FEBRUARY 3–9, 2018
YALE SCHOOL OF DRAMA James Bundy, Dean Victoria Nolan, Deputy Dean Chantal Rodriguez, Associate Dean Kelvin Dinkins, Jr., Assistant Dean
PASSION BOOK BY JAMES LAPINE MUSIC & LYRICS BY STEPHEN SONDHEIM BASED ON THE FILM, PASSIONE D’AMORE, DIRECTED BY ETTORE SCOLA DIRECTED BY RORY PELSUE
MATTHEW R. MALONE
TYE HUNT FITZGERALD MOLLY FITZMAURICE SAYANTEE SAHOO ABIGAIL GANDY
Passion was originally directed on Broadway by James Lapine Originally produced on Broadway in 1994 by The Shubert Organization— Roger Berlind, Capital Cities/ABC, and Scott Rudin by arrangement with Lincoln Center Theater, orchestrations by Jonathan Tunick Passion is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. www.MTIShows.com SEASON SPONSORS
CAST in order of speaking Clara
JOHN R. COLLEY
Lieutenant Barri Major Rizzoli Private Augenti Fosca Ricci Fosca’s Mother
STEPHEN CEFALU, JR. ERRON CRAWFORD PATRICK MADDEN STEPHANIE MACHADO LYNDA PAUL
STEVEN LEE JOHNSON
Mistress ERIKA ANCLADE
SETTING Time: 1863 Place: Milan and a remote Italian military outpost.
PASSION IS PERFORMED WITHOUT AN INTERMISSION.
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MÁRTA HORTOBÁGYI LAMBERT
JORDAN L. ROSS
Flute, Clarinet, Bass Clarinet
EMILY DUNCAN WILSON
Oboe, English Horn
tickets on sale in March! drama.yale.edu/carlotta 5
The Mad Woman Burns Down In 1994, Passion closed after only 280 performances, while Disney’s Beauty and the Beast began one of Broadway’s longest and most commercially successful runs of 5,461. Beauty and the Beast tells the love story of a pretty maiden and a monstrous brute. Passion tells the love story of a handsome captain and a hideous invalid. Why did audiences embrace the Beast but recoil from Fosca? Stephen Sondheim recalls “astonishingly hostile” preview audiences openly heckling her, emitting “sniggers, when there weren’t snorts, of laughter,” and deriding her as an impossible object for empathy, let alone affection. Beyond Beauty and the Beast, folklore and pop culture alike overflow with “beastly bridegrooms”—The Frog King or The Enchanted Pig become Edward in Twilight or Christian in Fifty Shades of Grey. Beastly brides are fewer, further between, and all-together more anodyne. Think of graceful Odette in Swan Lake or friendly Fiona in Shrek: victims of unfortunate circumstances
who provoke more pity than fear. But Fosca is less Fiona than Nosferatu, less ugly duckling than bird of prey. In The Uses of Enchantment, Bruno Bettelheim’s now-canonical psychoanalytical take on folk tales, he casts Beauty and the Beast as a metaphor for female sexual fears. “It is mainly the female who needs to change her attitude about sex from rejecting to embracing it,” he proposes, “because as long as sex appears to her as ugly and animal-like, it remains animalistic in the male; i.e., he is not disenchanted.” By overcoming her supposed sexual anxiety, Belle frees the Beast from his cursed disguise to reveal his handsome face— domesticating him into the happily ever after. Both Bettelheim and Passion’s 1863 Italy put the onus on women to fulfill the essential functions of femininity, like marriage and motherhood. As Fosca candidly observes, “if you’re a woman, you either are a daughter or a wife.” Failing both infects women with “hysteria”—the nineteenth century’s psycho-medical diagnosis for
the Attic symptoms ranging from convulsions, fainting, and fever to deteriorating executive function and socially unacceptable behaviors. Her doctor insists Fosca “does not think or act as we do...as healthy people we cannot appreciate the psyche of the sick.” Ladies’ love restores men’s humanity, but marriage is what makes a woman a person in the first place. “Notwithstanding all the hardships woman has to suffer to be reborn to full consciousness and humanity, the stories leave no doubt that this is what she would do,” judges Bettelheim. “Otherwise there would be no story: no fairy story worth telling, no worthwhile story to her life.” But Fosca bucks the fairy tale by refusing to transform. Intimacy does not cure her illness, plug her gaping womb, or moderate her impropriety; Fosca concedes no makeover into a more palatable romantic heroine. As Sondheim says admiringly of the film, “Instead of being transformed into something beautiful, as one might expect in a fable of this kind, she is uglier and more grotesque than ever, her skin more sallow, her eyes more staring, her ecstatic smile emphasizing her skull-like look. She is more herself than she has ever been and the moment is shocking and joyful and thrilling all at once.” At the end of Passion, Fosca only becomes more herself—urging us to acknowledge that her unseemly self is a self after all. We see a woman not reinscribed into gendered social order through marriage—but made all the more untidy, terrifying, and radical through love. —MOLLY FITZMAURICE, PRODUCTION DRAMATURG
Love Without Reason Passion is inspired by Ettore Scola’s 1981 film Passione d’Amore, itself adapted from the semi-autobiographical 1869 novel Fosca by Iginio Ugo Tarchetti, a member of Scapigliatura, “the disheveled ones,” an Italian literary movement that supplanted Enlightenment rationalism with Romanticism’s primacy of emotion.
