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This production marks a homecoming for two extraordinary actors: Charles S. Dutton and Kimberly Scott, both graduates of Yale School of Drama who last appeared at Yale Rep nearly 25 years ago in the world premiere of Joe Turner’s Come and Gone by August Wilson. They lead an extraordinary company, many of whom you have seen at Yale Rep before. As a director, it has been a great joy to spend the last weeks and months with these remarkable artists to discover the universal truths of Arthur Miller’s timeless—and timely—masterpiece. I am thrilled that you are here to share it with us!

by Henrik ibsen directed by evan Yionoulis

ECLIPSED by Danai Gurira directed by liesl TommY WorlD Premiere

COMPULSION by rinne Groff directed by oskar eusTis

THE SERVANT OF TWO MASTERS by Carlo GolDoni adapted by ConsTanCe ConGDon directed by CHrisToPHer baYes

THE BATTLE OF BLACK AND DOGS by bernarD-marie kolTès translated by miCHaël aTTias directed by roberT WooDruff and one more play to be announced.

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Welcome to Death of a Salesman, the final production of Yale Repertory Theatre’s 2008–09 season.



In an increasingly digitized and commoditized world, the live experience of the theatre—its immediacy, arguments, contradictions, exhilarations, longings, and sensations—is more precious than ever. You have let us know this through your increased attendance at our theatre and through your impassioned dialogues with our artists, each other, and me. The astonishing range of letters and e-mails I have received in response to plays at Yale Rep this year has reminded me again and again that our audiences are deeply committed to the value and power of theatre in their own lives and in the community. As this season draws to a close, I am delighted to share with you our plans for 2009–2010: extraordinary new works and classic plays brought to life by some of the most accomplished and daring artists in the American theatre—some whose work you may know well already, and others coming to work at our theatre for the first time. Yale Rep resident director Evan Yionoulis (Richard II) will kick off the season with a brand new production of Henrik Ibsen’s The Master Builder. Danai Gurira, the OBIE Award-winning co-author of In the Continuum, returns with her new play Eclipsed. Acclaimed playwright Rinne Groff and Oskar Eustis, artistic director of The Public Theater, make their Yale Rep debuts with the world premiere of Compulsion. Christopher Bayes, whose choreography is featured in the hit Broadway production of Alfred Hitchcock’s The 39 Steps, directs Carlo Goldoni’s commedia dell’arte masterpiece The Servant of Two Masters; and Robert Woodruff, fresh off this season’s Notes from Underground, returns to direct The Battle of Black and Dogs, a haunting thriller by French writer Bernard-Marie Koltès. And there’s still one more play that we’ll announce shortly. I hope you’ll take a moment here at the theatre, or online when you get home, to renew your commitment and subscribe to next year’s season. (Details can be found opposite this page.) Thank you for your tremendous support, enthusiasm, and many stirring and thoughtful responses this season. I look forward to seeing and hearing from you again soon, and all of next year!

James Bundy Artistic Director james.bundy@yale.edu


A P R I L 2 4 T O M AY 2 3 , 2 0 0 9


James Bundy, Artistic Director

Victoria Nolan, Managing Director




MILLER Directed by JAMES BUNDY Composer Scenic Designer


Costume Designer


Lighting Designer


Sound Designer


Production Dramaturgs


Fight Director


Vocal and Dialect Coach


Casting Stage Manager


Death of a Salesman is presented by special arrangement with Samuel French, Inc. Yale Repertory Theatre is grateful to Bank of America and NewAlliance Foundation for their support of this production.






Willy Loman Linda Loman Biff Loman Happy Loman Bernard The Woman Charley






Jenny Stanley Waiter Miss Forsythe Letta


WRITING WHAT HE KNEW No one could have guessed that Arthur Miller would become one of America’s great playwrights when he was born in 1915. The son of a successful tailor and factory owner, young Arthur lived a comfortable life on the Upper West Side of Manhattan. His family was a close-knit one, with mother and father, and other relatives, working in the garment business. But like so many other Americans at the time, the Millers would face hardships in the Great Depression. After losing their business, they moved to a small house outside Manhattan, and Arthur Miller began to think of himself as a Brooklynite—an identity that would influence his writing throughout his career. Miller’s tenacity and penchant for competition developed in his Brooklyn years. His love of sports in high school would lead to a football injury that precluded his service in the military during World War II. After graduating, he applied to colleges that would nurture his passion and talent for writing, but the University of Michigan—his first choice—twice rejected him. Only after Miller wrote a personal appeal imploring the dean to reconsider was he admitted, enrolling in 1936. At Michigan, he justified the dean’s confidence by earning two undergraduate awards, in addition to numerous citations for his playwriting. In 1940 Arthur Miller returned to Brooklyn with a bachelor’s degree, a new wife, and not much else. As a member of the working class, he took assorted jobs to provide for his young, growing family; he was a writer for the Federal Theatre Project and a ship fitter’s assistant at the Brooklyn Navy Yard. But he had always felt that



his personal writing projects were his most important work. Finally, after some success with radio plays, he made his Broadway debut with The Man Who Had All the Luck in 1944. Although the play

Arthur Miller sets Death of a Salesman, his exploration of the elusiveness of the American Dream, in the quintessentially American city of Brooklyn. (Actually, the term “city” only properly applies to Brooklyn until 1898 when it officially became incorporated as one of New York City’s five boroughs.) Brooklyn occupies Kings County on eighty-one square miles at Long Island’s western tip and is connected to neighboring Manhattan by three bridges, one tunnel, fourteen subway lines, one ferry service, and a pugnacious wariness of being consumed by the cosmopolitan bully across the East River. We recognize Brooklyn from images of its high-stooped brownstones and eponymous bridge, as the setting for numerous sitcoms from The Honeymooners to The Cosby Show, and as the home of Brooklynese, a much-imitated accent popularized by Hollywood through surly WWII soldiers and down-ontheir-luck street toughs.

closed after just four performances, Miller, used to bouncing back after adversity, was undaunted. His second stab at Broadway, All My Sons (1947), was a major success: Miller was able to quit his jobs and focus on his writing full-time in his Roxbury, Connecticut, home, paid for by the fruits of his theatrical labor. In 1949, Miller followed All My Sons with Death of a Salesman, the play that won him

Brooklyn’s many distinct neighborhoods offer snapshots of the American melting pot. The ethnic communities of Brooklyn were for decades synonymous with their neighborhoods’ names—some still are. There have long been Jewish residents in Brighton Beach and Flatbush; African Americans moved into Bedford-Stuyvesant and Brownsville after WWI; Italians still congregate in Bensonhurst; and Vinegar Hill near the Manhattan Bridge used to be known as Irish Town. Though the quiet of these Brooklyn neighborhoods is sometimes disturbed by intense parochialism, the borough is united in its resistance to being ranked second after the more genteel Manhattan. Such pride and doggedness have earned Brooklyn its reputation as the hardscrabble borough of striving families. There’s more space here, and it’s cheaper by the square foot. There are more family-friendly businesses, and fewer skyscrapers blotting out the blue.

