THE ORESTEIA

creating lasting impressions

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December 12–18, 2015

YALE SCHOOL OF DRAMA James Bundy, Dean Victoria Nolan, Deputy Dean Joan Channick, Associate Dean

Presents

THE ORESTEIA AESCHYLUS Translated by TED HUGHES Directed by YAGIL ELIRAZ By

Composer Scenic Designer

Matthew Suttor with the company Fufan Zhang

Costume Designer

An-Lin Dauber

Lighting Designer

Elizabeth Green

Sound Designer Projection Designer Production Dramaturg Stage Manager

Pornchanok (NOK) Kanchanabanca Michael Commendatore Davina Moss Helen Irene Muller

This translation of The Oresteia is performed with the permission of Faber and Faber Ltd., London.

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Cast in alphabetical order Aegisthus SEBASTIAN ARBOLEDA Atreus ANDREW BURNAP Cassandra ANNA CRIVELLI Orestes RICARDO DÁVILA Thyestes EDMUND DONOVAN

The Herald

MELANIE FIELD

Apollo JONATHAN HIGGINBOTHAM Clytemnestra ANNELISE LAWSON Athene SYDNEY LEMMON Agamemnon JONATHAN MAJORS Electra ELIZABETH STAHLMANN Iphigenia Remsen Welsh

Percussionist DOUG PERRY

There will be one ten-minute intermission.

An Eye for It began with a father who killed his son to feed him to the gods, for which the gods rained down a terrible curse on his lineage: children would slaughter their parents, and parents would slaughter their children. A cycle of violence that began many generations previous seems to have no end. In the curse’s most recent iteration, King Agamemnon has sacrificed his daughter, Iphigenia, to conjure the winds that would take him and the entire Greek army to the Trojan War. Today, ten years later, he arrives home from that war, victorious, to his wife Clytemnestra, who still harbors bitter hatred for the murder of their daughter. The curse has fallen upon him, though he does not know it…yet. Classical scholar Richard Seaford writes: “kin-killing is self-killing”: this family who destroys each other, destroys themselves.

Blood for blood—a life for a life: this is the form of justice that exists at the opening of Aeschylus’s 2500-yearold trilogy, The Oresteia. But there are many kinds of justice, and Aeschylus explores its many forms: reciprocal and democratic, familial and ensconced in law. Our modern world has organized justice—we have law courts and jurors, murder in the first, second and third degrees—but Aeschylus asks: can there be one right way to determine justice?

or an Eye In The Oresteia, as in so many myths, this question is concentrated in a single family. The House of Atreus stands in for every nation, party or sect whose response to aggression is further aggression. Yagil Eliraz’s production asks whether even an organized system of justice can stem the flow of blood. Is there something fundamentally human about the inability to let go of violence? Is it possible for justice to be truly rational, when it is attempting to control, punish or prevent the truly irrational?

Could it be that there is something dangerously natural in the desire for vengeance? The thought may be horrifying, but in The Oresteia we see the need to ask the question in the maddening insufficiency of the old system.

Communicating the power of a trial in a society that had only just invented law-courts to an audience who daily watches courtroom procedurals on television is a challenge for anyone undertaking this extraordinary work.

But in his third part, unique in extant Greek tragedy, Aeschylus presents us with a trial so strange and confusing, it seems concurrently to give credence to and undermine the arguments made within it. Aeschylus leaves us with more questions than answers.

But it is precisely this that keeps these plays so relevant—the issues they raise are absolutely crucial to our present moment, since we are still wrestling with these problems.

Afghanistan. Iraq. Syria. Israel.

Palestine. Somalia. Libya. Darfur.

Kashmir. Turkey. Myanmar. Across the globe today, conflicts rage in endless cycles of violence—an eye for an eye.

These aggressions are reactionary, each slaughter justified by the slaughter before. Aeschylus saw the human impulse to drown anger in a vortex of blood. If we squint into the past we can no longer identify a beginning, and a glance towards the future suggests the danger of there being no end. This is the world of The Oresteia.

—Davina Moss, Production DRamaturg

Cast SEBASTIAN ARBOLEDA (AEGISTHUS) is a second-year MFA candidate at Yale School of Drama, where he has been seen in Preston Montfort—An American Tragedy. Other credits include Leonce and Lena, Episode #121: Catfight (Yale Cabaret); Romeo and Juliet, Fool for Love, Lobster Alice (CSULB University Players); and Lemon Boots (Hollywood Fringe). Sebastian holds a degree in performance and organizational communication from California State University, Long Beach.

