LES LIAISONS DANGEREUSES, David Geffen School of Drama (2025)
David Geffen School of Drama at Yale, celebrating its 100th anniversary this season, 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.
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OCTOBER 18–24, 2025
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
Scenic Designer
Richard Lee
Costume Designer
Caleb Krieg
Lighting Designer
Amanda Burtness
Sound Designer
Constant Dzah
Projection Designer
Jae Lee
Production Dramaturg
Georgia Petersen
Technical Director
Sean Blue
Fight and Intimacy Directors
Kelsey Rainwater
Michael Rossmy
Stage Manager
Whitney Renell Roy
Les Liaisons Dangereuses 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
cast in alphabetical order
Le Chevalier Danceny.............................................................................
Hiếu Ngọc Bùi
Azolan ................................................................................................ Jeremy A. Fuentes
Madame de Rosemonde/Émilie ................................................................. Yishan Hao
Le Vicomte de Valmont ............................................................................. Amrith Jayan
Madame de Volanges ............................................................................. Nancy Kimball
Cécile Volanges .................................................................................................... Sarah Lo
La Marquise de Merteuil ..................................................................... Gretta Marston
La Présidente de Tourvel ............................................................................. Henita Telo
setting
Various salons and bedrooms in a number of hôtels and châteaux in and around Paris, and in the Bois de Vincennes, one autumn and winter in the 1780s.*
content guidance
This production contoins violence, sexual content, and sexual violence.
There will be a 15-minute intermission.
*(-ish)
Young Upwardly-Immobile
Art and Aristocracy in Les Liaisons Dangereuses
Samuel Richardson, the great 18thcentury British author of the epistolary tomes Pamela: or, Virtue Rewarded and Clarissa: or the History of a Young Lady, shows up once in Les Liaisons Dangereuses, when the servant Azolan supplants the author’s name with “some Englishman.” Just as well: Pierre Choderlos de Laclos’s 1782 novelin-letters, the source of Christopher Hampton’s 1985 adaptation for the stage, left the form’s progenitors in its dust. In Richardson’s work, the correspondences within doled out both message and plot as they charted the moral developments its eponymous young women. Laclos’ version, on the other hand, deals in ambivalence, contradiction, and dueling accounts. The characters move with a surplus of desire and strategy, far from the moral transparency that lent Richardson’s novels narrative flow. No such fluidity here: no one can be trusted in Les Liaisons Dangereuses. Hampton’s psychological realism accounts only partially for this play’s out-of-whack moral compass. Equally responsible are the strict stratification of social positions in pre-revolutionary France and the channels for release and resistance it implied. During the ancien régime, which spanned from the Middle Ages to its rupture in 1789, aristocrats were forced officially to confine their ambitions to military service, court appointments, and government roles in exchange for social status and allocated wealth.
Titles (marquis, comte, vicomte, chevalier) didn’t hierarchize but were rather inherited—ranks bestowed in order of seniority, not honor or achievement. From this stagnant pool emerged a wave of Libertinism, a philosophy of pleasure, transgression, sex as strategy. In salons and backrooms, the wealthy played a long game which used intimacy, betrayal, and revelation as its game pieces.
This kind of intrigue carries an intoxicating appeal, seen through the haze of tobacco smoke and two hundred and fifty years’ difference. If the actual politics on display in these anterooms and salons nauseate us, there’s a nostalgia at play for an aristocracy whose unearned leisure comprised the cultivation of a gaudy, intricate aesthetic—at least in contrast with today’s nihilist technocrats, whose taste is about as refined as a BlenderBottle™ full of Muscle Milk™. The former works by design—rococo, the floral, escapist decorative art style of the late ancien régime, was the last gasp of the Baroque movement, whose stunning, pathetic figures and architectures the counterreformation Catholic church employed to inspire an instant and emotional religiosity before its worshippers’ criticism could kick in. Maximalist art cloaked the era’s ideologies as much as it transmitted them.
