The Skin of Our Teeth

creating lasting impressions

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OCTOBER 20–24, 2015

YALE SCHOOL OF DRAMA James Bundy, Dean Victoria Nolan, Deputy Dean Joan Channick, Associate Dean

PRESENTS

THORNTON WILDER Directed by LUKE HARLAN By

Choreographer Scenic Designer

GRETCHEN WRIGHT CHOUL LEE

Costume Designer

HAYDEE ZELIDETH

Lighting Designer

CAROLINA ORTIZ HERRERA

Sound Designer and Original Music

CHRISTOPHER ROSS-EWART

Projection Designer Production Dramaturg Stage Manager

RASEAN DAVONTE JOHNSON DAVID CLAUSON PAULA RENEE CLARKSON

The Skin of Our Teeth is presented by special arrangement with Samuel French, Inc.

SEASON SPONSOR

OPENING NIGHT SPONSOR

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Cast in alphabetical order George Antrobus

ANDREW BURNAP

Maggie Antrobus

BAIZE BUZAN

Mammoth, Crew

ALEX CADENA

Gladys Antrobus

JULIANA CANFIELD

Professor, Fortune Teller, Ensemble

PAUL STILLMAN COOPER

Doctor, Conveener, Ensemble

ANNA CRIVELLI

Homer, Conveener, Ensemble

RICARDO DÁVILA

Lily Sabina Telegraph Boy, Miss T. Muse, Conveener, Ensemble Dinosaur, Crew The Stage Manager Miss E. Muse, Conveener, Ensemble Broadcast Official, Moses, Chair Pusher, Ensemble

MELANIE FIELD DYLAN FREDERICK REBECCA HAMPE LUKE HARLAN ANNELISE LAWSON JONATHAN MAJORS

Henry Antrobus

AUBIE MERRYLEES

Mammoth, Crew

JENNIFER SCHMIDT

Miss M. Muse, Chair Pusher, Ensemble, Broadcast Helper

SHAUNETTE RENÉE WILSON

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“History doesn’t repeat itself, but it does rhyme.” —ATTRIBUTED TO MARK

Thornton Wilder wrote The Skin of Our Teeth in 1941, just before the attack on Pearl Harbor. By the time of the play’s New Haven premiere the following year, the U.S. was at war. Already a respected professor and two-time Pulitzer Prize winner, Wilder volunteered to serve as an officer in the Air Force, and was stationed in Europe. While there, his sister Isabel sent him word of the fraught rehearsal process: the production teetered on the edge of disaster, as the volatile egos of star Tallulah Bankhead, playing Sabina, and director Elia Kazan clashed continually.

Thus both global crisis and backstage brawls threatened to overwhelm The Skin of Our Teeth, a play so resilient it contains not one but three different end-of-the-world scenarios.

This was extravagant but not exactly new to theatregoers of the period.

In the wake of the First World War, artists and intellectuals were possessed by apocalyptic paroxysms.

European writers like Russia’s Vladimir ˇ apek Mayakovsky and the Czech Karel C spun tales of the world’s destruction and re-creation. In the U.S., on the other hand, the prevailing mood in theatre and film was much merrier in general. The tone of Wilder’s play has a good deal in common with sprawling Depression-era comedies like Kaufman and Hart’s You Can’t Take It With You and Charlie Chaplin’s Modern Times, in which humble heroes stare down disaster and come out grinning. The Antrobus family looks the threat of

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world annihilation in the face, and to be sure, there is the twinkle of American optimism in their eyes. But is that enough?

The Skin of Our Teeth has not only endured for seven decades, it has continued to thrive, gathering new meanings for new generations. In 2015, we look at the play and see not only Wilder’s 1942, but also a panoramic view of the history from then to us: the space race and presidential sex scandals and the rise of jihad. Our historical moment resembles the one into which The Skin of Our Teeth was born: conflict is all around us, and the future is uncertain.

Yet the distance between 2015 and 1942 is vast. If it is indeed true that tragedy is a close-up and comedy a long shot, then we have an excellent vantage point from which to consider this strange, funny play. Let us laugh and consider the end of the world together, again and again. And again.