From a ruined castle to a craggy mountainside to a train crossing untamed wilderness, Fosca and Giorgio rendezvous with the Romantic sublime: nature’s awesome triumph over imposed human order.
Intellectual exuberance reigns in Stephen Sondheim compositions; lyrics interlock as intricately as the puzzles he famously collects.
Reviewing Passion in the New York Times, David Richards marvels, “the lyric is surely one of Mr. Sondheim’s most direct and most personal. There is, you’ll notice, no face-saving wordplay, none of the old corrosive irony.”
In the midst of his first major love affair— at age 61—Sondheim wrote Passion, he remembers, “about how the force of somebody’s feelings for you can crack you open, and how it is the life force in a deadened world.” —MF 7
CAST ABUBAKR ALI (LIEUTENANT TORASSO) is a second-year MFA candidate at Yale School of Drama, where he has been seen in Perfectly Timed Photos Taken Before a Disaster, Pentecost, and The Hour of Great Mercy. Other credits include Xander Xyst, Dragon: 1 (Yale Cabaret); Macbeth, The Threepenny Opera, Julius Caesar, Six Characters in Search of an Author, A Christmas Carol (A Noise Within); The Rock of Abandon (Lillian Theatre); Handjobs The Musical! (Kraine Theater); Macbeth, The Two Gentlemen of Verona (The Classical Studio, NYU); as well as work with East West Players, Company of Angels, and Fierce Backbone. Film and television credits include Dig (USA Network), Irish Goodbye (Ade M’Cormack), Spike TV, The Rachel Maddow Show. Training: BFA, NYU’s Tisch School of the Arts; Atlantic Theater Company; Classical Studio. abubakrali.com ERIKA ANCLADE (MISTRESS) is a senior theatre studies major in Yale College, where she was seen as Lady Macbeth in Macbeth. Last fall, she made her Off-Broadway debut in Bob Moss’s production of Bock and Harnick’s Fiorello!. Selected credits include Hello Again (Yale Drama Coalition), A Chorus Line (Yale Dramatic Association), and a workshop of Gilgamesh and the Mosquito (Yale Institute for Music Theatre).
BEN ANDERSON (GIORGIO BACHETTI) is a third-year MFA candidate at Yale School of Drama, where his credits include Our Lady of 121st Street, New Domestic Architecture, The Dog Pack Play, Bulgaria! Revolt!, ’Tis Pity She’s a Whore, and Titus Andronicus. Regional credits include Yale Repertory Theatre, Indiana Repertory Theatre, The New Harmony Project, Yale Cabaret, Yale Summer Cabaret, and Yale Institute for Music Theatre. He is a member of The Road and Rogue Machine theatre companies in Los Angeles. Ben holds a BFA in theatre performance from the University of Evansville.
STEPHEN CEFALU, JR. (LIEUTENANT BARRI) is a second-year MFA candidate at Yale School of Drama, where his credits include Slave Play, Sweat, Everything That Never Happened, and Escape from Happiness. Other credits include Lear (Yale Summer Cabaret), the world premiere of Tracy Letts’s Mary Page Marlowe directed by Anna D. Shapiro (Steppenwolf Theatre), Who’s Afraid of Virginia Woolf? (Redtwist Theatre, Jeff Award Nomination), End Days (Windy City Playhouse), and Pins and Withers (A Red Orchid Theatre). Stephen has also participated in readings and workshops for the Goodman Theatre, Steppenwolf Theatre, Victory Gardens Theatre, Steep Theatre, Sideshow Theatre, and Chicago Dramatists. Television and film credits include Shameless, Support, and This Afternoon. JOHN R. COLLEY (SERGEANT LOMBARDI) is a second-year MFA candidate at Yale School of Drama, where his credits include Pentecost, The Hour of Great Mercy, and Escape from Happiness. Other credits include Scenes from Court Life, or the whipping boy and his prince (Yale Repertory Theatre); Cock (Creative Works Theatre); Amandine, Girl in Window (New York Theatre Workshop); Rickhardt (HB Playwrights Foundation); The Illusion, Angels in America (NYU); Inherit the Wind, The Secret Garden (Texas Rep); You’re a Good Man, Charlie Brown and Little Shop of Horrors (Little Theatre Company). Film and television 8
credits include A Week in London (opposite Denise Richards), August Falls (with Fairuza Balk), Devious Maids, NCIS, Castle, Criminal Minds, and Chosen. He holds a BFA from NYU’s Tisch School of the Arts.
