2019 â€“ 20
YALE REPERTORY THEATRE is the internationally celebrated professional theater in residence at Yale School of Drama, is dedicated to the production of new plays and daring interpretations of the classics that make immediate connections to contemporary audiences. A champion of new work by early career and established playwrights, Yale Rep has produced well over 100 premieres, including two Pulitzer Prize winners and four other nominated finalists, since 1966. Seventeen Yale Rep productions have advanced to Broadway, garnering more than 40 Tony Award nominations and 11 Tony Awards including one for Outstanding Regional Theatre. Yale’s Binger Center for New Theatre is an artistdriven initiative that devotes major resources to the commissioning, development, and production of new plays and musicals. Since 2008, the Binger Center has supported the work of more than 60 commissioned artists and underwritten the world premieres and subsequent productions of 35 new plays and musicals at Yale Rep and theaters across the country—including this season’s Girls by Branden Jacobs-Jenkins, The Plot by Will Eno, Manahatta by Mary Kathryn Nagle, and Testmatch by Kate Attwell.
Yale School of Drama and Yale Repertory Theatre train and advance leaders to raise the standard of global professional practice in every theatrical discipline, pursuing excellence in art to promote wonder, empathy, and understanding in the world.
ARTISTRY We nurture imagination and court inspiration through mastery of skills and techniques, to create fluent, authentic, original storytelling that illuminates the complexity of the human spirit and questions accepted wisdom. COLLABORATION We attend both to process and to results, hearing the voices of colleagues and striving for a collective vision of our goals; we prize the contributions and accomplishments of the individual and of the team. DISCOVERY We wrestle with the most compelling issues of our time. Therefore, we foster curiosity, invention, bravery, and humor: we risk and learn from failure and vulnerability in order to build lifelong habits of innovation and revelation. INCLUSION We commit to fair and ongoing practices that enhance our relationships to theater makers, audiences, and society, finding strength in our diversity, and lowering barriers to participation in the field. PROFESSIONALISM We dedicate our best selves to both training and practice, holding ourselves accountable for a safe, sound, and respectful workplace, animated by good will. 3
Irene Sofia Lucio in El Huracán by Charise Castro Smith, directed by Laurie Woolery. Photo by T. Charles Erickson, 2018.
A NOTE FROM THE ARTISTIC DIRECTOR “Any large-scale human cooperation—whether a modern state, a medieval church, an ancient city or an archaic tribe—is rooted in common myths that exist only in people’s collective imagination.” —YUVAL NOAH HARARI, SAPIENS Welcome to Manahatta! I am delighted you are here today to experience this intricate and soulful new play written by Mary Kathryn Nagle, an enrolled citizen of the Cherokee Nation and the first Native playwright to have her work produced at Yale Rep, and directed by Laurie Woolery, whose other credits at our theater in recent seasons include El Huracán and Imogen Says Nothing. In Manahatta, Mary Kathryn uproots long-standing myths surrounding the colonization of the lands now known as the United States of America and lays bare a history of policy and practice aimed at the eradication of Native culture. Set in 17th-century Manahatta and contemporary Manhattan, as well as Anadarko, Oklahoma, the play flows between time periods, connecting us to our ancestors and their continued presence in our lives today. Manahatta illuminates a wide range—though certainly not all—of the tragic consequences of commercial exploitation giving rise to the “America” we think we know today. It is a unique privilege to present a play that holds a mirror up to darker parts of our history that have been scrubbed so as to perpetuate an American mythology of virtuous progress and divinely inspired exceptionalism. Moreover, our Yale Rep community is enriched by the presence and sensibility of the many Native artists who working on this production. Histories of violence against Native peoples, and of their endurance over the past four centuries, co-exist in our collective imagination: Manahatta is a gift enabling us to interrogate our own versions of the past and present, as well as the future. I am deeply grateful to the entire company for their generous commitment of time and talent to this project. Thank you for joining us and supporting these distinguished artists. As always, I look forward to hearing your thoughts about the play, or any of your experiences at Yale Rep: my email address is firstname.lastname@example.org. Our season continues with Lorraine Hansberry’s stirring American drama, A Raisin in the Sun, directed by Carl Cofield, who staged last season’s joyous production of Twelfth Night, beginning March 13 and continuing through April 4. Ours will be the first professional production of this galvanizing play in New Haven in more than 30 years: please don’t miss it! I look forward to welcoming you back soon. Sincerely,
James Bundy Artistic Director
heirloom FA R M + C O A S T A L C U I S I N E
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JANUARY 24–FEBRUARY 15, 2020 YALE REPERTORY THEATRE
James Bundy, Artistic Director Victoria Nolan, Managing Director
PRESENTS THE EAST COAST PREMIERE OF
Movement Director TY DEFOE Scenic Designer MARIANA SANCHEZ Costume Designer STEPHANIE BAHNIUK Lighting Designer EMMA DEANE Composer and Sound Designer PAUL JAMES PRENDERGAST Projection Designer MARK HOLTHUSEN
Manahatta world premiere was produced by Oregon Shakespeare Festival— Bill Rauch, Artistic Director; Cynthia Rider, Executive Director Manahatta was developed by The Public Theater—Oskar Eustis, Artistic Director; Patrick Willingham, Executive Director Production support for Manahatta is provided by Yale’s Binger Center for New Theatre and the National Endowment for the Arts.
Hair and Wig Designer MATTHEW ARMENTROUT Production Dramaturg MADELINE CHARNE Technical Director YARO YARASHEVICH Lenape Cultural Consultant JOE BAKER Vocal and Dialect Coach LOUIS COLAIANNI
Production Sponsor: Carol L. Sirot Yale Repertory Theatre gratefully acknowledges Carol L. Sirot for generously funding the 2019–20 season. Yale Rep is supported in part by the Connecticut Department of Economic and Community Development.
Fight Director RICK SORDELET Casting Directors TARA RUBIN/LAURA SCHUTZEL, C.S.A.
Season Sponsor: The Study at Yale
Stage Manager JULIA BATES 6
COMPLIMENTARY GLASS OF PROSECCO WITH DINNER BEFORE OR AFTER THE SHOW
Harvest is a fresh take on our lifelong dedication to satisfying meals and loyal guests. Custom cuisine from farm to fork. 372 Greenwich Avenue, Greenwich | 1104 Chapel Street, New Haven 36 Railroad Place, Westport | 64 Lasalle Road, West Hartford harvestwinebar.com 7
Yale University acknowledges that indigenous peoples and nations, including Mohegan, Mashantucket Pequot, Eastern Pequot, Schaghticoke, Golden Hill Paugussett, Niantic, and the Quinnipiac and other Algonquian speaking peoples, have stewarded through generations the lands and waterways of what is now the state of Connecticut. We honor and respect the enduring and continuing relationship that exists between these peoples and nations and this land.
in order of appearance Jane/Le-le-waâ€™-you LILY GLADSTONE Joe/Jakob DANFORTH COMINS Bobbie/Mother CARLA-RAE Debra/Toosh-ki-pa-kwis-i SHYLA LEFNER Luke/Se-ket-tu-may-qua STEVEN FLORES Michael/Jonas Michaelius T. RYDER SMITH Dick Fuld/Peter Minuit JEFFREY KING
SETTING Manahatta takes place in two time periods, simultaneously. One half takes place in the 17th century in Manahatta, the other half in the 21st century in Manhattan and in Anadarko and Chickasha, Oklahoma.
Manahatta is performed without an intermission.
Yale Rep is proud to join the celebration of the 50th anniversary of women in Yale College and the 150th anniversary of the first women students at Yale University.
Any costumes, props, or items representing historical, cultural, and/or sacred artifacts you see on this stage have been thoughtfully and respectfully recreated or sourced exclusively for theatrical purposes using modern materials and contemporary fabrication techniques.
The taking of photographs or the use of recording devices of any kind in the theater without the written permission of the management is prohibited.
“Manahatta is the blueprint for the entir been erased, but whose language gives that land, it is the simultaneous existenc —MARY KATHRYN NAGLE, PLAYWRIGHT, LAWYER, ACTIVIST, AND
THEY ARE FORCIN From The Last of the Mohicans to modern textbooks, Manifest Destiny to “a nation of immigrants,” America has engaged in the systematic erasure of Native peoples to build its national identity. Native stories, culture, language, religion, and homes have been stolen in an effort to conceal and expunge the atrocities this nation has committed against Native American peoples. Leaving Home The original homeland of the Delaware Lenape, known as Lenapehoking, included what is now New Jersey, eastern Pennsylvania, northern Delaware, and southeastern New York. This land was likely occupied by the Lenape for thousands of years before the Dutch, English, and Swedish colonizers arrived and forced the Lenape westward. The forced removal path of the Lenape, now consisting of both the Delaware Nation (Anadarko, Oklahoma) and the Delaware Tribe (Bartlesville, Oklahoma) was a long and winding one, marked at each move by violence and destruction committed by colonizers whose westward expansion butted up against the Delaware again and again. What was once a geographically united nation splintered into many groups, settling in Canada, Wisconsin, and Anadarko and Bartlesville, Oklahoma. The Snake family in Manahatta descend directly from those who were forced along the longest path, relocating from Manahatta to what is now western Pennsylvania, to Ohio, to Missouri, to Texas, and finally in 1867, to Anadarko, Oklahoma. Every one of these moves was a forced relocation, a consequence of America-sanctioned rape, theft, murder, and persecution.
