PASSION PLAY PASSION PLAY SePtember 19 tO OctOber 11 University Theatre
SEPTEMBER 19 TO OCTOBER 11
james bundy, artistic director victoria nolan, managing director
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The Grand Inquisitor
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From The Brothers Karamazov by Fyodor Dostoyevsky Adapted by Marie Hélène Estienne Directed by Peter Brook with Bruce Myers Friday & Saturday, October 10 & 11, 8pm CFA Theater
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“Brook’s production and Bruce Myers’s performance have an austere grandeur.” — The Guardian on The Grand Inquisitor
The work of legendary director Peter Brook returns to the U.S. with The Grand Inquisitor. In its exclusive Connecticut engagement, this stunning example of Brook’s latest work takes place in Seville during the Inquisition. In his inﬁnite mercy, Christ returns to the world of man in the human form he wore during his 33 years on Earth and enters the burning streets of the city, where, the previous day, the Grand Inquisitor had sent a hundred heretics into the ﬂames. The Cardinal Grand Inquisitor sees him and his face darkens. He orders the guards to seize Christ and shut him in a narrow vaulted cell. In the darkness, suddenly, the iron door opens and the Grand Inquisitor quietly enters. For a long moment, he stays in the doorway, studying the Holy face. Then he draws nearer, saying: “Is it You? You?” media sponsor
A NOTE FROM THE PLAYWRIGHT I started writing this play twelve years ago
Saul Friedman and James Shapiro for their careful research.) I am also indebted
after re-reading a childhood book which
to Paula Vogel, who encouraged me to write this play from its inception, twelve
includes an account of Oberammergau
years ago—and I find it moving that she is now teaching at Yale, as I attempt to
in the early 1900s. In this old-fashioned
finish the thing.
narrative, the man who played Christ was actually so holy as to have become His living
Seven years after beginning Passion Play parts 1 and 2, I returned to the
embodiment. The woman who played Mary
cycle. I discovered that there is now a Passion Play in Spearfish, South
was, in real life, just as pure as the Virgin.
Dakota, started by an actor from Germany in the 1940s. I felt that I had to
I started thinking, how would it shape or
continue the story, especially because I felt as though our country was very
misshape a life to play a biblical role year
much engulfed in the medieval; that is to say, our leaders continue to use,
after year? How are we scripted? Where is
mis-use and legislate religion for their own political aims—and the language
the line between authentic identity and
of God is intertwined in the language of war. More and more, it seems to me
performance? And is there, in fact, such a
that the separation between church and state is coming into question in our
country. We are a divided nation. And the more divided we are, the less we talk about what divides us. The left is perceived of as anti-religious ideological
I must be drawn to medieval theater because
secularists; the right as religious zealots. But whatever happened to the
theirs was a theater of transformation and playfulness, in which the sacred was up
founding father’s rationale for separating church and state? More devotion was
against the profane, comedy smack up against tragedy. A theatrical world including
possible, and more kinds of devotion would be possible, the less the state
mouths of hell and fish puppets and the representation of the improbable—floods,
controlled religious rhetoric. More devotion, and more conversation about
fires, and miracles. And it was a pre-professional theater world, when ordinary
devotion, would be possible with that freedom. I miss that conversation, and
people—bakers, carpenters, fisherman—put on costumes once a year, and for a
I think theater is a good place for it. To my mind, devotion is like a quality
moment, a small town became the center of the universe.
of light—how is it possible to legislate the quality of light? It would be like legislating the invisible moments that happen in a theater. And ultimately, this
The first act is set in 1575 in England, when Queen Elizabeth was about to shut
play is about those moments—about how actors wring moments out of their
down the Passion Plays in order to control religious representation. The second act
private lives in order bear witness in the community.
moves to Oberammergau, Germany—a town where the Passion Play, begun in the middle ages, even now continues to be played every ten years. Many narratives describe Oberammergau as a living picture of the New Testament, ignoring the fact that, in 1934, the director of the Passion was already a member of the Nazi party. The actor who played Christ and the actress who played the Virgin Mary were also early party members. As late as 1946, the village of Oberammergau denied knowing
anything about concentration camps, although Dachau, where Oberammergau’s one Jew was sent during the war, was only seventy-five miles away. (I am indebted to
SEPTEMBER 19 TO OCTOBER 11, 2008
YALE REPERTORY THEATRE
James Bundy, Artistic Director
Victoria Nolan, Managing Director
PASSION PLAY SARAH RUHL directed by MARK WING-DAVEY by
Associate Scenic Designer
Sound Designer Projection Designer
CHARLES COES RUPPERT BOHLE
TARA RUBIN CASTING
Passion Play is produced by special arrangement with Bruce Ostler, Bret Adams, Ltd., 448 West 44th Street, New York, NY 10036. Passion Play, Part 3, originally commissioned by Arena Stage, Washington, DC. SEASON MEDIA SPONSOR
PRODUCTION SUPPORT PROVIDED IN PART BY
COVER PHOTO BY DAVID COOPER.
C AST IN ORDER OF APPEARANCE
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THOMAS JAY RYAN
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There will be two fifteen-minute intermissions. 7
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"Then the Pharisees and Sadducees came, and testing Him asked that He would show them a sign from Heaven. He answered and said to them, “When it is evening you say, ‘It will be fair weather for the sky is red;’ and in the morning, ‘It will be foul weather today, for the sky is red and threatening.’ Hypocrites! You know how to discern the face of the sky, but you cannot discern the signs of the times.”
THE SIGNS OF SEVERAL TIMES:
3/13/08 5:37:00 PM
—MATTHEW 16:2–3, LUKE 12:56
Sarah Ruhl’s Passion Play takes us into a world where Catholic communities perform their faith on stage. In medieval England, Bavaria, and twentieth-century South Dakota, the devout produce plays based on the Passion, the Gospel accounts of Jesus’s last days. For believers, the Passion players bear witness to God’s sacrifice and the promise of a world to come. But these plays also brim with signs from the times in which they’re produced. Filled with topical jokes, political partisanship, and cultural lore, the cosmic biblical drama collides with contemporary life. As the religious dramas bring players a little closer to God, the everyday distinction Passion knows this better than the powerful leaders—Elizabeth I, Adolf Hitler, and Ronald Reagan. The rulers have distinct agendas: Elizabeth seeks domestic stability in her celebrity; Hitler wants cultural uniformity; and Reagan believes in “that shining city on a hill.” But they each play upon the expectations of believers to cast themselves into the big plan, hoping to control and upstage the cosmic destiny of their cultures.
2008 Nick Edlund mystic and quotidian details blurs. And in the charged epochs that 312 between East Street, West Bridgewater, MA 02379 Tel: 508.586.6488 | Fax: 508-819-3082 Play presents, the players see ominous signs everywhere they look. Nobody Email: firstname.lastname@example.org
SUNSET ON BRITISH PASSION: ENGLISH MEDIEVAL DRAMA The earliest surviving records of medieval drama date back to the tenth century with the Catholic celebration of Easter, when priests played liturgical vignettes (called “tropes”) of key scenes from the life and death of Jesus Christ to reinforce the Church’s teachings. Largely illiterate, Catholic parishioners relied on sophisticated “readings” of religious art—painted rood screens, stained glass windows, and iconography in statues—and increasingly elaborate ritual practices to learn religious dogma. Across Europe, clerics set standard rules of performance. Between the twelfth and fourteenth centuries, religious drama underwent huge changes. Plays moved from within the church to outside of it; trade guilds (known as “mysteries”) assumed practical responsibilities of production; and most importantly, Latin gave way to vernacular language. In 1311, a new Catholic Feast Day, Corpus Christi, celebrating “Jesus the Man,” lent new emphasis to staging the Passion—the suffering, crucifixion, and resurrection of Jesus—in medieval English communities. By the fourteenth century, the English plays absorbed considerable time and expenditure in the lay community; and it was likely that almost everyone was involved. The playing spaces depicted an entire cosmos—from Heaven to Hell with the world caught there between. Mansions, which were simple set pieces, provided a means of localizing the action, such as in a manger, temple, or palace. On one end of the stage a Hell Mouth belched smoke and demons, while at the other end stood a Heaven mansion, around which angels “flew” on mechanical hoists. Special effects were so integral to the spectacle that machinists, plotting the intricacies of The Flood and Jesus’s Harrowing of Hell, were second only to the director in authority. In some regional traditions, the mysteries mounted their mansion sets on double-
decker pageant wagons and processed through the town; an entire cycle from Creation to The Last Judgment, with separate plays for each episode of biblical history, could take an entire day to perform. Actors, amateurs from the community, would have been responsible for supplying their own costumes, which resembled the fashions of their time rather than an attempt to recreate biblical garb. At the height of its popularity and complexity, medieval drama came to an abrupt close in England after the accession of Elizabeth I in 1558. It was the end of an era, and new secular dramatic traditions were rising within the universities, Inns of Court, and public yards of London. But the Protestant Reformation had an even greater impact, as Elizabeth launched the parishes of Tudor England in the kingdom’s third major religious transformation in twelve years. Elizabeth enacted a policy of “desacralizing” Catholic relics: some baptismal fonts even served as feed troughs for livestock. Likewise, the religious plays were bowdlerized before they were banned; the Virgin Mary and the Eucharist no longer appeared in most cycle plays of the 1560s. Still, religious uniformity in most dioceses was only as tight as Elizabeth’s grip on local elites. Catholicism continued in prominent households throughout the country, especially in the North, where recusant priests installed themselves as tutors or hid in “priest holes” when the Queen’s bishops and archdeacons came too close. With lax local regulation in communities like Lancashire, where Sarah Ruhl’s Passion Play begins, religious drama flourished into the 1570s. Yet, for the rest of England, the systemic dismantling of key Catholic beliefs made it difficult for believers to continue performing the Passion in earnest.
ELIZABETH I had an uncanny appreciation for the theatre of politics,
A 1547 VALENCIENNES SET DESIGN SHOWING HEAVEN (LEFT), A HELL MOUTH (RIGHT), AND VARIOUS PLACES THERE BETWEEN.
Oldest extant records of medieval drama, liturgical “tropes” sung in the Catholic mass.
The Regularis Concordia (Monastic Agreement) establishes uniform practices of religious drama in England.
Religious dramas begin to move outdoors.
