MACBETH IN STRIDE, Yale Repertory Theatre, 2024

2024-2 5 SEA SON

Check In Curious, Check Out Inspired 1157 Chapel Street | 203.503.3900 | thestudyatyale.com

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 A Note from the Artistic Director......5

For This Production............................ 22

Title Page..................................................7

Yale Repertory Theatre Staff........... 23

Cast Page..................................................8

Accessibility Services and Team..... 26

From the Author...................................10

Events..................................................... 29

About Macbeth in Stride...................... 11

Youth Programs................................... 29

Cast Bios.................................................. 16

David Geffen School of Drama Board of Advisors............................30

Understudy Bios................................... 17 Creative Team Bios.............................. 18

Our Donors............................................30

Yale Repertory Theatre, the internationally celebrated professional theater in residence at David Geffen School of Drama, has championed new work since 1966, producing well over 100 premieres—including two Pulitzer Prize winners and four other nominated finalists—by emerging and established playwrights. Seventeen Yale Rep productions have advanced to Broadway, garnering more than 40 Tony Award nominations and ten Tony Awards. Yale Rep is also the recipient of the Tony Award for Outstanding Regional Theatre. Established in 2008, Yale’s Binger Center for New Theatre has distinguished itself as one of the nation’s most robust and innovative new play programs. To date, the Binger Center has supported the work of more than 70 commissioned artists and underwritten the world premieres and subsequent productions of more than 30 new plays and musicals at Yale Rep and theaters across the country.

MISSION

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

VALUES Artistry

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

Belonging

We put people first, centering wellbeing, 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.

YALEREP.ORG 4

The company of Wish You Were Here by Sanaz Toossi, directed by Sivan Battat, Yale Repertory Theatre.

Photo © Joan Marcus, 2023.

A NOTE FROM THE ARTISTIC DIRECTOR Welcome to Yale Repertory Theatre and this performance of Macbeth in Stride! It is an honor to present the show, a co-production of Philadelphia Theatre Company, Shakespeare Theatre Company, and Brooklyn Academy of Music (where it will play in the spring), to New Haven audiences.

Whitney White, who wrote the music, lyrics, and book for Macbeth in Stride, and plays the lead role, is one of the most dynamic—and in demand—artists working in the American theater today. She received her first Tony Award nomination earlier this year for directing Jaja’s African Hair Braiding by Jocelyn Bioh, and later this season, she will stage Jason Robert Brown’s musical The Last Five Years on Broadway.

Macbeth in Stride is the first installment of Whitney’s four-part musical exploration of Shakespeare’s women and ambition. It’s a subversive and thrilling reimagining of one of the Bard’s most iconic tales: Whitney brings to the project a bold theatricality and contemporary political sensibility that interrogate received wisdom and offer new perspectives on femininity, desire, and power in the dramatic canon. Her key collaborators, Taibi Magar and Tyler Dobrowsky, who serve as Artistic Directors of Philadelphia Theatre Company, and choreographer Raja Feather Kelly, who last worked at Yale Rep on Branden Jacobs-Jenkins’ Girls in 2019. I am so pleased that you are here to experience the magnificent work they and their team have created.

Macbeth in Stride is one of our WILL POWER! productions this season: we will welcome over 600 high school students and their educators from New Haven Public Schools to a free morning matinee. Having experienced the show landing joyfully in Philadelphia with many young people in the audience, I cannot wait to see and hear how it takes off here!

Our season will continue in the new year with Steve Carter’s blistering family drama, Eden, directed by Brandon J. Dirden. Running January 16–February 8, the play is set in the San Juan Hill neighborhood of 1920s Manhattan, where tensions run deep between its populations of Black American and Caribbean immigrants.

Eden will be followed by director Yura Kordonsky’s new adaptation of Nikolai Gogol’s masterpiece, The Inspector. Simultaneously a compelling drama of a community desperately chasing a better life and a farce exposing the absurd lengths to which the citizenry will go in their pursuit thereof, the play will be performed March 7–29.

We will conclude the season with Notes on Killing Seven Oversight, Management and Economic Stability Board Members, written by Mara Vélez Meléndez and directed by Javier Antonio González, April 25–May 17. An outrageously funny revenge saga (and a drag show!), Notes on Killing… takes aim at unelected officials who think they know what’s best for the people—and their bodies.

Thank you for choosing to spend your time with us today. I am always eager to hear your thoughts about the play or any of your experiences at our theater. My email address is james.bundy@yale.edu. And I look forward to seeing you again in 2025!

Sincerely, James Bundy

5

6

DECEMBER 5–14, 2024 YALE REPERTORY THEATRE James Bundy, Artistic Director | Florie Seery, Managing Director PRESENTS THE PHILADELPHIA THEATRE COMPANY, SHAKESPEARE THEATRE COMPANY, AND BROOKLYN ACADEMY OF MUSIC PRODUCTION OF

Scenic Designer

Daniel Soule Costume Designer

Qween Jean Lighting Designer

Jeanette Oi-Suk Yew Sound Designer

Nick Kourtides Hair and Wig Designer

Rachel Padula-Shufelt Technical Director

Constanza Etchechury López Vocal Coach

Grace Zandarski

Production support for Macbeth in Stride is provided by Yale’s Binger Center for New Theatre.

World premiere produced by American Repertory Theater, Diane Paulus, Artistic Director; Diane Borger, Executive Producer.

Yale Repertory Theatre gratefully acknowledges Carol L. Sirot for generously funding the 2024–25 season.

Yale Repertory Theatre thanks our 2024–25 season funders:

Casting Director

Taylor Williams, C.S.A. Stage Manager

Zachry J. Bailey Music Director

Nygel D. Robinson

Season Sponsor:

Orchestrations

Whitney White 7

8

Cast Woman............................................................................................................... Whitney White Man.................................................................................................................. Charlie Thurston First Witch........................................................................................................... Holli’ Conway Second Witch, Dance Captain.........................................................................Phoenix Best Third Witch..................................................................................................Ciara Alyse Harris

Understudy Cast Woman....................................................................................................................Phoenix Best Man............................................................................................................ Gunnar Manchester First Witch, Second Witch, Third Witch........................................................Victoria Byrd Assistant Stage Managers........................................................................... Colleen Rooney

............................................................................................................... ty ruwe

Band Conductor/Piano/Keyboard................................................................. Nygel D. Robinson Drums.............................................................................. Barbara “Muzikaldunk” Duncan Guitar.......................................................................................................Kenny Rosario-Pugh Bass...................................................................................................................... Bobby Etienne Conductor Sub.................................................................................................. John Bronston

Macbeth in Stride is performed without an intermission

Content Guidance This production contains fog, haze, bright lights, and loud music.

9

A NOTE FROM WHITNEY WHITE I want to begin this author’s note with a thank you to each and every audience member attending Macbeth in Stride at the Yale Repertory Theatre. I have seen so many unforgettable productions at Yale Rep and feel incredibly humbled and honored to be able to share my work with you now.

Macbeth in Stride began as a love letter to music and Shakespeare. When I first encountered the great Bard and sat down to speak his words I was overcome with feeling. The language challenged and pushed me to new possibilities. Macbeth in particular sounded so fresh and near to the world I was living in. The text vibrated with energy, unstoppable rhythm, and unapologetic feeling. This musical adaptation is an attempt to communicate those first feelings with you.

In my early beginnings as a singer and performer in Chicago, I was able to witness live music on a weekly basis. From the weekly splendor of my Apostolic church to local blues and rock bands at Kingston Mines—the setting of live concert music has always been my home. The “concert” is a space in which all are welcome and the barrier between performer, band, and audience is lifted. It is communal and equalizing.

Then in 2005, I saw Nine Inch Nails perform at The Riviera, a grand performance hall built in 1917. I have since seen the band perform five times. Somehow, their concerts made and continue to make me feel the same way Shakespeare’s words do. I always joke that I can convince any friend to come see a concert with me but it can be hard to get anyone to see a play. This show is also an attempt to contemplate this and blend the worlds of theatre and concert together.

Being assigned the infamous dagger scene in graduate school jump started the creation of this piece. While it was thrilling to study the language and explore all its technical elements, I kept wanting to bring more of myself to the work. With Macbeth in Stride, I hope to challenge the expectations and rules that often define classical and musical theatre. Or, at the very least to inspire others to keep asking questions of theatrical forms and looking for ways to bring classical work into the now.

