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APPLY THE COST OF Y TICKET TOWARD A SU Subscribers enjoy FREE ticket exchanges, $15 off regularly-priced tickets, and parking and dining discounts. 4-play subscriptions and flexible ticket packages are available. Call the Box Office at 203.432.1234 or visit in person at 1120 Chapel Street.

YALE REP’S 2013–14 SEASON ALSO INCLUDES: Accidental Death of an Anarchist

By DARIO FO Adapted by Gavin Richards From a translation by Gillian Hanna Directed by CHRISTOPHER BAYES Featuring STEVEN EPP

NOVEMBER 30-DECEMBER 21, 2013

The Fairytale Lives of Russian Girls By MEG MIROSHNIK Directed by RACHEL CHAVKIN

JANUARY 31-FEBRUARY 22, 2014

WORLD PREMIERE

These Paper Bullets

Adapted by ROLIN JONES From William Shakespeare’s Much Ado About Nothing Songs by BILLIE JOE ARMSTRONG Directed by JACKSON GAY

MARCH 14-APRIL 5, 2014 WORLD PREMIERE

The House that will not Stand

By MARCUS GARDLEY Directed by PATRICIA McGREGOR

APRIL 18-MAY 10, 2014

*One ticket per subscription. Offer expires November 22, 2013. Plays, dates, and artists subject to change. Right: René Augesen and Sarah Sokolovic in A Streetcar Named Desire, 2013. Photo by Carol Rosegg.


OUR OWNERS * BSCRIPTION!

YALEREP.ORG 203.432.1234 YALEREP@YALE.EDU


Serious Coffee.


A NOTE FROM THE ARTISTIC DIRECTOR Welcome to Yale Repertory Theatre’s production of Owners by Caryl Churchill. The author of such modern, genre re-defining masterpieces as Top Girls, Serious Money, and Cloud Nine, Caryl Churchill is widely regarded as one of the English language’s greatest living playwrights. Owners, her first professionally produced play (1972), is stirring evidence of her long and deep engagement with issues of politics, economics, gender, and personal responsibility, with which our culture still wrestles. Indeed, this production in New Haven provides a unique opportunity for us to revisit this earliest play in the same season that her newest, the much-anticipated Love and Information, makes its American premiere at New York Theatre Workshop. Owners is, at once, both darkly comedic and a provocative, urgent examination of the forces of capitalism that permeate nearly every aspect of our society. The language of the marketplace is now, more than ever, the language of our world and of our daily lives. Few contemporary writers can so bravely weigh the costs and benefits of this near-hegemony as Ms. Churchill has done throughout her career. This production is the thirteenth at Yale Rep directed by my extraordinary colleague, OBIE Award winning Resident Director Evan Yionoulis, who first brought this play to our attention: we are fortunate that she has made Yale Rep an artistic home for fifteen years. Evan’s passion for the humor and immediate cultural currency of Owners is a gift to all of us, and I am grateful to her for the inspiration she has brought to the remarkable company of artists whose work you are seeing at this performance. I am delighted that you are here with us today. As always, please feel free to email me directly at james.bundy@yale.edu with your comments about the play or any of your experiences at Yale Rep. I always look forward to hearing what you think.

Sincerely,

James Bundy Artistic Director

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OCTOBER 25–NOVEMBER 16, 2013

YALE REPERTORY THEATRE James Bundy, Artistic Director Victoria Nolan, Managing Director

PRESENTS

By CARYL CHURCHILL Directed by EVAN YIONOULIS

Scenic Designer Costume Designer Lighting Designer Sound Designer

CARMEN MARTINEZ SETH BODIE BENJAMIN EHRENREICH JOEL ABBOTT

Production Dramaturg

HUGH FARRELL

Vocal and Dialect Coach

BETH McGUIRE

Fight Director

RICK SORDELET

Casting Director Stage Manager

TARA RUBIN SONJA THORSON

Owners is generously supported by Linda and Larry Rodman Owners is presented by special arrangement with Samuel French, Inc.

YALE REP IS SUPPORTED IN PART BY THE DEPARTMENT OF ECONOMIC AND COMMUNITY DEVELOPMENT

SEASON MEDIA SPONSOR

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CAST IN ORDER OF APPEARANCE Clegg Worsely Marion

ANTHONY COCHRANE JOBY EARLE BRENDA MEANEY

Lisa

SARAH MANTON

Alec

TOMMY SCHRIDER

Alec's Mum, Mrs. Arlington

ALEX TROW

SETTING

North London, 1972 THERE WILL BE ONE FIFTEEN-MINUTE INTERMISSION.

Onward Christian Soldiers, Marching as to war.

—CHRISTIAN HYMN

Sitting quietly, doing nothing. Spring comes and the grass grows by itself.

—ZEN POEM

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NOTHING WANTING versus WANTING NOTHING Two Takes on Ownership

Owners is Caryl Churchill’s attempt to set up a conversation between the relentless progress of capitalism and alternative ways of being that reject the desire to own, own, own. Two characters embody the poles of this dialectic in the play: Marion, the relentless capitalist, who claims, “we men of destiny get what we’re after even if we’re destroyed by it,” and Alec, her former lover, who, having given up his worldly desires, is content passing his time “sitting quietly, doing nothing.” Ownership, in its most basic form, is simply a right to an exclusive relationship between one person and a thing. Following from this definition, the right to own creates the right to exclude. Historically, the Western conception of ownership, and its protection as a right, is male-dominated and has its roots in religion, stretching back as far as the Old Testament, which forbids stealing in the Ten Commandments and asserts that God gave man dominion over all the earth. This religious basis of ownership was taken up, throughout the Middle Ages and beyond, by the ruling classes through the divine right of kings and later through law. Of course, the reach of man’s itching fingers didn’t stop with the earth. The Ten Commandments, for example, also prohibits the coveting of “thy neighbor’s wife”—the wife here seen as the possession of the male neighbor. Marriage as an institution became a way of securely passing on one’s financial and personal legacy—and ensuring ownership. In the Western world, claims to ownership have afforded a corresponding access to

authority, and Churchill points to this as one of the foundations of human suffering. The Eastern philosophies of Buddhism, Taoism, and Jainism that Churchill studied while at Oxford in the 1950s, however, provide another path. Against the desire to preserve wealth and survive one’s own mortality through legacy, these Eastern philosophies promote relinquishing attachment to earthly possessions, and by doing so, seek to vanquish the oppression that is borne of the exclusion inherent in ownership. These two perspectives are placed in conflict in Owners. What happens when the Western imperative to own everything meets the Eastern acceptance of owning nothing? This has profound implications, not just for interpersonal relationships, but also for the individual’s relationship to the self. To what extent do we feel that we own our own selves? Worsely, Marion's protégé, claims, “If there’s anything I own it’s what I stand up in…The contraption I am in. The contraption I am.” Identity as a form of ownership is under constant threat from the mortality that we face as humans, and this creates a cognitive dissonance which is difficult to harmonize. Faced with this impermanence, Owners suggests two ways of being: accumulate as much as we can in an attempt to “survive” mortality, or let go and simply accept that permanence through earthly possession is impossible. Will either choice lead to freedom? Churchill doesn't answer this question, but artfully demands that we consider it for ourselves. —HUGH FARRELL, PRODUCTION DRAMATURG

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A GREAT BRITISH G

THE SCENE IS 1972. London is experiencing a property boom. The manufacturing industries that had been the main employer in the economy have been in decline since World War II, and, coupled with increased immigration following the independence of former colonies, the populations of cities like London are exploding. Entire neighborhoods are being built; old ones are being repurposed. Long-term tenants, like Lisa and Alec in Owners, are being forced from their flats by property tycoons, like Marion, so that properties can be sold to a wealthier class of professionals in the bourgeoning service sector. Here’s a guide to some of the laws and lingo of British real estate. —HF

Freehold and

Leasehold:

These terms refer to a rule of English land law. If you own a freehold property, you own not just the property but the land on which it sits. In a leasehold agreement, you typically own the property but lease the land from the freeholder. These leases are usually for 99 or 120 years and are often extended.

