2026–27 SEASON
1
MISSION David Geffen School of Drama and Yale Repertory Theatre train and advance leaders in the practice of every theatrical discipline, making art to inspire joy, empathy, and understanding in the world.
VALUES Artistry We expand knowledge to nurture creativity and imaginative expression embracing the complexity of the human spirit.
Belonging We put people first, centering wellbeing, inclusion, and equity for theatermakers and audiences through anti-racist and anti-oppressive practices.
Collaboration We build our collective work on a foundation of mutual respect, prizing the contributions and accomplishments of the individual and of the team.
Discovery We wrestle with compelling issues of our time. Energized by curiosity, invention, bravery, and humor, we challenge ourselves to risk and learn from failure and vulnerability.
drama.yale.edu Chinna Palmer ’25 and Elizabeth Stahlmann ’17 in Nikolai Gogol’s The Inspector newly adapted and directed by Yura Kordonsky (faculty), 2025. Photo © Joan Marcus.
Yale Repertory Theatre and David Geffen School of Drama acknowledge that we study, work, and create art on the traditional and ancestral lands of the Mohegan, Mashantucket Pequot, Eastern Pequot, Schaghticoke, Golden Hill Paugussett, Niantic, and the Quinnipiac and other Algonquian speaking peoples, who have for centuries stewarded the lands and waterways of what is now the state of Connecticut. We honor and respect the enduring relationship that exists between these peoples and nations and this land. We also acknowledge the legacy of African slavery in our region and the generations of people whose labor was exploited to help establish Yale University and the United States. We express our profound gratitude to these forebears for their lasting impact on our lives.
OCTOBER 9–16, 2026 DAVID GEFFEN SCHOOL OF DRAMA AT YALE Evan Yionoulis, Elizabeth Parker Ware Dean Florie Seery, Associate Dean Chantal Rodriguez, Associate Dean Carla L. Jackson, Assistant Dean Nancy Yao, Assistant Dean of Student Life Susanna Gellert, Interim Chair of Directing PRESENTS
MACHINAL BY
SOPHIE TREADWELL DIRECTED BY
AMANDA WHITELEY Choreographer
Projection Designer
Scenic Designer
Production Dramaturg
Costume Designer
Technical Director
Lighting Designer
Fight and Intimacy Director
Sound Designer Jinling Duan 段珒苓
Stage Manager
Andrew Rodriguez Hyojung Kim
Nicole Brooks Sanwandee Jacob Nguyen
Nate Britton Zoë Nagel
Casper Apodaca
Kelsey Rainwater
Jonathan Fong 馮子睿
This production is supported by the Benjamin Mordecai III Production Fund.
SEASON SPONSOR
1
cast
in alphabetical order Young Woman....................................................................................... Tessa Albertson Doctor, Second Man, Lawyer for Defense, Priest..................... Kieron J. Anthony Male Dancer................................................................................................ Campbell Bas Lover.....................................................................................................................Drew Bos Adding Clerk, Older Man at the Bar, Lawyer for Prosecution, Jailer........................................................... Shawn Bowers Filing Clerk, Bellhop, Young Man at the Bar, Bailiff, Guard............................................................................ John Maria Gutierrez Musician.............................................................................................................Zack Hann Stenographer, Mother, Woman at the Bar, Reporter.............................. Junah Jang George Jones, Man at the Bar, Judge......................................................... Jack Kelley Telephone Girl, Nurse, Reporter, Matron..................................... Anoushka Prasad Female Dancer............................................................................................ Carly Thinfen
setting New York, 1921–1927
content and atmospheric guidance This production includes flashing lights, haze, and depictions of postpartum depression, physical and sexual violence, incarceration, and death. Machinal is performed without an intermission.
