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repertory theatre 2008-09 season
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A NOTE FROM THE ARTISTIC DIRECTOR I am delighted to welcome you to Yale Rep's production of Rough Crossing by Tom Stoppard!
PHOTO BY JOHN GROO
Rough Crossing is a daft shipboard romance about the stormy creation of a musical comedy. It is set in a period of economic crisis in our country's history when escapist entertainment was at a premium, and written with winking affection for one of the great comic writers of the last century, by one of the great playwrights writing in English today. At the helm of this joyous voyage is director Mark Rucker, who knows a thing or two about keeping an unsteady ship on course. In 2006, he took the helm of Shakespeare's All's Well That Ends Well (one of eight shows he has directed here at the Rep since 1995) when open heart surgery landed me in the hospital for an extended stay. There’s a story one of the actors in that cast loves to tell about Mark’s arrival in the fourth week of rehearsal, just two weeks before an audience was to see the show. He began by watching the company work through the play in its entirety for the very first time—an event known colloquially in the theatre as a “stumble through,” because it’s almost always long, rough, and frustrating. This one was no exception. At the end of the rehearsal, the understandably tired and shell-shocked company looked fearfully at their new director: “Well,” he said, “that’s the best first rehearsal I’ve ever seen!” When the news is bleak, as it is so often these days, you turn to someone with a buoyant personality like Mark. It helps if you can also go out and land a few comedians and singers and dancers, and I’m devoted to this remarkable company of actors for their fearless invention. In hard times, laughter is precious. As theatre artists learned nearly eighty years ago during the Great Depression, we can care deeply about an economic crisis and people in distress around the globe—and still take pleasure in, even require, the joyful triumph of truth and irrationality in a play. Thank you for joining our cruise on the SS Italian Castle. We look forward to seeing you again in 2009! Sincerely,
James Bundy Artistic Director
NOVEMBER 28 TO DECEMBER 20, 2008
YALE REPERTORY THEATRE
James Bundy, Artistic Director
Victoria Nolan, Managing Director
ROUGH CROSSING TOM STOPPARD from an original play by FERENC MOLNÁR directed by MARK RUCKER by
TIMOTHY R. MACKABEE
Sound Designer/ Orchestral Arrangements
Production Dramaturgs Casting Stage Manager
WALTER BYONGSOK CHON MIRIAM FELTON-DANSKY TARA RUBIN CASTING IRIS DAWN O'BRIEN
Rough Crossing is presented by special arrangement with Samuel French, Inc.
SEASON MEDIA SPONSOR
COVER PHOTO BY DAVID COOPER.
C AST IN ORDER OF SPEAKING
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JOHN G. PRESTON
ASHLEE FIFE STEPHANIE FITTRO JENIFER FOOTE SHAUNA HOSKIN ADINA VERSON ADRIA VITLAR
Ladies of the Chorus
SETTING: The action takes place on board the SS Italian Castle sailing between Southampton and New York via Cherbourg.
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MUSIC All music composed by André Previn, except "Casablanca," composed by Erika Schroth. All lyrics by Tom Stoppard.
Found in Translation IN THE 1910s AND 1920s,
he was one of the most popular playwrights in New York. His rollicking farces and wrenching melodramas were adapted by Rodgers and Hammerstein, Preston Sturges, and Arthur Miller. His productions featured luminaries like Eva Le Gallienne and Charles Laughton, and his films were star vehicles for Sophia Loren, Deanna Durbin, and James Cagney, to name just a few. Though today few of us know his name, Ferenc Molnár remains one of America’s best loved, and least known, writers. Born in Budapest in 1878, Molnár served as a foreign correspondent during World War I, then began writing novels (most famously, the comingof-age tale The Paul Street Boys) as well as drama and short stories. His writing, admired by theatre giants Brecht and Pirandello, fused wit and farce with urban and naturalistic themes, reflecting the increasingly cosmopolitan atmosphere of fin-de-siècle Budapest. But his urbane sensibility also gave Molnár an appeal reaching far beyond Hungary’s borders. His most famous contribution to American culture is the 1909 play Liliom—which, in the hands of Rodgers and Hammerstein, became the 1945 hit musical Carousel. Arthur Miller adapted The Guardsman, a 1910 Molnár work, into a radio play which was later made into a film of the same name. The film version of Molnár’s The Swan marked the last screen appearance by Grace Kelly, filmed the same year she became Princess Grace of Monaco. Billy Wilder (incidentally, also an Eastern European import) brought Molnár’s One, Two, Three to the silver screen, while P. G. Wodehouse translated The Play at the Castle as The Play’s the Thing thirty years before Tom Stoppard reworked it into Rough Crossing. Molnár fled Hungary in 1937 to escape Nazi persecution, and died an unwilling expat in New York in 1952. Though Molnár was never happy living as an American, Anglophone enthusiasm for his work continued unabated—a testament to the deep intelligence and delight in stagecraft that lie below the glimmering surfaces of his comic works. As he once wrote, simply, “I have never left a theater in all my life with the feeling that I have wasted the evening.” 8
FROM TOP: FERENC MOLNÁR, (PHOTO BY CARL VAN VECHTEN); CAROUSEL, MAJESTIC THEATRE, 1945 (VANDAMM THEATRICAL PHOTOGRAPHS); ALFRED LUNT PLAYING DUAL ROLES IN THE GUARDSMAN (PHOTO BY EDWARD STEICHEN, 1924).
TOM STOPPARD IS WIDELY RENOWNED for applying his omnivorous intellect and razor wit to philosophical, even existential, ends. In plays like Rosencrantz and Guildenstern Are Dead, Arcadia, and Travesties he tackles some of the weightiest topics of all time: physics and philosophy, the relationship between art and life, and the perennial complexities of love. Outsized figures populate his stages—James Joyce, Vladimir Lenin, and Tristan Tzara, to name a few—and his plots parse epoch-defining ideas, from the roots of political radicalism to the fate of the modern avant-garde. But not all of Stoppard’s works are bound for the coasts of Utopia—some of them, like Rough Crossing, are pure pleasure cruises. Rough Crossing is “freely adapted” (Stoppard’s words) from a 1926 Hungarian comedy by the immensely popular Ferenc Molnár. In fact, one of Stoppard’s ongoing dramatic projects has been the introduction of comedy from his native Eastern Europe (he was born in the former Czechoslovakia in 1937) to the English-speaking world. One of his best-known comedies, 1981’s On the Razzle—a romantic farce brimming with wordplay, crossed plot-lines, and false identities—is an adaptation of nineteenthcentury Austrian playwright Johann Nestroy’s Einen Jux will er sich machen (roughly translated, “He’ll Have Himself a Good Time”). That adaptation, as it happens, is only one stop on that play’s transatlantic journey: in addition to On the Razzle, the 1842 Nestroy work served as source material for Thornton Wilder’s The Matchmaker and, from there, for the musical Hello, Dolly!.
