A Modish Ripoff of William Shakespear Much Ado About Not e’s hing
MARCH 14–APRIL 5
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A NOTE FROM THE ARTISTIC DIRECTOR Welcome to the world premiere of These Paper Bullets! I’m delighted to welcome playwright Rolin Jones and director Jackson Gay back to Yale Rep. Their previous collaborations include the Pulitzer Prize nominated The Intelligent Design of Jenny Chow, seen here in 2004, and The Jammer, which was produced Off-Broadway last season. This spring, together with songwriter Billie Joe Armstrong, the multiple Grammy Award winning Green Day frontman making his Yale Rep debut, and a world-class artistic team and company of actors (many of whom you have seen here before), Rolin and Jackson have brought forth something vibrant and new. It is rooted in Shakespeare’s Much Ado About Nothing, and it flowers in the energy, sights, and sounds of one of the most significant moments of our own popular culture. At its thoroughly modish, rocking-and-rolling heart, These Paper Bullets!, like Much Ado, is a play about love: the prideful “do they or don’t they?” battle of wills between Ben(edick) and Bea(trice); and the blossoming romance—threatened by scandal—between Claude (Claudio) and Higgy (Hero). It is also a riot of theatrical colors: language, music, and stagecraft that these gifted artists share with all of us. Thank you for being here today! Whether you are a longtime Yale Rep subscriber, a first-time ticket buyer, or one of the nearly 2,000 high school students from New Haven and across the state participating in our annual WILL POWER! arts education program, your attendance plays an essential part in the creation of this new work. I hope that you will feel free to send me an email at email@example.com with your thoughts about the show or any of your experiences at Yale Rep—it’s always a pleasure to hear from you. And now, ladies and gentlemen, Meet The Quartos! Sincerely,
James Bundy Artistic Director
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MARCH 14–APRIL 5, 2014
YALE REPERTORY THEATRE James Bundy, Artistic Director Victoria Nolan, Managing Director
PRESENTS THE WORLD PREMIERE OF
A Modish Ripoff of William Shakespeare’s Much Ado About Nothing
ROLIN JONES Songs by BILLIE JOE ARMSTRONG Directed by JACKSON GAY Adapted by
Choreographer Music Director Scenic Designer Costume Designer Lighting Designer Sound Designer and Incidental Music Projection Designer Orchestrator and Arranger Dialect Coach Fight Director Production Dramaturgs Casting Directors Stage Manager
MONICA BILL BARNES JULIE McBRIDE MICHAEL YEARGAN JESSICA FORD PAUL WHITAKER BROKEN CHORD NICHOLAS HUSSONG TOM KITT STEPHEN GABIS MICHAEL ROSSMY ILYA KHODOSH CATHERINE SHEEHY TARA RUBIN LINDSAY LEVINE ROBERT CHIKAR
These Paper Bullets! was commissioned by Yale Repertory Theatre. Development and production support are provided by Yale’s Binger Center for New Theatre and the Andrew W. Mellon Foundation. Production support for These Paper Bullets! is provided by The Cornelius-Schecter Family Fund. YALE REP IS SUPPORTED IN PART BY THE DEPARTMENT OF ECONOMIC AND COMMUNITY DEVELOPMENT
THIS PRODUCTION IS SPONSORED IN PART BY
MAJOR SUPPORT FOR WILL POWER! IS PROVIDED BY
SEASON MEDIA SPONSOR
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CAST THE BAND AND THE ENTOURAGE Ben, a Quarto DAVID WILSON BARNES Claude, a Quarto BRYAN FENKART Pedro, a Quarto JAMES BARRY Balth, a Quarto LUCAS PAPAELIAS Anton, their manager JAMES LLOYD REYNOLDS Don Best, a former Quarto, ADAM O’BYRNE now dogsbody to the band The Groupies JABARI BRISPORT, CECI FERNANDEZ, The Bouncer, the Recording Engineer
BRAD HEBERLEE, KEIRA NAUGHTON, LIZ WISAN CHRISTOPHER GEARY
THE GIRLS, THE BEAU MONDE, AND THE STAFF AT THE MESSINA Bea, a designer JEANINE SERRALLES Higgy, a model ARIANA VENTURI Ulcie, a model KEIRA NAUGHTON Frida, a manager CECI FERNANDEZ Leo, a hotelier and father of Higgy STEPHEN DeROSA Boris, a tabloid journalist ANDREW MUSSELMAN Colin Rawlins, a paparazzo BRIAN McMANAMON Dionne Warwick JABARI BRISPORT David Hockney CHRISTOPHER GEARY Mr. One-Too-Many-Martinis BRAD HEBERLEE The Stylist LIZ WISAN The Photographer BRAD HEBERLEE The Caterer GREG STUHR The Bellman CHRISTOPHER GEARY The Tailor BRAD HEBERLEE The Barman CHRISTOPHER GEARY The Maid LIZ WISAN THE ESTABLISHMENT Mr. Berry of Scotland Yard GREG STUHR Mr. Urges of The Yard BRAD HEBERLEE Mr. Coal of The Yard ANTHONY MANNA Mr. Cake of The Yard JABARI BRISPORT Paulina Noble of the BBC LIZ WISAN Officers of the law ANDREW MUSSELMAN, ADAM O’BYRNE Vicar of the church BRAD HEBERLEE The Queen of the realm CHRISTOPHER GEARY
SETTING London, 1964
THERE WILL BE ONE FIFTEEN-MINUTE INTERMISSION. 9
ROLIN’S RIB: Refashioning a Classic Comedy Unless you jump in the WABAC Machine that is London’s Globe Theatre, you will rarely have your Shakespeare served up to you in its original codpieces and farthingales. Most modern productions of the Bard’s plays seek to find an analogous setting that will bring both the poetry and the plot home to today’s audiences. And whether it’s because the 21st century is still largely in rompers and footy pajamas or because directors have fond and full memories of its older sister, that setting often hales from the signifier-rich 20th century. In fact, some of the more frequently performed plays seem to have found fallback correlatives which have themselves become a bit clichéd. The totalitarian efficiency of Richard III’s evil almost routinely gets him fitted for a pair of very shiny jackboots and a black uniform. The surfeiting decadence of Measure for Measure usually lands it in the gold-laméd patchwork of Gustav Klimt’s Wiener Werkstätte. The multiracial militarism of Othello finds its groove in South-Pacific-manqué khakis. And Much Ado About Nothing wriggles into the bespoke silk, bias gowns of the 1930s Hollywood rom-com, with Beatrice and Benedick played in the urbane but familiar rhythms of William Powell and Myrna Loy or Carole Lombard, of Cary Grant and Katharine Hepburn or Irene Dunne.
But in creating his “modish ripoff,” Rolin Jones is not just playing dress up. These Paper Bullets! is not simply these paper dolls, although the fashion industry is indisputably at the heart of Jones’s reimagining. He has cut his world from whole cloth—an act of transmogrification similar to turning Joseph Conrad’s Heart of Darkness into Francis Ford Coppola’s Apocalypse Now, or, what is more temperamentally apt, Jane Austen’s Emma into Amy
Heckerling’s Clueless. So while These Paper Bullets! owes a debt of infrastructure and some delightfully direct and fabulously fractured quotation to Much Ado About Nothing, the rest is as singular and exhilarating as the British Invasion that inspired it. But perhaps the greatest transformation is on the women. Granted, Shakespeare’s Beatrice wears her mantle among the A-list of all comic heroines easily, gracefully. But she is still all-(enviable)-talk; she “cannot be a man with wishing” (though Rosalind and Viola will soon find a way). Here, Bea is at the head of a design empire, a woman who finds modes of expression and an agency not available to her Elizabethan sister. Hero’s noble-if-maddening silent suffering gives way to Higgy’s studied, stylized, and well-compensated physical eloquence. In fact, These Paper Bullets! offers a quartet of powerful, funny, imperfect, noisy, resilient women who are all capable of eating hearts in the marketplace, in part because, thanks to the House of Jones, they finally have a place in the market.
