2018– 19
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YALE REPERTORY THEATRE, the internationally celebrated professional theater in residence at Yale School of Drama, is dedicated to the production of new plays and daring interpretations of the classics that make immediate connections to contemporary audiences. A champion of new work by early career and established playwrights, Yale Rep has produced well over 100 premieres, including two Pulitzer Prize winners and four other nominated finalists, since 1966. Seventeen Yale Rep productions have advanced to Broadway, garnering more than 40 Tony Award nominations and 11 Tony Awards including one for Outstanding Regional Theatre. Established in 2008, Yale’s Binger Center for New Theatre has distinguished itself as one of the nation’s most robust and innovative new play programs. To date, the Binger Center has supported the work of more than 50 commissioned artists and underwritten the world premieres and subsequent productions of 31 new American plays and musicals at Yale Rep and theaters across the country. MISSION Yale School of Drama and Yale Repertory Theatre train and advance leaders to raise the standard of global professional practice in every theatrical discipline, pursuing excellence in art to promote wonder, empathy, and understanding in the world.
VALUES Artistry: We nurture imagination and court
inspiration through mastery of skills and techniques, to create fluent, authentic, original storytelling that illuminates the complexity of the human spirit and questions accepted wisdom. Collaboration: We attend both to process and
to results, hearing the voices of colleagues and striving for a collective vision of our goals; we prize the contributions and accomplishments of the individual and of the team.
Discovery: We wrestle with the most compelling
issues of our time. Therefore, we foster curiosity, invention, bravery, and humor: we risk and learn from failure and vulnerability in order to build lifelong habits of innovation and revelation. Inclusion: We commit to fair and ongoing
practices that enhance our relationships to theater makers, audiences, and society, finding strength in our diversity, and lowering barriers to participation in the field. Professionalism: We dedicate our best selves
to both training and practice, holding ourselves accountable for a safe, sound, and respectful workplace, animated by good will.
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James Udom and Eboni Flowers in Father Comes Home From the Wars, Parts 1, 2 & 3. Photo by Joan Marcus, 2018.
A NOTE FROM THE ARTISTIC DIRECTOR Welcome to William Shakespeare’s Twelfth Night at Yale Repertory Theatre! There is likely to be endless controversy as to whether Shakespeare or, as John Cleese has said, someone claiming to be Shakespeare, wrote the vast majority of the approximately 885,000 words that appear in his canon of 37 plays. There is also significant discussion regarding the provenance of the relatively few words that he or others may or may not have written or added to later versions of the plays. Still, wherever they have been played for more than four centuries, Shakespeare’s works are widely accepted both to illuminate universal truths about the human experience, and also to offer limitless opportunities for interpretation. In each time and venue and culture, artists have located Shakespeare’s language and characters in the immediately personal tastes, desires, and preoccupations of their experiences and their moments—from Nahum Tate’s happy ending added in 1682 to King Lear (in a version that dominated the British stage for more than a century) to the New York Shakespeare Festival’s 2017 production of Julius Caesar, featuring an emperor in a dark suit accessorized with a long red tie and distinctively styled blond wig. Twelfth Night is set in Illyria, a country nominally understood to have been a region in the Balkans in classical antiquity, but theatrically interpreted over the generations as, well, just about any place or culture in which love and music and practical jokes—from harmless to not-so-harmless—are to be found. So when Carl Cofield, who has helmed remarkable productions of The Tempest and Macbeth at Classical Theatre of Harlem and Henry IV, Part 2 at Oregon Shakespeare Festival, suggested that we undertake an Afrofuturist and Afropunk-inspired version of this comedy at Yale Rep, I jumped at the chance to see his vision come to life in New Haven. What a joy it is, more than a year later, to share with you the theatricality with which Carl and the creative team and a magnificent company of actors have infused this production! It is, as I hoped it would be, an intoxicating mix of a vibrantly imagined future world and vivid present performance celebrating the cultures of the African diaspora, all while reconnecting to the brilliant storytelling of Shakespeare—the first English-language pop-culture icon. Whether you are one of our passionate longtime subscribers, a single ticket buyer, or one of the more than 2,000 high school students from New Haven and across the region attending the show as part of our annual WILL POWER! education program, I am delighted that you are here. As always, I look forward to hearing your thoughts about Twelfth Night or any of your experiences at Yale Rep: my email address is james.bundy@yale.edu. Sincerely,
James Bundy Artistic Director 2
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1157 Chapel Street | www.heirloomnewhaven.com | 203.503.3919
MARCH 15–APRIL 6, 2019 YALE REPERTORY THEATRE
James Bundy, Artistic Director Victoria Nolan, Managing Director
PRESENTS
WILLIAM SHAKESPEARE Directed by CARL COFIELD By
Choreographer BYRON EASLEY Composer and Sound Designer FREDERICK KENNEDY Scenic Designer RIW RAKKULCHON Costume Designer MIKA H. EUBANKS Lighting Designer SAMUEL KWAN CHI CHAN Projection Designer BRITTANY BLAND
Yale Repertory Theatre gratefully acknowledges Carol L. Sirot for generously funding the 2018-19 season. Yale Rep is supported in part by the Connecticut Department of Economic and Community Development.
Production Dramaturgs MOLLY FITZMAURICE PATRICK YOUNG Technical Director DAVID PHELPS Dialect and Vocal Coach BETH McGUIRE Fight Director RICK SORDELET Casting Directors TARA RUBIN/ LAURA SCHUTZEL, C.S.A. Stage Manager ABIGAIL GANDY
The National Endowment for the Arts in partnership with Arts Midwest presents Shakespeare in American Communities. Yale Repertory Theatre is one of 40 professional theater companies selected to participate in bringing the finest productions of Shakespeare to middleand high-school students in communities across the United States. 4
COMPLIMENTARY GLASS OF PROSECCO WITH DINNER BEFORE OR AFTER THE SHOW
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CAST in alphabetical order ABUBAKR ALI......... Sir Andrew Aguecheek ERRON CRAWFORD............................. Feste WILLIAM DeMERITT.............................Orsino DENZEL FIELDS............................. Ensemble ALLEN GILMORE...............................Malvolio TIFFANY DENISE HOBBS..................... Olivia MOSES INGRAM..................................... Viola
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WESLEY T. JONES......................... Ensemble MANU KUMASI................................... Antonio CHIVAS MICHAEL..............................Sir Toby ILIA ISORELĂ?S PAULINO...................... Maria STEPHON PETTWAY...................... Ensemble JAKEEM DANTE POWELL............. Sebastian RAFFEAL A. SEARS......... Ensemble, Fabian MALENKY WELSH.......................... Ensemble BRIT WEST...................................... Ensemble
-7589 ZACHRY J. BAILEY Assistant Stage Manager
SETTING PLACE The cosmopolitan port city of Illyria. TIME The near future.
There will be a 15-minute intermission.
forgetmenotfloristCT.com
The taking of photographs or the use of recording devices of any kind in the theater without the written permission of the management is prohibited. 6
WHAT COUNTRY, FR “What country, friends, is this?” asks Viola when a shipwreck strands her on an unfamiliar shore. “This is Illyria, lady.”
For Afrofuturist writers, artists, and thinkers, imagination is a way of shaping change, as black science fiction author Samuel R. Delany writes:
Illyria, a country of classical antiquity, was by Shakespeare’s time already an archaic, inexact moniker for an area of the Western Balkans many-timessince reorganized and renamed. Shakespeare’s contemporaries had limited information about the region: Illyria was not a destination so much as a coast to sail along. Mystery bred an enticingly dangerous reputation. Measure for Measure and 2 Henry VI both suggest its shores harbored pirates. Shakespeare may well have chosen to set Twelfth Night in Illyria for its very unfamiliarity. With no facts to interrupt exoticizing fantasy or chimerical potential, he could make Illyria out of imagination.
We need images of tomorrow, and our people need them more than most. Without an image of tomorrow, one is trapped by blind history, economics, and politics beyond our control. One is tied up in a web, in a net, with no clear way to struggle free. Only by having clear and vital images of the many alternatives, good and bad, of where one can go, will we have any control over the way we may actually get there in a reality tomorrow will bring all too quickly.
As director Carl Cofield took up Shakespeare’s invitation to imagine, he found inspiration in Afrofuturist speculation. His production of Twelfth Night sets Illyria about thirty years from now to “imagine greater justice and a freer expression of black subjectivity in the future or in alternative places, times, or realities”—to borrow from scholar Daylanne K. English’s definition of Afrofuturism.
