NEXT TO NORMAL, David Geffen School of Drama, December 2022

Artistry

OUR MISSION

OUR CORE VALUES

Belonging

Collaboration

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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

Tyler Cruz ’23, Janiah François ’24, Tavia Elise Hunt ’23, Maggie McCaffery ’23, Giovanna Drummond ’24, and Caro Riverita ’24 in Affinity by Rebecca Adelsheim ’22 and Alex Keegan ’22, based on the novel by Sarah Waters, directed by Alex Keegan. scenery: Cat Raynor ’23; costumes: Aidan Griffiths ’23; sound: Bryn Scharenberg ’23; lighting: Graham Zellers ’23; projections: Hannah Tran ’23; dramaturgy: Rebecca Adelsheim; technical director: Kelly O’Loughlin ’22; stage manager: Aisling Galvin ’23. Photo © T. Charles Erickson, 2022.

Yale University acknowledges that Indigenous peoples and nations, including

Hill

and the Quinnipiac and

speaking peoples , have stewarded through generations the lands and waterways of what is now the state of Connecticut. We honor and respect the enduring and continuing relationship that exists between these peoples and nations and this land.

David Geffen School of Drama Staff

MASKING

All patrons must wear masks at all times while inside the theater except when eating or drinking. Our staff, backstage crew, and artists (when not performing on stage) will also be masked at all times.

FIRE NOTICE

Illuminated signs above each door indicate emergency exits. Please check for the nearest exit. In the event of emergency, you will be notified by theater personnel and assisted in the evacuation of the building.

RESTROOMS

Please visit the lower level of the venue for restrooms. There is also a single restroom in the lobby of this theater.

PHOTO POLICY

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

Mohegan , Mashantucket Pequot , Eastern Pequot , Schaghticoke , Golden

Paugussett , Niantic ,

other Algonquian

DECEMBER 10–16, 2022 | DAVID GEFFEN SCHOOL OF DRAMA AT YALE

James Bundy, Elizabeth Parker Ware Dean

Florie Seery, Associate Dean

Chantal Rodriguez, Associate Dean

Carla L. Jackson, Assistant Dean

PRESENTS

Music by Book & Lyrics by

James L. Fleming Tom Kitt

Brian Yorkey

Directed by

Next to Normal is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. mtishows.com

Original Broadway production produced by David Stone, James L. Nederlander, Barbara Whitman, Patrick Catullo, and Second Stage Theater.

New York premiere produced by Second Stage Theater, New York. February 2008. Carole Rothman, Artistic Director; Ellen Richard, Executive Director. Next to Normal was subsequently produced by Arena Stage in November 2008.

Developed at Village Theatre, Issaquah, WA (Robb Hunt, Executive Producer, Steve Tomkins, Artistic Director) An earlier version was presented in the 2005 New York Musical Theatre Festival.

Support for the development of Next to Normal was provided by the Jonathan Larson Foundation.

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

MUSICAL NUMBERS

Act One

“Prelude (Night)” ..................................................................................................... Orchestra

“Just Another Day” Diana, Natalie, Gabe, Dan

“Everything Else” Natalie “Who’s Crazy”/“My Psychopharmacologist And I” Dan, Doctor Fine, Diana

“Perfect for You” Henry, Natalie

“I Miss the Mountains” Diana

“It’s Gonna Be Good” Dan, Gabe, Natalie, Henry, Diana

“He’s Not Here” Dan “You Don’t Know” Diana

“I Am the One” ........................................................................................... Dan, Gabe, Diana

“Superboy and the Invisible Girl” Natalie, Diana, Gabe

“Doctor Rock” Doctor Madden “I’m Alive” Gabe “Make Up Your Mind”/ “Catch Me I’m Falling” Doctor Madden, Diana, Dan, Natalie, Gabe, Henry

“A Good Step” Orchestra

“I Dreamed a Dance” Diana, Gabe “There’s a World” Gabe “E.C.T.” ......................................................................................................................... Orchestra

