SEPTEMBER 16 to OCTOBER 8
Life, Liberty, Pursuit of Happiness and the
A mer icA n A rt from the YA l e U n i v e r si t Y A rt G A l l e rY An e x hibition pr e se nt e d i n t h r e e pA rts
We the People July 29–December 31, 2011 Defining the Nation January 31–April 8, 2012 America Rising May 8–July 8, 2012
John Trumbull, The Declaration of Independence, July 4, 1776 (detail), 1786–1820. Oil on canvas. Yale University Art Gallery, Trumbull Collection
A NOTE FROM THE ARTISTIC DIRECTOR Welcome to Three Sisters, the first production of Yale Repertory Theatre’s 2011–12 season! I am delighted to welcome back Associate Artist Sarah Ruhl, whose exquisite new version of Anton Chekhov’s humorous and heartbreaking play marks her fourth production at Yale Rep. Her previous plays at our theatre—The Clean House (2004), Eurydice (2006), and Passion Play (2008)—have thrilled audiences and critics with their boundless imagination and poetry. It’s also a great joy to bring back director Les Waters, the Associate Artistic Director at Berkeley Repertory Theatre, who previously collaborated with Sarah on Eurydice at Yale Rep and In the Next Room (or the vibrator play) on Broadway. A co-production with Berkeley Rep (where it played earlier this year), Three Sisters is the latest example of Yale Rep’s fruitful relationship with our colleagues in California, which has also included the recent world premiere of Rinne Groff’s Compulsion starring Mandy Patinkin and the production of the opera Brundibar created by Maurice Sendak and Tony Kushner. Later this winter, Christopher Bayes and Steven Epp—who had audiences in stitches with The Servant of Two Masters in 2010—will take their new adaptation of Molière’s classic comedy, A Doctor in Spite of Himself, to the west coast following its performances here in New Haven. This season spans more than 400 years of great playwriting and an astonishing spectrum of human impulses, experiences, and emotions. In addition to Three Sisters and A Doctor in Spite of Himself, the season also includes Shakespeare’s The Winter’s Tale, which marks Resident Director Liz Diamond’s sixteenth production at Yale Rep, and three exciting world premieres. Yale Rep’s commitment to producing new plays continues with Amy Herzog’s Belleville, about a young American married couple living in Paris, directed by Anne Kauffman (last season’s We Have Always Lived in the Castle); Good Goods, an otherworldly love story by Christina Anderson, directed by celebrated Steppenwolf Theatre Company member Tina Landau; and Pulitzer Prize finalist Will Eno’s The Realistic Joneses, directed by Sam Gold, one of the most insightful and sought-after directors of his generation. I hope you’ll join us for the entire season! Subscribing to Yale Rep is convenient and affordable. Subscriptions start at just $30 per ticket—and you can even apply the cost of today’s ticket to your order. Subscribers enjoy a range of benefits including unlimited free ticket exchanges, as well as discounts on parking, dining, and additional ticket purchases. But most of all, a subscription is the best way to guarantee yourself an entire season of provocative and entertaining theatre. Enjoy the show—I look forward to hearing what you think and feel about it. Please feel free to email me at email@example.com: your thoughtful comments and notes are one of the most informative and reliable measures of how we’re doing, and I’m grateful! Sincerely,
James Bundy Artistic Director
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YALe reP’s 2011–12 seAson ALso incLuDes: World Premiere
By Amy Herzog Directed by Anne Kauffman
OctOBEr 21 tO NOVEmBEr 12, 2011
A DOctOr IN SPItE OF HImSELF
By molière Adapted by christopher Bayes and Steven Epp Directed by christopher Bayes A co-production with Berkeley repertory theatre
NOVEmBEr 26 tO DEcEmBEr 17, 2011 World Premiere
GOOD GOODS By christina Anderson Directed by tina Landau
FEBruAry 3 tO 25, 2012
tHE WINtEr’S tALE
By William Shakespeare Directed by Liz Diamond
mArcH 16 tO APrIL 7, 2012 World Premiere
tHE rEALIStIc JONESES By Will Eno Directed by Sam Gold
APrIL 20 tO mAy 12, 2012
SEPTEMBER 16 TO OCTOBER 8, 2011
YALE REPERTORY THEATRE James Bundy, Artistic Director Victoria Nolan, Managing Director in a co-production with
BERKELEY REPERTORY THEATRE PRESENTS
BY ANTON CHEKHOV A NEW VERSION BY SARAH RUHL BASED ON A LITERAL TRANSLATION BY ELISE THORON WITH NATALYA PARAMONOVA AND KRISTIN JOHNSEN-NESHATI
DIRECTED BY LES WATERS Scenic Designer Costume Designer Lighting Designer Sound Designer Dramaturg Vocal Coach Casting Directors Stage Manager
ANNIE SMART ILONA SOMOGYI ALEXANDER V. NICHOLS DAVID BUDRIES RACHEL STEINBERG GRACE ZANDARSKI AMY POTOZKIN, C.S.A. JANET FOSTER, C.S.A. JAMES MOUNTCASTLE
Originally commissioned and produced by Cincinnati Playhouse in the Park, Edward Stern, Producing Artistic Director; Buzz Ward, Executive Director. Three Sisters is produced by special arrangement with Bruce Ostler, Bret Adams, Ltd., 448 West 44th Street, New York, NY 10036. Production support for Three Sisters is provided by Tim Jones and Annie Cardelús.
SEASON MEDIA SPONSOR
CAST (IN ORDER OF SPEAKING)
WENDY RICH STETSON
THOMAS JAY RYAN
SAM BRESLIN WRIGHT
KEITH REDDIN EMILY KITCHENS BRIAN WILES JOSIAH BANIA
KULYGIN NATASHA FEDOTIK RODE
THERE WILL BE ONE FIFTEEN-MINUTE INTERMISSION.
I came to this translation with no agenda, no desire to bend Chekhov to my will in any way, but instead, to learn from him. It is, then, a very faithful translation, phrase by phrase, stage direction by stage direction, comma by comma. I tried to cleave to Chekhov’s original rhythms as far as I was able to. Sometimes that involved leaving out pronouns in the English where you might normally see them. For example, in one of Irina’s speeches, many translations use “I am crying” rather than, as in the literal Russian, “tears are flowing.” “I am crying” implies bodily agency, self-pity, and self-awareness; whereas “tears are flowing” is a sudden discovery of a condition. I think much of the humor of the play comes from the moment-tomoment discovery of emotional states, though the play is often understood in terms of the lyricism of looking backwards. Instead, the sisters are constantly discovering in the moment that they will not go to Moscow. They never know it ahead of time. And they keep forgetting, over and over, only to 10
discover the same reality in the next act. The emphasis in the Russian is on the noun “tears,” or “Moscow,” on the event, the discovery, rather than on the subject “I,” the self-reflexive emotion. People watching themselves emote and describing their own emoting with an “I” or a “my” seems more culturally American, and more contemporary. The flipside of the lack of solipsism in the Russian language is the possible abdication of responsibility, emotionally or otherwise, when one omits the “I.” In terms of articles absconding…when Olga describes her headache, she is often translated as saying “my head, my head” when in the literal Russian her language is more fragmented, without an article, as in “head, head.” One can imagine having a terrible headache and omitting articles. Rather than smoothing out or trying to make the language more logical, I tried to respect the breakages, disjunctions, oddness, and fragmentation that I think Chekhov was purposely working towards, as an expression of character, event, or life view. In this draft, I occasionally included words in the original Russian, to give the actors the flavor of the words inside their mouths, which I think would possibly make their faces move more, which would make their inner lives more suitable for Chekhov; and also because I think English is a terrible jackhammer for terms of endearment. Why say “dear Masha” when you could say “Milya Masha.” Why say “my little dove” when
you could say “galupchik moi.” Poor English. Poor sad impoverished English with our lack of “ushas” and “itas” to endear ourselves to, to play with, the names of our beloveds. One final note on Russian indifference and the phrase “vsyo ravno” (it’s all the same, it’s all equal, what’s the difference, who cares), which appears dozens and dozens of times in the text. I feel that the phrase is intensely Russian and almost impossible to translate, I think the best cultural equivalent is perhaps Janis Joplin on “Ball and Chain” when she croons, “it’s all the same fucking day, man.” “Who cares” is too casual, “what’s the difference” is too caustic and oddly engaged in its disengagement, and “it’s all the same” seemed about right in terms of a mathematical equivalence, but I am quite sure it sounds different on the streets of Moscow. I was tempted to leave it in the original Russian every time but didn’t want the audience to be entirely left out of Chekhov’s struggle with the indifferent stance, which was philosophical, literary, and of the street, all at once. I tried my best. Or, to be more in keeping with the defy and present-tense of the three sisters, “I try!”