“Unlike some of the tribes in the Southeast, who had a trail of tears, I guess you could say the Lenape had trails of tears because they were moved time and time again. And each time they were moved they were told, ‘This is your home from now on.’ And somehow the words got left out: ‘Or until we want it back.’” —JIM REMENTER, TRIBAL LINGUIST, DELAWARE TRIBE OF INDIANS 9
e nation. A Tribal Nation whose story has rise to the name Americans use today for e of erasure and perseverance.” MEMBER OF THE CHEROKEE NATION
NG US TO LEAVE Losing Language In 1600, the Lenape language was spoken by thousands of people. This language was divided into two dialects: Unami and Munsee. In addition to the spoken language, the Lenape would have used Hand Speak, an intricate form of sign language used to communicate with individuals from various Tribal Nations across Turtle Island, the area now known as the Americas. As the Delaware were scattered, and as forced assimilation occurred at Indian residential schools and through unethical adoptions into non-Indian families, the Lenape language became endangered. By the 1970s, only a handful of fluent speakers remained. Today, all of those who grew up speaking Lenape have passed away. But thankfully, before these speakers died, they began to teach others. The tireless work of linguists, teachers, and elders has allowed the Lenape language to continue in songs, language programs, and in online resources. The Lenape Talking Dictionary (talk-lenape.org), a website created by the Lenape Language Council and spearheaded by Jim Rementer, is a collection of recordings of Lenape words by Lenape Elders, notably Lucy Parks Blalock (1906–2000) and Nora Thompson Dean (1907–1984). Tools like this have enabled the Delaware Tribe not only to preserve Lenape but pass it to future generations.
WE’RE STILL H Today there are 6.79 million Native peoples living in the United States. These people belong to 573 federally recognized Tribal Nations. They live in every state of the U.S., with only 22% living on reservations (since, as Jane Snake notes in the play, throughout its history, the United States has eliminated or taken the majority of the reservations it was bound through treaties to create). Despite the systematic attempts to erase, assimilate, and kill them, both the Delaware Nation and Delaware Tribe live on, and the Lenape persevere.
Above: Aerial Manhattan, 2009, photo by Pete McBride. Previous page: Manahatta Island 400 years ago, photo illustration by Markley Boyer, Mannahatta Project/Wildlife Conservation Society. Both images courtesy of National Geographic.
Returning to Lenapehoking Although the Lenape were driven out of their homeland, many have begun to return. Joe Baker, an enrolled member of the Delaware Tribe of Indians (the Lenape residing in Bartlesville, Oklahoma) and the Lenape cultural consultant on this production, founded the Lenape Center in Manhattan with Hadrian Coumans and Curtis Zunigha in 2008. As Baker puts it, the Lenape Center is “inspired by the
“The future of Native art-mak taking a drink of water.” —TY DEF
ERE visionary Tribal Elder Nora Thompson Dean, who began a series of return trips to the Lenape homeland in the 1970s from Oklahoma. She sought to reconnect our people to the richness of the original homeland. We continue her work today.” The Center does not currently have a building of its own, but when asked where it is located, Baker and Coumans say, “all of Manahatta.” The Lenape are coming back, and this act of reclaiming their stolen land is a radical one. Native Art Lives On To Native people, art has always been a vessel of spirituality and a tool for survival. In this production of Manahatta, Native art is prominently featured. In addition to the play, written by Mary Kathryn Nagle, there is movement direction by Ty Defoe, textiles printed from Joe Baker’s paintings, copper jewelry made by Aquinnah Wampanoag artist Jonathan Perry, and wampum jewelry created by Aquinnah Wampanoag artist Elizabeth James-Perry. These pieces resist the stereotypes about Native American aesthetics that many of us have been raised with and push back against the practice of exploiting Native artists and appropriating Native art. Wampum, in particular, serves a crucial role in Manahatta. These purple and white beads made from the shells of channeled whelk and quahog—clams that were key parts of the Lenape diet—are a sacred part of many eastern Tribal Nations’ cultures. They serve as symbols of friendship, peace between Nations, and as a connection to ancestors in religious ceremonies. Today Wampum persists as a way to, as Elizabeth James-Perry puts it, “acknowledge connections—to the ocean, to Turtle Island, to each other.” These traditional art making practices have persevered for thousands of years, evolving and shifting in response to changing fashion, new technologies, and the influences of colonizing forces, while still finding their way into the present and future of Native life. As Ty Defoe describes, “Making art is a tool to create social, political, and cultural transformation. It is an expression of my self and how I build relationships with the world and the people around me, while keeping nature’s deepest mysteries at the forefront, for the environment, too, is our relative.”
—MADELINE CHARNE, PRODUCTION DRAMATURG
king will be consistent as if OE, MOVEMENT DIRECTOR AND MEMBER OF ONEIDA/OJIBWE NATIONS 12
PAST, PRESENT, AND In Manahatta, Mary Kathryn Nagle creates a world in which the boundaries of time blur, bend, and break. The memories of past traumas and triumphs live within the characters who are simultaneously themselves and their ancestors. This weaving of periods is both a wonderfully theatrical device and a representation of Native ideas of time onstage—a cyclical concept that challenges any insistence on linear narratives. In this production of Manahatta, design and dramatic structure serve this representation of cyclical time. One way that Nagle depicts cyclical time is by honoring the figure of Se-ket-tu-may-qua, a Lenape figure from the 19th century whom she transplants through time to include in her story. Se-ket-tu-may-qua is one of many renowned Lenape figures who have contributed to the perseverance of the Delaware Nation and Delaware Tribe. Although there are too many to list in a program note, Tamanend, Se-ket-tu-may-qua, and Nora Thompson Dean are a good place to start.
Tamanend (1625–1701) Tamanend was not included as a character in the play, but he is a Lenape leader of significance and therefore deserves mention. Tamanend was a great leader of the Lenape people, sometimes known as the Chief of Chiefs, or Chief of the Turtle Clan. He lived in the Lenapehoking, on land that is now known as Pennsylvania. When William Penn and other British colonizers arrived in his land, Tamanend extended a hand of peace. In a 1694, he spoke before Philadelphia’s governing council, rejecting an Iroquois plan to attack the European colonizers. He said: “We and Christians of this river have always had a free roadway to one another, and though sometimes a tree has fallen across the road, yet we have still removed it again and kept the path clean, and we design to continue the old friendship that has been between us and you.” He then gave the council a Wampum belt, a gift that signified that he considered the Europeans to be family. The peace treaty that Tamanend made with William Penn lasted for over 70 years.
FUTURE Se-ket-tu-may-qua (1806–1880) At the request of one of his direct descendants, Nagle named one of her characters after this Delaware leader. Pictured on the back wall of the set, Se-ket-tu-may-qua, or in English, Black Beaver, was a legendary leader of the Lenape in the mid-19th century, when the Delaware Nation was removed from their reservation in Texas and placed where they are today in Anadarko, Oklahoma. As a young man, he became fluent in English, French, and Spanish, in addition to his native Lenape and about eight other American Indian languages. During the Civil War, Se-ket-tu-may-qua guided over 800 Union soldiers across 500 miles of open prairie; he did not lose a single man, horse, or wagon. Black Beaver later participated in the Medicine Lodge treaty negotiations of 1867 and acted as a moderator in inter-tribal councils throughout the 1870s.
Opposite: Tamanend statue in Philadelphia, Pennsylvania, by Raymond Sandoval, 1995. Photo courtesy of Nikreates/Alamy. This page, from left: Se-ket-tu-may-qua photo by Alexander Gardner, 1872, courtesy of National Archives; Nora Thompson Dean, gelatin print by Rae Russel, 1982.
Nora Thompson Dean (1907–1984) Like Tamanend, Nora Thompson Dean, a first-language Lenape speaker, is not a character in Manahatta, but her influence reverberates throughout the play. The astounding contributions of Nora Dean, or Weenjipahkihelexkwe, which translates as “Touching Leaves Woman,” to the future of the Delaware play a central role in the narrative of the Snake family. Dean was raised in the traditional ways of her people, and she dedicated herself to keeping these alive. Throughout her adult life, she taught about the Lenape religious ceremonies, social functions, dances, craftwork, herbal medicines, and language. In 1967 Dean founded a mail-order business through which she sold the traditional Lenape clothing and other items. Dean was a leader among the Delaware in her desire to reclaim her nation’s history and return to the Lenape homeland. It is she who, when asked by archeologist Herbert C. Kraft in 1984 for a word that might describe her ancestral homeland, coined the term Lenapehoking, which means “in the land of the Lenape.” To learn more about the Lenape, please visit: delawarenation.com and delawaretribe.org/tribalsite. —MC 14
Yale Rep acknowledges the importance of honoring and recognizing the sustained sovereignty of Native Nations and the continued survival of Native communities here in Connecticut and at Yale University. Though Manahatta tells a story of the Lenape, we realize this is just one of many Native stories of perseverance and survival. Below are organizations to which we would like to direct our audiences.
The Mashantucket Pequot Museum & Research Center (Mashantucket, CT)
The Mashantucket Pequot Museum & Research Center, part of the government of the Mashantucket Pequot Tribal Nation, is a non-profit educational institution that seeks to further knowledge and understanding of the richness and diversity of the indigenous cultures and societies of the United States and Canada.
The Tantaquidgeon Museum (Uncasville, CT)
The Tantaquidgeon Museum was founded in 1931 by the Tantaquidgeon family to preserve Mohegan culture, artifacts, and history, and now stands as the oldest Native owned and operated museum in America with the Mohegan Tribe currently maintaining the collection and sponsoring special events.