ERRON CRAWFORD (MAJOR RIZZOLI) is a second-year MFA candidate at Yale School of Drama, where his credits include Slave Play and If Pretty Hurts Ugly Must Be a Muhfucka. He has also been seen in The Apple Tree, In the Red and Brown Water (Yale Cabaret); Antony + Cleopatra (Yale Summer Cabaret); The Wiz, Seven Guitars, Once on This Island (Carnegie Mellon); Black Nativity (Kenny Leon’s True Colors); and Scheherazade (FringeNYC), among others. Erron holds a BFA in musical theatre from Carnegie Mellon University and was a member of the Broadway Dreams Foundation and the Freddie Hendricks Youth Ensemble of Atlanta. PATRICK FOLEY (COLONEL RICCI) is a third-year MFA candidate at Yale School of Drama, where his credits include Perfectly Timed Photos Taken Before a Disaster, Pentecost, Everything That Never Happened, Titus Andronicus, ’Tis Pity She’s a Whore, The Three Sisters, and Our Lady of 121st Street. Other credits include Noises Off, One Arm, Romeo and Juliet (Chautauqua Theater Company); Lake Kelsey, This American Wife (Yale Cabaret); Alice in Wonderland, Antarctica! Which Is to Say Nowhere (Yale Summer Cabaret); Chang in a Void Moon (Incubator Arts Project); Lake Victory (Judson Memorial Church); All’s Well That Ends Well (Shakespeare on the Sound); Wallenstein, Coriolanus (Shakespeare Theatre Company); and Shakespeare’s R&J (Signature Theatre). Patrick holds a BFA in drama from NYU’s Tisch School of the Arts. COURTNEY JAMISON (CLARA) is a third-year MFA candidate at Yale School of Drama, where her credits include Slave Play; If Pretty Hurts Ugly Must Be a Muhfucka; Bulgaria! Revolt!; Bluebeard’s Wife, A tale of (gay) marriage and (queer) death; The Three Sisters; and Some Bodies Travel. Other credits include Assassins (Yale Repertory Theatre); This Sweet Affliction, The Apple Tree, In the Red and Brown Water, and The Slow Sound of Snow (Yale Cabaret). She has performed regionally in Dreamgirls and The Color Purple (Virginia Repertory Theatre). Courtney holds a BA in musical theatre from James Madison University, where she appeared in How I Learned to Drive, Spring Awakening, The Trojan Women, and All Shook Up, among others. CourtneyJamison.com
STEVEN LEE JOHNSON (COUNT LUDOVIC) is a third-year MFA candidate at Yale School of Drama, where he has been seen in Perfectly Timed Photos Taken at the Edge of a Disaster, Pentecost, The Three Sisters, Amy and the Orphans, Othello, and A Midsummer Night’s Dream. He has appeared in Antony + Cleopatra (Yale Summer Cabaret); The Ugly One, Caught (Yale Cabaret); Romeo and Juliet (Elm Shakespeare Company); Clybourne Park (Guthrie Theater); Red (Park Square Theatre); and in several Shakespeare plays with Chicago Shakespeare Theater. Other regional credits include Theater Latté Da, Door Shakespeare, and Hope Summer Repertory Theatre. Television: Chicago Fire (NBC) and Masterclass (HBO). Steven is a Presidential Scholar in the Arts and holds a BFA from the University of Minnesota/Guthrie BFA Actor Training Program. 9
CAST STEPHANIE MACHADO (FOSCA RICCI) is a third-year MFA candidate at Yale School of Drama, where her credits include A Midsummer Night’s Dream, Bulgaria! Revolt!, Blood Wedding, and Amy and the Orphans. Other credits include An Enemy of the People (Yale Repertory Theatre); This Sweet Affliction, Cloud Tectonics, and Circling the Drain or, all that vacant possibility (Yale Cabaret). She holds a BFA in acting from Southern Methodist University and is a graduate of New World School of the Arts in Miami, Florida. stephaniemmachado.com PATRICK MADDEN (PRIVATE AUGENTI) is a third-year MFA candidate at Yale School of Drama, where his credits include Pentecost, The Hour of Great Mercy, Bulgaria! Revolt!, The Three Sisters, New Domestic Architecture, and Bluebeard’s Wife, a tale of (gay) marriage and (queer) death. He also appeared in And Tell Sad Stories of the Deaths of Queens and The Ugly One at Yale Cabaret, and was a Presidential Public Service Fellow for the 2017 Dwight/Edgewood Project. He has trained and performed at Shakespeare & Company, Williamstown Theatre Festival, and Brown University, where he received a BA in English. pmadden.com
HUDSON OZNOWICZ (DOCTOR TAMBOURRI) is a second-year MFA candidate at Yale School of Drama, where his credits include Slave Play, Sweat, and Escape from Happiness. He was also seen in Antony + Cleopatra at Yale Summer Cabaret. He holds a BFA in acting from NYU’s Tisch School of the Arts, where he performed in Ugly Little Sister, Wayward, and Captain Gloriosus. Hudson has also studied with The Barrow Group and Margie Haber Studios.