DangereusesNonprofessionals
If there is a moral center to this play, might it be us, the audience? Granted access to the strategies of Merteuil and Valmont, are we also afforded the omniscient, trustworthy role in this narrative whose absence in the epistolary novel so hotly charges it? This is treacherous, too. If we can quickly identify the smarmier moments of Liaisons, can we so easily lend that critical eye to the moments when strategy seems to break open? Sincerity, honesty’s most obvious affect, is too easily separated from that virtue, the amoral architecture of this (and our) world turning it into pure style which can seem unimpeachable in the context of more obvious transgressions. In this play of obsessive scheming, isn’t it possible that this sincerity functions as a baroquisme, only more somber?
Instead, perhaps we might look to the servants—whose presence in each scene was vital to Destyne Miller’s vision for this production—for perspective. This is not on account of an ickily assumed suffering which the moneyed religious estate of the time would name righteous. Instead, might they function like a Greek chorus in a world where language has lost its claims to truth? Silent while onstage, the servants do not participate in the closed circuits of rhetoric and subterfuge that swirl around this aristocratic libertinage. The British writer Wayland Young wrote, about
the political power of Laclos’ novel, that “the mere analysis of libertinism… was enough to condemn it and play a large part in its destruction.” Seven years after the publication of Laclos’ Liaisons, the French 98% stormed Versailles and the dwellings of the elite, then melted down their gold. Here, though, with trays and chalices still intact, we might imagine these servants holding the well-polished surfaces on which the rot of this world reflects, merely, leading to its downfall.
—Georgia Petersen, Production Dramaturg
Biographies are submitted by the artists and edited for common house style by David Geffen School
cast in alphabetical order
Hiếu Ngọc Bùi (Le Chevalier Danceny), born in Vietnam and raised in Kansas City, is a third-year acting candidate at David Geffen School of Drama. This marks his third time working with director Destyne Miller—a three-peat! He would like to thank his people, his community, his family, and the spirits all around us. He thanks them for holding him and keeping him going. To his mother: “Mẹ ơi, coi con nè.”
Jeremy A. Fuentes he/him (Azolan) is a second-year M.F.A. acting candidate at David Geffen School of Drama. He was born and raised in Miami, Florida, and is a recent graduate of the University of Florida where he received his bachelor’s degree in public health. Recent credits include The Inspector (understudy) at Yale Repertory Theatre. He is grateful to the faculty for their continuous guidance and wisdom.
Yishan Hao she/her (Madame de Rosemonde/Émilie) is a secondyear actor at David Geffen School of Drama, where she was seen in A Doll’s House. Other credits include The Inspector (understudy) at Yale Repertory Theatre and birds and the curiosity at Hollywood Fringe. B.A. in psychology, UC Davis.
Amrith Jayan (Le Vicomte de Valmont) is an actor and theatermaker from India and a third-year actor at David Geffen
School of Drama, where he was seen in Metamorphoses, Coriolanus, and A Doll’s House. Amrith’s practice is rooted in versatility—shaped by a multicultural upbringing, formal conservatory training, and a deep commitment to collaborative process. Whether on screen or stage, his work spans text, movement, and voice, guided by a belief that performance is a universal language. As a multidisciplinary actor who has worked across mediums and formats, he thanks his family, colleagues, and high school for being catalysts in his journey as an artist. He was recently seen on Netflix’s Friday Night Plan (2023).
Nancy Kimball (Madame de Volanges) is a second-year actor at David Geffen School of Drama, where she was seen in You Can Tell a Tree by its Fruit as well as Witch at Yale Cabaret. She received her B.F.A. from NYU’s Tisch School of the Arts.
Sarah Lo she/her (Cécile Volanges) is a third-year actor at David Geffen School of Drama, where credits include A Doll’s House, Metamorphoses, What of the Night? and Pearl’s Beauty Salon as well as The Aughts at Yale Cabaret. Regional credits: Today is My Birthday (understudy, Yale Repertory Theatre) and In Every Generation (TheatreWorks Silicon Valley). Chicago credits: Murder on the Orient Express and South Pacific (Drury Lane Oakbrook); In Every Generation and Cambodian Rock Band (Victory Gardens Theatre); Deck the Hallmark (The Second City); Mlima’s Tale (Griffin
School of Drama.