The Native American community at Yale includes students, staff, and faculty from dozens of tribal nations, many of whom are active in several professional, student, and campus organizations. Student activism in the late 1980s laid the foundations for the contemporary campus community and launched the establishment of the Association of Native Americans at Yale (ANAAY) and the Native American Cultural Center (NACC). The extended NACC community works to raise awareness of Native concerns on campus; to support Native students, staff, and faculty; and to partner with Connecticut tribal nations upon whose ancestral homelands Yale was founded.
Organizations at Yale University Native American Cultural Center Yale Indigenous Performing Arts Program Yale Group for the Study of Native America Yale Indigenous Graduate Network Yale Native American Law Students Association Yale Center for the Study of Race, Indigeneity, and Transnational Migration Yale Native Crossroads at Yale Divinity School Association of Native Americans at Yale â€”Madeline Sayet (Mohegan), Executive Director of the Yale Indigenous Performing Arts Program and Dr. Ned Blackhawk (Western Shoshone), Professor of History and American Studies at Yale University Special thanks to Madeline Sayet, Dr. Ned Blackhawk, and the Native American Cultural Center for their support of Yale Repâ€™s production of Manahatta 15
CAST CARLA-RAE* (Bobbie/Mother), Seneca/ Mohawk/French Canadian, is an awardwinning performer whose film and television appearances include Imprint, New Amsterdam, We Shall Remain, and Scoundrels. She has worked with renowned directors such as Lasse Hallström, Chris Eyre, Michael Linn, and Julie Anne Robinson. Behind the camera she wrote, produced, directed the PSAs for Native Hoop magazine and the awardwinning Keep It Sacred for National Native Network. A member of Native Voices at The Autry Theater Ensemble, Carla-Rae garnered the role of Majel in Diane Glancy’s, The Birdhouse. With her role in the film Angels Ladder by John Powers recently completed, Carla-Rae is eager to bring her spirit to Manahatta. DANFORTH COMINS* (Joe/Jakob) Highlights of 15 seasons at Oregon Shakespeare Festival include the title roles in Macbeth, Hamlet, and Coriolanus; Joe/Jakob in Manahatta; Andrew Aguecheek in Twelfth Night; Benedick in Much Ado about Nothing; Edmund in Long Day’s Journey into Night; Stanley Kowalski in A Streetcar Named Desire; Brick in Cat on a Hot Tin Roof; Brutus in Julius Caesar; as well as Othello, The Odyssey, The Great Society, The Liquid Plain, Ghost Light, The Merchant of Venice, All’s Well That Ends Well, As You Like It, Bus Stop, King John, and Richard III, among others. Other theater: Iago in Othello (A.R.T.); Throne of Blood (BAM); Ghost Light (Berkeley Rep); All the Way, The Great Society (Seattle Repertory Theatre); Macbeth, Timon of Athens (Chicago Shakespeare Theater); Hamlet in Hamlet (Utah Shakespeare
Festival, PCPA Theaterfest). Film: Black Road, Redwood Highway, Walk-In, Shale, Indigo. Education: M.F.A., University of Illinois; B.F.A., Pacific Lutheran University.
STEVEN FLORES* (Luke/Se-kettu-may-qua) returns to this role in Manahatta after originating it for its world premiere at the Oregon Shakespeare Festival. A bi-coastal actor originally from Northern California, he is a descendant of the Numunuu (Comanche) and Mexican people from the plains reign of Comancheria. He most recently performed as Menelaus in Helen and Master Puppeteer for Puppets and Poe Theatre of Yugen. Other credits: Last of the Caucasians (The Barrow Group Theatre Company), Delusion: The Blood Rite (Haunted Play, Los Angeles), and Jakubei in A Noh Christmas Carol (T. of Y. San Francisco). Film and television: The Monster Project, It’s Always Sunny in Philadelphia. Upcoming: collaborator and actor on BRAIDED: A Native Noh Story, an NEA project; world premiere in San Francisco 2020. Steven studied at the Herbert Berghof Studio, New York. LILY GLADSTONE* (Jane/Le-le-wa’you) comes from the Ampskapi Piikani, Kainaiwa, and Nimii’puu nations. Theater credits include Good for Otto (The New Group); Off the Rails (Oregon Shakespeare Festival); The Miracle Worker, To Kill a Mockingbird (Montana Repertory Theater); The Frybread Queen (Native Voices at the Autry). Film: Certain Women (Best supporting actress; LA Film Critics, Boston Film Critics and The Village Voice), First Cow, Winter in the Blood. Television: Billions and Room 104. Training: B.F.A. in acting, University of Montana; Theater of the Oppressed.
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
CAST JEFFREY KING* (Dick Fuld/Peter Minuit) was a member of the Oregon Shakespeare Festival acting company for 20 seasons, where he appeared in more than 50 productions, including the world premiere of Manahatta. Other theaters include Repertory Theatre of St. Louis, Berkeley Repertory Theatre, California Shakespeare Festival, The Magic Theatre, The Empty Space in Seattle, The Hippodrome, and Asolo Repertory Theatre in Florida. He originated the role of Joe Pitt in Angels in America, first performed at the Eureka Theatre in San Francisco and the Mark Taper Forum in Los Angeles. He has appeared also in television, film, and radio. SHYLA LEFNER* (Debra/Toosh-kipa-kwis-i) Credits include: Alice in Wonderland, Henry V, the American Revolutions world premieres of Between Two Knees and The Way the Mountain Moved (Oregon Shakespeare Festival); Fairly Traceable, Off the Rails, The Frybread Queen (Native Voices at the Autry); 50 Years On (Will & Company); The Last Days of Judas Iscariot (Urban Theatre Movement, Company of Angels); On the Brink (Theatre 68). Readings and workshops: Ackia: The Complete Epic (Idyllwild Native Arts Festival); Ungipamsuuka: My Story, Our Voices Will Be Heard (La Jolla Playhouse, Native Voices Festival of New Plays). Stand-up: Hollywood Improv, The Comedy Store, The Ice House, and LA Skins Fest Native Sketch Comedy Showcase (Comedy Central Stage). Some film credits include: Fashion House, Lies and Alibis, Minding the Store, Whatever It Takes, Grace, Woo. B.A.: theater and French, University of Southern California. Affiliations: Native Voices Artists Ensemble.
T. RYDER SMITH* (Michael/Jonas Michaelius) was last seen at Yale Rep in Scenes from Court Life, or the whipping boy and his prince. Broadway: Oslo, War Horse, and Equus. Off-Broadway: world premieres by Sarah Ruhl, David Greenspan, Christina Masciotti, Katori Hall, Richard Foreman, Anne Washburn, Barbara Hammond. He has received the Drama Desk Award, Outstanding Ensemble, Lebensraum; OBIE Award, Outstanding Ensemble, Oslo; and a Drama Desk Nomination, Outstanding Solo Performance, Underneath the Lintel. Regional theater: world premieres of Salome, Big Love, Creditors, We Are Pussy Riot, and Lincolnesque. Film and television: The Report, Hunters, Instinct, The Blacklist, Blue Bloods, White Collar, PBS series The Abolitionists, and Brainscan. Experimental films by Daniel Fish, Marie Losier, Lawrence Krauser, and Rachel Rose. Vocal: The Venture Brothers, BioShock video games, many audiobooks, Pacifica Radio’s annual Bloomsday broadcasts of James Joyce’s Ulysses.
CREATIVE TEAM MATTHEW ARMENTROUT (Hair and Wig Designer) Broadway: Bernhardt/Hamlet. Off Broadway: Merrily We Roll Along (Roundabout), Othello (Shakespeare in the Park). Regional: Bliss (The 5th Avenue Theatre), Jitney (National Tour), Paradise Square (Berkeley Repertory Theatre). STEPHANIE BAHNIUK (Costume Designer) is a third-year M.F.A. candidate at Yale School of Drama, where her credits include YELL: a “documentary” of my time here, Trouble in Mind, and upcoming, The Winter’s Tale. She is from Edmonton, Canada, and earned her B.F.A. in theatre design from the University of Alberta. Her credits include sets for Is God Is and The Light Fantastic, sets and lighting for How
to Relearn Yourself, costumes for the light is… and It’s Not About My Mother (Yale Cabaret); costumes for The Swallow and the Tomcat, Latinos Who Look Like Ricky Martin (Yale Summer Cabaret); Blood of Our Soil (Pyretic Productions); Stupid Fucking Bird (Edmonton Actors Theatre, 2017 Elizabeth Sterling Haynes Award, Outstanding Set Design); Jesus Christ Superstar (Mayfield Dinner Theatre); Twelfth Night (Studio Theatre); Hansel and Gretel (Alberta Opera); The Moon at Midnight (Prairie Dance Circuit); and assistant costume designer for Williamstown Theatre Festival.
