the ripple, the wave that carried me home, Yale Repertory Theatre, 2023

March 10—April 1

2022-2 3

SEASO N

A sophisticated, yet relaxed, hotel located in the heart of Yale University’s vibrant Arts Campus

CONTENTS Yale University

A Note from the Artistic Director..............5 Title Page..........................................................7

acknowledges that

Cast Page..........................................................8

Indigenous peoples and

From Our Dramaturgs...................................9 Swimming in New Haven........................... 13

nations, including

Cast Bios..........................................................16

Mohegan, Mashantucket

Understudy Cast Bios.................................. 17

Pequot, Eastern Pequot, Schaghticoke, Golden Hill Paugussett, Niantic, and the Quinnipiac

Creative Team Bios...................................... 18 For this Production..................................... 23 Yale Repertory Theatre Staff................... 24 Accessibility Services and Team............. 28 Youth Programs...........................................30 David Geffen School of Drama

and other Algonquian

Board of Advisors..................................... 31

speaking peoples, have

Our Donors..................................................... 31

stewarded through generations the lands and waterways of what is now the state of Connecticut. We honor and respect the enduring and continuing relationship that exists between these peoples and nations and this land.

MASKING All patrons must wear masks at all times while inside the theater, except when eating or drinking.

RECORDING AND PHOTO POLICY The taking of photographs or the use of recording devices of any kind in the theater without the written permission of the management is prohibited.

FIRE NOTICE Illuminated signs above each door indicate emergency exits. Please check for the nearest exit. In the event of emergency, you will be notified by theater personnel and assisted in the evacuation of the building.

RESTROOMS are located on the lower level of the venue.

A NOTE FROM THE ARTISTIC DIRECTOR Welcome to Yale Repertory Theatre!

I am delighted you are here today for the ripple, the wave that carried me home by Christina Anderson. Christina’s work has been seen at theaters across the U.S. and Canada; her play Good Goods had its world premiere at Yale Rep in 2012. A recent Tony Award nominee as book writer of the musical Paradise Square, she received the 2022 Horton Foote Prize, awarded to an American playwright for an original work of exceptional quality, for the ripple, the wave that carried me home. It is an honor to share this new play—which already has been seen in San Francisco, Portland, Chicago, and Kansas City in less than a year’s time—with New Haven audiences.

Staged by Resident Director Tamilla Woodard, the play travels back and forth through decades of history as a woman reflects on her family’s legacy of activism, fighting for integration and teaching Black children how to swim during the Civil Rights Movement. Tamilla and the incredibly gifted company of actors and creative, technical, and managerial collaborators have brought Christina’s poignant story of justice and forgiveness to life with remarkable artistry and compassion. Even though this play unfolds in the previous century and in Kansas, the issues of segregation, racism, anti-Blackness, and police brutality facing this fictional family are relevant and pressing in our own New Haven and Connecticut communities. the ripple, the wave that carried me home is the final production of our 2022–23 season. We recently announced our plans for the year ahead. We will open in the fall with Wish You Were Here by Sanaz Toossi, directed by Sivan Battat, who grew up in Woodbridge, Connecticut. The deeply human and humorous portrait of a close-knit circle of girlfriends set during and in the aftermath of the Iranian Revolution of 1979 will run October 5–October 28. The world premiere of The Salvagers by Harrison David Rivers, directed by Mikael Burke, will play November 24–December 16. Yale Rep commissioned this powerfully observed portrait of a father and son who learn to how to navigate the path to second, third, and fourth chances in life.

In the spring will be Escaped Alone, Caryl Churchill’s genre-defying play of afternoon tea and catastrophe. Staged by Resident Director Liz Diamond, it will be performed March 8–30. And the season will conclude with The Far Country by Lloyd Suh, directed by Eric Ting. The intimate and epic passage of an unlikely family from rural China to San Francisco in the wake of the Chinese Exclusion Act, will run April 26-May 18. I hope you will join us: subscriptions will go on sale in May and individual tickets will be available near the end of the summer.

As always, I look forward to hearing your thoughts about today’s play, or any of your experiences at Yale Rep. My email address is james.bundy@yale.edu. Whether today marks your first visit to Yale Rep, or if you have been with us all season long, thank you for spending your time with us!

Sincerely, James Bundy Artistic Director

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APRIL 28–MAY 20, 2023 YALE REPERTORY THEATRE

James Bundy, Artistic Director | Florie Seery, Managing Director PRESENTS

the ripple, the wave that carried me home

by Christina Anderson

directed by Tamilla Woodard Scenic Designer

Emmie Finckel Costume Designer

Aidan Griffiths Lighting Designer

Alan C. Edwards Projection Designer

Henry Rodriguez Sound Designer

Evdoxia Ragkou Hair and Makeup Designers

Krystal Balleza Will Vicari Production Dramaturgs

Hannah Fennell Gellman Eric M. Glover Technical Director

Nate Angrick Vocal Coach

Production support for the ripple, the wave that carried me home is provided by Yale’s Binger Center for New Theatre. the ripple, the wave that carried me home was originally commissioned by Berkeley Repertory Theatre.

The world premiere was produced by Berkeley Repertory Theatre, Berkeley, California (Johanna Pfaelzer, Artistic Director and Susan Medak, Managing Director); and Goodman Theatre (Susan V. Booth, Artistic Director and Roche Schulfer, Executive Director/CEO).

Developed with support from The Ground Floor at Berkeley Repertory Theatre, Berkeley, California.

Yale Repertory Theatre thanks our 2022–23 season funders:

Julie Foh Intimacy and Fight Director

Kelsey Rainwater Casting Director

Calleri Jensen Davis

Season Sponsor:

Stage Manager

Andrew Petrick 7

the ripple, the wave that carried me home Cast Janice.................................................................................................................. Jennean Farmer Helen........................................................................................................................ Chalia La Tour Gayle................................................................................................................. Adrienne S. Wells Edwin.............................................................................................................. Marcus Henderson Young Chipper Ambitious Black Woman.............................................. Adrienne S. Wells

Understudy Cast Janice............................................................................................................... Whitney Andrews Helen....................................................................................................................... Chinna Palmer Gayle/Young Chipper Ambitious Black Woman.....................................Messiah Cristine Edwin............................................................................................................................ Malik James

Assistant Stage Manager......................................................................... Nakia Shalice Avila

Setting Time: 1930s–1992 (the first few days of the LA riots) Place: Beacon, Kansas, and a suburb near a downtown city in Ohio the ripple, the wave that carried me home is performed without an intermission.

Content Guidance This play contains themes related to and references of racism and violence towards Black people, including police brutality.

The play includes a reference to sexual assault and the usage of profanity.

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“And water, ocean water is the first thing in the unstable

confluence of race, nationality, sexuality, and gender I want to imagine here. This wateriness is metaphor, and history too. The brown-skinned, fluid-bodied experiences now called blackness and queerness surfaced in intercontinental, maritime contacts hundreds of years ago: in the seventeenth century, in the Atlantic Ocean. You see, the black Atlantic has always been the queer Atlantic.”

—Omise’eke Natasha Tinsley, “Black Atlantic, Queer Atlantic”

Deep Water, Deep Time Water is the central element of the ripple, the wave that carried me home. It may be water that carries trauma from the Transatlantic Slave Trade to the segregation of US public pools, but it is also water that buoys the characters’ activism and provides the healing they are able to find with each other.

Christina Anderson writes plays that ask the audience to hold multiple time periods in their gaze simultaneously to explore the depth of Black experience in the US. She does not separate memory and the present, but instead plays with the idea of multiple presents coexisting. In the ripple, the wave that carried me home, the characters’ past rushes towards them like water, and the distance between moments in history collapses. The layering effect allows the exact moment in which we are watching to become another layer, even when the characters do not literally step into 2023. As director Tamilla Woodard notes, systemic barriers to pool and water access remain for US Black communities. Although this play contains stories from the characters’ past and the US historical past, it is never simply about the problems of the past.

Queer Sensibility In Anderson’s plays Good Goods (world premiere at Yale Rep in 2012) and How to Catch Creation (2019), women’s love for each other manifests in romantic relationships conventionally labeled as queer. Examining Anderson’s earlier plays prompts the question: How is the ripple, the wave that carried me home thematically queer, even

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if no characters call themselves queer, pursue same sex relationships, or explore nonconforming gender identities? Scholar Omise’eke Natasha Tinsley theorizes queerness by exploring the idea of loving relationships among enslaved African women in the holds of ships across the Atlantic. Tinsley’s writing provides a guide to understanding the queer lens with which Anderson depicts a variety of Black characters and their love for each other amidst injustice.

Black Feminism Anderson admires and draws on Black feminist sociologist Patricia Hill Collins. In her book Black Feminist Thought, Collins coined the term “safe spaces” to describe gatherings where Black women could talk amongst each other. She writes:

“By advancing Black women’s empowerment through selfdefinition, these safe spaces help Black women resist the dominant ideology promulgated not only outside Black civil society but within African American institutions.”

Anderson activates Collins’s vision onstage, exploring and challenging how Collins’s concepts might play out in the characters’ public activism and in the intimacy of their family.