Owning the freehold on your property increases its value, but many properties, to this day, remain leasehold.

The Queen of England is the largest freehold landowner in the world.

FLATS:

A British term for independent dwellings within a larger building. Flats typically refer to a self-contained section of a house that is occupied by others. In the 1970s the term referred to rooms rented by the working class. To accommodate the population boom, many houses were converted into flats during this period.


UIDE TO PROPERTY OWNING HER BODY:

THE LEGAL

POSITION The contraceptive pill was legalized in the UK in 1961, and the number of women using it rose from 50,000 in 1962 to one million by 1969. The Married Women’s Property Act of 1964 entitled a British woman to keep half of any savings she had made from the allowance she was given by her husband. Abortion was legalized, under certain specified conditions and subject to the advice of two medical doctors, in Britain in 1967.

SITTING

TENANTS AND

VACANT

POSSESSION: In post-war Britain and during the economic boom of the 1960s, a number of important pieces of legislation were written to protect the tenants of flats from eviction and unfair rents. Under these laws, rents were fixed and controlled. Tenants had strong legal protection from eviction and could not be evicted even if the landlord was selling the property. They were known as sitting tenants, and because their rent was capped, the property value was lower than if the buyer could have vacant possession. However, later legislation, in 1972, allowed landlords to increase rents on the basis of “improvements” made to the property, and this loophole was often exploited to force tenants from their homes.

Estate Agent:

British word for a realtor.

LEFT: FLATS TO LET IN BARROW-IN-FURNESS. PHOTO BY NICK DANZIGER.

THE SUICIDE ACT OF 1961: Removed the legal prohibition on suicide in the United Kingdom.

The Samaritans:

A charity, established in the UK in 1953, that offers support to those with suicidal feelings. The volunteer organization offers counselling by telephone and in person.

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SAMARITANS Famously, in 1759, Arthur Guinness signed a lease for the St. James’ Gate Brewery in Dublin for 9,000 years. The brewery is still there today.


CARYL CHURCHILL In Search of a Revolution

I didn’t feel a part of what was happening in the sixties. During that time I felt isolated. I had small children and was having miscarriages. It was an extremely solitary life. What politicized me was being discontent with my own life of being a barrister’s wife and just being at home…it seemed claustrophobic…By the mid-sixties, I had this gloomy feeling that when the Revolution came I would be swept away. —CARYL CHURCHILL, REFLECTING ON THE TIME SHE WROTE OWNERS

After Caryl Churchill graduated from Oxford in 1960, where she had a number of her works produced by amateur theatre groups, she settled in South London with her barrister husband. Between 1963 and 1969, they had three sons. In an effort to maintain a career as a writer, Churchill wrote radio plays, which allowed her to

be a full-time mother and work from home without the pressures of producing fully staged productions. During this time, she had seven of her works for radio broadcast by the BBC, but the full weight of Churchill’s imagination required a stage. An opportunity appeared in 1972 against the seemingly insurmountable odds of a theatre establishment that often ignored new playwrights, especially women. Churchill was commissioned to write a play for The Royal Court Theatre’s Upstairs Studio space. It was from this platform that she launched herself onto the professional scene with Owners. Disenfranchised by the isolation of staying at home and feeling precluded from any agency of change in society, her life informed much of the content of the play. In Owners we see the nascent theatrical imagination of a writer who, forty years later, has built an accomplished career and become known for her formal innovation of styles and genres—at times using realism, at other times the supernatural and grotesque, and more often mixing and blending these to stunning effect. Her most recent play, Love and Information, which will have its American premiere at New York Theatre Workshop this season, bombards its audience with 57 scenes and over 100 characters.

RIGHT: CARYL CHURCHILL, 1972. PHOTO BY JANE BOWN FOR THE GUARDIAN.


Churchill has always written on social, political, and economic themes. Many critics describe her work as “socialist-feminist,” a term which Churchill, who is notoriously reticent about speaking publicly about her writing, does not deny but qualifies by saying, “Socialism and feminism aren’t synonymous, but I feel strongly about both, and wouldn’t be interested in a form of one that didn’t include the other.” The critics’ conflation of the terms is perhaps, understandable given the characters that appear in Churchill’s work: her plays are populated by staggering female protagonists who are at once “monsters and heroines.” The insatiable appetite of Marion in Owners is later picked up again by Churchill through

Marlene in Top Girls (1982), a play which explores the paradox of individualist feminism. Both women are ruthless in their pursuit of success and will stop at nothing to get what they want. These plays both predict and critique the rise of Margaret Thatcher. To Churchill, women who operate in a patriarchal-capitalist mode are not necessarily feminists, regardless of how much they have cracked the glass ceiling. They remain capitalists and sustain a system in which feminism can never flourish.

Churchill's plays explore how a capitalist model causes the exclusion of one class, race, or gender by another, and this theme of economic enslavement drives the revolutionary formalism of her nearly fiftyyear career. She employs enslavement in a literal way in Cloud Nine (1979), a play that jumps from colonial Africa in the first act to the contemporary moment of Britain in the second, and in doing so, unmasks the tenacious hold of imperialism on our contemporary politics. Similarly, in Mad Forest (1990), Churchill’s exploration of the 1989 Romanian revolution, the myths and superstitions that promote paranoia and underpin xenophobia are laid bare through a blending of historical realism and mythical figures of vampires and archangels.

Churchill does not shy away from tension: she openly embraces taboo subjects with a dark wit, rips the masks off deeply held beliefs, and offers us a theatre that is not subject to some outside authoritarian dictates. She asks provocative questions and demands that we look inside ourselves to answer them. Forty-one years later, the plagues that infect the society of Owners remain constant—and perhaps she still waits for the revolution that she saw long ago. However, there’s no fear that any revolution would sweep her—or her singular body of work—away. —HF


CAST ANTHONY COCHRANE (CLEGG) is making his Yale Rep debut. His New York credits include the Broadway productions of War Horse, Cymbeline, and The Coast of Utopia (all at Lincoln Center Theater); Nikolai and the Others (also at Lincoln Center Theater); 12 years and 18 productions with Aquila Theatre Company, including Othello, Cyrano de Bergerac, Much Ado About Nothing, Julius Caesar, King Lear, Twelfth Night, The Iliad, The Man Who Would Be King, and The Invisible Man; and Dense Terrain (Doug Varone and Dancers at Brooklyn Academy of Music). His regional U.S. credits include Tovarich (Shakespeare Theatre of New Jersey); Amadeus, Much Ado About Nothing, The Tempest (The Old Globe); Henry VIII (Helen Hayes Award nomination), The Winter’s Tale (Folger Shakespeare Theatre); Hamlet, All’s Well That Ends Well (Alabama Shakespeare Festival); and Much Ado About Nothing (La Jolla Playhouse). U.K. credits include The Broken Heart, The Wives’ Excuse, Coriolanus, and Julius Caesar (Royal Shakespeare Company), along with numerous other repertory productions. Anthony has composed original music for over 30 theatre productions. Film and television credits include Wall Street: Money Never Sleeps, Apocalypse Watch, Law & Order: SVU, Benjamin Franklin (PBS), Taggart (Scottish TV), and Neverwhere (BBC). Training: Royal Scottish Academy of Music and Drama.

JOBY EARLE (WORSELY) is making his Yale Rep debut. Theatre credits include the Broadway production of War Horse at Lincoln Center Theater; The Puppetmaster of Lodz (Berkshire Theatre Group); The Pitmen Painters (Palm Beach Dramaworks); A Midsummer Night’s Dream (New Theater House); Julius Caesar and Romeo and Juliet (Smith Street Stage). He is a faculty member at the Stella Adler Studio of Acting, where he teaches voice and speech. He received his MFA at Yale School of Drama.

