NOTES FROM UNDERGROUND MARCH 20 to APRIL 11
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Welcome to Yale Rep’s world premiere of Notes from Underground! photo by JOHN GROo
I am delighted to introduce New Haven audiences to the work of the celebrated director Robert Woodruff, one of America’s most distinguished and daring theatre artists; and to welcome back OBIE Award winner Bill Camp, who appeared in the Yale Rep productions of Troilus and Cressida (1990) and Le Bourgeois Avant-Garde (1995). Robert and Bill have worked together as director and actor in the past, but this production adds a unique layer to their longtime artistic collaboration, as co-authors of this new play adapted from Fyodor Dostoevsky’s groundbreaking 1864 novel.
Considered by many scholars to be the first existential novel, Notes from Underground introduced an archetypal figure who has manifested himself in the literature of every generation since: the antihero. To watch a gifted actor, director, and creative team working in rehearsal to bring this character to life for a contemporary audience in a theatrical idiom that confronts the way we live now—while honoring the bravery and compassion of the original author—has been one of the most intriguing artistic adventures I have witnessed here at Yale Rep, and I am proud to share the company’s magnificent work with you.
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Notes from Underground is the first commissioned play to premiere at Yale Rep under the auspices of the Yale Center for New Theatre, established by a major grant from the Robina Foundation to underwrite the commissioning, development, and production of new plays and musicals. The Center both sustains artists writing for the American stage and expands on Yale’s leadership role in new play production: to me, Yale Rep’s artistic history is most vividly defined by the more than 100 world, US, and regional premieres presented here. Guided by Associate Artistic Director Jennifer Kiger and Literary Manager Amy Boratko, the Center has commissioned writers such as Octavio Solis, author of this season’s Lydia; award-winning playwright Naomi Iizuka; David Adjmi, whose play, The Evildoers, premiered at Yale Rep last season; 2009 Susan Smith Blackburn Prize finalist Elizabeth Meriwether; Marcus Gardley, Amy Herzog, and Kate Walat, all recent graduates of Yale School of Drama; and OBIE Award winner Adam Bock, who is collaborating with composer Todd Almond on a new musical based on Shirley Jackson’s novel, We Have Always Lived in the Castle. These writers are thrillingly accomplished and full of promise. We look forward to sharing their work with you, even as we strive to endow the Center permanently, to ensure that Yale Rep will remain a wellspring of important new plays for generations to come. Thank you for joining us for this performance. As always, I look forward to hearing what you think: firstname.lastname@example.org is my email address. Also, if you haven’t yet shared your e-mail address with us, please do so at yalerep.org—we will soon be sharing video clips of productions at Yale Rep with you online, and the more we can communicate with you electronically, the greener all our lives will be. Last, please tell someone you know that Notes from Underground is playing here at Yale Rep through April 11 only. Thank you for sharing the experience! Sincerely,
1157 chapel street new haven ct 06511 203 503 3900
James Bundy Artistic Director
MARCH 20 TO APRIL 11, 2009
YALE REPERTORY THEATRE
James Bundy, Artistic Director
Victoria Nolan, Managing Director
PRESENTS the world premiere of
NOTES Bill FROM UNDERGROUND Camp Robert Woodruff Adapted by
Based on a translation by
Richard Pevear and Larissa Volokhonsky Directed by Robert Woodruff Scenic Designer
moria sine clinton
Composer and Sound Designer
Associate Projection Designer
Fight Director Vocal Coach Casting Stage Manager
RICK SORDELET WALTON WILSON tara rubin casting kris longley-postema
This adaptation of Notes from Underground was commissioned by the Yale Center for New Theatre with the generous support of the Robina Foundation. season media sponsor
cover photo by david cooper.
CAST BILL CAMP
Notes from Underground is performed without intermission.
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Notes on Notes*
P L E A SE E N J OY A CO M P L I M E N TA R Y CU P
Fyodor Dostoevsky’s Underground Man is a modern man. As a literary character he is one of the first of his kind. But he is also a product of his time: a nineteenth-century Russian man. Some claim the Underground Man’s rants are pure satire, Dostoevsky’s attack on nineteenthcentury Russian scholars and philosophers. Others believe that Dostoevsky depicts the all-too-real underground of the human psyche.
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Before going underground, Dostoevsky’s protagonist abandoned his post as a civil servant. Through this profession, Dostoevsky furthers a favorite Russian literary archetype: the government clerk. In an empire without a middle class, these educated men occupy the lowest ranks of the upper class, the last rung of genteel society before the steep drop into poverty and serfdom. Despite his endless, mundane labor, the clerk has no possibility for upward mobility; he must either go into debt to enjoy moments of a finer life or resign himself to his place.
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During 1864, the year that Dostoevsky wrote Notes, tragedy dogged him with the deaths of his first wife Maria Dmitrevna, his brother Mikhail, and his beloved colleague and editor Apollon Grigorev. In a letter to Mikhail in April of that year, he described the conditions under which he wrote the novella: “My friend, I was sick for the greater part of a month…My nerves are on edge…My torments of all sorts are so hard to bear that I don’t want to mention them…My wife is dying, literally…nevertheless I write and write.”
*The author constructed his novella in two parts. In Part I: “Notes from Underground,” set in the 1860s, the Underground Man delivers a first-person argument in eleven chapters. In Part II: “Apropos of the Wet Snow,” the clerk describes incidents sixteen years before, when, at the age of twenty four, he still lived among his peers, a time when he did not yet live in the underground but ‘only bore it in his soul’. 9
Tsar Nicholas I, who led Russia into a bleak period of terror and oppression from 1825–1855, developed a network of spies, informants, and censors across his empire, and he stamped out any inkling of revolutionary activity or thought. Young intellectuals of the 1840s avoided confrontation with Nicholas’s regime. Instead of using their education to inspire active revolution, they turned to dreaming and embraced what they considered “the beautiful and lofty” ideals of French romanticism, preferring to read the novels of Victor Hugo than to affect change in their native Russia.
