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Welcome to the world premiere of The Realistic Joneses! I am delighted that Yale Rep audiences are the first to experience this remarkable new play by Will Eno, whose plays include the Pulitzer Prizenominated Thom Pain (based on nothing), Middletown, and Title and Deed, which is being presented by Signature Theatre Company in New York this spring. The Realistic Joneses continues a deeply accomplished season for director Sam Gold, who recently staged Look Back in Anger at Roundabout Theatre Company, The Big Meal at Playwrights Horizons, and Seminar on Broadway. Bringing Will Eno’s four Joneses to life are four tremendously gifted actors: Tony Award nominee Johanna Day, last seen at Yale Rep in the 2008 world premiere of David Adjmi’s The Evildoers; Glenn Fitzgerald, whose credits include new plays by Kenneth Lonergan and Jon Robin Baitz, as well as the recent TV series Dirty Sexy Money; Steppenwolf Theatre Company ensemble member Tracy Letts, himself a Tony Award and Pulitzer Prize-winning playwright (August: Osage County); and Parker Posey, an award-winning stage actress perhaps best known for her work in some of the most acclaimed films of the last twenty years. The Realistic Joneses was commissioned by Yale Rep and developed through the Yale Center for New Theatre, established with support from the Robina Foundation in 2008 to support the creation of new plays and musicals for the American stage. To date, the Center has underwritten the work of nearly three dozen commissioned theatre artists, as well as productions of twelve new plays and musicals at Yale Rep and other not-for-profit theatres across the country. Next season, the Center will support the world premieres of three plays commissioned by Yale Rep: David Adjmi’s Marie Antoinette, which will be our first-ever collaboration with American Repertory Theater at Harvard; Sarah Ruhl’s Dear Elizabeth, chronicling the 30-year friendship between American poets Elizabeth Bishop and Robert Lowell; and actor Bill Camp and director Robert Woodruff’s new adaptation of Rainer Werner Fassbinder’s New German Cinema masterpiece In a Year with 13 Moons. Yale Rep’s 2012–13 season also includes Richard Montoya’s new play American Night: The Ballad of Juan José, Marie Jones’s Olivier Award-winning comedy Stones in His Pockets, and a new production of William Shakespeare’s masterpiece Hamlet, featuring Academy Awardnominated actor Paul Giamatti. Subscriptions are available now. We’re also making an exciting addition to the lineup of special events next season: our new Post-Show Conversations will give audiences the opportunity to discuss the plays with each other and a member of the Yale Rep artistic staff while enjoying refreshments in our lounge immediately following each show. Post-Show Conversations will be offered six times during the run of each play next season. I look forward to hearing what you think and feel about The Realistic Joneses at james.bundy@yale.edu. Your thoughtful comments are one of the best measurements of how we’re doing, and they are greatly appreciated. Sincerely,

James Bundy Artistic Director

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YALE REP’S 20

TIM BROWN AND LUPITA NYONG’O IN THE WINTER’S TALE. PHOTO BY JOAN MARCUS, 2012 PLAYS, DATES, AND ARTISTS SUBJECT TO CHANGE.

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12–13 SEASON AMERICAN NIGHT: THE BALLAD OF JUAN JOSÉ Written by RICHARD MONTOYA Developed by CULTURE CLASH and JO BONNEY Directed by SHANA COOPER

SEPTEMBER 21 TO OCTOBER 13, 2012

World Premiere

MARIE ANTOINETTE By DAVID ADJMI Directed by REBECCA TAICHMAN A Co-Production with American Repertory Theater OCTOBER 26 TO NOVEMBER 17, 2012

World Premiere

DEAR ELIZABETH By SARAH RUHL

A play in letters from Elizabeth Bishop to Robert Lowell and back again

Directed by LES WATERS

NOVEMBER 30 TO DECEMBER 22, 2012

STONES IN HIS POCKETS

By MARIE JONES Directed by EVAN YIONOULIS

JANUARY 25 TO FEBRUARY 16, 2013

PAUL GIAMATTI

HAMLET

By WILLIAM SHAKESPEARE Directed by JAMES BUNDY MARCH 15 TO APRIL 13, 2013

World Premiere

IN A YEAR WITH 13 MOONS

By RAINER WERNER FASSBINDER Adapted by BILL CAMP and ROBERT WOODRUFF Directed by ROBERT WOODRUFF Featuring BILL CAMP APRIL 26 TO MAY 18, 2013

SUBSCRIBE NOW!

YALEREP.ORG

203.432.1234 yalerep@yale.edu

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A P R I L 2 0 T O M AY 1 2 , 2 0 1 2

YALE REPERTORY THEATRE James Bundy, Artistic Director Victoria Nolan, Managing Director

PRESENTS THE WORLD PREMIERE OF

BY WILL ENO DIRECTED BY SAM GOLD Scenic and Costume Designer

DAVID ZINN

Lighting Designer

MARK BARTON

Sound Designer

KEN GOODWIN

Projection Designer Production Dramaturgs Casting Director Stage Manager

PAUL LIEBER AMY BORATKO ANNE SEIWERATH TARA RUBIN CASTING JENNA WOODS

The Realistic Joneses was commissioned by Yale Repertory Theatre. Development and production support are provided by the Yale Center for New Theatre, established and operated through a grant from the Robina Foundation and with significant support from the Andrew W. Mellon Foundation. This production is supported in part by an award from the National Endowment for the Arts.

SEASON MEDIA SPONSOR

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Serious Coffee.


CAST IN ALPHABETICAL ORDER

Jennifer Jones

JOHANNA DAY

John Jones

GLENN FITZGERALD

Bob Jones

TRACY LETTS

Pony Jones

PARKER POSEY

THE REALISTIC JONESES IS PERFORMED WITHOUT AN INTERMISSION.

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A Jones for Something Real: The Realistic Joneses marks a creative departure for playwright Will Eno. He is known for Thom Pain (based on nothing), a harrowing dramatic monologue that was a finalist for the Pulitzer Prize, and for his play Middletown, a surreal look into small town lives. In The Realistic Joneses, which was commissioned by Yale Rep, Mr. Eno has applied his sharp wit and absurdist sensibility to a more traditional form: the realistic drama. Yale Rep posed some questions to the playwright while he was in rehearsal for The Realistic Joneses. What were the impulses that led you to write The Realistic Joneses? Let’s see. Poet and former Connecticut resident Wallace Stevens once said, “The real is only the base. But, it is the base.” Former Red Sox pitcher Bill “The Spaceman” Lee once said, “Actually, I don’t know what nuthin’ means. English is not my trump card.” And we’re off! These days I’ve been thinking a lot about denial and defense. Not necessarily as negative characteristics but more just as human ones, like tool-making or the thumb. And I wonder, do all the things we can’t accept automatically move into the category of things that we deny? Is the math that cruel? And does the denial of death exact a terrible price, or is that just the cost of living? And, at some point, do we just stop pulling on any loose thread because of an ancient—or at least childhood—fear that if we start to pull it, the whole thing will come undone and reveal either an emptiness and horror beyond our most adolescent reckonings, or a glory and a joy that is just too incomprehensibly opposed to the dumb sad stuff we often think and feel? And, even though we must be by far the most talkative species, could we stand to talk a little more? These were some of the things in my head (note Bill Lee quote above) as I started to work on The Realistic Joneses. I was thinking about Chekhov, too, but not very hard. I was also thinking, and this might sound rough, “What are other people for?” In lonelier moments in my life, I’ve thought, “They’re for sitting next to.” I don’t think that anymore. With this play, a pressing influence has been regular life, just regular stuff you can 12

find almost anywhere. Stuff that, in fact, you have to go a pretty long cold way to avoid. Normal anxiety and normal people, night terrors and loneliness, and how we face things and don’t face things, and the close relatives I had a chance to watch over the years. To explore these questions and influences, where did you start? I started, no kidding, with the title. Well, no, that’s not exactly true. I started with the title, along with the desire to write a play in a generally realistic or naturalistic mode. This isn’t something I’ve done before. The idea of writing a play in this fairly normative form started to seem kind of experimental to me, just because I’ve gone about most things in my life in such a backwards, or at best, sideways way. What do you mean by the term “realistic” in the title? It struck me as an interesting word— realistic—to put in front of a name. It’s not the word “real.” It’s different from that. It’s tricky. It’s somehow like the word, which doesn’t exist: “beautiful-like.” If there were such a word, would it mean beautiful? Or not quite? Or something that sort of sits alongside the word beautiful but doesn’t really mean anything like it? Realistic gets even weirder when you put it anywhere near the word “theatre,” an art form famous for, and structurally dependent on, its fakeries and confections and illusions. It’s also interesting to me to think that anything a person can do, everything that people always do, is realistic. Certainly, I think all the characters in the play act in a way that would generally be called realistic.


