METAMORPHOSES David Geffen School of Drama, 2024

2024–25 SEASON

OUR MISSION

David Geffen School of Drama and Yale Repertory Theatre train and advance leaders in the practice of every theatrical discipline, making art to inspire joy, empathy, and understanding in the world.

OUR CORE VALUES Artistry

We expand knowledge to nurture creativity and imaginative expression embracing the complexity of the human spirit.

Belonging

We put people first, centering well-being, inclusion, and equity for theatermakers and audiences through anti-racist and anti-oppressive practices.

Collaboration We build our collective work on a foundation of mutual respect, prizing the contributions and accomplishments of the individual and of the team.

Discovery

We wrestle with compelling issues of our time.

Energized by curiosity, invention, bravery, and humor, we challenge ourselves to risk and learn from failure and vulnerability.

drama.yale.edu ABOVE: Abigail C. Onwunali ’23, Rebeca Robles ’24, Tyler Cruz ’23, Karen Killeen ’24, Giovanna Drummond ’24, and Whitney Andrews ’24 in Marys Seacole by Jackie Sibblies Drury, directed by Leyla Levi ’23. Photo © T. Charles Erickson.

Yale acknowledges that indigenous peoples and nations, including Mohegan, Mashantucket Pequot, Eastern Pequot, Schaghticoke, Golden Hill Paugussett, Niantic, and the Quinnipiac and other Algonquian speaking peoples, have stewarded through generations the lands and waterways of what is now the state of Connecticut. We honor and respect the enduring relationship that exists between these peoples and nations and this land.

We also acknowledge the legacy of slavery in our region and the enslaved African people whose labor was exploited for generations to help establish the business of Yale University as well as the economy of Connecticut and the United States.

Contents Title Page................................................................................................. 1 Cast........................................................................................................... 2 Content Guidance................................................................................. 2 From Our Dramaturg............................................................................ 3 Cast Bios..................................................................................................6 Creative Team Bios...............................................................................7 For This Production........................................................................... 12 David Geffen School of Drama Staff............................................. 13

NOVEMBER 16–22, 2024 DAVID GEFFEN SCHOOL OF DRAMA AT YALE James Bundy, Elizabeth Parker Ware Dean Florie Seery, Associate Dean Chantal Rodriguez, Associate Dean Carla L. Jackson, Assistant Dean Nancy Yao, Assistant Dean Liz Diamond, Chair, Directing Program PRESENTS

METAMORPHOSES BASED ON THE MYTHS OF OVID

MARY ZIMMERMAN DIRECTED BY ALEXIS KULANI WOODARD WRITTEN AND ORIGINALLY DIRECTED BY Music Director

Steven Tran

Choreographer

Shyama Iyer

Scenic Designer

Jessie Baldinger Costume Designer

Lyle Laize Qin

Lighting Designer

Gib Gibney

Composer and Sound Designer

Minjae Kim

Projection Designer

Metamorphoses is produced by special arrangement with Bruce Ostler, Bret Adams, Ltd., 448 West 44th Street, New York, NY 10036. bretadamsltd.net Metamorphoses was originally produced by Lookingglass Theatre Company, Chicago, October 1998.

Premiered in New York City by the Second Stage Theatre, September 2001. Artistic Director, Carole Rothman; Managing Director, Carol Fishman; Executive Director, Alexander Fraser.

Ovid’s Metamorphoses translated by David Slavitt, John’s Hopkins University Press, 1994.

Production Dramaturg

Rainer Maria Rilke’s poem Orpheus, Eurydice, Hermes translated by Stephen Mitchell, 1995 Modern Library.

Technical Director

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

Wiktor Freifeld Sophia Carey Leo Surach

Fight and Intimacy Directors Kelsey Rainwater and

SEASON SPONSOR

Michael Rossmy Stage Manager

Rosemary Lisa Jones 1

S E S O H P R O M A T ME cast

in alphabetical order Lolade Agunbiade Mariah Copeland Chloe Howard Amrith Jayan Sarah Lo Darius Sakui (Vin) Tré Scott Max Sheldon

setting a drought Metamorphoses will be performed without an intermission.

content guidance Metamorphoses depicts representations of incest, physical violence, and war.

recording and photo policy The taking of photos or use of recording devices of any kind for this production is strictly prohibited.