LYNDA PAUL (FOSCA’S MOTHER) is a multidisciplinary theatre artist, scholar, and teacher. Recent roles include Monica in The Medium and Rosetta/ the Governess in Leonce and Lena (Yale Cabaret). Directing credits include England (Koerner Center), The Silent Lyre (Elm City Consort), The Cunning Little Vixen (Opera Theatre of Yale College), Caught, and Trouble in Tahiti (Yale Cabaret). Dramaturgy credits include Assassins and Cymbeline (Yale Repertory Theatre). Lynda trained at British American Drama Academy and holds degrees from the Eastman School of Music, University of Rochester, University of Chicago, and Yale, where she received distinction on her PhD in music, and recently completed the MFA in Dramaturgy and Dramatic Criticism. She currently teaches in English and theatre studies at Yale College. SOLON SNIDER (FOSCA’S FATHER; ASSOCIATE MUSIC DIRECTOR) is a senior at Yale College double majoring in music and theatre studies. As a composer, arranger, and musical director, he has worked on music for the concert hall, television, stage, short film, and video games. His latest project is his second original musical, which will be produced at Yale later this spring. Solon spent the past year abroad, serving as the musical director for the Yale Whiffenpoofs.
MUSICIANS KARI HUSTAD (TRUMPET) is a freshman at Yale College, where she recently performed in the pit orchestra for Dreamgirls. She has performed in various ensembles, including her high school jazz ensemble and the All-Northwest Concert Band. Currently she plays in the Davenport Pops Orchestra, the Berkeley College Orchestra, and the Yale Jazz Ensemble. MÁRTA HORTOBÁGYI LAMBERT (VIOLA) has studied with Ara Gregorian and Melissa Reardon at East Carolina University, at The Juilliard School with Hsin-Yun Huang and Misha Amory, and with Steven Tenenbom at the Yale School of Music, where she is an MM candidate. She has held teaching positions at Juilliard as a mentor for the pre-college program, and currently teaches children at Queens pre-college in New York City and the Music in Schools Initiative in New Haven. Marta has also attended a number of chamber music festivals including Prussia Cove, Four Seasons Chamber Music Festival-Winter Workshop, Yellow Barn/YAP, Heifetz International, Astona International, and Kneisel Hall, where she helped create the Blue Hill String Quartet.
KAY NAKAZAWA (VIOLIN) graduated Yale College in May 2017 and is currently a postgraduate research associate within Yale’s Biomedical Engineering Department. At Yale College, she was a member of the Yale Symphony Orchestra, studying violin with Kyung Yu, and performed in several smaller ensembles around campus. Kay co-founded the Timothy Dwight Community Chamber Orchestra and continues to help manage the group this year.
JORDAN L. ROSS (PERCUSSION) is a New York-based composer, drummer, and orchestrator. He composes and produces music for film, television, and worldwide brands. As a drummer/percussionist, he works with various bands and recording artists in the New York area. Regional productions include Company (The Gallery Players), Next to Normal, and Xanadu (Speakeasy Stage, Boston). JENNIFER SCHMIDT (CELLO) is a DFA in residence at Yale School of Drama, where she was last seen in Blood Wedding and her dramaturgy credits include Hedda Gabler, The Really Big Fat Show, What a Very Pretty Pageant!, Blueberry Toast, and The Two Gentlemen of Verona. She also performed in The Visit, The Seagull, and Blood Wedding. At Yale Cabaret, her credits include American Gothic and Dutchman, and she served as a musician for The Apple Tree, Lake Kelsey, The Small Room at the Top of the Stairs, and Ain’t Gonna Make It. Jennifer received her BA in English from Carleton College and MFA from Yale School of Drama.
NOAH STEVENS-STEIN (BASS) is a senior at Yale College studying history of art. He has been playing bass since age six. He played in youth orchestras throughout the state of Texas, and in music festivals such as the Interlochen Arts Camp. He performed in orchestras at Carnegie Hall, both in high school, and in the Yale Symphony Orchestra, of which he is currently co-President. Most recently, he participated in the YSO’s summer 2017 tour to Russia. 11
MUSICIANS EMILY DUNCAN WILSON (FLUTE, CLARINET, BASS CLARINET) is a first-year MFA candidate at the Yale School of Drama, where she was the sound engineer and assistant sound designer for Death of Yazdgerd. She holds a BA in music with a concentration in multiple woodwind performance from Smith College in Northampton, Massachusetts. Her sound design credits include Seussical, (New London Barn Playhouse); Bakkhai, Steel Magnolias, and In the Next Room or, the vibrator play (Smith College). She was the sound engineer on Souvenir at New London Barn Playhouse. Emily played in orchestra pits for Fiddler on the Roof, West Side Story, Cabaret, How to Succeed in Business Without Really Trying, Brigadoon (New London Barn Playhouse). She also plays with the folk duo, Hannah & Maggie, and is featured on their album, Oh No. LEONARDO ZIPORYN (OBOE, ENGLISH HORN) is currently studying oboe with Stephen Taylor at the Yale School of Music. He earned his BM at Oberlin College as a student of Robert Walters, where he majored in oboe performance and minored in musicology. While there, he studied conducting and baroque oboe, and sang in the Oberlin Collegium Musicum. He also studied with Theodore Baskin at McGill University. Leonardo has toured with the National Youth Orchestra of Canada and was an apprentice with the National Academy Orchestra of Canada.
