Page 1

2018–19 SEASON


photograph by David Ottenstein

printing and mailing 475 heffernan drive, west haven, connecticut 06516 t 203 479 7500 f 203 479 7575 www.ghpmedia.com


February 2–8, 2019 YALE SCHOOL OF DRAMA James Bundy, Dean Victoria Nolan, Deputy Dean Chantal Rodriguez, Associate Dean Kelvin Dinkins, Jr., Assistant Dean Presents

By Alice Childress

Directed by Aneesha Kudtarkar Scenic Designer

Alexander McCargar Costume Designer

Stephanie Bahniuk Lighting Designer

Emma Deane Sound Designer

Emily Duncan Wilson Projection Installation Designer

Erin Sullivan Production Dramaturg

Sophie Siegel-Warren Technical Director

Rajiv Shah Stage Manager

Fabiola Feliciano-Batista Permission granted by FLORA ROBERTS, INC, 275 Seventh Ave., 26th Floor, New York, NY 10001. All inquiries concerning rights to the Play shall be addressed to the above or to SDOffice@dandkartists.com

Supported by the Benjamin Mordecai III Production Fund. SEASON SPONSOR

Cover photo by Madeline Carey, 2019.


FOR YOUR CONSIDERATION

Cast

in alphabetical order Al Manners

Stephen Cefalu, Jr. John Nevins

Gregory Saint Georges Millie Davis

Amandla Jahava

A film installation in conversation with Trouble in Mind

Sheldon Forrester

Manu Nefta Heywot Kumasi Judy Sears

Zoe Mann Wiletta Mayer

Ciara Monique McMillian

Designed and edited by

ERIN SULLIVAN

Bill O’Wray

Hudson Oz Henry

John Evans Reese Eddie Fenton

90-second video plays on loop

Devin White

during intermission and conclusion of the show.

Total running time: 1 minute and 30 seconds

Setting Act One: A Broadway theater in New York City, 1957 Act Two: the same, a few days later

Audio through headphones There will be one ten-minute intermission. Additional content can also be found on

SHADESHADOW-INSTALLATION.COM

The taking of photographs or the use of recording devices of any kind during the performance is prohibited.


THE WHITES OF THEIR EYES In 1957, Alice Childress was positioned to be the first black female playwright on Broadway. When her play Trouble in Mind premiered two years earlier at the Greenwich Mews Theatre, it was lauded as a “fresh, lively, and cutting satire” by The New York Times and won an Obie Award for best original off-Broadway play. This piqued the notice of three prominent Broadway producers who offered Childress her ticket to the Great White Way. These commercial producers made only two requests: change the play’s title and entirely re-write its ending. They argued that the script felt too unresolved, too uncomfortable for Broadway, an industry defined by the condescending white gaze. Childress was no stranger to this particular brand of feedback. Even her Greenwich Mews producers had pushed for a more saccharine, more palatable ending than she had originally written. The New York Times announced the play’s Broadway opening for the spring of 1957, with the reworked title So Early Monday Morning. For two years, Childress had tried to re-write her play, compiling more than a dozen drafts, even adding a third act in an attempt to give the drama a sunnier resolution. Childress characterized the producers’ hopes as twisting her reflections on her experiences as a black woman in the American theater into a “heartwarming little story.” Disgusted at the changes she’d wrought—in which the integrated cast and white director join hands at the end of the play to confront their shared prejudice while singing, “We Are Climbing Jacob’s Ladder,”—Childress pulled the plug on the Broadway debut. Two years later, Lorraine Hansberry became the first black female playwright on Broadway with A Raisin in the Sun, Trouble in Mind still awaits its bigtime commercial premiere.

“The American public is not ready to see you the way you want to be seen.”

—Al Manners in Alice Childress’s Trouble in Mind

The Trouble in Mind Childress originally wrote—the one she demanded be used for all future productions—is a painfully accurate image of our national shame, of truths that have been continually obscured and ignored. As Al Manners, the white director of the play-within-the-play exclaims to his cast: “Where the hell do you think I can raise a hundred thousand dollars to tell the unvarnished truth?” Childress deftly incorporates both the hope we place in the theater as a mirror and a tool for change and the power of structural racism and white supremacy to distort what we see. This same power kept us from seeing Childress’s true vision for Trouble in Mind until its 1971 print publication. When it was performed for the first time in the UK in the 1990s, one reviewer wrote: “In this show, for once, the theater is telling the truth about itself.” —SOPHIE SIEGEL-WARREN, PRODUCTION DRAMATURG


