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PI CA S S O and the ALLURE of LANG UAG E January 27â€“May 24, 2009 G/ : 3 C < 7 D 3 @ A 7 B G / @ B 5 / : : 3 @ G
Free and open to the public Pablo Picasso, Plate III from Michel Leirisâ€™s balzacs en bas de casse et picassos sans majuscle. Transfer lithograph. Published by Galerie Louise Leiris, Paris, 1957. Yale University Art Gallery, The Ernest C. Steefel Collection of Graphic Art, Gift of Ernest C. Steefel. Â© 2008 Estate of Pablo Picasso/Artists Rights Society (ARS), New York
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A NOTE FROM THE ARTISTIC DIRECTOR I am thrilled that Yale Rep audiences are among the first to see this astonishing new play by Octavio Solis, a playwright whose work has been regularly produced for nearly twenty years around the country, but who has had little exposure on the east coast. This production is only the start of what I hope will be a long relationship between Octavio and our theatre: in fact, Yale Rep recently commissioned him to write a new play. I am equally delighted to welcome director Juliette Carrillo and the fine company of artists assembled for this production. Amidst the great joy of bringing this new play to our stage there is also a deep sense of loss. Chris Webb, who composed much of the original music you will hear in Lydia, died of cancer just weeks before rehearsals were to begin here in New Haven. We are grateful for the remarkable contributions he made not only to the development of this play but to many other plays over the course of his career. Shortly before his death, Chris requested that his friend and longtime collaborator David Molina finish his work on Lydia. We thank David for his sensitivity and commitment to this project and the Webb family for allowing us to honor Chris’s work in this way. We also join countless others in the American theatre community in mourning the passing of Gerald Schoenfeld, who for more than 35 years served as Chairman of the Shubert Organization. With Bernard B. Jacobs, who shared the chairmanship with Mr. Schoenfeld for more than two decades, Gerry is credited for revitalizing Broadway during the late 1970s and early 1980s with a string of acclaimed, prize-winning productions including Equus, The Phantom of the Opera, and A Chorus Line. Yet, just as significantly, he played a major role in the growth and advancement of not-for-profit theatres across the country. Yale Rep is but one of many organizations that greatly benefited from the Shubert Foundation’s generosity and deep commitment to theatrical art. Thank you for joining us for this performance of Lydia. As always, I look forward to hearing your reactions here at the theatre or by email (email@example.com). Sincerely,
James Bundy Artistic Director
CHRISTOPHER WEBB PHOTO BY JOHN GROO
Welcome to Yale Repertory Theatre’s production of Lydia!
NOVEMBER 15, 1973–DECEMBER 15, 2008
Inspire and be inspired Pay attention to what is beautiful My serious and amazing life Create a lasting musical impression —FROM CHRIS WEBB’S NOTEBOOKS, WRITTEN SHORTLY BEFORE HIS DEATH
When Chris called me on September 3, 2008, to tell me he had some really bad news, I braced myself. He can’t do Lydia, I thought. What am I going to do? But the news was worse than anything I could have ever imagined. He had been diagnosed with terminal cancer. Although he was committed to staying on the project, he passed away before our first rehearsal at Yale Rep. Needless to say, we were all completely devastated. Chris was one of those rare composers that loved telling a good story. It was an honor to watch his process, how he molded and shaped and caressed a piece of music so that it fit just perfectly with the instruments of the actors, with the rhythms of my staging, and with the tone of the play. Chris’s music created a kind of dance between the physical world and the emotional and spiritual world. And he did it beautifully because he was an exquisite listener. True collaboration is in the listening, and Chris was a master at it. I had the privilege of collaborating
with Chris for over ten years. He was my artistic partner and a great friend. His body is gone, but his music lives on, pushing our work forward just as he would have wanted it. Thank you, Chris, for your extraordinary gift.
—JULIETTE CARRILLO, DIRECTOR
OCTAVIO SOLIS, CHRIS WEBB, AND JULIETTE CARRILLO IN DENVER, 2008.
FEBRUARY 6 TO 28, 2009
YALE REPERTORY THEATRE
James Bundy, Artistic Director
Victoria Nolan, Managing Director
LYDIA OCTAVIO SOLIS directed by JULIETTE CARRILLO by
Composer Scenic Designer
CHRIS WEBB ANDREW BOYCE
Sound Designer, Additional Music, and Arrangements
Vocal and Dialect Coach
Casting Stage Manager
TARA RUBIN CASTING DONALD E. CLAXON
Lydia was originally commissioned, workshopped, and produced at the Denver Center Theatre Company, a division of the Denver Center for the Performing Arts, Kent Thompson, Artistic Director.
SEASON MEDIA SPONSOR
COVER PHOTO BY DAVID COOPER.
PRODUCTION SUPPORT PROVIDED IN PART BY
CAST IN ORDER OF SPEAKING
ONAHOUA RODRIGUEZ CARLO ALBÁN CATALINA MAYNARD ARMANDO DURÁN TONY SANCHO
Ceci Misha Rosa Claudio Rene
SETTING The early 1970s in winter in the living room of the Flores home in El Paso, Texas.
THERE WILL BE ONE FIFTEEN-MINUTE INTERMISSION.
THE FRANKLIN MOUNTAINS.
