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January 30–February 21

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*Call the Box Office at 203.432.1234 for more information. One ticket can be applied per subscription. Offer expires December 19, 2014. Plays, artists, and dates subject to change.

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A NOTE FROM THE ARTISTIC DIRECTOR Welcome to the world premiere of War! I am delighted that Yale Rep audiences are the first to experience this richly imaginative new work by Branden Jacobs-Jenkins, whose plays Appropriate and An Octoroon were honored with the 2014 OBIE Award for Best New American Play earlier this year. Later this season in New York, his play Gloria will debut at the Vineyard Theatre and An Octoroon will be restaged at Theatre for a New Audience. It is also my pleasure to introduce you to director Lileana Blain-Cruz, a recent graduate of Yale School of Drama, making her Yale Rep debut, and the extraordinary cast of actors and members of the creative team with whom she and Branden are bringing War to such vivid life for the first time. With breathtaking theatricality, bracing humor, and deep compassion, War explores the contours of a contemporary American family confronted with a shocking revelation that causes them to reconsider much of what they believed to be their own history. At the same time, the play masterfully asks the audience to examine our basic human need to communicate with one another—how language connects us and also profoundly fails us, often at the same time, and especially when the stakes are highest. War is the first of three Yale Rep-commissioned world premieres supported by the Binger Center for New Theatre this season. Pulitzer Prize finalist Danai Gurira (In the Continuum, co-written with Nikkole Salter, 2007; and Eclipsed, 2009) returns in January with her new play Familiar, and Sheila Callaghan makes her Yale Rep debut with the romantic comedy Elevada in the spring. Thank you for being with us today. As always, I’d love to hear what you think about War or any of your experiences at Yale Rep. My email address is james.bundy@yale.edu. I look forward to seeing you back at Yale Rep soon! Sincerely,

James Bundy Artistic Director

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november 2 1 – december 1 3 , 2 0 1 4

YALE REPERTORY THEATRE James Bundy, Artistic Director Victoria Nolan, Managing Director

Presents the world premiere of

BY

branden jacobs-jenkins DIRECTED BY

lileana Blain-Cruz Choreographer Scenic Designer Costume Designer Lighting Designer Sound Designer Projection Designer Voice and Dialect Coach Production Dramaturg Casting Director Stage Manager

David Neumann Mariana Sanchez Hernandez Montana Levi Blanco Yi Zhao Bray Poor Kristen Ferguson Ron Carlos Amy Boratko Tara Rubin CasTing Will Rucker

War was commissioned by Yale Repertory Theatre. Development and production support are provided by Yale’s Binger Center for New Theatre and the Andrew W. Mellon Foundation. Yale Rep’s 2014–15 season has been made possible in part by a gift from Tracy Chutorian Semler and is supported in part by the Connecticut Department of Economic and Community Development.

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CAST

in order of speaking

Roberta

Tonya Pinkins

Tate

DontÉ Bonner

Joanne

Rachael Holmes

Elfriede

Trezana Beverley

Malcolm Tobias Alpha, Nurse

GREG KELLER Philippe Bowgen Tyrone Mitchell Henderson

Setting Washington, DC. Present. There will be one fifteen-minute intermission.

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On Writing War : An interview Yale Rep commissioned Branden Jacobs-Jenkins four years ago; over that time, supported by Yale’s Binger Center for New Theatre, he’s been working on his play War—in residencies here in New Haven; in workshops in New York City; and now, in the rehearsal hall at Yale Rep, preparing for the play’s world premiere. Over the past four years, Branden has received critical acclaim for his plays Neighbors, An Octoroon, and Appropriate, these last two honored with the 2014 OBIE Award for Best New American Play. And now New Haven audiences are the first to see his newest play. Literary Manager and Production Dramaturg Amy Boratko sat down with Branden to talk about his process writing War. Amy Boratko: What was your initial inspiration for War? Branden Jacobs-Jenkins: Images and ideas come to me in pieces and then suddenly stick together to become something whole. So there were many things that came together to become War. I wanted to write a play about black Germans for a very long time—specifically something that dealt with the mischlingkinder (children born to white Germans and African American soldiers during the

branden Jacobs-Jenkins. photo by Imogen Heath.

American occupation of post-WWII Germany). I’m obsessed with World War II and black American soldiers and relationships between the Cold War and the Civil Rights movement in our country. AB: Yale Rep commissioned you in 2010, just before you left for Germany on a Fulbright. BJJ: Yes. I received the commission, which was the first major commission of my career, just as I was about to move to Germany for what became two years. I set out to study German dramaturgy—how plays and theatre get made over there versus here. I wanted to expose myself to some new ideas of structure and how people deal with ethnic difference and to do a little research around the mischlingkinder. The fact that Yale Rep commissioned me right before I left was incredible. And, because the theatre is embedded in a research institution, and has resources to support new plays, I felt like I could embark on writing a big play dealing with history and multiple languages. If I was going to tackle these ideas in a play anywhere, Yale was the perfect place to do it.


with Branden Jacobs-Jenkins AB: What characters or images emerged first with War? BJJ: One of the first images of the play came to me when I came to New Haven to participate in Paula Vogel’s Boot Camp alongside grad students here at Yale School of Drama. You spend several intense days doing writing exercises led by Paula. She charged us with the task of writing an impossible stage direction. What can you not do on stage? You can’t tell apes what to do. I described apes trapped in a glass cage, and they can use some sort of sign language. A fire breaks out in their cage, but the word that they sign for “help” is actually the word for “theatre.” And that’s where I started writing War from. AB: Once you had this initial image, how did you approach writing the play? Is your process similar from play to play, or does it vary depending upon the project? BJJ: I don’t know if I have a set way that I approach work. I do know that I have a long incubation process. As with War, I’m attracted to a set of mysteries and questions, and I spend a lot of time reading around those mysteries and questions. Generally, out of that, characters arrive. I start thinking about these characters and how they relate to each other. A map forms connecting all these relationships, and suddenly, a play starts to emerge.

I’ve been called very “processoriented.” There are some playwrights who can be done with their plays on the first day of rehearsal, but I’m always trying to create a vivid theatrical experience. I can’t seem to just do that in front of my laptop. Being a playwright, for me, is about being attuned to three different things at different times. Part of me is sitting at a computer, by myself, trying to generate words. Then, I’m sitting in the rehearsal room, responding to what’s happening with the actors and director. Beyond that, I’m also engaged with the designers and having conversations outside of the rehearsal room. I try to square away what I see visually with the story I want to tell.


AB: What does it mean to respond to what’s happening with the actors during the rehearsal process? How are your plays affected by the work actors bring to the process? BJJ: I used to be a performer—and even recently performed in the Soho Rep. production of my play An Octoroon—and sometimes that experience comes into play when I write. I feel the need to be loose sometimes and allow other artists to have the room to make choices. I try to pay close attention to the strengths that each artist brings to a process. I love actors—that each of them brings their own unique instruments. I’m always hungry for the moments when something catches fire in rehearsal. AB: You’ve known director Lileana Blain-Cruz for well over a decade, but this is the first time she’s directing the world premiere of one of your plays. What is she bringing to the process as you’re exploring in rehearsal?

BJJ: Lileana and I have a short-hand. We went to college together, and we came up together professionally. Along the way, we’ve exposed each other to things that we both like—and we know each other’s tastes and instincts. It feels like making work with a family member, which is fitting, as I’m trying to explore what it means to write a family drama. It’s also coming home for both of us: Yale Rep is an institution that began to support me early in my career, and Lileana graduated from Yale School of Drama. AB: Can you talk about this idea of the “family drama” more? You’ve spoken about how you want to investigate what it means to write a black family drama. BJJ: Yes. I’ve been curious about what that means. Is it different from a family drama? How? Why? “Black” is such a funny, false adjective in many ways—what does it mean to essentialize it in a family? I’m also interested in what “black drama” is


and how we make assumptions about black drama in a solely American context. AB: Since you began this process inspired by German, how is that affecting how you explore an American concept of black family drama? BJJ: Contemporary theatre culture in Germany is a different experience from what we Americans are used to. Stuff over there seems to be generally quite immersive—very long, hyperdesigned, not particularly occupied with audiences “recognizing their furniture” on stage. You’re just sort of thrown into another world and another sensibility. The work I really responded to there was about the emotional exhaustion—of yourself, of the actors, of the space, of the stories—to get at something else behind all the furniture and costumes. I’m not trying to ape

German practices, but I’m trying to make a patchwork quilt of what I like from their tradition and ours. There’s an American way of viewing, which I love, that is mostly naturalistic and fetishizes time and psychology. I want to take a play like that and put a sortof one-woman show in the middle of and all around it. I know that I ask the audience to be ready to shift gears several times, but also: why not?