the Pulitzer Prize and launched him into the ‘status’-sphere of national celebrity. Still, no matter how much fame, glamour, and gossip surrounded the playwright, he continued to write with an awareness of the times in which he lived, with keen observations on American society. His best work is characterized by his ability to fuse public, social issues with echoes of his own private life. His refusal to name names before the House Committee on Un-American Activities was refigured in The Crucible (1953); the turbulence of his marriage to Marilyn Monroe ignited After the Fall (1964). And, even in Death of a Salesman, Arthur Miller was writing what he knew—the pathos, the humor, the poetry, and the humanity of the play resonate profoundly with his own history and his beloved Brooklyn. —DONESH OLYAIE, PRODUCTION DRAMATURG





The first half of the twentieth century saw Brooklyn in ascendance: the Brooklyn Navy Yard brought thousands of workers to the borough during the two World Wars, and new subway lines built in the 1930s made for an easy commute between Brooklyn and Manhattan. A spike in housing construction after WWI expanded the borough’s residences so that by the mid-1920s it surpassed Manhattan as the most populous borough of NYC, a predominance it maintains to this day. Kenneth T. Jackson, a NYC historian, claims that as many as one-quarter of all Americans can trace their heritage to one-time Brooklyn residents. Because of its role as a way station for such a large portion of the population, Brooklyn boasts a number of iconic American landmarks. Ebbets Field—home to the Brooklyn Dodgers from 1913 to 1957—bordered diverse neighborhoods in central Brooklyn until it was demolished to make way for high-rise apartments. Prospect Park, a 19th-century city-beautification project designed by the same architects as Manhattan’s Central Park, spans 585 pacific acres just blocks away (the architects considered Prospect Park the more successful project). Coney Island, at the south tip of the borough, was home to such classic amusements as the Cyclone roller coaster and the Steeplechase, and every summer visitors elbowed each other on the boardwalk waiting in line for a Nathan’s hot dog.

Brooklyn Heights




Vinegar Hill




Bedford Stuyvesant

Fort Greene





Crown Heights

Park Slope

East New York


Prospect Park





Sunset Park










Flatbush FL B AT US





Coney Island










Sheepshead Bay

Death of a Salesman opens on the Loman’s home in Brooklyn in 1949. The small, single-family unit is described by Miller in a stage direction as crowded on all sides by the “towering, angular shapes” of new apartment buildings. Mid-century housing complexes are found all over Brooklyn, and Miller never specifies in which neighborhood the Lomans live; his play evokes an almost mythic Brooklyn. But then, if Willy’s dream is the American Dream, his hometown seems to be America itself. Miller’s lack of specificity in setting may be precisely the point. A Brooklyn native himself, Miller once quipped, “No one can know Brooklyn, because Brooklyn is the world.” —MICHAEL WALKUP, PRODUCTION DRAMATURG 13



second-year MFA candidate at Yale School of Drama, where she most recently appeared as Anita in Jelly’s Last Jam. Other School of Drama credits include Natasha in Chekhov’s The Three Sisters; Paulina in The Winter’s Tale; Lady Montague in Romeo and Juliet; Dell in Grace, or the Art of Climbing (Carlotta Festival of New Plays, 2008); and Lucrezia in 99 Ways to Fuck a Swan. At Yale Cabaret, she has been seen as Billie Holiday in Lady Day at Emerson’s Bar & Grille, Kesa in See What I Wanna See, Audrey in Little Shop of Horrors, and Ms. Walker in The Who’s Tommy.

STARLA BENFORD* (THE WOMAN) made her Yale Rep debut in the 2007 production of Trouble in Mind. Her New York credits include A Streetcar Named Desire, Cat on a Hot Tin Roof, Macbeth on Broadway; The Vagina Monolgues (also National Tour); Macbeth, Stonewall Jackson’s House (Theatre for a New Audience). Other theatre credits include the Irish premiere of Doubt (The Abbey Theatre, Dublin); Hold Please (The Old Globe); Trouble in Mind (CENTERSTAGE); A Streetcar Named Desire (The Cleveland Play House); From the Mississippi Delta (Stamford Theatre Works, Connecticut Critics Circle Award); The Oresteia, Slaughter City (American Repertory Theatre); Antony and Cleopatra (Shakespeare Theatre); The Venetian Twins (Guthrie Theater); and Denial (Long Wharf Theatre). Film and television: Half Nelson, United 93, A Perfect Murder, the Law & Order trio; and upcoming: the feature 13 and Showtime’s Nurse Jackie. Ms. Benford is a graduate of the American Repertory Theatre at Harvard University.

LA TONYA BORSAY* (JENNY) is excited to return to Yale Rep where she last appeared as Darlene and Princess Parquett in dance of the holy ghosts in 2006. Her other regional theatre credits include Blues for an Alabama Sky (Crossroads Theatre Company, Passage Theatre Company), I Am a Man (Philadelphia Theatre Company), A Raisin in the Sun (Indiana Repertory Theatre), and Monte Carlo (Denver Center Theatre Company). Off-Broadway credits include Mrs. Drinkwater in Des Moines, Georgia in The Exonerated, James Baldwin in Civil Sex; Macbeth and Woyzeck (The Public Theater). Her film and television credits include First Breath, It Takes Two, Work, Born on the Fourth of July, Law & Order: Criminal Intent, Law & Order: Special Victims Unit, The Wire, Ed, As the World Turns, One Life to Live. Education: BA, University of North Texas; certificate, Moscow Art Theater School; MFA, New York University. *MEMBER OF ACTORS’ EQUITY ASSOCIATION, UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS IN THE UNITED STATES. 14

THOMAS JEFFERSON BYRD* (BEN) made his Yale Rep debut in Trouble in Mind in 2007. His other theatre credits include the recent Broadway revival of Ma Rainey’s Black Bottom (Tony Award nomination; Theatre World Award for Outstanding Broadway Debut); Trouble in Mind (CENTERSTAGE); Crowns, Two Trains Running, The Piano Lesson (Alliance Theatre); Gem of the Ocean (Actors Theatre of Louisville); Hamlet, Fences, Miss Evers’ Boys (Indiana Repertory Theatre); Spunk (Dramalogue Award, San Diego Repertory Theatre); Good Boys (American Conservatory Theater); The Darker Face of the Earth (Oregon Shakespeare Festival); and Flyin’ West (Long Wharf). Film and television credits include MacArthur Park, Girl 6, Clockers, Get on the Bus, Set It Off, Bulworth, He Got Game, the Academy Award-winning Ray, Bamboozled, Living Single, Law & Order: Criminal Intent, and the Emmy Award-winning Lackawanna Blues. Mr. Byrd received his MFA from California Institute of the Arts. AUSTIN DURANT (BERNARD) made his Yale Rep debut earlier this season in Passion Play. He is a second-year MFA candidate at Yale School of Drama, where his credits include Jelly’s Last Jam, I Am a Superhero, Romeo and Juliet, and Peer Gynt. His other stage credits include The Who’s Tommy, Kids These Days, Recess (Yale Summer Cabaret); The Illusion, The Pilgrim Papers, One Flew Over the Cuckoo’s Nest (Berkshire Theatre Festival); Mum Puppettheatre and Philadelphia Theatre Workshop. He received his BA in Theatre from Temple University.

