Prospect Hill.

She holds a Bachelor’s degree in East Asian languages and culture from Bryn Mawr College. She is also the co-creator and lighting designer of the recent Yale-China Arts Residency Production, Windscape 风·景

Allison Morgan (Costume Designer)

is a costume designer for the stage and screen and a third-year M.F.A. candidate at David Geffen School of Drama, where her costume design credits include Ida Cutter’s Sort and Shakespeare’s Antony and Cleopatra, as well as Cavalli’s L’Egisto at (Yale Baroque Opera (upcoming). Assistant design credits include Mozart’s Don Giovanni and Verdi’s Rigoletto (Santa Fe Opera). She holds degrees in apparel design, art history, and French from the Brown University/Rhode Island School of Design Dual Degree Program, and in 2019–20, studied operatic costume design and history on a Fulbright fellowship in Venice, Italy.

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Kelsey Rainwater (Fight and

Intimacy Director) is an intimacy and fight director, and actress based out of the ancestral lands of the Quinnipiac people. Kelsey’s work was recently seen in Liberation at Roundabout Theatre Company and Hell’s Kitchen on Broadway. Some of her other credits include Walden at Second Stage; Hot Wing King at Hartford Stage; In the Southern Breeze, Measure for Measure, Jordans, Manahatta, and Suzan-Lori Parks’s Sally and Tom and White Noise at The Public Theater; Blues for an Alabama Sky with the Keen Company; Spunk, Hedda Gabler, Notes on Killing..., The Inspector, Wish You Were Here, Between Two Knees, Edward Albee’s Who’s Afraid of Virginia Woolf?, Mojada: A Medea in Los Angeles, and the ripple, the wave that carried me home at Yale Rep. Film and television: Baby Ruby, The Green Veil. She is a Lecturer in acting at David Geffen School of Drama, co-teaches stage combat and intimacy, and is a Resident Fight and Intimacy Director for Yale Rep.

Michael Rossmy (Fight and

Intimacy Director) is a Resident Fight and Intimacy Director for Yale Rep, a lecturer in acting and stage management at David Geffen School of Drama. Broadway credits include Branden Jacobs-Jenkins’s Purpose directed by Phylicia Rashad, A Tale of Two Cities, Cymbeline, and Superior Donuts. Regional theater credits include The Public Theater, Roundabout, the Atlantic, Primary Stages, Westport Country Playhouse, Goodspeed Musicals, Paper Mill Playhouse, Asolo Rep, The Old Globe,

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TheaterWorks Hartford, Princeton University, The Acting Company, Soho Rep, the Geffen Playhouse, Long Wharf Theatre, McCarter Theatre, Kansas City Rep, People’s Light & Theatre, and others. He was nominated for a 2017 Drama Desk Award for The Public’s production of Troilus and Cressida and is a 2024 Barrymore Award nominee for Bonez at People’s Light. Recent work: The world premieres of Beau: The Musical and Branden Jacobs-Jenkins’s Purple Rain directed by Lileana Blain-Cruz.

Tia Smith (Production Dramaturg)

is a third-year M.F.A. candidate at David Geffen School of Drama and the Steele Research Assistant at Yale University Art Gallery. Is God Is marks her third collaboration with Jasmine Brooks after Macbeth (the Geffen School), which she adapted with Brooks, and seven methods of killing kylie jenner (Yale Cabaret). She dramaturged Eden at Yale Repertory Theatre after nominating the play to Yale Rep’s season planning committee.

During the 2024–25 academic year, she organized a university-wide screening of The Piano Lesson (2024) and moderated a conversation with MacArthur “Genius Grant” Fellow Imani Perry. She is the co-founder of the Adrienne Kennedy Working Group at Yale and the winner of a 2025 Barnard Library Research Award for her research on Ntozake Shange. She is a recipient of the Black Theatre Network’s S. Randolph Edmonds Young Scholars Award and the Cody Renard Richard Scholarship.

She holds a B.A. in theater studies with highest distinction and African

& African American studies from Duke University. Her textile art has been commissioned by Steppenwolf Theatre. She is proud to be from the South Side of Chicago.

Lauren F. Walker/Braids By Lo (Hair and Wig Designer) Braids

By Lo is a natural hair braiding business owned by actress and David Geffen School of Drama alum, Lauren F. Walker. Created to serve Black artists, Braids By Lo offers nourishing and unique, protective styles that prioritize hair health and affordability. Lauren’s work has been seen at Roundabout Theatre Company, The Public Theater, Yale Repertory Theatre, Women’s Project Theater, and more. @braidsbylo

Concord Theatricals is the world’s

most significant theatrical company, comprising the catalogs of R&H Theatricals, Samuel French, TamsWitmark and The Andrew Lloyd Webber Collection, plus dozens of new signings each year. Our unparalleled roster includes the work of Irving Berlin, Agatha Christie, George & Ira Gershwin, Marvin Hamlisch, Lorraine Hansberry, Kander & Ebb, Tom Kitt, Ken Ludwig, Marlow & Moss, Lin-Manuel Miranda, Anaïs Mitchell, Dominique Morisseau, Cole Porter, Rodgers & Hammerstein, Thornton Wilder, and August Wilson.