might say, of Chicago, longing to move to New York. I don’t mean to say that I can fully understand what it was to live in provincial Russia; all I know is, at the time, I dreamed of birch trees. I don’t pretend to be anything in this translation but Chekhov’s student, and Chekhov’s ridiculously English-speaking student. I am sorry, Anton, for any havoc I have wreaked, and I thank you, your plays, your life, for, without intending to, giving me the gift of sitting in my apartment, while it snowed, trying to translate the line: “Look: it’s snowing. What is the meaning of snow?” —SARAH RUHL, JULY 2009
The year after my father died, when I was on the strange boundary between childhood and adulthood, I lived in a house with my sister, in a province, you
OPPOSITE: SARAH RUHL. PHOTO BY PETER SUMNER WALTON BELLAMY. ABOVE: RUSSIAN SUN NO. 7 BY MSTISLAV DOBUZHINSKI, 1914.
The Prozorovs and For a long time in the Russian town of Perm stood a house known as “The House of Three Sisters.” In the late 19th century, Perm, which is an 800-mile journey from Moscow en route to Siberia, emerged as an industrial center with an economy centered on metallurgy and salt mining and was a stop-over for anyone heading north. Ever since Anton Chekhov, in a letter to Maxim Gorky describing his 1900 play, suggested that Three Sisters “takes place in a provincial town such as Perm,” it has embraced the Prozorov sisters—Masha, Olga, and Irina—as honorary Permians. Three Sisters begins at the dawn of a new era following half a century of upheaval and change in Russia. In 1855, in the middle of a Crimean War stalemate that drained Russia’s troops and economy, Nicholas I died, leaving his son in power. Alexander II soon admitted defeat in the war, losing land, rights, and, as many thought, the nation’s dignity. After the treaty was signed, Alexander II set out to quash a rumored peasant uprising and to quell fury in the city over the high price of
goods due to his father’s wartime taxes. These Great Reforms were intended to restore Russia’s reputation as a great and powerful empire. Perhaps none of these reforms shaped the course of the century (and the fate of his Romanov descendants) more than the 1861 emancipation of the 23 million serfs—a third of the population and half of the peasantry—who were bound to serve the owners of the land they occupied. Theoretically, the emancipation was a landmark ruling. In practice, however, the former serfs experienced anything but freedom. They inherited the least fertile land—if they could afford it. Having no savings of their own, the peasants were forced to accept mortgages to be repaid over a period of 49 years. Furthermore, land was sold not to individuals but to communities which distributed the land based on household size. Regardless, after 1861 there was a degree of freedom. Released from their feudal obligations, more peasants
SKETCH OF THE SETTING FOR THREE SISTERS, ACT IV, BY V. SIMOV.
the Moscow dream were able to attend school, some even boarding with families in town throughout their education. Secondary education for boys prepared graduates to enter universities or public service. The system of secondary girls’ schools, created by Alexander II in 1858 (fourteen years before England established a public school system of any kind), was divided into two orders: the gymnasia and the progymnasia. Both schools offered classes in language, math, needlework, and penmanship; the gymnasia also taught some science. The progymnasia was a three-year program, whereas the gymnasia lasted seven years with the possibility of an eighth year during which a young woman would become a certified teacher. This is the sort of institution Olga might have attended in Moscow. Though the schools were open to all, their existence depended on public financing. As a result, better education was found in the city and wealthier towns. Increased access to education resulted in more upward social mobility. For instance, the son of a peasant might become a lawyer, thus propelling him into the intelligentsia, a group made up of a growing middle class of professionals and people stationed between the peasant class and the nobility. The Prozorovs, certainly, would have been considered members of this group. Historian Joel Carmichael describes the intelligentsia as “rooted essentially in the notion that life was important, that ideas were important, and that the world should and doubtless could be changed.”
The intelligentsia favored the cities Moscow and St. Petersburg, which became hubs for art and discourse. With the relaxation of censorship laws and increased literacy among the rising middle class, written discourse became more prolific and more varied. Meanwhile, the commercial class was becoming increasingly invested in the arts. At the turn of the century, one could catch a performance of a Tchaikovsky opera or a ballet at the now-famed Bolshoi. To experience something more daring, one might stop by the Moscow Art Theatre where Gorky was known to visit Chekhov. A variety of political affiliations were available: Russian students who had read Das Kapital might join one of the twenty-odd Marxist literary discussion groups in St. Petersburg or a similar one in Moscow. For those inclined to act rather than discuss, the Socialist Revolution Party, committed to acts of political terrorism and peasant revolt, might be a better fit. As always, there were also conservative voices opposed to the growing liberalism and calls for change in the country. Among these was the last tsar, 26-year-old Nicholas II, who reluctantly ascended to the throne in May 1896. No wonder, then, that the educated Prozorovs dream of Moscow from their small provincial town, entirely devoid of culture. If their town is, indeed, modeled after Perm, it might be home to a single opera house similar to the one erected there in 1870. Instead of attending Marxist salons or student protests, Andrei serves on the zemstvo (local 13
council), a municipal organization handling the town’s dull dayto-day bureaucratic affairs—a council that, in Three Sisters, is led by his wife’s lover. The only stimulating company for the Prozorovs are members of the military stationed at a nearby garrison. Not only were military men well-traveled and worldly, they were also often well-educated as a result of an 18thcentury policy implemented by Peter the Great, which called for even common soldiers to attend special cadet schools. Chekhov himself admired the army; one scholar’s account notes that during Moscow Art Theatre’s rehearsals for Three Sisters, Chekhov sent a military representative to meet the company. In the country, longing for the city, the Prozorovs can only picture the idyllic Moscow of their youth. However at the dawn of the 20th century, Moscow was for many an unhappy place to live. The overpopulation in the country led to a mass migration of
peasants into the city, first as migrant workers and then as permanent residents. Living conditions for workers during the 1890s, Moscow’s most rapid period of industrialization, led to a proliferation of crowded and dirty slums. The burst of industrialization and enterprise also led to an influx of foreign investment and business, as well as more international residents. In comparison to western European industrialization standards, Russia remained behind. Still, in the 11 years of the sisters’ absence, much of Moscow had quickly become a changed city, one the Prozorovs might have struggled to recognize. Nonetheless, the sisters are products of their unique age, and Moscow is the center of their community. Though stifled by the ambivalence of country life, the Prozorovs are still intelligentsia: they continue to value life, they continue to value ideas and they continue to hope that their world should, and somehow will, be changed for the better. —RACHEL STEINBERG DRAMATURG, BERKELEY REPERTORY THEATRE
FROM THE TOP: ANTON CHEKHOV IN YALTA, 1902; THE SET OF THREE SISTERS, ACT IV, 1901.