Collins is not the only Black feminist important to Anderson’s work. These characters practice the politics of respectability (Evelyn Brooks Higginbotham), protect themselves through the culture of dissemblance (Darlene Clark Hine), and open up to reveal the tenderness beneath their dissemblance (Jasmine Elizabeth Johnson).

Theater is an ideal medium for Anderson to explore this array of ideas because she can allow her characters to do more than theorize. Embodied onstage, Janice, Helen, Edwin, Gayle, and Young Chipper Ambitious Black Woman get to define themselves in their own words and actions.

—Hannah Fennell Gellman, Production Dramaturg

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City on Fire March 3, 1991

A Los Angeleno is awakened by a noise and records four white police officers who beat Rodney King, a Black driver, with their batons. The district attorney files charges of assault with a deadly weapon and excessive use of force, but largely because of the fact that the video is broadcast across the country and leads to outrage.

March 16, 1991 A Korean-born convenience store owner, Soon Ja Du, shoots

and kills Latasha Harlins, a Black customer fifteen years old, for shoplifting—something that Harlins is not doing. Although the perpetrator is convicted of voluntary manslaughter, and the jury recommends she serve sixteen years, the white judge, Joyce Karlin Fahey, exercises her judicial discretion and sentences the perpetrator to no prison time.

April 21, 1992

A California Court of Appeal rules unanimously (3-0) that, in People v. Soon Ja Du (1991), Joyce Karlin Fahey has made the right sentencing decision.

April 29, 1992

A Simi Valley jury that comprises no Black people, one AsianAmerican, one Latine, and ten white people declares the accused police officers who beat Rodney King not guilty. “A riot is the language of the unheard,” Rev. Dr. Martin Luther King, Jr. once said, and Black people take it to the streets of Koreatown, Pico-Union, and South Central in protest.

Los Angeles Mayor Tom (“Bradley Effect”) Bradley declares a state of emergency, and California Governor Pete Wilson deploys 6,000 National Guardsmen by day’s end.

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May 1, 1992

President George H. W. Bush sends in 5,000 army troops, marines, and police officers, and the next day he declares Los Angeles a federal disaster area.

May 4, 1992

The civil disobedience starts to wind down after five days of rioting which allows Los Angeles businesses, government, public goods, and schools to reopen.

Even today, King, who was found in his Rialto, California, swimming pool on June 17, 2012, dead by drowning, remains a souvenir. On the second page of her rehearsal script for the ripple, the wave that carried me home, playwright Christina Anderson forewarns production companies against harming both Black constituent audiences and Black participating artists: “The 1991 video footage of the LAPD attacking Rodney King should not appear in the play.” This author’s note questions the ethics of screening such videos of Black victims whose consent to such use has been neither requested nor granted. When white people lynched 3,446 Black people in 1882–1968 in the US according to NAACP records, said white people took body parts from corpses—fingers, genital organs, toes—back home as souvenirs. Police body camera videos, or any other videos of police brutality today for that matter, have become the lynching souvenirs of the digital age. While Black people feel vicariously through the victims what social scientists call the phenomenon linked fate, others feel vicariously through the perpetrators, and get off on seeing violence enacted against Black people. Giving the ocular proof ten years later triggers the precarity, neither life nor death yet both, between better health outcomes and worse health outcomes. By choosing to evoke and not to show the footage of the LAPD in her play, Anderson repairs the late King’s bodily integrity that was taken away from him in an instant.

—Eric M. Glover, Production Dramaturg

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Further Reading Plays

Three Plays

by Christina Anderson (Tripwire Harlot Press) Ohio State Murders

by Adrienne Kennedy

Black Feminism

Black Feminist Thought: Knowledge, Consciousness, and the Politics of Empowerment by Patricia Hill Collins Righteous Discontent: The Women’s Movement in the Black Baptist Church, 1880-1920 by Evelyn Brooks Higginbotham “Rape and the Inner Lives of Black Women in the Middle West: Preliminary Thoughts on the Culture of Dissemblance” by Darlene Clark Hine (in a special issue of Signs) “A Politics of Tenderness: Camille A. Brown and Dancers’ BLACK GIRL: Linguistic Play” by Jasmine Elizabeth Johnson (in The Black Scholar) “Black Atlantic, Queer Atlantic: Queer Imaginings of the Middle Passage”

by Omise’eke Natasha Tinsley (in GLQ: A Journal of Lesbian and Gay Studies)

Swimming & Segregation

Contested Waters: A Social History of Swimming Pools in America

by Jeff Wiltse The Sum of Us: What Racism Costs Everyone and How We Can Prosper Together by Heather McGhee —compiled by Hannah Fennell Gellman We encourage you to seek out these titles, some of which can be found through the New Haven Free Public Library, or purchased through Possible Futures bookspace at 318 Edgewood Avenue.

Swimming in New Haven Christina Anderson’s the ripple, the wave that carried me home dramatizes what is known as “drained-pool politics.”

During the Civil Rights Movement, white communities closed their public spaces rather than swim with their Black neighbors, a history Jeff Wiltse chronicles in his book Contested Waters: A Social History of Swimming Pools in America. To maintain segregated spaces, exclusive private swimming clubs arose.

While Anderson’s play unfolds in Kansas, Connecticut’s swimming access has been shaped by both de jure and de facto segregation.

New Haven’s Parks and Recreation Department suggests that city residents can access a handful of pools, located in public high schools, during select swim hours. Nearby suburban towns have recreation centers with swimming pools; some are open to anyone able to pay a non-resident fee, others are open only to town residents. In New Haven County, private pool clubs like Ridge Top Club, Paradise Country Club, Woodbridge Club, and the New Haven Lawn Club have hefty initiation fees, annual dues, and application processes requiring recommendations.

Indoor pools can be found at a handful of local athletic facilities but require membership and monthly fees. Access to swimming lessons, especially after the COVID-19-19 pandemic emergency closed facilities and programs for over a year, requires fast fingers in narrow online

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registration windows or diligence to find spaces, timing, and pricing that work.

Connecticut residents might see an immediate connection to the characters in Anderson’s play and the legacy of Edward “Ned” Coll, a Hartford-based activist who died last December. In the 1960s and 1970s, Coll fought to open up the state’s “sand curtain” to Black and brown residents; at that time, only seven miles of the state’s coast was publicly accessible. The rest was privately controlled or under the jurisdiction of predominately white, wealthy towns.

Andrew W. Kahrl’s 2018 book, Free the Beach: The Story of Ned Coll and the Battle for America’s Most Exclusive Shoreline, documents the impressive efforts of Coll’s coalition, including efforts to bus Black and Latine mothers and children to controlled-access beaches.

Despite the public attention caused by

this collective action, the state’s town beaches were only opened to nonresidents in 2001 after Connecticut’s Supreme Court took up an appeal of a decision in Leydon v. The Town of Greenwich. But the work still continues as shoreline municipalities find ways to keep beaches exclusive and activists try to subvert these new tactics. Kahrl writes, “In practical terms, town beaches in the state’s wealthiest communities remain as inaccessible as ever, as municipalities have deployed a host of subtle, but no less effective, instruments of exclusion.”

This summer, as you seek the cool relief of the ocean or the pool, think about how you gained access to that body of water. In what ways is our ability to be in the water still limited by forces of racism, segregation, and economic exclusion?

—Amy Boratko, Senior Artistic Producer, Yale Repertory Theatre

Local Lessons Christina Anderson calls the characters in her play “Aquatic Activists.” While many athletic centers and town pools offer swim lessons in the Greater New Haven area, many prioritize members or residents. Below are two programs that seek to increase access to lessons in our state.

LEAP Leadership, Education, and Athletics in Partnership, Inc. (LEAP) was founded in 1992 by educators, students, and activists to address the historic disinvestment in young people of color in New Haven. LEAP creates a safe and 14

encouraging space for children and young adults and ages 7-24 to be in community with one another. Through its multi-tier mentorship model, LEAP employs approximately 200 local high school and college students to work with youth ages 7-12 in a children’s program and youth ages 13-15 in the Leaders in Training program.

LEAP’s free, year-round programming is based on a literacy curriculum in which kids are provided with reading tools and books that they get to take home. LEAP’s programming also includes activities such as swimming,

dance, yoga, theater, photography, and arts. High school students utilize its college access program where students participate in workshops around navigating financial aid, writing personal statements, and other college application resources. LEAP’s programming is rooted in values of community, justice, and mentorship— it is the idea that young people possess incredibly transformative power to be leaders in their communities and beyond.

In addition to the free swim lessons for young people in LEAP’s programs, LEAP offers low-cost swim lessons to children and adults in the community. The cost of adult swim lessons is $100 for five weeks (10 lessons total). The cost of child swim lessons (for ages 5–17) is $80 for five weeks (10 lessons total). The organization also provides swimsuits, swim caps, goggles, towels, and more to relieve financial stress from families.

Swimming is a crucial life skill and learning to swim at LEAP not only saves

ABOVE: photos courtesy of LEAP.

lives but also helps with mental and physical health.

Learn more at leapforkids.org.

Free Swim Lessons Program through DEEP In February 2023, Connecticut’s Department of Energy and Environmental Protection (DEEP) issued a press release announcing a $1.5-million program to give free swimming lessons to qualifying children in the state.