War in rehearsal, below, from the left: dontÉ Bonner and Philippe BowGen; director lileana blain-cruz and Tonya Pinkins; RachAel Holmes and Trezana Beverley. Photos by Joan Marcus.


cast TREZANA BEVERLEY (ELFRIEDE) is making her Yale Rep debut. Ms. Beverley is the winner of the distinguished Tony Award for her performance in for colored girls who have considered suicide/when the rainbow is enuf. She has also performed extensively in regional theatre and on film. Noted highlights include Mother Courage and Her Children, A Raisin in the Sun (Center Stage); The Bacchae (Guthrie Theater); Peer Gynt (Shakespeare Theatre Company); The Nacirema Society (Alliance Theatre); Flyin’ West (Crossroads Theatre Company); the title role in King Lear and Medea (Take Wing and Soar Productions). Her film credits include Resurrection, Beloved with Oprah Winfrey, Carolina Skeletons, and Sister Margaret and the Saturday Night Ladies. Trezana is also a director and currently is a directing faculty guest at The Juilliard School. Her production company is The Trezana Projects. trezanabeverley.com

DONTÉ BONNER (TATE) This is Donté Bonner’s debut at Yale Rep. He studied at the University of Central Florida. His stage credits include Romeo and Juliet on Broadway and the east coast premiere of The Elaborate Entrance of Chad Deity. Film and television credits include Sydney White and the upcoming HBO miniseries Crime.

PHILIPPE BOWGEN (TOBIAS) is making his Yale Rep debut. Recent New York credits include Twilight: Los Angeles, 1992 at 59E59, as well as workshops at New York Theatre Workshop, MCC Theater, and Atlantic Theater Company. Recent regional theatre: Antony and Cleopatra directed by Emily Mann (McCarter Theatre), Oedipus El Rey (Dallas Theater Center), Darko Tresnjak’s repertory of Macbeth and La Dispute (Hartford Stage), Caviar on Credit (Guthrie Theater), Kingdom of Earth (Triad Stage), King Lear directed by Robert Falls (Shakespeare Theatre Company), Othello (Commonwealth Shakespeare Company), His Girl Friday (Trinity Repertory Company), Lysistrata (Synetic Theatre); upcoming Vanya and Sonia and Masha and Spike (Paper Mill Playhouse). He is a Scotsman Fringe First winner for Bang, Bang... You’re Dead! Film: Son of a Kingpin, Sobrevivo, and The Remains of Something Whole. Education/Training: MFA, Brown/Trinity Repertory Company; London Academy of Music and Dramatic Art; Georgetown University.

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TYRONE MITCHELL HENDERSON (ALPHA, NURSE) previously appeared at Yale Rep in The America Play, The Piano Lesson, and The Winter’s Tale. New York credits include The Piano Lesson; Bring in ’Da Noise, Bring in ’Da Funk (national tour), The Tempest with Patrick Stewart, Two Noble Kinsmen, The Public Sings, King Lear, and Letters to the End of the World. Regional credits include The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures, Angels in America, The Trip to Bountiful, An Enemy of the People, Tartuffe, Radio Golf, The 39 Steps, Romeo and Juliet, Julius Caesar, Antony and Cleopatra with Suzanne Bertish, Much Ado About Nothing, The Merchant of Venice, Othello, Hamlet, Topdog/ Underdog, Intimate Apparel, Yellowman, Jitney, All My Sons, The Crucible, and Blues for an Alabama Sky with Phylicia Rashad. Film and television: Ride for Your Life, The Treatment, Unforgettable, The Following, Boardwalk Empire, Suits (pilot), and five episodes of the Law & Order franchise. Honors: AUDELCO, Kevin Kline nominations; Dallas Theatre Critics, Connecticut Critics Circle, and Leon Rabin Awards. tyronemitchellhenderson.com

RACHAEL HOLMES (JOANNE) is making her Yale Rep debut. Her New York credits include Ruined directed by Kate Whoriskey (Manhattan Theatre Club); Persephone’s Cowboy: A Musical directed by Alex Timbers; 365 Days/365 Plays with directors Michael Greif (The Public Theater), Leigh Silverman and Hal Brooks (Epic Theatre). Regional credits: Vanya and Sonia and Masha and Spike directed by Jonathan Moscone (Alley Theatre); Good People directed by Kate Whoriskey (Huntington Theatre); Ruined directed by Charles Randolph-Wright, The Book Club Play directed by Molly Smith (Arena Stage); Richard II directed by Michael Kahn, Julius Caesar directed by David Paul (Shakespeare Theatre); and Marcus; or The Secret of Sweet directed by Timothy Douglas (Studio Theatre). She recorded Lady Macbeth and Titania for the Folger Shakespeare Library’s Luminary Shakespeare App. Television: The Mysteries of Laura, The Good Wife, Dirt, as well as national commercials and voice-overs. She received her MFA from NYU and teaches at New Victory Theatre and New York Film Academy. rachael.biz GREG KELLER (MALCOLM) previously appeared at Yale Rep in Belleville. Broadway: Wit (Manhattan Theatre Club). OffBroadway: The Who and The What (Lincoln Center Theater’s LCT3); Somewhere Fun (Vineyard Theatre); Belleville (New York Theatre Workshop); Cradle and All (Manhattan Theatre Club), The Seagull with Dianne Wiest and Alan Cumming (Classic Stage Company); That Pretty Pretty, Steve & Idi (Rattlestick Playwrights Theater); Telethon (Clubbed Thumb); Reborning 15


cast (The Public Theater/Summer Play Festival); and Smudge (Women’s Project). Los Angeles: Seminar with Jeff Goldblum and 33 Variations with Jane Fonda (Ahmanson Theatre). Television: Orange is the New Black, The Good Wife, Lipstick Jungle, Law & Order. MFA: NYU. Greg was a Lila Acheson Wallace playwriting fellow at The Juilliard School. His plays have been produced at Cherry Lane, Williamstown Theatre Festival, Berkshire Theatre Festival, and LAByrinth Theater Company, where he is a member.

TONYA PINKINS (ROBERTA) is making her Yale Rep debut. Her Broadway credits include Jelly’s Last Jam (Tony, Drama Desk, Outer Critics Circle, Clarence Derwent Awards); Caroline, or Change (OBIE, Lortel, Garland, L.A. Drama Critics, NAACP, AUDELCO Awards; Tony, Drama Desk, Drama League, What’s On Stage, Olivier nominations); Play On (Tony nomination); Holler If Ya Hear Me, A Time to Kill, Radio Golf, The Wild Party, Chronicle of a Death Foretold, and Merrily We Roll Along. Time Out New York named Tonya “One of the Top 25 All-Time Broadway Divas.” She has been nominated for the Joseph Jefferson, Noel, and Helen Hayes Awards for her work in regional theatres. Tonya spent 20 years in daytime television on As the World Turns and All My Children. Her other film and television appearances include Enchanted, Fading Gigolo, 24, Army Wives, The Closer, Law & Order, Cold Case, and this season’s Nurse Jackie. She has released two CDs: Live at Joe’s Pub and Live at Joe’s Pub Too. She is the author of Get Over Yourself!: How to Drop the Drama and Claim the Life You Deserve (Hyperion). Ms. Pinkins is a Beinecke Fellow at Yale School of Drama this fall.

creative team LILEANA BLAIN-CRUZ (DIRECTOR) is from New York City. She is currently working on a new production of Much Ado About Nothing at the Oregon Shakespeare Festival. Recent projects include Christina Anderson’s Hollow Roots, which premiered in the Under the Radar Festival (The Public Theater); a new translation of The Bakkhai at the Fisher Center of Performing Arts at Bard College; and A Guide to Kinship and Maybe Magic, a collaboration with Branden Jacobs-Jenkins and choreographer Isabel Lewis at Dance New Amsterdam. She is the co-founder and director of the ensemble company Overhead Projector, which devises new work. She received her MFA in directing from Yale School of Drama, where she directed Doctor Faustus Lights the Lights, The Taming of the Shrew, Tall Skinny Cruel Cruel Boys, Cavity, Fox Play, and Buffalo, Maine. She was one of the co-artistic directors of the 2011–2012 Yale Cabaret, where she directed Funnyhouse of a Negro, SALOME, and Vaska Vaska, Glöm. She received both the Julian Milton Kaufman Memorial Prize and the Pierre16


André Salim Prize for her leadership and directing. She was an Artistic Associate of The Exchange and The Orchard Project, a member of the Lincoln Center Director’s Lab, and an Allen Lee Hughes Directing Fellow at Arena Stage. As a recent 2050 directing fellow at New York Theatre Workshop, Lileana developed an adaptation of the Alejandro Jodorowsky film, EL TOPO.