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CHANGE ME “Bodies, I have in mind, and how they can change to assume new shapes.”

Playwright Mary Zimmerman borrowed this line, unchanged, from the opening of Ovid’s Metamorphoses, as translated by David Slavitt, for her theatrical adaptation of the same name. The epic, penned in 8 CE by Roman poet Publius Ovidius Naso (“Ovid”) is a web-like collection of hundreds of Greek myths, each containing an instance of shapeshifting. alpha (A): first letter of the Greek alphabet; derived from an Egyptian hieroglyph shaped like an ox’s head.

The only thing missing from the earthly paradise of early creation, according to Zimmerman’s Metamorphoses, was words. Humans were created “that [they] might talk.” The letters that make up written stories are simplified, shifted shapes of various physical forms, human and otherwise.

Words come from bodies. And bodies, I have in mind.

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Bodies of Water All versions of Metamorphoses directed by Zimmerman, and many other artists besides, have staged the play’s action in and around a pool of water. Water in Zimmerman’s mythic world is healing, sacred, and abundant, and remains so throughout the play. Ever-available water, however, keeps the stakes at low tide.

Water in this present production, by contrast, assumes the most familiar characteristic of the miraculous: scarcity.

beta (B): second letter of the Greek alphabet; derived from the Phoenician beth (“house”); describing a version of a work of art at a stage of nearcompletion.

In Christian mythology, the Pool of Bethesda had the power to cure the sick. The pool, if it ever existed, has since dried up. In the almost thirty years since Metamorphoses’ premiere, Lake Poopó, once Bolivia’s secondlargest lake, has disappeared. Rising seas have diminished agricultural land in the Nile Delta. Anthropogenic climate change, behind all these transformations, has shrunk the Aral Sea to nothing.

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This production of Metamorphoses takes place in a drought. Here, myths are told not just to inform, but mostly to enact. The play’s storytellers dream that ritualistically embodying these mythical tales will move the gods to bring real water back to earth.

Human Bodies The word “theater” comes from the Greek theatron, which means “seeing place” or “the place where people behold each other.” But the world of Metamorphoses is populated not just with humans, but also nymphs, wraiths, and gods. Bacchus, god of theater, sends King Midas to the place where people see each other in search of the ultimate miracle.

Bacchus, god of theater, sends King Midas to the place where people see each other in search of the ultimate miracle.

In Metamorphoses, the desire to behold is entwined with the desire to be held. But witnessing, so often born of love, is also often born of mistrust.

To assume is to lack the comfort of proof. As much as we crave it, bearing witness, or baring ourselves to being witnessed, can be catastrophic. Seeing isn’t essentially good or bad. The seeing place is simply the place where things can change.

gamma (Γ): third letter of the Greek alphabet; means “throwing stick”; relating to gamma rays, a form of penetrating electromagnetic radiation.

Surrealist painter Salvador Dali’s Three Sphinxes of Bikini (1947) depicts a modern metamorphosis.

The human head in the foreground becomes a tree in the middle distance becomes a mushroom cloud on the horizon. Dali’s piece critiques the U.S government’s detonation of nuclear bombs in the Micronesian Bikini Atoll in 1946, which emitted poisonous radiation, displacing the islands’ residents. In many of Ovid’s myths, transformation is violent, selfishly brought on by those who call themselves gods.

Body of Myths The first line of Metamorphoses contains within it the inevitable awkwardness of metamorphosis—of the transition from the oral tradition of early Greek myth to Ovid’s text, through numerous translations, into Zimmerman’s playtext written down to be spoken aloud again.

“The heart of [Ovid’s] poem turns out to be in the transitions,” writes Slavitt.

The magic is in the moments between myths, traditions, words, bodies when we’re neither here nor there, this nor that. The play’s storytelling is protean, liquid even when water is rapidly becoming a thing of the past.