“I’ve Been” Dan, Gabe

“Dad, That’s Bullshit” Orchestra

“Didn’t I See This Movie?” Diana

“A Light in the Dark” Dan, Diana

Act Two

“Entr’acte” Orchestra

“Wish I Were Here” Diana, Natalie

“Song of Forgetting” Dan, Diana, Natalie

“Hey #1” Henry, Natalie

“Seconds and Years” Doctor Madden, Dan, Diana “Better Than Before” Doctor Madden, Dan, Natalie, Diana “Aftershocks” Gabe

“Hey #2” Henry, Natalie

“You Don’t Know” (Reprise) .......................................................... Diana, Doctor Madden

“How Could I Ever Forget?” Diana, Dan

“It’s Gonna Be Good” (Reprise) Dan, Diana

“Why Stay?” Dan, Diana, Natalie, Henry

“A Promise” Diana, Natalie, Dan, Henry

“I’m Alive” (Reprise) Gabe

“The Break” Diana

“Make Up Your Mind”/“Catch Me” (Reprise) Doctor Madden, Diana, Gabe

“Maybe (Next to Normal)” Diana, Natalie

“Hey #3” / “Perfect for You” (Reprise) ........................................................ Henry, Natalie

“So Anyway” Diana

“I Am the One” (Reprise) Dan, Gabe

Finale: “Light” Diana, Dan, Natalie, Gabe, Henry, Doctor Madden

This musical takes place in a colonial empire, founded on genocide and chattle slavery—the United States of America. This production of Next to Normal is enabled by institutions—David Geffen School of Drama and Yale University—that continue to profit from imperialism, settler colonialism, and forced labor.

These contexts are always surfacing, from overt expressions of violence to quiet, ordinary, even comforting parts of our lives: the precious metals of computer chips, the Coca-Cola in the vending machine, the land that this theater is built on. Are those examples wounds or everyday things? Both. Whether we have spent years within Yale or have just walked through the doors of the University Theatre for the first time, intertwined histories of exploitation, resistance, and survival saturate our worlds. Even those who drive these ongoing violences have the pulses of life and death humming through their human bodies. There is no option not to receive these reverberations, not to be touched by history. They soak through to the bone, shaping how we treat ourselves.

The stakes of trying to forget these facts, the stakes of performing an American self-image, have been set so high. The providing husband, the doting wife, the hard-working student, the good immigrant, the confident son, and a thousand more archetypes whisper promises of achievement, happiness, freedom, independence, all just another step closer. Stumble and the whispers become threats; people who fail, who need too much, who stop striving, who produce too little, are disposable.

The Goodman family knows this precarity, even from within their upper-middleclass family home. They live with the knowledge that people deemed other are locked up and may not survive, which causes them to work tirelessly towards normalcy. The psychiatric system they struggle with over the course of the play, in addition to providing life-saving care, operates on the same logic as police and prisons. This logic says that the strange, the non-compliant, the sick, the poor, the irrational, the criminal, the incompetent are to be eradicated, or failing that, to be hidden away.

Over time, the definitions of failure and otherness are shifted and bent. What in one time might be predominantly understood as harmless eccentricity might later be read as cultural practice, or troubling pathology, or criminal act. What I’d like to bring your attention to, in this production, is not the specificities of these shifts, but the bedrock beneath them. At the foundation of American white supremacy culture (and many other cultures of harm) sits the assumption that there exists an underclass of people who do not qualify as human.

Down here, at the root, I ask us not to scramble to distance ourselves from that group. Looking at that reality is painful, and we might want to reassure ourselves that we aren’t failing, that we don’t need too much, that we’re still striving, that we produce or achieve enough. We might want to marshal evidence of what we

have: marriage, a job, a house, abilities, possessions, attitudes. Left unsaid in these reassurances lies the sharp fear that without this ability or that thing, we will become like those people. That in a sudden storm or drop by drop, loss will descend and that the pain of it will burn our humanity to ash.