ANDREW BURNAP (ATREUS) is a third-year MFA candidate at Yale School of Drama, where his credits include The Skin of Our Teeth, Preston Montfort—An American Tragedy, The Seagull, Paradise Lost, and In Arabia We’d All Be Kings.

Other credits include Once Five Years Pass, Dental Society Midwinter Meeting (Williamstown Theatre Festival); The Caucasian Chalk Circle (Yale Repertory Theatre); King Lear (The Public Theater); The Two Gentlemen of Verona, Coriolanus, All’s Well That Ends Well (Commonwealth Shakespeare Company); Why Torture Is Wrong, and the People Who Love Them (Yale Summer Cabaret); Episode #121: Catfight, The Maids, and Rose and the Rime (Yale Cabaret). BFA, University of Rhode Island.

ANNA CRIVELLI (CASSANDRA) is a second-year MFA candidate at Yale School of Drama, where she has been seen in The Skin of Our Teeth and Deer and the Lovers. Other credits include Dental Society Midwinter Meeting, Once Five Years Pass (Williamstown Theatre Festival); and Leonce and Lena (Yale Cabaret). Through Fordham College at Lincoln Center, where she received a BA in theatre, she appeared in Non tutti i ladri vengono per nuocere in Rome, Mixed Doubles in London, and What of the Night? in New York.

RICARDO DÁVILA (ORESTES) is a second-year MFA candidate at Yale School of Drama, where he has been seen in The Skin of Our Teeth and The Children.

His credits include Leonce and Lena (Yale Cabaret), The Mysteries (The Flea), Mariquitas (Theater for the New City), and Mary Stuart (New York University).

He holds a degree in acting from NYU Tisch School of the Arts.

EDMUND DONOVAN (THYESTES) is a second-year MFA candidate at Yale School of Drama, where he has been seen in Deer and the Lovers. Other credits include Leonce and Lena, Quartet, and We Are All Here (Yale Cabaret); The Snow Geese (Manhattan Theatre Club, understudy); Hot Fun in the Summertime (Cherry Lane Theatre); The Beauty Queen of Leenane (Shakespeare & Company); and Macbeth (Actors’ Shakespeare Project), as well as readings and workshops with Labyrinth Theater Company and Boston Playwrights’ Theatre.

He received his BFA from Boston University.

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MELANIE FIELD (THE HERALD) is a third-year MFA candidate at Yale School of Drama, where her credits include The Skin of Our Teeth, Cardboard Piano, Paradise Lost, The Troublesome Reign of King John, Riverbank: A Noh Play for Northerly Americans, and Clybourne Park. Her other credits include Midsummer, love holds a lamp in this little room, Orlando (Yale Summer Cabaret); The Defendant, Touch, and Look Up, Speak Nicely, and Don’t Twiddle Your Fingers All the Time (Yale Cabaret). Melanie recently made her directorial debut with The Secretaries at Yale Cabaret. Her professional credits include the Broadway companies of The Phantom of the Opera and Evita (2012 revival), as well as the first national tour of Wicked. Regional credits include The Visit (Williamstown Theatre Festival). Melanie received her BM in vocal performance from NYU Steinhardt School of Culture, Education, and Human Development.

JONATHAN HIGGINBOTHAM (APOLLO) is a second-year MFA candidate at Yale School of Drama, where he has been seen in Preston Montfort—An American Tragedy. His other credits include Episode #121: Catfight, We Are All Here, Moonsong (Yale Cabaret); and Twelfth Night (Elm Shakespeare Company).

Jonathan holds a degree in theatre from Hamilton College.

ANNELISE LAWSON (CLYTEMNESTRA) is a third-year MFA candidate at Yale School of Drama, where her credits include The Skin of Our Teeth, Preston Montfort—An American Tragedy, The Troublesome Reign of King John, The Tempest, and In Arabia We’d All Be Kings. Other credits include Arcadia (Yale Repertory Theatre); Middletown, A Map of Virtue, Summer Shorts: A Festival of New Voices (Yale Summer Cabaret); The Secretaries, The Hotel Nepenthe, The Crazy Shepherds of Rebellion (Yale Cabaret); The Madness of Edgar Allan Poe (First Folio); Peter Pan’s Shadow Parts 1 & 2, and The Grisly/Glorious Adventure of Christopher Robin, Winnie-the-Pooh, and Billy Moon (Dream Theatre Company). Annelise has a certificate in acting from the Moscow Art Theatre Summer Academy and a BA in theatre studies and psychology from Carleton College.