As the Therapist in Metamorphoses (psychoanalysis being another form of mythmaking) says, “we give our mythic side scant attention these days.” Myths help answer the questions: Where do we come from?

Why are things the way they are?

Who are we to each other? And how do we change?

delta (Δ): fourth letter of the Greek alphabet; wetland formed when a river empties into a larger body of water; the mathematical symbol for change.

The answer I have in mind is bodies.

—Sophia Carey, Production Dramaturg

Previous: The Nile Delta from orbit, by Jacques Descloitres (NASA), 2014.

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S E S O H P R O METAM cast

in alphabetical order Lolade Agunbiade is a Nigerian-

American second-year actor at David Geffen School of Drama, where her credits include rent free.

Mariah Copeland she/her is a third-

year actor at David Geffen School of Drama, where she has worked on What of the Night?, rent free, Measure for Measure, Fucking A, Furlough’s Paradise by a.k. payne, as well as play and Heaven is Something to Keep You Warm at Yale Summer Cabaret and The Salvagers (understudy, Yale Repertory Theatre). Mariah has acted in productions at the John F. Kennedy Center for Performing Arts, Northlight Theatre, About Face Theatre, BoHo Theatre, and others in her hometown of Chicago. She graduated from Northwestern University, where she received a B.A. in theater.

Chloe Howard is a third-year M.F.A.

candidate at David Geffen School of Drama. She is from the California Bay Area and a graduate of Northwestern University. She most recently lived in New York and co-created and acted in a web series, VIRAL, that premiered at the Tribeca Film Festival and subsequently screened at SeriesFest and Stareable Fest LA (Best Acting Nomination). While at Yale, Chloe has been in The Sign in Sidney Brustein’s Window, Moe’s a D*ck in the Langston

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Hughes Festival of New Plays, How to Live on Earth, and understudied Escaped Alone at Yale Rep.

Amrith Jayan is an actor and

theatermaker from India. As a multidisciplinary actor who has worked across mediums and formats, he thanks his family, colleagues, and high school for being catalysts in his journey as an artist. He was recently seen on Netflix’s Friday Night Plan (2023).

Sarah Lo she/her is a second-year

actor at David Geffen School of Drama, where credits include What of the Night? and Pearl’s Beauty Salon as well as The Aughts at Yale Cabaret. Regional credits: Today is My Birthday (understudy, Yale Repertory Theatre) and In Every Generation (TheatreWorks Silicon Valley). Chicago credits: Murder on the Orient Express and South Pacific (Drury Lane Oakbrook); In Every Generation and Cambodian Rock Band (Victory Gardens Theatre); Deck the Hallmark (The Second City); Mlima’s Tale (Griffin Theatre); and M. Butterfly (Court Theatre). Television and film: The Chair (Netflix), Candyman (Monkeypaw), Chicago Med (NBC), Christmas Again (Disney Channel), and Station Eleven (Max). Sarah is a proud graduate of the University of Chicago. Thank you for being part of our show—enjoy!

Darius Sakui he/him is extremely

thankful to be a part of this talented cast and crew! He wants to thank his teachers, his friends, his family, and especially his mother for their love and support throughout the years! He is a second-year actor at David Geffen School of Drama.

(Vin) Tré Scott he/him is a multi-

hyphenate artist from West Oakland, California. He is in his third year of the acting program at David Geffen School of Drama, where he was seen as “Jay” in Cactus Queen, “Robin” in Cleansed, and as “Monster” in Fucking A.

Max Sheldon he/him is a second-

year actor at David Geffen School of Drama. His credits include Finian’s Rainbow (Irish Rep); Afloat (WP Theater); West Side Story, Peter and The Starcatcher (Weston Playhouse); and Dracula, or the Undead (Williamstown Theatre Festival). Film and television credits include Law & Order: Organized Crime (NBC), Theater Camp (Searchlight Pictures), Red Oaks (Amazon), and The Path (Hulu). Max is a proud graduate of NYU Tisch School of the Arts. Max would like to thank his family, his chosen family, all of his teachers, Ted Walch, and his parents for their love and unwavering belief.

creative team

in alphabetical order Jessie Baldinger (Scenic Designer)

is a second-year M.F.A. candidate at David Geffen School of Drama. Select previous credits include Pride of Doves (Yale Cabaret), As You Like It (Nashville Shakespeare Festival), Homofermenters (ANT Fest at Ars Nova), and Assistant Set Designer on Job and I Need That (Broadway). Originally from West Palm Beach, Florida, she is a graduate of Northwestern University.

