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or the imposter
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THIS PRODUCTION OF TARTUFFE OR THE IMPOSTER IS DEDICATED TO PIERRE-ANDRÉ SALIM ’09
SEPTEMBER 17, 1981 – NOVEMBER 18, 2007
The Yale Repertory Theatre and Yale School of Drama community mourns the loss of their cherished friend and colleague, Pierre-André Salim. Born in France and raised in Indonesia, Pierre graduated from the University of Singapore with a Bachelor of Computing (B. Com) degree. His love of theatre began there, and he worked as a crew member for productions in his residential hall and at the University Cultural Centre. After graduation, he became a pivotal figure in the Singapore theatre community, active as a production and stage manager for several companies, including Checkpoint Theatre, W!LD RICE, Theatre Practice, and Toy Factory. Pierre entered the Yale School of Drama’s Technical Design and Production program in 2006. He planned to return to Singapore upon graduation to bring his newly-gained knowledge and skills to the theatre community he loved. To honor Pierre’s life, Yale will establish the Pierre-André Salim Memorial Scholarship, enabling students from Asia, particularly Southeast Asia, to study technical theatre and design at the School of Drama.
Donations in Pierre’s memory may be made to UNICEF 333 East 38th Street, 6th floor, New York, NY 10016 www.unicefusa.org
A NOTE FROM THE ARTISTIC DIRECTOR
As I have watched this production of Tartuffe take shape, Terence’s words have been with me, as they may have been with Molière, who read Terence’s plays as a student under the tutelage of the Jesuits. Molière clearly understood, as well as any dramatist who ever lived, the brilliance and shabbiness of the human condition and how we court disaster when we cannot tell the difference between the brilliant and the shabby. Which is often.
PHOTO BY JOHN GROO
“I am human: nothing human is foreign to me.” So said the Roman playwright Terence, a freed slave who knew extraordinary success in his youth and who disappeared without a trace at the age of twenty-five, possibly lost at sea.
The insidiousness of hypocrisy is beautifully described by the Nobel Prize winner André Gide: “The true hypocrite is the one who ceases to perceive his deception, the one who lies with sincerity.” It’s frightening—and funny—to think that our sincerity could be an outward sign of our deceit. In the centuries since Molière wrote and revised this controversial play, we have invented more and more ways to see and hear each other— without noticeably reducing the incidence of hypocrisy or its attendant pain and hilarity. And so it is also exciting to see this production traverse an interpretive landscape of human behavior and language, history and technology. What a play says about the age in which it was first performed is always interesting to me, but I am most compelled by the varied connections that a production can make to my mind and heart today. In a world that has given us a theatrical legacy of Molière and the extraordinary contemporary poet and translator Richard Wilbur, as well as our personal legacies of family, honor, service, faith, love, greed and communication, the open questions of Tartuffe are the reasons to produce it and to see it. Our production is the result of a happy year-long collaboration with many gifted and generous colleagues at the McCarter Theatre Center, particularly its artistic leaders, Emily Mann and Mara Isaacs. With Yale Rep, they share a passionate commitment to new writing for the theatre and to immediate interpretations of extraordinary classics. We couldn’t have had more gracious partners in bringing the vision of Daniel Fish, his remarkable creative team, and these wonderful actors, to the Rep stage. Our thanks go to them for helping us to get here and to you for joining us at this performance—I hope you enjoy yourself! Sincerely (really!),
DECEMBER 3 TO DECEMBER 22, 2007 YALE REPERTORY THEATRE
James Bundy, Artistic Director / Victoria Nolan, Managing Director in association with
McCARTER THEATRE CENTER presents
tartuffe or the imposter
by MOLIÃˆRE translated into English verse by
RICHARD WILBUR directed by DANIEL FISH
Scenic Design by John Conklin / Costume Design by Kaye Voyce Lighting Design by Jane Cox / Sound Design by Karin Graybash Video Design by Alexandra Eaton / Vocal Coach Ralph Zito Dramaturgy by Janice Paran, Joseph P. Cermatori, and Jennifer Shaw Casting by Laura Stanczyk, CSA Stage Managers Alison Cote and James Mountcastle
Michelle Beck / Beth Dixon / Christopher Donahue Zach Grenier / Andy Paterson / Michael Rudko Christina Rouner / Tom Story / Daniel Talbott Nick Westrate / Sally Wingert SEASON MEDIA SPONSOR
FRONT COVER: PHOTO BY DAVID COOPER, 2007.
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C AST BETH DIXON
Mme. Pernelle Orgon’s Mother
DANIEL CAMERON TALBOTT
Orgon’s son, Elmire’s stepson
Orgon’s daughter, Elmire’s stepdaughter in love with Valère
in love with Mariane
ANDY PATERSON TOM STORY
M. Loyal a bailiff
Orgon’s house in Paris THERE WILL BE ONE FIFTEEN-MINUTE INTERMISSION.
SCENES FROM THE L IFE OF
Birth of Jean-Baptiste Poquelin (baptized 15 January) in Paris to a family of bourgeois tapestry-makers. At the Jesuit Collège de Clermont, he reads Terence and performs in ballets and Latin dramas.
After graduating, he leaves the family business and, alongside fellow actor Madeleine Béjart and eight others, founds the Illustre Théâtre. He adopts the stage name Molière and later becomes leader of the company, which mostly performs tragedies and tragicomedies written by contemporary playwrights.
Molière tries his hand at playwriting for the first time with Le Médecin Volant.
LOUIS XIV, BY PIERRE MIGNARD.
The Illustre Théâtre folds, and Molière is imprisoned for debt. Afterwards, he leaves Paris and joins a traveling company, of which he later becomes manager. In 1653, the company is named “the troupe of Monsieur le Prince du Conti.”
The company arrives in Paris and performs before Louis XIV and the Court. They are granted use of the Petit-Bourbon, a court theater adjacent to the Louvre where the comédie italienne (including the Italian master, Tiberio Fiorilli, later a mentor to Molière) is in residence. Molière begins to establish himself as a writer of comedies.
Molière marries Armande Béjart, who is half his age and the younger sister (or the daughter, some insinuate) of his mistress Madeleine. The company moves into the Théâtre du Palais-Royal (formerly Richelieu’s Palais-Cardinal). SATIRICAL ENGRAVING OF “ELOMIRE” (MOLIÈRE) STUDYING ACTING WITH SCARAMOUCHE (TIBERIO FIORILLI).
Molière begins to collaborate with composer Jean Baptiste Lully on a series of comédies-ballets, performed before the King and at court festivals at Versailles. Les Plaisirs de l’Île Enchantée, a royal festival based on a theme from Ariosto’s Orlando Furioso, features the performance of an early version of Le Tartuffe (in three acts), the most controversial of all Molière’s satires. Under pressure from the Church, the King somewhat reluctantly bans further performances of the play. Molière’s company is named “la Troupe du Roi.” He receives a royal pension of 6000 livres.
MOLIÈRE IN THE COSTUME OF SGANARELLE.
Molière puts on one performance of L’Imposteur (a five-act revised version of Le Tartuffe) before it is again banned. The King gives permission for public performances of Tartuffe.
MOLIÈRE DIES, 1674.
Molière dies at the age of 51 of tuberculosis after falling ill while playing the role of the hypochondriac in his play, Le Malade Imaginaire. — COMPILED BY JOSEPH P. CERMATORI, PRODUCTION DRAMATURG, FROM THE CAMBRIDGE COMPANION TO MOLIÈRE (CAMBRIDGE UNIVERSITY PRESS, 2006).
Director Daniel Fish’s last collaboration with Yale Repertory Theater was on David Rabe’s adaptation of Chekhov’s Black Monk (starring Sam Waterston) in 2003. Since then, he has directed productions of Shakespeare’s Hamlet (McCarter Theatre), Clifford Odets’s Rocket to the Moon (Long Wharf) and the US premiere of The Woman Before by Roland Schimmelpfennig (German Theatre Abroad). During recent rehearsals for Tartuffe in Princeton, New Jersey, production dramaturg Joseph P. Cermatori spoke with Fish about his process, his perspectives on the play, and his love-hate relationship with the seventeenth century.