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CAST JOSIAH BANIA (RODE) is making his Yale Rep debut. He is a second-year MFA candidate at Yale School of Drama, where he has appeared in Twelfth Night and She Rode Horses Like the Stock Exchange. His other theatre credits include Love’s Labour’s Lost, Top Secret... (Chautauqua Theatre Company); The Friendship of Her Thighs (The Tank); The History Boys (Artists Repertory Theatre); The Uneasy Chair (CoHo Theatre); JAW: A Playwright’s Festival, A Christmas Carol (Portland Center Stage); and Hauptmann (Salem Repertory Theatre). Television credits include Leverage and a burger commercial that once aired in southern California. JAMES CARPENTER* (CHEBUTYKIN) is making his Yale Rep debut. A San Francisco Bay Area-based actor, James has performed in over thirty productions at Berkeley Repertory Theatre, as well as productions at American Conservatory Theater, Marin Theatre Company, San Jose Repertory Theatre, Shakespeare Santa Cruz, and TheatreWorks. He is an associate artist with California Shakespeare Theater, where he most recently played the title role in Titus Andronicus. Other regional theatre credits include work at Arizona Theatre Company, Huntington Theatre, Intiman Theatre, The Old Globe, and the Oregon Shakespeare Festival. He is the 2007 recipient of BATCC’s Barbara Bladen Porter Award for Excellence in the Arts and in 2010 was named a Lunt-Fontanne Fellow. Film and television credits include Metro, The Rainmaker; the independent projects Singing, Presque Isle, and The Sunflower Boy; and Nash Bridges.
RICHARD FARRELL* (FERAPONT) is making his Yale Rep debut. His most recent appearances include Tiny Alice, The Seagull (Marin Theatre Company), and A Christmas Memory (TheatreWorks). He has performed on stages throughout the country, including Alliance Theatre, Arizona Theatre Company, Center Repertory Company, Cleveland Play House, A Contemporary Theatre, Geva Theatre Center, Intiman Theatre, Milwaukee Repertory Theater, San Francisco Opera, Seattle Repertory Theatre, and Shakespeare Santa Cruz, as well as Off-Broadway at The Pearl Theatre Company. He was a company member for five seasons with the Alabama Shakespeare Festival, where he was an associate artist, and a company member with Oregon Shakespeare Festival for twelve seasons.
*MEMBER OF ACTORS’ EQUITY ASSOCIATION, UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS.
EMILY KITCHENS* (NATASHA) is thrilled to be making her Yale Rep debut. Her regional theatre credits include Betsy/ Lindsey in Clybourne Park, Belle in A Christmas Carol (American Conservatory Theater); John Steinbeck’s The Pastures of Heaven, Hero in Much Ado about Nothing (California Shakespeare Theater); Calpurnia in Julius Caesar and Helena in A Midsummer Night’s Dream (Shakespeare Santa Cruz). Emily received her BFA from the University of Evansville and her MFA from A.C.T., where she appeared in The Critic, or a Tragedy Rehearsed; The Diviners; The Gnädiges Fraulein; Hamlet; L’hiver sous la table; Macbeth; The Mutilated; and O Lovely Glowworm, or Scenes of Great Beauty. BRUCE McKENZIE* (VERSHININ) previously appeared in New Haven in 2001’s Big Love at Long Wharf Theatre, directed by Les Waters (also Goodman Theatre, Berkeley Rep, the Next Wave Festival at Brooklyn Academy of Music). Other New York theatre credits include Aaron Sorkin’s The Farnsworth Invention (Broadway); Stanley in A Streetcar Named Desire, directed by Ivo van Hove (New York Theatre Workshop); and Marlowe’s Eye (Theatre at St. Clement’s/Tectonic Theatre). Regional credits include the title role in Hamlet, Polaroid Stories, At the Vanishing Point, Othello (Actors Theatre of Louisville); Iago in Othello, Angelo in Measure for Measure (California Shakespeare Theater); Krapp’s Last Tape (Dallas Theater Center); The Hopper Collection (Huntington Theatre); Wintertime, Current Nobody, and Paris Commune (La Jolla Playhouse). Bruce was a co-founder of San Diego’s Sledgehammer Theatre, where he premiered works by Mac Wellman, Erik Ehn, Chuck Mee, and Naomi Iizuka and staged productions of work by Brecht, Beckett, Shepard, Fassbinder, and Tourneur. Bruce plays music with Maquiladora (sweet, tweaked acid-folk), Buzz or Howl (free-form psychedelic improv), and Peckinpah (ambient-drone-folk-Americana); with these he has released records in five countries and completed multiple tours of Europe and Japan. ALEX MOGGRIDGE* (ANDREI) is delighted to be making his Yale Rep debut. He has appeared regionally in The Beard of Avon, A Christmas Carol, The Threepenny Opera (American Conservatory Theater); The Weir, By the Bog of Cats (San Jose Rep); The Entertainer, Betrayed (Aurora Theatre Company); The Pillowman (Pittsburgh Irish and Classical Theatre); as well as productions at San Francisco Shakespeare Festival, Artists Repertory Theatre, B Street Theatre, Utah Shakespeare Festival, and MCC Theater in New York. His film and television credits include Trauma, Batman Begins, and Law & Order: Criminal Intent. Alex is also a playwright. His play The Squirrel appeared OffBroadway as part of the 2006 Summer Play Festival. Alex received his MFA in acting from American Conservatory Theater. 17
CAST BARBARA OLIVER* (ANFISA) is making her Yale Rep debut. A partial list of her favorite roles at Berkeley Repertory Theatre, where she has been acting (off and on) for over 40 years, includes Lady Bracknell in The Importance of Being Earnest, Miss Helen in The Road to Mecca, Mrs. Malaprop in The Rivals, Lady Markby in An Ideal Husband, the Nurse in The Oresteia, and the Stage Manager in Our Town. She also appeared in The Voysey Inheritance and Hedda Gabler at American Conservatory Theater, as well as in Uncle Vanya at California Shakespeare Theater. Barbara co-produced and played George Sand in Dear Master by Dorothy Bryant in 1991, which led to the founding of the Aurora Theatre, where she served as artistic director until 2004. She is a member of the company and on the board of directors for PlayGround and has directed two productions at University of California, Berkeley’s department of theatre, dance, and performance studies.
NATALIA PAYNE* (MASHA) previously appeared at Yale Rep in Trouble in Mind. Her other stage credits include the New York premiere of Edward Albee’s Me, Myself & I (Playwrights Horizons), New Jerusalem (Classic Stage Company), Memory House opposite Kathy Baker (Vineyard Playhouse), Jailbait (Cherry Lane Theatre), Aliens with Extraordinary Skills (Women’s Project), deathvariations (59E59 Theaters), as well as readings and workshops for Manhattan Theatre Club, New York Theatre Workshop, New York Stage & Film, The O’Neill Theater Conference, McCarter Theatre, The New Group, Ensemble Studio Theatre, and Ars Nova. Film and television credits include the feature film The Loss of a Teardrop Diamond and Law & Order: SVU. Originally from Toronto, Natalia received her BA in theatre studies from Yale University.