For me, Next to Normal offers a way not to reflexively recoil from the reality of pain. To instead, take it in my hand as best I can and examine it. To let it be as small or as large as it is, and to find myself, still alive, holding it. By this, I do not mean that pain is okay, or that it does not really hurt, or that cannot be a great injustice. Instead, I mean it is real. Even the most private, personal pain is real, because it is felt by someone with experiences that matter.

In accepting this simple reality as best as we can, we can chip away at the idea that pain is a deserved consequence of failure, and that when we believe we have failed, it is our duty to receive it as punishment. Instead, we can examine its textures and shades, how it flares and flickers. We can listen to what it says about our responsibilities to ourselves and others, reserving judgment, and decide how to respond.

This is not an easy story of triumph, overcoming, and raising awareness of mental illness. It is a way to stop working for a moment and feel the inherent value of being alive singing inside of the body, thrumming alongside the pain. A way towards knowing that under even the most crushing conditions, people are trying to carve out space to be. When you leave this theater, there will still be rent to pay, prescriptions to fill, relationships to tend to. The work of making a better future remains. The work of getting by remains.

I leave you with these thoughts:

Even when we think of ourselves as caretakers, we still need care. Being cared for does not foreclose the possibility of caring for. Care comes in myriad forms. We need each other.

Medication, ECT, and other treatments are tools that contain many possibilities—of help, harm, and the space between.

Disability justice requires—and enables—racial justice, decolonization, fat liberation, an end to transphobia, homophobia, and restrictive gender roles, an end to every way that people’s bodies and minds are used to disqualify them from humanity.

No humans—including the most wretched other you can think of, including yourself—are disqualified from having a worthy life. Life has its own value. And that is immensely political.

Finally: This play contains tools for staying alive. Take them. They’re yours now.

Cast

Gabe: Augustine Lorrie Alexandrite (they/them) is a middle-year actor at David Geffen School of Drama. Credits Include: Cabaret, HAIR, The Laramie Project, The Winter’s Tale, Tartuffe, Mr. Burns, a post-electric play (University of California Santa Barbara). International: Love’s Labour’s Lost (Prague Shakespeare Company); The Hands That Feed Me (Sicily Theatre). Yale Credits: Hedda Gabler (the Geffen School); The Hedgehog’s Dilemma, Four Meddling Kids and One Dumb Dog (Yale Cabaret). Education: B.F.A., University of California, Santa Barbara. Trans Liberation Now. - - Love you Mom.

Diana: Olivia Cygan (she/her) is a fourthyear MFA candidate at David Geffen School of Drama, where she has been seen in Affinity and She Kills Monsters. A proud native of Chicago, Olivia originated roles in The Burials at Steppenwolf Theatre and Feathers and Teeth at Goodman Theatre. She’s had the pleasure of working with Yale Repertory Theatre, McCarter Theatre Center, The Gift Theatre at Steppenwolf, Cincinnati Playhouse in the Park, Repertory Theatre of St. Louis, TimeLine Theatre, Piven Theatre, and others. Olivia received her B.S. in theater from Northwestern University.

Henry: Samuel DeMuria (he/him) is a fourthyear actor at David Geffen School of Drama. Credits include Death of a Salesman, Waiting for Godot, Cabaret,

Songs for a New World (University of Missouri); Who’s Afraid of Virginia Woolf?, The Plot (understudy, Yale Repertory Theatre); Twelfth Night, Romeo and Juliet, Swimmers (Geffen School); Expats Anonymous, and Dear 2020, With Love (Yale Cabaret):. Education: B.A., University of Missouri.

Natalie: Shimali De Silva (she/her) is a fourth year MFA candidate at David Geffen School of Drama, where she has performed in Ghosts, She Kills Monsters, and Swimmers. Yale Cabaret credits also include A Doll’s House, We’re Gonna Die, and more more more. Prior to Yale, Shimali obtained her B.A. in English Literature at the University of Cambridge where she participated in many student shows, including the original Edinburgh Fringe production of SiX: The Musical in which she played the role of Catherine Parr.