CHARLES S. DUTTON* (WILLY LOMAN) A graduate of Yale School of Drama, Mr. Dutton’s previous Yale Rep credits include the world premieres of August Wilson’s Joe Turner’s Come and Gone and Ma Rainey’s Black Bottom. His other stage credits include the Broadway premieres of Ma Rainey’s Black Bottom and The Piano Lesson, receiving Tony nominations for both; and his one-man show From Jail to Yale…Serving Time on Stage. His film and television appearances include Q & A; Alien 3; Menace II Society; Rudy; A Low Down Dirty Shame; Cry, the Beloved Country; Nick of Time; A Time to Kill; Get on the Bus; Cookie’s Fortune; Gothika; Secret Window; Honeydripper; The Express; the upcoming Legion and Fame; The Piano Lesson; Roc (NAACP Image Award); The Murder of Mary Phagan; House; The Sopranos; Oz; Without a Trace (Emmy Award); and The Practice (Emmy Award). His directing credits include First Time Felon (HBO); The Corner (Emmy Award); Sleeper Cell (Showtime); Racing for Time (Lifetime); Under (A&E pilot); Against the Ropes; and upcoming, The Obama Effect. This performance is dedicated to Pam Jordan, who has made the Drama Library a home for thousands of School of Drama students over the course of her 42 years of devoted service to Yale. 15


CAST ATO ESSANDOH* (BIFF LOMAN) was last seen as Carlyle

in the Roundabout Theatre Company production of Streamers by David Rabe, directed by Scott Ellis. His other theater credits include the Huntington Theatre Company production of Streamers (IRNE nomination for best actor); Mother Courage and Her Children with Meryl Streep, directed by George C. Wolfe (The Public Theater); the title role in Native Son (Intiman Theatre); the title role in Macbeth, The Three Sisters, Measure for Measure (Manhattan Theatre Source); The Blowin of Baile Gall (Irish Arts Center); Luminescence Dating (Ensemble Studio Theatre); and Joshua James’s Tallboy Walkin’ (Trilogy Theatre). His film and television appearances include Nights in Rodanthe, Blood Diamond, Prime, Garden State, Hitch, Saving Face, Falling for Grace, Brother’s Shadow, Law & Order, Conviction, Important Things with Demetri Martin, Line of Fire, Commander and Chief, and Third Watch. www.atoessandoh.com

MARK SAGE HAMILTON* (WAITER) is pleased to return to Yale Rep, where he appeared in the 2004 production of King Lear with Avery Brooks. His New York credits include Richard III (American Theatre of Actors), Ontological Detective (Blue Heron Arts Center), Running Out of Gas (American Globe Theatre), The Tempest (Theatre at Riverside Church), and Thirst (Provincetown Playhouse). His regional credits include King Lear, Gypsy (Cincinnati Playhouse in the Park); A Streetcar Named Desire (Hartford Stage); Romeo and Juliet and The Tempest (Elm Shakespeare Company). Mr. Hamilton is a member of the Theatre Artists Workshop and a graduate of Fairfield University. He earned his MFA at Ohio University.

STEPHEN McKINLEY HENDERSON* (CHARLEY) has appeared on Broadway in August Wilson’s King Hedley II, the revival of Ma Rainey’s Black Bottom, Dracula the Musical, and Drowning Crow. His Off-Broadway credits include August Wilson’s Jitney directed by Marion McClinton (Drama Desk, OBIE, and AUDELCO Awards), which received the 2002 Olivier Award for Outstanding Drama when it transferred to London; Stephen Adley Giurgis’s The Last Days of Judas Iscariot directed by Phillip Seymour Hoffman (The Public Theater); and two shows in Signature Theatre Company’s 2007 season dedicated to August Wilson. In 2008, he was a cast member of August

Wilson’s 20th-Century readings at The Kennedy Center. Film and television work includes Everyday People, which premiered at Sundance in 2004, and New Amsterdam (Fox). Mr. Henderson is a Professor and former Chair of the Department of Theatre and Dance at University at Buffalo, State University of New York, as well as a member of the LAByrinth Theater Company, The Actor’s Center, and a Fox Foundation Fellow.

BILLY EUGENE JONES* (HAPPY LOMAN) previously appeared in the Yale Rep productions of Richard II and Breath, Boom. His New York theatre credits include the Broadway productions of Passing Strange, Radio Golf, A Raisin in the Sun, Gem of the Ocean; and Off-Broadway: The Three Sisters, Waiting for Godot (Classical Theatre of Harlem), and The Actor’s Rap (Acorn Theater). His regional theatre credits include the world premieres of The Good Negro, Gee’s Bend, and Living Room in Africa; Jitney, Fences, Angels in America, Ma Rainey’s Black Bottom, The Wild Duck, Guys and Dolls, Ain’t Misbehavin’, Spunk; and productions of Shakespeare’s Othello (title role), Hamlet, Macbeth, As You Like It, The Merchant of Venice, All’s Well That Ends Well, Julius Caesar, and Henry IV, Parts I and II. Film and television: Hexed, High Ambitions, The Peanut Man: The Story of George Washington Carver, Comic View, Wishbone, and Madison Heights. He is a graduate of Yale School of Drama.

STANLEY WAYNE MATHIS* (STANLEY) most recently appeared as Sterling in August Wilson’s Radio Golf at Kansas City Rep. His New York credits include the Broadway productions of Wonderful Town; Kiss Me, Kate; You’re a Good Man, Charlie Brown; The Lion King; Jelly’s Last Jam; Oh, Kay!; as well as St. Louis Woman (City Center Encores!) and Real Black Men Don’t Sit Cross Legged on the Floor (New Federal Theatre; AUDELCO Award, Best Ensemble Cast). His regional theatre credits include Caesar in Gem of the Ocean (Seattle Rep), Gabriel in Fences (Bristol Riverside Theatre), Blues for an Alabama Sky (Cleveland Play House), “Master Harold”…and the boys (Triad Stage), Of Mice and Men (Dallas Theater Center), Day of Absence (CENTERSTAGE), and Spunk (Mark Taper Forum). His film and television appearances include Magic Sticks, Dark Streets, Santa Baby, the Sundance Special Jury Prize winner Brother to Brother, Late Night with Conan O’Brien, Saturday Night Live, and Law & Order. *MEMBER OF ACTORS’ EQUITY ASSOCIATION, UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS IN THE UNITED STATES.





Rep debut. His New York credits include the Broadway production of Julius Caesar with Denzel Washington; Yellowman (Manhattan Theatre Club; and regional theatres: Long Wharf, McCarter Theatre, The Wilma Theater, American Conservatory Theater); Blue (Roundabout Theatre Company); and Beauty on the Vine (Epic Theatre Ensemble). Other regional credits include Rosencrantz and Gildenstern Are Dead (CENTERSTAGE); Passion Play, The Great White Hope (Arena Stage); The Merry Wives of Windsor, Henry V, School for Scandal (The Shakespeare Theatre); and Hamlet (Shakespeare & Co). Film and Television: Body of Lies with Russell Crowe, Pride and Glory with Edward Norton, Dead Canaries, 13 (upcoming) with Jason Statham, Kings, Law & Order, Law & Order: Criminal Intent, Law & Order: SVU, All My Children, As the World Turns, and Guiding Light.

TIJUANA T. RICKS* (LETTA) A graduate of Yale School of Drama, Tijuana made her Yale Rep debut in the 2002 production of Breath, Boom. Her other regional credits include The Women of Brewster Place, The Musical (Arena Stage, Alliance Theatre); Stick Fly and The Overwhelming (The Contemporary American Theatre Festival). Her film and television appearances include The Savages with Phillip Seymour Hoffman and Laura Linney, The Architect with Viola Davis, The Girl in the Park with Keri Russell, Law and Order (Sgt. Royce), Law and Order: SVU, Law and Order: Criminal Intent, Guiding Light (Nurse Maggie), Conviction, 30 Rock, Six Degrees, and All My Children.