But I Do My Thing As Trouble in Mind’s Wiletta Mayer quips: “A woman that will tell her age will tell anything.” According to her biographies, FBI records, and interviews, Alice Childress was born in 1916 or 1920 in Charleston, South Carolina. In 1925 (at the age of five or nine), Childress moved in with her grandmother in New York. It was gazing out the window of this 135th Street apartment in Harlem, making up stories about the passersby that fed her writer’s imagination. “My grandmother had no formal education,” Childress recalled, “but she’d say, ‘That’s interesting, write it down.’ I’d say, ‘No, I don’t want to,’ but she’d say, ‘Just a little bit.’ And I got used to it.” Childress left high school to pursue a career in theater, tirelessly studying acting while raising her only child. As she worked, Childress grew increasingly frustrated by the pervasive racism and sexism that limited the roles available to black women. So, she wrote some. “I said I can express myself on a piece of paper, and I stayed with it trying to do that, because I wouldn’t let this society cut me off from total expression.” In 1939, Childress helped to found the American Negro Theater, appearing in several productions including Anna Lucasta (1944) which transferred to Broadway and earned Childress a Tony nomination for her performance. In 1949, she wrote, directed, and starred in her first produced play, Florence, and her Gold Through the Trees (1952) became the first play by a black woman to be professionally produced in the United States. Her 1973 novel A Hero Ain’t Nothin’ But a Sandwich was nominated for the National Book Award and named Outstanding Book of the Year by The New York Times, among many other accolades. Over the course of her life, she wrote nine plays, two novels, and numerous essays. Childress spent her entire career battling censorship—from an FBI investigation into her movements in 1953 to some ABC affiliates’ refusing to air a 1973 televised production of Wedding Band to the Long Island school district banning Hero from its public libraries—and still, she wrote. As she put it to The New York Times in 1969: “I’ve a play to write that may never be seen by any audience anywhere, but I do my thing. Who has ears to hear, hear… all others, later.”

—SS-W Alice Childress photo courtesy of the Photographs and Prints Division, Schomburg Center for Research in Black Culture, The New York Public Library, Astor, Lenox and Tilden Foundations.


FEBRU ARY 14 –16

WHAT REMA INS and Chore

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YALE

2018–19 NO BOUNDA SERIES RIES

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Photo by by Ian Douglas.

Direction

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Cast Stephen Cefalu, Jr. (Al Manners)

is a third-year M.F.A. candidate at Yale School of Drama, where he has been seen in Shoot Her, Shooter; Tent Revival; The Winter’s Tale; Sweat; Slave Play; Everything That Never Happened; and Escape from Happiness. At Yale Cabaret, he appeared in The Light Fantastic. Selected Chicago credits: world premiere of Tracy Letts’s Mary Page Marlowe directed by Anna D. Shapiro (Steppenwolf Theatre), Who’s Afraid of Virginia Woolf? (Redtwist Theatre, Jeff Award nomination), End Days (Windy City Playhouse), and Pins and Withers (A Red Orchid Theatre). Stephen has also participated in readings and workshops for the Goodman Theatre, Steppenwolf Theatre, Victory Gardens Theatre, Steep Theatre, Sideshow Theatre, and Chicago Dramatists. Television and film credits include Shameless, Support, and This Afternoon.

Gregory Saint Georges (John Nevins) is a second-year actor at Yale School of Drama, where their credits include Shoot Her, Shooter and The Last Days of Judas Iscariot. Their other credits include The Light Fantastic (Yale Cabaret); The Birth of Toby (The 24-Hour Plays: Nationals, at The New School for Drama); In The Heights, and A Chorus Line (Cultural Arts Playhouse). Gregory holds a B.A. in English from CUNY Queens College, where they performed in Our Lady of 121st Street and The Liar. Amandla Jahava (Millie Davis) is

a third-year actor at Yale School of Drama, where her credits include shakespeare’s as u like it, The Girl

Is Chained, and If Pretty Hurts Ugly Must Be a Muhfucka. Other credits include In the Red and Brown Water, the feels…(KMS), The Red Tent (Yale Cabaret); Mies Julie, Lear (Yale Summer Cabaret); and The Colored Museum at CalArts, where she earned a B.F.A. in acting. Amandla was a Los Angeles County Arts Grant recipient in 2015, and is an affiliate member of the Antaeus Company. She was assistant director to LisaGay Hamilton on Sleep Deprivation Chamber (CalArts School of Theater) and to Jason Alexander for Broadway Bound (Odyssey Theatre Ensemble).