Lessons will be administered through fourteen YMCA sites, including the New Haven YMCA at 50 Howe Street. The Free Swim Lessons Program is part of DEEP’s DEI in Parks Initiative and is expected to serve up to 3,000 children a year. Interested guardians should learn more about the program through DEEP’s website or by contacting their local YMCA for guidance on eligibility and instructions on how to sign up for lessons.

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CAST

in alphabetical order

Jennean Farmer* (Janice) NYC Theater: Cullud Wattah, Ain’t No Mo’ (The Public Theater); Toni Stone (Roundabout Theatre).

Regional: Her Portmanteau (George Street Playhouse), Mlima’s Tale (Westport Country Playhouse).

Film: The Good Nurse (co-star), A Thousand and One (co-star), The Secret Art of Human Flight (co-star), How the Light Gets In (co-star). Television: Dead Ringers (recurring), Wu-Tang: An American Saga (guest star), Evil (guest star), That Damn Michael Che (co-star), New Amsterdam (co-star), FBI (costar). M.F.A. in acting from the New School for Drama. U.S. Army Veteran.

Jennean is a Beinecke Fellow at David Geffen School of Drama this spring.

Marcus Henderson* (Edwin) is a dynamic thespian from St. Louis, Missouri, who started his drama journey after falling in love with theater at Alabama State University. He went on to graduate school to hone his craft at David Geffen School of Drama. Immediately recognized for his immense talent, he booked a role in Django Unchained, directed by Quentin Tarantino, and has enjoyed a blossoming career ever since with roles in Whiplash, John Singleton’s Snowfall, and Jordan Peele’s Get Out. Today, you can catch him starring in the hilarious TV show Tacoma FD and paying it

forward by teaching and uplifting up-and-coming actors who have committed to the journey of the craft.

He is very happy to be welcomed back for his second Yale Rep production, following Romeo and Juliet in 2011.

Marcus is a Beinecke Fellow at David Geffen School of Drama this spring.

Chalia La Tour* (Helen) is an actor, educator, and creator. She is a 2020 Tony Award Nominee for Best Featured Actress in a Play for Slave Play by Jeremy O. Harris. Her other theater credits include Cadillac Crew by Tori Sampson (Yale Repertory Theatre, 2019) and The Review or How to Eat Your Opposition by Donetta Lavinia Grays (Women’s Project Theater).

Television credits include The Good Fight, The Code, and Elementary on CBS. Film credits include The Future is Bright, The Year Between, and Mother Melancholia. Directing credits include Faster Than a Blink (Portland Center Stage JAW), assistant director for The Brothers Size (Oklahoma City Rep), Savage/Love (Highland Summer Theatre). The Future is Bright screened at the inaugural African American Smithsonian Film Festival. The Year Between is currently available on streaming services and in cinema.

Mother Melancholia is in collaboration with Tanztheater Wuppertal Pina Bausch. She maintains a commitment to storytelling that asks the questions of humanity with the fullness of humanity. She has also worked with the anti-racism organization Broadway

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

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UNDERSTUDY CAST in alphabetical order Advocacy Coalition as a consultant for their Artivism Fellowship. La Tour received an M.F.A. in acting from David Geffen School of Drama. She is also a graduate of the British American Dramatic Academy, Summer in Oxford program and holds a B.A. in theatrical technical design from CSU East Bay. Chalia is a Beinecke Fellow at David Geffen School of Drama this spring.

Instagram: @chalialatour

Adrienne S. Wells* (Gayle/Young Chipper Ambitious Black Woman) is excited to be back at her alma mater!

Her theater credits include The Skin of Our Teeth (Lincoln Center Theater); A Cakewalk (Garage magazine); Girls (Yale Rep); Seven Spots On the Sun; Alice; How Black Girls Get Over Fuckbois, vol.

1; Marty and The Hands That Could; and School Girls: or The African Mean Girls Play (David Geffen School Drama).

TV: Black Monday (Showtime). B.A., Temple University; M.F.A., David Geffen School of Drama. Adrienne is a Beinecke Fellow at David Geffen School of Drama this spring. @adriennewells

Whitney Andrews she/her (understudy for Janice) is an actor and writer based in New Haven. She is a Connecticut native and currently an M.F.A. candidate in acting at David Geffen School of Drama, where her most recent credits include Marys Seacole. Prior to her performances on the School’s stages, she was seen on Manifest (NBC), Wu-Tang: An American Saga (Hulu), Gotham (FOX), and Happy!

(Syfy). Today, Whitney tells stories illustrating multifaceted Black women who exist in the fullness of their complexities. She is a fearless feeler and pleasure seeker, who is constantly finding herself through her work.

Messiah Cristine (understudy for Gayle/Young Chipper Ambitious Black Woman) is a first-year actor at David Geffen School of Drama. They hold a B.A. from Sarah Lawrence College.

Malik James he/him (understudy for Edwin) is a third-year M.F.A. candidate at David Geffen School of Drama at Yale, where he has been seen in Blood Wedding. He holds a B.F.A. in acting from Texas State University, where he performed in The Harvest, The Importance of Being Earnest, We Are Proud to Present…, and The Crucible. He made his professional debut in Choir Boy at Yale Rep last season. maliktjames.com 17

UNDERSTUDY CAST in alphabetical order

Chinna Palmer (understudy for Helen) “Rooted in Love; driven with Purpose; in search of Truth,” Chinna is debuting at Yale Repertory Theatre as a first-year student at David Geffen School of Drama. Though this is not her first time to take the stage, thanks to the incredible cast and crews from productions such as Our Town (Shakespeare Theatre Co.), Behind the Sheet (St. Louis Black Rep.), Fairview (Woolly Mammoth Theatre); and in films, Alemanji and The Zeke Sanders Story. Chinna is excited to continue her journey here in the coming years, and beyond. B.F.A., Howard University.

Instagram: @chinna.palmer.

CREATIVE TEAM in alphabetical order

Christina Anderson (Playwright) is a 2022 Tony Award nominee for Outstanding Book of the Broadway musical for Paradise Square. She is a playwright, screenwriter, educator, and creative. Plays include How to Catch Creation, pen/man/ship, Blacktop Sky, and Good Goods. Her work has appeared at the Goodman Theatre, Oregon Shakespeare Festival, The Public Theater, Yale Repertory Theatre (Good Goods, world premiere, 2012), Kansas City Repertory, and other theaters in the United States and Canada. Awards and honors include: 2022 Arthur Miller Award, 2022 Horton Foote Prize, 2021 Prince Prize,

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2020 United States Artists Fellow, MacDowell Fellowship, Lily Awards Harper Lee Prize, Herb Alpert Award nomination, Barrymore nomination, and New Dramatists Residency. A graduate of David Geffen School of Drama, she has taught playwriting at the Geffen School, Wesleyan University, Rutgers University, SUNY Purchase College, and served as the interim Head of Playwriting at Brown University. christinaandersonwriter.com

Nate Angrick (Technical Director) is in his fourth year of the technical design and production program at David Geffen School of Drama, where his credits include She Kills Monsters, Twelfth Night, and Affinity. He also recently served as technical director for The Brightest Thing in the World and assistant technical director for The Plot at Yale Rep. He received his B.F.A. in technical theater and design from the University of Wisconsin, Stevens Point. He worked as technical director of Payomet Performing Arts Center in Massachusetts and Peninsula Players in Wisconsin. Before attending Yale, he worked as a scenic carpenter at The Juilliard School.

Nakia Shalice Avila she/they (Assistant Stage Manager) is a black afro-latine abolitionist, dreamer, and multi-hyphenate artist. Credits include Skeleton Crew, Othello (Trinity Repertory Company); Big River (Utah Shakespeare Festival); Familiar, True West (Steppenwolf Theatre Company); I was waiting for the echo of a better day (Fisher Center at Bard); The Tempest (Elm

Shakespeare Company); the father, the son, and the holy spirit (Yale Summer Cabaret); Today Is My Birthday (Yale Rep); love i awethu further, Hedda Gabler, Ghosts, and Macbeth (David Geffen School of Drama). Nakia holds a B.A. in psychology from Claflin University. She dedicates her work on this production to her twin sister, Nia.

Krystal Balleza (Hair and Makeup Designer) Opera: Opera Theatre of St. Louis 2023 Season. Off-Broadway: At the Wedding (Lincoln Center); Americano! (New World Stages); Mrs. Warren’s Profession, Candida (Gingold Group). Regional: Mojada: A Medea in Los Angeles (Yale Rep), Ain’t Misbehavin’ (Barrington Stage Company), and Angels in America, Part One (Arena Stage). Krystal is the Hair and Makeup Department Head at SIX: The Musical on Broadway. Krystal holds a B.F.A. in wig and makeup design from Webster Conservatory and is co-owner of The Wig Associates with her design partner, Will Vicari. wigassociates.com 956 por vida Calleri Jensen Davis (Casting Director) is a creative casting partnership among James Calleri, Erica Jensen, and Paul Davis of over 20 years. They began their collaboration with Yale Rep earlier this season with Mojada: A Medea in Los Angeles.