KIMBERLY SCOTT* (LINDA LOMAN) a graduate of Yale School of Drama, appeared at Yale Rep in Wole Soyinka’s A Play of Giants and as Molly Cunningham in August Wilson’s Joe Turner’s Come and Gone, for which she received Tony and Drama Desk Award nominations when that play moved to Broadway. OffBroadway credits include Mabou Mines’ Lear and The Gospel at Colonus (Gorky Art Theatre, Moscow). Regional theatre credits include Jeff Whitty’s The Further Adventures of Hedda Gabler, Our Town (South Coast Repertory and in rep at Oregon Shakespeare Festival); Doubt, Kenneth Lin’s Po’Boy Tango (South Coast Rep); Restoration Comedy (The Old Globe); Julius Caesar (Mark Taper Forum); Going to St. Ives (Salt Lake Acting Company); The Comedy of Errors (Shakespeare & Co.); and Huntington Theatre, Arena Stage, Sundance Institute Theatre and Playwrights Lab, Southern Writers Project/Alabama Shakespeare Festival, and Pacific Playwrights Festival. Film credits include The Great Buck Howard, World Trade Center, K-Pax, The United States of Leland, Downtown, Bellyfruit, The Waterdance, Batman and Robin, Batman Forever, The Client, Falling Down, Flatliners, and The Abyss, as well as many television credits. Ms. Scott is a Beinecke Fellow at Yale School of Drama this spring. 18

DWIGHT ANDREWS (COMPOSER) is an Associate Professor of Music Theory at Emory University and the Senior Minister at First Congregational Church in Atlanta. He holds degrees from the University of Michigan, a Masters of Divinity degree from Yale Divinity School, and a PhD in Music Theory from Yale University. His career at Yale Rep began during the Brustein years on the 1976 production of Julius Caesar directed by Alvin Epstein. After numerous productions, Lloyd Richards appointed him Music Director of Yale Rep, and he served in that capacity until 1986. Recognized for his collaborations with playwright August Wilson and director Lloyd Richards, he served as musical director for the Broadway productions of Wilson’s Ma Rainey’s Black Bottom, Joe Turner’s Come and Gone, The Piano Lesson, and Seven Guitars, as well as the Broadway revival productions of Ma Rainey’s Black Bottom and Lorraine Hansberry’s A Raisin in the Sun. He served as Music Supervisor for the recent Kennedy Center Production of August Wilson’s 20th-Century, a presentation of Wilson’s entire ten play cycle. He also has written for film and appeared on many jazz recordings.

JAMES BUNDY (DIRECTOR) See page 24. CYNTHIA CAHILL* (STAGE MANAGER) has worked extensively in New York and around the country for more than fifteen years, most recently on the Tony-nominated Passing Strange at The Public Theater and on Broadway. Her other credits include the Off-Broadway productions of Sarah Ruhl’s Eurydice, Mary Zimmerman’s Notebooks of Leonardo da Vinci (Second Stage Theatre); Sarah Jones’s Bridge and Tunnel (The Culture Project); as well as productions at regional theatres including Berkeley Rep, American Conservatory Theater, Guthrie Theater, Seattle Rep, McCarter Theatre, and Kansas City Rep with directors Les Waters, Leigh Silverman, Tony Taccone, Lisa Peterson, Domenique Serrand, and Annie Dorsen, among many others. Cynthia is pleased to be back at Yale Rep, where she previously stage managed 2003’s Culture Clash in AmeriCCa.

SCOTT DOUGAN (SCENIC DESIGNER) most recently designed sets and costumes for What You Will, the Twelfth Night Parking Lot Project in collaboration with the Oregon Shakespeare Festival and Sarah Ruhl’s Eurydice at Amherst College. Current projects include Jose Rivera’s new play The Human Emotional Process and Blood Dazzler, a dance piece based on National Book Award finalist Patricia Smith’s poems. Scott is a founding member of New Theater House (NTH), which will present its inaugural production this summer, The Whale Play by Victor Cazares. Other design credits include sets for The Ghost Sonata and I Am a Superhero at Yale School of Drama; sets for The Illusion, In the Cypher: A Poetry Slam, Going Public, Mr. and Mrs. Hollywood, Bill Clinton Goes to the Bathroom, Lady Day


CREATIVE TEAM at Emerson’s Bar and Grill, and Be Aggressive, and projections for In the Cypher: A Poetry Slam, Dancing in the Dark, and The Sidewalk Opera at Yale Cabaret. He is a graduate of Amherst College and expects to receive his MFA this May from Yale School of Drama, where he received the 2008 Donald M. Oenslager Scholarship in Stage Design.

BETH McGUIRE (VOCAL AND DIALECT COACH) Vocal and dialect coach credits include the Off-Broadway productions of The Overwhelming (Roundabout Theatre Company); The Black Eyed (New York Theatre Workshop); Five by Tenn (Manhattan Theatre Club); People Be Heard (Playwrights Horizons); Candida, Gas Light (The Roundtable Ensemble); Free Market (The Working Theatre); Exit Cuckoo (Midtown International Theatre Festival); and a workshop of In Darfur (The Public Theater). Regional: Lydia, All’s Well That Ends Well, dance of the holy ghosts, The Mystery Plays, The Taming of the Shrew, King Lear, Iphigenia at Aulis, Kingdom of Earth (Yale Rep); Hamlet, Carnival, King John, The Glass Menagerie (Shakespeare Theatre of New Jersey); The Cook (Hartford Stage); and Crimes of the Heart (The Cape Playhouse). Ms. McGuire is currently on faculty at Yale School of Drama; is a member of VASTA (The Voice and Speech Trainers Association), Actors’ Equity, SAG and AFTRA; and is an actress with over 25 years of performance experience.

CREATIVE TEAM SARAH PICKETT (SOUND DESIGNER) designed the sound for Yale Rep’s 2007 production of Richard II. Her other theatre credits include Zero Hour (composer, sound designer) at Yale School of Drama; Max Out Loud (composer), The Bacchae (composer) at Yale Cabaret; The Winter’s Tale (composer, sound designer) at Asolo Repertory Theatre; Aliens with Extraordinary Skills (composer, sound designer) at Women’s Project; Othello (composer), Ohio State Murders (co-sound designer) at Theatre for a New Audience; No Child… (sound designer) at Capital Repertory Theater and Hangar Theatre; The Great American Peanut Butter Radio Hour (co-author, composer), Hedwig and the Angry Inch (“Yitzhak,” music director), The Santaland Diaries (sound design) at Syracuse Stage; and upcoming, Much Ado About Nothing (composer, sound designer) at Oregon Shakespeare Festival. She received her BFA from Syracuse University, her MA from Cornell University, and her MFA from Yale School of Drama.

TARA RUBIN CASTING (CASTING) has been casting at Yale Rep since 2004.

Yale School of Drama, where his production credits include Cygnus and If Found, Please Return to Charles Darwin. Donesh is also the associate artistic director of Yale Cabaret, where he has worked on productions including Blood Box, Sidewalk Opera, and Hold for Beauty. A graduate of the University of Southern California, Donesh holds a BA in theatre and political science. Outside of Yale, Donesh has worked as an associate dramaturg at South Coast Repertory and Cincinnati Opera.