BORDER PLAY Located in far western Texas, on the northern banks of the Rio Grande across from Juárez, Mexico, and in the middle of the Chihuahuan Desert, El Paso is a border city both in psychology and geography. It has long been the locus of cultural collisions, mixing new arrivals from south of the border, the children of legal and illegal immigrants, other American citizens who have moved to the city following jobs, and the descendants of Spanish
settlers who have lived in the area for centuries. From the unforgiving but beautiful landscape, a bustling metropolis emerged after World War II with a strong economy built on manufacturing, the military, and trade with Mexico. Playwright Octavio Solis was born and raised in El Paso, and it is to his hometown that he has returned for the setting of several plays, including El Paso Blue (1994) and his new play Lydia, which received its world premiere in Denver in early 2008. In Lydia, Solis captures the volatile
EL PASO IN THE 1970s. THE TOWERS OF THE JUAREZ CATHEDRAL CAN BE SEEN IN THE BACKGROUND.
and rapidly changing El Paso of the 1970s: a city experiencing an influx of soldiers and immigrants through a permeable national border but also struggling, like all of America, with the Vietnam War, the draft, generational conflict, and the burgeoning civil rights movement. While tensions rage on a national scale, the living room of the Flores home has for years been the scene of a tragedy unfolding in slow motion. It began with the car accident that crippled Ceci just days before her quinceañera, her fifteenth-birthday celebration. Her older brother Rene, who was behind the wheel, battles his family and the world, struggling to come to terms with the fallout of that night. Her father Claudio drinks too much and cannot connect to the family that her mother Rosa and younger brother Misha desperately try to hold together. There they remain, in a house on the border between America and Mexico, and between life and death, stuck in the everyday routines of survival—until Lydia arrives.
—MATT CORNISH, PRODUCTION DRAMATURG
CLOSE MY EYES AND YOU’RE THERE the million ghosts of you there walking all the directions of the world stepping through the strife and impatience with freckled hand, freckled wrist freckled all the way to your moistness eyes the color of sea glass, and freckled there as well. the penumbra in the room’s silence is you the filament in the bulb is you the apple posing for its missing painter is you and even on my thighs I think I see your spectral face condensing in the waning hours of the night numb with seed, smiling. all the ghosts of you threshing the room for me less here than before less than air, than thought less than even you. — OCTAVIO SOLIS, JULY 1, 2007 9
LOTERÍA: LA VIDA CECILIA
A Spanish/English/Slang Glossary for Octavio Solis’s Lydia
Lotería is a game of chance, similar to Bingo, played with a deck of 54 cards. Each card has its own image, name, and number, which the contestants match to the pictures on their tabla, or game board. The cantor, or singer, draws the cards randomly and announces them, sometimes by name but sometimes by calling out a riddle that matches a card’s image. For example, the cantor will call out “¡Ah, qué borracho tan necio, ya no lo puedo aguantar!” or “I cannot put up with the foolish drunk!” The winner is the first to match four pictures on her tabla in a row or in a box and shout “¡Lotería!” In Lydia, Ceci loves lotería and imagines her own cards using the characters in her family. These are some images from the lotería deck.
In Lydia, the characters speak a fluid mix of English and Mexican/Texan Spanish that has come to be known as Spanglish—a switching between idiomas to find the best expression of emotions and culture. ABUELA: grandmother
MIGRA: short for Migración, slang for the border patrol
¡ANDALÉ!: Come on! BABOSO: asshole
MIJA/MIJO (mee-ha/mee-ho): slang conjunction of mi hija/mi hijo, meaning my dear daughter/my dear son
CARNALA/CARNAL: sister/brother MOLÉ: a spicy cocoa-based sauce THE M
CERVEZA: beer CHOLO: slang term, sometimes used derogatively, for a Hispanic teenager who dresses in jeans and a spotless white t-shirt and often sports tattoos. Cholos hang around in groups and may or may not be associated with a gang. CRIADA: maid
MOJADA/MOJADO (mo-ha-da/mo-hado): literally meaning wet but also the derogatory term “wetback” NOCHE: night PECADOS: sins PINCHE: an all-purpose curse word, slightly stronger than “damn”
¡DIOS MIO!: My God! PRIMA/PRIMO: cousin ESPERA: wait IDIOMA: language, means of expression
QUINCEAÑERA: a woman’s fifteenthbirthday celebration; her coming-of-age celebration
JEFE (heff-ay): chief SANGRITA: blood MADRE: mother SOBRINO: nephew TÍA/TÍO: aunt/uncle TRUCHA: police VIEJA/VIEJO (vee-ay-ha/vee-ay-ho): old woman/old man VETE: go
CAST CARLO ALBÁN (MISHA) appeared in the world premiere of Lydia last year at Denver Center Theatre Company. His other theatre credits include References to Salvador Dalí Make Me Hot (The Public Theater), Dreamlandia (Dallas Theater Center), A Small Melodramatic Story (Labyrinth Theater Company/The Public Theater), All About Us (Westport Country Playhouse), Night of the Iguana (Guthrie Theater), and Ice Glen (Florida Stage). His autobiographical solo show Intríngulis, about his experiences growing up as an illegal immigrant, was produced by the Labyrinth Theater Company (of which he is a member) at The Public Theater. His film and television credits include Hurricane Streets, Hi Life, The Tavern, Strangers with Candy, Life Support, 21 Grams, Margaret, House of Buggin’, Law & Order, Touched by an Angel, Oz, the TNT original film Thicker Than Blood (ALMA Award nomination), Prison Break (recurring), and Sesame Street (series regular, 1992–97). Later this year he will appear opposite Alia Shawkat and Ellen Page in Drew Barrymore’s directorial debut, Whip It!.