Sophia Carey she/her (Production

Dramaturg) is a third-year M.F.A. candidate in dramaturgy and dramatic criticism at David Geffen School of Drama, where she was the production dramaturg on Uncle Vanya, Running Play by Ida Cuttler, and Measure for Measure, which she co-adapted.

Yale Cabaret credits include Every Brilliant Thing, Pride of Doves, and Tobie. In 2022, she graduated with a B.A. in English from the University of Washington, where she was named a 2021–22 Beinecke Scholar. Her writing engages art that draws from epic and mythological sources to center women’s voices and explore contemporary questions about gender, childhood, and magic. She is originally from Seattle, Washington.

Gib Gibney (Lighting Designer)

is a second-year M.F.A candidate at David Geffen School of Drama, where his credits include Measure for Measure. Other select credits include Into the Woods and Blood at 7

the Root at Penn State’s Centre Stage as well as Associate Lighting Designer on Invasive Species at the Vineyard Theatre. Originally from Long Island, he is a graduate of SUNY Suffolk and Penn State University.

Shyama Iyer (Choreographer), a

third-year M.F.A. candidate at David Geffen School of Drama, is a trained Indian classical and contemporary performance artist who works to blend Indian and Western art forms.

Her choreography credits include How to Play a Trick (Western Kentucky Dance Company), Arlington (Yale Cabaret), The Rasa Jar (Yale Cabaret), and Journeys: A Bharatanatyam Dance-Play (Kentucky Center, Yale Cabaret). Her original musicals include The Rasa Jar, A Game of Dice, and most recently, The Sound of an Anklet.

She is a resident choreographer and dance instructor for a Kentucky-based dance company (The Guru Vandana Arts Academy) as well as co-artistic director of the Geeva Arts Festival in Louisville. shyamaiyer.com

Rosemary Lisa Jones (Stage

Manager) is a multi-faceted facilitator, technician, and manager of performance arts. She is a secondyear M.F.A. candidate in the Stage Management program at David Geffen School of Drama. Before coming to Yale, Rosemary spent several years becoming a staple in the small professional Seattle theater scene and received a B. A. in drama and comparative history of ideas from University of Washington. She 8

would like to acknowledge, celebrate, and uplift the artistic partnership of the Assistant Stage Managers on this production: Jonathan Fong and Colleen Rooney. Their work and creative input has been and continues to be vital to this production’s artistic success.

Minjae Kim 김민재 he/him (Composer

and Sound Designer) is a KoreanCanadian theater artist and a thirdyear M.F.A. design candidate at David Geffen School of Drama. He was introduced to theater design as an undergraduate student at Princeton University and is incredibly excited to make his official composition debut with Metamorphoses. Recent select sound credits include rent free, Cleansed, Fucking A (the Geffen School, assistant sound designer and engineer); Ghost Quartet (Princeton Summer Theater); The Match Girl (Cellunova), Mary Stuart—A New Translation (Princeton); and The Hello Girls (Princeton McCarter). He hopes to continue exploring his artistry as a designer, director, playwright, and performer. mondayminjae.com

Wiktor Freifeld (Projection

Designer) is a second-year M.F.A. candidate at David Geffen School of Drama and is an interdisciplinary artist and designer. His work spans exhibition design, projection for stage, and new media. Using abstract forms, he creates narrative projects that provide meaningful sensory experiences.

Lyle Laize Qin 秦莱泽

he/him (Costume Designer) is from Chengdu, China, and holds a B.F.A. in environment design and fashion/ interior design from Sino-UK’s collaboration with the University of Edinburgh and Donghua University.

