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2018–19 SEASON

photograph by David Ottenstein

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December 13–18, 2018 YALE SCHOOL OF DRAMA James Bundy, Dean Victoria Nolan, Deputy Dean Chantal Rodriguez, Associate Dean Kelvin Dinkins, Jr., Assistant Dean Presents

Martín Zimmerman directed by Jecamiah M. Ybañez By


Jake Ryan Lozano Scenic Designer

Lily Guerin Lighting Designer

Evan Christian Anderson Costume Designer

April M. Hickman Sound Designer and Composer

Andrew Rovner Projection and Video Designer

Christopher Evans Production Dramaturg

Evan Hill Technical Director

Jenna Heo Stage Manager

Zachry J. Bailey Seven Spots On The Sun is presented by special arrangement with Samuel French, Inc. Originally produced by Cincinnati Playhouse in the Park, Blake Robison, Artistic Director; Buzz Ward, Managing Director | Winner of the 2012 Sky Cooper New American Play Prize at Marin Theatre Company, under the leadership of Artistic Director Jasson Minadakis and Interim Managing Director Sandra Weingart | Developed by Victory Gardens Theater, Chicago, Illinois, Chay Yew, Artistic Director; Jan Kallish, Executive Director, as part of Ignition 2012 | Developed in part at the Icicle Creek Theatre Festival | Developed in part at Chicago Dramatists | Developed with the support of PlayPenn, Paul Meshejian, Artistic Director | New York Premiere produced by Rattlestick Playwrights Theater, in collaboration with The Sol Project.




Alice Childress Directed by Aneesha Kudtarkar FEBRUARY 2–8 University Theatre, 222 York Street 2018–19 SEASON 203.432.1234

Cast Moisés

Dario Ladani Sánchez Eugenio

José Espinosa Belén

Sohina Sidhu Mónica

Adrienne Wells Luis

Robert Lee Hart The Town

Brandon E. Burton Louisa Jacobson Kineta Kunutu JJ McGlone Ilia Isorelýs Paulino Jakeem Powell

Setting In an unspecified Latin American country In the towns of San Isidro and Ojona In an abandoned, secret detention center formerly run by a military junta

Seven Spots On The Sun is performed without an intermission. The taking of photographs or the use of recording devices of any kind during the performance is prohibited.


Death Squads, Memory, and

Historical consciousness seems to appear only when it’s politically advantageous. As I write this, a caravan of asylum seekers approaches our border. Politicians and pundits may weaponize their arrival, but the question of why this is happening is rarely, if at all, posed in earnest. Americans, however, must live with an uncomfortable truth: The U.S. has wreaked havoc in Latin America. We helped shape the unlivable conditions from which many now flee, yet that grim historical fact is often deleted from our country’s collective memory. But for Latin Americans, remembering the atrocities they endured at home in the 70s and 80s is inescapable. Although U.S. interventionist policies in Latin America date back to the 19th century, our most destructive action was backing the military coups that were launched in 1975 under the name of Operation Condor. The campaign took place in Argentina, Chile, Uruguay, Paraguay, Bolivia, Brazil, Peru, and Ecuador, and the

results were devastating. In the wake of the cold war and the Cuban Missile Crisis, a pathological fear of leftism resulted in an international program of U.S.-supported state terror and political oppression. The U.S. not only wanted to forge ideological alliances in Latin American countries, we also wanted to reform Latin American economic policies. It was urgent that Latin America align their goals with America’s neoliberal trade agenda. To restore “Christian, Western values,” the U.S. helped topple democratically elected governments and turned a blind eye when death squads (whom we sometimes armed and trained) rounded up students, unionists, journalists, doctors, nuns, and anyone merely suspected of having leftist sympathies. During Argentina’s “Dirty War,” our thensecretary of state, Henry Kissinger, told Argentina’s ambassador, “If there are things that have to be done, you should do them quickly.”

1977–1983: Mothers of Plaza de Mayo protest disappearances in Argentina.