Theater is not a solo sport, and I want to give a deep and special thanks to the entire faculty of the Brown University-Trinity Repertory M.F.A. program where I created the first draft of the show, Chautauqua Institution, Judson Memorial, The Academy for Teachers, Joe’s Pub, American Repertory Theater Company, Shakespeare DC, Philadelphia Theatre Company, The RSC, Mark Lunsford, my mother Janice, my husband Maxim, and all of my family. I also want to thank past performers and musicians I have had the good fortune of sharing the stage with.

Above all, it is my greatest wish to share a belief that Shakespeare is for and about all of us. All the world’s a stage, and I hope that we keep seeing it that way.

10

***

What’s up, New Haven?

The rockstar greets her audience. She acknowledges our shared presence in a real geographic location.

She sparkles amidst design elements blending concert and theatrical aesthetics— steel trusses, visible lighting instruments, and fabulous costumes of velvet and leather.

And she invites an active response from us in return.

11

Live concerts are a form of a performance in which the membrane between the stage and the audience is permeable. A raised platform may separate a star and her adoring fans, but there is no pretense that the reality onstage is confined to a separate time and place from the seats and mosh pits below. Midway through the night’s set, the lead singer might introduce the musicians and dancers—fellow humans and visible collaborators in conjuring whole worlds.

When Shakespeare wrote Macbeth, theater architecture and staging practices were different, so the imaginary fourth wall between the actors and audience was not yet a convention in Western plays.

Shakespeare’s characters spilled their tea and spoke their truth to an often rowdy group of people sharing space, bearing witness, and reacting in real time. When Lady Macbeth calls upon “you spirits who tend on mortal thoughts” to “unsex me here,” the “here” may be her bedchamber in a Scottish castle, but it is also here inside the theater. The heavens are the sky above; hell is beneath the trap door. By extension, the audience could even imagine themselves in the banquet hall with the Macbeths and the Scottish thanes at their table.

As Woman in Macbeth in Stride, Whitney White claims her right to the place of speaking as both rockstar and classical leading lady. In doing so, she draws attention to how similar a Shakespeare play might already be to a rock concert. How both forms are perfect for virtuosity and a direct

12

connection with her audience. And how both are platforms where she can claim the power of storytelling as a Black woman.

Unfortunately, it’s never as simple as claiming space when both rock-androll and Shakespeare plays already get claimed as part of a white male artistic legacy. The white men get to take up more historical space and stage space. Hell, Shakespeare was a white man. But the refrain in this play is reclaim, not claim. Whitney White is not aspiring to a “first” but shouting out and building on artistry with an existing Black history in both forms. With stylistic references to Tina Turner, White acknowledges the influence of Black women in rock as well as adding to it with her singular voice. Likewise, she does not claim Macbeth but reclaims it in stride with a legacy of Black artists who have found expressive opportunities in Shakespeare’s plays. For example, African American actor Ira Aldridge (1807-1867) broke ground performing iconic roles including Othello and King Lear, and even after leaving the US for Europe, he used his platform to advocate for the abolition of chattel slavery in the US. More recently, playwright James Ijames has explored

the Black queer liberatory potential in both adapting and intervening in the plot of Hamlet in his play Fat Ham. White is also in good company among playwrights who highlight Black women’s perspectives through direct address. Adrienne Kennedy, Ntozake Shange, and Christina Anderson have all reclaimed an old theatrical technique to amplify their Black female characters’ voices. When powerful Black women speak directly to the audience, they have the opportunity to set the narrative frame and give the audience the truth on their terms.

These characters’ truths may not sit easily with everyone, but they get to tell them. And the actors speaking these words can directly access “the Black us,” “the brown us,” “the femme us,” and the “queer us” in the same room. Direct address means an opportunity for empathy exchanged between an audience and performer who see each other.

What’s past is Whitney White’s prologue, and her plans for reclaiming are ambitious. Before you turn your attention to those stars on stage, all that’s left to ask is: what do you want to question and reclaim?

And how are you feeling tonight????!!!

Photo © Tom Kaszuba

—Hannah Fennell Gellman, Yale Rep Artistic Fellow Margaret Holloway (1951-2020) was a well-known New Haven street performer and Drama School alumna, whose repertoire earned her the nickname “The Shakespeare Lady.” She, too, reclaimed the text of Macbeth as a Black woman. Even more intimately and vulnerably than a performer onstage, she engaged personally with her audiences when performing monologues on request. Life after her graduate training was not easy on her, and her struggles included coping with severe mental illness and housing insecurity. She died during the early months of the COVID-19 pandemic, and her legacy belongs in the canon of Black women artists we must not forget, especially in New Haven. Flights of angels sing thee to thy rest, and may you rest in power.

With Macbeth in Stride, playwright-performer Whitney White aims to rewrite Black women’s relationship to power. White samples lines and plot points from Shakespeare’s Macbeth and revamps them with original rock music to put Lady Macbeth’s story in the spotlight. White reclaims rock, a genre whose roots are often credited to white men but was largely pioneered by a queer Black woman, Sister Rosetta Tharpe, to center Black women and our desires. White plays Woman, who represents Lady Macbeth—now a Black woman—and women at large. Woman wants to challenge the Bard’s treatment of his female characters and overthrow a dominant narrative in Western stories and society that Black women can’t have it all and must choose between love and ambition. When (Black) female characters want more than what the world offers them, plays and movies often demand that they change or reprimand them with invisibility or death.

Woman battles what Black feminist scholar Patricia Hill Collins calls The Black lady. The Black lady is a “controlling image” or a representation of Black womanhood that normalizes our oppression through its repeated occurrence in media. She is an upwardly mobile professional who outperforms her colleagues and prioritizes her career over companionship. Her dominance (i.e. exceptionalism) masculinizes her and, as a result, scares men from dating her. Thus, she falls victim to the love-ambition conflict as the controlling image finds fault in the Black woman rather than racism and sexism. Variations of the Black lady have appeared in contemporary cinema as Eva Dandridge (Gabrielle Union) in The Taming of the Shrew-inspired Deliver Us from Eva (2003); Jordan Armstrong (Nina Long) in The Best Man (1999); Jacqueline Broyer (Robin Givens) in Boomerang (1992); and Tracy Chambers, performed by Diana Ross in Mahogany (1975), whose love interest tells her, “success is nothing without someone you love to share it with,” when she reaches the pinnacle of her career.

Whereas fictional Black women are forced to choose between love and ambition, real Black women, in particular musical artists, strive for both. They are known as divas rather than Black ladies. Diana Ross began life as an impoverished Black girl from Detroit and rose to global superstardom with her solo singing and acting careers upon leaving The Supremes 14

in 1970. However, Ross was criticized by members of the media and the public for her unapologetic desire to succeed. On Ross, music critic Danyel Smith writes, “there’s a massive amount of disdain, across race and gender lines, for Black women who not only know their worth but revel in it, ideate from it, and have expectations—of themselves and everyone else—of a flawless production.” As in Macbeth, Woman orchestrates King Duncan’s murder so that she and Man will ascend the throne. Man fears what will come of killing Duncan, but Woman reassures him that their plan will go off without a hitch: “screw your courage to the sticking-place, And we’ll not fail.”

Woman proclaims, “I want it all…Love and ambition. So him. I want him.” To want him is to also want the power made available to a coupled woman vis-à-vis her male partner that a single woman goes without. Ross, a consummate performer, like Woman, knows that success must be orchestrated. A meritocracy is as fictional as a controlling image. And a blending of love and ambition is one way for a woman to shatter a glass ceiling. While Ross and former boss, record label Motown founder Berry Gordy, deny that their affair influenced their work, it is plausible that their romance exacerbated a power imbalance between her (lead singer) and other members of the Supremes.

If not the love of a man, a duet with one will help. Unlike Tharpe and other Black women musicians, Tina Turner was crowned the Queen of Rock and Roll. The honorific title was not given to Turner, she took it. Cultural anthropologist Maureen Mahon suggests that Turner affiliated herself with white male rockers and their aesthetics, often appropriations of Black music, to cement her legacy. In the 1980s and 1990s, Tina Turner released several songs with white male artists such as David Bowie and Eric Clapton, galvanizing the support of white rock fans.

Ross, Turner, and Woman defy the rigid confines of misogynoir, which media scholar Moya Bailey coined as “the unique anti-Black racist misogyny that Black women experience.” But, what happens when women, Black ladies, or divas finally obtain the power that we desire? In upending “the story that framed you before you were even you,” there is a cost. Ross experiences loneliness. Turner loses trust among Black music listeners. And, Woman, who not only fights for royal power but against the scripted death of Shakespearean women, mirroring Lady Macbeth, loses her mind, hallucinating that she has a spot of blood on her hand.

