LA RONDE, Yale School of Drama, 2009.

DECEMBER 12 TO 17 UNIVERSITY THEATRE

2009–10 SEASON

DECEMBER 12 TO 17, 2009

YALE SCHOOL OF DRAMA JAMES BUNDY, DEAN / VICTORIA NOLAN, DEPUTY DEAN PRESENTS

By ARTHUR SCHNITZLER Translated by CARL R. MUELLER Directed by JESSE JOU ARTISTIC TEAM Scenic Designer Costume Designer Lighting Designer Sound Designer / Composer Choreographer Dramaturg Stage Manager

CHIEN YU PENG LEON DOBKOWSKI ALAN C. EDWARDS NATHAN A. ROBERTS OLGA TIMOSHENKO SARAH BISHOP-STONE KIRSTEN PARKER

CAST

in alphabetical order

The Poet The Count The Soldier The Young Gentleman The Husband The Young Wife The Parlor Maid The Sweet Young Thing The Prostitute The Actress

WILL CONNOLLY JOHN PATRICK DOHERTY SLATE HOLMGREN RYAN LOCKWOOD AARON MOSS CHARISE K. SMITH SARAH SOKOLOVIC SHANNON SULLIVAN EMILY TRASK LIZ WISAN

LA RONDE IS PERFORMED WITHOUT AN INTERMISSION. SEASON MEDIA SPONSOR

COVER PHOTO BY ERIK PEARSON

DECEMBER 12 TO 17, 2009

YALE SCHOOL OF DRAMA JAMES BUNDY, DEAN / VICTORIA NOLAN, DEPUTY DEAN PRESENTS

By ARTHUR SCHNITZLER Translated by CARL R. MUELLER Directed by JESSE JOU ARTISTIC TEAM Scenic Designer Costume Designer Lighting Designer Sound Designer / Composer Choreographer Dramaturg Stage Manager

CHIEN YU PENG LEON DOBKOWSKI ALAN C. EDWARDS NATHAN A. ROBERTS OLGA TIMOSHENKO SARAH BISHOP-STONE KIRSTEN PARKER

CAST

in alphabetical order

The Poet The Count The Soldier The Young Gentleman The Husband The Young Wife The Parlor Maid The Sweet Young Thing The Prostitute The Actress

WILL CONNOLLY JOHN PATRICK DOHERTY SLATE HOLMGREN RYAN LOCKWOOD AARON MOSS CHARISE K. SMITH SARAH SOKOLOVIC SHANNON SULLIVAN EMILY TRASK LIZ WISAN

LA RONDE IS PERFORMED WITHOUT AN INTERMISSION. SEASON MEDIA SPONSOR

COVER PHOTO BY ERIK PEARSON

Life is serious, but art is gay: SCHNITZLER’S VIENNA

Fin de siècle Vienna, as the playwright and satirist Karl Kraus put it, was “the laboratory of the apocalypse.” Nearing the close of the 19th century, as Arthur Schnitzler set about writing La Ronde, the AustroHungarian Empire had reached its zenith.

Emperor Franz Joseph had held the throne of a dual monarchy for half a century. The newly completed Ringstrasse proclaimed itself a monument to the gaudy confidence of Empire and culture: a double circle of avenues on which stood the neo-Gothic Town Hall, the neo-Baroque Burgtheater, the Renaissance-style Opera House, alongside that grand wedding cake, the Hofburg Imperial Palace.

“DREAM AND WAKING, TRUTH AND LIE FLOW INTO ONE ANOTHER. SAFETY IS NOWHERE.”

In 1899, Sigmund Freud—who called Schnitzler “my Doppelgänger”—published his Interpretation of Dreams, and all Vienna succumbed to the grip of nervous illness and the power of the unconscious. Also in 1897, the Christian-Socialist Karl Lueger won the race for Mayor of Vienna on a platform of anti-Semitic and anti-capitalist slogans.

Adolf Hitler, then eight years old, would look to him as a role model.

Liberal, Jewish, a doctor, and a writer: Schnitzler embodied this society on the brink, and without pity chronicled its foibles and hypocrisies. He first published La Ronde (Reigen in German) in 1900, in a private edition of 200 copies. The first official print run, in 1903, sold widely but was quickly banned, though clandestine copies circulated, often as pornography.