SYDNEY LEMMON (ATHENE) is a second-year MFA candidate at Yale School of Drama, where her credits include The Children, Tiny, and Fucking A. Previous credits include Quartet, Sister Sandman Please (Yale Cabaret); Rancho Mirage, Romeo and Juliet, Animal Farm (Olney Theatre Center); Othello (Actors Shakespeare Project); and The Tempest (Cape Verde National Theatre).

Education: BFA, Boston University; London Academy of Music and Dramatic Arts; British American Drama Academy; Greater Hartford Academy of the Arts.

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Cast JONATHAN MAJORS (AGAMEMNON) is a third-year MFA candidate at Yale School of Drama, where his credits include The Skin of Our Teeth, The Children, The Seagull, Paradise Lost, and Cardboard Piano. Other credits include The Caucasian Chalk Circle (Yale Repertory Theatre); A Raisin in the Sun, The Tempest, Our Town, Henry V (Chautauqua Theater Company); the world premiere of Cry Old Kingdom (Humana Festival of New American Plays); and the August Wilson’s American Century Cycle recordings of Ma Rainey’s Black Bottom and Fences (The Greene Space). Jonathan holds a BFA from the University of North Carolina School of the Arts and is a recipient of the NSAL Drama Award.

DOUG PERRY (PERCUSSIONIST) is a percussionist, improviser, and educator who performs and creates many different styles of music. As a classical musician, he has performed as a soloist with the Norwalk Symphony, Neue Eutiner Festspiele Orchestra in Eutin, Germany, and with the touring orchestral program Video Games Live. Doug was also the instrumental division winner of the 2012 Naftzger Young Artist Auditions, in which he competed as a marimbist against many other instrumentalists, vocalists, and pianists. Doug teaches regularly, serving as an adjunct professor of percussion at Western Connecticut State University. Doug holds degrees from the Peabody Institute of the Johns Hopkins University, the University of Kansas, and the Yale School of Music.

Doug is a founding member of the New Haven-based jazz and new music group Triplepoint Trio, and a core member of the mixed chamber ensemble Cantata Profana.

ELIZABETH STAHLMANN (ELECTRA) is a second-year MFA candidate at Yale School of Drama, where she was seen in Clybourne Park. Her other credits include Knives in Hens (Yale Cabaret); Midsummer, love holds a lamp in this little room, Orlando (Yale Summer Cabaret); The Real Thing, A Christmas Carol (Guthrie Theater); As You Like It, The Comedy of Errors, Romeo and Juliet (The Acting Company national tour and Off-Broadway); Something Cloudy Something Clear (Tennessee Williams Festival); School for Wives, Insatiable Hunger (Wellfleet Harbor Actors Theater); God of Vengeance (Marvell Rep); and at Joe’s Pub with Billy Hough.

REMSEN WELSH (IPHIGENIA) appeared in The Troublesome Reign of King John at Yale School of Drama last spring. Her Yale Rep credits include Hamlet, The Winter’s Tale, and Bossa Nova (understudy). Other stage credits include Our Town (Long Wharf Theatre); A Civil War Christmas (Long Wharf Theatre, understudy; New Haven Theater Company); Freewheelers, The Library Project, VaudeVillian (A Broken Umbrella Theatre); and The Hundred Dresses directed by Lara Morton. She also worked exclusively with Wilhelmina Models in New York and was featured in a children’s music video.

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Creative Team MICHAEL COMMENDATORE (PROJECTION DESIGNER) is a second-year MFA candidate at Yale School of Drama, where his credits include The Winter’s Tale. Other credits include I’m with you in Rockland (Yale Cabaret); War (Yale Rep, Assistant Projection Designer); Macbeth (Gamm Theatre, production design), and The Elaborate Entrance of Chad Deity (Wilbury Group). Michael has a BA in film media and a BFA in theatre with a concentration in directing.

