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Welcome to The Master Builder, at the dawning of Yale Repertory Theatre’s new season!
photo by JOHN GROo
We must learn to reawaken and keep ourselves awake, not by mechanical aid, but by an infinite expectation of the dawn.
To borrow one of Henrik Ibsen’s most famous metaphors, the complexity and range of the playwright’s works can be compared to an onion: peel away one layer, and discover another and another, from the poetry and romanticism of the early plays Brand and Peer Gynt; to the steely social conscience of Ghosts and An Enemy of the People, to the compressed psychological and spiritual inquiry of The Wild Duck and When We Dead Awaken. In their variety of form and scope of content, Ibsen’s plays are vivid signs of an artist who dedicated his life to reawakening himself and his audiences. Astonishingly, they are direct ancestors of virtually all western drama in the last century. To revive a play merely because of its lineage, however, is not the job of the contemporary theatre. The Master Builder is crackling entertainment in a classical sense. It holds us between compelling ideas: the beliefs that lift us up and the doubts that cast us down. Less often produced than A Doll’s House and Hedda Gabler, The Master Builder revisits and transforms many of the social themes of those earlier, more famous, plays, while privileging a more explicit and theatrical investigation of the human psyche. In the unique space and time of this performance, translator Paul Walsh, director Evan Yionoulis, and the company have an opportunity to set the play before you with the same freshness with which it might have met its first audiences in Norway, evoking the timeless desires and fears that any of us might have felt, or feel right now. If you are a frequent attendee, you know that Yale Rep is committed to producing great works that make immediate connections with contemporary audiences. In addition to The Master Builder, this season also includes the commedia dell’arte masterpiece The Servant of Two Masters by Carlo Goldoni, directed by Christopher Bayes; and Bernard-Marie Koltès’s Battle of Black and Dogs—among the most influential plays in contemporary European drama, but littleseen in this country—directed by Robert Woodruff. We will also present three new works by emerging playwrights: the acclaimed play Eclipsed by Danai Gurira, co-author of In the Continuum (seen at Yale Rep in 2007), directed by Liesl Tommy; the world premiere of Compulsion by Rinne Groff, directed by Oskar Eustis, in a coproduction with The Public Theater and Berkeley Repertory Theatre; and the world premiere of the new musical POP! by Maggie-Kate Coleman and Anna K. Jacobs, set in Andy Warhol’s legendary Factory, directed by Mark Brokaw. Please join us for the entire season. Each play promises one remarkable night at the theatre. Together, they represent an extraordinary range of human perspectives and experiences— a kind of collective wake-up call—that is energized by your participation, as I am by the wonderful e-mails you send me at firstname.lastname@example.org. Thank you for joining us, and please, spread the word of this new dawn. Sincerely,
James Bundy Artistic Director
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SEPTEMBER 18 TO OCTOBER 10, 2009
YALE REPERTORY THEATRE
James Bundy, Artistic Director
Victoria Nolan, Managing Director
the master builder By HENRIK IBSEN Translated by PAUL WALSH Directed by EVAN YIONOULIS
katHERINE AKIKO DAY
Sound Designer / Composer Production Dramaturgs
SCOTT L. NIELSEN MAYA CANTU COLIN MANNEX
tara rubin laura schutzel
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1/28/09 5:42:58 PM
CAST In ORDER OF SPEAKING
robert hogan irene SOFIA lucio
Knut Brovik Kaja Fosli
Setting: The house of Halvard Solness, the Master Builder. There will be one fifteen-minute intermission.
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A Towering Playwright:
Henrik Ibsen’s plays struck nineteenth-century Europe like bolts of theatrical lightning. Born in 1828, the Norwegian writer revolutionized drama, scorching outmoded morés to coax newer truths from their ashes. His works reflected, with both candor and nuance, a society fractured in its views on religion, class, and women’s rights. Above all, the playwright championed personal freedom: each individual’s duty to defy convention and “sail under his own flag.” Ibsen’s dramatic development coincided with the heyday of two earlier dramatic forms. “Romantic melodrama” stormed with bombastic soliloquies, while suspenseful unraveling of secrets drove the “well-made play.” Absorbing some aspects of both genres, Ibsen also radically transformed them—pruning his plays of their artificialities and greatly enriching their emotional scope. The playwright’s first works, based on Norse sagas and ballads, mostly failed with the public, but the dramatist soared to national prestige with his verse epics, Brand and Peer Gynt (1867). The playwright, whom the critic Georg Brandes dubbed the “hammer and benefactor of the North,” next abandoned poetic form for the social realism of prose. Affirming his new commitment to raising social questions, Ibsen shocked and galvanized Europe with plays such as Ghosts and An Enemy of the People. His most famous play, A Doll’s House (1879), ends with housewife Nora leaving her family on a mission of self-discovery: her doorslam was heard around the world. With The Master Builder (1892), Ibsen crowned a cycle of plays delving the hidden depths of the subconscious. In this play, The Wild Duck, Rosmersholm, Hedda Gabler, and others, Ibsen showed how, like The Master Builder’s visionary architect Halvard Solness, we all too “fight against the dark forces within ourselves.” Ibsen died in 1906, leaving behind over two dozen plays. Like Solness’s church over the town of Lysanger, his shadow towers majestically over Western drama. —MAYA CANTU, PRODUCTION DRAMATURG henrik ibsen portrait by erik werenskiold, 1895.
The Writer’s Desktop
Ibsen was notoriously reticent to discuss his influences, and even his most scrupulous biographers debate whether his plays owe more to literature and philosophy or a keen poetic intuition. Certainly, Ibsen was well-connected to his era and its zeitgeist. Leading theorists supplied him with key readings on radical approaches to literature, ranging from Shakespeare to Georg Brandes’s six-volume Currents of Nineteenth-Century Literature. Still, the dramatist’s interest in the broad historical and philosophical trends was equaled by his passion for the details of everyday life. Ibsen devoured the daily newspapers—all of them. If we could visit the writer’s study in 1892, we might find him pondering some of these things.
Realism & Naturalism: In the 1830s, Honoré de Balzac remarked to George Sand, “You are looking for man as he should be; I take him as he is.” A legion of French writers— Baudelaire, Flaubert, Zola—followed Balzac in pursuit of the gritty truth. Almost fifty years later, Ibsen was staking similar claims in Ghosts.
In the 1890s, Sigmund Freud began developing his psychoanalytic method to probe the unconscious mind. He wrote that Ibsen’s plays “pursue problems of psychological responsibility with unrelenting rigor” and took it upon himself to delve the characters’ “subterranean” secrets. “Expanding and filling in the author’s hints,” Freud believed he could “reconstruct” their back-stories—replete with Oedipal hang-ups.
Friedrich Schiller’s utopian vision of human perfectibility was pivotal in German Romanticism. In 1800 he argued that art, fused with ethics and religion, could elevate the human spirit. The poet’s task was to represent people at their highest ideals. By the 1860s, however, this once revolutionary concept served to justify a crusty bourgeois morality—feminine “purity,” repressive sexuality, and self-sacrifice.
Symbolism: Leading Symbolist playwright Maurice Maeterlinck admired The Master Builder for its commitment to the mysteries of the human soul. His response to the play appeared in the New York Times: “Everything that is said in it hides and discovers at the same time the sources of an unknown life.”
