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DECEMBER 12– 18, 2014
YALE SCHOOL OF DRAMA James Bundy, Dean Victoria Nolan, Deputy Dean Joan Channick, Associate Dean
PRESENTS
By ANTON CHEKHOV Translated by PAUL SCHMIDT Directed by JESSICA HOLT Scenic Designer Costume Designer Lighting Designer Sound Designer Production Dramaturg Stage Manager
JEAN KIM ASA BENALLY ELIZABETH MAK KATE MARVIN KELLY KERWIN KELLY MONTGOMERY
CAST Yevgeny Sergeyevich Dorn Boris Alexeyevich Trigorin Semyon Semyonovich Medvedenko Konstantin Gavrilovich Treplev Yakov Nina Mihailovna Zarechnaya Irina Nikolayevne Arkadina The Maid Pyotr Nikolayevich Sorin Ilya Afanasyevich Shamrayev The Cook Masha Paulina Andreyevna
YAHYA ABDUL-MATEEN II AARON BARTZ ANDREW BURNAP CHRISTOPHER GEARY LUKE HARLAN CHASTEN HARMON MAURA HOOPER PORNCHANOK KANCHANABANCA JONATHAN MAJORS NIALL POWDERLY JENNIFER SCHMIDT ZENZI WILLIAMS SHAUNETTE RENÉE WILSON
THERE WILL BE ONE TEN-MINUTE INTERMISSION.
Presented by special arrangement with Helen Merrill, LLC. Yale School of Drama thanks Nina Adams and Moreson Kaplan for their generous support of this production.
FROM THE DIRECTOR In 1895, Anton Chekhov wrote a letter to his dear friend Alexei Suvorin: “I’m going to write something strange…I’m writing a play…I’m enjoying writing it, although I am doing dreadful violence to stage conventions. It is a comedy with three parts for women, six for men, four acts, a landscape (view of a lake), many conversations about literature, hardly any action and five poods of love” (a pood was roughly 36 pounds, so that’s just about 180 pounds). This “strange” piece became The Seagull, a sublime play about people’s relentless pursuit of their dreams to capture center stage, live an extraordinary life, and leave a legacy. I first encountered this play in depth during my first year at Yale School of Drama, in a year-long Chekhov immersion. In our Chekhov Lab, the directors and actors created magical, romantic worlds, self-consciously theatrical worlds, worlds where artists cavort, lament, love, sing songs, and dream big dreams. We brought all of ourselves into that room and grabbed ahold of each other and didn’t let go. I knew then that I wanted to continue our heart-expanding, playful, emotionally explosive work for my thesis, and here we are. We have created a world inspired by the generative spirit of the rehearsal room—that pliable, plastic space where anything is possible, and the imagination is champion. This vast, open landscape creates the space for these characters’s fantastical larger-than-life experiences. This play begins in the realm of infinite possibilities. Everyone is a dreamer. But what happens when the dream dies? How do we find the strength to go on? How do we face the realities of our life when we would rather invent a new fantasy? How do we confront our failure? These are the questions at the center of The Seagull’s funny, fragile, and tragic heart. And they are questions that drive us as artists, as humans, as beautiful, flighty creatures, today. Welcome to the show.
—JESSICA HOLT
DANCING IN SPITE OF DEATH
The pendulum that was the Russian playwright Anton Chekhov’s life (1860–1904) perpetually swung between good and ill fortune. He enjoyed a middle-class childhood in Taganrog, Russia, until the age of 16, when his father’s business went bankrupt. The family home was auctioned off; creditors claimed the furniture, and the family moved away to Moscow. Anton, however, stayed behind, working as a tutor to finance his own education. In his early 20s, he began showing signs of tuberculosis— the disease that would eventually kill him. Still, fiercely determined to relish life, he forged ahead and trained as a doctor, writing short stories and plays on the side. In 1901, he married a woman he loved, the great actress Olga Knipper. He died just three years later, at the age of 44.