—Tia Smith, Yale Repertory Theatre Left: Diana Ross in Mahogany, 1975, courtesy of Paramount Pictures. Right: Tina Turner performing in Hamburg, Germany, 1996. © Helmut Reiss/ALAMY

CAST Whitney White* (Creator, Woman) Broadway: Jaja’s African Hair Braiding (Tony Award nomination, Best Direction). London: The Secret Life of Bees (The Almeida). OffBroadway: Walden (Second Stage), Soft (MCC Theater), On Sugarland (New York Theatre Workshop), What to Send Up When It Goes Down (The Public Theater, ART, Woolly Mammoth), Our Dear Dead Drug Lord (Second Stage/WP Theatre), For All the Women Who Thought They Were Mad (Soho Rep), A Human Being of a Sort (Williamsburg). Original work: Macbeth in Stride (American Repertory Theater, Philadelphia Theatre Company, Shakespeare Theatre Company), Semblance (NYTW). Awards: Herb Alpert, Jerome Fellowship, Rolex Arts Initiative.

Television writing: Boots Riley’s I’m A Virgo (Amazon, Media Res). Whitney is an Associate Artist at Roundabout Theatre and Associate Director at Shakespeare Theatre Company in Washington, D.C. Later this season, she will direct the musical The Last Five Years on Broadway.

Charlie Thurston* (Man) is an actor and playwright and is making his Yale Rep debut. He co-wrote Someone Will Remember Us with Deborah Salem Smith which will premiere at Trinity Rep in Providence, Rhode Island, in January 2025. Off-

16

Broadway: Here There Are Blueberries (New York Theatre Workshop) and The Wedge Horse (Fault Line).

Selected Regional: Macbeth in Stride (Shakespeare Theatre Company, Philadelphia Theatre Company, A.R.T.); Here There Are Blueberries (La Jolla, Shakespeare Theatre Company); Prince of Providence, The Song of Summer (Trinity Rep); Three Sisters (Arden); Completely Fictional—Utterly True—Final Strange Tale of Edgar Allan Poe (Baltimore Center Stage). Selected film and television: Finestkind, Boston Strangler, Life Itself, Julia, Dexter, SVU. He has narrated a bunch of audiobooks, including the Pulitzer Prize winner Demon Copperhead by Barbara Kingsolver. Training: Brown/ Trinity Rep. charliethurston.net

Holli’ Conway* (First Witch) is overjoyed to be a part of this incredible work!

Credits include the Broadway productions of Six, Lempicka, and Tina; and most recently, the role of Lorraine in the Papermill Playhouse production of Jersey Boys. Holli’ was Miss Louisiana 2018. Thank you to 44 West Entertainment, DGRW, and Taylor Williams Casting! To my circle. For my family. All glory to God! @Welcometo_holliwood

UNDERSTUDIES Phoenix Best* (Second Witch,

Gunnar Manchester* (understudy

understudy for Woman, Dance Captain) is so excited to be rejoining this show! Her Broadway credits include Dear Evan Hansen (Alana Beck) and the revival of The Color Purple (swing). She also played Éponine in the 2017 North American Tour of Les Misérables. Other theater credits include Mary in the world premiere of A.D. 16 at Olney Theatre Center, Deena Jones in Dreamgirls at TUTS, and Witch in Macbeth in Stride at A.R.T. Television and film: The Best Man: The Final Chapters (Nicole), Twisted Assistant (Stella), Love Life (Ogechi), Estella Scrooge (Mercy and Charity), From Sea to Rising Sea (Lu).

for Man) is a New England-born, New York-based performer, composer, music director, and teaching artist. Regional: The Huntington, Trinity Repertory, The Gamm, Commonwealth Shakespeare, Wilbury Theatre Group, Gloucester Stage, Actor’s Shakespeare Project, College Light Opera Company, and Williamstown Theatre Festival.

He is a graduate of Brown University/ Trinity Rep M.F.A. Training Program, where he was a recipient of the Stephen Sondheim Graduate Fellowship in Theater Arts, and the Antonio Cirino Memorial Fellowship awarded by the Rhode Island Foundation. Visit gunnarmanchester.com

Ciara Alyse Harris* (Third Witch) is

Victoria Byrd*(understudy for First,

overjoyed to be a part of this production at Yale Rep! Her credits include Dear Evan Hansen (Broadway) and White Girl in Danger (Second Stage). Tour: The First National Tour of Dear Evan Hansen. Regional: All Shook Up, Gypsy (The Muny); Spring Awakening (The 5th Avenue Theatre); Ain’t Misbehavin’ (Cape Playhouse). B.F.A., CCM. When not performing, she’s working on her podcast Queen Made of Light to help others find the light within themselves.

She is so grateful to be a part of this incredible company and team! @ciaraalyse

Second, and Third Witch) is an NYC-based actor from Sarasota, Florida. She holds a bachelor of fine arts degree in musical theater from the Boston Conservatory. She was most recently seen in the ensemble of Back to the Future on Broadway. Previously, she worked on the North American tour of Aladdin in the ensemble and understudying Princess Jasmine.

Regional credits include The Muny, North Shore Music Theater, and Asolo Rep. Endless gratitude to my agents at DGRW. Witches unite!

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

17

CREATIVE TEAM in alphabetical order

Zachry J. Bailey* he/him (Stage

Manager) Zack is honored to return to Yale Rep and champion their season.

Thank you to those who have filled my life with light and joy. Love to Isuri.

Tours: Hadestown (First National).

Off-Broadway: Cats: The Jellicle Ball (PAC NYC). Select Regional: Memnon (Classical Theatre of Harlem); A Raisin in the Sun (canceled due to COVID), The Plot, Twelfth Night (Yale Rep); Jesus Christ Superstar (Connecticut Repertory); Broadway for Biden. Film: CRAM (Radical Rhinoceros Pictures), Overlook (Two + Eight Productions), and The Promotion (C1 Media). @zachryjbailey

stage machinery and has served as a run crew member and carpenter for the National Theatre Company of Mexico as well as an assistant technical director for many set designers in Mexico’s most important theaters and festivals. As a production manager, she worked for the National Theatre Council. Constanza graduated as an engineer from the National Polytechnic Institute.

Qween Jean (Costume Designer)

New York/Off-Broadway: The Public Theater. Regional: American Repertory Theater, Asolo Repertory Theatre, The Gamm Theatre, Long Wharf Theatre, Philadelphia Theatre Company, PlayMakers Repertory Company, Shakespeare Theatre Company, Trinity Repertory Company.

Tyler currently serves as one of the Artistic Directors of Philadelphia Theatre Company. Previously served as Associate Artistic Director and Director of New Play Development at Trinity Repertory Company and Practitioner in Residence at the Swearer Center for Public Service at Brown University.

Teaching: Brown, NYU, Rhode Island College, UPenn.

is a New York-based stage and film costume designer. They have worked at the Shakespeare Theatre Company, Signature Theatre, and Santa Fe Opera. She is a native of South Florida and began her theater career at Florida School of the Arts. Qween has earned a bachelor’s degree in business communications at the University of North Carolina and costume studies at Greensboro College. She has an M.F.A. in design from NYU’s Tisch School of the Arts. Qween has designed costumes for over 80 productions, works freelance throughout the year, and is the Assistant Costume Shop Manager at the Chautauqua Theater Company. Her shows include Our Dear Dead Drug Lord, One in Two, Siblings Play, Amen Corner, Rags Parkland, Good Grief, Othello, Wig Out!, Playboy of the West Indies, A Doll’s House, and the highly acclaimed What to Send Up When it Goes Down by Aleshea Harris.

Constanza Etchechury López

Raja Feather Kelly (Choreographer)

Tyler Dobrowsky (Director)

she/her/ella (Technical Director) is a Mexican theatermaker and a thirdyear student in the technical design and production program at David Geffen School of Drama. She began her career as a stagehand and drafting

is a choreographer and director, and the artistic director of the dancetheatre-media company the feath3r theory, for which he has created 18 premieres, most recently Ugly Part 3: Blue (Chelsea Factory) and The

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

18

Absolute Future (NYU Skirball). Kelly’s work appears on stages across the country, including Girls at Yale Rep, Bunny Bunny at UC San Diego, and most recently Teeth at Playwrights Horizons. His choreography was seen in White Girl in Danger at Second Stage Theater. He choreographed the Broadway musicals Lempicka and A Strange Loop (premiered Off-Broadway at Playwrights Horizon), winner of two Tony Awards, including Best Musical.