Some Questions for Will Eno I also like that there’s the word “jones,” from drug-addict talk. People talking about having a jones or jonesing for some heroin or what have you. So, to have some realistic joneses seemed like a thing. When you are starting a new play, what is your writing process typically like? It saddens and kind of scares me to think that the stupid and confused and highly circular months and years I go through, every time I write a play, are the components of my “typical writing process.” But it might be the case. It’s ugly and boring. You sit in a chair, and you suffer all the blows that your own negativity and doubt keep raining on you. You sit there in the shadow of the Mighty Dead and all the great things they wrote. Even your own previous best efforts are no help, because all they stand for now is an area that’s closed off to you, because why would you want to do that again? Then, maybe you make a light snack or you throw a ball around for a while. And then you go sit down again. You’ve mentioned that The Realistic Joneses is different from your other work. How is that true? Has it changed how you approach writing the play? This is definitely different from everything else I’ve written, in a very plain way, in terms of style and form and aims. This also happens to be the least alone I’ve ever felt while writing a play. I might also be feeling the least alone I’ve ever felt in my life, right now, and I don’t know which one came first. Now that you’re working with the actors and director every day—what is your role in rehearsal room? These are happy, happy days, going to rehearsal. I love sitting there and watching and listening to these guys work. I could be a thousand miles away and everything would be just fine, but

I’m glad I’m here. I’m very much in the middle of writing and re-writing parts of the play, so that’s what I’m doing there, other than sitting around smiling and eating Twizzlers. What are you learning about the play, and yourself as a writer, through this process? My understanding of people, and I’m being very easy on myself in phrasing it that way, also seems to be changing, a little, as I work on this play. I used to feel sorry for everyone, because I was a real sad sack and was probably sort of condescending in my sadness. Now, I feel sorry for everyone, because life is so great, and we all work so hard. Such sad things happen, and I have no idea how we manage. I think we should all get a trophy. If, at the end of something, you’re a slightly better person, or, at least, have laid the groundwork to potentially become a slightly better person, then you’ve achieved something meaningful. I’m hoping that is happening, or will happen here, to me. And of course I hope that all of our trouble, cast and crew and institution, will create the conditions for that to happen to someone who sees the play.

PLAYWRIGHT WILL ENO. PHOTO BY ELSIE KELLERMAN.

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CAST JOHANNA DAY (JENNIFER JONES) made her Yale Rep debut in the 2008 world premiere of The Evildoers by David Adjmi. Her Broadway credits include Lombardi, August: Osage County, and Proof (Tony and Lucille Lortel Award nominations). Regional and Off-Broadway theatre credits include the world premiere of Theresa Rebeck’s Poor Behavior (Mark Taper Forum), God of Carnage (Huntington Theatre Company), Will Eno’s Middletown (Vineyard Theatre), Quality of Life (Arena Stage), Ethan Coen’s Almost an Evening (Atlantic Theater Company), Edward Albee’s Peter and Jerry (Second Stage Theatre, Drama Desk Award nomination), Satellites (New York Stage and Film), How I Learned To Drive (Vineyard Theatre, original cast), Distracted (Mark Taper Forum), and Blue Window (Manhattan Theatre Club). Her film and television credits include Unbreakable, The Eternal Pedicure, Fringe, Law & Order, Law & Order: Trial by Jury, Judging Amy, and Showtime’s upcoming Masters of Sex. Johanna is a Beinecke Fellow at Yale School of Drama this spring. GLENN FITZGERALD (JOHN JONES) New York theatre credits include This (Playwrights Horizons, also Center Theatre Group), Mizlansky/Zilinsky or “Schmucks” (Manhattan Theatre Club), Lobby Hero (Playwrights Horizons; Lucille Lortel Award nomination), Blue/Orange (Atlantic Theater Company), and Hedda Gabler (New York Theatre Workshop). Film credits include Flirting with Disaster, The Ice Storm, A Price Above Rubies, The Sixth Sense, Finding Forrester, Manny & Lo, Series 7, The Believer, Tully, 40 Days and 40 Nights, Igby Goes Down, Buffalo Soldiers, and Trust the Man. Television credits include Dirty Sexy Money, Six Feet Under, Law & Order, Law & Order: Criminal Intent, Homicide: Life on the Street, New York Undercover, Wonderfalls, CSI: Miami, The Cape, and Drop Dead Diva. Glenn is a Beinecke Fellow at Yale School of Drama this spring. TRACY LETTS (BOB JONES) is an ensemble member and Artistic Associate at Steppenwolf Theatre in Chicago. Productions at Steppenwolf include Penelope, Middletown, Who’s Afraid of Virginia Woolf? (also Washington, DC’s Arena Stage; upcoming: Broadway, 2012), American Buffalo, Betrayal, The Pillowman, The Pain and the Itch, The Dresser, Homebody/Kabul, The Dazzle, Glengarry Glen Ross (also Dublin and Toronto), Three Days of Rain, and many others. Others productions include Orson’s Shadow (Barrow Street Theatre, New York), The Caine Mutiny Court-Martial (A Red Orchid Theatre, Chicago), Who’s Afraid of 14


Virginia Woolf? (Alliance Theatre, Atlanta), Conquest of the South Pole (Famous Door, Chicago), and Bouncers (Next Lab, Chicago). Television and film: Guinevere, U.S. Marshals, Profiler, Prison Break, Seinfeld, Home Improvement, many others. As a playwright, he is the author of Killer Joe (also screenplay), Bug (also screenplay), Man from Nebraska (Pulitzer Prize finalist), August: Osage County (Pulitzer Prize, Tony Award for Best Play), Superior Donuts, and a new version of Chekhov’s Three Sisters, upcoming this summer at Steppenwolf. Tracy is a Beinecke Fellow at Yale School of Drama this spring.

PARKER POSEY (PONY JONES) Stage credits include David Rabe’s Hurlyburly (Lucille Lortel Award; The New Group), Lanford Wilson’s Fifth of July (Signature Theatre Company), John Patrick Shanley’s Four Dogs and a Bone (Geffen Playhouse), and Elaine May’s Taller than a Dwarf opposite Matthew Broderick on Broadway. Honored in 2008 by the Deauville Film Festival for her achievement in independent cinema, Parker’s indie film credits include Party Girl, The Daytrippers, Clockwatchers, The House of Yes (Special Jury Prize, Sundance Film Festival), Dazed and Confused, Personal Velocity (Independent Spirit Award nomination), Happy Tears, Broken English, Waiting for Guffman, Best in Show, A Mighty Wind, For Your Consideration, and Price Check. Other film and television credits include You’ve Got Mail, Scream 3, Josie and the Pussycats, The Sweetest Thing, Superman Returns, Blade Trinity, the upcoming Hemingway & Gellhorn opposite Nicole Kidman and Clive Owen, The Good Wife, The Big C, Parks and Recreation, Bored to Death, Armistead Maupin’s Tales of the City, The Simpsons, Futurama, Will & Grace, Boston Legal, and As the World Turns. Parker studied acting at SUNY Purchase. She is a Beinecke Fellow at Yale School of Drama this spring.

CREATIVE TEAM MARK BARTON (LIGHTING DESIGNER) previously designed the lighting for Yale Rep’s Notes from Underground. Off-Broadway credits include Look Back in Anger (Roundabout Theatre Company); The Big Meal, Circle Mirror Transformation (Playwrights Horizons); Titus Andronicus (The Public Theater); Elective Affinities (Soho Rep); The Select, The Sound and the Fury (Elevator Repair Service/New York Theatre Workshop); The Patsy/Jonas (Transport Group); Notes from Underground, Chair (Theatre for a New Audience); Gatz (Elevator Repair Service: The Public and in over 20 cities around the world); The Shipment, Church (Young Jean Lee’s Theater Company); No Child… (Epic Theatre Ensemble/Barrow Street); Will Eno’s Thom Pain (based on nothing); as well as work at Target Margin, New Georges, Clubbed Thumb, PS122, and Signature Theatre Company. Regional credits include productions at American 15


CREATIVE TEAM Repertory Theater, La Jolla Playhouse, Perseverance Theatre, Long Wharf, South Coast Rep, Berkeley Rep, Center Theatre Group/Kirk Douglas Theatre, Syracuse Stage, Asolo Rep, as well as many productions with Curtis Opera Theatre in Philadelphia.