—CATHERINE SHEEHY, PRODUCTION DRAMATURG
OR The NOTAT
THER’S AM I MY BREONT? EM REPLACan ges
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LE AT THE MOD CLIENHTOETEL MESSanINeaAn hotelier Leo Messina
Mediterr ing. Guest r for posh liv raises the ba mptuous anky joint’s su ho of lists at this sw -w ’s ho w le veritab soirees are a ad on for Re . ite el l ra London’s cultu is palace of gossip from th gobsmacking e! nc and decade refinement…
, KNEES BAREADRED! BOBBIES SC
here are birds everyw With-it dolly goddess look of style imitating the Scotland Yard e squares at Higgy, but th a twist over eir knickers in th g in tt ge e ar g hemlines! ots and risin those tight bo e reeling off sed rozzers ar Those repres y! rubbish, we sa
UARTOS WHEN WILL Q ALBUM? EW RELEASEorN hit record ing for a new Fans are clam Mayhap heartthrobs. from Britain’s ief will get m and misch some mayhe g! e juices flowin those creativ
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10p that fit.” “All the note4s, 1964 March 1
S E T A FOURTHM : S E T A T S E
TOURS CONQUER AMERICA! QUARTO
Ben, ckers, as lads in’s favorite ro 000 3, ita Br by t to or y rp nc fa ted at the ai ee Yanks take a gr e ar w lth ro o, and Ba ergrads th Claude, Pedr es faint! Und e It All agers. Femal en megahit “Giv te in g sp in am nd po scre e th ean ss , ro hey’re nice cl Jockeys ac others say, “T underpants! dm an gr en top. Ev to You” nons ! ds un Zo .” ys bo
G N I G N I W S E H T N O I T A R E N E G ’60s
d rationing, an austerity, food of ding! de un ca bo de re k d is finally After a blea an gl En II W page 14) t, post-W (continued on unemploymen
URG TION DRAMAT OSH, PRODUC OD KH A ILY —
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DO THEY ORY? DON’T THE
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THE SWINGING ’60s GENERATION MARCH 14, 1964
(continued from co ver) The stock market is soaring, an d Br its ar e bu yi ng automobiles, refri gerators, an d co lo r TV s— it’ s a co ns um er s’ pa ra di se . Su dd en ly, yo un g pe op le are calling the sh ots. To hell with modesty, civility, and a stiff upper lip! With the advent of the pill and the repeal of m andatory military service (b lokes can finally grow their hair out), a defiant youth culture is on the scene. Lo ndon has be co m e th e fa sh io na bl e ca pi ta l of th e m od er n wo rld , wh er e m us ici an s,
models, designers, artists, and entrepreneu rs aren’t an ti- es ta bl is hm en t; th ey ar e th e es ta bl is hm en t! Br its ar e ca st in g as id e the violence, re pression, an d de pr iv at io n of th e first half of the twentieth century. They’re em bracing progress, joy, free love, and exuberant self-ex pression. Young people have to figure ou t fo r th em se lv es ne w values, new role models, new mythologies , and new identities in the na tion they inherited, where they are finally the ones in charge. —IK
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CAST DAVID WILSON BARNES* (BEN) is making his Yale Rep debut. His New York credits include The Lieutenant of Inishmore on Broadway and the Off-Broadway productions of Don’t Go Gentle (MCC Theatre, Lucille Lortel nomination); The Big Meal (Playwrights Horizons, Lucille Lortel nomination); All New People and Becky Shaw (Drama Desk nomination) at Second Stage Theatre; Lady (Rattlestick Playwrights Theater); Vengeance (stageFARM); The Square (Ma Yi Theatre Company/The Public Theater); Hamlet (The Public Theater); Jail Bait (Cherry Lane Theatre); and The Caucasian Chalk Circle (La MaMa E.T.C.). London: Becky Shaw (Almeida, Evening Standard nomination). Regional: productions at Huntington Theatre Company, American Repertory Theater, Actors Theatre of Louisville, Geva Theatre Center, City Theatre, and Long Wharf. Film and television credits: True Story, Lily & Kat, The Bourne Legacy, You Don’t Know Jack, Love and Other Drugs, Company Men, Taking Woodstock, Seducing Charlie Barker, Capote, The Knick, Halt and Catch Fire, Elementary, Blue Bloods, The Big C, Louie, A Gifted Man, 30 Rock, The Eastmans (pilot), Sex and the City, Law & Order, Law & Order: Criminal Intent, Law & Order: SVU, and Conviction. This one is for Dad and Grandma Jackie. Wish you were here.
JAMES BARRY* (PEDRO) is proud to make his Yale Rep debut. Still part of the first national tour of Million Dollar Quartet, he will trade in the drumsticks for Carl Perkins’s Les Paul guitar later this spring. James performed in all three iterations of Bloody Bloody Andrew Jackson in New York (both Public Theater productions and on Broadway). His other credits include the world premiere of Steven Sater and Duncan Sheik’s Arms On Fire, Wittenberg (Chester Theatre Company); Next to Normal (Arden Theatre Company); Man Of La Mancha starring Terrence Mann (Connecticut Repertory Theatre); Sive (Irish Repertory Theatre); and numerous productions with The Berkshire Theatre Group, where his favorites include The Caretaker, A Thousand Clowns, and The Who’s Tommy. James is a Connecticut native and received his BFA in acting from UConn.
JABARI BRISPORT** (MR. CAKE, ENSEMBLE) is making his Yale Rep debut. He is a third-year MFA candidate at Yale School of Drama, where he has been seen in The Visit, Romeo and Juliet, Vieux Carré, and Fox Play. His other credits include Archbishop Supreme Tartuffe (Classical Theatre of Harlem), Macbeth (New York Classical Theatre), Political Subversities (The PIT), and Funnyhouse of a Negro (Yale Cabaret). Jabari holds a BFA with honors from New York University.
STEPHEN DeROSA* (LEO) was last seen at Yale Rep playing Feste in Twelfth Night while in his third year at Yale School of Drama. Most recently he performed on Broadway in Betrayal directed by Mike Nichols. Just prior, he understudied and went on for Nathan Lane in The Nance directed by Jack O’Brien. Other Broadway credits include Hairspray, Henry IV, Twentieth Century, The Man Who Came to Dinner (recorded live for PBS), and as the Baker in the revival of Into the Woods. OffBroadway he appeared in The Mystery of Irma Vep; Do Re Mi (Encores!); and Romeo and Juliet directed by James Bundy and the world premiere of Love’s Fire, an evening of Shakespeare-inspired one acts written by John Guare, Wendy Wasserstein, William Finn, and Tony Kushner (both for The Acting Company). Numerous regional credits include the George Street Playhouse, McCarter Theatre, American Conservatory Theater, and five seasons with the Berkshire Theatre Group. He currently plays Eddie Cantor on HBO’s Boardwalk Empire.
BRYAN FENKART* (CLAUDE) is making his Yale Rep debut. Bryan recently starred in both the Broadway production and first national tour of the 2010 Tony Award winning Best Musical, Memphis, and the new musical comedy, Nobody Loves You, at Second Stage Theatre. He has been seen on Law & Order: Criminal Intent, as well as the indie films You Tell Me and Red Hook. Bryan is also an accomplished singer/ songwriter, and his albums Simple & Grey and Imperfect Man are both available on iTunes, Amazon, Spotify, and more. And he has his own Pandora station: Bryan Fenkart Radio. Follow him on Facebook at facebook.com/BryanFenkart, on Twitter @Steinway7, or bryanfenkart.com.