KEITH REDDIN* (KULYGIN) most recently appeared in Mauritius at the Dorset Theatre Festival. In addition to Sarah Ruhl’s adaptation of Three Sisters, he also appeared in Ms. Ruhl’s Passion Play at Yale Rep and the Epic Theatre in New York. Other credits include shows on Broadway and OffBroadway at Manhattan Theatre Club, Playwrights Horizons, Roundabout Theatre, Vineyard Theatre, and Primary Stages. Regional credits include productions at Actors Theatre of Louisville, Goodman Theatre, La Jolla Playhouse, Cleveland Play House, and the Alley Theatre. He has also appeared in a number of television shows and films.
*MEMBER OF ACTORS’ EQUITY ASSOCIATION, UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS.
THOMAS JAY RYAN* (TUZENBACH) previously appeared at Yale Rep in Sarah Ruhl’s Passion Play, David Rabe’s The Black Monk, and Suzan-Lori Parks’s Venus. He appeared on Broadway in Ruhl’s In the Next Room (or the vibrator play), also directed by Les Waters. Off-Broadway credits include Ivo van Hove’s productions of The Little Foxes and The Misanthrope, Tom Ryan Thinks He’s James Mason…, The Temperamentals (Drama Desk Award), Celebration/ The Room, Sin, Juno and the Paycock, Venus, and In the Matter of J. Robert Oppenheimer (title role). Film and television credits include Henry Fool (title role), Fay Grim, Eternal Sunshine of the Spotless Mind, The Legend of Bagger Vance, Dream Boy, The Attic, The Book of Life, The Dying Gaul, Wonderland, and Degas and the Dancer (Gemini Award nomination).
WENDY RICH STETSON* (OLGA) most recently appeared on Broadway in A Free Man of Color and Sarah Ruhl’s In the Next Room (or the vibrator play), both at Lincoln Center Theater. Her Off-Broadway credits include Big Bill (also at Lincoln Center); Cymbeline, Hamlet, Tartuffe (The Public Theater); and as Lillian Gish in Anne Bogart’s American Silents. Regionally, Wendy has performed at Actors Theatre of Louisville, Bloomsburg Theatre Ensemble, Dallas Theater Center, Geva Theatre Center, Hudson Valley Shakespeare Festival, Portland Stage Company, Studio Arena Theatre (Buffalo), and Two River Theater Company. Wendy received her BA in English and theatre from Amherst College and her MFA in acting from Columbia University. BRIAN WILES (FEDOTIK) is making his Yale Rep debut. Brian is a third-year MFA candidate at Yale School of Drama, where his credits include elijah, Miss Heimlich, The Taming of the Shrew, and Arcadia. He also appeared in Our Town and Camp Monster at Williamstown Theatre Festival. His television credits include As the World Turns and Home Court. Brian received his BA in theatre from Amherst College. HEATHER WOOD* (IRINA) is making her Yale Rep debut. Her New York and regional theatre credits include The Seagull, the world premiere of A True History of the Johnstown Flood (Goodman Theatre); Romeo and Juliet, The Merry Wives of Windsor (The Old Globe Theatre); the world premiere of Travels of Angelica (Acclaim Award, Best Supporting Performance; Cincinnati Playhouse in the Park); 19
CAST King Lear (New York Classical Theatre); Othello (Old Vic New Voices); Our Town (Trinity Repertory Company); Two Gentleman of Verona (Guerilla Shakespeare); Agnes of God (Critics Choice Award, Outstanding Supporting Performance; Stray Dog Theatre); and a workshop production of Phaedra (McCarter Theatre). Heather received her MFA from Brown University/Trinity Rep.
SAM BRESLIN WRIGHT* (SOLYONY) Selected theatre credits include Macbeth (Broadway); The Temperamentals (Drama Desk Award, Outstanding Ensemble); Paris Commune (The Public Theater); Vendetta Chrome (Clubbed Thumb); 365 Plays/365 Days (The Public Theater/Clubbed Thumb); Marge (Soho Rep); Orange Alert (Naked Angels); Two Gentlemen of Verona, Measure for Measure, Hamlet, Love’s Labour’s Lost (The Old Globe); and nine seasons at the Williamstown Theatre Festival. Film and television credits include The Beaver, Disposal, Dead Birds, Happy Hour, Harrison’s Flowers, Law & Order, Law & Order: Criminal Intent, Third Watch, Rescue Me, Out of Order, and Quarterlife. As director and writer: Uncle Sam I Am (Williamstown Theatre Festival Cabaret). MFA, University of California at San Diego; Certificate, London Academy of Music and Dramatic Arts. Sam is an Associate Artist of The Civilians.
CREATIVE TEAM DAVID BUDRIES (SOUND DESIGNER) is the Sound Design Advisor at Yale Repertory Theatre, where his credits include POP!, Happy Now?, Trouble in Mind, Black Snow, and Safe in Hell, among many others. His New York credits include Souvenir; Ah, Wilderness!; A Long Day’s Journey into Night; Our Country’s Good; Other People’s Money; Measure for Measure; And a Nightingale Sang; From the Mississippi Delta; Search and Destroy; End of the Day; Playland; and Marisol. His regional theatre credits include productions at Long Wharf, Hartford Stage, CENTERSTAGE, McCarter Theatre, Huntington Theatre Company, Dallas Theater Center, Berkeley Rep, La Jolla Playhouse, Ford’s Theatre, South Coast Repertory, Trinity Repertory Company, and Alliance Theatre. Mr. Budries chairs the Sound Design department at Yale School of Drama and is a freelance producer of music and radio programs. JANET FOSTER, C.S.A. (CASTING DIRECTOR) Broadway: The Light in the Piazza (Artios nomination), Lennon, Ma Rainey’s Black Bottom, Taking Sides (cocast), and the upcoming Broadway revival of Talley’s Folly. Off-Broadway: Lucy, Close Ties, Brundibar, True Love, Endpapers, The Dying Gaul, The Maiden’s Prayer, Dream True, and Trojan Women: A Love Story. Playwrights Horizons: Floyd 20
Collins, The Monogamist, A Cheever Evening, Later Life, and many more. Regional: Intiman Theatre, Seattle Rep, California Shakespeare Theater, Berkeley Rep, Dallas Theater Center, Pittsburgh Public, Goodman Theatre, Steppenwolf, The Old Globe, CENTERSTAGE, Westport Country Playhouse, and American Repertory Theatre. Film, television, radio: Advice from a Caterpillar, Cosby (CBS), Tracy Takes on New York (HBO), and The Deal by Lewis Black. For BBC World Services and Blackhawk Productions: The Day That Lehman Died (Peabody, SONY, and Wincott Award winner). Ms. Foster is relocating to San Francisco where she will be the Casting Director/Artistic Associate at the American Conservatory Theater.