Dan: Mihir Kumar (he/him) is a fourth-year actor at David Geffen School of Drama. Credits include Richard III (Shakespeare Theatre Company); Cymbeline, Romeo and Juliet (Commonwealth Shakespeare); Girls (understudy, Yale Repertory Theatre); The Comedy of Errors (Australian Shakespeare Company); Ghosts, Hedda Gabler, Love’s Labor’s Lost, She Kills Monsters, The Shift (Geffen School); A Doll’s House and The Van Gogh Café (Yale Cabaret). Education: B.A., UCLA.

Doctor Fine/Doctor Madden: Kayodè Soyemi is a fourth-year M.F.A. candidate at David Geffen School of Drama, where his credits

include Twelfth Night, Romeo and Juliet, She Kills Monsters, and the salt women. Other credits include Pass Over (Chester Theatre Co.) A Raisin in the Sun (understudy, Yale Repertory Theatre, canceled due to Covid); Ontario Was Here (Aurora Theatre); Love’s Labour’s Lost (Atlanta Shakespeare Company); Pipeline, The Curious Incident of the Dog in the Night-Time, and Same Time, Same Place (Actors Theatre of Louisville). Film and television credits include Dr. Bird’s Advice for Sad Poets (Kreate Films); Bad Blood, Modern Warfam (Problem Attic Productions); and Blackface (FSU Motion Pictures). Kayodè received his B.F.A. from Meadows School of the Arts at Southern Methodist University. kayodesoyemi.com

Swings

Dan, Dr. Fine/Doctor Madden, Gabe, Henry: Karl Green (he/him) is a third-year M.F.A. candidate at David Geffen School of Drama, where he was seen in The Cherry Orchard and Esme. He’s originated roles in the world premieres of Eve’s Song by Patricia Ione Lloyd (Public Theater), Socrates by Tim Blake Nelson (Public Theater), and runboyrun by Mfoniso Udofia (New York Theatre Workshop). He received his B.F.A. from NYU Tisch School of the Arts.

Diana/Natalie: Nat Lopez is an Afro-Latina actress, singer, and recording artist born in Santo Domingo, Dominican Republic and raised in the Bronx, New York. Coming from a musical family and

growing up singing in church inspired her to study theater at The City College of New York and train her natural singing voice with various coaches such as Liz Caplan. She’s performed around the world and Off-Broadway. She is now a thirdyear acting M.F.A. candidate at David Geffen School of Drama. For more: natlopez.com

Creative Team

Costume Designer: Risa Ando (she/her) is a third-year M.F.A candidate at David Geffen School of Drama; she is thrilled to be making her Geffen School production debut. She was born and raised in Japan, and has worked in the US, Japan, and Ireland. She received a B.F.A. in costume design from Purchase College, SUNY. Selected credits include Mamma Mia! (Forestburgh Playhouse), #4 (Yale Cabaret), Dracula, Otokokai (Gekidan Ijin-Butai, Japan), The Best Place For Love (Fire & Ice Production, Ireland), Sherlock Holmes and the Hound of the Baskervilles (Wonderland Productions, Ireland).

Music Director: Jill Brunelle Music directing credits: Ragtime, The Fantasticks (Ivoryton Playhouse); Once on This Island, Songs For a New World, The Addams Family, Violet (Southern Connecticut State University); Steven Sondheim’s Passion (David Geffen School of Drama); The Apple Tree, Trouble in Tahiti, The Medium (Yale Cabaret).

Creative Team

Yale Opera Chorus Master ensembles: Eugene Onegin, Hänsel und Gretel, Die Zauberflöte, A Midsummer Night’s Dream, Le Nozze Di Figaro, and La Bohème. She has served as faculty at Connecticut State University, Boston University, New England Conservatory, Tufts University, Hartt School of Music, Connecticut Opera, Boston Lyric Opera, and Opera Boston. As a collaborative pianist she has performed internationally as well as at Carnegie Hall, Jordan Hall, and at numerous festivals. Upcoming: Sunday in the Park with George at Ivoryton Playhouse.

