MANNING, by Benjamin Benne, directed by Alex Keegan, David Geffen School of Drama at Yale, 2021

2021–22 SEASON

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 well-being, inclusion, and equity 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.

DECEMBER 16–18, 2021

Iseman Theater, 1156 Chapel Street, New Haven, Connecticut

DAVID GEFFEN SCHOOL OF DRAMA AT YALE James Bundy, Elizabeth Parker Ware Dean Florie Seery, Associate Dean Chantal Rodriguez, Associate Dean Kelvin Dinkins, Jr., Assistant Dean Anne Erbe and Tarell Alvin McCraney, Co-Chairs of Playwriting PRESENTS

by Benjamin Benne

directed by Alex Keegan Scenic Designer

Emmie Finckel Costume Designer

Kitty Cassetti

Lighting Designer

Riva Fairhall

Puppet Designer

Erminio Pinque Sound Designer

Liam Bellman-Sharpe Production Dramaturgs Sophie Greenspan and Henriëtte Rietveld Creative Producer

Catherine María “Cat” Rodríguez Technical Director

Shaoqian Lu

Stage Manager

Andrew Petrick

Manning was developed in the Dorothy Strelsin New American Writers Group at Primary Stages.

Spanish consultation and translations by Catherine María “Cat” Rodríguez.

This production is supported by the Benjamin Mordecai III Production Fund.

Cast in alphabetical order: Ana.................................................................................................... Nefesh Cordero Pino Julio........................................................................................................... Anthony Holiday Sebastian.............................................................................................. Jake Ryan Lozano* Freddy........................................................................................................... Julian Sanchez

Setting sometime like the now someplace like Tacoma, WA Manning is performed without an intermission.

All patrons must wear masks at all times while inside the theater.

Our staff, backstage crew, and artists (when not performing on stage) will also be masked at all times.

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. *Appears through the courtesy of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

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.

A Note from the Playwriting Chairs As Chairs of the Playwriting program, we welcome you today to the David Geffen School of Drama at Yale. Traditionally, our decade-old Carlotta Festival of New Plays is a culmination of practice for three emerging writers. Traditions have had to change. A year and more of deep reflection and grief has brought us with fewer folx to this auspicious occasion. Many of us are still in a space of grief even while we celebrate.

Benjamin Benne, our fourth-year student, whose play Manning we are launching into the world, has changed the program of playwriting at the David Geffen School of Drama, forever. A program that thought a lot about production has shifted drastically to one that focuses on process and community. How do we hold space, make space for the uncomfortable, the unimaginable, and intangible? Ben continues to teach us ways to do this, ways to live this.

He has pushed our program, with grace and great care, to interrogate some of the more toxic elements of our industry. We have found better ways to practice care and love for the work and the humans that make that work, because of Ben. Manning looks at the ways communities, particularly those made up of men, take care of the most vulnerable. It is a subtle powerful meditation on the ways our perception of who we are can control and sometimes disrupt the love we have for each other. We are proud that he began work on this piece here.

We are grateful for the space provided by the Manning company to remember, to grieve, and care, together.

Anne Erbe Playwriting Co-Chair

Tarell Alvin McCraney Playwriting Co-Chair

There are some plays that I know that I’m going to write. For those who saw my Langston Hughes play In His Hands, writing about the intersection of Christianity and being gay was something I always knew I’d write about someday... in some ways I feel like I’d been preparing to write that play my whole life...but when I finally decided to actually write the play, honestly, the results surprised me.

But occasionally I write something that even the origin feels mysterious and bewildering to me.

Had Carlotta happened a year ago, I would’ve presented a totally different play. In fact, I don’t know that Manning would exist had it not been for the YouTube rabbit hole of falconry videos I watched during quarantine or the fact that I spent about 9 months with my family last year—getting to watch my grandma garden from the window where my writing desk was stationed (previously I hadn’t spent more than a few days with them consecutively since I lived with them back in 2012). And then there was the grief. Mounting grief on various levels all around

us. Inescapable. I was confronted with the fact that I’d been trying to escape the grief of my father’s passing for 8 years. It was after he passed in 2013 that I decided to pursue playwriting; a path that has led me all the way here. It was Sophie that pointed to the hard, heart question (contained in an early draft of Manning) that made me realize that I was writing about my father without trying to write about my father—and that I needed to just write about my father to allow myself to finally (after 8 years) mourn him. I hadn’t wept since before my father died (maybe like a decade ago) so when I finally wrote the draft that was really really about my father, I promised myself two weeks off from work— my first time off since I began pursuing playwriting in 2013—and that break was one of the most painful experiences of my life.