AMY BORATKO (PRODUCTION DRAMATURG) is the Literary Manager at Yale Rep and has previously served as dramaturg on the Yale Rep productions of 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. WILL ENO (PLAYWRIGHT) lives in Brooklyn. He is the recipient of a Residency 5 Fellowship at Signature Theatre Company, where his play Title and Deed will be performed in May. His play Middletown won the Horton Foote Award and was produced at the Vineyard Theatre in New York and Steppenwolf Theatre Company in Chicago. His play Thom Pain (based on nothing) was a finalist for the 2005 Pulitzer Prize and has been translated into many Romance languages and several Slavic ones. His work is published by TCG, DPS, playscripts, and Oberon Books in London. Other work has also appeared in Harper’s, The Believer, and The Quarterly. SAM GOLD (DIRECTOR) is making his Yale Rep debut. His recent credits Seminar on Broadway; The Big Meal, Kin, Circle Mirror Transformation (OBIE Award, Drama Desk Award nomination), all at Playwrights Horizons; Look Back in Anger, Tigers Be Still (Roundabout Theatre Company); We Live Here (Manhattan Theatre Club); A Doll’s House (Williamstown Theatre Festival); August: Osage County (The Old Globe, San Diego Critics Circle Award); The Coward (Lincoln Center’s LCT3); Dusk Rings a Bell (Atlantic Theater Company); The Aliens (OBIE Award), Rag and Bone (Rattlestick Playwrights Theater); Jollyship the Whiz-Bang (Ars Nova, 2008; The Public Theater’s Under the Radar Festival, 2010); The Joke (Studio Dante); and The Black Eyed (New York Theatre Workshop). Sam was the Dramaturg at The Wooster Group from 2003– 2006. He is a Roundabout Associate Artist, NYTW Usual Suspect, Drama League Directing Fellow, recipient of the Princess Grace Award and The Garson Kanin/Marian Seldes Theater Hall of Fame Fellowship, and a graduate of the Juilliard Directing Program.

KEN GOODWIN (SOUND DESIGNER) made his Yale Rep debut earlier this season on A Doctor in Spite of Himself. A sound designer and engineer originally hailing from upstate New York and Pennsylvania, he has worked with a number of different 16


companies in the U.S. and U.K., ranging from drama and musical theatre to opera and rock ’n’ roll. Ken’s background also includes a number of corporate clients and touring dance companies throughout the States. Selected companies he has worked with include Adirondack Theatre Festival, Berkeley Repertory Theatre, Merry-Go-Round Playhouse, Spoleto Festival USA, Utah Festival Opera, and others. Ken also serves as an artistic associate for Yale Cabaret’s 44th season. He has also worked with numerous live bands at nightclubs and festivals in Pennsylvania and New Jersey.

PAUL LIEBER (PROJECTION DESIGNER) is a second-year MFA candidate at Yale School of Drama, where he has designed the projections for The Seagull and Eurydice. Yale Cabaret credits include Persona, Underneath the Lintel, and Out of the Blue. He has worked professionally in Cincinnati as a projection, lighting, and sound designer. Paul is a graduate of Xavier University where he received his BA in electronic media.

TARA RUBIN CASTING (CASTING DIRECTOR) has been casting at Yale Rep since 2004. Broadway: How to Succeed in Business Without Really Trying; Promises, Promises; A Little Night Music; Billy Elliot; Shrek; Guys and Dolls; The Country Girl; Rock ’n’ Roll; The Farnsworth Invention; Young Frankenstein; The Little Mermaid; Mary Poppins; My Fair Lady; The Pirate Queen; Les Misérables; The History Boys; Spamalot; Jersey Boys; The 25th Annual Putnam County Spelling Bee; The Producers; Mamma Mia!; Imaginary Friends; The Phantom of the Opera; Oklahoma!. Lincoln Center Theater: Happiness, The Frogs, Contact, Thou Shalt Not. Off-Broadway: Love, Loss, and What I Wore and Second Stage Theatre. Regional: Kennedy Center, La Jolla Playhouse, Dallas Theater Center.

ANNE SEIWERATH (PRODUCTION DRAMATURG) is a third-year MFA candidate at Yale School of Drama and a Literary Associate at Yale Repertory Theatre. Other dramaturgy credits include Yale Rep’s world premiere of Bossa Nova by Kirsten Greenidge and the School of Drama productions of The Taming of the Shrew, Justin A. Taylor’s Rodeo, Michael Mitnick’s elijah, and Caroline V. McGraw’s Thriftcrawl. Recent work at Yale Cabaret includes Creation 2011 (performer), Rey Planta (translation consultant), Crumbs (co-writer/director), and Debut . . . or, the Shed (producer). She holds degrees in English literature from Barnard College and the University of Toronto. JENNA WOODS (STAGE MANAGER) Previous Yale Rep credits include Battle of Black and Dogs, POP!, and Notes from Underground. Her New York credits CQ/CX, Through a Glass Darkly, The New York Idea (Atlantic Theater Company); The Language Archives and Suicide, Incorporated (Roundabout Theatre Company). Other productions include Measure for Measure (Elm Shakespeare Company), the National Tours of The Music Man and Footloose (Props Supervisor), and the North American tour of Riverdance (Wardrobe Supervisor). Education: BFA, University of Kansas; MFA, Yale School of Drama. 17


CREATIVE TEAM DAVID ZINN (SCENIC AND COSTUME DESIGNER) Previous Yale Rep credits include the sets for We Have Always Lived in the Castle and Notes from Underground and the costumes for Medea/Macbeth/Cinderella. His Broadway credits include the sets and costumes for Seminar and costumes for Other Desert Cities, Bengal Tiger at the Baghdad Zoo, Good People, In the Next Room (or the vibrator play) (Tony and Drama Desk Award nominations), A Tale of Two Cities, and Xanadu. His recent OffBroadway credits include The Big Meal, Completeness, Circle Mirror Transformation (Playwrights Horizons); Carrie, The Pride (MCC Theater); Look Back in Anger (Roundabout Theatre Company); The Select (The Sun Also Rises) (New York Theatre Workshop); We Live Here, That Face, Back Back Back, The Four of Us (Manhattan Theatre Club); Middletown (Vineyard Theatre); and The Sound and the Fury (Elevator Repair Service). His regional credits include productions at Berkeley Repertory Theatre, Mark Taper Forum, Oregon Shakespeare Festival, La Jolla Playhouse, Guthrie Theater, Alliance Theatre, Spoleto Festival, Intiman Theatre, Seattle Rep, and CENTERSTAGE, among many others. His set and costume designs for opera have been seen at the Lyric Opera of Chicago, Santa Fe Opera, Glimmerglass, New York City Opera, and others. He is the recipient of the 2008 OBIE Award for Sustained Achievement in Set and Costume Design and the 2005 TDF/Irene Sharaff Young Master Award.

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YALE REPERTORY THEATRE JAMES BUNDY (ARTISTIC DIRECTOR) is in his tenth year as Dean of Yale School of Drama and Artistic Director of Yale Repertory Theatre. In his first nine seasons, Yale Rep has produced more than thirty world, American, and regional premieres, six of which have been honored by the Connecticut Critics Circle with the award for Best Production of the year, and two of which have been Pulitzer Prize finalists. During this time, Yale Rep has also commissioned nearly three dozen artists to write new work and provided low-cost theatre tickets and classroom visits to thousands of middle and high school students from Greater New Haven through WILL POWER!, an educational program initiated in 2004. Mr. Bundy’s directing credits include The Psychic Life of Savages, The Ladies of the Camellias, All’s Well That Ends Well, A Woman of No Importance, Death of a Salesman, and A Delicate Balance at Yale Rep, as well as productions at Great Lakes Theater Festival, The Acting Company, California Shakespeare Festival, Alabama Shakespeare Festival, and The Juilliard School Drama Division. A recipient of the Connecticut Critics Circle’s Tom Killen Award for extraordinary contributions to Connecticut professional theatre in 2007, Mr. Bundy currently serves on the board of directors of Theatre Communications Group, the national service organization for nonprofit theatre. Previously, he worked as Associate Producing Director of The Acting Company, Managing Director of Cornerstone Theater Company, and Artistic Director of Great Lakes Theater Festival. He is a graduate of Harvard College and Yale School of Drama. VICTORIA NOLAN (MANAGING DIRECTOR) is in her 19th 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 CENTERSTAGE, 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.

