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A NOTE FROM THE ARTISTIC DIRECTOR Welcome to Yale Repertory Theatre! I am delighted you are here for this performance of Marie Antoinette, which marks the returns of playwright David Adjmi and director Rebecca Taichman, whose last collaboration was our world premiere of The Evildoers in 2008. Since then, David’s plays, including Stunning, Elective Affinities, and most recently, 3C, have garnered acclaim from critics and audiences as well as some of the most prestigious awards in the field, including the Guggenheim Fellowship and the Steinberg Playwright Award. Rebecca’s many credits around the country include world premieres by playwrights such as Kirsten Greenidge, Theresa Rebeck, and Sarah Ruhl. It’s a pleasure to welcome them both back to New Haven for this world premiere of a Yale Rep commissioned play. The production also marks Yale Rep’s first ever collaboration with American Repertory Theater at Harvard, where it played in September. It’s been a great joy to work with our colleagues at the A.R.T.—the other American theatre founded by our first artistic director, Robert Brustein—and to watch this tremendously talented company of artists bring David’s wildly imaginative play to life for audiences at both theatres. In Marie Antoinette, David has accomplished something truly remarkable. With a disarming contemporary sensibility, he’s taken an often reviled and caricatured historical figure and created a complicated and compassionate portrait of a young woman on a deeply personal journey that zigzags from screwball comedy to hairraising existential terror and pathos. Hold on, and enjoy the ride! I look forward to hearing what you think about the play (my email address is james.bundy@yale.edu). I hope, too, that you’ll help us spread word about the production to other adventurous theatregoers: Marie Antoinette plays through November 17 only! Sincerely,

James Bundy Artistic Director


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YALE REPERTORY THEATRE James Bundy, Artistic Director Victoria Nolan, Managing Director in a co-production with

american repertory theater PRESENTS the world premiere of

By David Adjmi Directed by Rebecca Taichman Choreographer Scenic Designer Costume Designer Lighting Designer

Karole Armitage Riccardo Hernandez Gabriel Berry Christopher Akerlind

Sound Designer

Matt Hubbs

Puppet Designer

Matt Acheson

Voice Coach

Jane Guyer Fujita

Fight Director

J. David Brimmer

Casting Director Stage Manager

Tara Rubin casting Amanda Spooner

Marie Antoinette was commissioned by Yale Repertory Theatre. Development and production support are provided by Yale’s Binger Center for New Theatre and the Andrew W. Mellon Foundation.

Yale Repertory Theatre is supported in part by the Connecticut Office of the Arts.

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Source: Q1 2012 Omniture; Jan. 2012 Comscore.

CAST in alphabetical order

Joseph, Mr. Sauce


Yolande de Polignac, Mrs. Sauce


Sheep Marie Antoinette




Marie’s Coterie


Therese de Lamballe Louis XVI Axel Fersen Marie’s Coterie Guard The Dauphin


There will be one fifteen-minute Intermission.


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From Riches to Rags:

The Spectacularly Public Life of Marie Antoinette First things first: she never said it. “Let them eat cake,” as a phrase, existed long before Marie Antoinette became France’s most celebrated and controversial queen. Throughout the seventeenth and eighteenth centuries, it was attributed to essentially any princess who appeared aloof from the poor—which was every princess. Marie led a decadent and pampered lifestyle, but she was ultimately more clueless than cruel. Her existence was comfortable, controlled, and isolated—until, all of a sudden, it wasn’t anymore. Marie was born in 1755, a daughter of the Austrian Empress Maria Theresa—the fifteenth of sixteen children, eleven of them girls. The Empress, probably the most powerful woman in Europe, spun a series of complex political alliances and cemented those alliances with promises of marriage. From her very early childhood Marie’s persona and behavior were carefully crafted—she took especially well to dancing and singing, but was resistant to reading and writing, and her governesses tended to finish her homework for her. She was, in fact, notoriously poor at French, the language of European politics and aristocracy. Throughout the 1760s, Marie’s sisters either died of smallpox or were married off, and she became, by default, her mother’s choice to marry the French heir to the throne, the Dauphin, Louis Auguste. Painstaking

negotiations preceded the marriage agreement; the two sides settled on a dowry of 200,000 florins (roughly $3.6 million today), but the French court notably insisted that Marie undergo oral surgeries to correct her unacceptably crooked teeth. In May

“I put on my rouge and wash my hands in front of the whole world.” 1770, Marie was handed over to the French court on a neutral island in the middle of the Rhine River, symbolically removing her Austrian clothing and donning the elaborate dress of Versailles. Marie was fifteen years old and would never see her mother again. Courtly life at Versailles was spectacularly public. Anybody appropriately dressed was welcome to watch the royals eat dinner; men required swords for entry, but these could be borrowed at the palace gates by anyone who forgot his at home. Even more ostensibly private routines, like the daily toilette (morning preparations), were elaborate rituals necessitating a vast array of servants. Marie could not put on her underwear without an audience; indeed, she could not put it on at all without a courtier first presenting it to her. “I put on my rouge and wash my hands in front of the whole world,” she wrote to her mother in 1773. 11

Marie was officially presented to the French public three years after her marriage to Louis in a festive ceremony in Paris. She immediately entranced the crowds; when it was time to return to Versailles, the crush of nearly 200,000 onlookers paralyzed her for an hour. “What touched me the most,” she wrote her mother, was “the tenderness and eagerness of the poor people, who, in spite of the taxes which oppress them, were carried away with joy on seeing us....How lucky we are, in our position, to win the friendship of an entire people so cheaply.” The death of Louis XV in 1774 elevated the Dauphin to the throne; he became Louis XVI, and Marie fully assumed the role of the queen. She was not initially interested in political power, preferring to carry out endless decorations and redecorations of her personal palace, the Petit Trianon. A relatively small chateau on the grounds of Versailles built during the reign of Louis’s father, Trianon became Marie’s intimate escape from the taxing formalities of courtly life. She became a fashion icon, starting the trend of the “pouf”—a towering mass of hair extravagantly decorated with miniature objects. Her chief pleasure was gambling, on one occasion playing for three straight days leading up to her 21st birthday. Her behavior did not cause the enormous French debt which was itself the principal factor in revolution—the costs

of various wars, including the support of the American rebellion in the late 1770s, must shoulder the majority of the blame for that—but nonetheless the French public began to sour on her. Largely due to the royal couple’s difficulty conceiving an heir, libelous and pornographic pamphlets began to appear in the streets of Paris.

L’autre-chienne The Marie of the pamphlets possessed a voracious sexual appetite, which her husband could not satisfy, driving her to seek pleasure from hundreds of male and female courtiers and attendants. Throughout the 1780s, as the French financial situation deteriorated and increasingly exorbitant taxes were levied, public opinion towards the monarchy and towards Marie in particular continued to degenerate. Upon her arrival in France, she had been called with some affection L’Autrichienne, “The Austrian woman;” now the nickname devolved into L’autre-chienne, “the other bitch”—the word other pointing to Marie’s status as an outsider in French society. When things finally fell apart, they fell apart quickly. Parisian mobs stormed the Bastille in July 1789; in August the National Assembly introduced a constitution; in

October a crowd attacked Versailles and forced the royal family to move to Paris, where they were placed under house arrest in the palace of the Tuileries. The King, the Queen, and their children would remain there for two years, until a hopelessly botched escape attempt in 1791 allowed the revolutionaries to begin the process of dismantling the monarchy in earnest. Louis clung to his title until September 1792, and in December was put on trial for treason. He was beheaded in January 1793.

“Be calm, nothing will happen to me.” Throughout this terrifying four-year period, Marie was essentially helpless; she never seemed to grasp completely the gravity of the situation, writing to a friend after the failed escape that, “We

are in view of our guards day and night; I’m indifferent to it…Be calm, nothing will happen to me.” But once Louis was dead, there was no hope for her. She was given a two-day trial, at which she was accused, among much else, of secretly funneling money to Austria and of having an incestuous relationship with her son—behaviors directly lifted from the defamatory pamphlets which had been circulating for a decade. In October 1793, the crowds which had met her with adoration twenty years earlier now gathered to witness her public beheading. Her last words were, “I did not do it on purpose.” She was not speaking of her role, however large or small it was, in the downfall of the extraordinarily privileged monarchical system in which she had participated essentially since birth. Rather, she was speaking to her executioner; upon mounting the guillotine platform, she’d accidentally stepped on his foot. —Eli Keehn, American Repertory Theater Literary/Dramaturgy Intern

This article originally appeared in the Fall 2012 GUIDE of the American Repertory Theater.

The Diamond Necklace Affair In 1772, King Louis XV had an incomparable diamond necklace made for his mistress; he died before it was finished, and she was banished from court. The jewelers tried to sell it to Marie Antoinette, who did not want it. In 1785, the adventurous Madame de La Motte, hoping to gain wealth and power, convinced the Cardinal de Rohan, her lover, to loan her money to purchase this necklace to present to Marie Antoinette and gain the royal favor he desperately sought. De La Motte sent the necklace to London and had the diamonds sold separately. When one of the payments for the necklace was insufficient, the jeweler went to Marie Antoinette; but she had neither ordered nor received the necklace. Although Marie was blameless in this scandal, it added to her reputation as a reckless spendthrift. —Marissa L. Friedman and Stephanie Ward, American Repertory Theater 13


Marie is born in Vienna to the Holy Roman Emperor Francis I and Maria Theresa of the Hapsburgs.


In his work Confessions, Rousseau writes of an overweight noblewoman who proclaims, “Let them eat cake!”— years before Marie enters the public eye.


On the heels of Marie’s rumored infidelity with Axel von Fersen, Louis Joseph is born. He is accepted as the heir to the throne.


Rumors and public derision of Marie reach a fever pitch. The streets are flooded with pamphlets declaring her adulterous, immoral, and ignorant.


