pop! NoVember 27 to December 19
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WELCOME to the world premiere of POP! by Maggie-Kate Coleman
and Anna K. Jacobs, two immensely gifted theatre artists whom I first met last summer at the inaugural Yale Institute for Music Theatre. Now entering its second year, YIMT, established by Yale School of Drama and Yale School of Music, distinguishes itself in the field by developing new work by composers and playwrights who have received an undergraduate or graduate degree within the last five years. (Current Yale students are also eligible to apply.) The public reading that capped off the Institute’s two-week workshop of POP! was a distinct pleasure: seven actors singing behind music stands transported me to an oft-documented and much-dissected time and place, but with a unique point of view: via a musical inside Andy Warhol’s head. It is difficult to overstate the influence that Warhol has had on American popular culture since his splashy emergence on the contemporary art scene in the 1960s. Extraordinarily talented and obsessed with celebrity, he was—and continues to be—as famous for being famous as for his art. In the days before the internet, camera phones, reality television, and the 24-hour news cycle, his shooting in 1968 made headlines around the world. It’s in the moment after that attack—with Warhol suspended between life and death—that POP! takes place.
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To borrow a phrase from Rodgers and Hammerstein, the corner of Chapel and York has been alive with the sound of music in the last weeks and months as Maggie-Kate and Anna’s songs have spilled over from the rehearsal rooms into our hallways and offices. Fortunately, you’ll hear them today sung by an incredibly talented cast of musical theatre performers—not by me. POP! also marks the return to Yale Rep of Mark Brokaw, a graduate of Yale School of Drama and the Artistic Director of the Yale Institute for Music Theatre, as well as one of the nation’s most acclaimed directors of new work. POP! is the first original book musical to premiere at Yale Rep in more than a decade and an example of our expanding commitment to new work by emerging writers. This production is supported by the Yale Center for New Theatre, which includes among its wide-ranging activities the commissioning and development of new plays and musicals at Yale Rep. Currently, the Yale Center for New Theatre supports over a dozen commissioned projects, including On the Levee, by Marcus Gardley, Lear deBessonet, and Todd Almond: this show will make its premiere at Lincoln Center Theater in 2010. Established with the generous support of the Robina Foundation, the Center, together with your adventurous support as members of our audience, makes Yale one of the most fertile environments for writers in the English-speaking theatre. With so many projects in the pipeline, you’re certain to hear fresh and invigorating theatrical voices here for years to come. But this moment belongs to Maggie-Kate and Anna, Mark, and the entire team on stage and off who have brought this bold, complicated, and ambiguous new musical to life. Thank you for being here to celebrate their work with us. And please tell your friends, family, and colleagues—as at the Factory, our doors are open to newcomers! Enjoy the show—I look forward to hearing what you think and feel about it! Sincerely,
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James Bundy Artistic Director email@example.com
N O V E M B E R 2 7 T O D EC E M B E R 1 9 , 2 0 0 9
YALE REPERTORY THEATRE
James Bundy, Artistic Director
Victoria Nolan, Managing Director
PRESENTS THE WORLD PREMIERE OF
Book and Lyrics by MAGGIE-KATE COLEMAN Music by ANNA K. JACOBS Directed by MARK BROKAW Choreographer
VALÉRIE THÉRÈSE BART
Sound Designer Projection Designer Orchestrator Production Dramaturg Casting Directors
DAVID BUDRIES TAL YARDEN BRUCE COUGHLIN CATHERINE SHEEHY TARA RUBIN LAURA SCHUTZEL
POP! was developed at the Yale Institute for Music Theatre. Production support for POP! was provided by the Yale Center for New Theatre, established in 2008 to support the development of new plays and musicals through a generous grant from The Robina Foundation. SEASON MEDIA SPONSOR
COVER PHOTO BY DAVID COOPER.
CAST IN ORDER OF SPEAKING
RANDY HARRISON BRIAN CHARLES ROONEY
Andy Warhol Candy
POP! IS PERFORMED WITHOUT AN INTERMISSION.
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MUSICAL NUMBERS Prologue ................................................................................................ Ensemble Paper Bag ...................................................................................................... Andy Pop! (Who Shot Andy Warhol?) ........................................................... Ensemble 99 Superstars ............................................................................... Gerard, Ondine Up Your Ass (Excerpts) .............................................................. Edie, Viva, Candy Up Your Ass ....................................................................Valerie, Edie, Viva, Candy Poor Little Rich Girl Songlet .................................................... Edie, Viva, Valerie Racist Doll Songlets ..........................................................................Viva, Valerie Paper Doll ....................................................................................................... Edie Expression! ............................................................................ Edie, Valerie, Gerard Untitled Brawl No. 1 .............................................................................. Company The Last Laugh ............................................................................................... Viva Superstar * ..................................................................... Edie, Viva, Valerie, Candy Candy’s Lament .......................................................................................... Candy Maybe It’s Time ............................................................................. Gerard, Ondine Money .................................................................................................... Ensemble Money Songlet ............................................................................................. Andy Agnus Dei ................................................................................. Ondine, Ensemble Lux Aeterna! ............................................................................. Ondine, Ensemble Mrs. Warhola’s Eulogy .............................................................. Candy, Ensemble The St. Vitus Dance ................................................................................Ensemble Still Life .......................................................................................................... Andy 15 Minutes ............................................................................................. Company Big Gun ...................................................................................... Valerie, Edie, Viva The Philosophy of Andy Warhol ........................................................... Company * Additional lyrics by Anna K. Jacobs
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LYNNE SHANKEL RANDY COHEN CRAIG MAGNANO KURT BACHER MICHAEL PEARCE JOE MOWATT
Conductor, Keyboards I Keyboards II, Organ Guitars, Banjo Reeds Bass Drums/Percussion 7
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POP-TIMISM: A CHEERILY REDUCTIVE ART HISTORY LESSON WITH AN OLDENBURG CHERRY ON TOP!
When Andy Warhol came to New York in 1949, Abstract Expressionism was all the rage—“rage” being the operative word. Its American proponents were edgy, brooding, disaffected, intellectual Jungians: men who drank, fought, fornicated, and painted (though not always in that order). Their work contained echoes of the suffering and uncertainty of the Great Depression and the horror and uncertainty of WWII. The terrible power of the atomic bomb only reinforced their angst. In POP!, Andy Warhol’s ambivalent attitude toward these artists and their art is played out in the über-macho pastiche of three towering figures of the movement: Robert Motherwell, Franz Kline, and Jackson Pollock.
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Not entirely reactionary or wholly oppositional, Pop Art’s relationship to Abstract Expressionism is like a kid brother who has had a sunnier childhood. Pop grew up a product of the prosperous 1950s and its exuberant consumerism. With a temperament bright, bouncy, charming, Pop was—at least on the surface—inclusive. When the average housewife went to her pantry, or her daughter went to the movies, or her son went to the comic book store, or her husband opened the evening paper, they were confronted with the same images as the savvy patrons of the most exclusive New York galleries. Even Pop’s darker gestures—like Warhol’s Death and Disaster series—were frequently bathed in swathes of Howard Johnson orange, Juicy Fruit yellow, and Comet green. Everyday objects put the snap and crackle in Pop.
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FROM TOP: ROBERT MOTHERWELL, ELEGY TO THE SPANISH REPUBLIC, NO.57, 1961; FRANZ KLINE, MAHONING, 1956; JACKSON POLLOCK, NUMBER 18, 1950; ROY LICHTENSTEIN, CRYING GIRL, 1964; CLAES OLDENBURG, SPOONBRIDGE AND CHERRY, 1988 (COOSJE VAN BRUGGEN PHOTO). RIGHT: ANDY WARHOL, BRILLO SOAP PADS BOX, 1964 (THE ANDY WARHOL FOUNDATION FOR THE VISUAL ARTS).
While the Abstract Expressionists rejected the gaudy exterior of modern life as so much vinyl siding, Pop threw its arms open to kitsch and commercialism—sometimes ironically but often simply celebrating the optimism inherent in marketing creature comforts in a culture of conspicuous consumption. And if that stuck a finger in the eye of that dowager high culture, even better. Pop was about repurposing, recycling, repackaging, rejoicing—and reserving the right to take it all back. —CATHERINE SHEEHY, PRODUCTION DRAMATURG
The Story of a ‘ Consomméd’ Artist, Condensed The Andy Warhol of POP! is, of course, a character. But then the actual (it’s all but impossible to say “real”) Andy Warhol was himself a construct. Just how this bewigged tabulation of tics and poses, at the head of an army of speed freaks, sad-glam transvestites, and lost socialites, let slip the dogs of culture war is the ride you’re on tonight. Born in an impoverished Slovak enclave of Pittsburgh in 1928, Andrew Warhola was a sickly boy, who spent most of his time lashed to his mother’s apron strings. He strove to please her, and she fed him Campbell’s® Soup and rewarded his pretty drawings with Hershey’s® chocolate bars. Brand names became symbols of financial security. Later there were Brillo® boxes and Coke® bottles, movie stars and cartoon characters, one man’s kitsch another’s talisman of success. At the Carnegie Institute of Technology, Andrew Warhola started creating in earnest. He experimented with the blottedline technique, a method of transferring an image from one surface to another by placing a fresh sheet of paper on the still-wet original. It was the “copy” that then became the work of art, and the artist receded. Thus Andy began his ceaseless expedition to the background—a voyage he undertook as a sure-fire way of getting attention.