Vienna didn’t see a stage production of the play until 1921, by which time the AustroHungarian Empire had crumbled into history.

In 1922, Freud wrote to Schnitzler, “You have learned through intuition—though actually as a result of sensitive introspection— everything that I have had to unearth by laborious work on other persons.”

1889

AUSTRIA-HUNGARY’S CROWN PRINCE RUDOLF KILLS HIMSELF AND HIS MISTRESS, MARY VETSERA, AT HIS HUNTING LODGE, MAYERLING, IN THE VIENNA WOODS.

1889

SCHNITZLER BREAKS OFF RELATIONS WITH HIS MISTRESS JEANETTE HEGER. DURING THE COURSE OF THEIR FIVE-YEAR RELATIONSHIP, HE RECORDED IN HIS DIARY 583 ACTS OF LOVE WITH HER.

1897

TO CELEBRATE EMPEROR FRANZ JOSEF’S GOLDEN JUBILEE, THE RIESENRAD, ONE OF THE EARLIEST FERRIS WHEELS, IS ERECTED IN THE PRATER AMUSEMENT PARK.

1898

JOSEPH MARIA OLBRICH DESIGNS THE SECESSION BUILDING TO HOUSE EXHIBITIONS OF THE VISUAL ARTS MOVEMENT SPEARHEADED BY GUSTAV KLIMT.

—SARAH BISHOP-STONE, DRAMATURG

—ARTHUR SCHNITZLER, PARACELSUS, 1887

Yet cracks had begun to appear in Vienna’s heavily ornamented façade. In 1897, a group of artists led by Gustav Klimt founded the Vienna Secession in rebellion against the establishment’s historicism. Their Jugendstil, or Art Nouveau style, came to define the coming age of art, architecture, and city planning. The atonalities of Arnold Schoenberg began to break free of the Strauss waltzes and operettas that had defined the city.

1904

1890–1897

FROM TOP OF PAGE: SCHNITZLER AT AGE SIXTEEN; SIGMUND FREUD, 1914, BY MAX HALBERSTADT, TIME/LIFE PHOTOS.

YOUNG VIENNA (JUNG WIEN), A GROUP OF WRITERS INCLUDING HUGO VON HOFMANNSTHAL, SCHNITZLER (STANDING), RICHARD BEER-HOFMANN, FELIX SALTEN, AND OTHERS, MEETS HABITUALLY AT THE CAFÉ GRIEDSTEIDL. THE GROUP DISBANDS THE DAY BEFORE THE CAFÉ IS TO BE DEMOLISHED.

SHORTLY AFTER THE PUBLISHED VERSION OF REIGEN IS CENSORED IN VIENNA, SIGMUND FREUD PUBLISHES THE PSYCHOPATHOLOGY OF EVERYDAY LIFE.

Life is serious, but art is gay: SCHNITZLER’S VIENNA

Fin de siècle Vienna, as the playwright and satirist Karl Kraus put it, was “the laboratory of the apocalypse.” Nearing the close of the 19th century, as Arthur Schnitzler set about writing La Ronde, the AustroHungarian Empire had reached its zenith.

Emperor Franz Joseph had held the throne of a dual monarchy for half a century. The newly completed Ringstrasse proclaimed itself a monument to the gaudy confidence of Empire and culture: a double circle of avenues on which stood the neo-Gothic Town Hall, the neo-Baroque Burgtheater, the Renaissance-style Opera House, alongside that grand wedding cake, the Hofburg Imperial Palace.

“DREAM AND WAKING, TRUTH AND LIE FLOW INTO ONE ANOTHER. SAFETY IS NOWHERE.”

In 1899, Sigmund Freud—who called Schnitzler “my Doppelgänger”—published his Interpretation of Dreams, and all Vienna succumbed to the grip of nervous illness and the power of the unconscious. Also in 1897, the Christian-Socialist Karl Lueger won the race for Mayor of Vienna on a platform of anti-Semitic and anti-capitalist slogans.

Adolf Hitler, then eight years old, would look to him as a role model.

Liberal, Jewish, a doctor, and a writer: Schnitzler embodied this society on the brink, and without pity chronicled its foibles and hypocrisies. He first published La Ronde (Reigen in German) in 1900, in a private edition of 200 copies. The first official print run, in 1903, sold widely but was quickly banned, though clandestine copies circulated, often as pornography.