Sophie Béatrice, Marie’s second daughter, is born; she dies a year later. Marie commissions the building of a quaint mock village on the grounds of Versailles, called Le Hameau de la Reine (The Queen’s Hamlet).


Marie Antoinette and Louis XVI are married.


King Louis XVI re-gifts the estate Petit Trianon to Marie as a wedding present. Marie commissions an entire remodeling of the gardens. Meanwhile, protesters in Paris riot after a dismal harvest skyrockets the price of bread.


Marie’s brother, Joseph II of Austria, visits the royal couple to encourage consummation of the marriage.



Louis has slowly heeded calls for reform, as France teeters on the brink of bankruptcy. The King assembles the Estates-General, a meeting of French nobles, clergy, and commoners, for the first time since 1614.

Marie gives birth to her first daughter, Marie Thérèse Charlotte. from the left: marie antoinette and louis XVI; caricature depicting Louis XVI during the estates-General;

14 the royal family dinner at versailleS during the riots; marie awaiting her execution.

E timeline 1789

June: The commoners, whose radical policy ideas didn’t sit well with Louis, defect from the Estates-General, forming the National Assembly. Louis attempts (unsuccessfully) to disband the rabble-rousers. Meanwhile, Marie’s eldest son, the Dauphin Louis Joseph, dies of tuberculosis. Her youngest son, Louis Charles, becomes the new Dauphin. July: Mobs converge on the Bastille, in search of arms. This precedes two months of riots by the peasant class. August: The National Assembly abolishes feudalism and adopts the Declaration of the Rights of Man and Citizen. October: Marie and family are taken from Versailles to the Tuileries Palace.


July: Maximilien Robespierre, the de facto leader of the National Assembly, demands that Louis be removed from office. August: The Legislative Assembly does not suspend the king’s powers. Marie and her family are imprisoned at the Temple, a medieval castle in Paris. September: Mobs massacre many of the nobles imprisoned in Paris; 1500 die. The Legislative Assembly is disbanded and replaced by a consolidated National Convention. The Monarchy is abolished, and France is declared a Republic. December: Louis is put on trial for treason.


January: King Louis XVI is executed by guillotine. September: The Reign of Terror, a year-long period of mass executions, begins.


All hereditary titles are abolished, marking the end of noble lineage.


June: Marie and the rest of the royal family attempt to flee France by posing as commoners. It doesn’t work. September: The Assembly introduces a new Constitution. King Louis vows to uphold it and his power is restored as a constitutional monarch.

October: Marie Antoinette is charged with treason, plus a cavalcade of other moral and political crimes. She is found guilty within 24 hours and, the next day, is executed by guillotine at the age of 37.


Robspierre is charged with crimes against the Republic and is put to death. The Reign of Terror ends, having cost France approximately 40,000 lives. —Eli Keehn


cast FRED ARSENAULT (JOSEPH, MR. SAUCE) is making his Yale Rep debut. He appeared on Broadway in The Royal Family (Manhattan Theatre Club) and Born Yesterday. Off-Broadway credits include Henry V (The Guthrie Theater/The Acting Company) and Blue Man Group. Regional and international: The Spy (The Guthrie Theater); The Book Club Play (Arena Stage); Travesties (McCarter Theatre); Twelfth Night, She Stoops to Conquer, Measure for Measure (The American Shakespeare Center); Billy Bishop Goes to War (Virginia Stage); The Blackamoor Angel (Bard Summerscape); Playboy of the Western World (Hangar Theatre); and Pericles (The Continuum Company in Florence, Italy). Film and Television: Shadows & Lies, The Good Wife, Person of Interest, and Law & Order: SVU. Training: MFA from the NYU/Tisch School of the Arts Graduate Acting Program, where he was awarded the Baryshnikov Fellowship. HANNAH CABELL (YOLANDE de POLIGNAC, MRS. SAUCE) previously appeared at Yale Rep in Rinne Groff’s Compulsion (also at Berkeley Repertory Theatre and The Public Theater; Bay Area Critics Circle Award nomination). Her New York theatre credits include the recent Broadway production of A Man for All Seasons (Roundabout Theatre Company); David Adjmi’s 3C (Rattlestick Playwrights Theater); Zero Hour, Mark Smith (13P); Pumpgirl (Manhattan Theatre Club); Jane Eyre (The Acting Company); Millicent Scowlworthy (Summer Play Festival); Gentleman Caller (Clubbed Thumb); and Things I Found on Craigslist (Theater for a New City). Regional and international: As You Like It (Continuum Company, Florence); Sarah Ruhl’s new version of Three Sisters (Cincinnati Playhouse); Lewis Black’s Slight Hitch (New York Stage and Film); the world premiere of Sarah Ruhl’s In the Next Room, or the vibrator play (Berkeley Rep, BACCA nomination); Sedition and Mary’s Wedding (Westport Country Playhouse). Her television and interactive media credits include Law & Order: Criminal Intent, Homefront, and Grand Theft Auto. MFA, NYU/Tisch School of the Arts Graduate Acting Program. She is a recent recipient of the Annenberg Fellowship for the Arts.

DAVID GREENSPAN (SHEEP) Yale Rep debut. Credits include Melancholy Play, Orlando (dir. Rebecca Taichman), The Metal Children, Cornbury, and Beebo Brinker Chronicles, two performance OBIES: one for Some Men and Faust, one for The Boys in the Band and performances in his own plays, Dead Mother at The Public Theater, She Stoops to Comedy (OBIE) and Go Back to Where You Are at Playwrights Horizons; The Argument with Target Margin Theater (OBIE); The Myopia with The Foundry Theatre; Jonas with Transport Group; and with Stephin Merritt Coraline at MCC Theater. He performed a solo rendition of Barry 16

Conner’s 1925 play The Patsy with Transport Group and Gertrude Stein’s lecture Plays with The Foundry. Guggenheim Fellowship, Alpert Award and an OBIE for Sustained Achievement.

MARIN IRELAND (MARIE ANTOINETTE) is making her Yale Rep debut. Broadway: reasons to be pretty (Theatre World Award, Tony nomination), After Miss Julie. Off-Broadway: In the Wake (The Public Theater), Three Sisters (Classic Stage Company), A Lie of the Mind (New Group), Blasted (Soho Rep), Cyclone (Studio Dante, OBIE Award), Maple and Vine (Playwrights Horizons), The Beebo Brinker Chronicles (4th Street, 37 Arts), The Ruby Sunrise (The Public), The Harlequin Studies (Signature Theatre Company), Fighting Words (Underwood Theater), Savannah Bay (Classic Stage Company), Far Away and Nocturne (both at New York Theatre Workshop). Also: Royal Court’s American tour of 4.48 Psychosis and the Wooster Group/Royal Shakespeare Company coproduction of Troilus and Cressida. Regional work includes Mauritius (Huntington Theatre), Heartbreak House (Goodman Theatre), Uncle Vanya (Lake Lucille), and As You Like It (Commonwealth Shakespeare). TV/Film: Untitled Goldwyn/LaGravenese Pilot (AMC), Homeland, The Killing, the Law & Order trifecta, Mildred Pierce (HBO), The Good Wife, I Am Legend, The Understudy, The Loss of a Teardrop Diamond, 28 Hotel Rooms, Hope Springs, Sparrows Dance, and others.  

VIN KNIGHT (ROYALIST) is making his Yale Rep debut. A member of Elevator Repair Service (OBIE for Sustained Excellence), he has appeared in the U.S. and internationally in its productions of Gatz, The Select (The Sun Also Rises), The Sound and the Fury, and No Great Society. Other New York credits include The Temperamentals (Barrow Group), over two dozen productions with the adobe theater company, and performances at Clubbed Thumb, Soho Rep, HERE, New Georges, and Theatreworks/USA. His film and television credits include Robot Stories, Dumped!, Love God, and Louie. He is a graduate of Yale College. JO LAMPERT (MARIE’S COTERIE) is making her Yale Rep debut. New York credits include Murder Ballad (workshop, Manhattan Theatre Club); Fun Home (workshop, The Public Theater); Mercutio in The Last Goodbye (Joe’s Pub, The Wild Project); Dance, Dance Revolution directed by Alex Timbers (Ohio Theatre); Aphrodite in The Daughters (Joe’s Pub); and Hamlet, which she co-composed with Adam Cochran (Galapagos Art Space). Her regional credits include Prometheus Bound (American Repertory Theater); The Last Goodbye (Williamstown Theatre Festival); Raindogs, directed by Andrew MacBean (Bay Street 17

CAST Theater); and The Daughters, directed by Mark Brokaw (Yale Institute for Music Theatre). Film and television credits include Terry Richardson’s Last Hours, directed by Charlotte Robert, and Bjork’s music video, Declare Independence, directed by Michel Gondry. Education: BFA from NYU Tisch School of the Arts (Playwrights Horizons Theater School/Experimental Theater Workshop).

POLLY LEE (THERESE de LAMBALLE) is making her Yale Rep debut. Her New York credits include Nightlands (New Georges); How I Fell In Love (Abingdon Theatre); Roadkill Confidential, One Thing I Like to Say Is, Demon Baby (Clubbed Thumb); Lenin’s Embalmers, Close Ties (Ensemble Studio Theatre); Graceland (LCT3); Slag Heap (Cherry Lane Theatre); Abigail’s Party (understudy, The New Group); and Water (HERE Arts Center). Regional credits include productions at La Jolla Playhouse, Humana Festival, Passage Theatre, O’Neill Playwrights Conference, Gloucester Stage Company, McCarter Theatre, Wilma Theater, Repertory Theatre of St. Louis, Studio Arena, and more. Film: Day Zero, First Look International. Miss Lee has narrated many audiobooks, is a member of EST, Rising Phoenix Rep, Actors’ Equity Association, and is an affiliated artist of Clubbed Thumb. She is a recipient of New Dramatists’ Charles Bowden Award.