MONTANA LEVI BLANCO (COSTUME DESIGNER) is a third-year MFA candidate at Yale School of Drama, where he has designed costumes for The Visit and THUNDERBODIES. At Yale Cabaret, he has designed costumes for The Defendant, The Brothers Size, and Look Up, Speak Nicely, and Don’t Twiddle Your Fingers All the Time. Previously he worked in the curatorial departments of the National Hispanic Cultural Center, the RISD Museum of Art, and the McNay Art Museum in San Antonio, Texas. Montana is the recipient of the Fellowship for the Study of the Public History of Slavery (Brown University), the Tobin Collection of Theatre Arts Fellowship (McNay Art Museum), the Presidential Public Service Fellowship (Yale University), and the Donald and Zorka Oenslager Scholarship in Stage Design (Yale School of Drama, 2013–2015). Montana holds degrees from Oberlin College, Oberlin Conservatory of Music, and Brown University. AMY BORATKO (PRODUCTION DRAMATURG) is the Literary Manager at Yale Rep and has previously served as dramaturg on the Yale Rep productions of The Fairytale Lives of Russian Girls, Dear Elizabeth, The Realistic Joneses, Good Goods, Belleville, Autumn Sonata, We Have Always Lived in the Castle, Battle of Black and Dogs, Compulsion, Notes from Underground, A Woman of No Importance, Eurydice, and The Cherry Orchard. Other dramaturgy credits include The Time of Your Life, The Summer People, Romeo and Juliet, The War Is Over (Yale School of Drama), as well as Voice and Vision’s ENVISION Retreat at Bard College. She has been a teaching fellow at Yale College and Yale School of Drama and was a managing editor of Theater magazine. A graduate of Rice University, she received her MFA in Dramaturgy and Dramatic Criticism from Yale School of Drama.

RON CARLOS (Voice and DIALECT COACH) is a New York-based teacher of voice, speech, and dialects. He currently teaches at The City College of New York, Marymount Manhattan College, and Yale School of Drama. His recent voice and dialect coaching credits include The Glass Menagerie directed by John Tiffany (Broadway), Pippin directed by Diane Paulus (American Repertory Theater), and The Witch of Edmonton directed by Jesse Berger (Red Bull Theater), as well as the TV series Unforgettable (CBS), Madam Secretary (CBS), and Fringe (Fox). He received his MFA in Voice and Speech Pedagogy from American Repertory Theater Institute at Harvard University and is an Associate Teacher of Fitzmaurice Voicework®. 17


creative team KRISTEN FERGUSON (PROJECTION DESIGNER) is a third-year MFA candidate at Yale School of Drama. Her credits include projection design for The Visit (Yale School of Drama), La Bohème and Iolanta (Yale Opera). She was the assistant projection designer for Iphigenia Among the Stars (Yale School of Drama), Stones in His Pockets, and Dear Elizabeth (Yale Repertory Theatre). She has also exhibited installation work at Yale University Art Gallery. Kristen received her BFA in studio art with an emphasis in transmedia from the University of Texas at Austin. MARIANA SANCHEZ HERNANDEZ (SCENIC DESIGNER) is a third-year MFA candidate at Yale School of Drama. Her theatre credits include set design for As You Like It, Peter Pan (Yale School of Drama); The Bird Bath, all of what you love and none of what you hate (Yale Cabaret); and Cenizas de Piedra (Teatro de la Paz, Mexico City). Before coming to New Haven, she assisted leather designer Jason Ross on several collections for Donna Karan and Henry Beguelin in New York. She previously lived in Mexico City, where she was an independent architect and, prior to that, she worked for the architecture firm Javier Sanchez Arquitectura. She also served as assistant to set and lighting designer Sergio Villegas in Mexico City. Mariana holds a bachelor’s degree in architecture from the National University of Mexico (UNAM). She is a recipient of the Alfred and Nancy L. McDougal Scholarship from Yale School of Drama and an artistic achievement award from FONCA, Mexico’s national culture and art institution. BRANDEN JACOBS-JENKINS (Playwright) Off-Broadway: Appropriate (OBIE Award, Outer Critics Circle nomination; Signature Theatre Company), An Octoroon (OBIE Award; Soho Rep.), and Neighbors (The Public Theater). Upcoming: Gloria (Vineyard Theatre) and An Octoroon (Theatre for a New Audience). His work has been seen at Actors Theatre of Louisville, Victory Gardens Theater, Woolly Mammoth Theatre, Vineyard Theatre, The Matrix Theatre Company in Los Angeles, Mixed Blood Theatre in Minneapolis, CompanyOne in Boston, and the HighTide Festival in the U.K. He is currently a Residency Five playwright at Signature Theatre and under commissions from Lincoln Center/LCT3 and Manhattan Theatre Club. A former Lila Acheson Wallace fellow at the Juilliard School, his honors include a Paula Vogel Award and the Sundance Institute’s inaugural Tennessee Williams Award.

DAVID NEUMANN (CHOREOGRAPHER) has worked at Yale Rep as choreographer for The Birds in 2001 and In a Year with 13 Moons in 2013. As artistic director of Advanced Beginner Group, Neumann’s original work has been presented in New York at PS122, New York Live Arts, The Kitchen, Central Park Summerstage, Symphony

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Space, and The Whitney. ABG has also performed at the Walker Art Center, Alverno College, and MASS MoCA, among others. Neumann has been a featured performer in the works of Big Dance Theater, Susan Marshall, Sally Silvers, and club legend Willi Ninja. He was a member of Doug Varone and Dancers and an eight-year original member and collaborator with the Doug Elkins Dance Company, with whom he toured nationally and internationally. He continues to perform and choreograph for theatre, opera, and film, including The Total Bent by Stew, and he created two duets that he performed with Mikhail Baryshnikov. He is currently the director of The Object Lesson for BAM’s Fisher Space/Next Wave Festival and will premiere a new original work, I Understand Everything Better, at Abrons Arts Center in NYC this coming April. He is currently professor of theatre at Sarah Lawrence College.

BRAY POOR (SOUND DESIGNER) Previous Yale Rep credits include Dear Elizabeth, Eurydice, and The Evildoers. His Broadway credits include the current production of The Real Thing, In the Next Room (or the vibrator play), and The American Plan. His other sound design and original music work includes productions at New York Theatre Workshop, Lincoln Center Theater, Roundabout Theatre Company, Playwrights Horizons (Lortel Award nomination for The Flick), Signature Theatre Company, Second Stage Theatre (Drama Desk Award nomination for Wings), Soho Rep., Long Wharf Theatre, Trinity Rep, Arena Stage, Berkeley Repertory Theatre, and Actors Theatre of Louisville, among others. He has also designed sound and created music for several videos and installations.

TARA RUBIN CASTING (CASTING DIRECTOR) has been casting at Yale Rep since 2004. Selected Broadway: Bullets Over Broadway; Aladdin; A Time To Kill; Big Fish; The Heiress; One Man, Two Guvnors (U.S. Casting); Ghost; How to Succeed in Business Without Really Trying; Promises, Promises; A Little Night Music; Billy Elliot; Shrek; Guys and Dolls; The Farnsworth Invention; Young Frankenstein; The Little Mermaid; Mary Poppins; Les MisĂŠrables; Spamalot; Jersey Boys; The 25th Annual Putman County Spelling Bee; The Producers; Mamma Mia!; The Phantom of the Opera; Contact. Off-Broadway: Love, Loss, and What I Wore; Old Jews Telling Jokes. Regional: The Kennedy Center, La Jolla Playhouse, Dallas Theater Center, The Old Globe, Westport Country Playhouse, Bucks County Playhouse. Film: Lucky Stiff, The Producers.

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creative team WILL RUCKER (STAGE MANAGER) is a third-year MFA candidate at Yale School of Drama, where his credits include Cardboard Piano, Platonov, and The Two Gentlemen of Verona. At Yale Repertory Theatre, he was the assistant stage manager for Accidental Death of an Anarchist. He has worked as a director and production manager and has taught theatre in Virginia juvenile detention centers. Will is an artistic director of the Yale Cabaret’s 47th season. YI ZHAO (LIGHTING DESIGNER) Previous Yale Rep credits include In a Year with 13 Moons (co-designed with Jennifer Tipton) and A Doctor in Spite of Himself, which was also seen at Berkeley Repertory Theatre. Other collaborations with Lileana Blain-Cruz include Much Ado About Nothing (Princeton University and upcoming at Oregon Shakespeare Festival) and The Bakkhai (Fisher Center at Bard College). Other projects include Hamlet and upcoming Rosencrantz and Guildenstern Are Dead (The Wilma Theater); Becoming Cuba (Huntington Theatre Company); La Cenerentola (Curtis Institute of Music); Chairs and a Long Table, Livin’ La Vida Imelda (Ma-Yi Theatre Company); with Hoi Polloi: Republic (Duke Performances & JACK), Beckett Solos (JACK), Winter Journey (PS122); Blown Youth (New Georges); La Prose du Transsibérien (Beinecke Library); Paola Prestini’s Labyrinth Installation Concertos (Krannert Center for the Performing Arts); The Garden (Nichole Canuso Dance Company); Saori’s Birthday! and The Misanthrope (Performance Space 122). He is a graduate of the University of Chicago and Yale School of Drama. yi-zhao.com