After graduation, he headed for New York and early, if not entirely fulfilling, success as a commercial artist. Whether it was a moniker he adopted in preemptive self-defense or one thrust upon him, Warhol became known as “Andy Paperbag” in those early days for the assiduously careless way he carried his portfolio around town in a humble sack. Paper bags remained his preferred conveyance for luxury indulgences and flea market finds for his entire life. While art critics were deciding whether Pop was a breath of fresh air or a blight on the cultural landscape, Andy was already evolving. In 1963 he opened his famous studio, the Factory. It was the perfect name, combining the working-class, lunch-pail whiff of his Pittsburgh past with the industrial, Capitalist quality of his evolving theory of art. It also evoked his tireless work ethic. Here virtually everything from cows to car accidents, from Elvis to electric chairs, was subjected to the patented Warhol silk-screen treatment. Still Andy was discontent with Pop as merely a way of art; he sought to make it a way of life. He announced he would renounce painting,
I LEARNED WHEN I WAS LITTLE THAT WHENEVER I GOT AGGRESSIVE AND TRIED TO TELL SOMEONE WHAT TO DO, NOTHING HAPPENED— I JUST COULDN’T CARRY IT OFF. I LEARNED THAT YOU ACTUALLY HAVE MORE POWER WHEN YOU SHUT UP, BECAUSE AT LEAST THAT WAY PEOPLE WILL MAYBE START TO DOUBT THEMSELVES. 10
and he threw all his energies into filmmaking and promotion. He continued to cultivate his image, in part, through a willful withholding of the self that upped his mystery ante. Though the doors to the Factory were wide open, and a fascinating
NOW AND THEN SOMEONE WOULD ACCUSE ME OF BEING EVIL, OF LETTING PEOPLE DESTROY THEMSELVES WHILE I JUST WATCHED, JUST SO I COULD FILM THEM AND TAPE-RECORD THEM. BUT I DON’T THINK OF MYSELF AS BEING EVIL, JUST REALISTIC. parade of personalities poured in, there was no personal ingress where Andy was concerned. Whether his affectless monosyllabism was a pose or a defense mechanism, it was an effective one. It is ironic, but somehow poetic, that a man who sought all his life to become impenetrable—socially, critically, (and some said) even sexually—should have everything changed by a bullet. On June 3, 1968, the irresistible force of Valerie Solanas’s psychosis came to loggerheads with the immovable object of Andy Warhol’s keenly cultivated passivity. Solanas, an imbalanced writer-cumprostitute who had appeared in two of
the films, but who had been, at best, a member of the Warhol periphery, came to the Union Square Factory. She demanded the return of a script she’d asked Andy to read. When she was told it was lost, she lost it. Valerie Solanas took a gun out of a paper bag and shot Andy Warhol. Andy didn’t die from his wounds, but he didn’t exactly recover. His life, his health, and his peace of mind were forever altered. He went on to become a kind of self-parody in the late 1970s with the kind of overexposure reserved today for the reality-show fame-eaters he helped to create. When Andy Warhol died in 1987 after routine gall bladder surgery, his family took him home to Pittsburgh to bury him beside his mama. Few celebrities attended the burial. After all, the glitterati don’t herd west of the Hudson River and east of the Rockies. However, they poured by the thousands into the memorial service held later at St. Patrick’s Cathedral in New York. From a cold mountaintop in Pennsylvania, Andy Warhol was the star of one of the most exclusive events of the New York season, and he wasn’t even there. He would have loved that. —CS
ANDY WARHOL IMAGES COURTESY OF FOTOFEST, BETTMAN/ CORBIS, AND GETTY IMAGES.
ANDY WARHOL’S GUIDE TO THE GALAXY:
INSIDE THE FACTORY A luminous constellation of personalities shimmered throughout the 1960s at Andy Warhol’s Silver Factory. The in-crowd at his creative incubator and social headquarters was an eclectic mix of outsiders—all young, buoyant, and sexy. Overseeing operations was the dropout poet, Gerard Malanga. Though perhaps less well known than other Warhol “Superstars,” he popped up everywhere, dancing, bullwhip in hand. The experimental rock band The Velvet Underground and Nico provided the soundtrack to Andy’s multimedia show, the Exploding Plastic Inevitable. Other factory folk like Hearst heiress Brigid Berlin and “Pope” Ondine with his circle of amphetamine-fueled “A-heads” generally partied until they crashed on the shabby red couch, salvaged from the curb by studio caretaker Billy Name. Dramatic genderbenders Candy Darling and Jackie Curtis were on-hand to supply gossip overheard the night before at Max’s Kansas City. Joe Dallesandro and Paul America, the coy hustlers with Adonis physiques, threw piercing glances at no one in particular. A succession of It-Girls elbowed their way in front of Warhol’s Bolex camera: the bombshell Baby Jane Holzer; the trust fund-guzzling, renegade socialite Edie Sedgwick; and the other glittering party-girls, like Ingrid Superstar, Ultra Violet, and Viva.
Even bona fide celebrities, from Judy Garland to the Rolling Stones, were drawn in by the magnetism of Andy’s cosmos. Andy collected these personalities as avidly as he appropriated famous images for his art. His Factory was a force field to which wouldbe somebodies of all stripes gravitated, drawn by Andy’s offer of fifteen minutes. But were they just hurtling toward a black hole? Some Warhol Superstars left in rancor. Some died young, collapsing in on themselves under the astronomical weight of drugs and longing. The Factory was a permissive place: Andy’s vague “wow” encouraged his satellites to dazzle, to pop, to be more fully themselves—even if that meant ruin. Perhaps Andy Warhol was, after all, less a source of light or a vacuum of darkness than a mere reflector, casting back and intensifying their glow. —RYAN DAVIS, ASSISTANT DRAMATURG
“I’M SURE I’M GOING TO LOOK INTO THE MIRROR ONE DAY AND SEE NOTHING. PEOPLE ARE ALWAYS CALLING ME A MIRROR AND IF A MIRROR LOOKS INTO A MIRROR, WHAT IS THERE TO SEE?” from THE PHILOSOPHY OF ANDY WARHOL
A PARTY IN ANDY WARHOL’S STUDIO, THE FACTORY (231 EAST 47TH STREET), NEW YORK, NEW YORK, ON AUGUST 31, 1965. PHOTO BY FRED W. MCDARRAH/GETTY IMAGES.
POP! QUIZ: WHICH FACTORY SUPERSTAR ARE YOU?
Answer the five questions below and flip to the next page for results! YOU’RE HANGING IF YOU WERE OUT AT THE MUSIC, WHAT FACTORY. WHAT WOULD YOU BE? ARE YOU LIKELY TO BE DOING?
YOU’RE A PAPER DOLL, WHAT IS ANDY CUTTING OUT FOR YOU TO WEAR?
WHAT DO OTHERS WHAT’S YOUR SEE WHEN THEY FAVORITE DRUG? LOOK AT YOU?
A. Silk-screening a silver portrait of Elizabeth Taylor, again.
A. The youthful vibe of the Rolling Stones.
A. T-shirt and jeans uniform, probably paint spattered.
A. My brooding, boyish looks, which score me bevies of girls.
A. Just a little puff here and there while scratching out poems.
B. On the phone, working Fuzzy for a boost in my allowance.
B. The folksy allure Bob Dylan.
B. Furs and black ballet tights with serious ear chandeliers.
B. An enigmatic sprite—alluring to men but wishywashy about sealing the deal.
B. Heroin and barbiturates to erase the woes of a poor little rich girl.
C. Touching up my Revlon lipstick in the silver wall’s reflection.
C. The biographical lyrics and clashing chords of The Velvet Underground.
C. Sumptuous satin (if slightly sad) couture, a stole, and always, always heels.
C. Me as I want them to see me, and not my “flaw,” which I take great pains—and lots of hormones—to conceal.
C. A fabulous cocktail of estrogen and amphetamines.
D. Ranting about my latest trick and popping pills with Brigid Berlin.
D. The all-out arias of Maria Callas.
D. The same thing you’ve been wearing for 48 hours of amphetaminefueled wakefulness.
D. Me surrounded by a horde of “callers,” not all of whom are gentlemen—Deo gratias.
D. Methamphetamine so I can go, go, go!
E. Scraping together a couple bucks and bugging Andy for my script back.
E. The female musk of Janis Joplin.
E. A dirty parka with a manifesto in the pocket, paperboy hat, and flannel slacks.
E. A civic-minded, thrill-seeking female far superior to those biological mistakes…men.
E. I’m NOT going to be pharmaceutically controlled by the maledominated medical establishment.
F. Pontificating on the social significance of Andy’s art.
F. The intellectpiquing abstractions of John Cage.
F. Do I have to wear anything?
F. A smart gal who will ride any cowboy on the range, as long as there’s pillow talk about Nietzsche.
F. Something that’s consciousnessexpanding and also keeps me modelthin.
Compare your answers on the previous page to the key below, and your role in Andy’s life—and your fate—will be revealed!
RESULTS: MOSTLY As:
FOR CONDITIONS LASTING
FIFTEEN MINUTES… Bathtubs with an ocean view, kites flying in a cloudless sky—as pastoral ads for prescription patent medicines clog our airwaves with their cheerful voiceover warnings about side effects that range from the funny to the fatal, there’s one powerful drug that has escaped FDA scrutiny: Fame. Andy Warhol didn’t create the notion of fame. It goes well back, before Beowulf, before Ajax. Who knows? Maybe those French cave paintings were done by Lascaux’ best publicity firm to trumpet their #1 guy with a bow.
Probably the most influential fixture at Warhol’s Factory. A jack-of-all-trades, for $1.25/ hour you’d take on any project—however ingenious or impractical. You live.
Andy’s Superstar sidekick. You’re a mesmerizing presence on celluloid and the ornament of every Factory blowout. You overdose in 1971.
The ultra-glamorous transsexual and Warhol muse, channeling the Technicolor womanhood of Lana Turner and Kim Novak. You die of leukemia at age 30.
But in the 20th century, Andy put the “hound” in publicity hound. He was ravenous in his pursuit of notice; he engendered that same hunger in those of his inner circle and eventually, with his tantalizing promise of a free fifteen-minute first taste, in an entire culture. Before the web, before YouTube, before viral video even existed (note the language of disease), Andy Warhol’s promotion of the “must-haveness” of fame as a cure for what (you don’t know) ails you put today’s battalions of Pfizer, Merck, and Glaxo-Smith-Kline reps to shame. Sure, he himself had oodles of true talent, and not just for self-promotion, but he often pushed Fame for serious off-label abuse. If there were a warning pamphlet included with this omnipresent drug to alert its users to the likely side effects, from the merely annoying and inconvenient to the positively civilizationthreatening, it might look something like this. —CS
The Factory’s resident campy speed freak and social coordinator, tearing apart Andy’s unwanted guests with a lacerating wit. You die of liver disease at age 52.