DANIEL FISH. COURTESY OF CALIFORNIA SHAKESPEARE THEATER.
JOSEPH P. CERMATORI: This is your second time directing Tartuffe in ten years—you directed an earlier production at the Court Theatre in Chicago. What brought you back to the play, and what has changed since your last encounter with the play?
DANIEL FISH: Well, I’m ten years older. The world’s a whole lot different. Also, I suppose I should start by saying that I’ve always loved working on Molière’s plays: I love their fierce comedy, their muscularity. I love how intense the people in these plays are, how strong-willed they are. That’s always been a part of it. I’m also interested in issues of power and submission. What is it about human nature that allows us, or sometimes even pathologically requires us, to submit ourselves to a person or a force that is more powerful—be that a political leader, a spouse, a friend, a co-worker? JPC: You’ve spoken about your “vexed relationship” with the seventeenth century. What’s behind that? DF: Well, most of the classical plays I’ve done of late have all been done in a way that was very contemporary, and I think that partly comes from my strong belief that the theater happens now, it’s about the world we’re living in; it cannot but be that. People say, “When is the play set?” and I think that’s kind of a silly thing, because I think plays are set now. I begin by saying, “Two really important dates are 1664 and 2007. Okay. These words come from 1664, these people come from 2007. What happens when you put them in a room together for four weeks? And what happens when we have an audience watch that?” So, whether they’re in seventeenth-century clothes or contemporary clothes, it’s about the present moment. 10
I decided to engage the period in questions of history and representation. So, in a sense the period becomes to the production the way Tartuffe is to Orgon, that is, it’s seductive, an imposter. And on the one hand it’s attractive, and it draws you in and on the other hand it distracts you from what’s really going on. So I began to research—and get obsessed with—the 1660s. JPC: And this actually inspired a trip for you and costume designer Kaye Voyce to go to France and research at the Musée Carnavalet and the Louvre. Did this trip yield any particular inspiration for the play? DF: It yielded a lot. The Louvre is a seventeenth-century building. We found ourselves looking at the scale of the rooms, and the scale of the doorways, and how light comes into the rooms, and the role played by mirrors, and then, of course, the paintings. Frankly, we ended up looking at a lot of Dutch painting because Tartuffe is quite a domestic play in many ways, and most French painting of the period is of royalty or religious subjects; so if you want a domestic scene, you have to go look at Dutch painting. Also, we had an interest in the culture of the museum itself, and why we go to museums, and why we look at the past, and how things are presented there…. There’s also all the stuff that’s around a museum: the cameras, and the shops, and the book stores, and the cafes, and the ticket booths: all of this is a kind of strange and fascinating way of examining and fetishizing history.
THE MILKMAID BY JAN VERMEER VAN DELFT, 1658. RIJKSMUSEUM, AMSTERDAM.
RVIEW WITH DANIEL FISH
UNMASKED Tartuffe, the play, has proved every bit as slippery as its title character since its first recorded performance at the court of Louis XIV in 1664. Promptly—some would say defensively—interpreted by prominent clerics as an attack on religion, the unfinished play was quickly banned, though Louis himself evidently took no exception to it, and Molière, in a petition to his royal patron, repeatedly insisted that his aim was to ridicule religious hypocrisy, not religious belief. Such was the hue and cry at court, though, from vested religious interests (Louis’s mother, a devout Catholic, was reportedly among those who were not amused) that the 24-year-old monarch had little choice but to forbid further performances. Molière lay low for a time, revising the play and reading it aloud among friends—including some well-placed ones—until he felt confident enough, in 1667, to unveil a modified version called The Imposter. The new title 12
was manifestly a strategy to defuse criticism of the play on religious grounds, and the character of Tartuffe, no longer dressed in clerical
TARTUFFE OR THE IMPOSTER, ACT IV, SCENE VII, ca. 1682.
garb, was re-named Panulphe. No dice. The Parisian parliament shut down the play after a single performance, and the archbishop of Paris issued an order forbidding anyone “to perform under whatever title this play, to read it or hear it read, in public or in private, under pain of excommunication.” Two of Molière’s actors bore another petition to the king, who was with the army in Flanders, but to no avail. Finally, in 1669, following a third petition, Tartuffe, or the Imposter was allowed to open in its present form. It was enthusiastically received, and it made more money than any other play Molière wrote, which must have been some balm to its beleaguered author. If Tartuffe has found steady employment in the classical repertoire ever since (and a debt of gratitude is owed to Richard Wilbur, whose 1963 translation of the play into rhyming English verse gave American audiences a taste of what they’d been missing), it has nonetheless continued to raise fundamental questions about its subject matter, style, tone and focus. Who is Tartuffe? Pompous poseur or charismatic schemer? Malevolent opportunist or self-loathing striver? And—just as importantly—who is Orgon, the play’s oft-overlooked center of gravity? Dupe, accomplice, enabler,
alter ego, or none of the above? Molière’s tabloid tale of a family held hostage by the machinations of a con man is both enduringly dishy and gratifyingly malleable— diverting and disturbing by turns, it probes, with aggressive acumen, the dynamics of power. The play’s magnetic instability has allowed for its continual rediscovery. It has provided a sturdy star vehicle for generations of performers at France’s national theater, the Comédie Française, satisfied producers in quest of high-concept farce, social satire or psychological truth, and attracted pioneering directors attuned to its pathologies. Louis Jouvet’s landmark 1950 French production, for instance, offered up an introspective, even tortured, Tartuffe in the grip of his own obsessions, while a provocative 1984 staging at Minneapolis’s Guthrie Theater, directed by Lucian Pintilie, set the play’s duplicities against a backdrop of statesponsored totalitarianism. Roger Planchon, the visionary French director whose own mountings of the play in 1962 and 1973 recast its domestic strife in a political light, acknowledged the challenge and opportunity of tackling such a well-known piece: “When I decided to stage Tartuffe, I studied all the previous productions. That’s when I realized — JANICE PARAN, PRODUCTION DRAMATURG
CAST MICHELLE BECK* (MARIANE). Regional: Ophelia in Hamlet (Shakespeare Theatre); Roxanne in Cyrano (Mile Square Theatre); Helen of Troy in Trojan Women (Sakas Theater); Isabella in The Changeling (Poor Players Theatre); Oregon Shakespeare Festival. NYC: Caroline in My Juilliard (Theater for a New City). SUNY Purchase Conservatory: Helena in Scenes and Revelations; Natasha in Three Sisters; Cheshire Cat in Alice in Wonderland; Francis Black in Light Up the Sky. Film: Spinning Into Butter, Thunderbolt. BETH DIXON* (MME. PERNELLE). Broadway: Major Barbara (Roundabout); Wrong Mountain (O’Neill). Off-Broadway: Mary Stuart (Pearl); Endpapers (Variety Arts); Thérèse Raquin (CSC); Booth is Back (York); America Dreaming (Vineyard); Unbound (Prospect); The Grille Room (Cherry Lane). Regional: All My Sons (Two River); The Grapes of Wrath (Intiman); The Glass Menagerie (Dallas); Vincent in Brixton (Cleveland); The Constant Wife (A.C.T. San Francisco); Fuddy Meers (Pittsburgh); King Lear (Louisville). Also: Williamstown, La Jolla, Long Wharf Theatre, Cleveland, O’Neill Playwrights Conference, Humana Festival, McCarter Theatre, Hartford Stage, Syracuse, Buffalo, St. Louis, Seattle, New York Stage & Film. Film and television: “Law & Order,” “Law & Order: Criminal Intent,” “Storm of the Century,” “Home Improvement” (Wilson’s Girlfriend), Kinsey, The Ballad of the Sad Cafe, Dark Tides, and Hitch. CHRISTOPHER DONAHUE* (CLÉANTE). New York: Monster (Classic Stage Company–Obie Award), Metamorphoses (Circle in the Square), Dogeaters (Public Theater), Measure for Measure (NYSF), The Notebooks of Leonardo da Vinci (Second Stage; Lincoln Center Festival), The Arabian Nights (Manhattan Theatre Club). Regional: The Secret in the Wings, The Odyssey (McCarter Theatre), Weston Playhouse, Seattle Repertory Theatre, Berkeley Repertory Theatre, Huntington Theatre, Hartford Stage, La Jolla Playhouse, Arden Theatre, Goodman Theatre, Lookingglass Theatre, Remains Theatre, Court Theatre, Chicago Opera Theatre, Boston Lyric Opera. Film and TV: The Big Kahuna, Since You’ve Been Gone, “All My Children,” “Law & Order.” ZACH GRENIER* (TARTUFFE). Stage credits range from the avantgarde plays of Richard Foreman and Mac Wellman to more naturalistic fare at Circle Rep, Manhattan Theatre Club, and Ensemble Studio Theatre, of which he is a member. Originated the role of Dr. Chapman in David Rabe’s A Question of Mercy at New York Theatre Workshop. He appeared on Broadway in Larry Gelbart’s Mastergate and John Pielmeier’s Voices in the Dark. Regional roles have included Yvan in Yasmina Reza’s Art in Chicago and the title role in Uncle Vanya at Yale Repertory Theatre. You might recognize him from HBO’s “Deadwood,” on which he played Andy Cramed, or from David Fincher’s Fight Club and Zodiac. Last year, he portrayed Dick Cheney in Stuff Happens at the New York Shakespeare Festival. 14
*member of actors’ equity association, union of professional actors and stage managers in the united states.