JAMES MOUNTCASTLE* (STAGE MANAGER) Please see page 27 for his bio. ALEXANDER V. NICHOLS (LIGHTING DESIGNER) Theatre credits include the Broadway production of Carrie Fisher’s Wishful Drinking and the Off-Broadway productions of Danny Hoch’s Taking Over, Marga Gomez’s Los Big Names, Rinde Eckert’s Horizon, and Sarah Jones’s Bridge & Tunnel. Alexander has created production designs for American Conservatory Theater, Arena Stage, Berkeley Rep, the Huntington, La Jolla Playhouse, the Mark Taper Forum, Oregon Shakespeare Festival, and Seattle Rep. His dance credits include several seasons as the resident designer for American Repertory Ballet, Hartford Ballet, and Pennsylvania Ballet. Alexander is the resident visual designer for Margaret Jenkins Dance Company and was the lighting designer for American Ballet Theatre at the Metropolitan Opera and elsewhere. His designs are in the permanent repertory of Alvin Ailey American Dance Theater, Boston Ballet, the Hong Kong Ballet, Hubbard Street Dance Chicago, ODC/SF, the Royal Winnipeg Ballet, San Francisco Ballet, and the Singapore Dance Theatre. Recent projects include the museum installation Circle of Memory, in collaboration with Eleanor Coppola, in Salzburg, and video and visual design for Life: A Journey through Time with photographer Frans Lanting and composer Philip Glass. AMY POTOZKIN, C.S.A. (CASTING DIRECTOR) is in her 22nd season with Berkeley Rep where she is Artistic Associate and Casting Director. She has also had the pleasure of casting projects for American Conservatory Theater, Arizona Theatre Company, Aurora Theatre Company, B Street Theatre, Bay Area Playwrights Festival, Dallas Theater Center, Marin Theatre Company, The Marsh, San Jose Repertory Theatre, Social Impact Productions Inc., and Traveling Jewish Theatre. Amy cast roles for the film Conceiving Ada, starring Tilda Swinton; two Josh Kornbluth films: Haiku Tunnel and the soon to be released Love and Taxes; and the upcoming feature film Beyond Redemption by Britta Sjogren. Amy received her MFA from Brandeis University, where she was also an artist-in-residence. She has been a coach to *MEMBER OF ACTORS’ EQUITY ASSOCIATION, UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS.
CREATIVE TEAM hundreds of actors, teaches acting at Mills College and workshops at Berkeley Rep’s School of Theatre and numerous other venues in the Bay Area, and is a member of C.S.A.
SARAH RUHL (PLAYWRIGHT) is thrilled to be back at Yale Rep for the fourth time. Her plays include The Clean House (Yale Rep, world premiere, 2004; Susan Smith Blackburn Award, Pulitzer Prize finalist, PEN/Pels Foundation Award), Dead Man’s Cell Phone, Demeter in the City (NAACP Image Award nomination), Eurydice (Yale Rep, 2006), In the Next Room (or the vibrator play) (Pulitzer Prize finalist; Tony Award nomination, Best Play), Late: a cowboy song, Orlando, Melancholy Play, Passion Play (Yale Rep, 2008; Fourth Forum Freedom Award from The Kennedy Center), and Stage Kiss. Her plays have been performed at Arena Stage, Clubbed Thumb, Cornerstone Theater, Goodman Theatre, Lincoln Center Theater, Madison Repertory Theatre, Piven Theatre Workshop, Playwrights Horizons, Second Stage Theatre, Woolly Mammoth, Berkeley Repertory Theatre, and The Wilma Theater, among other theatres across the country. Her plays have been produced internationally and translated into Arabic, German, Korean, Norwegian, Russian, and Spanish. Sarah is originally from Chicago and received her MFA from Brown University, where she studied with Paula Vogel. She is the recipient of a Helen Merrill Award, Whiting Writers’ Award, PEN/Pels Foundation Award, and a MacArthur Foundation Fellowship. She is a proud member of New Dramatists and 13P and is an Associate Artist at Yale Rep.
ANNIE SMART (SCENIC DESIGNER) Design credits at Berkeley Rep include Big Love, Concerning Strange Devices from the Distant West, Fêtes de la Nuit, Heartbreak House, In the Next Room (or the vibrator play) (also on Broadway), The Mystery of Irma Vep, Passing Strange, Suddenly Last Summer, Taking Over (also at The Public Theater), Tiny Kushner (also at the Guthrie Theatre and the Tricycle Theatre), To the Lighthouse, Yellowjackets, and Yellowman. Her other Bay Area work includes Auctioning the Ainsleys, Brooklyn Boy, Theophilus North (TheatreWorks); A Doll’s House, Night and Day, The Threepenny Opera (American Conservatory Theater); An Ideal Husband, John Steinbeck’s Pastures of Heaven, Man and Superman, Private Lives, The Tempest (California Shakespeare Theater); A Long Day’s Journey Into Night and The Weir (San Jose Rep). Annie is originally from London, where she designed for Joint Stock Group, The National Theatre, and The Royal Court, among many others. She currently teaches costume design at University of California, Berkeley.
ILONA SOMOGYI (COSTUME DESIGNER) Recent New York area productions include A Small Fire, Clybourne Park (Playwrights Horizons); Jerry Springer: The Opera (Carnegie Hall); Almost an Evening, Scarcity (Atlantic Theater Company); The
Piano Teacher (Vineyard Theatre); Fever Chart, Controversy at Vallalodid, Fucking A (The Public Theater); The American Pilot (Manhattan Theatre Club); Hot ’n’ Throbbin’ (Signature Theatre Company); Savannah Bay (MCC); as well as God of Hell, Wit, Swimming with Watermelons, Unwrap Your Candy, Tabletop, and Hard Times. She also designed Princess Wishes for Disney on Ice, currently on tour. Her many regional credits include We Have Always Lived in the Castle, Battle of Black and Dogs, Passion Play, As You Like It (Yale Rep); The Crucible, Gem of the Ocean, Tom Sawyer, Noises Off, A Midsummer Night’s Dream (Hartford Stage); Lil’s 90th (Long Wharf Theatre); The Torchbearers, The Autumn Garden, Sweet Bird of Youth, Top Girls, On the Razzle (Williamstown Theatre Festival); Suddenly Last Summer, tick, tick...BOOM!, Scramble, Vigil, and Sedition (Westport Country Playhouse). She was also associate costume designer for Spamalot, The Crucible, and Art on Broadway, and the Ringling Bros. and Barnum & Bailey Circus. Ilona is a proud graduate of Yale School of Drama and is a member of its faculty.
RACHEL STEINBERG (DRAMATURG) was the 2010–2011 Peter F. Sloss Literary & Dramaturgy fellow at Berkeley Rep. She is now based in Toronto, where she is the Administrative/Community Partnerships & Outreach intern for the Rhubarb Festival at Buddies in Bad Times Theatre. She has sat on literary committees for the Playwrights’ Center of San Francisco and the Bay Area Playwrights Festival. LES WATERS (DIRECTOR) previously directed Sarah Ruhl’s Eurydice at Yale Rep. An OBIE Award winner, Les has served as Associate Artistic Director of Berkeley Rep since 2003. In the last six years, his shows have ranked among the year’s best in The New York Times, The New Yorker, Time Magazine, Time Out New York, and USA Today. In 2009, he made his Broadway debut with Sarah Ruhl’s In the Next Room (or the vibrator play), which began at Berkeley Rep. His other productions at Berkeley Rep include the world premieres of Concerning Strange Devices from the Distant West, Fêtes de la Nuit, Finn in the Underworld, Girlfriend, and To the Lighthouse; the American premiere of TRAGEDY: a tragedy; the West Coast premiere of Eurydice; and extended runs of The Glass Menagerie, The Lieutenant of Inishmore, The Pillowman, and Yellowman. Les has numerous credits in New York, his native England, and at theatres across America. He led the MFA directing program at University of California, San Diego and is an associate artist of The Civilians in New York.