CHRISTIAN BARILLAS (ALVARO) is making his Yale Repertory Theatre debut in the role he originated in the world premiere of Lydia at Denver Center Theatre Company. Most recently, he appeared in A Christmas Carol at South Coast Repertory. Other theatre credits include the west coast premiere of Sonia Flew (Laguna Playhouse); Cornerstone Theater Company’s As You Like It (Pasadena Playhouse); the west coast premiere of A Very Old Man with Enormous Wings (Center Theatre Group); A Midsummer Night’s Dream, Othello (Theatricum Botanicum); Vieux Carré (Ivy Substation); the title role in Anatol (Pacific Resident Theater Company, of which he is a member); The Tempest (Ark Theater Company); and The Beaux Stratagem. Film and television credits include The Appointment, Sabotage, Incitement, ’Til Parole Do Us Part, Without a Trace, Passions, The Playbook, and series regular for the pilot episode of I See You. He attended the University of North Carolina and received his MFA from UCLA, where he received the George Burns Fellowship in Comedy and the Jack Nicholson Prize in Acting. He is a proud member of Actors’ Equity.
Read more about Lydia at yalerep.org 12
STEPHANIE BEATRIZ (LYDIA) appeared in this role in the world premiere of Lydia at Denver Center Theatre Company in 2008. Her other theatre roles include Catherine in A View from the Bridge directed by Libby Appel, Bianca in Othello directed by Lisa Peterson (Oregon Shakespeare Festival); Rosa in Summer and Smoke directed by Michael Wilson (Paper Mill Playhouse, Hartford Stage); Erica in Hold Please (The Old Globe); Amazing Voice in The Adventures of Barrio Grrrl! (Summer Play Festival, New York); Matilde in The Clean House directed by Juliette Carrillo (TheatreWorks); Marela in Anna in The Tropics (Pittsburgh Public Theater); Maya and Yemaya in Yemaya’s Belly (Portland Stage Company); The Bitch in Misterioso-119 (Berkshire Theatre Festival); and Juliet in Romeo and Juliet (Theatreworks USA National Tour). Stephanie received her BFA from Stephens College.
ARMANDO DURÁN (CLAUDIO) has been a member of the acting company at the Oregon Shakespeare Festival for ten years, where his roles have included Antony in Antony and Cleopatra, Lorca in Lorca in a Green Dress, Lopakhin in The Cherry Orchard, and Eddie Carbone in A View from the Bridge. At Oregon Shakespeare, South Coast Repertory, Seattle Rep, and other theatres, his work has included world premieres by Howard Korder, Frank Galati, Luis Alfaro, and Pulitzer Prize winners Nilo Cruz and Robert Schenkkan. This spring, he will return to Oregon Shakespeare to play the title role in Octavio Solis’s new adaptation of Cervantes’s Don Quixote. He is delighted to be making his Yale Rep debut.
CATALINA MAYNARD (ROSA) is making her Yale Rep debut. Her stage credits include the world premiere of Lydia directed by Juliette Carrillo (Denver Center Theatre Company); Electricidad directed by Lisa Peterson (Mark Taper Forum); Living Out directed by Armando Molina (TheatreWorks, Mixed Blood Theatre); Romeo and Juliet directed by Tony Plana (East LA Classic Theatre); La Gaviota directed by Glenn Paris (Ion Theatre LAB); Esperanza Rising directed by Rebecca Brown (Children’s Theatre Company); The Heart’s Desire directed by Patricia Troxel and The Imaginary Invalid directed by Roger DeLaurier (Pacific Conservatory of the Performing Arts). A native of San Diego, Ms. Maynard has also appeared in numerous productions at San Diego Repertory Theatre, including Hamlet, A Quiet Love, A Streetcar Named Desire, Burning Dreams, and Mummified Deer. 13
CAST ONAHOUA RODRIGUEZ (CECI) is thrilled to reprise the role of Ceci, which she originated in the play’s world premiere at Denver Center Theatre Company. Other theatre credits include The Bride in Blood Wedding directed by Mark Wing-Davey at La Jolla Playhouse, the role of Marela in Nilo Cruz’s Pulitzer Prize-winning play Anna in the Tropics directed by Juliette Carrillo at South Coast Repertory and directed by Nilo Cruz at the Coconut Grove Playhouse, followed by the world premiere of Mr. Cruz’s Beauty of the Father directed by Sharon Ott at Seattle Repertory Theatre. Various venues in New York City include INTAR, Repertorio Español, Theatre Row’s Beckett Theatre, and MCC Theater. Film work includes Rhythm of the Saints (Official Sundance Selection) and Love Song by Lucy Rodriguez. She has guest starred/recurred in various television shows including Cold Case, CSI, and Saving Grace; she is best known for playing Emolia on The Shield and most recently Mermex on Weeds. TONY SANCHO (RENE) is making his Yale Rep debut. Tony is a proud ensemble member of Teatro Vista, the only Equity Latino theatre company in the Midwest. Based in Chicago, his previous theatre credits there include playing Ritchie Valens in Buddy: The Buddy Holly Story (Drury Lane Theater Oakbrook Terrace and Water Tower Place), Lazado in the Teatro Vista production of Octavio Solis’s Dreamlandia (Victory Gardens Theater), Cheche in Nilo Cruz’s Anna in the Tropics (Goodman Theatre), as well as productions at Remy Bumppo, The Journeymen Theater Company, and Pegasus Players. His film and television credits include the award-winning On the Downlow and the 300th episode of ER.