Dramatists abandon Latin for vernacular languages.
Earliest example of English cycle plays.
especially as she overturned Catholic tradition, renewing Protestant England. At a procession before her coronation in 1559, she “took the English Bible offered to her by an allegorical figure of Truth, kissed the book, held it aloft and then clasped it to her breast. When some days later, at Westminster Abbey, monks bearing incense, holy water, and candles approached to offer their blessings, she dismissed them roughly: ‘away with those torches,’ she commanded; ‘we can see well enough by daylight.’” † In all occasions, Elizabeth cast herself as a living emblem of England. Miniature portraits of the Virgin Queen, forever pale and young, circulated widely. Dressed in her finest livery, she toured frequently through her kingdom in “progressions” to inspire veneration from her subjects. Of equal importance to the spectacle she created was the financial burden she imposed on her nobles, who had the distinct honor of paying for her entertainments. † Stephen Greenblatt, Will in the World: How Shakespeare Became Shakespeare, 2004.
Henry VIII breaks with Rome.
Mary I restores Catholicism, earning the nickname “Bloody Mary.”
Elizabeth I renews Protestantism in England.
Shakespeare born in Stratford-uponAvon.
Last attempted English cycle production fails.
PASSION WITH A PAST:
hovering overhead. After much negotiation and international
THE TROUBLING STORY OF OBERAMMERGAU
cries for reform, the play has
Contemporary scholar James Shapiro
production, but verisimilitude is important
the past fifty years: gone are the
writes that “Oberammergau is justly
for Oberammergau: no makeup or wigs
horns on the headdresses of
celebrated as one of the few places in the
are allowed onstage; actors must be born
the Jewish high priests, though
world where theater still matters.” The
in Oberammergau or reside in the city
sinister nubs still remain; the
Bavarian play began with a vow made in
for twenty years before they’re eligible to
Jewish mob still cries its “blood
1633: villagers would perform the Passion
perform; and until 1990, female actors had
curse,” though other competing
Play every ten years if God would spare
to be under 35 and single.
voices clamor for blame;
undergone massive changes over
Judas clutches his moneybag,
them from the plague which had ravaged neighboring towns and threatened to
In 1934 the play gained infamy for the
though no longer counts his
consume them. With few exceptions,
dubious honor of hosting Hitler as he
coins. Controversy remains.
they’ve kept their pledge with God, and
courted the popular vote for the institution
Progressives insist they’ve
this devotion had made Oberammergau,
of a new office, Führer and Reich
shifted the entire thrust of the
a town just southwest of Munich, an
Chancellor. Many of the actors in principle
play from a revenge narrative
roles (excepting Judas) were already party
against the Jews to an attempt
Nazis, and voting records indicate that
at bridging the Jesus of history
Oberammergau attracts a capacity crowd
almost 90% of the town’s inhabitants
with the Jesus of Christian faith,
of over 400,000 visitors every ten years
favored Hitler in the general election. In
but critics contend that only the
(with applications for tickets nearing 4
1942 Hitler would go so far as to claim
costumes shrouding the anti-
million). No expense is spared in its lavish
that the play showed Pilate as a man of
Semitism have changed. THE DEPOSITION: JESUS BEING LAID TO REST, OBERAMMERGAU, 1900.
“superior race” while the Sanhedrin’s call for crucifixion revealed the whole “muck and mire of Jewry.” However, forced to choose between guns and God, Hitler closed the play in 1940 to build a munitions factory nearby. Picked up again in 1950 as a symbol of Allied victory and traditional values, the Passion Play entered the latter half of the twentieth century with a dark cloud ADOLF HITLER MEETING WITH THE PASSION PLAYERS AT OBERAMMERGAU, 1934.
ADOLF HITLER always had an eye for the arts, though he lacked the talent to succeed as a painter. He planned to remake Berlin based on his own architectural vision, a mix of Roman classicism and art deco. Expressing virulent dislike for modern “degenerate” art, he adored the bold, passionate drama of Wagnerian opera, with which he conflated his heroic vision of the German nation. He believed in a German mission to direct the course of western history. Hitler’s masterful oratory, often set amid “marching columns, a forest of banners and blocks of humanity,” aspired to the same totalizing effect on his audiences.† Preparing his speeches, Hitler spent hours rehearsing the raging gestures and mounting crescendos. And once, he naively boasted he was “the greatest actor in Europe.” † Joachim C. Fest, Hitler, 2002.
First production of Oberammergau Passion Play.
Bavarian Catholics shut down all religious plays.
Oberammergau receives special exemption; thrives without local competition.
Daisenberger writes the play script used currently in Oberammergau.
Hitler first attends the Passion Play of Oberammergau.
Josef Meier brings the first European Passion troupe to North America.
Hitler purges political opposition in The Night of the Long Knives; attends Oberammergau’s special tercentennial production.
Black Hills Passion Play begins in Spearfish, South Dakota.
A NEW AMERICAN TRADITION:
ON THE NATIONAL STAGE OF AMERICAN POLITICS
The Black Hills Passion Play began in
Black Hills Passion Play as America’s own
1939 when German national Josef Meier’s
Oberammergau. Despite the comparison
traveling Passion troupe settled in
to the extravagant German spectacle, the
Spearfish, South Dakota. His production,
religious ethos of rural America marks the
which had been touring internationally
play’s production values: the costumes
for seven years, was the first of its kind in
are brightly colored, cotton-polyester
America’s Passion play has persevered against the turbulent backdrop of American politics. In 1969, the blue-collar Catholics at Spearfish probably would have counted themselves among Nixon’s “silent majority,” the non-protesting Americans to whom he appealed in a November televised address about the Vietnam War. Nixon refused to offer a timetable for withdrawal but counted the peace at home more valuable than the military conflict overseas. Fifteen years later in Reagan’s re-election campaign, the formerly silent majority embraced an American cowboy as Commander-in-Chief.
North America. Meier, who played Jesus
tunics; the set pieces, homely blocks. For
until he retired in 1991 at the age of 86,
the spectacle of Jesus’s trial before Pilate,
believed that Spearfish resembled the
the semi-professional cast of 23 swells
landscape of Jerusalem, giving a feeling
with local “Protestants, Catholics, and
of authenticity to the play. “Endowed with
Jews” (Time). Even now, the 7,000-seat
all the splendor & pageantry of the Orient,
Black Hills amphitheatre accommodates a
this great Play speaks eloquently of the
yearly glut of Wyoming Cowboys, Dakota
love & fury of a people two thousand years
Farmers, road-trippers, and pilgrims who
ago,” the Black Hills website proclaims.
embrace the play’s humble style as an
In 1940, Time magazine heralded the
expression of faith.
THE BLACK HILLS PASSION PLAY
Bolstered by the local tourist economy, the 1984 Spearfish community had weathered fairly well the slow, inexorable statewide migration of workers to more populous regions. Economic opportunity skewed demographics in South Dakota but not political ties. (Republicans have carried the state in the past ten presidential elections.) Passion Play’s final leap suggests a sense of cultural amnesia for the South Dakotans who stayed, versus the veterans drafted in Vietnam who came back—reliving a war, seen by many as an American failure. By 1984, Reagan’s rhetorical gift had already secured American consciousness against the “evil empire.” One of the characters in Passion Play remarks, “There’s always a war before and a war after.” Considering the recurring narratives of this cosmic drama, that truism is starkly apropos, save for the unfortunate few who forget which war they’re living in. RONALD REAGAN was a better actor than his career in movies suggests. “I was the Errol Flynn of the B’s,” he quipped. Folksy humor and a self-deprecating streak set Regan apart as a studio star, where, as he put it, producers “didn’t want them good; they wanted them Thursday.” Outside the Hollywood circuit, Reagan acted in a series of enormously successful U.S. Army Air Corps training films, like Jap Zero and Rear Gunner, which helped recruit thousands in WWII for near-suicidal military operations. People trusted Reagan’s voice— gently persuasive, knowing, and confidential—a characteristic that carried him through his ensuing stints as president of the Screen Actors Guild and spokesperson for G.E. In 1962 he registered with the Republican Party and began stumping tirelessly for conservatives. It was then, during a famous speech for Barry Goldwater’s campaign, that Reagan combined his dramatic intensity with the cosmic “good and evil” narrative that would define his presidency: “We can preserve for our children this, the last best hope of man on earth, or we can sentence them to take the first step into a thousand years of darkness.”
PHOTO OF JOSEF MEIER CARRYING THE CROSS ON THE WALL AT SPEARFISH. PHOTO BY SARAH RUHL.
Hitler suspends the Oberammergau Passion Play; Ronald Reagan plays “The Gipper” in Knute Rockne, All American.
The Oberammergau Passion Play resumes.
American-Jewish intellectuals boycott Oberammergau.
1967–1975 Reagan serves as Governor of California.
US troop levels in Vietnam peak at over 500,000.
President Nixon makes a pro-war speech appealing to the “silent majority” of conservative Americans.
The Catholic Church withholds its blessing of the Oberammergau Passion Play.
John Hinkley, Jr. attempts assassination of newly elected President Reagan.
Reagan elected to a second term as president, sweeping 49 states in the Electoral College.
FISHERS OF MEN
see it first. see it here.
Ubiquitous on Evangelical bumpers around the country, the Ichthys Fish works today much as it did among early Christians—a sign for identifying fellow believers. When strangers met in the road, one party would scrawl an arc in the dust and trust the other to pair it with another, crossing the lines to make the fish’s tail.
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The letters spell “fish” in Greek and stand as an acronym for “Jesus Christ God’s Son and Savior.” Integral to Christian scripture, the fish symbol also has origins in pagan fertility rites and Egyptian stories of Osiris’s resurrection. For the townspeople in each act of Passion Play, this biblical symbol would have had a daily significance:
Yale Rep Package Holders enjoy many exclusive benefits all season long, including: • •
“And He said to them, ‘Follow me, and I will make you fishers of men.’” —MATTHEW 4:18–22, MARK 1:17, LUKE 5:10
“All flesh is not the same flesh, but there is one kind of flesh of men, another flesh of beasts, another of fish, and another of birds… There is a natural body, and there is a spiritual body.” —1 CORINTHIANS 15:39–44
“And the men marveled, saying, ‘Who can this be, that even the winds and the sea obey Him?’” —MATTHEW 8:23–27, MARK 4:39–41
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“The kingdom of Heaven is like a dragnet that was cast into the sea and gathered some of every kind, which, when it was full, they drew to shore; and they sat down and gathered the good into vessels, but threw the bad away. So it will be at the end of the age.” —MATTHEW 13:47–49
Offer expires October 17, 2008.