In many ways, The Seagull reflects its author’s life. Chekhov positions his characters between hope and despair, freedom and stagnation, dreams and darkness—conditions familiar to him. They long to create meaningful art and fear becoming obsolete. They love hard, they feel deeply, and they drink much. Even as they face the Russian winter, financial woes, humiliation, physical ailments, and unrequited love, they endeavor to be the makers of their own story. Like Chekhov, they are taking their best shot at life.
The Seagull has survived because it is, at its core, an expression of this worldview, one that is as meaningful today as it was in the late 19th century. As Constantin Stanislavski wrote in My Life in Art, “Works like Chekhov’s outlive the generations of men, notwithstanding that the subjects treated in them are old and no longer fashionable. Chekhov’s what may be dying, but Chekhov’s how has not yet begun to live as it should in our theatres and in our or art.” The Seagull is an incisive exploration of the reality of the human experience, and a glimpse at those who go to sleep at night with hope for the next day. –KELLY KERWIN, PRODUCTION DRAMATURG
CAST YAHYA ABDUL-MATEEN II (YEVGENY SERGEYEVICH DORN) is a third-year MFA candidate at Yale School of Drama, where he has appeared in THUNDERBODIES, Sagittarius Ponderosa, Romeo and Juliet, Platonov, Tiny Boyfriend, and Twelfth Night. Other credits include He Left Quietly (Yale Cabaret); King Lear (The Public Theater); Marcus Gardley’s Loving v. Virginia directed by Patricia McGregor, Joshua Harmon’s The Pits directed by Sarah Krohn (Williamstown Theatre Festival); Stacey in Good Goods and Ivan Turgenev in The Coast of Utopia: Voyage (Theatre Bay Area). He is a recipient of the 2014–15 Jerome L. Greene Foundation Fellowship and a native of New Orleans, Louisiana.
AARON BARTZ (BORIS ALEXEYEVICH TRIGORIN) is a third-year MFA candidate at Yale School of Drama, where his credits include The Master and Margarita, Bird Fire Fly, Twelfth Night, Peter Pan, Platonov, and King Richard 2. Other credits include Why Torture Is Wrong, and the People Who Love Them, A Map of Virtue, We Are Proud to Present a Presentation About the Herero of Namibia, Middletown, M.A.H. (A Museum Play), an excerpt from Undesirables, All Saints (Yale Summer Cabaret); A New Saint for a New World, Have I None, Beginners by Raymond Carver, or What We Talk About When We Talk About Love (Yale Cabaret); Hamlet, The Beaux’ Stratagem (Texas Shakespeare Festival); Macbeth, A Midsummer Night’s Dream (Shakespeare Theatre of New Jersey LIVE! tour); and To Kill a Mockingbird (Montana Repertory Theatre, national tour). BFA: University of Montana. Aaron is a proud recipient of the Pamela Jordan Scholarship.
ANDREW BURNAP (SEMYON SEMYONOVICH MEDVEDENKO) is a second-year MFA candidate at Yale School of Drama, where his credits include Paradise Lost and In Arabia We’d All Be Kings. Other credits include King Lear (The Public Theater); The Two Gentlemen of Verona, Coriolanus, All’s Well That Ends Well (Commonwealth Shakespeare Company); Why Torture Is Wrong, and the People Who Love Them (Yale Summer Cabaret); The Maids and Rose and the Rime (Yale Cabaret).
CHRISTOPHER GEARY (KONSTANTIN GAVRILOVICH TREPLEV) is a third-year MFA candidate at Yale School of Drama, where he has been seen in The Master and Margarita, THUNDERBODIES, Peter Pan, The Visit, and Sagittarius Ponderosa. His other credits include These Paper Bullets! (Yale Repertory Theatre); The Small Things, We Know Edie La Minx Had a Gun, A New Saint For A New World (Yale Cabaret); The Cat and the Canary, Design for Living (Berkshire Theatre Group); Losing Tom Pecinka (HERE Arts); and Elephant in the Room (New York International Fringe Festival). Christopher received his BA in theatre performance from Fordham College at Lincoln Center. He is a graduate of the Walnut Hill School for the Arts and has also studied at the London Academy of Music and Dramatic Arts. Christopher is the recipient of the Earle R. Gister Scholarship.