TOM STOPPARD (PHOTO BY AMIE STAMP)
Stoppard has also explored some of Eastern Europe’s least-traveled comic terrain: both Undiscovered Country, a 1979 play of melodrama and manners, and Dalliance, a romantic drama from 1986, are adaptations of earlier works by Austrian playwright and novelist Arthur Schnitzler. Schnitzler, whose sexually explicit writing incited scandal (and inspired the admiration of Freud) in pre-World War II Vienna, shared Stoppard’s obsessions with language, philosophy, and love’s deep complications. In bringing these plays—written by notoriously challenging playwrights and in notoriously complex languages—from east to west, Stoppard has done far more than literal translation. His adaptations are works of cross-cultural alchemy, infusing Eastern European comedies with the kind of sparkling language, satirical verve, and erudite ironies that are as native to London as Shakespeare or Shaw. And now Rough Crossing—which displays Stoppard’s talents as a show-stopping juggler of plots, themes, and characters— docks in New Haven to add, in the spirit of Stoppard himself, yet another layer of cultural translation to its continuing theatrical voyage. —MIRIAM FELTON-DANSKY, PRODUCTION DRAMATURG
Dire Straits: 1930 Impresarios on the Brink s
In the 1930s, Broadway struggled through rough waters churned by the stock market crash of 1929 and the even more calamitous success of those new-fangled “talkies.” The Depression caused a loss of over 25,000 theatre jobs, the majority in New York. The burgeoning film business not only poached actors who could speak well (as some of the silent stars could not) but also patrons who would rather pay five cents than three dollars for their entertainment. In 1932, when Franklin D. Roosevelt won his first presidential election, half of New York’s theatres were dark.
The stakes were painfully high for producers, who often found themselves in extremis as their plays failed, sometimes after only a single performance. It was not uncommon for producers to go on the lam from creditors—producer Vinton Freedley got the idea for Anything Goes (1934) while hiding on a boat. Sometimes they became the stuff of comedies themselves—the Marx Brothers’s Room Service (1937) depicts desperate producer Gordon Miller stashing his nineteen hungry actors in a hotel ballroom. While there were socially conscious dramas which resounded with the day-to-day hardships of the era, such as Clifford Odets’s Awake and Sing (1935), the economic troubles motivated many producers to dedicate themselves to laughter, brightness, and excitement: a communal yearning to forget the hardship, even temporarily. Many shows were built around light entertainment and, accordingly, profit. Some
Others fought against the crisis with their creativity. The groundbreaking success of Show Boat in 1927 confirmed that a coherent blend of high-quality songs, a tight story line, and well-grounded characters could generate an exceptional Broadway hit. In 1931—against no less a heavyweight than Eugene O’Neill’s Mourning Becomes Electra—George S. Kaufman, Morrie Ryskind, and George and Ira Gershwin won the first Pulitzer bestowed upon a musical for Of Thee I Sing, a mordant political satire on presidential politics. And though not as successful commercially, the Gershwins’ staggeringly original collaboration with DuBose Heyward, Porgy and Bess (1935), FROM top: cole porter and ethel merman stood the test of time and, in 1985, became rehearsing anything goes, 1934; georgette harvey and john bubbles in 1935's porgy and bess. the first Broadway musical to enter the (time-life images) repertory of The Metropolitan Opera Company. The struggling theatre market also benefited from foreign talent that sailed into New York harbor, either as immigrants like Kurt Weill and Max Reinhardt, or touring artists such as Laurence Olivier and John Gielgud. So though the floor may have fallen out of the business as it had the stock market (233 new productions were mounted in New York in 1929; there were only 98 in 1939), Broadway survived by cultivating fruits of sometimes commercial, sometimes artistic flavor.
FROM top: THE MARX BROTHERS WITH LUCILLE BALL IN ROOM SERVICE, 1935; fred astaire and clare luce in 1932's gay divorce. (time-life images)
producers bet their money on rehashing popular elements from the 1920s musicals, emphasizing memorable songs set in superfluous plots (like Cole Porter’s “Night and Day” from 1932’s Gay Divorce), and performances of superb comedians like Jimmy Durante and the Marx Brothers in contrived situations. For variety, flashy chorus girls danced in preludes and interludes that had no connection to the main performance.
–WALTER BYONGSOK CHON
Castles on the Sea: Luxury Ocean Liners of the 1930s
Before the aviation boom in the 1950s, ships were the only means to travel between continents. Yet, for the transatlantic ocean liners of the 1930s, transportation was merely their practical function. In the great era of the Normandie , the
Empress of Britain , and the Bremen , these ships were a cultural phenomenon. King George V and Queen Mary, along with a crowd of 200,000 onlookers, attended the launching of RMS (Royal Mail Ship) Queen Mary in 1936. The Queen herself cut the ribbon releasing a bottle of Australian wine to baptize the ship. The luxury liners became public and extravagant symbols of national pride.
For Cabin-class passengers, embarking on an ocean
Etiquette on the open water was strictly
liner meant more than crossing the windy and
adhered to. After 6 PM, evening gowns and
stormy North Atlantic; it was their ticket to the lush
black tie were de rigueur, in harmony with the
life. Boys in livery ushered them to their deluxe
cigars, champagne, and caviar on offer. The
cabins. Champagne corks popped at “Bon Voyage!”
only exceptions were the first and last days
They danced to live music in the lounge. When the
of traveling, when their wardrobe would have
ship cast off, many stood at the railings, waving to
been packed away in steamer trunks. Cabin
those on shore, throwing confetti and streamers in
stewards, like Rough Crossing’s Dvornichek,
a celebratory au revoir.
usually came from families that had worked the ship for generations, or they honed their
miniature golf on board the bremen, 1933.
On-board activities included clay-pigeon shooting,
skills in smaller liners before transferring
tennis, golf, miniature golf, swimming, poker,
to the luxury ship. They were trained to be
bridge, and bingo. Of course, some passengers
always attentive but never obtrusive.
preferred to find their sport in the ship’s bars or restaurants, hunting for chance romantic encounters. Many luxuriated by lying in deck chairs, wrapped up in woolen blankets, and reading. A record of the Queen Mary in 1936 shows that one morning every chair had been provided with a copy of the just-published Gone with the Wind.
left, from top: the convivial bar on the normandie, 1935; A cabin steward aboard the queen mary
from left: rita hayworth, marlene dietrich, and gloria swanson.
Celebrities were frequent passengers, and on occasion, they were politely asked to perform or give a public address. Gloria Swanson, Fred Astaire, Sir Winston and Lady Churchill, Cary Grant, Rita Hayworth, Greta Garbo, and Marlene Dietrich are only a few of those who crossed the Atlantic by sea. Accordingly, at its destination, the ship became a site for photographers and reporters to acquire their front-page material. As such, the ocean liners cruised through the 1930s, not only transporting passengers but also inviting them into a haven of high-class culture where they could forget about their earthly worries and enjoy the oceanic comforts. Today the function of these vessels has largely been taken over by airplanes, and while vacationers remain fascinated by faring the open seas, life on contemporary cruise ships seems miles away from the culture of 1930s luxury liners.