Vienna didn’t see a stage production of the play until 1921, by which time the AustroHungarian Empire had crumbled into history.

In 1922, Freud wrote to Schnitzler, “You have learned through intuition—though actually as a result of sensitive introspection— everything that I have had to unearth by laborious work on other persons.”

1889

AUSTRIA-HUNGARY’S CROWN PRINCE RUDOLF KILLS HIMSELF AND HIS MISTRESS, MARY VETSERA, AT HIS HUNTING LODGE, MAYERLING, IN THE VIENNA WOODS.

1889

SCHNITZLER BREAKS OFF RELATIONS WITH HIS MISTRESS JEANETTE HEGER. DURING THE COURSE OF THEIR FIVE-YEAR RELATIONSHIP, HE RECORDED IN HIS DIARY 583 ACTS OF LOVE WITH HER.

1897

TO CELEBRATE EMPEROR FRANZ JOSEF’S GOLDEN JUBILEE, THE RIESENRAD, ONE OF THE EARLIEST FERRIS WHEELS, IS ERECTED IN THE PRATER AMUSEMENT PARK.

1898

JOSEPH MARIA OLBRICH DESIGNS THE SECESSION BUILDING TO HOUSE EXHIBITIONS OF THE VISUAL ARTS MOVEMENT SPEARHEADED BY GUSTAV KLIMT.

—SARAH BISHOP-STONE, DRAMATURG

—ARTHUR SCHNITZLER, PARACELSUS, 1887

Yet cracks had begun to appear in Vienna’s heavily ornamented façade. In 1897, a group of artists led by Gustav Klimt founded the Vienna Secession in rebellion against the establishment’s historicism. Their Jugendstil, or Art Nouveau style, came to define the coming age of art, architecture, and city planning. The atonalities of Arnold Schoenberg began to break free of the Strauss waltzes and operettas that had defined the city.

1904

1890–1897

FROM TOP OF PAGE: SCHNITZLER AT AGE SIXTEEN; SIGMUND FREUD, 1914, BY MAX HALBERSTADT, TIME/LIFE PHOTOS.

YOUNG VIENNA (JUNG WIEN), A GROUP OF WRITERS INCLUDING HUGO VON HOFMANNSTHAL, SCHNITZLER (STANDING), RICHARD BEER-HOFMANN, FELIX SALTEN, AND OTHERS, MEETS HABITUALLY AT THE CAFÉ GRIEDSTEIDL. THE GROUP DISBANDS THE DAY BEFORE THE CAFÉ IS TO BE DEMOLISHED.

SHORTLY AFTER THE PUBLISHED VERSION OF REIGEN IS CENSORED IN VIENNA, SIGMUND FREUD PUBLISHES THE PSYCHOPATHOLOGY OF EVERYDAY LIFE.

Vienna’s Jugendstil

The Wicked Waltz

DETAIL FROM GUSTAV KLIMT’S WATER SERPENTS II, 1904.

The proper way.

The extended arms, and the lady’s hand grasping the gentleman’s arm, are not in good taste.

Do you enjoy dancing but never had the chance to learn?

Interested in social and/or competitive dancing?

Join the Yale Ballroom Dance Team!

Programs: Rumba, Cha Cha, Samba, Jive, Paso Waltz, Foxtrot, Quickstep, Tango Salsa, Merengue, Swing, and many more!

Please visit our website

The lady’s head too close, the extended arms, and bad attitude of hand, very objectionable.

Extremely vulgar.

ILLUSTRATIONS DEMONSTRATING THE PROPER WALTZ HOLD. FROM DANCING AND ITS RELATION TO EDUCATION AND SOCIAL LIFE BY ALLEN DODWORTH, 1888.

yale.edu/ballroom

Vienna’s Jugendstil

The Wicked Waltz

DETAIL FROM GUSTAV KLIMT’S WATER SERPENTS II, 1904.

The proper way.

The extended arms, and the lady’s hand grasping the gentleman’s arm, are not in good taste.

Do you enjoy dancing but never had the chance to learn?

Interested in social and/or competitive dancing?

Join the Yale Ballroom Dance Team!

Programs: Rumba, Cha Cha, Samba, Jive, Paso Waltz, Foxtrot, Quickstep, Tango Salsa, Merengue, Swing, and many more!