LUKE HARLAN (YAKOV) is a second-year MFA candidate in Directing at Yale School of Drama. He recently served as Co-Artistic Director of Yale Summer Cabaret’s 40th Anniversary Season where he directed Will Eno’s Middletown and Erin Courtney’s A Map of Virtue. At Yale Cabaret, he directed Tarell Alvin McCraney’s The Brothers Size. Luke has developed new plays at such institutions as The Public Theater, New York Theatre Workshop, Tectonic Theater Project, The New Group, New Dramatists, and The Lark. Luke is the founding Artistic Director of Engine Company No. 11, a recipient of the SDC National Directing Award, co-founder of the Working Theater Directors Salon, directing fellow at the O’Neill Playwright’s Conference, and member of the TS Eliot US/UK Exchange. Credits include the world premieres of Honky (Urban Stages, New York Times Critic’s Pick), home/sick (The Assembly, writer/ performer, New York Times Critic’s Pick), Westward Mutations (Hunter College), Dogs of Oklahoma (Brick Theater), and Memoirist (Flea Theater). Regional/ International: Shift (Old Vic Theatre, UK), Sousepaw: A Baseball Story (national tour), Fighting a Fish (Kennedy Center), and Insatiable Hunger, a new musical (Wellfleet Harbor Actors Theater). lukeharlan.net CHASTEN HARMON (NINA MIHAILOVNA ZARECHNAYA) is a thirdyear MFA candidate at Yale School of Drama, where her credits include The Master and Margarita (Yeshua), Lottie in the Late Afternoon (Lottie), As You Like It (Celia), and Platonov (Marya). She was also seen in A Raisin in the Sun (Beneatha) and The Tempest (Ariel) at Chautauqua Theater Company. Prior to Yale, she was seen as Éponine in the 25th Anniversary national tour of Les Misérables. New York credits include the Tony Award winning revival of Hair on Broadway and Iphigenia 2.0 directed by Tina Landau at Signature Theatre Company. Regional credits include Ado Annie in Oklahoma! (Berkshire Theatre Festival), Ti Moune in Once on This Island, and Lorraine in All Shook Up (Marriott Lincolnshire Theatre). Chasten received her BFA from NYU’s Tisch School of the Arts.
MAURA HOOPER (IRINA NIKOLAYEVNE ARKADINA) is a third-year MFA candidate at Yale School of Drama, where she has been seen in The Master and Margarita, Measure for Measure, Peter Pan, Sagittarius Ponderosa, and Platonov. Her other credits include A New Saint for a New World, He Left Quietly (Yale Cabaret); Dear Elizabeth (understudy, Yale Repertory Theatre); Pygmalion (Williamstown Theatre Festival); Middletown, and Why Torture Is Wrong, and the People Who Love Them (Yale Summer Cabaret). She is originally from Los Angeles and holds a BFA from NYU’s Tisch School of the Arts. PORNCHANOK KANCHANABANCA (THE MAID) is second-year MFA candidate in Sound Design at Yale School of Drama, where she recently designed Paradise Lost. Other credits include American Gothic, The Brothers Size, The Crazy Shepherds of Rebellion, The Shoemaker’s Prodigious Wife (Yale
CAST Cabaret); Ain’t She Brave (FringeNYC); Ain’t Gonna Make It (ANT Fest); Oxygen (undergroundzero festival); and Red Demon (Tokyo Metropolitan, Singapore Arts Fest). Assistant design credits include A Streetcar Named Desire and Accidental Death of an Anarchist at Yale Rep. She also collaborated with theatre companies in Thailand including B-floor, Babymine, Crescent Moon, Makharmpom, and Democrazy. She holds her BFA in performing art from Chulalongkorn University, Thailand.
JONATHAN MAJORS (PYOTR NIKOLAYEVICH SORIN) is a second-year MFA candidate at Yale School of Drama, where his credits include Paradise Lost and Cardboard Piano. Other credits include A Raisin in the Sun, The Tempest (Chautauqua Theater Company); the world premiere of Cry Old Kingdom (Humana Festival of New American Plays); and the August Wilson’s American Century Cycle recordings of Ma Rainey’s Black Bottom and Fences (The Greene Space). Jonathan holds a BFA from the University of North Carolina School of the Arts.