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By centering members of the African diaspora and their descendants, this production of Twelfth Night enters a centuries-long struggle to claim and reclaim Shakespeare. Marvin McAllister reconstructs one exemplary episode of this long history in his book, White People Do Not Know How to Behave at Entertainments Designed for Ladies and Gentlemen of Color: William Brown’s African and American Theater. During the 1820s in Manhattan, William Brown led a black theater company performing Shakespeare for mixed audiences
RIENDS, IS THIS? at the African Grove theater. Their performances crossed racial, class, and caste lines and, in so doing, scandalized many white spectators, even in a New York lurching toward full emancipation and already home to well-to-do-communities of color. Beleaguered by police hostility, the white press, and an emerging form of performance, blackface, the African Grove closed its doors. But, as McAllister observes, it had already set the stage for black American actors—from the first international star from the United States, Ira Aldridge, to Henrietta Davis to Paul Robeson—to make Shakespeare their own. Repeated, concerted, and often violent exclusionary efforts manufactured the myth that the Bard belongs to Anglo-Saxon, white, upper-class culture. But no one can claim Shakespeare as exclusively theirs; too much has changed in the last five hundred years, and the plays have traveled too far. There is no neutral Shakespeare. Carl Cofield’s Afrocentric take on Illyria does not add a layer on top of the text of Twelfth Night so much as dig into the play with a particular—and stated—set of questions. What can an Illyria that centers members of the African diaspora and their descendants unearth?
The following are a few of the “images of tomorrow” that emerged as our company asked: “What country, friends, could this be?”
SEASCAPES & LANDSCAPES Illyria is a cosmopolitan port city. Pirates, sailors, captains, and castaways find their way ashore to trade, steal, live, deceive, fall in love—or some combination thereof. Water imagery floods Twelfth Night, illustrating forces that overflow and overwhelm the characters: Mourning and joy are salt-water tears; fate is a tempest; “the rain it raineth every day.” Movement is constant, and fluidity the rule. Transformation, migration, and water are also recurrent themes in Afrofuturism. Some artists’ work addresses the middle passage, the forced crossing of the Atlantic by enslaved Africans. Other Afrofuturist storytellers have drawn on the drinking gourd and the African Cosmogram Matrix, symbols which bring together the water, the stars, and the understanding of life as journey.
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CURRENCIES & FLUENCIES Soon after washing ashore with the sea captain, Viola surmises that her musical and linguistic powers will win her the local nobles’ regard. In Illyria, wit and music are currencies, and Viola and Feste, who are rich in them, may go where others can’t, say what others daren’t, and get paid along the way. During the Renaissance, music was associated with logical thought: a divinely ordered abstract system that made the will of God manifest on earth. Rhetoric and wit, on the other hand, were associated with the more irrational and chaotic realm of feeling and the passions. Dating to the beginning of the 17th century, Twelfth Night coincides with a historical shift away from this idea and toward a suspicion that music could also sway the passions, manipulate the senses, and even deceive people. Music and poetry hold such worldordering significance—and worldre-ordering potential—for many Afrofuturist artists. Foundational Afrofuturist musician Sun Ra writes, “the earth cannot move without music. The earth moves in a certain rhythm, a certain sound, a certain note. When the music stops the earth will stop and everything upon it will die.”
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RELIGION & POLITICS
By the time of Twelfth Night’s first performance circa 1601, Puritans, like Malvolio, were already frequent figures of parody on the Elizabethan stage: punchlines for their party-pooping strictness and anti-theatrical tirades. In 1642, Puritanical fervor would, at least temporarily, have its revenge: shuttering theaters, toppling Maypoles, and canceling holidays. For almost 20 years, there would be “no more cakes and ale.” The Puritan represents the threat of a future that limits personal freedoms and polices individual expression—threats all-the-more menacing hundreds of years of colonization, fascism, oppression, and anti-blackness later. But Sir Toby punishes Malvolio to protect hierarchy as much as liberty. When Malvolio aspires beyond his station as a steward, he ruffles feathers in the pecking order: a punishable offense. In her novel Dawn, Octavia Butler, often considered a mother of Afrofuturism, imagines a future where a mysterious group of aliens become the saviors, or perhaps captors, of the few humans who survive nuclear apocalypse. The extraterrestrials blame humankind’s self-destruction on a fatal contradiction: humans are both intelligent and hierarchical. Butler writes, “when human intelligence served [hierarchy] instead of guiding it, when human intelligence did not even acknowledge it as a problem, but took pride in it or did not notice it at all...that was like ignoring cancer.”
WOMEN & GENDER
The play’s leading ladies, Olivia and Viola, have their own money and no men. Both women are intelligent and fiercely independent. But Illyria is no black feminist fantasia. As scholar Daylanne K. English explains, “Afrofuturism can also imagine dystopic worlds to come, with contemporary injustices projected into, and often intensified in, the future.” What might we learn about how women move through our world by watching this image of tomorrow? Viola must disguise herself as a man to navigate Illyria safely, while her brother Sebastian confidently resolves he’s “bound for the Duke Orsino’s court,” just as he is. Like Shakespeare’s other cross-dressing heroines—Rosalind, Julia, Portia, Nerissa, Jessica, Imogen— Viola achieves greater mobility in men’s clothes. But though she has taken up masculinity as armor, the play reveals it to be a cage: She cannot express her true feelings to Orsino; she must consistently act against her own interest in wooing Olivia for him; she’s coerced into a show of toxic masculine violence in the farcical duel.
MEDIA & TECHNOLOGY
In 1811, influential critic A. W. Schlegel observed that Twelfth Night “treats love more as an affair of the imagination than of the heart.” Hundreds of years later, all that has changed are the technologies available to the imagination. The play teems with different media—music and flowers, letters and rings—and, in this futuristic setting, virtual reality. Viola herself mediates, literally going between Orsino and Olivia, who do not meet on stage until the final scene. But the love-technician soon becomes a lover and beloved in her own right. When Olivia finds her love for ‘Cesario’ unrequited, she laments, “I would you were as I would have you be.” Whether with virtual reality goggles or the mind’s eye, she persists in imagining a Cesario who does not exist. Do media and technology connect or disconnect us? Or does the device itself become our intimate?
As a woman, Olivia’s every move is subject to public scrutiny. She is constantly spoken of before finally arriving on stage in the fifth scene. But she refuses to let sexist gossip get in her way: She helms her household, steers clear of Orsino, and pursues the object of her desire.
—MOLLY FITZMAURICE AND PATRICK YOUNG, PRODUCTION DRAMATURGS
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CAST ABUBAKR ALI** (Sir Andrew Aguecheek) is a third-year M.F.A. candidate at Yale School of Drama, where he has been seen in Rock Egg Spoon, The Seagull, The Last Days of Judas Iscariot, Passion, Perfectly Timed Photos Taken Before a Disaster, Pentecost, and The Hour of Great Mercy. Other credits include Kiss (Yale Rep); We Live in Cairo (NYTW Workshop); Xander Xyst, Dragon: 1 (Yale Cabaret); Macbeth, The Threepenny Opera, Julius Caesar, Six Characters in Search of an Author, A Christmas Carol (A Noise Within); The Rock of Abandon (Lillian Theater); Handjobs The Musical! (Kraine Theater); Macbeth, The Two Gentlemen of Verona (The Classical Studio, NYU); as well as work with East West Players, Company of Angels, and Fierce Backbone. Film and television: Dig (USA Network), Irish Goodbye (Ade M’Cormack), Spike TV, The Rachel Maddow Show. Training: B.F.A., NYU’s Tisch School of the Arts; Atlantic Theatre Company; Classical Studio. abubakrali.com Instagram/Twitter: @TheAbubakrAli
ERRON CRAWFORD** (Feste) is a thirdyear M.F.A. candidate at Yale School of Drama, where his credits include blues for miss lucille, shakespeare’s as u like it, Passion, Slave Play, and If Pretty Hurts Ugly Must Be a Muhfucka. He has also been seen in Father Comes Home From the Wars, Parts 1, 2 & 3 (Yale Repertory Theatre); The Apple Tree, In the Red and Brown Water (Yale Cabaret); Antony + Cleopatra (Yale Summer Cabaret); The Wiz, Seven Guitars, Once on This Island (Carnegie Mellon); Black Nativity (Kenny Leon’s True Colors); and Scheherazade (FringeNYC), among others. Erron holds a B.F.A. in musical theater from Carnegie Mellon University and was a member of the Broadway Dreams Foundation and the Freddie Hendricks Youth Ensemble of Atlanta.
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WILLIAM DeMERITT* (Orsino) OffBroadway: The Death of the Last Black Man in the Whole Entire World (Signature Theatre), Mom, How Did You Meet the Beatles? (The Public Theater), October in the Chair... (ATA), Edward II (Playwrights Horizons), Liz Swados’s Violence Project (La MaMa ETC). Regional: Shakespeare in Love (U.S. premiere), The Merry Wives of Windsor (Oregon Shakespeare Festival); we, the invisibles (Humana Festival); Sense and Sensibility (Dallas Theater Center); Much Ado About Nothing, King John (Shakespeare Theater of New Jersey); Romeo and Juliet (Yale Rep); Slave Play (O’Neill); Amsterdam Fringe Festival; NY Fringe Festival; NY Stage & Film Festival; Upright Citizens Brigade. Film and television: The Outs, Person of Interest, Law & Order: SVU, The Lennon Report, and HBO’s Emmy-winning The Normal Heart. William is a narrator on the AUDM app and the creator of the award-winning one man show, Origin Story. B.F.A., Marymount Manhattan College; M.F.A. Yale School of Drama. williamdemeritt.com oldsoundroom.com Instagram/Twitter: @demeritt
DENZEL FIELDS (Ensemble) is excited about making his Yale Rep debut. He received his B.A. from Morehouse College in Atlanta, Georgia, and is a recent M.F.A. graduate of Penn State University. Credits: Antigone directed by Carl Cofield (Classical Theatre of Harlem/Lincoln Center Institute), Born for This: The BeBe Winans Story (Atlantic Theater), Crossing Over: The Musical (NY Theatre Barn), In the Red and Brown Water, and Gee’s Bend (Baldwin Burroughs Theatre). Denzel recently wrote, directed, and performed his first one-man musical entitled As I Am.