Dostoevsky once socialized with, and was embraced by, these naïve Russian romantics. His first major work, Poor Folk (1845–46), earned him entrance into the most elite salons, and hopes abounded that he would continue to champion the Russian peasant in realistic prose. However, in his sophomore work, The Double (1846), Dostoevsky experimented with form and characterological psychology. The story’s lukewarm reception dampened Dostoevsky’s popularity. He soon found himself on the fringes of Russian intellectual life and in the Petrashevsky Circle, a group of radicals that flirted with actually converting their revolutionary thought into action.
In 1849, Dostoevsky and other members of the Petrashevsky Circle were sentenced to death, a common punishment in the last fear-filled years of Nicholas I’s reign. But, in a plot twist worthy of melodrama, the prisoners were granted a last-minute reprieve as they faced the firing squad. Although his life was spared, Dostoevsky was sentenced to five years in a Siberian labor camp and five years living the brutal life of a common soldier. After the House of the Dead (1862), a novel that chronicled his time in Siberia, Notes from Underground was Dostoevsky’s first major work after paying for his “crimes” against the Tsar.
Nikolai Chernyshevsky (1828-1889) wrote the proto-socialist treatise, What Is To Be Done?, in 1863. Once just outside of the Petrashevsky Circle, he hoped to galvanize the young intelligentsia into action, calling on them to lead the masses and build a new Russian utopia, founded on reason and intellect. What Is to Be Done? includes a favorite plot of nineteenthcentury Russian literature: one of the heroes saves a fallen woman from a life of destitution and debauchery. With the Liza subplot in Notes from Underground, Dostoevsky takes direct aim at Chernyshevsky’s clichés.
Dostoevsky visited the Crystal Palace in 1862 during London’s second World’s Fair. He despised the looming iron and glass construction, believing it to be not only a monstrosity but a symbol of apocalypse. He wrote about his travels abroad in Winter Notes on Summer Impressions, but compared to other Russian writers who thrived on trips to Paris and London, Dostoevsky found his inspiration in St. Petersburg and Moscow.
Dostoevsky shared a fundamental belief in and respect for the Russian people and their enduring spirit. He rejected the hegemony of Western European culture, and he worried about the increasing egoism and materialism invading Russia. A true Slavophile, the author looked to define a true Russian character to find salvation for an empire on the brink of destruction.
The Russian translation of Charles Darwin’s On the Origin of Species hit St. Petersburg in 1864. The theory of evolution sparked debates that pitted science against religion, man’s free will against man’s biological destiny; man’s pursuit of his own pleasure and profits as a biological imperative. Dostoevsky himself was a devout follower of the Russian Orthodox Church. Some critics have speculated that, in Notes, he would have proposed a Christian alternative to the Underground Man’s nihilistic views, but references to Christ and anything resembling religious philosophy would have ended up on the censor’s scrap heap.
The Underground Man not only endures, but he has become the spokesman for philosophical and aesthetic movements since Dostoevsky created him. The character, seen as a harbinger of modernism, has been said to embody Nietzsche’s amoralism and nihilism, Sartre’s existentialism, and Freud’s perfect subject for psychoanalysis. He seems ripped from the pages of twentieth-century literature, foreshadowing the language of Kafka, Camus, and Beckett.
The final end? In Notes from Underground, Dostoevsky creates more than just a satire of Russian thinkers, who are paralyzed by the sheer brilliance of their own thoughts. The Underground Man, with his labyrinthine intellectual arguments, is also a real man who suffers the pain of humiliation and rejection. —AMY BORATKO, PRODUCTION DRAMATURG
как написать русский роман how to write a Russian
From 1866 until his death in 1881, Dostoevsky wrote some of the greatest novels in the Western canon: Crime and Punishment (1866), The Idiot (1868), The Possessed (1871–72), and The Brothers Karamazov (1879–80). Though his genius has been praised and his words have been declared mini revolutions in style, form, and content, he didn’t write in a vacuum. Among his literary peers were the founding fathers of Russian literature: Alexander Pushkin, Nikolai Gogol, Mikhail Lermontov, Ivan Turgenev, and Leo Tolstoy. Through their novels and short stories, they created a catalogue of stock characters, plots, and themes. And if you've always dreamed of joining their ranks and writing your own novel in nineteeth-century fashion, here are the tools to inspire your inner Dostoevsky.
If government service can’t pay the bills—and one isn’t lucky enough to receive an inheritance—what revenue streams are possible in this imagined St. Petersburg? Apart from running a thriving brothel, a profitable occupation might be to open a gambling ring. These same clerks, scrimping and saving to buy their winter overcoats, bet everything they have trying to draw that perfect hand of cards. Losing only propels them further into debt, which in turn provides material for lamentation; and if an addiction to gambling develops, those poor secretaries might fall victim to insanity. But in the fictional Petersburg of Russian novels, most roads lead to poverty. So the nights of carousing might lead to more encounters with whores, plunging the petty officials deeper into debt. And a potent cocktail of lust, desperation, and vodka could stir up rivalries, providing ample opportunity to imagine duels. These duels tend to be sparked by humiliation, small or large, not battles over love. On the other hand, if a clerk manages to avoid a duel and scrape up enough kopecks for a night with a prostitute, his paroxysms of joy might inspire him to save the lady from a life of servitude. No matter which course of action he takes, he’ll likely suffer a hangover of conscience the next morning. All strung together, these components form a juicy if formulaic melodrama, but in the hands of the masters, they form the palette of a nation’s literature. —AB
St. petersberg, ca. 1850.