Lighting Designer: David Anthony-Ken DeCarolis is a third-year M.F.A. candidate at David Geffen School of Drama, where his credits include Love’s Labor’s Lost. Other design credits include The Hedgehog’s Dilemma (Yale Cabaret) and Form of a Girl Unknown (Salt Lake Acting Company). David has assisted on Saturday’s Voyeur, Three Little Pigs (SLAC); Today is My Birthday, Edward Albee’s Who’s Afraid of Virginia Woolf? (Yale Repertory Theatre); and Seize the King (The Classic Theatre of Harlem). He would like to thank his family for all their support. @thedecarolis daviddecarolislighting.com

Associate Music Director: Mitchell Dubin is a sophomore in Yale College studying economics and music. Mitchell has worked as a music director and conductor for 60+ productions at Pittsburgh Musical Theater, French Woods Festival, and the Pittsburgh Creative and Performing Arts High School. He previously served

as Music Director of the Temple Sinai Choir in Pittsburgh and Assistant Conductor of the Three Rivers Young People’s Orchestra. Mitchell studies piano with Elizabeth Parisot at the School of Music, and conducting with Brian Worsdale. He is very pleased to be working on his first show at David Geffen School of Drama and is grateful to James Fleming for the opportunity. @musical_mitchell

Director: James L. Fleming (he/him) is an M.F.A. candidate at David Geffen School of Drama from Trenton, New Jersey. At Yale, James directed Twelfth Night and Rudi Goblen’s Green Suga Bloos. Other credits include We’re Gonna Die by Young Jean Lee (Yale Cabaret); Our Town by Thornton Wilder, Sagittarius Ponderosa by MJ Kaufman, the National New Play Network’s Rolling World Premiere of Herland by Grace McLeod (Redtwist Theatre); Wellesley Girl by Brendan Pelsue (Compass Theatre); Fun Harmless Warmachine by Fin Coe (The New Coordinates); and Sin Eaters by Anna Ouyang Moench (I.L Caragiale National University of Theatre and Film, Bucharest). Prior to Yale, James lived in Chicago, where he worked as an actor and director. He served as Associate Artistic Director of Redtwist Theatre and Director of New Work at The New Coordinates, where he created and produced the inaugural Uncharted Festival, a two-week developmental showcase of ambitious new works by Chicago-based playwrights.

Stage Manager:

Chloe Xiaonan Liu (she/her) is a Chinese M.F.A candidate in her third year at David Geffen School of Drama, where her credits include Green Suga Bloos and The Cherry Orchard, Twelfth Night, as well as Choir Boy at Yale Rep. Chloe holds a B.A. from Shanghai Theatre Academy. Her working experience in China included Disney musical Beauty and The Beast, Disney musical The Lion King, Man of La Mancha and The Sound of Music national tour.

Choreographer:

Gabrielle Niederhoffer is a senior in Yale College. She has choreographed over 15 productions on campus with the Yale Dramat, Yale Drama Coalition, Yale Theater and Performance Studies, and Opera Theater of Yale College. Gabrielle was Festival Manager of Battery Dance for the 2021 and 2022 festivals and is creating and producing a dance festival in April 2023 with the support of the Yale Schwarzman Center. As a dancer, Gabrielle is an alumna of the School at Jacob’s Pillow Tap Program, directed by Michelle Dorrance and Dormeshia and is mentored by Caleb Teicher. Special thank you to James!

Production Dramaturg:

Emma Bee Pernudi-Moon (she/ her, he/him) is a fourth-year dramaturg at David Geffen School of Drama. Her research interests include disability justice, body art performance, and horror. She is immensely proud to work on Next to Normal, as well as If the Dancer Does Not Dance, love i awethu further, and the upcoming Julius Caesar

at the Geffen School. She believes dramaturgy is a way of being and can occasionally be found jamming out to pop-punk classics as her drag alter ego, Jaime Hellfyre. She’s glad you’re here.