JOE BAKER (Lenape Cultural Consultant), Executive Director of Mashantucket Pequot Museum and Research Center and co-founder and Executive Director of Lenape Center in New York City, is an enrolled member of the Delaware Tribe of Indians, Bartlesville, Oklahoma. His work in opera includes Freedom Ride, which he commissioned as Executive Director of Longue Vue House and Gardens in New Orleans, in partnership with Xavier University; the commissioning of The Purchase of Manhatta, by composer Brent Michael Davids; and the staging of Cubanacan by Charles Koppelman for the 2015 Havana Biennial. He has also held positions at Arizona State University’s Institute for Design and the Heard Museum; is a member of IKT International Association of Curators of Contemporary Art, Luxembourg; and previously served on the International Advisory Board, Laumeier Sculpture Park, St. Louis, Missouri. Honors: 2003 Joan Mitchell Foundation Award in Painting, Virginia Piper Charitable Trust 2005 Fellows Award, Scottsdale Museum of Contemporary Art’s 2007 Contemporary Catalyst Award, Smithsonian Institute’s 2008 National Museum of the American Indian Design Award, and ASU’s 2009 Presidential Medal for Social Embeddedness. B.F.A., M.F.A.: University
of Tulsa; postgraduate study: Harvard’s Graduate School of Education.
JULIA BATES* (Stage Manager) is a third-year M.F.A. candidate at Yale School of Drama, where her credits include LOCUSTS, The Seagull, The Winter’s Tale, Passion, and Slave Play. Other credits include Good Faith (assistant stage manager, Yale Rep); Into the Woods, Cyrano (Hudson Valley Shakespeare Festival); A Doll’s House, Part Three (ANT Fest at Ars Nova); Godspell, All Shook Up (New London Barn Playhouse); Seussical, All the Way, A Christmas Carol, The Siegel (South Coast Repertory); Thaddeus and Slocum: A Vaudeville Adventure (Lookingglass Theatre); and Welcome Yule (Chicago Symphony Orchestra). Julia also stage managed the DISK Performances at the 2015 Prague Quadrennial. MADELINE CHARNE (Production Dramaturg) is a third-year M.F.A. candidate at Yale School of Drama, where her credits include Othello and Rock Egg Spoon. Yale Cabaret credits include Ni Mi Madre and Two Sisters; or The Devil Beats His Wife. As a dramaturg, teacher, and facilitator, Madeline has also worked to make space in the theater for other voices, serving as the dramaturg for the New Haven Play Project at Long Wharf Theatre and founding New Voices in Theater, a playwriting program serving New Haven high school students. Prior to Yale, Madeline worked as a grant writer, facilitator, playwright, stage manager and dramaturg in Philadelphia, working for organizations including Philadelphia Young Playwrights, 1812 Productions, the Wilma Theater, and the Walnut Street Theatre. Madeline holds a B.A. in English and theater from Swarthmore College. LOUIS COLAIANNI (Vocal and Dialect Coach) Film credits include coaching Bill Murray in Hyde Park on Hudson, St. Vincent, and French Dispatch; Don Cheadle in Miles Ahead; America Ferrera
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
CREATIVE TEAM in Cesar Chavez; and Anna Gunn in Little Red Wagon. Television: three seasons of Red Oaks and two seasons for Trudie Styler on Pose. Broadway: coached Will Ferrell in You’re Welcome America (also HBO special) and Madeleine Martin for August: Osage County. Off-Broadway: Eve Ensler’s Emotional Creature; Little Flower of East Orange (LAByrinth Theater Company); the Jerry Garcia musical, Red Roses, Green Gold. Regional: three seasons at Oregon Shakespeare Festival as Voice and Text Director, Williamstown, Santa Fe Opera, Shakespeare Santa Cruz, Shakespeare & Company, Shakespeare Festival of St. Louis, Westport Country Playhouse, McCarter Theatre, Arizona Theatre Company, Kansas City Rep, Trinity Rep, Seattle Rep, Milwaukee Rep. He is on faculty at Syracuse University Department of Drama and Yale School of Drama.
EMMA DEANE (Lighting Designer) is an enrolled member of the Mandan, Hidatsa, and Arikara nation and is a thirdyear M.F.A. candidate at Yale School of Drama, where she designed Reykjavík, YELL: a “documentary” of my time here, Trouble in Mind, shakespeare’s as u like it, and Romeo and Juliet. Her other credits include The Light Fantastic, Burn Book, This Sweet Affliction, Mud, The Guadalupes, WOLF/ALICE, Camille: A Tearjerker (Yale Cabaret); Pinocchio: A Folk Musical (Filament Theatre); Proof (North Park University); The Amish Project (Interrobang Theatre Project); Hitler on the Roof (Akvavit Theatre); Scarcity (Redtwist Theatre); The Woman in Black (WildClaw); and Fight City (The Factory). She has worked with The Actors Gymnasium, Albany Park Theatre Project, Court Theatre, Northlight Theatre, Chicago Shakespeare Theater, Victory Gardens, Theatre Seven, Bailiwick Chicago, The Building Stage, Buzz 22, Stage Left, Next Theatre Company, Silk Road Rising and The Gannon Center for Women and Leadership. She holds a B.A. in English from Loyola University Chicago. emmadeane.com 19
TY DEFOE (Movement Director), (Giizhig), Oneida and Ojibwe Nations, is a writer, interdisciplinary artist, and Grammy Award winner who lives in New York City. Movement Director: Manahatta, directed by Laurie Woolery, and Mother Road, directed by Bill Rauch (Oregon Shakespeare Festival). Appeared in Straight White Men, directed by Anna Shapiro, on Broadway, and off Broadway in Masculinity Max, directed by Dustin Wills. Tours: Writer/co-director, Ajijaak On Turtle Island (New Victory Theater/ New York); Call for Peace Drum and Dance Company; Ankara International Festival (Greece, Japan, Turkey). Television: Unbreakable Kimmy Schmidt. Author: Basketball Is ‘War, Minus the Shooting’ in Sectarian Lebanon, The Way They Lived, Hear Me Say My Name, River of Stone, among others. Awards: Robert Rauschenberg Artist in Residence; 2017 Jonathan Larson Award. Ty is co-founder of Indigenous Direction; a member of the All My Relations Collective, Dramatist, AEA, and SDC; and a 2019 TransLab Fellow. Training: CalArts, Goddard College, NYU/Tisch, and artEquity facilitator. Pronouns: he/we. tydefoe.com MARK HOLTHUSEN (Projection Designer) is a visual artist whose career spans photography, concerts, and theater. In 2009, Roger Waters and Sony Music asked Mark to rethink traditional stage design for the debut of Waters’s opera, Ça Ira, which featured over 120 of his photographs as the sole visual narration and was met with critical acclaim. In 2012, Mark and The Tiger Lillies collaborated on a performance of Coleridge’s The Rime of the Ancient Mariner, which The Telegraph declared “a haunting evening’s entertainment full of ethereal grace… Holthusen’s animation is gorgeous.” Mark has created numerous commercial pieces for some of the world’s largest brands including Kohler, Honda, and Toyota, to name a few. Mark is currently working on various new projects including installation sculptures with AR and VR elements.
MARY KATHRYN NAGLE (Playwright) is an enrolled citizen of the Cherokee Nation. From 2015 to 2019, she served as the Executive Director of the Yale Indigenous Performing Arts Program. She is also a partner at Pipestem Law, P.C., where she works to protect tribal sovereignty and the inherent right of Indian Nations to protect their women and children from domestic violence and sexual assault. Nagle is an alumnus of the 2013 Public Theater Emerging Writers Program. Productions include Miss Lead (Amerinda, 59E59), Fairly Traceable (Native Voices at the Autry), Sovereignty (Marin Theater Company, Arena Stage), Manahatta (Oregon Shakespeare Festival), Return to Niobrara (Rose Theater), and Crossing Mnisose (Portland Center Stage). She has received commissions from Arena Stage, the Rose Theater (Omaha, Nebraska), Portland Center Stage, Denver Center for the Performing Arts Theatre Company, Yale Repertory Theatre, Round House Theater, and the Oregon Shakespeare Festival. PAUL JAMES PRENDERGAST (Composer and Sound Designer) Broadway: All The Way, The Great Society. Off Broadway: Julius Caesar (Theatre for a New Audience). Selected Regional: Oregon Shakespeare Festival (25 productions), Guthrie, Seattle Rep, Arena Stage, Mark Taper Forum, South Coast Rep, Long Wharf, Geffen, Playmakers, Hartford Stage, Cal Shakes, Berkeley Rep, American Conservatory, American Repertory, La Jolla Playhouse, Alley, Kennedy Center, Cornerstone (former ensemble member). Commercial work includes extensive theme park and museum installations and multiple national tours with Diavolo Dance Theater. Awards: Grammy and Drama Desk nominations, Broadway World, Ovation, Drama-Logue, Garland, Gregory, Footlight, and Gypsy. As a singer/songwriter: films, recordings, and music venues nationwide.