“And they said to Him, ‘We have here only five loaves and two fish.’” —MATTHEW 14:13– 21, MARK 6:31–44, LUKE 9:10–17, JOHN 6:5–15
ALL PROGRAM NOTES BY COLIN MANNEX, PRODUCTION DRAMATURG. 16
PHOTO bY dAvid COOPeR
“But we, little fishes, after the example of our Jesus Christ, are born in water.” —TERTULLIAN, ON BAPTISM (CHAPTER 1), 200-206 AD
repertory theatre 2008–09 season
CAST BRENDAN AVERETT* (CARPENTER 1) is making his Yale Rep
LAURA ESPOSITO (ENSEMBLE) made her Yale Rep debut in
debut. Recent credits in Chicago include The Ballad of Emmet Till, Passion Play (both at Goodman Theatre), Blithe Spirit (The Gift Theatre Company), and Twelfth Night (Noble Fool Theatricals). Other credits include Lennie in Of Mice and Men (Cincinnati Playhouse in the Park, Saint Louis Repertory; Cincinnati Entertainment Award nomination); A Midsummer Night's Dream; Measure for Measure; The Brothers Karamazov; Guys and Dolls; The Donnellys: Sticks and Stones; The Swanne, Pt. III; and Count of Monte Cristo (Stratford Shakespeare Festival of Canada); and various work at A Noise Within and Will Geer’s Theatricum Botanicum in Los Angeles. Brendan was also seen in R. Kelly's Trapped in the Closet and is currently working in post-production on his first short film, Thursday.
the 2007 production of Lulu and most recently appeared in the Carlotta Festival of New Plays production of I Am a Superhero at Yale School of Drama, where she is a third-year MFA candidate. Her other productions at the School of Drama include Peer Gynt, If Found Please Return to Charles Darwin, A Month in the Country, Camino Real, The America Plays; at Yale Cabaret she appeared in An Evening of Cabaret and The Do-Over and directed Perk/Pussy/ Pathos. She spent this past summer co-creating and performing in Caviar on Credit at the Guthrie Theater. Film credits include Better Luck Tomorrow. She received her BFA in Drama from New York University.
KATHLEEN CHALFANT* (QUEEN ELIZABETH/HITLER/REAGAN)
DIRECTOR) hails from Chicago and is making his Yale Rep debut. His Chicago credits include King Lear with Stacy Keach directed by Robert Falls (Goodman Theatre); Mother Courage directed by Eric Simonson, The Royal Family directed by Frank Galati, I Just Stopped By To See The Man (Steppenwolf Theatre Company); Short Shakespeare! The Taming of the Shrew directed by David Bell (Chicago Shakespeare Theater); The Buddy Holly Story (Drury Lane Theater); Sarah Ruhl’s Eurydice directed by Joyce Piven, Great Expectations, Our Country's Good, Lady Chaplin and Her Tramp, and The Mad Dancers (Piven Theatre Workshop, ensemble member); Mr. Marmalade, CRUMBLE (Lay Me Down, Justin Timberlake), and Osama the Hero (Dog & Pony Theatre Co., Ensemble Member). His film credits include Dog Jack, The Meaning of Hemmingway, Toolshed, and the recent Maverick release 8 of Diamonds opposite Eric Roberts.
appeared in Yale Rep’s 2006 production of All’s Well That Ends Well. Her New York stage credits include Angels in America (Tony and Drama Desk Award nominations), Racing Demon, Dead Man’s Cell Phone by Sarah Ruhl, Wit (also at Long Wharf Theatre, in Los Angeles and London; Drama Desk, OBIE, Lucille Lortel, Outer Critics, Connecticut Critics Circle Awards), A Hard Heart, Spalding Gray: Stories Left to Tell, Great Expectations, Bloomer Girl, Guantanamo, The Last Letter, Talking Heads, Savannah Bay, Far Away, Nine Armenians (Drama Desk nomination), Twelve Dreams, Henry V (Callaway Award), True History and Real Adventures, Iphigenia and Other Daughters, Endgame, The Party, and Three Poets. Film and television: Duplicity, The Last New Yorker, Murder and Murder, Bob Roberts, Five Corners, Jumpin’ at the Boneyard, A Price Above Rubies, Perfect Stranger, Kinsey, Book of Daniel, The People Speak, The Guardian, The Laramie Project, Lackawanna Blues, Benjamin Franklin, A Death in the Family, Law & Order, and Storm of the Century. Ms. Chalfant is a Beinecke Fellow at Yale School of Drama this fall.
AUSTIN DURANT (CARPENTER 2) most recently appeared in The Who’s Tommy, Kids These Days, and Recess at Yale Summer Cabaret. A second-year MFA candidate at Yale School of Drama, his credits there include I Am a Superhero, Romeo and Juliet, and Peer Gynt. Regional credits include The Illusion, The Pilgrim Papers, One Flew Over the Cuckoo’s Nest (Berkshire Theatre Festival); Mum Puppettheatre and Philadelphia Theatre Workshop. He received his BA in theatre from Temple University.
DIETERICH GRAY* (MACHINIST/GERMAN OFFICER/YOUNG
BRIAN HASTERT (ENSEMBLE) is a third-year MFA candidate at Yale School of Drama, where he has appeared in Peer Gynt; Troilus vs. Cressida; Dramatis Personae; A Month in the Country; Camino Real; and Drop Dead, Matthew Moses. At the Yale Cabaret he appeared in Threesome, Hillbilly Antigone, Max Out Loud, EYE, and The Apocryphal Project, which he co-created with Lauren Feldman. Brian is the co-founder of the multiple award-winning New York Citybased theatre company The TEAM, whose original company-devised works have been seen throughout Europe and North America.
*MEMBER OF ACTORS’ EQUITY ASSOCIATION, UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS IN THE UNITED STATES. 18
CAST SLATE HOLMGREN (ENSEMBLE) made his Yale Rep debut in last
season’s Trouble in Mind. A second-year MFA candidate at Yale School of Drama, he has appeared there in the Carlotta Festival of New Plays production of Grace, or the Art of Climbing and Learning Russian. His other credits include Bone Songs at Yale Cabaret; the title role in Macbeth at Actors’ Repertory Theatre Ensemble; The Taming of the Shrew, Hamlet, The Little Foxes, and Angels Unaware at Brigham Young University, where he received his BFA. Television and film credits include Everwood and Dragonhunter. Slate recently completed the British American Dramatic Academy’s Midsummer in Oxford program at Balliol College.
POLLY NOONAN* (VILLAGE IDIOT/VIOLET) is making her Yale Rep debut. Polly has worked on Sarah Ruhl’s plays for ten years, including Dead Man’s Cell Phone (world premiere, Woolly Mammoth Theatre, Helen Hayes Award nomination; Steppenwolf Theatre Company), Passion Play (world premiere, Arena Stage, Helen Hayes Award nomination; Goodman Theatre, Joseph Jefferson Award nomination), Eurydice (world premiere, Madison Repertory Theatre; Piven Theatre Workshop), Melancholy Play (world premiere, Piven; Echo Theater Company), and Orlando (world premiere, Piven; The Actors’ Gang). Her other credits include Brilliant Traces, American Voices (Piven); Methusalem, Accidental Death of an Anarchist (New Criminals); and new works at Sundance, Geva Theatre Center, New Dramatists, Soho Rep, REDCAT, and Playwrights Horizons. She attended Vassar College and the School of the Art Institute of Chicago and has had residencies at Ragdale, Vermont Studio Center, and Ucross. Film credits include Novocaine, High Fidelity, Arizona Dream, and Ferris Bueller’s Day Off. Polly is featured on the cover of the Lemonhead’s album It’s a Shame About Ray and can be heard on track 11 of Lovey.
SUSAN POURFAR* (MARY 1) Off-Broadway, Susan has originated roles in The Poor Itch (The Public Theater); Bad Jazz (The Play Company); The Dear Boy, Swimming in the Shallows (Second Stage Theatre); Iron, Blur (Manhattan Theatre Club); The Hiding Place, 10x20 (Atlantic Theater Company); and The Last Sunday in June (Rattlestick Playwrights Theater, Century Center for the Performing Arts). Also in New York: The Turn of the Screw. Regional theatre credits include Aphrodisiac (Long Wharf Theatre); Auntie Mame with Charles Busch (Bay Street Theatre); Dirty Story (Denver Center Theatre Company); Proof (Alliance Theatre, Rep Theatre of St. Louis); Frame 312 by Keith Reddin (Alliance); The Last Days of Judas Escariot (Black Dahlia Theater); two seasons at Williamstown Theatre Festival, as well as new play development at the Sundance Institute and the O’Neill Playwrights Conference. Film and television: King of the Corner, Griffin & Phoenix, Numb3rs, The Sopranos, and Third Watch. BA, Brown University.
KEITH REDDIN* (DIRECTOR) is the author of the plays Life and Limb, Rum and Coke (which had its world premiere at Yale Rep in 1985), Highest Standard of Living, Life During Wartime, Big Time, Nebraska, Brutality of Fact, Black Snow (produced at Yale Rep in 2006), The Innocents Crusade, Almost Blue, Synergy, All the Rage, Can’t Let Go, and Frame 312. He also wrote the screenplays for It’s the Rage and The Alarmist, based on his plays, as well as the television movie The Hearts of Justice. As an actor, he has performed in productions on and off Broadway, and at regional theatres around the country. His film appearances include Lolita, The Doors, Reversal of Fortune, Crossing Delancey, and Big. Mr. Reddin is a graduate of Northwestern University and Yale School of Drama.