—Colin Mannex and Maya Cantu, Production Dramaturgs
f a s E
Ibsen thrived on a sense of competition. Above his desk, he hung a portrait of August Strindberg, his younger adversary: “He is my mortal enemy; he must hang there and observe everything I write.” Ibsen particularly liked his “demonic eyes.” Goethe’s epic play, Faust, about man’s quest for absolute knowledge served as an archetype for numerous Ibsen characters: Brand, John Gabriel Borkman, and certainly The Master Builder’s Solness, who struggles and bargains with God to realize his “palace in the sky.” Ibsen even gave his Peer Gynt several lines from “the famous poet.”
Revolution: The Franco-Prussian War of 1870–1 and the rise and fall of the Paris Commune in the spring of 1871 were events that confirmed Ibsen’s mistrust of European idealism. He had felt an urgent need to forge something new out of the destruction of the old. Rejecting art that championed outmoded ideals of truth and beauty, Ibsen contributed to the birth of a new paradigm: Modernism.
Religion: Most Norwegians clung to Christianity in the nineteenth century, as high rates of church attendance and nearly homogeneous Lutheran belief dominated the country’s spiritual landscape. Intellectuals, meanwhile, turned increasingly secular, embracing new ideas in science and philosophy. A man of many contradictions, the agnostic Ibsen loved reading the Bible, which he described as “powerful and strong.”
Regarded as a charlatan in his own time, Franz Mesmer paved the way for the studies of mental influence and paranormal activity throughout the 1800s. His theories about “animal magnetism” led to the advent of hypnotism in the 1840s and speculation about telepathy in the 1880s.
Trolls loom large in Norwegian folklore, as imaginatively linked to the country as leprechauns are to Ireland. Foul-tempered and dim-witted, the grotesque creatures were believed to prowl Norway’s forests and hoard gold within its mountains. Trolls also figure strongly in Ibsen’s Peer Gynt, whose famous incidental music by Edvard Grieg instantly evokes the treacherous “Hall of the Mountain King.”
facing page: henrik ibsen at his desk, 1898, photo by ludwig szacinski. above from top: august strindberg as painted by christian krogh; sigmund freud as painted by wilhelm victor krausz; The Water Troll Who Eats Only Young Girls by theodor kittelsen.
Dizzying New Heights It’s hard to miss. The Eiffel Tower looms over the streets, the daily traffic, the very psyche of Paris. The writer Guy de Maupassant said he enjoyed a daily lunch at the Tower’s summit restaurant because it was the only place where he didn’t see or feel its presence. Strangely enough, this structure that has become an icon, among the most readily identifiable silhouettes in the world, a shorthand that virtually means “Paris,” had a less auspicious beginning—it was a fairground attraction. Assembled in 1889, the Tower’s steel cage construction and exposed rivets—as though welded in the imagination of Jules Verne—looked like a vision of the future. The spectacle, however, wasn’t designed to last. Commercial engineer Gustave Eiffel built his Tower with the assumption that it would be dismantled after the fair. His project faced withering criticism, and he assumed personal responsibility for the construction risks to dissipate qualms about workers’ safety. There were no accidents, but artists and writers gathered to petition against the Tower’s “ridiculous, vertiginous height… belittling our works of architecture, which will just disappear before this stupefying folly.” Was this hubris? Paris already had its monuments. Piercing the sky like a beacon, the practically useless Eiffel Tower remapped its Parisian landscape. And as it became the city’s central orienting feature, the Tower emerged as a lofty testament to the modern architect’s visionary genius. Traveling in Europe until 1891, Ibsen might have identified with the ego of the modern architect, or “master builder,” a term that then applied broadly to great scientists, statesmen, or industrialists. His early poem “Building Plans” compares the artist with “immortal” ambitions to a master builder, someone whose work endures as a central part of people’s lives. When asked if he was interested in architecture, Ibsen replied embracing the metaphorical kinship, “Yes; it is, as you know, my own trade.” Years after the publication of The Master Builder, Ibsen admitted that Solness was “a man somewhat akin to me,” but his identification was not without reservations. Ibsen retained a critical distance, a kind of “double vision,” regarding his master builder’s ultimate goal. Is it magnificence or madness? A fault against God? Ibsen never quite decides. And the tone of this masterwork pulses thrillingly between moments of genius and folly. —CM
MASTER BUILDERS AND MISTRESS-MUSES Reaching for the sublime, artists have always found inspiration in shapely, female forms. Like the nine goddesses of Greek mythology, Hilda Wangel is a muse, stirring her “Master Builder” with her youth and spirit. Just as she pushes Solness to build his “palaces in the sky,” three women achieved their own form of immortality as muse to great architects in the early twentieth century. The building of Taliesin, Frank Lloyd Wright’s famed summer estate in Wisconsin, was in part inspired by his liaison with the free-thinking suffragette Martha “Mamah” Borthwick Cheney. The married Wright, commissioned to design a house for the electrical engineer Edwin Cheney, fell in love with his client’s wife and fled with her to Europe in 1909. There, the lovers listened for what Wright called “the song in the deeps of life.” When they returned to America, Taliesin offered a retreat from intense public censure. The romance ended terribly in 1914 when Mamah and her children were murdered by a servant, who set fire to the house. Evelyn Nesbit became the unwitting central figure to another tragic scandal. The teenaged chorus girl was the muse to Stanford White, a titan of Gilded Age architecture who designed such landmarks as Madison Square Garden, and she also stoked the fires of artists like Charles Dana Gibson. Though married himself, White kept a second apartment, outfitted with strategically placed mirrors and a red velvet swing, where he entertained young women. In 1906, Nesbit’s millionaire husband Harry K. Thaw—driven crazy by the thought of his young wife posing on the swing—fatally shot the architect. German architect and Bauhaus school founder Walter Gropius dazzled fin-de-siècle Vienna when he fell for Alma Mahler, the beguiling “serial muse.” Alma, a gifted composer, was better recognized for her magnetic allure to artists. Also famed for a tempestuous affair with the painter Oskar Kokoschka, she married Gropius, the composer Gustav Mahler, and the writer Franz Werfel (who called her his “guardian of the flame”). While the Gropius union was to prove unhappy for both, Alma gave vital encouragement to the architect at the start of his career—and burnished both of their legends. —MC from top: Martha “Mamah” Borthwick Cheney, evelyn nesbit, and alma mahler.
cast BILL BUELL*(Doctor HERDAL) has appeared on Broadway in Equus, The History Boys, Inherit the Wind, Urinetown, 42nd Street, Titanic, Tommy, Taking Steps, Big River, Annie, Once a Catholic, The First, Welcome to the Club, The Miser, and Anna Karenina. His Off-Broadway credits include The Fourth Sister, Eight Days Backwards (Vineyard Theatre); Andorra, Waste (Theatre for a New Audience); Bad Habits, Aristocrats (Manhattan Theatre Club); Queens Boulevard (Signature Theatre Company); On the Bum, Violet-concert (Playwrights Horizons); Picasso at the Lapine Agile, The Common Pursuit, The Mysteries, and The False Servant (Classic Stage Company). With The Public’s Shakespeare in the Park: Tartuffe, The Winter’s Tale, and Twelfth Night. He last appeared at Yale Rep in Much Ado About Nothing. Film and television credits include Across the Universe, Spy Game, Welcome to the Dollhouse, The Love Letter, Requiem for a Dream, Quiz Show, Palindromes, Kinsey, Dark Water, and upcoming, The Box; The Bronx Is Burning, John Adams, Curb Your Enthusiasm, The Jamie Kennedy Experience, Law & Order, Ed, 100 Centre Street, and Cosby.