TARA RUBIN/LAURA SCHUTZEL, C.S.A. (Casting Director) have been casting at Yale Rep since 2004. Selected Broadway/National Tours: King Kong, Summer: The Donna Summer Musical, The Band’s Visit, Prince of Broadway, Indecent, Bandstand, Sunset Boulevard, Miss Saigon, Dear Evan Hansen, A Bronx Tale, Cats, Falsettos, Disaster!, School of Rock, Les Misérables, The Heiress, The Phantom of the Opera, Billy Elliot, Shrek, Spamalot, The 25th Annual Putnam County Spelling Bee, The Producers, Mamma Mia!, Jersey Boys. Off-Broadway: Smokey Joe’s Café, Jersey Boys, Here Lies Love. Regional: Paper Mill Playhouse, La Jolla Playhouse, The Old Globe, Bucks County Playhouse, Westport Country Playhouse. tararubincasting.com MARIANA SANCHEZ (Scenic Designer) is a scenic designer originally from Mexico with a background in architecture, who is based in the New York area. Mariana is thrilled to be back at Yale Rep, where she previously designed the set for War. Other scenic design credits include Marys Seacole (Lincoln Center Theater); The Winter’s Tale, Troy (The Public Theater); Fade (Primary Stages), Frontieres Sans Frontieres (The Bushwick Starr); Oh My Sweet Land (The Play Company); Mojada (St Louis Rep); The Niceties (Geva Theatre); American Underground (Barrington Stage); All’s Well That Ends Well, Manahatta (Oregon Shakespeare Festival); Fetch Clay, Make Man (Dallas Theater Center); Skeleton Crew (Baltimore Center Stage); The Wolves, Fade (TheaterWorks); The River Bride (Oregon Shakespeare Festival); Winnie The Pooh (Alliance Theatre); Peter Pan (Yale School of Drama); among others. She earned an M.F.A. from Yale School of Drama and a B.Arch. from UNAM. RICK SORDELET (Fight Director) is the Resident Fight Director for Yale Rep where he was worked on dozens of shows over the last twenty years. He 20
CREATIVE TEAM and his son and partner, Christian KellySordelet, created Sordelet INC. Their 73 Broadway credits include Beauty and the Beast, The Lion King, and Tina—The Tina Turner Musical. Television: over 1,200 episodes of stunt coordination for Guiding Light and both seasons for Kevin Can Wait starring Kevin James. Film: Ben Is Back starring Julia Roberts. They have 65 international production credits including Ben Hur Live (Rome, European tour). Rick teaches at Yale School of Drama, Christian teaches at CUNY Harlem and HB Studio, and both are on faculty at Esper Studio. They, with their partner, author David Blixt, also run an e-publishing company called Sordelet INK for the emerging author. Instagram: sordeletinc sordeletinc.com
LAURIE WOOLERY (Director) is a director, playwright, and citizen artist, who has worked at theaters across the country including The Public Theater, Oregon Shakespeare Festival (Mary Kathryn Nagle’s Manahatta), Trinity Repertory, Goodman Theatre, Kennedy Center, Cornerstone Theater Company, South Coast Repertory, and Yale Rep, where she has directed El Huracán and Imogen Says Nothing. She is the Director of Public Works at The Public Theater, where her musical adaptation
of As You Like It was named one of “The Best Theater of 2017” by The New York Times. Laurie has developed new work with diverse communities ranging from incarcerated women to residents of a Kansas town devastated by a tornado. She creates site-specific work that ranges from a working sawmill in Eureka to the banks of the Los Angeles River. Laurie teaches at universities across the country and serves on the Board of the Latinx Producers Action Network and Latinx Commons, and she is a founding member of The Sol Project.
YARO YARASHEVICH (Technical Director) is a third-year M.F.A. candidate at Yale School of Drama. Prior to grad school, she worked as a technical designer at iWeiss Theatrical Solutions, as well as a freelance technical director, carpenter, and electrician in various New York City venues. Before moving to the United States, Yaro worked for an underground political theater company called Belarus Free Theatre for almost six years. There, she managed all technical aspects of the shows as well as wrote and performed in plays for the company. Yaro holds a BTech in Entertainment Technology from NYC College of Technology, and a B.A. in French from Minsk State Linguistic University.
A Unique& Distinct Caterer Available for Corporate or Personal Events
Stacey Ference email@example.com 21
Place, Nations, Generations, Beings 200 Years of Indigenous North American Art Through June 21, 2020 Free and open to the public | artgallery.yale.edu @yaleartgallery Exhibition made possible by The Andrew W. Mellon Foundation, the Jane and Gerald Katcher Fund for Education, and the Nolen-Bradley Family Fund for Education. Image: Marie Watt (Seneca), First Teachers Balance the Universe, Part II: Things That Fly (Prey) (detail), 2015. Reclaimed wool blankets, embroidery floss, and thread. Yale University Art Gallery, Janet and Simeon Braguin Fund. ÂŠ Marie Watt
YA L E U N I V E R S I T Y A R T GA L L E RY
MANAHATTA STAFF ARTISTIC Assistant Director Maeli Goren
Recorded Voices Juliana Aíden Martinez JJ McGlone
Assistant Scenic Designer Cat Raynor
Assistant Stage Manager Amanda Luke (Choctaw)
Assistant Costume Designer Aidan Griffiths
PRODUCTION Associate Production Manager Mia Sara Haiman
Assistant Lighting Designer Nicole E. Lang Assistant Sound Designer and Engineer John Sully Assistant Projection Designer Hannah Tran Intimacy Consultant Kelsey Rainwater Movement Safety Instructor Jessica Wolf Traditional Wampum Jewelry Design Elizabeth James-Perry (Aquinnah Wampanoag) Traditional Copper Jewelry Design Jonathan Perry (Aquinnah Wampanoag) Tribal Linguist, Delaware Tribe of Indians Jim Rementer
Associate Safety Advisor Cam Camden Assistant Technical Directors Matthew Lewis Andrew Reidemann
ADMINISTRATION House Manager Samanta Yunuen Cubias UNDERSTUDIES Mother/Bobbie Jennifer Bobiwash (Ojibway) Peter Minuit/Dick Fuld JJ McGlone Luke/Se-ket-tu-may-qua Robert I. Mesa Michael/Jonas Michaelius Reed Northrup Debra/Toosh-ki-pa-kwis-i and Jane/Le-le-wa’-you Jen Olivares
Assistant Properties Master Tiago Rodrigues
Jakob/Joe Adam Shaukat
Master Electrician Joe Chiang
SPECIAL THANKS Christopher Acebo, Jesse Alick, E.B. Brooks, Hadrian Coumans, Shannon Davis, Rainbow Dickerson, Liz Frankel, Nataki Garrett, James Ingalls, Leslie Ishii, David Kelly, Eddie Lopez, PJ Martin and the Oregon Shakespeare Festival prop shop staff, Nicky Kay Michael, Kate Milligan, Jack Moore, Tanis Parenteau, Linda Poolaw, Amelia Acosta Powell, Harold Pruner, Amrita Ramanan, Gloria Steinem, Shelia Tousey, Melissa Zobel, Curtis Zuniga
Projection Engineer BenJones Projection Programmer Christopher Evans Run Crew Patrick Denney Joe Krempetz Katie Pulling Sarah Scafidi Emily Sorensen
Yale Rep has noted tribal affiliations when requested by individual artisans and staff working on this production of Manahatta.
MAR 13 13–APR APR 4
23 019 –20 SEASON
YALE REPERTORY THEATRE STAFF Artistic Director James Bundy Managing Director Victoria Nolan Associate Artistic Director and Director of New Play Programs Jennifer Kiger
ARTISTIC Resident Artists
Playwright in Residence Tarell Alvin McCraney Resident Director Liz Diamond Resident Dramaturg Catherine Sheehy Set Design Advisor Riccardo Hernandez Resident Set Designer Michael Yeargan Costume Design Advisors Oana Boatez Ilona Somogyi
Casting Tara Rubin, C.S.A. Laura Schutzel, C.S.A. Merri Sugarman, C.S.A. Kaitlin Shaw, C.S.A. Claire Burke, C.S.A. Peter Van Dam, C.S.A. Felicia Rudolph, C.S.A. Xavier Rubiano, C.S.A. Louis DiPaolo Kevin Metzger-Timson Juliet Auwaerter Senior Administrative Assistant to the Artistic Director and Associate Artistic Director Josie Brown Senior Administrative Assistant for Directing, Dramaturgy and Dramatic Criticism, Playwriting, and Stage Management Laurie Coppola Senior Administrative Assistant for Design and Sound Design Kate Begley Baker
Senior Administrative Assistant for the Resident Costume Designer Acting Department Ellen Lange Toni-Leslie James
Master Shop Carpenters Matt Gaffney Ryan Gardner (on leave) Kat McCarthey Sharon Reinhart Libby Stone Interim Shop Carpenter Doug Kester Scenery Intern Jenna Carroll
Scenic Charge Ru-Jun Wang (on leave) Interim Scenic Charge Arthur Vitello III Scenic Artists Lia Akkerhuis Nathan Jasunas Interim Scenic Artists Tamar Klausner Klein Amelia Pizzoferrato Kacey Skurja
Properties Master Jennifer McClure Properties Craftsperson David P. Schrader
Electrics Interns Perry Keller Adago Cameron Waitkun
Sound Supervisor Mike Backhaus Staff Sound Engineer Stephanie Smith Sound Interns Joe Krempetz James T. McLoughlin
Projection Supervisor Eric Lin Head Projection Technician Mike Paddock Projection Intern Erin Sims
Stage Carpenter Janet Cunningham
Wardrobe Supervisor Elizabeth Bolster Head Properties Runner Billy Ordynowicz Light Board Programmer David Willmore
Lighting Design Advisor Jennifer Tipton
Library Services Lindsay King
Master Properties Assistant Zach Faber
Resident Lighting Designer Stephen Strawbridge
Properties Stock Manager Mark Dionne
Properties Interns Katie Pulling Tiago Rodrigues
General Manager Kelvin Dinkins, Jr.