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2014–1 5 NO BO UNDARI ES SERI ES

Lana Lesley, Hannah Kenah, E. Jason Liebrecht, and Robert S. Fisher in Now Now Oh Now, photo by Jeremy M. Lange Photography; Anna Bass, Ira Glass, and Monica Bill Barnes in Three Acts, Two Dancers, One Radio Host, photo by David Bazemore; Julianna Bloodgood and Gabriel Gawin in Songs of Lear, photo by Zbigniew Warzynski.


yale repertory theatre JAMES BUNDY (ARTISTIC DIRECTOR) is in his 13th year as Dean of Yale School of Drama and Artistic Director of Yale Repertory Theatre. In his first 12 seasons, Yale Rep has produced more than 30 world, American, and regional premieres, eight of which have been honored by the Connecticut Critics Circle with the award for Best Production of the year and two of which have been Pulitzer Prize finalists. During this time, Yale Rep also has commissioned more than 40 artists to write new work and provided low-cost theatre tickets to thousands of middle and high school students from Greater New Haven through WILL POWER!, an educational program initiated in 2004. In addition to his work at Yale Rep, he has directed productions at Oregon Shakespeare Festival, Great Lakes Theater Festival, The Acting Company, California Shakespeare Festival, Alabama Shakespeare Festival, and The Juilliard School Drama Division. A recipient of the Connecticut Critics Circle’s Tom Killen Award for extraordinary contributions to Connecticut professional theatre in 2007, Mr. Bundy served from 2007–13 on the board of directors of Theatre Communications Group, the national service organization for nonprofit theatre. Previously, he worked as Associate Producing Director of The Acting Company, Managing Director of Cornerstone Theater Company, and Artistic Director of Great Lakes Theater Festival. He is a graduate of Harvard College; he trained at the London Academy of Music and Dramatic Art and Yale School of Drama. VICTORIA NOLAN (MANAGING DIRECTOR) is in her 22nd year as Managing Director of Yale Repertory Theatre, serves as Deputy Dean of Yale School of Drama, and is on its faculty. She was previously Managing Director of Indiana Repertory Theatre, Associate Managing Director at Baltimore’s Center Stage, Managing Director at Ram Island Dance Company in Portland, Maine; and she has held various positions at Loeb Drama Center of Harvard University; TAG Foundation, an organization producing Off-Broadway modern dance festivals; and Boston University School for the Arts. Ms. Nolan has been an evaluator for the National Endowment for the Arts, for which she has chaired numerous grant panels, and has served on other panels and foundation review boards including the AT&T Foundation, The Heinz Family Foundation, Lila Wallace-Reader’s Digest Fund, and the Metropolitan Life Foundation. She has also served on the Executive Committee of the League of Resident Theatres (LORT) and on numerous negotiating teams for national labor contracts. A Fellow at Yale’s Saybrook College, she is the recipient of the Betsy L. Mahaffey Arts Administration Fellowship Award from the State of Connecticut and the Elm/Ivy Award, given jointly by Yale University and the City of New Haven for distinguished service to the community. JENNIFER KIGER (ASSOCIATE ARTISTIC DIRECTOR AND DIRECTOR OF NEW PLAY PROGRAMS) is in her tenth year as Associate Artistic Director of Yale Repertory Theatre and is also the Director of New Play Programs of Yale’s Binger Center for New Theatre, an artist-driven initiative that supports the creation of new work for the American stage through commissions, residencies, workshops, and productions. Since its founding in 2008, the Binger Center has supported the work of more than 40 commissioned artists and underwritten the world premieres and subsequent productions of 18 new American plays and musicals 22


at Yale Rep and theatres across the country. Ms. Kiger came to Yale Rep from South Coast Repertory, where she was Literary Manager from 2000–2005 and served as Co-Director of the Pacific Playwrights Festival. She was dramaturg for more than 40 new plays at SCR. Prior to that, she served as production dramaturg at American Repertory Theater, collaborating with directors Robert Brustein, Robert Woodruff, Liz Diamond, and Kate Whoriskey. She adapted Robert Coover’s Charlie in the House of Rue and Mac Wellman’s Hypatia for the stage with director Bob McGrath. She has been a dramaturg for the Playwrights Center of Minneapolis and Boston Theatre Works and a panelist for the National Endowment for the Arts and the California Arts Council. Ms. Kiger completed her training at the American Repertory Theater Institute for Advanced Theater Training at Harvard University, where she taught courses in acting and dramatic arts. She is currently on the playwriting faculty of Yale School of Drama. BRONISLAW SAMMLER (head of production) has been Chair of Yale School of Drama’s acclaimed Technical Design and Production Department since 1980. In 2007 he was named the Henry McCormick Professor (Adjunct) of Technical Design and Production by Yale’s President, Richard C. Levin. He is co-editor of Technical Brief and Technical Design Solutions for Theatre, Vols. I, II, & III. He coauthored Structural Design for the Stage, which won the United States Institute of Theatre Technology’s (USITT) Golden Pen Award. Demonstrating his commitment to excellence in technical education and professional production, he co-founded USITT’s National Theatre Technology Exhibit, an on-going biennial event; he has served as a commissioner and a director at-large and is a lifetime Fellow of the Institute. He was honored as Educator of the Year in 2006 by the New England Theatre Conference and chosen to receive the USITT Distinguished Achievement Award in Technical Production in 2009. His production management techniques and his introduction of structural design to scenic technology are being employed in both educational and professional theatres throughout the world. JAMES MOUNTCASTLE (PRODUCTION STAGE MANAGER), has been at Yale Rep since 2004. He has stage managed productions of Arcadia, The House that will not Stand, A Streetcar Named Desire, American Night: The Ballad of Juan José, Three Sisters, We Have Always Lived in the Castle, The Master Builder, Passion Play, Eurydice, and the world premiere of The Clean House. Broadway credits include Damn Yankees, Jekyll & Hyde, Judgment at Nuremberg, The Boys from Syracuse, The Smell of the Kill, Life x(3), and Wonderful Town. Mr. Mountcastle spent several Christmas seasons in New York City as stage manager for the now legendary production of A Christmas Carol at Madison Square Garden. Broadway national tours include City of Angels, Falsettos, and My Fair Lady. He served as Production Stage Manager for Damn Yankees starring Jerry Lewis for both its national tour and at the Adelphi Theatre in London’s West End. In addition, Mr. Mountcastle has worked at The Kennedy Center, Center Stage in Baltimore, Actors Theatre of Louisville, Brooklyn Academy of Music, and elsewhere. James and his wife Julie live in North Haven and are the very proud parents of two beautiful girls: Ellie, who is 15 years old, and Katie, age 13. 23


WAR Staff artistic

Taylor Barfield, Assistant Director Claire DeLiso, Assistant Scenic Designer Rebecca Welles, Assistant Costume Designer Marika Kent, Assistant Lighting Designer Fan Zhang, Associate Sound Designer Emily Erdman, Assistant Sound Designer and Engineer Michael Commendatore, Assistant Projection Designer Victoria Whooper, Assistant Stage Manager Ken Greller, Assistant to the Playwright

PRODUCTION

James Lanius III, Associate Production Manager Kate Newman, Technical Director Krystin Matsumoto, Alexandra Reynolds, Jonathan Seiler, Assistant Technical Directors Thomas Harper, Mechanical Designer Ben Clark, Assistant Properties Master Jeong Sik Yoo, Master Electrician Nick Vogelpohl, Projection Engineer Rasean Davonte Johnson, Projection Programmer Fabian Fidel Aguilar, Paula R. Clarkson, Michael Commendatore, Melanie Field, Tommy Rose, Christopher Ross-Ewart, Sean K. Walters, Emely Selina Zepeda, Run Crew

ADMINISTRATION Flo Low, House Manager

Understudies

Lauren E. Banks,** Roberta Ato Blankson-Wood,**Tate Juliana Canfield, Joanne James Cusati-Moyer, Tobias Cornelius Davidson, Alpha, Nurse Chalia LaTour, Elfriede Matt Raich, Malcolm ** Appears courtesy of Actors’ Equity Association

Special Thanks

Jasmine Batchelor, Alex Blain-Cruz, Marie Blain-Cruz, Xavier Blain-Cruz, Daphne Brooks, David Clauson, Corey Dorris, Christopher Durang, Danaya Esperanza, Betty Gabriel, Molly Hennighausen, Patricia Jacobs, Sam Lilja, Stephanie Mareen, Marsha Norman, Antje Oegel, Alex Ripp, Andrew Robson, Austin Smith, James Speiser, Liesl Tommy, Derek Zasky The Actors and Stage Manager employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers. The Scenic, Costume, Lighting, and Sound Designers in LORT are represented by United Artists Local USA-829, IATSE. The Director and Choreographer are members of the STAGE DIRECTORS AND CHOREOGRAPHERS SOCIETY, a national theatrical labor union.