DAVID CHANDLER* (HALVARD SOLNESS) previously appeared at Yale Rep in Pentecost, St. Joan of the Stockyards, and Wall of Water. His New York credits include the Broadway productions of Lost in Yonkers, Death of a Salesman, and The American Clock; and Off-Broadway: Underneath the Lintel (Soho Playhouse); Private Jokes, Public Places (La MaMa); The Swan (The Public Theater); Slavs! (New York Theatre Workshop); Phaedra (Vineyard Theatre); Black Sea Follies, Doris to Darlene (Playwrights Horizons); The Grey Zone (Manhattan Class Company); and Cellini (Second Stage Theatre). Regionally, Mr. Chandler has worked at Berkeley Repertory Theatre, Guthrie Theater, Long Wharf Theatre, McCarter Theatre Center, Actors Theatre of Louisville, The Wilma Theater, and Williamstown Theatre Festival, among others. Mr. Chandler appeared at London’s Bush Theatre in A Question of Mercy. Film and television credits include The Grey Zone, Hide and Seek, The Undeserved, Death of a Salesman, Upheaval, The Portrait, Her Alibi, Seinfeld, Third Rock from the Sun, Arliss, and numerous Law & Order episodes.
susan heyward* (hilda wangel) just completed her run in the Pulitzer Prize-winning play Ruined at Manhattan Theatre Club. Other New York credits include The Oedipus Cycle, Nathan the Wise (The Pearl Theatre Company); and I Have Before Me a Remarkable Document... (Phoenix Theatre Ensemble). Her regional theatre credits include Romeo and Juliet, Antony and Cleopatra, The Tempest, As You Like It, 14
cast Pericles (American Shakespeare Center); The Snow Queen (Urban Stages); and You Can’t Take It With You (Peterborough Players). She can currently be seen in the hit Comedy Central series Michael and Michael Have Issues starring Michael Ian Black and Michael Showalter. Film work includes the upcoming feature film A Ticket for Hope. Ms. Heyward received her BFA in Drama from Carnegie Mellon University.
ROBERT HOGAN* (KNUT BROVIK) most recently appeared in The New Group production of Eugene O’Neill’s Mourning Becomes Electra. He has appeared on Broadway in Aaron Sorkin’s A Few Good Men, in which he originated the role of Matthew Markinson, and in the Roundabout Theatre Company production of Hamlet. Other New York credits include Accomplices; Rainbow Kiss; Boy; What Didn’t Happen; Further Than the Furthest Thing; Romania. Kiss Me!; Baby Dance; Hope Is the Thing with Feathers; Waiting for Lefty (directed by Joanne Woodward); Major Crimes; Lighting Up the Two-Year-Old; Rutherford and Son; In the Western Garden; On the Bum; and Never the Sinner, for which he received the Outer Critics Circle Award for his portrayal of Clarence Darrow. His regional credits include A Moon for the Misbegotten (Helen Hayes Award nomination, Arena Stage), as well as productions at Williamstown Theatre Festival and Long Wharf Theatre. He has appeared in over 150 primetime television shows, including Law & Order, Law & Order: Criminal Intent, HBO’s The Wire, Third Watch, Ed, Cosby, Deadline, Hill Street Blues, and M*A*S*H.
SLATE HOLMGREN (RAGNAR BROVIK) most recently appeared in The Public Theater’s Shakespeare in the Park production of Twelfth Night with Anne Hathaway. His previous Yale Rep credits include Passion Play and Trouble in Mind. A third-year MFA candidate at Yale School Drama, his credits there include Grace, or The Art of Climbing; Learning Russian; The Current War; Love’s Labour’s Lost; and The Tempest. He has also appeared in Bone Songs, One for the Road, A Christmas Carol (Yale Cabaret); the title role in Macbeth (Actors’ Repertory Theatre Ensemble); The Taming of the Shrew, Hamlet, and The Little Foxes at Brigham Young University, where he received his BFA. Television and Film credits include Everwood and Dragon Hunter. Slate also completed the British American Dramatic Academy’s Midsummer in Oxford Program at Balliol College.
*MEMBER OF ACTORS’ EQUITY ASSOCIATION, THE UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS IN THE UNITED STATES. 15
creative team FELICITY JONES* (ALINE SOLNESS) previously appeared in the Yale Rep productions of A Woman of No Importance, Lulu, and The Ladies of the Camellias. Her New York credits include Mary Zimmerman’s Metamorphoses on Broadway and Athol Fugard’s The Captain’s Tiger (Manhattan Theatre Club), Measure for Measure (The Public Theater/New York Shakespeare Festival), and As You Like It (The Acting Company). Her regional credits include ’Tis Pity She’s a Whore and Lady Windermere’s Fan (CENTERSTAGE), Enrico IV (American Conservatory Theater), The Odyssey (The Goodman Theatre), and Cymbeline (Hartford Stage, McCarter Theatre Center). She was an Artistic Associate at Theatre de la Jeune Lune for ten seasons, where she appeared in such works as Crusoe, Friday and the Island of Hope, The Green Bird, and Children of Paradise: Shooting a Dream (also co-author, 1993 American Theater Critics Association Award). Ms. Jones’s film and television appearances include Julie & Julia, Wonderland, Deadline, Ed, and Law & Order.
IRENE SOFIA LUCIO (KAJA FOSLI) is a second-year MFA candidate at Yale School of Drama, where she most recently appeared as Becca in The Bedtrick (Carlotta Festival of New Plays) and Viola in Jelly’s Last Jam. Her other theatre credits include After the Revolution, Golden Gate (Williamstown Theatre Festival Fellowship Projects); the title role in Hedda Gabler; Laughing Wild; and Juliet in Romeo and Juliet. She also appeared in the HBO Latino movie Casi Casi. Irene graduated from Princeton University with a degree in comparative literature.
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creative team TIMOTHY BROWN (SCENIC DESIGNER) is a third-year MFA candidate at Yale School of Drama, where his credits include last season’s Man=Man and Love’s Labour’s Lost. He received his BFA in scenic design from the University of Miami, where he designed sets and lights for productions of A New Brain, Electra, How I Learned to Drive, Falsettos, Kimberly Akimbo, Reckless, and A Midsummer Night’s Dream. He is also a resident designer for Miami’s Fresco Productions, where he designed world premieres of Reconstructing Mama and The Penguin Tango, presented as part of the 2006 New York International Fringe Festival and the Fringe Encore Series.
