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Native Son on stage and screen in
+ The Art of Collaboration Exhibition at the Beinecke Library On view January 19 through April 15, 2018 121 Wall Street “+ ” considers exemplary works and the archival stories of their making to reveal the creative—and potentially destructive— tensions that are inevitable parts of artistic collaboration. Including plays, children’s books, novels, performance artworks, �lms, photographs, and more, the works on view demonstrate that collaboration itself is an art form. Writers and artists featured include Russell and Lillian Hoban, Richard Wright and Orson Welles, Gertrude Stein and Alice B. Toklas, Bert Williams and George Walker, C. D. Wright and Deborah Luster, and many more. Beinecke Library exhibitions are free and open to the public daily. beinecke.library.yale.edu
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A Note From the Artistic Director Welcome to Yale Repertory Theatre and to our production of Native Son! It is a privilege to present this new play, which so vividly reimagines Richard Wright’s 1940 novel, one of the most influential of the last century. The first book by an African American writer published by the Book-of-the-Month Club, Native Son sold 250,000 hardcover copies in three weeks. Wright became the most celebrated black author in the United States, and in 1991, long after his passing, the definitive version, with material that he had been forced to cut from the first edition, was published. Like many of you, I first read Richard Wright’s work in school, and so I am thrilled that more than 1,000 high school students from New Haven and the region will attend this production as an extension of their curriculum, part of our annual WILL POWER! education program. But it wasn’t until I read Nambi E. Kelley’s script that I could imagine how this novel might fly as drama. An accomplished actor and playwright, she combines her stage savvy and wit with the novelist’s unflinching honesty and goes one step further to boldly theatricalize Bigger Thomas’s consciousness. Nambi’s work, enormously successful in its premiere production in Chicago, deserves the widest possible audience, and we are especially pleased to bring it to Yale, where, coincidentally, Richard Wright’s papers are collected at the Beinecke Library. Our gifted director, Seret Scott, returns to Yale Rep, where she last directed Crumbs from the Table of Joy by Pulitzer Prize winner and School of Drama alumna Lynn Nottage. Seret’s distinguished career has taken her to Broadway and to virtually every major regional theatre in the United States: she began in the profession as an actor in the groundbreaking Free Southern Theatre, touring and educating audiences about workers rights, desegregation, and voter registration. Nambi and Seret join with the actors and designers to render the story of Bigger Thomas in an exhilarating dramatic tradition of artistry and conscience. It is a tradition that depends first on them, to be unsparingly observant and specific to imagine life in Chicago at the end of the Great Depression, and then on us, to bear close witness to the terrible price, paid in lives, for the racism tragically evident in our culture, on our streets, on our campuses, in our political discourse, and in our institutions. Thank you for being here. I look forward to hearing your thoughts about the show and about your experiences at Yale Rep at any time: my email is email@example.com. Sincerely, James Bundy Artistic Director
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NOVEMBER 24–DECEMBER 16, 2017 YALE REPERTORY THEATRE James Bundy, Artistic Director Victoria Nolan, Managing Director
BY NAMBI E. KELLEY ADAPTED FROM THE NOVEL BY RICHARD DIRECTED BY
Sound Designer and Original Music
JEN SELEZNOW RON CARLOS RICK SORDELET
Casting Director TARA RUBIN CASTING LAURA SCHUTZEL, CSA
Production support is provided by Yale’s Binger Center for New Theatre. Yale Repertory Theatre gratefully acknowledges Carol L. Sirot for generously funding the 2017-18 season and Time Warner Foundation Inc. for its support of the Binger Center for New Theatre. The world premiere production of Native Son was produced by Court Theatre, Charles Newell, Artistic Director; Stephen J. Albert, Executive Director, and American Blues Theater, Gwendolyn Whiteside, Producing Artistic Director. Native Son (Kelley/Wright) is presented by special arrangement with Samuel French, Inc. Original stage adaptation by Paul Green and Richard Wright, and produced in arrangement with the Paul Green Foundation. paulgreen.org Yale Rep is supported in part by the Connecticut Department of Economic and Community Development.
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in order of appearance Bigger JEROD HAYNES
The Black Rat
Mrs. Dalton, Agent
Hannah ROSALYN COLEMAN
JESSICA FRANCES DUKES
Jan, Store Owner, Police
JOBY EARLE MICHAEL PEMBERTON
A labyrinth of Chicago’s Black Belt and surrounding areas as it appears in Bigger’s mind.
A split second inside Bigger’s mind when he runs from his crime, remembers, imagines, two cold and snowy winter days in December 1939 and beyond. NATIVE SON IS PERFORMED WITHOUT AN INTERMISSION.
THE BIRTH OF TWO BIGGERS
RICHARD WRIGHT “The birth of Bigger Thomas goes back to my childhood, and there was not just one Bigger, but many of them, more than I could count and more than you suspect.” In his 1940 essay “How Bigger Was Born,” Richard Wright traced Native Son’s protagonist back to young men he encountered growing up, who, bristling against the oppressive Jim Crow South, lived and died by violence. Born in 1908 near Natchez, Mississippi, Wright shuffled among relatives across several states after his illiterate sharecropper father abandoned him and his mother fell ill. One of Wright’s happier summers with a favorite aunt ended abruptly when a white mob murdered her husband to usurp his lucrative saloon. At nineteen Wright “first glimpsed Chicago through the naïve eyes of a young Mississippi Negro to whom the South Side loomed as the Promised Land”—a promise squalid kitchenette apartments, low-wage jobs, and meager government relief soon betrayed. When Wright began working at the South Side Boys’ Club, he realized white benefactors bankrolled the club “to distract Bigger with ping-pong, checkers, swimming, marbles, and baseball in order that he might not roam the streets and harm the valuable white property.” While less overt than Jim Crow, “these little stopgaps were utterly inadequate to fill up the centurieslong chasm of emptiness which American civilization had created in these Biggers.” Voicing his frustrations with the world he faced, Wright regularly published poems and essays in Communist Party magazines, penned two novels (Lawd Today! and Tarbaby’s Dawn) that publishers rejected, and published his first book, Uncle Tom’s Children, in time
for his thirtieth birthday. Despite the acclaim that book received, white readers’ responses disappointed Wright: I found that I had written a book which even bankers’ daughters could read and weep over and feel good about. I swore to myself that if I ever wrote another book, no one would weep over it; that it would be so hard and deep that they would have to face it without the consolation of tears. It was this that made me get to work in dead earnest. He got to work writing Native Son. As Wright sketched the Biggers he’d met, an internal censor stalled him: would Bigger validate pernicious stereotypes for white readers? Would middle-class African Americans chafe at his depiction? Wright soon realized, he “must write this novel, not only for others to read, but to free [himself] of this sense of shame and fear.” Working to understand Bigger, ruminated Wright, “was the pivot of [his] life; it altered the complexion of [his] existence.” By birthing Bigger, Wright was reborn.
NAMBI E. KELLEY Over 40 years after Wright’s Native Son first became a bestseller and instant, if controversial, classic, an 8-year-old Nambi E. Kelley pulled it off the shelf at home. Thrilled at recognizing street names and addresses just blocks from where she lived in Chicago’s Bronzeville neighborhood, the precocious child read on in secret, even as the story’s unfolding violence awoke her suspicion that this wasn’t kid stuff. Her mother discovered her, and pried the half-finished but already beloved novel from her hands. “It was disturbing, but I couldn’t put it down,” Kelley described in the first rehearsal of her adaptation of Native Son at Yale Rep: “I kept reading because I was hungry.” Reunited with the novel in high school, Kelley has not put it down since. In 2013, without knowing Kelley’s long captivation with Native Son, Chicago’s American Blues Theater, where Kelley is an ensemble member, commissioned the acclaimed playwright and performer to adapt it for the stage. Court Theatre, a company committed to re-examining classic texts, added their support to the commission and co-produced the adaptation’s world premiere on their South Side stage, just blocks from where the novel takes place. Kelley was entrenched in a 400-page first draft—a loyal and detailed transmigration of the novel in all its Dostoevskian scope—when George Zimmerman walked free after the murder of Trayvon Martin. Kelley “thought about how a
group of people could listen to that testimony and say—and this was before #BlackLivesMatter—that this black life did not matter.” She felt deeply troubled that the jury “put themselves in the mind of the person who pulled the trigger as opposed to the mind of the person who was killed.” Throwing out her draft to begin anew, Kelley supplanted Wright’s linear plot with a crucible for radical empathy. In her vision, sixty-four scenes represent a split-second of Bigger’s thoughts through a dissociative mind-map. As Richard Wright prepared his first draft of the novel in 1938, he resolved, his “ultimate purpose in writing such a book is to reveal the inner landscape of the Negro mind.” Kelley made that her mandate. “If people are not inside Bigger’s mind [they] do not understand why he made the choices he made,” Kelley urged. Her “task was to get inside. Bigger is not a monster; he is a man. How do you feel what he feels and understand the choices that he made?” —MOLLY FITZMAURICE, PRODUCTION DRAMATURG
Richard Wright photo by Carl Van Vechten photograph © Van Vechten Trust. Nambi E. Kelley photo by Zoe McKenzie. 10
“Between me and the other world there is ever an unasked question,” observes the thinker and civil rights activist W. E. B. Du Bois: “the real question, How does it feel to be a problem?” In his 1897 essay “Strivings of the Negro People,” Du Bois names that feeling “double-consciousness.” Later republished in his landmark The Souls of Black Folk, Du Bois’s description of his own daily and lifelong oppression has resonated with generations of writers.