ALLEN GILMORE* (Malvolio) is pleased to return to Yale Rep where he has appeared in The Servant of Two Masters, A Doctor in Spite of Himself, and Accidental Death of an Anarchist, all directed by Christopher Bayes. He has worked with other great directors including Bartlett Sher, the late Michael Langham, Mary Zimmerman, Robert Falls, Charles Newell, and Yale alum Henry Wishcamper. His work has been seen in Chicago at Court Theatre, Goodman Theatre, Writer’s, Lookingglass, and Congo Square Theatre, and regionally at Berkeley Rep, The Shakespeare Theater, Arena Stage, Jewel, Kansas City Rep, Guthrie, Seattle Rep, Intiman, Portland Stage, and Santa Cruz Shakespeare, to name a few. He is a U.S. Army Infantry veteran originally from Houston. Allen is a 2015 Lunt-Fontanne Fellow and a 2015 3Arts Prize recipient.
TIFFANY DENISE HOBBS* (Olivia) is thrilled to make her Yale Rep debut. From Augusta, Georgia, she is an actress, singer, dancer, and former member of the Brierley Resident Acting Company at the Tony Awardwinning Dallas Theater Center. Broadway: Waitress. National Tour: The Lion King. Regional: King Hedley II, A Raisin in the Sun, Clybourne Park, Much Ado About Nothing, Race, Spunk, The Odd Couple, among others. Television: Claws (TNT); Donald Glover’s Emmy Awardwinning Atlanta (FX); Ozark, The Haunting of Hill House (Netflix); Love Is __ (OWN); MacGyver, Bull (CBS); Happy (SyFy); Code Black (ABC); and Scream (MTV). Film: Dallas Buyers Club. She is a recipient of the Star Project Award from NBC and the American Black Film Festival and was selected Best Leading and Featured Actress in a Musical (Broadway World). Training: M.F.A. acting, Southern Methodist University; The Second City; Yale Summer Conservatory for Actors. tiffanydenisehobbs.com Instagram: @tiffanydenisehobbs
MOSES INGRAM (Viola) is a third-year actor at Yale School of Drama, where she has been seen in blues for miss lucille, Marty and the Hands That Could, Sweat, Romeo and Juliet, and The Winter’s Tale. Her other credits include School Girls; Or, the African Mean Girls Play, The Light Fantastic, In the Red and Brown Water, Fuck Her (Yale Cabaret); and Ruined (Everyman Theatre). She attended the Baltimore School for the Arts. She is recipient of the 2018 Grace Le Vine Award from the Princess Grace Foundation.
WESLEY T. JONES* (Ensemble) is delighted to be making his Yale Rep debut. The Detroit native’s other theatrical credits include Education at 59E59 Theaters, and brownsville song (b-side for tray) at Florida Studio Theatre. He has guest-starred on Bull on CBS and has costarring appearances on Seven Seconds and The Central Park Five, both on Netflix. Wesley earned his B.F.A. at Carnegie Mellon University.
MANU KUMASI** (Antonio) is a secondyear M.F.A. candidate at Yale School of Drama, where his credits include Trouble in Mind, 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).
* Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. ** Appears courtesy of Actors’ Equity Association.
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CAST CHIVAS MICHAEL* (Sir Toby) previously
STEPHON PETTWAY* (Ensemble)
appeared at Yale Rep in Father Comes Home From the Wars, Parts 1, 2 & 3; The Caucasian Chalk Circle; and A Doctor in Spite of Himself. His other theatre credits include Antony and Cleopatra (The Royal Shakespeare Company, London; The Public Theater); Brooklyn Omnibus (Brooklyn Academy of Music); Romeo and Juliet (Classic Stage Company); The Broadway Problem (Lincoln Center concert); Sliding Into the Beast (New York Theatre Workshop); Wild With Happy (Baltimore Center Stage); The Servant of Two Masters (Guthrie Theater); A Doctor in Spite of Himself (Berkeley Rep); A Funny Thing Happened on the Way To The Forum (Williamstown Theatre Festival); Much Ado About Nothing, A Midsummer Night’s Dream (Shakespeare on the Sound); Hamlet, The Illusion (New Orleans Shakespeare Festival); and Airline Highway (Southern Rep). Education: B.A., Dillard University; M.F.A., NYU’s Graduate Acting Program.
is excited to make his Yale Rep debut. Off Broadway and regional: The Seagull (Columbia Stages); Black Angels Over Tuskegee (The Actors Temple); Five Seconds to Air (Theatre Row); The Importance of Being Earnest (Connecticut Repertory Theatre); A Midsummer Night’s Dream, Julius Caesar (Shakespeare Theatre of New Jersey; Richmond Shakespeare Festival); To Kill a Mockingbird, A Christmas Carol, Much Ado About Nothing, Six Characters in Search of an Author, As You Like It, My Children! My Africa!, Eurydice, Line (Judy Bayley Theatre; The Cockroach Theatre). International: Mufaro’s Beautiful Daughters (London, England), One Voice (Kenya, East Africa) which he co-wrote. Film and television: The 90s, My Crazy Ex, When Harry Tries to Marry, The House of Judgement, Hasim October, and Private Eyes. Stephon is also a professional standup comedian and holds an M.F.A. from University of Nevada Las Vegas. stephonpettway.com
ILIA ISORELÝS PAULINO (Maria) is a second-year M.F.A. candidate at Yale School of Drama, where her credits include Seven Spots On The Sun, The Seagull, The Girl Is Chained, and The Last Days of Judas Iscariot. Other credits include Agreste (Drylands) (Yale Cabaret); As You Like It, Evita, The Taming of the Shrew, Julius Caesar, The Little Mermaid, Rapunzel, Pericles, Les Misérables, Twelfth Night, Much Ado About Nothing (Pennsylvania Shakespeare Festival); and Thrive (Page 73). She attended DeSales University, where she earned a B.A. in musical theater.
* Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
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JAKEEM DANTE POWELL (Sebastian) is a third-year M.F.A. candidate at Yale School of Drama, where he has been seen in Seven Spots On The Sun, The Seagull, Marty and the Hands That Could, Slave Play, Much Ado About Nothing, and If Pretty Hurts Ugly Must Be a Muhfucka. Other credits include In the Red and Brown Water; Xander Xyst, Dragon: 1 (Yale Cabaret); A Raisin in the Sun (Dallas Theater Center); The Man in the Iron Mask; The Mandrake; Henry IV, Part 2 (Shakespeare Santa Cruz); Blues for Mister Charlie; Richard III; and Alice Underground at Southern Methodist University, where he earned a B.F.A. in acting.
RAFFEAL A. SEARS* (Ensemble, Fabian)
BRIT WEST* (Ensemble) Yale Rep
is making his Yale Rep debut. Recent credits: staged reading of Master Wilder and the Cabala (Illinois Theatre, Goodman Theatre); Twelfth Night, Romeo and Juliet, Dontrell, Who Kissed the Sea, The Grapes of Wrath, and Henry V Project (Illinois Theatre). Regional: Shakespeare’s Amazing Cymbeline, A Midsummer Night’s Dream (Illinois Shakespeare Festival); The Play of Adam (The Met Cloisters); Amazing the Change (Atlantic Theater); A Midsummer Night’s Dream (Nashville Shakespeare Festival); Lost in the Part (Amity Hall); In the Blood (The New School); and Alexander and the Terrible, Horrible, No Good Very Bad Day (The Coterie). Television and film: Chicago Fire, Cornered, Adventure Around the World, and What We Used to Have. Voice-over: McDonald’s, Burger King, Grand Theft Auto. He studied commercial vocal performance at Belmont University in Nashville, Tennessee. M.F.A. in acting, University of Illinois at Urbana-Champaign. raffealsears.com
Debut! Broadway: The Color Purple. Tours: Dreamgirls, The Color Purple, Priscilla Queen of the Desert, Legally Blonde. Regional Favorites: West Side Story at Hollywood Bowl with the LA Philharmonic, Deloris Van Cartier in Sister Act Television: Power and Flesh and Bone, both on STARZ. Instagram: brit_west britwest.info
MALENKY WELSH (Ensemble) is thrilled to return to Yale Rep, where her credits include Bossa Nova directed by Evan Yionoulis and The Piano Lesson directed by Liesl Tommy. She most recently appeared as Antigone in Antigone at Oddfellow’s Playhouse. Her other credits include The Children (Yale School of Drama); A Civil War Christmas (Long Wharf Theatre; New Haven Theatre Company); The Hundred Dresses directed by Lara Morton; Freewheelers (A Broken Umbrella Theatre Company); A Midsummer Night’s Dream, Hamlet Thrill-ma-geddon (Common Ground High School); Our Town (Long Wharf Theatre). She is a graduate of the Educational Center for the Arts, where she appeared in The Glass Menagerie, Anon(ymous), Savage Love, and Shakespeare’s War of the Roses. She is also an alumnus of the British American Drama Academy’s Midsummer in Oxford Program, 2018.