Senior Drapers Clarissa Wylie Youngberg Mary Zihal
Associate Managing Directors Lucia Bacqué Gwyneth Muller Caitlin Volz
Sound Design Advisor David Budries Voice and Speech Advisor Walton Wilson
Director of Production Shaminda Amarakoon
Fight Advisor Rick Sordelet
Production Manager Jonathan Reed
Stage Management Advisor Production Manager for Student Projects and Narda E. Alcorn Special Events/Student Labor Supervisor Associate Artists C. Nikki Mills 52nd Street Project Senior Administrative Kama Ginkas Assistant to the Production, Mark Lamos Theater Safety and MTYZ Theatre/Moscow Occupational Health New Generations Theatre Grace O’Brien Bill Rauch Sarah Ruhl Henrietta Yanovskaya
Technical Directors Artistic Management Neil Mulligan Matt Welander Production Stage Manager James Mountcastle Electro Mechanical Laboratory Supervisor Literary Manager Alan Hendrickson Amy Boratko Artistic Associate Kay Perdue Meadows Artistic Fellow Charles O’Malley
Shop Foreman Eric Sparks
Costume Shop Manager Christine Szczepanski
Senior First Hands Deborah Bloch Patricia Van Horn Costume Project Coordinator Linda Kelley-Dodd Interim Draper Stephanie Taff Costume Stock Manager Elizabeth Beale
Lighting Supervisor Donald W. Titus Senior Head Electricians Jennifer Carlson Linda-Cristal Young
FOH Mix Engineer Eric Norris
Assistant Managing Directors Madeline Carey William Gaines Senior Administrative Assistant to the Managing Director and General Manager Emalie Mayo Management Assistants Caitlin M. Dutkiewicz Jason Gray Sarah Scafidi Matthew Sonnenfeld Company Managers Eliza Orleans Oakton Reynolds
YALE REPERTORY THEATRE STAFF Assistant Company Managers Sarah Cain Jason Gray
Business Office Analyst Stacie Wcislo
Development and Alumni Affairs
Director of Development and Alumni Affairs Deborah S. Berman
Senior Associate Director of Institutional Giving Janice Muirhead Senior Associate Director of Operations for Development and Alumni Affairs Susan C. Clark Associate Director of Development and Alumni Affairs Dani Barlow Associate Director of Development Communications and Alumni Affairs Casey Grambo Senior Administrative Assistant to Development and Marketing & Communications Jennifer E. Alzona Development Assistants Wendy Davies Cameron Frostbaum Regina Gordon-Laing
Finance, Human Resources, and Digital Technology
Director of Finance & Human Resources and Interim Director of Digital Technology Katherine D. Burgueño
Director, Yale Tessitura Consortium and Interim Director of Web Technology Janna J. Ellis
Digital Communications Associate George Tinari
Marketing and Communications Assistant Cameron Frostbaum
Director of Audience Services Business Office Specialist Laura Kirk Preston Mock Assistant Director of Digital Technology Audience Services Associate Shane Quinn Andre Griffith Subscriptions Senior Administrative Coordinator Assistant to Business Tracy Baldini Office, Digital Technology, Operations, and Tessitura Audience Services Shainn Reaves Assistant Molly Leona Interim Business Office Specialist Box Office Assistants Sharon S. Brown Mikaela Boone Morgan Cronin IT Services Samantha Else Chris Atchley Mona Gandhi Business Office Assistant Jordan Graf Paige Hann Ashlie Russell Kenneth Murray a.k. payne Finance Office Assistant Amir Rezvani Asberry Thomas Irene Vazquez Database Application Ushers Consultants Jillian Albrecht Bo Du Lorena Benitez Ben Silvert Denny Burke Kristina Cuello Marketing, Lucy Ehrenfeld Communications, Natasha Gaither Elli Herzog and Audience Taylor Hoffman Services Rucha Kandlur Director of Marketing Hannah Kleffke Daniel Cress Bonnie Moeller Talia Morison-Allen Director of Jordan Pilant Communications Lauren Radigan Steven Padla Marissa Rocha Senior Associate Director Payton Rose of Marketing and Emma Safir Communications Annie Trowbridge Caitlin Griffin Jocelyn Wexler Cody Whetstone Associate Director Elizabeth Wiet of Marketing and Larsson Youngberg Communications Markie Gray
Art and Design Paul Evan Jeffrey Production Photographer Joan Marcus Videographer David Kane
Theater Safety and Occupational Health
Director of Theater Safety and Occupational Health Anna Glover
Customer Service and Safety Officers Kevin Delaney Ed Jooss John Marquez
Director of Facility Operations Jennifer Gonsalves Operations Associate Nadir Balan Operations Assistant Devin Matlock Arts and Graduate Studies Superintendents Jennifer Draughn Michael Halpern Team Leaders Andrew Mastriano Sherry Stanley Facility Stewards Michael Humbert Marcia Riley Custodians Sybil Bell Christina Davis Tylon Frost Cassandra Hobby Kathy Langston Mark Roy Jerome Sonia
Business Manager Martha Boateng
The Director and Choreographer are members of the STAGE DIRECTORS AND CHOREOGRAPHERS SOCIETY, a national theatrical labor union.
The Scenic, Costume, Lighting, and Sound Designers in LORT are represented by United Artists Local USA-829, IATSE.
Yale Repertory Theatre operates under an agreement between the League of Resident Theatres (LORT) and Actors’ Equity Association (AEA), the Union of Professional Actors and Stage Managers in the United States.
Yale Repertory Theatre offers all patrons the most comprehensive accessibility services program in Connecticut, including a season of open-captioned and audiodescribed performances, a free assistive FM listening system, large-print and Braille programs, wheelchair accessibility with an elevator entrance into Yale Repertory Theatre (located on the left side of the building), and accessible seating.
As part of Yale Rep’s commitment to our community, we provide two significant youth programs. WILL POWER! offers specially priced tickets and early school-time matinees for high school students for select Yale Rep productions every season. Since our 2003–04 season, WILL POWER! has served more than 20,000 Connecticut students and educators. The Dwight/Edgewood Project brings middle school students to Yale School of Drama for a month-long, after-school playwriting program designed to strengthen their self-esteem and creative expression.
For more information about the theater’s accessibility services, contact Laura Kirk, Director of Audience Services, at 203.432.1522 or firstname.lastname@example.org.
FOR MANAHATTA: AUDIO DESCRIPTION
February 8 at 2PM A live narration of the play’s action, sets, and costumes for patrons who are blind or have low vision. Pre-show description begins at 1:45PM.
February 8 at 1PM Prior to a performance, patrons who are blind or have low vision touch fabric samples, rehearsal props, and building materials to understand better what comprises the production design.
February 15 at 2PM A digital display of the play’s dialogue as it’s spoken.
BRAILLE AND LARGE PRINT programs are available at the concierge desk in the theater lobby.
c2 is pleased to be the official Open Captioning Provider of Yale Repertory Theatre.
Yale Rep’s youth programs are supported in part by: Bob and Priscilla Dannies; Mr. and Mrs. Kenneth Fellows; George A. & Grace L. Long Foundation, Bank of America, N.A., Co-Trustee; Dawn G. Miller; Arthur and Merle Nacht; NewAlliance Foundation; Sandra Shaner; Esme Usdan.
GENERAL INFORMATION RESTROOMS are located in the lower level of the building.
Everyone must have a ticket. Sorry, no children in arms or on laps. Patrons who arrive late or leave the theater during the performance will be reseated at the discretion of house management. Those who become disruptive will be asked to leave the theater.
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 theater personnel and assisted in the evacuation of the building. 26
Hull's U N I V E R S I T Y
Art Supply & Framing
YALE SCHOOL OF DRAMA BOARD OF ADVISORS John B. Beinecke, Chair John Badham, Vice Chair Jeremy Smith, Vice Chair Nina Adams Amy Aquino Rudy Aragon Pun Bandhu Sonja Berggren Frances Black Carmine Boccuzzi Lynne Bolton Clare Brinkley Sterling B. Brinkley, Jr.