We are the only firm providing truly comprehensive services to the creators and producers of plays and musicals, including theatrical licensing, music publishing, script publishing, cast recording, and first-class production. Follow us @concordshows.

Aleshea Harris’s play Is God Is

(directed by Taibi Magar at Soho Rep and Ola Ince at the Royal Court) won the 2016 Relentless Award, an Obie Award for playwriting in 2017, the Helen Merrill Playwriting Award in 2019, and was a finalist for the Susan Smith Blackburn Prize. What to Send Up When It Goes Down, a play-pageant-ritual response to antiblackness, had its critically acclaimed NYC premiere in 2018 (directed by Whitney White and produced by The Movement Theatre Company), was featured in the April 2019 issue of American Theatre magazine, and received a rare special commendation from the Susan Smith Blackburn Prize.

The play was subsequently remounted at Woolly Mammoth, A.R.T., BAM, and Playwrights Horizons. Her newest play, On Sugarland (directed

by Whitney White), premiered at New York Theatre Workshop in the spring of 2022. Awards: Windham-Campbell Literary Prize, Mimi Steinberg Playwriting Award, Hermitage Greenfield Prize, Horton Foote Playwriting Award, Arts and Letters Award in Literature from the American Academy of Arts and Letters. Harris is a two-time MacDowell Fellow and has enjoyed residencies at the Hermitage Artist Retreat, Hedgebrook, and Djerassi.

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for this production ART I STI C

Light Board Programmer

Hyojung Kim

Projection Content Creators

Assistant Scenic Designer Assistant Costume Designer

Carter Sundown King

Assistant Lighting Designer

Alex Vásquez Dheming

Assistant Projection Designers

Wiktor Freifeld Bobby Marcus

Assistant Sound Designer and Engineer

Jay Korter

Assistant Stage Manager

Miranda Vazquez

P RO D U CTI ON

Production Manager

Matthew Phillips

Associate Production Manager

Ella Egan

Assistant Technical Directors

Sam Kisthardt Mae Mironer Properties Manager

Sean C. Blue

Production Electrician

Toni Carton

Finn Bamber

Nathaniel Britton Ke Xu 许可

Projection Engineer

Sarah Webb

Projection Programmer

Jae Lee

Run Crew

Fabiola Andújar, Liam Beveridge, Leela Kiyawat, My Le, Rhayna Poulin, Rebecca Rivera, Kemper Rodi, Nat King Taylor, Catherine Young Run Crew Swing

Jack Kelley

A DMIN ISTRATION

Associate Managing Director

Iyanna Huffington Whitney Assistant Managing Directors

Jocelyn Lopez-Hagmann Management Assistants

Roberto Di Donato Ebonee Johnson House Manager

Gavin D. Pak

Production Photographer

T. Charles Erickson

Assistant Production Electrician

Daniel Haussler Stage Carpenter

Allie Posner

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SPEC IA L THANKS

Andreas Andreou and Destyne R. Miller; Finn Bamber and Amanda Burtness for film shoot support; Nicole Brooks Sanwandee.

David Geffen School of Drama and Yale Repertory Theatre Staff Elizabeth Parker Ware Dean/ Yale Rep Artistic Director James Bundy Associate Dean/Yale Rep Managing Director Florie Seery Associate Dean/Yale Rep Associate Artistic Director, Director of New Play Programs Chantal Rodriguez Assistant Dean/Yale Rep General Manager Carla L. Jackson Assistant Dean of Student Life Nancy Yao

Academic Programs

Chair, Acting Program Tamilla Woodard Associate Chair, Acting Program Grace Zandarski Co-Chair, Design Program and Head of Set Design Concentration Riccardo Hernández Co-Chair, Design Program and Head of Costume Design Concentration Toni-Leslie James Head of Sound Design Concentration Jill BC Du Boff Head of Projection Design Concentration Wendall K. Harrington Head of Lighting Design Concentration Donald Holder Chair, Directing Program Liz Diamond Associate Chair, Directing Program Yura Kordonsky Chair, Dramaturgy and Dramatic Criticism Program Catherine Sheehy