He is currently a second-year M.F.A. candidate at David Geffen School of Drama. He has worked on a variety of projects across theater, television, and fashion, including a fashion product design internship at Disney and brand shoots for renowned magazines.

Previous work includes the realityvariety show, Summer Refuge (assistant art director); Little Devil (Touch Lab, set and costume design assistant); Fucking A (Geffen School, assistant costume designer); Escaped Alone (Yale Rep, assistant costume designer); The Mailroom (costume/fabric designer).

Lyle was recently awarded the Jay and Rhonda Keene Scholarship for Costume Design.

Kelsey Rainwater (Fight and

Intimacy Director) is an intimacy coach, fight director, and actress based out of the ancestral lands of the Quinnipiac people. Kelsey’s work was recently seen in the premiere of Sally & Tom at the Guthrie. Some of her other credits include In the Southern Breeze at Rattlestick, The Public Theater’s Measure for Measure and White Noise

by Suzan-Lori Parks, directed by Oskar Eustis; Blues for an Alabama Sky with the Keen Company; Bess Wohl’s film, Baby Ruby; falcon girls, Wish You Were Here, A Raisin in the Sun (canceled due

to COVID-19), Edward Albee’s Who’s Afraid of Virginia Woolf?, Mojada: A Medea in Los Angeles, and the ripple, the wave that carried me home at Yale Rep. She is a Lecturer in acting at David Geffen School of Drama, co-teaches stage combat and intimacy, and is a Resident Fight and Intimacy Director for Yale Rep.

Michael Rossmy (Fight and Intimacy

Director) is a Resident Fight and Intimacy Director for Yale Rep, a lecturer in acting at David Geffen School of Drama, and Stage Combat and Intimacy Advisor for Yale College.

Broadway credits include A Tale of Two Cities, Cymbeline, and Superior Donuts.

Regional theater credits include The Public Theater, Roundabout, The Atlantic, Primary Stages, Westport Country Playhouse, Goodspeed Musicals, Paper Mill Playhouse, Asolo Rep, The Old Globe, TheaterWorks Hartford, Princeton University, The Acting Company, Soho Rep, the Geffen Playhouse, Long Wharf Theatre, McCarter Theatre, Kansas City Rep, People’s Light & Theatre, and others.

He was nominated for a 2017 Drama Desk Award for his work on Troilus and Cressida for The Public Theater’s production in Central Park, and a 2024 Barrymore Award nominee for his work on Bonez at Peoples Light. His work can also be seen in the upcoming independent film Floating Carousel.

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Leo Surach

he/him (Technical Director) is a thirdyear M.F.A. candidate at David Geffen School of Drama. He is a set designer, technical manager, and a co-founder of Circle Theatre in Bangkok, Thailand.

Recently he joined the internship program in the scenic and technology department at PRG, Las Vegas. Selected credits include technical-directing the installation You See What You See (the Geffen School), Production Manager for Yale Cabaret’s 55th season, properties manager for Escaped Alone (Yale Rep), and set design for Tad Mala (Thailand Cultural Center).

Steven Tran (Music Director) is

a Brooklyn-based music director, orchestrator, music producer, and DJ. Credits include music director for Lizard Boy (Oregon Shakespeare Festival); additional composer/music production/ music supervisor for Lydia and the Troll (Seattle Rep); original music for Marvel’s Squirrel Girl: The Unbeatable Radio Show; co-orchestrator for Yoko’s Husband’s Killer’s Japanese Wife, Gloria (National Music Theater Conference at the O’Neill, National Alliance for Musical Theatre); music director/orchestrator for The Mortification of Fovea Munson (The Kennedy Center); And So That Happened... (The 5th Avenue Theatre); composer for Stars Between (Creation Lab at Seattle Opera). Steven is a 2021 National Playwrights Conference semifinalist and 2025 Yaddo resident. @steven_nk_tran

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Alexis Kulani Woodard she/her