The eccentric radical feminist, never quite at home in the Factory. You spend some time in prison, drift in and out of mental institutions, and die of emphysema in a welfare motel.
The striking face, slinky body, and sparkling intellect, named for the paper towel brand. You ditch the Factory to marry, have two children, and write a tell-all memoir and a number of other books. —RD
CHOSE ALL OF THE ABOVE BECAUSE, “WOW, IT ALL SOUNDS GREAT”?
YOU’RE ANDY WARHOL!
PHOTO CREDITS: GERARD MALANGA AND CANDY DARLING COURTESY OF BETTMAN/CORBIS; EDIE SEDGWICK AND ANDY WARHOL BY BURT GLINN (MAGNUM PHOTOS); ONDINE BY BILLY NAME (TIME & LIFE); VALERIE SOLANAS BY FRED W. McDARRAH (GETTY); VIVA, UNITED ARTISTS/HULTON ARCHIVE. PHOTO AND ILLUSTRATION BY MAGGIE ELLIOTT.
& NOTHING BUT THE HOLE...TRUTH All his life Andy Warhol thought about nothing, talked about nothing. After his brush with death he wouldn’t shut up about nothing. But for him “nothing” was a multivalent concept, as full as it was empty, as pregnant as it was barren. “Nothing” was a big, strong paradox that could do the work of ten punier abstract nouns. It had “love” and “life” both licked from the get-go. He frequently turned to “nothing” in his writings and interviews to say…well…everything he felt.
e om “S
me the Nothingness Him alled self c c i an crit
NG IS NO T H TH I ING .
he ot t n gi in ting.” k ” o poin — p t a c dis rfe ot pe n is
was really like c o eath
d seeing no one, nothing .”
d to se clo
ter. But I’m still obsesse t be t dw it h I fel t nd he style. Always in good t ga ide aste ys in hin lwa . a a N ot of ot t’s o i n h lo sn i w thing is t embarra ng o s fi s , no ing is .H exy …n ng ss o th gi in in se life is no g th becau thin fe,
n ror a mir
o nk thi to is
“…C om ing
ha td id n’
nce any. Then I realized xiste tha of e t e se x ist en sen “…I c t h my e i n k it s o ab thing. Lo k, nothing i elp el ou se f no th t x n c ot it i hi n g, no
“T h et
PHOTO BY ARNOLD NEWMAN (GETTY).
CAST DANNY BINSTOCK (GERARD) is a second-year MFA candidate at Yale School of Drama, where he most recently appeared as Dr. Dorn in The Seagull. His other theatre credits include Paradise Lost, Man in Love (Yale School of Drama); Nijinsky’s Last Dance, Bones in the Basket, Language of Angels (Yale Cabaret); as well as productions at the Signature Theatre, The Shakespeare Theatre, North Shore Music Theatre, and the New York Music Theatre Festival. He received his BFA in music theatre from the University of Michigan.
RANDY HARRISON (ANDY WARHOL) has appeared in New York on Broadway in Wicked and Off-Broadway in Craig Lucas’s The Singing Forest (The Public Theater), Antony and Cleopatra (Theatre for a New Audience), Edward II (Red Bull Theater), and A Letter from Ethel Kennedy (Manhattan Class Company). His regional theatre credits include The Glass Menagerie (Guthrie Theater); A Midsummer Night’s Dream (SITI Company); Ghosts, Waiting for Godot, and Amadeus (Berkshire Theatre Festival). His television work includes five seasons on Showtime’s Queer as Folk.
DOUG KREEGER (ONDINE) most recently appeared in Judas & Me (New York Musical Theatre Festival) and Rooms: A Rock Romance (Off-Broadway). His other credits include Kander & Ebb’s The Visit opposite Chita Rivera (Signature Theatre); the Broadway revival of Les Misérables; international tours of Grease and Hair; the Off-Broadway production of Thrill Me: The Leopold and Loeb Story; Departure Lounge (The Public Theater); as well as productions at Arkansas Rep, Barrington Stage, Bay Street Theatre, Geva Theatre, Metrostage, and The Old Globe. He appears on the cast albums of Rooms: A Rock Romance, Thrill Me: The Leopold and Loeb Story, and Hair: European Tour. Born and raised in Honolulu, Hawaii, Doug attended the Tisch School of the Arts at New York University and Royal Academy of Dramatic Art in London. www.dougkreeger.com
LESLIE KRITZER (VALERIE) Broadway credits include A Catered Affair (Drama Desk Award nomination), Legally Blonde (Clarence Derwent Award), Hairspray, and the upcoming Sondheim on Sondheim with Barbara Cook and Vanessa Williams. Off-Broadway and regional credits include Judas & Me (New York Musical Theatre Festival), Rooms: A Rock Romance (Outer Critics Circle Award nomination), On the Town (City Center Encores!), The Great American Trailer Park Musical (Drama Desk nomination), Leslie Kritzer Is Patti LuPone at Les Mouches (Joe’s Pub, The Plush Room in San Francisco; Time Out New York Award), Bat Boy, Godspell, Broadway: Three Generations (Kennedy Center), Born Yesterday, the world premiere of Vanities, Urinetown (National Tour), Evita, and an acclaimed run as Fanny Brice in Funny Girl. She has performed at London’s Royal Albert Hall as a guest soloist honoring Tim Rice and Alan Menken and can be heard on several cast recordings. Film and television credits include Love and Other Impossible Pursuits, 3LBS (CBS), and Jason and Jessica (HBO). www.youtube.com/lesliekritzer
CRISTEN PAIGE (EDIE) performed this role in the Yale Institute for Music Theatre workshop of POP! Her other theatre credits include How Now, Dow Jones (New York International Fringe Festival); Sarah Plain and Tall (Dallas Theater Center); Kander & Ebb’s The Visit (Goodman Theatre, world premiere; Signature Theatre); the resident Chicago production of The 25th Annual Putnam County Spelling Bee; Cry-Baby (La Jolla Playhouse, directed by Mark Brokaw); the world premiere of Loving Repeating (About Face); Travesties, The Importance of Being Earnest, James Joyce’s The Dead (Court Theatre); A Funny Thing Happened on the Way to the Forum (Joseph Jefferson Award nomination), Honk!, Bye Bye Birdie, and You’re a Good Man, Charlie Brown (Marriott Theatre); Dames at Sea (Joseph Jefferson Award nomination), Lucky Stiff (Drury Lane Oakbrook); Peter Pan, The Wizard of Oz (Chicago Shakespeare); Into the Woods and The Taffetas (Peninsula Players). Ms. Paige received her BFA in acting from Boston University.
CREATIVE TEAM BRIAN CHARLES ROONEY (CANDY) performed this role
in the Yale Institute for Music Theatre and New York University workshops of POP! He made his Broadway debut as Lucy Brown in The Threepenny Opera (Roundabout Theatre Company). Other theatre credits include Camelot (New York Philharmonic, seen on PBS); Tony in West Side Story (international tour); The Music of Andrew Lloyd Webber (North American tour); Dionne Salon in Bedbugs!!! (New York Musical Theatre Festival); Piers Gaveston in Edward the King (The Barrow Group); Homer in Floyd Collins (Actors’ Playhouse at the Miracle Theatre); Younger Brother in Ragtime (White Plains Performing Arts Center); the title role in Batboy! The Musical; The Bully (Vital Theater Company); The Taxi Cabaret (Prospect Theatre Company); Becoming Tennessee (Eugene O’Neill Theater Center); and productions at Blumenthal Performing Arts Center, Pittsburgh CLO, Paper Mill Playhouse, American Conservatory Theater, and Berkshire Theatre Festival, among others. He received his BA from Duke University and certificate in acting from American Conservatory Theater. www.briancharlesrooney.com
EMILY SWALLOW (VIVA) has appeared in New York in the Broadway production of High Fidelity; Romantic Poetry (Manhattan Theatre Club); The Black Eyed (New York Theatre Workshop); Measure for Pleasure, Much Ado About Nothing (The Public Theater); Like Love (New York Musical Theatre Festival); and Orange Lemon Egg Canary (PS 122). Her regional theatre credits include A Midsummer Night’s Dream (Guthrie Theater), Enchanted April (San Jose Rep), Metamorphoses (Pioneer Theatre), Measure for Pleasure (Sundance Theatre Institute). Her film and television credits include The Lucky Ones, NCIS, Southland, Flight of the Conchords, Journeyman, Jericho, Medium, and Guiding Light. She received her BA in Middle Eastern studies from the University of Virginia and her MFA from NYU’s Tisch School of the Arts.