NIALL POWDERLY (ILYA AFANASYEVICH SHAMRAYEV) is a second-year MFA candidate at Yale School of Drama, where he has been seen in Paradise Lost and In Arabia We’d All Be Kings. He was also recently seen in Rose and the Rime with Yale Cabaret. He is originally from St. Louis and grew up in Dublin, Ireland. He holds a BFA from NYU’s Tisch School of the Arts. Niall is a recipient of the Constance Welch Memorial Scholarship.
JENNIFER SCHMIDT (THE COOK) is a DFA candidate at Yale School of Drama, where her dramaturgy credits include Hedda Gabler, The Really Big Fat Show, What a Very Pretty Pageant!, Blueberry Toast, and The Two Gentlemen of Verona. She also performed in The Visit. At Yale Cabaret, she served as dramaturg for Dutchman, and performed in American Gothic, Creation 2011, and Ain’t Gonna Make It. Jennifer received her BA in English from Carleton College and MFA from Yale School of Drama.
ZENZI WILLIAMS (MASHA) is a third-year MFA candidate at Yale School of Drama, where she has been seen in The Master and Margarita, Measure for Measure, Platonov, and Wintertime. She was also in the cast of all of what you love and none of what you hate at Yale Cabaret. This summer she participated in A Lover’s Tale at the Berkshire Theatre Group, directed by Dustin Wills. Zenzi studied at the British American Drama Academy and holds a BA in theatre from Temple University.
SHAUNETTE RENÉE WILSON (PAULINA ANDREYEVNA) is a second-year MFA candidate at Yale School of Drama, where her credits include Paradise Lost and Cardboard Piano. Other credits include We Are Proud to Present a Presentation about the Herero of Namibia, Ron Bobby Had Too Big a Heart,
M.A.H. (A Museum Play), an excerpt from Undesirables, Your Living Room Is Full of Ghosts, Middletown (Yale Summer Cabaret); The Marriage of Bette and Boo, Undone, Macbeth, A Dybbuk, Romeo and Juliet (Queens College); Look Up, Speak Nicely, and Don’t Twiddle Your Fingers All the Time and The Defendant (Yale Cabaret).
CREATIVE TEAM ASA BENALLY (COSTUME DESIGNER) is a second-year MFA candidate at Yale School of Drama. He is originally from the Navajo Nation in northern Arizona. His design credits include Tricks the Devil Taught Me (Minetta Lane Theatre); A Midsummer Night’s Dream, Measure for Measure, The Taming of the Shrew (West End Theater); Far Away, Platonov (Columbia University); and The Crazy Shepherds of Rebellion (Yale Cabaret). Musical theatre credits include Chicago, Beauty and the Beast, Anything Goes, Cinderella, Hello Dolly!, Miss Saigon, Guys and Dolls, and, at the New York Musical Theatre Festival, Zapata! The Musical. Opera credits include The Marriage of Figaro and La Bohème. Asa received his BFA in fashion design from Parsons School of Design.
JESSICA HOLT (DIRECTOR) is a third-year MFA candidate at Yale School of Drama. She is originally from San Francisco, California. Yale School of Drama credits include Shakespeare’s Twelfth Night and Dead Ends. by Ryan Campbell. She also directed Have I None by Edward Bond at Yale Cabaret. As the CoArtistic Director of the 2014 Yale Summer Cabaret, Jessica directed We Are Proud to Present a Presentation about the Herero of Namibia and Why Torture Is Wrong, and the People Who Love Them. She also co-directed Summer Shorts: A Festival of New Voices. Before coming to Yale, Jessica spent three years as the Artistic Director of the Bay One Acts (BOA) Festival, where she produced, developed, and directed new plays by local playwrights. She was an associate artist at the Magic Theatre, where she directed Act 5 of Taylor Mac’s five-hour epic The Lily’s Revenge and The Laramie Project: Ten Years Later. While in the Bay Area, she directed at Cutting Ball Theater (Aulis: An Act of Nihilism in One Long Act), Boxcar Theatre (The Glass Menagerie), New Conservatory Theatre Center (No Bull, Dis-Connected), and Playwrights Foundation (My New Best Friend), among others. Jessica graduated from UCLA with a BA in cultural anthropology and from UC Berkeley with an MA in performance studies.