STEVEN RATTAZZI (LOUIS XVI) is making his Yale Rep debut. His New York credits include David Adjmi’s Stunning (Lincoln Center’s LCT3); Galileo with F. Murray Abraham, The Tempest with Mandy Patinkin, Age of Iron directed by Brian Kulick, Therese Raquin directed by David Esbjornson (Classic Stage Company); The Tempest, Dinner Party directed by David Herskovits (Target Margin); Spy Garbo, New Islands Archipelago directed by Paul Zimet (3LD); Taylor Mac’s Walk Across America for Mother Earth (La MaMa E.T.C.); Henry V with Liev Schrieber (The Public Theater); Painted Snake on a Painted Chair (OBIE Award, Talking Band); McGurk (Elevator Repair Service); The Fourth Sister directed by Lisa Peterson (Vineyard Theatre); and Richard Foreman’s Samuel’s Major Problems (Ontological Theater at St. Mark’s). Regional: The Lovesong of J. Robert Oppenheimer directed by Mark Wing-Davey (Cincinnati Playhouse in the Park) and Maurice Sendak’s Really Rosie. TV: Dr. Orpheus on The Venture Brothers. JAKE SILBERMANN (AXEL FERSEN) is making his Yale Rep debut. His Off-Broadway credits include David Adjmi’s 3C (Rattlestick Playwrights Theater) and Dracula, alongside George Hearn (The Little Shubert Theatre). Regional theatre credits include the world premieres of Phaedra Backwards (McCarter Theatre) and Derby Day (Camisade Theatre Company). His television credits include As the World Turns (created the role of Noah Mayer), The Good Wife, Gossip Girl, and Guiding Light. He 18

wrote and co-produced the award-winning short film Stuffer. A native New Yorker, he is a graduate of Syracuse University.

TEALE SPERLING (MARIE’S COTERIE) is making her Yale Rep debut. Her New York credits include the Radio City Christmas Spectacular, URANUS by Superhero Clubhouse (Dixon Place), and TheBCam/Macbeth (Inertia Productions). Her film and television credits include Elf Man, Sesame Street, and My Gimpy Life. She has written and produced The Congo Project at Rutgers University, an online celebrity interview series for Angelika Film Center NYC, and the upcoming short film Small World. She is a graduate of the Rutgers University BFA acting program through which she studied for a year at Shakespeare’s Globe Theatre in London. BRIAN WILES (GUARD) made his Yale Rep debut last season in Three Sisters. His other stage credits include Our Town, Camp Monster (Williamstown Theatre Festival); elijah and Small Prophecies (Local Theater Company, Boulder). His television credits include Home Court and As the World Turns. Brian recently received his MFA in acting from Yale School of Drama, where his credits include Iachimo in Cymbeline, Elijah in Michael Mitnick’s elijah, and Jane Heimlich in Jake Jeppson’s Miss Heimlich.

ASHTON WOERZ (THE DAUPHIN) is thrilled to make his Yale Repertory Theatre debut. He appeared on Broadway in Priscilla Queen of the Desert (original cast). Other credits include the workshop of Big Fish—A Musical of Epic Proportions and the National Tour of the Radio City Christmas Spectacular. He has also appeared in various PBS, ABC, and NBC TV shows and pilots. Ashton loves traveling to NYC regularly for fun and lessons. When not performing he loves roller coasters and Legos.

CREATIVE TEAM MATT ACHESON (PUPPET DESIGNER) made his Yale Rep debut as puppet designer and puppetry supervisor on the world premiere of Rinne Groff’s Compulsion, a coproduction with Berkeley Repertory Theatre and The Public Theater. His other credits include A Howling Flower, directed by Nami Yamamoto, and the film In the House of the Sin Eater, and he has also worked with Dan Hurlin, Mabou Mines, Lee Breuer, Basil Twist, Paula Vogel, Chris Green, the Metropolitan Opera, MTV, and Lake Simons. Currently, Matt directs the Puppet Lab at St. Ann’s Warehouse and serves as Resident Puppetry Director for the Broadway production of War Horse at Lincoln Center Theater and Associate Puppetry Director for the play’s North American tour. 19

CREATIVE TEAM DAVID ADJMI (PLAYWRIGHT) was listed as one of the Top Ten in Culture for 2011 by The New Yorker magazine. He is the author of Stunning (LCT3/Lincoln Center Theater, Woolly Mammoth Theatre Company), The Evildoers (Sundance, Yale Repertory Theatre), Caligula (Soho Rep Studio Series), and Strange Attractors (Empty Space). His play 3C received its world premiere at Rattlestick Playwrights Theater in June 2012 and was dubbed “the most divisive and controversial play of the season” by the New York Post. Elective Affinities, which premiered at the Royal Shakespeare Company, received its U.S. premiere last December at Soho Rep with Zoe Caldwell. He is developing an adaptation of Molière’s Bourgeois Gentilhomme in tandem with choreographer Karole Armitage, as well as an untitled new play for Sean Hayes. David was awarded a Guggenheim Fellowship, the Whiting Writers’ Award, the Kesselring Prize for Drama, the Steinberg Playwright Award (the “Mimi”), and the Bush Artists Fellowship, among others. He is the recipient of multiple MacDowell Colony fellowships, a Sundance/ Ucross residency and others. He currently holds commissions from Lincoln Center Theater, Yale Rep, Berkeley Rep, American Repertory Theater, and the Royal Court, and he is the recipient of the 2012 Fadiman Award from the Center Theatre Group. He has served on panels for the Luminato Festival, National Endowment for the Arts, the McKnight Foundation, Massachusetts Cultural Council, Harvard University, Yale School of Drama, and others. He is a member of New Dramatists, the Dramatists Guild, MCC Theater Playwrights’ Coalition, and Soho Theatre’s “The Hub.” A collection of David’s work, Stunning and Other Plays, is published by TCG, and his work is included in The Methuen Drama Book of New American Plays. His untitled memoir is forthcoming from HarperCollins. CHRISTOPHER AKERLIND (LIGHTING DESIGNER) Recent productions include the set and lighting design for Topdog/Underdog, directed by Suzan-Lori Parks (Two River Theatre); the Broadway production of The Gershwins’ Porgy and Bess (Tony Award nomination); Martha Clarke’s L’Altra Metra del Cielo (Teatro alla Scala, Milan); the world premiere of Philip Glass’s Appomattox, directed by Robert Woodruff (San Francisco Opera). Other Broadway credits include End of the Rainbow, Superior Donuts, Top Girls, 110 in the Shade (Tony nomination), Shining City, Rabbit Hole, Talk Radio, Awake and Sing (Tony nomination), Seven Guitars (Tony nomination), and The Light in the Piazza (Tony, Drama Desk, Outer Critics, and Henry Hewes Awards). His extensive credits in opera include productions at the Boston Lyric, Dallas, Glimmerglass, Hamburg, Houston, Minnesota, New York City, Nissei, and Santa Fe Operas and over forty-six productions for Opera Theatre of St. Louis, where he was resident lighting designer for twelve years. A graduate of Yale School of Drama, he is the recipient of an OBIE Award for Sustained Excellence in Lighting Design, the Michael Merritt Award for Design and Collaboration, and numerous nominations for the Drama Desk, Lucille Lortel, Outer Critics Circle, and Tony Awards.

KAROLE ARMITAGE (CHOREOGRAPHER) is the Artistic Director of the Armitage Gone! Dance Company based in New York and renowned for pushing the boundaries to create contemporary works that blend dance, music, and art. Armitage has choreographed for major dance companies throughout Europe and the U.S. and 20

has directed opera for leading European houses. She was director of the Florence Ballet (1996–2000), the Venice Biennale of Contemporary Dance (2001), and was resident choreographer for the Ballet de Lorraine (2000–2005). She is known for her collaborations with important contemporary artists, such as Jeff Koons, Brice Marden, filmmaker James Ivory, and pop icons Madonna and Michael Jackson. She has also created choreography for a William Wegman dog and choreographed the Cirque du Soleil production AmaLuna in 2012, directed by Diane Paulus. Armitage received a Tony nomination for her Broadway choreography of Hair (2009), also directed by Diane Paulus, after making her Broadway debut with Passing Strange (2008), which was filmed by Spike Lee. She received the French honor Commandeur dans L’ordre des Arts et des Lettres. She danced with Balanchine’s Geneva Ballet (1973–1975) and the Merce Cunningham Dance Company (1976–1981).

GABRIEL BERRY (COSTUME DESIGNER) Recent work includes Osvaldo Goliov’s Ainadamar, directed by Peter Sellars for the Teatro Real in Madrid; Stew and Heidi Rodewald’s The Total Bent at The Public Theater; and the world premiere of Tennessee Williams’s last play, Of Masks Outrageous and Austere, at the Bleeker Street Theatre in New York. An OBIE and Bessie Award winner, Ms. Berry is the only American to ever win an individual medal at the Prague International Design Quadrennial, receiving a silver medal for her contributions to experimental theatre.

J. DAVID BRIMMER (FIGHT Director) Broadway credits include Wit; Born Yesterday; A Life in the Theatre; Speed the Plow; Come Back, Little Sheba; Spring Awakening; and The Lieutenant of Inishmore. Other credits include the New York premieres of Blasted, The Whipping Man, Ages of the Moon, The American Pilot, Blackbird, Bug, and Killer Joe. He has worked with The Public Theater, the Metropolitan Opera, Manhattan Theatre Club, Atlantic Theater Company, The Roundabout, Guthrie Theater, David Mamet, Sam Shepard, Ethan Coen, Martin McDonough, Tracy Letts, Ken Russell, and Franco Zeffirelli.