ANDY PATERSON* (M. LOYAL) Off-Broadway: Aquila’s Hamlet (Polonius); La MaMa, Liz Swado’s Missionaries; The Acting Company. Regional: Arizona Theatre Company; CENTERSTAGE; Geva Theatre Center; Great Lakes Theater Festival; Indiana Repertory Theatre; Intiman; Montana Shakespeare in the Parks; North Shore Music Theatre; Paper Mill Playhouse; Pioneer; PCPA Theaterfest; San Francisco Mime Troupe; Theatre Under The Stars; Shakespeare Theatre of New Jersey; Utah Shakespearean Festival. Mr. Paterson is a proud member of Actors’ Equity Association. MICHAEL RUDKO* (ORGON) has appeared on Broadway in Gore Vidal’s Best Man, Timon of Athens and Serious Money. He has appeared Off-Broadway in King Lear with Kevin Kline, Julie Taymor’s Titus Andronicus, and Mark Rylance’s As You Like It. In London, he alternated lead roles with Mark Rylance in the Donmar Warehouse revival of True West and played in all-male productions of Julius Caesar and Antony and Cleopatra at Shakespeare’s Globe. Regional credits include iWitness at the Mark Taper Forum; King Lear at CENTERSTAGE; Twelfth Night, and Hedda Gabler at Shakespeare Theatre of DC; Proof at Arena Stage; Night & Day at the Wilma Theater; The Faith Healer at the Old Globe; The Tempest at the Folger Theatre; and most recently Tartuffe at McCarter Theatre. CHRISTINA ROUNER* (ELMIRE). Broadway: Coram Boy. OffBroadway: Three Tall Women, Promenade Theater; Halfway Home, New Group. National Tour: Three Tall Women. Regional: Hamlet, Hedda Gabler, Guthrie Theater; A Midsummer Night’s Dream, Pera Palas, Long Wharf Theatre; Permanent Collection, CENTERSTAGE; Continental Divide, La Jolla; The Black Dahlia, Yale Repertory; Vita and Virginia, Old Globe; Spinning Into Butter, Alliance Theater; Amy’s View, San Jose Rep; The Importance of Being Earnest, Portland Stage; Cymbeline, PlayMaker’s Rep; A Midsummer Night’s Dream, Syracuse Stage; Oleanna, Coconut Grove Playhouse; Dancing at Lughnasa, Westport Country Playhouse; two seasons at Williamstown, and many others. Film: Fur, The Skeptic, Crazy Like a Fox, Winter Solstice, Herman U.S.A. Television: “Sex and the City,” “Law & Order,” “New York Undercover,” and others. Training and Education: Yale University, Juilliard. TOM STORY* (POLICE OFFICER). New York: Rutherford and Son (Mint), Fresh Faces (Town Hall), Isabella in Measure For Measure (Project 400), The Singing (York). Regional: seven seasons Berkshire Theatre Festival, Tom in The Glass Menagerie, Peter in The Heidi Chronicles, Acaste in The Misanthrope, Ishmael in Moby Dick—Rehearsed, Sigismundo in Life’s A Dream, Fanny in Secret Lives of the Sexists, Mordred in Camelot. Nominated for Helen Hayes Awards for The Invention of Love and A Number at the Studio Theatre. Other Studio credits include Katurian in The Pillowman, Ivanov, and The York Realist. Other: Bob Acres in The Rivals (Shakespeare Theatre), Hal in Loot (McCarter), Mercutio in Romeo and Juliet (Seattle Rep), multiple roles in the world premiere musical A Girl Called Dusty, Bosie in Gross Indecency, and many others. Film: Piece of Cake (Tribeca). Graduate of The Juilliard School and Duke University. 15
CAST DANIEL TALBOTT* (VALÈRE) has most recently worked as an actor on Marat/Sade (The Classical Theatre of Harlem), Progress (Ian Morgan and Immigrants’ Theatre Project), and Passion Play workshop (The Goodman Theatre). His most recent film and television work includes Pretty Bird, Buffalo Girls, Missionary Position, and “Law & Order.” His work as a director and playwright has been seen at HERE Arts Center, Sitelines, Singularity, Synapse Productions, Six Figures, Expanded Arts, EST, Rattlestick, Soho Rep, New York International Fringe Festival, and the Royal Court. He is the recipient of a DramaLogue Award for acting and a NYIT Award for Outstanding Director and was named one of “15 People of the Year 2006” by nytheatre.com. Daniel is a graduate of Solano College Theatre’s ATP and of Juilliard, and is the artistic director of Rising Phoenix Rep. His play Slipping will be done at The Side Project in Chicago this spring. NICK WESTRATE* (DAMIS). Broadway: A Moon for the Misbegotten (directed by Howard Davies). Off-Broadway: New York premiere of Christopher Durang’s The Vietnamization of New Jersey; All That I Will Ever Be (New York Theatre Workshop). Regional: The Merchant of Venice (Cal Shakes, dir. Daniel Fish); Jordan Harrison’s Amazons and Their Men (Geva Theatre Center); Edward II (REDCAT Theatre in L.A.; Museum of Contemporary Art, Chicago, directed by Sam Gold); A Midsummer Night’s Dream (REDCAT Theatre in L.A.; Museum of Contemporary Art, Chicago, directed by Joe Dowling). Nick can be seen on the new FOX Television program “New Amsterdam.” Training: Juilliard Group 35. SALLY WINGERT* (DORINE) is a longtime member of the Guthrie Theater company where her recent credits include productions of Private Lives, The Merchant of Venice, A Christmas Carol (16 productions since 1985), The Real Thing, Hamlet, Death of a Salesman, Boston Marriage, Pride and Prejudice, Top Girls, The Comedy of Errors, Six Degrees of Separation, to name a few. She has also been seen at Mixed Blood Theatre, The Jungle Theater, Theatre de la Jeune Lune, Ten Thousand Things Theater, Barrington Stage Company, Eye of the Storm Theatre, Arizona Theatre Company, History Theatre, The Children’s Theater Company, and more. Film: North Country, Factotum, How to Kill a Mockingbird, Grandfather’s Birthday (with Robert Prosky), Fargo, With or Without You, Drop Dead Gorgeous, The Straight Story, Untamed Heart, and Last Seen.