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JENNIFER KIGER (ASSOCIATE ARTISTIC DIRECTOR) is in her seventh year at Yale Rep and is also Director of the New Play Programs of the Yale Center for New Theatre, an artist-driven initiative that supports the creation of new plays and musicals for the American stage through commissions, residencies, workshops, and productions. Ms. Kiger came to Yale Rep from South Coast Repertory (SCR), where she was Literary Manager from 2000 to 2005 and served as Co-Director of the Pacific


Playwrights Festival. She was dramaturg on more than 40 new plays at SCR, including the world premieres of Rolin Jones’s The Intelligent Design of Jenny Chow, Amy Freed’s The Beard of Avon, and the West Coast premieres of Sarah Ruhl’s The Clean House and Nilo Cruz’s Anna in the Tropics. Prior to that, she served as production dramaturg at American Repertory Theatre, collaborating with Robert Brustein, Robert Woodruff, Liz Diamond, and Kate Whoriskey, and with multi-media director Bob McGrath on stage adaptations of Robert Coover’s Charlie in the House of Rue and Mac Wellman’s Hypatia. She has been a dramaturg for the Playwrights’ Center of Minneapolis and Boston Theatre Works and a panelist for the National Endowment for the Arts and the California Arts Council. Ms. Kiger completed her training in Dramaturgy at the American Repertory Theatre Institute for Advanced Theatre Training at Harvard University, where she taught courses in acting and dramatic arts. BRONISLAW SAMMLER (PRODUCTION SUPERVISOR) has been Chair of Yale School of Drama’s acclaimed Technical Design and Production Department since 1980. In 2007 he was named the Henry McCormick Professor (Adjunct) of Technical Design and Production by Yale’s President, Richard C. Levin. He is co-editor of Technical Brief and Technical Design Solutions for Theatre, Vols. I & II. He co-authored Structural Design for the Stage, which won the United States Institute of Theatre Technology’s (USITT) Golden Pen Award. Demonstrating his commitment to excellence in technical education and professional production, he co-founded USITT’s National Theatre Technology Exhibit, an on-going biennial event; he has served as a commissioner and a director at-large and is a lifetime Fellow of the Institute. He was honored as Educator of the Year in 2006 by the New England Theatre Conference and chosen to receive the USITT Distinguished Achievement Award in Technical Production in 2009. His production management techniques and his introduction of structural design to scenic technology are being employed in both educational and professional theatres throughout the world. JAMES MOUNTCASTLE (PRODUCTION STAGE MANAGER), has been at Yale Rep since 2004. He has stage managed productions of Three Sisters, We Have Always Lived in the Castle, The Master Builder, Passion Play, Richard II, Eurydice, a new adaptation of The Cherry Orchard, and the world premiere of The Clean House. A professional stage manager for more than twenty years, he has worked in regional, stock, and Broadway theatre. Broadway credits include Damn Yankees, Jekyll & Hyde, Judgment at Nuremberg, The Boys from Syracuse, The Smell of the Kill, Life x(3), and Wonderful Town. Mr. Mountcastle spent several Christmas seasons in New York City as stage manager for the now legendary production of A Christmas Carol at Madison Square Garden. Broadway national tours include City of Angels, Falsettos, and My Fair Lady. He served as Production Stage Manager for Damn Yankees starring Jerry Lewis for both its national tour and at the Adelphi Theatre in London’s West End. In addition, Mr. Mountcastle has worked at The Kennedy Center, CENTERSTAGE in Baltimore, Actors Theatre of Louisville, Brooklyn Academy of Music, and elsewhere. James and his wife Julie live in North Haven and are the very proud parents of two beautiful girls: Ellie, who is 13 years old, and Katie, age 11. 21


YALE REPERTORY THEATRE STAFF James Bundy, Artistic Director Victoria Nolan, Managing Director Jennifer Kiger, Associate Artistic Director

ARTISTIC

Resident Artists Paula Vogel, Playwright-in-Residence Liz Diamond, Evan Yionoulis, Resident Directors Catherine Sheehy, Resident Dramaturg Ming Cho Lee, Set Design Advisor Michael Yeargan, Resident Set Designer Jane Greenwood, Costume Design Advisor Jess Goldstein, Resident Costume Designer Jennifer Tipton, Lighting Design Advisor Stephen Strawbridge, Resident Lighting Designer David Budries, Sound Design Advisor Walton Wilson, Voice and Speech Advisor Rick Sordelet, Fight Advisor Mary Hunter, Stage Management Advisor

Finance and Information Technology Katherine D. Burgueño, Director of Finance and Human Resources Denise Zaczek, Associate Director of Finance Cristal Coleman, Alex Grennan, Ashlie Russell, Business Office Specialists Randall Rode, Information Technology Director Daryl Brereton, Associate Information Technology Director Mara Hazzard-Wallingford, Director, Yale Tessitura Consortium Toni Ann Simiola, Senior Administrative Assistant to Business Office, Information Technology, Operations, and Tessitura

Marketing, Communications, and Audience Services Anne Trites, Director of Marketing and Communications Steven Padla, Senior Associate Director of Communications Daniel Cress, Senior Associate Director of Marketing Rachel Smith, Associate Director of Marketing Associate Artists DeDe Jacobs-Komisar, Associate Director of Marketing 52nd Street Project, Kama Ginkas, Mark Lamos, Sarah Stevens-Morling, Online Communications and MTYZ Theatre/Moscow New Generations Theatre, Advertising Manager Bill Rauch, Sarah Ruhl, Henrietta Yanovskaya Marguerite Elliott, Publications Manager Lauren Wainwright, Marketing Assistant Artistic Administration Kathleen Martin, Erynn Szewczyk, Amy Boratko, Literary Manager Graphic Design and Production Assistants Kay Perdue Meadows, Artistic Associate Fraver, Graphic Designer Tanya Dean, Artistic Coordinator Joan Marcus, Production Photographer Benjamin Fainstein, Elliot B. Quick, Anne Seiwerath, Literary Associates Janna J. Ellis, Associate Director of Audience Services and Tessitura Specialist Tara Rubin, C.S.A.; Merri Sugarman, C.S.A.; Eric Woodall, C.S.A.; Lindsay Levine; Kaitlin Shaw; Laura Kirk, Assistant Audience Services Director Stephanie Yankwitt, Casting Shane Quinn, Audience Services Assistant Ruth M. Feldman, Director of Education and Tracy Baldini, Subscriptions Coordinator Accessibility Services Evan Beck, Amanda Bermudez, Amanda Culp, Courtney Teresa Mensz, Library Services Assistant Engle, Gabriel Levey, Emily Sanna, William Smith, Joanna Wilson, Box Office Assistants Josie Brown, Senior Administrative Assistant to the Artistic Director and Associate Artistic Director Laurie Coppola, Senior Administrative Assistant for Operations the Directing, Dramaturgy and Dramatic Criticism, Diane Galt, Director of Facility Operations Playwriting, and Stage Management Departments Rich Abrams, Operations Associate Mary Volk, Senior Administrative Assistant for the Paul Catalano, Arts and Drama Zone Superintendent Design and Sound Design Departments Krista J. MacLellan, 217 Park and 212 York Superintendent ADMINISTRATION VonDeen Ricks, Senior Custodian Karena Fiorenza Ingersoll, Jaeeun Joo, Marcia Riley, Facility Steward Associate Managing Directors Lucille Bochert, Norma Crimley, Donell D’Gioia, Ty Frost, Mark Roy, Custodians Jennifer Lagundino, Assistant Managing Director Anne Flammang, Eric Gershman, Melissa Zimmerman, Management Assistants Theater Safety and Occupational Health Emalie Mayo, Senior Administrative Assistant William J. Reynolds, Director of Theater Safety to the Managing Director and Occupational Health Kelly Jo Cigman, Interim Senior Administrative Assistant Jacob Thompson, Security Officer to the Managing Director Ed Jooss, Audience Safety Officer Caitie Hannon, Company Manager Fred Geier, Customer Service and Safety Officer Alyssa Simmons, Assistant Company Manager Development and Alumni Affairs Deborah S. Berman, Director of Development and Alumni Affairs Janice Muirhead, Senior Associate Director of Development Barry Kaplan, Senior Staff Writer Susan C. Clark, Laura J. Eckelman, Development Associates Belene Day, Senior Administrative Assistant to Development and Marketing & Communications Shane D. Hudson, Development Assistant

22

PRODUCTION

Bronislaw J. Sammler, Production Supervisor James Mountcastle, Production Stage Manager Jonathan Reed, Senior Associate Production Supervisor Grace O’Brien, Senior Administrative Assistant to the Production, Theater Safety and Occupational Health Departments