Theatre); and M. Butterfly (Court Theatre). Television and film: The Chair (Netflix), Candyman (Monkeypaw), Chicago Med (NBC), Christmas Again (Disney Channel), and Station Eleven (MAX). Sarah is a proud graduate of the University of Chicago. Thank you for being part of our show—enjoy!
Gretta Marston (La Marquise de Merteuil) is a bilingual, PeruvianAmerican playwright and performer who works both in the U.S. and Peru. She creates work about immigrant women, people of indigenous descent, and the land/water that nourishes us. A Miranda Family Fellow alumna, Gretta was awarded a National Theater Institute apprenticeship and was the Literary Associate at the Latiné Musical Theater Lab. Gretta’s most recent projects include her single, “Caballerito de Mar”, showcasing her original musical Como La Tierra at the Miranda Family Fellowship Summit in NYC; and publishing GLORIA, a biographical podcast about her grandmother’s life.
Henita Telo (La Présidente de Tourvel) is a first-generation LiberianAmerican actress at David Geffen School of Drama, where her credits include Macbeth, Ain’t No Mo’ and Cactus Queen. She’s thrilled to be working alongside such wonderful and talented collaborators. Her previous theater credits include The Seagull, Ibsen’s The Master Builder, Cymbeline, Twelfth Night, Fucking A, and Carol Churchill’s Vinegar Tom. OffBroadway credits include The Hendrix Project directed by Roger Guenveur Smith at The Public Theater’s Under
the Radar Festival (2018). Film and television: Lifetime Movie Network’s The Baby Stealer, CBS’s American Auto, and various regional and national commercials. She obtained her B.F.A. in acting from California Institute of the Arts.
creative team in alphabetical order
Sean Blue (Technical Director) is a second-year M.F.A. candidate at David Geffen School of Drama.
Amanda Burtness she/her (Lighting Designer) is a second year M.F.A. candidate at David Geffen School of Drama, where her credits include Macbeth as well as DinDin at Yale Cabaret 2024. She is the design representative for the School’s Student Government, and a member of the Yale Cabaret Student Advisory Board for Season 58, Pulse). She is originally from the Bay Area, California, and is a graduate of Chapman University.
Constant Dzah (Sound Designer) is a passionate sound designer born and raised in Ghana, West Africa. He has a B.F.A. in drama theater art and is currently a third-year M.F.A. candidate in sound design at David Geffen School of Drama, where his credits include You Can Tell a Tree by its Fruit and Shakespeare’s Antony and Cleopatra. Other work includes falcon girls by Hilary Bettis (Yale Rep), Seven Methods of Killing Kylie Jenner by Jasmine Lee-Jones (Yale Cabaret), and heaven is something to keep you
warm by Kandace James (Yale Summer Cabaret). Fun fact: he loves cooking. Yay! He also loves to listen to music, make music, and spend quality time with friends.
Caleb Krieg (Costume Designer) is second-year M.F.A. candidate in costume design at David Geffen School of Drama. They previously served as the costume supervisor for the Martha Graham Dance Company, where their design credits include CAVE (choreographed by Hofesh Shechter); Get Up, My Daughter (choreographed by Annie Rigney); and Cortege (choreographed by Baye & Asa). Select associate and assistant design credits include Orlando (Signature Theatre, design by Oana Botez), Ulysses (Bard College, design by Enver Chakartash), and Twelfth Night (The Public Theater, design by Oana Botez). Caleb’s custom work for Brooklyn drag performers has been featured in Logo, V Magazine, Gayletter, Entertainment Weekly, and other publications. kriegdesign.com.