To begin with the setting: St. Petersburg is the capital of Russian literature. Peter the Great envisioned his city, planned it, and built it in the model of great European capitals. Despite mapping out its every corner in detail, there was a major flaw in his design: St. Petersburg itself floats on top of a swamp, and the city often finds itself cloaked in a thick fog. During the winters, a slushy, wet snow, almost like sleet, adds to the perpetual humidity. During the summers, endless sunshine, called “white nights” inspires both beauty and madness. The largest demographic of the fictional St. Petersburg is comprised of whores and clerks. Sure, landlords and beggars, officers and criminals, young virgins and old hags, may wander in and out of stories, but Peter’s city teems with struggling government clerks and the prostitutes they can’t afford to patronize. The city once boasted its own red-light district, named the Haymarket, where prostitution was legal, and whores were licensed. 12
dostoevsky’s notes for crime and punishment; women in a russian brothel, 1879.
CREATIVE TEAM MICHAËL ATTIAS (Apollon/Musician/Composer/Sound
MARK BARTON (Lighting Designer) Off-Broadway credits include The Shipment,
Designer) is a New York City-based saxophonist/composer. He
Chair, The Sound and the Fury (April 7th, 1928), Paradise Park, Church, All the Wrong Reasons, No Child…, Five Course Love, and Thom Pain (Based on Nothing). Other New York credits include many productions with companies including Elevator Repair Service, New York Theatre Workshop, Young Jean Lee’s Theater Company, Theatre for a New Audience, Target Margin Theater, Signature Theatre Company, Salt Theater, P.S.122, New Georges, Clubbed Thumb, HERE Arts Center, Epic Theatre Ensemble, Edge Theater Company, among many others. Productions of Elevator Repair Service’s Gatz in Brussels, Amsterdam, Zurich, Minneapolis, Oslo, Trondheim, Bergen, Lisbon, Vienna, Philadelphia, Portland, Seattle, Dublin, Chicago. Regional work includes productions at Perseverance Theatre, REDCAT, Berkeley Rep, Los Angeles Theater Center/Kirk Douglas Theatre, Woolly Mammoth Theatre Company, American Repertory Theatre, Lookingglass Theatre Company, Syracuse Stage, Asolo Repertory Theatre, Southern Rep, and Hangar Theatre. Other credits include Wozzeck, Ainadamar, Albert Herring, L’Ormindo, The Magic Flute, and Postcard from Morocco with The Curtis Opera Theater in Philadelphia.
has performed concerts in clubs and festivals throughout the United States, Europe, the Middle East, and Japan with musicians such as Paul Motian, Anthony Braxton, Anthony Coleman, Oliver Lake, and many others. Pursuing multifarious action as recording artist and leader of several ensembles, he has also composed and designed for dance, theatre, and film, both in the US and Europe; most recently Theatre for a New Audience’s production of Edward Bond’s Chair, directed by Robert Woodruff, at The Duke on 42nd Street this past December.
BILL CAMP* (Man/Co-Adaptor) previously appeared in the Yale Rep productions of Troilus and Cressida and Le Bourgeois Avant-Garde. In New York, his credits include the Broadway productions of St. Joan, The Seagull, Jackie: An American Life, Heartbreak House, and Coram Boy; and Off-Broadway: Homebody/ Kabul (OBIE Award), Lydie Breeze, The Demons, The Misanthrope, Beckett Shorts (New York Theatre Workshop); Macbeth, Measure for Measure (Theatre for a New Audience); One Flea Spare (The Public Theater); and Inferno (Jewish Rep). At American Repertory Theatre, he appeared in Henry IV, Parts I and II; Henry V; Picasso at the Lapin Agile; Long Day’s Journey into Night (Elliot Norton Award, Best Actor); Richard II; The Provok’d Wife; and Olly’s Prison. Other US theatre credits include productions at Brooklyn Academy of Music, Mark Taper Forum, Guthrie Theater, Berkeley Repertory Theatre, Seattle Repertory Theatre, La Jolla Playhouse, and Hartford Stage, among others. Television and film credits include Public Enemies, The Guitar, Coach, Deception, The Dying Gaul, Brotherhood, Law and Order, Joan of Arcadia, and The Great Gatsby.
MERRITT JANSON* (Liza/Musician) is making her Yale Rep debut. Most recently she was seen in New York as Sophie Barger in Baal (The Riverside Theatre). She has appeared as Desdemona in Othello (Shakespeare & Company); the title role in Eurydice (The Wilma Theater); Chevalier in Theatre de la Jeune Lune’s The Deception (La Jolla Playhouse); Junia in Britannicus (IRNE nomination), The Onion Cellar (American Repertory Theatre); Emilia in The English Channel (Vineyard Playhouse); and Tuesday (Barrymore Award for Outstanding Ensemble, Amaryllis Theatre Company). Her film credits include Mail Order Wife (Best American Film, Santa Barbara International Film Festival) and Otto and Anna. Ms. Janson received her MFA from the A.R.T./ MXAT Institute for Advanced Theatre Training at Harvard University. *MEMBER OF ACTORS’ EQUITY ASSOCIATION, UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS IN THE UNITED STATES. 14
AMY BORATKO (Production Dramaturg) previously served as dramaturg on the Yale Rep productions of A Woman of No Importance, Eurydice, and The Cherry Orchard. Other dramaturgy credits include The Time of Your Life, The Summer People, Romeo and Juliet, The War Is Over (Yale School of Drama); as well as Voice and Vision’s Envision Retreat at Bard College. She is the Literary Manager at Yale Rep. She has been a teaching fellow at Yale College and Yale School of Drama and was a managing editor of Theater magazine. A graduate of Rice University, she received her MFA in Dramaturgy and Dramatic Criticism from Yale School of Drama.