Manu Nefta Heywot Kumasi

(Sheldon Forrester) is a secondyear M.F.A. candidate at Yale School of Drama, where his credits include blues for miss lucille, Marty and the Hands That Could, and The Last Days of Judas Iscariot. Selected credits include Lost in the Stars, Darius and Twig (Kennedy Center); Soulagraphie (La MaMa E.T.C.); Ruined (Everyman Theatre); Hamlet (Annapolis Shakespeare Company); and Measure for Measure (Shakespeare Theatre Company).

Zoe Mann (Judy Sears) is a secondyear actor at Yale School of Drama. Ciara Monique McMillian

(Wiletta Mayer) is a second-year M.F.A. candidate at Yale School of Drama, where she has been seen in blues for miss lucille and Marty and the Hands That Could. Other credits include Enter Your Sleep, Phosphene, The Purple Flower (Yale Cabaret); The Wedding Gift, Pen/ Man/Ship (Contemporary American


Theatre Festival); Wait Until Dark (Firehouse Theatre); The Color Purple, Pride and Prejudice, The Colored Museum, Arabian Nights, The Rocky Horror Show, Hairspray, and Vanya, Sonia, Masha, and Spike (Virginia Commonwealth University). She holds a B.F.A. in theater performance from Virginia Commonwealth University and has studied with the Contemporary American Theatre Festival and Mississippi School of the Arts.

Hudson Oz (Bill O’Wray) is a third-year MFA candidate at Yale School of Drama, where his credits include Slave Play, shakespeare’s as u like it, Sweat, The Last Days of Judas Iscariot, and Passion. He holds a B.F.A. in acting from NYU’s Tisch School of the Arts. John Evans Reese (Henry) is a second-year actor at Yale School of Drama, where he has been seen in Shoot Her, Shooter; shakespeare’s as u like it; and The Last Days of Judas Iscariot. His other credits include Non-Player Character (Yale Cabaret); Off-Broadway: A Taste of Honey directed by Austin Pendleton (Pearl Theatre Company); and Way to Heaven (Repertorio Español, The New York Times Critic’s Pick). Regional credits include Lord of the Flies (Barrington Stage); An Inspector Calls (Pioneer Theatre Company); This Is Our Youth (Wellfleet Harbor Actors Theater); The History Boys (Palm Beach Dramaworks); and Shakespeare’s R&J (Cygnet Theatre). Training: University of North Carolina School of the Arts, South Carolina Governor’s School for the Arts and Humanities. @johnevansreese

Devin White (Eddie Fenton) is a second-year actor at Yale School of Drama, where he has been seen in Rock Egg Spoon and The Last Days of Judas Iscariot. His other credits include Mud, Camille: A Tearjerker, The Purple Flower (Yale Cabaret); Richard II, Hamlet (Oregon Shakespeare Festival); South Pacific, Peter and the Starcatcher, and Tartuffe (Santa Rosa Summer Repertory Theatre). Devin holds a B.F.A. in acting from Southern Oregon University, where he performed in The Seagull, The Glass Menagerie, Red Noses, and Our Town, among others.

Creative Team Stephanie Bahniuk (Costume Designer) is a second-year M.F.A. candidate at Yale School of Drama. She is from Edmonton, Canada, where she earned her B.F.A. in theater design from the University of Alberta. Her credits include The Light Fantastic, For Your Eyes Only, The Light Is, Phosphene, It’s Not About My Mother (Yale Cabaret); Blood of Our Soil (Pyretic Productions); Stupid Fucking Bird (Edmonton Actors Theatre); Jesus Christ Superstar (Mayfield Dinner Theatre); Twelfth Night (Studio Theatre); Hansel and Gretel (Alberta Opera); The Moon at Midnight (Prairie Dance Circuit); and assistant costume designer for Williamstown Theatre Festival. Stephanie received the 2017 Elizabeth Sterling Haynes Award for Outstanding Set Design (Stupid F**king Bird) and earned a nomination for Outstanding


Creative Team Artistic Achievement, Theatre for Young Audiences (set and lighting design, Alberta Opera).