SARAH MANTON (LISA) is making her Yale Rep debut. U.S. theatre credits include One Man, Two Guvnors on Broadway; Einstein and Mileva (Theatre Row, New York); Time of My Life directed by John Tillinger (Pittsburgh Public Theater); When We Are Married (Denver Center); House and Garden (Pittsburgh Irish & Classical Theatre); and Educating Rita (Weston Playhouse). Her U.K. theatre credits include The Coast of Utopia, South Pacific (National Theatre, London); Baby in Dirty Dancing (West End); The Champion of Paribanou directed by Alan Ayckbourn; Major Barbara, The Madras House, Village Wooing, The Mikado, O’Flaherty VC (Orange Tree Theatre, London); and the tours of The Rivals, Romeo and Juliet, and Look Back in Anger. Her television credits include the BBC’s Doctors and Casualty. 16


BRENDA MEANEY (MARION) is making her Yale Rep debut. Theatre credits include One Slight Hitch (Wellfleet Harbor Actors Theater); Cloud Nine, Fox Play, Antony and Cleopatra, The Seagull, Outlaw Jean, The Tall Girls, She Rode Horses Like the Stock Exchange, and Angels in America, Part Two: Perestroika (Yale School of Drama); Hong Kong Dinosaur (Yale Cabaret); The Tempest, As You Like It (Yale Summer Cabaret); Basin (Abbey Theatre Studio/Anu Productions, Absolut Dublin Theatre Festival Fringe); The Way of the Language: Voices from the War on Terror (Painted Filly Theatre, Bleecker Street Theatre, NYC/Project Arts Centre, Dublin); and Memory Deleted (commissioned by the Beltable Theatre, Limerick). Television: Love/Hate (Radio Teilifís Éireann). Brenda is an associate artist of Painted Filly Theatre, a Dublin-based company dedicated to the development of new writing. She received her BA in art history from Trinity College Dublin and her MFA from Yale School of Drama.

TOMMY SCHRIDER (ALEC) previously appeared at Yale Rep in Hamlet, the world premiere of Kirsten Greenidge’s Bossa Nova, and Robert Woodruff’s production of Battle of Black and Dogs. His New York credits include War Horse on Broadway; Macbeth (Theatre for a New Audience); Septimus and Clarissa (Baruch Performing Arts Center/Ripe Time); Close Ties (Ensemble Studio Theatre); Acts of Mercy, St. Crispin’s Day (Rattlestick Playwrights Theater); She Stoops to Conquer, Pigtown (Irish Rep); and RACE (Classic Stage Company). Regional theatre credits include productions at South Coast Rep, Berkshire Theatre Festival, Huntington Theatre Company, Westport Country Playhouse, Cincinnati Playhouse, Willamstown Theatre Festival, Philadelphia Theatre Company, Actors Theatre of Louisville, Syracuse Stage, Portland Center Stage, and TheatreWorks. International: Andrews Lane, Dublin. Film and television credits include The Positively True Adventures of the Alleged Texas Cheerleader-Murdering Mom, Person of Interest, Medium, Numb3rs, Law & Order, Whoopi, and As the World Turns. He received his MFA from NYU.

ALEX TROW (ALEC’S MUM, MRS. ARLINGTON) is making her Yale Rep debut. Regional credits include Kate Hardy in The Detour (Metropolitan Playhouse); Miss Glacé in a reading of Coney Island Christmas (Manhattan Theatre Club); Gracie in Scarlett Fever (2012 New York International Fringe Festival, Soho Playhouse); Othello, Love’s Labor’s Lost, Romeo and Juliet, and All’s Well That Ends Well (Shakespeare Santa Cruz). Other credits include The Lover, Much Ado About Nothing, the friendship of her thighs, and elijah (Yale School of Drama); Salome, Radio Station, and Debut Track One Chord One Verse One (Or, The Shed) (Yale Cabaret). She received her BA in theatre studies and English from Yale College and her MFA from Yale School of Drama.

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CREATIVE TEAM JOEL ABBOTT (SOUND DESIGNER) is a third-year MFA candidate at Yale School of Drama. His early theatrical experience was at Dad’s Garage Theatre Company in Atlanta, Georgia, where he performed for seven years as musical improviser and resident sound designer. He has served as resident sound designer at the Vermont Stage Company, St. Michael’s Playhouse, and Totem Pole Playhouse. His recent Yale Rep credits include In a Year with 13 Moons (associate designer) and The Winter’s Tale (assistant designer). At Yale School of Drama he designed The Two Gentlemen of Verona, Titus Andronicus, assisted on Sunday in the Park with George, and he designed many, many shows at Yale Cabaret. Recent regional sound design credits include Noises Off, Dames at Sea, Boeing Boeing, Forever Plaid, Nunsense, Blithe Spirit, Shipwrecked, Souvenir, Opus, Prelude to a Kiss, and The Drowsy Chaperone.

SETH BODIE (COSTUME DESIGNER) is a third-year MFA candidate at Yale School of Drama, where his credits include Lottie in the Late Afternoon by Amelia Roper and Vieux Carré by Tennessee Williams. For Yale Cabaret, he worked on Persona, Dracula, reWilding, Dilemma!, Ermyntrude & Esmerelda, and The Island. For Yale Summer Cabaret: Tartuffe, Miss Julie, The Shoemaker’s Prodigious Wife, Heart’s Desire, Drunk Enough to Say I Love You, and the set for In a Bar in a Tokyo Hotel. Additionally, Seth has designed for Commonwealth Shakespeare Company, Lyric Stage Company of Boston, SpeakEasy Stage Company, Actors Shakespeare Project, New England Conservatory of Music, Suffolk University, Boston Conservatory, and the Boston Arts Academy, where he was a full-time faculty member in the theatre department.

BENJAMIN EHRENREICH (LIGHTING DESIGNER) is a third-year MFA candidate at Yale School of Drama, where his credits include Lottie in the Late Afternoon, Iphigenia Among the Stars, and Antony and Cleopatra. He also served as the assistant lighting designer for the world premiere of Belleville at Yale Repertory Theatre. Other lighting design credits include A View from the Bridge (Vertical Player Repertory, New York) and Macbeth (Community20 Productions, London). He was the Allen Lee Hughes Lighting Fellow at Arena Stage in Washington, D.C., from 2008 to 2009, and he received his BA in theatre from Binghamton University.

HUGH FARRELL (PRODUCTION DRAMATURG) is a second-year MFA candidate at Yale School of Drama. Originally from Ireland, he completed his undergraduate degree in English and theatre studies at Trinity College Dublin before coming to Yale. He is currently an artistic associate of Yale Cabaret and the web managing editor for Theater magazine.

CARMEN MARTINEZ (SCENIC DESIGNER) is a third-year MFA candidate at Yale School of Drama, where she designed the sets for House Beast. Her credits at Yale Cabaret include White Rabbit, Red Rabbit; The Fatal Eggs; Chamber Music; and Christie in Love. She is a native of Lima, Peru, where she worked with several local theatre and ballet companies. Carmen holds a BFA in graphic design from the Rhode Island School of Design.

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BETH McGUIRE (VOCAL AND DIALECT COACH) Vocal and dialect credits include the Broadway productions of Chaplin and A Streetcar Named Desire with Blair Underwood and the Off-Broadway productions of The Overwhelming (Roundabout Theatre Company); The Black Eyed (New York Theatre Workshop); Five by Tenn (Manhattan Theatre Club); People Be Heard (Playwrights Horizons); Candida, Gas Light (The Roundtable Ensemble); Free Market, Exit Cuckoo (Working Theater); Art of Memory (Company SoGoNo); and In Darfur (The Public Theater). Regional: American Night: The Ballad of Juan José, Belleville, The Piano Lesson, The Servant of Two Masters, Eclipsed, Death of a Salesman, Lydia, All’s Well That Ends Well, dance of the holy ghosts, The Mystery Plays, The Taming of the Shrew, King Lear, Iphigeneia at Aulis, Kingdom of Earth (Yale Rep); The Convert (McCarter Theatre); Hamlet, Carnival, King John, The Glass Menagerie (Shakespeare Theatre of New Jersey); The Cook (Hartford Stage); and Crimes of the Heart (The Cape Playhouse). Ms. McGuire is an assistant professor (adjunct) of acting at Yale School of Drama; is a member of VASTA (The Voice and Speech Trainers Association), Actors’ Equity, SAG, and AFTRA; and is an actress with over 30 years of performance experience.