Please visit our website

The lady’s head too close, the extended arms, and bad attitude of hand, very objectionable.

Extremely vulgar.

ILLUSTRATIONS DEMONSTRATING THE PROPER WALTZ HOLD. FROM DANCING AND ITS RELATION TO EDUCATION AND SOCIAL LIFE BY ALLEN DODWORTH, 1888.

yale.edu/ballroom

CAST WILL CONNOLLY (THE POET) is a third-year MFA candidate at Yale School of Drama, where his credits include The Three Sisters, The Current War, Rubles, Hamlet, and Peer Gynt. Other theatre credits include A Woman of No Importance (Yale Rep); A Day in Dig Nation, See What I Wanna See, The Underneath (Yale Cabaret); Fly-By-Night (co-writer, Yale Summer Cabaret); The Lieutenant of Inishmore (Southern Rep); Much Ado About Nothing (RADA, London), and A Day in Dig Nation (Amsterdam Fringe Festival). Will is a co-founder and creator of The NOLA Project, a non-profit, New Orleans-based theatre company, where his credits include The Cripple of Inishmaan, The Misanthrope, The Wind in the Willows, and the premiere of Get This Lake Off My House. Will holds a BFA in Drama from NYU’s Tisch School of the Arts.

JOHN PATRICK DOHERTY (THE COUNT) is a third-year MFA candidate at Yale School of Drama, where his credits include Hamlet in Hamlet, Cymbeline, The Three Sisters, Peer Gynt, and The Bedtrick. Most recently, he appeared in The Torch-Bearers at Williamstown Theatre Festival, adapted and directed by Dylan Baker. Other regional credits include The Good Negro, Big Money, The Tutors (Williamstown Theatre Festival); A Woman of No Importance (Yale Rep); and Henry V (Shakespeare Theatre of New Jersey). He received his BA in English from Princeton.

SLATE HOLMGREN (THE SOLDIER) is a third-year MFA candidate at Yale School of Drama, where his credits include Grace, or The Art of Climbing; Learning Russian; The Current War; Love’s Labour’s Lost; and The Tempest. His other theatre credits include Twelfth Night (The Public Theatre’s Shakespeare in the Park); The Master Builder, Passion Play, Trouble in Mind (Yale Rep); Bone Songs, One for the Road, A Christmas Carol (Yale Cabaret); the title role in Macbeth (Actors’ Repertory Theatre Ensemble); The Taming of the Shrew, Hamlet, and The Little Foxes at Brigham Young University, where he received his BFA. Television and Film credits include Everwood and Dragon Hunter. Slate also completed the British American Dramatic Academy’s Midsummer in Oxford Program at Balliol College.

RYAN LOCKWOOD (THE YOUNG GENTLEMAN) is a third-year MFA candidate at Yale School of Drama, where he has appeared in Paradise Lost, Love’s Labour’s Lost, The Robbers, The Three Sisters, and The Lone Pilots of Roosevelt Field. At the Yale Cabaret, Ryan has performed in The Five Fists of Science and The Fallout of Pearl Harbor, his original one-man show. Regional theatre credits: King Lear, As You Like It, Fools in the Forest (Shakespeare Santa Cruz) and Timon of Athens (Theatre Artists Group). A Los Angeles native, Ryan received a BFA from the University of California, Santa Barbara.

AARON MOSS (THE HUSBAND) is a third-year MFA candidate at Yale School of Drama, where his credits include Love’s Labour’s Lost, Romeo and Juliet, A Winter’s Tale, The Three Sisters, The Current War, and Paradise Lost. His regional credits include A Woman of No Importance, Death of a Salesman (Yale Rep); The Taming of the Shrew, A Midsummer Night’s Dream, and Titus Andronicus (Illinois Shakespeare Festival).