OF THEIR TOMORROW? the Tyranny of Amnesty Upwards of 60,000 people were “disappeared” as a result of Operation Condor. Many more who also underwent extrajudicial imprisonment and torture survived. The military dictatorships had carried out a systematic and secret war against their own people, eliminating dissent wherever it arose. Through disinformation and propagandistic spectacles of statehood, they deceived their citizenry. Rule was established by mass repression and delusion. As a result, suspicion, fear, and resentment continued to erode public and private trust well after the end of the regimes. In Argentina, Peru, Chile, and Uruguay, amnesty laws were passed a few years after the military juntas had fallen. These laws pardoned both sides of the conflict—guerilla fighters and military leaders—in an attempt to heal the wounds of “civil war.” Yet according to philosopher Paul Ricoeur, amnesty is a form of censorship that blocks, manipulates, and commands memory for political ends. This state-imposed amnesia effectively silenced the traumatic memories of victims, many of whom today still pass their torturers in public—in parks, in banks, or on the street. Where fault persists without ownership, reconciliation and healing prove impossible. In the face of deniers and justifiers, the past had to be reclaimed over and over again. Survivors—in response to this palpable absence of justice—gathered, protested, marched, sang, wrote, and shared their memories. They became a living memorial for the massacred and demanded accountability. But it wasn’t until the early 2000s—almost 20 years after the amnesty laws were passed—

that these laws were repealed, and members of the military were finally tried for human rights abuses. The events of Seven Spots On The Sun take place before and after a pronouncement of amnesty. The threat of historical forgetfulness that looms at the play’s center draws each character into a confrontation with the collective past. Their memories assume the dimensions of both curse and hope. The inability to forget, on the one hand, compels these survivors to revisit scenes of suffering and wrongdoing. Yet on the other, this return to the past represents the only possible means of transcending an unpardonable history. As Juan Gelman—an Argentinian poet whose son and daughter-in-law were disappeared—writes: death itself has come with its death itself has come with its documentation documentation

we’re going to take up again

we’re going again to take up again the struggle we’re going to begin the struggle

again we’re going to begin all of us againstwe’re the great defeat of the world. again going to begin

again we’re going to begin all of us The history recalled here may feel unimaginable to most of us in the U.S., yet we must bear in mind that our nation was a complicit actor in this distinctively Latin American crisis. Seven Spots On The Sun insists that as political and moral creatures we, too, bear witness to the disappeared and resist their further disappearance from memory. In doing so the question arises: If America was a part of their past, will we also be a part of their tomorrow? —EVAN HILL, PRODUCTION DRAMATURG

Cast Brandon E. Burton (The Town) is a

second-year M.F.A. candidate at Yale School of Drama, where his credits include shakespeare’s as u like it, Marty and the Hands That Could, and The Last Days of Judas Iscariot. Other credits include Mud (Yale Cabaret); Angel Food Cake (Strange Sun Theater); One Flew Over the Cuckoo’s Nest (Gallery Players); and Macbeth (Pennsylvania Shakespeare Festival). Brandon’s voice can be heard as part of The Green Book Project and Middle Passage Exhibit at the National Museum of African American History and Culture in Washington, D.C. He holds a B.A. in education and Japanese from Coe College.

José Espinosa (Eugenio) is a third-

year M.F.A. candidate at Yale School of Drama, where his credits include The Seagull, The Girl Is Chained, Much Ado About Nothing, Death of Yazdgerd, Pentecost, and Escape from Happiness. Other credits include The Meal, The Other World (Yale Cabaret); Macbeth, The Taming of the Shrew (City Shakespeare Co.); and Transformatique (Dixon Place). He holds a B.A. in English and religion from Amherst College and trained with SITI Company as part of their Summer Theater Workshop.

Robert Lee Hart (Luis) is a

second-year M.F.A. candidate at Yale School of Drama, where his credits include The Seagull and Marty and the Hands That Could. Other credits include The Duchess of Malfi, Macbeth (California State University, Long Beach); The Laramie Project, Flowers for Algernon, and Electric Roses (El Camino College).

Louisa Jacobson (The Town) is a

third-year M.F.A. candidate at Yale School of Drama, where she has been seen in The Seagull, The Girl Is Chained, Much Ado About Nothing, and Escape from Happiness. Other credits include The Member of the Wedding (Williamstown Theatre Festival), Native Son (Yale Rep), The Other World, and Re:Union (Yale Cabaret). She holds a B.A. in psychology from Vassar College and studied acting in Oxford with the British American Drama Academy.