AN-LIN DAUBER (COSTUME DESIGNER) is a second-year MFA candidate at Yale School of Drama. Her credits include My Fair Lady (Broadway by the Bay); Hay Fever, Moby Dick, War of the Worlds, Happy Days (Stanford Repertory Theater); She Kills Monsters (Renegade Theater Company); and Triassic Parq (Ray of Light). An-lin has a BA in art history from Stanford University. anlindauber.com

YAGIL ELIRAZ (DIRECTOR) Yagil Eliraz is a director from Israel and a third-year MFA candidate at Yale School of Drama, where his credits include Coriolanus and The Rules. He also directed Solo Bach, a movement theatre piece he conceived for actors and a solo violinist, at Yale Cabaret. Yagil’s directing credits prior to Yale include an opera of Sophocles’s Oedipus, for which he adapted the libretto, at the Israel Festival 2011; Andorra by Max Frisch at the Nurit Katzir Jerusalem Theater Center; Hanoch Levin’s Schitz at The Cameri Theatre of Tel Aviv; Men’s Business by Franz Xaver Kroetz at the Tmuna Theatre; The Madwoman of Chaillot by Jean Giraudoux at the Nissan Nativ Acting Studio; as well as stagings of new plays focusing on contemporary issues. His first theatre piece which he wrote, directed, and performed in A.H.–Before He Changed Our History, a monodrama about the formation of the young Hitler’s personality, was performed in Israel and Chicago. Yagil also served as artistic director and chief producer of the Small Bama Festival of Tel Aviv University and the Israel Festivals Arena. He taught directing at Bezalel, Israel’s leading academy of arts and design, and founded the theatre-directing program at the Tel Aviv Tzavta Theater. In 2008 Yagil won the Morasha Foundation’s grant for outstanding artists, and in 2011 he represented Israel in the Prague Quadrennial with his opera adaptation of Oedipus. He is honored to have been awarded the Yale University President’s Public Service Fellowship this year. yagileliraz.com

ELIZABETH GREEN (LIGHTING DESIGNER) is a second-year MFA candidate at Yale School of Drama, where her credits include The Winter’s Tale. Other credits include The Secretaries (Yale Cabaret) and Sister Sandman, Please (Yale Cabaret). Elizabeth has a BA in stage management from Western Michigan University.

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Creative Team Ted Hughes (Translator, 1930–1998) was born in Yorkshire. His first book, The Hawk in the Rain, was published in 1957 by Faber and Faber and was followed by many volumes of poetry and prose for adults and children. He received the Whitbread Book of the Year for two consecutive years for his last published collections of poetry, Tales from Ovid (1997) and Birthday Letters (1998). He was Poet Laureate from 1984, and in 1998 he was appointed to the Order of Merit.

PORNCHANOK (NOK) KANCHANABANCA (SOUND DESIGNER) is third-year MFA candidate at Yale School of Drama, where she has designed The Winter’s Tale and Paradise Lost. Other credits include I’m with you in Rockland, American Gothic, The Brothers Size, The Crazy Shepherds of Rebellion, The Shoemaker’s Prodigious Wife (Yale Cabaret); Ain’t She Brave (FringeNYC); Ain’t Gonna Make It (ANT Fest); Oxygen (undergroundzero festival); Red Demon (Tokyo Metropolitan, Singapore Arts Fest); A Streetcar Named Desire, Accidental Death of an Anarchist (assistant sound designer), and Elevada (associate sound designer) at Yale Rep. She also collaborated with theatre companies in Thailand including B-floor, Babymine, Crescent Moon, Makharmpom, and Democrazy. She holds her BFA in performing art from Chulalongkorn University, Thailand.

DAVINA MOSS (PRODUCTION DRAMATURG) is a second-year MFA candidate at Yale School of Drama, where her credits include Tiny and Clybourne Park. Other credits include Knives in Hens and Rose and the Rime (Yale Cabaret). She is an associate artist of the London-based Deus Ex Machina Productions, and holds a BA in English literature from the University of Cambridge.

HELEN IRENE MULLER (STAGE MANAGER) is a second-year MFA candidate at Yale School of Drama, where her credits include The Winter’s Tale, Deer and the Lovers, and The Seagull. Other credits include the Broadway Under the Stars series in Jack London State Park (Transcendence Theatre Company) and The Musical of Musicals (A Musical) (Midnight Sun Theatre). Helen holds a BA in theatre and French from St. Olaf College.