2
GHOSTS IN TH One year after Machinal premiered, New York City established the 1929 Noise Abatement Commission in an effort to curb the noise pollution of postwar modernity: factory whistles; telephones; subway trains; harbor sirens; radios; riveting machines; automobiles; steam shovels; ticker tape machines; airplanes; and nearly seven million people. The Commission concluded that a tiger could “snarl indefinitely without attracting the auditory attention of passers-by.” The Roaring 20s, indeed.
That clamor is on full display in Machinal. New York roars, screeches, pounds, and wails with the sound of a workforce increasingly reliant on newfangled machinery and newfangled ways of producing it. It is a mechanized world inhabited by people fresh off society’s assembly line, more often referred to by their job titles than by their names. These descriptors yoke them to their respective machines; the stenographer is defined by her typewriter, the adding clerk by his adding machine, and the telephone girl by her switchboard. Helen, our perpetually late, absentminded young everywoman, stands apart as someone who chafes against the assembly line that constantly threatens to engulf her. As she cycles through societally programmed roles— office worker, wife, mother—she never 3
smoothly slots in. “She’s artistic,” one character offers. “She’s inefficient,” three others chime in. In Machinal, inefficiency at labor, both productive and reproductive, is the most damning indictment imaginable.
In early 20th-century America, as factories multiplied and demand for urban laborers boomed, inefficiency became a disease to root out. An influx of anxious, depressed, chronically exhausted patients led neurologist George Miller Beard to popularize the previously obscure diagnosis of “neurasthenia”: literally, “nerve weakness.” He theorized that the rapid pace of urban American life and overwork could stress the nervous system to the point of breakdown, earning neurasthenia the nickname “Americanitis.” Treatments for nervous exhaustion typically consisted either of the rest cure or the “West Cure.” Doctors advised women to take to bed and exert as little energy as possible, and men to hunt, fish, and work off excess energy on Western ranches. Sophie Treadwell reportedly suffered from neurasthenia, and the protagonist of Machinal displays similar symptoms. But breakdowns are not tolerated in the world of Machinal, whether human or machine. Overwhelmed by her job, Helen’s fantasies of married life include sleeping in till nine, till ten, till noon rather than newlywed bliss.
HE MACHINE When she realizes that “wife” is as much a job title as “stenographer,” her dreams shift from financial freedom to physical escape: fleeing to the figurative west to ride the high, dark mountains of Mexico. Subconsciously, she seeks a cure for Americanitis, searching for any way to end the unrelenting commodification of her labor, her body, and her life.
In the 100 years since this play premiered, America has only grown more reliant on mechanization. Products made in factories we don’t see arrive at our doorstep with the click of a button. Algorithms dictate the information we see and push us towards increasingly fractured echo chambers. AI ingests and homogenizes “scraped data” in order to think, research, and create art for us. Machinal warns us of the inevitable end when societies value productivity above personhood. This kind of mechanization not only robs us of diversity and creativity: it poses a threat to our very existence. The hum of data centers and cell phone towers have joined the clamor, and the din threatens to overwhelm us. The Roaring 20s, again. —Zoë Nagel
SOPHIE TREADWELL, 1916. © BETTMAN ARCHIVES
Biographies are submitted by the artists and edited for common house style by David Geffen
cast
in alphabetical order Tessa Albertson (Young Woman)
Theater credits include Rhinoceros (Yale Rep, understudy), Dilaria (DR2), All Nighter (MCC Theater), I’m Gonna Marry You Tobey Maguire (Southwark Playhouse London/Offie Award Nomination, NY world premiere), The Low Road (The Public Theater), Shrek the Musical (Broadway), Happy Days (wild project), Macbeth directed by Elena Araoz, and Branden JacobsJenkins’s Girls. She is best known for her recurring role as Caitlin Miller on Younger. Other television: Generation, Law & Order: SVU, The Family, The Good Wife, and Instinct. Film: Blame and Barry. Albertson is a graduate of Princeton University and an M.F.A. candidate at David Geffen School of Drama.