Emma Deane (Lighting Designer) is a second-year M.F.A. candidate at Yale School of Drama where, she designed shakespeare’s as u like it and Romeo and Juliet. Her other credits include This Sweet Affliction, Mud, The Guadalupes, WOLF/ ALICE, Camille: A Tearjerker (Yale Cabaret); Pinocchio: A Folk Musical (Filament Theatre); Proof (North Park University); The Amish Project (Interrobang Theatre Project); Hitler on the Roof (Akvavit Theatre); Scarcity (Redtwist Theatre); The Woman in Black (Wildclaw); and Fight City (The Factory). She has worked with The Actors Gymnasium, Albany Park Theatre Project, Court Theatre, Northlight Theatre, Chicago Shakespeare Theater, Victory Gardens, Theatre Seven, Bailiwick Chicago, The Building Stage, Buzz 22, Stage Left, Next Theatre Company, Silk Road Rising and The Gannon Center for Women and Leadership. She holds a B.A. in English from Loyola University Chicago. emmadeane.com Alice Childress (Playwright) (1916–

1994) was a playwright, novelist, and actress. Born in Charleston, South Carolina, and raised and educated in Harlem, New York, she was the first African American woman to have a play produced in New York City (Gold Through the Trees, 1952). She is the author of numerous plays, including Wedding Band, Wine in the Wilderness, and the OBIE Award-winning Trouble

in Mind, as well as books for young adults, such as Rainbow Jordan and A Hero Ain’t Nothin’ but a Sandwich. She is acknowledged as the only African American woman to have written, produced, and published plays for four decades.

Fabiola Feliciano-Batista (Stage

Manager) is a second-year M.F.A. candidate at Yale School of Drama, where her credits include El Huracán (Yale Repertory Theatre), Tent Revival, The Last Days of Judas Iscariot, and Death of Yazdgerd. She has also worked on Enter Your Sleep (Yale Cabaret); Disaster!, Jesus Christ Superstar (Connecticut Repertory Theatre); Wit, Este país no existe, and Construyendo Verónica (Tantai Teatro in Puerto Rico). Fabiola holds a B.A. in drama from the University of Puerto Rico.

Aneesha Kudtarkar (Director) is a third-year M.F.A. candidate at Yale School of Drama, where she has directed Perfectly Timed Photos Taken Before a Disaster and The Winter’s Tale. Her other credits include The Purple Flower and The Quonsets (Yale Cabaret), Mud and Charlotte’s Web (The Hangar Theatre), and Gruesome Playground Injuries (Studio @ 620). As an assistant director, she’s worked with Mark Lamos, Nicholas Martin, Mark Brokaw, Caitlin McLeod, and Liliana Blain-Cruz. Most recently, she was assistant director to Stephen BrownFried on Henry VI at the National Asian-American Theater Company. Aneesha is an artistic associate of Yale Cabaret and serves on its Board


of Directors. She holds a B.F.A. in theater studies from Southern Methodist University, where she was honored with the Garland Wright Award for Excellence in Directing. Aneesha is a proud alumni of the Drama League Directors Project.

Alexander McCargar (Scenic Designer) is a second-year M.F.A. candidate at Yale School of Drama. His credits include Agreste (Drylands) and Non-Player Character (Yale Cabaret). Before applying to Yale, he was the assistant to the Curator of Models and Drawings at the Austrian National Theater Museum. He worked on performance installations including Die Angewandte and Essence 16 in Vienna, and VISIONS: Beyond Media in Florence, Italy. He holds a B.Arch. and B.F.A. in Architecture with a minor in Art History from Rhode Island School of Design, and was awarded a Fulbright Grant to research cross-collaboration in opera. In June 2018, he was an assistant at the Festival International d’Art Lyrique d’Aix-en-Provence. Rajiv Shah (Technical Director) is a second-year M.F.A. candidate at Yale School of Drama, where he was the properties master for shakespeare’s as u like it, the assistant master electrician for the 2018 Carlotta Festival of New Plays, and assistant technical director on Death of Yazdgerd. His other work includes technical direction for The Light Fantastic at Yale Cabaret, and assistant sound designer and engineer for Father

Comes Home From the Wars, Parts 1, 2 & 3 at Yale Rep. Before coming to Yale, Rajiv was the Technical Director at Villanova University, and for other companies including Obiter 3, Tiny Dynamite, and Pig Iron Theatre Company. He holds a B.A. in communications and theater from Temple University.