(Director) is a director and adaptor, proud Spelman College Alumna, former Spelman Leadership Fellow at the Alliance Theatre, and current M.F.A. candidate in directing at David Geffen School of Drama. She is a 2024 Princess Grace Award Winner in Theatre. She served as the Co-Artistic Director of The Alliance Theatre’s inaugural 2020–2021 Digital Season, where she programmed Laugh Track, BackStage Atlanta, Spotlight Studio, and From the Ashes. Select directing credits include Measure for Measure (Geffen School); Four Meddling Kids and One Dumb Dog, Every Brilliant Thing (Yale Cabaret); Hamlet (The Tiny Theater Company, Alliance Theatre: Guest Artist Series); Hands Up: 7 Playwrights, 7 Testaments, Do You Love The Dark? (Alliance Theatre); From the Ashes (Alliance Theatre Anywhere). Associate directing credits include A Christmas Carol: The Live Radio Play, Working (Alliance Theatre) and the world premiere triproduction of Dream Hou$e (Alliance Theatre, Long Wharf Theatre, Baltimore Center Stage). Hands Up: 7 Playwrights, 7 Testaments won a Suzi Bass award in 2022 for outstanding Social Justice production. She has also assistantdirected for the Suzi Award-winning world premiere play, Hands of Color (Synchronicity Theater), A Christmas Carol (The Repertory Theater of St. Louis), Escaped Alone (Yale Repertory Theatre), and A Kids Play About Racism (Bay Area Children’s Theater). alexiskwoodard.squarespace.com

Mary Zimmerman is a writer and director who specializes in the adaptation of classic stories of world literature for the stage. She has earned national and international recognition, including a Tony Award, Obie Award, and Drama Desk Award for Metamorphoses, which she developed at Northwestern University. She is a 1998 recipient of the MacArthur “Genius” grant. Her other acclaimed adaptations include Journey to the West (named Best Production of the Year by Time Magazine), The Odyssey, The Arabian Nights, The Notebooks of Leonardo da Vinci, Eleven Rooms of Proust, The White Snake, The Mirror of the Invisible World, Candide, The Jungle Book, Treasure Island, and The Steadfast Tin Soldier. Zimmerman is an Artistic Associate of the Goodman Theatre, an Ensemble Member at Lookingglass Theatre Company, and a Professor of Performance Studies at Northwestern University. Other awards include the ATHE Award for Lifetime Achievement in Professional Theatre (Montreal 2015) and over twenty Joseph Jefferson “Jeff” Awards for her theater work in the Chicago area.

The Benjamin Mordecai III Production Fund, established by a graduate of the School, honors the memory of the Tony Award-winning producer who served as Associate Dean and Chair of the Theater Management program at David Geffen School of Drama from 1993 until his death in 2005. During his tenure as Yale Rep’s Managing Director alongside Dean/Artistic Director Lloyd Richards, 1982–1993, he developed a model of professional producing that changed the course of new play development in the American theater. His 25 Broadway credits included Tony Kushner’s Angels in America, as well as work by Anna Deavere Smith, Athol Fugard, David Henry Hwang, Terrence McNally, Robert Schenkkan, and perhaps most significantly August Wilson, with whom he collaborated on each of the ten plays in the epic 20th-Century Cycle.

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for this production artistic

Assistant Scenic Designer

Romello Huins

Assistant Costume Designer

John Hardy

Assistant Lighting Designer

Qier Luo

Projection Content Creator

Christian Killada

Projection Programmer

Ein Kim

Stage Carpenter

Steven Blasberg Run Crew

Assistant Sound Designer and Engineer

Jinling Duan 段珒苓

Jazzmin Bonner, Joyce Ciesil, Josie Cooper, Gaby Rodriguez, Kristen Taylor, Ellora Venkat

Assistant Projection Designer

Run Crew Swing

Dance Captain

administration

Doaa Ouf

Max Sheldon Assistant Stage Managers

Kemar Jewel

Associate Managing Director

Jeremy Landes

Jonathan Fong 馮子睿 Colleen Rooney

Management Assistant

production

House Manager

Production Manager

Timothy “TJ” Wildow Associate Production Manager

Nat King Taylor

Kay Nilest

Andrew Aaron Valdez Production Photographer

T. Charles Erickson

special thanks

Aaron Frongillo Lilliana Gonzalez

The director would like to thank Alfred & Ella Woodard and The 'College of Directors'