Yale Repertory Theatre operates under an agreement between the League of Resident Theatres (LORT) and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. War November 21–December 13, 2014 Yale Repertory Theatre, 1120 Chapel Street

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YALE REPERTORY theatre stafF James Bundy, Artistic Director Victoria Nolan, Managing Director Jennifer Kiger, Associate Artistic Director Director of New Play Programs

Artistic

Resident Artists Paula Vogel, Playwright-in-Residence Liz Diamond, Evan Yionoulis, Resident Directors Catherine Sheehy, Resident Dramaturg Michael Yeargan, Set Design Advisor, Resident Set Designer Ilona Somogyi, Costume Design Advisor Jess Goldstein, Resident Costume Designer Jennifer Tipton, Lighting Design Advisor Stephen Strawbridge, Resident Lighting Designer David Budries, Sound Design Advisor Walton Wilson, Voice and Speech Advisor Rick Sordelet, Fight Advisor Mary Hunter, Stage Management Advisor Associate Artists 52nd Street Project, Kama Ginkas, Mark Lamos, MTYZ Theatre/Moscow New Generations Theatre, Bill Rauch, Sarah Ruhl, Henrietta Yanovskaya Artistic Management James Mountcastle, Production Stage Manager Amy Boratko, Literary Manager Kay Perdue Meadows, Artistic Associate Benjamin Fainstein, Artistic Coordinator Helen C. Jaksch, Kelly Kerwin, Literary Associates Tara Rubin, C.S.A.; Laura Schutzel, C.S.A.; Lindsay Levine, C.S.A.; Kaitlin Shaw C.S.A.; Eric Woodall, C.S.A.; Scott Anderson, Casting Lindsay King, Teresa Mensz, Library Services Josie Brown, Senior Administrative Assistant to the Artistic Director and Associate Artistic Director Laurie Coppola, Senior Administrative Assistant for the Directing, Dramaturgy and Dramatic Criticism, Playwriting, and Stage Management Departments Mary Volk, Senior Administrative Assistant for the Design, Sound Design, and Projection Departments

PRODUCTION

Production Management Bronislaw J. Sammler, Head of Production Jonathan Reed, Production Manager Steven Schmidt, Associate Head of Production and Work-Study Supervisor Grace O’Brien, Senior Administrative Assistant to the Production and Theater Safety and Occupational Health Departments Scenery Neil Mulligan, Matt Welander, Technical Directors Alan Hendrickson, Electro Mechanical Laboratory Supervisor Eric Sparks, Shop Foreman Brandon Fuller, Matt Gaffney, Ryan Gardner, Sharon Reinhart, Master Shop Carpenters Samantha Catanzaro, Kelly Rae Fayton, Alexandra Reynolds, Assistants to the Technical Director


Painting Ru-Jun Wang, Scenic Charge Lia Akkerhuis, Nathan Jasunas, Assistant Scenic Artists Emily Baldasarra, Assistant to the Painting Supervisor Properties Brian Cookson, Properties Master David P. Schrader, Properties Craftsperson Jennifer McClure, Master Properties Assistant Bill Batschelet, Properties Stock Manager Ashley Flowers, Assistant to the Properties Manager Costumes Tom McAlister, Costume Shop Manager Robin Hirsch, Associate Costume Shop Manager Clarissa Wylie Youngberg, Mary Zihal, Senior Drapers Deborah Bloch, Harry Johnson, Senior First Hands Linda Kelley-Dodd, Costume Project Coordinator Denise O’Brien, Wig and Hair Design Barbara Bodine, Company Hairdresser Linda Wingerter, Costume Stock Manager Christina King, Assistant to the Costume Shop Manager Electrics Donald W. Titus, Lighting Supervisor Brian Quiricone, Linda-Cristal Young, Senior Head Electricians Sound Mike Backhaus, Sound Supervisor Monica Avila, Staff Sound Engineer Jessica Hawkins, Stephanie Smith, Assistants to the Sound Supervisor Projections Erich Bolton, Projection Supervisor Mike Paddock, Head Projection Technician Stage Operations Janet Cunningham, Stage Carpenter Kate Begley Baker, Head Properties Runner Elizabeth Bolster, Wardrobe Supervisor Jacob Riley, FOH Mix Engineer

ADMINISTRATION

General Management Louisa Balch, Sarah Williams, Associate Managing Directors Libby Peterson, Stephanie Rolland, Assistant Managing Directors Emalie Mayo, Senior Administrative Assistant to the Managing Director Gretchen Wright, Company Manager Adam Frank, Jason Najjoum, Assistant Company Managers Development and Alumni Affairs Deborah S. Berman, Director of Development and Alumni Affairs Janice Muirhead, Senior Associate Director of Development Eric Gershman, Associate Director of Development Barry Kaplan, Senior Staff Writer Susan C. Clark, Development and Alumni Affairs Officer Katherine Ingram, Development Associate Belene Day, Senior Administrative Assistant to Development and Marketing & Communications

Finance and Human Resources Katherine D. Burgueño, Director of Finance and Human Resources Jonathan Rohner, Business Manager Cristal Coleman, Joanna Romberg, Jennifer Truong, Business Office Specialists Janna J. Ellis, Director, Yale Tessitura Consortium Toni Ann Simiola, Senior Administrative Assistant to Business Office; Technology, Media, and Web Services; Operations; and Tessitura Marketing, Communications, and Audience Services Daniel Cress, Interim Director of Marketing Steven Padla, Interim Director of Communications Anh Lê, Associate Director of Marketing Marguerite Elliott, Publications Manager Caitlin Griffin, Marketing and Communications Assistant Emily Reeder, Marketing Assistant Paul Evan Jeffery, Art and Design Joan Marcus, Production Photographer Laura Kirk, Associate Director of Audience Services Shane Quinn, Assistant Director of Audience Services Tracy Baldini, Subscriptions Coordinator Roger-Paul Snell, Audience Services Assistant Janie Alexander, Charles Cowen, Nathaniel Dolquist, Paul Hanna-Cook, Adam Jenkinson, Katie Metcalf, Andrew Moore, Peter Schattauer, Box Office Assistants Operations Diane Galt, Director of Facility Operations Nadir Balan, Interim Operations Associate Ian Dunn, Operations Associate—on leave Joe Proto, Arts and Graduate Studies Superintendent Vondeen Ricks, Team Leader Michael Humbert, Facility Steward Lucille Bochert, Tylon Frost, Kathy Langston, Warren Lyde, Patrick Martin, Louis Moore, Mark Roy, Custodians Technology, Media, and Web Services Sarah Stevens-Morling, Director of Technology, Media, and Web Services Daryl Brereton, Associate Director of Technology, Media, and Web Services Kathleen Martin, Web Services Associate Theater Safety and Occupational Health William J. Reynolds, Director of Theater Safety and Occupational Health Jacob Thompson, Security Officer Ed Jooss, Audience Safety Officer Kevin Delaney, Fred Geier, Patrick Grant, John Marquez, Customer Service and Safety Officers

yalerep.org 25


Winner! 2014 Outstanding Production of a Play ConneCtiCut CritiCs CirCle

These Paper Bullets! adapted by Rolin Jones from William Shakespeare’s Much Ado About Nothing, with songs by Billie Joe Armstrong; Yale Rep, world premiere, 2014.

binger CenTer FOr neW THeATre Yale RepeRtoRY theatRe, the internationally celebrated professional theatre in residence at Yale School of Drama, has championed new work since 1966, producing well over 100 premieres—including two Pulitzer Prize winners and four other nominated finalists—by emerging and established playwrights. Twelve Yale Rep productions have advanced to Broadway, garnering more than 40 Tony Award nominations and eight Tony Awards. Yale Rep is also the recipient of the Tony Award for Outstanding Regional Theatre. 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 40 commissioned artists and underwritten the world premieres and subsequent productions of 18 new American plays and musicals at Yale Rep and theatres across the country—including this season’s War by Branden Jacobs-Jenkins, Familiar by Danai Gurira, and Elevada by Sheila Callaghan. For more information, including a complete list of Yale Rep commissioned artists, please visit yalerep.org/center. Photos by T. Charles Erickson, Joan Marcus, Carol Rosegg, and Richard Termine.

The House that will not Stand by Marcus Gardley; Yale Rep and Berkeley Repertory Theatre, world premiere, 2014.

“One of ten reasons for theatre lovers to leave New York in 2014!” time magazine


Winner! 2013 Outstanding Production of a Play ConneCtiCut CritiCs CirCle

Marie Antoinette by David Adjmi; Yale Rep and American Repertory Theater, world premiere, 2012; Soho Rep., New York premiere, 2013.