Projection Designer:

Sam Skynner is a Canadian video and lighting designer. She is an M.F.A. candidate in design at David Geffen School of Drama and is also currently a Studio Fellow at the Yale Center for Collaborative Arts and Media. Sam was also a contributor to the Canadian student exhibit at the Prague Quadrennial in 2019. She has worked with theater and dance companies across Canada and the United States in various capacities including Dancemakers, Baltimore Center Stage, Tarragon Theater, Against the Grain Theater, and Two Spirit Productions. Her most recent work includes Diana Ross Dream, Dancemakers, Toronto (lighting design); Reflections of Native Voices Festival, New York City (video editor); and She Kills Monsters, the Geffen School (assistant projection designer).

Technical Director: Luke Tarnow-Bulatowicz (he/ him) is a third-year technical design and production student at David Geffen School of Drama, where his credits include Love’s Labor’s Lost (assistant technical director) and She Kills Monsters (projection engineer). He recently served as assistant technical director on Edward Albee’s Who’s Afraid of Virginia Woolf (Yale Repertory Theatre). Prior to Yale, Luke attended the University at

Creative Team

Buffalo, where he received a B.A. in theater technology and a minor in computer science. While at UB he was a member of the Prague Quadrennial build team in 2019 and worked with the design teams to technical design and build each of the exhibits.

Sound Designer: Mike Winch is a third-year M.F.A. candidate in sound design at David Geffen School of Drama. He has been a sound designer and composer for the past decade in Washington, DC. He received four Helen Hayes nominations and has worked with theaters, music groups, and other venues in the DC area. Mike’s background is in Irish fiddle and live sound.

Scenic Designer: Kim Zhou (she/her) is a third-year M.F.A. candidate in set design at David Geffen School of Drama. She received her bachelor’s degree from OCAD University in Toronto, where she studied and practiced architecture design. She is intrigued by tactile experience of material and is constantly exploring how elements contributing to the atmosphere of a space shape and inspire actions and emotional responses. Selected credits include We Are Gonna Die (Yale Cabaret, set designer), Manning (David Geffen School of Drama, assistant set designer). Next to Normal is her main design debut at the School. She enjoys long walks and free writing. kimzhou.com

Tom Kitt (Music) is a Tony, Emmy, Grammy Award, and Pulitzer Prize-winning composer, arranger, orchestrator, and music supervisor whose work courses through film, television, theater, recordings, and beyond. He is the composer of Next to Normal (2010 Pulitzer Prize for Drama; two Tony Awards); If/Then (Tony nomination); Flying Over Sunset; The Visitor; High Fidelity; Bring It On, The Musical (with co-composer Lin-Manuel Miranda); Superhero; Disney’s Freaky Friday (Stage Production and Original Disney Channel Movie Musical); Dave; and The Winter’s Tale, All’s Well That Ends Well, and Cymbeline (The Public’s NYSF). As a music supervisor, arranger, and orchestrator, credits include Jagged Little Pill (Grammy Award, Tony nomination), The SpongeBob Musical (Tony nomination), Head Over Heels, Grease Live!, Rise (NBC); the Pitch Perfect franchise; and American Idiot. His work with Green Day also includes additional arrangements for their albums 21st Century Breakdown and the trilogy, ¡Uno! ¡Dos! ¡Tré! Tom received an Emmy Award as co-writer (with Lin-Manuel Miranda) for the 2013 Tony Awards opening number, “Bigger.” He is a founding member of Musicians United for Social Equity (MUSE) and NYCNext, with whom he co-produced the award-winning “New York State of Mind” music video. His debut album, Reflect, which features songs co-written and performed by some of Broadway’s biggest stars, was released in 2021 on Sony Music Masterworks. @tomkittmusic

Brian Yorkey (Book and Lyrics) received the 2010 Pulitzer Prize for Drama, the 2009 Tony Award for Best Score, and the Outer Critics Circle Award for Next to Normal; and he was also nominated

for the Tony Award for Best Book of a Musical. He partnered again with the Next to Normal team on If/Then (Tony Award nominee for Best Score) starring Idina Menzel. Brian co-wrote the libretto for The Last Ship with John Logan (Outer Critics nomination), with a score by Sting. His musical adaptation of Freaky Friday (for Disney Theatricals) was made into a Disney Channel Original Movie. Additional theater credits include Making Tracks, which has played Off-Broadway and regionally, the musical adaptation of Ang Lee’s The Wedding Banquet, and the play Book of Jobs with Alex Glover. Brian has directed Off-Broadway and regionally for seven years and was Associate Artistic Director at Village Theatre in Washington state. He’s a graduate of Columbia University, where he was artistic director of the Varsity Show, an alum of the BMI/Lehman Engel Musical Theatre Workshop, and a proud member of the Dramatists Guild.