Sophie Siegel-Warren (Production Dramaturg) is a third-year M.F.A. candidate at Yale School of Drama, where her dramaturgy credits include The Winter’s Tale, Sweat, and Escape from Happiness. Her other credits include The Purple Flower, Fuck Her, producing Camille: A Tearjerker (Yale Cabaret), and The Silent Sex (Yale Cabaret Satellite Series). She was also the dramaturg for Near the Krummholz (Women’s Voices in Theater Festival). Her next project is Tori Sampson’s Cadillac Crew at Yale Repertory Theatre. Sophie worked as the Teaching Artist and a Mentor for the Dwight/ Edgewood Project. Before coming to Yale, Sophie worked for College Possible Minnesota, mentoring firstgeneration college students as they prepare for and enroll in college. She also wrote and produced an original play that was performed in Minneapolis in 2015. She received her B.A. in English at Carleton College in Northfield, Minnesota. Erin Sullivan (Projection Installation Designer) is a secondyear M.F.A. candidate at Yale School of Drama. She was the projection designer on The Light Is and Phosphene at Yale Cabaret. Her


Creative Team projection installation, Spine Lines (with Megumi Katayama at Yale Art Gallery), is an official selection for The Prague Quadrennial. She edited the projection content for This American Wife (New York Theatre Workshop). Erin is a member of the Motion Picture Editors Guild based in NYC. Most recently, she was the visual effects editor on The Goldfinch (Amazon Studios). She produced and edited the stop-motion feature In Reality, which won the Special Jury Award at the LA Film Festival.

Emily Duncan Wilson (Sound Designer) is a second-year M.F.A. candidate at Yale School of Drama, where she designed blues for miss lucille, and was the assistant sound designer and engineer for Death of Yazdgerd, The Winter’s Tale, and Tent Revival. She was the sound engineer and assistant sound designer for El Huracán (Yale Rep). Her other credits include Agreste (Drylands) (Yale Cabaret); Shakespeare in the Dark: Macbeth (Past is Prologue Productions); American Girl Live! (Mills Entertainment); and Twin Size Beds (Public Theater, Under The Radar Festival). Emily recently played reeds for Passion (Yale

School of Drama), Fun Home (Yale Dramatic Coalition), Guys and Dolls (Foote Summer Theatre), and 42nd Street (Palace Theatre). She holds a B.A. in music with a concentration in multiple woodwind performance from Smith College in Northampton, Massachusetts.

The Benjamin Mordecai III Production Fund, established by

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


For Your Consideration

Projection Installation Performers

Liam Bellman-Sharpe Lily Guerin Kineta Kunutu Adam Shaukat Elena Tilli Costume Design Alicia J. Austin Projection Design Erin Sullivan Camilla Tassi Music Liam Bellman-Sharpe Sound Engineering Noel Nichols Technical Direction Dani Mader Producers

Trouble in Mind Staff Artistic

Assistant Director Christopher Audley Puglisi Assistant Scenic Designer Jimmy Stubbs Assistant Costume Designer Meg Powers Assistant Lighting Designer Ryan Seffinger Assistant Sound Designer and Engineer Megumi Katayama Assistant Stage Manager Jinghong “Kevin” Zhu

Production Associate Safety Advisor Mike VanAartsen Associate Production Manager Samantha Else Assistant Technical Directors Laura Copenhaver Shannon Csorny Properties Master Hao-En Hu Master Electrician Austin J. Byrd Assistant Master Electrician Ruo-Qiao Li Stage Carpenter Alexandra McNamara

“Tools for the

Imagination since 1947”

Run Crew Evan Christian Anderson John Bondi-Ernoehazy Callie Fosburgh April M. Hickman Yitong Huang Alex Lubischer David Mitsch Emma Weinstein

Administration House Manager Caitlin Volz

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

HullsNewHaven.com

Special Thanks Evan Christian Anderson, Liam BellmanSharpe, Jordan Ross, Miles Walter, Nic Vincent, Yunzhu Zeng


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

Production Production Management

Properties Properties Master Jennifer McClure

Associate Dean Chantal Rodriguez

Director of Production Shaminda Amarakoon

Properties Craftsperson David P. Schrader

Assistant Dean Kelvin Dinkins, Jr.