Properties Manager

Martin Lighting

Assistant Technical Directors

Judith Villalva

Production Electrician

Shawn Poellet

Lightboard Programmer

Finn Bamber

Projection Engineer

Md Fadzil 'Fed' Hanafi Md Saad

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drama.yale.edu

David Geffen School of Drama Staff Elizabeth Parker Ware Dean James Bundy

Artistic Coordinator Andrew Aaron Valdez

Associate Dean Florie Seery

Senior Administrative Assistant to the Dean and Associate Dean Josie Brown

Associate Dean Chantal Rodriguez Assistant Dean Carla L. Jackson Assistant Dean Nancy Yao

academic programs Chair, Acting Program Tamilla Woodard

Co-Chairs, Design Program Riccardo Hernández Toni-Leslie James Chair, Directing Program Liz Diamond Chair, Dramaturgy and Dramatic Criticism Program Catherine Sheehy Co-Chairs, Playwriting Program Anne Erbe Marcus Gardley Chair, Stage Management Program Narda E. Alcorn Chair, Technical Design and Production Program Shaminda Amarakoon Chair, Theater Management Program Joan Channick

artistic administration Artistic Management

Production Stage Manager James Mountcastle Senior Artistic Producer Amy Boratko Associate Producer Kay Perdue Meadows Artistic Fellow Hannah Fennell Gellman

Senior Administrative Assistant for the Directing, Dramaturgy and Dramatic Criticism, Playwriting, and Stage Management Programs Laurie Coppola Senior Administrative Assistant for the Design Program Kate Begley Baker Senior Administrative Assistant for the Acting Program Krista DeVellis Library Services Erin Carney

production Production Management Director of Production Shaminda Amarakoon Production Manager Jonathan Reed Production Manager for Studio Projects and Special Events C. Nikki Mills

Lead Carpenters Doug Kester Kat McCarthey Sharon Reinhart Carpenters Ryleigh Rivas Isaac Lau Carpentry Interns Jacob Thompson Laurel Capps

Painting

Scenic Charge Mikah Berky Lead Scenic Artists Lia Akkerhuis Nathan Jasunas Paint Interns Gabriela Ahumada Gwendoline Chen

Properties

Properties Supervisor Jennifer McClure Properties Craftsperson Steve Lopez Properties Associate Zach Faber Properties Stock Manager Mark Dionne Properties Assistant Destany Langfield

Senior Administrative Assistant to Production and Theater Safety Rachel Zwick

Properties Interns Angie Hause Ru Ho Hsiao

Scenery

Costumes

Technical Director for Yale Rep NeilMulligan Technical Directors for David Geffen School of Drama Latiana “LT” Gourzong Matt Welander Electro Mechanical Laboratory Supervisor Eric Lin Metal Shop Foreperson Matt Gaffney

Costume Shop Manager Christine Szczepanski Senior Drapers Susan Aziz Clarissa Wylie Youngberg Mary Zihal Senior First Hands Deborah Bloch Patricia Van Horn Costume Project Coordinator Linda Kelley-Dodd

Wood Shop Foreperson Ryan Gardner

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David Geffen School of Drama Staff Costume Stock Manager Jamie Farkas

administration

Costume Technology Intern Nana Chanmalee

Associate Managing Directors Anne Ciarlone Adrian Alexander Hernandez Jeremy Landes Mikayla Stanley

Electrics

Lighting Supervisor Donald W. Titus Senior House Electricians Jennifer Carlson Linda-Cristal Young Electricians Alary Sutherland Ryan White Electrics Interns April Salazar Tyler Zickmund

Sound

Sound Supervisor Mike Backhaus Senior Lead Sound Engineer Stephanie Smith Sound Interns Eden Wyandon Eun Kang