KEVIN ADAMS (LIGHTING DESIGNER) most recently designed the lighting for the Green Day musical American Idiot (Berkeley Repertory Theatre) and Tony Kushner’s The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures (Guthrie Theater). Broadway credits include Next to Normal (Tony Award nomination), Hair (Tony, Drama Desk, Outer Critics Award nominations), Spring Awakening (Tony Award; also London, Japan, Korea, Vienna, US tour), The 39 Steps (Tony and Drama Desk Awards), Passing Strange, Take Me Out, and Hedda Gabler with Kate Burton. He has designed solo shows by John Leguizamo, Eve Ensler, Anna Deavere Smith, and Eric Bogosian. Off-Broadway credits include Hedwig and the Angry Inch and new work by Edward Albee, Christopher Durang, Richard Greenberg, Arthur Kopit, Terrence McNally, Charles Mee, Neil Simon, and Paula Vogel. Concerts: Magnetic Fields’ 69 Love Songs, Audra McDonald, Patti LuPone, and Sandra Bernhard. He is the recipient of the 1999 and 2007 Lucille Lortel Awards and the 2002 OBIE Award for Sustained Excellence. www.ambermylar.com
VALÉRIE THÉRÈSE BART (SCENIC DESIGNER) is a third-year MFA candidate at Yale School of Drama, where her credits include The Tempest (sets) and The Robbers (costumes). She will design the costumes for The Servant of Two Masters at Yale Rep this spring. Other costume design credits include Cabaret, The Wind in the Willows, James and the Giant Peach (Santa Ana College); Monster, One Flea Spare (Sight Unseen Theatre Group); Twelfth Night (Footprint on the Sun); Metamorphosis (UCLA Theatre). Film credits include The Commotion (Vanishing Pictures) and A Kiss on the Nose (USC Film). Valérie has also designed costumes for dance concerts at Santa Ana College, in which she danced herself, and has worked at South Coast Repertory Theatre, Pasadena Playhouse, A Noise Within Theatre, and The Colorado Shakespeare Festival. She holds a BA from the University of California, Los Angeles. www.valeriebart.com
MARK BROKAW (DIRECTOR) New York credits include premieres by Lynda Barry, Douglas Carter Beane, Eric Bogosian, Keith Bunin, Lisa Kron, Lisa Loomer, Kenneth Lonergan, Craig Lucas, Eduardo Machado, Patrick Marber, Keith Reddin, Paula Vogel (including her Pulitzer Prize-winning How I Learned To Drive), and Wendy Wasserstein. Regional work includes the Sondheim Celebration at the Kennedy Center, Yale Rep, Guthrie Theater, Mark Taper Forum, Seattle Rep, Hartford Stage, Long Wharf, La Jolla Playhouse, Steppenwolf Theatre Company, Huntington Theatre Company, Berkeley Rep, New York Stage & Film, Actors Theatre of Louisville, Sundance, and the O’Neill Conference. He has also directed at London’s Donmar Warehouse and Dublin’s Gate Theatre. Mark is the Artistic Director of the Yale Institute for Music Theatre and is an Associate Artist of the Roundabout Theatre. He is a graduate of Yale School of Drama. 21
DAVID BUDRIES (SOUND DESIGNER) is the Sound Design Advisor at Yale
on the Way to the Forum (Stratford Festival), “Miss Baltimore Crabs” for the movie Hairspray, the opera Grapes of Wrath, and many others. He was principal arranger for Disney’s Fantasia 2000 and has worked with singers Audra McDonald, Kristin Chenoweth, Patti LuPone, Darius de Haas, among others.
Repertory Theatre, where his credits include Happy Now?, Trouble in Mind, Black Snow, and Safe in Hell, among many others. His New York credits include Souvenir; Ah, Wilderness!; A Long Day’s Journey into Night; Our Country’s Good; Other People’s Money; Measure for Measure; And a Nightingale Sang; From the Mississippi Delta; Search and Destroy; End of the Day; Playland; and Marisol. His regional theatre credits include productions at Long Wharf, Hartford Stage, CENTERSTAGE, McCarter Theatre, Huntington Theatre Company, Dallas Theater Center, La Jolla Playhouse, Ford’s Theatre, South Coast Repertory, Trinity Repertory Company, and Alliance Theatre. Mr. Budries chairs the Sound Design department at Yale School of Drama and is a freelance producer of music and radio programs.
MAGGIE-KATE COLEMAN (BOOK AND LYRICS) wrote the book and lyrics for POP! and From a Childhood, written with Erato Kremmyda (Montclair State University, April 2009). Her work has been featured at The York Theatre Company’s NEO Cabaret (with composer Daniel Maté), Joe’s Pub, Barrington Stage, Laurie Beechman Theatre, Prospect Theater Company, Goodspeed Musicals, The Darlinghurst Theatre, New York Theatre Barn, and most recently at the National Alliance for Musical Theatre’s Songwriters Showcase. Current projects include Rainsong, a dance theatre piece with composer Erato Kremmyda and choreographer Clare Cook; and a full-length musical inspired by poems from Rainer Maria Rilke’s Book of Images. Currently, she is a participant in New York City Opera’s Words First? Librettists Workshop. A graduate of Ithaca College and NYU’s Tisch School of the Arts Graduate Musical Theatre Writing program, she also trained at the National Theater Institute at the Eugene O’Neill Theater Center. Member: Dramatists Guild of America.
BRUCE COUGHLIN (ORCHESTRATOR) New York orchestration credits include Dolly Parton’s 9 to 5 (Drama Desk Award nomination), Happiness (Lincoln Center Theater), Grey Gardens (Tony, Drama Desk Award nominations), The Light in the Piazza (co-orchestrator; Tony, Drama Desk Awards), Floyd Collins (OBIE Award; Drama Desk nomination), Urinetown (Tony, Drama Desk nominations), the Grammy Award-winning Annie Get Your Gun, Guys and Dolls (2009), The Wild Party, On the Town, The Sound of Music (Drama Desk nomination), Triumph of Love, Once Upon a Mattress, and The King and I. Other credits include Giant (Signature Theatre), Candide (National Theatre, London), Martin Guerre (Chicago), Children of Eden (Paper Mill Playhouse, cast recording), A Funny Thing Happened
ANNA K. JACOBS (MUSIC) composed the scores for POP! and Stella and the Moon Man (Sydney Theatre Company/Theatre of Image/Australian Youth Orchestra, 2005), which won a Helpmann Award. Current projects include music for Harmony, Kansas, about a gay men’s chorus in rural Kansas, and lyrics for inclusion in Shooting from the Hip, a song cycle commissioned to open the 2011 Sydney Festival. Her music and lyrics have been featured at NAMT, Cutting-Edge Composers, Joe’s Pub, Ars Nova, The York Theatre, Theatre Row, The Laurie Beechman Theater, NYTB at the Duplex, Barrington Stage, Goodspeed Musicals, Don’t Tell Mama, The Darlinghurst Theatre, The Art Gallery of NSW, and many others. Anna is a graduate of NYU’s Tisch School of the Arts Graduate Musical Theatre Writing program and the University of Sydney, and also studied composition at the Indiana University Jacobs School of Music. She a member of the Dramatists Guild of America and is represented by the Australian Music Centre and MorningStar Music Publishers. Originally from Sydney, Australia, she is now based in New York. www.annakjacobs.com
DENIS JONES (CHOREOGRAPHER) recently choreographed Coraline (MCC Theater); High School Musical, The Full Monty, Meet Me in St. Louis (Paper Mill Playhouse); Pirates!, She Loves Me (Huntington Theatre/Williamstown Theatre Festival); The Boy Friend (Maltz Jupiter Theatre; Carbonell Award, Best Choreography); Dirty Rotten Scoundrels, Thoroughly Modern Millie (Cape Playhouse); and Everyone Loves a Winner (Westport Country Playhouse). Denis was also the Associate Choreographer to Jerry Mitchell for Broadway’s Dirty Rotten Scoundrels and Legally Blonde. Denis choreographed the Broadway concerts of The Best Little Whorehouse in Texas, On the Twentieth Century, and A Wonderful Life, as well as Charles Busch and Julie Halston Together on Broadway for The Actors Fund of America. Other credits include choreographing Sex and the City 2, The Kennedy Center Honors (CBS), Rosie Live (NBC), and national commercials for Staples and Glade. Denis was been proud to have served as the director of Broadway Bares, from 2005-2008, benefiting Broadway Cares/Equity Fights AIDS.
TARA RUBIN CASTING (CASTING DIRECTORS) has been casting at Yale Rep
YING SONG (COSTUME DESIGNER) is a third-year MFA candidate at Yale School of
since 2004. Broadway: A Little Night Music, Billy Elliot (Adult Casting), Shrek, Guys and Dolls, The Little Mermaid, Mary Poppins, Jersey Boys, The Producers, Mamma Mia!, The Phantom of the Opera, The Country Girl, Young Frankenstein, The Farnsworth Invention, Rock ’n’ Roll, The History Boys (US casting), Les Misérables, Spamalot, The 25th Annual Putnam County Spelling Bee, The Pirate Queen, Good Vibrations, Bombay Dreams, Oklahoma!, Flower Drum Song, Imaginary Friends, Metamorphoses (New York casting). Lincoln Center Theater: Happiness, The Frogs, Contact, Thou Shalt Not, A Man of No Importance, Anything Goes (concert). The Kennedy Center: Mame, Mister Roberts, The Sondheim Celebration, and Tennessee Williams Explored. Film: The Producers: The Musical. Members, Casting Society of America.
Drama, where her credits include costumes for last season’s American Catnip (Carlotta Festival of New Plays) and Love’s Labour’s Lost. She received her BA in fashion design at Tsinghua University, China. In 2004, her fashion design was selected as one of the ten best creative works to represent China in the world finals of the prestigious International Competition of Young Fashion Designers.
LYNNE SHANKEL (MUSICAL DIRECTOR) was music director/arranger for the Broadway production of Cry-Baby. She was also the resident music supervisor for the Tony Award-winning revival of Company and conducted the Grammy-nominated cast album. She was music director/arranger for Off-Broadway’s Altar Boyz, for which she received a Drama Desk nomination. Other Broadway credits include Beauty and the Beast; You’re a Good Man, Charlie Brown; and The Lion King. Off-Broadway: Vanities (orchestrations), The Thing About Men, Summer of ’42 (music direction, vocal arrangements, orchestrations), The Cocoanuts, Milk and Honey. Regional: Cry-Baby (La Jolla Playhouse); Party Come Here, The Opposite of Sex (Williamstown Theatre Festival); Vanities (Pasadena Playhouse, Theatreworks); Princesses (5th Avenue Theatre; Goodspeed at Chester); Tom Jones (North Shore Music Theatre); Summer of ’42 (Goodspeed, Theatreworks); Twelfth Night (Long Wharf); Rough Crossing and Camino Real (Hartford Stage).