His Off-Broadway collaborators include Lileana Blain-Cruz, Sarah Benson, and Michael R. Jackson. His work has been seen at Playwrights Horizon, New York Theatre Workshop, The Public Theater, La Jolla Playhouse, Soho Rep and New York Live Arts, among many other venues. He’s worked on two Pulitzer Prize-winning productions and has received a Princeton Arts speaker Fellowship, three Princess Grace Awards, an OBIE Award, an Outer Critics Circle honor, and many others.

Upcoming: The Fires at Soho Rep.

Nick Kourtides (Sound Designer) is

the global sound designer for Magic Mike Live in Las Vegas, London, Berlin, and Australia. Recent theater: Three Houses (Signature), The Keep Going Songs (LCT3), Travels (Ars Nova), Heather Christian’s TERCE (Prototype). Other Off-Broadway: Oratorio for Living Things (Ars Nova), Blacklight (Greenwich House), The Lucky Ones (Ars Nova), Object Lesson (NYTW, BAM), Elephant Room (St. Ann’s), Carson McCullers Talks About Love (Rattlestick), and Jomama Jones: Radiate (Soho Rep). Regional: Shakespeare Theatre, Actors Theatre of Louisville, Cincinnati Playhouse in the Park, Cleveland Playhouse, New York Stage and Film, McCarter, Center Theatre Group, Geffen, Folger, Studio,

Milwaukee Rep, the Wilma, the Arden, Philadelphia Theatre Company, Prince Music Theater, La Jolla Playhouse, and Pig Iron Theatre Company. Nick has taught Sound Design for Live Performance at Drexel University and Swarthmore College. He has received an Obie, Lucille Lortel, Bessie, and Barrymore awards. nickkourtides.com

Taibi Magar (Director) New York/Off-

Broadway: We Live in Cairo (NYTW), The Half-God of Rainfall (New York Theatre Workshop); Twilight: Los Angeles, 1992 (Signature Theatre, Lucille Lortel Award for Best Revival); Capsule (The Public Theater); Claudia Rankine’s Help (The Shed); Blue Ridge, The Great Leap (Atlantic Theater Company); Is God Is (Soho Rep); Master (The Foundry, The New York Times Critic’s Pick); Underground Railroad Game (Ars Nova, The New York Times Critic’s Pick). International: Hamburg Festival, Edinburgh Festival, Malthouse Theatre (Melbourne), Soho Theatre (London). Selected regional: Woolly Mammoth Theatre, Alley Theatre, The Guthrie Theater, Seattle Rep. Awards: 2018 OBIE Award, 2019 SDC Breakout, Lucille Lortel nomination, 2022 Stephen Sondheim Fellowship, Oregon Shakespeare Festival Fellowship, The Public Theater Shakespeare Fellowship.

Taibi serves as one of the Artistic Directors of Philadelphia Theatre Company. Training: M.F.A., Brown University; Lincoln Center Directors Lab; NYTW Usual Suspect.

Rachel Padula-Shufelt (Hair and Wig

Designer) Broadway credits include The Glass Menagerie and Waitress.

At American Repertory Theatre: Becoming a Man, Life of Pi, Macbeth in Stride, Black Clown, Waitress, Marie Antoinette, Crossing; and three Elliot

19

CREATIVE TEAM in alphabetical order

Norton award winners for Best Design: Moby Dick; Fingersmith, Natasha, Pierre & the Great Comet of 1812. Huntington Theatre Company: John Proctor is the Villain, The Band’s Visit, The Heart Sellers, Joy and Pandemic, The Colored Museum. Rachel is the hair and makeup supervisor for Boston Ballet and the resident hair and wig designer for North Shore Music Theatre.

Nygel D. Robinson (Music Director)

is an artist based in Chicago. Select theater credits include playing Brother Davis and serving as Music Director in The Amen Corner (Shakespeare Theatre Company), Jimmy Powers in Lady Day at Emerson’s Bar and Grill (Mercury Theater), and actor/musician in The All Night Strut (Milwaukee Rep).

Nygel has his hands in many other projects as a composer/lyricist, music director, music producer, and educator.

Nygel is the co-creator of and performer in the new live-looped musical Mexodus, which started development at New York Stage and Film in early 2020, had its world premiere at Baltimore Center Stage and Mosaic Theatre in Washington D.C., and recently finished a run at Berkeley Rep.

Colleen Rooney they/she (Assistant

Stage Manager) is a third-year student in the stage management M.F.A. program at David Geffen School of Drama. They hold a B.S. in theater arts and in anthropology from the University of Oregon. Select credits include Wish You Were Here (Yale Rep); The Carlotta Festival, Cleansed, Color Boy, WAKE (Geffen School); UDO (Yale Cabaret); Alabaster, Northwest 10, The Curious Incident of the Dog in the Night-Time, and A Doll’s House, Part 2 (Oregon Contemporary Theatre). Other theatrical credits include Co-Executive Artistic Director of Yale Summer Cabaret 20

Season 50 Greenhouse, sound design for Arlington (Yale Cabaret Season 56 Sandbox), and The Betrayal Project (Yale Summer Cabaret: Development Studio 49).

ty ruwe they/them (Assistant Stage Manager) is a second-year M.F.A. candidate at David Geffen School of Drama, where their credits include Hellyoutalmbout, Pearl’s Beauty Salon, and Hamlet, princesa de Dinamarca as well as My Six Therapists, The Aughts, seven methods of killing kylie jenner at Yale Cabaret. Other credits include The Pirates of Penzance (Cape Repertory Theatre); Fairview (Speakeasy Stage Company); honeyhole (MoonBox Productions, Boston New Works Festival); The Half-Life of Marie Curie, Ada and the Engine (Central Square Theater). ty received their B.A. in psychology from Smith College.

Daniel Soule (Scenic Designer) is a scenic and production designer based in lower Manhattan. Recent productions include Roméo et Juliette at the Washington National Opera and King Lear at the Shakespeare Theatre Company. Dan also teaches design at the NYU’s Tisch School of the Arts.

Many thanks to Whitney, Yale Rep, and the creative team. danielsouledesign.com Taylor Williams, C.S.A. (Casting

Director) Artios Award. Film: Good One, The Front Room, Omni Loop, Rocky’s Deli. Broadway: Romeo + Juliet, Stereophonic, Illinoise, An Enemy of the People, The Sign in Sidney Brustein’s Window, POTUS, Slave Play, What the Constitution Means to Me. Upcoming: John Proctor Is the Villain.

TaylorWilliamsCasting.com

Jeanette Oi-Suk Yew (Lighting Designer) is an award-winning designer for theater, dance, opera, musicals, music performances, and large-scale immersive installation. The New York Times described her designs as “clever” and “inventive.”

She is excited to bring Macbeth in Stride to Yale Rep. Broadway: Kimberly Akimbo, The Thanksgiving Play. Off-Broadway: The Connector (MCC Theater); Golden Shield (Manhattan Theatre Club); cullud wattah, Manahatta (The Public); The Nosebleed, Your Own Personal Exegesis (LCT3); american (tele)visions (New York Theatre Workshop); Snow in Midsummer (Classic Stage Company). Regional: King Lear (Shakespeare Theatre Company), WILD: A Musical Becoming (A.R.T.), Walden (TheaterWorks Hartford). Other: Oratorio for Living Things (Ars Nova), Theatre of the Mind with David Byrne. jeanetteyew.com

Grace Zandarski (Vocal Coach) is

Associate Chair of the Acting program and Head of Voice and Text at David Geffen School of Drama, where she has taught Voice since 2002. She has coached numerous productions at Yale Rep and the Geffen School including The Brightest Thing in the World, An Enemy of the People, Hamlet, The Caucasian Chalk Circle, and Between Two Knees.

New York coaching credits include the Mike Nichols productions of Death of a Salesman and Betrayal (Broadway), The Intelligent Homosexual’s Guide… (The Public Theater), and Homebody/Kabul (BAM). She was named Associate Teacher of Fitzmaurice Voicework in 1998. Grace is a member and Board Chair of The Actors Center Workshop Company, a member of Pantheatre (Paris), SAG-AFTRA, AEA, and VASTA. Acting credits include McCarter Theatre, OSF Ashland, Wilma Theatre, and ACT. Directing credits include the Peer Gynt Project and Chekhov Shorts. M.F.A., American Conservatory Theater; B.A., Princeton University.