Costumes Tom McAlister, Costume Shop Manager Robin Hirsch, Associate Costume Shop Manager Mary Zihal, Senior Draper Clarissa Wylie Youngberg, Draper Deborah Bloch, Senior First Hand Linda Kelley-Dodd, Costume Project Coordinator Denise O’Brien, Wig and Hair Design Barbara Bodine, Company Hairdresser Linda Wingerter, Costume Stock Manager Greta Schmitt, Assistant to the Costume Shop Manager Electrics Donald W. Titus, Lighting Supervisor Jason Wells, Linda Young, Senior Head Electricians Alexander Zinovenko, Head Electrician Emily Erdman, Assistant to the Lighting Supervisor Painting Ru-Jun Wang, Scenic Charge Angie Meninger, Scenic Artist Keri Kriston, Assistant Scenic Artist Allison Jackson, Nathan Jasunas, Assistants to the Painting Supervisor Properties Brian Cookson, Properties Master David P. Schrader, Properties Craftsperson Jennifer McClure, Properties Assistant Bill Batschelet, Properties Stock Manager Scenery Colin Buckhurst, Don Harvey, Neil Mulligan, Technical Directors Alan Hendrickson, Electro Mechanical Laboratory Supervisor Eric Sparks, Shop Foreman Matt Gaffney, Ryan Gardner, Sharon Reinhart, Master Shop Carpenters Brandon Fuller, Shop Carpenter C. Nikki Mills, Kenyth X. Thomason, Jacqueline Deniz Young, Assistants to the Technical Director Sound Josh Loar, Sound Supervisor Paul Bozzi, Staff Sound Engineer Jacob Riley, Jennifer Timms, Assistants to the Sound Supervisor Projections Erich Bolton, Projection Supervisor Micah Stieglitz, Head Projection Technician Stage Operations Janet Cunningham, Stage Carpenter Kate Begley Baker, Properties Runner Elizabeth Bolster, Wardrobe Supervisor Charles Harbert, FOH Mix Engineer

ADDITIONAL STAFF FOR THE REALISTIC JONESES

Cole Lewis, Assistant Director Brian Dudkiewicz, Assistant Scenic Designer Hunter Kaczorowski, Assistant Costume Designer Ryan Seelig, Assistant Lighting Designer Jacob Riley, Assistant Sound Designer and Engineer Alyssa K. Howard, Assistant Stage Manager Karen Walcott, Associate Production Supervisor Alex Bergeron, Technical Director Nicholas Christiani, Barbara Tan-Tiongco, Assistant Technical Directors Mike Backhaus, Master Electrician Justin Bennett, Assistant Properties Master Yu Shen, House Manager Ethan Heard, Nicholas Hussong, C. Nikki Mills, Run Crew UNDERSTUDIES Tim Brown, John Jones Ceci Fernandez, Jennifer Jones Michelle McGregor, Pony Jones Dan O’Brien, Bob Jones SPECIAL THANKS Paul and Susan Fiedler, Karl Gasteyer, Anne Tofflemire, Linda Wingerter

The Actors and Stage Manger 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. The Realistic Joneses April 20 to May 12, 2012 Yale Repertory Theatre, 1120 Chapel Street

YALEREP.ORG 23


YALE CENTER FOR NEW THEATRE YALE REPERTORY THEATRE is dedicated to the production of new plays and bold interpretations of classics and has produced well over 100 premieres—including two Pulitzer Prize winners and four other nominated finalists—by emerging and established playwrights. Eleven Yale Rep productions have advanced to Broadway, garnering more than 40 Tony Award nominations and eight Tony Awards. Yale Rep is also the recipient of the Tony Award for Outstanding Regional Theatre. Professional assignments at Yale Repertory Theatre are integral components of the program at Yale School of Drama, the nation’s leading graduate theatre training conservatory. Established in 2008, the YALE CENTER FOR NEW THEATRE is an artist-driven initiative that devotes major resources to the commissioning, development, and production of new plays and musicals at Yale Rep and across the country. A key component of the Center’s programs is its Production Enhancement Fund, which provides financial support for productions at other theatres of works commissioned and/or first produced at Yale Rep. The Center also facilitates residencies of playwrights and composers at Yale School of Drama. To date, the Yale Center for New Theatre has supported the work of nearly three dozen commissioned artists as well as the world premieres and subsequent productions of twelve new plays and musicals—including this season’s Belleville by Amy Herzog, Good Goods by Christina Anderson, and The Realistic Joneses by Will Eno; and next season’s Marie Antoinette by David Adjmi, Dear Elizabeth by Sarah Ruhl, and Bill Camp and Robert Woodruff’s new adaptation In a Year with 13 Moons by Rainer Werner Fassbinder. Dostoevsky’s Notes from Underground, adapted by Bill Camp and Robert Woodruff, was the first commissioned play supported by the Center to receive its world premiere at Yale Rep. In 2010, Notes had its West Coast premiere at La Jolla Playhouse and its New York premiere at Theatre for a New Audience, in association with the Baryshnikov Arts Center. The Center also supported the world premiere coproduction of Rinne Groff’s Compulsion at Yale Rep, Berkeley Rep, and The Public Theater; the world premiere of the Yale Rep-commissioned On the Levee by Marcus Gardley, Todd Almond, and Lear deBessonet at Lincoln Center Theater’s LCT3; and the world premiere Maggie-Kate Coleman and Anna K. Jacobs’s POP! at Yale Rep, as well as the City Theatre production of POP! this spring in Pittsburgh. For more information please visit yalerep.org/center.

COMMISSIONED ARTISTS David Adjmi, Todd Almond, Christina Anderson, Hilary Bell, Adam Bock, Bill Camp, Lear deBessonet, Will Eno, Marcus Gardley, Matt Gould, Kirsten Greenidge, Danai Gurira, Ann Marie Healy, Amy Herzog, Naomi Iizuka, Branden Jacobs-Jenkins, Aditi Brennan Kapil, Carson Kreitzer, Dan LeFranc, Elizabeth Meriwether, Scott Murphy, Julie Marie Myatt, David LeFort Nugent, Lina Patel, Jay Reiss, Sarah Ruhl, Octavio Solis, Rebecca Taichman, Lucy Thurber, Alice Tuan, Paula Vogel, Kathryn Walat, Anne Washburn, Marisa Wegrzyn, and Robert Woodruff 24


Yale Rep productions supported by the YALE CENTER FOR NEW THEATRE, clockwise from the top: Merritt Janson and Bill Camp in Notes from Underground, 2009; Cristin Paige and Randy Harrison (background: Leslie Kritzer and Emily Swallow) in POP!, 2009; Jenn Gambatese and Sean Palmer in We Have Always Lived in the Castle, 2010; Ella Joyce and Francesca Choy-Kee in Bossa Nova, 2010; and Maria Dizzia and Gilbert Owuor in Belleville, 2011. Photos by Joan Marcus. 25


FOR YOUR INFORMATION

ACCESSIBILITY SERVICES

HOW TO REACH US Yale Repertory Theatre Box Office 1120 Chapel Street (at York St.) PO Box 208244, New Haven, CT 06520 203.432.1234 Email: 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 listening system, large-print and Braille programs, wheelchair accessibility with an elevator entrance into the Yale Rep Theatre located on the left side of the building, and accessible seating. For more information about the theatre’s accessibility services, contact Ruth M. Feldman, Director of Education and Accessibility Services, at 203.432.8425 or rm.feldman@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.

Yale Repertory Theatre’s accessibility services are supported in part by The Seedlings Foundation, Frederick A. DeLuca Foundation, and the Carol L. Sirot Foundation.

RESTROOMS Restrooms are located downstairs. Please contact the concierge for assistance with the elevator.

Yale Repertory Theatre gratefully acknowledges the Carol L. Sirot Foundation for underwriting the assistive listening systems in our theatres.

EMERGENCY CALLS Please leave your cell phone and/or beeper, name, and seat number with the concierge. We’ll notify you if necessary. The emergency-only telephone number at Yale Rep is 203.764.4014.

AUDIO DESCRIBED (AD) A live narration of the play’s action, sets, and costumes for patrons who are blind or low vision.

GROUP RATES Discounted tickets are available for groups of ten or more. Please call 203.432.1572. SEATING POLICY Everyone must have a ticket. Sorry, no children in arms or on laps. Patrons who become disruptive will be asked to leave the theatre.

OPEN CAPTIONING (OC) You’ll never again have to ask, “What did they say?” Open Captioning provides a digital display of the play’s dialogue as it’s spoken. Open Captioning and Audio Described performances are on Saturdays at 2PM. AD pre-show description begins at 1:45PM.