KELLY KERWIN (PRODUCTION DRAMATURG) is a third-year MFA candidate at Yale School of Drama. She was an artistic director for Yale Cabaret’s 46th Season, where she also directed and co-wrote We Know Edie La Minx Had a Gun. This season at Yale Cabaret, she produced Look Up, Speak Nicely, and Don’t Twiddle Your Fingers All the Time and directed Rose and the Rime. Selected dramaturgy credits include the world premieres of Tiny Boyfriend, Lottie in the Late Afternoon (Yale School of Drama); Hit the Wall
CREATIVE TEAM (Steppenwolf’s Garage Rep, The Inconvenience); Oblivion (Steppenwolf’s First Look Rep); and The Sparrow (The House Theatre of Chicago), which received the Jeff Award for Best New Play. Prior to Yale, she served as a member of the artistic staff at Steppenwolf Theatre Company, Atlantic Theater Company, The House Theatre of Chicago, and as the associate producer at Chicago’s Collaboraction. She also helped found Chicago’s Salonathon, a weekly series specializing in underground performance. Additionally at Yale, she is a founding member of Guided Tour, where she devises and produces theatre experiences in non-traditional spaces. Kelly holds a BFA from the Theatre School at DePaul University.
JEAN KIM (SCENIC DESIGNER) is a second-year MFA candidate at Yale School of Drama. Her recent designs include Beginners by Raymond Carver, or What We Talk About When We Talk About Love; We Fight We Die; and A New Saint for A New World (Yale Cabaret). Her assistant credits include The Visit (Yale School of Drama); and The Fairytale Lives of Russian Girls (Yale Repertory Theatre). Prior to Yale, Jean was an illustrator and muralist based in New York City. She holds a BFA from Rhode Island School of Design. ELIZABETH MAK (LIGHTING DESIGNER) is a second-year MFA candidate at Yale School of Drama. Her credits include Twelfth Night (Yale School of Drama); Beckett Shorts, The Flu Season (American Repertory Theater); Counterpoint, 35 (Harvard-Radcliffe Modern Dance Company); House of Yes, Accidental Death of an Anarchist, Far Away, The Balcony (Harvard-Radcliffe Dramatic Club); and projects at Urbanity Dance, NineSidedBox, Edinburgh Fringe Festival, and the Anglo-Chinese Junior College Dance Society Singapore. Independent productions: Graveyard Book and Waiting. elizabethmak.com
KATE MARVIN (SOUND DESIGNER) is a second-year MFA candidate at Yale School of Drama. Her credits include He Left Quietly, The Mystery Boy (Yale Cabaret); These Paper Bullets! (associate sound designer, Yale Repertory Theatre); Chimpanzee (St. Ann’s Warehouse Puppet Lab); Set in the Living Room of a Small Town American Play, Three Seagulls or MASHAMASHAMASHA! (Theater Reconstruction Ensemble); Uncle Vanya, POZHAR! (or Time Machine Ignition), The Tempest, Second Language (Target Margin Theater); and The Latvia Project (warner|shaw). Kate is an associate artistic director of Theater Reconstruction Ensemble and an associate artist with Target Margin Theater.
KELLY MONTGOMERY (STAGE MANAGER) is a second-year MFA candidate at Yale School of Drama, where her credits include As You Like It and Peter Pan. Other credits include These Paper Bullets! (assistant stage manager, Yale Repertory Theatre); Sweet Bird of Youth, A Christmas Carol, Other Desert Cities, Measure for Measure, The Jungle Book, and By the Way, Meet Vera Stark (Goodman Theatre); Welcome Yule (Chicago Symphony Orchestra); A Chorus Line, Legally Blonde, Sunset Boulevard, 42nd Street, Always…Patsy Cline (Maine
State Music Theatre); Heroes, Mourning Becomes Electra, Chesapeake (Remy Bumppo Theatre Company); Not Wanted on the Voyage (American Music Theatre); One Singular Sensation, Fantastical Family Night, Music of the Night, and Steppin’ Out Live with Ben Vereen (Transcendence Theatre Company). She is a graduate of the Theatre School at DePaul University where she holds a BFA in stage management.