CAST SEAN DUGAN* (ADAM) has appeared in the Off-Broadway productions of The English Channel (Abingdon Theatre Company); Perfect Harmony (Clurman Theatre); BFF (DR2 Theatre); Valhalla, Flesh and Blood (New York Theatre Workshop); Corpus Christi (Manhattan Theatre Club); and Shakespeare’s R & J (John Houseman Theatre). His regional credits include The Cry of the Reed (Huntington Theatre Company); The English Channel (Vineyard Playhouse); The Four of Us (The Old Globe); Spring Forward, Fall Back (Theater J, Vineyard Playhouse); Three Sisters, Enrico IV, Antigone, The Doctor’s Dilemma, Loot, Richard II, The Idiots Karamazov, The Cripple of Inishmaan (American Repertory Theatre); As You Like It, Rags, More Musical Magic, and Babes in Arms (Hope Summer Repertory). Film and television: Gigantic (upcoming), Trust the Man, Company Man, Overnight Sensation, Law & Order: Criminal Intent, Law & Order: Special Victims Unit, The Beat, and Oz.
ASHLEE FIFE* (LADY OF THE CHORUS/DANCE CAPTAIN) is making her Yale Rep debut. Her New York credits include Chitty Chitty Bang Bang (Broadway), Follies (Encores!), and The Merry Widow starring Placido Domingo (Lolo understudy, The Metropolitan Opera). She was also a Radio City Music Hall Rockette for seven years. National Tours: The Scarlet Pimpernel and Some Like It Hot with Tony Curtis. Other theatre credits include Josefa in A Shot in the Dark (Midtown International Theatre Festival), The Day Before Spring (Mufti Series at The York Theatre Company), Violet Bick in It’s a Wonderful Life (Theatre Under the Stars, Houston), Lola in Damn Yankees (Carousel Dinner Theatre), She Loves Me (The Arena Stage), and 42nd Street (The Mountain Playhouse).
STEPHANIE FITTRO* (LADY OF THE CHORUS) is making her Yale Rep debut. Most recently she was seen on Broadway as Kate/Chutney in Legally Blonde. Other New York credits include The Merry Widow (The Metropolitan Opera), Hair (Encores!), Peace Man (Jazz At Lincoln Center), and Jesus and Mandy directed by David Drake (Theater for the New City). National Tour credits include the Tony Award-winning shows Hairspray directed by Jack O’Brien and Carousel directed by Nicholas Hytner. Regional credits: West Side Story directed by Alan Johnson (Theater of the Stars, Atlanta; Theatre Under the Stars, Houston) and Seven Brides For Seven Brothers (Paper Mill Playhouse, North Shore Music Theatre). Last year, Ms. Fittro appeared with Chita Rivera, Alan Johnson, and other original cast members of West Side Story in a 50th-Anniversary Tribute choreographed for the annual Gypsy of the Year Competition. *MEMBER OF ACTORS’ EQUITY ASSOCIATION, UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS IN THE UNITED STATES.
JENIFER FOOTE* (LADY OF THE CHORUS) is making her Yale Rep debut. Her Broadway credits include A Chorus Line (Val), Dirty Rotten Scoundrels, Frank Wildhorn’s Dracula, and Annie Get Your Gun. She has toured the country with Dirty Rotten Scoundrels (Jolene Oaks) and The Wizard of Oz. Other stage credits include Follies (Encores!), Sinatra (Radio City Music Hall), Broadway: 3 Generations (The Kennedy Center), the Actors Fund concerts of Hair and On the Twentieth Century, the Mack and Mabel Tribute to Jerry Herman (Lincoln Center), and two years as a Radio City Rockette. Film and television credits include the Warner Bros. animated feature The King and I and A Capitol Fourth (tap feature with Tony Danza) on PBS. She is a proud graduate of University of California-Irvine.
SHAUNA HOSKIN* (LADY OF THE CHORUS) is originally from Edmonton, Canada, and received a certificate in dance from The Ailey School. She appeared in the Broadway production of The Producers for four years, as well as in the National Tour and the film version. She just returned from a year in Paris where she studied at the Sorbonne by day and performed at the Lido de Paris by night.
PATRICK KERR* (DVORNICHEK) received his MFA from Yale School of Drama and appeared in the Yale Rep productions of Phaedra and Hippolytus, A Child’s Tale, and The Winter’s Tale. New York stage credits include The Ritz (Roundabout Theatre Company), Jeffrey (Minetta Lane Theatre), The Devils (New York Theatre Workshop), The Warrior Ant (Brooklyn Academy of Music), and Romeo and Juliet (Theatre for a New Audience). Regional credits include productions at the Geffen Playhouse, South Coast Repertory, Mark Taper Forum, Pasadena Playhouse, Berkeley Repertory Theatre, INTIMAN Theatre, Magic Theatre, Guthrie Theater, George Street Playhouse, Portland Stage, CENTERSTAGE, Ford’s Theatre, and The Acting Company. Film and television: Domino, Ed, Stuart Saves His Family, On the Lot, Curb Your Enthusiasm, Frasier (Screen Actors Guild Award), The New Adventures of Old Christine, Friends, Will and Grace, and CSI, among many others. He is the recipient of the Bay Area Critics, Santa Barbara Independent, Dean Goodman, and Garland Awards, as well as two Ovation Award nominations.
Read more about Rough Crossing at yalerep.org 17
CAST JOHN G. PRESTON* (IVOR) made his Yale Rep debut in The Ladies of the Camellias (2004). Recent credits include Taboos (OffBroadway); The Constant Wife (Asolo Rep); Les Liaisons Dangereuses, The Unexpected Guest (Syracuse Stage); Pure Confidence (The Cincinnati Playhouse); Othello (Georgia Shakespeare); As You Like It (The Public Theater); After Ashley (Denver Center Theatre Company); and The Real Thing (Syracuse Stage). An Associate Artist and Resident Company Member at Alabama Shakespeare Company, he appeared there in Twelfth Night, The Taming of the Shrew, The Tempest, King Lear, A Midsummer Night’s Dream, King John, As You Like It, Troilus and Cressida, Love’s Labour’s Lost, Arms and the Man, Romeo and Juliet, Henry IV Part I, Dancing at Lughnasa, The Comedy of Errors; and directed MFA productions of Scapin and Triumph of Love. Also: the Samuel French Short Play Festival winner Feet of Clay (as well as the short film version), the feature film Ready? OK!, Law & Order, and As the World Turns. BFA, Florida State University; MFA, University of Alabama/Alabama Shakespeare Festival Professional Actor Training Program.
REG ROGERS* (TURAI) previously appeared in the Yale Rep productions of Largo Desolato, The Beauty Part, Hamlet, Figaro/ Figaro, and Landscape of the Body. His New York credits include The Pain and the Itch by Bruce Norris, Bach at Leipzig by Itamar Moses, Richard Greenberg’s Hurrah At Last and The Dazzle (OBIE Award and Lucille Lortel Award), Cellini by John Patrick Shanley, and Holiday (Tony and Drama Desk Award nominations). Regional theatre credits include the world premieres of The Understudy by Theresa Rebeck, The Injured Party by Richard Greenberg, and Ridiculous Fraud by Beth Henley; as well as Richard III directed by Mark Rucker, Platonov and Uncle Vanya on Lake Lucille, four seasons at Williamstown Theatre Festival, and eight seasons at New York Stage and Film. Film and television credits include I Shot Andy Warhol, Primal Fear, Runaway Bride, I’ll Take You There, The Photographer, Analyze That, Igby Goes Down, Lovely by Surprise, Friends, Law & Order, and Law & Order: Criminal Intent. He received his MFA from Yale School of Drama in 1993.