Aaron served as an Artistic Associate at Yale Cabaret (41st Season), performing in Mask Ritual: Electra, Dancing in the Dark, Hotbox, and Lady Day at Emerson’s Bar & Grill. His television credits include The Wire, The Corner (HBO), and Homicide: Life on the Streets (NBC). Additionally he has appeared in and recorded voiceovers for a dozen local and national commercials, and narrated the anthology SANTI: Lives of Modern Saints. www.aaron-moss.com

CHARISE K. SMITH (THE YOUNG WIFE) is a third-year MFA candidate at Yale School of Drama, where her credits include: Phèdre, The Art of Preservation, The Three Sisters, 99 Ways to F@%k a Swan, Love’s Labour’s Lost, and The Tempest. Other stage credits include Chain of Fools (Guthrie Theater: A Guthrie Experience); Voices in My Head (Ars Nova); Recess (Yale Summer Cabaret); Estrella Cruz [The Junkyard Queen], Be Aggressive, and Flowers and Other Stories (Yale Cabaret). She received her BA from Brown University.

SARAH SOKOLOVIC (THE PARLOR MAID) is a second-year certificate candidate at Yale School of Drama, where her credits include The Seagull, Paradise Lost, and The French Play. Originally from Milwaukee, Wisconsin, she has acted in over 70 plays in theatres throughout the United States, including Renaissance Theatreworks, Chamber Theatre, Hipgnosis Theatre Company, Write Club NYC, Milwaukee Rep, Madison Rep, American Players Theatre, 59E59, The Kraine, Montana Shakepeare in the Parks, In Tandem, Milwaukee Shakespeare, and Skylight Opera Theatre.

SHANNON SULLIVAN (THE SWEET YOUNG THING) is a second-year MFA candidate at Yale School of Drama, where her credits include Paradise Lost, Man in Love, The French Play (Carlotta Festival of New Plays), and Phèdre. Her original play Antibiosis: was produced at YaleCabaret this season. Shannon received her BFA from University of California, Santa Barbara’s actor training program.

EMILY TRASK (THE PROSTITUTE / DANCE CAPTAIN) is a second-year MFA candidate at Yale School of Drama, where her credits include The Bedtrick, Jelly’s Last Jam, and State of Affairs. Her Yale Cabaret credits include Orestes, Antibiosis, and Language of Angels. Her regional credits include Henry V, The Secret Garden, Hamlet, among others in four seasons at Utah Shakespeare Festival; Tartuffe, Pirandello’s Yes. No. Maybe So?, Chaps!, the world premiere of Armadale (Milwaukee Rep); Red Herring, (Next Act Theatre); A Midsummer Night’s Dream (Montana Shakespeare in the Parks); Scapin, Seussical the Musical, and Bedroom Farce (Hope Summer Rep). She also appeared in the award-winning short film The Violinist. Emily received her BA in theatre and literature from Grinnell College.

LIZ WISAN (THE ACTRESS) is a third-year MFA candidate at Yale School of Drama, where her credits include The Bedtrick, Love’s Labour’s Lost, The Current War, Man=Man, Good Egg, and Peer Gynt. Other credits include A Woman of No Importance (Yale Repertory Theatre); Language of Angels, Babs the Dodo, See What I Wanna See, One for the Road (Yale Cabaret); The Who’s Tommy and Recess (Yale Summer Cabaret).

Liz spent the summer at Chautauqua Theater Company where she appeared in The Winter’s Tale and a workshop of Kate Fodor’s Rx. Regional credits include Anything Goes,Twelfth Night, and Cloud Tectonics (Williamstown Theatre Festival). Liz co-wrote and performed in two shows for Upright Citizens Brigade: The Goods Are Odd (2006 NYC Fringe Festival) and Seriously Extremely Important.

CAST WILL CONNOLLY (THE POET) is a third-year MFA candidate at Yale School of Drama, where his credits include The Three Sisters, The Current War, Rubles, Hamlet, and Peer Gynt. Other theatre credits include A Woman of No Importance (Yale Rep); A Day in Dig Nation, See What I Wanna See, The Underneath (Yale Cabaret); Fly-By-Night (co-writer, Yale Summer Cabaret); The Lieutenant of Inishmore (Southern Rep); Much Ado About Nothing (RADA, London), and A Day in Dig Nation (Amsterdam Fringe Festival). Will is a co-founder and creator of The NOLA Project, a non-profit, New Orleans-based theatre company, where his credits include The Cripple of Inishmaan, The Misanthrope, The Wind in the Willows, and the premiere of Get This Lake Off My House. Will holds a BFA in Drama from NYU’s Tisch School of the Arts.