CECI FERNANDEZ** (FRIDA, ENSEMBLE) is making her Yale Rep debut. She is a third-year MFA candidate at Yale School of Drama, where her credits include This Fucking Commedia Project, The Visit, Sagittarius Ponderosa, Twelfth Night or What You Will, The Two Gentlemen of Verona, Iphigenia Among the Stars, and Petty Harbour. Other credits include Tartuffe, Miss Julie, The Shoemaker’s Prodigious Wife, Heart’s Desire (Yale Summer Cabaret); Have I None, Ermyntrude & Esmeralda, The Fatal Eggs, Chamber Music, reWilding (Yale Cabaret); As You Like It (D.I.Y. Shakespeare); Mr. Marmalade, Mister Beast, Everything Will Be Different: A Brief History of Helen of Troy (Mad Cat Theatre Company); three seasons of Summer Shorts (City Theatre); Betrayed (GableStage); Vanity Fair and Romeo and Juliet (Bristol Old Vic Theatre Royal). Film and television credits include Tori in Squad 85 and Nancy II in The Way to a Woman’s Heart.
*MEMBER OF ACTORS’ EQUITY ASSOCIATION, UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS. **APPEARS COURTESY OF ACTORS’ EQUITY ASSOCIATION.
CAST CHRISTOPHER GEARY (BOUNCER, ENSEMBLE) is making his Yale Rep debut. He is a second-year MFA candidate at Yale School of Drama, where he was seen in Peter Pan, The Visit, and Sagittarius Ponderosa. His other credits include The Small Things, We Know Edie La Minx Had a Gun (Yale Cabaret); The Cat and the Canary (Berkshire Theatre Group); Losing Tom Pecinka (HERE Arts); and Elephant in the Room (New York International Fringe Festival). Christopher received his BA in theatre performance from Fordham College at Lincoln Center. He is a graduate of the Walnut Hill School for the Arts and has also studied at the London Academy of Music and Dramatic Arts.
BRAD HEBERLEE* (MR. URGES, ENSEMBLE) most recently appeared at Actors Theatre of Louisville in Noises Off. His other credits include This Beautiful City (Vineyard Theatre, Center Theatre Group, The Studio Theatre, Actors Theatre of Louisville, The Civilians); Figaro, The Bald Soprano (The Pearl Theatre Company); The Thugs (Soho Rep); Dada Woof Papa Hot (Atlantic Theater Company); (I am) Nobody’s Lunch (59E59/The Civilians); The Sweetest Swing in Baseball (Denver Center Theatre Company); 36 Views (Huntington Theatre Company); Hay Fever (Center Stage); In the Next Room, or the vibrator play and The Pitmen Painters (Pittsburgh Irish & Classical Theatre); Frost/Nixon (Arkansas Rep); I Am My Own Wife (Weston Playhouse); A Thousand Clowns (Two River Theater Company); Amadeus (Syracuse Stage, Virginia Stage, Geva Theatre Center); Man Is Man directed by Jackson Gay (Prospect Theater Company); and Serious Money (Yale Rep). Film and television credits include Loitering With Intent, Person of Interest, and Unforgettable. Mr. Heberlee is a proud graduate of Yale School of Drama.
ANTHONY MANNA* (MR. COAL, ENSEMBLE) is making his fourth appearance at Yale Rep. He was previously seen in Black Snow directed by Evan Yionoulis, The Taming of the Shrew directed by Mark Lamos, and You Never Can Tell, directed by Stan Wojewodski, Jr. In New York, after appearing in a revival of John Patrick’s The Hasty Heart at the Keen Company, he went on to appear in classics like Timon of Athens at The Public Theater, Othello at New York Shakespeare Exchange, and Romeo and Juliet at Shakespeare NYC. New works include Mangella with Project: Theatre, Fucking Ibsen Takes Time at the New York International Fringe Festival, Girls Just Wanna Have Fund$ with the Women’s Project, and Mickey Mouse Is Dead, which had its New York premiere at 59E59 Theatre before moving to the Edinburgh Festival Fringe. Mr. Manna is a graduate of Yale School of Drama, Class of 2004.
BRIAN McMANAMON* (COLIN RAWLINS, ENSEMBLE) is making his Yale Rep debut. His New York credits include the recent world premieres of The Clearing by Jake Jeppson (Theatre at St. Clements), Bodega Bay (Abingdon Theatre Company), The Boat in the Tiger Suit (The Brick Theater), and Alondra Was Here (Wild Project); It Or Her (PS122; New York Innovative Theatre Award nomination, Outstanding Solo Performance); as well as productions at terraNOVA, Target Margin, Provincetown Playhouse, among others. Regional credits include American Buffalo and Skylight (IRNE Award nomination) at the New Repertory Theatre, the title role in Hamlet at Burning Coal Theatre Company, and productions at Axial Theater, Provincetown Theater, Capital Repertory Theatre, and Boston Playwright’s Theatre. International credits include the Fringe First Award winning The Jammer (Edinburgh Festival Fringe) and Misalliance (TBTB; Croatia). Film and television: I Am a Big Ball of Sadness…, Annie and Brie, Project Beth, and Gossip Girl. Upcoming: Imagining the Imaginary Invalid at Mabou Mines. BFA: Boston University, MFA: Yale School of Drama.
ANDREW MUSSELMAN* (BORIS, ENSEMBLE) is making his Yale Rep debut. He has toured the one-man show Catalpa to Ireland, Belgium, Atlantic Canada, and Toronto, where he was nominated for a Dora Mavor Moore Award. His other theatre credits include two seasons at Festival Antigonish in Nova Scotia, where he played Jean in Miss Julie, Jake in Stones in His Pockets (Robert Merritt Award nomination), and the Actor in Automatic Pilot; an Irish tour of Romeo and Juliet, in which he played Romeo; and Charlie in Stones in His Pockets at The Globe Theatre (the illustrious Globe Theatre in Regina, Saskatchewan, not that other Globe Theatre in London, England). His television credits include Hemlock Grove (Netflix), Copper (BBC America), La Femme Musketeer (Hallmark Channel), The Listener (CTV), Being Erica (CBC), Murdoch Mysteries (CityTV), and Flashpoint (CTV/CBS). Andrew recently wrote and produced the BravoFACT short film Everything Must Go.
KEIRA NAUGHTON* (ULCIE, ENSEMBLE) last appeared at Yale Rep in Edward Albee’s A Delicate Balance. She has appeared on Broadway in The Rivals (Lincoln Center Theater), Dance of Death, and Three Sisters. Her Off-Broadway credits include The Jammer, Hunting and Gathering, Indoor/Outdoor, All My Sons, Lucy, The American Clock, and Tesla’s Letters, among others. Regional theatre credits include The Dining Room (Westport Country Playhouse); Becky Shaw (Huntington Theatre); Proof (Arena Stage, Helen Hayes Award nomination); Company (Kennedy Center Sondheim Celebration); Faith Healer, Macbeth, The Book Club Play (Berkshire Theatre Festival); Uncle Vanya, Wonder of the World (Barrington Stage); as well as productions at Shakespeare & Company, Cleveland Playhouse, and *MEMBER OF ACTORS’ EQUITY ASSOCIATION, UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS.
CAST Williamstown Theatre Festival. Her film and television appearances include Book of Shadows: Blair Witch 2, Cradle Will Rock, The Leftovers (HBO), Body of Proof, 3 Lbs., Law & Order: SVU, Sex and the City, and All My Children. She is in the band The Petersons. Keira received her MFA from Tisch School of the Arts at NYU.
ADAM O’BYRNE* (DON BEST, ENSEMBLE) is happy to return to Yale Rep, where his previous credits include A Streetcar Named Desire, The Winter’s Tale, Medea/Macbeth/ Cinderella, You Never Can Tell, Iphigenia at Aulis, and The Black Monk. A native of Toronto, Adam began his professional career at the Stratford Festival of Canada where he appeared in London Assurance, Henry IV, The Brothers Karamazov, Orpheus Descending, Measure for Measure, and The Winter’s Tale. Regionally, he has appeared in the world premiere of Bloody Bloody Andrew Jackson (Center Theatre Group); The Homecoming, Arcadia (American Conservatory Theater); Love’s Labour’s Lost, Othello (Shakespeare Santa Cruz); and Antony and Cleopatra (Hudson Valley). His television and film credits include Vegas, The United States of Tara, NCIS, Cold Case, Yeti, the webseries Awkward Sunrise, the BravoFACT short Everything Must Go, and the acclaimed indie western Dead Man’s Burden. Adam is a graduate of Yale College and Yale School of Drama, where he was a part of the original cast of The Intelligent Design of Jenny Chow by Rolin Jones. He lives in Los Angeles with his wife and daughter.