Without the distraction of work, I felt all the suppressed things bubble up and pour out. It was like a moment I had written into one of the first plays back in 2013, where a character had forbidden herself from mourning and finally at the play’s end releases the grief

she’d been holding for a decade.

The stage direction read, “MARINA releases the water that she has been holding inside her for years tears roll out of her in waves.” The 25 year old who wrote those words probably couldn’t have known it then, because my 33 year old self truly didn’t realize it until this past summer, that my plays are roadmaps for how I would live if I were more courageous: the scenes I’ve written are examples to me of the vulnerability I wish I allowed myself, the conversations I wish I felt free to have, the relationships that I wish I could cultivate.

Writing has been an act of parenting (or reparenting?) myself.

When grieving my father and feeling so alone, I reached out to my sister (our relationship has been up and down for years) and together we spent three nights telling the story of our father together. It was reminiscent of the plot of a play I’d written called What/Washed Ashore/Astray (the first play I shared at Yale during Hansberry Welcome) about two siblings who together create an archive of their shared memories.

Now, my sister and I were doing a

version of that same thing about our father. This past summer I made a new soul connection.

Swept up in a romance that I didn’t think I was capable of and, while brief, it has been the most memorable and meaningful of my life. He and I bonded for hours over our religious upbringing, our beliefs about God and existence. I realized that I had written a template for this in my LH play In His Hands.

I’ve begun to see my life imitate my art as if writing plays were prayers to manifest the life I wish I’d always been brave enough to live. While I’m not entirely sure what Manning is teaching me yet, I think it has something to do with making me a better man.

Originally, I thought my Jesus Year would consist of graduation: ending one chapter and beginning a new one. But nothing could’ve prepared me for this past year: it has been the most painful and beautiful of my life. The crucifixion has been so much more complex and difficult than I imagined and I pray the resurrection far more rewarding.

—Benjamin Benne, Playwright

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In the pacific Northwest, there are two types of native rabbits: the Nuttall’s cottontail and the Pygmy rabbit. The Pygmy rabbit is the smallest rabbit in the US— measuring only 11 inches in length— and is the only rabbit in the US that digs its own burrow. The Pygmy rabbit has been federally listed as an endangered species since 2003.

The name “Tacoma” originates from the Puyallup language to mean “mother of the waters.” This name was initially given to Mount Rainier, which sits 60 miles southeast of Tacoma, 14,410 feet above sea level, and is the most glaciated peak in the contiguous US. Its glaciers are the headwaters of several different watersheds, spawning five major rivers.

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Plants have intricate root systems that communicate by excreting chemicals, called root exudates, that send signals to every other living thing in the root zone, or the rhizosphere.

Plants can produce over 100,000 different chemical signals.

Tacoma is in a highly urbanized area, 32 miles southwest of Seattle and 120 miles north of Portland.

It occupies the unceded ancestral lands of the Puyallup Tribe, a delta landscape of coarse mixed soils.

Historically, the land was covered by coniferous forests—native trees and shrubs are still present but are now surrounded by human habitats.

—Sophie Greenspan and Henriëtte Rietveld, Production Dramaturgs

Cast Bios Ana

Nefesh Cordero Pino (she/her)

is a fourth-year M.F.A. candidate at David Geffen School of Drama, where she was seen in LOCUSTS, Hamlet, You Will Get Sick, and How Black Girls Get Over Fuck Bois, Vol. 1.

Other credits include NOVIOS: part one and Red Speedo at Yale Cabaret.

She holds a B.F.A. in acting and public relations from the University of Puerto Rico, where she performed in Pecados Minímos, The Crucible, Los Menecmos, Jaula de Pájaros, The Maids, Hand to God, and Ofel.