*member of actors’ equity association, union of professional actors and stage managers in the united states.
CREATIVE TEAM JOSEPH P. CERMATORI (PRODUCTION DRAMATURG) is a third-year MFA
candidate in Dramaturgy and Dramatic Criticism. His recent dramaturgy credits include The Mistakes Madeleine Made (Yale Repertory Theatre); Marat/Sade, Our Town, and When it Rains (Yale School of Drama); Big Love (Gate Theatre London); and The Same Sea/Allein das meer (Princeton University/Berliner Festspiele Theatertreffen). Recent directing projects: Shakespeare’s Titus Andronicus and Sarah Kane’s 4.48 Psychosis (Princeton University); Brecht and Weill’s Die Sieben Todsünden (Yale Cabaret); and Purcell’s Dido and Aeneas (Yale School of Music). He has also worked as a managing editor of Theater magazine, a teaching fellow in Yale’s department of theater studies, and a drama critic (his writing has appeared in The Brooklyn Rail, Theater magazine, and on HotReview.org). He currently holds Yale’s George Pierce Baker Memorial Scholarship.
JOHN CONKLIN (SET DESIGNER) has designed sets and costumes for dance, theater (The Public Theater, Mark Taper Forum, Goodman, CENTERSTAGE, Actors Theater of Louisville, among others) and opera both here and abroad (the Metropolitan Opera; New York City Opera; Juilliard; the opera companies of Chicago, Santa Fe, and San Francisco; the Paris/Bastille Opera; the Royal Swedish Opera; and the Australian Opera). He teaches at New York University’s Tisch School of the Arts and serves as the Associate Artistic Director of the Glimmerglass Opera. ALISON COTE* (STAGE MANAGER ) is in her twelfth season at McCarter Theatre where production stage management credits include: A Midsummer Night’s Dream (also Paper Mill), Miss Witherspoon (also Playwrights Horizons), Hamlet, Polk County (also Berkeley Rep), Candida, Fräulein Else (also Long Wharf ), Fiction, Sorrows and Rejoicings (also Second Stage and Mark Taper Forum), The Cherry Orchard, Ruben Santiago-Hudson’s Lackawanna Blues, and The Importance of Being Earnest. She recently helped transfer Emily Mann’s Mrs. Packard to the Kennedy Center in Washington, DC. Other credits: Lonf Wharf Theatre; Second Stage; True Love Productions/Bard Summerscape; The Shakespeare Theatre of New Jersey (eight seasons); A Spoleto Evening at Lincoln Center; Pittsburgh Public Theatre; Williamstown; Westport Country Playhouse; InterAct; Philadelphia Shakespeare. JANE COX (LIGHTING DESIGNER). With Daniel Fish: Loot, True Love (Zipper Theatre), Rocket to the Moon (Long Wharf ), Speed-the-Plow (CENTERSTAGE). Other theater in New York includes: Dame Edna on Broadway, and designs for Brooklyn Academy of Music, Playwrights Horizons, Signature Theatre, New York Theatre Workshop, Vineyard Theatre, Primary Stages, CSC. Regional theater credits include designs for the Guthrie, Arena Stage, Seattle Rep, Denver Center, Alliance Theatre, and the Minnesota Opera, among many others. She works in Ireland with the Corn Exchange Theatre Company. Jane has long-term collaborations with choreographers Doug Varone, David Dorfman, and Monica Bill Barnes. Adjunct faculty: Princeton University, Sarah Lawrence, UMass Amherst. 17
CREATIVE TEAM ALEXANDRA EATON (VIDEO DESIGNER) is a video artist and filmmaker from California. A recent graduate of Bard College, she majored in Integrated Arts under the guidance of Joanne Akalaitis. She has designed previously for Daniel Fish on Oklahoma! and The Elliott Smith Project (both at Bard). She also designed for The Lacy Project at the Ohio Theater (June 2007). Her senior thesis was a cinematic adaptation of Faust for the internet era. She is currently working on a documentary about a small town in east Texas. DANIEL FISH (DIRECTOR). Mr. Fish’s work has been seen at theaters across the country and abroad. His recent work includes The Elliott Smith Project (True Love Productions, Bard Summerscape) and Clifford Odets’s Rocket to the Moon (Long Wharf Theatre, Bard Summerscape.) For McCarter Theatre, he has directed Hamlet, Loot, The Importance of Being Earnest, and The Learned Ladies. Off-Broadway credits include the premiere of True Love by Charles L. Mee (Zipper Theatre), Ghosts with Amy Irving (CSC), and the US premiere of The Woman Before by Roland Schimmelpfenning (German Theatre Abroad). He directed the premiere of Poor Beck by Joanna Laurens for The Royal Shakespeare Company (Stratford and London); Twelfth Night, and The Merry Wives of Windsor for The Shakespeare Theatre in Washington, DC; and The Merchant of Venice, Measure for Measure, and Cymbeline for California Shakespeare Theatre. His work has also been seen at Yale Repertory Theatre, Wilma Theater, Baltimore’s CENTERSTAGE, Great Lakes Theater Festival, Court Theatre, Intiman, and The Juilliard School. Daniel Fish has worked as Associate Director to Sir Peter Hall and Michael Kahn and has taught at Yale School of Drama and Princeton University. He is a graduate of Northwestern University’s Department of Performance Studies. He is currently working on the premieres of new plays by Theresa Rebeck and Charles Mee and a film about east Texas. KARIN GRAYBASH (SOUND DESIGNER). Regional: McCarter Theatre, Arena Stage, Berkeley Repertory Theatre, Walnut Street Theatre, Dallas Theater Center, Folger Shakespeare, Arden Theatre Company, Olney Theatre Center, Shakespeare Theatre of New Jersey, Coconut Grove Playhouse, Two River Theater Company, and True Colors Theatre Company. She is the recipient of the 2004 Bay Area Theatre Critics Award for her sound design of Polk County at Berkeley Repertory Theatre. Karin is the original sound consultant for the award-winning multimedia production Freedom Rising at the National Constitution Center in Philadelphia. In addition, she is the Sound Supervisor for the Mason Gross School of the Arts at Rutgers University. McCARTER THEATRE Under the leadership of artistic director Emily Mann and managing director Jeffrey Woodward, McCarter Theatre Center, home to the Matthews and Berlind Theatres, is recognized as one of the nation’s premier theatre companies and performing arts centers. Renowned for major contributions to the theatrical canon, McCarter premieres have included Emily Mann’s Mrs. Packard (Kennedy Center Fund for New American Plays), Beth Henley’s Ridiculous Fraud, Christopher Durang’s
Witherspoon (2006 Pulitzer Prize finalist), Steven Dietz’s Last of the Boys, Regina Taylor’s Crowns, Dael Orlandersmith’s Yellowman (2002 Pulitzer Prize finalist), Emily Mann’s Having Our Say (three Tony nominations), Athol Fugard’s Valley Song, and Stephen Wadsworth’s Marivaux trilogy. McCarter commissioned and will premiere Edward Albee’s Me, Myself & I in January 2008. McCarter has also produced major new productions of Brian Friel’s Translations (Tony nomination), directed by Garry Hynes; Nilo Cruz’s Anna in the Tropics (2003 Pulitzer Prize winner, two Tony nominations), August Wilson’s Gem of the Ocean, directed by Ruben SantiagoHudson; Edward Albee’s All Over (two Obie Awards), directed by Emily Mann; and Electra (three Tony nominations), directed David Leveaux. McCarter is supported by Princeton University, the New Jersey State Council on the Arts, and over 3,000 individuals, corporations and foundations.