“The Negro is a sort of seventh son, born with a veil, and gifted with second-sight in this American world,—a world which yields him no true self-consciousness, but only lets him see himself through the revelation of the other world. It is a peculiar sensation, this doubleconsciousness, this sense of always looking at one’s self through the eyes of others, of measuring one’s soul by the tape of a world that looks on in amused contempt and pity. One ever feels his two-ness,—an American, a Negro; two souls, two thoughts, two unreconciled strivings; two warring ideals in one dark body, whose dogged strength alone keeps it from being torn asunder. The history of the American Negro is the history of this strife,—this longing to attain self-conscious manhood, to merge his double self into a better and truer self.” —W. E. B. DU BOIS Langston Hughes, poet and leader of the Harlem Renaissance, opens his 1926 essay “The Negro Artist and the Racial Mountain” with an anecdote of double-consciousness: “One of the most promising of the young Negro poets said to me once, ‘I want to be a poet—not a Negro poet,’ meaning, I believe… ‘I would like to be white.’ And I was sorry the young man said that, for no great poet has ever been afraid of being himself. […] But this is the mountain standing in the way of any true Negro art in America this urge within the race toward whiteness, the desire to pour racial individuality into the mold of American standardization, and to be as little Negro and as much American as possible.” The Martinique-born revolutionary philosopher Frantz Fanon describes the psychology of colonial oppression in his 1952 book, Black Skin, White Masks: “He is afraid, he is terribly afraid. He is afraid, but of what is he afraid? Of himself. No one knows yet who he is, but he knows that fear will fill the world when the world finds out. And when the world knows, the world always expects something of the Negro. […] Yesterday, awakening to the world, I saw the sky turn upon itself utterly and wholly. I wanted to rise, but the disemboweled silence fell back upon me, its wings paralyzed. Without responsibility, straddling Nothingness and Infinity, I began to weep.” Woodcut illustrations on this and the following page by Clarence G. Hackett, courtesy of the Richard Wright Papers, James Weldon Johnson Memorial Collection in the Yale Collection of American Literature, Beinecke Library.
Known for his literary and social prose— including vigorous criticism of Wright’s novel—James Baldwin evokes doubleconsciousness in his 1955 essay collection Notes of a Native Son: “The Negro in America, gloomily referred to as that shadow which lies athwart our national life, is far more than that. He is a series of shadows, self-created, intertwining, which now we helplessly battle. One may say that the Negro in America does not really exist except in the darkness of our minds.” In her 1984 collection Sister Outsider, poet and essayist Audre Lorde carves space for intersectional feminisms and for black women’s double-consciousness: “It is the members of the oppressed, objectified groups who are expected to stretch out and bridge the gap between the actualities of our lives and the consciousness of our oppressor. For in order to survive, those of us for whom oppression is as American as apple pie have always had to be watchers.” In her adaptation of Native Son, playwright Nambi E. Kelley stages double-consciousness theatrically. In the novel’s opening scene, Bigger kills a foot-long, yellow-toothed rat that has infested the one-room slum he shares with his mother, brother, and sister. Kelley transforms this visceral image into a character: The Black Rat, Bigger’s shadowself, personifies double-consciousness: “We all got two minds. How we see them seeing us. How we see our own self. But how they see you take over on the inside. And when you look in the mirror—You only see what they tell you you is. A black rat sonofabitch.”
RICHARD Native Son chronicles the Chicago Richard Wright—like so many other African Americans—found on the other side of the Great Migration.
“An indescribable city, huge, roaring, dirty, noisy, raw, stark, brutal; a city of extremes: torrid summers and sub-zero winters, white people and black people, the English language and strange tongues, foreign born and native born, scabby poverty and gaudy luxury, high idealism and hard cynicism!” —RICHARD WRIGHT, “HOW BIGGER WAS BORN”
IN THE BLACK BELT Redlining, the practice of tying mortgage rates and availability to so-called risk—a flimsy code for privileging whiteness—carved the city into segregated “extremes.” In the Chicago Housing Authority’s 1938 map of “mortgage risk districts,” 4605 South Drexel Boulevard, where Native Son’s Dalton family lives, falls within a tiny all-white “A District,” for long-term mortgages. Just blocks away, the Thomas family lives at 3721 South Indiana Avenue—in a vast, red “D District,” categorically denied mortgages. In the burgeoning “Black Belt,” realtors split former single-family multi-room apartments, where white families might pay $50 a month, into small one-room “kitchenettes,”
D WRIGHT’S CHICAGO with a shared bathroom down the hall. Savvy and unscrupulous realtors stood to quadruple their profits: Native Son’s Thomas family pays $8 a week. In 12 Million Black Voices, Wright’s 1941 “Folk History of the Negro in the United States,” he called the kitchenette “the funnel through which our pulverized lives flow to ruin and death on the city pavement at a profit.”
IN THE HEADLINES “Any Negro who has lived in the North or the South knows that times without number he has heard of some Negro boy being picked up on the streets and carted off to jail and charged with ‘rape,’” Wright decried, “Life had made the plot over and over again, to the extent that I knew it by heart.” Even as Wright drafted Native Son, the same old story blazed through the headlines again and fueled his novel.
During the 1938 prosecution of Robert Nixon for the alleged rape and murder of several women, Chicago’s white mainstream newspapers the Chicago Tribune and Chicago Daily Times luridly sensationalized Nixon as a “jungle beast,” “ape-like,” and “very black—almost pure Negro. His physical characteristics suggest an earlier link in the species.” Simultaneously, the leading African American newspaper Chicago Defender contended that police had brutalized Nixon and coerced his confession. As crucially, the Defender held that his innocence or guilt were irrelevant to his fundamental humanity. Rather than tracing the silhouette of a racist archetype, the Defender delved into his experience under headlines like “Robert Nixon, Who Has Faced Chair Seven Times, Tells Just How It Feels.”
Chicago’s Southside Black Belt, April 1941. Courtesy of Library of Congress Prints and Photographs Division.
Cast JASON BOWEN* (THE BLACK RAT) is making his Yale Rep debut. Off-Broadway credits include My Mañana Comes at Playwrights Realm. Regional credits include Skeleton Crew (Studio Theatre); Jazz (Baltimore Center Stage); All The Way (Cleveland Play House); As You Like It, Black Odyssey (Denver Center Theatre); The Lake Effect (TheatreWorks Palo Alto); June Moon (Williamstown Theatre Festival); Ruined (La Jolla Playhouse, Huntington Theatre, and Berkeley Rep); A Raisin in the Sun, Ma Rainey’s Black Bottom (IRNE Award), Prelude to a Kiss, A Civil War Christmas (Huntington Theatre); Love’s Labour’s Lost, A Midsummer Night’s Dream (Commonwealth Shakespeare); Twelfth Night, Othello, The Tempest (Actors’ Shakespeare Project); and It’s a Wonderful Life: A Radio Play (Merrimack Rep). Television and film credits include Law & Order: SVU, Madam Secretary, Elementary, Braindead, What’s Your Number?, and Untouchable. Awards: Best Actor, Boston magazine, 2012.
JASAI CHASE-OWENS* (BUDDY, CLERK) is delighted to be making his Yale Rep debut. He graduated from The Conservatory of Theatre Arts at SUNY Purchase with a BFA in acting, where his repertory credits include Blues for Mister Charlie (Pete), The Coast of Utopia: Voyage (Vissarion Belinsky), Middletown (Public Speaker), Seven Guitars (Hedley), and The Winter’s Tale (Autolycus).
ROSALYN COLEMAN* (HANNAH) previously appeared at Yale Rep in Miss Julie, Troilus and Cressida, and Starting Monday. Broadway: The Mountaintop, Radio Golf, Seven Guitars, The Piano Lesson, Mule Bone. Off-Broadway: Pipeline (Lincoln Center); Breakfast with Mugabe, Zooman and the Sign (Signature Theatre); War (Rattlestick Playwrights Theater); The Sin Eater (59 E. 59th Street); Carson McCullers (Historically Inaccurate), Breath, Boom (Playwrights Horizons); Everybody’s Ruby, Insurrection...Holding History (The Public Theater); Major Crimes (Actors Studio). Regional: Women in Jeopardy (Pioneer Theatre Company); Breakfast with Mugabe (Centenary Theatre); Levee James (American Conservatory Theater); Things of Dry Hours (Pittsburgh Public Theater); Doubt (George Street Playhouse). Film: Father’s Day, It’s Kind of a Funny Story, Twelve, Frankie & Alice, Brooklyn’s Finest, Evolution of a Criminal, Indelible, Brown Sugar, Vanilla Sky, Our Song, Music of the Heart, Mixing Nia, Personals, The Opportunists, and The Window. Television: The Blacklist, Bull, Madame Secretary, Blue Bloods, Elementary, Oz, Nurse Jackie, White Collar, New Amsterdam, Mercy (pilot), Kidnapped (recurring), Law & Order: CI and SVU, Deadline, D.C., The Piano Lesson, The Ditchdigger’s Daughters. MFA, Yale School of Drama. BFA, Howard University. rosalyncoleman.com
*MEMBER OF ACTORS’ EQUITY ASSOCIATION, THE UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS. 15
JESSICA FRANCES DUKES* (VERA, BESSIE) is excited to make her Yale Rep debut. Off-Broadway: Bootycandy (Playwrights Horizons, OBIE Award); Regional: Intimate Apparel (McCarter Theatre); Lady Macbeth in Macbeth (Actors Theatre of Louisville); King Hedley II, Vanya and Sonia and Masha and Spike (Arena Stage); Beneatha’s Place, Clybourne Park (Baltimore Center Stage); Detroit 67 (Detroit Public Theatre, Baltimore Center Stage); Stick Fly (Arden Theatre); A Raisin in the Sun, The Piano Lesson (Geva Theatre, Indiana Repertory Theatre); The Trip to Bountiful (Cleveland Play House); Jitney (Ford’s Theatre); Bootycandy, Eclipsed, Fever Dream, In the Next Room, or the vibrator play (Woolly Mammoth Theatre, company member); the Folger Theatre, Studio Theatre, and more. Television and film: NCIS: New Orleans, The Good Wife, Bernard and Huey, A Raisin in the Sun Revisited. MFA: Catholic University of America. jessicafrances-dukes.com
JOBY EARLE* (JAN, STORE OWNER, POLICE) previously appeared at Yale Rep in Owners. Broadway: War Horse; OffBroadway: Familiar (Playwrights Horizons), Julius Caesar, Romeo and Juliet, and The Winter’s Tale (Smith Street Stage). Selected regional credits: These Paper Bullets! (Geffen Playhouse), The Tempest (American Repertory Theater, South Coast Rep), The Puppetmaster of Lodz (Berkshire Theatre Group), and The Pitmen Painters (Palm Beach Dramaworks). Television: The Blacklist, The Good Fight, The Exorcist. He received his MFA from Yale School of Drama and teaches at NYU, Yale College, and CUNY, as well as privately.