Julio

Anthony Holiday is a fourth-year

actor at David Geffen School of Drama, where his credits include Claudio in Measure for Measure; Mr. Burns, a post-electric play; and LOCUSTS by Christopher Gabriel Nuñez. Other credits include A Raisin in the Sun at Yale Repertory Theatre (canceled due to the Covid pandemic) and Lenny’s Fast Food Kids Gang at Yale Cabaret. He studied at the Atlantic Acting School, where he performed in The Last Days of Judas Iscariot, The Cleaners, and The Island. He was also part of Brookdale Summer Ensemble’s Shakespeare Series, where he performed in Measure for Measure, Love’s Labour’s Lost, and The Winter’s Tale.

Sebastian

Jake Ryan Lozano (he/they) is a

Chicanx/Mestizx artist from San Antonio, Texas, currently residing in New York. When he’s not dancing or acting, he’s shamelessly reading and watching hours upon hours of manga and anime (he is most charmed by the likes of Roronoa Zoro, Kenma Kozume, Rimuru Tempest, and Sayaka Kanamori). His work is dedicated to his grandparents and all

the queer, brown kids figuring it out.

Besos, Pura Vida, y Comunidad.

Freddy

Julian Sanchez is a fourth-year

M.F.A. candidate at David Geffen School of Drama, where he was seen in Alice and YELL: a “documentary” of my time here. Other credits include Girls (Yale Repertory Theatre); Burn Book, Lenny’s Fast Food Kids Gang (Yale Cabaret); The Swallow and the Tomcat (Yale Summer Cabaret); Hand to God (Live Arts); A Chorus Line, Middletown, Violet, Spamalot (Heritage Theatre Festival); Julius Caesar and Titus Andronicus (Royal Academy of Dramatic Art). He holds a B.A. in English literature from University of Virginia, where he was seen in The Comedy of Errors, The Sweetest Swing in Baseball, and Richard II, among others.

Creative Team Bios Sound Designer

Liam Bellman-Sharpe is a multi-

disciplinary practitioner working primarily in sound and music for live performance. Liam is thrilled to be returning to David Geffen School of Drama to collaborate with dear colleagues on this wonderful production, after graduating with an M.F.A. in 2020. Liam specializes in devising unique musical and sonic scores and environments for theater, dance, installation, and hybrid forms, as well as designing sound delivery systems and digital tools to realize these scores. As a composer, sound designer, orchestrator, musician, and music director, Liam’s work has been heard in the United States, Europe, Hong Kong, and Australia.

Liam also holds a bachelor of music with honours from the Melbourne Conservatorium of Music.

Playwright

Benjamin Benne is a fourth year

M.F.A. candidate at David Geffen School of Drama. He is the winner of Arizona Theatre Company’s National Latinx Playwriting Award, a Playwrights’ Center Affiliated Writer, and is under commission from South Coast Repertory Theatre. His plays have been developed with Roundabout, The Public, Playwrights Realm, Denver Center, Old Globe, Two River, SPACE on Ryder Farm, among many others.

Upcoming productions in 2022: In His Hands (Langston Hughes Festival) at Mosaic Theater Company and Alma (Yale Cabaret) at Center Theatre Group, ArtsWest, and American Blues Theater. benjaminbenne.com Costume Designer Kitty Cassetti (she/her/hers) is a third-year M.F.A. candidate at David Geffen School of Drama. Costume design credits include In Between Bitches, Maggie and Iris (Yale Cabaret), and To Be Swallowed Whole (Hampshire College Productions). Assistant design credits include Celebrating the Black Radical Imagination: Nine Solo Shows (Williamstown Theatre Festival), Alice, and Mr. Burns, a post-electric Play (David Geffen School of Drama).

Prior to Yale, Kitty worked at Eric Winterling, Inc. as a shopper and went on to assist on projects designed by Linda Cho such as Anastasia (National Tour), Over the Rainbow (Paper Mill Playhouse), Endlings (ART) and Ever After (Alliance Theater). Kitty holds a B.A. from Hampshire College.