JAMES MOUNTCASTLE* (STAGE MANAGER) Please see page 23 for his
JANICE PARAN (DRAMATURG) is a New Jersey-based dramaturg and writer who was the Director of Play Development at McCarter Theatre Center in Princeton, NJ from 1991 to 2005. She has worked closely with numerous writers, including Beth Henley, Christopher Durang, Nilo Cruz, Doug Wright, Dael Orlandersmith, Stephen Dietz, Regina Taylor, Stephen Wadsworth, Emily Mann, and Polly Pen in the development of new work for the theatre. She is an Associate Artist and frequent dramaturg for the Sundance Institute Theatre Program, and she serves as an artistic advisor to the Weston Playhouse Theatre Company in Weston, Vermont. She teaches in Princeton University’s Program in Theater and Dance, and she holds MFA degrees from Catholic University and Yale School of Drama. JENNIFER SHAW (PRODUCTION DRAMATURG) is in her second year in the Dramaturgy and Dramatic Criticism department at Yale School of Drama, where she is currently an Artistic Coordinator for the Langston Hughes Theatre Festival. Yale School of Drama and Cabaret credits include In the MEANtime..., The Wendy Play, (S)Laughter!, A Number, EYE, and The Vote: Bacchae. She very proudly served as a mentor and actor in the Dwight/Edgewood Project 2007: Oceans of Imagination. She holds an AB from Mount Holyoke College in Theatre Arts and German Studies. LAURA STANCZYK (CASTING DIRECTOR) Regional credits include Stick Fly, Mrs.
Packard, Radio Golf, Translations, The Birthday Party, Ridiculous Fraud, A Midsummer Night’s Dream, A Moon for the Misbegotten, Gem of the Ocean, A Christmas Carol, and My Fair Lady (McCarter Theatre) Broadway: Radio Golf, Translations, Coram Boy, Who’s Afraid of Virginia Woolf, Sweet Charity, Wonderful Town, Urinetown (plus the National Tour), Judgment at Nuremberg, Seussical the Musical, and The Music Man. In addition, National Anthems (Old Vic, London), Once Upon a Mattress (ABC Television), My Brilliant Divorce (Druid Theatre, Galway, Ireland), The New Moon (City Center Encores!), Opening Doors (Carnegie Hall), Radio Golf (Huntington and Goodman *member of actors’ equity association, union of professional actors and stage managers in the united states.
CREATIVE TEAM Theatres), The Glorious Ones (Pittsburgh Public Theatre and Lincoln Center Theatre) and Tryst (Off-Broadway). KAYE VOYCE (COSTUME DESIGNER). Tartuffe and Hamlet, directed by Daniel Fish (McCarter Theatre). Broadway: Shining City. International: Poor Beck (Royal Shakespeare Company), Showboat (Stadttheater, Bern), The Frame (Theater Bonn), and Henry IV, Part 1 (Hebbel Theater, Berlin). Recent work includes Philip Glass’s Orphée (Glimmerglass Opera), L’ile de Merlin (Spoleto Festival USA), All the Wrong Reasons (New York Theatre Workshop), Britannicus (American Repertory Theatre), Rocket to the Moon (Long Wharf Theatre), The Merchant of Venice (California Shakespeare Theatre), and Faust (Target Margin at Classic Stage Company).
RICHARD WILBUR (TRANSLATOR) is a former Poet Laureate of the United States and a celebrated translator of drama and poetry. His first book of poems, The Beautiful Changes and Other Poems, was published in 1947. Since then, he has published numerous books of poetry, including Things of This World (1956), which won him his first Pulitzer Prize, and New and Collected Poems (1988), for which he received the Pulitzer Prize and the National Book Award. He has translated the poetry of Valéry, Villon, Baudelaire, Akhmatova, and Brodsky, among others. Wilbur has also published many translations of French plays, notably of Molière and Racine; these translations have been widely produced across the globe. Among his honors are the Wallace Stevens Award, the Aiken Taylor Award for Modern American Poetry, the Frost Medal, the Gold Medal for Poetry from the American Academy of Arts and Letters, two Bollingen Prizes, the T. S. Eliot Award, a Ford Foundation Award, two Guggenheim Fellowships, the Edna St. Vincent Millay Memorial Award, the Harriet Monroe Poetry Award, the National Arts Club Medal of Honor for Literature, two PEN translation awards, the Prix de Rome Fellowship, and the Shelley Memorial Award. He was elected a chevalier of the Ordre des Palmes Académiques. He studied at Amherst College before serving in the U.S. Army during World War II, and he later attended Harvard University. Wilbur is a Chancellor Emeritus of The Academy of American Poets. RALPH ZITO (VOCAL COACH) Broadway: Awake and Sing!, The Light in the Piazza, The Herbal Bed. Off-Broadway: Mrs. Klein; The Fiery Furnace; The Time of the Cuckoo (Lincoln Center Theater); Tongue of a Bird, The Merchant of Venice (New York Shakespeare Festival); Birdy (The Women’s Project); The Model Apartment (Primary Stages); The Pitchfork Disney (Blue Light Theatre Company); SLAVS! (New York Theatre Workshop); The African Company Presents Richard III (The Acting Company); I Am My Own Wife, Necessary Targets, Present Laughter, Heartbreak House (Hartford Stage); Othello, Lorenzaccio, The Silent Woman, The Duchess of Malfi, The Two Gentlemen of Verona, A Midsummer Night’s Dream, Twelfth Night, Henry VI, Henry V, Coriolanus, The Tempest, Fuente Ovejuna, Mary Stuart, Associate Vocal Consultant, 1988-1992 (The Shakespeare Theatre); McCarter Theatre; Arena Stage; CENTERSTAGE; Alley Theatre; Great Lakes Theater Festival; Long Wharf Theatre; Old Globe Theatre. Other: Board of Directors, The American Society for the Alexander Technique (AmSAT). Teaching: The Juilliard School Drama Division; Barnard College; Chautauqua Conservatory Theater Company, Artistic Associate 1996-2004. Training: Harvard University, The Juilliard School, The American Center for The Alexander Technique. 20
YALE REPERTORY THEATRE ARTISTIC DIRECTOR
JAMES BUNDY is in his sixth year as Dean of Yale School of Drama and Artistic Director of Yale Repertory Theatre. In his first five seasons, Yale Rep has produced more than twenty world, American, and regional premieres, three of which have been honored by the Connecticut Critics Circle with the award for Best Production of the year, and two of which have been Pulitzer Prize finalists. During this time, Yale Rep has also commissioned more than a dozen playwrights to write new work, and provided low-cost theatre tickets and classroom visits to thousands of middle and high school students from Greater New Haven through WILL POWER!, an educational program initiated in 2004. Mr. Bundy’s directing credits include The Psychic Life of Savages, The Ladies of the Camellias, and All’s Well That Ends Well 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 theater 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 is Managing Director of Yale Repertory Theatre, Deputy Dean of Yale School of Drama, and serves on its faculty. She was previously Managing Director of Indiana Repertory Theatre, Associate Managing Director at Baltimore’s CENTERSTAGE, Managing Director at Ram Island Dance Company in Portland, Maine; and she has held various positions at Loeb Drama Center of Harvard University; TAG Foundation, an organization producing Off-Broadway modern dance festivals; and Boston University School for the Arts. Ms. Nolan is an evaluator for The National Endowment for the Arts, for which she has chaired numerous grant panels, and has served on other panels and foundation review boards including the AT&T Foundation, The Heinz Family Foundation, Lila Wallace-Reader’s Digest Fund, and the Metropolitan Life Foundation. She has also served on the Executive Committee of the League of Resident Theatres (LORT) and on numerous negotiating teams for national labor contracts. A Fellow at Yale’s Saybrook College, she is the 2000 recipient of the Betsy L. Mahaffey Arts Administration Fellowship Award from the State of Connecticut and the 2005 recipient of the Elm/Ivy Award, given jointly by Yale University and the City of New Haven for distinguished service to the community. Ms. Nolan is married to Clark Crolius. They have two daughters, Covey and Wilhelmina.