LUKE ROBERTSON (ENSEMBLE) is a third-year MFA candidate BARRET O’BRIEN** (ENSEMBLE) is a third-year MFA candidate at Yale School of Drama, where he has appeared in Grace, or the Art of Climbing; Peer Gynt; The Merchant of Venice; The Ghost Sonata; A Month in the Country; The Wendy Play; and Camino Real. At Yale Cabaret, he wrote and directed Mr & Mrs Hollywood and performed in In the Cypher and Five Fists of Science. At Yale Summer Cabaret, he appeared in Recess and The Bacchae. A New Orleans native, he has worked nationally and internationally at such theatres as Ensemble Studio Theatre, Cherry Lane Theatre, HERE Arts, Southern Rep (New Orleans), Vortex Theatre (Austin), Spiral Stage (Boston), Man in the Moon (London), National Theatre (Budapest), and The American Center (Paris). Television and film: Dawson's Creek, Netherworld, Malpractice, Runaway Jury. 20
at Yale School of Drama, where his credits include Baal, Speaking Our Mind, and Camino Real. At Yale Cabaret, his credits include The Illusion and Chicano Sketches; and at Yale Summer Cabaret, The Who’s Tommy and The Bacchae. Luke also has performed in a number of New York productions and readings, including the world premiere of an adaptation of Chekhov’s The Three Sisters by Clifford Odets. His film and television credits include Levity, Imaginary Heroes, The Favor, The Path Ahead, All My Children, Law & Order, Law & Order: SVU, and Third Watch, on which he had a recurring role in its final season. *MEMBER OF ACTORS’ EQUITY ASSOCIATION, UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS IN THE UNITED STATES. **APPEARS COURTESY OF ACTORS’ EQUITY ASSOCIATION.
CAST THOMAS JAY RYAN* (VISITING FRIAR/VISITING ENGLISHMAN/
VA) previously appeared in the world premieres of Suzan-Lori Parks’s Venus and David Rabe’s The Black Monk at Yale Rep. His Off-Broadway credits include Ivo Van Hove’s production of The Misanthrope (New York Theatre Workshop), Pinter’s Celebration and The Room (Atlantic Theater Company), Sin (The New Group), Juno and the Paycock (Roundabout Theatre Company), Venus (The Public Theater), Christmas at the Ivanov's (Classic Stage Company), the title role in In the Matter of J. Robert Oppenheimer (Keen Company), and several original works by Richard Foreman. His regional theatre credits include Will Eno’s Tragedy: A Tragedy (Berkeley Repertory Theatre), Melissa James Gibson’s Suitcase (La Jolla Playhouse), The Philadelphia Story (Hartford Stage), Five by Tenn (The Kennedy Center), Hedda Gabler (The Shakespeare Theatre), As You Like It (Guthrie Theater), and Hal Hartley’s Soon at the Salzburg Festival in Austria. His film appearances include Fay Grim, Strange Culture, Eternal Sunshine of the Spotless Mind, The Book of Life, The Legend of Bagger Vance, and the title role in Henry Fool.
JOAQUÍN TORRES* (JOHN THE FISHERMAN) New York credits include Scariest directed by Meredith McDonough and Ari Edelson (Bleecker Street Theatre), Widows directed by Harold Scott (59E59 Street Theaters), King Lear directed by James Lapine (The Public Theater), Beauty of the Father directed by Michael Greif (Manhattan Theatre Club), Twilight, Los Angeles: 1992 (Lincoln Center Institute), and The Winter’s Tale directed by Barry Edelstein (Classic Stage Company). Regional credits include Passion Play directed by Mark Wing-Davey, Edgar in King Lear directed by Robert Falls (both at Goodman Theatre), George in Our Town directed by Bartlett Sher (INTIMAN Theatre), Much Ado About Nothing directed by Peter DuBois (California Shakespeare Theater), and the world premiere of Yemaya’s Belly (Portland Stage Company). Film and television credits include Finding Sight, Sweet Home directed by John Fiorelli, Third Watch, Law & Order: Criminal Intent, and One Life to Live. He is an alumnus of the graduate acting program at Tisch School of the Arts at New York University.
NICOLE WIESNER* (MARY 2) is making her Yale Rep debut. FELIX SOLIS* (PONTIUS THE FISH-GUTTER) made his Yale Rep debut last season in the world premiere of Boleros for the Disenchanted (Connecticut Critics Award, Outstanding Ensemble). His New York stage credits include School of the Americas, Our Lady of 121st Street and In Arabia We'd All Be Kings directed by Philip Seymour Hoffman (all at LAByrinth Theater Company, member); Salome with Al Pacino, Marisa Tomei, David Strathairn, and Dianne Wiest (The Actors Studio, member); Havana Is Waiting (Cherry Lane Theatre); and Union City New Jersey, Where Are You? opposite Rosie Perez (Ensemble Studio Theater, member). Regional credits include Passion Play (Helen Hayes Award nomination, Best Lead Actor), Anna in the Tropics (both at Arena Stage); The Cook (Hartford Stage); Dreamlandia (Dallas Theater Center); and Cloud Tectonics (Merrimack Repertory Theatre). His film and television credits include the upcoming The International with Clive Owen and Naomi Watts, The Forgotten, Empire, End of the Spear, all three current Law & Order series, Damages with Glenn Close and Ted Danson, The West Wing, Oz, and Third Watch.
Her stage credits include Shining City directed by Robert Falls (Goodman Theatre, Huntington Theatre Company), Passion Play directed by Mark Wing-Davey (also at the Goodman), Great Men of Science directed by Tracy Letts (Lookingglass Theatre Company), and Phèdre directed by JoAnne Akalaitis (Court Theatre). Ms. Wiesner is artistic associate of Chicago's Trap Door Theatre, where she has appeared in countless productions, including the title roles in Nana, The Bitter Tears of Petra Von Kant, and Alice in Bed. She can be seen in Catherine Sullivan’s films Ice Floes of Franz Josef Land and The Chittendens (Tate Modern) and in her theatre pieces in Chicago, New York, Lyon (L’Opéra de Lyon), and Dijon.
*MEMBER OF ACTORS’ EQUITY ASSOCIATION, UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS IN THE UNITED STATES.
To read more about Passion Play, visit yalerep.org PHOTO BY DAVID COOPER
RUPPERT BOHLE (PROJECTIONS DESIGNER) is a visual artist living in the United
JAMES MOUNTCASTLE (STAGE MANAGER) Please turn to page 29 for his biography.
States and Germany. He has created visual imagery for theatrical productions in the US, Europe, Japan, and China, including 36 Views, Anna Deavere Smith’s House
ALLEN MOYER (SCENIC DESIGNER) Recent Broadway credits include Grey Gardens
Arrest, Radiant Baby and Harlem Song directed by George C. Wolfe, Dogeaters directed by Michael Greif (The Public Theater); Complicite's Noise of Time (Lincoln Center Festival); Dawn Upshaw's Round About (Lincoln Center American Songbook Series); The Resistible Rise of Arturo Ui (The National Actors Theatre); The Elephant Vanishes (Complicite); and Cathay: Three Tales of China (Ping Chong & Co.). He has also worked as a consultant and collaborator with some of America’s finest multimedia designers and artists.
CHARLES COES (SOUND DESIGNER) is a third-year MFA candidate at Yale School of Drama, where his credits include Grace, or the Art of Climbing and A Month in the Country. His Yale Cabaret credits include Little Shop of Horrors, Bone Songs, Hillbilly Antigone, Perk/Pussy/Pathos, and WASP.
GILLIAN LANE-PLESCIA (DIALECT COACH) is pleased return to Yale Rep, where she previously coached The Glass Menagerie in 1999. In New York she has coached on and off Broadway, and her regional theatre work includes productions at The Acting Company, Actors Theatre of Louisville, Alley Theatre, Arena Stage, CENTERSTAGE, McCarter Theatre, Goodman Theatre, Goodspeed Musicals, Guthrie Theater, Hartford Stage, Huntington Theatre Company, Long Wharf Theatre, Milwaukee Rep, The Shakespeare Theatre of New Jersey, Playmakers Rep, Seattle Rep, The Shakespeare Theatre (DC), Steppenwolf Theater Company, TheaterWorks, Trinity Rep, The Wilma Theater, and Banff Centre for Fine Arts. She served as English diction coach at Lyric Opera of Chicago for five seasons and has taught voice and speech at the University of North Carolina at Chapel Hill and the University of Michigan. She is currently on the faculty of Juilliard’s Drama Division and The O’Neill National Theater Institute. Her popular self-teaching dialect CDs for actors are used throughout the US, as well as in Canada, England, Australia, Europe, and beyond.
COLIN MANNEX (PRODUCTION DRAMATURG) is a second-year MFA candidate in Dramaturgy and Dramatic Criticism at Yale School of Drama and serves as a managing editor for Yale’s Theater magazine. His dramaturgy credits include work at Cripple Creek Theatre Company in New Orleans. Hailing from Portland, Oregon, Colin was a features writer at The Oregonian newspaper in 2007; more recently, he managed online content for the New Haven International Festival of Arts & Ideas. He received a BA in English and Drama from Kenyon College in 2006. 24
(Tony and Drama Desk Award nominations, Henry Hewes Award), Thurgood, The Little Dog Laughed, The Constant Wife, Twelve Angry Men, In My Life, Reckless, The Man Who Had All the Luck, and A Thousand Clowns. Other New York credits include Mr. Marmalade, Landscape of the Body, A Few Stout Individuals, Lobby Hero, Entertaining Mr. Sloane, The Dazzle, This Is Our Youth, Well, As Bees in Honey Drown, and Romeo and Juliet: On Motifs of Shakespeare. His work in opera includes The Grapes of Wrath at Minnesota Opera and Orfeo ed Euridice at the Metropolitan Opera, as well as productions at San Francisco Opera, New York City Opera, The Santa Fe Opera, Glimmerglass Opera, Houston Grand Opera, and Scottish Opera; and he designed Mark Morris’s Sylvia for the San Francisco Ballet. Mr. Moyer received the 2006 OBIE Award for Sustained Excellence in Set Design.
TARA RUBIN CASTING (CASTING) has been casting at Yale Rep since 2004. Broadway: The Country Girl, Billy Elliot, Shrek, Guys and Dolls (upcoming), Young Frankenstein, The Little Mermaid, Mary Poppins, The Farnsworth Invention, Rock ‘n’ Roll, The History Boys (U.S. casting), Les Misérables, Spamalot, Jersey Boys, The 25th Annual Putnam County Spelling Bee, The Producers, Mamma Mia!, The Phantom of the Opera, The Pirate Queen, Good Vibrations, Bombay Dreams, Oklahoma!, Flower Drum Song, Imaginary Friends, Metamorphoses (New York casting). Lincoln Center Theater: The Frogs, Contact, Thou Shalt Not, A Man of No Importance, Anything Goes (concert). Off-Broadway: Second Stage Theatre. Regional: Williamstown Theatre Festival; La Jolla Playhouse (New York casting); Mame, Mister Roberts, The Sondheim Celebration, and Tennessee Williams Explored at The Kennedy Center. Film: The Producers: The Musical. Members, Casting Society of America.