CREATIVE TEAM ZACHRY J. BAILEY* (Assistant Stage Manager) is a second-year M.F.A. candidate at Yale School of Drama, where his credits include Seven Spots On The Sun (stage manager); Marty and the Hands That Could and Pentecost (assistant stage manager). At Yale Cabaret, he was the producing stage manager for the 2018 Satellite Festival and stage manager for Fade. Selected credits include The Book of Merman, The Temperamentals, YANK! The Musical (Evolution Theatre Inc.); Snoopy!!!, Sleepy Hollow, and The Emperor’s New Clothes (Columbus Children’s Theatre). He holds a B.A. in theater from The Ohio State University, where his credits include An Enemy of the People, Heathers: The Musical, In Here Out There, and There Is No Silence. zachrybailey.com
BRITTANY BLAND (Projection Designer) is a third-year M.F.A. candidate at Yale School of Drama, where her credits include shakespeare’s as u like it, Marty and the Hands That Could, The Girl Is Chained, Tent Revival, and The Three Sisters. Previously, she was the assistant to the projection supervisor, where she helped design and execute projection designs for Yale Repertory Theatre and Yale School of Drama productions. Her previous designs include How We Died of Disease-Related Illness and Slouch (Yale Cabaret). She holds a B.A. in technical theater and production from Catawba College, North Carolina.
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CREATIVE TEAM SAMUEL KWAN CHI CHAN (Lighting Designer) is a third-year M.F.A. candidate at Yale School of Drama, where he designed Tent Revival, Death of Yazdgerd, and Othello. Other designs include Revolt. She Said. Revolt Again., Mrs. Galveston, and The Quonsets (Yale Cabaret). He collaborated with Yat Po Singers (Music Theatre), Rooftop Production (Physical Theatre), Unlock Dancing Plaza, Four Degrees Dance Laboratory, Macau Experimental Theatre, Hong Kong Ballet and Hong Kong Academy for Performing Arts (Dance & Opera), among others. He holds a B.F.A. in lighting design from the Hong Kong Academy for Performing Arts and a B.Sc. in physics and political theory from the University of Hong Kong. samuelcvlx.com
CARL COFIELD (Director) is the associate artistic director of Classical Theatre of Harlem. He has directed One Night in Miami (New Drama; Rogue Machine Theater, world premiere; Denver Center Theatre Company; numerous awards from the Los Angeles NAACP, including Best Director, and L.A. Drama Critics Circle; Huffington Post: Best of L.A., 2013); A Raisin in the Sun (Two River Theater Company); Henry IV Part 2 (Oregon Shakespeare Festival); Disgraced (Denver Center); The Mountaintop (Cleveland Play House); the 50th-anniversary production of Dutchman (Classical Theatre of Harlem/National Black Theatre; AUDELCO nomination, Best Director); Antigone, The Tempest, Macbeth (Classical Theatre of Harlem; AUDELCO nomination, Best Director). Additional credits: the world premieres of The White Card by Claudia Rankine directed by Diane Paulus (Associate Director, American Repertory Theater) and Camp David by Laurence Wright directed by Molly Smith (Assistant Director, Arena Stage). He also directed the reading of Camp David for President and First Lady Carter at the Carter Center retreat in Colorado. As an actor, he has been seen at Manhattan Theater Club (Ruined), Berkeley Rep, Alliance Theatre, Arena Stage, The Shakespeare Theater, Intiman Theatre, Actors Theatre of Louisville, Shakespeare Santa Cruz, Milwaukee Rep, Alabama Shakespeare, McCarter Theatre, The Acting Company, The Studio Theatre, 15
and many others. Carl teaches at New York University and The New School. Education: M.F.A., Columbia University. carlcofield.com
BYRON EASLEY (Choreographer) most recently choreographed Slave Play (New York Theatre Workshop). Other credits include I Dream (Opera Carolina/ Toledo Opera), Unison (world premiere), The Wiz, The Comedy of Errors (Oregon Shakespeare Festival); and Five Guys Named Moe (Arena Stage, Helen Hayes nomination). New York credits include X by Marcus Gardley (Lucille Lortel nomination), The Bubbly Black Girl (City Center Encores), The Tempest (Harlem Classical Theatre, AUDELCO nomination), A Band of Angels (2015 Off-Broadway Alliance Award: Best Family Show), Langston in Harlem (SDC’s Joe A. Callaway Award; AUDELCO Award). Other honors include Suzi Bass Awards for the Alliance Theatre’s productions of Jelly’s Last Jam and Sophisticated Ladies. Byron is an associate arts professor at NYU/Tisch School of the Arts.
MIKA H. EUBANKS (Costume Designer) is a third-year M.F.A. candidate at Yale School of Drama, where she previously designed Tent Revival and Death of Yazdgerd. Other work includes Revolt. She Said. Revolt Again., In the Red and Brown Water, School Girls (Yale Cabaret); Harry and the Thief (Strand Theater); Animals Out of Paper (Silver Spring Theatre); The Clothesline Muse (National Black Theatre Festival); Hailing from Baltimore, Mika has worked at Center Stage, the Hippodrome, and Rift Art Studio, where she was a co-founder. She earned the Jada Pinkett Smith Applied Arts Award in 2015 and holds a B.F.A. from Maryland Institute College of Art.
MOLLY FITZMAURICE (Production Dramaturg) is a third-year M.F.A. candidate studying dramaturgy and producing at Yale School of Drama. She is a co-artistic director of Yale Cabaret, where she has directed The Light Fantastic and Camille: a Tearjerker; created Dating Game; and dramaturged Hey Secret Service..., The Apple Tree, The Quonsets, and Mrs. Galveston. Her dramaturgy credits include Native Son
(Yale Rep); The Girl Is Chained, Passion (Yale School of Drama); A Guide for the Homesick (Huntington Theatre Company); Tollbooth: A Clown Show, Polaroid Stories, and Grimmfest (First Floor Theater, where she is a company member). She previously served as producing director of the 2018 Dwight/Edgewood Project and on the artistic teams of the Eugene O’Neill Theater Center; Huntington Theatre Company; Museum of Contemporary Art Chicago Stage; and Salonathon. She holds a B.A. from the University of Chicago.
ABIGAIL GANDY* (Stage Manager) is a third-year M.F.A candidate at Yale School of Drama, where her credits include Passion, In the Palm of a Giant, The Dog Pack Play, Titus Andronicus, and ’Tis Pity She’s a Whore, as well as working as the Langston Hughes Festival production stage manager. Previously at Yale Rep, she assisted on Kiss. Other credits include The Apple Tree, Agreste (Drylands) (Yale Cabaret); and Romeo and Juliet (Elm Shakespeare).
FREDERICK KENNEDY (Composer and Sound Designer) is pleased to return to Yale Rep. Recent work includes Every Brilliant Thing (TheatreSquared), Three Days in the Country (NYU), The Visit (Atlantic Theater School), The River (Hartford TheaterWorks), Flyin’ West (Westport Country Playhouse), Father Comes Home From the Wars, Parts 1, 2 & 3 (American Conservatory Theater, Yale Rep), and Native Son (Yale Rep, Connecticut Critics Circle nomination: Best Sound Design). In addition to his theatrical work, he has appeared on dozens of recordings; toured throughout North America and Europe, as well as to parts of South America, the Caribbean, and the South Pacific; and taught numerous classes in improvisation, composition, and sound design for multimedia as a guest artist at universities around the United States. He is on the faculty of the City University of New York and of Connecticut College, and holds an M.F.A. in sound design from Yale School of Drama and a Bachelor of Music in jazz studies from the University of North Texas. Frederick was the 2018 recipient of the Burry Fredrik Fellowship in Design. fredkennedy.org
BETH McGUIRE (Dialect and Vocal Coach) Broadway: Eclipsed, A Streetcar Named Desire, Chaplin, I’ll Eat You Last. New York: He Brought Her Heart Back in a Box (Theatre for a New Audience); Eclipsed, In Darfur (The Public Theater); The Overwhelming (Roundabout Theatre); The Black Eyed (New York Theatre Workshop); Five by Tenn (Manhattan Theater Club); People be Heard (Playwrights Horizons); Her Portmanteau (Black Theatre of Harlem); The Imaginary Invalid (La Mama E.T.C.); as well as multiple productions at Working Theater. Regional: Over 35 productions at McCarter Theatre, Yale Rep, Hartford Stage, Shakespeare Theatre of New Jersey. Film: Black Panther (Marvel and Walt Disney Studios), US (Universal) to be released March 2019. Beth is Director of Speech and Dialects at Yale School of Drama and is the author of African Accents: A Workbook for Actors (2016).