Kate Burton James Chen Lois Chiles Patricia Clarkson Edgar M. Cullman III Michael David Scott Delman Michael Diamond Polly Draper Charles S. Dutton Sasha Emerson Heidi Ettinger Lily Fan Terry Fitzpatrick Marc Flanagan Marcus Dean Fuller
Anita Pamintuan Fusco David Marshall Grant David Alan Grier Sally Horchow Ellen Iseman David G. Johnson Rolin Jones Jane Kaczmarek Asaad Kelada Sarah Long Cathy MacNeil-Hollinger Brian Mann Elizabeth Margid Drew McCoy David Milch Tom Moore
Arthur Nacht Jennifer Harrison Newman Carol Ostrow Amy Povich Liev Schreiber Tracy Chutorian Semler Tony Shalhoub Michael Sheehan Anna Deavere Smith Andrew Tisdale Edward Trach Esme Usdan Courtney B. Vance Donald Ware Shana C. Waterman Henry Winkler
Thank you to the generous contributors to Yale School of Drama and Yale Repertory Theatre LEADERSHIP SOCIETY ($50,000 and above) Anonymous (2) Dr. Richard Beacham John B. Beinecke Lois Chiles and Richard Gilder Nicholas Ciriello William H. Cowles Foundation The Horace W. Goldsmith Foundation Jerome L. Greene Foundation Lane Heard and Margaret Bauer William and Sarah Hyman David G. Johnson David H. Johnson Rocco Landesman The Frederick Loewe Foundation Tom Moore Estate of Dwight Richard Odle Alan Poul Robina Foundation Ruderman Family Foundation The Shubert Foundation Jeremy Smith Meryl Streep Stephen Timbers
Time Warner Foundation Nesrin and Andrew Tisdale Edward Trach Esme Usdan Estate of Zelma H. Weisfeld
Sonja Berggren and Patrick Seaver Burry Fredrik Foundation Connecticut Department of Economic and Community Development Anita Pamintuan Fusco and Dino Fusco Sarah Long National Endowment for the Arts Tracy Chutorian Semler
Nina Adams and Moreson Kaplan Americana Arts Foundation Carmine Boccuzzi and Bernard Lumpkin Lynne and Roger Bolton Clare and Sterling Brinkley Jim Burrows
Forrest Compton Michael Diamond Educational Foundation of America Ettinger Foundation Heidi Ettinger Lily Fan Donald Granger Mabel Burchard Fischer Grant Foundation Ellen Iseman Jennifer Lindstrom Lucille Lortel Foundation Cathy MacNeil-Hollinger Neil Mazzella Arthur and Merle Nacht Seedlings Foundation Ted and Mary Jo Shen Talia Shire Schwartzman Carol L. Sirot Trust for Mutual Understanding Donald Ware
John Badham The Hilaria and Alec Baldwin Foundation Foster Bam Pun Bandhu James Bundy and Anne Tofflemire
Ian Calderon James Chen Brett Dalton Michael S. David Scott Delman Terry Fitzpatrick Julie and Marcus Fuller Barbara and Richard Franke Howard Gilman Foundation Jesse and Dorothy Hartman Foundation Sally Horchow Linda Gulder Huett Charles B. Johnson Jane Kaczmarek Ben Ledbetter and Deborah Freedman Eugene Leitermann Charles E. Letts III Adrianne Lobel Brian Mann David E. Moore James Munson NewAlliance Foundation Carol Ostrow Tony Shalhoub Pam and Jeff Rank Russ Rosensweig Michael and Riki Sheehan Philip J. Smith Sophie von Haselberg
contributors to Yale School of Drama and Yale Repertory Theatre PRODUCER’S CIRCLE ($2,500–$4,999) Anonymous Frances Black Mark Blankenship Donald and Mary Brown Joan Channick and Ruth Hein Schmitt Jon Farley Marc Flanagan Anthony Forman JANA Foundation Fred Gorelick and Cheryl MacLachlan Rolin Jones Derek McLane Jonathan S. Miller Richard Ostreicher Kenneth J. Stein Courtney B. Vance
DIRECTOR’S CIRCLE ($1,000–$2,499)
Donna Alexander Bruce Altman in memory of Anna Altman Victor and Laura Altshul Deborah Applegate and Bruce Tulgan Amy Aquino and Drew McCoy Paula Armbruster Richard and Alice Baxter John Lee Beatty Patricia Bennett and Rich Gold Jody Locker Berger Jeff Bleckner Cyndi Brown James T. Brown Kate Burton Cosmo Catalano, Jr. Dana Cesnik and Brandon Doyle William Connor Peggy Cowles Stephen Coy Catherine and Elwood Davis Ramon Delgado Christopher Durang Glen R. Fasman Tony Foreman Eric Gershman and Katie Liberman Rob Greenberg Jane Head Dale and Stephen Hoffman Donald Holder James Guerry Hood Elizabeth Kaiden Ann Judd and Bennett Pudlin Elizabeth Katz and Reed Hundt Helen Kauder and Barry Nalebuff Rik Kaye Abby Kenigsberg Roger Kenvin Walt Klappert The Ethel & Abe Lapides Foundation
Cheng Heng Lee George Lindsay, Jr. George A. & Grace L. Long Foundation, Bank of America, N.A., Co-Trustee William Ludel Jane Lyman Thomas G. Masse and James M. Perlotto, MD Lawrence Mirkin Neil Mulligan Gather Myers Dw Phineas Perkins Jim Phills Amy Povich Kathy and George Priest Lance Reddick Bill and Sharon Reynolds Joumana Rizk Dr. Michael Rigsby and Prof. Richard Lalli Deborah Rovner Liev Schreiber Alec and Aimee Scribner The Gary and Barbara Siegler Foundation Benjamin Slotznick Shepard and Marlene Stone Arlene Szczarba John Thomas III Carol M. Waaser Shana C. Waterman Steven Waxler Robert Wierzel Evan Yionoulis Steve Zuckerman and Darlene Kaplan
Actors’ Equity Foundation Shaminda Amarakoon Mr. and Mrs. B.N. Ashfield Mary Ellen and Thomas Atkins Deborah S. and Bruce M. Berman Ashley Bishop Donald Brown Anne and Guido Calabresi Joy Carlin Sarah Bartlo Chaplin Daniel Cooperman and Mariel Harris Sean Cullen Bob and Priscilla Dannies Robert Dealy Martin Desjardins Alexander Dodge Janann Eldredge Bernard Engel Roberta Enoch and Steven Canner Peter Entin Susan and Fred Finkelstein Betty and Joshua Goldberg David Marshall Grant Eduardo Groisman Regina Guggenheim William B. Halbert Doug Harvey Jennifer Hershey
Shane Hudson Mary and Arthur Hunt Peter Hunt Pam Jordan Elizabeth Kaiden Harvey Kliman and Sandra Stein Hedda and Gary Kopf Frances Kumin Sanaa Lathan Suttirat Larlarb Kenneth Lewis Chih-Lung Lui Charles H. Long Robert W. Lyons Peter Macon John McAndrew Peter and Wendy McCabe Susie Medak and Greg Murphy Jonathan Miller Margaret Morgan Daniel Mufson Laura Naramore Victoria Nolan and Clark Crolius Janet Oetinger Arthur Oliner F. Richard Pappas Russell Parkman Louise Perkins and Jeff Glans Point Harbor Fund of the Maine Community Foundation Faye and Asghar Rastegar Jon and Sarah Reed David and Barbara Reif Abby Roth and R. Lee Stump Helen Sacks Dr. Mark Schoenfeld Sandra Shaner Anna Deavere Smith Dr. and Mrs. Dennis D. Spencer James Steerman Jeremy Stein Ted Stein Matthew Suttor David Sword Sarah Treem Sylvia Van Sinderen and James Sinclair Paul Walsh Mark Weaver Vera Wells Carolyn Seely Wiener Terrence Witter Steven Wolff Walton Wilson Donald Youngberg
Bruce Ackerman and Susan Rose-Ackerman Luis Alfaro Momoudou Athie Alexander Bagnall Molly Bernard Georg’Ann Bona
Susan Brady and Mark Loeffler Tom Broecker Claudia Brown Mr. and Mrs. Robert Buckholz David Budries William Buck Jonathan Busky Susan Wheeler Byck Michael Cadden Lani Click Aurélia and Ben Cohen Dean Lynn Cooley and Ted Killiam Claire A. Criscuolo John W. Cunningham F. Mitchell Dana Laura Davis and David Soper Aziz Dehkan and Barbara Moss Kelvin Dinkins, Jr. Dennis Dorn Patricia Doukas Karen and Edwin Duval Jerry Evans Michael Fain Evelina Fernandez Joel Fontaine David Freeman Randy Fullerton Shelley Geballe Carol Gibson-Prugh John Glover Stephen Godchaux Marian Godfrey LT Gourzong Rob Greenberg Lorence Gutterman Scott Hansen Douglas Harvey Barbara Hauptman Ricardo Hernandez Chuck Hughes David Henry Hwang Suzanne Jackson Joanna and Lee A. Jacobus Yuriko Kamada Bruce Katzman Edward Kaye Lindsay King James Kleinmann David Kriebs Maryanne Lavan and Larry Harris Bona Lee Max Leventhal and Susan Booth Suzanne Cryer Luke Adam Man Frederick Marker Tom McCarthy Deborah McGraw Diana Michta Janice Muirhead David Muse Regina and Thomas Neville George and Marjorie O’Brien Lori Ott Jacob Padrón
Bruce Payne and Jack Thomas Lisa Rigsby Peterson Alec Purves Sarah Rafferty Theodore Robb Brian Robinson Kerry Robinson and Michael Capello Theodore Robb Steve Robman Carolyn Rochester Howard Rogut Allen Rosenshine Fernande E. Ross Jean and Ron Rozett Robert Sandberg Dana Sanders Suzanne Sato Robin Sauerteig Kathleen McElfresh Scott Paul Selfa Eugene Shewmaker William Skipper Mary C. Stark Regina Starolis Howard Steinman Nausica Stergiou Erich Stratmann Bernard Sundstedt Jeann Terrazzano Richard B. Trousdell Deborah Trout John Turturro and Katherine Borowitz Wendy and Peter Wells Dana Westberg George C. White Amanda Wallace Woods Guy and Judith Yale David York Pat and John Zandy Albert Zuckerman