CREATIVE TEAM JILL BRUNELLE (MUSIC DIRECTOR; PIANO, CELESTE) is a repertoire pianist at Yale University, working with Yale Opera, Yale School of Drama, Yale Institute of Sacred Music, and Yale College. She is also the Yale Opera Chorus Master, preparing ensembles for Die Zauberflöte, A Midsummer Night’s Dream, The Marriage of Figaro, and La Bohème. She was Music Director for The Apple Tree, Trouble in Tahiti, and The Medium at Yale Cabaret. Ms. Brunelle is the Music Director at the Foote School Summer Theater. She is a frequent collaborator and recitalist, performing with area ensembles including Orchestra New England and Long Wharf Theatre. Ms. Brunelle has served on the coaching faculties of the Hartt School of Music, Boston University Opera Institute, Tufts University and New England Conservatory. She has been a member of contemporary music ensembles, performing many world premieres at festivals such as New York’s Bang on a Can. TYE HUNT FITZGERALD (SOUND DESIGNER) is in his third year of training at Yale School of Drama. Hailing from Toronto, Canada, where he worked as a freelance theatrical sound designer, mixer, technician, and recording engineer, Tye previously studied music production and engineering at Fanshawe. Select sound design credits include An Enemy of the People (Yale Repertory Theatre); Feral Child, Concord Floral (Suburban Beast Theatre); The Amy Project—Zero Visibility (Summerworks Theatre Festival); The Apple Tree, Slouch, Cloud Tectonics, The Slow Sound of Snow, Thunder Above, Deeps Below (Yale Cabaret); and Lear (Yale Summer Cabaret). Tye was also a co-artist on Anonymous, By Anonymous, a performance art installation at the Yale University Art Gallery. 12
MOLLY FITZMAURICE (PRODUCTION DRAMATURG) is a second-year MFA candidate at Yale School of Drama. Her credits include Native Son (Yale Repertory Theatre); The Apple Tree, The Quonsets, Mrs. Galveston, and her original participatory performance Dating Game (Yale Cabaret); A Guide for the Homesick (Huntington Theatre Company); Tollbooth: A Clown Show, Polaroid Stories, and Grimmfest (First Floor Theater, where she is a company member). Previously, she’s worked on the artistic teams of the Eugene O’Neill Theater Center, Huntington Theatre Company, Museum of Contemporary Art Chicago Stage, and Salonathon. She is currently a managing editor of Theater magazine and producing director of the 2018 Dwight/Edgewood Project. She holds a BA from the University of Chicago.
ABIGAIL GANDY (STAGE MANAGER) is a second-year MFA candidate at Yale School of Drama, where, her credits include The Dog Pack Play, Titus Andronicus, and ’Tis Pity She’s a Whore (Assistant Stage Manager). Other credits include The Apple Tree (Yale Cabaret) and Romeo and Juliet (Elm Shakespeare). She holds a BA from University of Alabama, where she stage-managed 42nd Street, The School for Lies, and A New Brain, among others.
SHADI GHAHERI (CHOREOGRAPHER) is a third-year MFA candidate from Tehran, Iran. At Yale School of Drama, she has directed Death of Yazdgerd, Titus Andronicus, and Wrong River by Josh Wilder. Other directing credits include The Slow Sound of Snow, Faryadaa, and Butterfly’s Terror (Yale Cabaret). She served as assistant director on Cymbeline at Yale Rep. As Co-Artistic Director of Yale Summer Cabaret’s 2017 season, she co-curated a four-play season, directing Ellen McLaughlin’s The Trojan Women, and Lear by Young Jean Lee. Shadi holds a BA from Tehran’s Shahid Beheshti University, where she was the first female president of the University Theatre Club. She directed Art, and devised a piece based on texts by Strindberg, O’Neill, and Pinter called A Stranger Walking in My Room. Her adaptation of The House of Bernarda Alba was banned by government censors in 2011. She continued working as a director, leading workshops at Iranian refugee camps for Afghani children fleeing the war in their country. Shadi was a 2016 Paul and Daisy Soros Fellow and is the 2017–18 recipient of the John Badham Scholarship in Directing. shadighaheri.com JAMES LAPINE (BOOK WRITER) has also worked with Stephen Sondheim on Sunday In the Park With George, Into the Woods, and the multi-media revue Sondheim On Sondheim. He directed Merrily We Roll Along as part of Encores at New York City Center. With William Finn he has collaborated on March Of The Falsettos and Falsettoland, later presented on Broadway as Falsettos and revived in 2016; A New Brain; Muscle; And Little Miss Sunshine. He has also directed on Broadway David Henry Hwang’s Golden Child, The Diary of Anne Frank, Michel Legrand’s Amour, The 25th Annual Putnam County Spelling Bee, and the 2012 revival of Annie. He directed his play Mrs. Miller Does Her Thing in its premiere at Signature Theatre in Arlington, Virginia in February 2017. He is also collaborating with Tom Kitt and Michael Korie on an original musical Flying Over Sunset which is scheduled for production in 2018. With Frank Rich he co13
CREATIVE TEAM produced and also directed the HBO documentary Six By Sondheim for which he received an Emmy nomination and a Peabody award. He has been nominated for twelve Tony Awards winning on three occasions and has received five Drama Desk Awards and the Pulitzer Prize. In 2011, he was inducted into the Theater Hall of Fame and in 2015 was the recipient of the Mr. Abbott Award presented by the Society of Stage Directors and Choreographers for a lifetime of exceptional achievement in the theatre.