DAVID PHELPS (Technical Director) is a second year M.F.A. candidate at Yale School of Drama, where his credits include the 2018 Carlotta Festival of New Plays (master electrician) and the 2018 Langston Hughes Festival (properties supervisor). Other credits include An Enemy of the People (assistant technical director, Yale Rep); technical director for Radio Island and The Waves; (New York Stage and Film); Austen’s Pride, Oklahoma!, and West Side Story (Merry-Go-Round Playhouse). He also spent two seasons at McCarter Theatre Center as a carpenter. David received his B.A. in theater from the University of Maryland, College Park. dpthetd.weebly.com
RIW RAKKULCHON (Scenic Designer) is a third-year M.F.A. candidate at Yale School of Drama, where he designed the sets for The Girl Is Chained and Passion. Other credits include The Waiting Game (59E59); One Big Breath, the feels…(kms) (Yale Cabaret); Antony + Cleopatra (Yale Summer Cabaret); Loose Canon (Fringe Encore NYC 2015); Far From Canterbury (FringeNYC), as well as collaborations with Kitchen Theatre Company, Opera Ithaca, and Ithaca Shakespeare. He assisted designers such as
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
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CREATIVE TEAM Wilson Chin and Walt Spangler on productions at The Public Theater, La Jolla Playhouse, and Berkeley Rep, among others. He holds a B.F.A. in theatrical production from Ithaca College. riwrdesign.com Instagram: @riwrdesign
TARA RUBIN/LAURA SCHUTZEL, C.S.A. (Casting Director) has been casting Yale Rep since 2004. Selected Broadway/National Tours: King Kong, Summer: The Donna Summer Musical, The Band’s Visit, Prince of Broadway, Indecent, Bandstand, Sunset Boulevard, Miss Saigon, Dear Evan Hansen, A Bronx Tale, Cats, Falsettos, Disaster!, School of Rock, Les Misérables, The Heiress, The Phantom of the Opera, Billy Elliot, Shrek, Spamalot, The 25th Annual Putnam County Spelling Bee, The Producers, Mamma Mia!, Jersey Boys. Off-Broadway: Smokey Joe’s Café, Jersey Boys, Here Lies Love. Regional: Paper Mill Playhouse, La Jolla Playhouse, The Old Globe, Bucks County Playhouse, Westport Country Playhouse. tararubincasting.com
RICK SORDELET (Fight Director) has been the Resident Fight Advisor for Yale Rep for the last twenty years doing dozens of shows. He and his son and partner, Christian Kelly-Sordelet, created Sordelet INC (sordeletinc.com). Their 73 Broadway credits include Beauty and the Beast,
The Lion King, and Wolf Hall. Rick and Christian are working on Kiss Me Kate for Broadway and Romeo and Juliet for the Huntington Theatre in Boston. Television: over 1,200 episodes of stunt coordination for Guiding Light and both seasons for Kevin Can Wait starring Kevin James. Film: Ben Is Back starring Julia Roberts. They have 65 international production credits including Ben Hur Live (Rome, European tour). Rick is the Board President of The Shakespeare Theatre of New Jersey and teaches at Yale School of Drama. Christian teaches at CUNY Harlem and HB Studio. They, with their partner, author David Blixt, also run an e-publishing company called Sordelet INK (sordeletink.com) for the emerging author.
PATRICK YOUNG (Production Dramaturg) is a third-year M.F.A. candidate at Yale School of Drama, where his credits include The Prisoner, Ubu, and In the Palm of a Giant. Other credits include The Purple Flower, Camille, Fuck Her (Yale Cabaret); Port Out, Starboard Home (FoolsFury); and Shakespeare To Go (Shakespeare Santa Cruz). Patrick has a B.A. in theater arts from UC Santa Cruz, and an M.A. in theater and performance studies from UMD College Park.
TWELFTH NIGHT STAFF ARTISTIC
Assistant Director Christopher D. Betts Assistant Choreographer Taylor Mackenzie Smith
Associate Production Managers Samantha Else Ben Jones
Assistant Scenic Designer Jenn Doun
Assistant Technical Directors Francesca DeCicco Jonathan Jolly Matthew Lewis
Assistant Costume Designer Stephen Marks
Assistant Properties Master Jenna Heo
Assistant Lighting Designer Nicole E. Lang
Master Electrician Kyra Tamiko Murzyn
Associate Sound Designer David Thomas
Projection Engineer Chimmy Anne Gunn
Assistant Sound Designer and Engineer Marisa Arellano
Projections Programmer Alex Worthington
Assistant Projection Designer Elena Tilli Dance Captain Brit West
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PRODUCTION
Run Crew Benjamin Benne William Gaines Elsa GibsonBraden Sophie Greenspan Angie Bridgette Jones Alex Keegan Gloria Majule Emma Perrin
ADMINISTRATION House Manager Estefani Castro
UNDERSTUDIES Stephen Cefalu, Jr., Ensemble John R. Colley, Ensemble José Espinosa, Ensemble Denzel Fields, Antonio Gregory Saint Georges, Feste Evelyn Giovine, Ensemble Anthony Holiday, Malvolio Amandla Jahava, Ensemble Wesley T. Jones*, Sebastian Kineta Kunutu, Viola Maia Mihanovich, Maria Hudson Oz, Ensemble, Fabian Stephon Pettway*, Orsino Adam Shaukat, Sir Andrew Aguecheek Raffeal A. Sears*, Sir Toby Brit West*, Olivia *Member of Actors’ Equity Association
SPECIAL THANKS Classical Theatre of Harlem; Ty Jones; Patrick Bradford; Anne Bogart; Brian Kulick; Marina, Cassius and Langston Cofield.
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YALE REPERTORY THEATRE STAFF Artistic Director James Bundy Managing Director Victoria Nolan Associate Artistic Director and Director of New Play Programs Jennifer Kiger
ARTISTIC Resident Artists
Playwright in Residence Tarell Alvin McCraney Resident Director Liz Diamond Resident Dramaturg Catherine Sheehy Set Design Advisor, Resident Set Designer Michael Yeargan Costume Design Advisor Ilona Somogyi
Resident CostumeDesigner Jess Goldstein Lighting Design Advisor Jennifer Tipton Resident Lighting Designer Stephen Strawbridge Sound Design Advisor David Budries Voice and Speech Advisor Walton Wilson Fight Advisor Rick Sordelet Stage Management Advisor Mary Hunter
Associate Artists
52nd Street Project Kama Ginkas Mark Lamos MTYZ Theatre/Moscow New Generations Theatre Bill Rauch Sarah Ruhl Henrietta Yanovskaya
Artistic Management
Casting Tara Rubin, C.S.A. Laura Schutzel, C.S.A. Merri Sugarman, C.S.A. Kaitlin Shaw, C.S.A. Claire Burke, C.S.A. Peter Van Dam C.S.A. Felicia Rudolph, C.S.A. Xavier Rubiano Louis DiPaolo Senior Administrative Assistant to the Artistic Director and Associate Artistic Director Josie Brown
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
PRODUCTION Production Management
Director of Production Shaminda Amarakoon Production Manager Jonathan Reed Associate Head of Production and Student Labor Supervisor C. Nikki Mills
Scenic Artists Lia Akkerhuis Nathan Jasunas
Staff Sound Engineer Stephanie Smith
Scenic Painting Intern Amelia Pizzoferrato
Properties
Scenery
Sound Interns Marisa Arellano Yitong Huang
Projections
Properties Master Jennifer McClure
Projection Supervisor Erich Bolton
Properties Craftsperson David P. Schrader
Head Projection Technician Mike Paddock
Stage Operations
Stage Carpenter Janet Cunningham
Wardrobe Supervisor Elizabeth Bolster
Properties Stock Manager Mark Dionne
Head Properties Runner Billy Ordynowicz
Properties Intern Hyejin Son
FOH Mix Engineer Jacob Riley
Costumes
Light Board Programmer David Willmore
Costume Shop Manager Tom McAlister Senior Drapers Harry Johnson Clarissa Wylie Youngberg Mary Zihal Senior First Hands Deborah Bloch Patricia Van Horn Costume Project Coordinator Linda Kelley-Dodd Drapers Nikki Fazzone Stephanie Taff
Wig and Hair Design Earon Nealy Senior Administrative Assistant to the Production, Denise O’Brien (on leave) Theater Safety and Company Hairdresser Occupational Health Barbara Bodine Departments Grace O’Brien Costume Stock Manager Elizabeth Beale (on leave) Technical Directors Neil Mulligan Matt Welander
Sound
Sound Supervisor Mike Backhaus
Senior Administrative Master Properties Assistant for the Directing, Assistant Dramaturgy and Dramatic Zach Faber Criticism, Playwriting, and Stage Management Interim Properties Departments Assistant Laurie Coppola Madeline Winward
Production Stage Manager James Mountcastle Electro Mechanical Laboratory Supervisor Literary Manager Alan Hendrickson Amy Boratko Shop Foreman Artistic Associate Eric Sparks Kay Perdue Meadows Master Shop Carpenters Literary Associate Matt Gaffney Charles O’Malley Ryan Gardner Sharon Reinhart Libby Stone
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Painting
Scenic Charge Ru-Jun Wang
Interim Costume Stock Manager Jamie Farkas
Electrics
Lighting Supervisor Donald W. Titus Senior Head Electricians Jennifer Carlson Linda-Cristal Young Electrics Interns Ruo-Qiao Li Kyra Tamiko Murzyn
ADMINISTRATION General Management General Manager Kelvin Dinkins, Jr.