ASSOCIATE ARTISTIC DIRECTOR
JENNIFER KIGER is in her third year as Associate Artistic Director and director of Yale Repertory Theatre’s new play program, an integrated, playwright-driven initiative that supports the creation of new plays for the American stage through commissions, residencies, workshops, and productions. Ms. Kiger came to Yale Rep from South Coast Repertory 22
(SCR), where she was Literary Manager 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 directors Robert Brustein, Robert Woodruff, Liz Diamond, and Kate Whoriskey, and with multi-media director Bob McGrath on stage adaptations of Robert Coover’s Charlie in the House of Rue and Mac Wellman’s Hypatia. She has been a dramaturg for the Playwrights’ Center of Minneapolis and Boston Theatre Works, a panelist for the California Arts Council, and is a member of the Literary Managers and Dramaturgs of the Americas. 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 of Yale Repertory Theatre, has been Chair of Yale School of Drama’s acclaimed Technical Design and Production Department since 1980. In 2007 he was named the Henry McCormick Professor (Adjunct) of Technical Design and Production by Yale’s President, Richard C. Levin. He is co-editor of Technical Brief and Technical Design Solutions for Theatre, Vols. I & II. His book Structural Design for the Stage won the United States Institute of Theatre Technology’s Golden Pen Award. Demonstrating his commitment to excellence in technical education and professional production, he founded USITT’s National Theatre Technology Exhibit, an on-going biennial event; he has served as a commissioner and a director-at-large and is a lifetime Fellow of North America’s Theatre Technology Association. He was honored as Educator of the Year in 2006 by the New England Theatre Conference. His production management techniques and his introduction of structural design to scenic technology are being employed in both educational and professional theatres throughout the world.
PRODUCTION STAGE MANAGER
JAMES MOUNTCASTLE has been the Production Stage Manager at Yale Rep since Fall 2004. He was stage manager for the 2006 production of Sarah Ruhl’s Eurydice; the 2004 world premiere of Ruhl’s The Clean House; in 2005, a new adaptation of The Cherry Orchard; and most recently, Richard II. A professional stage manager for more than twenty years, he has worked in regional, stock, and Broadway theatre. Broadway credits include Damn Yankees, Jekyll & Hyde, Judgment at Nuremberg, The Boys from Syracuse, The Smell of the Kill, Life x(3), and Wonderful Town. Mr. Mountcastle spent several Christmas seasons in New York City as stage manager for the now legendary production of A Christmas Carol at Madison Square Garden. Broadway national tours include City of Angels, Falsettos, and My Fair Lady. He served as Production Stage Manager for Damn Yankees starring Jerry Lewis for both its national tour and at the Adelphi Theatre in London’s West End. In addition, Mr. Mountcastle has worked at The Kennedy Center, CENTERSTAGE in Baltimore, Actors Theatre of Louisville, Brooklyn Academy of Music, and elsewhere. James and his wife Julie live in North Haven, and are the very proud parents of two beautiful girls: Ellie, who is 8 years old, and Katie, age 6. 23
THEATRE STAFF James Bundy, Artistic Director Victoria Nolan, Managing Director Jennifer Kiger, Associate Artistic Director
Resident Artists Liz Diamond, Evan Yionoulis, Resident Directors Catherine Sheehy, Resident Dramaturg Ming Cho Lee, Set Design Advisor Michael Yeargan, Resident Set Designer Jane Greenwood, Costume Design Advisor Jess Goldstein, Resident Costume Designer Jennifer Tipton, Lighting Design Advisor Stephen Strawbridge, Resident Lighting Designer David Budries, Sound Design Advisor Walton Wilson, Voice and Speech Advisor Rick Sordelet, Fight Advisor Mary Hunter, Stage Management Advisor Associate Artists 52nd Street Project, Kama Ginkas, Mark Lamos, MTYZ Theatre/Moscow New Generations Theatre, Bill Rauch, Sarah Ruhl, Henrietta Yanovskaya Artistic Administration Tara Rubin, CSA, Laura Schutzel, CSA, Casting Directors Eric Woodall, Merri Sugarman, Casting Associates Paige Blansfield, Rebecca Carfagna, Dale Brown, Casting Assistants Ruth M. Feldman, Director of Education and Accessibility Services Amy Boratko, Michael Walkup, Artistic Coordinators Rebecca Phillips, Kristina Williams, Literary Associates Pamela C. Jordan, Librarian Teresa Mensz, Library Services Assistant Josie Brown, Senior Administrative Assistant to the Artistic Director and Associate Artistic Director Kathleen Driscoll, Senior Administrative Assistant for the Directing, Dramaturgy & Dramatic Criticism, Playwriting, and Stage Management Departments Mary Volk, Senior Administrative Assistant for the Design and Sound Design Departments
Hannah Grannemann, David Roberts, Associate Managing Directors Stephanie Ybarra, Associate Managing Director, Yale School of Drama and New Play Production Roberta Pereira da Silva, Associate Managing Director, Special Events Claire Shindler, Senior Administrative Assistant to the Managing Director Meghan Pressman, Company Manager
Development and Alumni Affairs Deborah S. Berman, Director of Development and Alumni Affairs Debbie Ellinghaus, Senior Associate Director of Development and Alumni Affairs Ann M.K. McLaughlin, Senior Associate Director of Development, Yale Repertory Theatre AurĂŠlia Fisher, Assistant Development Director Susan C. Clark, Development Associate Laura Torino, Senior Administrative Assistant to Development and Marketing and Communications Departments Finance and Information Technology Katherine D. BurgueĂąo, Director of Finance and Human Resources Theodore DeLong, Associate Director of Finance Heide Janssen, Elizdalia Rivera, Jeff Rogers, Associate Business Managers Randall Rode, Information Technology Director Daryl Brereton, Associate Information Technology Director Susan Maher, Interim Senior Administrative Assistant to Business Office, Information Technology, Operations, and Tessitura Pamela Brickman-Ortiz, Associate Administrator, Shared Science Service Branch Marketing, Communications, and Audience Services Anne Trites, Director of Marketing and Communications David Mayhew, Press Consultant Steven Padla, Interim Press Director Daniel Cress, Marketing Manager, Single Tickets and Event Management Kay Perdue, Assistant Marketing Director Hellen Hom, Manager, Online Communications Maggie Elliott, Graphic Artist Laura Torino, Senior Administrative Assistant to Development and Marketing and Communications Departments Scott McKowen, Punch & Judy Inc., Graphic Designers David Cooper, Photographer T. Charles Erickson, Production Photographer Tom Shultz, Creative Attitude, Web Design Janna J. Ellis, Director of Audience Services Tracy Baldini, Assistant Audience Services Director Audrey Rogers, Manager, Group Sales Nancy Genga, London Moses, Audience Services Assistants Maria Barsky, Greta Fails, Ruth Kim, Leah Knowles, Valeria Lopez-Fadul, Sue Malone, Carrie Toole Box Office Assistants
William J. Reynolds, Director of Facility Operations Rich Abrams, Operations Manager Jacob Thompson, Security Officer Ed Jooss, Fred Grier, Michael Blatchley, Customer Service and Safety Officers Ben Holder, Ron Maybrey, Custodial Supervisors James Abbottello, Rigby Conyers, Ricardo Gonsalves, Jackie Gulley, Lillian Orama, Fran Pisaturo, Curtis Reddick, Custodians
Bronislaw J. Sammler, Production Supervisor James Mountcastle, Production Stage Manager Jonathan Reed, Senior Associate Production Supervisor Marla J. Silberstein, Senior Administrative Assistant to the Production Department Costumes Tom McAlister, Costume Shop Manager Robin Hirsch, Associate Costume Shop Manager Mary Zihal, Senior Draper Clarissa Wylie Youngberg, Senior First Hand Deborah Bloch, First Hand Linda Kelley-Dodd, Costume Project Coordinator Barbara Bodine, Company Hairdresser Martha Lehr, Costume Stock Manager Sarah DeLong, Assistant to the Costume Shop Manager Electrics Donald W. Titus, Lighting Supervisor Jason Wells, Linda Young, Head Electricians Kathryn Sirico, Assistant to the Lighting Supervisor Painting Ru-Jun Wang, Resident Scenic Charge Angie Meninger, Scenic Artist Nora Hyland, Assistant Scenic Artist Patricia Sorbi, Assistant to the Painting Supervisor Properties Brian Cookson, Properties Master David P. Schrader, Properties Craftsperson Jennifer McClure, Properties Assistant Mark Villani, Properties Stock Manager Scenery Don Harvey, Neil Mulligan, Technical Directors Alan Hendrickson, Electro Mechanical Laboratory Supervisor Eric Sparks, Shop Foreman Matt Gaffney, Sharon Reinhart, Master Carpenters Russell Fecente, Lisa McDaniel, Shop Carpenters Melissa Sibley, Assistant to the Technical Director The Director is a member of the Society of Stage Directors and Choreographers, Inc., an independent national labor union.