CATHERINE SHEEHY (DRAMATURG) is Resident Dramaturg at Yale Rep and the Chair of Dramaturgy and Dramatic Criticism at Yale School of Drama. Her most recent Yale Rep dramaturgy credits include Trouble in Mind and The King Stag (which she also co-adapted with Evan and Mike Yionoulis). Her adaptation of Pride and Prejudice was recently produced at Asolo Repertory Theatre and Dallas Theater Center. She has worked at the O’Neill Playwrights Conference, in New York and Ireland with the late Joseph Chaikin, at Baltimore’s CENTERSTAGE with Irene Lewis, and for four seasons as Festival Dramaturg at Shakespeare Santa Cruz. She is a former associate editor of American Theatre and a former editor of Theater magazine. She received her doctorate from Yale in 1999 for her dissertation: If You Care to Blast for It: Excavating the Lost Comic Masterpieces of the American Canon.
JENNA WOODS (STAGE MANAGER) is a third-year MFA candidate at Yale School of Drama, where her credits include Man=Man, Romeo and Juliet, Baal, and Grace, or the Art of Climbing. Previous Yale Rep credits include last season’s Notes from Underground. Most recently, she stage managed the workshop of POP! at the Yale Institute for Music Theatre. Jenna has toured with the national tours of The Music Man and Footloose (Props Supervisor) and the North American tour of Riverdance (Wardrobe Supervisor). Jenna holds a BFA in theater design from the University of Kansas.
TAL YARDEN (PROJECTION DESIGNER) New York credits include Distracted (Roundabout Theatre Company); The Night Watcher (Primary Stages); Beast, Liberty City, The Misanthrope, Kaos (New York Theatre Workshop); Stephen Petronio’s The King Is Dead, Not Garden; Reza Abdoh’s Tight Right White, Quotations from a Ruined City; Pavel Zustiak’s Le Petit Mort; Mark Wing-Davey’s Monkey in the Middle; as well as productions with John Jesurun, Jim Simpson, Mikel Rouse, DD Dorvillier, Mia Lawrence, Kyle de Camp, Conway and Pratt, and Margarita Guergue. International work includes Ivo van Hove’s productions of The Antonioni Project, Cries and Whispers, Angels in America, Shakespeare’s Roman Tragedies, Mourning Become Electra, Rent, and Wagner’s Ring Cycle. His original productions have been presented by Monkeytown, PS 122, Dance Theater Workshop, and Chashama. Commercial clients include Diesel, Puma, Levis, Heineken, Red Cross, Reem Acra, Armani, Visionaire, Smart Car, Timberland, and Ford Motors. He has also directed music videos and documentaries.
YALE INSTITUTE FOR MUSIC THEATRE, established by Yale School of Drama (James Bundy, Dean) and Yale School of Music (Robert Blocker, Dean), seeks to identify distinctive and original music theatre works by emerging composers and writers and match them with collaborators such as directors, music directors, and actors/singers who can help them further develop their work. Under the leadership of Mark Brokaw (Artistic Director) and Beth Morrison (Producer), the selections for the inaugural Yale Institute for Music Theatre in June 2009 were the book musicals sam i was with book, music, and lyrics by Sam Wessels and POP! with book and lyrics by Maggie-Kate Coleman and music by Anna K. Jacobs and the opera Invisible Cities with score and libretto by Christopher Cerrone. www.drama.yale.edu/yimt 25
YALE REPERTORY THEATRE ARTISTIC DIRECTOR JAMES BUNDY is in his eighth year as Dean of Yale School of Drama and Artistic Director of Yale Repertory Theatre. In his first seven 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 twenty artists to write new work and provided low-cost theatre tickets and classroom visits to thousands of middle and high school students from Greater New Haven through WILL POWER!, an educational program initiated in 2004. Mr. Bundy’s directing credits include The Psychic Life of Savages, The Ladies of the Camellias, All’s Well That Ends Well, A Woman of No Importance, and Death of a Salesman at Yale Rep, as well as productions at Great Lakes Theater Festival, The Acting Company, California Shakespeare Festival, Alabama Shakespeare Festival, and The Juilliard School Drama Division. A recipient of the Connecticut Critics Circle’s Tom Killen Award for extraordinary contributions to Connecticut professional theatre in 2007, Mr. Bundy currently serves on the board of directors of Theatre Communications Group, the national service organization for nonprofit theatre. Previously, he worked as Associate Producing Director of The Acting Company, Managing Director of Cornerstone Theater Company, and Artistic Director of Great Lakes Theater Festival. He is a graduate of Harvard College and Yale School of Drama.
MANAGING DIRECTOR VICTORIA NOLAN is in her 18th year as Managing Director of Yale Repertory Theatre, serves as Deputy Dean of Yale School of Drama, and is on its faculty. She was previously Managing Director of Indiana Repertory Theatre, Associate Managing Director at Baltimore’s CENTERSTAGE, Managing Director at Ram Island Dance Company in Portland, Maine; and she has held various positions at Loeb Drama Center of Harvard University; TAG Foundation, an organization producing Off-Broadway modern dance festivals; and Boston University School for the Arts. Ms. Nolan has been an evaluator for the National Endowment for the Arts, for which she has chaired numerous grant panels, and has served on other panels and foundation review boards including the AT&T Foundation, The Heinz Family Foundation, Lila Wallace-Reader’s Digest Fund, and the Metropolitan Life Foundation. She has also served on the Executive Committee of the League of Resident Theatres (LORT) and on numerous negotiating teams for national labor contracts. A Fellow at Yale’s Saybrook College, she is the recipient of the Betsy L. Mahaffey Arts Administration Fellowship Award from the State of Connecticut and the Elm/Ivy Award, given jointly by Yale University and the City of New Haven for distinguished service to the community.
ASSOCIATE ARTISTIC DIRECTOR JENNIFER KIGER is in her fifth year at Yale Rep and is also director of the new play programs of the Yale Center for New Theatre, an integrated, playwrightdriven initiative that supports the creation of new plays and musicals for the American stage through commissions, residencies, workshops, and productions. Ms. Kiger came to Yale Rep from South Coast Repertory (SCR), where she was Literary Manager from 2000 to 2005 and served as Co26
Director of the Pacific Playwrights Festival. She was dramaturg on more than 40 new plays at SCR, including the world premieres of Rolin Jones’s The Intelligent Design of Jenny Chow, Amy Freed’s The Beard of Avon, and the West Coast premieres of Sarah Ruhl’s The Clean House and Nilo Cruz’s Anna in the Tropics. Prior to that, she served as production dramaturg at American Repertory Theatre, collaborating with Robert Brustein, Robert Woodruff, Liz Diamond, and Kate Whoriskey, and with multi-media director Bob McGrath on stage adaptations of Robert Coover’s Charlie in the House of Rue and Mac Wellman’s Hypatia. She has been a dramaturg for the Playwrights’ Center of Minneapolis and Boston Theatre Works and a panelist for the National Endowment for the Arts and the California Arts Council. Ms. Kiger completed her training in Dramaturgy at the American Repertory Theatre Institute for Advanced Theatre Training at Harvard University, where she taught courses in acting and dramatic arts.
PRODUCTION SUPERVISOR BRONISLAW SAMMLER 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 directorat-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 at Yale Rep since 2004. He has stage managed productions of The Master Builder, Passion Play, Richard II, Eurydice, a new adaptation of The Cherry Orchard, and the world premiere of The Clean House. A professional stage manager for more than twenty years, he has worked in regional, stock, and Broadway theatre. Broadway credits include Damn Yankees, Jekyll & Hyde, Judgment at Nuremberg, The Boys from Syracuse, The Smell of the Kill, Life x(3), and Wonderful Town. Mr. Mountcastle spent several Christmas seasons in New York City as stage manager for the now legendary production of A Christmas Carol at Madison Square Garden. Broadway national tours include City of Angels, Falsettos, and My Fair Lady. He served as Production Stage Manager for Damn Yankees starring Jerry Lewis for both its national tour and at the Adelphi Theatre in London’s West End. In addition, Mr. Mountcastle has worked at The Kennedy Center, CENTERSTAGE in Baltimore, Actors Theatre of Louisville, Brooklyn Academy of Music, and elsewhere. James and his wife Julie live in North Haven and are the very proud parents of two beautiful girls: Ellie, who is 10 years old, and Katie, age 8.