MATTHEW SUTTOR (COMPOSER) New Zealand-born composer Matthew Suttor is Professor and Director of the Laurie Beechman Center for Theatrical Sound Design and Music at Yale School of Drama. Often combining acoustic forces with music technology, Matthew Suttor has composed operas, dance works, and music for all kinds of theatrical productions as well as chamber music, sacred pieces, sound installations, and scores for television. Suttor’s work in opera and dance includes Don Juan in Prague, in collaboration with 13

director David Chambers, for the Bard SummerScape Festival and revised for the Mozart Prague Festival, the Guggenheim Works and Process series, and the BAM Next Wave Festival; his opera, The Trial of the Cannibal Dog, premiered at the International Festival of the Arts, Wellington, New Zealand, and was broadcast by Radio New Zealand; and I Find Comfort in Thunder for the Folkwang Tanzstudio, Essen, toured Germany. Concert works, installations, and television scores include Syntagma, commissioned by the Yale Institute of Sacred Music; La Prose du Transsibérien, for narrator and chamber ensemble, and HxWxL both commissioned by the Beinecke Library; The Eastman School of Music-commissioned Buntpapier; and Real Pasifik broadcast on Television New Zealand. Yale Rep productions include The Intelligent Design of Jenny Chow, All’s Well That Ends Well, The Winter’s Tale, and Arcadia. A Fulbright Scholar, Suttor received a doctorate in composition from Columbia University.

FUFAN ZHANG (SCENIC DESIGNER) is a second-year MFA candidate at Yale School of Drama. Her credits include Ya Shan (Golden Hedgehog University Drama Festival, 2013), and production design for Yamakawa, a series of photographs by Youjia Qu. Other credits include The Terrorists (Best Foreign Short Film Award, Seoul International Youth Film Festival, 2011), Show Time (Best Film, 48 Hour Film Project, 2014); and the short film How to Kill JuanJuan. Fufan has a BA in stage, film, and television design from The Central Academy of Drama in Beijing.

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The Oresteia Staff

Yale School of Drama Staff

artistic

James Bundy, Dean Victoria Nolan, Deputy Dean Joan Channick, Associate Dean

Zoë Hurwitz, Assistant Scenic Designer Sarah Woodham, Assistant Costume Designer Erin Fleming, Assistant Lighting Designer Frederick Kennedy, Assistant Sound Designer and Engineer Jonny Allen, Rehearsal Percussionist Wladimiro Woyno Rodriguez, Assistant Projection Designer Bianca Hooi, Assistant Stage Manager

PRODUCTION Kat Wepler, Associate Production Manager Krystin Matsumoto, Technical Director Kelly Pursley, Lydia Pustell, Assistant Technical Directors Becca Terpenning, Properties Master Stephanie Smith, Master Electrician Ben Clark, Projection Engineer Kelly Rae Fayton, Stage Carpenter Sydney Gallas, Andrew F. Griffin, Sarah Nietfeld, Caitlin O’Rourke, Rae Powell, Christopher Ross-Ewart, Jill Chandler Salisbury, Run Crew

ADMINISTRATION Libby Peterson, House Manager

Special Thanks Nathan Roberts

Artistic Artistic Management Jennifer Kiger, Associate Artistic Director Director of New Play Programs James Mountcastle, Production Stage Manager Amy Boratko, Literary Manager Kay Perdue Meadows, Artistic Associate Rachel Carpman, Literary Associate Lindsay King, Teresa Mensz, Library Services 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 Mary Volk, Senior Administrative Assistant for the Design, Sound Design, and Projection Departments

PRODUCTION Production Management Bronislaw J. Sammler, Head 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 Scenery Neil Mulligan, Matt Welander, Technical Directors Alan Hendrickson, Electro Mechanical Laboratory Supervisor Eric Sparks, Shop Foreman Matt Gaffney, Ryan Gardner, Sharon Reinhart, Master Shop Carpenters Alex McNamara, Shop Carpenter Bryanna Kim, Jill Chandler Salisbury, Assistants to the Technical Director Painting Ru-Jun Wang, Scenic Charge Lia Akkerhuis, Nathan Jasunas, Assistant Scenic Artists Daniel Cogan, Assistant to the Painting Supervisor Properties Jennifer McClure, Interim Properties Master David P. Schrader, Properties Craftsperson Ashley Flowers, Properties Assistant Bill Batschelet, Properties Stock Manager