JOHN PATRICK DOHERTY (THE COUNT) is a third-year MFA candidate at Yale School of Drama, where his credits include Hamlet in Hamlet, Cymbeline, The Three Sisters, Peer Gynt, and The Bedtrick. Most recently, he appeared in The Torch-Bearers at Williamstown Theatre Festival, adapted and directed by Dylan Baker. Other regional credits include The Good Negro, Big Money, The Tutors (Williamstown Theatre Festival); A Woman of No Importance (Yale Rep); and Henry V (Shakespeare Theatre of New Jersey). He received his BA in English from Princeton.

SLATE HOLMGREN (THE SOLDIER) is a third-year MFA candidate at Yale School of Drama, where his credits include Grace, or The Art of Climbing; Learning Russian; The Current War; Love’s Labour’s Lost; and The Tempest. His other theatre credits include Twelfth Night (The Public Theatre’s Shakespeare in the Park); The Master Builder, Passion Play, Trouble in Mind (Yale Rep); Bone Songs, One for the Road, A Christmas Carol (Yale Cabaret); the title role in Macbeth (Actors’ Repertory Theatre Ensemble); The Taming of the Shrew, Hamlet, and The Little Foxes at Brigham Young University, where he received his BFA. Television and Film credits include Everwood and Dragon Hunter. Slate also completed the British American Dramatic Academy’s Midsummer in Oxford Program at Balliol College.

RYAN LOCKWOOD (THE YOUNG GENTLEMAN) is a third-year MFA candidate at Yale School of Drama, where he has appeared in Paradise Lost, Love’s Labour’s Lost, The Robbers, The Three Sisters, and The Lone Pilots of Roosevelt Field. At the Yale Cabaret, Ryan has performed in The Five Fists of Science and The Fallout of Pearl Harbor, his original one-man show. Regional theatre credits: King Lear, As You Like It, Fools in the Forest (Shakespeare Santa Cruz) and Timon of Athens (Theatre Artists Group). A Los Angeles native, Ryan received a BFA from the University of California, Santa Barbara.

AARON MOSS (THE HUSBAND) is a third-year MFA candidate at Yale School of Drama, where his credits include Love’s Labour’s Lost, Romeo and Juliet, A Winter’s Tale, The Three Sisters, The Current War, and Paradise Lost. His regional credits include A Woman of No Importance, Death of a Salesman (Yale Rep); The Taming of the Shrew, A Midsummer Night’s Dream, and Titus Andronicus (Illinois Shakespeare Festival).

Aaron served as an Artistic Associate at Yale Cabaret (41st Season), performing in Mask Ritual: Electra, Dancing in the Dark, Hotbox, and Lady Day at Emerson’s Bar & Grill. His television credits include The Wire, The Corner (HBO), and Homicide: Life on the Streets (NBC). Additionally he has appeared in and recorded voiceovers for a dozen local and national commercials, and narrated the anthology SANTI: Lives of Modern Saints. www.aaron-moss.com

CHARISE K. SMITH (THE YOUNG WIFE) is a third-year MFA candidate at Yale School of Drama, where her credits include: Phèdre, The Art of Preservation, The Three Sisters, 99 Ways to F@%k a Swan, Love’s Labour’s Lost, and The Tempest. Other stage credits include Chain of Fools (Guthrie Theater: A Guthrie Experience); Voices in My Head (Ars Nova); Recess (Yale Summer Cabaret); Estrella Cruz [The Junkyard Queen], Be Aggressive, and Flowers and Other Stories (Yale Cabaret). She received her BA from Brown University.

SARAH SOKOLOVIC (THE PARLOR MAID) is a second-year certificate candidate at Yale School of Drama, where her credits include The Seagull, Paradise Lost, and The French Play. Originally from Milwaukee, Wisconsin, she has acted in over 70 plays in theatres throughout the United States, including Renaissance Theatreworks, Chamber Theatre, Hipgnosis Theatre Company, Write Club NYC, Milwaukee Rep, Madison Rep, American Players Theatre, 59E59, The Kraine, Montana Shakepeare in the Parks, In Tandem, Milwaukee Shakespeare, and Skylight Opera Theatre.

SHANNON SULLIVAN (THE SWEET YOUNG THING) is a second-year MFA candidate at Yale School of Drama, where her credits include Paradise Lost, Man in Love, The French Play (Carlotta Festival of New Plays), and Phèdre. Her original play Antibiosis: was produced at YaleCabaret this season. Shannon received her BFA from University of California, Santa Barbara’s actor training program.