Broadway: Billy Elliot, Shrek, Guys and Dolls, The Little Mermaid, Mary Poppins, Jersey Boys, The Producers, Mamma Mia!, The Phantom of the Opera, The Country Girl, Young Frankenstein, The Farnsworth Invention, Rock ’n’ Roll, The History Boys (US casting), Les Misérables, Spamalot, The 25th Annual Putnam County Spelling Bee, The Pirate Queen, Good Vibrations, Bombay Dreams, Oklahoma!, Flower Drum Song, Imaginary Friends, Metamorphoses (New York casting). Lincoln Center Theater: Happiness, The Frogs, Contact, Thou Shalt Not, A Man of No Importance, Anything Goes (concert). 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.

KATHERINE O’NEILL (COSTUME DESIGNER) is working currently on Blood Dazzler,

RICK SORDELET (FIGHT DIRECTOR) has staged 44 Broadway productions,

a dance piece developed from the poetry of Patricia Smith, and is developing a Romeo and Juliet comic book that is set in 1930s New Orleans. She is a founding member of New Theater House (NTH), which will present its inaugural production, The Whale Play by Victor Cazares, this summer. Recent work includes The Ghost Sonata, Romeo and Juliet (Yale School of Drama); Bones in a Basket, Pamela Precious, Be Aggressive, 16 Bars, Lady Day at Emerson’s Bar and Grill, Sidewalk Opera, In the Meantime, Mr. and Mrs. Hollywood, In the Cypher: A Poetry Slam, and The Illusion (Yale Cabaret); and she has served as a mentor to middle school students for The Dwight/Edgewood Project. She studied theatre and Latin American literature at Temple University in Philadelphia, as well as fine arts in Buenos Aires and Madrid. She expects to receive her MFA from Yale School of Drama in May.

including Disney’s The Lion King, Beauty and the Beast, Tarzan, The Little Mermaid, and Aida. He has staged the fights for the opera Cyrano de Bergerac starring Placido Domingo at the Metropolitan Opera, The Royal Opera House, and the LaScala in Milan, Italy; and for over 40 first-class productions on five continents. Film: The Game Plan starring Dwayne “The Rock” Johnson; Dan in Real Life starring Steve Carell and Juliette Binoche; and Hamlet starring Campbell Scott. He is the chief stunt coordinator for Guiding Light and staged the fights for First Jedi, a CD-ROM for George Lucas. Rick received the Lucille Lortel Award for Sustained Excellence in 2007. He teaches at Yale School of Drama, The New School for Drama, and The

DONESH OLYAIE (PRODUCTION DRAMATURG) is a second-year MFA candidate at



CREATIVE TEAM Neighborhood Playhouse. He is a company member of The Drama Dept., a board member of The Shakespeare Theatre of New Jersey, and the author of the play Buried Treasure. He is married to actress Kathleen Kelly and has three children: Kaelan, Christian, and Collin.

STEPHEN STRAWBRIDGE (LIGHTING DESIGNER) Recent work includes Crime & Punishment directed by Sharon Ott (Berkeley Rep); Donald Margulies’s Shipwrecked directed by Lisa Peterson (Primary Stages); Athol Fugard’s Coming Home directed by Gordon Edelstein (Long Wharf); Craig Lucas’s Prayer for My Enemy directed by Bartlett Sher (Playwrights Horizons); Sarah Ruhl’s Passion Play directed by Mark Wing-Davey and David Adjmi’s The Evildoers directed by Rebecca Bayla Taichman (Yale Rep); the Lynn Ahrens/Stephen Flaherty musical The Glorious Ones and Michael John LaChiusa’s Bernarda Alba, both directed by Graciela Daniele (Lincoln Center Theater); and Souls of Naples featuring John Turturro (Theatre for a New Audience; the Mercadante, Naples, Italy). Mr. Strawbridge has designed on and off Broadway and at most leading regional theatre and opera companies across the US. He has designed major premieres in Bergen, Copenhagen, Hong Kong, The Hague, Munich, Sao Paulo, Stockholm and Vienna. Nominations and/or awards include American Theatre Wing, Bay Area Critics Circle, Dallas Theater Critics Forum, Helen Hayes and Lucille Lortel. He is Co-Chair of the Design Department at Yale School of Drama and Resident Lighting Designer at Yale Repertory Theatre.

MICHAEL WALKUP (PRODUCTION DRAMATURG) Past dramaturgy credits include The Evildoers, The Unmentionables, The Ladies of the Camellias (Yale Rep); Three Sisters, Hamlet, and Antony and Cleopatra (Yale School of Drama). He has directed seven new plays and musicals at Yale Cabaret, including Gay Play, Max Out Loud, and The Apocryphal Project, a piece he continues to develop with his collaborators. This July he will direct Charles Ludlam’s The Mystery of Irma Vep at Yale Summer Cabaret. He is Artistic Coordinator at Yale Rep as well as a doctoral candidate and teaching fellow at Yale School of Drama. He received his MFA in Dramaturgy and Dramatic Criticism from Yale School of Drama.

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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 in her 17th year as Managing Director of Yale Repertory Theatre, also serves as Deputy Dean of Yale School of Drama and is on its faculty. She was previously Managing Director of Indiana Repertory Theatre, Associate Managing Director at Baltimore’s CENTERSTAGE, Managing Director at Ram Island Dance Company in Portland, Maine; and she has held various positions at Loeb Drama Center of Harvard University; TAG Foundation, an organization producing Off-Broadway modern dance festivals; and Boston University School for the Arts. Ms. Nolan has been an evaluator for the National Endowment for the Arts, for which she has chaired numerous grant panels, and has served on other panels and foundation review boards including the AT&T Foundation, The Heinz Family Foundation, Lila Wallace-Reader’s Digest Fund, and the Metropolitan Life Foundation. She has also served on the Executive Committee of the League of Resident Theatres (LORT) and on numerous negotiating teams for national labor contracts. A Fellow at Yale’s Saybrook College, she is the 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.

ASSOCIATE ARTISTIC DIRECTOR JENNIFER KIGER is in her fourth year as Associate Artistic Director and director of the new play programs at the Yale Center for New Theatre, an integrated, playwright-driven initiative that supports the creation of new plays and musicals for the American stage through commissions, residencies, workshops, and productions. Ms. Kiger came to Yale Rep from South Coast Repertory (SCR), where she was Literary Manager from 2000 to 24

2005 and served as Co-Director of the Pacific Playwrights Festival. She was dramaturg on more than 40 new plays at SCR, including the world premieres of Rolin Jones’s The Intelligent Design of Jenny Chow, Amy Freed’s The Beard of Avon, and the West Coast premieres of Sarah Ruhl’s The Clean House and Nilo Cruz’s Anna in the Tropics. Prior to that, she served as production dramaturg at American Repertory Theatre, collaborating with Robert Brustein, Robert Woodruff, Liz Diamond, and Kate Whoriskey, and with multi-media director Bob McGrath on stage adaptations of Robert Coover’s Charlie in the House of Rue and Mac Wellman’s Hypatia. She has been a dramaturg for the Playwrights’ Center of Minneapolis and Boston Theatre Works and a panelist for the National Endowment for the Arts and the California Arts Council. Ms. Kiger completed her training in Dramaturgy at the American Repertory Theatre Institute for Advanced Theatre Training at Harvard University, where she taught courses in acting and dramatic arts.