RICCARDO HERNANDEZ (SCENIC DESIGNER) Previous Yale Rep productions include Autumn Sonata, Battle of Black and Dogs, and David Adjmi’s The Evildoers. His Broadway credits include The Gershwins’ Porgy and Bess; The People in the Picture; Caroline, or Change; Elaine Stritch at Liberty (also National Tour, London); Topdog/ Underdog (also London); Bells Are Ringing; Parade (Tony, Drama Desk nominations); Bring in ’Da Noise, Bring in ’Da Funk (also National Tour, Japan); and The Tempest. Other credits include Il Postino (Los Angeles Opera; Theater an der Wien, Vienna); Philip Glass’s Appomattox, directed by Robert Woodruff (San Francisco Opera); Anna Deavere Smith’s Let Me Down Easy (Second Stage Theatre, PBS Great Performances); Lost Highway (London’s English National Opera/Young Vic); The Seagull (American Repertory Theater); Julius Caesar (also at A.R.T., Festival Automne Paris); and Ethan Coen’s Offices and Almost an Evening (Atlantic Theater Company). He has designed over 200 productions in the U.S. and internationally at The Public Theater, Lincoln Center Theater, Brooklyn Academy of Music, New York Theatre Workshop, Manhattan Theatre Club, Guthrie Theater, Goodman Theatre, American Repertory Theater, Mark 21

CREATIVE TEAM Taper Forum, Lyric Opera of Chicago, New York City Opera, Houston Grand Opera, Florida Grand Opera, Santa Fe Opera, London’s National Theater, Old Vic, Royal Court, Centre Dramatique Orleans (France), and Det Norske Teatret (Oslo). He is a graduate of Yale School of Drama and a visiting lecturer at Princeton University.

JANE GUYER FUJITA (VOICE COACH) is a lecturer in acting at Yale School of Drama. Her coaching credits include Good Goods, Bossa Nova, and We Have Always Lived in the Castle at Yale Rep, as well as productions at American Repertory Theater, Ensemble Studio Theatre, Primary Stages, Actors’ Shakespeare Project, and Shakespeare in the Parking Lot. Jane received her MFA in voice and speech pedagogy from the American Repertory Theater Institute at Harvard University and is an associate teacher of Fitzmaurice Voicework®.

MATT HUBBS (SOUND DESIGNER) Previous credits include How We Got On, Death Tax, A Devil at Noon (Humana Festival of New American Plays); Three Pianos (New York Theatre Workshop, American Repertory Theater); The Human Scale (The Public Theater); 100 Saints You Should Know (Playwrights Horizons); Telephone (Foundry Theatre); Hammock, The Matter of Origins: Tea, Blueprints of Relentless Nature, 613 Radical Acts of Prayer (Liz Lerman Dance Exchange); as well as work at the National Playwrights Conference at the Eugene O’Neill Theater Center. A company member of the TEAM, he has designed Mission Drift, Architecting, Particularly in the Heartland, and A Thousand Natural Shocks. He holds a BA in philosophy as a University Scholar at Xavier University. TARA RUBIN CASTING (CASTING DIRECTOR) has been casting at Yale Rep since 2004. Broadway: The Heiress; Scandalous: The Life and Trials of Aimee Semple McPherson (upcoming); Ghost; One Man, Two Guvnors (US casting); Jesus Christ Superstar (US casting), Hugh Jackman: Back on Broadway; How to Succeed in Business without Really Trying; Promises, Promises; A Little Night Music; Billy Elliot; Shrek; Guys and Dolls; The Country Girl; Rock ’n’ Roll; The Farnsworth Invention; Young Frankenstein; The Little Mermaid; Mary Poppins; My Fair Lady; The Pirate Queen; Les Misérables; The History Boys; Spamalot; Jersey Boys; The 25th Annual Putnam County Spelling Bee; The Producers; Mamma Mia!; The Phantom of the Opera; Oklahoma!; Contact. Off-Broadway: Love, Loss, and What I Wore, Second Stage Theatre. Regional: Kennedy Center, La Jolla Playhouse, Dallas Theatre Center, The Old Globe, Westport Country Playhouse. Film: Lucky Stiff, The Producers.

AMANDA SPOONER (STAGE MANAGER) previously served as stage manager on Yale Rep’s American premiere of Happy Now? by Lucinda Coxon. Her Off-Broadway credits include Black Tie, Happy Now?, NEWSical the Musical, Ink’d, and Macbeth. Her other theatre credits include productions at Westport Country Playhouse, CENTERSTAGE, Northern Stage, Elm Shakespeare, as well as the National Tours of NEWSical the Musical, Finding Ways…, and Macbeth. Television: The Academy Awards. Amanda received her MFA from Yale School of Drama. 22

REBECCA TAICHMAN (DIRECTOR) Previous Yale Rep productions include the world premiere of David Adjmi’s The Evildoers, as well as Iphigenia at Aulis. Her New York credits include Kirsten Greenidge’s Luck of the Irish (upcoming, LCT3) and Milk Like Sugar (Playwrights Horizons); Orlando by Sarah Ruhl (Classic Stage Company); the world premiere of Dark Sisters, music by Nico Muhly, libretto by Stephen Karam (Music Theater Group/Gotham Opera at John Jay); Telemann’s Orpheus (New York City Opera); The Scene by Theresa Rebeck (Second Stage Theatre); and Menopausal Gentleman (The Ohio Theatre). Regional productions include The Winter’s Tale (upcoming, McCarter Theatre and Shakespeare Theatre Company); Sleeping Beauty Wakes, book by Rachel Sheinkin, music and lyrics by Groove Lilly, Twelfth Night (McCarter Theatre); the world premiere of Milk Like Sugar (La Jolla Playhouse); She Loves Me (Oregon Shakespeare Festival); Cymbeline, Twelfth Night, The Taming of the Shrew (Shakespeare Theatre Company); Sarah Ruhl’s Dead Man’s Cell Phone (world premiere) and The Clean House (2006 Helen Hayes Award for Outstanding Resident Play), both at Woolly Mammoth; the world premiere of The Green Violin by Elise Thoron with music by Frank London (2003 Barrymore Award for Outstanding Direction of a Musical, The Prince Music Theatre); the world premiere of Swimming in March by Kate Robin (The Market Theater); and Oklahoma City by Tom Cole (Theatre Offensive). She is currently co-creating a new piece called Rehearsing Vengeance with Paula Vogel, co-commissioned by Oregon Shakespeare Festival and Yale Repertory Theatre. She is an instructor at The O’Neill National Theater Institute, MIT, Yale University, and the University of Maryland. A graduate of Yale School of Drama, Rebecca is the recipient of the TCG New Generations Grant with Woolly Mammoth and a Drama League Directing Fellowship. AMERICAN REPERTORY THEATER (CO-PRODUCER) The American Repertory Theater (A.R.T.) at Harvard University is dedicated to expanding the boundaries of theater. Winner of the 2012 Tony Award for Best Musical Revival for its production of The Gershwins’ Porgy and Bess, the A.R.T. is a leading force in the American theater, producing groundbreaking work in Cambridge and beyond. The A.R.T. is the recipient of numerous other awards including the Tony Award for Outstanding Regional Theatre, the Pulitzer Prize, and many Elliot Norton and IRNE Awards. Its recent premiere production of Death and the Powers: The Robots’ Opera was a 2012 Pulitzer Prize finalist. During its 32-year history, the A.R.T. has welcomed many major American and international theater artists, presenting a diverse repertoire that includes premieres of American plays, bold reinterpretations of classical texts, and provocative new music theater productions. Since becoming Artistic Director, Diane Paulus has enhanced the A.R.T.’s core mission to expand the boundaries of theater by continuing to transform the ways in which work is developed, programmed, produced and contextualized, always including the audience as a partner. The A.R.T.’s club theater, OBERON, which Paulus calls a second stage for the 21st century, has become an incubator for local and emerging artists, and has also attracted national attention for its innovative programming model. 23

yale repertory theatre JAMES BUNDY (ARTISTIC DIRECTOR) is in his eleventh year as Dean of Yale School of Drama and Artistic Director of Yale Repertory Theatre. In his first ten seasons, Yale Rep has produced more than thirty world, American, and regional premieres, six of which have been honored by the Connecticut Critics Circle with the award for Best Production of the year, and two of which have been Pulitzer Prize finalists. During this time, Yale Rep has also commissioned nearly three dozen artists to write new work and provided low-cost theatre tickets and classroom visits to thousands of middle and high school students from Greater New Haven through WILL POWER!, an educational program initiated in 2004. Mr. Bundy’s directing credits include The Psychic Life of Savages, The Ladies of the Camellias, All’s Well That Ends Well, A Woman of No Importance, Death of a Salesman, and A Delicate Balance at Yale Rep, as well as productions at Great Lakes Theater Festival, The Acting Company, California Shakespeare Festival, Alabama Shakespeare Festival, and The Juilliard School Drama Division. A recipient of the Connecticut Critics Circle’s Tom Killen Award for extraordinary contributions to Connecticut professional theatre in 2007, Mr. Bundy currently serves on the board of directors of Theatre Communications Group, the national service organization for nonprofit theatre. Previously, he worked as Associate Producing Director of The Acting Company, Managing Director of Cornerstone Theater Company, and Artistic Director of Great Lakes Theater Festival. He is a graduate of Harvard College and Yale School of Drama. VICTORIA NOLAN (MANAGING DIRECTOR) is in her 20th year as Managing Director of Yale Repertory Theatre, serves as Deputy Dean of Yale School of Drama, and is on its faculty. She was previously Managing Director of Indiana Repertory Theatre, Associate Managing Director at Baltimore’s CENTERSTAGE, Managing Director at Ram Island Dance Company in Portland, Maine; and she has held various positions at Loeb Drama Center of Harvard University; TAG Foundation, an organization producing Off-Broadway modern dance festivals; and Boston University School for the Arts. Ms. Nolan has been an evaluator for the National Endowment for the Arts, for which she has chaired numerous grant panels, and has served on other panels and foundation review boards including the AT&T Foundation, The Heinz Family Foundation, Lila Wallace-Reader’s Digest Fund, and the Metropolitan Life Foundation. She has also served on the Executive Committee of the League of Resident Theatres (LORT) and on numerous negotiating teams for national labor contracts. A Fellow at Yale’s Saybrook College, she is the recipient of the Betsy L. Mahaffey Arts Administration Fellowship Award from the State of Connecticut and the Elm/Ivy Award, given jointly by Yale University and the City of New Haven for distinguished service to the community.