Kineta Kunutu (The Town) is a

third-year actor at Yale School of Drama, where she has been seen in shakespeare’s as u like it, The Girl Is Chained, Romeo and Juliet, and If Pretty Hurts Ugly Must Be a Muhfucka. Other credits include In the Red and Brown Water (Yale Cabaret); The Trojan Women, Mies Julie (Yale Summer Cabaret); but i cd only whisper (The Flea Theater); Mandela (East Harlem Repertory Company); and Macbeth (The Drilling Company). She studied with the American Musical Dramatic Academy and was a resident member of The Bats at The Flea Theater.

JJ McGlone (The Town) is a secondyear M.F.A. candidate at Yale School of Drama, where his credits include The Seagull and The Girl Is Chained. Other credits include The Guadalupes and Enter Your Sleep (Yale Cabaret). He studied at the British American Drama Academy and earned a B.F.A. in acting from DePaul University where he was a recipient of the Sarah Siddons Society Scholarship.

Ilia Isorelýs Paulino (The Town)

is a second-year M.F.A. candidate at Yale School of Drama, where her credits include The Seagull, The Girl Is Chained, and The Last Days of Judas Iscariot. Other credits include Agreste (Drylands) (Yale Cabaret); As You Like It, Evita, The Taming of the Shrew, Julius Caesar, The Little Mermaid, Rapunzel, Pericles, Les Misérables, Twelfth Night, Much Ado About Nothing (Pennsylvania Shakespeare Festival); and Thrive (Page 73). She attended DeSales University, where she earned a B.A. in musical theater.

Jakeem Powell (The Town) is a

third-year M.F.A. candidate at Yale School of Drama, where he has been seen in The Seagull, Marty and the Hands That Could, Slave Play, Much Ado About Nothing, and If Pretty Hurts Ugly Must Be a Muhfucka. Other credits include In the Red and Brown Water; Xander Xyst, Dragon: 1 (Yale Cabaret); A Raisin in the Sun (Dallas Theater Center); The Man in the Iron Mask; The Mandrake; Henry IV, Part 2 (Shakespeare Santa Cruz); Blues for Mister Charlie; Richard III; and Alice Underground at Southern Methodist University, where he earned a B.F.A. in acting.

Dario Ladani Sánchez (Moisés) is a second-year actor at Yale School of Drama, where he appeared in The Last Days of Judas Iscariot. Other work includes Fade (Yale Cabaret); Hand to God (SpeakEasy Stage); Juliet & Romeo (The Brick); Welcome to Arroyo’s (Circuit Theatre); and readings at the Huntington Theatre and Yale’s

Binger Center for New Theatre. He is a founding member of Il Teatro della Trinacria, an international devised theater company, and starred in the CTA award-winning web series Paper Trail. Dario trained in Oxford with the British American Drama Academy, and holds a degree in communication studies from Northeastern University.

Sohina Sidhu (Belén) is a third-

year M.F.A. candidate at Yale School of Drama, where she has been seen in The Seagull, Much Ado About Nothing, Death of Yazdgerd, and Escape from Happiness. She conceived and directed The Red Tent at Yale Cabaret and appeared in The Trojan Women at Yale Summer Cabaret. Other credits include Kiss (Yale Repertory Theatre), The Seagull (Schapiro Theatre), Caenis (Pace Gallery NYC), and SEVEN—a documentary play (Bovard Auditorium, USC), among others. Television credits include Outsourced. Sohina holds degrees in acting from University of Southern California School of Drama and in film from USC’s School of Cinematic Arts.

Adrienne Wells (Mónica) is a

second-year M.F.A. candidate at Yale School of Drama, where she has been seen in Marty and the Hands That Could. Other credits include The Purple Flower, The Light Fantastic (Yale Cabaret); The Other Place, Jerry’s Girls, A Christmas Story, High Society, Memphis (Walnut St Theatre); Macbeth, Oklahoma!, and Spring Awakening (Tomlinson Theater). Adrienne received a B.A. in theater from Temple University.