LUCAS PAPAELIAS* (BALTH) is making his Yale Rep debut. He appeared on Broadway as an original cast member of the Tony Award winning musical, Once, and in Cyrano de Bergerac with Kevin Kline, for which he also composed original music. Off-Broadway credits include Once (New York Theatre Workshop); Jack’s Precious Moment (Page 73); Father Comes Home, Romeo and Juliet (The Public Theater); US Drag (stageFARM); Essential Self-Defense (Playwrights Horizons; Drama Desk nomination, Best Original Music in a Play); Smashing (The Play Company); and Cellini (Second Stage Theatre). Regional credits include productions at American Repertory Theater, The Vineyard Playhouse, Actors Theatre of Louisville, Geva Theatre Center, and Huntington Theatre Company. Film and television credits include School of Rock, It’s Always Sunny in Philadelphia, How To Make It in America, Blue Bloods, What Alice Found, Brother to Brother, WTC View, four Law & Orders, and The Knick, upcoming on Cinemax. lpfunkrocks.com
*MEMBER OF ACTORS’ EQUITY ASSOCIATION, UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS.
JAMES LLOYD REYNOLDS* (ANTON) is making his Yale Rep debut. His New York credits include the premiere of Christopher Shinn’s On the Mountain at Playwrights Horizons, Mickey Mouse Is Dead by Justin Sherin at 59E59, and the world premiere of Beautiful Province by Clarence Coo. Regional credits include To Kill a Mockingbird (Weston Playhouse); Mame, 42nd Street (Goodspeed Musicals); The Miracle Worker (Syracuse Stage); No Wake, A Man For All Seasons, Love! Valour! Compassion! (Berkshire Theatre Festival); Dirty Business (Florida Stage); The Overwhelming (Hangar Theatre); The Misanthrope (New Repertory Theatre); The Muckle Man (Pittsburgh City Theatre); and Antony and Cleopatra (Hudson Valley Shakespeare). Film and television credits include The Good Shepherd, Deception, The Good Wife, Person of Interest, White Collar, In Treatment, Law & Order, and Law & Order: SVU. He is a graduate of Yale School of Drama.
JEANINE SERRALLES* (BEA) Previously appeared at Yale Rep in The King Stag. Selected New York credits include The Jammer (Atlantic Theater Company); Paris Commune (Brooklyn Academy of Music); The Maids (Red Bull Theater); Maple and Vine (Playwrights Horizons); Stunning (LCT3 at Lincoln Center Theater); The Glass Cage (Mint Theater); The Misanthrope (New York Theatre Workshop, Drama League nomination); The Black Eyed (New York Theatre Workshop, Drama League nomination); Hold Please (Working Theater; Drama Desk nomination, Featured Actress); Phoebe in Winter and Vendetta Chrome (both at Clubbed Thumb). Selected regional credits include Tartuffe (Westport Country Playhouse; Connecticut Critics Circle Award, Featured Actress); The Liar, The House of the Spirits, Dusty and the Big Bad World, 1001 (Denver Center Theatre Company); Maple and Vine (Actors Theatre of Louisville); Aunt Dan and Lemon (Merrimack Repertory Theatre); Fallen Angels (Dorset Theatre Festival); and Lucy and the Conquest (Williamstown Theatre Festival). Film and television credits include Inside Llewyn Davis, The Abolitionists, Two Lovers, Across the Universe, Sex and the City, Person of Interest, and The Good Wife. She is a graduate of Yale School of Drama.
GREG STUHR* (MR. BERRY) previously appeared at Yale Rep in Tom Stoppard’s Rough Crossing. His Broadway credits include The 25th Annual Putnam County Spelling Bee directed by James Lapine, David Mamet’s November opposite Nathan Lane and directed by Joe Mantello, and Elaine May’s Taller Than a Dwarf directed by Alan Arkin. OffBroadway work includes Offices and The Redeemers, both by Ethan Coen and directed by Neil Pepe; Keith Reddin’s Frame 312; Mamet’s Romance; and Rolin Jones’s The Jammer directed by Jackson Gay, all at Atlantic Theater Company. On television Greg’s had 21
CAST recurring roles on New Amsterdam, AMC’s Rubicon, and Comedy Central’s Onion SportsDome. His screenplays with collaborator Jenna Ricker were selected for the IFP Emerging Narrative and recognized by the Academy’s Nicholl Fellowship. Their film, The American Side, starring Camilla Belle, Robert Forster, and Matthew Broderick recently wrapped in Greg’s hometown of Buffalo, New York, and is currently in postproduction.
ARIANA VENTURI (HIGGY) appeared at Yale Rep last season in Robert Woodruff’s In a Year with 13 Moons. She is a second-year MFA candidate at Yale School of Drama, where her credits include Hedda Gabler and Platonov. Regional: Michael Von Siebenburg Melts Through the Floorboards (Actors Theatre Louisville), The Cat and the Canary (Berkshire Theatre Festival), and Sousepaw (US Fringe Tour). New York: Alex Timbers’s Dance Dance Revolution, Vendetta Chrome (Clubbed Thumb); The Great Recession (The Flea Theater); and the sketch comedy series Ephemerama. Ari has a certificate in Shakespeare from the Royal Academy of Dramatic Art and a BA in English from Vassar College.
LIZ WISAN* (PAULINA NOBLE, ENSEMBLE) previously appeared in Yale Rep’s productions of The Servant of Two Masters (2010) and A Woman of No Importance (2008). Her New York credits include Other Desert Cities (Lincoln Center Theater and Broadway); Bill W. & Dr. Bob (Soho Playhouse); Billy Witch (Astoria Performing Arts Center); Miss Lily Gets Boned, My Base and Scurvy Heart, and The Sporting Life (Studio 42, Resident Artist). Regional credits include The Servant of Two Masters (Shakespeare Theatre Company, Guthrie Theater, ArtsEmerson, Seattle Rep); The Merchant of Venice (Shakespeare Theatre Company); Hannah (Premiere Stages); The Winter’s Tale (Chautauqua Theater Company); Anything Goes, Twelfth Night, and Cloud Tectonics (Williamstown Theatre Festival). Television and film credits include Elementary, Ready or Knot, and Bitches (short). Liz also performs long-form and musical improv in NYC, and writes and performs stand-up and sketch comedy. MFA, Yale School of Drama. Upcoming: The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures at Berkeley Rep.
CREATIVE TEAM BILLIE JOE ARMSTRONG (SONGWRITER), frontman of the rock band Green Day, came of age in the underground punk scene in Berkeley. Green Day’s albums include 1,039/Smooth Out Slappy Hours; Kerplunk; 1994’s Dookie, which sold 15 million copies and garnered their first Grammy (and inspired a raft of imitators); Insomniac; Nimrod; Warning; 2004’s landmark American Idiot, which debuted at #1 on the Billboard chart, spawned five hit singles, and won two Grammys, including Best Rock 22
Album; 21st Century Breakdown (Grammy Award, Best Rock Album); and 2012’s consecutively released ¡Uno!, ¡Dos!, and ¡Tré! (as well as the behind the scenes DVD, ¡Cuatro!). Last year, Armstrong and Norah Jones released Foreverly, a tribute to the Everly Brothers’ 1958 album, Songs Our Daddy Taught Us. The Tony and Grammy winning musical American Idiot, featuring lyrics by Armstrong, music by Green Day, and a book written by Armstrong and director Michael Mayer, debuted at Berkeley Rep in 2009 and opened on Broadway the next year. Throughout its run, he made cameo appearances in the role of St. Jimmy. The recent documentary, Broadway Idiot, chronicles his road to the Great White Way. His other film and TV credits include This is 40, Nurse Jackie, and the upcoming feature film, Like Sunday, Like Rain. greenday.com
MONICA BILL BARNES (CHOREOGRAPHER) is the Artistic Director of Monica Bill Barnes & Company, a New York City-based contemporary dance company which has performed in more than fifty cities throughout the United States and in New York City venues ranging from Upright Citizen’s Brigade to Lincoln Center. Barnes has been an invited guest artist at many universities and has choreographed for various theatre productions, including her personal favorite, The Jammer. In 2012 Barnes began working with radio host Ira Glass, creating a solo for David Rakoff as a part of This American Life Live! They continued their collaboration, along with her longtime dance partner, Anna Bass, to create a new show that blends dance and radio, Three Acts, Two Dancers, One Radio Host, which they currently are touring across the country.