The Realistic Joneses May 5

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. 26

May 12

c2inc is pleased to be the official Open Captioning provider of Yale Repertory Theatre.


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 more information, or to make a donation, please call Susan Clark, 203.432.1559. You can also give online at yalerep.org/donate.

YALE REP’S EDUCATION PROGRAMS As part of Yale Rep’s commitment to our community, we provide two significant youth theatre programs. Since our 2003–04 season, WILL POWER!, which offers teacher training and curricular support prior to seeing a selected play at Yale Rep, has served more than 16,500 Connecticut students and educators. The Dwight/Edgewood Project brings eight middle school students from New Haven’s Augusta Lewis Troup Middle School to Yale Rep for a month-long, afterschool playwriting program designed to strengthen their self-esteem and creative expression.

FROM TOP: SCHOOLS GATHERING FOR WILL POWER!; THE DWIGHT/EDGEWOOD PROJECT, 2011.

Yale Rep’s education programs are supported in part by Allegra Print and Imaging; Anna Fitch Ardenghi Trust, Bank of America, N.A.,Trustee; Deborah S. Berman; Bob and Priscilla Dannies; Frederick A. DeLuca Foundation; Bruce Graham; the Lucille Lortel Foundation; Romaine A. Macomb; Mrs. Romaine Macomb; Dawn G. Miller; NewAlliance Foundation; Robbin A. Seipold; Sandra Shaner; Cheever and Sally Tyler; Esme Usdan; Charles and Patricia Walkup; and Bert and Martha Weisbart.

SPONSORSHIP: COMMUNITY PARTNERS Allegra Print and Imaging Est Est Est Fleur de Lys Floral and Gifts Heirloom Hull’s Arts Supply and Framing

Koji Mionetto New Haven Register The Study at Yale, a Boutique Hotel Take the Cake

GHP Printing and Mailing Union League Cafe Willoughby’s Coffee and Tea WSHU Public Radio Group The Yale Bookstore Yellowbook

These lists include current pledges, gifts, and grants received from January 1, 2011‚ through April 1, 2012.

27


CONTRIBUTORS

to Yale School of Drama and Yale Repertory Theatre LEADERSHIP SOCIETY ($50,000 and above) Anonymous Anonymous John Badham John B. Beinecke Nicholas Ciriello Sterling and Clare Brinkley Edgar M. Cullman, Jr. Edgar M. Cullman III Anita Pamintuan Fusco and Dino Fusco Horace W. Goldsmith Foundation A.R. Gurney F. Lane Heard III Frederick Iseman David Johnson Adrian and Nina Jones Tim Jones and Annie Cardelús Jennifer Lindstrom Neil Mazzella Andrew W. Mellon Foundation William S. Monaghan Don Nelson Mary B. Reynolds Robert Riordan Robina Foundation Talia Shire Schwartzman The Shubert Foundation Stephen Timbers Edward Trach Kara Unterberg Esme Usdan Reggie Van Lee GUARANTORS ($25,000–$49,999) Anonymous Lois Chiles and Richard Gilder Educational Foundation of America Peter Entin Heidi Ettinger Estate of Edward Kleno National Endowment for the Arts National Endowment for the Arts, Arts Midwest, Shakespeare in American Communities Edward John Noble Foundation James Munson Cliff Warner BENEFACTORS ($10,000–$24,999) Americana Arts Foundation Anonymous Bisno Productions Lynne and Roger Bolton

28

Mary L. Bundy CECArts Link Michael Diamond Edgerton Foundation Ruth and Steve Hendel Catherine MacNeil Hollinger Ellen Iseman Lucille Lortel Foundation Donald B. Lowy Stacey Mindich Productions Renova Sonja and Patrick Seaver The Seedlings Foundation Michael and Riki Sheehan Jeremy Smith Carol L. Sirot Foundation Trust for Mutual Understanding PRODUCER’S CIRCLE ($5,000–$9,999) Nina Adams and Moreson Kaplan Deborah Applegate and Bruce Tulgan Amy Aquino and Drew McCoy Foster Bam Jim Burrows Bill Conner The Noel Coward Foundation Michael Desantis and Patrick Baugh Terry Fitzpatrick Marc Flanagan Beth Galston Linda Gulder Huett Ben Ledbetter and Deborah Freedman Sarah Long Mionetto USA Carol Ostrow F. Richard Pappas Robert Pohly and Julie Turaj Linda Frank Rodman Ted and Mary Jo Shen Philip J. Smith Susan Stroman DIRECTOR’S CIRCLE ($1,000–$4,999) Actor’s Equity Foundation Anna Fitch Ardenghi Trust, Bank of America, N.A., Trustee Paula Armbruster Mr. and Mrs. B. Ashfield Cornelia Barr Robert L. Barth Estate of Cynthia K. Barrington John Lee Beatty Jody Locker Berger

Deborah S. Berman Jeffrey A. Bleckner Walter Bobbie Katherine Borowitz Michael Broh Thomas Bruce Robert W. Brundige, Jr. James Bundy Ben Cameron Joan D. Channick Patricia Clarkson Sue Ann Gilfillan and Tony Converse Peggy Cowles Marycharlotte Cummings The Frederick A. DeLuca Foundation Michael S. David Elizabeth Doyle Glen R. Fasman Marcus Dean Fuller Leiko Fuseya David Goldman Fred Gorelick and Cheryl MacLachlan Stephen Godchaux James W. Gousseff John Guare Judith Hansen Richard Harrison Katherine W. Haskins Carol Thompson Hemingway James Ingalls James Earl Jewell Rolin Jones Jane Kaczmarek The Ethel & Abe Lapides Foundation Sasha Emerson Levin George N. Lindsay, Jr Stephen Lindsay Linda Lorimer and Charley Ellis William Ludel Dr. and Mrs. Robert W. Lyons Jane Lyman Tien-Tsung Ma Romaine A. Macomb Estate of James MacLaren Jenny Mannis and Henry Wishcamper Jane Marcher Foundation Edward Martenson Thomas Masse and Dr. James Perlotto Maximum Entertainment Productions Susan McNamara, MD Dawn G. Miller The Garret and Mary Moran Family Foundation Neil Mulligan Arthur and Merle Nacht NewAlliance Foundation

Victoria Nolan and Clark Crolius Richard Ostreicher Steven Oxman Dw Phineas Perkins George and Kathy Priest Hal Prince Sarah Rafferty Lance Reddick Dr. Michael Rigsby Ben and Laraine Sammler Alvin Schechter Liev Schreiber Marie S. Sherer Eugene F. Shewmaker Benjamin Slotznick Rachel Smith Kristin Sosnowsky Kenneth J. Stein Shepard and Marlene Stone Charles Strotz Lee Stump Sy Sussman Robert and Arlene Szczarba John Henry Thomas Thomas Thurston Cheever and Sally Tyler Courtney Vance Barry and Fran Weissler Thomas Wilner Terrence Witter Amanda Wallace Woods George Whelen IV Albert J. Zuckerman Steve Zuckerman PARTNERS ($500–$999) In Memory of Herbert Altman Mary Ellen and Thomas Atkins Alexander Bagnall Christopher Barreca Alice B. and James T. Brown Joy G. Carlin Anna Cascio Cosmo Catalano, Jr. John Conklin Bob and Priscilla Dannies Ramon L. Delgado The Cory & Bob Donnalley Charitable Foundation Roberta Enoch and Steven Canner Paul Cleary Richard Sutton Davis Walter M. Frankenberger III Wray Steven Graham Donald Granger Rob Greenberg William B. Halbert


Karsten Harries and Elizabeth Langhorne Barbara Hauptman Jane C. Head Sara Hedgepath Jennifer Hershey Donald Holder John Robert Hood Albert Hurwitz Helen Kauder and Barry Nalebuff Donald and Candice Kohn Frances Kumin Mildred Kuner Edward Lapine Charles Long and Roe Curtis Brian Mann John McAndrew Johanna D. McAuliffe Susie Medak Daniel Mufson James Naughton Arthur Oliner Maulik Pancholy Stephen Pollock Amy Povich Margaret Adair Quinn Pamela and Arthur Rank Alan Rosenberg Tony Shalhoub Sandra Shaner Carol Spawn Trainer Family Foundation Carol M. Waaser William and Phyllis Warfel Zelma Weisfeld Vera Wells Carolyn S. Wiener Steven Wolff Evan Yionoulis Catherine Zuber INVESTORS ($250–$499) Anonymous Susan and Bruce Ackerman Richard Ambacher Dylan Baker James Bakkom Raymond Baldelli and Ronald Nicholes Robert Baldwin Richard Bianchi Robert Bienstock Lewis Black Deborah Bloch Susan Brady and Mark Loeffler Tom Broecker Mark Brokaw Claudia Brown Bruce and Janet Bunch Jonathan Busky Thomas Buttke and Judith Waters