GRACE ZANDARSKI (VOCAL COACH) has been a member of the voice and speech faculty at Yale School of Drama since 2002. Her vocal coaching credits include The Comedy of Errors, The Master Builder, and Romeo and Juliet at Yale Rep, as well as productions at the Signature Theatre Company, The Public Theater, New Victory Theatre, McCarter Theatre, and BAM. Grace has also served on the faculties of
CREATIVE TEAM Fordham University, A.R.T./Harvard, and The Actors Center. She has taught master classes for the Lincoln Center Director’s Lab and The Public Theater’s Shakespeare Lab. She was named Associate Teacher of Fitzmaurice Voicework in 1998. She has worked with both actors and professionals from a variety of backgrounds, including the financial sector, law, and sales, as well as celebrity speakers and politicians. In addition, she continues to work as an actor and director. Acting credits include the McCarter Theatre, Wilma Theater, Oregon Shakespeare Festival, and American Conservatory Theater. Education: MFA, American Conservatory Theater; BA, Princeton University.
BERKELEY REPERTORY THEATRE has grown from a storefront stage to a national leader in innovative theatre. Known for its core values of imagination and excellence, as well as its educated and adventurous audience, the nonprofit has provided a welcoming home for emerging and established artists since 1968. With two stages, a school, and a Tony Award for Outstanding Regional Theatre, Berkeley Rep is proud to premiere exhilarating new plays. In the last six years, the company has helped send six shows to Broadway: American Idiot, Bridge & Tunnel, Ghetto Klown, In the Next Room (or the vibrator play), Passing Strange, and Wishful Drinking. Another seven landed Off-Broadway, one moved to London, two turned into films, and others have toured the nation. Come see tomorrow’s plays today at Berkeley Rep.
LocAteD next Door to YALe rep 1104 chapel Street 203-776-8268
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YALE REPERTORY THEATRE JAMES BUNDY (ARTISTIC DIRECTOR) is in his tenth year as Dean of Yale School of Drama and Artistic Director of Yale Repertory Theatre. In his first nine seasons, Yale Rep has produced more than twenty world, American, and regional premieres, six 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 two dozen artists 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, A Woman of No Importance, Death of a Salesman, and A Delicate Balance 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. VICTORIA NOLAN (MANAGING DIRECTOR) is in her 19th year as Managing Director of Yale Repertory Theatre, 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 recipient of the Betsy L. Mahaffey Arts Administration Fellowship Award from the State of Connecticut and the Elm/Ivy Award, given jointly by Yale University and the City of New Haven for distinguished service to the community. JENNIFER KIGER (ASSOCIATE ARTISTIC DIRECTOR) is in her seventh year at Yale Rep and is also director of the new play programs of the Yale Center for New Theatre, an artist-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 26
from 2000 to 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 multimedia director Bob McGrath on stage adaptations of Robert Coover’s Charlie in the House of Rue and Mac Wellman’s Hypatia. She has been a dramaturg for the Playwrights’ Center of Minneapolis and Boston Theatre Works and a panelist for the 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. BRONISLAW SAMMLER (PRODUCTION SUPERVISOR) 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. He co-authored Structural Design for the Stage, which won the United States Institute of Theatre Technology’s (USITT) Golden Pen Award. Demonstrating his commitment to excellence in technical education and professional production, he co-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 the Institute. He was honored as Educator of the Year in 2006 by the New England Theatre Conference and chosen to receive the USITT Distinguished Achievement Award in Technical Production in 2009. 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. JAMES MOUNTCASTLE (PRODUCTION STAGE MANAGER), has been at Yale Rep since 2004. He has stage managed productions of We Have Always Lived in the Castle, The Master Builder, Passion Play, Richard II, Eurydice, a new adaptation of The Cherry Orchard, and the world premiere of The Clean House. 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 12 years old, and Katie, age 10.
YALE REPERTORY THEATRE STAFF James Bundy, Artistic Director Victoria Nolan, Managing Director Jennifer Kiger, Associate Artistic Director
Resident Artists Paula Vogel, Playwright-in-Residence Liz Diamond, Evan Yionoulis, Resident Directors Catherine Sheehy, Resident Dramaturg Ming Cho Lee, Set Design Advisor Michael Yeargan, Resident Set Designer Jane Greenwood, Costume Design Advisor Jess Goldstein, Resident Costume Designer Jennifer Tipton, Lighting Design Advisor Stephen Strawbridge, Resident Lighting Designer David Budries, Sound Design Advisor Walton Wilson, Voice and Speech Advisor Rick Sordelet, Fight Advisor Mary Hunter, Stage Management Advisor Associate Artists 52nd Street Project, Kama Ginkas, Mark Lamos, MTYZ Theatre/Moscow New Generations Theatre, Bill Rauch, Sarah Ruhl, Henrietta Yanovskaya Artistic Administration Amy Boratko, Literary Manager Kay Perdue Meadows, Artistic Associate Tanya Dean, Artistic Coordinator Elliot B. Quick, Anne Seiwerath, Literary Associates Tara Rubin, C.S.A.; Merri Sugarman, C.S.A.; Eric Woodall, C.S.A.; Lindsay Levine; Kaitlin Shaw, Casting Ruth M. Feldman, Director of Education and Accessibility Services Teresa Mensz, Library Services Assistant 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 and Sound Design Departments
Karena Fiorenza Ingersoll, Jaeeun Joo, Associate Managing Directors Michael Bateman, Assistant Managing Director Yu Shen, Management Assistant Emalie Mayo, Senior Administrative Assistant to the Managing Director Reynaldi Lolong, Company Manager Development and Alumni Affairs Deborah S. Berman, Director of Development and Alumni Affairs Barry Kaplan, Senior Staff Writer Susan C. Clark, Laura J. Eckelman, Elizabeth Elliott, Development Associates Belene Day, Senior Administrative Assistant to Development and Marketing & Communications Melissa Zimmerman, Development Assistant
Finance and Information Technology Katherine D. Burgueño, Director of Finance and Human Resources Denise Zaczek, Associate Director of Finance Cristal Coleman, Alex Grennan, Ashlie Russell, Business Office Specialists Randall Rode, Information Technology Director Daryl Brereton, Associate Information Technology Director Mara Hazzard-Wallingford, Director, Yale Tessitura Consortium Toni Ann Simiola, Senior Administrative Assistant to Business Office, Information Technology, Operations, and Tessitura Marketing, Communications, and Audience Services Anne Trites, Director of Marketing and Communications Steven Padla, Senior Associate Director of Communications Daniel Cress, Senior Associate Director of Marketing Rachel Smith, Associate Director of Marketing DeDe Jacobs-Komisar, Associate Director of Marketing Sarah Stevens-Morling, Online Communications and Advertising Manager Brittany Behrens, Anne Flammang, Marketing Assistants Kathleen Martin, Graphic Design and Production Assistant Marguerite Elliott, Publications Manager Fraver, Graphic Designer Joan Marcus, Production Photographer Janna J. Ellis, Associate Director of Audience Services and Tessitura Specialist Laura Kirk, Assistant Audience Services Director Tracy Baldini, Subscriptions Coordinator Shane Quinn, Audience Services Assistant Evan Beck, Amanda Culp, Courtney Engle, Gabriel Levey, Tiffany Lin, Emily Sanna, William Smith, Joanna Wilson, Box Office Assistants Operations Diane Galt, Director of Facility Operations Rich Abrams, Operations Associate Paul Catalano, Arts and Drama Zone Superintendent Krista J. MacLellan, 217 Park and 212 York Superintendent VonDeen Ricks, Senior Custodian Marcia Riley, Building Attendant Lucille Bochert, Norma Crimley, Donell D’Gioia, Ty Frost, Warren Lyde, Mark Roy, Custodians Theater Safety and Occupational Health William J. Reynolds, Director of Theater Safety and Occupational Health Jacob Thompson, Security Officer Ed Jooss, Audience Safety Officer Fred Grier, Customer Service and Safety Officer