“An ecstasy of theatrical surprises!” new haven advoCate

Top Ten Plays of the Year, 2011 and 2013! the new York times

Belleville by Amy Herzog; Yale Rep, world premiere, 2011; New York Theatre Workshop, New York premiere, 2013.

In a Year with 13 Moons adapted by Bill Camp and Robert Woodruff from the film and screenplay by Rainer Werner Fassbinder; Yale Rep, world premiere, 2013.

“An occasion worth celebrating! A pleasurable rush virtually unmatched by anything this season.” the new York times

The Realistic Joneses by Will Eno; Yale Rep, world premiere, 2012; Broadway premiere, 2014.


for your information

ACCESSIBILITY SERVICES

how to reach us Yale Repertory Theatre Box Office 1120 Chapel Street (at York St.) PO Box 208244, New Haven, CT 06520 203.432.1234 Email: yalerep@yale.edu

Yale Repertory Theatre offers all patrons the most comprehensive accessibility services program in Connecticut, including a season of open-captioned and audiodescribed performances, a free assistive FM listening system, large-print and Braille programs, wheelchair accessibility with an elevator entrance into the Yale Rep Theatre located on the left side of the building, and accessible seating. For more information about the theatre’s accessibility services, contact Laura Kirk, Associate Director of Audience Services, at 203.432.1522 or laura.kirk@yale.edu.

box office hours Monday to Friday from 10AM to 5PM Saturday from 12PM to 5PM Until 8PM on all show nights fire notice Illuminated signs above each door indicate emergency exits. Please check for the nearest exit. In the event of an emergency, you will be notified by theatre personnel and assisted in the evacuation of the building. restrooms Restrooms are located in the lower level of the building. emergency calls Please leave your cell phone, name, and seat number with the concierge. We’ll notify you if necessary. The emergencyonly telephone number at Yale Rep is 203.764.4014. group rates Discounted tickets are available for groups of ten or more. Please call 203.432.1234. seating policy Everyone must have a ticket. Sorry, no children in arms or on laps. Patrons who become disruptive will be asked to leave the theatre.

The taking of photographs or the use of recording devices of any kind in the theatre without the written permission of the management is prohibited. 28

Yale Repertory Theatre thanks the Eugene G. and Margaret M. Blackford Memorial Fund, Bank of America, Co-Trustee, for its support of audio description services for our patrons.

audio descriPTION (ad) A live narration of the play’s action, sets, and costumes for patrons who are blind or low vision. open captioning (oc) A digital display of the play’s dialogue as it’s spoken. Open Captioning and Audio Described performances are on Saturdays at 2PM. AD pre-show description begins at 1:45PM.

War

Dec 6 Dec 13

Familiar

Feb 14 Feb 21

The Caucasian Chalk Circle

Apr 4

Elevada

May 9 May 16

Apr 11

c2 is pleased to be the official Open Captioning provider of Yale Repertory Theatre.


Education Programs As a part of Yale Rep’s commitment to our community, we provide two significant annual educational outreach programs. WILL POWER! offers specially-priced tickets and early school-time matinees for middle and high school students for one of Yale Rep’s 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 self-esteem and creative expression. Yale Rep’s education programs are supported in part by the Josef and Anni Albers Foundation; Allegra Print and Imaging; Alyssa Anderson; The Anna Fitch-Ardenghi Trust, Bank of America, Trustee; Susan C. Clark; CT Humanities; Bob and Priscilla Dannies; The Frederick A. DeLuca Foundation; Bruce Graham; the George A. & Grace L. Long Foundation, Bank of America, N.A. and Alan S. Parker, Esq., Co-Trustees; the Lucille Lortel Foundation; Romaine A. Macomb; Mrs. Romaine Macomb; Dawn G. Miller; Beth Morrison; Arthur and Merle Nacht; NewAlliance Foundation; Barret O’Brien; Bryce Pinkham; Jorge Rodríguez; Robbin A. Seipold; Sandra Shaner; Target ;® Cheever and Sally Tyler; Esme Usdan; Charles and Patricia Walkup; Bert and Martha Weisbart; Jonathan Wemette; and Becca Wolff left, from top: schools gathering for WILL power!, Dwight/edgewood project (DEP) workshop, and a DEP performance, 2014.

SPONSORSHIP: community partners Allegra Print and Imaging Box 63 American Bar and Grill Café Romeo Katalina Bakery

Kelly’s GastroPUB GHP Printing and Mailing Heirloom Hull’s Art Supply and Framing

ROÌA Savour Catering The Study at Yale Willoughby’s Coffee and Tea

This list includes current pledges, gifts, and grants received from July 1, 2013, through November 1, 2014.

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Yale School of Drama Board of Advisors John B. Beinecke, Chair John Badham, Vice Chair Jeremy Smith, Vice Chair Amy Aquino Sonja Berggren Lynne Bolton Clare Brinkley Sterling B. Brinkley, Jr. Kate Burton Lois Chiles Patricia Clarkson

Edgar M. Cullman III Scott Delman Michael Diamond Polly Draper Charles S. Dutton Sasha Emerson Heidi Ettinger Terry Fitzpatrick Marc Flanagan Marcus Dean Fuller Anita Pamintuan Fusco Donald Granger

David Marshall Grant Ruth Hendel David Henry Hwang Ellen Iseman David Johnson Asaad Kelada Sarah Long Donald Lowy Catherine MacNeil- Hollinger Elizabeth Margid Drew McCoy

Tarell Alvin McCraney David Milch Arthur Nacht Carol Ostrow Amy Povich Liev Schreiber Tony Shalhoub Michael Sheehan Anna Deavere Smith Edward Trach Courtney B. Vance Henry Winkler

Thank you to the generous contributors to Yale School of Drama and Yale Repertory Theatre: LEADERSHIP SOCIETY ($50,000 and above)

Anonymous (2) John B. Beinecke Sonja Berggren and Patrick Seaver Lynne and Roger Bolton Sterling and Clare Brinkley Lois Chiles and Richard Gilder Edgar M. Cullman, Jr. Edgar M. Cullman III Connecticut Department of Economic and Community Development Anita Pamintuan Fusco and Dino Fusco Stephen J. Hoffman Frederick Iseman David Johnson Adrian and Nina Jones Jennifer Lindstrom Andrew W. Mellon Foundation Pam and Jeff Rank Robert Riordan Robina Foundation Linda Frank Rodman Talia Shire Schwartzman The Shubert Foundation Stephen Timbers Edward Trach Kara Unterberg Esme Usdan

GUARANTORS ($25,000–$49,999)

Anonymous The Alec Baldwin Foundation Burry Fredrik Foundation

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CT Humanities Council, Inc. Educational Foundation of America Heidi Ettinger Ruth and Steve Hendel National Endowment for the Arts Neil Mazzella James Munson Tracy Chutorian Semler Eugene Shewmaker Jeremy Smith G. Erwin Steward

BENEFACTORS ($10,000–$24,999)

Nina Adams and Moreson Kaplan Americana Arts Foundation Mary L. Bundy John Conklin The Cornelius-Schecter Family Fund Michael Diamond Christopher Durang Edgerton Foundation Albert R. Gurney Catherine MacNeil- Hollinger Rocco Landesman Sarah Long Lucille Lortel Foundation Donald Lowy The Adam Mickiewicz Institute Carol Ostrow Joan Pape The Seedlings Foundation Ted and Mary Jo Shen Trust for Mutual Understanding Carolyn Seely Wiener

PATRONS ($5,000–$9,999)

The Josef and Anni Albers Foundation Deborah Applegate and Bruce Tulgan Foster Bam The Eugene G. and Margaret M. Blackford Memorial Fund, Bank of America, Co-Trustee Carmine Boccuzzi and Bernard Lumpkin Jim Burrows The Noël Coward Foundation Scott Delman Polly Draper Jane Head Terry Fitzpatrick Marc Flanagan Barbara and Richard Franke Donald Granger Mabel Burchard Fischer Grant Foundation Ellen Iseman Ben Ledbetter and Deborah Freedman Arthur and Merle Nacht NewAlliance Foundation Michael and Riki Sheehan Philip J. Smith Warner Bros. Entertainment Gary and Jo Williams

PRODUCER’S CIRCLE ($2,500-4,999)

Anna Fitch Ardenghi Trust, Bank of America, Trustee John Badham Janice Johnson Barnum

Donald Brown Ben Cameron Sasha Emerson Marcus Dean Fuller Fred Gorelick and Cheryl MacLachlan Diana and David Jacobs The Ethel & Abe Lapides Foundation The George A. and Grace L. Long Foundation William Ludel Jenny Mannis and Henry Wishcamper DW Phineas Perkins Ben and Laraine Sammler Joel and Joan Smilow

DIRECTOR’S CIRCLE ($1,000–$2,499)