Founded in 1974, Philadelphia Theatre Company (PTC) is a vital civic institution dedicated to the creation of extraordinary theatrical experiences that reflect the essential issues and ideas of our time, and which foster connection, understanding, and transformation. PTC has presented over 150 world and Philadelphia premieres, more than half of which moved on to New York or other major cities, helping Philadelphia to earn a national reputation as a hub for new play development. PTC is led by Artistic Directors Taibi Magar and Tyler Dobrowsky, alongside Managing Director Margo Moskowitz.

For over 35 years, the Tony Award-winning Shakespeare Theatre Company has been recognized as the nation’s premier classical theatre.

STC tells vital stories in audacious forms, stories that are Shakespearean in the deepest sense, even if they are not written by Shakespeare. We stage epic stories in exhilarating style.

Brooklyn Academy of Music (BAM) is the home for curious people and adventurous ideas. We support artistic experimentation and champion inclusion and accessibility throughout the arts as presenter, activator, and connector. bam.org 21

ARTISTIC

Run Crew Swings

Associate Choreographer

Joyce Ciesil, Kemar Jewel

Ashley Chavonne

Production Sound Mixer

Associate Lighting Designer

Kenneth Goodwin

Alex deNevers

Audio Technical Support

Associate Sound Designer

Olivia Denison

Robert Salerno

Ableton Programmer

Assistant Sound Designer and Engineer

Nicky Brekhof Musician Preparation

Matt DeMaria Associate to Whitney White

Rosalind Bevan, Drama League Directing Assistantship Production Assistant

Ais Galvin

Dana Haynes ADMINISTRATION Associate Managing Director

Mikayla Stanley Management Assistants

Alesandra Reto Lopez Gaby Rodriguez Company Manager

Victoria McNaughton Assistant Company Managers

Jason Weixelman

Raekwon Fuller, Catherine MacKay, Davon Williams

PRODUCTION

House Managers

Associate Production Manager

Maura Bozeman, Davon Williams

Nat King Taylor

Production Photographer

Assistant Technical Directors

Joan Marcus

Keira Jacobs, Jacob Thompson

Poster Art and Design

Assistant Properties Manager

Paul Evan Jeffrey/Passage Design

Sub Assistant Stage Manager

Hsiao Ru-Ho Production Electrician

Sean Blue Wig Supervisor

Courtney Horry Run Crew

Emilee Biles, Constant Dzah, Jonathan Fong 馮子睿, Adam Taylor Foster, Raekwon Fuller, Payton Gunner, Kay Nilest, Alexis Kulani Woodard 22

Costumes fabricated by Eric Winterling, Inc. Rehearsed at the NEW 42ND STREET Studios.

SPECIAL THANKS The Graduate, Chris Young at Shakespeare Theatre Company

YALE REPERTORY THEATRE STAFF Artistic Director James Bundy Managing Director Florie Seery Associate Artistic Director, Director of New Play Programs Chantal Rodriguez General Manager Carla L. Jackson

Artistic Resident Artists

Playwright in Residence Tarell Alvin McCraney Resident Directors Lileana Blain-Cruz Liz Diamond Tamilla Woodard Dramaturgy Advisor Amy Boratko Resident Dramaturg Catherine Sheehy Set Design Advisor Riccardo Hernández Resident Set Designer Michael Yeargan Costume Design Advisors Oana Botez Ilona Somogyi Resident Costume Designer Toni-Leslie James

Associate Artists 52nd Street Project, Kama Ginkas, Mark Lamos, MTYZ Theatre/Moscow New Generation Theatre, Bill Rauch, Sarah Ruhl, Henrietta Yanovskaya

Artistic Management Production Stage Manager James Mountcastle Senior Artistic Producer Amy Boratko Associate Producer Kay Perdue Meadows Artistic Fellow Hannah Fennell Gellman Artistic Coordinator Andrew Aaron Valdez Casting James Calleri Erica Jensen Paul Davis Senior Administrative Assistant to the Artistic Director and Associate Artistic Director Josie Brown Senior Administrative Assistant for Directing, Dramaturgy and Dramatic Criticism, Playwriting, Stage Management, and Theater magazine Laurie Coppola

Lighting Design Advisors Alan C. Edwards Stephen Strawbridge

Senior Administrative Assistant for Design Kate Begley Baker

Projection Design Advisor Shawn Lovell-Boyle

Senior Administrative Assistant for the Acting Program Krista DeVellis

Sound Design Advisor Jill BC Du Boff Voice and Text Advisor Grace Zandarski Resident Fight and Intimacy Directors Kelsey Rainwater Michael Rossmy Stage Management Advisor Narda E. Alcorn

Library Services Erin Carney

PRODUCTION Production Management

Production Manager for Studio Projects and Special Events C. Nikki Mills Senior Administrative Assistant to Production and Theater Safety Rachel Zwick

Scenery

Technical Director for Yale Rep Neil Mulligan Technical Directors for David Geffen School of Drama Latiana “LT” Gourzong Matt Welander Electro Mechanical Laboratory Supervisor Eric Lin Metal Shop Foreperson Matt Gaffney Wood Shop Foreperson Ryan Gardner Lead Carpenters Doug Kester Kat McCarthey Sharon Reinhart Carpenters Ryleigh Rivas 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

Director of Production Shaminda Amarakoon

Properties Craftsperson Steve Lopez

Production Manager Jonathan Reed

Properties Associate Zach Faber

23

YALE REPERTORY THEATRE STAFF Properties Stock Manager Mark Dionne Properties Assistant Destany Langfield Properties Interns Angie Hause Hsiao Ru-Ho

Projection Supervisor Anja Powell Projection Technician Henry Rodriguez

Projection Intern Jada Rose Pinsley

Costumes

Stage Operations

Costume Shop Manager Christine Szczepanski

Stage Carpenter Janet Cunningham

Senior Drapers Clarissa Wylie Youngberg Mary Zihal

Lead Wardrobe Supervisor Elizabeth Bolster

Senior Draper/Patternmaker Susan Aziz Senior First Hands Deborah Bloch Patricia Van Horn First Hand Anna Blankenberger Costume Project Coordinator Linda Kelley-Dodd Costume Stock Manager Jamie Farkas Costume Technology Intern Nana Chanmalee

Electrics

Lighting Supervisor Donald W. Titus Senior House Electricians Jennifer Carlson Linda-Cristal Young

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

ADMINISTRATION General Management

Associate Managing Directors Anne Ciarlone Adrian Alexander Hernandez Jeremy Landes Mikayla Stanley Senior Administrative Assistant to the Managing Director and General Manager Sarah Masotta Management Assistant Gaby Rodriguez Company Manager Victoria McNaughton

Electricians Alary Sutherland Ryan White

Assistant Company Managers Catherine Mackay Alesandra Reto Lopez

Electrics Interns April Salazar Tyler Zickmund

Development & Alumni Affairs

Sound

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

24

Projections

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 Development and Alumni Affairs Assistant Gavin D. Pak

Finance, Human Resources, & Digital Technology

Director of Finance and Business Administration/Lead Administrator Nicola Blake 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 Business Office, Digital and Web Technology, Facility Operations, Human Resources, Tessitura Monique Moore

Assistant Director of Audience Services Shane Quinn

Database Application Consultants Ben Silvert Erich Bolton

Audience Services Associate Molly Leona

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

Director of Communications Steven Padla Senior Associate Director of Marketing and Communications Caitlin Griffin Publications Manager and Program Designer Marguerite Elliott Senior Administrative Assistant to Marketing and Communications Mishelle Raza Director of Audience Services Laura Kirk

Subscriptions Coordinator Tracy Baldini

Customer Service and Safety Officers Ralph Black, Jr. Kevin Delaney Box Office Assistants Taylor Blackman, Pilar Bylinsky, Emma Fusco, Jordan Graf, Aaron Magloire, Diana Shyshkova, Elliot Valentine, Timothy “TJ” Wildow Accessibility Assistant Prentiss Patrick-Carter Ushers Calum Baker, Danielys Batista, Mia Bauer, Maura Bozeman, Alex Brooks, Logan Carr, Gerson Espinoza Campos, Kelvin Esselfie, Megan Foster, Nicole Gillinov, Lydia Gompper, Isaac Kozukhin, Nat Lopez, Di’Jhon McCoy, Bonnie Moeller, Sarah RamosGonzalez, William Romain, Jonathan Singleton, Nicole Stack, Julia Weston, Larsson Youngberg

Theater Safety and Occupational Health Director of Theater Safety and Occupational Health Anna Glover Assistant Director of Theater Safety Kelly O’Loughlin Associate Safety Advisor Steph Lo 盧胤沂

Operations

Director of Facility Operations Nadir Balan Associate Director of Operations Brandon Fuller Operations Assistant Devon Reaves Arts and Graduate Studies Superintendents Jennifer Draughn Francisco Eduardo Pimentel Custodial Team Leaders Andrew Mastriano Sherry Stanley Facility Stewards Ronald Douglas Marcia Riley Custodians Tylon Frost, Willia Grant, Cassandra Hobby, Melloney Lucas, Shanna Ramos, Jerome Sonia

Yale Repertory Theatre operates under an agreement between the League of Resident Theatres (LORT) and Actors’ Equity Association (AEA), the Union of Professional Actors and Stage Managers in the United States.