Associate Chair, Dramaturgy and Dramatic Criticism Program Kimberly Jannarone Co-Chairs, Playwriting Program Anne Erbe Marcus Gardley Chair, Stage Management Program Narda E. Alcorn Associate Chair, Stage Management Program James Mountcastle Chair, Technical Design and Production Program Shaminda Amarakoon Associate Chair, Technical Design and Production Program Jennifer McClure

Lighting Design Advisors Alan C. Edwards Donald Holder Projection Design Advisors Shawn Lovell-Boyle Joey Moro Sound Design Advisor Jill BC Du Boff Voice and Text Advisor Grace Zandarski Resident Fight and Intimacy Directors Kelsey Rainwater Michael Rossmy Stage Management Advisor Narda E. Alcorn

Chair, Theater Management Program Joshua Borenstein

Associate Artists 52nd Street Project, Kama Ginkas, Mark Lamos, MTYZ Theatre/Moscow New Generation Theatre, Bill Rauch, Sarah Ruhl, Henrietta Yanovskaya

Artistic

Artistic Administration

Yale Rep Resident Artists

Playwright in Residence Tarell Alvin McCraney Resident Directors Lileana Blain-Cruz Liz Diamond Tamilla Woodard Dramaturgy Advisor Amy Boratko Resident Dramaturg Catherine Sheehy Set Design Advisor Riccardo Hernández Resident Set Designer Michael Yeargan Costume Design Advisors Oana Botez Ilona Somogyi

Production Stage Manager James Mountcastle Yale Rep Senior Artistic Producer Amy Boratko Yale Rep Associate Producer Kay Perdue Meadows Yale Rep Artistic Fellow Hannah Fennell Gellman Yale Rep Casting James Calleri Erica Jensen Paul Davis Editor, Theater Magazine Tom Sellar Managing Editor, Theater Magazine Gabrielle Hoyt

Resident Costume Designer Toni-Leslie James

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David Geffen School of Drama and Yale Repertory Theat Senior Associate Editor, David Geffen School of Drama Alumni Magazine Catherine Sheehy Senior Executive to the Dean/Artistic Director Grace O’Brien Senior Administrative Assistant to the Dean/Artistic Director and Artistic Offices Avery Amacher Senior Administrative Assistant for Directing, Dramaturgy and Dramatic Criticism, Playwriting, Stage Management programs, and Theater magazine Laurie Coppola Senior Administrative Assistant, Design Program Kate Begley Baker Senior Administrative Assistant, Acting Program Krista DeVellis Library Services Erin Carney

Production

Production Management Director of Production Shaminda Amarakoon Production Manager Jonathan Reed Production Manager for Studio Projects and Special Events C. Nikki Mills Senior Administrative Assistant to Production, Technical Design and Production Program, and Theater Safety Rachel Zwick

Scenery

Technical Director for Yale Rep and Fall Protection Program Administrator Neil Mulligan

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Technical Directors for David Geffen School of Drama Latiana “LT” Gourzong Matt Welander Electro Mechanical Laboratory Supervisor Spencer Hrdy

Costumes

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

Metal Shop Foreperson Matt Gaffney

Senior First Hands Deborah Bloch Patricia Van Horn

Wood Shop Foreperson Ryan Gardner

First Hand Maria Teodosio

Lead Carpenters Doug Kester Kat McCarthey Sharon Reinhart Abigail “Galleon” Richard

Costume Project Coordinator Linda Kelley-Dodd

Carpentry Interns Kai Hancock Red Wehrmann

Costume Stock Manager Jamie Farkas Costume Technology Intern Eli Oremland

Painting

Electrics

Scenic Charge Mikah Berky

Lighting Supervisor Donald W. Titus

Interim Scenic Charge Nathan Jasunas

Senior House Electricians Price Foster Linda-Cristal Young

Lead Scenic Artist Lia Akkerhuis Paint Intern Michaela Meyer

Properties

Properties Supervisor Jennifer McClure Associate Properties Supervisor Katie Pulling Properties Craftsperson Steve Lopez Properties Associate Zach Faber Properties Stock Manager Mark Dionne Properties Interns Lee Donegan Susan Gibbs

Electricians Christopher Lubik Aspen Rogers Electrics Interns Toni Carton Gabriel Landes

Sound

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

Projections

Projection Supervisor Anja Powell Lead Projection Technician Solomon Sheffield Projection Interns Naomi Rodriguez Sarah Webb

tre Staff Stage Operations

Alumni Affairs Officer and Senior Writer Cayenne Douglass

Lead Wardrobe Supervisor Elizabeth Bolster

Senior Administrative Assistant to Development and Alumni Affairs Jennifer E. Alzona

Stage Carpenter Janet Cunningham

Lead Properties Runner William Ordynowicz Light Board Programmer Sabrina Idom Lead Front of House Mix Engineer Keirsten Lamora