Kieron J. Anthony (Doctor, Second
Man, Lawyer for Defense, Priest) is a third-year actor at David Geffen School of Drama, hailing from the sunny twin-island republic of Trinidad and Tobago. He is a University of Miami and Atlantic Acting School graduate. Look at God! Selected credits include Is God Is, Other People, You Can Tell a Tree by its Fruit (the Geffen School); The Inspector (understudy, Yale Rep); One Night in Miami (Colony Theater); King Lear (A.R.T./New York Studios); KIN (WP Theater); Field, Awakening (Signature Theatre); Inventing Anna (Netflix). @kieronjanthony
5
Campbell Bas (Male Dancer)
is a sophomore at Yale College studying ethnicity, race & migrations and environmental studies with a concentration in environmental justice. Outside of class, he’s involved in the arts scene at Yale as a member of Yaledancers, a fashion designer for MAISON, a costume designer Dragaret at Yale Cabaret, and a muralist for his residential college. Campbell began dancing at age 10, starting in the competition circuit and later moving to conservatory work. Now, he loves dancing alongside a team at Yale and choreographing their shows.
Drew Bos (Lover) is a second-
year M.F.A. candidate at David Geffen School of Drama, where his credits include What Rough Beast; he is currently an understudy in Ma Rainey’s Black Bottom at Yale Rep. Other credits include Hamlet (title role), Romeo and Juliet, The Importance of Being Earnest (Oak Park Festival Theatre), and Lungs (Southern Plains Productions). Drew grew up in Ypsilanti, Michigan, and received his B.F.A. in acting from Carnegie Mellon University. Love to dad and Aunt T.
Shawn Bowers (Adding Clerk,
Older Man at the Bar, Lawyer for Prosecution, Jailer) is a third-year M.F.A. candidate at David Geffen School of Drama where he has been seen in Is God Is (Chuck Hall), Twelfth Night (Duke Orsino), and The Winter’s Tale (Leontes). At Yale Rep: Spunk (Willie Joe), The Inspector (understudy for Osip, The Judge). Broadway: Ain’t Too Proud: The Life and Times of the Temptations. Off-Broadway: Jelly’s Last Jam (New York City Center),
School of Drama. The Harder They Come (The Public Theater). Television: Tony Awards and Macy’s Thanksgiving Day Parade with the original cast of Ain’t Too Proud. Shoutout to my family and friends for their continuous love and support. @shawnedwardbowers
John Maria Gutierrez (Filing Clerk,
Bellhop, Young Man at the Bar, Bailiff, Guard) is a second-year M.F.A. candidate at David Geffen School of Drama. John is ecstatic to be working with this incredible team! Thank you, Amanda, for sharing your beautiful light and creative force. And, thanks to la mejicana Sophie Treadwell for the vision of this play almost 100 years ago! Recent credits, theater: Sadonna (Joe’s Pub); Rhinoceros (Yale Rep, Papillion/Botard understudy); Bacchae [or, Present Madness] (Yale Cabaret, Dionysus). Film: A Thousand and One (Sundance Grand Jury Prize), Do I Know You From Somewhere? (Tribeca Film Festival), Hermanos (NYC Latino Film Festival). TV: Dexter Resurrection, Law & Order: Organized Crime.
Zack Hann (Musician) is a
saxophonist and composer based in New York City. His career encompasses a wide swath of contemporary music, including jazz and free improvisation, classical music, and electronic music. He has performed at the BBC Proms and the New York Philharmonic Biennial, and at venues including Carnegie Hall, David Geffen Hall, and jazz clubs around the United States and Europe. In 2025–26, Hann was a studio fellow at the Center for Collaborative Arts and Media at Yale University. He received his B.M. from the Juilliard School.
Junah Jang (Stenographer, Mother,
Woman at the Bar, Reporter) is a second-year actor at David Geffen School of Drama, where her work includes What Rough Beast, as well as Wonderland at Yale Summer Cabaret and her mentor role in the 2026 Dwight/Edgewood Project. Outside the theater, Junah can be found singing, rearranging words on her computer, and musing on personhood in a machinal world #joke #real. For 엄마, to whom there will always be lots to tell.