MATTHEW R. MALONE (COSTUME DESIGNER) is a second-year MFA candidate at Yale School of Drama. His credits include The Apple Tree (Yale Cabaret); Julius Caesar, The Tempest, Medea, Anna in the Tropics, The Cripple of Inishmaan, Wilderness of Mirrors, Five Women Wearing the Same Dress, Lizards… (Stella Adler Studios); Anything Goes (Little Theatre on the Square); Anne Boleyn (Calderwood Pavilion); Woyzeck, Trestle at Pope Lick Creek, Cold Summer (Boston University); and Gods and Kings (The Other Mirror). Matthew holds a BFA in costume design from Boston University, and has worked for John Kristiansen New York, Inc, Glimmerglass Opera, Boston Ballet, and Theatre de la Mode.
RORY PELSUE (DIRECTOR) is a third-year MFA candidate at Yale School of Drama, where he has directed Othello and Bluebeard’s Wife. Rory is the Associate Artistic Director of Yale Cabaret, where he directed The Apple Tree and And Tell Sad Stories of the Deaths of Queens. He served as Co-Artistic Director of Yale Summer Cabaret, directing Mies Julie and Antony + Cleopatra. He was the assistant director for Yale Rep’s Assassins, and directed Richard III as the Associate Artistic Director of MaineStage Shakespeare. As the Artistic Director of Oxbridge Opera, he directed The Sorcerer, The Yeomen of the Guard, Princess Ida, The Gondoliers, and Ruddigore. Other credits include Thoroughly Modern Millie (Boston Children’s Theatre); The Children’s Hour, Philadelphia Noir (University of Pennsylvania Glee Club); Rosencrantz and Guildenstern Are Dead, No Exit (Fordham University Mimes and Mummers); Dear Deirdre (Dixon Place); and The Figaro Plays at the McCarter Theatre Center as assistant to Stephen Wadsworth. RIW RAKKULCHON (SCENIC DESIGNER) is a second-year MFA candidate at Yale School of Drama. His credits include Thunder Above, Deeps Below, One Big Breath (Yale Cabaret); Antony + Cleopatra (Yale Summer Cabaret); Loose Canon (Fringe Encore NYC 2015); and Far From Canterbury (Fringe NYC 2015) as well as collaborations with Kitchen Theatre Company, Opera Ithaca, and Ithaca Shakespeare. He assisted designers such as Wilson Chin and Walter Spangler on productions at The Public Theater, La Jolla Playhouse, and Berkeley Rep, among others. He holds a BFA in theatrical production from Ithaca College. riwrdesign.com
SAYANTEE SAHOO (TECHNICAL DIRECTOR) is a third-year MFA candidate at Yale School of Drama. Originally from Durgapur, India, her major experience of technical management is in multi-lingual, regional theatre, and international festivals as International Theatre Festival of Kerala (ITFoK), Bharat Rang Mahotsav (BRM), and Asia Theatre Education Centre (ATEC). She holds an MA 14
in theatre technique and design from the National School of Drama, New Delhi. She has adapted, directed and designed several works with Bengali theatre group Uhinee Kolkata since 2008.