Sound Brian MacQueen, Sound Supervisor Paul Bozzi, Staff Sound Engineer Bona Lee, Nicholas Pope, Assistants to the Sound Supervisor Stage Operations Janet Cunningham, Stage Carpenter Kate Begley Baker, Properties Runner Jeanne Wu, Sound Operator Elizabeth Bolster, Wardrobe Supervisor
ADDITIONAL STAFF FOR TARTUFFE
Marisol K. Rosa-Shapiro, Assistant Director Sarah Hodges, Assistant Stage Manager Michael Vandercook, Associate Production Supervisor Sarah Laux, Assistant Costume Designer Jesse Belsky, James McNamara, Assistant Lighting Designers Nathan Roberts, Assistant Sound Designer Matthew Welander, Technical Director Pierre-André Salim, Assistant Technical Director Jason Grant, Master Electrician Katherine Buechner, Sound Engineer Denise O’Brien, Wig and Hair Design Paul Chang Custom Tailors, Tailoring Whitney Estrin, Assistant Company Manager Suzanne Appel, House Manager Alyssa Anderson, Heide Hanson, Lisa Shuster, Kathryn Sirico, Run Crew UNDERSTUDIES ZACH APPELMAN, Tartuffe; MATT BIAGINI, Police Officer; JOHN PATRICK DOHERTY, Orgon; AUSTIN DURANT, Cléante; LAURA ESPOSITO, Dorine; CARTER GILL, Valère; BRENNA PALUGHI, Elmire; CHARISE K. SMITH, Mariane; ALEXANDER MANUEL TEICHEIRA, Damis; JAMEL RODRIGUEZ, M. Loyal; LIZ WISAN, Mme. Pernelle Special thanks to dog owners Rachel and Jerrod Smith.
Yale Repertory Theatre operates under an agreement between the League of Resident Theatres (LORT) and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
The Scenic, Costume, Lighting, and Sound Designers in LORT are represented by United Artists Local USA-829, IATSE.
NEXT AT YALE REP
the evildoers Carol and Jerry celebrate their anniversary with friends Martin and Judy. But an evening of haute cuisine and expensive wine is cut short when Martin, no longer able to repress years of frustration, lashes out at the people he loves. Soon, Martin’s pursuit of happiness wreaks havoc on the lives of this once-content quartet. With unexpected twists, David Adjmi’s ferociously funny play unleashes the horror lurking behind a quiet dinner with friends. David Adjmi’s plays have been developed and produced in the United States and England at theatres including Lincoln Center, the Royal Shakespeare Company, the Royal Court Theatre, and Robert Redford’s Sundance Institute.
by DAVID ADJMI directed by
REBECCA BAYLA TAICHMAN
JANUARY 18 TO FEBRUARY 9, 2008
teletype orders: 203.432.1521 OPEN CAPTIONED FEB 2 AT 2PM AUDIO DESCRIBED FEB 9 AT 2PM
TALK BACKS: JAN 26 AND FEB 2 AT 2PM JAN 29 AND JAN 31 AT 8PM
YALE REPERTORY THEATRE ANNUAL FUND GO BEYOND THE SHOW…
Make a gift to Yale Repertory Theatre’s Annual Fund to support the national and international artists you see on our stage, to provide resources for early career and leading playwrights, to create original work at Yale, and to maintain our tradition of artistic excellence and leadership in American theatre. Your generosity also sustains Yale Rep’s community programs, like WILL POWER!, which introduces nearly 2,000 middle and high school students annually to the power of live theatre and the Dwight/Edgewood Project, a unique outreach program that, through playwriting, strengthens the self-esteem and creative expression of students from New Haven’s Troup Magnet Academy of Science. Your tax-deductible gift to Yale Rep’s Annual Fund—at any level—plays a significant role in contributing to our ability as a nonprofit theatre to bring the best work to our stages and share it with the Greater New Haven community. For more information on how to make a donation, please contact Ann M.K. McLaughlin, Senior Associate Director of Development, at (203) 432-1536, firstname.lastname@example.org, or go to www.yalerep.org/donate.
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BENEFACTORS ($10,000-$24,999) Mary L. Bundy Connecticut Commission on Culture and Tourism George Ingram Jane Kaczmarek Lucille Lortel Foundation Donald B. Lowy Martinson Coffee National Endowment for the Arts NewAlliance Foundation Karen Pritzker and Michael Vlock Meryl Streep TIAA-CREF Estate of Wendy Wasserstein
PRODUCER’S CIRCLE ($5,000 - $9,999) Foster Bam Jim Burrows Philip A. Corfman, M.D.