BROKEN CHORD (SOUND DESIGNER AND INCIDENTAL MUSIC) composes, designs sound, and music directs for theatre. The sound design for These Paper Bullets! is created by Daniel Baker, Aaron Meicht, and Phillip Peglow. Credits in New York include productions at Atlantic Theater Company, Cherry Lane Theatre, Juilliard, Keen Company, La MaMa E.T.C., Primary Stages, Manhattan Theatre Club, Rattlestick Playwrights Theater, Second Stage Theatre, Signature Theater, The New Group, and Women’s Project. Regional credits include productions at the Alley Theatre, Arena Stage, Baltimore Center Stage, Berkeley Rep, Dallas Theater Center, Geva Theatre Center, Hartford Stage, La Jolla, Long Wharf Theatre, Oregon Shakespeare Festival, Shakespeare Theatre Company (Washington, D.C.), Weston Playhouse, Westport Country Playhouse, Portland Center Stage, and Passage Theatre Company. brokenchordcollective.com
ROBERT CHIKAR* (STAGE MANAGER) is excited to be returning to Yale Rep, where he previously served as assistant stage manager for In a Year with 13 Moons. He is a third-year MFA candidate at Yale School of Drama, where his credits include Iphigenia Among the Stars, Julius Caesar, I’m Sorry I Brought Up God (stage manager); Doctor Faustus Lights the Lights and The Bachelors (assistant stage manager). He worked as the stage management intern for the Oregon Shakespeare Festival’s production of The Pirates of Penzance. Other credits include The K of D, The Secret in the Wings, Miss Julie, In the Bar of a Tokyo Hotel (Yale Summer Cabaret); The Yiddish King Lear, All of What You Love and None of What You Hate, The Small Things, Dutchman, Bound To Burn (Yale Cabaret); King Lear and Sarah Ruhl’s Eurydice (Southern Oregon *MEMBER OF ACTORS’ EQUITY ASSOCIATION, UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS.
CREATIVE TEAM University). He also served as the stage manager for the Windham-Campbell Prize Reading Festival at Yale. Originally from Ventura, California, he holds a BFA in stage management from Southern Oregon University. Rob is a proud member of Actors’ Equity.
JESSICA FORD (COSTUME DESIGNER) Recent productions with Jackson Gay and Rolin Jones include The Jammer at Atlantic Theater Company. Also with Jackson, Jessica designed Other Desert Cities and Red at Houston’s Alley Theatre; premieres of Kenneth Lin’s Fallow and Bess Wohl’s Barcelona, among others, at The People’s Light & Theatre; as well as productions at Center Stage, Two River Theater Company, The Play Company, and Second Stage Theatre. She works frequently at Long Wharf Theatre, where she has designed costumes for the world premiere of Athol Fugard’s Coming Home, It’s a Wonderful Life, The Fantasticks, A Doll’s House, The Price, and sets for The SantaLand Diaries. Other regional credits include productions at South Coast Rep, Arena Stage, Dallas Theater Center, Berkeley Repertory Theatre, and Portland Center Stage, among others. In New York, she has also worked with Rattlestick Playwrights Theater, Ars Nova, Page 73, and The Public Theater. Jessica was a recipient of the 2007–09 NEA/TCG fellowship for directors and designers and is currently the Visiting Artist in Residence at Mount Holyoke College in South Hadley, Massachusetts.
STEPHEN GABIS (DIALECT COACH) Six previous Yale Rep productions include Stones in His Pockets, A Woman of No Importance, Safe in Hell, The People Next Door, The Clean House, The Ladies of the Camellias, and The Way of the World. His Broadway and Off-Broadway credits include Outside Mullingar; The Winslow Boy; Transport; Loot; Juno and the Paycock; Once; The Book of Mormon; Tribes; Man and Boy; The 39 Steps; Lombardi; Lend Me a Tenor; A View from the Bridge; Becoming Dr. Ruth; Look Back in Anger; The Weir; The Freedom of the City; Memphis; Jersey Boys; A Day in the Death of Joe Egg; Bluebird; Through a Glass Darkly; The Shaggs; Kin; By the Way, Meet Vera Stark; The Lieutenant of Inishmore; Brighton Beach Memoirs; When the Rain Stops Falling; The Emperor Jones; Doubt; Frozen; Port Authority; Dublin Carol; and Stuff Happens. Selected film and TV credits include Boardwalk Empire, Prime Suspect, Million Dollar Baby, Bernard and Doris, Salt, Across the Universe, Mildred Pierce, The Notorious Bettie Page, and Confessions of a Dangerous Mind.
JACKSON GAY (DIRECTOR) Recent projects include 3C by David Adjmi (Rattlestick Playwrights Theater); Arlington by Victor Lodato with music by Polly Pen (San Francisco’s Magic Theatre); Lucy Thurber’s Where We’re Born (Rattlestick) and Scarcity (Atlantic Theater Company); Rolin Jones’s The Jammer (Atlantic) and The Intelligent Design of Jenny Chow (Atlantic; Yale Rep, Connecticut Critics Circle Award for Outstanding Production of a Play); Allison Moore’s Collapse (Women’s Project Theater); Bess Wohl’s Barcelona (People’s Light & Theatre); Fallow by Kenneth Lin (People’s Light, Ojai Playwrights Conference); As You Like It (Chautauqua Theater Company); A Little Journey (Mint Theater Company; Drama Desk nomination for Outstanding Revival of a Play); Other Desert Cities by Jon Robin Baitz, August: Osage 24
County, Red, Kenneth Lin’s Intelligence-Slave (Alley Theatre); and Len, Asleep in Vinyl by Carly Mensch (Second Stage/Juilliard). Jackson teaches directing at Columbia University and is on faculty at Primary Stages Einhorn School of Performing Arts. She is the recipient of the Jonathan Alper Directing Fellowship at Manhattan Theatre Club, the Williamstown Theatre Festival Directing Fellowship, the Drama League’s New Directors/New Works Fellowship, and University of the Arts Silver Star Distinguished Alumni Award. Originally from Sugar Land, Texas, Jackson received her BFA in acting from the University of the Arts and MFA in directing from Yale School of Drama.
NICHOLAS HUSSONG (PROJECTION DESIGNER) is a third-year MFA candidate at Yale School of Drama, where he designed the projections for Sunday in the Park with George and Julius Caesar. He also served as Associate Artistic Director of Yale Cabaret’s 45th anniversary season. Before arriving at Yale, Nicholas served as artistic associate of design at Triad Stage, where his credits include The Illusion, The Glass Menagerie, Providence Gap, and The America Play. nickhussong.com
ROLIN JONES (ADAPTOR) Rolin Jones’s play The Intelligent Design of Jenny Chow received the 2006 OBIE Award for Excellence in Playwriting. Jenny Chow was a finalist for the Pulitzer Prize in Drama and was produced at the Atlantic Theater Company (NYC), South Coast Repertory, Old Globe Theatre, Yale Rep, Studio Theatre (D.C.), Portland Center Stage, San Jose Repertory, and Collaboraction (Chicago), among others. His play The Jammer was produced Off-Broadway last season at the Atlantic Theater Company. He has written several short plays for the Actors Theatre of Louisville’s Humana Festival, including Sovereignty, Ron Robby Had Too Big a Heart, The Mercury and the Magic, Extremely, and Chronicles Simpkins Will Cut Your Ass. He has written for the television shows Weeds, Friday Night Lights, and Boardwalk Empire. His Friday Night Lights episode, “The Son,” received an Emmy Award Nomination for Outstanding Dramatic Writing and was named by Time magazine as the best episode of television for the year 2010. He is currently the Co-Creator/ Executive Producer of Knifeman, a serialized drama, for the AMC television network and is writing the film adaptation of American Idiot for Universal Pictures. He resides in Los Angeles, California, apparently houses away from Major League Baseball’s immortal Fernando Valenzuela. As of January 2014, he has yet to run into Fernando. Hope reigns.