JENNIFER KIGER (ASSOCIATE ARTISTIC DIRECTOR AND DIRECTOR OF NEW PLAY PROGRAMS) is in her eighth year at Yale Rep and is also Director of the New Play Programs of Yale’s Binger Center for New Theatre, an artistdriven initiative that supports the creation of new plays and musicals for the American stage through commissions, residencies, workshops, and productions. Ms. Kiger came to Yale Rep from South Coast Repertory (SCR), where she was Literary Manager from 2000 to 2005 and served as Co-

Director of the Pacific Playwrights Festival. She was dramaturg on more than 40 new plays at SCR, including the world premieres of Rolin Jones’s The Intelligent Design of Jenny Chow, Amy Freed’s The Beard of Avon, and the West Coast premieres of Sarah Ruhl’s The Clean House and Nilo Cruz’s Anna in the Tropics. Prior to that, she served as production dramaturg at American Repertory Theatre, collaborating with Robert Brustein, Robert Woodruff, Liz Diamond, and Kate Whoriskey, and with multi-media director Bob McGrath on stage adaptations of Robert Coover’s Charlie in the House of Rue and Mac Wellman’s Hypatia. She has been a dramaturg for the Playwrights’ Center of Minneapolis and Boston Theatre Works and a panelist for the National Endowment for the Arts and the California Arts Council. Ms. Kiger completed her training in Dramaturgy at the American Repertory Theatre Institute for Advanced Theatre Training at Harvard University, where she taught courses in acting and dramatic arts. BRONISLAW SAMMLER (PRODUCTION SUPERVISOR) has been Chair of Yale School of Drama’s acclaimed Technical Design and Production Department since 1980. In 2007 he was named the Henry McCormick Professor (Adjunct) of Technical Design and Production by Yale’s President, Richard C. Levin. He is co-editor of Technical Brief and Technical Design Solutions for Theatre, Vols. I & II. He co-authored Structural Design for the Stage, which won the United States Institute of Theatre Technology’s (USITT) Golden Pen Award. Demonstrating his commitment to excellence in technical education and professional production, he co-founded USITT’s National Theatre Technology Exhibit, an ongoing biennial event; he has served as a commissioner and a director at-large and is a lifetime Fellow of the Institute. He was honored as Educator of the Year in 2006 by the New England Theatre Conference and chosen to receive the USITT Distinguished Achievement Award in Technical Production in 2009. His production management techniques and his introduction of structural design to scenic technology are being employed in both educational and professional theatres throughout the world. JAMES MOUNTCASTLE (PRODUCTION STAGE MANAGER), has been at Yale Rep since 2004. He has stage managed productions of American Night: The Ballad of Juan José, Three Sisters, We Have Always Lived in the Castle, The Master Builder, Passion Play, Richard II, Eurydice, a new adaptation of The Cherry Orchard, and the world premiere of The Clean House. A professional stage manager for more than twenty years, he has worked in regional, stock, and Broadway theatre. Broadway credits include Damn Yankees, Jekyll & Hyde, Judgment at Nuremberg, The Boys from Syracuse, The Smell of the Kill, Life x(3), and Wonderful Town. Mr. Mountcastle spent several Christmas seasons in New York City as stage manager for the now legendary production of A Christmas Carol at Madison Square Garden. Broadway national tours include City of Angels, Falsettos, and My Fair Lady. He served as Production Stage Manager for Damn Yankees starring Jerry Lewis for both its national tour and at the Adelphi Theatre in London’s West End. In addition, Mr. Mountcastle has worked at The Kennedy Center, Centerstage in Baltimore, Actors Theatre of Louisville, Brooklyn Academy of Music, and elsewhere. James and his wife Julie live in North Haven and are the very proud parents of two beautiful girls: Ellie, who is 13 years old, and Katie, age 11. 25

yale repertory theatre stafF James Bundy, Artistic Director Victoria Nolan, Managing Director Jennifer Kiger, Associate Artistic Director Director of New Play Programs


Resident Artists Paula Vogel, Playwright-in-Residence Liz Diamond, Evan Yionoulis, Resident Directors Catherine Sheehy, Resident Dramaturg Ming Cho Lee, Set Design Advisor Michael Yeargan, Resident Set Designer Jane Greenwood, Costume Design Advisor Jess Goldstein, Resident Costume Designer Jennifer Tipton, Lighting Design Advisor Stephen Strawbridge, Resident Lighting Designer David Budries, Sound Design Advisor Walton Wilson, Voice and Speech Advisor Rick Sordelet, Fight Advisor Mary Hunter, Stage Management Advisor

Finance and Information Technology Katherine D. Burgueño, Director of Finance and Human Resources Denise Zaczek, Associate Director of Finance Cristal Coleman, Alex Grennan, Business Office Specialists Joanna Romberg, Interim Business Office Specialist Randall Rode, Information Technology Director Daryl Brereton, Associate Information Technology Director Mara Hazzard-Wallingford, Director, Yale Tessitura Consortium Toni Ann Simiola, Senior Administrative Assistant to Business Office, Information Technology, Operations, and Tessitura

Marketing, Communications, and Audience Services Anne Trites, Director of Marketing and Communications Steven Padla, Senior Associate Director of Communications Daniel Cress, Senior Associate Director of Marketing Rachel Smith, Associate Director of Marketing Associate Artists Brittany Behrens, Associate Director of Marketing 52nd Street Project, Kama Ginkas, Mark Lamos, Sarah Stevens-Morling, Online Communications and MTYZ Theatre/Moscow New Generations Theatre, Advertising Manager Bill Rauch, Sarah Ruhl, Henrietta Yanovskaya Marguerite Elliott, Publications Manager Ahn Le, Marketing Assistant Artistic Administration Kathleen Martin, Erynn Szewczyk, Amy Boratko, Literary Manager Graphic Design and Production Assistants Ruth M. Feldman, Director of Education and Fraver, Graphic Designer Accessibility Services Joan Marcus, Production Photographer Kay Perdue Meadows, Artistic Associate Janna J. Ellis, Associate Director of Audience Services Walter Byongsok Chon, Artistic Coordinator and Tessitura Specialist Benjamin Fainstein, Ilinca Tamara Todorot, Laura Kirk, Assistant Audience Services Director Literary Associates Shane Quinn, Audience Services Assistant Tara Rubin, C.S.A.; Merri Sugarman, C.S.A.; Tracy Baldini, Subscriptions Coordinator Eric Woodall, C.S.A.; Dale Brown, C.S.A.; Evan Beck, Amanda Bermudez, Brandon Boyer, Shane D. Lindsay Levine; Kaitlin Shaw; Hudson, Reynaldi Lolong, Katie Metcalf, Stephanie Yankwitt, Casting Andrew Moore, Emily Sanna, Peter Schattauer, Lindsay King, Teresa Mensz, Tobin Nelhaus, Box Office Assistants Library Services Josie Brown, Senior Administrative Assistant to the Operations Artistic Director and Associate Artistic Director Diane Galt, Director of Facility Operations Laurie Coppola, Senior Administrative Assistant for Rich Abrams, Operations Associate the Directing, Dramaturgy and Dramatic Criticism, Ian Dunn, Interim Operations Associate Playwriting, and Stage Management Departments Paul Catalano, Arts and Drama Zone Superintendent Mary Volk, Senior Administrative Assistant for the Krista J. MacLellan, 217 Park and 212 York Design, Sound Design, and Projection Departments Superintendent VonDeen Ricks, Senior Custodian ADMINISTRATION Marcia Riley, Facility Steward Jennifer Lagundino, Katie Liberman, Associate Lucille Bochert, Norma Crimley, Donell D’Gioia, Managing Directors Ty Frost, Patrick Martin, Mark Roy, Custodians Lico Whitfield, Associate Director of Special Programs Shane D. Hudson, Melissa Zimmerman, Assistant Theater Safety and Occupational Health Managing Directors William J. Reynolds, Director of Theater Safety Stephanie Rolland, Management Assistant and Occupational Health Emalie Mayo, Senior Administrative Assistant Jacob Thompson, Security Officer to the Managing Director Ed Jooss, Audience Safety Officer Sally Shen, Company Manager Fred Geier, Patrick Grant, Customer Service and Louisa Balch, Assistant Company Manager Safety Officers Development and Alumni Affairs Deborah S. Berman, Director of Development and Alumni Affairs Janice Muirhead, Senior Associate Director of Development Reynaldi Lolong, Associate Director of Development Barry Kaplan, Senior Staff Writer Susan C. Clark, Laura J. Eckelman, Development Associates Belene Day, Senior Administrative Assistant to Development and Marketing & Communications



Bronislaw J. Sammler, Production Supervisor James Mountcastle, Production Stage Manager Jonathan Reed, Senior Associate Production Supervisor Grace O’Brien, Senior Administrative Assistant to the Production, Theater Safety and Occupational Health Departments