MORIA SINE CLINTON (COSTUME DESIGNER) is a third-year MFA candidate at Yale School of Drama, where her credits include I Am a Superhero and Peer Gynt. The recipient of two Kennedy Center American College Theatre Awards, the 2003 National Barbizon Costume Design Award for Scapino, and the 2004 National Mehron Award in Makeup Design for Bondagers, her other credits include Korean Elektra, The Underneath, Bone Songs, The Do-Over (Yale Cabaret); Grey Gone (Impact Theatre, NY); Arms and the Man (Theatre in the Round, MN); Commedia and dance productions at Humboldt State University, CA; productions at St. Croix Valley Summer Theatre, WI; Phipps Center for the Performing Arts, WI; and the University of Wisconsin-River Falls. Moria will return to The Santa Fe Opera for her eighth summer to assist on Elixir of Love.
KRIS LONGLEY-POSTEMA* (Stage Manager) is a third-year MFA candidate at Yale School of Drama, where his stage management credits include Ah, Americans!; Grace, or the Art of Climbing; Lone Pilots of Roosevelt Field; A Month in the Country; The Wendy Play; Venus; and Bibles and Candy. His other credits include The Evildoers (Yale Repertory Theatre); In the Cypher: A Poetry Slam (Yale Cabaret); as well as productions at The Playwrights’ Center, Glimmerglass Opera, and Riverside Theatre. He recently toured Hungary with DiCapo Opera’s production of The Crucible and served as Associate Production Supervisor on Happy Now? at Yale Rep. 15
PETER NIGRINI (Projection Designer) Video design credits for theatre include the
RICK SORDELET (FIGHT DIRECTOR) has staged 44 Broadway productions,
Broadway productions of Say Goodnight, Gracie and the upcoming 9 to 5: The Musical; the new musical Fela! conceived and directed by Bill T. Jones; Jean Genet’s Elle starring Alan Cumming (The Art Party, NYC); Biro (The Public Theater); Blind Date with the Bill T. Jones/Arnie Zane Dance Company; Camille, Neil Bartlett’s adaptation of Alexandre Dumas’s La Dame Aux Camelias, directed by Kate Whoriskey; Sweet Bird of Youth (Williamstown Theatre Festival). His opera credits include the world premiere of Charles Wuorinen’s adaptation of Haroun and the Sea of Stories by Salman Rushdie (New York City Opera); world premiere of Frau Margot by Thomas Pasatieri and Angels in America by Peter Eötvös (Fort Worth Opera). Mr. Nigrini received his BA from Dartmouth College and his MA from Central St. Martin’s College of Art and Design’s International Scenography Centre (London).
including Disney’s The Lion King, Beauty and the Beast, Tarzan, The Little Mermaid, and Aida. He has staged the fights for the opera Cyrano de Bergerac starring Placido Domingo at the Metropolitan Opera, The Royal Opera House, and the LaScala in Milan, Italy; and for over 40 first-class productions on five continents. Film: The Game Plan starring Dwayne “The Rock” Johnson; Dan in Real Life starring Steve Carell and Juliette Binoche; and Hamlet starring Campbell Scott. He is the chief stunt coordinator for Guiding Light and staged the fights for First Jedi, a CD-ROM for George Lucas. Rick received the Lucille Lortel Award for Sustained Excellence in 2007. He teaches at Yale School of Drama, The New School for Drama, and The Neighborhood Playhouse. He is a company member of The Drama Dept., a board member of The Shakespeare Theatre of New Jersey, and the author of the play Buried Treasure. He is married to actress Kathleen Kelly and has three children: Kaelan, Christian, and Collin.
RICHARD PEVEAR AND LARISSA VOLOKHONSKY (Translators) Richard Pevear has published translations of Alain, Yves Bonnefoy, Alberto Savinio, Pavel Florensky, and Henri Volohonsky, as well as two books of poetry. He has received fellowships or grants for translation from the National Endowment for the Arts, the Ingram Merrill Foundation, the Guggenheim Foundation, the National Endowment for the Humanities, and the French Ministry of Culture. Larissa Volokhonsky was born in Leningrad. She has translated works by the prominent Orthodox theologians Alexander Schmemann and John Meyendorff into Russian. Together, Pevear and Volokhonsky have translated Dead Souls and The Collected Stories by Nikolai Gogol; The Complete Short Novels by Anton Chekhov; The Brothers Karamazov, Crime and Punishment, Notes from Underground, Demons, The Idiot, and The Adolescent by Fyodor Dostoevsky. They were twice awarded the PEN Book-of-the-Month Club Translation Prize (for their version of Dostoevsky’s The Brothers Karamazov and for Tolstoy’s Anna Karenina). Their translation of Dostoevsky’s Demons was one of three nominees for the same prize. They are married and live in France.
TARA RUBIN CASTING (CASTING) has been casting at Yale Rep since 2004. Broadway: Billy Elliot, Shrek, Guys and Dolls, The Little Mermaid, Mary Poppins, Jersey Boys, The Producers, Mamma Mia!, The Phantom of the Opera, The Country Girl, Young Frankenstein, The Farnsworth Invention, Rock ’n’ Roll, The History Boys (US casting), Les Misérables, Spamalot, The 25th Annual Putnam County Spelling Bee, The Pirate Queen, Good Vibrations, Bombay Dreams, Oklahoma!, Flower Drum Song, Imaginary Friends, Metamorphoses (New York casting). Lincoln Center Theater: Happiness, The Frogs, Contact, Thou Shalt Not, A Man of No Importance, Anything Goes (concert). Off-Broadway: Second Stage Theatre. Regional: Williamstown Theatre Festival; La Jolla Playhouse (New York casting); Mame, Mister Roberts, The Sondheim Celebration, and Tennessee Williams Explored at The Kennedy Center. Film: The Producers: The Musical. Members, Casting Society of America. 16
DANIEL VATSKY (Associate Projection Designer) Theatre projection design credits include The Psychasthenia Society (Collective Unconscious, NYC) and The Situation Room (New York International Fringe Festival). Film credits include animation for Andy Warhol: A Documentary Film and We Shall Remain: Tecumseh, both by Ric Burns; Summer Sun Winter Moon by Hugo Perez; and The Lord God Bird by George Butler. He has created onstage video content for Laurie Anderson’s Homeland and Chris Rock’s No Apologies tour and interactive exhibits for The New Museum and The Goethe Institut-New York. Mr. Vatsky holds a BFA from the State University of New York, Purchase College and an MS from the Polytechnic Institute of New York University.