SARAH RUHL (PLAYWRIGHT) Sarah Ruhl’s plays include The Clean House which had its world premiere at Yale Rep in 2004 (Susan Smith Blackburn Award, Pulitzer Prize finalist, PEN/Pels Foundation Award), Melancholy Play, Eurydice (also at Yale Rep, 2006), Late: a cowboy song, Orlando, Demeter in the City (NAACP Image Award nomination), Passion Play (Fourth Forum Freedom Award from The Kennedy Center), and Dead Man’s Cell Phone (Helen Hayes Award). Her plays have been performed at Lincoln Center Theater, Second Stage Theatre, Playwrights Horizons, Goodman Theatre, Woolly Mammoth, Berkeley Repertory Theatre, The Wilma Theater, Cornerstone Theater Company, Madison Repertory Theatre, Clubbed Thumb, and Piven Theatre Workshop, among other theaters across the country. Her plays have been translated into German, Polish, Korean, Russian, and Spanish, and have been produced internationally in London, Canada, Germany, Latvia, and Poland. Sarah is originally from Chicago and received her MFA from Brown University. She is the recipient of a Helen Merrill Award, Whiting Writers' Award, PEN/Pels Foundation Award, and a MacArthur Foundation Fellowship. She is a proud member of New Dramatists and 13P and is an Associate Artist at Yale Rep. 25
ILONA SOMOGYI (COSTUME DESIGNER) Recent New York area productions include
He has designed major premieres in Bergen, Copenhagen, Hong Kong, The Hague, Munich, and Sao Paulo. Nominations and awards include American Theatre Wing, Bay Area Critics Circle, Dallas Theater Critics Forum, Helen Hayes, and Lucille Lortel. He is Co-Chair of the Design Department at Yale School of Drama and Resident Lighting Designer at Yale Repertory Theatre, where he most recently designed the lighting for last season’s The Evildoers.
A Midsummer Night’s Dream (Hartford Stage); Crooked (Women’s Project); Jerry Springer: The Opera (Carnegie Hall); Almost An Evening, Scarcity (Atlantic Theater Company); The Piano Teacher (Vineyard Theatre); Fever Chart, Controversy at Vallalodid, Fucking A (The Public Theater); Emma (New York Musical Theatre Festival); The American Pilot (Manhattan Theatre Club); Hot ’n’ Throbbin’ (Signature Theatre Company); Savannah Bay (MCC); as well as God of Hell, Wit, Swimming with Watermelons, Unwrap Your Candy, Tabletop, Hard Times. She also designed Princess Wishes for Disney on Ice, currently on tour. Her many regional credits include As You Like It (Yale Rep, 1994); The Autumn Garden, Sweet Bird of Youth, Top Girls, On the Razzle (Williamstown Theatre Festival); Scramble, Vigil, and Sedition (Westport Country Playhouse). She was also associate costume designer for Spamalot, The Crucible, and Art on Broadway and the Ringling Bros. and Barnum & Bailey Circus. Ilona is a graduate of Yale School of Drama and is currently a member of its faculty.
RICK SORDELET (FIGHT DIRECTOR) has staged 44 Broadway productions, including Disney’s The Lion King, Beauty and the Beast, Tarzan, The Little Mermaid, and Aida. He has staged the fights for the opera Cyrano de Bergerac starring Placido Domingo at the Metropolitan Opera, The Royal Opera House, and the LaScala in Milan, Italy; and for over 40 first class productions on five continents. Film: The Game Plan starring Dwayne “The Rock” Johnson; Dan in Real Life starring Steve Carell and Juliette Binoche; and Hamlet starring Campbell Scott. He is the chief stunt coordinator for The Guiding Light and staged the fights for First Jedi, a CD-ROM for George Lucas. Rick received the Lucille Lortel Award for Sustained Excellence in 2007. He teaches at Yale School of Drama, The New School for Drama, and The Neighborhood Playhouse. He is a company member of The Drama Dept., a board member of The Shakespeare Theatre of New Jersey, and the author of the play Buried Treasure. He is married to actress Kathleen Kelly and has three children: Kaelan, Christian, and Collin.
MARK WING-DAVEY (DIRECTOR) first came to prominence in the United States with his highly acclaimed 1992 production of Caryl Churchill’s Mad Forest (New York Theatre Workshop, Manhattan Theatre Club; OBIE Award, Outstanding Direction). He made his Yale Rep debut with the 2005 production of Safe in Hell by Amy Freed, and recently directed Passion Play at the Goodman Theatre in Chicago and the world premiere of UNCONDITIONAL at Off-Broadway’s LAByrinth Theater Company. Additional US and international credits include productions of new and classic plays at American Conservatory Theater, American Repertory Theatre, Berkeley Rep, Cincinnati Playhouse in the Park, Mark Taper Forum, McCarter Theatre, Milwaukee Rep, The Public Theater, Pittsburgh Public Theatre, Playmaker’s Rep, Playwrights Horizons, Seattle Rep; London’s Royal Court Theatre, Royal National Theatre, the Actors Center (where he served as Artistic Director from 1998-2002), and in the West End, the Edinburgh Festival, and Australia. Committing much of his career to developing new plays, he has directed new work by Naomi Iizuka, José Rivera, Anna Deavere Smith, Tony Kushner, and Craig Lucas, among others. Mr. Wing-Davey is the new chair of the graduate acting program at Tisch School of the Arts at New York University.
STEPHEN STRAWBRIDGE (LIGHTING DESIGNER) Recent work includes the Lynn Ahrens/Stephen Flaherty musical The Glorious Ones directed by Graciela Daniele (Lincoln Center Theater); Craig Lucas’s Prayer for My Enemy directed by Bartlett Sher (Long Wharf, INTIMAN Theatre, upcoming at Playwrights Horizons); Persistence of Memory for Pilobolus Dance Theatre; A Dream Play for Stockholms Stadsteater (on the 100th anniversary of the first production of that play); the Anthony Davis/Yusef Komunyakaa opera Wakonda’s Dream (Opera Omaha); Beethoven en Camera for the Schauspielhaus in Vienna, Austria; Bernarda Alba by Michael John LaChiusa (Lincoln Center Theater); and Souls of Naples featuring John Turturro (Theatre for a New Audience; the Mercadante, Naples, Italy). Mr. Strawbridge has designed on and off Broadway and at most leading regional theatre and opera companies across the US. 26
YALE REPERTORY THEATRE ARTISTIC DIRECTOR JAMES BUNDY is in his seventh year as Dean of Yale School of Drama and Artistic Director of Yale Repertory Theatre. In his first six seasons, Yale Rep has produced more than twenty world, American, and regional premieres, three of which have been honored by the Connecticut Critics Circle with the award for Best Production of the year, and two of which have been Pulitzer Prize finalists. During this time, Yale Rep has also commissioned more than a dozen playwrights to write new work, and provided low-cost theatre tickets and classroom visits to thousands of middle and high school students from Greater New Haven through WILL POWER!, an educational program initiated in 2004. Mr. Bundy’s directing credits include The Psychic Life of Savages, The Ladies of the Camellias, All’s Well That Ends Well, and A Woman of No Importance at Yale Rep, as well as productions at Great Lakes Theater Festival, The Acting Company, California Shakespeare Festival, Alabama Shakespeare Festival, and The Juilliard School Drama Division. A recipient of the Connecticut Critics Circle’s Tom Killen Award for extraordinary contributions to Connecticut professional theatre in 2007, Mr. Bundy currently serves on the board of directors of Theatre Communications Group, the national service organization for nonprofit theatre. Previously, he worked as Associate Producing Director of The Acting Company, Managing Director of Cornerstone Theater Company, and Artistic Director of Great Lakes Theater Festival. He is a graduate of Harvard College and Yale School of Drama.
MANAGING DIRECTOR VICTORIA NOLAN is Managing Director of Yale Repertory Theatre, Deputy Dean of Yale School of Drama, and serves 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 is an evaluator for The National Endowment for the Arts, for which she has chaired numerous grant panels, and has served on other panels and foundation review boards including the AT&T Foundation, The Heinz Family Foundation, Lila Wallace-Reader’s Digest Fund, and the Metropolitan Life Foundation. She has also served on the Executive Committee of the League of Resident Theatres (LORT) and on numerous negotiating teams for national labor contracts. A Fellow at Yale’s Saybrook College, she is the 2000 recipient of the Betsy L. Mahaffey Arts Administration Fellowship Award from the State of Connecticut and the 2005 recipient of the Elm/Ivy Award, given jointly by Yale University and the City of New Haven for distinguished service to the community. Ms. Nolan is married to Clark Crolius. They have two daughters, Covey and Wilhelmina.
ASSOCIATE ARTISTIC DIRECTOR JENNIFER KIGER is in her fourth year as Associate Artistic Director and director of Yale Repertory Theatre’s new play program, an integrated, playwrightdriven initiative that supports the creation of new plays 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 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 directors Robert Brustein, Robert Woodruff, Liz Diamond, and Kate Whoriskey, and with multimedia 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 NEA and the California Arts Council. Ms. Kiger completed her training in Dramaturgy at the American Repertory Theatre Institute for Advanced Theatre Training at Harvard University, where she taught courses in acting and dramatic arts.
PRODUCTION SUPERVISOR BRONISLAW SAMMLER, Production Supervisor of Yale Repertory Theatre, has been Chair of Yale School of Drama’s acclaimed Technical Design and Production Department since 1980. In 2007 he was named the Henry McCormick Professor (Adjunct) of Technical Design and Production by Yale’s President, Richard C. Levin. He is co-editor of Technical Brief and Technical Design Solutions for Theatre, Vols. I & II. His book Structural Design for the Stage won the United States Institute of Theatre Technology’s Golden Pen Award. Demonstrating his commitment to excellence in technical education and professional production, he founded USITT’s National Theatre Technology Exhibit, an on-going biennial event; he has served as a commissioner and a director-at-large and is a lifetime Fellow of North America’s Theatre Technology Association. He was honored as Educator of the Year in 2006 by the New England Theatre Conference. His production management techniques and his introduction of structural design to scenic technology are being employed in both educational and professional theatres throughout the world.