STEPHEN SONDHEIM (COMPOSER AND LYRICIST) wrote the music and lyrics for Saturday Night (1954), A Funny Thing Happened on the Way to the Forum (1962), Anyone Can Whistle (1964), Company (1970), Follies (1971), A Little Night Music (1973), The Frogs (1974), Pacific Overtures (1976), Sweeney Todd (1979), Merrily We Roll Along (1981), Sunday in the Park with George (1984), Into the Woods (1987), Assassins (1990), Passion (1994), and Road Show (2008); and lyrics for West Side Story (1957), Gypsy (1959), and Do I Hear a Waltz? (1965), and additional lyrics for Candide (1973). Anthologies of his work include Side by Side by Sondheim (1976), Marry Me a Little (1981), You’re Gonna Love Tomorrow (1983), Putting It Together (1993/99), and Sondheim on Sondheim (2010). He composed the scores of the films Stavisky (1974) and Reds (1981) and songs for Dick Tracy (1990) and the television production Evening Primrose (1966). His collected lyrics with attendant essays have been published in two volumes: Finishing the Hat (2010) and Look, I Made A Hat (2011). In 2010 The Broadway theatre formerly known as Henry Miller’s Theatre was renamed in his honor. NIC VINCENT (LIGHTING DESIGNER) is a second-year MFA candidate at Yale School of Drama, where he designed Pentecost and A Midsummer Night’s Dream. Nic also designed lighting for The Ugly One, The Red Tent, and This American Wife at Yale Cabaret. Originally from Ontario, Canada, Nic has worked with companies such as The Shaw Festival, Shakespeare in the Ruff, and The Banff Centre, among others. Nic holds a BFA in theatre performance production from Ryerson University. MUSIC THEATRE INTERNATIONAL (MTI) (LICENSOR) is one of the world’s leading theatrical licensing agencies, granting theatres from around the world the rights to perform the greatest selection of musicals from Broadway and beyond. Founded in 1952 by composer Frank Loesser, and orchestrator Don Walker, MTI is a driving force in advancing musical theatre as a vibrant and engaging art form. MTI works directly with the composers, lyricists and book writers of these musicals to provide official scripts, musical materials and dynamic theatrical resources to over 70,000 professional, community and school theatres in the US and in over 60 countries worldwide. MTI is particularly dedicated to educational theatre, and has created special collections to meet the needs of various types of performers and audiences. MTI’s Broadway Junior™ shows are 30- and 60-minute musicals for performance by elementary and middle school-aged performers, while MTI’s School Editions are musicals annotated for performance by high school students. MTI maintains its global headquarters in New York City with additional offices in London (MTI Europe) and Melbourne (MTI Australasia).
YALE SCHOOL OF DRAMA STA
James Bundy, Dean Victoria Nolan, Deputy Dean Chantal Rodriguez, Associate Dean Kelvin Dinkins, Jr., Assistant Dean
Zachary Elkind, Assistant Director Solon Snider, Assistant Music Director Alexander McCargar, Assistant Scenic Designer April M. Hickman, Assistant Costume Designer Emma Deane, Krista Smith, Assistant Lighting Designers Liam Bellman-Sharpe, Assistant Sound Designer and Engineer Julia Bates, Assistant Stage Manager
PRODUCTION Matt Davis, Production Manager Austin J. Byrd, Associate Production Manager Matthew Lewis, Kelly Pursley, Assistant Technical Directors Becca Terpenning, Properties Master Michael VanAarsten, Master Electrician David Phelps, Stage Carpenter Samuel Kwan Chi Chan, Light Board Programmer John Bondi-Ernoehazy, Michael Costagliola, Mika H. Eubanks, Jessica Hernandez, Ruoxi Jia, and Sophie Siegel-Warren, Alex Vermillion, Emma Weinstein, Emily Wilson, Madeleine Winward, Run Crew
ADMINISTRATION Leandro A. Zanetti, House Manager
SPECIAL THANKS Thomas Burke, Harry Johnson Passion February 3–9, 2018 University Theatre, 222 York Street
THE TAKING OF PHOTOGRAPHS OR THE USE OF RECORDING DEVICES OF ANY KIND DURING THE PERFORMANCE IS PROHIBITED. 16
Artistic Management Jennifer Kiger, Associate Artistic Director Director of New Play Programs James Mountcastle, Production Stage Manager Amy Boratko, Literary Manager Kay Perdue Meadows, Artistic Associate Jocelyn Prince, Artistic Coordinator Ashley Chang, Literary Associate 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 Kate Begley Baker, Senior Administrative Assistant for the Design and Sound Design Departments Ellen Lange, Senior Administrative Assistant for the Acting Department Lindsay King, Library Services
PRODUCTION Production Management Shaminda Amarakoon, Director of Production Jonathan Reed, Production Manager C. Nikki Mills, Associate Head of Production and Student Labor Supervisor Grace O’Brien, Senior Administrative Assistant to the Production and Theater Safety and Occupational Health Departments Scenery Neil Mulligan (on leave), Matt Welander, Technical Directors Lily Twining, Interim Technical Director Alan Hendrickson, Electro Mechanical Laboratory Supervisor Eric Sparks, Shop Foreman Matt Gaffney, Ryan Gardner, Sharon Reinhart, Libby Stone, Master Shop Carpenters Jessica Hernandez, Erin Tiffany, Assistants to the Technical Directors