Scenery Colin Buckhurst, Neil Mulligan, Matt Welander, Technical Directors Alan Hendrickson, Electro Mechanical Laboratory Supervisor Eric Sparks, Shop Foreman Matt Gaffney, Ryan Gardner, Sharon Reinhart, Master Shop Carpenters Brandon Fuller, Shop Carpenter Emily Erdman, Wyatt Heatherington Tilka, Assistants to the Technical Director Painting Ru-Jun Wang, Scenic Charge Keri Kriston, Scenic Artist Stephanie Huck, Assistant Scenic Artist Nathan Jasunas, Clare McCormick, Assistants to the Painting Supervisor Properties Brian Cookson, Properties Master David P. Schrader, Properties Craftsperson Jennifer McClure, Properties Assistant Bill Batschelet, Properties Stock Manager Elizabeth Zevin, Assistant to the Properties Manager Costumes Tom McAlister, Costume Shop Manager Robin Hirsch, Associate Costume Shop Manager Mary Zihal, Senior Draper Clarissa Wylie Youngberg, Draper Deborah Bloch, Harry Johnson, Senior First Hands Linda Kelley-Dodd, Costume Project Coordinator Denise O’Brien, Wig and Hair Design Barbara Bodine, Company Hairdresser Linda Wingerter, Costume Stock Manager Electrics Donald W. Titus, Lighting Supervisor Linda Young, Senior Head Electrician Alexander Zinovenko, Head Electrician Sound Mike Backhaus, Sound Supervisor Paul Bozzi, Staff Sound Engineer Sanghyun Ahn, Pornchanok Kanchanabanca, Assistants to the Sound Supervisor Projections Erich Bolton, Projection Supervisor Christopher Russo, Head Projection Technician Stage Operations Janet Cunningham, Stage Carpenter Kate Begley Baker, Head Properties Runner Elizabeth Bolster, Wardrobe Supervisor Charles Harbert, FOH Mix Engineer

Additional Staff for Marie Antoinette

Stephanie Ward, Assistant Director Emily Wagner, Assistant Choreographer Grier Coleman, Assistant Costume Designer Brian Jones, Associate Lighting Designer

Michael Vincent Skinner, Assistant Sound Designer Justin Bennett, Sound Engineer Sonja Thorson, Assistant Stage Manager Jonathan Pellow, Associate Production Supervisor Dan Perez, Technical Director Sang-hun Joung, Ross Rundell, Assistant Technical Directors Sarah Krasnow, Assistant Dramaturg Jo Lampert, Dance Captain Fred Arsenault, Fight Captain Thomas Harper, Master Electrician Liz Perlman, Additional Tailoring Jason Allen, Teacake Wigs Molly Hennighausen, House Manager Seth Bodie, Brian Dudkiewicz, Portia Elmer, Emily Erdman, Sang-hun Joung, Ilya Kodosh, James Lanius III, Carolynn Richer, Wyatt Heatherington Tilka, Sarah Williams, Run Crew Understudies Molly Bernard, Therese de Lamballe, The Dauphin Hannah Cabell, Marie Antoinette Tim Hassler, Louis XVI, Sheep Vin Knight, Joseph, Mr. Sauce Jo Lampert, Yolande de Polignac, Mrs. Sauce Gabe Levey, Royalist Elia Monte-Brown, Marie’s Coterie Aaron Profumo, Guard Ariana Venturi, Marie’s Coterie Brian Wiles, Axel Fersen Special Thanks Brooke Bloom; Maria Dizzia; Oskar Eustis and The Public Theater; Jackson Gay; Philip Himberg and the Sundance Institute; Tanya Palmer and The Goodman Theater; Portland Center Stage; Soho Rep; Ettie, Lazer, Jan, and Ted Van Griethuysen

The Actors and Stage Manager employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers.

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, the Union of Professional Actors and Stage Managers in the United States. Marie Antoinette October 26 to November 17, 2012 Yale Repertory Theatre, 1120 Chapel Street

yalerep.org 27

binger CENTER FOR NEW THEATRE Yale Repertory Theatre is dedicated to the production of new plays and bold interpretations of classics and has produced well over 100 premieres—including two Pulitzer Prize winners and four other nominated finalists—by emerging and established playwrights. Eleven Yale Rep productions have advanced to Broadway, garnering more than 40 Tony Award nominations and eight Tony Awards. Yale Rep is also the recipient of the Tony Award for Outstanding Regional Theatre. Professional assignments at Yale Repertory Theatre are integral components of the program at Yale School of Drama, the nation’s leading graduate theatre training conservatory. Established in 2008, Yale’s Binger Center for New Theatre is an artist-driven initiative that devotes major resources to the commissioning, development, and production of new plays and musicals at Yale Rep and across the country. Among the Center’s programs, a key component is its Production Enhancement Fund, which provides financial support for productions at other theatres of works commissioned by and/or first produced at Yale Rep. The Center also facilitates residencies of playwrights and composers at Yale School of Drama. Permanently endowed by a gift from the Robina Foundation, and supported by additional funding from the Andrew W. Mellon Foundation and individual donors, the Center is named in honor of James H. Binger (1916–2004), the noted businessman, theatre impresario, and philanthropist who created the Robina Foundation. To date, the Center has supported the work of more than forty commissioned artists as well as the world premieres and subsequent productions of twelve new American plays and musicals—including David Adjmi’s Marie Antoinette, Dear Elizabeth by Sarah Ruhl, and Bill Camp and Robert Woodruff’s new adaptation of In a Year with 13 Moons by Rainer Werner Fassbinder, all of which will premiere at Yale Rep this season. Dostoevsky’s Notes from Underground, adapted by Bill Camp and Robert Woodruff, was the first commissioned play supported by the Center to receive its world premiere at Yale Rep. In 2010, Notes had its West Coast premiere at La Jolla Playhouse and its New York premiere at Theatre for a New Audience, in association with the Baryshnikov Arts Center. The Center also supported the world premiere co-production of Rinne Groff’s Compulsion at Yale Rep, Berkeley Rep, and The Public Theater; the world premiere of the Yale Rep-commissioned On the Levee by Marcus Gardley, Todd Almond, and Lear deBessonet at Lincoln Center Theater’s LCT3; and the world premiere of Maggie-Kate Coleman and Anna K. Jacobs’s musical POP! at Yale Rep and its May 2012 production at Pittsburgh’s City Theatre. For more information, please visit www.yalerep.org/center.

Commissioned Artists David Adjmi, Todd Almond, Christina Anderson, Hilary Bell, Adam Bock, Sheila Callaghan, Bill Camp, Lucinda Coxon, Lear deBessonet, Will Eno, Dorothy Fortenberry, Marcus Gardley, Matt Gould, Kirsten Greenidge, Danai Gurira, Ann Marie Healy, Amy Herzog, Naomi Iizuka, Branden Jacobs-Jenkins, Aditi Brennan Kapil, Carson Kreitzer, Dan LeFranc, Elizabeth Meriwether, Scott Murphy, Julie Marie Myatt, David Lefort Nugent, Lina Patel, Jay Reiss, The Rude Mechs, Sarah Ruhl, Octavio Solis, Rebecca Taichman, Lucy Thurber, Alice Tuan, Paula Vogel, Kathryn Walat, Anne Washburn, Marisa Wegrzyn, Robert Woodruff 28

Yale Rep productions supported by the Binger Center for New Theatre, clockwise from the top: Merritt Janson and Bill Camp in Notes from Underground, 2009; Cristin Paige and Randy Harrison (background: Leslie Kritzer and Emily Swallow) in POP!, 2009; Clifton Duncan, Angela Lewis, de’Adre Aziza, and Marc Damon Johnson in Good Goods, 2012; Jenn Gambatese and Sean Palmer in We Have Always Lived in the Castle, 2010; and Maria Dizzia and Gilbert Owuor in Belleville, 2011. Photos by Joan Marcus.


for your information


how to reach us Yale Repertory Theatre Box Office 1120 Chapel Street (at York St.) PO Box 208244, New Haven, CT 06520 203.432.1234 Email: yalerep@yale.edu

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 listening system, large-print and Braille programs, wheelchair accessibility with an elevator entrance into the Yale Rep Theatre located on the left side of the building, and accessible seating. For more information about the theatre’s accessibility services, contact Ruth M. Feldman, Director of Education and Accessibility Services, at 203.432.8425 or rm.feldman@yale.edu.

box office hours Monday to Friday from 10AM to 5PM Saturday from 12PM to 5PM Until 8PM on all show nights fire notice Illuminated signs above each door indicate emergency exits. Please check for the nearest exit. In the event of an emergency, you will be notified by theatre personnel and assisted in the evacuation of the building.

Yale Repertory Theatre’s accessibility services are supported in part by The Seedlings Foundation, Frederick A. DeLuca Foundation, and the Carol L. Sirot Foundation.

restrooms Restrooms are located downstairs. Please contact the concierge for assistance with the elevator.

Yale Repertory Theatre gratefully acknowledges the Carol L. Sirot Foundation for underwriting the assistive listening systems in our theatres.

emergency calls Please leave your cell phone and/or beeper, name, and seat number with the concierge. We’ll notify you if necessary. The emergency-only telephone number at Yale Rep is 203.764.4014.

audio described (ad) A live narration of the play’s action, sets, and costumes for patrons who are blind or low vision.

group rates Discounted tickets are available for groups of ten or more. Please call 203.432.1572. seating policy Everyone must have a ticket. Sorry, no children in arms or on laps. Patrons who become disruptive will be asked to leave the theatre.

The taking of photographs or the use of recording devices of any kind in the theatre without the written permission of the management is prohibited. 30

open captioning (oc) You’ll never again have to ask, “What did they say?” Open Captioning provides a digital display of the play’s dialogue as it’s spoken. Open Captioning and Audio Described performances are on Saturdays at 2PM.* AD pre-show description begins at 1:45PM.

Marie Antoinette Nov 10 Nov 17 Dear Elizabeth Dec 15 Dec 15 Stones in His Pockets Feb 9 Feb 16 Hamlet* Apr 6 Apr 13 In a Year with 13 Moons May 11 May 18 *Hamlet OC and AD performances begin at 1:30PM with a pre-show at 1:15PM. c2inc is pleased to be the official Open Captioning provider of Yale Repertory Theatre.