Anne and Guido Calabresi Ian Calderon Bozena Chepya Patricia J. Collins Thomas Colville George Corrin, Jr. Robert Cotnoir Stephen Coy John W. Cunningham Ernestine and Ronald Cwik Drew S. Days III and Ann R. Langdon Charles Dillingham Alexander Dodge Dennis Dorn Dr. and Mrs. Frederic Finkelstein Joel Fontaine Anthony Forman David Freeman Joseph Gantman Nina M. Glickson Melanie Ginter and John Lapides Elizabeth M. Greene The Stewart and Constance Greenfield Foundation Anne K. Gregerson Norma and Richard Grossi Regina Guggenheim Sarah Hancock Scott Hansen D. Keith Hargreaves Douglas Harvey Michael Haymes and Logan Green Nicole and Larry Heath June and George Higgins Elizabeth Holloway Raymond P. Inkel Joanna and Lee Jacobus Cynthia Kaback Asaad Kelada Barnet K. Kellman Ashley York Kennedy John and Evelyn Kossak Foundation David Kriebs Suttirat Larlarb Kenneth Lewis Suzanne Cryer Luke Peter Marshall Mark McCullough Sandra Milles Lawrence Mirkin William and Barbara Nordhaus Louise Perkins and Jeff Glans Lawrence Perry and Rebecca Wayland Stephen Pollock Alec and Drika Purves Carol A. Prugh Barbara and David Reif Bill and Sharon Reynolds

Daniel and Irene Rissi Harry M. Ritchie Steve Robman Douglas Rogers Melina Root Constanza Romero Jean and Ron Rozett Suzanne Sato Georg Schreiber Mark and Cindy Slane David Soper and Laura Davis Mary C. Stark James Beach Steerman Sandra T. Stein and Harvey Kliman Jaroslaw Strzemien Anne Trites Bernard Sundstedt Suzanne Tucker John M. Turturro David J. Ward Dana Westberg Robert Wierzel Judith and Guy Yale Patricia and John Zandy FRIENDS ($100–$249) Anonymous Emily Aber and Robert Wechsler David E. Ackroyd Lois Aden Joseph V. Agostini Michael Albano Sarah Jean Albertson William Allison Liz Alsina Annette Ames Leif Ancker Bob and Jane Archibald Mary B. Arnstein Atticus Bakery Clayton Mayo Austin Angelina Avallone John and Nancy Babington Frank and Eileen Baker Ken and Jeanette Baldassarri Michael Barker and Heidi Leigh Hanson Michael Baron and Ruth Magraw John Barrengos Barbara and Edward Barry Pattsy Bates and Charles W. Eckert William Batsford Mark Bauer Nancy and Richard Beals Andrew A. Beck Jack Beecher Spencer P. Beglarian Ursula Belden Wendell and Lora Lee Bell

James C. Bellavance Albert Bennett Edward Bennett Elizabeth Bennett Todd Berling Melvin Bernhardt Henry and Joan Binder William Bletzinger Anders Bolang John Cummings Boyd Mark Boyer John Breedis Mr. and Mrs. Scott J. Brennan Russell and Freddie Brenneman Amy Brewer and David Sacco Cynthia Brizzell-Bates Theresa Broach Carole and Arthur Broadus Brenda and Howard Brody Arvin B. Brown Julie Anne Brown Shawn Hamilton Brown Oscar Lee Brownstein Philip Bruns Robert Brustein Andrew Bundy and Karen Hansen Gerard and N. Burrow Robert and Linda Burt Sheldon Bustow Susan Byck Susan Cahan and Jürgen Bank Donald Cairns Kathryn A. Calnan Vincent Cardinal Lisa Carling Susan Carney and Lincoln Caplan Carolyn Foundation Adrienne Carter William E. Caruth Raymond Carver Sami Joan Casler Patricia Cavanaugh Dr. and Mrs. W.K. Chandler Edward Check Suellen G. Childs King-Fai Chung Olive Chypre Nicholas and Barbara Jean Cimmino Lani Click Becky and Gary Cline Katherine D. Cline Margaretta M. Clulow Kevin and Roxanne Coady Jack Cockerill Joel Cogen and Elizabeth Gilson Robert S. Cohen Thomas Colville James Congdon

29


CONTRIBUTORS

to Yale School of Drama and Yale Repertory Theatre Kristen Connolly William Connolly Audrey Conrad Helen and Jack Cooper Aaron Copp Dana S. Croll Timothy and Pamela Cronin Douglas and Roseline Crowley Jane Ann Crum William H. Cuddy Sean Cullen Donato Joseph D’Albis F. Mitchell Dana Sue and Gus Davis Nigel W. Daw Barbara DeBaptiste Mr. and Mrs. Paul DeCoster Elizabeth DeLuca Julia L. Devlin Liz Diamond Jose A. Diaz Connie and Peter Dickinson George Di Cenzo Francis X. and Renee Dineen Gene Diskey Melinda DiVicino Michael Donahue Peter Donat Christopher Donnelly Franchelle S. Dorn Merle Dowling JoAnne E. Droller, R.N. D. William Duell George and Diane Dumigan John A. Duran Karen and Edwin Duval East Coast Management & Consulting Mindy Eads Mr. and Mrs. David Ebbin Douglas Edwards Frances L. Egler Dr. and Mrs. Richard Ehrenkranz Marc and Heidi Eisenberg Nancy Reeder El Bouhali Janann Eldredge Prof. Robert Ellickson and Ms. Lynn Hammer Barbara T. Ellinghaus Lucinda Thomas Embersits Jenifer Endicott Elizabeth English Dirk Epperson David Epstein Edith Dallas Ernst Howard and Jackie Ertel Frank and Ellen Estes

30

Dan and Elizabeth Esty Euphoria Salon Jerry N. Evans Douglass Everhart Eva Ewing John D. Ezell Patricia Fahey Michael Fain Kristan Falkowski Ann Farris Christopher Feeley Barbara and Richard Feldman Ruth M. Feldman Dr. and Mrs. Paul Fiedler Earle Finch Alexandra Fischer Aurelia Fisher Dennis Flynn Lewis Folden Joel Fontaine Keith Fowler Abigail Franklin Karen Freedman Linda and Gary Friedlaender Reynold Frutkin Richard Fuhrman Randy Fullerton Michael T. Fulton and Catherine Hernandez Barbara and Gerald Gaab David Gainey Jim and Eunice Galligan Anne Galvin Joseph Gantman Dr. Lonnie Garris Jr. Steven Gefroh Stuart and Beverly Gerber Robert Gerwien Patricia Gilchrist Morfydd and Gilbert Glaser Robert Glen William Glenn Neil Gluckman Susan Gobel Marian Godfrey Lindy Lee Gold Betty and Joshua Goldberg Norma and Myron H. Goldberg Sandra Goldmark Robert Goldsby Timothy and Mary Helen Goldsmith David Gorton Lori S. Gorton Naomi Grabel Charles F. Grammer Kris and Marc Granetz Katharine Grant Bigelow Green Joe Grifasi Karen Grimmell

Alan A. Grudzinski Dr. Ronald and Maria Hagadus Anne Hamburger Alexander Hammond Ann T. Hanley Jerome R. Hanley David W. Hannegan Scott Hansen Harold Harlow John Harnagel Charlene Harrington Lyndsay N. Harris Betty and Walter Harris James T. Hatcher Scott Hawkins Ihor Hayda James Hazen Robert Heller Patricia Helwick Heather Henderson Stephen Hendrickson Jennifer Hershey-Benen Dennis Hickey Roderick Lyons Hickey III Christopher Higgins Hill Regional Career High School Elizabeth Holloway Slate Holmgren Amy Holzapfel Agnes Hood Carol V. Hoover Helena Hoover-Litty and Charles Litty Mary B. Howard David Howson Evelyn Huffman Hull’s Art Supply and Framing Derek Hunt Mary and Arthur Hunt Peter H. Hunt Timothy and Diane Hunt Patricia Ireland Ihor Hayda Kirk Jackson John W. Jacobsen Chris Jaehnig Drs. Donald and Diana Jaffe Ina and Robert Jaffee Jim and Cynthia Jamieson Jeffrey’s, a restaurant Cynthia Lee Jenner Geoffrey A. Johnson Marcia Johnson Donald E. Jones, Jr. Elizabeth Kaiden Jonathan Kalb Gregory Kandel Carol Kaplan Lloyd A. Kaplan James D. Karr Dr. and Mrs. Michael Kashgarian