MAYA CANTU (PRODUCTION DRAMATURG) is a third-year MFA candidate in Dramaturgy and Dramatic Criticism at Yale School of Drama, where her credits include Grace, or The Art of Climbing (Carlotta Festival of New Plays) and 99 Ways to Fuck a Swan. The Master Builder marks her Yale Repertory Theatre debut. Most recently, Maya served as dramaturg for The Mystery of Irma Vep at Yale Summer Cabaret. Other dramaturgy credits include Three Sisters, or the Dormouse’s Tale and Estrella Cruz [the junkyard queen], both at Yale Cabaret. Her writing has been published in Theater magazine and The Sondheim Review, among others.
KATHERINE AKIKO DAY (COSTUME DESIGNER) is a third-year MFA candidate at Yale School of Drama, where her credits include the set for last season’s The Robbers and costumes for The Tempest. She received a BA in art history and film studies from Dartmouth College in 2007. At Dartmouth, she designed sets for The Imaginary Invalid, The Distance from Here, A Number, The Lover, and sets and costumes for Betrayal.
COLIN MANNEX (PRODUCTION DRAMATURG) is a third-year MFA candidate in Dramaturgy and Dramatic Criticism at Yale School of Drama. He has served as a managing editor and contributor for Yale’s Theater magazine. He has also written for The Oregonian newspaper and PAJ. His dramaturgy credits include Yale Rep’s 2008 production of Passion Play, as well as work at Cripple Creek Theatre Company in New Orleans. He received a BA in English and Drama from Kenyon College in 2006.
JAMES MOUNTCASTLE* (STAGE MANAGER) See page 21. SCOTT L. NIELSEN (SOUND DESIGNER/COMPOSER) is a third-year MFA candidate at Yale School of Drama. He received his BA with a double major in sociology and theatre from the University of California, San Diego in 2007. His sound design and original music composition credits include The Robbers, Hamlet (Yale School of Drama); Waiting for Lefty, Second Sites: Tales of Alternate Routes, Red State Bluegrass (UCSD); Moms in America (Guise Gallery); Pacific Tales: Santiago vs. the Seven-Legged Squid Monster (Marie Hitchcock Puppet Theater); and Be Aggressive (Yale Cabaret). Aside from his theatrical endeavors, Scott has worked as a musician and sound artist creating, composing, recording, and performing experimental music and sonic art for more than 18 years. *MEMBER OF ACTORS’ EQUITY ASSOCIATION, THE UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS IN THE UNITED STATES. 17
creative team TARA RUBIN CASTING (CASTING DIRECTORS) has been casting at Yale Rep since 2004. Broadway: A Little Night Music, Billy Elliot (Adult Casting), Shrek, Guys and Dolls, The Little Mermaid, Mary Poppins, Jersey Boys, The Producers, Mamma Mia!, The Phantom of the Opera, The Country Girl, Young Frankenstein, The Farnsworth Invention, Rock ‘n’ Roll, The History Boys (US casting), Les Misérables, Spamalot, The 25th Annual Putnam County Spelling Bee, The Pirate Queen, Good Vibrations, Bombay Dreams, Oklahoma!, Flower Drum Song, Imaginary Friends, Metamorphoses (New York casting). Lincoln Center Theater: Happiness, The Frogs, Contact, Thou Shalt Not, A Man of No Importance, Anything Goes (concert). The Kennedy Center: Mame, Mister Roberts, The Sondheim Celebration, and Tennessee Williams Explored. Film: The Producers: The Musical. Members, Casting Society of America.
PAUL WALSH (TRANSLATOR) teaches in the Dramaturgy and Dramatic Criticism department of Yale School of Drama. He served for nine years as senior dramaturg at San Francisco’s American Conservatory Theater, which produced his translations of Ibsen’s A Doll’s House (2004) and Hedda Gabler (2007). He is currently preparing new translations of August Strindberg’s Chamber Plays for production by San Francisco’s Cutting Ball Theater in 2012. In addition, Walsh has worked as dramaturg, translator, and co-author with theatre companies across the country, including the dearly missed Theatre de la Jeune Lune, with whom he collaborated on such award-winning productions as Children of Paradise: Shooting a Dream, Don Juan Giovanni, Germinal, and The Hunchback of Notre Dame. Mr. Walsh is artistic director of the New Harmony Project, a new play development residency program in New Harmony, Indiana, dedicated to serving writers who celebrate hope and the resiliency of the human spirit.
PAUL WHITAKER (LIGHTING DESIGNER) New York credits include Durango (The Public Theater); The Wooden Breeks (MCC Theater); Manic Flight Reaction, BFE (Playwrights Horizons); Swimming in the Shallows (Second Stage Theatre); Points of Departure, Tight Embrace, Kissing Fidel (INTAR Theatre); Guinea Pig Solo (The Public Theater/LAByrinth Theater Company); Get What You Need (Atlantic Theater Company); The Last Sunday in June (Rattlestick Playwrights Theater); American Hwangap (The Play Company/Ma-Yi Theater Company); Smashing, Lovely Day (The Play Company), among others. Regional theatre credits Serious Money and It Pays to Advertise at Yale Rep, as well as productions at Long Wharf Theatre, Huntington Theatre Company, CENTERSTAGE, American Conservatory Theater, Children’s Theater Company, Hartford Stage, Alley Theatre, George Street Playhouse, and Dallas Theater Center, among others. Paul received his BA from Macalester College and his MFA from Yale School of Drama. He has taught at Amherst College and is a Lighting Designer/ Theatre Consultant for Schuler Shook.
creative team EVAN YIONOULIS (DIRECTOR) is a resident director at Yale Rep where her productions include Richard II, Black Snow, The People Next Door, The King Stag, Heaven, and Galileo. New York credits include Howard Brenton’s Sore Throats, Adrienne Kennedy’s Ohio State Murders (Lucille Lortel Award, Best Revival) at Theatre for a New Audience; Daisy Foote’s Bhutan (Cherry Lane Theatre); as well as Richard Greenberg’s The Violet Hour (Broadway), Everett Beekin (Lincoln Center Theatre), and Three Days of Rain (Manhattan Theatre Club, OBIE Award). With frequent collaborator, composer/lyricist Mike Yionoulis, she has written and directed the short film Lost and Found (Cleveland International Film Festival) and is currently developing their new musical, Redhand Guitar, at Arena Stage. Other credits include productions at such theatres as the Mark Taper Forum, South Coast Rep, Huntington Theatre Company, New York Shakespeare Festival, Vineyard Theatre, Second Stage, Dallas Theatre Center, Actors Theatre of Louisville, and Denver Center. She has directed presentations of the documentary play Seven, which tells the stories of seven extraordinary women who work for human rights, in New York, Boston, Washington, London, and Deauville, France. She is the recipient of a Princess Grace Foundation Fellowship and the Foundation’s prestigious statuette. She is currently a professor in Yale School of Drama’s Department of Acting (which she chaired from 1998 to 2003).