Laugh-out-loud funny and terrifying, Fyodor Dostoevsky’s revolutionary novel comes to life in a world premiere production for the stage.
NOTES FROM UNDERGROUND translated by
richard pevear and larissa voloKhonsKy adapted by bill camp and robert Woodruff directed by robert Woodruff featuring bill camp “robert Woodruff’s image precedes him, a mystique built on the incendiary productions he has staged.” –The BosTon GloBe
“the brilliant bill camp just gets better every year.” –The new york Times
next at yale rep march 20 to april 11 yale reperTory TheaTre 1120 chapel sTreeT (aT york sTreeT), new haven
yalerep.org 203.432.1234 T e le Ty p e o r d e r s 203. 432.1521
april 4 aT 2pm 14
for maTure audiences.
april 11 aT 2pm 2008–09 season
JESSE BELSKY (LIGHTING DESIGNER) is a third-year MFA candidate at Yale School
DONALD E. CLAXON (STAGE MANAGER) is a third-year MFA candidate at Yale School
of Drama, where his credits include the 2008 Carlotta Festival of New Plays, Baal, and Venus. He made his Yale Rep debut earlier this season on Rough Crossing. His other credits include Bone Songs, Bill Clinton Goes to the Bathroom, The Illusion, A Number, In the Cypher, An Evening of Cabaret, In the Meantime (Yale Cabaret); Plane Crazy (2005 New York Musical Theatre Festival); Dear Maudie (78th St. Theater Lab); and Clocks & Whistles (Origin Theater Company); as well as work on various projects in the commercial theatre, architectural lighting, and television. A graduate of Duke University, his work with THE BEST has been seen at numerous venues around New York City and in Brisbane, Australia.
of Drama. At Yale Rep, he previously served as assistant stage manager on Happy Now? and A Woman of No Importance and as technical assistant stage manager on Richard II. His other stage management credits include The Ghost Sonata, Edward II (Yale School of Drama); Giulio Cesare in Egitto and Capuleti e I Montecchi (Glimmerglass Opera). Donald is a proud member of Actors’ Equity and plans to move to Chicago after graduation this spring.
ANDREW BOYCE (SCENIC DESIGNER) is a third-year MFA candidate at Yale School of Drama, where his credits include The Three Sisters; Grace, or the Art of Climbing; and Peer Gynt. His other credits include The Who’s Tommy, Recess (Yale Summer Cabaret); The Ones That Flutter (Summer Play Festival, New York); Crave (Yale Cabaret); I Was Tom Cruise (New York International Fringe Festival); Bloody Mary (Third Man Productions); The Melting Pot (Metropolitan Playhouse); Whose Life Is It Anyways (St. Bart’s Players); Miss Julie, A Lie of the Mind, Twelfth Night (Williamstown Theatre Festival Workshop); The Pitchfork Disney and Anna Karenina (Middlebury College). Film credits include Whiskey School and Blackbird. He is the recipient of the Kennedy Center ACTF Award for Scenic Design (2003).
JULIETTE CARRILLO (DIRECTOR) directed the world premiere of Lydia last year at Denver Center Theatre Company. Other collaborations with Octavio Solis include Lethe with Cornerstone Theater Company (of which she is an ensemble member) and El Paso Blue at Summer Play Festival in New York. She met Octavio when she was an Artistic Associate at South Coast Repertory, where she ran the Hispanic Playwrights Project for seven years. At South Coast Rep, she directed many plays by Latinos, including the west coast premiere of Anna in the Tropics by Nilo Cruz and the world premiere of References to Salvador Dalí Make Me Hot by José Rivera. Other credits include the west coast premieres of Eduardo Machado’s The Cook at Seattle Repertory Theatre and Sam Shepard’s Eyes for Consuela at the Magic Theatre, as well as productions at Alliance Theatre, TheatreWorks, Laguna Playhouse, Actors Theatre of Louisville, and Mark Taper Forum’s New Work Festival. In New York, she has developed plays at New York Theatre Workshop, The Public Theater, INTAR, and The Women’s Project. A graduate of Yale School of Drama, she is a recipient of several awards, including the NEA/TCG Directing Fellowship. She will be directing a production of Lydia at the Mark Taper Forum this spring.
MATT CORNISH (PRODUCTION DRAMATURG) is a third-year MFA candidate at Yale School of Drama, where his credits include this season’s Man=Man, as well as Baal and Speaking Our Mind. At Yale Cabaret, his dramaturgy credits include The Five Fists of Science, In the Cypher: Slam, and Seven Deadly Sins; and he directed Blood Box: An Evening of Grand Guignol. Matt holds a BA in theatre, German, and philosophy from the University of Denver and is a recipient of the George Pierce Baker Memorial Scholarship at Yale.