JEROD HAYNES* (BIGGER) is excited to make his Yale Rep debut and to reprise the role of Bigger Thomas, which he played in the Court Theatre/American Blues Theater world premiere in Chicago, for which he won the Jeff Award, and subsequently at Marin Theatre Company. Based in Chicago, where he has appeared as Walter Lee in A Raisin in the Sun (TimeLine Theatre Company), Jack Johnson in The Royale (American Theater Company), and Citizen Barlow in Gem of the Ocean (Court Theatre), Mr. Haynes trained at the British American Drama Academy in Oxford. He is perhaps best-known for playing Tommy in the Sundance hit, Southside with You (2016). Jerod also has appeared in independent films including Consumed (2015) and Animals (2014), and on television in Empire, Sense8, and Crisis. Most recently, he co-wrote, co-produced, and starred in Blueprint, an independent film about a young man emotionally and mentally processing the murder of his best friend due to police brutality, which had its world premiere at the 2017 Deauville International Film Festival and also screened at the Chicago International Film Festival. Upcoming: the film Benji in 2018 from Blumhouse.
*MEMBER OF ACTORS’ EQUITY ASSOCIATION, THE UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS. 16
Cast LOUISA JACOBSON (MARY) is thrilled to be making her Yale Rep debut. She is a second-year MFA candidate at Yale School of Drama, where she has been seen in Escape from Happiness. Other credits include The Other World and Re:Union (Yale Cabaret). She holds a BA in psychology from Vassar College and studied acting in Oxford with the British American Drama Academy.
MICHAEL PEMBERTON* (BRITTEN, POLICE) is very happy to make his Yale Rep debut. New York theatre credits include The Farnsworth Invention, I’m Not Rappaport, Not About Nightingales, Mamma Mia!, Picnic, Hedda Gabler, Sundown/ Yellow Moon, Insignificance, Dinner With Friends, Saturday Night, Outward Bound (Drama Desk nomination), You Never Can Tell, and Black Snow. Regional theatres include Cincinnati Playhouse, Pittsburgh City Theatre, Alabama Shakespeare, Williamstown Theatre Festival, Geva Theatre, The Wilma, Wilbur Theatre, George Street Playhouse. Film and television credits include Bridge of Spies, Brooklyn’s Finest, The Family Stone, The Affair, The Good Wife, Veep, Madam Secretary, Damages, Blue Bloods, Elementary, Sleepy Hollow, and the Law & Order franchise. Pemberton is also a songwriter and NYC bandleader. themichaelpemberton.com
CARMEN ROMAN* (MRS. DALTON, AGENT) is making her Yale Rep debut. She appeared in the world premiere of Native Son in Chicago. She most recently played Margaret Thatcher in The Audience (TimeLine Theatre). She toured with the National tour of Angels in America and has worked with Hartford Stage, Huntington Theatre, Chicago’s Court Theatre, Classic Stage Company, Steppenwolf Theatre, Walnut Street Theatre, The Wilma, Philadelphia Theatre Company, and Portland Stage, among others. Film and television credits include appearances in Chicago PD, Betrayal, Boss, All My Children, Law & Order, Savages, and the upcoming movie The Pages. She received the Sarah Siddons Award, Jeff Awards for Master Class and Wit, and was a 2002 Fox Fellow. She is a company member at American Blues Theater in Chicago.
Creative Team RON CARLOS (DIALECT COACH) is a lecturer at Yale School of Drama. Coaching credits include Mary Jane, Assassins, Seven Guitars, War (Yale Rep); The Glass Menagerie, It’s Only a Play (Broadway); Oedipus El Rey, Gently Down the Stream, Party People, Sweat, Plenty, Privacy (The Public Theater); The Capables (Judson Gym); The Piano Lesson (Hartford Stage); Misalliance, Love’s Labour’s Lost (Shakespeare Theatre of New Jersey); The Lily’s Revenge (American Repertory
*MEMBER OF ACTORS’ EQUITY ASSOCIATION, THE UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS.
Theater); television: Orange Is the New Black (Netflix), Madam Secretary (CBS), Power (STARZ), Unforgettable (CBS), and Fringe (Fox); film: Look Away, The Week Of. Ron received his MFA in voice and speech pedagogy from the ART Institute at Harvard. Associate Teacher of Fitzmaurice Voicework®.
RYAN EMENS (SCENIC DESIGNER) is a third-year MFA candidate at Yale School of Drama, where his credits include Othello and The Three Sisters. Select designs also include The Emperor of the Moon (Saint Sebastian Players), The Guide to Being Single (Underscore Theatre), Welcome to America (Prologue Theatre), She Kills Monsters (Steppenwolf Garage Rep), Coraline (Black Button Eyes Productions), and Jake’s Women (University of Central Florida). He holds a BFA in design and technology from University of Central Florida.
MOLLY FITZMAURICE (PRODUCTION DRAMATURG) is a second-year MFA candidate at Yale School of Drama, where she last dramaturged Blood Special. Other credits include The Apple Tree, The Quonsets, Mrs. Galveston, and her original participatory performance Dating Game (Yale Cabaret); A Guide for the Homesick (Huntington Theatre Company); Tollbooth: A Clown Show, Polaroid Stories, and Grimmfest (First Floor Theater, where she is a company member). Previously, she worked in the artistic departments of the Eugene O’Neill Theater Center; Huntington Theatre Company; About Face Theatre; Museum of Contemporary Art Chicago Stage; and Salonathon, an alt-cabaret and new works incubator. She is currently a managing editor of Theater magazine and co-leader of the affinity group Women’s Voices in Theatre at the School of Drama. At Yale, she’s also served as a mentor for the Dwight/Edgewood Project and a President’s Public Service Fellow. She holds a BA from the University of Chicago.
NAMBI E. KELLEY (PLAYWRIGHT) has penned plays for Steppenwolf Theatre Company, Goodman Theatre, Court Theatre/American Blues Theater, Lincoln Center Theater Director’s Lab, LATT Children’s Theatre/Unibooks Publishing Company (South Korea), Teatri Sbagliati (Italy), and The Finger Players (Singapore), where she also performed in the co-adapted production of The Book of Living and Dying. The world premiere of Native Son was nominated for five Jeff Awards including best adaptation and production of the year, and was the highest grossing production in Court Theatre’s 60-year history. It is included on the Kilroy’s List 2015, in the top 7% of new plays by female and trans* authors and can be purchased through Samuel French. Her other works include an adaptation of Toni Morrison’s Jazz (Baltimore Center Stage) and Xtigone (Chicago Danz Theatre Ensemble; African American Shakespeare Company, directed by Rhodessa Jones), and For Her As a Piano (a Goodman Theatre/Chicago Dramatists/Pegasus co-production). A recent finalist for the Francesca Primus Award and the KSF Award, Kelley is the Playwright in Residence at National Black Theatre, where her play Blood will receive a workshop production starring Roscoe Orman in November. Professional affiliations include Goodman Theatre Playwrights Unit, Steppenwolf Theatre Company, La MaMa E.T.C., Spoleto, Ragdale Foundation, and playwright emeritus 18
Creative Team at Chicago Dramatists. An accomplished actress, Kelley has performed at theatres across the country and internationally and has been seen on several television shows, including Person of Interest, Madam Secretary, Elementary, and Chicago Justice. Nambi has a BFA from The Theatre School at DePaul University and an MFA in interdisciplinary arts from Goddard College. nambikelley.com
FREDERICK KENNEDY (SOUND DESIGNER AND ORIGINAL MUSIC) is a
third-year MFA candidate at Yale School of Drama, where his credits include If Pretty Hurts Ugly Must Be a Muhfucka: An understanding of a West African Folktale, ’Tis Pity She’s a Whore, and Othello. Other credits include The Trojan Women, Adam Geist, Alice In Wonderland, Envy: the Concert (Yale Summer Cabaret); Re:Union, Débâcles, Lake Kelsey, Vignette of a Recollection, The Bitter Tears of Petra Von Kant, And Tell Sad Stories of the Death of Queens, How We Died of Disease-Related Illnesses, and I’m With You in Rockland (Yale Cabaret). In addition, he recently wrote, co-directed, and performed in Collisions, also at Yale Cabaret, and was the associate sound designer and music coordinator for Yale Rep’s Scenes from Court Life, or the whipping boy and his prince. Prior to Yale, Frederick worked full time as a musician, producer, and educator in New York City, where he taught music production at City University of New York and appeared as a drummer on more than 50 albums. His diverse musical career has taken him on tours throughout North America and Europe, as well as to parts of South America, the Caribbean, and the South Pacific.
CAITLIN O’ROURKE* (STAGE MANAGER) is a third-year MFA candidate at Yale School of Drama, where her credits include Everything That Never Happened, Blood Wedding, Othello, and The Skin of Our Teeth. Other credits include Imogen Says Nothing (assistant stage manager, Yale Repertory Theatre); Antarctica! Which Is to Say Nowhere, Alice in Wonderland (Yale Summer Cabaret); Me, My Mom, & Sharmila (Catharsis Productions); Assistance, A Permanent Image, The Mistakes Madeline Made (LiveWire Chicago Theatre); Much Ado About Nothing, Gruesome Playground Injuries (Rasaka Theatre Company); American Storm (Theatre Seven of Chicago); and more. Caitlin has worked regionally at Actors Theatre of Louisville and was the managing director of LiveWire Chicago Theatre. She holds a BA in English and theatre from University of Michigan.
TARA RUBIN CASTING (CASTING DIRECTOR) has been casting at Yale Rep
since 2004. Selected Broadway: Falsettos; A Bronx Tale; Dear Evan Hansen; Cats; Disaster!; School of Rock; Doctor Zhivago; It Shoulda Been You; Gigi; Bullets Over Broadway; Aladdin; Les Misérables, Mothers and Sons; Big Fish; The Heiress; How to Succeed in Business Without Really Trying; A Little Night Music; Billy Elliot; Shrek; Guys and Dolls; Young Frankenstein; The Little Mermaid; Mary Poppins; Spamalot; The 25th Annual Putnam County Spelling Bee; The Producers; Mamma Mia!; Jersey Boys; The Phantom of the Opera. Off-Broadway: Here Lies Love; Old Jews Telling Jokes; Love, Loss, and What I Wore. Regional: Paper Mill Playhouse, La Jolla Playhouse, The Old Globe, Bucks County Playhouse.
*MEMBER OF ACTORS’ EQUITY ASSOCIATION, THE UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS.