—DAVID CLAUSON, PRODUCTION DRAMATURG

“Indifferent to the smaller credibilities, [The Skin of Our Teeth] takes place in all periods at once.

And since Man is brave and longenduring, isn’t it right that every now and then it should be gay?”

—THORNTON WILDER, PICTURED HERE AS GEORGE ANTROBUS IN THE SKIN OF OUR TEETH, 1948. PHOTO BY CARL VAN VECHTEN.

Cast ANDREW BURNAP (GEORGE ANTROBUS) is a third-year MFA candidate at Yale School of Drama, where his credits include Preston Montfort—An American Tragedy, The Seagull, Paradise Lost, and In Arabia We’d All Be Kings. Other credits include Once Five Years Pass, Dental Society Midwinter Meeting (Williamstown Theatre Festival); The Caucasian Chalk Circle (Yale Repertory Theatre); King Lear (The Public Theater/NYSF); The Two Gentlemen of Verona, Coriolanus, All’s Well That Ends Well (Commonwealth Shakespeare Company); Why Torture Is Wrong, and the People Who Love Them (Yale Summer Cabaret); Episode #121: Catfight, The Maids, and Rose and the Rime (Yale Cabaret). BFA, University of Rhode Island.

BAIZE BUZAN (MAGGIE ANTROBUS) is a second-year MFA candidate at Yale School of Drama, where she has been seen in Preston Montfort—An American Tragedy. Other credits include Sister Sandman Please (Yale Cabaret); Failure: A Love Story (Victory Gardens Theater); Fat Pig (Steppenwolf Garage); Look Back in Anger, The Cripple of Inishmaan (Redtwist Theatre); Rich and Famous (Jackalope Theatre); and multiple workshops at Writers Theatre. She can also be seen in the upcoming feature film Our Father. Baize is a graduate of Vassar College and The School at Steppenwolf.

ALEX CADENA (MAMMOTH, CREW) is a junior at Yale College, double majoring in ecology and evolutionary biology and theater studies. Her credits at Yale include Arcadia (Dramat), The Man Who Was Thursday, Bondage, and the upcoming No Exit (Yale Drama Coalition). Other credits include Under: A New Musical (Director; The New York International Fringe Festival). Alex is an alumna of the Yale Summer Actor’s Conservatory and is currently a member of Next Actor Studios in Houston, Texas.

JULIANA CANFIELD (GLADYS ANTROBUS) is a second-year MFA candidate at Yale School of Drama, where she has been seen in Deer and the Lovers. Her credits include Dental Society Midwinter Meeting, Once Five Years Pass (Williamstown Theatre Festival); Leonce and Lena, Episode #121: Catfight (Yale Cabaret); Fortuna Fantasia (New York International Fringe Festival); A Midsummer Night’s Dream, The Real Thing, Valhalla, and Anna in the Tropics. Juliana holds a BA in English from Yale College.

PAUL STILLMAN COOPER (PROFESSOR, FORTUNE TELLER, ENSEMBLE) is a third-year MFA candidate at Yale School of Drama, where his credits include The Merchant of Venice, The Troublesome Reign of King John, Coriolanus, Riverbank: A Noh Play for Northerly Americans, Paradise Lost, and In Arabia We’d All Be Kings.

He has also appeared in Solo Bach, Knives in Hens (Yale Cabaret); Design for Living (Berkshire Theatre Festival); Good, King Lear, Julius Caesar, The Labute New Theater Festival: Blood Brothers (St. Louis Actors’ Studio); Reckless, The Play About the Baby, and Big Love (Brown University).

ANNA CRIVELLI (DOCTOR, CONVEENER, ENSEMBLE) is a second-year MFA candidate at Yale School of Drama, where she has been seen as Marnie in Deer and the Lovers. Other credits include Dental Society Midwinter Meeting, Once Five Years Pass (Williamstown Theatre Festival), and Leonce and Lena (Yale Cabaret).

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Through Fordham College at Lincoln Center, where she received a BA in theatre, she appeared in Non tutti i Ladri Vengono per Nuocere in Rome, Mixed Doubles in London, and What of the Night? in New York.