Jack Kelley (George Jones, Man at
the Bar, Judge) is a third-year actor at David Geffen School of Drama and recently understudied Jorgen Tesman in Hedda Gabler at Yale Rep. He received his B.F.A. in acting from Texas State University in 2024.
Anoushka Prasad (Telephone Girl,
Nurse, Reporter, Matron) is a secondyear M.F.A. candidate at David Geffen School of Drama, where her credits include Light Falls (Ashe) as well as A Shy Redemption (Shiloh) and Back to Bangalore (Meera, Sheela, Amina) at Yale Cabaret. Other credits include Chitra (Chitra, Paprika Festival), Antigone Presented By The Girls of St. Catherine’s (Tamsin), and The Winter’s Tale (Perdita). Raised in both India and Canada, Anoushka also has a background as a professional visual artist and holds a BSc. in Computer Science from the University of Toronto. Outside of the theatre you can find her sculpting, painting, practicing archery, hiking volcanos, reading, spending obscene amounts of time consuming film and hunting for any new ways to mine art out of life. ..-. --- .-. / - .... . / -.-. ..- .-. .. --- ..- ... 6
Carly Thinfen she/her (Female
Dancer) is a Bay Area native and junior at Yale College studying economics, data science, and Chinese. On campus, she is involved in Yaledancers and Rhythmic Blue, where she choreographs and dances a variety of styles. Her life was changed after choreographing two musicals at the college, Songs for a New World and Merrily We Roll Along. Carly is honored to be in this production of Machinal! She would like to extend a loving shout-out to her family and friends for their unwavering support. @carlythinfen
creative team in alphabetical order
Casper Apodaca (Technical
Director) second-year M.F.A. candidate in the technical design and production program at David Geffen School of Drama. Outside of technical direction, Casper has a strong foundation in fabrication skills and has worked at places such as Jacob’s Pillow Dance Festival, the Glimmerglass Festival, and the Juilliard School. Casper would like to thank Timothey and Alyse for their unwavering support.
Nate Britton (Projection Designer)
is a projection designer, educator, and multimedia artist from New Orleans, Louisiana. He is currently a second year M.F.A. candidate at David Geffen School of Drama, and was recently the Co-Artistic Director for Yale Summer Cabaret Spectra. His professional design work includes
7
projection design for theater, dance, and opera. He has worked with organizations including The Mélange Dance Company, Jefferson Performing Arts Society, Le Petit Théâtre Du Vieux Carré, The Columbia Theatre, and 225 Theatre Collective. Nate has also shown his visual art at galleries including The Glassel Gallery, The Historic Degas House, Public Access Memories, and The Czong Institute for Contemporary Art. natebritton.art | @natejbritton
Jinling Duan 段珒苓 (Sound
Designer) is a sound designer and composer originally from China. Her design work explores sonic storytelling across theater, film, and installation art. Her recent credits in the U.S. include Hedwig and the Angry Inch (Yale Summer Cabaret); All in the Timing, You Sit Down and You Cry, Pool (No Water), Witch (Yale Cabaret); King Lear (La noche llegará), Pigskin (David Geffen School of Drama) as well as the installations “Jajang Billiards” and “Windscape.” She would like to thank her incredible classmates Nicky and Robert.
Jonathan Fong 馮子睿 (Stage
Manager) is a third-year M.F.A. candidate in stage management at David Geffen School of Drama. Hailing from Macau, he brings a cross-cultural and people-first approach to his stage management practice. Credits include Rhinoceros (Yale Rep); The Tragedy of Coriolanus, Metamorphoses (Geffen School); Galileo (world premiere, Berkeley Repertory Theatre); Hippest Trip: The Soul Train Musical (world premiere,
American Conservatory Theater); A Midsummer Night’s Dream (The Old Globe); The SpongeBob Musical (Cygnet Theatre); Don Giovanni, El Milagro Del Recuerdo (San Diego Opera). Education: B.A., UC San Diego, 2023 USITT Gateway Program alum. Thanks to my extraordinary teammate Amanda Blitz, my family in Macau, and Ariel.