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OFFER EXPIRES OCTOBER 16, 2009. 19
yale repertory theatre ARTISTIC DIRECTOR JAMES BUNDY is in his eighth year as Dean of Yale School of Drama and Artistic Director of Yale Repertory Theatre. In his first seven seasons, Yale Rep has produced more than twenty world, American, and regional premieres, three of which have been honored by the Connecticut Critics Circle with the award for Best Production of the year, and two of which have been Pulitzer Prize finalists. During this time, Yale Rep has also commissioned more than twenty 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, and Death of a Salesman at Yale Rep, as well as productions at Great Lakes Theater Festival, The Acting Company, California Shakespeare Festival, Alabama Shakespeare Festival, and The Juilliard School Drama Division. A recipient of the Connecticut Critics Circle’s Tom Killen Award for extraordinary contributions to Connecticut professional theatre in 2007, Mr. Bundy currently serves on the board of directors of Theatre Communications Group, the national service organization for nonprofit theatre. Previously, he worked as Associate Producing Director of The Acting Company, Managing Director of Cornerstone Theater Company, and Artistic Director of Great Lakes Theater Festival. He is a graduate of Harvard College and Yale School of Drama.
MANAGING DIRECTOR VICTORIA NOLAN is in her 18th 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 2000 recipient of the Betsy L. Mahaffey Arts Administration Fellowship Award from the State of Connecticut and the 2005 recipient of the Elm/Ivy Award, given jointly by Yale University and the City of New Haven for distinguished service to the community.
ASSOCIATE ARTISTIC DIRECTOR JENNIFER KIGER is in her fifth year at Yale Rep and is also director of the new play programs of the Yale Center for New Theatre, an integrated, playwrightdriven 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 Co20
Director of the Pacific Playwrights Festival. She was dramaturg on more than 40 new plays at SCR, including the world premieres of Rolin Jones’s The Intelligent Design of Jenny Chow, Amy Freed’s The Beard of Avon, and the West Coast premieres of Sarah Ruhl’s The Clean House and Nilo Cruz’s Anna in the Tropics. Prior to that, she served as production dramaturg at American Repertory Theatre, collaborating with Robert Brustein, Robert Woodruff, Liz Diamond, and Kate Whoriskey, and with multi-media director Bob McGrath on stage adaptations of Robert Coover’s Charlie in the House of Rue and Mac Wellman’s Hypatia. She has been a dramaturg for the Playwrights’ Center of Minneapolis and Boston Theatre Works and a panelist for the National Endowment for the Arts and the California Arts Council. Ms. Kiger completed her training in Dramaturgy at the American Repertory Theatre Institute for Advanced Theatre Training at Harvard University, where she taught courses in acting and dramatic arts.
PRODUCTION SUPERVISOR BRONISLAW SAMMLER has been Chair of Yale School of Drama’s acclaimed Technical Design and Production Department since 1980. In 2007 he was named the Henry McCormick Professor (Adjunct) of Technical Design and Production by Yale’s President, Richard C. Levin. He is co-editor of Technical Brief and Technical Design Solutions for Theatre, Vols. I & II. His book Structural Design for the Stage won the United States Institute of Theatre Technology’s Golden Pen Award. Demonstrating his commitment to excellence in technical education and professional production, he founded USITT’s National Theatre Technology Exhibit, an on-going biennial event; he has served as a commissioner and a directorat-large and is a lifetime Fellow of North America’s Theatre Technology Association. He was honored as Educator of the Year in 2006 by the New England Theatre Conference. His production management techniques and his introduction of structural design to scenic technology are being employed in both educational and professional theatres throughout the world.
PRODUCTION STAGE MANAGER JAMES MOUNTCASTLE has been at Yale Rep since fall 2004. He was stage manager for last season’s production of Sarah Ruhl’s Passion Play, Richard II in 2007, Ruhl’s Eurydice in 2006, a new adaptation of The Cherry Orchard in 2005, and the 2004 world premiere of Ruhl’s 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 10 years old, and Katie, age 8. 21
yale repertory theatre staff James Bundy, Artistic Director Victoria Nolan, Managing Director Jennifer Kiger, Associate Artistic Director
ARTISTIC Resident Artists Paula Vogel, Playwright-in-Residence Liz Diamond, Evan Yionoulis, Resident Directors Catherine Sheehy, Resident Dramaturg Ming Cho Lee, Set Design Advisor Michael Yeargan, Resident Set Designer Jane Greenwood, Costume Design Advisor Jess Goldstein, Resident Costume Designer Jennifer Tipton, Lighting Design Advisor Stephen Strawbridge, Resident Lighting Designer David Budries, Sound Design Advisor Walton Wilson, Voice and Speech Advisor Rick Sordelet, Fight Advisor Mary Hunter, Stage Management Advisor Associate Artists 52nd Street Project, Kama Ginkas, Mark Lamos, MTYZ Theatre/Moscow New Generations Theatre, Bill Rauch, Sarah Ruhl, Henrietta Yanovskaya Commissioned Artists David Adjmi, Todd Almond, Hilary Bell, Adam Bock, Bill Camp, Will Eno, Marcus Gardley, Ann Marie Healy, Amy Herzog, Naomi Iizuka, Dan LeFranc, Liz Meriwether, Scott Murphy, Julie Marie Myatt, Jay Reiss, Octavio Solis, Paula Vogel, Kathryn Walat, Anne Washburn, Marisa Wegrzyn, Robert Woodruff
Development and Alumni Affairs Deborah S. Berman, Director of Development and Alumni Affairs Debbie Ellinghaus, Senior Associate Director of Development and Alumni Affairs Ann M.K. McLaughlin, Senior Associate Director of Development, Yale Repertory Theatre Barry Kaplan, Interim Associate Director of Development Whitney Estrin, Associate Director of Development Susan C. Clark, Development Associate Matthew Gutschick, Development Assistant Belene Day, Senior Administrative Assistant to Development and Marketing and Communications Finance and Information Technology Katherine D. BurgueĂąo, Director of Finance and Human Resources Sheila Daykin, Associate Director of Finance Cristal Coleman, Magaly Costa, Maria Frey, Business Office Specialists Randall Rode, Information Technology Director Daryl Brereton, Associate Information Technology Director Mara Hazzard, 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, Associate Director of Marketing Shinhyoung Shon, Associate Director of Marketing and Communications Devon Smith, Director of Analytics Artistic Administration Rachel Smith, Associate Director of Marketing and Amy Boratko, Literary Manager Audience Services Alex Grennan, Kay Perdue Meadows, Artistic Coordinators Sarah Stevens-Morling, Online Communications and Brian Valencia, Walter Byongsok Chon, Literary Associates Print Advertising Manager