Bronislaw J. Sammler, Production Supervisor James Mountcastle, Production Stage Manager Jonathan Reed, Senior Associate Production Supervisor Grace O’Brien, 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, Senior First Hand Linda Kelley-Dodd, Costume Project Coordinator Denise Oâ€™Brien, Wig and Hair Design Barbara Bodine, Company Hairdresser Linda Wingerter, Costume Stock Manager Greta Schmitt, Assistant to the Costume Shop Manager Electrics Donald W. Titus, Lighting Supervisor Jason Wells, Linda Young, Head Electricians Emily Erdman, Assistant to the Lighting Supervisor Painting Ru-Jun Wang, Scenic Charge Angie Meninger, Scenic Artist Keri Kriston, Assistant Scenic Artist Nathan Jasunas, Allison Jackson, Assistants to the Painting Supervisor Properties Brian Cookson, Properties Master David P. Schrader, Properties Craftsperson Jennifer McClure, Properties Assistant Bill Batschelet, Properties Stock Manager Scenery Colin Buckhurst, Don Harvey, Neil Mulligan, Technical Directors Alan Hendrickson, Electro Mechanical Laboratory Supervisor Eric Sparks, Shop Foreman Matt Gaffney, Sharon Reinhart, Master Shop Carpenters Brandon Fuller, Ryan Gardner, Shop Carpenters C. Nikki Mills, Kenyth X. Thomason, Jacqueline Deniz Young, Assistants to the Technical Director
ADDITIONAL STAFF FOR THREE SISTERS
Dustin Wills, Assistant Director Drew Kaufman, Assistant Scenic Designer Adam Greene, Solomon Weisbard, Assistant Lighting Designers Keri A. Klick, Assistant Sound Designer Elliot B. Quick, Dramaturg Maria Cantin, Assistant Stage Manager Nathan A. Roberts, Guitar Instructor Mikey Rohrer, Associate Production Supervisor Andrew V. Wallace, Technical Director Matt Groeneveld, Sanghun Joung, Assistant Technical Directors Barbara Tan-Tiongco, Master Electrician Xaq Webb, Assistant Company Manager Eric Gershman, House Manager Benjamin Ehrenreich, Maria Hooper, Alyssa K. Howard, Nicole Marconi, Michelle McGregor, Alexandru Mihail, Lauren Wainwright, Mitchell Winter, Run Crew UNDERSTUDIES Josiah Bania, Kulygin Chris Bannow, Fedotik Monique Bernadette, Olga Joshua Bermudez, Solyony Lucas Dixon, Tuzenbach Winston Duke, Chebutykin Laura Gragtmans, Masha Sheria Irving, Natasha Matthew McCollum, Rode Elia Monte-Brown, Anfisa Michael Place, Vershinin Mickey Theis, Ferapont Brian Wiles, Andrei Carmen Zilles, Irina SPECIAL THANKS Long Wharf Theatre props department
Sound Josh Loar, Sound Supervisor Paul Bozzi, Staff Sound Engineer Jacob Riley, Jennifer Timms, Assistants to the Sound Supervisor Projections Erich Bolton, Projection Supervisor Micah Stieglitz, Head Projection Technician Stage Operations Janet Cunningham, Stage Carpenter Kate Begley Baker, Properties Runner Elizabeth Bolster, Wardrobe Supervisor Charles Harbert, Sound Operator
Yale Repertory Theatre operates under an agreement between the League of Resident Theatres (LORT) and Actorsâ€™ Equity Association, the Union of Professional Actors and Stage Managers in the United States. The Scenic, Costume, Lighting, and Sound Designers in LORT are represented by United Artists Local USA-829, IATSE.
Three Sisters September 16 to October 8, 2011 University Theatre, 222 York Street
ABOUT YALE REP Yale Repertory Theatre is dedicated to the production of new plays and bold interpretations of classics and has produced well over 100 premieres—including two Pulitzer Prize winners and four other nominated finalists—by emerging and established playwrights. Eleven Yale Rep productions have advanced to Broadway, garnering more than 40 Tony Award nominations and eight Tony Awards. Yale Rep is also the recipient of the Tony Award for Outstanding Regional Theatre. Professional assignments at Yale Repertory Theatre are integral components of the program at Yale School of Drama, the nation’s leading graduate theatre training conservatory.
YALE CENTER FOR NEW THEATRE Established in 2008, the Yale Center for New Theatre is an artist-driven initiative that devotes major resources to the commissioning, development, and production of new plays and musicals at Yale Rep and across the country. A key component of the Center’s work is the support of productions of Yale-commissioned works at theatres other than Yale Rep. The Center also facilitates residencies of playwrights and composers at Yale School of Drama. To date, the Yale Center for New Theatre has supported the work of more than thirty commissioned artists as well as the world premieres and subsequent productions of nine new American plays and musicals—including this season’s Belleville by Amy Herzog, Good Goods by Christina Anderson, and The Realistic Joneses by Will Eno. Dostoevsky’s Notes from Underground, adapted by Bill Camp and Robert Woodruff, was the first commissioned play supported by the Center to receive its world premiere at Yale Rep. In 2010, Notes had its West Coast premiere at La Jolla Playhouse and its New York premiere at Theatre for a New Audience, in association with the Baryshnikov Arts Center. The Center also supported the world premiere co-production of Rinne Groff’s Compulsion at Yale Rep, Berkeley Rep, and The Public Theater—as well as the world premiere of the Yalecommissioned On the Levee by Marcus Gardley, Todd Almond, and Lear deBessonet at Lincoln Center Theater’s LCT3.
COMMISSIONED ARTISTS DAVID ADJMI
ANN MARIE HEALY
ADITI BRENNAN KAPIL
JULIE MARIE MYATT
DAVID LEFORT NUGENT
OPPOSITE PAGE: MANDY PATINKIN IN COMPULSION, 2010. THIS PAGE: BILL CAMP IN NOTES FROM UNDERGROUND, 2009. PHOTOS BY JOAN MARCUS.
FOR YOUR INFORMATION
how to reach us
Yale Repertory Theatre offers all patrons the most comprehensive accessibility services program in Connecticut, including a season of open-captioned and audiodescribed performances, a free assistive listening system, large-print and Braille programs, 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 Accessibility Services, at 203.432.8425 or firstname.lastname@example.org.
Yale Repertory Theatre Box Office 1120 Chapel Street (at York St.) PO Box 208244, New Haven, CT 06520 203.432.1234 Email: email@example.com
box office hours Monday to Friday from 10AM to 5PM Saturday from 12PM to 5PM Until 8PM on all show nights
fire notice Illuminated signs above each door indicate emergency exits. Please check for the nearest exit. In the event of an emergency, you will be notified by theatre personnel and assisted in the evacuation of the building.
restrooms The is an accessible restroom in the main lobby. Additional restrooms are located downstairs.
emergency calls Please leave your cell phone and/or beeper, name, and seat number with the concierge. We’ll notify you if necessary. The emergency-only telephone number at Yale Rep is 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.