Hyojung Kim (Scenic Designer)
is a Korean‑trained stage designer, who has laid a solid foundation in theater architecture. She worked as a set designer in the Korean drama industry, honing realistic spatial execution and strong collaboration with location teams. A longtime painter, she brings a disciplined visual sensibility to contemporary stage concepts. To deepen expertise and explore diverse design approaches, she has relocated to the United States for ongoing study in set design.
Zoë Nagel (Production Dramaturg)
is a third-year MFA candidate in dramaturgy and dramatic criticism at David Geffen School of Drama, where she most recently worked as a dramaturg on The Life and Death of King Richard II. Originally from North Carolina, she holds B.A.s in English literature and psychology from Appalachian State University. A passionate early modernist, her honors thesis examined the role of disability in Richard III. Her criticism has been published in Cultural Voice of North Carolina and Modern Vintage News.
Jacob Nguyen (Lighting Designer)
enjoys rock climbing and bouldering. He’s currently able to climb V4-V5 with a goal of trying to climb V6 by the end of the year. It’s probably not possible, but he is hopeful. As a SoCal native, he often misses the perpetually nice weather. On nice days out Jacob enjoys walking aimlessly around or going on scenic drives with no planned destination. At home, Jacob spends his time relaxing or playing video games. On the side Jacob also does lighting design. He is also currently a secondyear lighting designer at David Geffen School of Drama.
Kelsey Rainwater (Fight and
Intimacy Director) Kelsey’s work was most recently seen in Antigone (This Play I Read In High School) at The Public Theater. Broadway: Liberation, The Last Five Years, and Hell’s Kitchen. Off-Broadway: Liberation (Roundabout); Saturday Church (New York Theater Workshop); Walden (Second Stage); Jordans, Goddess, Sally and Tom, White Noise (The Public). Regional: Two Trains Running, Laughs in Spanish, Hot Wing King (Hartford Stage); In the Southern Breeze (Rattlestick); Blues for an Alabama Sky (Keen Company); Furlough’s Paradise, Hedda Gabler, 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 (Yale Rep). Film and television: Baby Ruby, The Green Veil, The Artist. She is a Lecturer in acting at David 8
Geffen School of Drama, co-teaches stage combat and intimacy, and is a Resident Fight and Intimacy Director for Yale Rep.
Andrew Rodriguez (Choreographer)
is a choreographer and director whose work intersects dance, fashion, and theatre. Rodriguez has developed and created work with companies and institutions, including Yale School of Music, Yale Center for Collaborative Arts and Media, Mercury Store, New York Theatre Workshop, Atlantic Theater Company, the Juilliard School, Nancy Manocherian’s the cell theatre (2024 Resident Artist), NYU, The Rude Mechs, Actors Theatre of Louisville, Hidden Room Theatre, and The University of Texas at Austin. Andrew is a former acting apprentice at Actors Theatre of Louisville, an alumnus of the Juilliard School Drama Division’s Professional Apprenticeship Program, and a former 2050 Directing Fellow at New York Theatre Workshop. Previously, Andrew served as the Artistic Director of Conservatory Productions at Atlantic Theater Company. B.F.A., University of Texas at Austin; M.F.A., David Geffen School of Drama (2027).
Nicole Brooks Sanwandee she/
her (Costume Designer) is a costume designer and illustrator with a B.F.A. in costume design and technology from Ithaca College. Sanwandee has worked on a variety of projects as a designer, technician, and illustrator. Sanwandee has worked as an assistant costume designer
9
to Devario Simmons on We Are Continuous (Williamstown Theatre Festival’s 2022 summer season) and to Emilee McVey Lee on Becomes A Woman (Mint Theater Company, New York City Center, 2023), and as an illustrator for Serafina Bush on The Outsiders (Jacobs Theatre, Broadway). Additionally, Sanwandee has spent time working as a Costumes Coordinator at RWS Entertainment and as a Costume Shop Assistant at John Kristiansen, New York. She is a second-year M.F.A. candidate in costume design at David Geffen School of Drama.