TARA RUBIN CASTING (CASTING DIRECTOR) has been casting at Yale Rep since 2004. Upcoming Broadway: Bullets Over Broadway and Aladdin. Selected Broadway: A Time To Kill, Big Fish; The Heiress; One Man, Two Guvnors (US Casting); Ghost; How to Succeed in Business Without Really Trying; Promises, Promises; A Little Night Music; Billy Elliot; Shrek; Guys and Dolls; The Farnsworth Invention; Young Frankenstein; The Little Mermaid; Mary Poppins; Les Misérables; Spamalot; Jersey Boys; The 25th Annual Putman County Spelling Bee; The Producers; Mamma Mia!; The Phantom of the Opera; Contact. Off-Broadway: Love, Loss, and What I Wore; Old Jews Telling Jokes. Regional: The Kennedy Center, La Jolla Playhouse, Dallas Theatre Center, The Old Globe, Westport Country Playhouse, Bucks County Playhouse. Film: Lucky Stiff, The Producers.

RICK SORDELET (FIGHT DIRECTOR) Broadway: over fifty productions, including Disney’s The Lion King, Beauty and the Beast, Tarzan, The Little Mermaid, and Aida. More than fifty productions all over the world, including Cyrano de Bergerac starring Placido Domingo at the Metropolitan Opera, The Royal Opera House, and La Scala in Milan. Stunt coordinator for the films The Game Plan starring Dwayne “The Rock” Johnson, Dan in Real Life starring Steve Carell and Juliette Binoche, and Hamlet starring Campbell Scott. He served as the chief stunt coordinator for Guiding Light. Rick sits on the board of the Shakespeare Theatre of New Jersey and is a company member of Drama Dept. He teaches at Yale School of Drama, The New School for Drama, and The Neighborhood Playhouse; and he is the author of the play Buried Treasure. Rick is a proud recipient of the Edith Oliver Award for Sustained Excellence from the Lucille Lortel Foundation. He is married to actress Kathleen Kelly and has three children: Kaelan, Christian, and Collin.

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CREATIVE TEAM SONJA THORSON (STAGE MANAGER) is returning happily to Yale Rep, where she served as assistant stage manager on Marie Antoinette last season. She is a third-year MFA candidate at Yale School of Drama, where her credits include Cloud Nine, Lottie in the Late Afternoon, Titus Andronicus, The Seagull, and Rodeo. Her regional credits include working at the Children’s Theatre Company, the Guthrie Theater, Theater Latté Da, and most recently, at The Old Globe in San Diego on The Rainmaker and The Last Goodbye. She received her BS in theatre from South Dakota State University and is a proud member of Actors’ Equity Association.

EVAN YIONOULIS (DIRECTOR) is a resident director at Yale Rep where her productions include Stones in His Pockets, Bossa Nova, The Master Builder, Richard II, Black Snow, The People Next Door, The King Stag, Heaven, and Galileo. New York credits include Howard Brenton’s Sore Throats, Adrienne Kennedy’s Ohio State Murders (Lucille Lortel Award, Best Revival) at Theatre for a New Audience; Daisy Foote’s Him (Primary Stages) and Bhutan (Cherry Lane Theatre); as well as Richard Greenberg’s The Violet Hour (Broadway), Everett Beekin (Lincoln Center Theater), and Three Days of Rain (Manhattan Theatre Club, OBIE Award). With frequent collaborator, composer/lyricist Mike Yionoulis, she has written and directed the short film Lost and Found (Cleveland International Film Festival) and is working on the musical and transmedia project Redhand Guitar. Other credits include productions at such theatres as the Mark Taper Forum, South Coast Rep, Huntington Theatre Company, New York Shakespeare Festival, Vineyard Theatre, Second Stage, Dallas Theater Center, Actors Theatre of Louisville, and Denver Center. She has directed presentations of the documentary play Seven, which tells the stories of seven extraordinary women who work for human rights, in New York, Boston, Washington, London, New Delhi, and Deauville, France. She most recently directed Tom Stoppard’s Hapgood starring Kate Burton at Williamstown Theatre Festival. She is the recipient of a Princess Grace Foundation Fellowship and the Foundation’s prestigious statuette. She is a professor in Yale School of Drama’s Department of Acting.

120 Seasons... Still Surprising!

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YALE REPERTORY THEATRE JAMES BUNDY (ARTISTIC DIRECTOR) is in his twelfth year as Dean of Yale School of Drama and Artistic Director of Yale Repertory Theatre. In his first eleven seasons, Yale Rep has produced more than thirty world, American, and regional premieres, seven 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 forty artists 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. In addition to Yale Rep, he has directed 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; he trained at the London Academy of Music and Dramatic Art and Yale School of Drama. VICTORIA NOLAN (MANAGING DIRECTOR) is in her 21st year as Managing Director of Yale Repertory Theatre, serves as Deputy Dean of Yale School of Drama, and is on its faculty. She was previously Managing Director of Indiana Repertory Theatre, Associate Managing Director at Baltimore’s 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 recipient of the Betsy L. Mahaffey Arts Administration Fellowship Award from the State of Connecticut and the Elm/Ivy Award, given jointly by Yale University and the City of New Haven for distinguished service to the community. JENNIFER KIGER (ASSOCIATE ARTISTIC DIRECTOR AND DIRECTOR OF NEW PLAY PROGRAMS) is in her ninth year at Yale Rep and is also Director of the New Play Programs of Yale’s Binger Center for New Theatre, an artistdriven 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 2005 and served as Co-Director of the Pacific Playwrights Festival. She was dramaturg on 22


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. BRONISLAW SAMMLER (HEAD OF PRODUCTION) 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. He co-authored Structural Design for the Stage, which won the United States Institute of Theatre Technology’s (USITT) Golden Pen Award. Demonstrating his commitment to excellence in technical education and professional production, he co-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 the Institute. He was honored as Educator of the Year in 2006 by the New England Theatre Conference and chosen to receive the USITT Distinguished Achievement Award in Technical Production in 2009. 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. JAMES MOUNTCASTLE (PRODUCTION STAGE MANAGER), has been at Yale Rep since 2004. He has stage managed productions of A Streetcar Named Desire, American Night: The Ballad of Juan José, Three Sisters, We Have Always Lived in the Castle, The Master Builder, Passion Play, Eurydice, and the world premiere of The Clean House. Broadway credits include Damn Yankees, Jekyll & Hyde, Judgment at Nuremberg, The Boys from Syracuse, The Smell of the Kill, Life x(3), and Wonderful Town. Mr. Mountcastle spent several Christmas seasons in New York City as stage manager for 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 14 years old, and Katie, age 12.