The Oresteia December 12–18, 2015 Iseman Theater, 1156 Chapel Street

drama.yale.edu 15

Costumes Tom McAlister, Costume Shop Manager Robin Hirsch, Associate Costume Shop Manager Clarissa Wylie Youngberg, Mary Zihal, Senior Drapers Deborah Bloch, Harry Johnson, 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 Jamie Farkas, Assistant to the Costume Shop Manager Electrics Donald W. Titus, Lighting Supervisor Brian Quiricone, Linda-Cristal Young, Senior Head Electricians Sound Mike Backhaus, Sound Supervisor Ien DeNio, Matthew Fischer, Assistants to the Sound Supervisor Projections Erich Bolton, Projection Supervisor Mike Paddock, Head Projection Technician Brittany Bland, Assistant to the Projection Supervisor Stage Operations Janet Cunningham, Stage Carpenter Kate Begley Baker, Head Properties Runner Elizabeth Bolster, Wardrobe Supervisor Jacob Riley, FOH Mix Engineer Mark Bailey, Light Board Programmer

ADMINISTRATION General Management Emika Abe, Sooyoung Hwang, Associate Managing Directors Adam J. Frank, Assistant Managing Director Emalie Mayo, Senior Administrative Assistant to the Managing Director Al Heartley, Kathy Li, Management Assistants Jason Najjoum, Company Manager Lulu Tang, Assistant Company Manager Development and Alumni Affairs Deborah S. Berman, Director of Development and Alumni Affairs Janice Muirhead, Senior Associate Director of Development Susan C. Clark, Development and Alumni Affairs Officer Joanna Romberg, Associate Director of Development Alice Kenney, Jennifer Schmidt, Development Associates Trent Anderson, Development Assistant Maya Martindale, Interim Senior Administrative Assistant to Development and Marketing & Communications

Finance and Human Resources Katherine D. BurgueĂąo, Director of Finance and Human Resources Erin Ethier, Business Manager Janna J. Ellis, Director, Yale Tessitura Consortium Monica Avila, Chris Fuller, Preston Mock, Business Office Specialists Patricia McDonnell, Interim Senior Administrative Assistant to Business Office; Technology, Media, and Web Services; Operations; and Tessitura Marketing, Communications, and Audience Services Daniel Cress, Director of Marketing Steven Padla, Director of Communications Libby Peterson, Associate Director of Marketing and Communications Caitlin Griffin, Melissa Rose, Marketing and Communications Assistants Marguerite Elliott, Publications Manager Paul Evan Jeffrey, Art and Design T. Charles Erickson, Production Photographer David Kane, Videography Laura Kirk, Director of Audience Services Shane Quinn, Assistant Director of Audience Services Tracy Baldini, Subscriptions Coordinator Roger-Paul Snell, Audience Services Assistant Alexandra Cadena, Jordan Graf, Anthony Jasper, Katie Metcalf, Kenneth Murray, Kyra Riley, Aaron Wegner, Box Office Assistants Operations Diane Galt, Director of Facility Operations Ian Dunn, Operations Associate (on leave) Nadir Balan, Interim Operations Associate Joe Proto, Arts and Graduate Studies Superintendent Vondeen Ricks, Sherry Stanley, Team Leaders Michael Humbert, Facility Steward Lucille Bochert, Tylon Frost, Kathy Langston, Warren Lyde, Patrick Martin, Mark Roy, Custodians Technology, Media, and Web Services Daryl Brereton, Interim Director of Technology, Media, and Web Services Kathleen Martin, Web Services Associate Eric Jaske, Technical Support Specialist Don Harvey, Ron Rode, Ben Silvert, Database Application Consultants Theater Safety and Occupational Health William J. Reynolds, Director of Theater Safety and Occupational Health Jacob Thompson, Security Officer Ed Jooss, Audience Safety Officer Kevin Delaney, John Marquez, Customer Service and Safety Officers 16

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Rebekah Brockman and Tom Pecinka in Arcadia by Tom Stoppard, 2014.

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