SUSANNAH SCHULMAN* (NATASHA) made her Yale Rep debut in the 2006 production of All’s Well That Ends Well. Her other credits include How Shakespeare Won the West (Huntington Theatre); Bad Dates, The Two Gentlemen of Verona (Geva Theatre); Les Liaisons Dangereuses (Syracuse Stage); Man from Nebraska, The Further Adventures of Hedda Gabler, On the Mountain, Cyrano de Bergerac, The Dazzle, Nostalgia, Six Degrees of Separation, The Taming of the Shrew (South Coast Repertory); The House of Blue Leaves (Berkeley 18
Repertory Theatre); Continental Divide (Oregon Shakespeare Festival, Berkeley Rep, the Barbican Theatre in London); Picnic (Marin Theatre Company); The Joan Rivers Theater Project (Magic Theatre); the national tour of Steve Martin’s Picasso at the Lapin Agile; five seasons at Shakespeare Santa Cruz; and six seasons at California Shakespeare Theater, where she is an Associate Artist. She lives in New York City.
GREG STUHR* (GAL) Broadway credits include David Mamet’s November, opposite Nathan Lane, directed by Joe Mantello; The 25th Annual Putnam County Spelling Bee directed by James Lapine; and Elaine May’s Taller than a Dwarf directed by Alan Arkin. Greg has enjoyed a long association with playwright Keith Reddin, performing in All the Rage, Can’t Let Go, Frame 312, But Not for Me, and Brutality of Fact, at theatres including Primary Stages, Atlantic Theater Company, and South Coast Repertory, among others. Film and television credits include Red with Brian Cox, Beautiful Ohio with William Hurt, New Amsterdam, Law & Order, and Third Watch. A native of Buffalo, NY, Greg worked extensively with the Irish Classical Theatre alongside members of the famed Abbey Theatre, performing leading roles in Betrayal, A View from the Bridge, and Arms and the Man. He is a graduate of Carnegie Mellon Drama.
ADINA VERSON (LADY OF THE CHORUS) is making her Yale Rep debut. Her recent credits include The Hot L Baltimore (The Actors Company Theatre), Five Women Wearing the Same Dress (Gene Frankel Theatre), Win Win Power Auction (LaMama ETC), and Big Doolie (New York International Fringe Festival). Adina was nominated for a Connecticut Critics Circle Award for her role in The Mikado at River Rep Theatre Company, and currently studies at Michael Howard Studios. She is a graduate of the Chicago Academy for the Arts, and received her BFA at The Boston Conservatory.
ADRIA VITLAR (LADY OF THE CHORUS) is a third-year MFA candidate at Yale School of Drama and is making her Yale Rep debut. Her theatre credits include A Month in the Country, Peer Gynt, The Ghost Sonata, Camino Real, The Wendy Play (Yale School of Drama); The Do-Over, Little Shop of Horrors, and The Three Sisters, or The Dormouse’s Tale (Yale Cabaret); as well as national tours of The Best Little Whorehouse in Texas and Mame.
*MEMBER OF ACTORS’ EQUITY ASSOCIATION, UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS IN THE UNITED STATES.
JESSE BELSKY (LIGHTING DESIGNER) is a third-year MFA candidate at Yale School
TIMOTHY R. MACKABEE (SCENIC DESIGNER) New York credits include Single
of Drama, where his credits include the 2008 Carlotta Festival of New Plays, Baal, and Venus. His other credits include Bone Songs, Bill Clinton Goes to the Bathroom, The Illusion, A Number, In the Cypher, An Evening of Cabaret, In the Meantime (Yale Cabaret); Plane Crazy (2005 New York Musical Theatre Festival); Dear Maudie (78th St. Theater Lab); and Clocks & Whistles (Origin Theater Company); and he has served as assistant lighting designer for productions on and off Broadway as well as television. A graduate of Duke University, his work with The Best has been seen at numerous venues around New York City and in Brisbane, Australia.
LUKE BROWN (COSTUME DESIGNER) Past credits include I Have Loved Strangers (Williamstown Theatre Festival), Gorilla Man (Boston Theatre Works), and Tom Jones (The Shakespearean Theater of Maine). He has designed various productions at Tufts University, Yale School of Drama, and Yale Cabaret. He has also had various production roles on many film and television projects throughout New England, most recently as assistant costume designer for the PBS educational miniseries We Shall Remain (WGBH, Boston). Luke is a third-year MFA candidate at Yale School of Drama.
WALTER BYONGSOK CHON (PRODUCTION DRAMATURG) is a second-year MFA candidate at Yale School of Drama, where his credits include I Am a Superhero. His Yale Cabaret credits include Be Aggressive and Mask Ritual: Electra. On stage, he appeared as Nachum in Fiddler on the Roof at Edison Theatre in St. Louis. Walter studied Shakespeare at the Globe Theatre, and received his BA in English from Sungkyunkwan University in Korea and his MA in theatre studies from Washington University in St. Louis. This summer he interned in the literary office at the Eugene O’Neill Theater Center National Playwrights Conference.
MIRIAM FELTON-DANSKY (PRODUCTION DRAMATURG) is a third-year MFA candidate at Yale School of Drama, where her credits include Peer Gynt, Venus, and Marcus; or the Secret of Sweet. Her other credits include last season's Trouble in Mind at Yale Rep, as well as Blood Box: An Evening of Grand Guignol and Pamela Precious (upcoming) at Yale Cabaret. A graduate of Barnard College, she is a former managing editor of Theater magazine and has also written for Theatre Journal (forthcoming) and HotReview.org.
MICHELE LYNCH (CHOREOGRAPHER) Broadway credits include The Coast of Utopia (choreographer), Hairspray (associate choreographer), The Full Monty (associate choreographer), Urinetown (assistant choreographer), and Victor/Victoria (performer) Michele recently won the Connecticut Critics Circle Award for her choreography in Happy Days, the Musical at Goodspeed Musicals, which just launched a National Tour. Other new musicals and plays include Little House on the Prairie (The Guthrie Theater); Idaho, Go-Go Beach (New York Musical Theatre Festival); 13 (Mark Taper Forum, Garland Award); Pride and Prejudice (Asolo Repertory Theatre, directed by Mark Rucker); Leading Ladies (Ford’s Theatre, directed by Mark Rucker); Breakfast at Tiffany’s (The Muny); and Empire (Stamford Center). Her film credits include the choreography for Camp for IFC Films.