PRODUCTION SUPERVISOR BRONISLAW SAMMLER, 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 10 years old, and Katie, age 8. 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

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 Barry Kaplan, Associate Director of Development Luis Abril, Associate Director, Development Susan C. Clark, Development Associate Art Priromprintr, Development Assistant Belene Day, Interim Senior Administrative Assistant to Development and Marketing and Communications Finance and Information Technology Katherine D. Burgueño, Director of Finance and Human Resources Sheila Daykin, Associate Director of Finance Cristal Coleman, Magaly Costa, Maria Frey, Business Office Specialists Ashlie Russell, Business Office Assistant 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

Artistic Administration Marketing, Communications, and Audience Services Amy Boratko, Literary Manager Anne Trites, Director of Marketing and Communications Michael Walkup, Artistic Coordinator Steven Padla, Senior Associate Director of Communications Brian Valencia, Kristina Williams Daniel Cress, Associate Director of Marketing Literary Associates Sergi Torres, Associate Director of Marketing and Tara Rubin, CSA, Laura Schutzel, CSA, Communications Casting Directors Rachel Smith, Marketing and Audience Services Manager Eric Woodall, Merri Sugarman, Sarah Stevens-Morling, Interim Online Communications Casting Associates Manager Paige Blansfield, Rebecca Carfagna, Dale Brown, Martha O. Jurczak, Marketing Assistant Casting Assistants Maggie Elliott, Graphic Artist Ruth M. Feldman, Director of Education Scott McKowen, Punch & Judy Inc., Graphic Designers and Accessibility Services David Cooper, Photographer Pamela C. Jordan, Librarian Joan Marcus, Production Photographer Teresa Mensz, Library Services Assistant Janna J. Ellis, Associate Director of Audience Services Josie Brown, Senior Administrative Assistant to the and Tessitura Specialist Artistic Director and Associate Artistic Director Tracy Baldini, Assistant Audience Services Director Kathleen Driscoll, Senior Administrative Assistant for Audrey Rogers, Manager, Group Sales the Directing, Dramaturgy & Dramatic Criticism, Nancy Genga, London Moses, Audience Services Assistants Sam Bolen, Courtney Engle, Ruth Kim, Leah Knowles, Sue Playwriting, and Stage Management Malone, Justin Meadows, Andrew Riveria, Raphael Shapiro, Departments Mary Volk, Senior Administrative Assistant for the Carrie Toole, Anya Van Wagtendonk, Box Office Assistants Design and Sound Design Departments




William J. Reynolds, Director of Facility Operations

Rich Abrams, Operations Associate Frances Black, Kay Perdue, Associate Jacob Thompson, Security Officer Managing Directors Ed Jooss, Audience Safety Officer Whitney Estrin, Assistant Managing Director Fred Grier, Michael Blatchley, Customer Service and Tara Kayton, Management Assistant Safety Officers Claire Shindler, Senior Administrative Assistant Ben Holder, Ron Maybrey, Custodial Supervisors to the Managing Director Lucille Bochert, Vermont Ford, Warren Lyde, Suzanne Appel, Company Manager Vondeen Ricks, Mark Roy, Custodians

PRODUCTION Bronislaw J. Sammler, Production Supervisor James Mountcastle, Production Stage Manager Jonathan Reed, Senior Associate Production Supervisor Marla J. Silberstein, Senior Administrative Assistant to the Production Department Costumes Tom McAlister, Costume Shop Manager Robin Hirsch, Associate Costume Shop Manager Mary Zihal, Senior Draper Clarissa Wylie Youngberg, Draper Deborah Bloch, First Hand Linda Kelley-Dodd, Costume Project Coordinator Barbara Bodine, Company Hairdresser Linda Wingerter, 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 Rachel Reynolds, 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, Ryan Gardner, Shop Carpenters Bona Lee, Assistant to the Technical Director Sound Brian MacQueen, Sound Supervisor Paul Bozzi, Staff Sound Engineer Nicholas Pope, Junghoon Pi, Assistants to the Sound Supervisor Projections Erik Trester, Head Projection Technician Stage Operations Janet Cunningham, Stage Carpenter Kate Begley Baker, Properties Runner Jeanne Wu, Sound Operator Elizabeth Bolster, Wardrobe Supervisor

ADDITIONAL STAFF FOR DEATH OF A SALESMAN Charlotte Brathwaite, Assistant Director Leon Dobkowski, Assistant Costume Designer Ana Milosevic, Assistant Scenic Designer Ji-Youn Chang, Assistant Lighting Designer Amanda Spooner, Assistant Stage Manager, Fight Captain Walton Wilson, Additional Vocal Coaching Ryan Retartha, Associate Production Supervisor Kellen McNally, Technical Director Stephen Henson, Bona Lee, Assistant Technical Directors Brian Dambacher, Assistant Properties Master Adrian Rooney, Master Electrician Andrew Becker, Sound Engineer Amy Jonas, Shop Carpenter Joe Barna, Head Electrician Harry Johnson, First Hand Denise O’Brien, Hair & Wig Design Obi Ndefo, Assistant to Mr. Dutton Elizabeth Elliott, Assistant Company Manager Jennifer Harrison Newman, House Manager Valerie Bart, Susan Kim, Po-Lin Li, Christopher Mirto, Jen Wineman, Jennifer Woods, Run Crew SPECIAL THANKS Anne Tofflemire, Mary P. Bundy, Sisi Johnson, Nondumiso Tembe UNDERSTUDIES La Tonya Borsay, Linda Loman Trai Byers, Biff Loman Kevin Daniels, Waiter Austin Durant, Willy Loman Mark Sage Hamilton, Happy Loman, Stanley Marcus Henderson, Bernard Andrew Kelsey, Howard Aja-Naomi King, Miss Forsythe, Letta Stanley Wayne Mathis, Charley Aaron Moss, Ben Tijuana T. Ricks, The Woman Da’Vine Joy Randolph, Jenny

Yale Repertory Theatre operates under an agreement between the League of Resident Theatres (LORT) and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. The Director is a member of the Society of Stage Directors and Choreographers, Inc., an independent national labor union.

The Scenic, Costume, Lighting, and Sound Designers in LORT are represented by United Artists Local USA-829, IATSE. Death of a Salesman, April 24 to May 23, 2009. Yale Repertory Theatre, 1120 Chapel 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 Augusta Lewis Troup and Wexler/Grant Community schools. 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, ann.mclaughlin@yale.edu, or go to www.yalerep.org/donate.