BETH McGUIRE (VOCAL AND DIALECT COACH) Ms. McGuire’s vocal and dialect coach credits include Off-Broadway productions of The Overwhelming directed by Max Stafford-Clark (Roundabout Theatre Company); The Black Eyed (New York Theatre Workshop); Five by Tenn directed by Michael Kahn (Manhattan Theatre Club); People Be Heard (Playwrights Horizons); Candida, Gas Light (The Roundtable Ensemble); Free Market (The Working Theatre); and Exit Cuckoo directed by May Adrales (Midtown International Theatre Festival). Workshop productions: In Darfur (The Public Theater). Regional: King Lear, The Mystery Plays, dance of the holy ghosts, Taming of the Shrew, All’s Well That Ends Well, Iphigenia at Aulis, Kingdom of Earth (Yale Repertory Theatre); Hamlet, Carnival, King John, The Glass Menagerie (Shakespeare Theatre of New Jersey); The Cook (Hartford Stage); and Crimes of the Heart (The Cape Playhouse). Ms. McGuire is currently on faculty at Yale School of Drama. She is a member of VASTA (The Voice and Speech Trainers Association), Actors’ Equity, SAG and AFTRA, and is an actress with over 25 years of performance experience.
DAVID MOLINA (SOUND DESIGNER, ADDITIONAL MUSIC, ARRANGEMENTS) is honored to have spent the last 15 years working, playing, and laughing with Chris Webb. Theatre credits include productions for Yerba Buena Center for the Arts, Marin Theatre Company, Magic Theatre, A Traveling Jewish Theatre, American Conservatory Theater, Brava! Theatre, Lorraine Hansberry Theatre, Campo Santo, Intersection for the Arts, Thick House, Encore, Soap Stone, Teatro Jornalero, Sonoma State University and University of San Francisco. Installation, performance, and multimedia: productions for Drum Machine Museum (featuring Joan Jeanrenaud, Kronos Quartet, and Mark Pistel) and international showings and tours with Violeta Luna, Victor Cartagena, and Secos Y Mojados (2009 Creative Capital recipients). Film: Barry Gifford’s Ball Lightning; The 17
Narc and Prospect by Octavio Solis,The Cause Collective’s Along the Way (Sundance Film Festival), and the films of Anna Geyer. Radio and television: 94.1 KPFA and KQED. His bands—Ghosts and Strings; Transient—can be heard on the Resting Bell, Dorog Records, Mun Discos, and NKR labels. www.restingbell.net
of the NEA 1995-97 Playwriting Fellowship, the Kennedy Center’s Roger L. Stevens Award, the Will Glickman Playwright Award, a production grant from the Kennedy Center Fund for New American Plays, the 1998 TCG/NEA Theatre Artists in Residence Grant, the 1998 McKnight Fellowship grant from the Playwrights Center in Minneapolis, the 2003 National Latino Playwriting Award, the 2000–2001 National Theatre Artists Residency Grant from TCG, and the Pew Charitable Trust grant for Gibraltar at the Oregon Shakespeare Festival. Octavio is a member of the Dramatists Guild and New Dramatists. He is currently working on commissions for Yale Repertory Theatre and the Oregon Shakespeare Festival.
TARA RUBIN CASTING (CASTING) has been casting at Yale Rep since 2004. Broadway: Billy Elliot, Shrek, Guys and Dolls, The Little Mermaid, Mary Poppins, Jersey Boys, The Producers, Mamma Mia!, The Phantom of the Opera, The Country Girl, Young Frankenstein, The Farnsworth Invention, Rock ’n’ Roll, The History Boys (US casting), Les Misérables, Spamalot, The 25th Annual Putnam County Spelling Bee, The Pirate Queen, Good Vibrations, Bombay Dreams, Oklahoma!, Flower Drum Song, Imaginary Friends, Metamorphoses (New York casting). Lincoln Center Theater: Happiness (upcoming), The Frogs, Contact, Thou Shalt Not, A Man of No Importance, Anything Goes (concert). Off-Broadway: Second Stage Theatre. Regional: Williamstown Theatre Festival; La Jolla Playhouse (New York casting); Mame, Mister Roberts, The Sondheim Celebration, and Tennessee Williams Explored at The Kennedy Center. Film: The Producers: The Musical. Members, Casting Society of America.
AMANDA SEYMOUR (COSTUME DESIGNER) is a third-year MFA candidate at Yale School of Drama, where her credits include Good Egg and Baal. Her other credits include See What I Want to See, Three Sisters or the Dormouse’s Tale, Bondage (Yale Cabaret); 2 Rooms (Garage Theatre); L’incoronasione di Poppea, Gigantes Y Cabezudos, La Canterina (California State University Los Angeles); Fire Eater, L.A. Weekly Award nomination, and Betty’s Summer Vacation (Workshop 360); Tosca Jumps (Edgefest); and The Picture of Dorian Gray, Backstage Garland Award (Theatre at Boston Court). Amanda has also worked as a design assistant at Los Angeles Opera, Center Theatre Group, South Coast Repertory, and Santa Fe Opera.