Creative Team Evan Christian Anderson

(Lighting Designer) is a second-year M.F.A. candidate at Yale School of Drama, where he designed Much Ado About Nothing. His other credits include Fade, One Big Breath (Yale Cabaret); One Small Step (New Ohio); Treasure Island (Book-It Repertory Theater); Every Five Minutes, The Motherfucker With the Hat, 99 Ways to Fuck a Swan (Washington Ensemble Theatre); The Realistic Joneses (New Century Theatre Co.); The Holler Sessions, As You Like It (A Contemporary Theatre); Caught and Grand Concourse (Seattle Public Theatre). He is a graduate of the University of Washington and is a company member of CabinFever.

Zachry J. Bailey (Stage Manager)

is a second-year M.F.A. candidate at Yale School of Drama, where he was the assistant stage manager on Marty and the Hands That Could and Pentecost. He was the producing stage manager for Yale Cabaret’s 2018 Satellite Festival. Selected credits include The Book of Merman, The Temperamentals,YANK! The Musical (Evolution Theatre Inc.); Snoopy!!!, Sleepy Hollow, and The Emperor’s New Clothes (Columbus Children’s Theatre). He holds a B.A. in theater from the Ohio State University where his credits include An Enemy of the People, Heathers: The Musical, In Here Out There, and There Is No Silence.

Christopher Evans (Projection

and Video Designer) is a secondyear M.F.A. candidate at Yale School

of Drama. His credits include The Apple Tree, Fuck Her, The Ugly One, Wolf Alice, Non-Player Character (Yale Cabaret); Romeo and Juliet (Oklahoma Shakespeare in the Park); The Woman in Black, Hello Again, and In the Next Room (Reduxion Theatre). He holds a B.F.A. in theater arts design/tech from University of Central Oklahoma, where his designs earned The Hilton Worldwide Award for Special Achievement in Film and Projection Design for Woyzeck and awards from both the Kennedy Center American College Theater Festival and the Stagecraft Institute of Las Vegas for EchoBOOM.

Lily Guerin (Scenic Designer) is

a second-year M.F.A. candidate at Yale School of Drama. Her credits include The Purple Flower, Phosphene (Yale Cabaret); Shipwrecked! An Entertainment, The Outgoing Tide (Dreamcatcher Repertory Theatre); Hotel Sonder (The Davenport Theater); and Six Characters in Search of an Author (Robert Moss Theater). She has worked in the art departments for Blindspot (NBC) and Sublets (webseries), and holds a B.F.A. in scenic design from Purchase College.

Jenna Heo (Technical Director) is

a third-year M.F.A. candidate at Yale School of Drama, where her credits include Much Ado About Nothing (technical director); The Hour of Great Mercy, Everything that Never Happened, If Pretty Hurts Ugly Must Be a Muhfucka (master electrician); and Blood Wedding (stage carpenter). She was the assistant technical

director for Native Son at Yale Repertory Theatre. She holds a B.A. in drama-scenic design from University of Washington.

April M. Hickman (Costume

Designer) is a second-year M.F.A. candidate at Yale School of Drama. Recent credits include the feels, kms‌, and Non-Player Character (Yale Cabaret). She assisted several prominent costume designers, including Emily Rebholz, Jess Goldstein, Ilona Somogyi, Paul Tazewell, and Catherine Zuber as a resident assistant at the Goodman Theatre and Arena Stage. She was awarded the William R. Kenan Jr. Costume Design Fellowship at the Kennedy Center in 2014. April received her B.F.A. in costume design from University of North Carolina School of the Arts where she designed Topdog/Underdog, Detective Story, and Innocent Thoughts, Harmless Intentions.

Evan Hill (Production Dramaturg)

is a second-year M.F.A. candidate at Yale School of Drama, where his credits include The Last Days of Judas Iscariot. His other credits include For Your Eyes Only (Yale Cabaret); Gentle (TUTA Theater); The Beautiful Days of Aranjuez, The Ghoul Exhibition (Theatre Y); and Andante con amore with director Josh Hoglund. As a writer, Evan contributed to original and devised works including On Blue by You (Linkup Artist Residency); 3Sisters, and The Binding (Theatre Y). Evan currently serves as Managing Editor of Theater magazine.