Destyne R. Miller (Director) is a theater artist driven by purpose, connection, and transformation. For her, storytelling is more than an art form—it’s a call to action, a way to gather people at the shoreline, rocks in hand, ready to create waves of change. Originally from Gatesville, Texas, she built her artistic and professional career in Houston, where she cultivated a practice that centers visibility, truth, and the power of shared experience. Destyne recently directed Antony and Cleopatra and The Care and Keeping of You Pages 76-77 at David Geffen School of Drama,
where she is a third-year M.F.A. candidate. Her other directing credits include Witch (Yale Cabaret), Pipeline (Firecracker Productions), and Seven Guitars (August Wilson in the Park). She was the assistant director of The Far Country (Yale Repertory Theatre) and wrote and produced Worn Out Soles, which earned Best Play at the Houston Fringe Festival. Destyne has thirteen years of experience teaching theater in public schools with the same professional artistry and excellence. She spent six years at George Bush High School, where she served as the head director of Bush Theatrical Ensemble, leading a range of acclaimed productions, including August: Osage County, Dreamgirls, Aida, Clue, Boy Gets Girl, The Bluest Eye, Yemaya’s Belly, and In the Heights. Under her leadership, the ensemble made five state appearances in the University Interscholastic League One Act Play Contest, earning a state title with We Are Proud to Present… (2022). Additionally, her productions of Ruined (2017), Water by the Spoonful (2018), and In the Blood (2019) all secured first runner-up finishes. Her original play, The Forgotten Prayer (2023), also earned a spot at the state competition. She currently serves as a professor in the Summer M.A. for Theatre Educators program at the University of Houston’s School of Theatre and Dance and has previously held leadership roles as a board member of the Texas Educational Theatre Association and Texas Thespians, Inc. Destyne earned her B.A. in theater arts from Grambling State University and an M.A. in theater from the University of Houston.
Jae Lee (Projection Designer) is a projection and interactive designer whose work spans projection, film/ video, interactive design, and sound art. Recent projects include Turandot at Sejong Grand Theater, Alice in Wonderland with Seoul Ballet Theatre, and Hamlet at the Hongik Art Center. At the Geffen School, he designed Macbeth, assisted with projection design for falcon girls and Eden, and created projection content for Notes on Killing Seven Oversight, Management and Economic Stability Board Members. His work centers on immersive visual storytelling that explores emotional depth and spatial experience.
Richard Lee (Scenic Designer) is a Taiwan-born-and-raised theater artist who is currently pursuing his M.F.A. in set design at David Geffen School of Drama. With his commitment to re-imagine classical texts and explore new works, he develops his unique perspectives by integrating both scenery and lighting into storytelling. His recent works as both scenic and lighting designer include Pool (No Water) (Yale Cabaret), Save the Cave!, and it’s not you, it’s the end of the world (Yale Summer Cabaret). Assistant/ associate design credits include Our Town (Cleveland Playhouse), Chiaroscuro (The Flea), Eden (Yale Repertory Theatre), Swan Lake (Sydney Opera House, Melbourne Arts Center, Australia), Sleeping Beauty (Bunkamura Orchard Hall, Japan). richardleedesign.com @richard.lee.design
Georgia Petersen (Production Dramaturg) is a third-year M.F.A. candidate in dramaturgy and dramatic criticism at David Geffen School of Drama. Most recently, she worked on The Inspector and Escaped Alone at Yale Rep and Ida Cuttler’s Sort at the Geffen School. She has written for TDR and Theater Magazine, where she was a managing editor. She holds a B.F.A. in acting from New York University.
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 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, 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, 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 BlainCruz.
Whitney Renell Roy (Stage Manager) is a Dallas, Texas native and M.F.A. candidate in stage management at David Geffen School of Drama, where her credits include Ain’t No Mo’, Macbeth, and Antony and Cleopatra. Whitney has also worked on Broadway and Off-Broadway productions including MJ the Musical (Neil Simon Theatre), Beetlejuice the Musical (Marquis Theatre), Scene Partners (Vineyard Theatre), and Goddess (New 42 Workshop). She is thrilled to be part of this production and grateful to the creative team and cast. @whitney.renell
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.