Broadway credits: The Piano Lesson, Topdog/Underdog, for colored girls..., Thoughts of a Colored Man, Burn This, Fool for Love, The Elephant Man, Hedwig and the Angry Inch, Of Mice and Men, Venus in Fur, A Raisin in the

Sun, 33 Variations. Television: Love Life, Queens, Dickinson, and The Path, to name a few. callerijensendavis.com

Alan C. Edwards (Lighting Designer) Work includes the world premieres of Harry Clarke (The Vineyard), Kill Move Paradise (National Black Theatre), and The Hot Wing King by Katori Hall (Signature Theatre Company, winner of the 2021 Pulitzer Prize for Drama).

His regional design work includes Sally & Tom (world premiere by SuzanLori Parks at the Guthrie Theatre); Pipeline, Skeleton Crew (Actors Theatre of Louisville); Paradise Blue, and the new musical Lights Out: Nat King Cole (Geffen Playhouse). Additional credits include productions of Anna Deavere Smith’s Twilight: Los Angeles 1992 (Signature and A.R.T.), Smith’s Fires in the Mirror (Signature), Twelfth Night (Classical Theatre of Harlem), Bluebird Memories featuring rap-artist Common (Audible Theatre), and Baldwin and Buckley at Cambridge by Greig Sargeant and Elevator Repair Service. Edwards has been honored with awards and nominations for the Lucille Lortel, Drama Desk, and Henry Hewes Awards. His work in dance includes Where We Dwell and Chasing Magic by tap-dancer Ayodele Casel; Rhythm Is Life by Dormeshia SumbryEdwards; and Lifted, choreographed

by Christopher Rudd for American Ballet Theatre. On Broadway he was the associate to renowned lighting designer Jennifer Tipton on The Testament of Mary. He is a graduate of David Geffen School of Drama, where he is also an Assistant Professor of Lighting. alancedwards.com 19

CREATIVE TEAM in alphabetical order

Emmie Finckel they/them (Scenic Designer) is a queer, Asian-American scenic and production designer.

Recent credits include The Comedy of Errors (Public Theater: Mobile Unit), As You Like It (La Jolla Playhouse), 53% OF (Second Stage), In the Southern Breeze (Rattlestick Playwrights Theatre), The Watering Hole (Signature Theatre), Manning (David Geffen School of Drama), In the Penal Colony (NYTW Next Door), Athena (JACK), Riot Antigone (La MaMa). Associate design credits include many productions with Gabriel Hainer Evansohn including KPOP (Broadway) and Empire Travel Agency as a member of Woodshed Collective. Emmie is the Associate Creative Director of the Outside Lands Music Festival and often works on festivals and experiential events in collaboration with Iron Bloom Creative Production. Emmie holds a B.A. from Wesleyan University and a M.F.A. from David Geffen School of Drama and is currently on the faculty of the Playwrights Horizons Theater School at NYU. Member: Local USA 829. efinckel.com.

Julie Foh (Vocal Coach) is a voice, text, and dialect coach and is an Assistant Professor of Acting at David Geffen School of Drama. Previous coaching credits include The Winter’s Tale, Measure for Measure, Henry V, Twelfth Night, Coriolanus (Next Chapter Podcasts); The Caretaker, A Child’s Christmas in Wales (Shakespeare Theatre of New Jersey); Belfast Girls (Irish Rep); Mlima’s Tale (The Repertory Theatre of St. Louis and Westport Country Playhouse); 20

Ride the Cyclone: The Musical, Sleuth (McCarter Theatre Center); Wolverine: The Lost Trail (Marvel podcast); As You Like It, King Charles III (Colorado Shakespeare Festival); Sherwood (Cleveland Play House); Pygmalion (BEDLAM); Familiar (Woolly Mammoth); Trans Scripts, Cardenio (American Repertory Theater); The Tallest Tree in the Forest (Tectonic Theater Project); and others. She is an Associate Teacher of Fitzmaurice Voicework, a Master Teacher of KnightThompson Speechwork, and co-author of Experiencing Speech: A Skills-Based, Panlingual Approach to Actor Training.

Hannah Fennell Gellman she/ her (Production Dramaturg) is a teaching artist and dramaturg who is passionate about queer stories, movement, and poetry.

Her production dramaturgy credits include Wake by Stefani Kuo; Twelfth Night, Hedda Gabler (David Geffen School of Drama); and Dr. Ride’s American Beach House and soft apples (Yale Cabaret). She has also collaborated on developing dance pieces with BODYSONNET and Qualia Dance Collective and worked as an educator at Elm Shakespeare Company, Berkshire Theatre Group, Lookingglass Theatre, and Shakespeare & Company. She holds a B.A. in English from Carleton College and is a third-year M.F.A. candidate in dramaturgy and dramatic criticism at the Geffen School.

Eric M. Glover (Production Dramaturg) is an Assistant Professor Adjunct at David Geffen School of Drama where he practices. Eric

has also worked as a production dramaturg for Tarell Alvin McCraney’s Choir Boy and Lorraine Hansberry’s A Raisin in the Sun (canceled due to COVID-19) at Yale Rep.

Aidan Griffiths (Costume Designer) is a fourth-year M.F.A. candidate at David Geffen School of Drama and a graduate of University of North Carolina School of the Arts. Aidan has been working in the field of costumes for the last 13 years. As a freelance costume designer and illustrator, she has designed for theater, opera, and dance. Her work has been seen internationally with The Bang Group. Her most recent credits are Affinity (Geffen School), The Rite of Spring (Schwarzman Center), Lovesick: The Rock Opera (National Sawdust), and There’s a Strange Thing at the End of the Loop and Radiant Vermin (Yale Cabaret).

She has worked with directors Gaye Taylor Upchurch, Carl Forsman, Tamilla Woodard, Alex Keegan, James Matthew Daniels, Christina Franklin, and Jacob Basri. She has collaborated on dance pieces with David Parker, Jeff Kazin, Emily Coates, and Lasso Coulibaly. aidangriffithsdesign.com

Andrew Petrick* (Stage Manager) is a fourth-year M.F.A. candidate at David Geffen School of Drama, where his credits include Manning and Measure for Measure, both directed by Alex Keegan, and In His Hands, or the gay christian play, directed by Maeli Goren.

Other stage management credits include The Brightest Thing in the World (Yale Repertory Theatre); The Blacker the Berry, directed by Stew,

and Harmless, directed by Dan Hurlin (Sarah Lawrence College); Pride and Prejudice, directed by Christopher Edwards, and Cry It Out, directed

by Marc Masterson (Dorset Theatre Festival); Jack and the Beanstalk, directed by Julie Atlas Muz (Abrons Art Center); and When We Were Young and Unafraid, directed by Spencer Knoll (Downstage Theatre Company).

B.A., Sarah Lawrence College. Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Evdoxia Ragkou she/her/hers (Sound Designer) is a New Havenbased sound artist and composer.

She is keenly interested in the nature of sound, using it as her primary medium for composition, and strongly believes in its storytelling powers.

She writes all sorts of music and is oriented towards creative ways to tell stories. She has worked in venues such as Rattlestick Theater, Playwrights Horizons, Yale Cabaret, and Yale Repertory Theatre. She has also written music for various dance projects and short films. She also wears the hat of a solo artist. You can say that she is overall a person of a sound mind.

Kelsey Rainwater (Intimacy and Fight Director) is an intimacy coach, fight director, and actress based out of the ancestral lands of the Quinnipiac people. Kelsey’s most recent work was seen in the premiere of Sally and Tom at The Guthrie. Some of her other credits include In the Southern Breeze at Rattlestick, The Public Theater’s Measure for

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

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CREATIVE TEAM in alphabetical order

Measure and White Noise by SuzanLori Parks, directed by Oskar Eustis; A Raisin in the Sun (canceled due to COVID-19), Edward Albee’s Who’s Afraid of Virginia Woolf?, Mojada: A Medea in Los Angeles at Yale Rep; Blues for An Alabama Sky with the Keen Company; and Bess Wohl’s film, Baby Ruby. She is a Lecturer in Acting at David Geffen School of Drama, co-teaching stage combat and intimacy, and is a Resident Fight and Intimacy Director for Yale Rep.

Henry Rodriguez (Projection Designer) is a multi-disciplinary projections and media designer.

His recent credits include She Kills Monsters (David Geffen School of Drama), L’elisir d’amore (Yale School of Music), Dragaret (Yale Cabaret), and This Place is a Message (Yale Schwarzman Center). Henry is a Mexican American, Las Vegas native, and holds a bachelor’s degree in projection design from the University of Northern Colorado. In his final year at David Geffen School of Drama, Henry looks forward to future projects including, but not limited to projection design, live media, and virtual production.

Will Vicari (Hair and Makeup Designer) NYC: Parade (Broadway, Associate Hair Design); Washington Square (Axis Theatre Company); At the Wedding (Lincoln Center), Americano!

(New World Stages); Mrs. Warren’s Profession (Gingold Group). Regional: Sunset Boulevard (Associate, Kennedy Center); Angels in America, Part One (Arena Stage); Ain’t Misbehavin’

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(Barrington, Geva, Westport); Guys and Dolls (ACT); Opera Theatre of St. Louis (2023 season design). Will holds a B.F.A. in wig and makeup design from Webster University and is a licensed cosmetologist. He is coowner of The Wig Associates with his design partner, Krystal Balleza. See thewigassociates.com for more.