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. 32
Yale Repertory Theatre’s accessibility services are supported in part by The Seedlings Foundation and the Carol L. Sirot Foundation. Yale Repertory Theatre gratefully acknowledges the Carol L. Sirot Foundation for underwriting the assistive listening systems in our theatres.
audio described (AD)
A live narration of the play’s action, sets, and costumes for patrons who are blind or low vision.
open captioning (OC)
You’ll never again have to ask, “What did they say?” Open Captioning provides a digital display of the play’s dialogue as it’s spoken. Open Captioning and Audio Described performances are on Saturdays at 2PM. AD pre-show description begins at 1:45PM.
Three Sisters Belleville A Doctor in Spite of Himself Good Goods The Winter’s Tale The Realistic Joneses
Oct 1 Nov 5
Oct 8 Nov 12
Dec 10 Feb 18 Mar 31 May 5
Dec 17 Feb 25 Apr 7 May 12
c2inc is pleased to be the official Open Captioning provider of Yale Repertory Theatre.
YALE REP’S EDUCATION PROGRAMS 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 15,000 Connecticut students and educators. The Dwight/Edgewood Project brings eight middle school students from New Haven’s Augusta Lewis Troup Middle School to Yale Rep for a monthlong, after-school playwriting program designed to strengthen their self-esteem and creative expression.
FROM TOP: SCHOOLS GATHERING FOR WILL POWER!; THE DWIGHT/EDGEWOOD PROJECT, 2011.
Yale Rep’s education programs are supported in part by Allegra Print and Imaging; Donald and Patricia Anderson; Anna Fitch Ardenghi General Charitable Purpose Trust, Bank of America, Trustee; Estate of Cynthia K. Barrington; Deborah S. Berman; Bob and Priscilla Dannies; Bruce Graham; the Lucille Lortel Foundation; Romaine A. Macomb; Jane Marcher Foundation; Frances L. Miller; NewAlliance Foundation; Robbin A. Seipold; Sandra Shaner; Esme Usdan; Charles and Patricia Walkup; Bert and Martha Weisbart; and Yale Cabaret.
SPONSORSHIP: COMMUNITY PARTNERS Allegra Print and Imaging Est Est Est Fleur de Lys Floral and Gifts Heirloom Hull’s Arts Supply and Framing Koji Mionetto New Haven Register
Scoozzi Trattoria and Wine Bar The Study at Yale, a Boutique Hotel Take the Cake GHP Printing and Mailing Willoughby’s Coffee and Tea WSHU Public Radio Group The Yale Bookstore Yellowbook
These lists include current pledges, gifts, and grants received from July 1, 2010‚ through September 1, 2011. 33
TO YALE SCHOOL OF DRAMA AND YALE REPERTORY THEATRE LEADERSHIP SOCIETY ($50,000 and above) Anonymous Anonymous John Badham John B. Beinecke* Nicholas Ciriello Sterling and Clare Brinkley* Edgar M. Cullman, Jr. Edgar M. Cullman III Scott M. Delman* A.R. Gurney F. Lane Heard III Frederick Iseman* David Johnson Adrian and Nina Jones* Tim Jones and Annie Cardelús* Jennifer Lindstrom* Neil Mazzella Andrew W. Mellon Foundation William S. Monaghan Mary B. Reynolds Robert Riordan Robina Foundation Talia Shire Schwartzman The Shubert Foundation Stephen Timbers Edward Trach* Esme Usdan* GUARANTORS ($25,000–$49,999) Anonymous Lois Chiles and Richard Gilder* Educational Foundation of America Peter Entin* Heidi Ettinger* Estate of Edward Kleno National Endowment for the Arts National Endowment for the Arts, Arts Midwest, Shakespeare in American Communities Edward John Noble Foundation James Munson Reggie Van Lee Cliff Warner BENEFACTORS ($10,000–$24,999) Americana Arts Foundation* Anonymous Lynne and Roger Bolton Mary L. Bundy* CECArts Link
Michael Diamond Edgerton Foundation Ruth and Steve Hendel* Catherine MacNeil Hollinger* Ellen Iseman Lucille Lortel Foundation Donald B. Lowy Renova Sonja and Patrick Seaver* The Seedlings Foundation* Michael and Riki Sheehan* Jeremy Smith* Carol L. Sirot Foundation Trust for Mutual Understanding PRODUCER’S CIRCLE ($5,000–$9,999) Nina Adams and Moreson Kaplan* Deborah Applegate and Bruce Tulgan* Amy Aquino and Drew McCoy* Foster Bam Jim Burrows Bill Conner The Noel Coward Foundation Marc Flanagan Beth Galston* Linda Gulder Huett* Ben Ledbetter and Deborah Freedman Sarah Long Mionetto USA Carol Ostrow* F. Richard Pappas Linda Frank Rodman Philip J. Smith DIRECTOR’S CIRCLE ($1,000–$4,999) Actor’s Equity Foundation Anna Fitch Ardenghi General Charitable Purpose Trust, Bank of America, Trustee Mr. and Mrs. B. Ashfield* Cornelia Barr Robert L. Barth Estate of Cynthia K. Barrington John Lee Beatty* Jody Locker Berger* Deborah S. Berman* Bisno Productions* Jeffrey A. Bleckner* Katherine Borowitz* Thomas Bruce Robert W. Brundige, Jr. James Bundy
Ben Cameron* Joan D. Channick* Patricia Clarkson Sue Ann Gilfillan and Tony Converse* Peggy Cowles Marycharlotte Cummings* Michael S. David Glen R. Fasman Terry Kevin Fitzpatrick* Marcus Dean Fuller* Leiko Fuseya* David Goldman Fred Gorelick and Cheryl MacLachlan* Stephen Godchaux* James W. Gousseff* John Guare* Richard Harrison Katherine W. Haskins* Carol Thompson Hemingway James Ingalls James Earl Jewell Jane Kaczmarek The Ethel & Abe Lapides Foundation Sasha Emerson Levin George N. Lindsay, Jr Stephen Lindsay William Ludel* Dr. and Mrs. Robert W. Lyons* Jane Lyman* Tien-Tsung Ma* Romaine Macomb* Estate of James MacLaren Jenny Mannis and Henry Wishcamper* Jane Marcher Foundation Edward Martenson Thomas Masse and Dr. James Perlotto* Susan McNamara, MD* Dawn G. Miller Neil Mulligan* Arthur and Merle Nacht* NewAlliance Foundation Victoria Nolan and Clark Crolius* Richard Ostreicher* Steven Oxman* George and Kathy Priest* Sarah Rafferty* Ben and Laraine Sammler* Alvin Schechter* Liev Schreiber* Scoozzi Trattoria and Wine Bar Marie S. Sherer Eugene F. Shewmaker Benjamin Slotznick
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This list includes current pledges, gifts, and grants received from July 1, 2010, through September 1, 2011. For more information about making a donation to Yale Repertory Theatre, please contact Sue Clark at 203.432.1559 or firstname.lastname@example.org
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Welcome to the Present
YALE REPERTORY THEATRE world premiere
by amy herzog directed by anne kauffman
OcTObER 21 TO nOvEmbER 12 yalerep.org
YALE ScHOOL OF dRAmA
dr. faustus lights the lights
by gertrude stein directed by lileana blain-cruz
OcTObER 25 TO 29 drama.yale.edu
YALE REPERTORY THEATRE
a doctor in spite of himself
by moliĂˆre adapted by christopher bayes and steven epp directed by christopher bayes a co-production with berkeley repertory theatre
nOvEmbER 26 TO dEcEmbER 17 yalerep.org
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Discover the humor and heartbreak of one of the world’s greatest plays, revealed through the lyricism of two leading voices in contemporary...