Administration General Management

Associate Managing Directors Joy (Xiaoyue) Chen Victoria McNaughton Kavya Shetty Iyanna Huffington Whitney Assistant Managing Director Jocelyn Lopez-Hagmann Management Assistants Roberto Di Donato Ebonee Johnson Company Manager Raekwon Fuller Assistant Company Manager Jenn London Quinn O’Connor Kiara Rivera

Development & Alumni Affairs

Senior Director of Development and Alumni Affairs and Editor, David Geffen School of Drama Alumni Magazine Deborah S. Berman Deputy Director of Operations for Development and Alumni Affairs Susan C. Clark Senior Associate Director of Development and Alumni Affairs Scott Bartelson Associate Director of Development and Alumni Affairs Claudia Campos

Assistant Director of Development and Alumni Affairs Gavin D. Pak Development and Alumni Affairs Assistant My Le

Finance, Human Resources, & Digital Technology Director of Finance and Business Administration/Lead Administrator Nicola Blake Human Resources Business Partner Trinh DiNoto Manager, Staff and Faculty Affairs Malaika Green El Hamel Director of Theater and Information Technology Eric Lin Director, Yale Tessitura Consortium, and Web Technology Janna J. Ellis Manager, Business Operations Martha O. Boateng Business Office Analyst Shainn Reaves Financial Analyst Juliana Norman Web Technology Assistant Kenneth Murray Business Office Specialists Moriah Clarke Karem Orellana-Flores Digital Technology Associates Edison Dule Garry Heyward

Database Application Consultants Ben Silvert Erich Bolton

Financial Aid, Admissions, and Student Services Financial Aid Officer Andre Massiah

Registrar/Admissions Administrator Ariel Yan Non-Clinical Counselor Krista Dobson Senior Administrative Assistant to Financial Aid and Registrar/Admissions Administrator Laura Torino

Marketing, Communications, & Audience Services Director of Marketing Daniel Cress

Director of Communications Steven Padla Senior Associate Director of Marketing and Communications Caitlin Griffin Senior Administrative Assistant to Marketing and Communications Mishelle Raza Publications Manager, Artwork, and Program Designer Marguerite Elliott Marketing and Communications Assistants Rhayna Poulin Kiara Rivera Director of Audience Services Laura Kirk Assistant Director of Audience Services Shane Quinn Subscriptions Coordinator Tracy Baldini Audience Services Associate Molly Leona

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David Geffen School of Drama and Yale Repertory Theatre Staff Customer Service and Safety Officers Teo Baldwin Ralph Black, Jr. Kevin Delaney Box Office Assistants Pilar Bylinsky, Emma Fusco, Mel Hornyak, Aaron Magloire, Diana Shyshkova, Elliot Valentine Accessibility Assistants Abigail Murphy Prentiss Patrick-Carter

Theater Safety and Occupational Health

Director of Theater Safety and Occupational Health Anna Glover Assistant Director of Theater Safety Kelly O’Loughlin Associate Safety Advisor Forrest Rumbaugh

Operations

Director of Facility Operations Nadir Balan Associate Director of Operations Brandon Fuller Interim Associate Director of Facility Operations Aleks Landolfi

Operations Assistant Devon Reaves ities Area Manager Joey Adcock Arts and Graduate Studies Superintendents Jennifer Draughn, Francisco Eduardo Pimentel Custodial Team Leaders Andrew Mastriano Sherry Stanley Facility Stewards Ronald Douglas, Marcia Riley Custodians Leo Torres, Sulema Hamilton, Rodney Heard, Jessica Hernandez, Cassandra Hobby, Wendy Jerez, Melloney Lucas, Shanna Ramos, Johnny Stanley, Jerome Sonia

David Geffen School of Drama and Yale Repertory Theatre are supported by the work of over 150 faculty members.

For a complete faculty listing by program and department, please visit drama.yale.edu/about-us

THE BENJAMIN MORDECAI III PRODUCTION FUND established by Peggy Cowles ’65, honors the memory of the Tony Awardwinning producer who served as Associate Dean and Chair of the Theater Management program at David Geffen School of Drama from 1993 until his death in 2005. During his tenure as Yale Rep’s Managing Director alongside Dean/Artistic Director Lloyd Richards, 1982–1993, he developed a model of professional producing that changed the course of new play development in the American theater. His 25 Broadway credits included Tony Kushner’s Angels in America, as well as work by Anna Deavere Smith, Athol Fugard, David Henry Hwang, Terrence McNally, Robert Schenkkan, and perhaps most significantly August Wilson, with whom he collaborated on each of the ten plays in the epic 20th-Century Cycle.

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65 Howe Street, New Haven