Tamilla Woodard (Director) is Chair of the Acting program at David Geffen School of Drama and a Resident Director at Yale Rep. She is the co-founder of the sitespecific international partnership, PopUP Theatrics, proudly served as the co-Artistic Director of Working Theater in New York, and she was the Associate Director of the Tony Awardwinning Hadestown on Broadway in its premiere season. Prior to joining Working Theater, Tamilla was the BOLD Associate Artistic Director at WP Theater. Tamilla has directed at theaters nationally and internationally, including at WP Theater, The Alliance, Baltimore Center Stage, American Conservatory Theater, Classical Theater of Harlem, The Bushnell Center for the Performing Arts with TheaterWorksUSA, and The Cleveland Public Theatre, among others.

Recently named one of 50 Women to Watch on Broadway, Tamilla is also a recipient of the Josephine Abady Award from the League of Professional Theatre Women and a proud board member of Society of Stage Directors and Choreographers.

She received her M.F.A. in acting from David Geffen School of Drama.

for this production artistic Assistant Director

Juliana Morales Carreño Assistant Scenic Designer

Silin Chen

Assistant Costume Designer

Caroline Tyson

Associate Lighting Designer

Max Doolittle

Assistant Projection Designer

FOH Mix Engineer

Joe Krempetz Tailoring

Giliberto Designs Run Crew

Michael Allyn Crawford, Sarah Machiko Haber, Aura Michelle, Roman Sanchez, Kiyoshi Shaw, Danielle Stagger, Lauren Walker, Giovanna Drummond (swing)

Doaa Ouf

administration

Assistant Sound Designer and Engineer

Associate Managing Director

Mike Winch

Wigs provided by

The Wig Associates

Sarah Scafidi

Assistant Managing Director

Natalie King

Management Assistants

Whitney Andrews, Messiah Cristine, Shimali De Silva, Malik James

Sarah Machiko Haber, Adrian Hernandez, Roman Sanchez, Mikayla Stanley

Standby for the role of Edwin

Company Manager

LAW

Chloe Knight

production

Assistant Company Managers

Recorded Voices

Associate Production Manager

Luanne Jubsee

Assistant Technical Directors

Nickie Dubick Erik Keating Sky Pang

Assistant Properties Manager

Megan Birdsong

Production Electrician

Alex Theisen

Projection Engineer

Sydney Raine Garick Light Board Programmer

Mark Fortunato

Light Board Operator

Alary Sutherland

Fanny Abib-Rozenberg, Roman Sanchez, Jeremy Landes House Managers

Maya Louise Shed Matthew Sonnenfeld

Special Thanks Andy DelVecchio and Kate Meikle at the Town of North Haven (The Walter J. Gawrych North Haven Community Pool); Carlos Pinela and the YPWG; Marjorie F. B. Lemmon; AVP Ronnell Higgins and the Yale Office of Public Safety; Ryan Rooks and Nicole Jefferson of LEAP; Bryn Scharenberg; Melissa Smith; Paul Jacques and everyone at Little Flippers Swim School in Natick, Massachusetts.

The playwright would like to thank Kari; KC Rep; Olivier; Jackson & Madeleine & Johanna.

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YALE REPERTORY THEATRE STAFF Artistic Director James Bundy Managing Director Florie Seery Associate Artistic Director, Director of New Play Programs Jennifer Kiger General Manager Carla L. Jackson

ARTISTIC Resident Artists

Playwright in Residence Tarell Alvin McCraney Resident Directors Lileana Blain-Cruz Liz Diamond Tamilla Woodard Dramaturgy Advisor Amy Boratko Resident Dramaturg Catherine Sheehy Set Design Advisor Riccardo Hernández Resident Set Designer Michael Yeargan Costume Design Advisors Oana Botez Ilona Somogyi Resident Costume Designer Toni-Leslie James Lighting Design Advisors Alan C. Edwards Stephen Strawbridge Sound Design Advisor Mikaal Sulaiman

Associate Artists 52nd Street Project, Kama Ginkas, Mark Lamos, MTYZ Theatre/Moscow New Generation Theatre, Bill Rauch, Sarah Ruhl, Henrietta Yanovskaya

Artistic Management

Senior Artistic Producer Amy Boratko

Technical Directors for David Geffen School of Drama Latiana “LT” Gourzong Matt Welander

Production Stage Manager James Mountcastle

Associate Producer Kay Perdue Meadows Artistic Fellow Jisun Kim Casting James Calleri Erica Jensen Paul Davis Senior Administrative Assistant to the Artistic Director and Associate Artistic Director Josie Brown Senior Administrative Assistant for Directing, Dramaturgy and Dramatic Criticism, Playwriting, and Stage Management Laurie Coppola Senior Administrative Assistant for Design Kate Begley Baker Senior Administrative Assistant for the Acting Program Krista DeVellis Library Services Erin Carney Tess Colwell

Resident Fight and Intimacy Directors Kelsey Rainwater Michael Rossmy

PRODUCTION Production Management

Director of Production Shaminda Amarakoon Production Manager Jonathan Reed Production Manager for Studio Projects and Special Events C. Nikki Mills

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Scenery

Technical Director for Yale Rep Neil Mulligan

Voice and Text Advisor Grace Zandarski

Stage Management Advisor Narda E. Alcorn

Senior Administrative Assistant to Production and Theater Safety Grace O’Brien

Electro Mechanical Laboratory Supervisor Eric Lin Scene Shop Supervisor Eric Sparks Senior Lead Carpenter Matt Gaffney Lead Carpenters Ryan Gardner Kat McCarthey Sharon Reinhart Carpenters Barrett Doyle Doug Kester

Painting

Paint Shop Supervisor Ru-Jun Wang Scenic Artists Lia Akkerhuis Nathan Jasunas Painter Kathleen Kennan

Properties

Properties Supervisor Jennifer McClure Properties Craftsperson David P. Schrader Properties Associate Zach Faber Properties Stock Manager Mark Dionne Properties Intern Bennet Goldberg

Costumes

Costume Shop Manager Christine Szczepanski Senior Drapers Clarissa Wylie Youngberg Mary Zihal Senior First Hands Deborah Bloch Patricia Van Horn Costume Project Coordinator Linda Kelley-Dodd Costume Stock Manager Jamie Farkas Additional Costume Staff Soule Golden Judianne Wallace

Electrics

Lighting Supervisor Donald W. Titus Senior House Electricians Jennifer Carlson Linda-Cristal Young Electricians Alary Sutherland Racheal Daigneault Eitan Acks Electrics Intern Jasmine Moore

Sound

Sound Supervisor Mike Backhaus Lead Sound Engineer Stephanie Smith Sound Interns Saida Joshua-Smith Xi (Zoey) Lin 林曦

Projections

Acting Projection Supervisor Eric Lin Projection Intern Erin Sims

Lead Properties Runner William Ordynowicz FOH Mix Engineer Abe Joyner-Meyers

ADMINISTRATION General Management

Associate Managing Directors Sarah Scafidi Matthew Sonnenfeld Assistant Managing Director Natalie King Senior Administrative Assistant to the Managing Director and General Manager Emalie Mayo Management Assistants Sarah Machiko Haber Adrian Hernandez Roman Sanchez Mikayla Stanley Company Manager Chloe Knight Assistant Company Managers Fanny Abib-Rozenberg Jeremy Landes Roman Sanchez

Development and Alumni Affairs Senior Director of Development and Alumni Affairs Deborah S. Berman

Deputy Director of Operations for Development and Alumni Affairs Susan C. Clark Associate Director of Development Casey Grambo Senior Writer and Development and Alumni Affairs Officer Robert DiGioia

Stage Operations

Senior Administrative Assistant to Development and Alumni Affairs Jennifer E. Alzona

Lead Wardrobe Supervisor Elizabeth Bolster

Development Associate Delaney Kelley Development Assistant Ramona Li

Stage Carpenter Janet Cunningham

Finance, Human Resources, and Digital Technology

Director of Finance and Business Administration/Lead Administrator Nicola Blake Finance Consultants Regina Bejnerowicz Katherine D. Burgueño Denise Zaczek Director of Human Resources Trinh DiNoto Director, Yale Tessitura Consortium, and Web Technology Janna J. Ellis Manager, Business Operations Martha Boateng Digital Communications Associate George Tinari Business Office Specialists Moriah Clarke Andrea Valcourt Business Office Assistant Asberry Thomas Digital Technology Associates Edison Dule Garry Heyward Interim Digital Technology Associate Shontay Jones Senior Administrative Assistant to Business Office, Digital and Web Technology, Operations, and Tessitura Shainn Reaves Database Application Consultants Ben Silvert Erich Bolton Bo Du

Marketing, Communications, and Audience Services Director of Marketing Daniel Cress

Director of Communications Steven Padla

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YALE REPERTORY THEATRE STAFF Senior Associate Director of Marketing and Communications Caitlin Griffin Senior Administrative Assistant for Marketing and Communications Mishelle Raza Marketing and Communications Assistants Adrian Hernandez Rachel Zwick Publications Manager Marguerite Elliott Production Photographer Joan Marcus Art and Design Paul Evan Jeffrey/ Passage Design Videographer David Kane Director of Audience Services Laura Kirk Assistant Director of Audience Services Shane Quinn Subscriptions Coordinator Tracy Baldini Audience Services Associate Molly Leona Customer Service and Safety Officers Ralph Black, Jr. Kevin Delaney Ed Jooss John Marquez—on leave