Yale Rep’s Education Programs As part of Yale Rep’s commitment to our community, we provide two significant youth theatre programs. Since our 2003–04 season, WILL POWER!, which offers teacher training and curricular support prior to seeing a selected play at Yale Rep, has served more than 17,000 Connecticut students and educators. The Dwight/Edgewood Project brings eight middle school students from New Haven’s Augusta Lewis Troup Middle School to Yale Rep for a month-long, after-school playwriting program designed to strengthen their self-esteem and creative expression. Yale Rep’s education programs are supported in part by Allegra Print and Imaging; Anna Fitch Ardenghi Trust, Bank of America, N.A.,Trustee; Deborah S. Berman; Bob and Priscilla Dannies; Frederick A. DeLuca Foundation; Bruce Graham; the Lucille Lortel Foundation; Romaine A. Macomb; Mrs. Romaine Macomb; Dawn G. Miller; NewAlliance Foundation; Robbin A. Seipold; Sandra Shaner; Cheever and Sally Tyler; Esme Usdan; Charles and Patricia Walkup; and Bert and Martha Weisbart.

left, from top: schools gathering for WILL power!; Will power! Classroom workshop; painting scenery for the dwight/edgewood project, 2012.

SPONSORSHIP: community partners Allegra Print and Imaging Est Est Est Fleur de Lys Floral and Gifts Heirloom

Hull’s Art Supply and Framing New Haven Register The Study at Yale Take the Cake GHP Printing and Mailing

Union League Cafe Willoughby’s Coffee and Tea The Wine Thief The Yale Bookstore Yellowbook

These lists include current pledges, gifts, and grants received from July 1, 2011‚ through October 1, 2012. 31

Make a Gift!

When you make a gift to Yale Rep’s Annual Fund, you support the creative work on our stage and our innovative outreach programs. For more information, or to make a donation, please call Susan Clark, 203.432.1559. You can also give online at yalerep.org/donate.

Thank you to the generous contributors to Yale School of Drama and Yale Repertory Theatre: LEADERSHIP SOCIETY ($50,000 and above) Anonymous (2) John B. Beinecke Nicholas Ciriello Lynne and Roger Bolton Sterling and Clare Brinkley Edgar M. Cullman, Jr. Edgar M. Cullman III Anita Pamintuan Fusco and Dino Fusco Horace W. Goldsmith Foundation Frederick Iseman David Johnson Adrian and Nina Jones Jennifer Lindstrom Neil Mazzella Andrew W. Mellon Foundation William S. Monaghan Don Nelson Pam and Jeff Rank Robert Riordan Robina Foundation Linda Frank Rodman Talia Shire Schwartzman The Shubert Foundation Stephen Timbers Kara Unterberg Esme Usdan Reggie Van Lee

GUARANTORS ($25,000–$49,999) Anonymous Lois Chiles and Richard Gilder Educational Foundation of America Heidi Ettinger Estate of Richard G. Mason* National Endowment for the Arts


National Endowment for the Arts/Arts Midwest, Shakespeare for a New Generation James Munson Edward Trach

BENEFACTORS ($10,000–$24,999) Americana Arts Foundation Anonymous Bisno Productions Connecticut Commission on Culture and Tourism Scott Delman Ruth and Steve Hendel Catherine MacNeil Hollinger Ellen Iseman Lucille Lortel Foundation Donald B. Lowy Stacey Mindich Productions Sonja and Patrick Seaver Michael and Riki Sheehan Ted and Mary Jo Shen Jeremy Smith Carol L. Sirot Foundation Trust for Mutual Understanding Carol M. Waaser

PRODUCER’S CIRCLE ($5,000–$9,999) Nina Adams and Moreson Kaplan Deborah Applegate and Bruce Tulgan Amy Aquino and Drew McCoy John Badham Merritt Forrest Baer Foster Bam Jim Burrows The Noel Coward Foundation

Michael Desantis and Patrick Baugh Michael Diamond Terry Fitzpatrick Beth Galston F. Lane Heard III Linda Gulder Huett Ben Ledbetter and Deborah Freedman Sarah Long Peter Nelson NewAlliance Foundation Carol Ostrow Theater Communications Group Robert Pohly and Julie Turaj Philip J. Smith Susan Stroman

DIRECTOR’S CIRCLE ($1,000–$4,999) Actor’s Equity Foundation Anna Fitch Ardenghi Trust, Bank of America, N.A., Trustee Paula Armbruster Mr. and Mrs. B. Ashfield Robert L. Barth Estate of Cynthia K. Barrington* Jody Locker Berger Deborah S. Berman Jeffrey A. Bleckner Walter Bobbie Michael Broh Raymond Carver James Bundy CECArts Link Joan D. Channick Patricia Clarkson Enrico Colantoni Sue Ann Gilfillan and Tony Converse Peggy Cowles The Frederick A. DeLuca Foundation

Michael S. David Glen R. Fasman Marc Flanagan Lawrence and Megan Foley Marcus Dean Fuller Fred Gorelick and Cheryl MacLachlan James W. Gousseff Albert R. Gurney Judith Hansen Richard Harrison Katherine W. Haskins Carol Thompson Hemingway James Ingalls James Earl Jewell Rolin Jones Jane Kaczmarek The Ethel & Abe Lapides Foundation Sasha Emerson Levin George N. Lindsay, Jr Linda Lorimer and Charley Ellis William Ludel Drs. Robert and Wendy Lyons Romaine A. Macomb Jenny Mannis and Henry Wishcamper Thomas Masse and Dr. James Perlotto Maximum Entertainment Productions Dawn G. Miller The Garret and Mary Moran Family Foundation Neil Mulligan Arthur and Merle Nacht Victoria Nolan and Clark Crolius Richard Ostreicher Mr. and Mrs. Albert Pailet F. Richard Pappas

Dw Phineas Perkins George and Kathy Priest Hal Prince Lance Reddick Dr. Michael Rigsby Marie S. Sherer Eugene F. Shewmaker Benjamin Slotznick Rachel Smith Kristin Sosnowsky Kenneth J. Stein Shepard and Marlene Stone Lee Stump Robert and Arlene Szczarba John Henry Thomas Tobin Theatre Arts Fund Courtney Vance Barry and Fran Weissler Terrence Witter Steve Zuckerman

PARTNERS ($500–$999) In Memory of Herbert Altman Mary Ellen and Thomas Atkins Alexander Bagnall Christopher Barreca Alice B. and James T. Brown Joy G. Carlin Cosmo Catalano, Jr. Ernestine and Ronald Cwik Bob and Priscilla Dannies Ramon L. Delgado The Cory & Bob Donnalley Charitable Foundation Roberta Enoch and Steven Canner Paul Cleary Richard Sutton Davis Peter Entin Dr. and Mrs. Frederic Finkelstein Rob Greenberg Elizabeth M. Greene William B. Halbert Karsten Harries and Elizabeth Langhorne Jane C. Head Jeffrey Hermann Donald Holder


John Robert Hood Helen Kauder and Barry Nalebuff Mildred Kuner Edward Lapine Charles Long and Roe Curtis Chih-Lung Liu Brian Mann John McAndrew Johanna D. McAuliffe Daniel Mufson Janice Muirhead James Naughton Arthur Oliner Maulik Pancholy Amy Povich Peter S. Roberts Sandra Shaner Thomas Thurston Cheever and Sally Tyler Zelma Weisfeld Vera Wells Carolyn S. Wiener Steven Wolff Evan Yionoulis

INVESTORS ($250–$499) Anonymous Susan and Bruce Ackerman Richard Ambacher Clayton Mayo Austin James Bakkom Robert Baldwin John Lee Beatty Richard Bianchi* Lewis Black Deborah Bloch Edward Blunt Susan Brady and Mark Loeffler Tom Broecker Claudia Brown Jonathan Busky Sheldon Bustow Anne and Guido Calabresi Ian Calderon Anna Cascio Robert Cotnoir Stephen Coy John W. Cunningham Charles Dillingham Merle Dowling Pat Egan Joel Fontaine

Walter M. Frankenberger III David Freeman Joseph Gantman Robert Gerwien Melanie Ginter and John Lapides Joseph Wayne Gordon David M. Grant Anne K. Gregerson Norma and Richard Grossi Regina Guggenheim D. Keith Hargreaves Douglas Harvey Barbara Hauptman Sara Hedgepath Michael Haymes and Logan Green Nicole and Larry Heath Amy Herzog June and George Higgins Albert Hurwitz* Raymond P. Inkel Joanna and Lee Jacobus Cynthia Kaback Asaad Kelada Barnet K. Kellman Fredrica Klemm David Kriebs Bernard Kukoff Frances Kumin Suttirat Larlarb Kenneth Lewis Suzanne Cryer Luke Peter Marshall George Miller and Virginia Fallon David Nancarrow William and Barbara Nordhaus Louise Perkins and Jeff Glans Stephan Pollack Michael Potts Carol A. Prugh Sarah Rafferty Barbara and David Reif Bill and Sharon Reynolds Daniel and Irene Mrose Rissi Steve Robman Constanza Romero Russ Rosensweig Jean and Ron Rozett Suzanne Sato Cindy and Mark Schoenfeld

Liev Schreiber Mark and Cindy Slane Mary C. Stark Sandra T. Stein and Harvey Kliman Jennifer Tipton Anne Trites Suzanne Tucker David J. Ward William and Phyllis Warfel Dana Westberg Judith and Guy Yale

FRIENDS ($100–$249) Anonymous Emily Aber and Robert Wechsler Ade Ademola Michael Albano Sarah Jean Albertson Narda Alcorn Susan Anderson Bob and Jane Archibald Mary B. Arnstein Andrew Asensio Angelina Avallone Sandra and Kirk Baird Frank and Eileen Baker Raymond Baldelli and Ronald Nicholes Michael Barker and Heidi Leigh Hanson Robert Barr William Batsford Nancy and Richard Beals Thomas Beckett Barbara and Jack Beecher James Bender Martin Blanco Anders Bolang John Cummings Boyd Mark Boyer Amy Brewer and David Sacco Julie Anne Brown Oscar Lee Brownstein Gerard and Ann Burrow Robert and Linda Burt Susan Byck Susan Cahan and Jürgen Bank Donald Cairns Kathryn A. Calnan Lisa Carling Nicholas Carriere