The Scenic, Costume, Lighting, and Sound Designers in LORT are represented by United Artists Local USA-829, IATSE.

Macbeth in Stride, December 5–14, 2024.

University Theatre, 222 York Street, New Haven, Connecticut.

25

ACCESSIBILITY SERVICES December 14 at 2PM Audio Description Pre-show description begins at 1:45PM A live narration of the play’s action, sets, and costumes for patrons who are blind or have low vision.

Free listening devices, headsets, and neck loops, and Sensory items as well as Braille and large print programs are available at the concierge desk in the theater lobby.

Touch Tour Prior to a performance, patrons who are blind or have low vision touch fabric samples, rehearsal props, and building materials to understand what better comprises the production design.

Open Captioning A digital display of the play’s dialogue as it’s spoken for patrons who are deaf or have hearing loss.

December 14 at 8PM American Sign Language (ASL) An ASL-interpreted performance for patrons who are deaf or have hearing loss.

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

Plan Ahead!

Upcoming Accessibility Services for Eden by Steve Carter, directed by Brandon J. Dirden.

Audio Description February 1 at 2PM Touch Tour February 1 at 2PM American Sign Language February 1 at 8PM Open Caption February 8 at 2PM Dates and times are subject to change.

c2 is pleased to be the official Open Captioning Provider of Yale Repertory Theatre.

26

For more information about our accessibility services or to provide feedback about your experience, contact Laura Kirk, Director of Audience Services: 203.432.1234 or laura.kirk@yale.edu.

ACCESSIBILITY TEAM Michelle Banks (ASL Consultant),

Gracy Brown (Audio Describer) a

a native of Washington, D.C., is an award-winning actress, writer, director, and producer. She is the Co-Founder and Artistic Director of Visionaries of the Creative Arts (VOCA). She is the 2022 recipient of the DC area Black Deaf Advocates Award for Outstanding Achievements in Theater for Deaf BIPOC Artists and the 2017 recipient of Gallaudet University’s Laurent Clerc Award for her contribution to theater. Acting credits include Girlfriends, Soul Food, Compensation (film), The C.A. Lyons Project (Alliance Theatre), Reflections of a Black Deaf Woman (one- woman show), and Big River (Mark Taper Forum, Ford Theater). Directing: Camellia For Camille (Deaf Spotlight’s Short Play Festival), Trash (JACK, IRT); ISM and ISM II (Atlas Performing Arts Center); and A Raisin in the Sun (Gallaudet University, Atlas Performing Arts Center). Michelle also served as Director of Artistic Sign Language (DASL) for The Music Man (Olney) and For Colored Girls...(Broadway).

New Haven-based, award-winning actor, director, and educator, has an extensive list of credits, including various roles at Elm Shakespeare Company, Long Wharf Theatre, Great Lakes Theater Festival, Edinburgh Fringe Festival, Cornerstone Theatre Company, Mark Taper Forum, and Collective Consciousness Theatre Company. Gracy is an alumna of Southern Connecticut State University, where she earned a B.A. in theater.

She is a proud member of Actor’s Equity Association.

Bennie Barber (ASL Interpreter) is a heritage signer hailing from Long Beach, California, is nationally certified, and has been interpreting for just about 13 years. His experiences include interpreting local theater in the Los Angeles area alongside various other interpreting settings. He is CODA (Child of Deaf Adults) and is extremely proud of his heritage. He enjoys watching anime and learning about the wonders of the universe.

Rorri Burton (ASL Interpreter) is a multiple-certified, community-raised interpreter who hails from Chicago, where she began learning American Sign Language at an early age. After graduating college with her degree in deaf education, she taught in school districts around the country for ten years, before beginning what she assumed would be a temporary foray into a career as a full-time ASL Interpreter. Sixteen years and five cities later, Rorri has interpreted in a variety of settings, including Video Relay Service, vacation cruises, Hollywood film sets, operating rooms, court rooms, award shows, and Broadway stages, among others.

She is the founder and director of Pro Bono ASL, a group of Black, Latiné, Indigenous, MENA, Asian and Pacific Islander interpreters, who are providing culturally relevant and professional interpreting services around the country, for a wide range of industries and entities.

27

ACCESSIBILITY TEAM David Chu/c2inc-caption coalition (Open Captioner) is a 501(c)3 nonprofit consultant and the leading provider of professional Live Performance Captioning (sm) for theatrical and cultural presentations. c2 members hold the distinction of being the very first to caption live theater (the Paper Mill Playhouse, NJ), the first to debut on Broadway and Off-Broadway, and have introduced open captioning in prestigious

28

theaters across the country and in London. Captioning in theater has gained momentum and acceptance by theatergoers since its debut in 1996. It addresses the needs of a far larger audience of hard of hearing and deaf people, which includes those who do not use sign language, are late deafened, not self-identified with hearing loss, and those who simply might have missed a punch line.

YOUTH PROGRAMS

WILL POWER! is Yale Rep’s annual

EVENTS! FRIDAY, DECEMBER 6 AT 8PM

Post-Show Coversation Join us in the August Wilson Lounge following the performance for a conversation about the show with Yale Rep artistic staff.

WEDNESDAY, DECEMBER 11 AT 1PM Pre-Show Reception and Conversation Please join us for refreshments in the August Wilson Lounge, where members of the creative team will hold a discussion about the play at 1:20PM.

FRIDAY, DECEMBER 13 AT 8PM Spanish-Language Captioning La presentación del 13 de diciembre será subtitulada en español.

This performance will be open-captioned in Spanish.

SATURDAY, DECEMBER 14 AT 2PM Talk Back Join us after the show for a conversation about the play and its themes with members of the company.

All events are subject to change. Additional details at yalerep.org.

educational initiative, designed to bring middle and high school students to see live theater. Since our 2003–04 season, WILL POWER! has served more than 20,000 Connecticut students and educators. This season we will offer programming centered on Whitney White’s Macbeth in Stride and Gogol’s The Inspector to New Haven Public Schools students and educators. In previous seasons, the program has included early school-time matinees, free or heavily subsidized tickets, study guides, and post-performance discussions with actors and members of the creative teams. WILL POWER! is committed to giving teachers curricular support through free workshops and professional development about the content and themes of the plays.

THE DWIGHT/EDGEWOOD PROJECT (D/EP) is a community-

focused, youth engagement program within David Geffen School of Drama and Yale Rep. Each year, middle school students from Barnard Environmental Studies Interdistrict Magnet School become playwrights and create original dramatic works through one-on-one mentorship from students at the Geffen School. The month-long project culminates in fully produced performances of each student’s play in front of an audience. Through its values of community care, joy, curiosity, empowerment, and equity, D/EP has helped to shape the minds of over 200 young people from the Dwight and Edgewood neighborhoods of New Haven since 1995.

Yale Rep’s youth programs are supported by The Robert and Mercedes Eichholz Foundation, NewAlliance Foundation, and the Esme Usdan Community Youth Fund.