Box Office Assistants Jordi Bertrán Ramírez Sydney Raine Garick Jordan Graf Daliya Habib Aaron Magloire Kenneth Murray a.k. payne Dominic Sullivan Jessica Wang Ushers Tracy Bennett Danielys Batista Maura Bozeman Regina Carson Amalia Crevani Gerson Espinoza Campos Nina Gaither Madi Garfinkle Lydia Gompper Şeyma Kaya Spencer Knoll Di’Jhon McCoy Justin Meadows Keenan Miller Bonnie Moeller William Romain Jana Ross Joe Webb Larsson Youngberg

Theater Safety and Occupational Health

Director of Theater Safety and Occupational Health/ COVID Compliance Manager Anna Glover

COVID Compliance Coordinator Amy Stern Associate Safety Advisor Aholibama Castañeda Gonzalez

Operations

Director of Facility Operations Nadir Balan Operations Associate Brandon Fuller Operations Assistant Kelvin Essilfie Arts and Graduate Studies Superintendents Jennifer Draughn Francisco Eduardo Pimentel Custodial Team Leaders Andrew Mastriano Sherry Stanley Facility Stewards Ronald Douglas Marcia Riley Custodians Rodney Heard Andrew Martino James Hansberry Sybil Bell Jerome Sonia Willia Grant Melloney Lucas Tylon Frost

Assistant Director of Theater Safety Kelly O’Loughlin

the ripple, the wave that carried me home, April 28–May 20, 2023, Yale Repertory Theatre, 1120 Chapel Street, New Haven, Connecticut.

Yale Repertory Theatre operates under an agreement between the League of Resident Theatres (LORT) and Actors’ Equity Association (AEA), the Union of Professional Actors and Stage Managers in the United States.

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

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ACCESSIBILITY SERVICES For this production:

ACCESSIBILITY TEAM

May 13 at 2PM

Gracy Brown (Audio Describer) is

Audio Description Pre-show description begins at 1:45PM A live narration of the play’s action, sets, and costumes for patrons who are blind or have low vision.

May 13 at 8PM American Sign Language (ASL) An ASL-interpreted performance for patrons who are deaf or have hearing loss.

May 20 at 2PM Open Captioning A digital display of the play’s dialogue as it’s spoken for patrons who are deaf or have hearing loss.

Assistive listening devices as well as Braille and large print programs are available at the concierge desk in the theater lobby:

Yale Repertory Theatre gratefully acknowledges the Carol L. Sirot Foundation for underwriting the assistive listening systems in our theaters.

in alphabetical order

a native of Caracas, Venezuela, and a New Haven-based actor, director, and educator. Elm Shakespeare Company: The Tempest (Sebastian), The Comedy of Errors (Emilia), Love’s Labour’s Lost (Boyet), Romeo and Juliet (Nurse), A Midsummer Night’s Dream (Egeus), Pericles (Gower); Long Wharf Theatre: The Good Person of New Haven (Taiwa/ Taiwo); Great Lakes Theater Festival: Peter Pan (Adult Wendy); Edinburgh Fringe Festival: A Clockwork Orange (Dr. Brodsky), Fahrenheit 451 (Mildred); Cornerstone Theater Company: An Antigone Story (Ismene); Mark Taper Forum: For Here or to Go? (Luce); Collective Consciousness Theatre: Rasheeda Speaking (Jaclyn); and Claudia in the web series, Ringer$. Gracy is a proud alumni of Southern Connecticut State University, where she earned a B.A. in theater and is an adjunct faculty member in the theater department. She recently co-directed Out of Bounds, an original play devised by a company of SCSU students. This production gained national recognition, receiving 14 awards from the Kennedy Center American College Theater Festival including the Citizen Artist Award, Special Achievement in Direction by Faculty Artists, and Special Achievement in a Company Generated (Devised) Production. A proud member of Actors’ Equity Association.

Rorri Burton (ASL Interpreter) is a For more about Yale Rep’s accessibility services, please contact Laura Kirk, Director of Audience Services: 203.432.1522 | laura.kirk@yale.edu 28

former Teacher of the Deaf, and current mother of a Deaf adult-turned ASL Interpreter. Based now in Southern California, she has been called upon by

everyone from the mayor of Los Angeles, to Levi’s Apparel, the Academy Awards, and Black Lives Matter to provide ASL access for the Deaf community.

Currently, she oversees a group of Deaf and hearing BIPOC and queer ASL interpreters, providing advocacy, access and trainings. For more information, go to @probonoasl on all social media, or probonoasl.com.

David Chu/c2inc-caption coalition (Open Captioner) is a 501(c)3 nonprofit consultant and the leading provider of professional Live Performance Captioning (sm) for theatrical and cultural presentations. c2 members hold the distinction of being the very first to caption live theater (the Paper Mill Playhouse, NJ), the first to debut on Broadway and Off-Broadway, and have introduced open captioning in prestigious theaters across the country and in London. Captioning in theater has gained momentum and acceptance by theatergoers since its debut in 1996.

It addresses the needs of a far larger audience of hard of hearing and deaf people, which includes those who do not use sign language, are late deafened, not self-identified with hearing loss, and those who simply might have missed a punch line.

Rodney LeBon he/any (ASL Interpreter) is a nationally certified trilingual (Haitian Creole/ASL/English) interpreter who finds his joy mainly in performing arts and concert spaces. Some of the plays he’s interpreted include Tambo & Bones at Playwrights Horizons in New York City; The Wiz, Death of a Salesman, and Twelve Angry Men at Ford’s Theatre in Washington, D.C.; Madea’s Farewell Tour at the MGM National Harbor; SOUL: The Stax Musical at Baltimore Center Stage; and A Drag Christmas at Warner Theatre in Washington, D.C. He has also interpreted for major concerts and festivals for the Apollo, AfroPunk, Roots Picnic, Broccoli City Festival, Life is Beautiful, Global Citizens Festival, and Pride (D.C., Baltimore, Miami Beach, Wilton Manors, NYC, and Stonewall).

Some of his favorite artists that’s he’s been fortunate to interpret include City Girls, Billie Eilish, Jazmine Sullivan, Beyoncé, Chloe x Halle, Mary J. Blige, Kehlani, Demi Lovato, Shawn Mendez, and Drake, just to name a few. He has a bachelor’s degree in interpretation from Gallaudet University—the only university in the world where students live and learn using American Sign Language— and is currently pursuing a Master’s degree.

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YOUTH PROGRAMS WILL POWER! is Yale Rep’s annual educational initiative, designed to bring middle and high school students to see live theater. Since our 2003–04 season, WILL POWER! has served more than 20,000 Connecticut students and educators. In 2022–23, we offered programming centered on Mojada: A Medea in Los Angeles to New Haven Public Schools students and educators. The program has included early schooltime matinees, free or heavily subsidized tickets, study guides, and post-performance discussions with actors and members of the creative teams. WILL POWER! is committed to giving teachers curricular support through free workshops and professional development about the content and themes of the plays.

THE DWIGHT/EDGEWOOD PROJECT (D/EP) is a community engagement program of Yale Rep and David Geffen School of Drama for middle school-aged students from Barnard Environmental Science and Technology Magnet School, a K-8 school located on the edge of the Dwight and Edgewood neighborhoods in New Haven. The students are paired with mentors from the Geffen School to write their own plays. The month-long program begins in late May, culminating in fully produced plays performed by the Yale mentors and presented for the New Haven community in late June.

Yale Rep’s youth programs are supported by The Robert and Mercedes Eichholz Foundation, NewAlliance Foundation, and Esme Usdan.