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YALE REPERTORY THEATRE STAFF James Bundy, Artistic Director Victoria Nolan, Managing Director Jennifer Kiger, Associate Artistic Director Director of New Play Programs

ARTISTIC

Resident Artists Paula Vogel, Playwright-in-Residence Liz Diamond, Evan Yionoulis, Resident Directors Catherine Sheehy, Resident Dramaturg Michael Yeargan, Set Design Advisor, Resident Set Designer Ilona Somogyi, Costume Design Advisor Jess Goldstein, Resident Costume Designer Jennifer Tipton, Lighting Design Advisor Stephen Strawbridge, Resident Lighting Designer David Budries, Sound Design Advisor Walton Wilson, Voice and Speech Advisor Rick Sordelet, Fight Advisor Mary Hunter, Stage Management Advisor Associate Artists 52nd Street Project, Kama Ginkas, Mark Lamos, MTYZ Theatre/Moscow New Generations Theatre, Bill Rauch, Sarah Ruhl, Henrietta Yanovskaya Artistic Administration Amy Boratko, Literary Manager Ruth M. Feldman, Director of Education and Accessibility Services Kay Perdue Meadows, Artistic Associate Benjamin Fainstein, Artistic Coordinator Dana Tanner-Kennedy, Literary Associate Tara Rubin, C.S.A.; and Scott Anderson; Lindsay Levine, C.S.A.; Kaitlin Shaw, Eric Woodall, C.S.A.; Merri Sugarman, C.S.A, Casting 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

ADMINISTRATION

Caitie Hannon, Lauren Wainwright, Associate Managing Directors Emika Abe, Assistant Managing Director Libby Peterson, Management Assistant Emalie Mayo, Senior Administrative Assistant to the Managing Director Louisa Balch, Company Manager Chiara Klein, Assistant Company Manager Development and Alumni Affairs Deborah S. Berman, Director of Development and Alumni Affairs Janice Muirhead, Senior Associate Director of Development Alyssa Simmons, Associate Director of Development Barry Kaplan, Senior Staff Writer Susan C. Clark, Development and Alumni Affairs Officer Jane Youngberg, Development Associate Belene Day, Senior Administrative Assistant to Development and Marketing & Communications

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Finance and Information Technology Katherine D. Burgueño, Director of Finance and Human Resources Cristal Coleman, Joanna Romberg (on leave), Business Office Specialists Melanie Cruz, Giana Cusanelli, Ashlie Russell, Jennifer Sullivan, Business Office Assistants Sarah Stevens-Morling, Interim Director of Information and Communication Systems Daryl Brereton, Associate Information Technology Director Janna J. Ellis, Director, Yale Tessitura Consortium 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, Senior Associate Director of Marketing Rachel Smith, Associate Director of Marketing Brittany Behrens, Associate Director of Marketing Marguerite Elliott, Publications Manager Kathleen Martin, Online Communications Assistant Sooyoung Hwang, Marketing and Communications Assistant Fraver, Graphic Designer Joan Marcus, Production Photographer Laura Kirk, Interim Associate Director of Audience Services and Tessitura Specialist Shane Quinn, Interim Assistant Director of Audience Services Tracy Baldini, Subscriptions Coordinator Evan Beck, Paul Cook, Cle Dupuy, Anthony Jasper, Katie Metcalf, Andrew Moore, Sophie Nethercut, Emily Sanna, Peter Schattauer, Elena Sokol, Box Office Assistants Operations Diane Galt, Director of Facility Operations Ian Dunn, Operations Associate Paul Catalano, Arts and Drama Zone Superintendent VonDeen Ricks, Team Leader Marcia Riley, Facility Steward Lucille Bochert, Donell D’Gioia, Ty Frost, Kathy Langston, Warren Lyde, Patrick Martin, Mark Roy, Custodians 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, Fred Geier, Patrick Grant, Customer Service and Safety Officers

PRODUCTION

Bronislaw J. Sammler, Head of Production James Mountcastle, Production Stage Manager Jonathan Reed, Production Manager Steven Schmidt, Associate Head of Production and Work-Study 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 Brandon Fuller, Shop Carpenter Kelly Rae Fayton, Alexandra Reynolds, Assistants to the Technical Director Painting Ru-Jun Wang, Scenic Charge Allison Jackson, Nathan Jasunas, Interim Scenic Artists Kevin Klakouski, Assistant to the Painting Supervisor Properties Brian Cookson, Properties Master David P. Schrader, Properties Craftsperson Jennifer McClure, Interim Properties Master Nadir Balan, Ted Griffith, Interim Properties Assistants Bill Batschelet, Properties Stock Manager Elizabeth Zevin, Assistant to the Properties Manager 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 Linda Wingerter, Costume Stock Manager Electrics Donald W. Titus, Lighting Supervisor Linda-Cristal Young, Senior Head Electrician Brian Quiricone, Head Electrician Daniel Hutchinson, Assistant to the Lighting Supervisor Sound Mike Backhaus, Sound Supervisor Monica Avila, Staff Sound Engineer Gahyae Ryu, Stephanie Smith, Assistants to the Sound Supervisor

ADDITIONAL STAFF FOR OWNERS

Mary Laws, Assistant Director Christopher Thompson, Assistant Scenic Designer Alexae Visel, Assistant Costume Designer Andrew F. Griffin, Assistant Lighting Designer Shannon L. Gaughf, Assistant Stage Manager Kaitlyn Anderson, Associate Production Manager Andrew Knauff, Technical Director Michael K. Best, Nick Christiani, Kate Newman, Assistant Technical Directors Sanghun Joung, Assistant Properties Master Mitchell Cramond, Master Electrician Kenyth Thomason, Sound Engineer Nikki Fazzone, Draper Sonja Thorson, Fight Captain Steven C. Koernig, House Manager Kurtis Boetcher, Brian Dudkiewicz, Rasean Davonte Johnson, Steven M. Rotramel, Sean K. Walters, Gretchen Wright, Run Crew Understudies Andrew Burnap, Alec Anne Katherine Hägg,* Marion Annelise Lawson, Alec's Mum, Mrs. Arlington Dan O’Brien, Worsely Niall Powderly, Clegg Sophie von Haselberg, Lisa *Appears courtesy of Actors' Equity.

The Actors and Stage Manager employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers.

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

Projections Erich Bolton, Projection Supervisor Christopher Russo, Head Projection Technician Johanna Case-Hofmeister, 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

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. Owners October 25–November 16, 2013 Yale Repertory Theatre, 1120 Chapel Street

YALEREP.ORG

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BINGER CENTER FOR NEW THEATRE YALE REPERTORY THEATRE is dedicated to the production of new plays and bold interpretations of classics and has produced well over 100 premieres—including two Pulitzer Prize winners and four other nominated finalists—by emerging and established playwrights. Eleven Yale Rep productions have advanced to Broadway, garnering more than 40 Tony Award nominations and eight Tony Awards. Yale Rep is also the recipient of the Tony Award for Outstanding Regional Theatre. Professional assignments at Yale Repertory Theatre are integral components of the program at Yale School of Drama, the nation’s leading graduate theatre training conservatory. Established in 2008, Yale’s BINGER CENTER FOR NEW THEATRE is an artist-driven initiative that devotes major resources to the commissioning, development, and production of new plays and musicals at Yale Rep and across the country. To date, the Center has supported the work of more than 40 commissioned artists as well as the world premieres and subsequent productions of 15 new American plays and musicals—including this season’s The Fairytale Lives of Russian Girls by Meg Miroshnik; the Yale Rep-commissioned These Paper Bullets, adapted by Rolin Jones from William Shakespeare’s Much Ado About Nothing, with songs by Billie Joe Armstrong; and Marcus Gardley’s The House that will not Stand. Other Binger Center-supported productions include the world premiere of Dostoevsky’s Notes from Underground, adapted by Bill Camp and Robert Woodruff, commissioned and produced by Yale Rep, and its subsequent west coast and NY premieres by La Jolla Playhouse and Theatre for a New Audience; the world premiere co-production of Rinne Groff’s Compulsion at Yale Rep, Berkeley Rep, and The Public Theater; the world premiere of the Yale-commissioned On the Levee by Marcus Gardley, Todd Almond, and Lear deBessonet at Lincoln Center Theater’s LCT3; the world premiere of Maggie-Kate Coleman and Anna K. Jacobs’s musical POP! at Yale Rep, as well as its productions at City Theatre in Pittsburgh and Virginia’s Firehouse Theatre Project; the world premiere of Amy Herzog’s Belleville at Yale Rep and its subsequent New York Theatre Workshop production; the world premiere of The Realistic Joneses by Will Eno at Yale Rep; and the world premiere co-production of David Adjmi’s Marie Antoinette at the American Repertory Theater and Yale Rep and its NY premiere at Soho Rep. Belleville and The Realistic Joneses, both Yale Rep commissions, were cited among the Top Ten of 2011 and 2012, respectively, by the New York Times. Will Eno’s The Realistic Joneses will premiere on Broadway in the spring of 2014. For more information, please visit yalerep.org/center.