Black Female (The Duke on 42nd Street); Tell Out My Soul and Vrooommm! (Summer Play Festival); Trout Stanley (Culture Project); Gorilla Man (P.S. 122); Those Who Can, Do (Clubbed Thumb); The King Is Dead (Abingdon Theatre Company); Between Worlds (Blue Heron Theatre); Usher, Mello-llama, and Armless (New York International Fringe Festival); A for Adultery, and The House of Bernarda Alba (Prospect Theater Company). Dance: Doug Varone’s Alchemy (The Joyce Theatre); Raw, Beyond the Red (National Tour), and Seed all for Cedar Lake Dance. Regional theatre: The Story (Philadelphia Theatre Company), No Child… (Weston Playhouse), Curse of the Starving Class (University of Rochester). Associate/assistant designer on Broadway for Cymbeline; Heartbreak House; How the Grinch Stole Christmas; The Color Purple; Ring of Fire; ’night, Mother; Frozen; Losing Louie; Wonderful Town; Little Women; and Off-Broadway: [title of show]. Film and television: Margot at the Wedding, The Today Show, and Football Night in America. Training: North Carolina School of the Arts; Yale School of Drama, MFA expected 2009. timothymackabeedesign.com
PHILLIP OWEN (SOUND DESIGNER/ORCHESTRAL ARRANGEMENTS) is a thirdyear MFA candidate at Yale School of Drama, where he designed sound for last season’s I Am a Superhero and The Ghost Sonata. His other credits include The Donny Hathaway Story, In the Cypher, Bone Songs (Yale Cabaret); Vaudeville Vanya (St. Idiot Collective); Americamisfit (Salvage Vanguard); and A Midsummer Night’s Dream (Mary Moody Northern Theatre). He has worked for the transient theatre company TENT on Oh, Sweet Captain and KG: Life in a Tin Can in Portland, Maine. For several years he worked professionally as an actor, most notably for Blue Raincoat Theatre Company in Sligo, Ireland. He recently played Phil, the Dad in Be Aggressive at Yale Cabaret. IRIS DAWN O’BRIEN* (STAGE MANAGER) is a third-year MFA candidate at Yale School of Drama, where she has stage managed Good Egg, Peer Gynt, and Titus Andronicus. Her other credits include We’re Celebrities, We’re Just Not Famous Yet; An Evening of Cabaret; Brand (Yale Cabaret); as well as assistant stage managing Zero Hour and Marcus; or the Secret of Sweet (Yale School of Drama); as well as Passion Play and Trouble in Mind (Yale Rep). Iris received her BS from the University of Wisconsin-River Falls.
TARA RUBIN CASTING (CASTING) has been casting at Yale Rep since 2004. Broadway: The Country Girl, Billy Elliot, Shrek, Guys and Dolls (upcoming), Young Frankenstein, The Little Mermaid, Mary Poppins, The Farnsworth Invention, Rock ’n’ Roll, The History Boys (US casting), Les Misérables, Spamalot, Jersey Boys, The 25th Annual Putnam County Spelling Bee, The Producers, Mamma Mia!, The Phantom of the Opera, The Pirate Queen, Good Vibrations, Bombay Dreams, Oklahoma!, Flower Drum Song, Imaginary Friends, Metamorphoses (New York casting). Lincoln Center Theater: The Frogs, Contact, Thou Shalt Not, A Man of No Importance, Anything Goes (concert). Off-Broadway: Second Stage Theatre. Regional: Williamstown Theatre Festival; La Jolla Playhouse (New York casting); Mame, Mister Roberts, The Sondheim Celebration, and Tennessee Williams Explored at The Kennedy Center. Film: The Producers: The Musical. Members, Casting Society of America.
*MEMBER OF ACTORS’ EQUITY ASSOCIATION, UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS IN THE UNITED STATES.
CREATIVE TEAM east coast premiere
MARK RUCKER (DIRECTOR) previously directed the Yale Repertory Theatre productions of Twelfth Night, Landscape of the Body, The Cryptogram, Measure for Measure, The Imaginary Invalid, Kingdom of Earth, All’s Well That Ends Well (with James Bundy), and The Mistakes Madeline Made. Mr. Rucker is an Associate Artist at South Coast Repertory, where he has directed over 20 productions including world premieres by Richard Greenberg, Christopher Shinn, Annie Weisman, John Glore, and Culture Clash. Other work includes productions at Arena Stage, La Jolla Playhouse, Berkeley Rep, INTIMAN Theatre, Syracuse Stage, American Conservatory Theatre, Ford’s Theater, The Old Globe, California Shakespeare Theater, and The Acting Company. His first feature film, Die, Mommie, Die!, won a special jury prize at the 2003 Sundance Film Festival. He is a graduate of UCLA and Yale School of Drama.
by OCTAVIO SOLIS directed by
ERIKA SCHROTH (MUSIC DIRECTOR) is pleased to return to Yale Rep, where she has
photo by david cooper
been part of the musical teams for Comedy on the Bridge and Brundibar, All's Well That Ends Well, and a recent workshop of Meanwhile on the Other Side of Mt. Vesuvius. Her other theatre credits include musical direction for productions of Quilters and The Apple Tree, and acting roles in The Ride Down Mt. Morgan, Six Degrees of Separation, and To Whom It May Concern. An active performer, teacher, and musical director, she has performed as a solo and collaborative artist across the US and Europe, has taught piano at Wesleyan University since 2004, and spent several summers playing and teaching on the faculty at the Interlochen Center for the Arts. In 2007 she was a guest artist at the Stamford International Music Festival in the UK to much acclaim. Upcoming appearances include recitals in Texas and at New York's Merkin Concert Hall with cellist Jeffrey Lastrapes.
An unflinching and deeply emotional portrait of an immigrant family caught in a web of dark secrets, Lydia “seduces and tempts you with its pulsing rhythms and evocative language until it has you fully under its spell” (The Denver Post). contAins strong lAnguAge And nudity.
next at yale rep february 6 to 28, 2009 yale repertory theatre 1120 chapel street (at york street), new haven
yalerep.org 203.432.1234 t e le ty p e o r d e rs 203.432.1521
february 21 at 2pm
february 28 at 2pm
YALE REPERTORY THEATRE ARTISTIC DIRECTOR JAMES BUNDY is in his seventh year as Dean of Yale School of Drama and Artistic Director of Yale Repertory Theatre. In his first six seasons, Yale Rep has produced more than twenty world, American, and regional premieres, three of which have been honored by the Connecticut Critics Circle with the award for Best Production of the year, and two of which have been Pulitzer Prize finalists. During this time, Yale Rep has also commissioned more than a dozen playwrights to write new work, and provided low-cost theatre tickets and classroom visits to thousands of middle and high school students from Greater New Haven through WILL POWER!, an educational program initiated in 2004. Mr. Bundy’s directing credits include The Psychic Life of Savages, The Ladies of the Camellias, All’s Well That Ends Well, and A Woman of No Importance at Yale Rep, as well as productions at Great Lakes Theater Festival, The Acting Company, California Shakespeare Festival, Alabama Shakespeare Festival, and The Juilliard School Drama Division. A recipient of the Connecticut Critics Circle’s Tom Killen Award for extraordinary contributions to Connecticut professional theatre in 2007, Mr. Bundy currently serves on the board of directors of Theatre Communications Group, the national service organization for nonprofit theatre. Previously, he worked as Associate Producing Director of The Acting Company, Managing Director of Cornerstone Theater Company, and Artistic Director of Great Lakes Theater Festival. He is a graduate of Harvard College and Yale School of Drama.
MANAGING DIRECTOR VICTORIA NOLAN is Managing Director of Yale Repertory Theatre, Deputy Dean of Yale School of Drama, and serves on its faculty. She was previously Managing Director of Indiana Repertory Theatre, Associate Managing Director at Baltimore’s CENTERSTAGE, Managing Director at Ram Island Dance Company in Portland, Maine; and she has held various positions at Loeb Drama Center of Harvard University; TAG Foundation, an organization producing Off-Broadway modern dance festivals; and Boston University School for the Arts. Ms. Nolan is an evaluator for The National Endowment for the Arts, for which she has chaired numerous grant panels, and has served on other panels and foundation review boards including the AT&T Foundation, The Heinz Family Foundation, Lila Wallace-Reader’s Digest Fund, and the Metropolitan Life Foundation. She has also served on the Executive Committee of the League of Resident Theatres (LORT) and on numerous negotiating teams for national labor contracts. A Fellow at Yale’s Saybrook College, she is the 2000 recipient of the Betsy L. Mahaffey Arts Administration Fellowship Award from the State of Connecticut and the 2005 recipient of the Elm/Ivy Award, given jointly by Yale University and the City of New Haven for distinguished service to the community. Ms. Nolan is married to Clark Crolius. They have two daughters, Covey and Wilhelmina.