Jake Ryan Lozano

(Choreographer) is a graduate of Yale School of Drama’s Acting program, where he was seen in The Last Days of Judas Iscariot, In the Palm of a Giant, Sweat, Blood Wedding, and Titus Andronicus. He has previously worked with Williamstown Theatre Festival, Chautauqua Theater Company, and Great River Shakespeare Festival. He holds a B.F.A. in acting from the University of Oklahoma, and received the National Irene Ryan Acting Award at the 2014 Kennedy Center American College Theater Festival. Television: Central Park Five, New Amsterdam.

Andrew Rovner (Sound Designer

and Composer) is a third-year M.F.A. candidate at Yale School of Drama, where his credits include Marty and the Hands That Could, Romeo and Juliet, and Perfectly Timed Photos Taken Before a Disaster. Other credits include The Light Fantastic, The Other World (Yale Cabaret); 1984 (Steppenwolf Theatre Company); Four, Rolling (Jackalope Theatre Company); Edith Can Shoot Things and Hit Them (First Floor Theater); and The December Man (Mary-Arrchie Theatre Co.). He was also the sound designer for Storm, The Wild (Walkabout Theater Company); Circle-Machine (Oracle Theatre); among others. Andrew holds a B.A. in drama and philosophy from Vassar College.

Creative Team Jecamiah M. Ybañez (Director)

is a Tejano from Poteet, Texas. At Yale School of Drama, he has directed Shakespeare’s Much Ado About Nothing and Christopher Gabriel Núñez’s In the Palm of a Giant. Other credits include Re:Union (Yale Cabaret); Tea and Sympathy, The Yellow Boat (Texas State University); the world premieres of L’Absinthe for Lovers, What Thoughts Did (At-Random Theatre at Texas State); The Case of the Crushed Petunias (Midnight Project at Oregon Shakespeare Festival); and Martín, Love, Sex & Rhythm (Washington, DC Fringe Festival). He also co-created and directed a devised piece, American Pie, at the 2014 Encuentro Festival of Latinx Theatre at the Los Angeles Theatre Center. His assistant credits include Kiss (Yale Repertory Theatre); Stupid Fucking Bird (world premiere, Woolly Mammoth Theatre Company); Oliver! (Arena Stage); The Two Gentlemen of Verona (Oregon Shakespeare Festival), and Agnes Under the Big Top (Forum Theatre). He joined the Latinx Theatre Commons in 2014, where he served as a member of the National Steering Committee for two years before moving to his current position on the Advisory Board. Jecamiah is an alumnus of the Lincoln Center Director’s Lab and holds a B.F.A. in theater from Texas State University.

Martín Zimmerman (Playwright)

is a multi-ethnic, bilingual playwright and screenwriter whose plays have been produced or developed at institutions including The

Kennedy Center, Goodman Theatre, Oregon Shakespeare Festival, La Jolla Playhouse, Roundabout Underground, Rattlestick Playwrights Theater, LCT3, New York Theatre Workshop, Victory Gardens Theater, The Eugene O’Neill Theater Center’s National Playwrights Conference, Philadelphia Theatre Company, Alliance Theatre, American Conservatory Theatre, American Theater Company, Chicago Dramatists, Primary Stages, Teatro Vista, Ojai Playwrights Conference, Playwrights Foundation, Cara Mía Theatre Company, Seven Devils Playwrights Conference, Theatre Row, Illinois Shakespeare Festival, Borderlands Theater, Source Festival, and Collaboraction. Martín is a recipient of several awards including the Terrence McNally New Play Award, Humanitas Prize New Voices Award, Jerome Fellowship, and the National New Play Network’s Smith Prize. Martín is a Playwright in Residence at Teatro Vista, a Resident Playwright at Chicago Dramatists. He is the creator and showrunner for the upcoming Netflix Original Series Puerta 7. He is a Producer on Ozark and was a staff writer on Narcos, both on Netflix. He holds an M.F.A. in playwriting from the University of Texas at Austin and a B.A. in theater studies with a B.S. in economics from Duke University.