AFF Painting ADMINISTRATION Ru-Jun Wang, Scenic Charge General Management Lia Akkerhuis, Nathan Jasunas, Adam J. Frank, Ruoran Li, Melissa Rose, Scenic Artists Associate Managing Directors Hyejin Son, Assistant to the Painting Laura Cornwall, Armando Huipe, Leandro Supervisor A. Zaneti, Assistant Managing Directors Emalie Mayo, Senior Administrative Properties Assistant to the Deputy Dean, Associate Jennifer McClure, Properties Master Dean, and Assistant Dean David P. Schrader, Properties Craftsperson Markie Gray, Management Assistant Ashley Flowers, Properties Assistant Caitlin Crombleholme, Company Manager Amanda Creech, Madeleine Winward, Carl Holvick, Assistant Company Manager Assistants to the Properties Master Development and Alumni Affairs Costumes Deborah S. Berman, Director of Tom McAlister, Costume Shop Manager Development and Alumni Affairs Harry Johnson, Clarissa Wylie Youngberg, Janice Muirhead, Senior Associate Director Mary Zihal, Senior Drapers of Institutional Giving Deborah Bloch, Patricia Van Horn, Susan C. Clark, Senior Associate Director of Senior First Hands Operations for Development and Alumni Linda Kelley-Dodd, Costume Project Affairs Coordinator Joanna Romberg, Senior Associate Director Denise O’Brien, Wig and Hair Design of Annual Giving and Special Projects Barbara Bodine, Company Hairdresser Al Heartley, Associate Director of Elizabeth Beale, Costume Stock Manager Development and Alumni Affairs Logan Baker, Assistant to the Costume Jennifer E. Alzona, Senior Administrative Shop Manager Assistant to Development and Marketing & Communications Electrics Alice Kenney (on leave), Development Donald W. Titus, Lighting Supervisor Associate, Jennifer Carlson, Linda-Cristal Young, Jean Gresham, Interim Development Senior Head Electricians Associate Sound Mike Backhaus, Sound Supervisor Stephanie Smith, Staff Sound Engineer Ruoxi Jia, Assistant to the Sound Supervisor Daniela Fresard, Assistant to the Lighting Supervisor Projections Erich Bolton, Projection Supervisor Mike Paddock, Head Projection Technician Ellen Reid, Assistant to the Projection Supervisor Stage Operations Janet Cunningham, Stage Carpenter Elizabeth Bolster, Wardrobe Supervisor Billy Ordynowicz, Head Properties Runner Jacob Riley, FOH Mix Engineer David WIllmore, Light Board Programmer
Finance and Human Resources Katherine D. Burgueño, Director of Finance and Human Resources Erin Ethier, Business Manager Janna J. Ellis, Director, Yale Tessitura Consortium Stacie Wcislo, Business Office Analyst Preston Mock, Teressa Reese, Business Office Specialists Shainn Reaves, Senior Administrative Assistant to Business Office, Digital Technology, Operations, and Tessitura Ashlie Russell, Business Office Assistant Marketing, Communications, and Audience Services Daniel Cress, Director of Marketing Steven Padla, Director of Communications Caitlin Griffin, Senior Associate Director of Marketing and Communications
YALE SCHOOL OF DRAMA STAFF Sylvia Xiaomeng Zhang, Associate Director of Marketing and Communications Lucia Bacqué, Malenky Welsh, Marketing Assistants Marguerite Elliott, Publications Manager Laura Kirk, Director of Audience Services Shane Quinn, Assistant Director of Audience Services Tracy Baldini, Subscriptions Coordinator Kenneth Murray, Interim Audience Services Assistant Mikaela Boone, Sara Cho, Samantha Else, Jordan Graf, Amir Rezvani, Elijah Weaver, Box Office Assistants T. Charles Erickson, Production Photographer
Michael Humbert, Marcia Riley, Facility Stewards Tylon Frost, James Hansberry, Rodney Heard, Kathy Langston, Patrick Martin, Andy Martino, Shanna Ramos, Mark Roy, Custodians
Operations Nadir Balan, Interim Director of Facility Operations Jennifer Draughn, Michael Halpern, Arts and Graduate Studies Superintendents Andy Mastriano, Sherry Stanley, Team Leaders
Theater Safety and Occupational Health Anna Glover, Director of Theater Safety and Occupational Health Kevin Delaney, Ed Jooss, John Marquez, Customer Service and Safety Officers
Digital Technology Chris Kilbourne, Director of Digital Technology Andre Griffith, Digital Technology Associate Luis Serrano, Web and Email Services Associate Ron Rode, Ben Silvert, Database Application Consultants
THREE PERFORMANCES ONLY!
SLEEP DIRECTED AND DEVISED BY
YALER 4 3 2 . 1 2 G 3 EP@Y ALE.E 4 DU
RACHEL DICKSTEIN AND RIPE TIME ADAPTED FOR THE STAGE BY NAOMI IIZUKA
read. rest. reflect.
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PASSION, book by James Lapine; music and lyrics by Stephen Sondheim; based on the film, Passione d'Amore, directed by Ettore Scola; directed...