ASSOCIATE ARTISTIC DIRECTOR JENNIFER KIGER is in her fourth year as Associate Artistic Director and director of Yale Repertory Theatre’s new play program, an integrated, playwrightdriven initiative that supports the creation of new plays for the American stage through commissions, residencies, workshops, and productions. Ms. Kiger came to Yale Rep from South Coast Repertory (SCR), where she was Literary Manager from 2000 to 2005 and served as Co-Director of the Pacific 24
Playwrights Festival. She was dramaturg on more than 40 new plays at SCR, including the world premieres of Rolin Jones’s The Intelligent Design of Jenny Chow, Amy Freed’s The Beard of Avon, and the West Coast premieres of Sarah Ruhl’s The Clean House and Nilo Cruz’s Anna in the Tropics. Prior to that, she served as production dramaturg at American Repertory Theatre, collaborating with directors Robert Brustein, Robert Woodruff, Liz Diamond, and Kate Whoriskey, and with multimedia director Bob McGrath on stage adaptations of Robert Coover’s Charlie in the House of Rue and Mac Wellman’s Hypatia. She has been a dramaturg for the Playwrights’ Center of Minneapolis and Boston Theatre Works and a panelist for the NEA and the California Arts Council. Ms. Kiger completed her training in Dramaturgy at the American Repertory Theatre Institute for Advanced Theatre Training at Harvard University, where she taught courses in acting and dramatic arts.
PRODUCTION SUPERVISOR BRONISLAW SAMMLER, Production Supervisor of Yale Repertory Theatre, has been Chair of Yale School of Drama’s acclaimed Technical Design and Production Department since 1980. In 2007 he was named the Henry McCormick Professor (Adjunct) of Technical Design and Production by Yale’s President, Richard C. Levin. He is co-editor of Technical Brief and Technical Design Solutions for Theatre, Vols. I & II. His book Structural Design for the Stage won the United States Institute of Theatre Technology’s Golden Pen Award. Demonstrating his commitment to excellence in technical education and professional production, he founded USITT’s National Theatre Technology Exhibit, an on-going biennial event; he has served as a commissioner and a director-at-large and is a lifetime Fellow of North America’s Theatre Technology Association. He was honored as Educator of the Year in 2006 by the New England Theatre Conference. His production management techniques and his introduction of structural design to scenic technology are being employed in both educational and professional theatres throughout the world.
PRODUCTION STAGE MANAGER JAMES MOUNTCASTLE has been the Production Stage Manager at Yale Rep since fall 2004. He was stage manager for this season's production of Sarah Ruhl’s Passion Play, the 2006 production of Ruhl's Eurydice, the 2004 world premiere of Ruhl’s The Clean House, a new adaptation of The Cherry Orchard in 2005, and last season’s Richard II. A professional stage manager for more than twenty years, he has worked in regional, stock, and Broadway theatre. Broadway credits include Damn Yankees, Jekyll & Hyde, Judgment at Nuremberg, The Boys from Syracuse, The Smell of the Kill, Life x(3), and Wonderful Town. Mr. Mountcastle spent several Christmas seasons in New York City as stage manager for the now legendary production of A Christmas Carol at Madison Square Garden. Broadway national tours include City of Angels, Falsettos, and My Fair Lady. He served as Production Stage Manager for Damn Yankees starring Jerry Lewis for both its national tour and at the Adelphi Theatre in London’s West End. In addition, Mr. Mountcastle has worked at The Kennedy Center, CENTERSTAGE in Baltimore, Actors Theatre of Louisville, Brooklyn Academy of Music, and elsewhere. James and his wife Julie live in North Haven and are the very proud parents of two beautiful girls: Ellie, who is 9 years old, and Katie, age 7. 25
YALE REPERTORY THEATRE STAFF James Bundy, Artistic Director Victoria Nolan, Managing Director Jennifer Kiger, Associate Artistic Director
ARTISTIC Resident Artists Paula Vogel, Playwright-in-Residence Liz Diamond, Evan Yionoulis, Resident Directors Catherine Sheehy, Resident Dramaturg Ming Cho Lee, Set Design Advisor Michael Yeargan, Resident Set Designer Jane Greenwood, Costume Design Advisor Jess Goldstein, Resident Costume Designer Jennifer Tipton, Lighting Design Advisor Stephen Strawbridge, Resident Lighting Designer David Budries, Sound Design Advisor Walton Wilson, Voice and Speech Advisor Rick Sordelet, Fight Advisor Mary Hunter, Stage Management Advisor Associate Artists 52nd Street Project, Kama Ginkas, Mark Lamos, MTYZ Theatre/Moscow New Generations Theatre, Bill Rauch, Sarah Ruhl, Henrietta Yanovskaya Artistic Administration Tara Rubin, CSA, Laura Schutzel, CSA, Casting Directors Eric Woodall, Merri Sugarman, Casting Associates Paige Blansfield, Rebecca Carfagna, Dale Brown, Casting Assistants Ruth M. Feldman, Director of Education and Accessibility Services Amy Boratko, Michael Walkup, Artistic Coordinators Brian Valencia, Kristina Williams Literary Associates Pamela C. Jordan, Librarian Teresa Mensz, Library Services Assistant Josie Brown, Senior Administrative Assistant to the Artistic Director and Associate Artistic Director Kathleen Driscoll, Senior Administrative Assistant for the Directing, Dramaturgy & Dramatic Criticism, Playwriting, and Stage Management Departments Mary Volk, Senior Administrative Assistant for the Design and Sound Design Departments
ADMINISTRATION Frances Black, Kay Perdue, Associate Managing Directors Alyssa Anderson, Assistant Managing Director Martha O. Jurczak, Management Assistant Claire Shindler, Senior Administrative Assistant to the Managing Director Belina Mizrahi, Company Manager