Amy Aquino and Drew McCoy The Loreen Arbus Foundation Alexander Bagnall Jody Locker Berger Deborah S. and Bruce M. Berman Jeffrey A. Bleckner Edward Blunt Cyndi Brown Thomas Bruce Ian Calderon James Bundy Joan D. Channick Sue Ann Gilfillan and Tony Converse Peggy Cowles Michael S. David Ramon Delgado The Frederick A. DeLuca Foundation The Cory & Bob Donnalley Charitable Foundation Glen R. Fasman


Melanie Ginter and John Lapides Stephen Godchaux Betty Goldberg James W. Gousseff Judith Hansen Karsten Harries and Elizabeth Langhorne Richard Harrison Carol Thompson Hemingway Mary and Arthur Hunt James Earl Jewell Rolin Jones Reed and Elizabeth Hundt Alan Kibbe Jane Kaczmarek Dr. Gary and Hedda Kopf Mildred Kuner Michele Lee George N. Lindsay, Jr. Jane Lyman Robert Marx Peter Marshall Thomas Masse and Dr. James Perlotto Dawn G. Miller Donna Mills David and Leni Moore Family Foundation Garrett and Mary Moran Gregory Murphy Victoria Nolan and Clark Crolius Chris Noth Richard Ostreicher F. Richard Pappas Lucy and Piers Playfair Kathy and George Priest Fred A. Rappoport Dr. Michael Rigsby and Prof. Richard Lalli Joumana Rizk Gordon Rogoff Liev Schreiber Marie S. Sherer Benjamin Slotznick Dr. Matthew Specter and Ms. Marjan Mashhadi Kenneth J. Stein Shepard and Marlene Stone Lee Stump Arlene Szczarba Matthew Suttor Target John Henry Thomas Patricia Thurston Joan van Ark Courtney B. Vance Carol M. Waaser Cliff Warner Barbara Wohlsen George Zdru

PARTNERS ($500–$999)

Actors’ Equity Foundation Mr. and Mrs. B. N. Ashfield Emily Bakemeier Robert L. Barth John Lee Beatty Irving and Jackie Blum Michael Bombara Mark Brokaw James T. and Alice B. Brown Judith H. Brown Dr. Michael Cappello and Kerry Robinson Joy G. Carlin Joyce Carmen Jim Chervenak Paul Cleary Ernestine and Ronald Cwik Bob and Priscilla Dannies Richard Sutton Davis Robert Dealy Bernard Engel Roberta Enoch and Steven Canner Peter Entin Teresa Eyring Debbie Bisno and David Goldman Rob Greenberg Jess Goldstein Regina Guggenheim William B. Halbert Katherine W. Haskins Barbara Hauptman Jane C. Head Donald Holder John Robert Hood Barnet Kellman Alan Kibbe Katherine Anne Latham Charles Long and Roe Curtis Linda Lorimer and Charles Ellis Chih-Lung Liu Dr. and Mrs. Robert W. Lyons Romaine A. Macomb Brian Mann Vanessa Marshall John McAndrew Tarell McCraney George Miller and Virginia Fallon Daniel Mufson Janice Muirhead Arthur Oliner Louise Perkins and Jeff Glans Amy Povich

Brittany Behrens and William Rall Bill and Sharon Reynolds Kimberly Rosenstock Abigail Roth Alvin Schechter Mr. and Mrs. Michael Schmertzler Sandra Shaner Cheever and Sally Tyler Zelma Weisfeld Vera Wells Steven Wolff Evan Yionoulis Albert Zuckerman Steve Zuckerman

INVESTORS ($250–$499)

Victor and Laura Altshul Frances Ashley Mary Ellen and Thomas Atkins Clayton Mayo Austin Sandra and Kirk Baird James Bakkom Robert Baldwin Lee-ann Boatwright Susan Brady and Mark Loeffler Tom Broecker Claudia Brown William J. Buck Jonathan Busky Dr. Adalgisa Caccone and Prof. Jeffrey Powell Anne and Guido Calabresi Lawrence Casey Cosmo Catalano, Jr. Dr. and Mrs. W.K. Chandler Barbara Jean and Nicholas Cimmino Aurélia and Ben Cohen William Connolly Audrey Conrad Stephen Coy John W. Cunningham Charles Dillingham Dennis Dorn Terrence Dwyer Pat Egan Dustin Eshenroder Susan and Fred Finkelstein Joel Fontaine Anthony Forman Walter M. Frankenberger III Joseph Gantman Bruce Graham Elizabeth M. Greene Anne K. Gregerson Eduardo Groisman Douglas Harvey Barbara Hauptman

Michael Haymes and Logan Green Dr. Lothar Hennighausen Jeffrey Herrmann Jennifer Hershey-Benen Kathleen Houle Joanna and Lee A. Jacobus Elizabeth Johnson Abby Kenigsberg Ashley Kennedy Harvey Kliman and Sandra Stein David Kriebs Bernard Kukoff Frances Kumin William Kux Maryanne Lavan Kenneth Lewis Peter Andrew Malbuisson Elizabeth Margid Deborah McGraw Barry Nalebuff and Helen Kauder James Naughton Jane Nowosadko William and Barbara Nordhaus Maulik Pancholy Cesar Pelli Andy Perkins Stephan Pollack Michael Potts Meghan Pressman Bennett Pudlin Carol A. Prugh Alec and Drika Purves Margaret Adair Quinn Faye and Asghar Rastegar Jonathan and Sarah Reed Barbara and David Reif Daniel and Irene Mrose Rissi Steve Robman Howard Rogut Russ Rosensweig Fernande Ross Jean and Ron Rozett Edgar and Marion Russell Edward and Alice Saad Suzanne Sato Joel Schechter Dr. Mark Schoenfeld Gale Sherwin Mark and Cindy Slane Mary C. Stark Regina Starolis James Steerman Ted Stein Bernard Sundstedt Matthew Suttor David Sword Jack Thomas and Bruce Payne

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Contributors to Yale School of Drama and Yale Repertory Theatre Patricia Thurston Suzanne Tucker Paul Walsh William and Phyllis Warfel Nathan Wells Dana Westberg Henry Winkler Alex Witchel Andrew and Fiona Wood Judith and Guy Yale Yale School of Drama, Acting Class of 2014

FRIENDS ($100–$249)

Anonymous Paola Allais Acree Aged In Wood, LLC Michael Albano Sarah Jean Albertson Christopher Akerlind Narda Alcorn Ian and Rachel Alderman Richard Ambacher Glenn R. Anderson Susan and Donald Anderson Leif Ancker William Atlee Angelina Avallone Frank and Eileen Baker Raymond Baldelli and Ronald Nicholes Michael Baron and Ruth Magraw Robert Barr Edward and Barbara Barry Sarah Bartlo William and Donna Batsford Richard Baxter Nancy and Richard Beals John Beck James Bender Deborah Berke Melvin Bernhardt Donald and Sandra Bialos Ashley Bishop Anders Bolang Debra Booth Paul Bordeau Marcus and Kellie Bosenberg Amy Brewer and David Sacco Linda Briggs and Joseph Kittredge Carole and Arthur Broadus Julie Brown Stephen and Nancy Brown Robert Brustein James Burch

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Susan Wheeler Byck Michael Cadden Kathryn A. Calnan Ivan and Frances Capella Lisa Carling Anna Cascio Sami Joan Casler Patricia Cavanaugh Suellen G. Childs Susan and Fred Clark Katherine D. Cline Robert S. Cohen Dennis and Wendy Cole Mr. and Mrs. Thomas Colville Patricia J. Collins Judith Colton Forrest Compton Kristin Connolly David Conte Kathleen and Leo Cooney Greg Copeland Aaron Copp Robert Cotnoir Timothy and Pamela Cronin Julie Crowder Douglas and Roseline Crowley Sean Cullen Marycharlotte Cummings Scott Cummings William Curran Donato Joseph D’Albis F. Mitchell Dana Sue and Gus Davis Nigel W. Daw Belene and Neil Day Katherine Day Mr. and Mrs. Paul DeCoster Aziz Dehkan and Barbara Moss Elizabeth DeLuca Julia L. Devlin Jose A. Diaz Mr. and Mrs. Peter Dickinson Melinda DiVicino Merle Dowling Ms. JoAnne E. Droller, R.N. Jeanne Drury Mr. George and Diane Dumigan John Duran Rosemary Duthie Laura Eckelman R. Kemerer and Phoebe Edwards Fran Egler Nancy Reeder El Bouhali Janann Eldredge Elizabeth English Janna Ellis Kyoung-Jun Eo Dirk Epperson