OCTAVIO SOLIS (PLAYWRIGHT) is a playwright and director living in San Francisco. His works Lydia, Man of the Flesh, Prospect, El Paso Blue, Santos & Santos, La Posada Mágica, El Otro, Dreamlandia, The 7 Visions of Encarnacion, Bethlehem, and Gibraltar have been produced at Denver Center Theatre Company, Oregon Shakespeare Festival, New York Summer Play Festival, Dallas Theater Center, Magic Theatre, Intersection for the Arts, South Coast Repertory, San Diego Repertory Theatre, San Jose Repertory Theatre, ShadowLight, Venture Theatre, Latino Chicago Theater Company, La Compania de Albuquerque, Teatro Vista, El Teatro Campesino, Undermain Theatre, Thick Description, Su Teatro, Campo Santo, and The Imua! Theatre Company. His collaborative works include Burning Dreams, co-written with Julie Hebert and Gina Leishman; Shiner, written with Erik Ehn; and Great Highway, written with Wendy Weiner. Solis is the recipient 18
RICK SORDELET (FIGHT DIRECTOR) has staged 44 Broadway productions, including Disney’s The Lion King, Beauty and the Beast, Tarzan, The Little Mermaid, and Aida. He has staged the fights for the opera Cyrano de Bergerac starring Placido Domingo at the Metropolitan Opera, The Royal Opera House, and the LaScala in Milan, Italy; and for over 40 first class productions on five continents. Film: The Game Plan starring Dwayne “The Rock” Johnson; Dan in Real Life starring Steve Carell and Juliette Binoche; and Hamlet starring Campbell Scott. He is the chief stunt coordinator for Guiding Light and staged the fights for First Jedi, a CD-ROM for George Lucas. Rick received the Lucille Lortel Award for Sustained Excellence in 2007. He teaches at Yale School of Drama, The New School for Drama, and The Neighborhood Playhouse. He is a company member of The Drama Dept., a board member of The Shakespeare Theatre of New Jersey, and the author of the play Buried Treasure. He is married to actress Kathleen Kelly and has three children: Kaelan, Christian, and Collin.
CHRIS WEBB (COMPOSER) composed the music for the world premiere of Lydia at Denver Center Theatre Company last year. His other theatre credits include The Cook directed by Juliette Carrillo (Seattle Repertory Theatre); Sonia Flew (Laguna Beach Playhouse); Anna in the Tropics, Nostalgia, The Countess, Art (South Coast Repertory); As Vishnu Dreams (Cornerstone Theater Company); Sam Shepard’s Eyes for Consuela (Magic Theatre); as well as productions at Intersection for the Arts, Yerba Buena Center for the Arts, Exit Theatre, Currican Theatre, Bard College, Fordham University, and the Lincoln Center Director’s Lab. His original scores for film include a New York Times web feature on Cuba, A litter-a-tion (Best Film of the 48 Hour Film Festival, Honolulu), Townsend (MBox), Africa@Play (National Geographic Channel, ResFest Best Short Film Award), the Gen Art Film Festival, and Spiral, a short film by Juliette Carrillo.
YALE REPERTORY THEATRE ARTISTIC DIRECTOR JAMES BUNDY is in his seventh year as Dean of Yale School of Drama and Artistic Director of Yale Repertory Theatre. In his first six seasons, Yale Rep has produced more than twenty world, American, and regional premieres, three of which have been honored by the Connecticut Critics Circle with the award for Best Production of the year, and two of which have been Pulitzer Prize finalists. During this time, Yale Rep has also commissioned more than a dozen playwrights 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, and A Woman of No Importance 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.
MANAGING DIRECTOR VICTORIA NOLAN is in her 17th year as Managing Director of Yale Repertory Theatre, also 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 2000 recipient of the Betsy L. Mahaffey Arts Administration Fellowship Award from the State of Connecticut and the 2005 recipient of the Elm/Ivy Award, given jointly by Yale University and the City of New Haven for distinguished service to the community.
ASSOCIATE ARTISTIC DIRECTOR JENNIFER KIGER is in her fourth year as Associate Artistic Director and director of the new play programs at the Yale Center for New Theatre, an integrated, playwright-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 20
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.
PRODUCTION SUPERVISOR BRONISLAW SAMMLER, Production Supervisor of Yale Repertory Theatre, 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. His book Structural Design for the Stage won the United States Institute of Theatre Technology’s Golden Pen Award. Demonstrating his commitment to excellence in technical education and professional production, he 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 North America’s Theatre Technology Association. He was honored as Educator of the Year in 2006 by the New England Theatre Conference. 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.