SERET SCOTT (DIRECTOR) recently directed the world premiere of Native Son at Chicago’s Court Theatre and the subsequent production at Marin Theatre Company. At Yale Rep she previously directed Crumbs from the Table of Joy by Lynn Nottage. Ms. Scott directed Some Sweet Day, Amen Corner, and the American premiere of The Joy Luck Club at Long Wharf Theatre as well as A Raisin in the Sun at Hartford Stage. She is an Associate Artist at The Old Globe. She has directed productions Off-Broadway at Second Stage Theatre and New Victory Theatre; and at regional theatres including American Conservatory Theater, South Coast Repertory, Arena Stage, Woolly Mammoth, Oregon Shakespeare Festival, Denver Theatre Center, and Philadelphia Theatre Company, among many others. Ms. Scott was the recipient of a Pew Charitable Trust/TCG artist residency grant with Long Wharf Theatre and currently serves on the Stage Directors and Choreographers Executive Board.
JEN SELEZNOW (TECHNICAL DIRECTOR) previously served as assistant
technical director for Cymbeline, Seven Guitars, and Assassins at Yale Rep. She is a third-year MFA candidate at Yale School of Drama, where her credits include Women Beware Women and the 2017 Carlotta Festival of New Plays. Prior to Yale, Jen worked for Oregon Shakespeare Festival, Seattle Children’s Theatre, and Lookingglass Theatre Company, among others. She has previously served as the Technical Director for Cornish College of the Arts, DePaul Opera Theate, Porchlight Music Theatre, Red Tape Theatre, Immediate Theatre Company, Lifeline Theatre, and Bayside Theatre. She holds a BFA in theatre technology from The Theatre School at DePaul University and studied technical and production management at the Royal Central School of Speech and Drama. She was the recipient of a Founders Award at USITT Midwest in 2010.
RICK SORDELET (FIGHT DIRECTOR) and his son, Christian Kelly-Sordelet, are
the creators of Sordelet Inc., a stage combat company. Among their credits are 72 Broadway productions, including The Lion King and Beauty and the Beast, and more than 60 first-class productions on five continents in hundreds of cities around the world. Rick and Christian have been fight directors for dozens of regional theatres around the U.S. Their shows range from Sam Shepard to William Shakespeare. They have four National Tours running across America and Beauty and the Beast internationally. Both Rick and Christian are stunt coordinators for television and film with over 1000 episodes of daytime television and numerous feature films. Rick teaches stage combat for Yale School of Drama and with Christian at HB Studio in NYC. sordeletink.com
STEPHEN STRAWBRIDGE (LIGHTING DESIGNER) has designed over 200
productions on and off Broadway and at most leading regional theatres and opera houses across the U.S. Internationally his work has been seen in Bergen, Copenhagen, The Hague, Hong Kong, Linz, Lisbon, Munich, Naples, São Paolo, Stockholm, Stratford-upon-Avon (for the Royal Shakespeare Company), Wrocław, and Vienna. Artistic collaborators have included such notable directors and choreographers as Robert Brustein, Martha Clarke, Ron Daniels, Graciela Daniele, Gordon Edelstein, Barry Edelstein, Richard Foreman, Athol Fugard, Loretta Greco,
Creative Team Mark Lamos, Emily Mann, Tarell Alvin McCraney, Trevor Nunn, Bartlett Sher, Rebecca Taichman, John Tillinger, Robert Wilson, Mark Wing-Davey, and Robert Woodruff. He has numerous pieces in the repertories of Pilobolus Dance Theatre and Alison Chase/Performance. Recent work includes The Eva Trilogy at The Magic Theatre in San Francisco; Turn Me Loose, with Joe Morton, in New York and Los Angeles; American Buffalo, with Treat Williams at Dorset Theatre Festival; Hamlet and Richard II for The Old Globe; and Happy Days, with Dianne Wiest, directed by James Bundy, at Theatre for a New Audience. He has been recognized with numerous awards and nominations including the American Theatre Wing, Bay Area Theatre Critics Circle, Connecticut Critics Circle, Dallas-Fort Worth Theater Critics Forum, Drama Desk, Helen Hayes, Henry Hewes Design, and Lucille Lortel. He is co-chair of the design department at Yale School of Drama and resident lighting designer for Yale Repertory Theatre.
KATIE TOUART (COSTUME DESIGNER) is a third-year MFA candidate at
Yale School of Drama, where her credits include Othello, Some Bodies Travel, and Fucking A. Yale Cabaret credits include the Satellite Series performances Do All Daddies Have Grey Suits? and The Silent Sex. Katie was thrilled to continue working with children this year as assistant costume designer for the 2017 Dwight/ Edgewood Project. A designer and teaching artist from Washington, D.C., with over sixteen years of professional stage and classroom experience, Katie’s recent credits include the 2016 Helen Hayes Award winning production of Wiley and the Hairy Man, Rumpelstiltskin, Peter Pan and Wendy (2014 Helen Hayes nomination), and Aladdin’s Luck (2012 Helen Hayes Nomination), all at Imagination Stage; The Shipment (Forum Theatre); Duke Ellington’s Nutcracker with the Baltimore Symphony Orchestra, Green Is the New Black (Step Afrika!); Five Little Monkeys and Winnie the Pooh (2014 Helen Hayes Nomination) at Adventure Theatre, MTC. Katie holds a BA from the University of Chicago and a BFA from Massachusetts College of Art. touartist.com
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Yale Repertory Theatre JAMES BUNDY (ARTISTIC DIRECTOR) is in his 16th year as Dean of Yale School of Drama and Artistic Director of Yale Repertory Theatre. In his first 15 seasons, Yale Rep has produced more than 30 world, American, and regional premieres, nine of which have been honored by the Connecticut Critics Circle with the award for Best Production of the year and two of which have been Pulitzer Prize finalists. During this time, Yale Rep also has commissioned more than 50 artists to write new work and provided low-cost theatre tickets to thousands of middle and high school students from Greater New Haven through WILL POWER!, an educational program initiated in 2004. In addition to his work at Yale Rep, he has directed productions at Oregon Shakespeare Festival, Great Lakes Theater Festival, The Acting Company, California Shakespeare Festival, Alabama Shakespeare Festival, and The Juilliard School Drama Division. A recipient of the Connecticut Critics Circle’s Tom Killen Award for extraordinary contributions to Connecticut professional theatre in 2007, Mr. Bundy served from 2007–13 on the board of directors of Theatre Communications Group, the national service organization for nonprofit theatre. Previously, he worked as Associate Producing Director of The Acting Company, Managing Director of Cornerstone Theater Company, and Artistic Director of Great Lakes Theater Festival. He is a graduate of Harvard College; he trained at the London Academy of Music and Dramatic Art and Yale School of Drama.
VICTORIA NOLAN (MANAGING DIRECTOR) is in her 25th year as Managing Director of Yale Repertory Theatre, serves as Deputy Dean of Yale School of Drama, and is on its faculty. She was previously Managing Director of Indiana Repertory Theatre, Associate Managing Director at Baltimore’s Center Stage, Managing Director at Ram Island Dance Company in Portland, Maine; and she has held various positions at Loeb Drama Center of Harvard University; TAG Foundation, an organization producing Off-Broadway modern dance festivals; and Boston University School for the Arts. Ms. Nolan has been an evaluator for the National Endowment for the Arts, for which she has chaired numerous grant panels, and has served on other panels and foundation review boards including the AT&T Foundation, The Heinz Family Foundation, Lila Wallace-Reader’s Digest Fund, and the Metropolitan Life Foundation. She has also served on the Executive Committee of the League of Resident Theatres (LORT) and on numerous negotiating teams for national labor contracts. A Fellow at Yale’s Saybrook College, she is the recipient of the Betsy L. Mahaffey Arts Administration Fellowship Award from the State of Connecticut and the Elm/Ivy Award, given jointly by Yale University and the City of New Haven for distinguished service to the community.
JENNIFER KIGER (ASSOCIATE ARTISTIC DIRECTOR AND DIRECTOR OF NEW PLAY PROGRAMS) is in her 13th year as the Associate Artistic Director of Yale Repertory Theatre and is also the Director of New Play Programs of Yale’s Binger Center for New Theatre. Since its founding in 2008, the Binger Center has supported the work of more than 50 commissioned artists and underwritten the world premieres and subsequent productions of 25 new American plays and musicals at Yale Rep and theatres across the country. Ms. Kiger came to Yale Rep from South Coast Repertory, where she was Literary Manager from 2000–2005 and Co-Director of the Pacific Playwrights Festival. Prior to that, she was a production dramaturg at American Repertory Theater and adapted Robert Coover’s Charlie in the House of Rue and Mac Wellman’s Hypatia for the stage with director Bob McGrath. She has been a dramaturg for the Playwrights Center of Minneapolis and Boston Theatre Works; a panelist for the National Endowment for the Arts and the California Arts Council; and a consultant for the Fuller Road Artist Residency. She is a founding member of the theatre and television company, New Neighborhood. Ms. Kiger completed her professional training at the American Repertory Theater Institute for Advanced Theater Training at Harvard University, where she taught courses in acting and dramatic arts. She is currently on the playwriting faculty of Yale School of Drama.
SHAMINDA AMARAKOON (DIRECTOR OF PRODUCTION) was recently appointed Chair of the Technical Design and Production Department for Yale School of Drama. Previously, he was the production manager at Second Stage Theatre, coordinating the execution of all design elements and consulting on the renovation of their new Broadway house, the Helen Hayes Theatre. Prior to joining Second Stage, he worked for various Broadway, Off-Broadway, and national tours through Tech Production Services and Lincoln Center Theater. He has also worked as a carpenter, technical director, project manager, and in production management at Yale Repertory Theatre, Merry-Go-Round Playhouse (Auburn, New York), Shakespeare Theatre Company (Washington, D.C.), Center Theater Group (Los Angeles), and Show Motion (Milford, CT). Regional credits include: Jersey Boys (National and Asian tours), Rock of Ages (Las Vegas), Seminar (Los Angeles). Off-Broadway credits include Notes from the Field (starring Anna Deavere Smith, Second Stage); Dada Woof Papa Hot, Preludes (Lincoln Center Theater). Broadway credits include The Heiress, Ann, Lucky Guy (starring Tom Hanks), Rocky, and The King and I; and YouTube Brandcast 2014 at Madison Square Garden. BA, Alfred University; MFA, Yale School of Drama.