EMILY TRASK (THE PROSTITUTE / DANCE CAPTAIN) is a second-year MFA candidate at Yale School of Drama, where her credits include The Bedtrick, Jelly’s Last Jam, and State of Affairs. Her Yale Cabaret credits include Orestes, Antibiosis, and Language of Angels. Her regional credits include Henry V, The Secret Garden, Hamlet, among others in four seasons at Utah Shakespeare Festival; Tartuffe, Pirandello’s Yes. No. Maybe So?, Chaps!, the world premiere of Armadale (Milwaukee Rep); Red Herring, (Next Act Theatre); A Midsummer Night’s Dream (Montana Shakespeare in the Parks); Scapin, Seussical the Musical, and Bedroom Farce (Hope Summer Rep). She also appeared in the award-winning short film The Violinist. Emily received her BA in theatre and literature from Grinnell College.

LIZ WISAN (THE ACTRESS) is a third-year MFA candidate at Yale School of Drama, where her credits include The Bedtrick, Love’s Labour’s Lost, The Current War, Man=Man, Good Egg, and Peer Gynt. Other credits include A Woman of No Importance (Yale Repertory Theatre); Language of Angels, Babs the Dodo, See What I Wanna See, One for the Road (Yale Cabaret); The Who’s Tommy and Recess (Yale Summer Cabaret).

Liz spent the summer at Chautauqua Theater Company where she appeared in The Winter’s Tale and a workshop of Kate Fodor’s Rx. Regional credits include Anything Goes,Twelfth Night, and Cloud Tectonics (Williamstown Theatre Festival). Liz co-wrote and performed in two shows for Upright Citizens Brigade: The Goods Are Odd (2006 NYC Fringe Festival) and Seriously Extremely Important.

CREATIVE TEAM SARAH BISHOP-STONE (DRAMATURG) is a third-year MFA candidate at Yale School of Drama. Before coming to Yale, she worked for several years in the literary office of Rattlestick Playwrights Theater, and stage managed new plays for companies such as Soho Rep, Pig Iron Theatre Co., Clubbed Thumb, New York Stage and Film, and New Dramatists. She has also worked with The Civilians, The O’Neill Playwrights Conference, and Second Stage Theatre, and is a producer and dramaturg for Nerve Ensemble. Her Yale credits include Love’s Labour’s Lost (Yale School of Drama); Happy Now? and upcoming Compulsion (Yale Rep). She holds a BA in English and comparative literature from Columbia.

LEON DOBKOWSKI (COSTUME DESIGN) is a second-year MFA candidate at Yale School of Drama. Design credits include Flowers and Other Stories, Nijinsky’s Last Dance (Yale Cabaret); The Leopard and the Fox (Alter Ego, NYIT Award Nomination Outstanding Costume Design), 6969 (59E59), Smoking Bloomberg (New York Musical Theatre Fesitval), and upcoming A Midsummer Night’s Dream this April at Yale School of Drama.

Assistant Design credits include The Little Mermaid, Shrek the Musical (Broadway); as well as productions at Goodspeed Musicals, Papermill Playhouse, Signature Theatre, Live from Lincoln Center, George Street Playhouse, Norwegian Cruise Lines and The Ringling Brothers and Barnum and Bailey Circus Gold Unit. Mr. Dobkowski is the 2009–2010 recipient of the Jay and Rhonda Keene Scholarship for Costume Design.

ALAN C. EDWARDS (LIGHTING DESIGN) is a second-year MFA candidate at Yale School of Drama, where his credits include Love’s Labour’s Lost. Other credits include The Pulp of the Matter (Connecticut College Dance); A Day in Dig Nation, Lady Day at Emerson’s Bar & Grill, See What I Wanna See (Yale Cabaret); and The Marriage of Figaro (Tri-Cities Opera). While studying at Ithaca College, he designed Urinetown, Burn This, and scenery for the opera Acis & Galatea. His New York credits include the Broadway productions of A Catered Affair (set design assistant), Boeing-Boeing and The Country Girl (props); and the Off-Broadway production of Amazons and Their Men (props).