PRODUCTION STAGE MANAGER JAMES MOUNTCASTLE has been the Production Stage Manager at Yale Rep since fall 2004. He was stage manager for the 2006 production of Sarah Ruhl’s Eurydice; the 2004 world premiere of Ruhl’s The Clean House; a new adaptation of The Cherry Orchard in 2005; and last season’s Richard II. A professional stage manager for more than twenty years, he has worked in regional, stock, and Broadway theatre. Broadway credits include Damn Yankees, Jekyll & Hyde, Judgment at Nuremberg, The Boys from Syracuse, The Smell of the Kill, Life x(3), and Wonderful Town. Mr. Mountcastle spent several Christmas seasons in New York City as stage manager for the now legendary production of A Christmas Carol at Madison Square Garden. Broadway national tours include City of Angels, Falsettos, and My Fair Lady. He served as Production Stage Manager for Damn Yankees starring Jerry Lewis for both its national tour and at the Adelphi Theatre in London’s West End. In addition, Mr. Mountcastle has worked at The Kennedy Center, CENTERSTAGE in Baltimore, Actors Theatre of Louisville, Brooklyn Academy of Music, and elsewhere. James and his wife Julie live in North Haven and are the very proud parents of two beautiful girls: Ellie, who is 9 years old, and Katie, age 7.
YALE REPERTORY THEATRE STAFF James Bundy, Artistic Director Victoria Nolan, Managing Director Jennifer Kiger, Associate Artistic Director
ARTISTIC Resident Artists Paula Vogel, Playwright-in-Residence Liz Diamond, Evan Yionoulis, Resident Directors Catherine Sheehy, Resident Dramaturg Ming Cho Lee, Set Design Advisor Michael Yeargan, Resident Set Designer Jane Greenwood, Costume Design Advisor Jess Goldstein, Resident Costume Designer Jennifer Tipton, Lighting Design Advisor Stephen Strawbridge, Resident Lighting Designer David Budries, Sound Design Advisor Walton Wilson, Voice and Speech Advisor Rick Sordelet, Fight Advisor Mary Hunter, Stage Management Advisor Associate Artists 52nd Street Project, Kama Ginkas, Mark Lamos, MTYZ Theatre/Moscow New Generations Theatre, Bill Rauch, Sarah Ruhl, Henrietta Yanovskaya Artistic Administration Tara Rubin, CSA, Laura Schutzel, CSA, Casting Directors Eric Woodall, Merri Sugarman, Casting Associates Paige Blansfield, Rebecca Carfagna, Dale Brown, Casting Assistants Ruth M. Feldman, Director of Education and Accessibility Services Amy Boratko, Michael Walkup, Artistic Coordinators Brian Valencia, Kristina Williams Literary Associates Pamela C. Jordan, Librarian Teresa Mensz, Library Services Assistant Josie Brown, Senior Administrative Assistant to the Artistic Director and Associate Artistic Director Kathleen Driscoll, Senior Administrative Assistant for the Directing, Dramaturgy & Dramatic Criticism, Playwriting, and Stage Management Departments Mary Volk, Senior Administrative Assistant for the Design and Sound Design Departments
ADMINISTRATION Frances Black, Kay Perdue, Associate Managing Directors Alyssa Anderson, Assistant Managing Director Claire Shindler, Senior Administrative Assistant to the Managing Director Belina Mizrahi, Company Manager
Development and Alumni Affairs Deborah S. Berman, Director of Development and Alumni Affairs Debbie Ellinghaus, Senior Associate Director of Development and Alumni Affairs Ann M.K. McLaughlin, Senior Associate Director of Development, Yale Repertory Theatre Luis Abril, Associate Director, Development Susan C. Clark, Development Associate Susan KIm, Development Assistant Laura Torino, Senior Administrative Assistant to Development and Marketing and Communications Departments Finance and Information Technology Katherine D. Burgueño, Director of Finance and Human Resources Sheila Daykin, Associate Director of Finance Cristal Coleman, Magaly Costa, Business Office Specialists Randall Rode, Information Technology Director Daryl Brereton, Associate Information Technology Director Mara Hazzard, Tessitura Systems Administrator Toni Ann Simiola, Senior Administrative Assistant to Business Office, Information Technology, Operations, and Tessitura Marketing, Communications, and Audience Services Anne Trites, Director of Marketing and Communications Steven Padla, Senior Associate Director of Communications Daniel Cress, Associate Director of Marketing Sergi Torres, Associate Director of Marketing & Communications Rachel Smith, Marketing Manager Hellen Hom, Manager, Online Communications Maggie Elliott, Graphic Artist Laura Torino, Senior Administrative Assistant to Development and Marketing and Communications Departments Elizabeth Elliott, Marketing Assistant Scott McKowen, Punch & Judy Inc., Graphic Designers David Cooper, Photographer Joan Marcus, Production Photographer Janna J. Ellis, Director of Audience Services Tracy Baldini, Assistant Audience Services Director Audrey Rogers, Manager, Group Sales Nancy Genga, London Moses, Audience Services Assistants Greta Fails, Ruth Kim, Leah Knowles, Valeria Lopez-Fadul, Sue Malone, Carrie Toole, Box Office Assistants
Operations William J. Reynolds, Director of Facility Operations Rich Abrams, Operations Associate Jacob Thompson, Security Officer Ed Jooss, Audience Safety Officer Fred Grier, Michael Blatchley, Customer Service and Safety Officers Ben Holder, Ron Maybrey, Custodial Supervisors Lucille Bochert, Vermont Ford, Warren Lyde, Vondeen Ricks, Mark Roy, Custodians
PRODUCTION Bronislaw J. Sammler, Production Supervisor James Mountcastle, Production Stage Manager Jonathan Reed, Senior Associate Production Supervisor Marla J. Silberstein, Senior Administrative Assistant to the Production Department Costumes Tom McAlister, Costume Shop Manager Robin Hirsch, Associate Costume Shop Manager Mary Zihal, Senior Draper Clarissa Wylie Youngberg, Draper Deborah Bloch, First Hand Linda Kelley-Dodd, Costume Project Coordinator Barbara Bodine, Company Hairdresser Martha Lehr, Costume Stock Manager Electrics Donald W. Titus, Lighting Supervisor Janie Flowers, Jason Wells, Linda Young, Head Electricians Adrian Rooney, Assistant to the Lighting Supervisor Painting Ru-Jun Wang, Resident Scenic Charge Angie Meninger, Scenic Artist Nora Hyland, Assistant Scenic Artist Steward Savage, Assistant to the Painting Supervisor Properties Brian Cookson, Properties Master David P. Schrader, Properties Craftsperson Jennifer McClure, Properties Assistant Mark Villani, Properties Stock Manager Scenery Don Harvey, Neil Mulligan, Technical Directors Alan Hendrickson, Electro Mechanical Laboratory Supervisor Eric Sparks, Shop Foreman Matt Gaffney, Sharon Reinhart, Master Carpenters Lisa McDaniel, Russel Facente, Shop Carpenters Bona Lee, Assistant to the Technical Director Sound Brian MacQueen, Sound Supervisor Paul Bozzi, Staff Sound Engineer Nicholas Pope, Junghoon Pi, Assistants to the Sound Supervisor Projections Erik Trester, Head Projection Technician Stage Operations Janet Cunningham, Stage Carpenter Kate Begley Baker, Properties Runner Jeanne Wu, Sound Operator Elizabeth Bolster, Wardrobe Supervisor
ADDITIONAL STAFF FOR PASSION PLAY
Scott Illingworth, Jesse Jou, Assistant Directors Moria Clinton, Ying Song, Assistant Costume Designers Iris O’Brien, Karen Hashley, Assistant Stage Managers Andrew Southard, Associate Production Supervisor Jesse Belsky, Chuan-Chi Chan, Assistant Lighting Designers Cecil Averett, Additional Sound Design Sandra Jervey, Assistant Properties Master Andrew Becker, Technical Director Kyoung-Jun Eo, Jeff Smejdir, John McCullough, Assistant Technical Directors James Zwicky, Master Electrician Adrian Rooney, Assistant Master Electrician Nick Pope, Sound Engineer Judianne Wallace, Samantha Baker, Drapers Harry Johnson, Martha Lehr, Sara Seavey, First Hands Ekaterina Vetrov, Linda Wingerter, Luke Brown, Stitchers Charles LaPointe, Wig and Hair Design Leah Loukas, Assistant to Mr. LaPointe Valerie Bart, Millinery Amanda Seymour, Shopper Heidi Hanson, Crafts Art Priromprintr, Assistant Company Manager Tara Kayton, House Manager Barbara Bodine, Trai Byers, Maya Cantu, Justin Elie, Babak Gharaei-Tafti, Elizabeth Groth, Marcus Henderson, Martha Jurczak, Irene Lucio, Kirsten Parker, Chad Raines, Ryan Retartha, Run Crew UNDERSTUDIES Thomas Andren, Director Danny Binstock, Ensemble Brett Dalton, Ensemble Laura Esposito, Village Idiot/Violet/Mary 2 Dieterich Gray, Queen Elizabeth/Hitler/Reagan Brian Hastert, Pontius the Fish-gutter Stéphanie Hayes, Mary 1 Slate Holmgren, Carpenter 1/German Officer Ben Horner, Carpenter 2 Max Moore, Visiting Friar/Visiting Englishman/VA Barret O’Brien, John the Fisherman Luke Robertson, Machinist/Young Director Emily Trask, Ensemble SPECIAL THANKS Molly Smith and Arena Stage; Jeff Barry; Bud’s Fish Market in Branford; Robert Falls, Joseph Drummond, T. Paul Lynch, and the Goodman Theatre; Alice Maguire; Joe Schneider; Paula Vogel; Marguerite Brooks, Thomas Masse, and Yale School of Music 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. The Director is a member of the Society of Stage Directors and Choreographers, Inc., an independent national labor union. The Scenic, Costume, Lighting, and Sound Designers in LORT are represented by United Artists Local USA-829, IATSE. Passion Play, September 19 to October 11, 2008. University Theatre (222 York Street)
NEXT AT YA L E R E P
YALE REPERTORY THEATRE ANNUAL FUND
“The besT new play
To arrive on The briTish sTage for aT leasT a year.”