Amanda Whiteley (Director)
is a director, photographer, and filmmaker from Ho-Ho-Kus, New Jersey. During her years in New York she founded both a headshot studio and site-specific theater company. Select directing credits with her company, Spokehouse, include Romeo & Juliet, Hamlet, Stupid Fucking Bird, and Color & Light. Her music video direction has been featured in Huffpost, Barcelona Indie Film Fest and Theatrely’s 2022 Tony Awards Coverage. Her first international production, Betrayal, was also selected for the International Festival in Sibiu, Romania (FITS) this past summer. Directing credits at David Geffen School of Drama include Rest Stop, Other People, Twelfth Night, and Nikolai Gogol’s The Inspector at Yale Repertory Theatre (assistant director to Yura Kordonsky). Love to her parents and Pop Pop.
Sophie Treadwell (1885–1970) was an American playwright, journalist, and World War I correspondent. Her best-known play, Machinal, premiered on Broadway in 1928. Her other plays include Gringo (1922); O, Nightingale (1925); and Lone Valley (1933); plus several novels and newspaper articles. Her work frequently explores women’s rights, oppression, and societal expectations and is celebrated by feminist scholars. 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 American Century Cycle.
10
FOR THIS PRODUCTION A RT I S T I C
Projection Programmers
Assistant Scenic Designer
Dina Munina
Dwight Bellisimo Bobby Marcus
Assistant Costume Designer
Guest Draper
Henry Cawood
Carmel Dundon
Assistant Lighting Designer
Run Crew
Abbie Sage
Assistant Projection Designer
Jasmine Williams
Assistant Sound Designers and Engineers
Nicky Milou Brekhof Emma Hasselbach
Assistant Stage Manager
Amanda Blitz
PRODUCTION
Production Manager
Bekka Broyles
Nicky Milou Brekhof, Michelle Brouwer, Emily Crain, Zhimeng Liu, Damian Lockhart, Kayla Morel, Madeline Oberle, Sboniso Thombeni, Kimberly Vilbrun-François Run Crew Swing
KB Ballay
A DM I N I S T R AT I O N
Associate Managing Director
Catherine MacKay
Assistant Managing Director
Roberto Di Donato
Management Assistants
Kevin Kenkel
Kendall Driffin Danica Rodriguez
Assistant Technical Directors
House Manager
Associate Production Manager
Abby Feinstein Sam Monrreal II Properties Manager
Nat King Taylor Production Electrician
Christina Donovan Stage Carpenter
Daniel Haussler Light Board Programmer
Jazzmin Bonner Production Photographer
T. Charles Erickson
S P E C I A L T H A N KS
Kitty and Roger Water The Fricks ROBE Lighting Miranda Vazquez Jiawei Pei 裴佳为 Catherine Young
Aran Baskar
Projection Content Creators
Dylan Carter Jae Lee 11
Cover: Dr. Dain Tasker X-Ray Floral Tulip Tree, ca 1930. National Museum of American History, Smithsonian Institution.