Tara Rubin, CSA, Laura Schutzel, CSA, Casting Directors Maggie Elliott, Marketing and Publications Manager Eric Woodall, Merri Sugarman, Casting Associates Kit McKay, Marketing Assistant Paige Blansfield, Rebecca Carfagna, Dale Brown, Scott McKowen, Punch & Judy Inc., Graphic Designers Casting Assistants David Cooper, Photographer Ruth M. Feldman, Director of Education and T. Charles Erickson, Production Photographer Accessibility Services Janna J. Ellis, Associate Director of Audience Services Teresa Mensz, Library Services Assistant and Tessitura Specialist Josie Brown, Senior Administrative Assistant to the Tracy Baldini, Laura Kirk, Assistant Audience Services Directors Artistic Director and Associate Artistic Director Audrey Rogers, Group Sales Manager Kathleen Driscoll, Senior Administrative Assistant for London Moses, Audience Services Assistant the Directing, Dramaturgy and Dramatic Criticism, Courtney Engle, Ruth Kim, Sue Malone, Raphael Shapiro, Playwriting, and Stage Management Departments Carrie Toole, Anya Van Wagtendonk, Box Office Assistants Mary Volk, Senior Administrative Assistant for the Design and Sound Design Departments Operations William J. Reynolds, Director of Theater Safety ADMINISTRATION and Occupational Health Michael Barker, Belina Mizrahi, Meghan Pressman, Mike Vandercook, Interim Facilities and Operations Manager Associate Managing Directors Rich Abrams, Operations Associate Art Priromprintr, Assistant Managing Director Jacob Thompson, Security Officer Karena Fiorenza Ingersoll, Management Assistant Ed Jooss, Audience Safety Officer Lara Loyd, Interim Senior Administrative Assistant Fred Grier, Customer Service and Safety Officer to the Managing Director Ben Holder, Ron Maybrey, Custodial Supervisors Martha Olivo Jurczak, Company Manager Lucille Bochert, Vermont Ford, Warren Lyde, Vondeen Ricks, Mark Roy, Custodians 22
PRODUCTION Bronislaw J. Sammler, Production Supervisor James Mountcastle, Production Stage Manager Jonathan Reed, Senior Associate Production Supervisor Marla J. Beck, Senior Administrative Assistant to the Production Department Costumes Tom McAlister, Costume Shop Manager Robin Hirsch, Associate Costume Shop Manager Mary Zihal, Senior Draper Clarissa Wylie Youngberg, Draper Deborah Bloch, First Hand Linda Kelley-Dodd, Costume Project Coordinator Barbara Bodine, Company Hairdresser Linda Wingerter, Costume Stock Manager Robert Snipes, Assistant to the Costume Shop Manager Electrics Donald W. Titus, Lighting Supervisor Jason Wells, Linda Young, Head Electricians Painting Ru-Jun Wang, Resident Scenic Charge Angie Meninger, Scenic Artist Nora Hyland, Assistant Scenic Artist Jennifer Herbert, Assistant to the Painting Supervisor Properties Brian Cookson, Properties Master David P. Schrader, Properties Craftsperson Jennifer McClure, Properties Assistant Rachel Reynolds, Properties Stock Manager Nishi l. Hamrick, Assistant to the Properties Manager Scenery Don Harvey, Neil Mulligan, Technical Directors Alan Hendrickson, Electro Mechanical Laboratory Supervisor Eric Sparks, Shop Foreman Matt Gaffney, Sharon Reinhart, Master Carpenters Lisa McDaniel, Ryan Gardner, Shop Carpenters Amy Jonas, MIchael Backhaus, Assistants to the Technical Director Sound Josh Loar, Sound Supervisor Paul Bozzi, Staff Sound Engineer Palmer Heffernan, Nicholas Pope, Assistants to the Sound Supervisor Projections Erik Trester, Head Projection Technician Stage Operations Janet Cunningham, Stage Carpenter Kate Begley Baker, Properties Runner Charles Harbert, Sound Operator Elizabeth Bolster, Wardrobe Supervisor
ADDITIONAL STAFF FOR the master builder Lileana Blain-Cruz, Assistant Director Rebecca L. Welles, Assistant Costume Designer Jung Griffin, Assistant Scenic Designer Alan C. Edwards, Assistant Lighting Designer Karen Hashley, Kirsten Parker, Assistant Stage Managers Stephen Henson, Associate Production Supervisor Tien-Yin Sun, Technical Director Andrew Becker, Katherine Wicker, Assistant Technical Directors Eric Lin, Assistant Properties Master Steven Albert, Master Electrician Robert Shearin, Sound Engineer Brandon Fuller, Carpenter Krista Franco, Scenic Painter Denise Oâ€™Brien, Hair & Wig Design Grace Zandarski, Vocal Coach Bronwyn Sims, Aerial Consultant Michael Goulet, Physical Safety Consultant DeDe Jacobs Komisar, Assistant Company Manager Brad Wallis Tuggle, House Manager Max Gordon Moore, Body Double Po-Lin Li, Kate E. Liberman, Aaron Mastin, Gina Odiermo, Jen Wineman, Yi Zhao, Run Crew
UNDERSTUDIES Zach Appelman, Dr. Herdal Kevin Daniels, Ragnar Brovik John Patrick Doherty, Halvard Solness Ryan Lockwood, Knut Brovik Rachel Spencer, Hilda Wangel Alexandra Trow, Aline Solness Adina Verson, Kaja Fosli
Yale Repertory Theatre operates under an agreement between the League of Resident Theatres (LORT) and Actorsâ€™ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
The Scenic, Costume, Lighting, and Sound Designers in LORT are represented by United Artists Local USA-829, IATSE. The Master Builder, September 18 to October 10, 2009. University Theatre, 222 York Street.
NEXT AT YALE REP “A SURPRISINGLY VIVACIOUS PORTRAIT OF HELPLESSNESS, OF THE ENTIRELY HUMAN IMPULSE TO ADAPT, TO GET BY EVEN WHEN THERE’S LITTLE HOPE LIFE WILL GET BETTER. DANAI GURIRA GIVES US PEOPLE UNDER DURESS AS OPPOSED TO MERE VICTIMS UNDER GUARD: FLAWED, CAUSTIC, FUNNY WOMEN, CAPABLE OF DOING HARM TO EACH OTHER AS WELL AS GOOD.” THE WASHINGTON POST
ECLIPSED By DANAI GURIRA
Directed by LIESL TOMMY
OCTOBER 23 TO NOVEMBER 14 YALE REPERTORY THEATRE 1120 CHAPEL STREET
YALEREP.ORG 203.432.1234 TELETYPE O RDERS 203.432 . 1521
CONTAINS STRONG LANGUAGE. PLEASE CONTACT THE BOX OFFICE IF YOU HAVE FURTHER QUESTIONS ABOUT THE THEMES OR CONTENT OF THIS PRODUCTION. 24 BY DAVID COOPER PHOTO
yale repertory theatre annual fund Go Beyond the Show… Make a gift to Yale Repertory Theatre’s Annual Fund to support the national and international artists you see on our stage, to provide resources for early career and leading playwrights, to create original work at Yale, and to maintain our tradition of artistic excellence and leadership in the American theatre. Your generosity also sustains Yale Rep’s community programs, like WILL POWER!, which introduces nearly 2,000 middle and high school students annually to the power of live theatre, and The Dwight/Edgewood Project, a unique outreach program that, through playwriting, strengthens the self-esteem and creative expression of students from New Haven’s Augusta Lewis Troup and Wexler/Grant Community schools. Your tax-deductible gift to Yale Rep’s Annual Fund—at any level—plays a significant role in contributing to our ability as a nonprofit theatre to bring the best work to our stages and share it with the Greater New Haven community. For more information on how to make a donation, please contact Sue Clark, Development Associate, at (203) 432-1559, email@example.com, or go to www.yalerep.org/donate.