GO BEYOND THE SHOW… Make a gift to Yale Repertory Theatre’s Annual Fund to support the national and international artists you see on our stage, to provide resources for early career and leading playwrights, to create original work at Yale, and to maintain our tradition of artistic excellence and leadership in the American theatre.
— T h e d a i ly T e l e g r a p h
Your generosity also sustains Yale Rep’s community programs, like WILL POWER!, which introduces nearly 2,000 middle and high school students annually to the power of live theatre; and The Dwight/Edgewood Project, a unique outreach program that, through playwriting, strengthens the self-esteem and creative expression of students from New Haven’s Troup Magnet Academy of Science. Your tax-deductible gift to Yale Rep’s Annual Fund—at any level—plays a significant role in contributing to our ability as a nonprofit theatre to bring the best work to our stages and share it with the Greater New Haven community. For more information on how to make a donation, please contact Ann M.K. McLaughlin, Senior Associate Director of Development, at (203) 432-1536, email@example.com, or go to www.yalerep.org/donate.
happy now? by lucinda coxon directed by liz diamond
A chance encounter at a hotel plays upon Kitty’s mind as she struggles to balance personal freedom with family life, fidelity, and a demanding job. Her husband is more interested in misplaced apostrophes than in their marriage, her parents are looking down the barrel of oblivion, and although she toys with the idea of joining a gym, Kitty’s running out of time for big changes. Happy Now? dares to ask just that, in this painfully truthful, darkly comic take on contemporary life and how to survive it.
YALE REPERTORY THEATRE ANNUAL FUND name address city
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yale repertory theatre)
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ContAins strong lAnguAge.
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october 24 to november 15
yale repertory theatre, 1120 chapel street (at york street), new haven
exp . date
(FOR GIFTS OF $100 OR MORE) LIST MY NAME IN YALE REP’S 2008–2009 PROGRAMS AS:
t e le type o r d er s 203 .4 3 2 .1 5 2 1
Mail to: Development Office, Yale Repertory Theatre, P.O. Box 208244, New Haven, CT 06520-8244 november 8 at 2pm
november 15 at 2pm
to Yale School of Drama and Yale Repertory Theatre LEADERSHIP SOCIETY ($50,000 and above) Anonymous John Badham John B. Beinecke Sterling and Clare Brinkley Philip A. Corfman, M.D. Edgar M. Cullman, Jr. Edgar M. Cullman III The Jerome L. Greene Foundation A.R. Gurney F. Lane Heard III David Johnson Jay Keene Jane Marcher Foundation Neil Mazzella Andrew W. Mellon Foundation David Milch H. Thomas Moore Walter F. Parkes The Estate of Barbara E. Richter Robina Foundation Michael and Riki Sheehan The Shubert Foundation Edward Trach Esme Usdan Zelma Weisfeld GUARANTORS ($25,000-$49,999) Anonymous Connecticut Commission on Culture and Tourism Newman's Own Foundation Edward John Noble Foundation Trust for Mutual Understanding BENEFACTORS ($10,000-$24,999) Anonymous Mary L. Bundy John Conklin Ian Dickson Jane Kaczmarek Estate of Nathan Lipofsky Sarah Long Lucille Lortel Foundation
Donald B. Lowy Martinson Coffee National Endowment for the Arts Estate of George E. Nichols III Jennifer Tipton PRODUCERâ€™S CIRCLE ($5,000 - $9,999) Foster Bam Jim Burrows Bill Conner Heidi Ettinger The John Golden Fund Ruth and Steve Hendel George Ingram Ben Ledbetter and Deborah Freedman Mionetto USA NewAlliance Foundation Carol Ostrow Karen Pritzker and Michael Vlock Gerald Schoenfeld Talia Shire Schwartzman Eugene F. Shewmaker Philip J. Smith DIRECTORâ€™S CIRCLE ($1,000-$4,999) Amy Aquino Anna Fitch Ardenghi General Charitable Purpose Trust Paula Armbruster Cornelia Barr Margaret A. Bauer Deborah S. Berman Jeffrey A. Bleckner Sandra Boynton Thomas Bruce James Bundy Benjamin Cameron Raymond Carver CEC Artslink Patricia Clarkson Enrico L. Colantoni Community Foundation of Greater New Haven Consulate General of the Netherlands Peggy Cowles
William E. Curran, Jr. Scott M. Delman Henry Dunn Terry Kevin Fitzpatrick Marcus Dean Fuller Stephen L. Godchaux Fred Gorelick and Cheryl MacLachlan Donald Granger Anne Hamburger Andrew and Jennifer Hamilton Judith A. Hansen James Earl Jewell Donald and Candice Kohn The Ethel & Abe Lapides Foundation Sasha Emerson Levin Jody Locker-Berger Santo R. Loquasto Linda Lorimer and Charley Ellis William Ludel Drs. Robert and Wendy Lyons Romaine Macomb Jennifer Mannis Peter A. Marshall Dawn G. Miller Arthur and Merle Nacht NEA/TCG Theatre Residency Program for Playwrights Christopher Noth Nicholas Pepper DW Phineas Perkins Sarah Rafferty Arthur I. Rank III Pamela Rank Regional Water Authority Belinda Robinson Ben and Laraine Sammler Alvin Schechter Scoozzi Trattoria and Wine Bar Anthony M. Shalhoub Marie S. Sherer Benjamin Slotznick Jeremy Smith Kenneth J. Stein Shepard and Marlene Stone John Suttor
Katherine Suttor Courtney Vance Matthew Suttor William and Phyllis Warfel Clifford Warner Robert Zoland Stephen Zuckerman PARTNERS ($500-$999) Mr. and Mrs. B. Ashfield Alexander Bagnall Jack W. Belt Ashley Bishop Catherine Black John C. Boyd Susan Brady and Mark Loeffler Alice B. and James T. Brown Bruce and Janet Bunch Martin Caan and Carol Petschek Donald Cairns Joy G. Carlin Joan D. Channick Jenny and Ricardo Chavira Anna E. Crouse Susan Curtis Ernestine and Ronald Cwik Bob and Priscilla Dannies Ramon L. Delgado Mary Elder Roberta Enoch and Steven Canner Peter Entin Glen R. Fasman David Gainey Joseph Gantman Greer Goodman James W. Gousseff Wray Steven Graham D. Keith Hargreaves Harold Harlow Karsten Harries Richard A. Harrison Katherine W. Haskins Michael Haymes and Logan Green Jane C. Head Kathryn Hirsch Barnet K. Kellman Marie Kitchen
Francis N. Levy Kenneth Lewis George N. Lindsay, Jr Chih-Lung Liu Brian Mann John McAndrew Tom and Norma McGarry David E. Moore Arthur Oliner Richard Ostreicher James M. Perlotto Thomas J. Peterson Amy Povich George and Kathy Priest Carol A. Prugh Lance Reddick Alan Rosenberg David Saltzman Suzanne Sato G. Erwin Steward Christopher Suttor Eileen Suttor Jadwyn Suttor Mr. and Mrs. Robert Szczarba Shirin Devrim Trainer John M. Turturro and Katherine Borowitz Carol M. Waaser Elaine and Patrick Wackerly Carolyn S. Wiener Alexandra Witchel Steven Wolff INVESTORS ($250-$499) Anonymous Susan and Bruce Ackerman Leif Ancker Mary Ellen Atkins Thomas Atkins James Robert Bakkom Ray Baldelli and Ronald Nicholes Robert Baldwin Richard E. Bianchi Robert Bienstock Mark Brokaw Claudia Brown Thomas Buttke and Judith Waters Anne and Guido Calabresi Ian Calderon William Caruth Cosmo Catalano, Jr.