David Geffen School of Drama and Yale Repertory Theatre Staff Artistic Director/ Elizabeth Parker Ware Dean Evan Yionoulis
Chair, Dramaturgy and Dramatic Criticism Program Catherine Sheehy
Managing Director/ Associate Dean Florie Seery
Associate Chair, Dramaturgy and Dramatic Criticism Program Katherine Profeta
Associate Artistic Director, Director of New Play Programs/Associate Dean Chantal Rodriguez
Interim Chair, Playwriting Program Anne Erbe
General Manager/ Assistant Dean Carla L. Jackson
Chair, Stage Management Program Narda E. Alcorn
Assistant Dean of Student Life Nancy Yao
Associate Chair, Stage Management Program James Mountcastle
academic programs
Chair, Technical Design and Production Program Shaminda Amarakoon
Chair, Acting Program Tamilla Woodard Associate Chair, Acting Program Grace Zandarski
Associate Chair, Technical Design and Production Program Latiana “LT” Gourzong
Co-Chair, Design Program and Head of Set Design Concentration Riccardo Hernández
Chair, Theater Management Program Joshua Borenstein
Co-Chair, Design Program Oana Botez
artistic
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 Interim Chair, Directing Program Susanna Gellert Associate Chair, Directing Program Yura Kordonsky
Yale Rep Resident Artists
Playwright in Residence Tarell Alvin McCraney Resident Directors Lileana Blain-Cruz 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 Advisors Shawn Lovell-Boyle Joey Moro Sound Design Advisor Jill BC Du Boff Voice and Text Advisor Grace Zandarski Resident Fight and Intimacy Directors Kelsey Rainwater Michael Rossmy Stage Management Advisor Narda E. Alcorn
Artistic Administration
Production Stage Manager James Mountcastle Yale Rep Senior Artistic Producer Amy Boratko Yale Rep Associate Producer Kay Perdue Meadows Director of Artistic Planning and Special Initiatives Lindsey Alexander Education and Community Programs Manager Elizabeth “Biz” Nearing Yale Rep Artistic Fellow Sophia Carey Yale Rep Artistic Coordinator Maya Simon Yale Rep Casting James Calleri Erica Jensen Paul Davis Editor, Theater Magazine Tom Sellar Managing Editor, Theater Magazine Gabrielle Hoyt
12
David Geffen School of Drama and Yale Repertory Theat Senior Executive Assistant to the Dean/Artistic Director Grace O’Brien
Electro Mechanical Laboratory Supervisor Spencer Hrdy
Costumes
Senior Administrative Assistant to the Dean/Artistic Director and Artistic Offices Avery Amacher
Metal Shop Foreperson Matt Gaffney
Senior Drapers Clarissa Wylie Youngberg Mary Zihal
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 and Student Labor Supervisor C. Nikki Mills Senior Administrative Assistant to Production, Theater Safety, and the Technical Design and Production Program 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
13
Wood Shop Foreperson Ryan Gardner Lead Carpenters Doug Kester Kat McCarthey Sharon Reinhart Abigail “Galleon” Richard
Costume Shop Manager Christine Szczepanski
Senior First Hands Deborah Bloch Patricia Van Horn First Hands Melissa Dudley Maria Teodosio
Carpenters Joel Morain Jacob Thompson
Costume Project Coordinator Linda Kelley-Dodd
Carpentry Interns Lee Donegan Olivia Lapine
Costume Stock Manager Jamie Farkas
Painting
Scenic Charge Mikah Berky Lead Scenic Artists Lia Akkerhuis Nathan Jasunas Scenic Artist Gabriela Ahumada
Costume Technology Intern Arianna Polacheck
Electrics
Lighting Supervisor Donald W. Titus Senior House Electricians Price Foster Linda-Cristal Young
Paint Interns Maddie Hopp Kayla Morel
Electricians Ben Njus Aspen Rogers Alex Zinovenko
Properties
Electrics Intern Gabriel Landes
Properties Supervisor Jennifer McClure Assistant Properties Supervisor Destany Langfield Properties Craftsperson Steve Lopez Properties Associate Zach Faber Properties Stock Manager Mark Dionne Properties Interns Emily Crain Amanda Perrone
Sound
Sound Supervisor Mike Backhaus Lead Sound Engineer Mariah Keener Sound Interns Maggie Bauer Emma McRedmond