RICARDO DÁVILA (HOMER, CONVEENER, ENSEMBLE) is a second-year MFA candidate at Yale School of Drama, where he has been seen in The Children. His credits include Leonce and Lena (Yale Cabaret), The Mysteries (The Flea), Mariquitas (Theater for the New City), and Mary Stuart (New York University). He holds a degree in acting from NYU Tisch School of the Arts.

MELANIE FIELD (LILY SABINA) is a third-year MFA candidate at Yale School of Drama, where her credits include Cardboard Piano, Paradise Lost, The Troublesome Reign of King John, Riverbank: A Noh Play for Northerly Americans, and Clybourne Park. Her other credits include Midsummer, love holds a lamp in this little room, Orlando (Yale Summer Cabaret); The Defendant, Touch, and Look Up, Speak Nicely, and Don’t Twiddle Your Fingers All the Time (Yale Cabaret). Her professional credits include the Broadway companies of The Phantom of the Opera and Evita (2012 revival), as well as the first national tour of Wicked. Regional credits include The Visit (Williamstown Theatre Festival). Melanie received her BM in vocal performance from NYU Steinhardt School of Culture, Education, and Human Development.

DYLAN FREDERICK (TELEGRAPH BOY, MISS T. MUSE, CONVEENER, ENSEMBLE) is a second-year MFA candidate at Yale School of Drama, where he was seen in Deer and the Lovers. His regional credits include work with Children’s Theatre Company, Guthrie Theater, Illusion Theater, Workhaus Collective, and Playwrights’ Center. His musical Summer Valley Fair premiered at the New York Musical Theatre Festival in July. Dylan holds a BFA in theatre performance from the University of Evansville.

REBECCA HAMPE (DINOSAUR, CREW) has performed in The Mousetrap (Great Lakes Theater Festival), at the New Ground Theater Festival (Cleveland Play House) and the American Shakespeare Center, where she was part of their Acting Apprentice Company. Rebecca has a BM in voice.

LUKE HARLAN (THE STAGE MANAGER) Please see page 10 for his bio.

ANNELISE LAWSON (MISS E. MUSE, CONVEENER, ENSEMBLE) is a thirdyear MFA candidate at Yale School of Drama, where her credits include Preston Montfort—An American Tragedy, The Troublesome Reign of King John, The Tempest, and In Arabia We’d All Be Kings. Other credits include Arcadia (Yale Repertory Theatre); Middletown, A Map of Virtue, Summer Shorts: A Festival of New Voices (Yale Summer Cabaret); The Hotel Nepenthe, The Crazy Shepherds of Rebellion (Yale Cabaret); The Madness of Edgar Allan Poe (First Folio); Peter Pan’s Shadow Parts 1 & 2, and The Grisly/Glorious Adventure of Christopher Robin, Winnie-the-Pooh, and Billy Moon (Dream Theatre Company). Annelise has a certificate in acting from the Moscow Art Theatre Summer Academy and a BA in theatre studies and psychology from Carleton College.

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Cast JONATHAN MAJORS (BROADCAST OFFICIAL, MOSES, CHAIR PUSHER, ENSEMBLE) is a third-year MFA candidate at Yale School of Drama, where his credits include The Children, The Seagull, Paradise Lost, and Cardboard Piano. Other credits include The Caucasian Chalk Circle (Yale Repertory Theatre); A Raisin in the Sun, The Tempest, Our Town, Henry V (Chautauqua Theater Company); the world premiere of Cry Old Kingdom (Humana Festival of New American Plays); and the August Wilson’s American Century Cycle recordings of Ma Rainey’s Black Bottom and Fences (The Greene Space). Jonathan holds a BFA from the University of North Carolina School of the Arts and is a recipient of the NSAL Drama Award.

AUBIE MERRYLEES (HENRY ANTROBUS) is a third-year MFA candidate at Yale School of Drama, where his credits include Don Juan, Riverbank: A Noh Play for Northerly Americans, Paradise Lost, and In Arabia We’d All Be Kings. At Yale Summer Cabaret: Middletown, A Map of Virtue, and Why Torture Is Wrong, and the People Who Love Them. Regional: The Caucasian Chalk Circle (Yale Repertory Theatre); Charlotte’s Web, Women in Jep, Rachel Bonds’s At the Old Place (Arden Theatre Company); The Aliens (Theatre Exile, Barrymore nomination); My Romantic History (Inis Nua); The Liar (The Lantern); and A Bright New Boise (Simpatico). Aubie is also a company member at People’s Light & Theatre, where he has acted in over ten productions, including End Days, One Flew Over the Cuckoo’s Nest, Beautiful Boy, Stargirl, and A Wrinkle in Time. He is a graduate of Brown University. For Mom.