WALTON WILSON (Vocal Coach) is head of Voice and Speech at Yale School of Drama. He was trained and designated as a voice teacher by Master Teacher Kristin Linklater and was trained and certified as an associate teacher by Master Teacher Catherine Fitzmaurice. He also studied with Richard Armstrong, Meredith Monk, and Patsy Rodenburg. His New York credits include the Broadway productions of The Violet Hour and Golden Child; and the world premiere productions of The Laramie Project, Humpty Dumpty, Argonautika, and Endangered Species. His regional theatre credits include productions at Actors Theatre of Louisville, American Repertory Theatre, Long Wharf Theatre, McCarter Theatre, Shakespeare & Company, and Williamstown Theatre Festival. At Yale Rep, he has served as voice and dialect coach on Boleros for the Disenchanted, The Evildoers, The Cherry Orchard, The Intelligent Design of Jenny Chow, The Black Monk, Medea/Macbeth/Cinderella, Betty’s Summer Vacation, The Birds, and Richard III.
CHARLES S. DUTTON in
CREATIVE TEAM ROBERT WOODRUFF (Co-Adaptor/Director) has directed over 60 productions across the US at theatres including Lincoln Center Theater, The Public Theater, Brooklyn Academy of Music, American Conservatory Theater, Guthrie Theater, and Mark Taper Forum, among others. Most recently, he directed Chair at Theatre for a New Audience and created Ifigeneia in Aulis with Toneelgroep Amsterdam and Philip Glass’s Appomattox for the San Francisco Opera. Internationally, his work has been seen at the Habimah National Theatre in Israel, Sydney Arts Festival, Los Angeles Olympic Arts Festival, Edinburgh International Festival, Hong Kong Festival of the Arts, Jerusalem Festival, and Spoleto Festival USA. Mr. Woodruff has taught at the University of California campuses at San Diego and Santa Barbara, New York University’s Tisch School of the Arts, and Columbia University. He is now on the faculty of Yale School of Drama. In 1972, he co-founded the Eureka Theatre in San Francisco, where he served as Artistic and Resident Director until 1978. In 1976, Mr. Woodruff established the Bay Area Playwrights Festival, a summer forum for the development of new plays that is still flourishing. From 2002 to 2007, Mr. Woodruff was the Artistic Director of American Repertory Theatre. He was named a 2007 USA Biller Fellow by United States Artists, an arts advocacy foundation dedicated to the support and promotion of America’s top living artists.
DAVID ZINN (Scenic Designer) designed the costumes for Yale Rep’s production of Medea/Macbeth/Cinderella in 2002. His New York credits include costumes for the Broadway productions of A Tale of Two Cities and Xanadu; and Off-Broadway his recent set and costume design credits include Chair (Theatre for a New Audience); Back Back Back, The Four of Us (Manhattan Theatre Club); and The Sound and the Fury (Elevator Repair Service). His regional credits include sets and/or costumes for The Seagull, The Island of Slaves, Olly’s Prison, Orpheus X, Highway Ulysses (American Repertory Theatre); Tobacco Road (La Jolla Playhouse); and most recently, costumes for In the Next Room (or the Vibrator Play) at Berkeley Rep; as well as productions at the Guthrie, Alliance Theatre, Spoleto Festival, Mark Taper Forum, Intiman Theatre, Seattle Rep, and CENTERSTAGE, among many others. His set and costume designs for opera have been seen at the Lyric Opera of Chicago, Santa Fe Opera, Glimmerglass, New York City Opera, and others. He is the recipient of the 2008 OBIE Award for Sustained Achievement in Set and Costume Design and the 2005 TDF/Irene Sharaff Young Master Award.
DEATH OF A SALESMAN By ARTHUR MILLER Directed by JAMES BUNDY “CHARLES S. DUTTON IS A FORCE OF NATURE: THAT RARE ACTOR WHO CAN ANNOUNCE THAT HE’S ON FIRE AND MAKE AN AUDIENCE BELIEVE HE MIGHT ACTUALLY BURN DOWN THE THEATRE.” —THE NEW YORK TIMES
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Notes from Underground
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yale repertory theatre ARTISTIC DIRECTOR JAMES BUNDY is in his seventh year as Dean of Yale School of Drama and Artistic Director of Yale Repertory Theatre. In his first six seasons, Yale Rep has produced more than twenty world, American, and regional premieres, three of which have been honored by the Connecticut Critics Circle with the award for Best Production of the year, and two of which have been Pulitzer Prize finalists. During this time, Yale Rep has also commissioned more than a dozen playwrights to write new work and provided low-cost theatre tickets and classroom visits to thousands of middle and high school students from Greater New Haven through WILL POWER!, an educational program initiated in 2004. Mr. Bundy’s directing credits include The Psychic Life of Savages, The Ladies of the Camellias, All’s Well That Ends Well, and A Woman of No Importance at Yale Rep, as well as productions at Great Lakes Theater Festival, The Acting Company, California Shakespeare Festival, Alabama Shakespeare Festival, and The Juilliard School Drama Division. A recipient of the Connecticut Critics Circle’s Tom Killen Award for extraordinary contributions to Connecticut professional theatre in 2007, Mr. Bundy currently serves on the board of directors of Theatre Communications Group, the national service organization for nonprofit theatre. Previously, he worked as Associate Producing Director of The Acting Company, Managing Director of Cornerstone Theater Company, and Artistic Director of Great Lakes Theater Festival. He is a graduate of Harvard College and Yale School of Drama.