Projections
Projection Supervisor Anja Powell Lead Projection Technician Solomon Sheffield Projection Interns KB Ballay Echo Lu
tre Staff Stage Operations
Alumni Affairs Officer and Senior Writer Cayenne Douglass
Digital Communications Associate Kenneth Murray
Lead Wardrobe Supervisor Elizabeth Bolster
Senior Administrative Assistant to Development and Alumni Affairs Jennifer E. Alzona
Business Office Specialists Moriah Clarke Toyin Kakulu
Stage Carpenter Janet Cunningham
Lead Properties Runner William Ordynowicz Light Board Programmer Sabrina Idom
Development and Alumni Affairs Assistant Michelle Brouwer
Lead Front of House Mix Engineer Keirsten Lamora
Strategic Advisor Deborah S. Berman
administration General Management
Associate Managing Directors Alesandra Reto Lopez Catherine MacKay Gaby Rodriguez
David Geffen School of Drama Annual Magazine
Digital Technology Associates Edison Dule Garry Heyward
Associate Editor Catherine Sheehy
Database Application Consultants Ben Silvert Erich Bolton
Managing Editor Scott Bartelson
Management Assistants Michelle Brouwer Kendall Driffin Danica Rodriguez
Finance, Human Resources, and Digital Technology
Development & Alumni Affairs
Interim Director of Development and Alumni Affairs Susan C. Clark Senior Associate Director of Development and Alumni Affairs Scott Bartelson Associate Director of Development and Alumni Affairs Jazzmin Bonner Assistant Director of Development and Alumni Affairs Ebonee Johnson
Senior Administrative Assistant for the Business Office, Digital Technology, Operations, and Tessitura Sadartha DiNello
Co-Editors-in-Chief Deborah S. Berman Mark Blankenship
Assistant Managing Director Roberto Di Donato
Senior Administrative Assistant to the Managing Director, General Manager, and Theater Management Program Rendé Wilson
Interim Business Office Specialist Krubens Carreno
Director of Finance and Business Administration/Lead Administrator Nicola Blake Senior Financial Analyst Matt Dutkiewicz 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 Interim Business Operations Manager Nicole Slabaugh
Financial Aid, Admissions, and Student Services Director of Financial Aid 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, and Audience Services Director of Marketing and Communications Steven Padla Senior Associate Director of Marketing and Communications Caitlin Griffin Marketing Manager Maeve Chapman
Business Office Analyst Shainn Reaves
14
David Geffen School of Drama and Yale Repertory Theatre Staff Publications Manager and Program Designer Marquerite Elliott Senior Administrative Assistant to Marketing and Communications Mishelle Raza General Press Representative Blake Zidell & Associates 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 Linnea Brunvand, Aaron Magloire,Yusra Mohamed, Daniel Murphy, Diana Shyshkova, Rebecca Tysor, Cody Uman Accessibility Assistants Morgan Go Abigail Murphy Theater Safety and Occupational Health Director of Theater Safety and Occupational Health Anna Glover Assistant Director of Theater Safety Kelly O’Loughlin Associate Safety Advisors Emma Alderman Md Fadzil “Fed” Hanafi Md Saad
operations
Director of Facility Operations Nadir Balan Associate Director of Operations Aleks Landolfi Operations Associate Devon Reaves Dramatic Arts Building Project Manager Rob Chikar Arts and Graduate Studies Superintendents Jennifer Draughn Eduardo Pimentel Custodial Team Leader Sherry Stanley General Building Maintainer Ronald Douglas Custodians Willia Grant, Jessica Hernandez, Melloney Lucas, Dominique Nevers, Johnny Stanley, Leo Torres
David Geffen School of Drama and Yale Repertory Theatre are supported by the work of over 150 faculty members. For a complete faculty listing by program and department, please visit drama.yale.edu/about-us/who-we-are
by
José Rivera d i r e c t e d by
Héctor Flores Komatsu 小松輝 NOVEMBER 14–20
drama.yale.edu/shows
$10–15 TICKETS
16
65 Howe Street, New Haven