Daily Deliveries to the Greater New Haven Area European Style Floral Designs Gourmet Gift Baskets House Plants

39 State Street North Haven, CT (203) 248-7589

forgetmenotfloristCT.com 30

DAVID GEFFEN SCHOOL OF DRAMA BOARD OF ADVISORS John B. Beinecke YC ’69, Chair Jeremy Smith ’76, Vice Chair Nina Adams MS ’69, NUR ’77 Rudy Aragon LAW ’79 Amy Aquino ’86 John Badham ’63, YC ’61 Pun Bandhu ’01 Sonja Berggren Special Research Fellow ’13 Frances Black ’09 Carmine Boccuzzi YC ’90, LAW ’94 Lynne Bolton Clare Brinkley Sterling B. Brinkley, Jr. YC ’74 Kate Burton ’82 James Chen ’08 Lois Chiles Patricia Clarkson ’85 Edgar M. Cullman III ’02, YC ’97

Michael David ’68 Wendy Davies Michael Diamond ’90 Polly Draper ’80, YC ’77 Charles S. (Roc) Dutton ’83 Sasha Emerson ’84 Lily Fan YC ’01, LAW ’04 Terry Fitzpatrick ’83 Marc Flanagan ’70 Anita Pamintuan Fusco YC ’90 David Marshall Grant ’78 David Alan Grier ’81 Sally Horchow YC ’92 Ellen Iseman YC ’76 David G. Johnson YC ’78 Rolin Jones ’04 Sarah Long ’92, YC ’85 Cathy MacNeil-Hollinger ’86 Brian Mann ’79 Drew McCoy

David Milch YC ’66 Jennifer Harrison Newman ’11 Richard Ostreicher ’79 Carol Ostrow ’80 Tracy Chutorian Semler YC ’86 Tony Shalhoub ’80 Michael Sheehan ’76 Anna Deavere Smith HON ’14 Andrew Tisdale Edward Trach ’58 Esme Usdan YC ’77 Courtney B. Vance ’86 Donald R. Ware YC ’71 Shana C. Waterman YC ’94, LAW ’00 Kim Williams Henry Winkler ’70 Amanda Wallace Woods ’03

Thank you to the generous contributors to David Geffen School of Drama and Yale Repertory Theatre LEADERSHIP SOCIETY ($50,000+)

Anonymous John B. Beinecke Sonja Berggren and Patrick Seaver Lois Chiles Connecticut Department of Economic and Community Development Estate of Nicholas Diggs* Estate of Richard Diggs* The Robert and Mercedes Eichholz Foundation Anita Pamintuan Fusco and Dino Fusco David Geffen Foundation The Horace W. Goldsmith Foundation David G. Johnson Victoria B. Mars Neil Mazzella Estate of June M. Rosenblatt Talia Shire Schwartzman The Shubert Foundation Jeremy Smith Woody Taft Stephen Timbers Edward Trach Esme Usdan Donald R. Ware

GUARANTORS ($25,000–$49,999) Rudy Aragon Reginald J. Brown and Tiffeny F. Sanchez Sarah Long National Endowment for the Arts Estate of Eugene Shewmaker* The Sir Peter Shaffer Charitable Foundation

BENEFACTORS ($10,000–$24,999)

Nina Adams and Moreson Kaplan Americana Arts Foundation Carmine Boccuzzi and Bernard Lumpkin Lynne and Roger Bolton Estate of James T. Brown* James and Deborah Burrows Foundation Burry Fredrik Foundation Wendy Davies Michael Diamond In honor of Neville and Dorothy Etwaroo Mabel Burchard Fischer Grant Foundation Abby Kenigsberg

Lucille Lortel Foundation Cathy MacNeil-Hollinger and Mark Hollinger Princess Grace Foundation Tracy Chutorian Semler Michael and Riki Sheehan Estate of Merrill L. Sindler* Carol L. Sirot Trust for Mutual Understanding

PATRONS ($5,000–$9,999)

Chuck Adomanis Foster Bam Pun Bandhu Richard C. Beacham Santino Blumetti James Bundy and Anne Tofflemire CT Humanities Michael S. David Terry Fitzpatrick Howard Gilman Foundation Bigelow Greene James Guerry Hood The Jesse & Dorothy Hartman Foundation Brian Tyree Henry Sally Horchow

Ellen Iseman in memory of Marjorie Frankenthaler Iseman Rolin Jones Rocco Landesman Tien-Tsung Ma Tarell Alvin McCraney David and Leni Moore Family Foundation Neil Mulligan James Munson Jason Najjoum NewAlliance Foundation Carol Ostrow

PRODUCER’S CIRCLE ($2,500–$4,999)

Shaminda Amarakoon Anonymous Frances Black Ian Calderon Lily Fan JANA Foundation Ann Judd and Bennett Pudlin Fred Gorelick and Cheryl MacLachlan Eric Lin George Lindsay, Jr. Richard Ostreicher Bill and Sharon Reynolds

*deceased

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Thank you to the generous contributors to David Geffen School Douglas and Terri Virginia (Wendy) Riggs Robinson Lyons in memory of Russ Rosensweig Robert W. Lyons Slotznick Family Fund, John McAndrew a charitable fund of Susie Medak and Greg The Foundation for Murphy DIRECTOR’S Enhancing Jonathan Miller CIRCLE Communities Janice Muirhead ($1,000–$2,499) Shepard and Marlene Vicki Nolan and Clark Donna Alexander Stone Crolius Laura and Victor Altshul Matthew Suttor Janet Oetinger Anonymous Estate of William Swan* Arthur Oliner Debby Applegate and John Thomas III F. Richard Pappas Bruce Tulgan Courtney B. Vance Jonathan Pellow Amy Aquino and Carol M. Waaser Dw Phineas Perkins Drew McCoy Clifford L. Warner Louise Perkins and Paula Armbruster Shana C. Waterman Jeff Glans Mamoudou N. Athie George C. White Amy Povich Richard and Alice Baxter Carolyn Seely Wiener Jeffrey Powell and John Lee Beatty Steven Waxler Adalgisa Caccone Kate Burton Kathy and George Priest PARTNERS Anne and Guido Alec Purves ($500–$999) Calabresi Faye and Asghar Donna Alexander Joan Channick Rastegar David J. Berendes James Chen Jon and Sarah Reed Ashley Bishop Audrey Conrad Anne Renner John and Suzanne Brett Dalton Howard Rogut Bourdeaux Elwood and Catherine Robin Sauerteig Joy Carlin Davis Florie Seery Lawrence Casey Ramon Delgado Anna Deavere Smith Sarah Bartlo Chaplin Anne S. Erbe Matthew Specter and Daniel Cooperman and ERJ Fund Marjan Mashhadi Mariel Harris Tony Forman Dr. and Mrs. Dennis D. Laura Copenhaver Will Gaines Spencer Sean Cullen Melanie Ginter James Steerman Bob and Priscilla Dannies Kenneth J. Stein Jon Farley Robert Dealy Marc Flanagan David Sword Aziz Dehkan and Eric M. Glover Matthew Tanico Barbara Moss Rob Greenberg John Turturro and Kelvin Dinkins, Jr. Jane Head Katherine Borowitz and Alexis Rodda Amy Herzog Sylvia Van Sinderen Sasha Emerson Dale and Stephen and James Sinclair Peter Entin Hoffman Paul Walsh Glen R. Fasman Suzanne Jackson Stephanie Waaser Geballe Family Pam Jordan Nathaniel Wells Peter Gerwe Elizabeth Kaiden Vera Wells Betty and Joshua Elizabeth Katz and Ray Werner Goldberg Reed Hundt Walton Wilson LT Gourzong Helen Kauder and Steven Wolff Bill and Marcy Grambo Barry Nalebuff Amanda Wallace Woods Eduardo Groisman Fran Kumin Yaro Yarashevich The Ethel & Abe Lapides Regina Guggenheim Albert Zuckerman William B. Halbert Foundation Robert Zoland Andy Hamingson Charles Letts Judy Hansen INVESTORS Kenneth Lewis Carl Holvick ($250–$499) Jennifer Lindstrom David Henry Hwang Bruce Ackerman and Brian Mann Roger Kenvin Susan Rose-Ackerman Jim and Eileen Mydosh Blair Kohan Actors’ Equity Barbara and William Harvey Kliman and Foundation Nordhaus Sandra Stein Narda E. Alcorn Jacob G. Padrón Corby S. Kummer Alexander Bagnall Pam and Jeff Rank Nancy F. Lyon Michael Bianco Lance Reddick* Georg’Ann Bona Elaine Ring Abby Roth and R. Lee Stump Ben and Laraine Sammler Julie Turaj

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Susan Brady and Mark Loeffler Tom Broecker Nancy and Stephen Brown Mr. and Mrs. Robert Buckholz David Budries Jonathan Busky Sarah Cain Paul Cleary William Connor Robert Cotnoir Claire A. Criscuolo William Cuddy John W. Cunningham William Curran F. Mitchell Dana Laura Davis and David Soper Rick Davis Kem and Phoebe Edwards Dr. Marc Eisenberg Michael Fain Richard and Barbara Feldman Joel Fontaine David Freeman Richard Fuhrman Randy Fullerton Eric Gershman and Katie Liberman Lindy Lee Gold Shaina Graboyes Linda Greenhouse Emmy Grinwis Michael Gross Karen Hansen and Andrew Bundy Barbara Hauptman Jennifer Hershey Casey Grambo Chuck Hughes John Huntington Candace Jackson Joanna and Lee A. Jacobus Chris Jaehnig Bruce Katzman Edward Kaye Alan Kibbe Amir Kishon Mitchell Kurtz Maryanne Lavan and Larry Harris Roberta and Lawrence Harris Bona Lee Irene Lewis Matthew H. Lewis Jerry Lodynsky Charles H. Long Mary Lloyd *deceased

of Drama and Yale Repertory Theatre Adam Man Peter Marshall Edwin Martin Thomas G. Masse and James M. Perlotto, MD Deborah McGraw Pamela and Donald Michaelis David Muse Regina and Thomas Neville Adam O’Byrne Kevin and Margaret O’Halloran Edward and Frances O’Neill Gamal Palmer Bruce Payne and Jack Thomas Michael Posnick Dr. Michael Rigsby and Prof. Richard Lalli Ted Robb Steve Robman Erin Rocha Constanza Romero Nan Ross Jean and Ron Rozett Sarah Ruhl Robert Sandberg Suzanne Sato Robin Sauerteig Kenneth Schlesinger Georg Schreiber Kathleen McElfresh Scott Paul Selfa William Skipper Kenneth Stein Susan Stevens Erich Stratmann Wilma and Williams Summers Bernard Sundstedt Richard B. Trousdell Deb Trout Guy and Judith Yale