YALE REPERTORY THEATRE STAFF James Bundy, Artistic Director Victoria Nolan, Managing Director Jennifer Kiger, Associate Artistic Director
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 Commissioned Artists David Adjmi, Todd Almond, Hilary Bell, Adam Bock, Bill Camp, Will Eno, Marcus Gardley, Ann Marie Healy, Amy Herzog, Naomi Iizuka, Dan LeFranc, Liz Meriwether, Scott Murphy, Julie Marie Myatt, Jay Reiss, Octavio Solis, Paula Vogel, Kathryn Walat, Anne Washburn, Marisa Wegrzyn, Robert Woodruff Artistic Administration Amy Boratko, Literary Manager Alex Grennan, Kay Perdue Meadows, Artistic Coordinators Brian Valencia, Walter Byongsok Chon, Literary Associates Tara Rubin, CSA, Laura Schutzel, CSA, Casting Directors Eric Woodall, Merri Sugarman, Casting Associates Paige Blansfield, Rebecca Carfagna, Dale Brown, Casting Assistants Ruth M. Feldman, Director of Education and Accessibility Services 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 and Dramatic Criticism, Playwriting, and Stage Management Department Mary Volk, Senior Administrative Assistant for the Design and Sound Design Departments
Michael Barker, Belina Mizrahi, Meghan Pressman, Associate Managing Directors Elizabeth Elliott, Art Priromprintr, Assistant Managing Directors DeDe Jacobs Komisar, Management Assistant Emalie Mayo, Senior Administrative Assistant to the Managing Director Martha Olivo Jurczak, 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 Whitney Estrin, Associate Director of Development Susan C. Clark, Development Associate Jaeeun Joo, Development Assistant Belene Day, Senior Administrative Assistant to Development and Marketing and Communications Finance and Information Technology Katherine D. Burgueño, Director of Finance and Human Resources Sheila Daykin, Associate Director of Finance Cristal Coleman, Magaly Costa, Maria Frey, Business Office Specialists Randall Rode, Information Technology Director Daryl Brereton, Associate Information Technology Director Mara Hazzard, Director, Yale Tessitura Consortium Toni Ann Simiola, Senior Administrative Assistant to Business Office, Information Technology, Operations, and Tessitura Niti Mehta, Information Technology Assistant 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 Shinhyoung Shon, Associate Director of Marketing and Communications Devon Smith, Director of Analytics Rachel Smith, Associate Director of Marketing and Audience Services Sarah Stevens-Morling, Online Communications and Print Advertising Manager Maggie Elliott, Marketing and Publications Manager Brad Wallis Tuggle, Marketing Assistant Scott McKowen, Punch & Judy Inc., Graphic Designers David Cooper, Photographer Joan Marcus, Production Photographer Janna J. Ellis, Associate Director of Audience Services and Tessitura Specialist Tracy Baldini, Laura Kirk, Assistant Audience Services Directors London Moses, Audience Services Assistant Courtney Engle, Ruth Kim, Tiffany Lin, Sue Malone, William Smith, Anya Van Wagtendonk, Joanna Wilson, Box Office Assistants
Operations Mike Vandercook, Interim Facilities and Operations Manager Rich Abrams, Operations Associate Jacob Thompson, Security Officer Ben Holder, Ron Maybrey, Custodial Supervisors Lucille Bochert, Vermont Ford, Warren Lyde, Vondeen Ricks, Mark Roy, Custodians
Theater Safety and Occupational Health William J. Reynolds, Director of Theater Safety and Occupational Health Ed Jooss, Audience Safety Officer Fred Grier, Customer Service and Safety Officer
Bronislaw J. Sammler, Production Supervisor James Mountcastle, Production Stage Manager Jonathan Reed, Senior Associate Production Supervisor Marla J. Beck, Senior Administrative Assistant to the Production Department Costumes Tom McAlister, Costume Shop Manager Robin Hirsch, Associate Costume Shop Manager Mary Zihal, Senior Draper Clarissa Wylie Youngberg, Draper Deborah Bloch, First Hand Linda Kelley-Dodd, Costume Project Coordinator Barbara Bodine, Company Hairdresser Linda Wingerter, Costume Stock Manager Robert Snipes, Assistant to the Costume Shop Manager Electrics Donald W. Titus, Lighting Supervisor Jason Wells, Linda Young, Head Electricians Painting Ru-Jun Wang, Resident Scenic Charge Angie Meninger, Scenic Artist Nora Hyland, Assistant Scenic Artist Jennifer Herbert, Assistant to the Painting Supervisor Properties Brian Cookson, Properties Master David P. Schrader, Properties Craftsperson Jennifer McClure, Properties Assistant Rachel Reynolds, Properties Stock Manager Nishi L. Hamrick, Assistant to the Properties 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, Ryan Gardner, Shop Carpenters Amy Jonas, Michael Backhaus, Assistants to the Technical Director Sound Josh Loar, Sound Supervisor Paul Bozzi, Staff Sound Engineer Palmer Heffernan, Nicholas Pope, Assistants to the Sound Supervisor Projections Erik Trester, Head Projection Technician Stage Operations Janet Cunningham, Stage Carpenter Kate Begley Baker, Properties Runner Elizabeth Bolster, Wardrobe Supervisor Charles Harbert, Sound Operator
Katherine Buechner, Assocaite Sound Designer Junghoon Pi, Sound Design Assistant and Engineer Timothy Brown, Assistant Projection Designer Ryan Davis, Assistant Dramaturg Lindsey A. Turteltaub, Assistant Stage Manager Amanda J. Haley, Associate Production Supervisor Ryan Hales, Technical Director Tien-Yin Sun, Andrew V. Wallace, Assistant Technical Directors Eric Chi-yeh Lin, Master Electrician Shaina Graboyes, Assistant Properties Manager Erich Bolton, Projection Engineer Harry Johnson, First Hand Denise O’Brien, Wig Design Matthew Gutschick, Assistant Company Manager Kit McKay, House Manager Jessica Barker, Laura J. Eckelman, Nishi L. Hamrick, Karena Fiorenza Ingersoll, Ali Pour Issa, Nick Mramer, Hannah Rae Montgomery, Lee N. Micklin, Run Crew Pamela Prather, Dialect Consultant Kaye-Houston, Music Copyist Randy Cohen, Synthesizer Programming Erika Schroth, Rehearsal Pianist UNDERSTUDIES Christine Maria Acosta, Viva Lucas Dixon, Ondine Alexandra Henrikson, Valerie Fisher Neal, Gerard Blake Segal, Andy Warhol Adina Verson, Edie SPECIAL THANKS Anything But Costumes and Dynamic TV Service The authors wish to thank Bill Coleman & Laura McDowel, Kate Coleman, Clare Cook, Bradford Cover, Carmel Dean, Mindi Dickstein, Mark Evans, Susanna Gellert, Dawn Glaves, Robert Heller, Rick Ngoc Ho, The Jacobs Family, David Loud, Mel Marvin Kent Nicholson, NYU Graduate Musical Theatre Writing Program, Sybille Pearson, The Penn State New Musical Theatre Festival Luke Redmond, Sarah Schlesinger, Katya Stanislavskaya, Students for the Collaborative Arts at NYU, and Matt Toronto.
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 Actors and Stage Manager employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers. Danny Binstock appears courtesy of Actors’ Equity Association.
The Scenic, Costume, Lighting, and Sound Designers in LORT are represented by United Artists Local USA-829, IATSE.
ADDITIONAL STAFF FOR POP!
Catharine M. Kollros, Assistant Director Sidney Erin Johnson Assistant Scenic Designer Robert C. Snipes, Assistant Costume Designer Yi Zhao, Assistant Lighting Designer
POP!, November 27 to December 19, 2009. Yale Repertory Theatre, 1120 Chapel Street.
up NEXT YALE SCHOOL OF DRAMA
By ARtHuR SCHnitzLER Translated by CARL R. MuELLER Directed by JESSE JOu
PHOTO BY ERIK PEARSON
You Can Make a DifferenCe! The process of creating theatre is a mutually
DECEMbER 12 tO 17
rewarding experience for artists and audiences:
we cannot do it without each other. The quality of the experience at Yale Rep depends on
nO bOunDARiES: A SERiES OF GLObAL PERFORMAnCES
friends like you. Please consider making a
THE BE(A)ST OF TAYLOR MAC
contribution to Yale Rep this year.
Written and performed by tAYLOR MAC Directed by DAviD DRAkE Presented by World Performance Project at Yale and Yale Repertory Theatre
By making a gift to our Annual Fund, you not only support the creative work on our stages,
JAnuARY 28 tO 30
but also our outreach programs, like WILL
yalerep.org/noboundaries PHOTO BY DREW GERACI
POWER!, which brings thousands of students to specially scheduled performances at Yale
YALE REPERtORY tHEAtRE WORLD pREMiERE
By RinnE GROFF Directed by OSkAR EuStiS Featuring MAnDY PAtinkin
A co-production with The Public Theater and Berkeley Repertory Theatre
JAnuARY 29 tO FEbRuARY 28 PHOTO BY DAVID COOPER
Rep, and The Dwight/Edgewood Project, a mentor-based playwriting program for local middle school students.
PlaY Your Part toDaY and help us continue our great tradition of bold storytelling.