PAUL SCHMIDT (TRANSLATOR) was one of the most influential critics, translators, and playwrights of his time. His translations, including plays by Chekhov, Gogol, Genet, Brecht, and Marivaux, have been produced by such directors as Robert Wilson, JoAnne Akalaitis, and Peter Sellars and have won awards in France, Italy, and the United States. His plays have been performed at the Brooklyn Academy of Music, Thalia Theater in Hamburg, and Institute for Contemporary Art in London. Dr. Schmidt, who held a PhD in Slavic Literature from Harvard, was a Professor of Russian Literature at the University of Texas and at Wellesley College. He also taught at Harvard, Cornell, and Yale and lectured widely in this country and abroad. His critical essays appeared in The Nation, The New York Review of Books, and Delos. A recipient of a fellowship from the National Endowment for the Arts, Dr. Schmidt was the author of Meyerhold at Work and editor of The Complete Works of Arthur Rimbaud and The Collected Works of Velimir Khlebnikov. His collected translations of Chekhov’s plays were published in 1997.
THE SEAGULL STAFF ARTISTIC Choul Lee, Assistant Scenic Designer Sylvia Xiaomeng Zhang, Assistant Costume Designer Elizabeth Green, Assistant Lighting Designer Ian Williams, Assistant Sound Designer and Engineer Shawn Boyle, Projection Consultant Helen Muller, Assistant Stage Manager
PRODUCTION Lee O’Reilly, Associate Production Manager Mitch Massaro, Technical Director Andrew Knauff, Scott Keith, Assistant Technical Directors Pat Lawrence, Properties Master Spencer Hrdy, Master Electrician Michael Hsu, Stage Carpenter Montana Levi Blanco, Ben Clark, Emily DeNardo, Ashley Flowers, George Hampe, Jessica Hawkins, Rebekah Heusel, Jonathan Higginbotham, Run Crew
ADMINISTRATION
YALE SCHOOL OF DRAMA STAFF James Bundy, Artistic Director Victoria Nolan, Managing Director Joan Channick, Associate Dean
ARTISTIC Artistic Management Jennifer Kiger, Associate Artistic Director Director of New Play Programs James Mountcastle, Production Stage Manager Amy Boratko, Literary Manager Kay Perdue Meadows, Artistic Associate Benjamin Fainstein, Artistic Coordinator Helen C. Jaksch, Kelly Kerwin, Literary Associates Lindsay King, Teresa Mensz, Library Services Josie Brown, Senior Administrative Assistant to the Artistic Director and Associate Artistic Director Laurie Coppola, Senior Administrative Assistant for the Directing, Dramaturgy and Dramatic Criticism, Playwriting, and Stage Management Departments Mary Volk, Senior Administrative Assistant for the Design, Sound Design, and Projection Departments
Ahn Lê, House Manager
SPECIAL THANKS Yury Butusov, Ilya Khodosh, Janos Szasz, Dustin Wills
PRODUCTION Production Management Bronislaw J. Sammler, Head of Production Jonathan Reed, Production Manager Steven Schmidt, Associate Head of Production and Student Labor Supervisor Grace O’Brien, Senior Administrative Assistant to the Production and Theater Safety and Occupational Health Departments
Scenery OPENING NIGHT SPONSOR
The Seagull December 12–18, 2014 Iseman Theater, 1156 Chapel Street
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.