MANAGING DIRECTOR VICTORIA NOLAN is in her 17th year as Managing Director of Yale Repertory Theatre, also serves as Deputy Dean of Yale School of Drama and is on its faculty. She was previously Managing Director of Indiana Repertory Theatre, Associate Managing Director at Baltimore’s CENTERSTAGE, Managing Director at Ram Island Dance Company in Portland, Maine; and she has held various positions at Loeb Drama Center of Harvard University; TAG Foundation, an organization producing Off-Broadway modern dance festivals; and Boston University School for the Arts. Ms. Nolan has been an evaluator for the National Endowment for the Arts, for which she has chaired numerous grant panels, and has served on other panels and foundation review boards including the AT&T Foundation, The Heinz Family Foundation, Lila Wallace-Reader’s Digest Fund, and the Metropolitan Life Foundation. She has also served on the Executive Committee of the League of Resident Theatres (LORT) and on numerous negotiating teams for national labor contracts. A Fellow at Yale’s Saybrook College, she is the 2000 recipient of the Betsy L. Mahaffey Arts Administration Fellowship Award from the State of Connecticut and the 2005 recipient of the Elm/Ivy Award, given jointly by Yale University and the City of New Haven for distinguished service to the community.
ASSOCIATE ARTISTIC DIRECTOR JENNIFER KIGER is in her fourth year as Associate Artistic Director and director of the new play programs at the Yale Center for New Theatre, an integrated, playwright-driven initiative that supports the creation of new plays and musicals for the American stage through commissions, residencies, workshops, and productions. Ms. Kiger came to Yale Rep from South Coast Repertory (SCR), where she was Literary Manager from 2000 to 20
2005 and served as Co-Director of the Pacific Playwrights Festival. She was dramaturg on more than 40 new plays at SCR, including the world premieres of Rolin Jones’s The Intelligent Design of Jenny Chow, Amy Freed’s The Beard of Avon, and the West Coast premieres of Sarah Ruhl’s The Clean House and Nilo Cruz’s Anna in the Tropics. Prior to that, she served as production dramaturg at American Repertory Theatre, collaborating with Robert Brustein, Robert Woodruff, Liz Diamond, and Kate Whoriskey, and with multi-media director Bob McGrath on stage adaptations of Robert Coover’s Charlie in the House of Rue and Mac Wellman’s Hypatia. She has been a dramaturg for the Playwrights’ Center of Minneapolis and Boston Theatre Works and a panelist for the National Endowment for the Arts and the California Arts Council. Ms. Kiger completed her training in Dramaturgy at the American Repertory Theatre Institute for Advanced Theatre Training at Harvard University, where she taught courses in acting and dramatic arts.
PRODUCTION SUPERVISOR BRONISLAW SAMMLER, Production Supervisor of Yale Repertory Theatre, has been Chair of Yale School of Drama’s acclaimed Technical Design and Production Department since 1980. In 2007 he was named the Henry McCormick Professor (Adjunct) of Technical Design and Production by Yale’s President, Richard C. Levin. He is co-editor of Technical Brief and Technical Design Solutions for Theatre, Vols. I & II. His book Structural Design for the Stage won the United States Institute of Theatre Technology’s Golden Pen Award. Demonstrating his commitment to excellence in technical education and professional production, he founded USITT’s National Theatre Technology Exhibit, an on-going biennial event; he has served as a commissioner and a director-at-large and is a lifetime Fellow of North America’s Theatre Technology Association. He was honored as Educator of the Year in 2006 by the New England Theatre Conference. His production management techniques and his introduction of structural design to scenic technology are being employed in both educational and professional theatres throughout the world.
PRODUCTION STAGE MANAGER JAMES MOUNTCASTLE has been the Production Stage Manager at Yale Rep since fall 2004. He was stage manager for this season’s production of Sarah Ruhl’s Passion Play, the 2006 production of Ruhl’s Eurydice, the 2004 world premiere of Ruhl’s The Clean House, a new adaptation of The Cherry Orchard in 2005, and last season’s Richard II. A professional stage manager for more than twenty years, he has worked in regional, stock, and Broadway theatre. Broadway credits include Damn Yankees, Jekyll & Hyde, Judgment at Nuremberg, The Boys from Syracuse, The Smell of the Kill, Life x(3), and Wonderful Town. Mr. Mountcastle spent several Christmas seasons in New York City as stage manager for the now legendary production of A Christmas Carol at Madison Square Garden. Broadway national tours include City of Angels, Falsettos, and My Fair Lady. He served as Production Stage Manager for Damn Yankees starring Jerry Lewis for both its national tour and at the Adelphi Theatre in London’s West End. In addition, Mr. Mountcastle has worked at The Kennedy Center, Centerstage in Baltimore, Actors Theatre of Louisville, Brooklyn Academy of Music, and elsewhere. James and his wife Julie live in North Haven and are the very proud parents of two beautiful girls: Ellie, who is 10 years old, and Katie, age 8. 21
yale repertory theatre staff James Bundy, Artistic Director Victoria Nolan, Managing Director Jennifer Kiger, Associate Artistic Director
ARTISTIC Resident Artists Paula Vogel, Playwright-in-Residence Liz Diamond, Evan Yionoulis, Resident Directors Catherine Sheehy, Resident Dramaturg Ming Cho Lee, Set Design Advisor Michael Yeargan, Resident Set Designer Jane Greenwood, Costume Design Advisor Jess Goldstein, Resident Costume Designer Jennifer Tipton, Lighting Design Advisor Stephen Strawbridge, Resident Lighting Designer David Budries, Sound Design Advisor Walton Wilson, Voice and Speech Advisor Rick Sordelet, Fight Advisor Mary Hunter, Stage Management Advisor Associate Artists 52nd Street Project, Kama Ginkas, Mark Lamos, MTYZ Theatre/Moscow New Generations Theatre, Bill Rauch, Sarah Ruhl, Henrietta Yanovskaya Artistic Administration Amy Boratko, Literary Manager Michael Walkup, Artistic Coordinator Brian Valencia, Kristina Williams Literary Associates Tara Rubin, CSA, Laura Schutzel, CSA, Casting Directors Eric Woodall, Merri Sugarman, Casting Associates Paige Blansfield, Rebecca Carfagna, Dale Brown, Casting Assistants Ruth M. Feldman, Director of Education and Accessibility Services Pamela C. Jordan, Librarian Teresa Mensz, Library Services Assistant Josie Brown, Senior Administrative Assistant to the Artistic Director and Associate Artistic Director Kathleen Driscoll, Senior Administrative Assistant for the Directing, Dramaturgy & Dramatic Criticism, Playwriting, and Stage Management Departments Mary Volk, Senior Administrative Assistant for the Design and Sound Design Departments