yalerep.org To make a gift to Yale Repertory Theatre, please call Whitney Estrin, Associate Director
For tickets or more information, call 203.432.1234 of Development, at 203.432.1536, or email 24
TO YALE SCHOOL OF DRAMA AND YALE REPERTORY THEATRE LEADERSHIP SOCIETY ($50,000 and above)
PRODUCER’S CIRCLE ($5,000 - $9,999)
Anonymous John Badham John B. Beinecke Estate of Nicholas Ciriello 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 Danny Kaye and Sylvia Fine Kaye Foundation Jay Keene Neil Mazzella David Milch H. Thomas Moore Estate of Tad Mosel Walter F. Parkes The Estate of Mark Richard The Estate of Barbara E. Richter Robina Foundation Michael and Riki Sheehan The Shubert Foundation Jennifer Tipton Edward Trach Esme Usdan Zelma Weisfeld
Foster Bam Jim Burrows Bill Conner Scott M. Delman The John Golden Fund Ruth and Steve Hendel Catherine MacNeil Hollinger George Ingram Ben Ledbetter and Deborah Freedman Jane Marcher Foundation Mionetto USA NewAlliance Foundation Carol Ostrow Talia Shire Schwartzman The Seedlings Foundation Sonja and Patrick Seaver Eugene F. Shewmaker Jeremy Smith Philip J. Smith Clifford Warner Xerox Foundation
GUARANTORS ($25,000-$49,999) The Estate of Robert Anderson Anonymous Connecticut Commission on Culture and Tourism National Endowment for the Arts Edward John Noble Foundation Trust for Mutual Understanding
BENEFACTORS ($10,000-$24,999) Anonymous Bank of America Mary L. Bundy Heidi Ettinger Jane Kaczmarek Estate of Nathan Lipofsky Lucille Lortel Foundation Donald B. Lowy Estate of George E. Nichols III
DIRECTOR’S CIRCLE ($1,000-$4,999) Anna Fitch Ardenghi General Charitable Purpose Trust, Bank of America, Trustee Cornelia Barr Margaret A. Bauer Deborah S. Berman Jeffrey A. Bleckner Thomas Bruce James Bundy CEC Artslink Joan D. Channick Patricia Clarkson Enrico L. Colantoni Community Foundation of Greater New Haven Peggy Cowles William E. Curran, Jr. Michael Diamond Henry Dunn Terry Kevin Fitzpatrick Marcus Dean Fuller Fred Gorelick and Cheryl MacLachlan Donald Granger Anne Hamburger Andrew and Jennifer Hamilton Richard Harrison Donald A. Harvey James Earl Jewell Donald and Candice Kohn
The Ethel & Abe Lapides Foundation Sasha Emerson Levin Jody Locker-Berger Sarah Long Linda Lorimer and Charley Ellis William Ludel Dr. and Mrs. Robert W. Lyons Romaine A. Macomb Susan McNamara, MD Arthur and Merle Nacht NEA/TCG Theatre Residency Program for Playwrights Christopher Noth Richard Ostreicher DW Phineas Perkins George and Kathy Priest Sarah Rafferty Arthur I. Rank III Pamela Rank Belinda Robinson Rose Brand Ben and Laraine Sammler Carol L. Sirot Foundation Flora Stamatiades Scoozzi Trattoria and Wine Bar Marie S. Sherer Benjamin Slotznick Kenneth J. Stein Shepard and Marlene Stone Target Stores TD Bank Theatre Projects Consultants Elaine and Patrick Wackerly William and Phyllis Warfel Alexandra Witchel Alan Yuspeh Robert Zoland
PARTNERS ($500-$999) Nina Adams and Moreson Kaplan Amy Aquino Mr. and Mrs. B. Ashfield Mary Ellen and Thomas Atkins Alexander Bagnall John Lee Beatty Jack W. Belt Catherine Black Susan Brady and Mark Loeffler
Alice B. and James T. Brown Martin Caan and Carol Petschek Donald Cairns Ian Calderon Joy G. Carlin Cosmo Catalano, Jr. Jenny and Ricardo Chavira John Conklin Robert Cotnoir Anna E. Crouse Susan Curtis Ernestine and Ronald Cwik Bob and Priscilla Dannies Drew S. Days III and Ann R. Langdon Ramon L. Delgado Cory and Bob Donnalley Charitable Foundation Elizabeth Doyle Mary Elder Eric Elice Jenifer Endicott Roberta Enoch and Steven Canner Peter Entin Abigail Evans Teresa Eyring Glen R. Fasman Stephen L. Godchaux David Goldman and Debbie Bisno James W. Gousseff Wray Steven Graham Rob Greenberg D. Keith Hargreaves Karsten Harries Katherine W. Haskins Michael Haymes and Logan Green Jane C. Head Carol Thompson Hemingway Kathryn Hirsch Kathleen Houle Barnet K. Kellman Charles Kimbrough Francis N. Levy Kenneth Lewis George N. Lindsay, Jr Chih-Lung Liu Brian Mann John McAndrew Susie Medak David E. Moore Arthur Oliner James M. Perlotto Thomas J. Peterson Carol A. Prugh
John Rhee Alan Rosenberg David Saltzman Suzanne Sato G. Erwin Steward Mr. and Mrs. Robert Szczarba Shirin Devrim Trainer John M. Turturro and Katherine Borowitz Carol M. Waaser Carolyn S. Wiener Steven Wolff Stephen Zuckerman
INVESTORS ($250-$499) Anonymous Susan and Bruce Ackerman Mary B. Arnstein James Robert Bakkom Robert Baldwin Richard E. Bianchi Robert Bienstock Tom Broecker Mark Brokaw Claudia Brown Bruce and Janet Bunch Thomas Buttke and Judith Waters Michael Cadden Anne and Guido Calabresi William Caruth David M. Conte Marycharlotte Cummings John W. Cunningham Richard Sutton Davis Charles Dillingham Constance Dimock Dennis Dorn Elizabeth English David Freeman Meredith Freeman Joseph Gantman Cleveland Gardner Julie Grant Robert J. Greenberg Elizabeth Greene Michael Gross Dick and Norma Grossi Regina Guggenheim William B. Halbert Scott Hansen Walter and Betty Harris Douglas Harvey Barbara Hauptman Nicole and Larry Heath Catherine Hernandez and Michael Fulton Jennifer Hershey-Benen June and George Higgins Donald Holder
Catherine MacNeil Hollinger Abraham Maimon Elizabeth Holloway John Robert Hood Christine Jahnke Rolin Jones Cynthia Kaback Edward Kaye Ashley York Kennedy Richard H. Klein Diana E.E. and Fred S. Kleiner Harvey Kliman and Sandra Stein David Kriebs Frances Kumin William Kux James Lapine Michael John Lassell Richard and Elaine Lau Dr. Robert and Inez Liftig Jane Lyman Thomas Lynch Sandra Manley Delia Maroney and Jolie Damiano Carol and Arthur Mikesell Jeffrey Milet Daniel Mufson Victoria Nolan and Clark Crolius Dwight Odle Louise Perkins and Jeff Glans Laura Perlow Elizabeth Prete and Peter Hentschel Stephen Pollock Asghar and Faye Rastegar Ronald Recasner Bill and Sharon Reynolds Ross Sumner Richards Harry M. Ritchie Dawn Robertson Laila Robins Lori Robishaw Steve Robman Dorothy Rostov Dr. Ortwin Rusch Alvin Schecter Larry Schwartz and Russ Rosensweig Alexander Scribner Paul Selfa Sandra Shaner Rachel Sheinkin Mark and Cindy Slane Erich William Stratmann Paul Charles Tigue III Suzanne Tucker David J. Ward Vera Wells
Dana Westberg Judith and Guy Yale Evan Yionoulis Catherine Zuber
FRIENDS ($100-$249) Anonymous Emily Aber and Robert Wechsler David E. Ackroyd Joseph V. Agostini Roberto F. Aguirre-Sacasa Michael Albano Sarah Jean Albertson Narda Alcorn Liz Alsina Richard Ambacher Dr. and Mrs. Lane Ameen Annette Ames Leif Ancker Nephelie Andonyadis Bob and Jane Archibald Atticus Bakery Clayton May Austin Angelina Avallone Joe and Ravit Avni-Singer Arthur Baer Dylan Baker Frank and Eileen Baker Paul Baker James Bakkom Drs. M. Baron and R. Magraw Christopher Barreca Barbara Barry Pattsy Bates William Batsford Mark Bauer Richard and Nancy Beals Andrew A. Beck Spencer P. Beglarian Ursula Belden Ronald Bell Wendell and Lora Lee Bell James C. Bellavance Albert Bennett Edward Bennett Elizabeth Bennett Jenefer and Frank Berall Melvin Bernhardt Richard Bianchi Mrs. Frank Black Edward Blunt John Cummings Boyd John Breedis Mr. and Mrs. Scott Brennan Russell and Freddie Brenneman Amy L. Brewer Cynthia Brizzell-Bates Theresa Broach Carole and Arthur Broadus
Brenda and Howard Brody 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 Donald Cairns Bianca Calabresi Kathryn A. Calnan Vincent Cardinal Raymond Carver Carolyn Foundation 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 Fred and Laura Clarke Christian Clemenson Lani Click Becky and Gary Cline Katherine D. Cline Margaretta M. Clulow Roxanne Coady Jack Cockerill Joel Cogen and Elizabeth Gilson Robert S. Cohen Patricia J. Collins Forrest Compton Kristen Connolly David Conte Gregory Copeland Aaron Copp George Corrin, Jr. Robert Cotnoir Stephen Coy Dana S. Croll Timothy and Pamela Cronin Douglas and Roseline Crowley Jane Ann Crum Sean Cullen Donato Joseph D’Albis F. Mitchell Dana Sue and Gus Davis Nigel W. Daw Mr. and Mrs. Paul DeCoster Elizabeth DeLuca Julia L. Devlin Jose A. Diaz George Di Cenzo
Melinda DiVicino Alexander Dodge Dennis Dorn Franchelle S. Dorn Merle Dowling JoAnne E. Droller, R.N. D. William Duell John A. Duran Karen and Edwin Duval East Coast Management & Consulting, LLC Mr. and Mrs. David Ebbin Douglas Edwards Frances L. Egler Dr. and Mrs. Richard Ehrenkranz Marc and Heidi Eisenberg Nancy Reeder El Bouhali Janann Eldredge Debbie Ellinghaus Jack and Lucina Embersits Elizabeth English Dirk Epperson David Epstein Edith Dallas Ernst Howard and Jackie Ertel Frank and Ellen Estes Dan and Elizabeth Esty Jerry N. Evans Eva Ewing John D. Ezell Michael Fain Kristan Falkowski Jon Farley Ann Farris Dr. and Mrs. Paul Fiedler Marc Flanagan Dennis Flynn Joel Fontaine Anthony Forman Keith Fowler Walter M. Frankenberger III Abigail Franklin Brackley Frayer Karen Freedman Linda and Gary Friedlaender Reynold Frutkin Randy Fullerton Richard Fuhrman John Gaddis and Toni Dorfman David Gainey Jim and Eunice Galligan Shawn Marie Garrett Steven Gefroh Mary Louise Geiger Eugenie and Bradford Gentry Robert Gerwien Paul and Liz Giamatti
Patricia Gilchrist Robert and Anne Gilhuly Morfydd and Gilbert Glaser Robert Glen William Glenn Neil Gluckman Susan Gobel Lindy Lee Gold Norma and Myron H. Goldberg Robert Goldsby Jess Goldstein David Gorton Naomi S. Grabel Christopher Grabowski Charles F. Grammer Kris and Marc Granetz Katharine Grant 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 Harold Harlow John Harnagel Charlene Harrington Lawrence and Roberta Harris Lyndsay N. Harris Walter and Betty Harris James T. Hatcher Ihor Hayda James Hazen Patricia Helwick Elba and Juan Hernandez Jennifer Hershey-Benen Greg and Elaine Herzog Dennis F. Hickey Roderick Lyons Hickey III Bente and Walter Hierholzer Christopher Higgins Hill Regional Career High School Mr. and Mrs. Edward F. Hirsch, Jr. Elizabeth Holloway Amy Holzapfel Agnes Hood James Guerry Hood Carol V. Hoover