Todd Berling Mark Bly William Bohnert Anders Bolang Debra Booth Josh Borenstein Michael Boyle Shawn Boyle Amy Brewer and David Sacco James and Dorothy Bridgeman Linda Briggs and Joseph Kittredge Linda Broker Arvin Brown Christopher Brown Julie Brown Stephen and Nancy Brown Warwick Brown William Buck David Budries Stephen Bundy Richard Butler Susan Byck Barbara Bzdyra Michael Cadden David Calica Kathryn A. Calnan Robert Campbell H. Lloyd Carbaugh Vincent Cardinal Lisa Carling David and Helen Carlson Sami Joan Casler Ricardo and Jenny Chavira James Chen Cynthia Clair Carl Clark Gary and Becky Cline Melissa Cochran Jack Cockerill Geoffrey Cohen Robert Cohen FRIENDS Magaly Colimon ($100–$249) Judith Colton and Anonymous Wayne Meeks Paola Allais Acree Forrest Compton Christopher Akerlind Aaron Copp Michael Albano Laurie Coppola Narda Alcorn Jennifer Corman Rachel and Ian Alderman Jim Crabtree Heath and Mary Aldridge Jacob Crane Dale Amlund Douglas and Roseline Nephelie Andonyadis Crowley Michael Annand Alma Cuervo William Armstrong Scott Cummings Peter Aronson Donato Joseph D’Albis Stephen and Judy August Brian Dambacher Robert Auletta Katherine Day Angelina Avallone Peter De Breteville Sandra and Kirk Baird Mr. and Mrs. Paul DeCoster Emily Bakemeier and Sheldon Deckelbaum Alain Moreaux Elizabeth DeLuca Dylan Baker Connie and Peter Dickinson James Bakkom Derek DiGregorio Peter Barr Melinda DiVicino Robert Barr Megan and Leon Doyon Warren Bass Jeanne Drury William and Donna Batsford John Duran Michael Baumgarten Terry Dwyer Nancy and Richard Beals Anne D’Zmura Jennifer Bennick Laura Eckelman
Phoebe and Kem Edwards Susan and Richard Ehrenkranz Fran Egler Robert Einienkel Dr. Marc Eisenberg Nancy Reeder El Bouhali Elizabeth English Dirk Epperson David Epstein Dustin Eshenroder Frank and Ellen Estes Femi Euba Connie Evans Jerry Evans John D. Ezell Ann Farris Richard and Barbara Feldman Mr. and Mrs. Kenneth Fellows Eugene Fidell and Linda Greenhouse Paul and Susan Birke Fiedler Terry S. Flagg Madlyn and Richard Flavell Keith Fowler Walter M. Frankenberger III Donald Fried Reynold Frutkin Richard Fuhrman Barbara and Gerald Gaab Josh Galperin James Gardner David and Joan Geetter Stephen Gefroh Eugénie and Brad Gentry Lauren Ghaffari Nina Glickson and Worth David Lindy Lee Gold Robert Goldsby Diane Goldsmith Steven Gore Naomi Grabel Charles Grammer Bigelow Green Elizabeth M. Green Elizabeth Greenspan and Walt Dolde Joseph Grifasi Marion Grinwis Michael Gross John Guare David Hale Stephanie Halene Amanda Haley Alexander Hammond Ann Hanley John Harnagel Charlene Harrington Lawrence and Roberta Harris Babo Harrison Frederick Hartung Brian Hastert Kathleen Hayes and John Hanson James Hazen Ethan Heard Beth Heller Robert Heller Ann Hellerman
Steve Hendrickson Molly Hennighausen Chris Henry Jeffrey Herrmann Caite Hevner Joan and Dennis Hickey Roderick Hickey Christopher Higgins Gabrielle and Michael Hirschfeld Elizabeth Holloway Betsy Hoos Nicholas Hormann Susan Horrowitz Kathleen Houle Kevin Hourigan David Howson Evelyn Huffman Derek Hunt Peter H. Hunt John Huntington John W. Jacobsen Chris Jaehnig Ina and Robert Jaffee Eliot and Lois Jameson Elizabeth Johnson Geoffrey Ashton Johnson Donald E. Jones, Jr. Martha Jurczak Jonathan Kalb Carol Kaplan Dr. and Mrs. Michael Kashgarian Dr. Jane Katcher Edward Kaye Patricia Keenan Jay B. Keene Asaad Kelada Barnet Kellman Roger Kenvin Peter Kim Carol Soucek King Susan Kirschner-Robinson and Shirley Kirschner William Kleb Dr. Lawrence Klein Fredrica Klemm Elise F. Knapp Deborah Kochevar David Koppel Joseph Kovalick Brenda and Justin Kreuzer David Kriebs Susan Kruger and Family Ann Kuhlman and Adel Allouche Tom Kupp Mitchell Kurtz William Kux Ojin Kwon Howard and Shirley Lamar Naomi Lamoreaux Marie Landry and Peter Aronson Michael Lassell James and Cynthia Lawler Martha Lidji Lazar Drew Lichtenberg Rita Lipson Irene Lewis Fred Lindauer Rita Lipson Robert Hamilton Long II
contributors to Yale School of Drama and Yale Repertory Theatre Arthur Lueking Everett Lunning Andi Lyons Janell MacArthur Lizbeth Mackay Wendy MacLeod Alan MacVey James Magruder Dr. Maricar Malinis Jocelyn Malkin, MD Geertruida Malten Peter Maradudin Marvin March Frederick Marker Patrick Markle Jonathan Marks Craig Martin Kenneth Martin Nancy Marx Maria Mason and William Sybalsky Aaron Palmer Mastin Maria Matasar-Padilla Craig Mathers Ben and Sally Mayer Marya Mazor Margaret and Robert McCaw Matthew McCollum Patrick and Linda McCrelles Robert McDonald Thomas McGowan Deborah McGraw Bill McGuire Robert McKinna and Trudy Swenson Patricia McMahon Susan McNamara Brian McManamon Charles McNulty Lynne Meadow James Meisner and Marilyn Lord Donald Michaelis Carol Mikesell Kathryn Milano Bruce Miller Jane Ann Miller Jonathan Miller Sandra Milles Lawrence Mirkin Frank Mitchell Jennifer Moeller Richard Mone George Moredock David and Betsy Morgan Joey Moro Beth Morrison Jay Mullen Carol Bretz Murray-Negron Jim and Eileen Mydosh Rachel Myers
Rhoda F. Myers Jason Najjoum Mariko Nakasone Kate Newman Jennifer Harrison Newman Ruth Hunt Newman Gail Nickowitz Nancy Nishball Jane Nowosadko Mark Novom Deb and Ron Nudel Adam O’Byrne Eileen O’Connor Sara Ohly Richard Olson Edward and Frances O’Neill Alex Organ Sara Ormond Kendric T. Packer Maulik Pancholy Joan Pape Michael Parrella Jeffrey Park Russell Parkman Dr. and Mrs. Michael Parry Dr. Gary Pasternack Alexandra Paxton Amanda Peiffer Peter and Linda Perdue William Peters Dr. Ismene Petrakis Geoffrey Pierson Joel Polis Lisa Porter Michael Posnick Jeffrey Powell and Adalgisa Caccone Gladys Powers Robert Provenza Jeffry Provost William Purves Gail Reen Barbara Reid Laila Robins Joan Robbins Sheila Robbins Nathan Roberts Peter S. Roberts Lori Robishaw Priscilla Rockwell Doug Rogers Constanza Romero Melina Root Robert Rooy Stephen Rosenberg June Rosenblatt Joseph Ross Donald Rossler John Rothman Allan Rubenstein Rebecca Rugg
Dean and Maryanne Rupp Janet Ruppert Ortwin Rusch Raymond Rutan John Barry Ryan Dr. Robert and Marcia Safirstein Steven Saklad Donald Sanders Robert Sandine and Irene Kitzman Adam Saunders Peggy Sasso Joel Schechter Anne Schenck Kenneth Schlesinger Georg Schreiber Jennifer Schwartz Kimberly Scott Forrest E. Sears Ellen Seltzer Subrata K. Sen John Shea III Morris Sheehan Paul R. Shortt Rachel Shuey Lorraine D. Siggins William Skipper Cindy and Mark Slane William and Elizabeth Sledge Gilbert and Ruth Small E. Gray Smith, Jr. George Smith Helena L. Sokoloff Suzanne Solensky and Jay Rozgonyi Charles Steckler Louise Stein Neal Ann Stephens John Stevens Mark Stevens Howard Steinman Michael Strickland Jarek Strzemien Katherine Sugg William and Wilma Summers Mark Sullivan Thomas Sullivan Jane Suttell Tucker Sweitzer and Jerome Boryca Janet Takami Jean and Yeshvant Talati Douglas Taylor Kathleen Taylor Jane Savitt Tennen Aaron Tessler Muriel Test Kat Tharp
Pat Thomas Eleanor Q. Tignor, P.h.D David F. Toser David and Lisa Totman Russell L. Treyz Ellen Tsangaris Suzanne Tucker Gregory and Marguerite Tumminio Leslie Urdang Joan van Ark Flora Van Dyke Carrie Van Hallgren Craig Volk Mark Anthony Wade Erik Walstad Brad Ward David Ward Barbara Wareck and Charles Perrow Cliff Warner John Weikart Rosa Weissman Charles Werner Kathleen Whitby Peter White Robert and Charlotte White Stanley Wiklinski Lisa A. Wilde Robert Wildman Marshall Williams Sarah Williams Annick Winokur and Peter Gilbert Alex Witchel Andrew Wolf* Arthur and Ann Yost Shoshana Zax Daniel Zelterman Robert Zoland
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Aetna Foundation Ameriprise Financial Chevron Corporation Covidien General Electric Corporation IBM Mobil Foundation, Inc. Pfizer Procter & Gamble The Prospect Hill Foundation
Frances Black Anita Pamintuan Fusco Jane Kaczmarek Brian Mann
This list includes current pledges, gifts, and grants received from July 1, 2018, through January 1, 2020.
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MANAHATTA by Mary Kathryn Nagle, directed by Laurie Woolery. Yale Repertory Theatre, January 24 through February 15, 2020.