Development and Alumni Affairs Deborah S. Berman, Director of Development and Alumni Affairs Debbie Ellinghaus, Senior Associate Director of Development and Alumni Affairs Ann M.K. McLaughlin, Senior Associate Director of Development, Yale Repertory Theatre Luis Abril, Associate Director, Development Susan C. Clark, Development Associate Tara Kayton, Development Assistant Laura Torino, Senior Administrative Assistant to Development and Marketing and Communications Departments Finance and Information Technology Katherine D. BurgueĂąo, Director of Finance and Human Resources Sheila Daykin, Associate Director of Finance Cristal Coleman, Magaly Costa, Business Office Specialists Randall Rode, Information Technology Director Daryl Brereton, Associate Information Technology Director Mara Hazzard, Tessitura Systems Administrator Toni Ann Simiola, Senior Administrative Assistant to Business Office, Information Technology, Operations, and Tessitura Marketing, Communications, and Audience Services Anne Trites, Director of Marketing and Communications Steven Padla, Senior Associate Director of Communications Daniel Cress, Associate Director of Marketing Sergi Torres, Associate Director of Marketing & Communications Rachel Smith, Marketing Manager Sarah Stevens-Morling, Interim Online Communications Manager Maggie Elliott, Graphic Artist Laura Torino, Senior Administrative Assistant to Development and Marketing and Communications Departments Jennifer Harrison Newman, Marketing Assistant Scott McKowen, Punch & Judy Inc., Graphic Designers David Cooper, Photographer Joan Marcus, Production Photographer Janna J. Ellis, Director of Audience Services Tracy Baldini, Assistant Audience Services Director Audrey Rogers, Manager, Group Sales Nancy Genga, London Moses, Audience Services Assistants Maria Barsky, Sam Bolen, Ruth Kim, Leah Knowles, Sue Malone, Andrew Riveria, Raphael Shapiro, Box Office Assistants
Operations William J. Reynolds, Director of Facility Operations Rich Abrams, Operations Associate Jacob Thompson, Security Officer Ed Jooss, Audience Safety Officer Fred Grier, Michael Blatchley, Customer Service and Safety Officers Ben Holder, Ron Maybrey, Custodial Supervisors Lucille Bochert, Vermont Ford, Warren Lyde, Vondeen Ricks, Mark Roy, Custodians
Bronislaw J. Sammler, Production Supervisor James Mountcastle, Production Stage Manager Jonathan Reed, Senior Associate Production Supervisor Marla J. Silberstein, Senior Administrative Assistant to the Production Department Costumes Tom McAlister, Costume Shop Manager Robin Hirsch, Associate Costume Shop Manager Mary Zihal, Senior Draper Clarissa Wylie Youngberg, Draper Deborah Bloch, First Hand Linda Kelley-Dodd, Costume Project Coordinator Barbara Bodine, Company Hairdresser Martha Lehr, Costume Stock Manager Electrics Donald W. Titus, Lighting Supervisor Jason Wells, Linda Young, Head Electricians Adrian Rooney, Assistant to the Lighting Supervisor Painting Ru-Jun Wang, Resident Scenic Charge Angie Meninger, Scenic Artist Nora Hyland, Assistant Scenic Artist Steward Savage, Assistant to the Painting Supervisor Properties Brian Cookson, Properties Master David P. Schrader, Properties Craftsperson Jennifer McClure, Properties Assistant Mark Villani, Properties Stock Manager Scenery Don Harvey, Neil Mulligan, Technical Directors Alan Hendrickson, Electro Mechanical Laboratory Supervisor Eric Sparks, Shop Foreman Matt Gaffney, Sharon Reinhart, Master Carpenters Lisa McDaniel, Shop Carpenter Bona Lee, Assistant to the Technical Director Sound Brian MacQueen, Sound Supervisor Paul Bozzi, Staff Sound Engineer Nicholas Pope, Junghoon Pi, Assistants to the Sound Supervisor Projections Erik Trester, Head Projection Technician Stage Operations Janet Cunningham, Stage Carpenter Kate Begley Baker, Properties Runner Jeanne Wu, Sound Operator Elizabeth Bolster, Wardrobe Supervisor
The Director is a member of the Society of Stage Directors and Choreographers, Inc., an independent national labor union. Yale Repertory Theatre operates under an agreement between the League of Resident Theatres (LORT) and Actorsâ€™ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
ADDITIONAL STAFF FOR ROUGH CROSSING
Dipika Guha, Assistant Director Sang Hee Kim, Assistant Costume Designer Dede Ayite, Assistant Scenic Designer Marie Yokoyama, Assistant Lighting Designer Bree D. Sherry, Assistant Stage Manager Matt Welander, Associate Production Supervisor Joel Furmanek, Technical Director Sandra J. Jervey, James Andrew Zwicky, Assistant Technical Directors Steven A. Schmidt, Assistant Properties Master Kyoung Jun Eo, Master Electrician Jennifer Johnson, Sound Engineer Ryan Gardner, Amy Jonas, Carpenters Daniel Schmidt, Paint Crew Judianne Wallace, Draper Harry Johnson, Linda Wingerter, First Hands Martha Lehr, Stitcher Denise O'Brien, Wig and Hair Design Ben Morelli, Philadelphia Costume Company, Custom Men's Tailoring Susan Kim, Art Priromprintr, Assistant Company Managers Elizabeth Elliott, House Manager Erich Bolton, Lisa Loen, Erik Pearson, Art Priromprintr, Jennifer Salim, Jennifer Shaw, Michael Vincent Skinner, Run Crew Ashlee Fife, Dance Captain ORCHESTRA MUSICIANS Tom Bergeron, First Trumpet Minjeong Cha, Viola Stephen Chen, Alto Sax Yoo Choe, Horn Jaehee Choi, Clarinet Michael Compitello, Marimba Brian Ellingsen, Bass Jenny Ferrar, Tenor Sax Philo Lee, Cello Douglas Lindsey, Second Trumpet Anastasiya Melta, First Violin Jay Roberts, Second Trombone Ian Rosenbaum, Percussion Erika Schroth, Piano Sabatino Scirri, Flute Matthew Wright, First Trombone I-Chun Yeh, Second Violin UNDERSTUDIES Danny Binstock, Dvornichek Alex Knox, Gal Christopher McFarland, Ivor Max Gordon Moore, Turai Blake Segal, Adam Adria Vitlar, Natasha SPECIAL THANKS Aaron's Sales & Leasing, Long Wharf Theatre Props Deprtment, and Chris Swetcky.
The Scenic, Costume, Lighting, and Sound Designers in LORT are represented by United Artists Local USA-829, IATSE. Rough Crossing, November 28 to Decmber 20, 2008. University Theatre, 222 York Street
YALE REPERTORY THEATRE ANNUAL FUND GO BEYOND THE SHOW… Make a gift to Yale Repertory Theatre’s Annual Fund to support the national and international artists you see on our stage, to provide resources for early career and leading playwrights, to create original work at Yale, and to maintain our tradition of artistic excellence and leadership in the American theatre. Your generosity also sustains Yale Rep’s community programs, like WILL POWER!, which introduces nearly 2,000 middle and high school students annually to the power of live theatre; and The Dwight/Edgewood Project, a unique outreach program that, through playwriting, strengthens the self-esteem and creative expression of students from New Haven’s Troup Magnet Academy of Science. Your tax-deductible gift to Yale Rep’s Annual Fund—at any level—plays a significant role in contributing to our ability as a nonprofit theatre to bring the best work to our stages and share it with the Greater New Haven community. For more information on how to make a donation, please contact Ann M.K. McLaughlin, Senior Associate Director of Development, at (203) 432-1536, email@example.com, or go to www.yalerep.org/donate.