JENNIFER SCHMIDT (MAMMOTH, CREW) is a DFA candidate at Yale School of Drama, where her dramaturgy credits include Hedda Gabler, The Really Big Fat Show, What a Very Pretty Pageant!, Blueberry Toast, and The Two Gentlemen of Verona.

She also performed in The Visit and The Seagull. At Yale Cabaret, she has served as dramaturg for Dutchman and performed in American Gothic, Creation 2011, and Ain’t Gonna Make It. Jennifer received her BA in English from Carleton College and MFA from Yale School of Drama.

SHAUNETTE RENÉE WILSON (MISS M. MUSE, CHAIR PUSHER, ENSEMBLE, BROADCAST HELPER) is a third-year MFA candidate at Yale School of Drama, where her credits include The Children, The Seagull, Paradise Lost, and Cardboard Piano. Other credits include The Caucasian Chalk Circle (Yale Repertory Theatre); The Defendant and Look Up, Speak Nicely, and Don’t Twiddle Your Fingers All the Time (Yale Cabaret); We Are Proud to Present a Presentation…, Ron Bobby Had Too Big a Heart, M.A.H. (A Museum Play), an excerpt from Undesirables, Your Living Room Is Full of Ghosts, Middletown, Midsummer, love holds a lamp in this little room, and Orlando (Yale Summer Cabaret); The Marriage of Bette and Boo, Undone, Macbeth, A Dybbuk, Romeo and Juliet (Queens College). Shaunette received her BA in drama and theatre from Queens College. She is also the recipient of the 2015 Princess Grace Award (Grace LeVine Theater Award).

Creative Team PAULA RENEE CLARKSON (STAGE MANAGER) is a second-year MFA candidate at Yale School of Drama, where her credits include The Children and The Troublesome Reign of King John. Other credits include Ship Show (Yale Institute for Music Theatre); Chinglish (assistant stage manager, Syracuse Stage); All in the 9

Timing (production assistant, Primary Stages); and Warrior Class (intern, Second Stage). She holds a BA in drama from Ithaca College.

DAVID CLAUSON (PRODUCTION DRAMATURG) is a third-year MFA candidate at Yale School of Drama, where his credits include In Arabia We’d All Be Kings and This Flat Earth. Other dramaturgy credits include The Caucasian Chalk Circle (Yale Repertory Theatre); American Gothic, He Left Quietly, and We Fight We Die (Yale Cabaret). He has served as a literary intern at the City Theatre of Pittsburgh.

David was a mentor for middle and high school playwrights in the City Theatre’s 2013 Young Playwrights’ Festival and Yale Repertory Theatre’s Dwight/Edgewood Project in 2014 and 2015. He is an alumnus of the Residential College in the Arts and Humanities and the Department of Theatre at Michigan State University.

CAROLINA ORTIZ HERRERA (LIGHTING DESIGNER) is a second-year MFA candidate at Yale School of Drama, where she designed The Troublesome Reign of King John. Other credits include The Untitled Project, Don’t Be Too Surprised (Yale Cabaret); The Recommendation (IAMA Theatre Company, 2014 Ovation Award for Best Production of a Play); The Marriage of Bette and Boo, A Raisin in the Sun (University of La Verne); Esther’s Moustache (Studio Stage); The Onion Creek (Son of Semele); Hit, Wild in Wichita, Melancholia, and Habitat (the Latino Theatre Company); as well as lighting, projections, and scenery for Datugan Dance Theatre. Her directing projects include Strangers in Disguise, and The Women of Juarez (University of La Verne). Carolina was born and raised in Mexico City, and received a BA in theatre from the School of Theatre, Film and Television at UCLA.