ILYA KHODOSH (PRODUCTION DRAMATURG) is a third-year MFA candidate at Yale School of Drama, where his translation of Chekhov’s Platonov was presented earlier this season. He also translated and co-adapted Bulgakov’s The Fatal Eggs for Yale Cabaret, and recently completed a translation of Pushkin’s Little Tragedies. Dramaturgy credits at the School of Drama include Charles L. Mee’s Wintertime. His writing has been published in the School of Drama’s annual magazine and The Berkshire Review for the Arts. He served as Associate Artistic Director of the United Solo Theatre Festival. He received a BA in theatre and English from Williams College, where he was awarded the Hutchinson Fellowship.
CREATIVE TEAM TOM KITT (ORCHESTRATOR AND ARRANGER) received the 2010 Pulitzer Prize for Drama as well as two Tony Awards for Best Score and Best Orchestrations for Next to Normal. In addition, his work on Next to Normal received the Frederick Loewe Award and the Outer Critics Circle Award for Best New Score. This spring, he will be represented on Broadway with If/Then, a new musical starring Idina Menzel. Tom was responsible for the music supervision, arrangements, and orchestrations for Green Day’s American Idiot on Broadway, and he provided additional arrangements for their studio albums 21st Century Breakdown and ¡Uno! ¡Dos! ¡Tré!. As a composer, credits include the Broadway shows High Fidelity and Bring It On: The Musical as well as The Winter’s Tale and All’s Well That Ends Well for the Public Theater’s Shakespeare in the Park. Tom has composed songs for Sesame Street and he co-wrote “Bigger” with LinManuel Miranda, which opened the 2013 Tony Awards. As an arranger, conductor, and musical director, other credits include Pitch Perfect, Everyday Rapture, 13, Laugh Whore, and Debbie Does Dallas.
JULIE McBRIDE (MUSIC DIRECTOR) holds degrees from the Cincinnati CollegeConservatory of Music and the Mannes College of Music. She has played with and/ or conducted the Broadway orchestras of American Idiot, In the Heights, The Addams Family, Big Fish, and The Lion King, among others. Other New York credits include Next to Normal (Second Stage), CHIX 6, Inner Voices: Solo Musicals, The Happy Elf, Judas and Me, and Pride and Prejudice. Regional credits include Daddy Long Legs (Northlight Theatre, La Mirada Theatre, Laguna Playhouse, Arizona Theatre Company, Skylight Theatre, PCPA Theaterfest, St. Louis Rep, Royal Manitoba), Emma (Arizona Theatre Company), Suprema (OʼNeill Music Theatre Conference, Ars Nova), and LMNOP (Goodspeed Musicals). She has served on the faculties of Syracuse Universityʼs Tepper Program and The Juilliard School (Drama Division).
MICHAEL ROSSMY (FIGHT DIRECTOR) is a stage combat instructor at Yale School of Drama and the fight advisor for Yale College. His work was featured on Broadway in A Tale of Two Cities and has been seen at theatres around the country, including the McCarter Theatre, Long Wharf Theatre, Paper Mill Playhouse, SoHo Rep., Primary Stages, Westport Country Playhouse, Delaware Rep, MUNY, Shakespeare Theatre of New Jersey, Red Bull Theater, Center Stage, Goodspeed Musicals, Seattle Rep, Public Theater, Huntington Theatre, Shakespeare Theatre Company, Williamstown Theatre Festival, among others.
TARA RUBIN CASTING (CASTING DIRECTOR) has been casting at Yale Rep since 2004. Upcoming Broadway: Bullets Over Broadway and Aladdin. Selected Broadway: A Time To Kill; Big Fish; The Heiress; One Man, Two Guvnors (US Casting); Ghost; How to Succeed in Business Without Really Trying; Promises, Promises; A Little Night Music; Billy Elliot; Shrek; Guys and Dolls; The Farnsworth Invention; Young Frankenstein; The Little Mermaid; Mary Poppins; Les Misérables; Spamalot; Jersey Boys; The 25th Annual Putman County Spelling Bee; The Producers; Mamma Mia!; The Phantom of the Opera; Contact. Off-Broadway: Love, Loss, and What I Wore; Old
Jews Telling Jokes. Regional: The Kennedy Center, La Jolla Playhouse, Dallas Theater Center, The Old Globe, Westport Country Playhouse, Bucks County Playhouse. Film: Lucky Stiff, The Producers.
CATHERINE SHEEHY (PRODUCTION DRAMATURG) is Resident Dramaturg at Yale Repertory Theatre and the Chair of Dramaturgy and Dramatic Criticism at Yale School of Drama. Her Yale Rep credits include In a Year with 13 Moons, The Winter’s Tale, Bossa Nova, POP!, Trouble in Mind, and The King Stag (which she also co-adapted with Evan and Mike Yionoulis). Her adaptation of Pride and Prejudice has been produced at Asolo Repertory Theatre and Dallas Theater Center. She has worked at the Royal Shakespeare Company, the Public Theater, the Signature Theater, O’Neill Playwrights Conference, Center Stage, and in New York and Ireland with the late Joseph Chaikin. For four seasons she was Festival Dramaturg at Shakespeare Santa Cruz. She is a former associate editor of American Theatre and a former editor of Theater magazine. She received her doctorate from Yale in 1999 for her dissertation: If You Care to Blast for It: Excavating the Lost Comic Masterpieces of the American Canon.
PAUL WHITAKER (LIGHTING DESIGNER) Previous Yale Rep credits include The Master Builder, Serious Money, and It Pays to Advertise. New York credits include productions at The Public Theater, MCC Theater, Playwrights Horizons, Second Stage, Atlantic Theater Company, The Play Company, Rattlestick Playwrights Theater, Ma-Yi Theater Company, LAByrinth Theater Company, INTAR Theatre, Mint Theater Company, and others. Regional credits include the Guthrie Theater, South Coast Repertory, Long Wharf Theatre, Alley Theatre, Huntington Theatre Company, Children’s Theatre Company, Center Stage, American Conservatory Theater, Hartford Stage, Dallas Theater Center, George Street Playhouse, Two River Theater Company, and others. He has a BA from Macalester College and an MFA from Yale School of Drama. Paul has taught at Cal Poly Pomona and Amherst College and is currently a lighting designer/ theatre consultant for Schuler Shook. paulwhitakerdesigns.com
MICHAEL YEARGAN (SCENIC DESIGNER) Among Michael Yeargan’s designs for Yale Rep are The Winter’s Tale, Hay Fever, Pentecost, Edward II, A Lesson from Aloes, The Ladies of the Camellias, and the world premiere of Stephen Sondheim’s The Frogs, which was staged in the Yale swimming pool. He has designed extensively for resident theatres across the country, including Long Wharf and Hartford Stage. A two time Tony Award winner, his Broadway credits include this season’s The Bridges of Madison Country, as well as The Light in the Piazza, South Pacific, Joe Turner’s Come and Gone, and Awake and Sing. In London’s West End, he designed Becket with Derek Jacoby, Cyrano de Bergerac with Robert Lindsay, and the musical Napoleon. Internationally known for his work in opera, he has designed many productions for the Met and New York City Opera. Mr. Yeargan is the Co-Chair of the Design Department at Yale School of Drama.