Lighting Designer Riva Fairhall is a fourth-year M.F.A. candidate at David Geffen School of Drama, where she designed Alice; Mr. Burns, a post-electric play; The Tempest; and assisted on the 2019 Carlotta Festival of New Plays. Her other

credits include Bakkhai (Yale Summer Cabaret); Fireflies and School Girls; Or, the African Mean Girls Play (Yale Cabaret); and assistant lighting design for El Huracán (Yale Repertory Theatre).

She holds a B.A. in theater studies from Guilford College. rivafairhall.com Scenic Designer

Emmie Finckel (they/them) is a

queer, Asian American scenic designer specializing in new work and immersive design. Emmie is excited by work rooted in community and collaboration that prioritizes inclusivity and challenges traditional uses of theatrical space. Recent design credits include The Watering Hole (Signature Theatre), In the Penal Colony (NYTW Next Door), Athena (JACK), Riot Antigone (La MaMa), Mondo Tragic (National Black Theatre), East o’, West o’! (Ars Nova ANT Fest), and props for Mrs. Murray’s Menagerie (Ars Nova) and Folk Wandering (A.R.T. New York). Assistant/associate design credits include numerous productions with Gabriel Evansohn as a member of the Woodshed Collective, including KPOP and Empire Travel Agency.

Emmie holds a B.A. from Wesleyan University and is currently pursuing their M.F.A. in design at David Geffen School of Drama. efinckel.com Production Dramaturg Sophie Greenspan is a fourth-year M.F.A. candidate at David Geffen School of Drama. Dramaturgy credits include La Cenerentola, Don Giovanni, and Fidelio (NEMPAC Opera Project); In the Next Room, or the vibrator play (The Footlight Club); Mrs. Packard (Bridge Repertory Theater); The Conduct of Life, Lenny’s Fast Food Kids Club, How to Relearn Yourself, and Cock (Yale Cabaret); Girls (Yale Repertory Theatre, Assistant Dramaturg). Sophie holds a B.A. from Brandeis University.

Creative Team Bios Director

Alex Keegan is a director whose work

includes Shakespeare’s Measure for Measure, Gloria Majule’s Uhuru (Yale), Reed Northrup’s Auntie Vanya (Ars Nova ANT Fest), Qui Nguyen’s She Kills Monsters (Geva Fellowship), cocreated Aplomb (The Habitat), Margot Connolly’s Tough (Williamstown), Gracie Gardner’s Primary (Sanguine/IRT), and new plays with O’Neill Young Playwrights Festival, Cherry Lane Theatre, and MCC FreshPlay. She’s a member of Roundabout Directors Group, a recipient of an EST/Sloan Commission, Drama League Residency, NYTW Adelphi Residency, and was Co-Artistic Director of Yale Summer Cabaret. Alum: The Civilians R&D Group, Rattlestick’s Middle Voice Company, Lincoln Center Directors Lab, Williamstown Directing Corps. B.A., Brown; M.F.A. candidate, David Geffen School of Drama. Alex-Keegan.com Technical Director Shaoqian Lu is a fourth-year student in technical design and production at David Geffen School of Drama, where his credits include as u like it and Alice.

Other credits include Girls at Yale Repertory Theatre and Is God Is and #4 at Yale Cabaret. Before coming to Yale, he was a theater technician in Shanghai Culture Square in Shanghai, China. He studied Arts Management in Shanghai Conservatory of Music.

Stage Manager

Andrew Petrick (he/him/his) is a

third-year M.F.A. candidate. Stage management credits include Measure for Measure, directed by Alex Keegan and In His Hands; or the gay christian play, directed by Maeli Goren (David Geffen School of Drama); The Blacker~The Bärry, directed by Stew, and Harmless, directed by Dan Hurlin (Sarah Lawrence College); The Seagull, directed by John Collins (Elevator Repair Service); Pride & Prejudice, directed by Christopher

Edwards and Cry It Out, directed by Marc Masterson (Dorset Theatre Festival); Jack and the Beanstalk, directed by Julie Atlas Muz (Abrons Art Center); When We Were Young and Unafraid, directed

by Spencer Knoll (Downstage Theatre Company) B.A., Sarah Lawrence College.