RASEAN DAVONTE JOHNSON (PROJECTION DESIGNER) is a third-year MFA candidate at Yale School of Drama, where his credits include Deer and the Lovers, Preston Montfort—An American Tragedy, The Children, The Master and Margarita, and The Troublesome Reign of King John. He also served as assistant projection designer at Yale Repertory Theatre for These Paper Bullets! and Accidental Death of an Anarchist. Other projection credits include The Untitled Project, 50:13, Zero Scenario, Solo Bach, MuZeum, We Fight We Die, The Brothers Size (Yale Cabaret); Midsummer, love holds a lamp in this little room, The Life and Death of Doctor Faustus (Yale Summer Cabaret); La Cenerentola (Yale Opera); as well as collaborations with Court Theatre, Chicago Dramatists, ArtsEmerson, Porchlight Music Theatre, Manual Cinema, the Catharsis Junkies, Collaboraction, Stoptime 341, Shadowbox Live, and American Theater Company. Rasean received his BA in theatre, focusing on video art, from Ohio State University. raseanjohnson.squarespace.com

LUKE HARLAN (DIRECTOR) is a third-year MFA candidate in directing at Yale School of Drama, where he directed The Winter’s Tale and This Flat Earth by Lindsey Ferrentino. He recently served as Co-Artistic Director of Yale Summer Cabaret’s 40th Anniversary Season and directed Will Eno’s Middletown and Erin Courtney’s A Map of Virtue. At Yale Cabaret, he directed Tarell Alvin McCraney’s The Brothers Size. Luke has developed new plays at such institutions as The Public Theater, New York Theatre Workshop, Tectonic Theater Project, The New Group, New Dramatists, and The Lark. Luke is the founding Artistic Director of Engine Company No. 11, a recipient of the SDC National Directing Award, co-founder of the Working Theater Directors Salon, directing fellow at the O’Neill Playwright’s Conference, and member 10

Creative Team of the TS Eliot US/UK Exchange. Credits include the world premieres of Honky (Urban Stages, New York Times Critic’s Pick), home/sick (The Assembly, writer/ performer, New York Times Critic’s Pick), Westward Mutations (Hunter College), Dogs of Oklahoma (Brick Theater), and Memoirist (Flea Theater). Regional/International: Shift (Old Vic Theatre, UK), Sousepaw: A Baseball Story (national tour), Fighting a Fish (Kennedy Center), and Insatiable Hunger, a new musical (Wellfleet Harbor Actors Theater). lukeharlan.net

CHOUL LEE (SCENIC DESIGNER) is a second-year MFA candidate at Yale School of Drama. Originally from Seoul, South Korea, his designs include Your Story (Sang Myung Theater); LDP Modern Dance (The National Theater); The Snowy Mountains (Mullae Theater at Seoul Arts Center); and Material Man (Towol Theater at Seoul Arts Center). His credits also include several production designs for advertisements and films including The Influence DJC (Concept Design); Interview with the Vampire (Concept Design and Story board); and Photographer J in Wonderland (Production Design). Choul holds a BA from Korea National University of Arts, and won the 2006 KOSTAT EXPO (Asia Stage, Costume, Technical Design Contest) and the 2007 UNESCO Prize for the Promotion of the Arts School Exhibit at the Prague Quadrennial. choullee.com

CHRISTOPHER ROSS-EWART (SOUND DESIGNER AND ORIGINAL MUSIC) is a second-year sound design student at Yale School of Drama, where his credits include The Children (musician). His other credits include MuZeum, Sister Sandman Please (designer/performer, Yale Cabaret); Midsummer, love holds a lamp in this little room, The Life and Death of Doctor Faustus (performer, Yale Summer Cabaret); and Summer Valley Fair (designer, New York Musical Theatre Festival). His composition for the dance Pied-à-Terre will be presented this winter in Hong Kong and in New Haven’s 2016 International Festival of Arts and Ideas. He holds a BA from the University of Toronto.

GRETCHEN WRIGHT (CHOREOGRAPHER) is a third-year MFA candidate in theater management at Yale School of Drama and joint-degree candidate at Yale School of Management. She has served as the Managing Director for the 2014 Yale Summer Cabaret and the Company Manager for Yale Repertory Theatre. In spring 2015, she completed a Theater Management Fellowship under Artistic Director Susan V. Booth at the Alliance Theatre in Atlanta, Georgia. Prior to coming to Yale, Gretchen worked at Court Theatre in Chicago, and performed with and directed for various storefront experimental dance and theatre companies in the city. Other choreography credits at Yale include “Galatea” from the 2014 Dance, Design, Directing, and Projection Project.