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Debbie Bisno Anne K. Gregerson Michael Gross Dick and Norma Grossi Brita Brown Grover William B. Halbert Shawn Hamilton Brown Barbara Hauptman Peter Hentschel and Elizabeth Prete Jennifer Hershey-Benen George C. and June Higgins John Robert Hood Denise Hudson David H. Hwang Masako and Masahario Ishii Jeffreyâ€™s, a Restaurant Cindy Katz Asaad N. Kelada Ashley York Kennedy Charles M. Kimbrough Evelyn K. Kossak David Kriebs Bernard Kukoff Frances Kumin Mildred C. Kuner James Lapine Michael John Lassell Suzanne Cryer Luke Thomas Lynch Brian Mann Delia Maroney and Jolie Damiano Maria Mason Julia and John McCarthy Arthur and Carol Mikesell Jeffrey Milet Philip Moon Carol Bretz Murray-Negron William Ndini NJNG Productions, LLC Victoria Nolan and Clark Crolius Sara and Nicholas Ohly Arthur Oliner James M. Perlotto Ronald Recasner Bill and Sharon Reynolds Harry M. Ritchie Dawn Robertson Steven Saklad Suzanne M. Sato Alexander Scribner Sylvan Seidenman
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FRIENDS ($100-$249) Anonymous Emily Aber and Robert Wechsler David E. Ackroyd Nina Adams and Moreson Kaplan Lois Aden Joseph V. Agostini Roberto F. Aguirre-Sacasa Sarah Jean Albertson Michael Albano Narda Alcorn Bob Alexander William Allison Liz Alsina Bruce Altman Richard Ambacher Leif Ancker Bob and Jane Archibald Mary Ellen Oâ€™Brien Atkins Thomas Atkins Jayne Atkinson Clayton May Austin Angelina Avallone Ravat and Joe Avni-Singer Susanne and David Bailin Regina Bain Paul Baker Richard H. Bank Drs. M. Baron and R. Magraw Cornelia Barr
Christopher Barreca Richard and Nancy Beals Alexander Beard R. Sherman Beattie Robert L. Beatty, Jr. Spencer P. Beglarian Ursula Belden James C. Bellavance Melvin Bernhardt Robert Bienstock Ashley Bishop Mrs. Frank Black Virginia Blakeslee Deborah Bloch Julia and Sidney Bogardus John Cummings Boyd Lucia Brawley and Peter Macon Dene and John Breedis Russell and Freddie Brenneman Amy Brewer Cynthia Brizzell-Bates Brenda and Howard Brody Meg Brogan Arvin B. Brown Shawn Hamilton Brown Robert Brustein Rene Buch Robert Bullock Kate Burton Gerard and Ann Burrow Robert and Linda Burt Sheldon Bustow Susan Byck Michael William Cadden Kathryn A. Calnan William E. Caruth Raymond E. Carver Sami Joan Casler Cosmo A. Catalano, Jr. Max Chalawsky Mary Chesnutt Suellen G. Childs Jane Cho Olive Chypre Christian Clemenson Becky and Gary Cline Katherine D. Cline Margaretta M. Clulow Joel Cogen and Elizabeth Gilson Gloria and Morris Cohen Robert S. Cohen Patricia J. Collins
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Stephen B. Pollock Michael B. Posnick Michael Potts Gladys S. Powers Alvin S. Prusoff and Dr. Deborah DeRose Bill Prusoff Pun Punyaratabandhu Alec and Drika Purves William Purves Michael Quinn Gail Reen Kathleen Reilly Sandra and Gernot Reiners James Reynolds Joe Reynolds Mary B. Reynolds Lori Robishaw Victoria Rodriguez- Hadelman Melina Root Claudia Arenas Rosenshield Russ Rosensweig John M. Rothman Ron and Jean Rozett Julia Meade Rudd Kevin Rupnik Ortwin Rusch, M.D. Frederick Russell Virginia Weaver Russell A. Raymond Rutan IV David A. Sacco Herbert Sacks Maher Riyad Said Peter Salovey and Marta Elisa Moret Robert Sandberg Peggy Sasso Cary Scapillato Alvin Schechter Joel Schechter Henry Scherer William Schneider Georg Schreiber Jennifer Schwartz Larry Schwartz Forrest E. Sears Paul Francis Selfa Paul H. Serenbetz Sandra Shaner Jim Shanklin
Jeremy Shapira John Shea Rachel Sheinkin Paul R. Shortt Anne W. Shropshire Carol M. Sica William Skipper Betsy and William Sledge Teresa Snider-Stein Suzanne Solensky and Jay Rozgonyi Ilona Somogyi William Wallace Spangler Robert Spirito Marian and Howard Spiro Charles Steckler Louise Stein Roy Steinberg Neal Ann Stephens John Stevens Joseph C. Stevens Marilyn and Robert Stewart Forrest Stone Erich Stratmann Jaroslaw Strzemien Thomas Sullivan Bernard Sundstedt Sy Sussman David Loy Sword Jack Sydow Ted Tally Roberta Tansman Ashlee Temple Ari Teplitz Patrice Thomas Paul J. Tines Donald Tirrell David F. Toser Lisa and David Totman Russell L. Treyz Richard B. Trousdell Deborah Trout Miriam S. Tulin Russell Vandenbroucke Carrie Van Hallgren Barry and Hyla Vine Fred Voelpel
Shay Wafer Anne Walsh Barbara Wareck and Charles Perrow Anne C. Washburn Steven I. Waxler Gil Wechsler Joseph Weishar Thomas S. Werder Dana B. Westberg J. Newton White Robert White Kimberly Whitley Robert Wierzel Stanley Wiklinski Lisa A. Wilde Robert M. Wildman Walt Wilson Bess Wohl Robin B. R. Wood Tamilla Woodard Amanda Wallace Woods Judith Yale David R. York Arthur Zigouras Robert Michael Zoland Catherine J. Zuber
EMPLOYER MATCHING GIFTS Aetna Foundation Corning, Inc. General Electric Corporation IBM Mobil Foundation, Inc. Pfizer Pitney Bowes Procter & Gamble The Prospect Hill Foundation SBC Communications, Inc. United Technologies Corporation
This list includes current pledges, gifts and grants received from July 1, 2006, through November 7, 2007. For more information about making a donation to Yale Repertory Theatre, please contact Ann McLaughlin at 203.432.1536 or email@example.com.
SPONSORSHIP CORPORATE SPONSORS
WILL POWER! SPONSORS
This list includes current pledges, gifts, and grants received from July 1, 2006, through November 7, 2007.
Bank of America Cosí Martinson Coffee Mionetto USA Regional Water Authority Scoozzi Trattoria and Wine Bar TIAA-CREF
Atticus Bookstore and Café BAR Barcelona Chow Connecticut Presort Fleur de Lys Floral and Gifts Hull’s Arts Supply and Framing Ideal Printing New Haven Advocate New Haven Register Thames Printing Company, Inc. WSHU Public Radio Group The Yale Bookstore Yellow Book Zinc
YALE REPERTORY THEATRE’S ARTS EDUCATION INITIATIVE Anna Fitch Ardenghi General Charitable Purpose Trust Jane Marcher Foundation NewAlliance Foundation Roly Poly, Orange
DISCOUNT DINING PARTNERS
The following dining establishments offer discounts to Yale Rep subscribers throughout the season. Atticus Bookstore and Café Black Bear Saloon Brazi’s Italian Restaurant Bulldog Burrito Caffé Adulis Caffé Bottega Consiglio’s
Hot Tomato’s Indochine Pavillion Miya’s Sushi The Playwright Sullivan’s Thali Regional Cuisine of India Viva Zapata Zaroka
FOR YOUR INFORMATION HOW TO REACH US
IN PERSON: 1120 Chapel Street (at York St.) MAIL: Yale Repertory Theatre Box Office PO Box 1257, New Haven, CT 06505 PHONE: 203.432.1234 TTY (TELETYPE): 203.432.1521 E-MAIL: firstname.lastname@example.org
BOX OFFICE HOURS
Monday to Friday from 10am to 5pm; Saturday from 12 to 5pm (until 8pm on show nights).
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 are located downstairs. Please contact the concierge for assistance with the elevator.
ACCESSIBILIT Y SERVICES
Yale Repertory Theatre offers the most comprehensive accessibility services program in Connecticut, including open captioned and audio described performances, a free assistive listening system, large-print and Braille programs, a direct TTY (teletype) line to Yale Rep’s Box Office (203.432.1521), wheelchair accessibility with an elevator entrance into the Yale Rep Theatre located on the left side of the building, and accessible seating. For more information about the accessibility services program, contact Ruth M. Feldman at 203.432.8425 or email@example.com.
open captioning: You’ll never again
have to ask, “What did they say?” Open captioning offers patrons a digital display of the play’s dialogue as it’s spoken.
audio description: A live narration
of the play’s action, sets, and costumes for patrons who are blind or low vision.
Please leave your cell phone and/or beeper, name, and seat number with the concierge. We’ll notify you if necessary. Emergency only telephone number at Yale Rep: 203.764.4014
Tartuffe, or The Imposter The Evildoers A Woman of No Importance
Boleros for the Disenchanted
Open Captioned and Audio Described performances are at 2pm. AD pre-show description begins at 1:45pm.
Discounted tickets are available for groups of ten or more. Please call 203.432.1572.
Everyone must have a ticket. Sorry, no children in arms or on laps. Patrons who become disruptive will be asked to leave the theatre.
c2inc is pleased to be the official Open Captioning provider of Yale Repertory Theatre.
The taking of photographs or the use of recording devices of any kind in the theatre without the written permission of the management is prohibited. 33
Boleros for the DisenchanteD world premiere
by José Rivera
joseph parks anD maria Dizzia in euryDice. photo By joan marcus.
APR 25 to MAY 17
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Art for Yale: Collecting for a New Century J\gk\dY\i(/#)''.Â»AXelXip(*#)''/
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Published on Aug 12, 2020
by Moliere, translated into English verse by, Richard Wilbur, directed by Daniel Fish. Yale Repertory Theatre, December 3 to 22, 2007.