Yale Repertory Theatre JONATHAN A. REED (PRODUCTION MANAGER) has been the Production Manager for Yale School of Drama and Yale Repertory Theatre since 2013. Also a member of the Technical Design and Production faculty, teaching courses in management, planning, and technology, Mr. Reed serves on the Yale Summer Cabaret advisory board and as a Faculty Affiliate at the Center for Collaborative Arts and Media. Prior to Yale, he worked as the Technical Director for the Cornell College Department of Theatre and Communication Studies and the Arrow Rock Lyceum Theatre. Mr. Reed has also served as a freelance lighting and sound designer for companies including the Riverside Theatre, Orchesis Dance Company, Open Stage Theatre, and Pennsylvania Centre Stage. He is married to soprano Sarah Comfort Reed, and they have two children, Emma and Henry. BFA, Pennsylvania State University; MFA, Yale School of Drama.
JAMES MOUNTCASTLE (PRODUCTION STAGE MANAGER) has been at Yale Rep since 2004. He has stage managed productions of An Enemy of the People; Scenes from Court Life, or the whipping boy and his prince; Arcadia; A Streetcar Named Desire; American Night: The Ballad of Juan JosĂŠ; Three Sisters; The Master Builder; Passion Play; Eurydice; and the world premiere of The Clean House. Broadway credits include Damn Yankees, Jekyll & Hyde, Judgment at Nuremberg, The Boys from Syracuse, The Smell of the Kill, Life (x) 3, and Wonderful Town. Mr. Mountcastle spent several Christmas seasons in New York City as stage manager for A Christmas Carol The Musical at Madison Square Garden. Broadway national tours include City of Angels, Falsettos, and My Fair Lady. He served as Production Stage Manager for Damn Yankees starring Jerry Lewis for both its national tour and at the Adelphi Theatre in Londonâ€™s West End. In addition, Mr. Mountcastle has worked at The Kennedy Center, Center Stage in Baltimore, Actors Theatre of Louisville, Brooklyn Academy of Music, and elsewhere. James and his wife Julie live in North Haven and are the proud parents of two girls, Ellie and Katie.
Native Son Staff
Yale Repertory Theatre Staff
ARTISTIC Taylor Barfield, Assistant Director Lily Guerin, Assistant Scenic Designer April M. Hickman, Assistant Costume Designer Elizabeth Green, Associate Lighting Designer Dakota Stipp, Assistant Sound Designer and Engineer Christina Fontana, Assistant Stage Manager
James Bundy, Artistic Director Victoria Nolan, Managing Director Jennifer Kiger, Associate Artistic Director Director of New Play Programs
PRODUCTION Austin Byrd, Associate Production Manager Jeongah Heo, Martin V. Montaner, Ross Wick, Assistant Technical Directors Irene Yarashevich, Assistant Properties Master Dashiell Menard, Master Electrician Nikki Fazzone, Judianne Wallace, Drapers Amanda Creech, Herin Kaputkin, Jake Ryan Lozano, Kathryn Ruvuna, Samantha Tirrell, Caitlin Volz, Run Crew ADMINISTRATION Carl Holvick, House Manager UNDERSTUDIES Stella Baker, Mary MariĂŠ Botha, Mrs. Dalton, Agent Erron Crawford, Buddy, Clerk Antoinette Crowe-Legacy, Hannah Patrick Foley, Britten, Police Robert Hart, The Black Rat Patrick Madden, Jan, Store Owner, Police Ciara Monique McMillian, Vera, Bessie Jakeem Powell, Bigger SPECIAL THANKS Shepsu Aakhu; American Blues Theater; Antaeus Theatre Company; Beinecke Rare Book and Manuscript Library; Daniel Carlton; Court Theatre; David Dreyer; Michael Dawson; Ensemble Studio Theatre-Going to the River Festival; Clarence G. Hackett, Margaret Hackett Heinrichs, and Susan Hackett Murray; Carol Evelyn Kelley; Don Quinn Kelley, PhD; Marin Theatre Company; Marietta Theatre in the Square; Curtis McClarin; Della Scott; Mark Stubblefield; Julia and Malcolm Wright
ARTISTIC Resident Artists Tarell Alvin McCraney, Playwright in Residence Liz Diamond, Evan Yionoulis, Resident Directors Catherine Sheehy, Resident Dramaturg Michael Yeargan, Set Design Advisor, Resident Set Designer Ilona Somogyi, Costume Design Advisor Jess Goldstein, Resident Costume Designer Jennifer Tipton, Lighting Design Advisor Stephen Strawbridge, Resident Lighting Designer David Budries, Sound Design Advisor Walton Wilson, Voice and Speech Advisor Rick Sordelet, Fight Advisor Mary Hunter, Stage Management Advisor Associate Artists 52nd Street Project, Kama Ginkas, Mark Lamos, MTYZ Theatre/Moscow New Generations Theatre, Bill Rauch, Sarah Ruhl, Henrietta Yanovskaya Artistic Management James Mountcastle, Production Stage Manager Amy Boratko, Literary Manager Kay Perdue Meadows, Artistic Associate Jocelyn Prince, Artistic Coordinator Ashley Chang, Literary Associate Tara Rubin, CSA; Lindsay Levine, CSA; Laura Schutzel, CSA; Kaitlin Shaw, CSA; Merri Sugarman, CSA; Eric Woodall, CSA; Claire Burke; Felicia Rudolph, Casting Josie Brown, Senior Administrative Assistant to the Artistic Director and Associate Artistic Director Laurie Coppola, Senior Administrative Assistant for the Directing, Dramaturgy and Dramatic Criticism, Playwriting, and Stage Management Departments Kate Begley Baker, Senior Administrative Assistant for the Design and Sound Design Departments Ellen Lange, Senior Administrative Assistant for the Acting Department Lindsay King, Library Services
PRODUCTION Production Management Shaminda Amarakoon, Director of Production Jonathan Reed, Production Manager C. Nikki Mills, Associate Head of Production and Student Labor Supervisor Grace O’Brien, Senior Administrative Assistant to the Production and Theater Safety and Occupational Health Departments
Electrics Donald W. Titus, Lighting Supervisor Jennifer Carlson, Linda-Cristal Young, Senior Head Electricians Daniela Fresard, Assistant to the Lighting Supervisor
Scenery Neil Mulligan, Matt Welander, Technical Directors Alan Hendrickson, Electro Mechanical Laboratory Supervisor Eric Sparks, Shop Foreman Matt Gaffney, Ryan Gardner, Sharon Reinhart, Libby Stone, Master Shop Carpenters Jessica Hernandez, Erin Tiffany, Assistants to the Technical Directors
Projections Erich Bolton, Projection Supervisor Mike Paddock, Head Projection Technician Ellen Reid, Assistant to the Projection Supervisor
Painting Ru-Jun Wang, Scenic Charge Lia Akkerhuis, Nathan Jasunas, Scenic Artists Hyejin Son, Assistant to the Painting Supervisor Properties Jennifer McClure, Properties Master David P. Schrader, Properties Craftsperson Ashley Flowers, Properties Assistant Bill Batschelet, Properties Stock Manager (on leave) Molly Gambardella, Interim Properties Stock Manager Amanda Creech, Madeleine Winward, Assistants to the Properties Master Costumes Tom McAlister, Costume Shop Manager Harry Johnson, Clarissa Wylie Youngberg, Mary Zihal, Senior Drapers Deborah Bloch, Patricia Van Horn, Senior First Hands Linda Kelley-Dodd, Costume Project Coordinator Denise O’Brien, Wig and Hair Design Barbara Bodine, Company Hairdresser Elizabeth Beale, Costume Stock Manager Logan Baker, Assistant to the Costume Shop Manager
Sound Mike Backhaus, Sound Supervisor Stephanie Smith, Staff Sound Engineer Roxy Jia, Assistant to the Sound Supervisor
Stage Operations Janet Cunningham, Stage Carpenter Elizabeth Bolster, Wardrobe Supervisor Billy Ordynowicz, Head Properties Runner Jacob Riley, FOH Mix Engineer David Willmore, Light Board Programmer ADMINISTRATION General Management Kelvin Dinkins, Jr., General Manager Adam J. Frank, Ruoran Li, Melissa Rose, Associate Managing Directors Laura Cornwall, Gwyneth Muller, Assistant Managing Directors Emalie Mayo, Senior Administrative Assistant to the Managing Director Lucia Bacqué, Dani Barlow, Management Assistants Lisa D. Richardson, Company Manager Lucia Bacqué, Laurie Ortega-Murphy, Assistant Company Managers Development and Alumni Affairs Deborah S. Berman, Director of Development and Alumni Affairs Janice Muirhead, Senior Associate Director of Institutional Giving Susan C. Clark, Senior Associate Director of Operations for Development and Alumni Affairs Joanna Romberg, Senior Associate Director of Annual Giving and Special Projects Al Heartley, Associate Director of Development and Alumni Affairs Jennifer E. Alzona, Senior Administrative Assistant to Development and Marketing & Communications 28
DEATH OF YAZDGERD
BY BAHRAM BEYZAI TRANSLATED BY MANUCHEHR ANVAR DIRECTED BY SHADI GHAHERI
Pizza - Espresso - Latte - Coffee - Breakfast - Lunch
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Café Romeo 534 Orange Street New Haven CT 06511 P: 203-865-2233 F: 203-865– 2236 firstname.lastname@example.org
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Vegan & Vegetarian Menu 29
Yale Repertory Theatre Staff Alice Kenney, Development Associate Jean Gresham, Interim Development Associate Dani Barlow, Development Assistant Finance and Human Resources Katherine D. Burgueño, Director of Finance and Human Resources Erin Ethier, Business Manager Janna J. Ellis, Director, Yale Tessitura Consortium Stacie Wcislo, Business Office Analyst Preston Mock, Business Office Specialist Karen M. Areda, Interim Business Office Specialist Shainn Reaves, Senior Administrative Assistant to Business Office, Digital Technology, Operations, and Tessitura Ashlie Russell, Business Office Assistant Marketing, Communications, and Audience Services Daniel Cress, Director of Marketing Steven Padla, Director of Communications Caitlin Griffin, Senior Associate Director of Marketing and Communications Sylvia Xiaomeng Zhang, Associate Director of Marketing and Communications Marguerite Elliott, Publications Manager Caitlin Volz, Malenky Welsh, Marketing and Communications Assistants Laura Kirk, Director of Audience Services Shane Quinn, Assistant Director of Audience Services Tracy Baldini, Subscriptions Coordinator Roger-Paul Snell, Audience Services Assistant Mikaela Boone, Sara Cho, Jordan Graf, Nicolette Mántica, Kenneth Murray, Alexis Payne, Amir Rezvani, Elijah Weaver, Box Office Assistants Erika Anclade, Tracy Bennett, Tasha Boyer, Rachel Brodwin, Denyse Burke, Sabrina Clevenger, Cara Correll, Kristina Cuello, Paige Cunningham, Aryssa Damron, Daniel Diaz-Vita, Christopher Hazlaris, Hannah Herzog, Taylor Hoffman, Alexandra Leone, Shawn Luciani, Bonnie Moeller, Anna Piwowar, Hannah Sachs, Monica Traniello, Cody Whetstone, Elizabeth Wiet, Cate Worthington, Larsson Youngberg, Ushers
Paul Evan Jeffrey, Art and Design Joan Marcus, Production Photographer David Kane, Videography Operations Diane Galt, Director of Facility Operations Nadir Balan, Operations Associate Jennifer Draughn, Michael Halpern, Arts and Graduate Studies Superintendents Andy Mastriano, Sherry Stanley, Team Leaders Michael Humbert, Marcia Riley, Facility Stewards Tylon Frost, James Hansberry, Rodney Heard, Kathy Langston, Patrick Martin, Andy Martino, Shanna Ramos, Mark Roy, Custodians Digital Technology Chris Kilbourne, Director of Digital Technology Andre Griffith, Digital Technology Associate Luis Serrano, Web and Email Services Associate Don Harvey, Ron Rode, Ben Silvert, Database Application Consultants Theater Safety and Occupational Health Anna Glover, Director of Theater Safety and Occupational Health Kevin Delaney, Ed Jooss, John Marquez, Customer Service and Safety Officers
The Actors and Stage Manager employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers. The Scenic, Costume, Lighting, and Sound Designers in LORT are represented by United Artists Local USA-829, IATSE. Yale Repertory Theatre operates under an agreement between the League of Resident Theatres (LORT) and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
Native Son November 24–December 16, 2017 Yale Repertory Theatre, 1120 Chapel Street
2014 OUTSTANDING PRODUCTION OF A PLAY CONNECTICUT CRITICS CIRCLE
These Paper Bullets! by Rolin Jones, with songs by Billie Joe Armstrong; Yale Rep, world premiere, 2014; Geffen Playhouse, west coast premiere, 2015; Atlantic Theater Company, New York premiere, 2015.