HAYDEE ZELIDETH (COSTUME DESIGNER) is a second-year MFA candidate at Yale School of Drama. Her credits include Leonce and Lena, The Medium, Solo Bach (Yale Cabaret), The Life and Death of Doctor Faustus, Orlando (Yale Summer Cabaret); the world premiere of A Woman in Morocco at The Butler School of Music (University of Texas at Austin), Design for Living, The Winter’s Tale, and Pride and Prejudice with Austin Shakespeare Company. She has also designed and worked on costumes for independent films, television, and music videos. She received her BA in theatre from the University of Texas at Austin. haydeezelideth.com 11

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The Skin of Our Teeth Staff

Yale School of Drama Staff

ARTISTIC

James Bundy, Dean Victoria Nolan, Deputy Dean Joan Channick, Associate Dean

Claire DeLiso, Assistant Scenic Designer Sarah Nietfield, Assistant Costume Designer Krista Smith, Assistant Lighting Designer Mitchell Cramond, Assistant Sound Designer and Engineer Wladimiro Woyno Rodriguez, Assistant Projection Designer Ricardo Dávila, Dance Captain Caitlin O’Rourke, Assistant Stage Manager

PRODUCTION Kat Wepler, Associate Production Manager Nick Vogelpohl, Technical Director William Hartley, Stephanie Waaser, Assistant Technical Directors Matt Davis, Properties Master Chimmy Anne Gunn, Master Electrician Elise Masur, Projection Engineer Jen Seleznow, Stage Carpenter Tannis Boyajian, Sophia Choi, Irene Iarochevitch, Elizabeth Mak, Sayantee Sahoo, Wei-hsuan Cross Wang, Ian Williams, Run Crew

ADMINISTRATION Adam J. Frank, House Manager

SPECIAL THANKS Greg Kalleres and Erin Matts, Aziz Dehkan and Barbara Moss, Anna Belcher, Rosey Strub, A. Tappan Wilder, Don Lowy, Fred Kennedy, Tye Hunt Fitzgerald, Beinecke Library Staff, Debby Applegate and Bruce Tulgan, David Chambers, Allison Burnap, Max Gordon Moore, College of Directors, Lisa Channer

The third act of this production of The Skin of Our Teeth contains excerpts from Thornton Wilder’s manuscript held by the Beinecke Library, which are not part of the playwright’s definitive version of the play. Yale School of Drama has obtained special permission from the Wilder family to use this text.

The Skin of Our Teeth October 20–24, 2015 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.

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ARTISTIC Artistic Management Jennifer Kiger, Associate Artistic Director Director of New Play Programs James Mountcastle, Production Stage Manager Amy Boratko, Literary Manager Kay Perdue Meadows, Artistic Associate Rachel Carpman, Literary Associate Lindsay King, Teresa Mensz, Library Services Josie Brown, Senior Administrative Assistant to the Artistic Director and Associate Artistic Director Laurie Coppola, Senior Administrative Assistant for the Directing, Dramaturgy and Dramatic Criticism, Playwriting, and Stage Management Departments Mary Volk, Senior Administrative Assistant for the Design, Sound Design, and Projection Departments

PRODUCTION Production Management Bronislaw J. Sammler, Head of Production Jonathan Reed, Production Manager Edward Lapine, Associate Head of Production and Student Labor Supervisor Grace O’Brien, Senior Administrative Assistant to the Production and Theater Safety and Occupational Health Departments

Scenery Neil Mulligan, Matt Welander, Technical Directors Alan Hendrickson, Electro Mechanical Laboratory Supervisor Eric Sparks, Shop Foreman Matt Gaffney, Ryan Gardner, Sharon Reinhart, Master Shop Carpenters Alex McNamara, Shop Carpenter Bryanna Kim, Jill Chandler Salisbury, Assistants to the Technical Director