Bruce Katzman Edward A. Kaye Jay Keene Arthur J. Kelley, Jr. Abby Kenigsberg Bettyann Kevles Peter Young Hoon Kim Carol Souscek King Shirley Kirschner Dragan Klaic Raymond Klausen Richard Klein Stephen Kovel Brenda and Justin Kreuzer Jonathan Krupp Bernard Kukoff Mitchell Kurtz William Kux Howard and Shirley Lamar Marie Landry and Peter Aronson Nico Lang David Larson Jeremy Larson Michael John Lassell Gerard Leahy Wing Lee Charles E. Letts III Emily Leue Bradford Lewis Irene Lewis Malia Lewis Jeremy Licht Alan Lichtenstein Martha Lidji Bertram Linder Bruce Lockwood Edgar Loessin Robert Hamilton Long II Sara Low Henry Lowenstein Jean Murkland Luburg Paul David Lukather Nancy Lyon Andi Lyons Janell M. MacArthur Elizabeth M. MacKay Lizbeth Mackay Laura Brown MacKinnon Wendy MacLeod Alan Mokler MacVey Linda Maerz and David Wilson Peter Andrew Malbuisson Penney Maloney Joan Manning Marvin March Peter Marcuse Elizabeth Margid Jonathan Marks Timothy and Leslie Marsh Robin Marshall Craig Martin Margaret Mason Maria Mason and William Sybalsky


Richard Mason Carole A. Masters James and Margaret Mathis Beverly May Amy Lipper McCauley Alice McConnell Tarell Alvin McCraney Robert A. McDonald Brian McEleney Thomas McGowan April McGrath Deborah McGraw Robert J. McKinna Paul McKinley Patricia McMahon Bruce W. McMullan Lynne Meadow Mr. and Mrs. James Meisner Stephen W. Mendillo Andrew Metrick Donald Michaelis Carol Mikesell Brina Milikowsky George Miller and Virginia Fallon Lesley Miller Jonathan Miller Robert J. Miller Inga-Brita Mills Mary Jane Minkin and Steve Pincus Jennifer Moeller Richard R. Mone Donald W. Moreland George Morfogen Anne Morrison Emily Moskowitz Grafton V. Mouen Carol Bretz Murray-Negron Gayther Myers, Jr. Rachel Myers David Nancarrow James Naughton Tina C. Navarro Tobin Nellhaus Regina and Thomas Neville Martha New Ruth Hunt Newman Ronald Dean Nolen Lynn Nottage David Nugent Dwight R. Odle Janet Oetinger Phyllis O’Hammel Carolyn O’Keefe Ann Okerson Richard Olson Fran and Ed O’Neill

Sara Ormond Lori Ott Kendric T. Packer Joan D. Pape Dr. and Mrs. Michael Parry John L. Peschel William Peters Zane Pihlstrom Roberta Pilette Stephen B. Pollock David Pomeran Lisa Porter Nancy B. Porter Michael B. Posnick Jeffrey Powell Robert Provenza Jeffry Provost Alvin S. Prusoff and Dr. Deborah DeRose William Purves Faye and Ashgar Rastegar Ronald Recasner Ralph Redpath Gail Reen James and Cynthia Reik Sandra and Gernot Reiners Mary B. Reynolds Ross Sumner Richards Brian Robinson Lori Robishaw Gordon Rogoff Howard Rogut Joanna Romberg Philip Rosenberg Russ Rosensweig Fernande E. Ross John M. Rothman Jed Rubenfeld Julia Meade Rudd Kevin Rupnik Dr. Ortwin Rusch Frederick Russell John and Jeanette Ryan Dr. and Mrs. Herbert S. Sacks Steven Saklad Peter Salovey and Marta Elisa Moret Clarence Salzer Robert Sandberg Robert Sandine and Irene Kitzman Frank Sarmiento Peggy Sasso Cary Scapillato Joel Schechter Anne Schenck Kenneth Schlesinger Mr. and Mrs. Michael Schmertzler

Ruth Hein Schmitt William Schneider Sanford and Carol Schreiber Jennifer Schwartz Alexander Scribner Kathleen McElfresh Scott Forrest E. Sears Paul Selfa Subrata K. Sen Shawn Senavinin Paul H. Serenbetz Sandra Shaner Morris Sheehan Daniel Shindler Paul R. Shortt Mark Shufro Carol M. Sica Lorraine Siggins and Braxton McKee Lee Skolnick Betsy and William Sledge Helena L. Sokoloff Suzanne Solensky and Jay Rozgonyi Alan Solomon E. Gray Smith, Jr. Marian and Howard Spiro Regina Starolis Louise Stein Neal Ann Stephens John Stevens Joseph C. Stevens Marilyn and Robert Stewart Mark Sullivan Thomas Sullivan Richard Guy Suttor David Loy Sword Douglas Taber Jane Savitt Tennen Muriel W. Test Paul J. Tines Eric Ting David F. Toser Albert J. Toth Tahlia Townsend Howard B. Treat Jr. Russell L. Treyz Richard B. Trousdell Deborah Trout Miriam S. Tulin Mr. and Mrs. Gregory Tumminio Marge Vallee Joan Van Ark Flora Van Dyke Michael Van Dyke Carrie Van Hallgren Hyla and Barry Vine Arthur Vitello

Fred Voelpel Fred Volkmar Elaine and Patrick Wackerly Mark Anthony Wade Andrea S. Walker Charles Walkup Elizabeth Walsh Erik Walstad Barbara Wareck and Charles Perrow Steven I. Waxler Gil Wechsler Rosa Weissman Thomas Werder Charles Werner Raymond Werner J. Newton White Peter White Joan Whitney Richard Kent Wilcox Lisa A. Wilde Robert Wildman David Willson Catherine M. Wilson Marshall Williams The Winokur Family Foundation Carl Wittenberg Michael Wolak Yun C. Wu Arthur and Ann Yost Zhong Yun and Qun Lin IN-KIND GIFTS Mr. and Mrs. Kenneth Krupsky EMPLOYER MATCHING GIFTS Aetna Foundation Component Engineers, Inc. Corning, Inc. General Electric Corporation IBM The John D. and Catherine T. MacArthur Foundation Mobil Foundation, Inc. Pfizer Pitney Bowes Procter & Gamble The Prospect Hill Foundation SBC Communications, Inc. United Technologies Corporation

This list includes current pledges, gifts, and grants received from January 1, 2011, through April 1, 2012. For more information about making a donation to Yale Repertory Theatre, please contact Sue Clark at 203.432.1559 or susan.clark@yale.edu. 31


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FESTIVAL 2012 JUNE 16-30

New Haven, Connecticut

a festival of SERIOUS FUN!

featuring MARK MORRIS DANCE GROUP FREE CONCERTS ON THE NEW HAVEN GREEN PHILIPPE PETIT ERTH’S DINOSAUR PETTING ZOO CONTEMPORARY LEGEND THEATER (TAIWAN) and much, much more!

WWW.ARTIDEA.ORG 32


Life, Liberty, Pursuit of Happiness and the

A mer icA n A rt from the YA l e U n i v e r si t Y A rt G A l l e rY An e x hibition pr e se n t e d i n t h r e e pA rts

We the People July 29–December 31, 2011 Defining the Nation January 31–April 8, 2012 America Rising May 8–July 8, 2012

John Trumbull, The Declaration of Independence, July 4, 1776 (detail), 1786–1820. Oil on canvas. Yale University Art Gallery, Trumbull Collection


Making Hi◊ory

a n t iq ua r i e s i n b r i ta i n

february 2–may 27, 2012 Organized by the Society of Antiquaries of London in association with the Yale Center for British Art and the McMullen Museum of Art, Boston College

ya l e c e n t e r f o r b r i t i s h a r t 1080 Chapel Street, New Haven · britishart.yale.edu Tuesday–Saturday 10–5; Sunday 12–5 Admission is free · 877 brit art Roll Chronicle (detail), mid-fifteenth century, illumination with colored inks and tints on vellum rolls, By Permission of the Society of Antiquaries of London

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THE REALISTIC JONESES  

Meet Bob and Jennifer, and their new neighbors John and Pony, two suburban couples who have more in common than their identical homes and th...

THE REALISTIC JONESES  

Meet Bob and Jennifer, and their new neighbors John and Pony, two suburban couples who have more in common than their identical homes and th...

Profile for yalerep