COMMISSIONED ARTISTS

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David Adjmi, Todd Almond, Christina Anderson, Hilary Bell, Adam Bock, Sheila Callaghan, Bill Camp, Lucinda Coxon, Lear deBessonet, Will Eno, Dorothy Fortenberry, Marcus Gardley, Matt Gould, Kirsten Greenidge, Danai Gurira, Noah Haidle, Ann Marie Healy, Amy Herzog, Naomi Iizuka, Branden Jacobs-Jenkins, Rolin Jones, Aditi Brennan Kapil, Carson Kreitzer, Dan LeFranc, Elizabeth Meriwether, Meg Miroshnik, Scott Murphy, Julie Marie Myatt, David Lefort Nugent, Lina Patel, Jay Reiss, Amelia Roper, The Rude Mechs, Sarah Ruhl, Octavio Solis, Rebecca Taichman, Lucy Thurber, Alice Tuan, Paula Vogel, Kathryn Walat, Anne Washburn, Marisa Wegrzyn, Robert Woodruff


Yale Rep productions supported by the BINGER CENTER FOR NEW THEATRE, clockwise from the top: Merritt Janson and Bill Camp in Notes from Underground, 2009; Clifton Duncan, Angela Lewis, de’Adre Aziza, and Marc Damon Johnson in Good Goods, 2012; Cristin Paige and Randy Harrison (background: Leslie Kritzer and Emily Swallow) in POP!, 2009; Maria Dizzia and Gilbert Owuor in Belleville, 2011; Teale Sperling and Marin Ireland in Marie Antoinette, 2012. All photos by Joan Marcus, except Marie Antoinette by T. Charles Erickson. 27


FOR YOUR INFORMATION

ACCESSIBILITY SERVICES

HOW TO REACH US Yale Repertory Theatre Box Office 1120 Chapel Street (at York St.) PO Box 208244, New Haven, CT 06520 203.432.1234 Email: yalerep@yale.edu

Yale Repertory Theatre offers all patrons the most comprehensive accessibility services program in Connecticut, including a season of open-captioned and audiodescribed performances, a free assistive listening system, large-print and Braille programs, wheelchair accessibility with an elevator entrance into the Yale Rep Theatre located on the left side of the building, and accessible seating. For more information about the theatre’s accessibility services, contact Ruth M. Feldman, Director of Education and Accessibility Services, at 203.432.8425 or rm.feldman@yale.edu.

BOX OFFICE HOURS Monday to Friday from 10AM to 5PM Saturday from 12PM 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. RESTROOMS Restrooms are located downstairs. Please contact the concierge for assistance with the elevator. EMERGENCY CALLS Please leave your cell phone and/or beeper, name, and seat number with the concierge. We’ll notify you if necessary. The emergency-only telephone number at Yale Rep is 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.

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. 28

Yale Repertory Theatre gratefully acknowledges the Carol L. Sirot Foundation for underwriting the assistive listening systems in our theatres. AUDIO DESCRIBED (AD) A live narration of the play’s action, sets, and costumes for patrons who are blind or low vision. 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 as it’s spoken. Open Captioning and Audio Described performances are on Saturdays at 2PM. AD pre-show description begins at 1:45PM.

Owners

Nov 9

Accidental Death of an Anarchist

Dec 14 Dec 14

The Fairytale Lives of Russian Girls

Feb 15 Feb 22

These Paper Bullets

Mar 29 Mar 29

The House that will not Stand May 3

Nov 16

May 10

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


YALE REP’S EDUCATION PROGRAMS As part of Yale Rep’s commitment to our community, we provide two significant youth theatre programs. Since our 2003–04 season, WILL POWER!, which offers teacher training and curricular support prior to seeing a selected play at Yale Rep, has served more than 20,000 Connecticut students and educators. The Dwight/ Edgewood Project brings eight middle school students to Yale Rep for a monthlong, after-school playwriting program designed to strengthen their self-esteem and creative expression. Yale Rep’s education programs are supported in part by the Josef and Anni Albers Foundation; Allegra Print and Imaging; Deborah S. Berman; Susan C. Clark; Roxanne Coady; Bob and Priscilla Dannies; Bruce Graham; the George A. and Grace L. Long Foundation, Bank of America, N.A. and Alan S. Parker, Esq. Co-Trustees; the Lucille Lortel Foundation; Romaine A. Macomb; Mrs. Romaine Macomb; Jane Marcher Foundation; Dawn G. Miller; Arthur and Merle Nacht; NewAlliance Foundation; Robbin A. Seipold; Sandra Shaner; Cheever and Sally Tyler; Esme Usdan; Charles and Patricia Walkup; and Bert and Martha Weisbart. LEFT, FROM TOP: SCHOOLS GATHERING FOR WILL POWER!; WILL POWER! CLASSROOM WORKSHOP; REHEARSAL FOR THE DWIGHT/EDGEWOOD PROJECT, 2013.

SPONSORSHIP: COMMUNITY PARTNERS Allegra Print and Imaging Box 63 American Bar and Grill Elm City Wellness Fleur de Lys Floral and Gifts

Geronimo Tequila Bar and Southwest Grill GHP Printing and Mailing Heirloom Hull’s Art Supply and Framing New Haven Register

ROÌA The Study at Yale Take the Cake Willoughby’s Coffee and Tea The Wine Thief The Yale Bookstore

These lists include current pledges, gifts, and grants received from July 1, 2012‚ through October 15, 2013.

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YALE SCHOOL OF DRAMA BOARD OF ADVISORS John B. Beinecke, Chair John Badham, Vice Chair Jeremy Smith, Vice Chair Amy Aquino John Lee Beatty Sonja Berggren Lynne Bolton Clare Brinkley Sterling B. Brinkley, Jr. Kate Burton Lois Chiles Patricia Clarkson

Edgar M. Cullman III Scott Delman Michael Diamond Polly Draper Charles S. Dutton Sasha Emerson Heidi Ettinger Terry Fitzpatrick Marc Flanagan Marcus Dean Fuller Anita Pamintuan Fusco Donald Granger

David Marshall Grant Ruth Hendel Catherine MacNeil Hollinger David Henry Hwang Ellen Iseman David Johnson Asaad Kelada Sarah Long Donald Lowy Elizabeth Margid Drew McCoy

Tarell Alvin McCraney David Milch Arthur Nacht Carol Ostrow Amy Povich Liev Schreiber Tony Shalhoub Michael Sheehan Anna Deavere Smith Edward Trach Courtney B. Vance Henry Winkler

Thank you to the generous contributors to Yale School of Drama and Yale Repertory Theatre: LEADERSHIP SOCIETY ($50,000 and above) Anonymous (2) John B. Beinecke Lynne and Roger Bolton Sterling and Clare Brinkley Lois Chiles and Richard Gilder State of Connecticut, Office of the Arts Edgar M. Cullman, Jr. Edgar M. Cullman III Anita Pamintuan Fusco and Dino Fusco Estate of Roger Gimbel* Horace W. Goldsmith Foundation Frederick Iseman David Johnson Adrian and Nina Jones Jennifer Lindstrom Andrew W. Mellon Foundation William S. Monaghan Pam and Jeff Rank Robert Riordan Robina Foundation Linda Frank Rodman Talia Shire Schwartzman The Shubert Foundation Kara Unterberg Esme Usdan Reggie Van Lee

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GUARANTORS ($25,000–$49,999) Anonymous The Alec Baldwin Foundation CT Humanities Council, Inc. Educational Foundation of America Heidi Ettinger National Endowment for the Arts James Munson Jeremy Smith Edward Trach

BENEFACTORS ($10,000–$24,999) Nina Adams and Moreson Kaplan The Josef and Anni Albers Foundation Americana Arts Foundation Bank of America Sonja Berggren and Patrick Seaver The Cornelius-Schecter Family Fund Scott Delman Michael Diamond Joseph Gantman Albert R. Gurney Ruth and Steve Hendel Catherine MacNeil Hollinger Sarah Long Lucille Lortel Foundation Donald B. Lowy

Neil Mazzella Carol Ostrow Michael and Riki Sheehan Ted and Mary Jo Shen Carol L. Sirot Foundation Trust for Mutual Understanding Carol M. Waaser