29

DAVID GEFFEN SCHOOL OF DRAMA BOARD OF ADVISORS John B. Beinecke YC ’69, Chair Jeremy Smith ’76, Vice Chair Nina Adams MS ’69, NUR ’77 Amy Aquino ’86 Rudy Aragon LAW ’79 John Badham ’63, YC ’61 Pun Bandhu ’01 Sonja Berggren Special Research Fellow ’13 Frances Black ’09 Carmine Boccuzzi YC ’90, LAW ’94 Lynne Bolton Lois Chiles Patricia Clarkson ’85 Edgar M. Cullman III ’02, YC ’97 Michael David ’68

Wendy Davies Special Research Fellow ’21 Sasha Emerson ’84 Lily Fan YC ’01, LAW ’04 Terry Fitzpatrick ’83 Marc Flanagan ’70 Anita Pamintuan Fusco YC ’90 David Alan Grier ’81 Sally Horchow YC ’92 Ellen Iseman YC ’76 David G. Johnson YC ’78 Rolin Jones ’04 Sarah Long ’92, YC ’85 Cathy MacNeil-Hollinger ’86 Brian Mann ’79 Drew McCoy David Milch YC ’66 Jennifer Harrison Newman ’11 Richard Ostreicher ’79

Carol Ostrow ’80 Maulik Pancholy ’03 Daphne Rubin-Vega Tracy Chutorian Semler YC ’86 Michael Sheehan ’76 Anna Deavere Smith DFAH ’14 Woody Taft YC ’92 Andrew Tisdale Edward Trach ’58 Julie Turaj YC ’94 Esme Usdan YC ’77 Courtney B. Vance ’86 Donald R. Ware YC ’71 Shana C. Waterman YC ’94, LAW ’00 Kim Williams Henry Winkler ’70 Amanda Wallace Woods ’03

Thank you to the generous contributors to David Geffen School of Drama and Yale Repertory Theatre LEADERSHIP SOCIETY ($50,000+)

Anonymous Rudy and Jeanne Aragon John B. Beinecke Sonja Berggren and Patrick Seaver Lois Chiles Connecticut Department of Economic and Community Development Estate of Nicholas Diggs* Estate of Richard Diggs* The Robert and Mercedes Eichholz Foundation Anita Pamintuan Fusco and Dino Fusco David Geffen Foundation The Horace W. Goldsmith Foundation Steve Grecco Estate of Elizabeth Rhodes Holloway* David G. Johnson Estate of Robert D. Mitchell* Talia Shire Schwartzman

30

Tracy Chutorian Semler The Shubert Foundation Woody Taft Stephen Timbers Edward Trach Julie Turaj and Rob Pohly Esme Usdan Donald R. Ware

GUARANTORS ($25,000–$49,999) Americana Arts Foundation Edgerton Foundation New Play Award Donald S. Holder and Evan Yionoulis Sarah Long Neil Mazzella National Endowment for the Arts The Sir Peter Shaffer Charitable Foundation Jeremy Smith

BENEFACTORS ($10,000–$24,999)

Nina Adams and Moreson Kaplan Carmine Boccuzzi and Bernard Lumpkin Lynne and Roger Bolton James and Deborah Burrows Foundation Trip Cullman Wendy Davies Lily Fan Mabel Burchard Fischer Grant Foundation Burry Fredrik Foundation Estate of Stephen R. Lawson* Lucille Lortel Foundation Cathy MacNeil-Hollinger and Mark Hollinger Michael and Riki Sheehan Carol L. Sirot Trust for Mutual Understanding

*deceased

PATRONS ($5,000–$9,999)

Pun Bandhu Eugene G. & Margaret M. Blackford Memorial Fund for the Blind, Bank of America, N.A.,Trustee Santino Blumetti James Bundy and Anne Tofflemire Joan Channick CT Humanities Michael S. David Terry Fitzpatrick Marcus Gardley Howard Gilman Foundation Ruth and Charles Grannick Jr. Fund at The Community Foundation for Greater New Haven Sally Horchow Rolin Jones Tien-Tsung Ma Tarell Alvin McCraney Roz and Jerry Meyer David and Leni Moore Family Foundation

Jason Najjoum NewAlliance Foundation Peter Nigrini Carol Ostrow

PRODUCER’S CIRCLE ($2,500–$4,999)

Anonymous Angela Bassett Cyndi Brown Ian Calderon Deborah Freedman and Ben Ledbetter Fred Gorelick and Cheryl MacLachlan Ellen Iseman JANA Foundation Ann Judd and Bennett Pudlin Rocco Landesman Richard Ostreicher Pam and Jeff Rank Bill and Sharon Reynolds Abby Roth and R. Lee Stump Daphne Rubin-Vega and Thomas Costanzo

DIRECTOR’S CIRCLE ($1,000–$2,499)

Chuck Adomanis Laura and Victor Altshul Debby Applegate and Bruce Tulgan Paula Armbruster John Lee Beatty Frances Black Anne and Guido Calabresi Audrey Conrad Elwood and Catherine Davis Ramon Delgado Lynn Doucette-Stamm Melanie Ginter Robin Goldberg and Jeffrey Park LT Gourzong Eric M. Glover Rob Greenberg Andy Hamingson Sara Hazelwood Jane Head Dale and Stephen Hoffman James Guerry Hood Pam Jordan Abby Kenigsberg Fran Kumin

The Ethel & Abe Lapides Foundation Charles Letts Kenneth Lewis George Lindsay, Jr. Jennifer Lindstrom Brian Mann Jonathan Marks John McAndrew Jim and Eileen Mydosh Stephen Newman in memory of Ruth Hunt Newman Maulik Pancholy Florie Seery Traci D. Shed Slotznick Family Fund, a charitable fund of The Foundation for Enhancing Communities Shepard and Marlene Stone Courtney B. Vance Carol M. Waaser Carolyn Seely Wiener Walton Wilson The Raul Yanes and Sara Hazelwood Foundation

PARTNERS ($500–$999)

Donna Alexander Shaminda and Carole Amarakoon Richard and Alice Baxter Miles Benickes Ashley Bishop John and Suzanne Bourdeaux Shawn Boyle James and Dorothy Bridgeman Laura Brown-Mackinnon Joy Carlin The Leo J. & Celia Carlin Fund Sarah Bartlo Chaplin Daniel Cooperman and Mariel Harris Robert Cotnoir Sean Cullen Bob and Priscilla Dannies Robert Dealy Kelvin Dinkins, Jr. Austin Durant John Dwyer Peter Entin Anne Erbe Randy Fullerton Betty and Joshua Goldberg

Mark Haber Al Heartley Regina Guggenheim Judy Hansen Helen Kauder and Barry Nalebuff Jay B. Keene Harvey Kliman and Sandra Stein Kenneth Lewis Matthew H. Lewis Pericles S. Lewis Eric Lin Charles H. Long Chih-Lung Liu Virginia (Wendy) Riggs Cathy C. Mock Mariel Monney Barbara and William Nordhaus Arthur Oliner F. Richard Pappas Dw Phineas Perkins Louise Perkins and Jeff Glans Kathy and George Priest Alec Purves Faye and Asghar Rastegar Chantal Rodriguez Howard Rogut Cynthia Santos-DeCure Robin Sauerteig Anna Deavere Smith Matthew Sonnenfeld James Steerman David Sword Tides Foundation John Turturro and Katherine Borowitz Ron Van Lieu Paul Walsh Vera Wells Steven Wolff Amanda Wallace Woods Nancy Yao Stephen Zuckerman

INVESTORS ($250–$499)

Actors’ Equity Foundation Narda E. Alcorn Mamoudou Athie Stephen and Judith August Clayton Austin Alexander Bagnall Deborah S. Berman Michael Bianco Susan Brady and Mark Loeffler

Tom Broecker Donald Brown Suzanne Bruhn Mr. and Mrs. Robert Buckholz Michael Cadden Sarah Cain Lauren Ivy Chiong Nicholas Cimmino Jeffrey Cohen Leeland Cole-Chu Claire A. Criscuolo Brett Dalton Rick Davis Kem and Phoebe Edwards Kenneth Elliott Susan S. Ellis Robert Emmons Michael Fain Richard and Barbara Feldman Deborah and Henry Fernandez Tony Forman David Freeman Richard Fuhrman Randy Fullerton Lindy Lee Gold Shaina Graboyes Ann Hanley Judith Hansen Scott Herring Jennifer Hershey Chuck Hughes John Huntington Carla L. Jackson Chris Jaehnig Galen Kane Edward Kaye Alan Kibbe Hedda and Gary Kopf Mitchell Kurtz Gabriela Lee Irene Lewis Thomas G. Masse and James M. Perlotto, MD Pamela and Donald Michaelis Kathryn Milano David Muse Regina and Thomas Neville Adam O’Byrne Kevin and Margaret O’Halloran Gamal Palmer Michael Parrella Michael Posnick Jon and Sarah Reed Dr. Michael Rigsby and Prof. Richard Lalli

31

Thank you to the generous contributors to David Geffen School Tialoc Rivas Steve Robman Erin Rocha Constanza Romero Allen Rosenshine Nan Ross Donald Sanders Suzanne Sato Kenneth Schlesinger Georg Schreiber* Paul Selfa Sandra Shaner David Soper and Laura Davis Erich Stratmann Matthew Tanico Josh Taylor Deb Trout Lisa Yancey

FRIENDS ($100–$249)