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Mail to: Development Office, Yale Repertory Theatre, P.O. Box 208244, New Haven, CT 06520-8244 25
to Yale School of Drama and Yale Repertory Theatre LEADERSHIP SOCIETY ($50,000 and above)
PRODUCER’S CIRCLE ($5,000 - $9,999)
Anonymous John Badham John B. Beinecke Estate of Nicholas Ciriello Sterling and Clare Brinkley Philip A. Corfman, M.D. Edgar M. Cullman, Jr. Edgar M. Cullman III The Jerome L. Greene Foundation A.R. Gurney F. Lane Heard III David Johnson Danny Kaye and Sylvia Fine Kaye Foundation Jay Keene Neil Mazzella David Milch H. Thomas Moore Estate of Tad Mosel Walter F. Parkes The Estate of Mark Richard The Estate of Barbara E. Richter Robina Foundation Michael and Riki Sheehan The Shubert Foundation Jennifer Tipton Edward Trach Esme Usdan Zelma Weisfeld
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GUARANTORS ($25,000-$49,999) The Estate of Robert Anderson Anonymous Connecticut Commission on Culture and Tourism National Endowment for the Arts Edward John Noble Foundation Trust for Mutual Understanding
BENEFACTORS ($10,000-$24,999) Anonymous Bank of America Mary L. Bundy Heidi Ettinger Jane Kaczmarek Estate of Nathan Lipofsky Lucille Lortel Foundation Donald B. Lowy Estate of George E. Nichols III
DIRECTOR’S CIRCLE ($1,000-$4,999) Anna Fitch Ardenghi General Charitable Purpose Trust Cornelia Barr Margaret A. Bauer Deborah S. Berman Jeffrey A. Bleckner Thomas Bruce James Bundy CEC Artslink Joan D. Channick Patricia Clarkson Enrico L. Colantoni Community Foundation of Greater New Haven Peggy Cowles William E. Curran, Jr. Michael Diamond Henry Dunn Terry Kevin Fitzpatrick Marcus Dean Fuller Fred Gorelick and Cheryl MacLachlan Donald Granger Anne Hamburger Andrew and Jennifer Hamilton Richard Harrison Donald A. Harvey James Earl Jewell Donald and Candice Kohn The Ethel & Abe Lapides Foundation Sasha Emerson Levin
Jody Locker-Berger Sarah Long Linda Lorimer and Charley Ellis William Ludel Dr. and Mrs. Robert W. Lyons Romaine A. Macomb Arthur and Merle Nacht NEA/TCG Theatre Residency Program for Playwrights Christopher Noth Richard Ostreicher DW Phineas Perkins George and Kathy Priest Sarah Rafferty Arthur I. Rank III Pamela Rank Belinda Robinson Rose Brand Ben and Laraine Sammler Carol L. Sirot Foundation Flora Stamatiades Scoozzi Trattoria and Wine Bar Marie S. Sherer Benjamin Slotznick Kenneth J. Stein Shepard and Marlene Stone Target Stores Theatre Projects Consultants Elaine and Patrick Wackerly William and Phyllis Warfel Alexandra Witchel Robert Zoland
PARTNERS ($500-$999) Nina Adams and Moreson Kaplan Amy Aquino Mr. and Mrs. B. Ashfield Mary Ellen and Thomas Atkins Alexander Bagnall John Lee Beatty Jack W. Belt Catherine Black Susan Brady and Mark Loeffler Alice B. and James T. Brown Martin Caan and Carol Petschek Donald Cairns Ian Calderon
Joy G. Carlin Cosmo Catalano, Jr. Jenny and Ricardo Chavira John Conklin Robert Cotnoir Anna E. Crouse Susan Curtis Ernestine and Ronald Cwik Bob and Priscilla Dannies Drew S. Days III and Ann R. Langdon Ramon L. Delgado Elizabeth Doyle Mary Elder Eric Elice Jenifer Endicott Roberta Enoch and Steven Canner Peter Entin Abigail Evans Teresa Eyring Glen R. Fasman Stephen L. Godchaux David Goldman and Debbie Bisno James W. Gousseff Wray Steven Graham Rob Greenberg D. Keith Hargreaves Karsten Harries Katherine W. Haskins Michael Haymes and Logan Green Jane C. Head Carol Thompson Hemingway Kathryn Hirsch Kathleen Houle Barnet K. Kellman Charles Kimbrough Francis N. Levy Kenneth Lewis George N. Lindsay, Jr Chih-Lung Liu Brian Mann John McAndrew David E. Moore Arthur Oliner James M. Perlotto Thomas J. Peterson Carol A. Prugh John Rhee Alan Rosenberg David Saltzman Suzanne Sato G. Erwin Steward Mr. and Mrs. Robert Szczarba Shirin Devrim Trainer
John M. Turturro and Katherine Borowitz Carol M. Waaser Carolyn S. Wiener Steven Wolff Stephen Zuckerman
INVESTORS ($250-$499) Anonymous Susan and Bruce Ackerman Mary B. Arnstein James Robert Bakkom Robert Baldwin Richard E. Bianchi Robert Bienstock Tom Broecker Mark Brokaw Claudia Brown Bruce and Janet Bunch Thomas Buttke and Judith Waters Michael Cadden Anne and Guido Calabresi William Caruth David M. Conte Marycharlotte Cummings John W. Cunningham Richard Sutton Davis Charles Dillingham Constance Dimock Cory and Bob Donnalley Charitable Foundation Dennis Dorn Elizabeth English David Freeman Meredith Freeman Joseph Gantman Cleveland Gardner Julie Grant Robert J. Greenberg Elizabeth Greene Michael Gross Dick and Norma Grossi Regina Guggenheim William B. Halbert Scott Hansen Walter and Betty Harris Douglas Harvey Barbara Hauptman Nicole and Larry Heath Catherine Hernandez and Michael Fulton Jennifer Hershey-Benen June and George Higgins Donald Holder Catherine MacNeil Hollinger Abraham Maimon Elizabeth Holloway John Robert Hood Christine Jahnke
Rolin Jones Cynthia Kaback Edward Kaye Ashley York Kennedy Richard H. Klein Diana E.E. and Fred S. Kleiner Harvey Kliman and Sandra Stein David Kriebs Frances Kumin William Kux James Lapine Michael John Lassell Richard and Elaine Lau Dr. Robert and Inez Liftig Jane Lyman Thomas Lynch Sandra Manley Delia Maroney and Jolie Damiano Glenn and Susan McNamara Carol and Arthur Mikesell Jeffrey Milet Daniel Mufson Victoria Nolan and Clark Crolius Dwight Odle Louise Perkins and Jeff Glans Laura Perlow Elizabeth Prete and Peter Hentschel Stephen Pollock Asghar and Faye Rastegar Ronald Recasner Bill and Sharon Reynolds Ross Sumner Richards Harry M. Ritchie Dawn Robertson Laila Robins Lori Robishaw Steve Robman Dorothy Rostov Dr. Ortwin Rusch Alvin Schecter Larry Schwartz and Russ Rosensweig Alexander Scribner Paul Selfa Sandra Shaner Rachel Sheinkin Mark and Cindy Slane Erich William Stratmann Paul Charles Tigue III Suzanne Tucker David J. Ward Vera Wells Dana Westberg Judith and Guy Yale Evan Yionoulis Catherine Zuber