Music Theatre International (MTI) is one of the world’s leading theatrical licensing agencies, granting theaters from around the world the rights to perform the greatest selection of musicals from

Broadway and beyond. Founded in 1952 by composer Frank Loesser and orchestrator Don Walker, MTI is a driving force in advancing musical theatre as a vibrant and engaging art form.

MTI works directly with the composers, lyricists and book writers of these musicals to provide official scripts, musical materials and dynamic theatrical resources to over 100,000 professional, community and school theaters in the US and in over 150 countries worldwide.

MTI is particularly dedicated to educational theatre, and has created special collections to meet the needs of various types of performers and audiences. MTI’s Broadway Junior™ shows are 30- and 60-minute musicals for performance by elementary and middle school-aged performers, while MTI’s School Editions are musicals annotated for performance by high school students.

MTI maintains its global headquarters in New York City with additional offices in London (MTI Europe) and Melbourne (MTI Australasia).

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

Elizabeth Parker Ware Dean: James Bundy

Associate Dean: Florie Seery

Associate Dean: Chantal Rodriguez

Assistant Dean: Carla L. Jackson

Associate Artistic Director, Director of New Play Programs, Yale Repertory Theatre: Jennifer Kiger

Production Stage Manager: James Mountcastle

Senior Artistic Producer, Yale Repertory Theatre: Amy Boratko

Artistic Associate, Yale Repertory Theatre: Kay Perdue Meadows

Artistic Fellow: Jisun Kim

Senior Administrative Assistant to the Dean: Josie Brown

Senior Administrative Assistant for Directing, Dramaturgy and Dramatic Criticism, Playwriting, and Stage Management Programs: Laurie Coppola

Senior Administrative Assistant for the Design program: Kate Begley Baker

Senior Administrative Assistant for the Acting program: Krista DeVellis

Library Services Tess Colwell

Production

Production

Management

Director of Production: Shaminda Amarakoon

Production Manager: Jonathan Reed

Production Manager for Studio Projects and Special Events: C. Nikki Mills

Senior Administrative Assistant to Production, Theater Safety, and the Technical Design and Production Program: Grace O’Brien

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

Scene Shop Supervisor: Eric Sparks

Senior Lead Carpenter: Matt Gaffney

Lead Carpenters: Ryan Gardner Kat McCarthey Sharon Reinhart Libby JollyStone

Painting

Paint Shop Supervisor: Ru-Jun Wang

Scenic Artists: Lia Akkerhuis Nathan Jasunas

Scenic Painting Intern: Marcus Fort Properties Properties Supervisor: Jennifer McClure

Properties Craftsperson: David P. Schrader

Properties Associate: Zach Faber

Properties Stock Manager: Mark Dionne

Properties Intern: Bennet Goldberg

Costumes

Costume Shop Manager: Christine Szczepanski

Senior Drapers: Clarissa Wylie Youngberg Mary Zihal

Senior First Hands: Deborah Bloch Patricia Van Horn

Costume Project Coordinator: Linda Kelley-Dodd

Costume Stock Manager: Jamie Farkas

Additional Costume Staff: Monique Fazzone Electrics

Lighting Supervisor: Donald W. Titus

Senior House Electricians: Jennifer Carlson Linda-Cristal Young

Electricians: Alary Sutherland Racheal Daigneault Eitan Acks

Electrics Intern: Jasmine Moore Sound Sound Supervisor: Mike Backhaus

Lead Sound Engineer: Stephanie Smith

Sound Interns: Saida Joshua-Smith Xi (Zoey) Lin

Projections

Acting Projection Supervisor: Eric Lin

Projection Engineer: Mike Paddock

Projection Intern: Erin Sims

Stage Operations Stage Carpenter: Janet Cunningham

Lead Wardrobe Supervisor: Elizabeth Bolster

Lead Properties Runner: William Ordynowicz

Interim FOH Mix Engineer: Stephanie Smith Administration General Management Associate Managing Directors: Sarah Scafidi Matthew Sonnenfeld