Christopher Hampton (Playwright) has written several adaptations for the stage, including Ödön von Horváth’s Youth Without God, Sándor Márai’s Embers, and Lewis Carroll’s Alice’s Adventures Under Ground. His original plays include Appomattox, The Talking Cure, White Chameleon, Tales from Hollywood, Treats, Savages, The Philanthropist, Total Eclipse, and When Did You Last See My Mother?. He has collaborated on musicals and libretti with Don Black and Philip Glass. Selected adapted screenplays include Atonement, The Quiet American, The Secret Agent, Mary Reilly, Dangerous Liaisons (based on his play Les Liaisons Dangereuses), The Good Father, Tales from the Vienna Woods, A Doll’s House
(based on his own translation), and The Thirteenth Tale for television. Hampton holds four Tony Awards, an Oscar, two BAFTAs, a Writers’ Guild of America Award, and The Collateral Award at the Venice Film Festival for Best Literary Adaptation, among other notable recognition.
The Benjamin Mordecai III Production Fund, established by Peggy Cowles ’65, honors the memory of the Tony Award-winning 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 20thCentury Cycle.
for this production
artistic
Assistant Scenic Designer
Francesca Pan
Assistant Costume Designer
Nicole Brooks Sanwandee
Assistant Lighting Designer
Mila Mussatt
Assistant Projection Designers
Dwight Bellisimo
Jasmine Williams
Assistant Sound Designer and Engineer
Nicky Brekhof
La Marquise de Merteuil Costumes
Carmel Dundon
Hair Consultant
Alexis Krieg
Assistant Stage Manager
Taylor N. Oliva
production
Production Manager
Yun Wu 吳昀
Associate Production Manager
Bekka Broyles
Assistant Technical Directors
Casper Apodaca
Angie Hause
Properties Manager
Daniel Haussler
Production Electrician
Will Maresco
Projection Engineer
Kevin Kenkel
Projection Content Creators
Jasmine Williams
Nate Williams
Bobby Marcus
Projection Programmer
Nathaniel Britton
Scenic Charge
Mikah Berky
Stage Carpenter
Ella Egan
Light Board Programmer
Mae Mironer
Run Crew
Tricie Bergmann, Nathaniel Britton, Jennifer Yuqing Cao 曹语晴, Qier Luo 罗绮儿, Zoë Nagel, Jiawei Pei, Christopher Thomas Pow
Robert Salerno, Maya Simon
administration
Associate Managing Director
Iyanna Huffington Whitney
Assistant Managing Director
Kay Nilest
Management Assistants
Jenn London
Quinn O’Connor
Kiara Rivera
House Manager
Catherine MacKay
Production Photographer
T. Charles Erickson
special thanks
Vincent Guerrero and Nate Burnell
David Geffen School of Drama and Yale Repertory
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
Chair, Theater Management Program
Joshua Borenstein
Artistic
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
Resident Costume Designer
Toni-Leslie James
Lighting Design Advisors
Alan C. Edwards
Donald Holder
Projection Design Advisor
Shawn Lovell-Boyle
Sound Design Advisor
Jill BC Du Boff
Voice and Text Advisor
Grace Zandarski
Resident Fight and Intimacy Directors
Kelsey Rainwater
Michael Rossmy
Stage Management Advisor
Narda E. Alcorn
Associate Artists 52nd Street Project, Kama Ginkas, Mark Lamos, MTYZ
Theatre/Moscow New Generation Theatre, Bill Rauch, Sarah Ruhl, Henrietta Yanovskaya
Artistic Administration
Production Stage Manager
James Mountcastle
Yale Rep Senior Artistic
Producer
Amy Boratko
Yale Rep Associate Producer
Kay Perdue Meadows
Yale Rep Artistic Fellow
Hannah Fennell Gellman
Yale Rep Artistic Coordinator
Mithra Seyedi
Yale Rep Casting
James Calleri
Erica Jensen
Paul Davis
Editor, Theater Magazine
Tom Sellar
Managing Editor, Theater Magazine
Gabrielle Hoyt
Senior Associate Editor, David Geffen School of Drama
Alumni Magazine
Catherine Sheehy
Senior Executive to the Dean/Artistic Director
Grace O’Brien
Interim Senior Administrative Assistant to the Associate Dean/Associate Artistic Director
Miguel Benitez