ADMINISTRATION Frances Black, Kay Perdue, Associate Managing Directors Whitney Estrin, Assistant Managing Director Tara Kayton, Management Assistant Claire Shindler, Senior Administrative Assistant to the Managing Director Suzanne Appel, Company Manager
Development and Alumni Affairs Deborah S. Berman, Director of Development and Alumni Affairs Debbie Ellinghaus, Senior Associate Director of Development and Alumni Affairs Ann M.K. McLaughlin, Senior Associate Director of Development, Yale Repertory Theatre Luis Abril, Associate Director, Development Susan C. Clark, Development Associate Art Priromprintr, Development Assistant Belene Day, Interim Senior Administrative Assistant to Development and Marketing and Communications Departments Finance and Information Technology Katherine D. Burgueño, Director of Finance and Human Resources Sheila Daykin, Associate Director of Finance Cristal Coleman, Magaly Costa, Maria Frey, Business Office Specialists Ashlie Russell, Business Office Assistant Randall Rode, Information Technology Director Daryl Brereton, Associate Information Technology Director Mara Hazzard, Tessitura Systems Administrator Toni Ann Simiola, Senior Administrative Assistant to Business Office, Information Technology, Operations, and Tessitura Marketing, Communications, and Audience Services Anne Trites, Director of Marketing and Communications Steven Padla, Senior Associate Director of Communications Daniel Cress, Associate Director of Marketing Sergi Torres, Associate Director of Marketing and Communications Rachel Smith, Marketing and Audience Services Manager Sarah Stevens-Morling, Interim Online Communications Manager Martha O. Jurczak, Marketing Assistant Maggie Elliott, Graphic Artist Scott McKowen, Punch & Judy Inc., Graphic Designers David Cooper, Photographer Joan Marcus, Production Photographer Janna J. Ellis, Associate Director of Audience Services and Tessitura Specialist Tracy Baldini, Assistant Audience Services Director Audrey Rogers, Manager, Group Sales Nancy Genga, London Moses, Audience Services Assistants Sam Bolen, Courtney Engle, Ruth Kim, Leah Knowles, Sue Malone, Justin Meadows, Andrew Riveria, Raphael Shapiro, Carrie Toole, Anya Van Wagtendonk, Box Office Assistants
Operations William J. Reynolds, Director of Facility Operations Rich Abrams, Operations Associate Jacob Thompson, Security Officer Ed Jooss, Audience Safety Officer Fred Grier, Michael Blatchley, Customer Service and Safety Officers Ben Holder, Ron Maybrey, Custodial Supervisors Lucille Bochert, Vermont Ford, Warren Lyde, Vondeen Ricks, Mark Roy, Custodians
PRODUCTION Bronislaw J. Sammler, Production Supervisor James Mountcastle, Production Stage Manager Jonathan Reed, Senior Associate Production Supervisor Marla J. Silberstein, Senior Administrative Assistant to the Production Department Costumes Tom McAlister, Costume Shop Manager Robin Hirsch, Associate Costume Shop Manager Mary Zihal, Senior Draper Clarissa Wylie Youngberg, Draper Deborah Bloch, First Hand Linda Kelley-Dodd, Costume Project Coordinator Barbara Bodine, Company Hairdresser Linda Wingerter, Costume Stock Manager Electrics Donald W. Titus, Lighting Supervisor Jason Wells, Linda Young, Head Electricians Adrian Rooney, Assistant to the Lighting Supervisor Painting Ru-Jun Wang, Resident Scenic Charge Angie Meninger, Scenic Artist Nora Hyland, Assistant Scenic Artist Steward Savage, Assistant to the Painting Supervisor Properties Brian Cookson, Properties Master David P. Schrader, Properties Craftsperson Jennifer McClure, Properties Assistant Rachel Reynolds, Properties Stock Manager Scenery Don Harvey, Neil Mulligan, Technical Directors Alan Hendrickson, Electro Mechanical Laboratory Supervisor Eric Sparks, Shop Foreman Matt Gaffney, Sharon Reinhart, Ryan Gardner, Master Carpenters Lisa McDaniel, Shop Carpenter Bona Lee, Assistant to the Technical Director Sound Brian MacQueen, Sound Supervisor Paul Bozzi, Staff Sound Engineer Nicholas Pope, Junghoon Pi, Assistants to the Sound Supervisor
ADDITIONAL STAFF FOR NOTES FROM UNDERGROUND Devin Brain, Michael McQuilken, Assistant Directors Jennifer Salim, Assistant Costume Designer Tim McMath, Assistant Scenic Designer Ji-Youn Chang, Assistant Lighting Designer Phillip Owen, Associate Sound Designer Jenna Woods, Assistant Stage Manager Ryan Retartha, Associate Production Supervisor Christopher Swetky, Technical Director Justin Elie, Steven A. Schmidt, Assistant Technical Directors Erich Bolton, Assistant Properties Master Brian Farkas, Master Electrician Junghoon Pi, Sound Engineer Amy Jonas, Shop Carpenter Joe Barna, Head Electrician Denise O'Brien, Wig Design Elizabeth Elliott, Susan Kim, Assistant Company Managers Susan Kim, House Manager Hannah Montgomery, Jennifer Harrison Newman, Run Crew SPECIAL THANKS Kevin Daniels, Joby Earle, Brian Hastert, John Hébert, Slate Holmgren, Russ Lossing, Ilana Ozernoy, Jen Shark, Bethany Wiese Notes from Underground By Fyodor Dostoevsky Adapted by Bill Camp and Robert Woodruff Based on a translation by Richard Pevear and Larissa Volokhonsky Published by Alfred A. Knopf, a division of Random House, Inc. Translation © 1993 by Richard Pevear and Larissa Volokhonsky All rights reserved. Any play based on or including extracts from Richard Pevear and Larissa Volokhonsky’s English language translation of Notes from Underground may not be performed in whole or in part, whether by amateurs or by professionals, without written permission and the payment of a royalty. All inquiries should be addressed to Alfred A. Knopf, a division of Random House, Inc., 1745 Broadway, New York, NY 10019.