PRODUCTION STAGE MANAGER JAMES MOUNTCASTLE has been the Production Stage Manager at Yale Rep since fall 2004. He was stage manager for this season’s production of Sarah Ruhl’s Passion Play, the 2006 production of Ruhl’s Eurydice, the 2004 world premiere of Ruhl’s The Clean House, a new adaptation of The Cherry Orchard in 2005, and last season’s Richard II. 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 10 years old, and Katie, age 8. 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 Associate Artists 52nd Street Project, Kama Ginkas, Mark Lamos, MTYZ Theatre/Moscow New Generations Theatre, Bill Rauch, Sarah Ruhl, Henrietta Yanovskaya Artistic Administration Amy Boratko, Literary Manager Michael Walkup, Artistic Coordinator Brian Valencia, Kristina Williams Literary Associates Tara Rubin, CSA, Laura Schutzel, CSA, Casting Directors Eric Woodall, Merri Sugarman, Casting Associates Paige Blansfield, Rebecca Carfagna, Dale Brown, Casting Assistants Ruth M. Feldman, Director of Education and Accessibility Services Pamela C. Jordan, Librarian Teresa Mensz, Library Services Assistant Josie Brown, Senior Administrative Assistant to the Artistic Director and Associate Artistic Director Kathleen Driscoll, Senior Administrative Assistant for the Directing, Dramaturgy & Dramatic Criticism, Playwriting, and Stage Management Departments Mary Volk, Senior Administrative Assistant for the Design and Sound Design Departments
ADMINISTRATION Frances Black, Kay Perdue, Associate Managing Directors Whitney Estrin, Assistant Managing Director Martha O. Jurczak, Management Assistant Claire Shindler, Senior Administrative Assistant to the Managing Director Suzanne Appel, Company Manager
Development and Alumni Affairs Deborah S. Berman, Director of Development and Alumni Affairs Debbie Ellinghaus, Senior Associate Director of Development and Alumni Affairs Ann M.K. McLaughlin, Senior Associate Director of Development, Yale Repertory Theatre Luis Abril, Associate Director, Development Susan C. Clark, Development Associate Tara Kayton, Development Assistant Belene Day, Interim Senior Administrative Assistant to Development and Marketing and Communications Departments Finance and Information Technology Katherine D. Burgueño, Director of Finance and Human Resources Sheila Daykin, Associate Director of Finance Cristal Coleman, Magaly Costa, Maria Frey, Business Office Specialists Ashlie Russell, Business Office Assistant Randall Rode, Information Technology Director Daryl Brereton, Associate Information Technology Director Mara Hazzard, Tessitura Systems Administrator 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, Associate Director of Marketing Sergi Torres, Associate Director of Marketing & Communications Rachel Smith, Marketing Manager Sarah Stevens-Morling, Interim Online Communications Manager Jennifer Harrison Newman, Marketing Assistant Maggie Elliott, Graphic Artist Scott McKowen, Punch & Judy Inc., Graphic Designers David Cooper, Photographer Carol Rosegg, Production Photographer Janna J. Ellis, Director of Audience Services Tracy Baldini, Assistant Audience Services Director Audrey Rogers, Manager, Group Sales Nancy Genga, London Moses, Audience Services Assistants Maria Barsky, Sam Bolen, Ruth Kim, Leah Knowles, Sue Malone, Andrew Riveria, Raphael Shapiro, Box Office Assistants
Operations William J. Reynolds, Director of Facility Operations Rich Abrams, Operations Associate Jacob Thompson, Security Officer Ed Jooss, Audience Safety Officer Fred Grier, Michael Blatchley, Customer Service and Safety Officers Ben Holder, Ron Maybrey, Custodial Supervisors Lucille Bochert, Vermont Ford, Warren Lyde, Vondeen Ricks, Mark Roy, Custodians
ADDITIONAL STAFF FOR LYDIA
Bronislaw J. Sammler, Production Supervisor James Mountcastle, Production Stage Manager Jonathan Reed, Senior Associate Production Supervisor Marla J. Silberstein, Senior Administrative Assistant to the Production Department
Jorge J. Rodríguez, Assistant Director Summer Lee Jack, Assistant Costume Designer Chien-Yu Peng, Assistant Scenic Designer Thomas R. Delgado, Assistant Lighting Designer Katherine Buechner, Associate Sound Designer Jessica Barker, Assistant Stage Manager Matt Welander, Associate Production Supervisor Michael Vandercook, Technical Director Hsiao Ya Chen, Ryan Christopher Hales, Assistant Technical Directors Jeff Smejdir, Assistant Properties Master Steven Albert, Master Electrician Nicholas Pope, Sound Engineer Amy Jonas, Carpenter Joe Barna, Electrician Denise O'Brien, Wigs, Hair Design, and Special Makeup Effects Susan Kim, Assistant Company Manager Art Priromprintr, House Manager Dede Ayite, Elizabeth Elliott, Harry Johnson, Run Crew Jessica Wolf, Alexander Technique Teacher
Costumes Tom McAlister, Costume Shop Manager Robin Hirsch, Associate Costume Shop Manager Mary Zihal, Senior Draper Clarissa Wylie Youngberg, Draper Deborah Bloch, First Hand Linda Kelley-Dodd, Costume Project Coordinator Barbara Bodine, Company Hairdresser Martha Lehr, Costume Stock Manager Electrics Donald W. Titus, Lighting Supervisor Jason Wells, Linda Young, Head Electricians Adrian Rooney, Assistant to the Lighting Supervisor Painting Ru-Jun Wang, Resident Scenic Charge Angie Meninger, Scenic Artist Nora Hyland, Assistant Scenic Artist Steward Savage, Assistant to the Painting Supervisor Properties Brian Cookson, Properties Master David P. Schrader, Properties Craftsperson Jennifer McClure, Properties Assistant Rachel Reynolds, Properties Stock Manager Scenery Don Harvey, Neil Mulligan, Technical Directors Alan Hendrickson, Electro Mechanical Laboratory Supervisor Eric Sparks, Shop Foreman Matt Gaffney, Sharon Reinhart, Ryan Gardner, Master Carpenters Lisa McDaniel, Shop Carpenter Bona Lee, Assistant to the Technical Director Sound Brian MacQueen, Sound Supervisor Paul Bozzi, Staff Sound Engineer Nicholas Pope, Junghoon Pi, Assistants to the Sound Supervisor Projections Erik Trester, Head Projection Technician Stage Operations Janet Cunningham, Stage Carpenter Kate Begley Baker, Properties Runner Jeanne Wu, Sound Operator Elizabeth Bolster, Wardrobe Supervisor
UNDERSTUDIES Eddie Brown, Claudio Carter Gill, Rene Ben Horner, Misha Teresa Avia Lim, Lydia Irene Sofia Lucio, Ceci Erica Sullivan, Rosa Alex Teicheira, Alvaro SPECIAL THANKS David Bezmosgis, Bill Callahan, Nick Catania, James Dower, Yadira de la Riva, Scott Garapalo, Ricardo Gutierrez, Doug Langworthy, Andrew Leynse and the Perry Mansfield Theatre Arts Camp New Works Festival, The MacDowell Colony, Rene Millan, John Rice, Mike Sarcona, Bruce Sevy, Jeanne Sexton, John Rice, Kent Thompson, The Webb Family, Paul Worden 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 Actors and Stage Managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
The Director is a member of the Society of Stage Directors and Choreographers, Inc., an independent national labor union. The Scenic, Costume, Lighting, and Sound Designers in LORT are represented by United Artists Local USA-829, IATSE. Lydia, February 6 to 28, 2009. Yale Repertory Theatre, 1120 Chapel Street.