Associate Managing Directors Trent Anderson Caitlin Crombleholme Leandro A. Zaneti Assistant Managing Director Caitlin Volz Senior Administrative Assistant to the Managing Director and General Manager Emalie Mayo Management Assistants Madeline Carey Eliza Orleans Company Manager Dani Barlow Assistant Company Managers Madeline Carey William Gaines
Development and Alumni Affairs
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
Business Office Assistant Ashlie Russell
Marketing, Communications, and Audience Services
Kenneth Murray Alexis Payne Amir Rezvani Irene Vázquez
Business Manager Erin Ethier
Ushers Jillian Albrecht Lorena Benitez Director of Marketing Tracy Bennett Daniel Cress Tasha Boyer Denyse Burke Director of Sabrina Clevenger Communications Kristina Cuello Steven Padla Helia Gagnon Senior Associate Director Renata Hanuskova of Marketing and Christiana Hart Communications Hannah Herzog Caitlin Griffin Taylor Hoffman Bonnie Moeller Associate Director Emily Persico of Marketing and Jordan Pilant Communications Tobiah Richkind Sam Linden Hannah Sachs Ryan Sutherland Marketing and Communications Assistant Monica Traniello Jocelyn Wexler Estefani Castro Cody Whetstone Elizabeth Wiet Publications Manager Larsson Youngberg Marguerite Elliott
Director, Yale Tessitura Consortium Janna J. Ellis
Director of Audience Services Laura Kirk
Business Office Analyst Stacie Wcislo
Assistant Director of Audience Services Shane Quinn
Associate Director of Development and Alumni Affairs Lisa D. Richardson Senior Administrative Assistant to Development and Marketing & Communications Jennifer E. Alzona Development Assistants Casey Grambo Chad Kinsman Emma Perrin
Finance and Human Resources
Director of Finance and Human Resources Katherine D. Burgueño
Business Office Specialists Preston Mock Teressa Reese Senior Administrative Assistant to Business Office, Digital Technology, Operations, and Tessitura Shainn Reaves Business Operations Portfolio Analyst Ann Corris
Subscriptions Coordinator Tracy Baldini Audience Services Assistant Molly Leona Box Office Assistants Mikaela Boone Morgan Cronin Samantha Else Paige Hann
Art and Design Paul Evan Jeffrey Production Photographer Joan Marcus Videographer David Kane
Theater Safety and Occupational Health
Director of Theater Safety and Occupational Health Anna Glover
Customer Service and Safety Officers Kevin Delaney Ed Jooss John Marquez
Operations
Director of Facility Operations Jennifer Gonsalves Operations Associate Nadir Balan Operations Assistant Devin Matlock Arts and Graduate Studies Superintendents Jennifer Draughn Michael Halpern Team Leaders Andy Mastriano Sherry Stanley Facility Stewards Michael Humbert Marcia Riley Custodians Christina Davis Tylon Frost Cassandra Hobby Kathy Langston Mark Roy
Digital Technology
Director of Digital Technology Chris Kilbourne
Digital Technology Associate Andre Griffith Web and Email Consultant Luis Serrano Database Application Consultants Bo Du George Sheehy Ben Silvert
Yale Repertory Theatre operates under an agreement between the League of Resident Theatres (LORT) and Actors’ Equity Association (AEA), the Union of Professional Actors and Stage Managers in the United States. The Scenic, Costume, Lighting, and Sound Designers in LORT are represented by United Artists Local USA-829, IATSE.
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GENERAL INFORMATION
ACCESSIBILITY SERVICES
RESTROOMS
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 Yale Repertory Theatre (located on the left side of the building), and accessible seating. For more information about the theater’s accessibility services, contact Laura Kirk, Director of Audience Services, at 203.432.1522 or laura.kirk@yale.edu.
Restrooms are located in the lower level of the building.
SEATING POLICY Everyone must have a ticket. Sorry, no children in arms or on laps. Patrons who arrive late or leave the theater during the performance will be reseated at the discretion of house management. Those who become disruptive will be asked to leave the theater.
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 theater personnel and assisted in the evacuation of the building.
YOUTH PROGRAMS As part of Yale Rep’s commitment to our community, we provide two significant youth programs. WILL POWER! offers specially-priced tickets and early schooltime matinees for high school students for select Yale Rep productions every season. Since our 2003–04 season, WILL POWER! has served more than 20,000 Connecticut students and educators. The Dwight/Edgewood Project brings middle school students to Yale School of Drama for a month-long, after-school playwriting program designed to strengthen their selfesteem and creative expression. Yale Rep’s youth programs are supported in part by:
Bob and Priscilla Dannies; Mr. and Mrs. Kenneth Fellows; the Lucille Lortel Foundation; Dawn G. Miller; Arthur and Merle Nacht; NewAlliance Foundation; Sandra Shaner; Southern Connecticut Gas Company; United Illuminating Company; Esme Usdan.
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FOR TWELFTH NIGHT: AUDIO DESCRIPTION MARCH 30 AT 2PM A live narration of the play’s action, sets, and costumes for patrons who are blind or low vision. Pre-show description begins at 1:45PM.
TOUCH TOUR MARCH 30 AT 1PM Prior to a performance, patrons who are blind or low vision touch fabric samples, rehearsal props, and building materials in the theater to better understand what comprises the production design.
OPEN CAPTIONING APRIL 6 AT 2PM A digital display of the play’s dialogue as it’s spoken. Braille and Large Print programs are available at the concierge desk in the theater lobby.
c2 is pleased to be the official Open Captioning Provider of Yale Repertory Theatre.
COMMUNITY PARTNERS
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YALE SCHOOL OF DRAMA BOARD OF ADVISORS John B. Beinecke, Chair John Badham, Vice Chair Jeremy Smith, Vice Chair Nina Adams Amy Aquino Pun Bandhu Sonja Berggren Frances Black Carmine Boccuzzi Lynne Bolton Clare Brinkley Sterling B. Brinkley, Jr. Kate Burton James Chen
Lois Chiles Patricia Clarkson Edgar M. Cullman III Michael David Scott Delman Michael Diamond Polly Draper Charles S. Dutton Sasha Emerson Heidi Ettinger Lily Fan Terry Fitzpatrick Marc Flanagan Marcus Dean Fuller Anita Pamintuan Fusco Donald Granger
David Marshall Grant David Alan Grier Cathy MacNeil Hollinger Sally Horchow Ellen Iseman David Johnson Rolin Jones Jane Kaczmarek Asaad Kelada Sarah Long Brian Mann Elizabeth Margid Drew McCoy David Milch Tom Moore Arthur Nacht
Jennifer Harrison Newman Carol Ostrow Amy Povich Liev Schreiber Tracy Chutorian Semler Tony Shalhoub Michael Sheehan Anna Deavere Smith Andrew Tisdale Edward Trach Esme Usdan Courtney B. Vance Donald Ware Shana Waterman Henry Winkler Amanda Wallace Woods
Thank you to the generous contributors to Yale School of Drama and Yale Repertory Theatre LEADERSHIP SOCIETY ($50,000 and above) Nina Adams and Moreson Kaplan Anonymous (2) Dr. Richard Beacham John B. Beinecke Lois Chiles and Richard Gilder William H. Cowles Foundation The Horace W. Goldsmith Foundation Jerome L. Greene Foundation Lane Heard and Margaret Bauer William and Sarah Hyman David Johnson David G, Johnson David H. Johnson Jane Kaczmarek Rocco Landesman The Frederick Loewe Foundation Tom Moore Alan Poul Robina Foundation Ruderman Family Foundation The Shubert Foundation
Jeremy Smith Meryl Streep Stephen Timbers Time Warner Foundation Nesrin and Andrew Tisdale Edward Trach Esme Usdan
GUARANTORS ($25,000–$49,999)