David Howson Evelyn Huffman Hull’s Art Supply and Framing Derek Hunt Diane Hunt Mary and Arthur Hunt Peter H. Hunt Timothy A. Hunt John Huntington Albert Hurwitz Raymond P. Inkel Patricia Ireland Candace Jackson Ihor Hayda Mr. and Mrs. Herrick Jackson Kirk Jackson Peter and Catherine Jackson John W. Jacobsen Christine and Matt Jacobs-Wagner Joanna and Lee Jacobus Paul Jaeger Chris Jaehnig Drs. Donald and Diana Jaffe Mr. and Mrs. Robert Jaffee, Sr. Jim and Cynthia Jamieson Jeffrey’s, a restaurant Cynthia Lee Jenner Kristen Johnsen-Neshati Geoffrey A. Johnson Donald E. Jones, Jr. Elizabeth Kaiden Jonathan Kalb Gregory Kandel Carol Kaplan Lloyd A. Kaplan James D. Karr Dr. and Mrs. Michael Kashgarian Nancy Lee Kathan Bruce Katzman Edward A. Kaye Asaad Kelada Arthur J. Kelley, Jr. Abby Kenigsberg Bettyann Kevles Alan Kibbe Colette Ann Kilroy Peter Young Hoon Kim Carol Souscek King Shirley Kirschner Dragan Klaic Raymond Klausen Dr. Michael and Terri Klein Richard Klein James Kleinmann Fredrica Klemm
Donald Knight Daniel Koetting Harvey and Ruth Koizim Stephen Kovel Brenda and Justin Kreuzer Joan Kron 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 Sara Low 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 Wendy MacLeod Mrs. Romaine Macomb Alan Mokler MacVey Peter Andrew Malbuisson Joan Manning Peter Marcuse Jonathan Marks Robin Marshall Craig Martin Margaret P. Mason and Samuel W. Bowlby Peter Mason Richard Mason Carole A. Masters Gayle Maurin Beverly May Mary McCabe Tarell Alvin McCraney John and Rebecca McCullough Robert A. McDonald
Brian McEleney Thomas McGowan Deborah McGraw Robert J. McKinna Ann and Chad McLaughlin Patricia McMahon Bruce W. McMullan Lynne Meadow Mr. and Mrs. James Meisner Stephen W. Mendillo Donald Michaelis Brina Milikowsky George Miller and Virginia Fallon Jonathan Miller Robert J. Miller Saul and Sandy Milles Inga-Brita Mills Mary Jane Minkin and Steve Pincus Cheryl Mintz Lawrence Mirkin Stanley and Phyllis Mishkin Thomas Reed Mohan Richard R. Mone Donald W. Moreland George Morfogen Paul and Maureen Moses Grafton V. Mouen Carol Bretz Murray-Negron Gayther Myers, Jr. David Nancarrow James Naughton Tina C. Navarro William Ndini Tobin Nellhaus Christianna Nelson Regina and Thomas Neville Martha New Ruth Hunt Newman Dr. Nickolas Nickou William and Barbara Nordhaus Mimi and Harold Obstler Dwight R. Odle Janet Oetinger Ann Okerson Richard Olson Fran and Ed O’Neill Sara Ormond Lori Ott Kendric T. Packer Joan D. Pape Dr. and Mrs. Michael Parry Usha Pasi
Mary L. Pepe John L. Peschel William Peters Zane Pihlstrom Andrew Plummer Stephen B. Pollock Lisa Porter Michael B. Posnick Amy Povich Gladys S. Powers Robert Provenza Alvin S. Prusoff and Dr. Deborah DeRose Alec and Drika Purves William Purves Michael Quinn Sarah Rafferty Ronald Recasner Ralph Redpath Sandra and Gernot Reiners Joe Reynolds Mary B. Reynolds Ross Sumner Richards Lisa Steele Roach Brian Robinson Lori Robishaw Douglas Rogers Howard Rogut Joanna Romberg Melina Root Fernande E. Ross John M. Rothman Ron and Jean Rozett Julia Meade Rudd Kevin Rupnik Frederick Russell Virginia Weaver Russell A. Raymond Rutan IV John Barry Ryan Helen and Herbert Sacks Steven Saklad Peter Salovey and Marta Elisa Moret Robert Sandberg Christopher Carter Sanderson Jack and Letha Sandweiss Frank Sarmiento Peggy Sasso Cary Scapillato Joel Schechter Anne Schenck Mr. and Mrs. Michael Schmertzler Ruth Hein Schmitt William Schneider Georg Schreiber
Jennifer Schwartz Kimberly A. Scott Forrest E. Sears Paul H. Serenbetz Sandra Shaner John Victor Shea Morris Sheehan Paul R. Shortt Carol M. Sica Lorraine Siggins and Braxton McKee Michael Vaughn Sims William Skipper Lee Skolnick William and Betsy Sledge 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 E. Richmond and Sue Talbot Paul J. Tines Eric Ting David F. Toser Albert Toth Tahlia Townsend Russell L. Treyz James Triner Richard B. Trousdell Deborah Trout Miriam S. Tulin Mr. and Mrs. Gregory Tumminio Melissa Turner Cheever and Sally Tyler Russell Vandenbroucke Joan Van Ark Flora Van Dyke Michael Van Dyke Carrie Van Hallgren Hyla and Barry 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 Tan Falkowski Wells Thomas Werder Raymond Werner J. Newton White Peter White Robert and Charlotte White Joan Whitney Robert Wierzel Lisa A. Wilde Robert Wildman John and Virginia Wilkinson David Willson Catherine M. Wilson Marshall Williams Carl Wittenberg Bess Wohl Robin B. R. Wood Amanda Woods Tamilla Woodard Yun C. Wu Arthur Zigouras Albert Zuckerman
EMPLOYER MATCHING GIFTS Aetna Foundation Corning, Inc. General Electric Corporation IBM The John D. and Catherine T. MacArthur Foundation 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, 2008‚ through November 15, 2009. For more information about making a donation to Yale Repertory Theatre, please contact Sue Clark at 203.432.1559 or firstname.lastname@example.org. 35
YALE REP’S EDUCATION PROGRAMS
FOR YOUR INFORMATION how to reach us
Yale Repertory Theatre Box Office 1120 Chapel Street (at York St.) PO Box 1257, New Haven, CT 06505 203.432.1234 TTY (TELETYPE): 203.432.1521 email@example.com
Restrooms are located downstairs. Please contact the concierge for assistance with the elevator.
box office hours Monday to Friday from 10AM to 5PM Saturday from 12 to 5PM Until 8PM on all show nights
fire notice Illuminated signs above each door indicate emergency exits. Please check for the nearest exit. In the event of an emergency, you will be notified by theatre personnel and assisted in the evacuation of the building.
As part of Yale Rep’s commitment to our community, we provide two significant youth theatre programs. Since our 2003–04 season, WILL POWER!, which offers teacher training and curricular support prior to seeing a selected play at Yale Rep, has served more than 10,000 Connecticut students and educators. The Dwight/ Edgewood Project brings ten middle school students from New Haven’s Augusta Lewis Troup and Wexler/ Grant Community schools to Yale Rep for a month-long, after-school playwriting program designed to strengthen their self-esteem and creative expression.
emergency calls Please leave your cell phone and/or beeper, name, and seat number with the concierge. We’ll notify you if necessary. Emergency-only telephone number at Yale Rep: 203.764.4014
group rates Discounted tickets are available for groups of ten or more. Please call 203.432.1572.
Yale Rep’s education programs are supported in part by Donald and Patricia Anderson; Anna Fitch Ardenghi General Charitable Purpose Trust, Bank of America, Trustee; Bank of America; Deborah S. Berman; Bianca F.-C. Calabresi; the Carolyn Foundation; Bob and Priscilla Dannies; the Lucille Lortel Foundation; Romaine A. Macomb; Mrs. Romaine Macomb; Jane Marcher Foundation; NewAlliance Foundation; Robbin A. Seipold; Sandra Shaner; Target Stores; Charles and Patricia Walkup; Bert and Martha Weisbart; and Esme Usdan.
seating policy Everyone must have a ticket. Sorry, no children in arms or on laps. Patrons who become disruptive will be asked to leave the theatre.
Yale Repertory Theatre offers all patrons the most comprehensive accessibility services program in Connecticut, including a season of open-captioned and audio-described performances, a free assistive listening system, large-print and Braille programs, a direct TTY (teletype) line to Yale Rep’s Box Office (203.432.1521), wheelchair accessibility with an elevator entrance into the Yale Rep Theatre located on the left side of the building, and accessible seating. For more information about the theatre’s accessibility services, contact Ruth M. Feldman, Director of Education and Accessibility Services, at 203.432.8425 or firstname.lastname@example.org. Yale Repertory Theatre’s accessibility services are supported in part by The Seedlings Foundation, the Carol L. Sirot Foundation‚ and Romaine A. Macomb.
audio description (AD): A live narration of the play’s action, sets, and costumes for patrons who are blind or low vision.
Open Captioning and Audio Description performances are at 2PM. AD pre-show description begins at 1:45PM.
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. 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. 36
The Servant of Two Masters
Battle of Black and Dogs
c2inc is pleased to be the official Open Captioning provider of Yale Repertory Theatre.
FROM TOP: SCHOOLS GATHERING FOR WILL POWER!; THE DWIGHT/EDGEWOOD PROJECT, 2009.
SPONSORSHIP corporate sponsors Mionetto USA
Scoozzi Trattoria and Wine Bar
community sponsors Chestnut Fine Foods 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 Study at Yale, a Boutique Hotel Willoughby’s Coffee and Tea The Yale Bookstore Yellowbook
These lists include current pledges, gifts, and grants received from July 1, 2008‚ through November 15, 2009. 37
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Bring in this coupon or your POP! ticket stub to receive a dual/family membership to the Yale Art Museums for the price of an individual membership—a $25 savings! Enjoy special programs, previews, discounts, and more. Offer valid through May 2010. Call 203.432.9658 for more info. YA L E C E N T E R F O R B R I T I S H A R T YA L E U N I V E R S I T Y A R T G A L L E R Y