Painting Ru-Jun Wang, Scenic Charge Lia Akkerhuis, Nathan Jasunas, Assistant Scenic Artists Daniel Cogan, Assistant to the Painting Supervisor Properties Brian Cookson, Properties Master, on leave Jennifer McClure, Interim Properties Master David P. Schrader, Properties Craftsperson Ashley Flowers, Properties Assistant Bill Batschelet, Properties Stock Manager

Costumes Tom McAlister, Costume Shop Manager Robin Hirsch, Associate Costume Shop Manager Clarissa Wylie Youngberg, Mary Zihal, Senior Drapers Deborah Bloch, Harry Johnson, Senior First Hands Pat Van Horn, First Hand Linda Kelley-Dodd, Costume Project Coordinator Denise O’Brien, Wig and Hair Design Barbara Bodine, Company Hairdresser Elizabeth Beale, Costume Stock Manager Jamie Farkas, Assistant to the Costume Shop Manager Electrics Donald W. Titus, Lighting Supervisor Brian Quiricone, Linda-Cristal Young, Senior Head Electricians Sound Mike Backhaus, Sound Supervisor Ien DeNio, Matthew Fischer, Assistants to the Sound Supervisor Projections Erich Bolton, Projection Supervisor Mike Paddock, Head Projection Technician Brittany Bland, Assistant to the Projection Supervisor Stage Operations Janet Cunningham, Stage Carpenter Kate Begley Baker, Head Properties Runner Elizabeth Bolster, Wardrobe Supervisor Jacob Riley, FOH Mix Engineer Mark Bailey, Light Board Programmer

ADMINISTRATION General Management Emika Abe, Sooyoung Hwang, Associate Managing Directors Adam J. Frank, Assistant Managing Director Emalie Mayo, Senior Administrative Assistant to the Managing Director Al Heartley, Lulu Tang, Management Assistants Jason Najjoum, Company Manager Sam Linden, Assistant Company Manager

Development and Alumni Affairs Deborah S. Berman, Director of Development and Alumni Affairs Janice Muirhead, Senior Associate Director of Development Joanna Romberg, Associate Director of Development Barry Kaplan, Senior Staff Writer Susan C. Clark, Development and Alumni Affairs Officer

Alice Kenney, Jennifer Schmidt, Development Associates Maya Martindale, Senior Administrative Assistant to Development and Marketing & Communications Finance and Human Resources Katherine D. BurgueĂąo, Director of Finance and Human Resources Erin Ethier, Business Manager Monica Avila, Chris Fuller, Business Office Specialists Janna J. Ellis, Director, Yale Tessitura Consortium Patricia McDonnell, Interim Senior Administrative Assistant to Business Office; Technology, Media, and Web Services; Operations; and Tessitura

Marketing, Communications, and Audience Services Daniel Cress, Director of Marketing Steven Padla, Director of Communications Libby Peterson, Associate Director of Marketing and Communications Caitlin Griffin, Rachel Shuey, Marketing and Communications Assistants Marguerite Elliott, Publications Manager T. Charles Erickson, Production Photographer David Kane, Videography Laura Kirk, Director of Audience Services Shane Quinn, Assistant Director of Audience Services Tracy Baldini, Subscriptions Coordinator Roger-Paul Snell, Audience Services Assistant Alexandra Cadena, Jordan Graf, Anthony Jasper, Katie Metcalf, Kenneth Murray, Kyra Riley, Aaron Wegner, Box Office Assistants

Operations Diane Galt, Director of Facility Operations Ian Dunn, Operations Associate, on leave Nadir Balan, Interim Operations Associate Joe Proto, Arts and Graduate Studies Superintendent Vondeen Ricks, Sherry Stanley, Team Leaders Michael Humbert, Facility Steward Lucille Bochert, Tylon Frost, Kathy Langston, Warren Lyde, Patrick Martin, Louis Moore, Mark Roy, Custodians Technology, Media, and Web Services Daryl Brereton, Interim Director of Technology, Media, and Web Services Kathleen Martin, Web Services Associate Eric Jaske, Technical Support Specialist Theater Safety and Occupational Health William J. Reynolds, Director of Theater Safety and Occupational Health Jacob Thompson, Security Officer Ed Jooss, Audience Safety Officer Kevin Delaney, John Marquez, Customer Service and Safety Officers 14

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