BINGER CENTER FOR NEW THEATRE YALE REPERTORY THEATRE, the internationally celebrated professional theatre in residence at Yale 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 10 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 50 commissioned artists and underwritten the world premieres and subsequent productions of 25 new American plays and musicals at Yale Rep and theatres across the country.
Photos by Joan Marcus and Carol Rosegg.
“A SHARP DRAMA ABOUT
FORGIVENESS, GENEROSITY, AND FAMILY.” TIME OUT NEW YORK
31War by Branden Jacobs-Jenkins; Yale Rep, world premiere, 2014; Lincoln Center Theatre’s LCT3, New York premiere, 2016.
TWO 2017 TONY AWARDS Indecent created by Paula Vogel and Rebecca Taichman; Yale Rep and La Jolla Playhouse, world premiere, 2015; Vineyard Theatre, New York premiere, 2016; Broadway premiere, April 2017.
“THE BEST NEW PLAY SO FAR THIS YEAR!”
“FIERCELY FUNNY!” THE NEW YORK TIMES
WALL STREET JOURNAL
Mary Jane by Amy Herzog; Yale Rep, world premiere, 2017; New York Theatre Workshop, New York premiere, 2017.
Familiar by Danai Gurira; Yale Rep, world premiere, 2015; Playwrights Horizons, New York premiere, 2016.
“FEMINISM, UN-WHITEWASHED. BEAUTIFUL, FUNNY, AND CHILLING.” NEW HAVEN INDEPENDENT
32 Imogen Says Nothing by Aditi Brennan Kapil; Yale Rep, world premiere, 2017.
Yale School of Drama Board of Advisors John B. Beinecke, Chair John Badham, Vice Chair Jeremy Smith, Vice Chair Nina Adams Amy Aquino Pun Bandhu Sonja Berggren Carmine Boccuzzi Lynne Bolton Clare Brinkley Sterling B. Brinkley, Jr. Kate Burton Lois Chiles Patricia Clarkson Edgar M. Cullman III Scott Delman
Michael Diamond Polly Draper Charles S. Dutton Sasha Emerson Heidi Ettinger Lily Fan Terry Fitzpatrick Marc Flanagan Marcus Dean Fuller Anita Pamintuan Fusco Donald Granger David Marshall Grant David Alan Grier Ruth Hendel Catherine MacNeil Hollinger
Sally Horchow Ellen Iseman David Johnson Rolin Jones Jane Kaczmarek Asaad Kelada Sarah Long Brian Mann Elizabeth Margid Drew McCoy David Milch Tom Moore Arthur Nacht Jennifer Harrison Newman Lupita Nyong’o
Carol Ostrow Amy Povich Liev Schreiber Tracy Chutorian Semler Tony Shalhoub Michael Sheehan Anna Deavere Smith Andrew Tisdale Edward Trach Esme Usdan Courtney B. Vance Donald Ware Henry Winkler Amanda Wallace Woods
Thank you to the generous contributors to Yale School of Drama and Yale Repertory Theatre LEADERSHIP SOCIETY ($50,000 and above)
Trust for Mutual Understanding Donald Ware
Joan Channick and Ruth Hein Schmitt William Connor Burry Fredrik Foundation Michael S. David Connecticut Department Nina Adams and PATRONS Jon Farley of Economic and Moreson Kaplan Marc Flanagan Community Development ($5,000–$9,999) Anonymous (2) Anna Fitch Ardenghi Trust, Anthony Forman Ruth and Steve Hendel John B. Beinecke Bank of America, Trustee Fred Gorelick and Marty and Perry Granoff Sonja Berggren and John Badham Cheryl MacLachlan Mabel Burchard Fischer Patrick Seaver Foster Bam Catherine Hazlehurst Grant Foundation Lynne and Roger Bolton Pun Bandhu da Cruz The Laurents/Hatcher Lois Chiles and Richard Carmine Boccuzzi and Alan Hendrickson Foundation Gilder Bernard Lumpkin JANA Foundation Newman’s Own Nicholas Ciriello Brett Dalton Rik Kaye Foundation Edgerton Foundation The Frederick A. DeLuca Annie LaCourt Robina Foundation in Lily Fan George Lindsay, Jr. memory of Peter Karoff Foundation Anita Pamintuan Fusco Christopher Durang George A. and Grace Eugene Shewmaker and Dino Fusco Terry Fitzpatrick Long Foundation, Bank Virginia B. Toulmin The Horace W. Barbara and Richard of America, N.A., Foundation Goldsmith Foundation Franke Co-Trustee Jerome L. Greene David Freeman Irene Sofia Lucio BENEFACTORS Foundation Albert R. Gurney* William Ludel ($10,000–$24,999) Lane Heard and Jonathan S. Miller Americana Arts Foundation Jane Head Margaret Bauer Sally Horchow Victoria Nolan and Bank of America Stephen J. Hoffman Linda Gulder Huett Clark Crolius William and Sarah Hyman Foundation Ellen Iseman Richard Ostreicher Mary L. Bundy David Johnson Aja Naomi King Dw Phineas Perkins Geoffrey Ashton Johnson Jim Burrows The Ethel & Abe Lapides Kenneth J. Stein Connecticut Humanities Rocco Landesman Foundation Alec and Aimee Scribner The Noël Coward Jennifer Lindstrom Charles E. Letts III Ron Van Lieu Foundation The Frederick Loewe Irene Sophia Lucio Michael Diamond Foundation Marissa Neitling DIRECTOR’S CIRCLE Heidi Ettinger Neil Mazzella NewAlliance Foundation ($1,000–$2,499) Quina Fonseca Tom Moore Carol Ostrow Victor and Laura Altshul Donald Granger James Munson James Phills, Jr. Amy Aquino and Hasbro, Inc. Alan Poul Bryce Pinkham Drew McCoy Catherine MacNeil Hollinger Robina Foundation Pam and Jeff Rank Alexander Bagnall J.M. Kaplan Fund Tracy Chutorian Semler Russ Rosensweig Avangrid/United The Ted and Mary Jo Shen Ben Ledbetter and Nancy Sasser Illuminating/Southern Deborah Freedman Charitable Gift Fund Michael and Riki Sheehan Connecticut Gas Sarah Long The Shubert Foundation Philip J. Smith John Lee Beatty Lucille Lortel Foundation Jeremy Smith Jody Locker Berger Angela and Donald Lowy* Sophie von Haselberg Stephen Timbers Mark Weaver Molly Bernard Tien-Tsung Ma Time Warner Foundation Mark Brokaw Nesrin and Andrew Tisdale Arthur and Merle Nacht PRODUCER’S CIRCLE Cyndi Brown National Endowment Edward Trach ($2,500–$4,999) James T. Brown for the Arts Esme Usdan Deborah Applegate Kate Burton Lupita Nyong’o and Bruce Tulgan Tom Bussey Liev Schreiber Mark Blankenship Alexandra Cadena Talia Shire Schwartzman Ian Calderon The Seedlings Foundation Donald and Mary Brown James Bundy Cosmo Catalano, Jr. Carol L. Sirot *deceased Ben Cameron Patricia Clarkson
Peggy Cowles Stephen Coy Catherine and Elwood Davis Ramon Delgado Martin Desjardins Terry Dwyer Patricia Egan and Peter Hegeman Kyoung-Jun Eo Glen R. Fasman Richard Gold and Patricia Bennett Naomi Grabel Judith Hanson David Hawkanson Alys Holden Donald Holder Carol Thompson Hemingway Christopher Hourcle Shane Hudson Jaeeun Joo James Earl Jewell Rolin Jones Ann Judd and Bennett Pudlin Jane Kaczmarek Gregory Kandel Elizabeth Katz and Reed Hundt Helen Kauder and Barry Nalebuff Dr. Gary and Hedda Kopf Edward Lapine Max Leventhal and Susan Booth Kenneth Lewis Thomas G. Masse and James M. Perlotto, MD Susan Medak and Greg Murphy Samual Michael Richard Mone David E. Moore Neil Mulligan Jim and Eileen Mydosh Jason Najjoum Chris Noth Arthur Oliner F. Richard Pappas Daniel Perez Amy Povich Kathy and George Priest Carol A. Prugh Brittany and Will Rall Lance Reddick Jon and Sarah Reed Bill and Sharon Reynolds Ross Richards Dr. Michael Rigsby and Prof. Richard Lalli Mark C. Rosenthal Arlene Szczarba Anne Seiwerath Benjamin Slotznick Dr. Matthew Specter and Ms. Marjan Mashhadi Shepard and Marlene Stone Abby Roth and R. Lee Stump David and Julie Sword John Thomas III Benjamin Thoron and Patricia Saraniero
Sarah Treem Joan van Ark Sylvia Van Sinderen and James Sinclair Carol M. Waaser Lauren Wainwright Evan Yionoulis Don and Clarissa Youngberg Robert Zoland Steve Zuckerman