Sonja Berggren and Patrick Seaver Burry Fredrik Foundation Connecticut Department of Economic and Community Development Anita Pamintuan Fusco and Dino Fusco Jennifer Lindstrom Sarah Long James Munson National Endowment for the Arts Tracy Chutorian Semler
BENEFACTORS ($10,000–$24,999)
Louis Alexander Americana Arts Foundation
Bank of America Foundation Lynne and Roger Bolton Clare and Sterling Brinkley Jim Burrows Michael Diamond Educational Foundation of America Heidi Ettinger Lily Fan Donald Granger Cathy MacNeil Hollinger Mabel Burchard Fischer Grant Foundation Lucille Lortel Foundation Neil Mazzella Arthur and Merle Nacht Lupita Nyong’o Seedlings Foundation Ted and Mary Jo Shen Talia Shire Schwartzman Carol L. Sirot Trust for Mutual Understanding Donald Ware
PATRONS ($5,000–$9,999)
John Badham The Hilaria and Alec Baldwin Foundation Foster Bam
Pun Bandhu Susan Berresford Carmine Boccuzzi and Bernard Lumpkin Brett Dalton Scott Delman Terry Fitzpatrick Julie and Marcus Fuller Barbara and Richard Franke Jane Head Linda Gulder Huett Ellen Iseman Charles B. Johnson Aja Naomi King Eugene Leitermann Charles E. Letts III Adrianne Lobel Brian Mann Roz and Jerry Meyer Marissa Neitling NewAlliance Foundation Carol Ostrow Pam and Jeff Rank Russ Rosensweig Michael and Riki Sheehan Philip J. Smith Sophie von Haselberg
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contributors to Yale School of Drama and Yale Repertory Theatre PRODUCER’S CIRCLE ($2,500–$4,999)
John Lee Beatty Frances Black Mark Blankenship Donald and Mary Brown James Bundy and Anne Tofflemire Joan Channick and Ruth Hein Schmitt William Connor Michael S. David Jon Farley Marc Flanagan Anthony Forman Fred Gorelick and Cheryl MacLachlan Catherine Hazlehurst da Cruz JANA Foundation Rolin Jones The Ethel & Abe Lapides Foundation Ben Ledbetter and Deborah Freedman Jonathan S. Miller Victoria Nolan and Clark Crolius Richard Ostreicher Thomas G. Masse and James M. Perlotto, MD Kenneth J. Stein United Illuminating & Southern Connecticut Gas Courtney B. Vance Marshall Williams
DIRECTOR’S CIRCLE ($1,000–$2,499)
Donna Alexander In memory of Anna Altman Victor and Laura Altshul Deborah Applegate and Bruce Tulgan Amy Aquino and Drew McCoy Paula Armbruster Mary Ellen and Thomas Atkins Alexander Bagnall Richard and Alice Baxter Jody Locker Berger Jeff Bleckner James T. Brown Thomas Bruce Kate Burton Ian Calderon Ben Cameron Cosmo Catalano, Jr. CEC Artslink Peggy Cowles Stephen Coy Catherine and Elwood Davis Ramon Delgado Alexander Dodge Christopher Durang Terry Dwyer Glen R. Fasman Eric Gershman and Katie Liberman Rob Greenberg
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Jeremy O. Harris Patrick Herold Stephen J. Hoffman Donald Holder Sally Horchow James Guerry Hood Elizabeth Kaiden James Earl Jewell Ann Judd and Bennett Pudlin Elizabeth Katz and Reed Hundt Helen Kauder and Barry Nalebuff Rik Kaye Jay B. Keene Roger Kenvin Hedda and Gary Kopf George Lindsay, Jr. William Ludel Emily Mann Robert Marx Peter and Wendy McCabe Meghan McMahon and David Swensen George Morfogen Neil Mulligan Gather Myers Chris Noth Dw Phineas Perkins Amy Povich Kathy and George Priest Lance Reddick Dr. Michael Rigsby and Prof. Richard Lalli Mark C. Rosenthal Dana Sanders Liev Schreiber Alec and Aimee Scribner The Gary and Barbara Siegler Foundation Benjamin Slotznick Adam Stockhausen Shepard and Marlene Stone Arlene Szczarba John Thomas III Benjamin Thoron and Patricia Saraniero Jennifer Tipton Joan van Ark Carol M. Waaser Steven Waxler Evan Yionoulis Steve Zuckerman
PARTNERS ($500–$999)
Actors’ Equity Foundation Mr. and Mrs. B.N. Ashfield Deborah S. and Bruce M. Berman Ashley Bishop Donald Brown Anne and Guido Calabresi Joy Carlin Lawrence Casey Sarah Bartlo Chaplin Myung Hee Cho Daniel Cooperman and Mariel Harris Bob and Priscilla Dannies Robert Dealy
Polly Draper Bernard Engel Roberta Enoch and Steven Canner Peter Entin Susan and Fred Finkelstein Tony Foreman Leiko Fuseya Betty and Joshua Goldberg Robert W. Goldsby Anne Gregerson Eduardo Groisman Regina Guggenheim Lorence Gutterman William B. Halbert Doug Harvey Ann Hellerman Jennifer Hershey David Howson Carolyn Hsu-Balcer Shane Hudson Mary and Arthur Hunt Peter Hunt Barnet Kellman Harvey Kliman and Sandra Stein David Kriebs Drew Kufta Frances Kumin Mildred Kuner Melanie Ginter and John Lapides Robert Goldsby David Marshall Grant Suttirat Larlarb Kenneth Lewis The Loo Family Chi-Lung Lui Charles H. Long Linda Lorimer and Charles Ellis Nancy Maasbach Jenny Mannis and Henry Wishcamper John McAndrew Daniel Mufson Jim and Eileen Mydosh Laura Naramore Regina and Thomas Neville William and Barbara Nordhaus Arthur Oliner F. Richard Pappas James Perakis Louise Perkins and Jeff Glans Point Harbor Fund of the Maine Community Foundation Stephen Pollock Faye and Asghar Rastegar Jon and Sarah Reed David and Barbara Reif Anne Renner Bill and Sharon Reynolds Melissa Rose Abby Roth and R. Lee Stump Helen Sacks Dr. Mark Schoenfeld
Sandra Shaner Rachel Shuey Dr. and Mrs. Dennis D. Spencer James Steerman Erich Stratmann Matthew Suttor David Sword Sarah Treem Emmy Tu Sylvia Van Sinderen and James Sinclair Paul Walsh Carolyn Seely Wiener Terrence Witter Steven Wolff Lila Wolff-Wilkinson Walton Wilson
INVESTORS ($250–$499)
Liz Alsina Shaminda Amarakoon Arnold Aronson Christopher Barreca Susan Brady and Mark Loeffler Tom Broecker Claudia Brown Robert Buckholz Jonathan Busky Susan Wheeler Byck Michael Cadden Lawrence Casey Barbara Jean and Nicholas Cimmino Lani Click Bill Connington Dean Lynn Cooley and Ted Killiam John W. Cunningham F. Mitchell Dana Laura Davis and David Soper Sue and Gus Davis Aziz Dehkan and Barbara Moss Dennis Dorn Michael Fain Fine Family Joel Fontaine David Freeman Stephen Godchaux Marian Godfrey Greer Goodman Naomi Grabel Rob Greenberg Scott Hansen Douglas Harvey Barbara Hauptman Chuck Hughes David Henry Hwang Joanna and Lee A. Jacobus Pam Jordan Elizabeth Kaiden Bruce Katzman Barnet Kellman York Kennedy Lindsay King James Kleinmann David Kriebs Maryanne Lavan and Larry Harris
Bona Lee Wing Lee Max Leventhal and Susan Booth Suzanne Cryer Luke Adam Man Marvin March Deborah McGraw David Muse David Nancarrow James Naughton Andrea Nellis George and Marjorie O’Brien Janet Oetinger Bruce Payne and Jack Thomas Lisa Rigsby Peterson Geoffrey Pierson Meghan Pressman Alec Purves Theodore Robb Kerry Robinson and Michael Capello Steve Robman Howard Rogut Fernande E. Ross Jean and Ron Rozett Robert Sandberg Suzanne Sato Robin Sauerteig Eugene Shewmaker William Skipper Mary C. Stark Regina Starolis Jeremy Stein Nausica Stergiou Stephen Strawbridge Bernard Sundstedt Richard B. Trousdell John Turturro and Katherine Borowitz Wendy and Peter Wells Vera Wells Dana Westberg George C. White Marshall Williams Amanda Wallace Woods Guy and Judith Yale Arthur and Ann Yost Pat and John Zandy
FRIENDS ($100–$249)
Anonymous Emika Abe Christopher Akerlind Michael Albano Sarah Jean Albertson Narda Alcorn Rachel and Ian Alderman Heath and Mary Aldridge Dale Amlund Nephelie Andonyadis Michael Annand Peter Aronson Stephen and Judy August Robert Auletta Angelina Avallone Sandra and Kirk Baird Dylan Baker James Bakkom Robert Barr