The Benjamin Mordecai III Production Fund, established by

a graduate of the School, honors the memory of the Tony Award-winning producer who served as Associate Dean and Chair of the Theater

Seven Spots On The Sun Staff Management Department at Yale School of Drama from 1993 until his death in 2005. During his tenure as Yale Rep’s Managing Director alongside Dean/Artistic Director Lloyd Richards, 1982–1993, he developed a model of professional producing that changed the course of new play development in the American theatre. His 25 Broadway credits included Tony Kushner’s Angels in America, as well as work by Anna Deavere Smith, Athol Fugard, David Henry Hwang, Terrence McNally, Robert Schenkkan, and perhaps most significantly August Wilson, with whom he collaborated on each of the ten plays in the epic 20th Century Cycle.


Assistant Director Zachary Rosen Assistant Scenic Designer Bridget Lindsay Assistant Costume Designer Stephen Marks Assistant Lighting Designer Riva Fairhall Assistant Sound Designer and Engineer Bailey Trierweiler Assistant Projection Designer Camilla Tassi Assistant Stage Manager Edmond O’Neal


Production Manager Valerie Tu Associate Safety Advisor Mike VanAartsen Associate Production Manager Samantha Else Assistant Technical Directors Margo Camden Jon West Properties Master Kelly O’Loughlin Master Electrician Matthew Lewis Assistant Master Electrician Kyra Tamiko Murzyn Projection Engineer Francesca DeCicco

“Tools for the

Imagination since 1947”

1144 Chapel St. New Haven, CT 203-865-4855

Projection Programmer Elena Tilli Stage Carpenter Shaoqian Lu Run Crew Rebecca Adelsheim Alicia J. Austin Liam Bellman-Sharpe Yitong Huang Sunny Jisun Kim Alexandra McNamara Dominick Pinto Emily Sorensen


House Manager Laurie Ortega-Murphy

Special Thanks Nahuel Telleria, Riccardo Hernandez

Yale School of Drama Staff Dean James Bundy Deputy Dean Victoria Nolan

Production Production Management

Associate Dean Chantal Rodriguez

Director of Production Shaminda Amarakoon

Assistant Dean Kelvin Dinkins, Jr.

Production Manager Jonathan Reed

Artistic Management

Associate Head of Production and Student Labor Supervisor C. Nikki Mills (on leave)

Associate Artistic Director and Director of New Play Programs Jennifer Kiger Production Stage Manager James Mountcastle Literary Manager Amy Boratko Artistic Associate Kay Perdue Meadows Artistic Coordinator Jocelyn Prince Literary Associate Charles O’Malley Senior Administrative Assistant to the Dean and Associate Artistic Director Josie Brown Senior Administrative Assistant for the Directing, Dramaturgy and Dramatic Criticism, Playwriting, and Stage Management Departments Laurie Coppola Senior Administrative Assistant for the Design and Sound Design Departments Kate Begley Baker Senior Administrative Assistant for the Acting Department Ellen Lange Library Services Lindsay King

Interim Production Coordinator Rob Chikar Senior Administrative Assistant to the Production, Theater Safety and Occupational Health, and Technical Design and Production Departments Grace O’Brien

Scenery Technical Directors Neil Mulligan Matt Welander (on leave)

Interim Technical Director Andrew Young Electro Mechanical Laboratory Supervisor Alan Hendrickson Shop Foreman Eric Sparks Master Shop Carpenters Matt Gaffney Ryan Gardner Sharon Reinhart Libby Stone

Painting Scenic Charge Ru-Jun Wang Scenic Artists Lia Akkerhuis Nathan Jasunas Scenic Painting Intern Amelia Pizzoferrato



Properties Master Jennifer McClure

Sound Supervisor Mike Backhaus

Properties Craftsperson David P. Schrader

Staff Sound Engineer Stephanie Smith

Interim Properites Assistant Madeline Winward Properties Stock Manager Mark Dionne

Sound Interns Marisa Arellano Yitong Huang

Projections Projection Supervisor Erich Bolton

Properties Intern Hyejin Son

Head Projection Technician Mike Paddock


Stage Operations

Costume Shop Manager Tom McAlister Senior Drapers Harry Johnson Clarissa Wylie Youngberg Mary Zihal