Senior Administrative Assistant to the Associate Dean and Assistant Dean: Emalie Mayo

Management Assistant: Maya Louise Shed

Company Manager: Annabel Guevara

Assistant Company Managers: Anne Ciarlone Ramona Li

Development and Alumni Affairs

Director of Development and Alumni Affairs: Deborah S. Berman

Senior Associate Director of Institutional Giving: Janice Muirhead

Senior Associate Director of Operations for Development and Alumni Affairs: Susan C. Clark

Associate Director of Development Communications and Alumni Affairs: Casey Grambo

Senior Administrative Assistant to Development and Alumni Affairs: Jennifer E. Alzona

Development Associate: Delaney Kelley

Development Assistant: Mikayla Stanley Finance, Human Resources, and Digital Technology Finance Consultants: Regina Bejnerowicz Katherine D. Burgueño Denise Zaczek

Director of Human Resources: Trinh DiNoto

Director, Yale Tessitura Consortium, and Web Technology: Janna J. Ellis

Manager, Business Operations: Martha Boateng

Digital Communications Associate: George Tinari

Business Office Analyst: Win Knowles

Business Office Specialists: Aditya Agarwal Moriah Clarke Andrea Valcourt

Business Office Assistant: Asberry Thomas

Digital Technology Associates: Edison Dule Garry Heyward

Senior Administrative Assistant to Business Office, Digital and Web Technology, Operations, and Tessitura: Shainn Reaves

Database Application Consultants: Ben Silvert Erich Bolton Bo Du

Financial Aid and Registrar Financial Aid Officer: Andre Massiah

Registrar/Admissions Administrator: Ariel Yan

Senior Administrative Assistant to Financial Aid and Admissions: Laura Torino

Marketing, Communications, and Audience Services

Director of Marketing: Daniel Cress

Director of Communications: Steven Padla

Senior Associate Director of Marketing and Communications: Caitlin Griffin

Assistant Director of Marketing and Communications: Jacob Santos

Senior Administrative Assistant for Marketing and Communications and the Associate Dean: Mishelle Raza

Marketing Assistant: Andrew Aaron Valdez

Publications Manager: Marguerite Elliott

Publications Assistant: Patrick Ball Production Photographer: T. Charles Erickson

Videographer: David Kane

Director of Audience Services: Laura Kirk

Assistant Director of Audience Services: Shane Quinn

Subscriptions Coordinator: Tracy Baldini

Audience Services Associate: Molly Leona

Customer Service and Safety Officers: Ralph Black, Jr. Kevin Delaney Ed Jooss John Marquez (on leave)

Box Office Assistants: Sydney Raine Garick, Jordan Graf, Lucy Harvey, Aaron Magloire, Kenneth Murray a.k. payne, Dominic Sullivan, Jessica Wang

Theater Safety and Occupational Health

Director of Theater Safety and Occupational Health and COVID Compliance Manager: Anna Glover

COVID Compliance Coordinator: Amy Stern

Associate Safety Advisors: Megan Birdsong

Roman Sanchez

Operations

Director of Facility Operations: Nadir Balan

Operations Associate: Brandon Fuller

Operations Assistant: Kelvin Essilfie

Arts and Graduate Studies Superintendents: Jennifer Draughn Francisco Eduardo Pimentel

Custodial Team Leaders: Andrew Mastriano Sherry Stanley

Facility Stewards: Ronald Douglas Marcia Riley

Custodians: Rodney Heard, Andrew Martino, James Hansberry Sybil Bell, Jerome Sonia Willia Grant, Melloney Lucas, Tylon Frost

Next to Normal, December 10–16, 2022. University Theatre, 222 York Street, New Haven, Connecticut.