Puppet Designer

Erminio Pinque is a performance

artist, puppet and prop fabricator, and Artistic Director of BIG NAZO LAB, an international creature shop and touring group based in Providence, Rhode Island.

His creations have appeared in festivals, theaters and public spaces throughout Asia, Europe, and North America and he’s designed elements for productions at La Mama, the Belasco Theatre, Yale Rep, the Alley Theatre, BACA Downtown, Trinity Rep Co, and college theaters including Brown University and Rhode Island School of Design.

The inflatable elements in this production of Manning were created by Pneuhaus, a Rhode Island-based art and design collective that fabricates large outdoor installations under their own name as well as in collaboration with other artists.

Production Dramaturg Henriëtte Rietveld is a theatermaker and scholar based between the US, the UK, and The Netherlands. She is a Fulbright Fellow and fourth-year student in the Dramaturgy and Dramatic Criticism MFA/DFA program at David Geffen School of Drama. At Yale, her credits include Uhuru, Elon Musk and the Plan to Blow up Mars The Musical, and Waste//Land—A Climate Change Theatre Action. Before coming to Yale, she worked as a director, dramaturg, and creative producer in London. Henriëtte is excited about exploring models of deep collaboration, environmental and sitespecific work that engage with changemaking, and the use of technology in performance. henrietterietveld.com

Creative Producer

Catherine María “Cat” Rodríguez

werqs as a feral performer and director, serving collab, community, and lqqks wherever the art takes her, whatever stage (or screen) it’s on. A core member of theater+media company Fake Friends, Cat digitally dommed in Circle Jerk, a finalist for the 2021 Pulitzer Prize for Drama. Cat’s a frequent collaborator of Benjamin Benne; she’s partnered as his directress + dramaturg, leading rooms at DCPA, Arizona Theatre Company, Milwaukee Rep, Two River, Duke University, Yale Cabaret, &c. Cat’s an inaugural member of Sundance’s 2021 Art of Practice Fellowship. She works in English y Spanish, talks with her hands, and anda con ganas. A freelancing femme, Cat considers herself a nomad but names New Orleans/Nicaragua home. www.catlikemeow.com

The Benjamin Mordecai III Production Fund, established by

a graduate of the School, 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 theatre. 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 20th Century Cycle.

for Manning Artistic

Production

Kim Zhou

Cam Camden

Assistant Scenic Designer Assistant Costume Designer

Risa Ando

Assistant Lighting Designer

David DeCarolis

Assistant Sound Designer and Engineer

Production Manager Assistant Technical Director

Jason Dixon

Production Electrician

Miguel Angel Lopez Associate Production Manager

Rebecca Satzberg

Aholibama Castañeda González

Hawk Puppeteer

Run Crew

Aisling Galvin

Assistant Stage Managers

Alexus Coney Kevin Jinghong Zhu

Alison Delaney Brandon Lovejoy Hannah Tran

Administration Associate Managing Director

Emma Rose Perrin House Managers

Natalie King Emma Rose Perrin

Special Thanks

Macaulay Bird Library at Cornell University

David Geffen School of Drama Staff Elizabeth Parker Ware Dean James Bundy Associate Dean Florie Seery Associate Dean Chantal Rodriguez

Senior Administrative Assistant to the Production, Theater Safety and Technical Design and Production program Grace O’Brien

Scenery

Assistant Dean Kelvin Dinkins, Jr.

Technical Directors Neil Mulligan Matt Welander

Artistic Management

Electro Mechanical Laboratory Supervisor Alan Hendrickson

Associate Artistic Director and Director of New Play Programs, Yale Repertory Theatre Jennifer Kiger

Scene Shop Supervisor Eric Sparks

Production Stage Manager James Mountcastle

Senior Lead Carpenter Matt Gaffney

Literary Manager Amy Boratko

Lead Carpenters Ryan Gardner Kat McCarthey Sharon Reinhart Libby Stone

Artistic Associate Kay Perdue Meadows Artistic Fellow Molly FitzMaurice 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 the Design program Kate Begley Baker Senior Administrative Assistant for the Acting program Ellen Lange Library Services Lindsay King