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TO YALE SCHOOL OF DRAMA AND YALE REPERTORY THEATRE LEADERSHIP SOCIETY ($50,000 and above) Anonymous John Badham John B. Beinecke Sterling and Clare Brinkley Philip A. Corfman, M.D. Edgar M. Cullman, Jr. Edgar M. Cullman III The Jerome L. Greene Foundation A.R. Gurney F. Lane Heard III David Johnson Danny Kaye and Sylvia Fine Kaye Foundation Jay Keene Jane Marcher Foundation Neil Mazzella Andrew W. Mellon Foundation David Milch H. Thomas Moore Walter F. Parkes The Estate of Mark Richard The Estate of Barbara E. Richter Robina Foundation Michael and Riki Sheehan The Shubert Foundation Edward Trach Esme Usdan Zelma Weisfeld

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PRODUCER’S CIRCLE ($5,000 - $9,999) Foster Bam Jim Burrows Bill Conner Scott M. Delman The John Golden Fund Ruth and Steve Hendel Catherine MacNeil Hollinger George Ingram Ben Ledbetter and Deborah Freedman Mionetto USA NewAlliance Foundation Carol Ostrow Karen Pritzker and Michael Vlock Gerald Schoenfeld Talia Shire Schwartzman The Seedlings Foundation Eugene F. Shewmaker Jeremy Smith Philip J. Smith Clifford Warner Xerox Foundation

DIRECTOR’S CIRCLE ($1,000-$4,999) 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. 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 Richard Harrison Donald A. Harvey 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 Richard Ostreicher Nicholas Pepper DW Phineas Perkins George and Kathy Priest Sarah Rafferty Arthur I. Rank III Pamela Rank Regional Water Authority Belinda Robinson Rose Brand Ben and Laraine Sammler Alvin Schechter Carol L. Sirot Foundation Flora Stamatiades Scoozzi Trattoria and Wine Bar Anthony M. Shalhoub Marie S. Sherer Benjamin Slotznick Kenneth J. Stein Shepard and Marlene Stone John Suttor Katherine Suttor Theatre Projects Consultants Courtney Vance Matthew Suttor Elaine and Patrick Wackerly

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PARTNERS ($500-$999) Amy Aquino Mr. and Mrs. B. Ashfield Alexander Bagnall John Lee Beatty Jack W. Belt Ashley Bishop Catherine Black John C. Boyd Susan Brady and Mark Loeffler Alice B. and James T. Brown Bruce and Janet Bunch Martin Caan and Carol Petschek Donald Cairns Ian Calderon Joy G. Carlin Cosmo Catalano, Jr. Joan D. Channick Jenny and Ricardo Chavira Robert Cotnoir Anna E. Crouse Susan Curtis Ernestine and Ronald Cwik Bob and Priscilla Dannies Drew S. Days III and Ann R. Langdon Ramon L. Delgado Mary Elder Jenifer Endicott Roberta Enoch and Steven Canner Peter Entin Abigail Evans Teresa Eyring Glen R. Fasman David Gainey Joseph Gantman David Goldman and Debbie Bisno Greer Goodman James W. Gousseff Wray Steven Graham Rob Greenberg D. Keith Hargreaves Harold Harlow Karsten Harries Katherine W. Haskins Michael Haymes and Logan Green Jane C. Head Carol Thompson Hemingway Kathryn Hirsch

Kathleen Houle Barnet K. Kellman Charles Kimbrough 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 James M. Perlotto Thomas J. Peterson Amy Povich Carol A. Prugh Lance Reddick John Rhee 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 Steven Wolff Stephen Zuckerman

INVESTORS ($250-$499) Anonymous Susan and Bruce Ackerman Leif Ancker Mary B. Arnstein Mary Ellen Atkins Thomas Atkins James Robert Bakkom Ray Baldelli and Ronald Nicholes Robert Baldwin Richard E. Bianchi Robert Bienstock Tom Broecker Mark Brokaw Claudia Brown Thomas Buttke and Judith Waters Michael Cadden Anne and Guido Calabresi William Caruth David M. Conte Marycharlotte Cummings John W. Cunningham Richard Sutton Davis

Michael Diamond Charles Dillingham Constance Dimock Cory and Bob Donnalley Charitable Foundation Dennis Dorn Eric Elice David Freeman Meredith Freeman John Gaddis and Toni Dorfman Joseph Gantman Cleveland Gardner Norma and Myron H. Goldberg Julie Grant Robert J. Greenberg Elizabeth Greene Michael Gross Dick and Norma Grossi Regina Guggenheim William B. Halbert Scott Hansen Walter and Betty Harris Douglas Harvey Barbara Hauptman Nicole and Larry Heath Catherine Hernandez and Michael Fulton Jennifer Hershey-Benen June and George Higgins Donald Holder Catherine MacNeil Hollinger Elizabeth Holloway John Robert Hood Mr. and Mrs. Robert Jaffee Christine Jahnke Rolin Jones Cynthia Kaback Edward Kaye Ashley York Kennedy Richard H. Klein Diana E.E. and Fred S. Kleiner Harvey Kliman and Sandra Stein David Kriebs Frances Kumin William Kux James Lapine Michael John Lassell Richard and Elaine Lau Dr. Robert and Inez Liftig Jane Lyman Thomas Lynch Sandra Manley Delia Maroney and Jolie Damiano Maria Mason and William Sybalsky Glenn and Susan McNamara

Carol and Arthur Mikesell Jeffrey Milet Daniel Mufson Victoria Nolan and Clark Crolius William and Barbara Nordhaus Dwight Odle Cesar Pelli Louise Perkins and Jeff Glans Laura Perlow Elizabeth Prete and Peter Hentschel Stephen Pollock Ronald Recasner Bill and Sharon Reynolds Ross Sumner Richards Harry M. Ritchie Joumana Rizk Dawn Robertson Laila Robins Lori Robishaw Steve Robman Dorothy Rostov Dr. Ortwin Rusch Larry Schwartz and Russ Rosensweig Alexander Scribner Paul Selfa Sandra Shaner Rachel Sheinkin Mark and Cindy Slane Erich William Stratmann 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 Alexandra Witchel Judith and Guy Yale Evan Yionoulis Catherine Zuber

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Elizabeth M. MacKay Lizbeth Mackay Laura Brown MacKinnon Wendy MacLeod Mrs. Romaine Macomb Alan Mokler MacVey Peter Andrew Malbuisson Joan Manning Peter Marcuse Donald Margulies and Lynn Street Jonathan Marks Robin Marshall Craig Martin Margaret P. Mason and Samuel W. Bowlby Peter Mason Richard Mason Carole A. Masters Gayle Maurin Beverly May Mary McCabe Tarell Alvin McCraney Robert A. McDonald Brian McEleney Thomas McGowan Deborah McGraw Robert J. McKinna Ann and Chad McLaughlin Patricia McMahon Bruce W. McMullan Susan McNamara Lynne Meadow Mr. and Mrs. James Meisner Stephen W. Mendillo Donald Michaelis Brina Milikowsky George Miller Jonathan Miller Robert J. Miller Saul and Sandy Milles Mary Jane Minkin and Steve Pincus Cheryl Mintz Lawrence Mirkin Stanley and Phyllis Mishkin Thomas Reed Mohan Richard R. Mone Donald W. Moreland George Morfogen Tad Mosel Grafton V. Mouen Carol Bretz Murray-Negron Gayther Myers, Jr. David Nancarrow James Naughton Tina C. Navarro William Ndini