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PRODUCERâ€™S CIRCLE ($5,000 - $9,999) Foster Bam Jim Burrows Bill Conner Heidi Ettinger The John Golden Fund Ruth and Steve Hendel George Ingram Ben Ledbetter and Deborah Freedman Mionetto USA NewAlliance Foundation Carol Ostrow Karen Pritzker and Michael Vlock Gerald Schoenfeld Talia Shire Schwartzman Eugene F. Shewmaker Philip J. Smith
DIRECTORâ€™S CIRCLE ($1,000-$4,999) Amy Aquino Anna Fitch Ardenghi General Charitable Purpose Trust Paula Armbruster Cornelia Barr Margaret A. Bauer Deborah S. Berman Jeffrey A. Bleckner Sandra Boynton Thomas Bruce James Bundy Benjamin Cameron Raymond Carver CEC Artslink Patricia Clarkson Enrico L. Colantoni Community Foundation of Greater New Haven Consulate General of the Netherlands Peggy Cowles
William E. Curran, Jr. Scott M. Delman Henry Dunn Terry Kevin Fitzpatrick Marcus Dean Fuller Stephen L. Godchaux Fred Gorelick and Cheryl MacLachlan Donald Granger Anne Hamburger Andrew and Jennifer Hamilton Judith A. Hansen James Earl Jewell Donald and Candice Kohn The Ethel & Abe Lapides Foundation Sasha Emerson Levin Jody Locker-Berger Santo R. Loquasto Linda Lorimer and Charley Ellis William Ludel Dr. and Mrs. Robert W. Lyons Romaine A. Macomb Jennifer Mannis Peter A. Marshall Dawn G. Miller Arthur and Merle Nacht NEA/TCG Theatre Residency Program for Playwrights Christopher Noth Nicholas Pepper DW Phineas Perkins Sarah Rafferty Arthur I. Rank III Pamela Rank Regional Water Authority Belinda Robinson Rose Brand Ben and Laraine Sammler Alvin Schechter Theatre Projects Consultants Scoozzi Trattoria and Wine Bar Anthony M. Shalhoub Marie S. Sherer Benjamin Slotznick Jeremy Smith Kenneth J. Stein
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Karsten Harries Richard A. Harrison Katherine W. Haskins Michael Haymes and Logan Green Jane C. Head Kathryn Hirsch Barnet K. Kellman Marie Kitchen Francis N. Levy Kenneth Lewis George N. Lindsay, Jr Chih-Lung Liu Brian Mann John McAndrew Tom and Norma McGarry David E. Moore Arthur Oliner Richard Ostreicher James M. Perlotto Thomas J. Peterson Amy Povich George and Kathy Priest Carol A. Prugh Lance Reddick Alan Rosenberg David Saltzman Suzanne Sato G. Erwin Steward Christopher Suttor Eileen Suttor Jadwyn Suttor Mr. and Mrs. Robert Szczarba Shirin Devrim Trainer John M. Turturro and Katherine Borowitz Carol M. Waaser Carolyn S. Wiener Alexandra Witchel Steven Wolff
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Sandra Manley Delia Maroney and Jolie Damiano Maria Mason and William Sybalsky Carol and Arthur Mikesell Jeffrey Milet Victoria Nolan and Clark Crolius William and Barbara Nordhaus Cesar Pelli Louise Perkins and Jeff Glans Elizabeth Prete and Peter Hentschel Bill and Sharon Reynolds Harry M. Ritchie Joumana Rizk Dawn Robertson Laila Robins Steve Robman Dorothy Rostov Larry Schwartz and Russ Rosensweig Dr. Ortwin Rusch Alexander Scribner Paul Selfa Sandra Shaner Rachel Sheinkin Mark and Cindy Slane Erich William Stratmann Bernard J. Sundstedt Paul Charles Tigue III David and Lisa Totman Suzanne Tucker Sally and Cheever Tyler David J. Ward Vera Wells Dana Westberg Kathleen Wimer and Joseph Puleo Evan Yionoulis
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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 Robert and Charlotte White Robert Wierzel Lisa A. Wilde Robert Wildman John and Virginia Wilkinson Catherine M. Wilson Marshall Williams Bess Wohl Robin B. R. Wood Tamilla Woodard Judith Yale Arthur Zigouras Catherine J. Zuber Albert Zuckerman
EMPLOYER MATCHING GIFTS Aetna Foundation Corning, Inc. General Electric Corporation IBM 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, 2007 through November 17, 2008. For more information about making a donation to Yale Repertory Theatre, please contact Ann M.K. McLaughlin at 203.432.1536 or firstname.lastname@example.org. 33
SPONSORSHIP CORPORATE SPONSORS Bank of America Barrett Outdoor Communications Geronimo Tequila Bar Martinson Coffee Mionetto USA Regional Water Authority Scoozzi Trattoria and Wine Bar
WILL POWER! SPONSORS YALE REPERTORY THEATRE’S ARTS EDUCATION INITIATIVE Anna Fitch Ardenghi General Charitable Purpose Trust Bank of America Jane Marcher Foundation NewAlliance Foundation Ms. Esme Usdan
This list includes current pledges, gifts and grants received from July 1, 2007 through November 17, 2008.
FOR YOUR INFORMATION COMMUNITY SPONSORS
HOW TO REACH US
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IN PERSON: 1120 Chapel Street (at York St.) MAIL: Yale Repertory Theatre Box Office PO Box 1257, New Haven, CT 06505 PHONE: 203.432.1234 TTY (TELETYPE): 203.432.1521 E-MAIL: email@example.com
DISCOUNT DINING PARTNERS The following dining establishments offer discounts to Yale Rep subscribers throughout the season. Miya's Sushi Pacifico Tre Scalini Zaroka
BOX OFFICE HOURS Monday to Friday from 10AM to 5PM Saturday from 12 to 5PM Until 8PM on all show nights
FIRE NOTICE Illuminated signs above each door indicate emergency exits. Please check for the nearest exit. In the event of an emergency, you will be notified by theatre personnel and assisted in the evacuation of the building.
RESTROOMS There is an accessible restroom in the main lobby. Additional restrooms are located downstairs.
LocAteD next Door to YALe rep 1104 chapel Street 203-776-8268
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.
TRATTORIA & WINE BAR Innovative Italian cuisine Zagat Guide Award of Distinction Mezzo Prezzo Tuesdays—half price wines by the bottle Sunday brunch with live Jazz Knowledgeable, attentive staff
A proud supporter of Yale Repertory Theatre 34
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.
ACCESSIBILITY SERVICES Yale Repertory Theatre offers all patrons the most comprehensive accessibility services program in Connecticut, including a season of open captioned and audio described performances, a free assistive listening system, largeprint and Braille programs, a direct TTY (teletype) line to Yale Rep’s Box Office (203.432.1521), wheelchair accessibility with an elevator entrance into the Yale Rep Theatre located on the left side of the building, and accessible seating. For more information about the theatre’s accessibility services, contact Ruth M. Feldman at 203.432.8425 or firstname.lastname@example.org.
open captioning (OC): You’ll never again have to ask, “What did they say?” Open Captioning provides a digital display of the play’s dialogue as it’s spoken.
audio description (AD): A live narration of the play’s action, sets, and costumes for patrons who are blind or low vision.
Rough Crossing Lydia Notes from Underground
Dec 13 Feb 21
Dec 20 Feb 28
Death of a Salesman
Open Captioned and Audio Described performances are at 2PM. AD pre-show description begins at 1:45PM.
c2inc is pleased to be the official Open Captioning provider of Yale Repertory Theatre.
The taking of photographs or the use of recording devices of any kind in the theatre without the written permission of the management is prohibited. 35
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