Production

Production Management

Director of Production Shaminda Amarakoon

Production Manager Jonathan Reed (on leave) Acting Production Manager C. Nikki Mills Acting Production Coordinator and Student Labor Supervisor Robert Chikar

Costume Project Coordinator Linda Kelley-Dodd Interim Costume Stock Manager Jamie Farkas Costume Intern Micah Ohno

Electrics

Lighting Supervisor Donald W. Titus Senior House Electricians Jennifer Carlson Linda-Cristal Young Electrics Interns Christina Dragen-Dima Alary Sutherland

Sound

Sound Supervisor Mike Backhaus Staff Sound Engineer Stephanie Smith

Painting

Sound Intern Rebecca Satzberg

Scenic Artists Lia Akkerhuis Nathan Jasunas

Projection Supervisor Eric Lin

Scenic Charge Ru-Jun Wang

Painting Intern Jihane Fareseddine

Properties

Properties Supervisor Jennifer McClure Properties Craftsperson David P. Schrader Properties Associate Zach Faber Properties Warehouse Manager Mark Dionne Properties Intern Kaitie Hughes (on leave)

Costumes

Costume Shop Manager Christine Szczepanski Senior Drapers Clarissa Wylie Youngberg Mary Zihal Senior First Hands Deborah Bloch Patricia Van Horn

Projections

Head Projection Technician Mike Paddock Projection Intern Erin Sims (on leave)

Stage Operations

Stage Carpenter Janet Cunningham

Wardrobe Supervisor Elizabeth Bolster Lead Properties Runner William Ordynowicz Lead Light Board Programmer David Willmore FOH Mix Engineer Eric Norris

Administration

General Management

Associate Managing Directors Madeline Carey Samanta Cubias Caitlin M. Dutkiewicz Emma Rose Perrin

Senior Administrative Assistant to the Associate Dean, Assistant Dean, and Theater Management program Emalie Mayo Assistant Managing Director Jacob Santos Company Manager Caitlin M. Dutkiewicz Assistant Company Manager A.J. Roy

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 William Gaines Associate Director of Development Communications and Alumni Affairs Casey Grambo Senior Administrative Assistant to Development and Alumni Affairs Jennifer E. Alzona

Finance, Human Resources, and Digital Technology Director of Finance and Digital Technology Katherine D. Burgueño

Director of Human Resources Sarah de Freitas Director, Yale Tessitura Consortium, and Web Technology Janna J. Ellis Manager, Business Operations Martha Boateng Digital Communications Associate George Tinari Business Office Specialists Preston Mock Sharon S. Brown

Digital Technology Associates Edison Dule Garry Heyward Senior Administrative Assistant to Business Office, Digital and Web Technology, Operations, and Tessitura Shainn Reaves Business Office Assistants Megan Blake Ashlie Russell Database Application Consultants Ben Silvert Erich Bolton Bo Du

Financial Aid and Registrar

Financial Aid Officer Andre Massiah

Registrar/Admissions Administrator Ariel Yan Senior Administrative Assistant to Financial Aid and Admissions Laura Torino

Marketing, Communications, and Audience Services Director of Marketing Daniel Cress

Director of Communications Steven Padla Senior Associate Director of Marketing and Communications Caitlin Griffin (on leave) Acting Senior Associate Director of Marketing and Communications Jecamiah M. Ybanez Assistant Director of Marketing and Communications Jake Hurwitz Senior Administrative Assistant for Marketing and Communications and the Associate Dean Mishelle Raza Director of Audience Services Laura Kirk Assistant Director of Audience Services Shane Quinn Subscriptions Coordinator Tracy Baldini

Audience Services Assistant Molly Leona Box Office Assistants Mikaela Boone Sydney Garick Jordan Graf Kenneth Murray a.k. payne Production Photographer T. Charles Erickson Videographer David Kane

Theater Safety and Occupational Health

Director of Theater Safety and Occupational Health Anna Glover

COVID Compliance Manager Jonathan Jolly Associate Safety Advisors Annabel Guevara Eric Walker Customer Service and Safety Officers Ralph Black, Jr. Kevin Delaney Ed Jooss John Marquez

Operations

Director of Facility Operations Jennifer Gonsalves Operations Associate Nadir Balan 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