Tobin Nellhaus Christianna Nelson Regina and Thomas Neville Martha New Ruth Hunt Newman Dr. Nickolas Nickou Mimi and Harold Obstler Dwight R. Odle Janet Oetinger Ann Okerson Richard Olson Fran and Ed O’Neill Sara Ormond Lori Ott Kendric T. Packer Joan D. Pape Dr. and Mrs. Michael Parry Usha Pasi Mary L. Pepe John L. Peschel William Peters Zane Pihlstrom Andrew Plummer Stephen B. Pollock Lisa Porter Michael B. Posnick Gladys S. Powers Robert Provenza Alvin S. Prusoff and Dr. Deborah DeRose Alec and Drika Purves William Purves Michael Quinn Sarah Rafferty Asghar and Faye Rastegar Ronald Recasner Ralph Redpath Sandra and Gernot Reiners Joe Reynolds Mary B. Reynolds Ross Sumner Richards Lisa Steele Roach Brian Robinson Lori Robishaw Douglas Rogers Howard Rogut Joanna Romberg Melina Root Mrs. Samuel Ross John M. Rothman Ron and Jean Rozett Julia Meade Rudd Kevin Rupnik Frederick Russell Virginia Weaver Russell A. Raymond Rutan IV Helen and Herbert Sacks Steven Saklad

Peter Salovey and Marta Elisa Moret Robert Sandberg Christopher Carter Sanderson Jack and Letha Sandweiss Frank Sarmiento Peggy Sasso Cary Scapillato Joel Schechter Anne Schenck Mr. and Mrs. Michael Schmertzler William Schneider Georg Schreiber Jennifer Schwartz Kimberly A. Scott Forrest E. Sears Paul H. Serenbetz Sandra Shaner John Victor Shea Paul R. Shortt Carol M. Sica Lorraine Siggins and Braxton McKee Michael Vaughn Sims William Skipper Lee Skolnick Teresa Snider-Stein Suzanne Solensky and Jay Rozgonyi E. Gray Smith, Jr. Marian and Howard Spiro Mary C. Stark Charles Steckler Louise Stein Neal Ann Stephens John Stevens Joseph C. Stevens Marsha Beach Stewart Jaroslaw Strzemien Thomas Sullivan Richard Guy Suttor Tucker Sweitzer David Loy Sword Jack Sydow Yeshvant and Jean Talati E. Richmond and Sue Talbot Ari Teplitz Paul J. Tines Eric Ting David F. Toser Tahlia Townsend Russell L. Treyz James Triner Richard B. Trousdell Deborah Trout Miriam S. Tulin

Mr. and Mrs. Gregory Tumminio Melissa Turner Cheever and Sally Tyler Russell Vandenbroucke Joan Van Ark Flora Van Dyke Michael Van Dyke Carrie Van Hallgren Hyla and Barry Vine Fred Voelpel Fred Volkmar Charles Walkup Elizabeth Walsh Barbara Wareck and Charles Perrow Anne C. Washburn John Ransford Watts Steven I. Waxler Gil Wechsler Betsy and Harry Welch Tan Falkowski Wells Thomas Werder Raymond Werner J. Newton White Peter White Robert and Charlotte White Robert Wierzel Lisa A. Wilde Robert Wildman John and Virginia Wilkinson Catherine M. Wilson Marshall Williams Carl Wittenberg Bess Wohl Robin B. R. Wood Amanda Woods Tamilla Woodard Yun C. Wu Arthur Zigouras Albert Zuckerman

EMPLOYER MATCHING GIFTS Aetna Foundation Corning, Inc. General Electric Corporation IBM The John D. and Catherine T. MacArthur Foundation Mobil Foundation, Inc. Pfizer Pitney Bowes Procter & Gamble The Prospect Hill Foundation SBC Communications, Inc. United Technologies Corporation

This list includes current pledges, gifts and grants received from July 1, 2007‚ through April 13, 2009. For more information about making a donation to Yale Repertory Theatre, please contact Ann M.K. McLaughlin at 203.432.1536 or ann.mclaughlin@yale.edu. 33


FOR YOUR INFORMATION how to reach us


Yale Repertory Theatre Box Office 1120 Chapel Street (at York St.) PO Box 1257, New Haven, CT 06505 203.432.1234 TTY (TELETYPE): 203.432.1521 yalerep@yale.edu

Restrooms are located downstairs. Please contact the concierge for assistance with the elevator.

box office hours Monday to Friday from 10AM to 5PM Saturday from 12 to 5PM Until 8PM on all show nights

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

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.

seating policy Everyone must have a ticket. Sorry, no children in arms or on laps. Patrons who become disruptive will be asked to leave the theatre.


Yale Repertory Theatre offers all patrons the most comprehensive accessibility services program in Connecticut, including a season of open captioned and audio described performances, a free assistive listening system, large-print and Braille programs, a direct TTY (teletype) line to Yale Rep’s Box Office (203.432.1521), wheelchair accessibility with an elevator entrance into the Yale Rep Theatre located on the left side of the building, and accessible seating. For more information about the theatre’s accessibility services, contact Ruth M. Feldman, Director of Education and Accessibilty Services at 203.432.8425 or rm.feldman@yale.edu. Yale Repertory Theatre’s accessibility services are supported in part by The Seedlings Foundation, the Carol L. Sirot Foundation‚ and Romaine A. Macomb. open captioning (OC): You’ll Open Captioned and Audio Described never again have to ask, “What did performances are at 2PM. AD pre-show they say?” Open Captioning provides description begins at 1:45PM. a digital display of the play’s dialogue as it’s spoken. Death of a Salesman May 9 May 16

audio description (AD): A live narration of the play’s action, sets, and costumes for patrons who are blind or low vision.

c2inc is pleased to be the official Open Captioning provider of Yale Repertory Theatre.


As part of Yale Rep’s commitment to our community, we provide two significant youth theatre programs. Since our 2003-04 season, WILL POWER!, which offers teacher training and curricular support prior to seeing a selected play at Yale Rep, has served more than 10,000 Connecticut students and educators. The Dwight/Edgewood Project brings ten middle school students from New Haven’s Augusta Lewis Troup and Wexler/Grant Community schools to Yale Rep for a month-long, after-school playwriting program designed to strengthen their self-esteem and creative expression. Yale Rep’s education programs are supported in part by Donald and Patricia Anderson, Anna Fitch Ardenghi General Charitable Purpose Trust, Paula Armbruster, Bank of America, Deborah S. Berman, Bianca Calabresi, the Carolyn Foundation, Roxanne Coady, Bob and Priscilla Dannies, the Lucille Lortel Foundation, Romaine A. Macomb, Mrs. Romaine Macomb, Donald Margulies, Frances Miller, Cynthia A. Mellin, Jane Marcher Foundation, NewAlliance Foundation, Cesar Pelli, Robbin A. Seipold, Sandra Shaner, Mark and Cindy Slane, David Soper and Laura Davis, Cheever and Sally Tyler, Charles and Patricia Walkup, Bert and Martha Weisbart, and Esme Usdan.

SPONSORSHIP corporate sponsors Bank of America Barrett Outdoor Communications Geronimo Tequila Bar Martinson Coffee Mionetto USA Regional Water Authority Scoozzi Trattoria and Wine Bar

discount dining partners The following dining establishments offer discounts to Yale Rep subscribers throughout the season. Miya’s Sushi Tre Scalini Pacifico Zaroka

community sponsors Barcelona Chestnut Fine Foods Chow Connecticut Presort Est Est Est Fleur de Lys Floral and Gifts Hull’s Arts Supply and Framing New Haven Advocate New Haven Register Starbucks Thames Printing Company, Inc. WSHU Public Radio Group The Yale Bookstore Yellow Book Zinc

These lists include current pledges, gifts and grants received from July 1, 2007‚ through April 13, 2009. 35


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