YALE REPERTORY THEATRE JAMES BUNDY (ARTISTIC DIRECTOR) is in his twelfth year as Dean of Yale School of Drama and Artistic Director of Yale Repertory Theatre. In his first eleven seasons, Yale Rep has produced more than thirty world, American, and regional premieres, seven 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 forty 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. In addition to Yale Rep, he has directed 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; he trained at the London Academy of Music and Dramatic Art and Yale School of Drama. VICTORIA NOLAN (MANAGING DIRECTOR) is in her 21st 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 Center Stage, 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 AND DIRECTOR OF NEW PLAY PROGRAMS) is in her ninth year at Yale Rep and is also Director of the New Play Programs of Yale’s Binger Center for New Theatre, an artistdriven 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 from 2000 to 2005 and served as Co-Director of the Pacific Playwrights Festival. She was dramaturg on 28
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 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 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 (HEAD OF PRODUCTION) 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 A Streetcar Named Desire, American Night: The Ballad of Juan José, Three Sisters, We Have Always Lived in the Castle, The Master Builder, Passion Play, Eurydice, and the world premiere of The Clean House. 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, Center Stage 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 15 years old, and Katie, age 13.
YALE REPERTORY THEATRE STAFF James Bundy, Artistic Director Victoria Nolan, Managing Director Jennifer Kiger, Associate Artistic Director Director of New Play Programs
Resident Artists Paula Vogel, Playwright-in-Residence Liz Diamond, Evan Yionoulis, Resident Directors Catherine Sheehy, Resident Dramaturg Michael Yeargan, Set Design Advisor, Resident Set Designer Ilona Somogyi, 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 Ruth M. Feldman, Director of Education and Accessibility Services Kay Perdue Meadows, Artistic Associate Benjamin Fainstein, Artistic Coordinator Dana Tanner-Kennedy, Literary Associate Tara Rubin, C.S.A.; and Scott Anderson; Lindsay Levine, C.S.A.; Kaitlin Shaw, Eric Woodall, C.S.A.; Merri Sugarman, C.S.A, Casting 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
Finance and Information Technology Katherine D. BurgueĂąo, Director of Finance and Human Resources Cristal Coleman, Joanna Romberg, Business Office Specialists Giana Cusanelli, Ashlie Russell, Business Office Assistants Sarah Stevens-Morling, Interim Director of Information and Communication Systems Daryl Brereton, Associate Information Technology Director Janna J. Ellis, 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 Brittany Behrens, Associate Director of Marketing Marguerite Elliott, Publications Manager Kathleen Martin, Online Communications Assistant Fraver, Graphic Designer Joan Marcus, Production Photographer Laura Kirk, Associate Director of Audience Services Shane Quinn, Interim Assistant Director of Audience Services Tracy Baldini, Subscriptions Coordinator Evan Beck, Paul Cook, Anthony Jasper, Katie Metcalf, Andrew Moore, Sophie Nethercut, Emily Sanna, Peter Schattauer, Elena Sokol, Box Office Assistants Operations Diane Galt, Director of Facility Operations Ian Dunn, Operations Associate Joe Proto, Arts and Drama Zone Superintendent VonDeen Ricks, Sherry Stanley, Team Leaders Marcia Riley, Facility Steward Lucille Bochert, Kathy Langston, Warren Lyde, Patrick Martin, Louis Moore, Mark Roy, Garland Short, Custodians
Theater Safety and Occupational Health William J. Reynolds, Director of Theater Safety Caitie Hannon, Lauren Wainwright, Associate and Occupational Health Managing Directors Jacob Thompson, Security Officer Molly Hennighausen, Assistant Managing Director Ed Jooss, Audience Safety Officer Annie Middleton, Gretchen Wright, Management Assistants Kevin Delaney, Fred Geier, Patrick Grant, Emalie Mayo, Senior Administrative Assistant John Marquez, Customer Service and Safety Officers to the Managing Director Sarah Williams, Company Manager PRODUCTION Sooyoung Hwang, Gretchen Wright, Bronislaw J. Sammler, Head of Production Assistant Company Managers James Mountcastle, Production Stage Manager Jonathan Reed, Production Manager Development and Alumni Affairs Steven Schmidt, Associate Head of Production and Deborah S. Berman, Director of Development and Work-Study Supervisor Alumni Affairs Grace Oâ€™Brien, Senior Administrative Assistant Janice Muirhead, Senior Associate Director of Development to the Production and Theater Safety and Occupational Alyssa Simmons, Associate Director of Development Health Departments Barry Kaplan, Senior Staff Writer Susan C. Clark, Development and Alumni Affairs Officer Scenery Jane Youngberg, Development Associate Neil Mulligan, Matt Welander, Technical Directors Belene Day, Senior Administrative Assistant to Alan Hendrickson, Electro Mechanical Development and Marketing & Communications Laboratory Supervisor Steven C. Koernig, Development Assistant Eric Sparks, Shop Foreman Matt Gaffney, Ryan Gardner, Sharon Reinhart, Master Shop Carpenters
Brandon Fuller, Shop Carpenter Kelly Rae Fayton, Alexandra Reynolds, Assistants to the Technical Director Painting Ru-Jun Wang, Scenic Charge Lia Akkerhuis, Nathan Jasunas, Assistant Scenic Artists Kevin Klakouski, Assistant to the Painting Supervisor Properties Brian Cookson, Properties Master David P. Schrader, Properties Craftsperson Jennifer McClure, Assistant Properties Master Bill Batschelet, Properties Stock Manager Elizabeth Zevin, Assistant to the Properties 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 Linda Kelley-Dodd, Costume Project Coordinator Denise O’Brien, Wig and Hair Design Barbara Bodine, Company Hairdresser Linda Wingerter, Costume Stock Manager Electrics Donald W. Titus, Lighting Supervisor Linda-Cristal Young, Senior Head Electrician Brian Quiricone, Head Electrician Daniel Hutchinson, Assistant to the Lighting Supervisor Sound Mike Backhaus, Sound Supervisor Monica Avila, Staff Sound Engineer Gahyae Ryu, Stephanie Smith, Assistants to the Sound Supervisor Projections Erich Bolton, Projection Supervisor Stage Operations Janet Cunningham, Stage Carpenter Kate Begley Baker, Head Properties Runner Elizabeth Bolster, Wardrobe Supervisor Jacob Riley, FOH Mix Engineer
ADDITIONAL STAFF FOR THESE PAPER BULLETS!
Emily Henderson, Assistant Director Anna Bass, Assistant Choreographer Carmen M. Martinez, Associate Scenic Designer Patrick Johnson, Assistant Costume Designer Solomon Weisbard, Assistant Lighting Designer Rasean Davonte Johnson, Assistant Projection Designer Kate Marvin, Associate Sound Designer Tyler Kieffer, Assistant Sound Designer and Engineer Anita Shastri Assistant Stage Manager Kate Newman, Associate Production Manager Tommy Rose, Technical Director Jon Seiler, Kenyth Thomason, Jacqueline Deniz Young, Assistant Technical Directors Scott Keith, Carpenter Tom Harper, Assistant Properties Master Nadir Balan, Properties Assistant
C. Nikki Mills, Assistant to the Costume Shop Manager Judianne Wallace, Draper Andrew Knauff, Master Electrician Nick Johnson, Projection Engineer Shawn Boyle, Projection Programmer Kelly Montgomery, Production Assistant Emily Grishman, Copyist Libby Peterson, House Manager Kaitlyn Anderson, Christopher Ash, Justin Bennett, Yagil Eliraz, Kristen Ferguson, Luke Harlan, Tom Harper, Sara Holdren, Kevin Klakouski, Chiara Klein, Nahuel Telleria, Alexae Visel, Run Crew Understudies Chris Bannow, Claude, Balth Ato Blankson-Wood,** Mr. Cake, Ensemble Paul Cooper, Don Best, Ensemble Cornelius Davidson, Boris, Ensemble Ceci Fernandez,** Bea Christopher Ghaffari, Anton Maura Hooper, Paulina Noble, Ensemble Jonathan Majors, Mr. Coal, Ensemble Julian Elijah Martinez,** Mr. Urges, Ensemble Matthew McCollum, Pedro Aubie Merrylees, Bouncer, Ensemble Elia Monte-Brown, Higgy, Frida, Ensemble Niall Powderly, Mr. Berry Aaron Luis Profumo, Leo Bradley James Tejeda, Colin Rawlins, Ensemble Mickey Theis, Ben Liz Wisan,* Ulcie, Ensemble *Member of Actors’ Equity Association, Union of Professional Actors and Stage Managers. **Appears courtesy of Actors’ Equity Association. Special Thanks Tom Carroll Scenery, Kate Dale and The Juilliard School, Hudson Scenic Studio, Anna Goller and the Playhouse in the Park, Lindsay Joelle, Long Wharf Theatre Properties Shop, Katherine McGerr, Lola Musslewhite, Kat Norcutt, Andrew Rubenoff Design, Anne Tofflemire
The Scenic, Costume, Lighting, and Sound Designers in LORT are represented by United Artists Local USA-829, IATSE.