Warren Bass William and Donna Batsford Michael Baumgarten Nancy and Richard Beals Todd Berling Edward Blunt Anders Bolang Debra Booth Josh Borenstein Marcus and Kellie Bosenberg Michael Boyle Shawn Boyle Leslie Brauman Amy Brewer and David Sacco James and Dorothy Bridgeman Linda Briggs and Joseph Kittredge Michael Broh Linda Broker Christopher Brown Julie Brown Stephen and Nancy Brown Warwick Brown Oscar Brownstein William Buck Stephen Bundy Richard Butler David Byrd Susan Cahan David Calica Kathryn A. Calnan Robert Campbell Juliana Canfield H. Lloyd Carbaugh Lisa Carling Raymond Carver Sami Joan Casler David Chambers Ricardo and Jenny Chavira Terri Chegwidden Hsiao-Ya Chen James Chen Myung Hee Cho King-Fai Chung Cynthia Clair Gary and Becky Cline Katherine D. Cline Jack Cockerill Aurélia and Ben Cohen Robert Cohen Judith Colton and Wayne Meeks Forrest Compton Aaron Copp Jennifer Corman Rachel and Matt Cornish Robert Cotnoir Douglas and Roseline Crowley Alma Cuervo Sean Cullen Scott Cummings Phillip L. Cundiff Sr. William Curran Donato Joseph D’Albis Brian Dambacher Nigel W. Daw Katherine Day Peter De Breteville Mr. and Mrs. Paul DeCoster
Sheldon Deckelbaum Elizabeth DeLuca Connie and Peter Dickinson Derek DiGregorio Melinda DiVicino Merle Dowling Megan and Leon Doyon Ms. JoAnne E. Droller, R.N. Jeanne Drury Samuel Duncan John Duran Anne D’Zmura Laura Eckelman Kem and Phoebe Edwards Susan and Richard Ehrenkranz Fran Egler Robert Einienkel Dr. Marc Eisenberg Nancy Reeder El Bouhali Janann Eldredge Elizabeth English Dirk Epperson David Epstein Dustin Eshenroder Christine Estabrook Frank and Ellen Estes Femi Euba Connie Evans Jerry N. Evans Douglass Everhart John D. Ezell Ann Farris Richard and Barbara Feldman Mr. and Mrs. Kenneth Fellows Eugene Fidell and Linda Greenhouse Paul and Susan Birke Fiedler Andria Fiegel Madlyn and Richard Flavell Keith Fowler Walter M. Frankenberger III Donald Fried Reynold Frutkin Richard Fuhrman Randy Fullerton David Gainey Barbara and Gerald Gaab Josh Galperin James Gardner Jackson Gay David and Joan Geetter Eugénie and Brad Gentry Lauren Ghaffari Michael Giannitti Robert Glen William Glenn Nina Glickson and Worth David Lindy Lee Gold Robert Goldsby Diane Goldsmith Steven Gore Charles Grammer Bigelow Green Elizabeth M. Green Elizabeth Greenspan and Walt Dolde Marion Grinwis Michael Gross
John Guare Corin Gutteridge David Hale Amanda Haley Alexander Hammond Ann and Jerome R. Hanley Charlene Harrington Lawrence and Roberta Harris Brian Hastert James Hazen Ethan Heard Beth Heller Robert Heller Ann Hellerman Steve Hendrickson Molly Hennighausen Chris Henry Jeffrey Herrmann Joan and Dennis Hickey Roderick Hickey Christopher Higgins Gabrielle and Michael Hirschfeld Elizabeth Holloway Betsy Hoos Nicholas Hormann Kathleen Houle David Howson Evelyn Huffman Derek Hunt Peter H. Hunt John Huntington John W. Jacobsen Chris Jaehnig Ina and Robert Jaffee Eliot and Lois Jameson William Jelley Elizabeth Johnson Geoffrey Ashton Johnson Donald E. Jones, Jr. Jonathan Kalb Carol Kaplan Dr. and Mrs. Michael Kashgarian Dr. Jane Katcher Edward Kaye Patricia Keenan Asaad Kelada Roger Kenvin Peter Kim Carol Soucek King Susan Kirschner-Robinson and Shirley Kirschner William Kleb Dr. Lawrence Klein Elise F. Knapp David Koppel Joseph Kovalick Brenda and Justin Kreuzer Susan Kruger and Family Ann Kuhlman and Adel Allouche Tom Kupp Andrea Chi-Yen Kung Mitchell Kurtz William Kux Ojin Kwon Howard and Shirley Lamar Naomi Lamoreaux Marie Landry and Peter Aronson Michael Lassell
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contributors to Yale School of Drama and Yale Repertory Theatre James and Cynthia Lawler Martha Lidji Lazar Fred Lindauer Rita Lipson Irene Lewis Sam Linden Rita Lipson Robert Hamilton Long II Arthur Lueking Everett Lunning Andi Lyons Janell MacArthur Lizbeth Mackay Wendy MacLeod Alan MacVey James Magruder Dr. Maricar Malinis Jocelyn Malkin, MD Geertruida Malten Peter Maradudin Frederick Marker Patrick Markle Jonathan Marks Craig Martin Kenneth Martin Nancy Marx Maria Mason and William Sybalsky Craig Mathers Ben and Sally Mayer Margaret and Robert McCaw Matthew McCollum Patrick and Linda McCrelles Robert McDonald Thomas McGowan Bill McGuire Robert McKinna and Trudy Swenson Patricia McMahon Susan McNamara Brian McManamon Charles McNulty Lynne Meadow James Meisner and Marilyn Lord Donald Michaelis Carol Mikesell Kathryn Milano Bruce Miller Jonathan Miller Sandra Milles Lawrence Mirkin Frank Mitchell Jennifer Moeller Richard Mone George Moredock David and Betsy Morgan Beth Morrison Jay Mullen Richard Munday and Rosemary Jones Rachel Myers Rhoda F. Myers Mariko Nakasone
Tina C. Navarro Kate Newman Jennifer Harrison Newman Ruth Hunt Newman Gail Nickowitz Nancy Nishball Mark Novom Deb and Ron Nudel Adam O’Byrne Eileen O’Connor Dwight R. Odle Sara Ohly Edward and Frances O’Neill Alex Organ Sara Ormond Lori Ott Kendric T. Packer Jacob Padrón Maulik Pancholy Joan Pape Michael Parrella Jeffrey Park Russell Parkman Dr. and Mrs. Michael Parry Dr. Gary Pasternack Alexandra Paxton Amanda Peiffer Peter and Linda Perdue William Peters Dr. Ismene Petrakis Joel Polis Lisa Porter Michael Posnick Jeffrey Powell and Adalgisa Caccone Gladys Powers Robert Provenza Jeffry Provost William Purves Sarah Rafferty Carolyn Rochester Ramsey and William Ramsey Da’Vine Joy Randolph Gail Reen Theodore Robb Laila Robins Joan Robbins Sheila Robbins Nathan Roberts Peter S. Roberts Brian Robinson Lori Robishaw Priscilla Rockwell Doug Rogers Joanna Romberg Constanza Romero Melina Root Robert Rooy Stephen Rosenberg June Rosenblatt Allen Rosenshine Joseph Ross Donald Rossler John Rothman Deborah Rovner
Allan Rubenstein Dean and Maryanne Rupp Janet Ruppert Ortwin Rusch Raymond Rutan John Barry Ryan David Sacco Dr. Robert and Marcia Safirstein Steven Saklad Donald Sanders Robert Sandine and Irene Kitzman Adam Saunders Peggy Sasso Joel Schechter Anne Schenck Kenneth Schlesinger Georg Schreiber Jennifer Schwartz Kimberly Scott Forrest E. Sears Paul Selfa Ellen Seltzer Subrata K. Sen John Shea III Morris Sheehan Paul R. Shortt Lorraine D. Siggins William Skipper Cindy and Mark Slane William and Elizabeth Sledge Gilbert and Ruth Small E. Gray Smith, Jr. Helena L. Sokoloff Sarah Sokolovic Suzanne Solensky and Jay Rozgonyi Amanda Spooner Charles Steckler Louise Stein Neal Ann Stephens John Stevens Mark Stevens Howard Steinman Michael Strickland Jarek Strzemien Katherine Sugg William and Wilma Summers Mark Sullivan Thomas Sullivan Jane Suttell Tucker Sweitzer and Jerome Boryca Janet Takami Douglas Taylor Jean and Yeshvant Talati Kathleen Taylor Jane Savitt Tennen J. Terrazzano Aaron Tessler Muriel Test Kat Tharp
Pat Thomas Eleanor Q. Tignor, P.h.D David F. Toser Albert Toth David and Lisa Totman Russell L. Treyz Ellen Tsangaris Deborah Trout Suzanne Tucker Gregory and Marguerite Tumminio Leslie Urdang Carrie Van Hallgren Dr. Stein Vermund Eva Vizy Fred Voelpel Mark Anthony Wade Erik Walstad Brad Ward David Ward Barbara Wareck and Charles Perrow Cliff Warner John Weikart Rosa Weissman Peter and Wendy Wells Charles Werner Kathleen Whitby Peter White Robert and Charlotte White Stanley Wiklinski Lisa A. Wilde Robert Wildman David Willson Annick Winokur and Peter Gilbert Alex Witchel Carl Wittenberg Andrew Wolf Gretchen Wright Anita Yavich Robert Zoland Shoshana Zax Albert Zuckerman
EMPLOYER MATCHING GIFTS
Aetna Foundation Ameriprise Financial Chevron Corporation Covidien General Electric Corporation IBM Mobil Foundation, Inc. Pfizer Procter & Gamble The Prospect Hill Foundation
IN KIND
Carmine Boccuzzi Jane Kaczmarek Asaad Kelada
This list includes current pledges, gifts, and grants received from July 1, 2018, through March 1, 2019.
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photograph by David Ottenstein
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