Mildred Kuner Melanie Ginter and John Lapides Jim Larkin Suttirat Larlarb Maryanne Lavan Kenneth Lewis Malia Lewis Chi-Lung Lui Charles H. Long Linda Lorimer and Charles Ellis PARTNERS Timothy Mackabee ($500–$999) Brian Mann Actors’ Equity Jenny Mannis and Foundation Henry Wishcamper Donna Alexander John McAndrew In memory of Anna Peter and Wendy McCabe Altman Andrew McClintock Mr. and Mrs. B.N. Ashfield Dawn G. Miller Emily P. Bakemeier and Daniel Mufson Alain G. Moureaux Gayther Myers, Jr. Michael Baumgarten Mariko Nakasone Deborah S. and Regina and Thomas Bruce M. Berman Neville Ashley Bishop William and Barbara Jeff Bleckner Nordhaus Erich Bolton Laura Patterson Michael Boyle Louise Perkins and Anne and Guido Calabresi Jeff Glans Dr. Paul D. Cleary Point Harbor Fund of Bill Connington the Maine Community Bob and Priscilla Dannies Foundation Richard Sutton Davis Faye and Asghar Rastegar Robert Dealy Constanza Romero The Cory & Bob Donnalley Melissa Rose Charitable Foundation Kimberly Rosenstock Eric Elice Suzanne Sato Sasha Emerson Sandra Shaner Bernard Engel Rachel Shuey Roberta Enoch and James Steerman Steven Canner Rosalie Stemer and Peter Entin Stuart Feldman Susan and Fred Nausica Stergiou Finkelstein Marsha Beach Stewart Randy Fullerton Erich Stratmann James Gardner Tom Sullivan Eric Gershman and Matthew Suttor Katie Liberman Don Titus Betty Goldberg Anne Trites and David Marshall Grant Kent McKay Rob Greenberg John Turturro and Anne Gregerson Katherine Borowitz Eduardo Groisman Courtney B. Vance Barry and Maggie Grove Paul Walsh Regina Guggenheim Steven Waxler William B. Halbert Kristan and Nathan Wells Karsten Harries and Carolyn Seely Wiener Elizabeth Langhorne Harry Weintraub Doug Harvey Steven Wolff Christopher Higgins Lila Wolff-Wilkinson Michael and Gabrielle David York Hirschfeld James Guerry Hood INVESTORS Mary and Arthur Hunt ($250–$499) Peter Hunt Shaminda Amarakoon David Henry Hwang Mary Ellen and Ann Johnson and Thomas Atkins Mark Stevens Mamoudou Athie Martha and Michael Clayton Austin Jurczak James Bakkom Abby Kenigsberg Christopher Barreca Harvey Kliman and Todd Berling Sandra Stein Patricia Bennett and David Kriebs Rich Gold Drew Kufta
Michael Bianco Georg’Ann Bona Susan Brady and Mark Loeffler Tom Broecker Claudia Brown William Buck April Busch Jonathan Busky Richard Bynum Michael Cadden Dr. Michael Cappello and Kerry Robinson Lawrence Casey Dr. and Mrs. W.K. Chandler Barbara Jean and Nicholas Cimmino Nicholas Christiani Darren Clark Lani Click Melissa Cochran Robert S. Cohen Patricia Collins Audrey Conrad John W. Cunningham F. Mitchell Dana Laura Davis and David Soper Aziz Dehkan and Barbara Moss Dennis Dorn Kem and Phoebe Edwards Fine Family Joel Fontaine Dr. and Mrs. James Galligan Joseph Gantman Deeksha Gaur Marian Godfrey Joseph Hamlin Scott Hansen Douglas Harvey Barbara Hauptman Ethan Heard Nicole and Larry Heath Ann Hellerman Jennifer Hershey Phillip Howse Peter Hunt Karena Ingersoll Raymond Inkel Joanna and Lee A. Jacobus Ann Johnson Sanghun Joung Pam Jordan Dr. Unni Karunakara Bruce Katzman Rik Kaye Barnet Kellman Kieran Kelly Ashley York Kennedy Alan Kibbe Lindsay King Matthew Krashan Lisa Kugelman and Roy Wiseman Bernard Kukoff Frances Kumin James Lile Mary Rose Lloyd Suzanne Cryer Luke Nancy Lyon Andy Lyons Dr. and Mrs. Robert W. Lyons 34
Contributors to Yale School of Drama and Yale Repertory Theatre Linda Maerz and David Wilson Adam Man Marvin March Elizabeth Margid Peter Marshall Deborah McGraw Annie Middleton Thomas Middleton George Miller and Virginia Fallon George Morfogen Aaron Moss Janice Muirhead David Muse David Nancarrow James Naughton Andrea Nellis Jane Nowosadko George and Marjorie O’Brien Janet Oetinger Maulik Pancholy Michael Parrella James Perakis Geoffrey Pierson Point Harbor Fund of the Maine Community Foundation Stephen Pollack Jeffrey Powell and Adalgisa Caccone Meghan Pressman Jeffry Provost Alec and Drika Purves Fred Ramage Barbara and David Reif Daniel and Irene Mrose Rissi Steve Robman Peter Roberts Gene Rogers Howard Rogut Fernande E. Ross Jean and Ron Rozett Helen Sacks Steven Saklad Robert Sandberg Dana Sanders Robin Sauerteig Dr. Mark Schoenfeld Morris and Annelies Sheehan William andElizabeth Sledge Dr. and Mrs. Dennis D. Spencer Mary C. Stark Regina Starolis Bernard Sundstedt Jillian Taylor Richard B. Trousdell Marge Vallee Michael Van Dyke Wendy and Peter Wells Vera Wells Dana Westberg George C. White Karen White Guy and Judith Yale
Anonymous Emika Abe Paola Allais Acree 35
Christopher Akerlind Michael Albano Sarah Jean Albertson Narda Alcorn Rachel Alderman Lorraine Alfano Liz Alsina Richard Ambacher Zach Appelman Stephen and Judy August Angelina Avallone Michael Backhaus Sandra and Kirk Baird Dylan Baker Dr. Francis Baran Russell Barbour Robert Barr William and Donna Batsford Richard Baxter Nancy and Richard Beals James Bellavance Michael and Jennifer Bennick Alex Bergeron Martin Blanco Anders Bolang Erik Bolling Josh Borenstein Marcus and Kellie Bosenberg John Boyd* Michael Boyle Shawn Boyle Leslie Brauman Amy Brewer and David Sacco James and Dorothy Bridgeman Linda Briggs and Joseph Kittredge Carole and Arthur Broadus Michael Broh Linda Broker Arvin Brown Christopher Brown Julie Brown Warwick Brown Oscar Brownstein Stephen Bundy Richard Butler Susan Wheeler Byck Susan Cahan David Calica Kathryn A. Calnan Robert Campbell H. Lloyd Carbaugh Elisa and Jonathan Cardone Lisa Carling Raymond Carver Sami Joan Casler David Chambers Ricardo and Jenny Chavira Terri Chegwidden Hsiao-Ya Chen James Chen Myung Hee Cho King-Fai Chung Cynthia Clair Katherine D. Cline Aurélia and Ben Cohen Robert Cohen
Judith Colton and Wayne Meeks Forrest Compton Scott Conn Bill Connington Kristin Connolly Daniel R. Cooperman and Mariel Harris Aaron Copp Jennifer Corman Rachel Cornish Robert Cotnoir Caitlin Crombleholme Douglas and Roseline Crowley Sean Cullen Scott Cummings Phillip L. Cundiff Sr. William Curran Donato Joseph D’Albis Brian Dambacher Sue and Gus Davis Nigel W. Daw Katherine Day Peter De Breteville Mr. and Mrs. Paul DeCoster Sheldon Deckelbaum Sarah and Ted DeLong Elizabeth DeLuca Connie and Peter Dickinson Derek DiGregorio Melinda DiVicino Alexander Dodge Merle Dowling Megan and Leon Doyon Ms. JoAnne E. Droller, R.N. Jeanne Drury John Duran Fran Egler Robert Einienkel Dr. Marc Eisenberg Nancy Reeder El Bouhali Janann Eldredge Elizabeth English Jennifer Endicott Emley David Epstein Dustin Eshenroder Christine Estabrook Frank and Ellen Estes Femi Euba Connie Evans Jerry N. Evans Douglass Everhart John D. Ezell Michael Fain Ann Farris Richard and Barbara Feldman Erin Felgar Mr. and Mrs. Kenneth Fellows Paul and Susan Birke Fiedler Andria Fiegel Anne Flammang Madlyn and Richard Flavell Keith Fowler Adam Frank Walter M. Frankenberger III Donald Fried Richard Fuhrman Christopher Fuller David Gainey
Jane and Charles Gardiner Barbara and Gerald Gaab Josh Galperin David and Joan Geetter Lauren Ghaffari Robert Glen William Glenn Nina Glickson and Worth David Stephen Godchaux Lindy Lee Gold Robert Goldsby Diane Goldsmith Steven Gore Charles Grammer Hannah Grannemann Bigelow Green Elizabeth M. Green Elizabeth Greenspan and Walt Dolde Michael Gross Corin Gutteridge David Hale Amanda Haley Alexander Hammond Ann and Jerome R. Hanley Caitie Hannon Lawrence and Roberta Harris Doug Harvey Brian Hastert James Hazen Al Heartley Beth Heller Robert Heller Ann Hellerman Steve Hendrickson Chris Henry Jeffrey Herrmann Joan and Dennis Hickey Roderick Hickey Christopher Higgins Gabrielle and Michael Hirschfeld Elizabeth Holloway Betsy Hoos Nicholas Hormann Kathleen Houle David Howson Evelyn Huffman Chuck Hughes Derek Hunt Peter H. Hunt John Huntington Sooyoung Hwang John and Patricia Ireland John W. Jacobsen Chris Jaehnig Ina and Robert Jaffee Eliot and Lois Jameson William Jelley Elizabeth Johnson Geoffrey A. Johnson Donald E. Jones, Jr. Elizabeth Kaiden Jonathan Kalb Carol Kaplan Dr. and Mrs. Michael Kashgarian Dr. Jane Katcher Edward Kaye Patricia Keenan Jay Keene Asaad Kelada