Neil Mulligan, Matt Welander, Technical Directors Alan Hendrickson, Electro Mechanical Laboratory Supervisor Eric Sparks, Shop Foreman Brandon Fuller, Matt Gaffney, Ryan Gardner, Sharon Reinhart, Master Shop Carpenters Samantha Catanzaro, Kelly Rae Fayton, Alexandra Reynolds, Assistants to the Technical Director
Painting Ru-Jun Wang, Scenic Charge Lia Akkerhuis, Nathan Jasunas, Assistant Scenic Artists Emily Baldasarra, Assistant to the Painting Supervisor
Properties Brian Cookson, Properties Master David P. Schrader, Properties Craftsperson Jennifer McClure, Master Properties Assistant Bill Batschelet, Properties Stock Manager Ashley Flowers, Assistant to the Properties Manager
Costumes
Finance and Human Resources
Tom McAlister, Costume Shop Manager Robin Hirsch, Associate Costume Shop Manager Clarissa Wylie Youngberg, Mary Zihal, Senior Drapers Deborah Bloch, Harry Johnson, Senior First Hands Linda Kelley-Dodd, Costume Project Coordinator Denise O’Brien, Wig and Hair Design Barbara Bodine, Company Hairdresser Linda Wingerter, Costume Stock Manager Christina King, Assistant to the Costume Shop Manager
Katherine D. Burgueño, Director of Finance and Human Resources Jonathan Rohner, Business Manager Cristal Coleman, Joanna Romberg, Jennifer Truong, Business Office Specialists Janna J. Ellis, Director, Yale Tessitura Consortium Toni Ann Simiola, Senior Administrative Assistant to Business Office; Technology, Media, and Web Services; Operations; and Tessitura
Electrics
Marketing, Communications, and Audience Services
Donald W. Titus, Lighting Supervisor Brian Quiricone, Linda-Cristal Young, Senior Head Electricians
Sound Mike Backhaus, Sound Supervisor Monica Avila, Staff Sound Engineer Jessica Hawkins, Stephanie Smith, Assistants to the Sound Supervisor
Projections Erich Bolton, Projection Supervisor Mike Paddock, Head Projection Technician
ADMINISTRATION General Management Louisa Balch, Sarah Williams, Associate Managing Directors Libby Peterson, Stephanie Rolland, Assistant Managing Directors Emalie Mayo, Senior Administrative Assistant to the Managing Director Gretchen Wright, Company Manager Adam Frank, Assistant Company Manager
Development and Alumni Affairs Deborah S. Berman, Director of Development and Alumni Affairs Janice Muirhead, Senior Associate Director of Development Eric Gershman, Associate Director of Development Barry Jay Kaplan, Senior Staff Writer Susan C. Clark, Development and Alumni Affairs Officer Katherine Ingram, Development Associate Emily Reeder, Development Assistant Belene Day, Senior Administrative Assistant to Development and Marketing & Communications
Daniel Cress, Interim Director of Marketing Steven Padla, Interim Director of Communications Anh Lê, Associate Director of Marketing Marguerite Elliott, Publications Manager Caitlin Griffin, Marketing and Communications Assistant Flo Low, Emily Reeder, Marketing Assistants T. Charles Erickson, Production Photographer Laura Kirk, Associate Director of Audience Services Shane Quinn, Assistant Director of Audience Services Tracy Baldini, Subscriptions Coordinator Roger-Paul Snell, Audience Services Assistant Janie Alexander, Charles Cowen, Nathaniel Dolquist, Paul Hanna-Cook, Katie Metcalf, Andrew Moore, Peter Schattauer, Box Office Assistants
Operations Diane Galt, Director of Facility Operations Nadir Balan, Interim Operations Associate Ian Dunn, Operations Associate—on leave Joe Proto, Arts and Graduate Studies Superintendent Sherry Stanley, Team Leader Michael Humbert, Facility Steward Lucille Bochert, Tylon Frost, Kathy Langston, Warren Lyde, Patrick Martin, Louis Moore, Mark Roy, Custodians
Technology, Media, and Web Services Sarah Stevens-Morling, Director of Technology, Media, and Web Services Daryl Brereton, Associate Director of Technology, Media, and Web Services Kathleen Martin, Web Services Associate
Theater Safety and Occupational Health William J. Reynolds, Director of Theater Safety and Occupational Health Jacob Thompson, Security Officer Ed Jooss, Audience Safety Officer Kevin Delaney, Fred Geier, Patrick Grant, John Marquez, Customer Service and Safety Officers
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