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
Technical Directors for David Geffen School of Drama
Latiana “LT” Gourzong
Matt Welander (on leave)
Electro Mechanical
Laboratory Supervisor
Eric Lin
Metal Shop Foreperson
Matt Gaffney
Wood Shop Foreperson
Ryan Gardner
Lead Carpenters
Doug Kester
Kat McCarthey
Sharon Reinhart
Abigail Richard
Carpentry Interns
Kai Hancock
Red Wehrmann
Painting
Scenic Charge
Mikah Berky
Lead Scenic Artists
Lia Akkerhuis
Nathan Jasunas
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
Costumes
Costume Shop Manager
Christine Szczepanski
Senior Drapers
Susan Aziz
Clarissa Wylie Youngberg
Mary Zihal
Senior First Hands
Deborah Bloch
Patricia Van Horn
First Hand
Maria Teodosio
Costume Project Coordinator
Linda Kelley-Dodd
Costume Stock Manager
Jamie Farkas
Costume Technology Intern
Eli Oremland
Electrics
Lighting Supervisor
Donald W. Titus
Senior House Electricians
Price Foster
Linda-Cristal Young
Electricians
Aspen Rogers
Alary Sutherland
Electrics Interns
Toni Carleston
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
Stage Operations
Stage Carpenter
Janet Cunningham
Lead Wardrobe Supervisor
Elizabeth Bolster
Lead Properties Runner
William Ordynowicz
Light Board Programmer
Sabrina Idom
David Geffen School of Drama and Yale Repertory
Lead Front of House
Mix Engineer
Keirsten Lamora
Administration
General Management
Associate Managing Directors
Joy (Xiaoyue) Chen
Victoria McNaughton
Kavya Shetty
Iyanna Huffington Whitney
Assistant Managing Director
Kay Nilest
Senior Administrative Assistant to the Managing Director, General Manager, and Theater Management Program
Sarah Masotta
Management Assistants
Kiara Rivera
Quinn O’Connor
Jenn London
Company Manager
Gaby Rodriguez
Assistant Company Managers
Roberto Di Donato
Chanel Johnson
Ebonee Johnson
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
Alumni Affairs Officer and Senior Writer
Cayenne Douglass
Senior Administrative Assistant to Development and Alumni Affairs
Jennifer E. Alzona
Development and Alumni Affairs Assistant
Ebonee Johnson
Finance, Human Resources, & Digital Technology
Director of Finance and Business Administration/Lead Administrator
Nicola Blake
Human Resources Business Partner
Trinh DiNoto
Manager, Staff and Faculty Affairs
Malaika Green El Hamel
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
Associate Director of Marketing and Communications
Taylor Ybarra
Assistant Director of Marketing and Communications
Jazzmin Bonner
Senior Administrative Assistant to Marketing and Communications
Mishelle Raza
Publications Manager, Artwork, and Program Designer
Marguerite Elliott
Director of Audience Services
Laura Kirk
Assistant Director of Audience Services
Shane Quinn
Subscriptions Coordinator
Tracy Baldini
Audience Services Associate
Molly Leona
Customer Service and Safety Officers
Teo Baldwin
Ralph Black, Jr.
Kevin Delaney
Box Office Assistants
Pilar Bylinsky, Emma Fusco, Aaron Magloire, Diana
Shyshkova
Accessibility Assistants
Abigail Murphy
Prentiss Patrick-Carter
Theater Safety and Occupational Health
Director of Theater Safety and Occupational Health
David Geffen School of Drama and Yale Repertory Theatre are supported by the work of over 200 faculty members.
For a complete faculty listing by program and department, please visit drama.yale.edu/about-us
UP NEXT: NOVEMBER 15–31
UTOPIA
By Mikhail Durnenkov
Translated by Sasha Dugdale
Directed by Andreas Andreou
It’s the early days of post-Soviet Russia and everybody is on the make. When a canny new capitalist offers Alexei the chance to reopen his beloved Utopia, the former Moscow barman recruits his estranged wife and son to help him resurrect the shabby place. As they labor over the ruined relic, the question looms: once lost, can paradise be found again?