David Epstein John Erman Christine Estabrook Frank and Ellen Estes Connie Evans Jerry N. Evans Douglass Everhart John D. Ezell Michael Fain Ann Farris Christopher Feeley Ruth M. Feldman Paul and Susan Fiedler Anne Flammang and Scott Deshong Keith Fowler Deborah Fried and Kalman Watsky Richard Fuhrman Randy Fullerton Barbara and Gerald Gaab Dr. and Mrs. James Galligan Josh Galperin and Sara Kuebbing Charles and Jane Gardiner Steven Gefroh Patricia Gilchrist Robert Glen William Glenn Nina Glickson and Worth David Lindy Lee Gold Robert Goldsby Naomi Grabel Kris and Marc Granetz Connie Grappo Bigelow Green Sarah Greenblatt Elizabeth Greenspan and Walt Dolde Michael Gross John Guare Jessica and Corin Gutteridge David Hale Amanda Haley Alexander Hammond Ann and Jerome R. Hanley Charlene Harrington Lawrence and Roberta Harris Brian Hastert Ira Hauptman Ihor and Roma Hayda James Hazen Nicole and Larry Heath Steve Hendrickson Roderick Hickey Nathan Hinton Dean Hokanson Elizabeth Holloway James Hood Nicholas Hormann

David Howson Evelyn Huffman Hull’s Art Supply and Framing Derek Hunt Peter H. Hunt John Huntington John and Patricia Ireland Suzanne Jackson Cary and Dick Jacobs John W. Jacobsen Chris Jaehnig Ina and Robert Jaffee Eliot and Lois Jameson Heide Janssen Geoffrey A. Johnson Marcia Johnson Donald E. Jones, Jr. Elizabeth Kaiden Jonathan Kalb David and Linda Kalodner Carol Kaplan James D. Karr Dr. and Mrs. Michael Kashgarian Bruce Katzman Richard Kaye Jay Keene Edward Kennedy Roger Kenvin Colette Kilroy Carol Soucek King Mrs. Shirley Kirschner Susan Kirschner Robinson Lawrence Klein Stephen Kovel Brenda and Justin Kreuzer Joan Kron L. Azan Kung Mark Kupferman Mitchell Kurtz Howard and Shirley Lamar Stephanie Lamassa Marie Landry and Peter Aronson Ellen Lange James and Cynthia Lawler Wing Lee Charles E. Letts III Irene Lewis Henry Lowenstein Suzanne Cryer Luke Andi Lyons Jane Macfie Timothy Mackabee Lizbeth Mackay Wendy MacLeod Alan MacVey Anita Madzik Linda Maerz and David Wilson Jocelyn Malkin, MD


Marvin March Peter Marcuse Jonathan Marks Barry Marshall Maria Mason and William Sybalsky Carole Ann Masters Craig Mathers Sarah and Benjamin Mayer Peter McCandless Amy Lipper McCauley Robert McDonald Brian McEleney Thomas McGowan Robert McKinna and Trudy Swenson Patricia McMahon Bruce McMullan Robert Melrose Stephen W. Mendillo Donald Michaelis Carol Mihalik Aaliyah Miller and Karim Hadj Salem Bruce Miller Jonathan Miller Sandra Milles Meg Miroshnik Lawrence Mirkin Marjorie Craig Mitchell Jennifer Moeller Richard R. Mone Tom Moore George Morfogen Susan Morris Barbara Moss Robert Murray David Muse Jim and Eileen Mydosh Gayther Myers, Jr. Rachel Myers David Nancarrow Tina C. Navarro Meg Neville Regina and Thomas Neville Gail Nickowitz Nancy Nishball Deb and Ron Nudel

Arlene O’Connell Elizabeth O’Connell Dwight R. Odle Richard Olson Edward and Francs O’Neill Sara Ormond Kendric T. Packer Dr. and Mrs. Michael Parry William Peters Roberta Pilette Bryce Pinkham David Podell Gladys Powers Art Priromprintr Robert Provenza William Purves James Quinn Sarah Rafferty Ronald Recasner Cynthia Reik Peter S. Roberts Lori Robishaw Carolyn Rochester Priscilla Rockwell Constanza Romero John Rothman Dean and Maryanne Rupp Ortwin Rusch Tommy Russell Martin and Jane Sachs Steven Saklad Clarence Salzer Robert Sandberg Gail Sangree Frank Sarminento Peggy Sasso Denise Savage Anne Schenck Kenneth Schlesinger Ruth Hein Schmitt William Schneider Carol and Sandy Schreiber Georg Schreiber Alexander Scribner Forrest E. Sears Paul Selfa

Subrata K. Sen Vicki Shaghoian Sandra Shaner Paul R. Shortt Lorraine Siggins and Braxton McKee William and Betsy Sledge E. Gray Smith, Jr. Helena L. Sokoloff Suzanne Solensky and Jay Rozgonyi Mary Louise and Dennis Spencer Marian Spiro Amanda Spooner Louise Stein Neal Ann Stephens John Stevens Joseph Stevens Kris Stone Pamela Strayer Jaroslaw Strzemien Drs. William and Wilma Summers Mark Sullivan J. Terrazzano Aaron Tessler Roberta Thornton Eleanor Q. Tignor David F. Toser Albert Toth Mr. and Mrs. David Totman Russell L. Treyz Richard B. Trousdell Deborah Trout Gregory and Marguerite Tumminio Marge Vallee Russell Vandenbroucke Arthur Vitello Eva Vizy Fred Voelpel Elaine Wackerly Mark Anthony Wade Charles and Patricia Walkup Barbara Wareck and Charles Perrow Betsy Watson

Steven Waxler Rosa Weissman Charles Werner J. Newton White Peter White Robert and Charlotte White Joan Whitney Lisa A. Wilde Robert Wildman Marshall Williams David Willson The Winokur Family Foundation Carl Wittenberg Arthur and Ann Yost Donald and Clarissa Youngberg

EMPLOYER MATCHING GIFTS

Aetna Foundation Ameriprise Financial Chevron Corporation Corning, Inc. General Electric Corporation IBM Merck Company Foundation Mobil Foundation, Inc. Pfizer Procter & Gamble The Prospect Hill Foundation

IN KIND

Sterling and Claire Brinkley Sasha Emerson Anita Pamintuan Fusco Asaad Kelada Carol Ostrow ROÌA Jeremy Smith The Study at Yale Kara Unterberg

Make a Gift!

When you make a gift to Yale Rep’s Annual Fund, you support the creative work on our stage and our innovative outreach programs. For more information, or to make a donation, please call Susan Clark, 203.432.1559. You can also give online at yalerep.org/donate. This list includes current pledges, gifts, and grants received from July 1, 2013, through November 1, 2014.

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UP NEXT AT YALE SCHOOL OF DRAMA DECEMBER 12–18

THE SEAGULL By ANTON CHEKHOV Translated by PAUL SCHMIDT Directed by JESSICA HOLT

A daring new play is performed on the shore of a lake. Its idealistic young author is devastated when his work is mocked by family and friends. Passions and jealousies surge as his beloved gives her heart away to his older rival. With comic brio and keen understanding, The Seagull explores our insatiable human desire to live an extraordinary life. When our dreams—and delusions—are dashed, and all that remains is the excruciating ordinariness of daily living, how do we find the strength to go on?

JANUARY 27–31

DON JUAN By MOLIÈRE Translated by BRENDAN PELSUE Adapted by ANDREJ VISKY,

BRENDAN PELSUE, and SAMANTHA LAZAR Directed by ANDREJ VISKY

Driven by insatiable desire, Don Juan, with his servant Sganarelle, travels the world, seeking pleasure through romantic conquest. Don Juan defies every authority he encounters. No moral code, religious belief, or social institution is safe from his scathing attack. What lies underneath the furious bravado of this man? To whom is Don Juan ultimately issuing his challenge? At the heart of this darkly comic 17th-century play lies a completely modern terror: that there is no God, and no ultimate meaning beyond the appetites of the flesh.

drama.yale.edu 203.432.1234

ysd.shows@yale.edu


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ON VIEW THROUGH DECEMBER 14

picture talking James Northcote & the Fables

SLAVERY AND PORTRAITURE IN EIGHTEENTH-CENTURY

ATLANTIC BRITAIN

The Center will be closed for building conservation January 2015–February 2016

On the corner of Chapel & High Streets Admission is free | britishart.yale.edu left to right: Samuel William Reynolds, after James Northcote, Lion and Snake, 1799, mixed method engraving, Yale Center for British Art, Paul Mellon Collection • Studio of Francis Harwood, Bust of a Man, ca. 1758, black limestone on yellow marble socle, Yale Center for British Art, Paul Mellon Collection

Profile for Yale Repertory Theatre

WAR  

WAR by Branden Jabobs-Jenkins, directed by Lileana Blain-Cruz. Yale Repertory Theatre, November 21-December 13, 2014.

WAR  

WAR by Branden Jabobs-Jenkins, directed by Lileana Blain-Cruz. Yale Repertory Theatre, November 21-December 13, 2014.

Profile for yalerep