FRIENDS ($100–$249)

Theresa Aldamlouji Michael Albano Sarah Albertson Jeffrey Alexander Kaitlin Anderson Michael Annand Anonymous William Armstrong Clayton Austin Nancy Babington Michael Banta Warren Bass Michael Baumgarten Richard Beals

Jonathan Kalb Frank and Ellen Estes Karen BedrosianCarol Kaplan Femi Euba Richardson Edward Lapine Connie Evans James Bender Jay B. Keene Jerry Evans Ned Blackhawk Samuel Kelley John D. Ezell Mark Bly Kiernan Kelly Ann Farris Joseph Brennan Roger Kenvin Paul Fiedler and Susan Amy Brewer and Peter Kim Birke Fiedler David Sacco Amir Kishon Terry S. Flagg Linda Broker William Kleb Sarah Fornia Arvin Brown Lawrence Klein, Ed.D. Raymond Forton Donald and Mary Brown Fredrica Klemm Stephen and Nancy Brown Keith Fowler Deborah Kochevar Adam Frank Oscar Brownstein Walter M. Frankenberger III Steve Koernig Colin Buckhurst Daniel Koetting Gerald E. Gaab Stephen Bundy Don and Margery Galluzzi David and Julie Koppel Katherine and Chava Bonnie Kramm Leah C. Gardiner Burgueño Brenda and Justin Kreuzer Stephen Gefroh Richard Butler David Kriebs Carol Gibson-Prugh Susan Byck Joan Kron Lorraine Golan Barbara Bzdyra Azan Kung Carol Goldberg David Calica Mitchell Kurtz Robert Goldsby Kathryn A. Calnan Ojin Kwon Naomi Grabel Juliana Canfield Susan Laity Charles Grammer H. Lloyd Carbaugh Marie Landry and Hannah Grannemann Vincent Cardinal Peter Aronson Stephen R. Grecco Andrew Carson Robert Langdon David Hale Sami Joan Casler Michael Lassell Stephanie Halene Zoe Z. Chance James and Cynthia Lawler Amanda Haley Gus Christiansen Clare Leinweber Marion Hampton King-Fai Chung Martha Lidji Lazar Alexander Hammond Nicholas Cimmino Drew Lichtenberg Ann Hanley Cynthia Clair Elizabeth Lewis Scott Hansen Aaron Copp Fred Lindauer John Harnagel Jane Cox Benjamin Lloyd Charlene Harrington Douglas and Roseline Thornton Lockwood Babo Harrison Crowley Jerry Lodynsky Brian Hastert William Cuddy Robert H. Long II James Hazen Anne Danenberg Everett Lunning Al Heartley Timothy Davidson Andi Lyons Beth Heller Cathy Davies-Harmon Wendy MacLeod Robert Heller Mr. and Mrs. Paul Peter Malbuisson Ann Hellerman DeCoster Marvin March Steve Hendrickson Penney Detchon Jonathan Marks Chris Henry Connie and Peter Edwin Martin Thomas Herman Dickinson Maria Matasar-Padilla Brian Herrera Derek DiGregorio Amy McCauley Jeffrey Herrmann Melinda DiVicino Robert McCaw Caite Hevner Dennis Dorn Robert McDonald Ashton Heyl Megan and Leon Doyon Deborah McGraw Elizabeth Holloway* Samuel Duncan Bill McGuire Nicholas Hormann John Duran Patricia McMahon Susan Horrowitz Terry Dwyer Kathryn Milano Bruce Horton Ann D’Zmura George Miller Kathleen Houle Laura Eckelman Jane Ann Miller Kevin Hourigan William Eckerd Jonathan Miller John Howland Fran Egler Cheryl Mintz Evelyn Huffman Robert Einenkel Lawrence Mirkin Nancy Reeder El Bouhali Charles Hughes Jennifer Moeller Derek Hunt Janann Eldredge Marta Moret Peter H. Hunt Samantha Else Richard Mone Tatsuya Ito Donald Engelman Beth Morrison John W. Jacobsen Dirk Epperson Jay Mullen Eliot and Lois Jameson David Epstein Kevin Muzin Elizabeth Johnson Dustin Eshenroder

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Thank you to the generous contributors to David Geffen School of Drama and Yale Repertory Theatre James Naughton Tina Navarro Kaye Neale Netalia Neparidze Jennifer Harrison Newman Kate Newman Ruth Hunt Newman Jane Nowosadko Mark Novom Deb and Ron Nudel Adam O’Byrne Eileen O’Connor Richard Olson Alex Organ Kendric T. Packer Steven Padla Michael Parrella Jeffrey Park Dr. and Mrs. Michael Parry Amanda Peiffer Ruth Perlman William Peters Joel Polis Lisa Porter Gladys Powers Robert Provenza Peter and Linda Perdue William Purves Norman Redlich Ralph Redpath Gail Reen Barbara Reid

Oakton Reynolds Lisa Richardson Elizabeth Riedemann Joan Robbins Nathan Roberts Peter S. Roberts Brian Robinson Lori Robishaw Chantal Rodriguez Kevin Rogers Stu Rohrer Robert Rooy Melissa Rose Robin Rose Joseph Ross Donald Rossler Rebecca Rugg Janet Ruppert John Barry Ryan Dr. Robert and Marcia Safirstein Steven Saklad Robert Sandberg Donald Sanders Cynthia Santos-DeCure Adam Saunders Peggy Sasso Joel Schechter Anne Schenck Kenneth Schlesinger Jennifer Schwartz Alexander Scribner Patrick Seeley Ellen Seltzer

Subrata K. Sen Paul Serenbetz Suzanne Sessions Sandra Shaner Morris Sheehan Catherine Sheehy Lorraine Siggins William and Elizabeth Sledge Gilbert and Ruth Small E. Gray Smith, Jr. George Smith Helena L. Sokoloff Suzanne Solensky and Jay Rozgonyi Charles Steckler Louise Stein Howard Steinman John Stevens Mark Stevens Michael Strickland Mark Sullivan Thomas Sullivan Erik Sunderman Jane Suttell Michelle Tattenbaum Douglas Taylor Jane Savitt Tennen Muriel Test David F. Toser Russell L. Treyz Lloyd Tucker

Carrie Van Hallgren Elaine Wackerly Adin Walker Jaylene Wallace Erik Walstad Brad Ward David Ward Joan Waricha Jon West Peter White Robert Wildman Sarah Williams Walton Wilson Annick Winokur and Peter Gilbert Alexandra Witchel Barbara Wohlsen June Yearwood

EMPLOYER MATCHING GIFTS

Aetna Foundation Ameriprise Financial Chevron Corporation Covidien General Electric Corporation IBM Mobil Foundation, Inc. Pfizer Procter & Gamble The Prospect Hill Foundation

Gifts to the For Humanity campaign and David Geffen School of Drama New Facility Fund Anonymous (3) Nina Adams and Moreson Kaplan Amy Aquino and Drew McCoy Rudy Aragon John Badham Pun Bandhu Frances and Ed Barlow John B. Beinecke Sonja Berggren and Patrick Seaver Carmine Boccuzszi and Bernard Lumpkin James Bundy and Anne Tofflemire Lois Chiles

Michael David and Lauren Mitchell Scott Delman Michael Diamond and Amy Miller Estate of Nicholas Diggs* Estate of Richard Diggs* Lily Fan Terry Fitzpatrick Anita Pamintuan Fusco and Dino Fusco David Marshall Grant Gilder Foundation The Hastings and Barcone Trust Lane Heard and Margaret Bauer

Cheryl Henson Ellen Iseman David G. Johnson Rolin Jones Jane Kaczmarek Cathy MacNeil-Hollinger and Mark Hollinger Brian Mann Jennifer Harrison Newman Richard Ostreicher Julie Turaj and Rob Pohly Tracy Chutorian Semler Michael and Riki Sheehan

Frances Black and Matthew Strauss Andrew and Nesrin Tisdale Ed Trach Esme Usdan Shana C. Waterman Amanda Wallace Woods and Eric Wasserstrom The Prospect Hill Foundation Jeremy Smith Courtney B. Vance Donald and Susan Ware Henry Winkler *deceased

These lists includes current pledges, gifts, and grants received from January 1, 2022 through April 13, 2023.

MAKE A GIFT! When you make a gift to Yale Rep’s Annual Fund, you

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support the creative work on our stage and our education programs in Greater New Haven. For more information, or to make a donation, please call Susan C. Clark, 203.432.1559. You can also give online at yalerep.org/support.

PHOTO © T. CHARLES ERICKSON, 2023

CELEBRATING THE WORK OF THE GRADUATING PLAYWRIGHTS AT DAVID GEFFEN SCHOOL OF DRAMA:

Esperanza Rosales Balcárcel, Rudi Goblen, and a.k. payne

MAY 4–12

drama.yale.edu/carlotta

203-432.1234 | dgsd.shows@yale.edu 2022–23 SEASON

See three all p for onlays ly

$30!

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