Projections

Projection Supervisor Anja Powell Projection Intern Jada Rose Pinsley

Stage Operations Stage Carpenter Janet Cunningham

Lead Wardrobe Supervisor Elizabeth Bolster Lead Properties Runner William Ordynowicz Lead Light Board Programmer Sabrina Idom Lead Front of House Mix Engineer Keirsten Lamora

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General Management

Senior Administrative Assistant to the Associate Dean, Assistant Dean, and Theater Management Program Sarah Masotta Management Assistant Alesandra Reto Lopez Company Manager Victoria McNaughton Assistant Company Managers Raekwon Fuller Davon Williams

Development and Alumni Affairs Senior Director of Development and Alumni Affairs Deborah S. Berman

Deputy Director of Operations for Development and Alumni Affairs Susan C. Clark Senior Associate Director of Development and Alumni Affairs Scott Bartelson Associate Director of Development and Alumni Affairs Roman Sanchez Assistant Director of Development and Alumni Affairs Kavya Shetty Alumni Affairs Officer and Senior Writer Cayenne Douglass Senior Administrative Assistant to Development and Alumni Affairs Jennifer E. Alzona

Finance, Human Resources, and Digital Technology Director of Finance and Business Administration/Lead Administrator Nicola Blake Financial Analyst Juliana Norman Human Resources Business Partner Trinh DiNoto Director, Yale Tessitura Consortium and Web Technology Janna J. Ellis Manager, Business Operations Martha Boateng Business Office Analyst Shainn Reaves Web Technology Assistant Kenneth Murray Business Office Specialists Moriah Clarke Karem Orellana-Flores Business Office Assistant Asberry Thomas Digital Technology Associates Edison Dule Garry Heyward Senior Administrative Assistant to Finance, Web Technology, Tessituria, and Human Resources Monique Moore Database Application Consultants Erich Bolton Ben Silvert

Financial Aid and Admissions

Financial Aid Officer Andre Messiah Registrar/Admissions Administrator Ariel Yan Assistant to Financial Aid and Admissions Laura Torino

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

Director of Communications Steven Padla Senior Associate Director of Marketing and Communications Caitlin Griffin Senior Administrative Assistant for Marketing & Communications and the Assistant Dean Mishelle Raza Publications Manager and Artwork Marguerite Elliott Director of Audience Services Laura Kirk Assistant Director of Audience Services Shane Quinn Subscriptions Coordinator Tracy Baldini

Audience Services Associate Molly Leona Customer Service and Safety Officers Ralph Black, Jr. Kevin Delaney Box Office Assistants Pilar Bylinsky, Emma Fusco, Jordan Graf, Aaron Magloire, Diana Shyshkova, Elliot Valentine,Timothy “TJ” Wildow

operations Director of Facility Operations Nadir Balan Associate Director of Operations Brandon Fuller Operations Assistant Devon Reaves

Accessibility Assistant Prentiss Patrick-Carter

Arts and Graduate Studies Superintendents Jennifer Draughn Francisco Eduardo Pimentel

theater safety and occupational health

Custodial Team Leaders Andrew Mastriano Sherry Stanley

Director of Theater Safety and Occupational Health Anna Glover

Facility Stewards Ronald Douglas Marcia Riley

Assistant Director of Theater Safety Kelly O’Loughlin

Custodians Tylon Frost, Willia Grant, Cassandra Hobby, Melloney Lucas, Shanna Ramos, Jerome Sonia

Associate Safety Advisors Steph Lo 盧胤沂 Kay Nilest

David Geffen School of Drama productions are supported by the work of more than 200 faculty and staff members throughout the year.

Please visit drama.yale.edu for a frequently updated listing.

UP NEXT: JANUARY 25–31

KILELE

Felipe Vergara Translated and directed by Juliana Morales Carreño By

Viajero, a riverine peasant, undertakes a journey to the land from which he was displaced by the war of the new gods. He must confront the horror of the past to bury his dead with ¡Kilele!, the chant of rebellion, jolgorio, and joy. Based on the story of the resilient Bojayá community in Colombia, Kilele is our conversation with the land, the water, y nuestros muertos after the war renders all unrecognizable.

drama.yale.edu