PRODUCER’S CIRCLE ($5,000–$9,999) Deborah Applegate and Bruce Tulgan Foster Bam Carmine Boccuzzi and Bernard Lumpkin Mary L. Bundy Jim Burrows The Noël Coward Foundation Terry Fitzpatrick F. Lane Heard III Ellen Iseman Ben Ledbetter and Deborah Freedman Arthur and Merle Nacht NewAlliance Foundation Philip J. Smith

DIRECTOR’S CIRCLE ($1,000–$4,999) Amy Aquino and Drew McCoy Paula Armbruster John Badham Darren Bagert Alexander Bagnall Robert L. Barth Jody Locker Berger

Deborah S. Berman Bisno Productions Jeffrey A. Bleckner Edward Blunt Michael Broh Ben Cameron Raymond Carver James Bundy Joan D. Channick Sue Ann Gilfillan and Tony Converse Peggy Cowles Michael S. David Sasha Emerson Glen R. Fasman Marc Flanagan Lawrence and Megan Foley Marcus Dean Fuller Melanie Ginter and John Lapides Stephen Godchaux Fred Gorelick and Cheryl MacLachlan James W. Gousseff Donald Granger Carol Thompson Hemingway Sally Horchow James Earl Jewell Rolin Jones Betsy Katz and Reed Hundt The Ethel & Abe Lapides Foundation The George A. and Grace L. Long Foundation George N. Lindsay, Jr.


Linda Lorimer and Charley Ellis William Ludel Drs. Robert and Wendy Lyons Romaine A. Macomb Jenny Mannis and Henry Wishcamper Jane Marcher Foundation Peter Marshall Thomas Masse and Dr. James Perlotto Peter McCandless Maeve McGuire Dawn G. Miller David and Leni Moore Family Foundation Neil Mulligan Victoria Nolan and Clark Crolius Richard Ostreicher F. Richard Pappas Dw Phineas Perkins Eva Price and Avram Freedberg George and Kathy Priest Lance Reddick Dr. Michael Rigsby Liev Schreiber Marie S. Sherer Eugene F. Shewmaker Benjamin Slotznick Kenneth J. Stein Shepard and Marlene Stone Erich Stratmann Lee Stump Arlene Szczarba Target John Henry Thomas Cheever and Sally Tyler Courtney B. Vance Steve Zuckerman

PARTNERS ($500–$999) Actors’ Equity Foundation Mr. and Mrs. B. Ashfield The Bruce Altman Family Mary Ellen and Thomas Atkins Michael Bombara Susan Brady and Mark Loeffler Mark Brokaw Alice B. and James T. Brown Joy G. Carlin Cosmo Catalano, Jr. *deceased

Patricia Clarkson Paul Cleary Ernestine and Ronald Cwik Bob and Priscilla Dannies Richard Sutton Davis Ramon L. Delgado The Cory & Bob Donnalley Charitable Foundation Roberta Enoch and Steven Canner Peter Entin Rob Greenberg Elizabeth M. Greene Robyn Goodman Regina Guggenheim William B. Halbert Karsten Harries and Elizabeth Langhorne Katherine W. Haskins Barbara Hauptman Jane C. Head Donald Holder John Robert Hood Raymond Inkel Walton Jones Jane Kaczmarek Mildred Kuner Richard Lalli Edward Lapine Charles Long and Roe Curtis Chih-Lung Liu Brian Mann John McAndrew George Miller and Virginia Fallon Daniel Mufson Janice Muirhead Arthur Oliner Maulik Pancholy Louise Perkins and Jeff Glans Amy Povich Daniel and Irene Mrose Rissi Aileen and Brian Roberts Suzanne Sato Sandra Shaner Matthew Specter Peter and Paula Steere Marsha Stewart Jack Thomas and Bruce Payne Thomas Thurston Zelma Weisfeld Vera Wells Carolyn S. Wiener Steven Wolff Evan Yionoulis

INVESTORS ($250–$499) Susan and Bruce Ackerman Richard Ambacher Clayton Mayo Austin James Bakkom Robert Baldwin Douglas and Sarah Banker Michael Barker and Heidi Leigh Hanson John Lee Beatty Deborah Bloch Irving and Jackie Blum Tom Broecker Donald Brown Claudia Brown William J. Buck Jonathan Busky Sheldon Bustow Anne and Guido Calabresi Ian Calderon Anna Cascio Wil Cather Dr. and Mrs. W.K. Chandler Ricardo and Jenny Chavira Aurélia and Ben Cohen Stephen Coy John W. Cunningham David Davenport Charles Dillingham Dennis Dorn Merle Gordon Dowling Marc Eisenberg Joel Fontaine Anthony Forman Walter M. Frankenberger III James Galligan Joseph Wayne Gordon Anne K. Gregerson Sarah Hancock Douglas Harvey Michael Haymes and Logan Green Jennifer Hershey-Benen James Guerry Hood Mary and Arthur Hunt Joanna and Lee Jacobus Heide Janssen Barnet K. Kellman Abby Kenigsberg Donald and Candice Kohn David Kriebs Bernard Kukoff Frances Kumin William Kux

Suttirat Larlarb Kenneth Lewis Suzanne Cryer Luke Nancy F. Lyon Robert and Nancy Lyons Linda Maerz and David Wilson Elizabeth Margid Deborah McGraw George Miller and Virginia Fallon Jane Nowosadko William and Barbara Nordhaus Dwight R. Odle Laura Patterson Andy Perkins Stephan Pollack Meghan Pressman Carol A. Prugh Alec and Drika Purves Margaret Adair Quinn Faye and Ashgar Rastegar Jonathan and Sarah Reed Barbara and David Reif Bill and Sharon Reynolds Steve Robman Russ Rosensweig Fernande E. Ross Jean and Ron Rozett Mark and Cindy Slane Mary C. Stark Bernard Sundstedt Sy Sussman William and Phyllis Warfel Dana Westberg Judith and Guy Yale Albert Zuckerman

FRIENDS ($100–$249) Paola Allais Acree Michael Albano Sarah Jean Albertson Victor and Laura Altshul Glenn R. Anderson Susan Anderson Leif Ancker Angelina Avallone Sandra and Kirk Baird Boris Baranovic Robert Barr Edward and Barbara Barry William and Donna Batsford Nancy and Richard Beals Barbara and Jack Beecher

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Contributors to Yale School of Drama and Yale Repertory Theatre James Bender Elizabeth Bennett Melvin Bernhardt Saundra and Donald Bialos Ashley Bishop Mark Bly Anders Bolang Debra Booth Paul Bordeau John Cummings Boyd Sara Hedgepath Braun John Breedis Amy Brewer and David Sacco James and Dorothy Bridgeman Linda Briggs and Joseph Kittredge Christopher Brown Gerard and Ann Burrow Robert and Linda Burt Kate Burton Dr. Adalgisa Caccone Michael Cadden Kathryn A. Calnan Lisa Carling Nicholas Carriere Sami Joan Casler Patricia Cavanaugh Jim Chervenak Suellen G. Childs Nicholas and Barbara Cimmino Cynthia Clair Susan C. Clark Lani Click Katherine D. Cline Roxanne Coady Robert S. Cohen Mr. and Mrs. Thomas Colville Patricia J. Collins Forrest Compton Audrey Conrad David Conte Jack and Helen Cooper Greg Copeland Aaron Copp Robert Cotnoir Timothy and Pamela Cronin Julie Crowder Douglas and Roseline Crowley William H. Cuddy Sean Cullen