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.
Projections Erik Trester, Head Projection Technician
The Director is a member of the Society of Stage Directors and Choreographers, Inc., an independent national labor union.
Stage Operations Janet Cunningham, Stage Carpenter Kate Begley Baker, Properties Runner Jeanne Wu, Sound Operator Elizabeth Bolster, Wardrobe Supervisor
The Scenic, Costume, Lighting, and Sound Designers in LORT are represented by United Artists Local USA-829, IATSE. Notes from Underground, March 20 to April 11, 2009, Yale Repertory Theatre, 1120 Chapel Street.
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Bank of America Barrett Outdoor Communications Geronimo Tequila Bar Martinson Coffee Mionetto USA Regional Water Authority Scoozzi Trattoria and Wine Bar
Barcelona Chestnut Fine Foods Chow Connecticut Presort Est Est Est Fleur de Lys Floral and Gifts Hull’s Arts Supply and Framing New Haven Advocate New Haven Register Starbucks Thames Printing Company, Inc. WSHU Public Radio Group The Yale Bookstore Yellow Book Zinc
WILL POWER! SPONSORS YALE REPERTORY THEATRE’S ARTS EDUCATION INITIATIVE Anna Fitch Ardenghi General Charitable Purpose Trust Bank of America Jane Marcher Foundation NewAlliance Foundation Ms. Esme Usdan This list includes current pledges, gifts and grants received from July 1, 2007‚ through March 10, 2009.
DISCOUNT DINING PARTNERS The following dining establishments offer discounts to Yale Rep subscribers throughout the season. Miya’s Sushi Tre Scalini Pacifico Zaroka
how to reach us
Yale Repertory Theatre Box Office 1120 Chapel Street (at York St.) PO Box 1257, New Haven, CT 06505 203.432.1234 TTY (TELETYPE): 203.432.1521 email@example.com
Restrooms are located downstairs. Please contact the concierge for assistance with the elevator.
box office hours Monday to Friday from 10AM to 5PM Saturday from 12 to 5PM Until 8PM on all show nights
fire notice Illuminated signs above each door indicate emergency exits. Please check for the nearest exit. In the event of an emergency, you will be notified by theatre personnel and assisted in the evacuation of the building.
emergency calls Please leave your cell phone and/or beeper, name, and seat number with the concierge. We’ll notify you if necessary. Emergency only telephone number at Yale Rep: 203.764.4014
group rates Discounted tickets are available for groups of ten or more. Please call 203.432.1572.
seating policy Everyone must have a ticket. Sorry, no children in arms or on laps. Patrons who become disruptive will be asked to leave the theatre.
Yale Repertory Theatre offers all patrons the most comprehensive accessibility services program in Connecticut, including a season of open captioned and audio described performances, a free assistive listening system, large-print and Braille programs, a direct TTY (teletype) line to Yale Rep’s Box Office (203.432.1521), wheelchair accessibility with an elevator entrance into the Yale Rep Theatre located on the left side of the building, and accessible seating. For more information about the theatre’s accessibility services, contact Ruth M. Feldman at 203.432.8425 or firstname.lastname@example.org. Yale Repertory Theatre’s accessibility services are supported in part by The Seedlings Foundation, the Carol L. Sirot Foundation‚ and Romaine A. Macomb.
open captioning (oc): You’ll never again have to ask, “What did they say?” Open Captioning provides a digital display of the play’s dialogue it’s spoken. as
audio description (ad): A live narration of the play’s action, sets, and costumes for patrons who are blind or low vision.
Open Captioned and Audio Described performances are at 2PM. AD pre-show description begins at 1:45PM.
Notes from Underground Apr 4 Apr 11 Death of a Salesman May 9 May 16 c2inc is pleased to be the official Open Captioning provider of Yale Repertory Theatre.
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. 30
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Free and open to the public Pablo Picasso, Plate III from Michel Leirisâ€™s balzacs en bas de casse et picassos sans majuscle. Transfer lithograph. Published by Galerie Louise Leiris, Paris, 1957. Yale University Art Gallery, The Ernest C. Steefel Collection of Graphic Art, Gift of Ernest C. Steefel. ÂŠ 2008 Estate of Pablo Picasso/Artists Rights Society (ARS), New York