Stage Carpenter Janet Cunningham Wardrobe Supervisor Elizabeth Bolster Head Properties Runner Billy Ordynowicz

Interim Draper Nikki Fazzone

FOH Mix Engineer Jacob Riley

Senior First Hands Deborah Bloch Patricia Van Horn

Light Board Programmer David Willmore

Costume Project Coordinator Linda Kelley-Dodd


Wig and Hair Design Denise O’Brien Company Hairdresser Barbara Bodine Costume Stock Manager Elizabeth Beale

Electrics Lighting Supervisor Donald W. Titus Senior Head Electricians Jennifer Carlson Linda-Cristal Young Electrics Interns Kyra Tamiko Murzyn Ruo Qiao

General Management Associate Managing Directors Trent Anderson Caitlin Crombleholme Leandro A. Zaneti Assistant Managing Director Laurie Ortega-Murphy Senior Administrative Assistant to the Deputy Dean, Assistant Dean, and Theater Management Department Emalie Mayo Management Assistants Estefani Castro William Gaines Emma Perrin

Company Manager Markie Gray Assistant Company Manager Eliza Orleans

Development and Alumni Affairs Director of Development and Alumni Affairs Deborah S. Berman 
 Senior Associate Director of Institutional Giving Janice Muirhead Senior Associate Director of Operations for Development and Alumni Affairs
 Susan C. Clark Senior Associate Director of Annual Giving and Special Projects Joanna Romberg (on leave)

Associate Director of Development and Alumni Affairs
 Lisa D. Richardson Senior Administrative Assistant to Development and Marketing & Communications
 Jennifer E. Alzona Development Associate Jean Gresham Development Assistants William Gaines Chad Kinsman

Finance and Human Resources Director of Finance and Human Resources Katherine D. Burgueño Business Manager Erin Ethier Director, Yale Tessitura Consortium Janna J. Ellis Business Office Analyst Stacie Wcislo Business Office Specialists Preston Mock Teressa Reese Senior Administrative Assistant to Business Office, Digital Technology, Operations, and Tessitura Shainn Reaves

Director of Communications Steven Padla Senior Associate Director of Marketing and Communications Caitlin Griffin Associate Director of Marketing and Communications Sam Linden Marketing and Communications Assistant Madeline Carey Publications Manager Marguerite Elliott Director of Audience Services Laura Kirk Assistant Director of Audience Services Shane Quinn

Business Operations Portfolio Analyst Ann Corris

Subscriptions Coordinator Tracy Baldini

Business Office Assistant Ashlie Russell

Audience Services Assistant Molly Leona

Financial Aid and Registrar

Box Office Assistants Mikaela Boone Morgan Cronin Gabrielle Colangelo Samantha Else Paige Hann Kenneth Murray Alexis Payne Amir Rezvani Elijah Weaver

Andre Massiah Financial Aid Officer Registrar/Admissions Administrator Ariel Yan Senior Administrative Assistant to the Financial Aid Officer and Registrar/ Admissions Administrator Laura Torino

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

Production Photographer T. Charles Erickson

Theater Safety and Occupational Health Director of Theater Safety and Occupational Health Anna Glover

Customer Service and Safety Officers Kevin Delaney Ed Jooss John Marquez

Operations Director of Facility Operations Jennifer Gonsalves Operations Associate Nadir Balan Operations Assistant Devin Matlock Arts and Graduate Studies Superintendents Jennifer Draughn Michael Halpern Team Leaders Andy Mastriano Sherry Stanley Facility Stewards Michael Humbert Marcia Riley Custodians Tylon Frost James Hansberry Rodney Heard Kathy Langston Patrick Martin Andy Martino Shanna Ramos Mark Roy

Digital Technology Director of Digital Technology Chris Kilbourne Digital Technology Associate Andre Griffith Web and Email Services Associate Luis Serrano Database Application Consultants Bo Du George Sheehy Ben Silvert Seven Spots On The Sun, December 13–18, 2018 Yale Repertory Theatre, 1120 Chapel Street