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Marycharlotte Cummings William Curran Donato Joseph D’Albis F. Mitchell Dana Sue and Gus Davis Nigel W. Daw Belene and Neil Day Mr. and Mrs. Paul DeCoster Elizabeth DeLuca Julia L. Devlin Jose A. Diaz Peter and Connie Dickinson Melinda DiVicino Peter Donat JoAnne E. Droller, R.N. Jeanne Drury Diane Dumigan Edwin and Karen Duval East Coast Management & Consulting Laura Eckelman Robert Einenkel Frances L. Egler Nancy Reeder El Bouhali Janann Eldredge Elizabeth English Kyoung-Jun Eo Dirk Epperson Dustin Eshenroder Christine Estabrook Ellen and Frank Estes Euphoria Salon Jerry N. Evans Douglass Everhart John D. Ezell Christopher and Brenda Faretta Michael Fain Kristan Falkowski Ann Farris Christopher Feeley Ruth M. Feldman David Florin and Robin Thomashauer Nanci Fortgang Keith Fowler Richard Fuhrman Randy Fullerton Michael T. Fulton and Catherine Hernandez Barbara and Gerald Gaab Ralph Garrow Joseph J. Garry and David Frazier Steven Gefroh

Stuart and Beverly Gerber Patricia Gilchrist Robert Glen William Glenn Lindy Lee Gold Robert Goldsby Naomi Grabel Kris and Marc Granetz Bigelow Green Elizabeth Greenspan and Walter Dolde Margaret Grey and Michael Lauterbach Michael Gross John Guare Jessica and Corin Gutteridge Phyllis Hammel Alexander Hammond Marian Hampton Ann and Jerome R. Hanley Scott Hansen Charlene Harrington Betty and Walter Harris Ihor and Roma Hayda Brian Haynsworth James Hazen Nicole and Larry Heath Robert Heller Rachel Hewitt Dennis and Joan Hickey John J. Hickey Roderick Hickey Hill Regional Career High School Elizabeth Holloway Amy Holzapfel Nicholas Hormann David Howson Evelyn Huffman Charles Hughes Hull’s Art Supply and Framing Derek Hunt Peter H. Hunt John Huntington John and Patricia Ireland Lisa Iverson John W. Jacobsen Chris Jaehnig Ina and Robert Jaffee Jim and Cynthia Jamieson Geoffrey A. Johnson Donald E. Jones, Jr. Elizabeth Kaiden Jonathan Kalb Carol Kaplan

James D. Karr Dr. and Mrs. Michael Kashgarian Bruce Katzman Edward A. Kaye Richard Kaye Jay Keene Asaad Kelada Abby Kenigsberg Edward Kennedy Roger Kenvin Alan Kibbe Colette Kilroy Carol Soucek King Shirley Kirschner Daphne Klein David and Charlotte Koskoff Brenda and Justin Kreuzer Joan Kron Mithchell Kurtz Howard and Shirley Lamar Marie Landry and Peter Aronson Wing Lee Charles E. Letts III Max Leventhal Doree Levy Irene Lewis Tony Lolong Mark London Paul David Lukather Andi Lyons Janell M. MacArthur Timothy Mackabee Elizabeth M. MacKay Lizbeth Mackay Wendy MacLeod Mrs. Romaine Macomb Alan Mokler MacVey Peter Andrew Malbuisson Jocelyn Malkin Orla and Mithat Mardin Marvin March Jonathan Marks Aaron Mastin Craig Mathers Patricia McAdams Robert McDonald Brian McEleney Thomas McGowan Frederick McGuire Robert McKinna and Trudy Swenson Patricia McMahon Bruce McMullan


Robert Melrose Stephen W. Mendillo Donald Michaelis Carol Mihalik Jonathan Miller Sandra Milles Mary Jane Minkin and Steve Pincus Marjorie Craig Mitchell Jennifer Moeller Richard R. Mone Elizabeth H. Moore Tom Moore George Morfogen David Muse Gayther Myers, Jr. Rachel Myers David Nancarrow James Naughton Tina C. Navarro Meg Neville Regina and Thomas Neville Ruth Hunt Newman Gail Nickowitz Grace O’Brien Richard Olson Sara Ormond Jim and Mary Ottaway Steven Oxman Kendric T. Packer Ginny Parker Dr. and Mrs. Michael Parry Peter and Linda Perdue William Peters Roberta Pilette Lisa Porter Gladys Powers Art Priromprintr Robert Provenza William Purves James Quinn Sarah Rafferty Ronald Recasner James and Cynthia Reik

Lisa Steele Roach Joan Robbins Peter S. Roberts Brian Robinson Lori Robishaw Priscilla and Deever Rockwell Doug Rogers Howard Rogut Constanza Romero Dean and Maryanne Rupp Raymond Rutan Edward and Alice Saad Steven Saklad Clarence Salzer Robert Sandberg Peggy Sasso William and Annita Sawyer Joel Schechter Anne Schenck Carl Schiffman Kenneth Schlesinger Mr. and Mrs. Michael Schmertzler Ruth Hein Schmitt William Schneider Judith A. Schomer Drs. Carol and Sandy Schreiber Georg Schreiber Jennifer Schwartz Kathleen McElfresh Scott Alexander Scribner Forrest E. Sears Paul Selfa Subrata K. Sen Vicki Shaghoian Paul R. Shortt Lorraine Siggins and Braxton McKee Michael Vaughn Sims E. Gray Smith, Jr. Helena L. Sokoloff Suzanne Solensky and Jay Rozgonyi

Mary Louise and Dennis Spencer Marian Spiro Amanda Spooner Regina Starolis Louise Stein Rosalie Stemer Neal Ann Stephens John Stevens Kris Stone Pamela Strayer Jaroslaw Strzemien Mark Sullivan Katherine Sugg Jane V. Suttell David Loy Sword Ellen Tsangaris Muriel Test Eleanor Q. Tignor David F. Toser Albert Toth Russell L. Treyz Richard B. Trousdell Deborah Trout Suzanne Tucker Gregory and Marguerite Tumminio Marge Vallee Joan Van Ark Carrie Van Hallgren Russell Vandenbroucke Arthur Vitello Eva Vizy Fred Voelpel Mark Anthony Wade Charles and Patricia Walkup David J. Ward Barbara Wareck and Charles Perrow Judith Barcroft Washam Rosa Weissman Charles Werner George and Jessica Whelen Peter White

Richard Whittington Robert Wierzel Lisa A. Wilde Robert Wildman Marshall Williams David Willson Alexandra Witchel Carl Wittenberg Yun C. Wu Dianah Wynter Arthur and Ann Yost Donald and Clarissa Youngberg Patricia and John Zandy

EMPLOYER MATCHING GIFTS Aetna Foundation Ameriprise Financial Chevron Corporation General Electric Corporation IBM Merck Company Foundation Mobil Foundation, Inc. Pfizer Procter & Gamble The Prospect Hill Foundation

IN KIND Sterling and Claire Brinkley Ellie and Edgar Cullman, Jr. Sasha Emerson Penelope Laurens Fitzgerald Terry Heinzmann Richard Jeter David Johnson Jane Kaczmarek Show Stage, LLC Kara Unterberg

This list includes current pledges, gifts, and grants received from July 1, 2012, through October 15, 2013.

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UP NEXT YALE REPERTORY THEATRE

ACCIDENTAL DEATH OF AN ANARCHIST BY DARIO FO

ADAPTED BY GAVIN RICHARDS FROM A TRANSLATION BY GILLIAN HANNA

DIRECTED BY CHRISTOPHER BAYES FEATURING STEVEN EPP

NOVEMBER 30–DECEMBER 21 yalerep.org YALE SCHOOL OF DRAMA

PETER PAN

BY J.M. BARRIE ADAPTED AND DIRECTED BY DUSTIN WILLS

DECEMBER 13–19 drama.yale.edu

YALE REPERTORY THEATRE

THE FAIRYTALE LIVES OF RUSSIAN GIRLS BY MEG MIROSHNIK DIRECTED BY RACHEL CHAVKIN

JANUARY 31–FEBRUARY 22 yalerep.org

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Yale University Art Gallery Visit with Friends

Expanded museum now open European art galleries, Yale University Art Gallery, 2012

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Owners  

Owners, by Caryl Churchill, directed by Evan Yionoulis October 25 to November 16, 2013

Owners  

Owners, by Caryl Churchill, directed by Evan Yionoulis October 25 to November 16, 2013

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