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. These Paper Bullets! March 14–April 5, 2014 University Theatre, 222 York Street
BINGER CENTER FOR NEW THEATRE 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. Twelve 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. Established in 2008, Yale’s BINGER 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. To date, the Center has supported the work of more than 40 commissioned artists as well as the world premieres and subsequent productions of 15 new American plays and musicals—including this season’s The Fairytale Lives of Russian Girls by Meg Miroshnik; the Yale Rep-commissioned These Paper Bullets!, adapted by Rolin Jones from William Shakespeare’s Much Ado About Nothing, with songs by Billie Joe Armstrong; and Marcus Gardley’s The House that will not Stand. Other Binger Center-supported productions include the world premiere of Dostoevsky’s Notes from Underground, adapted by Bill Camp and Robert Woodruff, commissioned and produced by Yale Rep, and its subsequent west coast and NY premieres by La Jolla Playhouse and Theatre for a New Audience; the world premiere co-production of Rinne Groff’s Compulsion at Yale Rep, Berkeley Rep, and The Public Theater; the world premiere of the Yale-commissioned On the Levee by Marcus Gardley, Todd Almond, and Lear deBessonet at Lincoln Center Theater’s LCT3; the world premiere of Maggie-Kate Coleman and Anna K. Jacobs’s musical POP! at Yale Rep, as well as its productions at City Theatre in Pittsburgh and Virginia’s Firehouse Theatre Project; the world premiere of Amy Herzog’s Belleville at Yale Rep and its subsequent New York Theatre Workshop production; the world premiere of The Realistic Joneses by Will Eno at Yale Rep; and the world premiere co-production of David Adjmi’s Marie Antoinette at the American Repertory Theater and Yale Rep and its NY premiere at Soho Rep. Belleville and The Realistic Joneses, both Yale Rep commissions, were cited among the Top Ten of 2011 and 2012, respectively, by the New York Times. Will Eno’s The Realistic Joneses premieres on Broadway this spring. For more information, please visit yalerep.org/center.
COMMISSIONED ARTISTS David Adjmi, Todd Almond, Christina Anderson, Hilary Bell, Adam Bock, Sheila Callaghan, Bill Camp, Lucinda Coxon, Lear deBessonet, Will Eno, Dorothy Fortenberry, Marcus Gardley, Matt Gould, Kirsten Greenidge, Danai Gurira, Noah Haidle, Ann Marie Healy, Amy Herzog, Naomi Iizuka, Branden Jacobs-Jenkins, Rolin Jones, Aditi Brennan Kapil, Carson Kreitzer, Dan LeFranc, Elizabeth Meriwether, Meg Miroshnik, Scott Murphy, Julie Marie Myatt, David Lefort Nugent, Lina Patel, Jay Reiss, Amelia Roper, The Rude Mechs, Sarah Ruhl, Octavio Solis, Rebecca Taichman, Lucy Thurber, Alice Tuan, Paula Vogel, Kathryn Walat, Anne Washburn, Marisa Wegrzyn, Robert Woodruff 32
Yale Rep productions supported by the BINGER CENTER FOR NEW THEATRE, clockwise from the top: Merritt Janson and Bill Camp in Notes from Underground, 2009; Clifton Duncan, Angela Lewis, deâ€™Adre Aziza, and Marc Damon Johnson in Good Goods, 2012; Cristin Paige and Randy Harrison (background: Leslie Kritzer and Emily Swallow) in POP!, 2009; Maria Dizzia and Gilbert Owuor in Belleville, 2011; Teale Sperling and Marin Ireland in Marie Antoinette, 2012. All photos by Joan Marcus, except Marie Antoinette by T. Charles Erickson. 33
FOR YOUR INFORMATION
HOW TO REACH US 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
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 FM 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.
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 There is an accessible restroom in the main lobby. Additional restrooms are located downstairs. EMERGENCY CALLS Please leave your cell phone, name, and seat number with the concierge. We’ll notify you if necessary. The emergencyonly telephone number at Yale Rep is 203.764.4014. GROUP RATES Discounted tickets are available for groups of ten or more. Please call 203.432.1234. 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. 34
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. Yale Repertory Theatre thanks the Eugene G. and Margaret M. Blackford Memorial Fund, Bank of America, Co-Trustee, for its support of audio description services for our patrons.
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.
These Paper Bullets! Mar 29 Mar 29 The House that will not Stand May 3 May 10
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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 20,000 Connecticut students and educators. The Dwight/Edgewood Project brings eight middle school students to Yale Rep for a month-long, after-school playwriting program designed to strengthen their selfesteem and creative expression. Yale Rep’s education programs are supported in part by the Josef and Anni Albers Foundation; Allegra Print and Imaging; The Anna Fitch-Ardenghi Trust, Bank of America, Trustee; Deborah S. Berman; Susan C. Clark; Roxanne Coady; CT Humanities; Bob and Priscilla Dannies; The Frederick A. DeLuca Foundation; Bruce Graham; the George A. & Grace L. Long Foundation, Bank of America, N.A. and Alan S. Parker, Esq., Co-Trustees; the Lucille Lortel Foundation; Romaine A. Macomb; Mrs. Romaine Macomb; Jane Marcher Foundation; Dawn G. Miller; Arthur and Merle Nacht; NewAlliance Foundation; Robbin A. Seipold; Sandra Shaner; Target ®; Cheever and Sally Tyler; Esme Usdan; Charles and Patricia Walkup; and Bert and Martha Weisbart. LEFT, FROM TOP: SCHOOLS GATHERING FOR WILL POWER!; WILL POWER! CLASSROOM WORKSHOP; REHEARSAL FOR THE DWIGHT/EDGEWOOD PROJECT, 2013.
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Anonymous (2) John B. Beinecke Sonja Berggren and Patrick Seaver Lynne and Roger Bolton Sterling and Clare Brinkley Lois Chiles and Richard Gilder State of Connecticut, Office of the Arts Edgar M. Cullman, Jr. Edgar M. Cullman III Anita Pamintuan Fusco and Dino Fusco Horace W. Goldsmith Foundation Stephen J. Hoffman Frederick Iseman David Johnson Adrian and Nina Jones Jennifer Lindstrom Andrew W. Mellon Foundation Pam and Jeff Rank Robert Riordan Robina Foundation Linda Frank Rodman Talia Shire Schwartzman The Shubert Foundation Edward Trach Kara Unterberg Esme Usdan Reggie Van Lee
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120 Seasons... Still Surprising!
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THESE PAPER BULLETS! A Modish Ripoff of William Shakespeare's MUCH ADO ABOUT NOTHING, Adapted by Rolin Jones, Songs by Billie Joe Armstrong,...