David M. Conte Marycharlotte Cummings John W. Cunningham Richard Sutton Davis Charles Dillingham Constance Dimock Dennis Dorn Eric Elice David Freeman John Gaddis and Toni Dorfman Cleveland Gardner Norma and Myron H. Goldberg David Goldman and Debbie Bisno Robert J. Greenberg Elizabeth Greene Michael Gross Dick and Norma Grossi Regina Guggenheim William B. Halbert Walter and Betty Harris Douglas Harvey Barbara Hauptman Jennifer Hershey-Benen June and George Higgins Donald Holder Catherine MacNeil Hollinger John Robert Hood Mr. and Mrs. Robert Jaffee Christine Jahnke Cynthia Kaback Ashley York Kennedy Richard H. Klein Diana E.E. and Fred S. Kleiner David Kriebs Frances Kumin Mildred C. Kuner William Kux James Lapine Michael John Lassell Dr. Robert and Inez Liftig Jane Lyman Thomas Lynch Sandra Manley Delia Maroney and Jolie Damiano Maria Mason and William Sybalsky Carol and Arthur Mikesell Jeffrey Milet Victoria Nolan and Clark Crolius
William and Barbara Nordhaus Cesar Pelli Louise Perkins and Jeff Glans Elizabeth Prete and Peter Hentschel Bill and Sharon Reynolds Harry M. Ritchie Joumana Rizk Dawn Robertson Laila Robins Steve Robman Dorothy Rostov Larry Schwartz and Russ Rosensweig Alexander Scribner Paul Selfa Sandra Shaner Rachel Sheinkin Mark and Cindy Slane Erich William Stratmann Bernard J. Sundstedt Paul Charles Tigue III David and Lisa Totman Suzanne Tucker Sally and Cheever Tyler David J. Ward Vera Wells Dana Westberg Kathleen Wimer and Joseph Puleo Evan Yionoulis FRIENDS ($100-$249) Anonymous Emily Aber and Robert Wechsler David E. Ackroyd Nina Adams and Moreson Kaplan Joseph V. Agostini Roberto F. Aguirre-Sacasa Michael Albano Sarah Jean Albertson Narda Alcorn Liz Alsina Richard Ambacher Annette Ames Nephelie Andonyadis Bob and Jane Archibald Clayton May Austin Angelina Avallone Dylan Baker Paul Baker
Drs. M. Baron and R. Magraw Christopher Barreca William Batsford Mark Bauer Richard and Nancy Beals Spencer P. Beglarian Ursula Belden Ronald Bell James C. Bellavance Albert Bennett Jenefer and Frank Berall Melvin Bernhardt Mrs. Frank Black John Cummings Boyd Russell and Freddie Brenneman Amy L. Brewer Cynthia Brizzell-Bates Theresa Broach Brenda and Howard Brody Tom Joseph Broeker Arvin B. Brown Shawn Hamilton Brown Philip Bruns Robert Brustein Rene Buch William Buck Gerard and Ann Burrow Robert and Linda Burt Jonathan Busky Sheldon Bustow Susan Wheeler Byck Michael William Cadden Kathryn A. Calnan Vincent Cardinal Adrienne Carter William E. Caruth Raymond Carver Anna Cascio Sami Joan Casler Cosmo A. Catalano, Jr. Edward Check Mary Chesnutt Suellen G. Childs Olive Chypre Sue Clark Christian Clemenson Lani Click Becky and Gary Cline Katherine D. Cline Margaretta M. Clulow Roxanne Coady Jack Cockerill Joel Cogen and Elizabeth Gilson
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Dr. and Mrs. Paul Fiedler Anthony Forman Keith Fowler Walter M. Frankenberger III Abigail Franklin Brackley Frayer Karen Freedman Reynold Frutkin Randy Fullerton Michael Fulton Richard Fuhrman Jim and Eunice Galligan Shawn Marie Garrett Steven Gefroh Mary Louise Geiger Eugenie and Bradford Gentry Robert and Anne Gilhuly Morfydd and Gilbert Glaser William Glenn Lindy Lee Gold Robert Goldsby Jess Goldstein David Gorton Naomi S. Grabel Christopher Grabowski Kris and Marc Granetz Charles F. Grammer Bigelow Green Anne K. Gregerson Joe Grifasi Karen Grimmell Alan A. Grudzinski John Guare Eugene Gurlitz Dr. Ronald and Maria Hagadus Phyllis O. Hammel Alexander Hammond Ann T. Hanley Jerome R. Hanley David W. Hannegan Scott Hansen John Harnagel Charlene Harrington Lawrence and Roberta Harris Lyndsay N. Harris Walter and Betty Harris James T. Hatcher Ihor Hayda James Hazen Patricia Helwick Jennifer Hershey-Benen Greg and Elaine Herzog
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Fredrica Klemm Harvey Kliman and Sandra Stein Donald Knight Stephen Kovel Justin Kreuzer Bernard Kukoff Raymond T. Kurdt Mitchell Kurtz Howard and Shirley Lamar Marie Landry and Peter Aronson Thomas Lanter David Larson C. James Lawler Gerard Leahy Wing Lee Charles E. Letts, III Emily Leue Bradford Lewis Irene Lewis Jeremy Licht Alan Lichtenstein Martha Lidji Bertram Linder Jennifer Lindstrom Romulus Linney Bruce Lockwood Edgar Loessin Robert Hamilton Long II Frank Lopez Jean Murkland Luburg Suzanne Cryer Luke Everett Lunning, Jr. Paul David Lukather Thomas Lynch Andi Lyons Janell M. MacArthur Elizabeth M. MacKay Lizbeth Mackay Laura Brown MacKinnon Mrs. Romaine Macomb Alan Mokler MacVey Peter Andrew Malbuisson Joan Manning Peter Marcuse Donald Margulies and Lynn Street Jonathan Marks Robin Marshall Craig Martin Peter Mason Richard Mason Beverly May Tarell Alvin McCraney Robert A. McDonald
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Dr. and Mrs. Michael Parry Usha Pasi Mary L. Pepe John L. Peschel William Peters Andrew Plummer Stephen B. Pollock Lisa Porter Michael B. Posnick Robert Provenza Alvin S. Prusoff and Dr. Deborah DeRose Alec and Drika Purves William Purves Michael Quinn Sarah Rafferty Asghar and Faye Rastegar Ronald Recasner Ralph Redpath Sandra and Gernot Reiners Joe Reynolds Mary B. Reynolds Ross Sumner Richards Brian Robinson Lori Robishaw Douglas Rogers Howard Rogut Melina Root Mrs. Samuel Ross John M. Rothman Julia Meade Rudd Kevin Rupnik Frederick Russell Virginia Weaver Russell A. Raymond Rutan IV Helen and Herbert Sacks Steven Saklad Peter Salovey and Marta Elisa Moret Robert Sandberg Christopher Carter Sanderson Peggy Sasso Cary Scapillato Joel Schechter Anne Schenck Michael Schmertzler William Schneider
Georg Schreiber Jennifer Schwartz Kimberly A. Scott Forrest E. Sears Paul H. Serenbetz John Victor Shea Paul R. Shortt Carol M. Sica William Skipper Lee Skolnick Teresa Snider-Stein Suzanne Solensky and Jay Rozgonyi E. Gray Smith, Jr. Marian and Howard Spiro Mary C. Stark Charles Steckler Louise Stein Neal Ann Stephens John Stevens Joseph C. Stevens Marsha Beach Stewart Jaroslaw Strzemien Thomas Sullivan Richard Guy Suttor Tucker Sweitzer David Loy Sword Jack Sydow Yeshvant and Jean Talati Ari Teplitz Paul J. Tines David F. Toser Tahlia Townsend Russell L. Treyz Richard B. Trousdell Deborah Trout Miriam S. Tulin Melissa Turner Russell Vandenbroucke Joan Van Ark Flora Van Dyke Michael Van Dyke Carrie Van Hallgren Barry and Hyla Vine Fred Voelpel Fred Volkmar Charles Walkup Elizabeth Walsh
Barbara Wareck and Charles Perrow Anne C. Washburn John Ransford Watts Steven I. Waxler Gil Wechsler Betsy and Harry Welch Thomas Werder Charles R. Werner J. Newton White Robert and Charlotte White Robert Wierzel Lisa A. Wilde Robert Wildman John and Virginia Wilkinson Catherine M. Wilson Marshall Williams Bess Wohl Robin B. R. Wood Tamilla Woodard Judith Yale Arthur Zigouras Catherine J. Zuber Albert Zuckerman EMPLOYER MATCHING GIFTS Aetna Foundation Corning, Inc. General Electric Corporation IBM Mobil Foundation, Inc. Pfizer Pitney Bowes Procter & Gamble The Prospect Hill Foundation SBC Communications, Inc. United Technologies Corporation
This list includes current pledges, gifts and grants received from July 1, 2007, through September 1, 2008. For more information about making a donation to Yale Repertory Theatre, please contact Ann M.K. McLaughlin at 203.432.1536 or firstname.lastname@example.org. 37
SPONSORSHIP CORPORATE SPONSORS Bank of America Cosí Geronimo Tequila Bar Martinson Coffee Mionetto USA Regional Water Authority Scoozzi Trattoria and Wine Bar TIAA-CREF Ms. Esme Usdan
WILL POWER! SPONSORS YALE REPERTORY THEATRE’S ARTS EDUCATION INITIATIVE Anna Fitch Ardenghi General Charitable Purpose Trust Bank of America Jane Marcher Foundation NewAlliance Foundation
This list includes current pledges, gifts and grants received from July 1, 2007, through September 1, 2008.
FOR YOUR INFORMATION COMMUNITY SPONSORS Barcelona Chestnut Fine Foods Chow Connecticut Presort Est Est Est Fleur de Lys Floral and Gifts Hull’s Arts Supply and Framing New Haven Advocate New Haven Register Thames Printing Company, Inc. WSHU Public Radio Group The Yale Bookstore Yellow Book Zinc
DISCOUNT DINING PARTNERS The following dining establishments offer discounts to Yale Rep subscribers throughout the season. Miya's Sushi Pacifico Tre Scalini Zaroka
HOW TO REACH US IN PERSON: 1120 Chapel Street (at York St.) MAIL: Yale Repertory Theatre Box Office PO Box 1257, New Haven, CT 06505 PHONE: 203.432.1234 TTY (TELETYPE): 203.432.1521 E-MAIL: email@example.com
BOX OFFICE HOURS Monday to Friday from 10AM to 5PM Saturday from 12 to 5PM Until 8PM on all show nights
FIRE NOTICE Illuminated signs above each door indicate emergency exits. Please check for the nearest exit. In the event of an emergency, you will be notified by theatre personnel and assisted in the evacuation of the building.
RESTROOMS There is an accessible restroom in the main lobby. Additional restrooms are located downstairs.
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Please leave your cell phone and/or beeper, name, and seat number with the concierge. We’ll notify you if necessary. Emergency only telephone number at Yale Rep: 203.764.4014
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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.
“CHOW-ABUNGA! Exactly what New Haven needs.”
Yale Repertory Theatre offers all patrons the most comprehensive accessibility services program in Connecticut, including a season of open captioned and audio described performances, a free assistive listening system, largeprint and Braille programs, a direct TTY (teletype) line to Yale Rep’s Box Office (203.432.1521), wheelchair accessibility with an elevator entrance into the Yale Rep Theatre located on the left side of the building, and accessible seating. For more information about the theatre’s accessibility services, contact Ruth M. Feldman at 203.432.8425 or firstname.lastname@example.org.
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.
audio description (AD): A live narration of the play’s action, sets, and costumes for patrons who are blind or low vision.
Passion Play Happy Now? Rough Crossing Lydia Notes from Underground
Oct 4 Nov 8 Dec 13 Feb 21
Oct 11 Nov 15 Dec 20 Feb 28
Death of a Salesman
Open Captioned and Audio Described performances are at 2PM. AD pre-show description begins at 1:45PM.
— New Haven Advocate
966 Chapel Street 203.772.3002 www.chownewhaven.com
c2inc is pleased to be the official Open Captioning provider of Yale Repertory Theatre.
The taking of photographs or the use of recording devices of any kind in the theatre without the written permission of the management is prohibited. 39
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Chestnut Fine Foods & Confections 1176 CHAPEL STREET
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Free and open to the public. Tues.â€“Sat. 10:00 amâ€“5:00 pm, Thurs. until 8 pm (Sept.â€“June), Sunday 1:00â€“6:00 pm 1111 Chapel Street, New Haven, Connecticut http://artgallery.yale.edu
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1012 State St., New Haven, CT 06511 203-782-6767 40
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