Roger Kenvin Carol Soucek King Susan Kirschner Robinson and Shirley Kirschner William Kleb Dr. Lawrence Klein James Kleinmann Elise F. Knapp Joseph Kovalick Brenda and Justin Kreuzer Susan Kruger and Family Ann Kuhlman and Adel Allouche Tom Kupp Andrea Chi-Yen Kung Mitchell Kurtz William Kux Ojin Kwon Howard and Shirley Lamar Naomi Lamoreaux Marie Landry and Peter Aronson Michael Lassell James and Cynthia Lawler Martha Lidji Lazar Jerry Limoncelli Fred Lindauer Rita Lipson Bona Lee Wing Lee Irene Lewis Sam Linden Rita Lipson Arthur Lueking Everett Lunning Janell MacArthur Lizbeth Mackay Wendy MacLeod Alan MacVey James Magruder Peter Malbuisson Dr. Maricar Malinis Jocelyn Malkin, MD Geertruida Malten Peter Maradudin Frederick Marker Patrick Markle Jonathan Marks Kenneth Martin Nancy Marx Maria Mason and William Sybalsky Ben and Sally Mayer Margaret and Robert McCaw Matthew McCollum Robert McDonald Christopher McFarland Thomas McGowan Robert McKinna and Trudy Swenson Patricia McMahon Susan McNamara Brian McManamon Charles McNulty Lynne Meadow
James Meisner and Marilyn Lord Donald Michaelis Carol Mikesell Kathryn Milano Jonathan Miller Sandra Milles Lawrence Mirkin Frank Mitchell Jennifer Moeller George Moredock David and Betsy Morgan Richard Munday and Rosemary Jones Gather Myers Rachel Myers Rhoda F. Myers Tina C. Navarro Kate Newman Jennifer Harrison Newman Ruth Hunt Newman Gail Nickowitz Nancy Nishball Mark Novom Deb and Ron Nudel Adam O’Byrne Eileen O’Connor Dwight R. Odle Sara Ohly Edward and Frances O’Neill Alex Organ Sara Ormond Lori Ott Kendric T. Packer Joan Pape Russell Parkman Dr. and Mrs. Michael Parry Dr. Gary Pasternack Alexandra Paxton Amanda Peiffer William Peters Dr. Ismene Petrakis Michael Posnick Gladys Powers Robert Provenza William Purves Carolyn Rochester Ramsey and William Ramsey Da’Vine Joy Randolph Theodore Robb Sheila Robbins Nathan Roberts Peter S. Roberts Lori Robishaw Priscilla Rockwell Joanna Romberg Melina Root Stephen Rosenberg June Rosenblatt Claudia Arenas Rosenshield Joseph Ross Donald Rossler John Rothman Deborah Rovner Allan Rubenstein Dean and Maryanne Rupp Janet Ruppert
Ortwin Rusch Raymond Rutan John Barry Ryan Dr. Robert and Marcia Safirstein Steven Saklad Donald Sanders Robert Sandine and Irene Kitzman Adam Saunders Peggy Sasso Joel Schechter Anne Schenck Kenneth Schlesinger Steven Schmidt Judith and Morton Schomer Georg Schreiber Jennifer Schwartz Kathleen McElfresh Scott Forrest E. Sears Paul Selfa Subrata K. Sen Morris Sheehan Sally Shen Paul R. Shortt Lorraine D. Siggins Alyssa Simmons William Skipper Mark and Cindy Slane Gilbert and Ruth Small E. Gray Smith, Jr. Helena L. Sokoloff Sarah Sokolovic Suzanne Solensky and Jay Rozgonyi Amanda Spooner Charles Steckler Louise Stein Neal Ann Stephens John Stevens Frances Strauss Howard Steinman Michael Strickland Jarek Strzemien Katherine Sugg William and Wilma Summers Tien-Yin Sun Erik Sunderman Mark Sullivan Thomas Sullivan Jane Suttell Tucker Sweitzer and Jerome Boryca Douglas Taylor Jean and Yeshvant Talati Jane Savitt Tennen J. Terrazzano Aaron Tessler Kat Tharp Pat Thomas Eleanor Q. Tignor, P.h.D David F. Toser Albert Toth David and Lisa Totman Russell L. Treyz Ellen Tsangaris
Deborah Trout Suzanne Tucker Gregory and Marguerite Tumminio Leslie Urdang Carrie Van Hallgren Adina and Michael Verson-McQuilken Eva Vizy Fred Voelpel Mark Anthony Wade Kate and Andrew Wallace Erik Walstad Barbara Wareck and Charles Perrow Chris Weida John Weikart Rosa Weissman Matt and Mary Welander Peter and Wendy Wells Charles Werner Kathleen Whitby Peter White Robert and Charlotte White Lisa A. Wilde Robert Wildman Marshall Williams Sarah Williams David Willson Gregory and Carrie Winkler Annick Winokur and Peter Gilbert Alex Witchel Carl Wittenberg Rachel and Stephen Wizner Andrew Wolf Gretchen Wright Lori-Ann Wynter Arthur and Ann Yost John and Pat Zandy Shoshana Zax Sylvia Zhang Albert Zuckerman
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When you make a gift to Yale Rep’s Annual Fund, you support the creative work on our stage and our innovative outreach programs. For more information, or to make a donation, please call Susan Clark, 203.432.1559. You can also give online at yalerep.org/support. This list includes current pledges, gifts, and grants received from July 1, 2016, through November 1, 2017.
HOW TO REACH US Yale Repertory Theatre Box Office 1120 Chapel Street (at York Street) Post Office Box 208244 New Haven, CT 06520 203.432.1234 email@example.com
Yale Repertory Theatre offers all patrons the most comprehensive accessibility services program in Connecticut, including a season of open-captioned and audiodescribed performances, a free assistive FM listening system, large-print and Braille programs, wheelchair accessibility with an elevator entrance into the Yale Rep Theatre (located on the left side of the building), and accessible seating. For more information about the theatre’s accessibility services, contact Laura Kirk, Director of Audience Services, at 203.432.1522 or firstname.lastname@example.org.
BOX OFFICE HOURS Monday to Friday: 10AM to 5PM Saturday: 12PM to 5PM Until 8PM on all show nights GROUP RATES Discounted tickets are available for groups of ten or more. Please call 203.432.1234. FIRE NOTICE Illuminated signs above each door indicate emergency exits. Please check for the nearest exit. In the event of an emergency, you will be notified by theatre personnel and assisted in the evacuation of the building.
OPEN CAPTIONING (OC): a digital display of the play’s dialogue as it’s spoken.
RESTROOMS Restrooms are located in the lower level of the building.
AD AND OC PERFORMANCE SCHEDULE All shows are at 2PM; the AD pre-show description begins at 1:45PM.
EMERGENCY CALLS Please leave your cell phone, name, and seat number with the concierge. We’ll notify you if necessary. The emergencyonly telephone number at Yale Repertory Theatre is 203.764.4014.
Dec 9 Dec 16 Native Son
SEATING POLICY Everyone must have a ticket. Sorry, no children in arms or on laps. Patrons who arrive late or leave the theatre during the performance will be reseated at the discretion of house management. Those who become disruptive will be asked to leave the theatre.
AUDIO DESCRIPTION (AD): a live narration of the play’s action, sets, and costumes for patrons who are blind or low vision.
The taking of photographs or the use of recording devices of any kind in the theatre without the written permission of the management is prohibited.
Feb 10 Feb 17 Field Guide Mar 31 Apr 7 Father Comes Home From the Wars, Parts 1, 2 & 3 May 12 May 19 Kiss
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Yale Repertory Theatre thanks the Eugene G. and Margaret M. Blackford Memorial Fund, Bank of America, N.A, Co-Trustee, for its support of audio description services for our patrons.
Youth Programs As part of Yale Rep’s commitment to our community, we provide two significant youth programs. WILL POWER! offers specially-priced tickets and early schooltime matinees for high school students for select Yale Rep productions every season. Since our 2003–04 season, WILL POWER! has served more than 20,000 Connecticut students and educators. The Dwight/Edgewood Project brings middle school students to Yale School of Drama for a month-long, after-school playwriting program designed to strengthen their selfesteem and creative expression. Yale Rep’s youth programs are supported in part by The Anna Fitch Ardenghi Trust, Bank of America, Trustee; Avangrid/United Illuminating/Southern Connecticut Gas; Bob and Priscilla Dannies; CT Humanities; Frederick A. DeLuca Foundation; Mr. and Mrs. Kenneth Fellows; the George A. & Grace L. Long Foundation, Bank of America, N.A. and Alan S. Parker, Esq., Co-Trustees; the Lucille Lortel Foundation; Dawn G. Miller; Arthur and Merle Nacht; NewAlliance Foundation; Newman’s Own; Sandra Shaner; Esme Usdan. FROM THE TOP: Schools gathering for WILL POWER!, photo by Elizabeth Green; Dwight/Edgewood Project workshop and performance, 2017.
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NATIVE SON by Nambi E. Kelley, based on the novel by Richard Wright, directed by Seret Scott. Yale Repertory Theatre, November 24-December 1...