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Flora Van Dyke Michael Van Dyke Carrie Van Hallgren Hyla and Barry Vine Fred Voelpel Fred Volkmar Charles Walkup Elizabeth Walsh Barbara Wareck and Charles Perrow Anne C. Washburn John Ransford Watts Steven I. Waxler Gil Wechsler Betsy and Harry Welch Tan Falkowski Wells Thomas Werder Raymond Werner J. Newton White Peter White Robert and Charlotte White Robert Wierzel Lisa A. Wilde Robert Wildman John and Virginia Wilkinson Catherine M. Wilson Marshall Williams Carl Wittenberg Bess Wohl Robin B. R. Wood Amanda Woods Tamilla Woodard Yun C. Wu Arthur Zigouras Albert Zuckerman EMPLOYER MATCHING GIFTS Aetna Foundation 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 July 1, 2007‚ through January 25, 2009. For more information about making a donation to Yale Repertory Theatre, please contact Ann M.K. McLaughlin at 203.432.1536 or email@example.com. 31
FOR YOUR INFORMATION
SPONSORSHIP CORPORATE SPONSORS Bank of America Barrett Outdoor Communications Geronimo Tequila Bar Martinson Coffee Mionetto USA Regional Water Authority Scoozzi Trattoria and Wine Bar
WILL POWER! SPONSORS YALE REPERTORY THEATRE’S ARTS EDUCATION INITIATIVE Anna Fitch Ardenghi General Charitable Purpose Trust Bank of America Jane Marcher Foundation NewAlliance Foundation Ms. Esme Usdan
This list includes current pledges, gifts and grants received from July 1, 2007‚ through January 25, 2009.
COMMUNITY SPONSORS Barcelona Chestnut Fine Foods Chow Connecticut Presort Est Est Est Fleur de Lys Floral and Gifts Hull’s Arts Supply and Framing New Haven Advocate New Haven Register Starbucks Thames Printing Company, Inc. WSHU Public Radio Group The Yale Bookstore Yellow Book Zinc
how to reach us
Yale Repertory Theatre Box Office 1120 Chapel Street (at York St.) PO Box 1257, New Haven, CT 06505 203.432.1234 TTY (TELETYPE): 203.432.1521 firstname.lastname@example.org
Restrooms are located downstairs. Please contact the concierge for assistance with the elevator.
box office hours Monday to Friday from 10AM to 5PM Saturday from 12 to 5PM Until 8PM on all show nights
emergency calls Please leave your cell phone and/or beeper, name, and seat number with the concierge. We’ll notify you if necessary. Emergency only telephone number at Yale Rep: 203.764.4014
group rates Discounted tickets are available for groups of ten or more. Please call 203.432.1572.
The following dining establishments offer discounts to Yale Rep subscribers throughout the season.
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.
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DISCOUNT DINING PARTNERS
Tre Scalini Zaroka
seating policy Everyone must have a ticket. Sorry, no children in arms or on laps. Patrons who become disruptive will be asked to leave the theatre.
Yale Repertory Theatre offers all patrons the most comprehensive accessibility services program in Connecticut, including a season of open captioned and audio described performances, a free assistive listening system, large-print and Braille programs, a direct TTY (teletype) line to Yale Rep’s Box Office (203.432.1521), 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 at 203.432.8425 or email@example.com. Yale Repertory Theatre’s accessibility services are supported in part by The Seedlings Foundation, the Carol L. Sirot Foundation‚ and Romaine A. Macomb.
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 it’s spoken. as
audio description (AD): A live narration of the play’s action, sets, and costumes for patrons who are blind or low vision.
Open Captioned and Audio Described performances are at 2PM. AD pre-show description begins at 1:45PM.
Lydia Notes from Underground Death of a Salesman
Feb 21 Apr 4 May 9
Feb 28 Apr 11 May 16
c2inc is pleased to be the official Open Captioning provider of Yale Repertory Theatre.
THE TAKING OF PHOTOGRAPHS OR THE USE OF RECORDING DEVICES OF ANY KIND IN THE THEATRE WITHOUT THE WRITTEN PERMISSION OF THE MANAGEMENT IS PROHIBITED. 32
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