Contributors to Yale School of Drama and Yale Repertory Theatre William E. Caruth Sami Joan Casler Marcelo Castro Patricia Cavanaugh Dr. and Mrs. W.K. Chandler Suellen G. Childs Christian Clemenson Lani Click Katherine D. Cline Robert S. Cohen Patricia J. Collins Forrest Compton Greg Copeland Aaron Copp George Corrin, Jr. Dana S. Croll Timothy and Pamela Cronin Julie Crowder Jane Ann Crum Sean Cullen Marycharlotte Cummings William Curran Donato Joseph D’Albis F. Mitchell Dana Sue and Gus Davis Robert Dealy Nigel W. Daw Mr. and Mrs. Clifford E. DeBaptiste Mr. and Mrs. Paul DeCoster Melissa de La Cruz Elizabeth DeLuca Julia L. Devlin Liz Diamond Jose A. Diaz Leslie Dickert Connie and Peter Dickinson Melinda DiVicino Alexander Dodge Peter Donat Merle Gordon Dowling JoAnne E. Droller, R.N. Jeanne Drury George and Diane Dumigan Carolyn Dundes John A. Duran East Coast Management & Consulting Frances L. Egler Dr. and Mrs. Richard Ehrenkranz


Nancy Reeder El Bouhali Janann Eldredge Debbie Ellinghaus Elizabeth English Dirk Epperson David Epstein Howard and Jackie Ertel Dustin Eshenroder Christine Estabrook Frank and Ellen Estes Dan and Elizabeth Esty Euphoria Salon Jerry N. Evans John D. Ezell Patricia Fahey Michael Fain Kristan Falkowski Christopher Feeley Barbara and Richard Feldman Ruth M. Feldman Dr. and Mrs. Paul Fiedler Earle Finch Aurelia Fisher Lewis Folden Anthony Forman Nanci Fortgang Keith Fowler Meredith Freeman Richard Fuhrman Michael T. Fulton and Catherine Hernandez Barbara and Gerald Gaab Jim and Eunice Galligan Karin Geballe Steven Gefroh Patricia Gilchrist Robert Glen Marian Godfrey Lindy Lee Gold Betty and Joshua Goldberg Robert Goldsby Naomi Grabel Kris and Marc Granetz Katharine Grant Raymond Grasso Bigelow Green Joe Grifasi Michael Gross John Guare Jessica and Corin Gutteridge Phyllis Hammel Alexander Hammond

Ann T. Hanley Jerome R. Hanley Scott Hansen Charlene Harrington Ihor and Roma Hayda Heather Henderson Jennifer Hershey-Benen Dennis and Joan Hickey Matthew and Lee Hieb Christopher Higgins Hill Regional Career High School Ira Hoffman Elizabeth Holloway Nicholas Hormann David Howson Evelyn Huffman Hull’s Art Supply and Framing Derek Hunt Mary and Arthur Hunt Peter H. Hunt Timothy and Diane Hunt John Huntington Patricia Ireland Andrew Jackness Candace Jackson Kirk Jackson John W. Jacobsen Chris Jaehnig Ina and Robert Jaffee Jim and Cynthia Jamieson Jeffrey’s, a restaurant Allison Hall Johnson Geoffrey A. Johnson Marcia Johnson Donald E. Jones, Jr. Elizabeth Kaiden Carol Kaplan James D. Karr Dr. and Mrs. Michael Kashgarian Bruce Katzman Edward A. Kaye Richard Kaye Jay Keene Arthur J. Kelley, Jr. Abby Kenigsberg Roger Kenvin Peter Young Hoon Kim Carol Souscek King Raymond Klausen Richard Klein Brenda and Justin Kreuzer

Joan Kron Mitchell Kurtz William Kux Howard and Shirley Lamar Marie Landry and Peter Aronson James Larkin David Jeremy Larson Sylvia Lavietes James and Cynthia Lawler Wing Lee Charles E. Letts III Bradford Lewis Irene Lewis Malia Lewis Drew Lichtenberg Alan Lichtenstein Jerry Limoncelli Chuck and Helana Litty Benjamin Lloyd Bruce Lockwood Derek Lucci Paul David Lukather Thomas Lynch Nancy Lyon Andi Lyons Janell M. MacArthur Elizabeth M. MacKay Lizbeth Mackay Jonathan Macey Wendy MacLeod Alan Mokler MacVey Linda Maerz and David Wilson Peter Andrew Malbuisson Orla and Mithat Mardin Elizabeth Margid Jonathan Marks Timothy and Leslie Marsh Maria Mason and William Sybalsky Carole A. Masters James and Margaret Mathis Beverly May Alice McConnell Robert A. McDonald Brian McEleney Thomas McGowan Deborah McGraw Robert J. McKinna

Mr. and Mrs. James Meisner Stephen W. Mendillo Donald Michaelis Carol Mikesell Jonathan Miller Lesley Miller Sandra Milles Inga-Brita Mills Mary Jane Minkin and Steve Pincus Cheryl Mintz Jennifer Moeller Richard R. Mone Elizabeth H. Moore Tom Moore George Morfogen Grafton V. Mouen Gayther Myers, Jr. Rachel Myers James Naughton Tina C. Navarro Regina and Thomas Neville Ruth Hunt Newman Ronald Dean Nolen Grace O’Brien Dwight R. Odle Fran and Ed O’Neill Sara Ormond Kendric T. Packer Dr. Ismene Petrakis William Peters Roberta Pilette David Pomeran Nancy B. Porter Michael B. Posnick Gladys Powers Robert Provenza Jeffry Provost Alvin S. Prusoff and Dr. Deborah DeRose Margaret Adair Quinn Faye and Ashgar Rastegar Ronald Recasner James and Cynthia Reik Mary B. Reynolds Peter S. Roberts

Lori Robishaw Doug Rogers Howard Rogut Joanna Romberg Fernande E. Ross Andrew Rubenoff Dr. Ortwin Rusch Raymond Rutan Edward and Alice Saad Steven Saklad Clarence Salzer Robert Sandberg Robert Sandine and Irene Kitzman Frank Sarmiento Peggy Sasso Joel Schechter Anne Schenck Kenneth Schlesinger Mr. and Mrs. Michael Schmertzler Ruth Hein Schmitt William Schneider Georg Schreiber Jennifer Schwartz Forrest E. Sears Paul Selfa Subrata K. Sen Sandra Shaner Morris Sheehan Paul R. Shortt Mark Shufro Lisa-Marie Shuster Carol M. Sica Lorraine Siggins and Braxton McKee E. Gray Smith, Jr. Helena L. Sokoloff Suzanne Solensky and Jay Rozgonyi Amanda Spooner Louise Stein Neal Ann Stephens John Stevens Jaroslaw Strzemien Mark Sullivan Thomas Sullivan Sy Sussman Jane V. Suttell

David Loy Sword Eleanor Q. Tignor Eric Ting David F. Toser Russell L. Treyz Richard B. Trousdell Deborah Trout Marge Vallee Joan Van Ark Carrie Van Hallgren Russell Vandenbroucke Hyla and Barry Vine Arthur Vitello Eva Vizy Fred Voelpel Elaine and Patrick Wackerly Mark Anthony Wade Andrea S. Walker Charles and Patricia Walkup Erik Walstad Barbara Wareck and Charles Perrow Joan Waricha Steven I. Waxler Gil Wechsler Robert Wechsler Rosa Weissman Vera Wells Susan Wheeler Peter White Richard Whittington Lisa A. Wilde Robert Wildman Marshall Williams David Willson The Winokur Family Foundation Carl Wittenberg Stephen Wolff Yun C. Wu David York Arthur and Ann Yost Donald and Clarissa Youngberg Patricia and John Zandy Catherine Zuber

EMPLOYER MATCHING GIFTS Aetna Foundation Component Engineers, Inc. Corning, Inc. General Electric Corporation IBM The John D. and Catherine T. MacArthur Foundation Mobil Foundation, Inc. Pfizer Pitney Bowes Procter & Gamble The Prospect Hill Foundation SBC Communications, Inc. United Technologies Corporation

This list includes current pledges, gifts, and grants received from July 1, 2011, through October 1, 2012. For more information about making a donation to Yale Repertory Theatre, please contact Susan Clark at 203.432.1559 or susan.clark@yale.edu.














For tickets or more information, call 203.432.1234

Staging History, Making History The Yale School of Drama & Yale Repertory Theatre On view through December 18, 2012 Robert B. Haas Family Arts Library, 180 York Street Enter through the Loria Center; the exhibit is on the lower level of the Arts Library. www.library.yale.edu/arts

217 Park Street, New Haven, CT 203 432 1566 For tickets, show info, menus, and more:

yalecabaret.org November 8–10

November 15–17

November 29– December 1

MilkMilk- The Chairs Cat Club Lemonade By Eugène Created by By Joshua Conkel

Ionesco New Translation by Justin A. Taylor

Timothy Hassler and Paul Lieber

December 6–8

Dilemma! Conceived by Michael Bateman Created by Ensemble

Thursdays 8 pm | Fridays and Saturdays 8 and 11 pm Dinner and drinks starting at 6:30 and 10 pm


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The English Prize the capture of the westmorland an episode of the grand tour October 4, 2012–January 13, 2013

Pompeo Batoni, Francis Basset (detail), 1778, oil on canvas, Museo Nacional del Prado, Madrid

Organized by the Yale Center for British Art; the Ashmolean Museum of Art and Archaeology, University of Oxford; and the Paul Mellon Centre for Studies in British Art, London; in association with the Real Academia de Bellas Artes de San Fernando, Madrid The exhibition is supported in part by the David T. Langrock Foundation.

ya l e center for british art

1080 Chapel Street New Haven, CT 06520 Tues–Sat 10–5 Sunday 12–5 Admission is free +1 203 432 2800 britishart.yale.edu

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