FRIENDS ($100-$249) Anonymous Emily Aber and Robert Wechsler David E. Ackroyd Joseph V. Agostini Roberto F. Aguirre-Sacasa Michael Albano Sarah Jean Albertson Narda Alcorn Liz Alsina Richard Ambacher Dr. and Mrs. Lane Ameen Annette Ames Leif Ancker Nephelie Andonyadis Bob and Jane Archibald Atticus Bakery Clayton May Austin Angelina Avallone Joe and Ravit Avni â€“Singer Arthur Baer Dylan Baker Paul Baker James Bakkom Drs. M. Baron and R. Magraw Christopher Barreca Barbara Barry Pattsy Bates William Batsford Mark Bauer Richard and Nancy Beals Andrew A. Beck Spencer P. Beglarian Ursula Belden Ronald Bell Wendell and Lora Lee Bell James C. Bellavance Albert Bennett Edward Bennett Elizabeth Bennett Jenefer and Frank Berall Melvin Bernhardt Richard Bianchi Mrs. Frank Black Edward Blunt John Cummings Boyd John Breedis Donna Brennan Russell and Freddie Brenneman Amy L. Brewer Cynthia Brizzell-Bates Theresa Broach Carole and Arthur Broadus Brenda and Howard Brody Arvin B. Brown Shawn Hamilton Brown Philip Bruns Robert Brustein
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Paul and Liz Giamatti Patricia Gilchrist Robert and Anne Gilhuly Morfydd and Gilbert Glaser Robert Glen William Glenn Neil Gluckman Susan Gobel Lindy Lee Gold Norma and Myron H. Goldberg Robert Goldsby Jess Goldstein David Gorton Naomi S. Grabel Christopher Grabowski Charles F. Grammer Kris and Marc Granetz Katharine Grant Bigelow Green Anne K. Gregerson Joe Grifasi Karen Grimmell Alan A. Grudzinski John Guare Eugene Gurlitz Dr. Ronald and Maria Hagadus Phyllis O. Hammel Alexander Hammond Ann T. Hanley Jerome R. Hanley David W. Hannegan Scott Hansen Harold Harlow John Harnagel Charlene Harrington Lawrence and Roberta Harris Lyndsay N. Harris Walter and Betty Harris James T. Hatcher Ihor Hayda James Hazen Patricia Helwick Elba and Juan Hernandez Jennifer Hershey-Benen Greg and Elaine Herzog Dennis F. Hickey Roderick Lyons Hickey III Bente and Walter Hierholzer Christopher Higgins Hill Regional Career High School Mr. and Mrs. Edward F. Hirsch, Jr. Elizabeth Holloway Amy Holzapfel Agnes Hood
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Barbara Wareck and Charles Perrow Anne C. Washburn John Ransford Watts Steven I. Waxler Gil Wechsler Betsy and Harry Welch Tan Falkowski Wells Thomas Werder Raymond Werner J. Newton White Peter White Robert and Charlotte White Joan Whitney Robert Wierzel Lisa A. Wilde Robert Wildman John and Virginia Wilkinson David Willson Catherine M. Wilson Marshall Williams Carl Wittenberg Bess Wohl Robin B. R. Wood Amanda Woods Tamilla Woodard Yun C. Wu Arthur Zigouras Albert Zuckerman
EMPLOYER MATCHING GIFTS Aetna Foundation Corning, Inc. General Electric Corporation IBM The John D. and Catherine T. MacArthur Foundation Mobil Foundation, Inc. Pfizer Pitney Bowes Procter & Gamble The Prospect Hill Foundation SBC Communications, Inc. United Technologies Corporation
This list includes current pledges, gifts, and grants received from July 1, 2008â€š through September 1, 2009. For more information about making a donation to Yale Repertory Theatre, please contact Sue Clark at 203.432.1559 or firstname.lastname@example.org. 29
for your information how to reach us
Yale Repertory Theatre Box Office 1120 Chapel Street (at York St.) PO Box 1257, New Haven, CT 06505 203.432.1234 TTY (TELETYPE): 203.432.1521 email@example.com
There is an accessible restroom in the main lobby. Additional restrooms are located downstairs.
box office hours Monday to Friday from 10AM to 5PM Saturday from 12 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.
emergency calls Please leave your cell phone and/or beeper, name, and seat number with the concierge. We’ll notify you if necessary. Emergency only telephone number at Yale Rep: 203.764.4014
group rates Discounted tickets are available for groups of ten or more. Please call 203.432.1572.
seating policy Everyone must have a ticket. Sorry, no children in arms or on laps. Patrons who become disruptive will be asked to leave the theatre.
Yale Repertory Theatre offers all patrons the most comprehensive accessibility services program in Connecticut, including a season of open-captioned and audio-described performances, a free assistive listening system, large-print and Braille programs, a direct TTY (teletype) line to Yale Rep’s Box Office (203.432.1521), wheelchair accessibility with an elevator entrance into the Yale Rep Theatre located on the left side of the building, and accessible seating. For more information about the theatre’s accessibility services, contact Ruth M. Feldman, Director of Education and Accessibility Services at 203.432.8425 or firstname.lastname@example.org. Yale Repertory Theatre’s accessibility services are supported in part by The Seedlings Foundation, the Carol L. Sirot Foundation‚ and Romaine A. Macomb.
audio description (ad): A live narration of the play’s action, sets, and costumes for patrons who are blind or low vision.
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.
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.
Open Captioning and Audio Description performances are at 2PM. AD pre-show description begins at 1:45PM. The Master Builder Eclipsed POP! Compulsion The Servant of Two Masters Battle of Black and Dogs
Oct 3 Nov 7 Dec 12 Feb 20 Mar 27 May 1
c2inc is pleased to be the official Open Captioning provider of Yale Repertory Theatre.
Oct 10 Nov 14 Dec 19 Feb 27 Apr 3 May 8
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 10,000 Connecticut students and educators. The Dwight/ Edgewood Project brings ten middle school students from New Haven’s Augusta Lewis Troup and Wexler/ Grant Community schools 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 Donald and Patricia Anderson, Anna Fitch Ardenghi General Charitable Purpose Trust, Bank of America, Deborah S. Berman, Bianca F.-C. Calabresi, the Carolyn Foundation, Bob and Priscilla Dannies, the Lucille Lortel Foundation, Romaine A. Macomb, Mrs. Romaine Macomb, Jane Marcher Foundation, NewAlliance Foundation, Robbin A. Seipold, Sandra Shaner, Target Stores, Charles and Patricia Walkup, Bert and Martha Weisbart, and Esme Usdan. from top: schools gathering for WILLpower!; dwight/edgewood project, 2009.
SPONSORSHIP corporate sponsors Mionetto USA
community sponsors Chestnut Fine Foods Connecticut Presort Est Est Est Fleur de Lys Floral and Gifts Hull’s Arts Supply and Framing New Haven Advocate
Scoozzi Trattoria and Wine Bar
New Haven Register Thames Printing Company, Inc. WSHU Public Radio Group The Study at Yale, a Boutique Hotel Willoughby’s Coffee and Tea The Yale Bookstore Yellowbook
These lists include current pledges, gifts and grants received from July 1, 2008‚ through September 1, 2009. 31
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