Ikeena Aberdeen Melinda Agsten Michael Albano Sarah Albertson Jeffrey Alexander Glenn Anderson Kaitlyn Anderson Michael Annand Anonymous William Armstrong Nancy Babington Katalin Baltimore Michael Banta Robert Bartner Warren Bass William and Donna Batsford Michael Baumgarten Richard Beals James Bender Vivien Blackford Mark Bly Joseph Brennan Amy Brewer and David Sacco* Emiko Brewer Linda Broker Arvin Brown Christopher P. Brown Donald and Mary Brown Stephen and Nancy Brown Colin Buckhurst Stephen Bundy Richard Butler Susan Byck Kathryn A. Calnan

32

Vincent Cardinal Catherine and Steven Carlson Andrew Carson Sami Joan Casler Zoe Z. Chance King-Fai Chung Nicole Ciomek Cynthia Clair Susan Clark Bill Connington Leland Cole-Chu Aaron Copp Jennifer Corman Jane Cox Caitlin E. Crombleholme Douglas and Roseline Crowley Samanta Cubias Phyllis CummingsTexeira John Cunningham Jonathan Daen Anne Danenberg Timothy Davidson Connie and Peter Dickinson Derek DiGregorio Melinda DiVicino Donna Doherty Dennis Dorn Patricia Doukas Megan and Leon Doyon Samuel Duncan John Duran Ann D’Zmura Laura Eckelman Fran Egler Robert Einenkel Nancy Reeder El Bouhali Samantha Else Sasha Emerson Frank and Ellen Estes Femi Euba Connie Evans Teresa Eyring Ann Farris Kathryn Ferguson Paul Fiedler and Susan Birke Fiedler Margaret Fikrig Terry S. Flagg Sarah Fornia Raymond Forton Keith Fowler Walter M. Frankenberger III

Deborah Fried and Kalman Watsky Gerald E. Gaab Carol Gallagher Don and Margery Galluzzi Leah C. Gardiner Rachana Garg Christopher Geary Tobe Gerard Barry Gladue Stephen L. Godchaux Lorraine Golan Carol Goldberg Donna Golden Susan Goldin Naomi Grabel Charles Grammer Hannah Grannemann Jason Gray Annabel Guevara Greg Guthe Julie Haber Dr. James L. Hadler Marion Hampton Alexander Hammond Scott Hansen Michael Haymes James Hazen Steve Hendrickson Thomas Herman Ashton Heyl Betsy Hoos Nicholas Hormann Kathleen Houle Evelyn Huffman Charles Hughes Derek Hunt Jennifer Ito Tatsuya Ito John W. Jacobsen Eliot and Lois Jameson Elizabeth Johnson Jean Jones Jonathan Kalb Galen Kane Jim Kenny Kiernan Kelly Young H. Kim Amir Kishon Lawrence Klein Fredrica Klemm Chloe Knight Stephen Kobasa Steve Koernig Daniel Koetting David and Julie Koppel Bonnie Kramm

David Kriebs Joan Kron Azan Kung Susan Laity Marie Landry and Peter Aronson Michael Lassell C.J. Lawler Martha Lidji Lazar Elizabeth Lewis Fred Lindauer Jerry Lodynsky Robert H. Long II Everett Lunning Nancy F. Lyon Andi Lyons Joan MacIntosh Peter Malbuisson Jonathan Marks Edwin Martin Sarah Masotta Robert McCaw Deborah McGraw Bill McGuire James Meisner and Marilyn Lord Jonathan Miller Michele Millham Cheryl Mintz Marta Moret Richard Mone Michele Moriuchi Beth Morrison Janice Muirhead James Naughton Tina Navarro Kaye Neale Jennifer Harrison Newman Ellen Novack Jane Nowosadko Deb and Ron Nudel Tom O’Connor Leah Ogawa Max Okst Jacob G. Padrón Kendric T. Packer Dr. and Mrs. Michael Parry Linda and Peter Perdue William Peters Michael Petrillo Alan Plattus Linda Polgar William Purves Norman Redlich Ralph Redpath Deborah J. Reissman Carolynn Richer

of Drama and Yale Repertory Theatre Felicia Riffelmacher Tialoc Rivas Joan Robbins Nathan Roberts Peter S. Roberts Brian Robinson Lori Robishaw Miguel Rosadu Robin Rose Russ Rosensweig Donald Rossler Katherine Sacks Dr. Robert and Marcia Safirstein Steven Saklad Robert Sandberg Peggy Sasso Joel Schechter Rita Scheeler Steven Schmidt Jennifer Schwartz

Kathleen Scott Alexander Scribner Patrick Seeley Tom Sellar Subrata K. Sen Suzanne Sessions John K. Sheehan Lorraine Siggins Gilbert and Ruth Small Helena L. Sokoloff Suzanne Solensky and Jay Rozgonyi Matthew Specter and Marjan Mashhadi Dr. and Mrs. Dennis D. Spencer Aleta Staton* Howard Steinman Rosalie Stemer Marcus Stern John Stevens

Mark Stevens Marsha Beach Stewart Mark Sullivan Thomas Sullivan Tucker Sweitzer Bob Tanner Michelle Tattenbaum Douglas Taylor Jane Savitt Tennen Ashley Thomas Patti Thorp David F. Toser Katherine Touart Russell L. Treyz Adam Tucker Lloyd Tucker Joan Van Ark Pamela Vercillo Adin Walker Christine Wall Jaylene Wallace

Erik Walstad David Ward Joan Waricha Jon West Peter White Dr. Robert White Robert Wildman Alexandra Witchel

EMPLOYER MATCHING GIFTS Ameriprise Financial The Benevity Community Impact Fund Covidien The Prospect Hill Foundation

Gifts to the For Humanity campaign and David Geffen School of Drama New Facility Fund Anonymous (3) Nina Adams and Moreson Kaplan Amy Aquino and Drew McCoy Rudy Aragon John Badham Pun Bandhu Frances and Ed Barlow John B. Beinecke Sonja Berggren and Patrick Seaver Frances Black and Matthew Strauss Carmine Boccuzzi and Bernard Lumpkin Reginald Brown and Tiffeny Sanchez James Bundy and Anne Tofflemire

Nancy Bynum Lois Chiles Michael David and Lauren Mitchell Wendy Davies Scott Delman Michael Diamond* and Amy Miller Estate of Nicholas Diggs* Estate of Richard Diggs* Sasha Emerson Lily Fan Terry Fitzpatrick Barbara Franke Anita Pamintuan Fusco and Dino Fusco David Marshall Grant Gilder Foundation

The Hastings and Barcone Trust Lane Heard and Margaret Bauer Cheryl Henson Sally Horchow Ellen Iseman David G. Johnson David H. Johnson Rolin Jones Jane Kaczmarek Cathy MacNeil-Hollinger and Mark Hollinger Brian Mann Jennifer Harrison Newman Richard Ostreicher The Prospect Hill Foundation

Daphne Rubin-Vega and Thomas Costanzo Julie Turaj and Rob Pohly Tracy Chutorian Semler Michael and Riki Sheehan Jeremy Smith Woody Taft Andrew and Nesrin Tisdale Ed Trach Esme Usdan Donald and Susan Ware Shana C. Waterman Amanda Wallace Woods and Eric Wasserstrom Henry Winkler *deceased

These lists includes current pledges, gifts, and grants received from July 1, 2023, through November 15, 2024.

MAKE A GIFT! When you make a gift to Yale Rep’s Annual Fund, you support the creative work on our stage and our education programs in New Haven. For more information, or to make a donation, please call Susan C. Clark, 203.432.1559.

You can also give online at yalerep.org/support.

33

A Museum for Everyone The Yale Peabody Museum has remade how we see the world.

Famous for its discoveries of iconic dinosaurs like Triceratops, Brontosaurus, and Stegosaurus, the Museum shows the wonders of life on Earth.

Through its breathtaking galleries and exhibition spaces, the Peabody Museum takes visitors on a journey over millions of years, from the first moments where the oceans teemed with tiny creatures to when dinosaurs roamed. The Peabody’s galleries are a place of learning, surprise – and fun!

Admission is always free!

YPM / A MELIEN / K ZOLVIK

YPM / K ZOLVIK

BLUE RHINO STUDIO YPM / M LAVITT

170 Whitney Avenue New Haven, Connecticut © 2024 Yale Peabody Museum, Yale University

(203) 432-8987 • peabody.yale.edu

BLUE RHINO STU

UDIO

So Much To Listen To On Your Radio, Mobile Device or Smart Speaker

wshu.org

91.1 FM

105.7 FM

heirloom

1157 Chapel Street | Located inside The Study at Yale 203.503.3919 | heirloomnewhaven.com