Production Manager Jonathan Reed

Artistic Management

Associate Head of Production and Student Labor Supervisor C. Nikki Mills

Interim Properties Assistant Madeline Winward

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

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

Scenery Technical Directors Neil Mulligan Matt Welander Electro Mechanical Laboratory Supervisor Alan Hendrickson

Electrics Interns Ruo-Qiao Li Kyra Tamiko Murzyn

Sound Sound Supervisor Mike Backhaus Staff Sound Engineer Stephanie Smith

Properties Stock Manager Mark Dionne

Sound Interns Marisa Arellano Yitong Huang

Properties Intern Hyejin Son

Projections

Costumes

Projection Supervisor Erich Bolton

Costume Shop Manager Tom McAlister

Head Projection Technician Mike Paddock

Senior Drapers Harry Johnson Clarissa Wylie Youngberg Mary Zihal

Stage Operations

Senior First Hands Deborah Bloch Patricia Van Horn Costume Project Coordinator Linda Kelley-Dodd

Stage Carpenter Janet Cunningham Wardrobe Supervisor Elizabeth Bolster Head Properties Runner Billy Ordynowicz FOH Mix Engineer Jacob Riley

Drapers Nikki Fazzone Stephanie Taff

Light Board Programmer David Willmore

Shop Foreman Eric Sparks

Wig and Hair Design Denise O’Brien

Administration

Master Shop Carpenters Matt Gaffney Ryan Gardner Sharon Reinhart Libby Stone

Company Hairdresser Barbara Bodine

General Management

Painting

Costume Stock Manager Elizabeth Beale (on leave)

Scenic Charge Ru-Jun Wang

Interim Costume Stock Manager Jamie Farkas

Scenic Artists Lia Akkerhuis Nathan Jasunas

Electrics

Scenic Painting Intern Amelia Pizzoferrato

Lighting Supervisor Donald W. Titus Senior Head Electricians Jennifer Carlson Linda-Cristal Young

Associate Managing Directors Trent Anderson Caitlin Crombleholme Leandro A. Zaneti Assistant Managing Director Caitlin Volz Senior Administrative Assistant to the Deputy Dean, Assistant Dean, and Theater Management Department Emalie Mayo


Management Assistants Oakton Reynolds Madeline Carey

Director, Yale Tessitura Consortium Janna J. Ellis

Company Manager Dani Barlow

Business Office Analyst Stacie Wcislo

Assistant Company Manager William Gaines Eliza Orleans

Business Office Specialists Preston Mock Teressa Reese

Development and Alumni Affairs

Senior Administrative Assistant to Business Office, Digital Technology, Operations, and Tessitura Shainn Reaves

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

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

Finance and Human Resources Director of Finance and Human Resources Katherine D. Burgueño Business Manager Erin Ethier

Marketing and Communications Assistant Estefani Castro Publications Manager Marguerite Elliott Director of Audience Services Laura Kirk

Operations Director of Facility Operations Jennifer Gonsalves Operations Associate Nadir Balan Operations Assistant Devin Matlock

Assistant Director of Audience Services Shane Quinn

Arts and Graduate Studies Superintendents Jennifer Draughn Michael Halpern

Subscriptions Coordinator Tracy Baldini

Team Leaders Andy Mastriano Sherry Stanley

Audience Services Assistant Molly Leona

Facility Stewards Michael Humbert Marcia Riley Custodians Christina Davis Tylon Frost Cassandra Hobby Kathy Langston Mark Roy

Financial Aid Officer Andre Massiah

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

Registrar/Admissions Administrator Ariel Yan

Production Photographer T. Charles Erickson

Senior Administrative Assistant to the Financial Aid Officer and Registrar/ Admissions Administrator Laura Torino

Theater Safety and Occupational Health

Marketing, Communications, and Audience Services

Customer Service and Safety Officers Kevin Delaney Ed Jooss John Marquez

Business Operations Portfolio Analyst Ann Corris Business Office Assistant Ashlie Russell

Financial Aid and Registrar

Director of Marketing Daniel Cress

Director of Theater Safety and Occupational Health Anna Glover

Digital Technology Director of Digital Technology Chris Kilbourne Digital Technology Associate Andre Griffith Web and Email Services Associate Luis Serrano Database Application Consultants Bo Du George Sheehy Ben Silvert

Director of Communications Steven Padla Senior Associate Director of Marketing and Communications Caitlin Griffin Associate Director of Marketing and Communications Sam Linden

drama.yale.edu Trouble in Mind, February 2–8, 2019 University Theatre, 222 York Street


Profile for Yale Repertory Theatre

TROUBLE IN MIND (2019)  

TROUBLE IN MIND by Alice Childress, directed by Aneesha Kudtarkar. Yale School of Drama, February 2–8, 2019.

TROUBLE IN MIND (2019)  

TROUBLE IN MIND by Alice Childress, directed by Aneesha Kudtarkar. Yale School of Drama, February 2–8, 2019.

Profile for yalerep