JESSE JOU (DIRECTOR) is originally from Houston, Texas, but lived and worked in New York City before attending Yale School of Drama, where his credits include 99 Ways to F@%k a Swan. His other credits include Write On! Young Playwright’s Competition 2009 (Hartford Stage); Take on Me: Adoption, Addiction, and a-ha (New York International Fringe Festival); My Mom Across America (The Kitchen Theatre Co., Ithaca, NY); Estrella Cruz [The Junkyard Queen], Mask Ritual: Electra, Flowers and Other Stories, and Language of Angels (Yale Cabaret). At Yale, he is the recipient of the Edgar and Louise Cullman Scholarship.

KIRSTEN PARKER (STAGE MANAGER) is a second-year MFA candidate at Yale School of Drama. Stage management credits include Hamlet (Yale School of Drama); Bones in the Basket, and Be Aggressive! (Yale Cabaret). Assistant stage management credits include The Master Builder (Yale Rep); The French Play and The Robbers (Yale School of Drama).

Other credits include Betrayal, Visiting Mr. Green, The Memory of Water, The Violet Hour, This Is How It Goes, The Clean House, The Uneasy Chair, Thérèse Raquin (Ensemble Theatre Company); as well as productions at University of California, Santa Barbara, Center Stage Theater, and Santa Barbara City College. She received her BA’s in English and Theatre from the University of California, Santa Barbara.

CHIEN YU PENG (SCENIC DESIGNER), originally from Taiwan, is a second-year MFA candidate at Yale School of Drama. He received his BA in theatre and drama from National Taiwan University, where his credits include Twelfth Night. His other credits include The Brank, A Lover’s Discourse, Postcard from Hell, Woyzeck, and K24. Assistant design credits include Oculus, Lysistrata, Sarah Kane @ 4.48 Psychosis, Do Women Want Love?, and Takasago.

NATHAN A. ROBERTS (SOUND DESIGNER / COMPOSER) is a third-year MFA candidate at Yale School of Drama. Recent credits include Man=Man, Love’s Labour’s Lost, The Bedtrick (Yale School of Drama); Fly-By-Night, The Mystery of Irma Vep, Late: A Cowboy Song, The Who’s Tommy, Traumland, and Recess (Yale Summer Cabaret); Orestes, Flowers and Other Stories, One for the Road, Estrella Cruz [The Junkyard Queen] (Yale Cabaret); Ferdinand the Bull (Arden Theatre Company); and Faust (Blue Heron Arts Center).

OLGA TIMOSHENKO (CHOREOGRAPHER) was born in Belarus and began dancing at the age of 13 at the Piruet Ballroom Studio. In her late teens, she danced at numerous events and festivities organized by the Belorussian State University Lyceum; and later she was a member of the creative/directing team at the Belorussian State University where she studied economics. She continued her studies at the University of Western Ontario. For the 2005 show dedicated to Russian culture at the Summer Language School in Trois-Pistoles, Quebec, she choreographed a dance number, and was a member of the technical and directing teams. Currently in her fourth year of PhD studies at Yale, she is doing research on international trade with a focus on multiproduct firms and production sharing. She is also a senior member of the Yale ballroom dancing team and has represented the team at a number of collegiate competitions.

CREATIVE TEAM SARAH BISHOP-STONE (DRAMATURG) is a third-year MFA candidate at Yale School of Drama. Before coming to Yale, she worked for several years in the literary office of Rattlestick Playwrights Theater, and stage managed new plays for companies such as Soho Rep, Pig Iron Theatre Co., Clubbed Thumb, New York Stage and Film, and New Dramatists. She has also worked with The Civilians, The O’Neill Playwrights Conference, and Second Stage Theatre, and is a producer and dramaturg for Nerve Ensemble. Her Yale credits include Love’s Labour’s Lost (Yale School of Drama); Happy Now? and upcoming Compulsion (Yale Rep). She holds a BA in English and comparative literature from Columbia.

LEON DOBKOWSKI (COSTUME DESIGN) is a second-year MFA candidate at Yale School of Drama. Design credits include Flowers and Other Stories, Nijinsky’s Last Dance (Yale Cabaret); The Leopard and the Fox (Alter Ego, NYIT Award Nomination Outstanding Costume Design), 6969 (59E59), Smoking Bloomberg (New York Musical Theatre Fesitval), and upcoming A Midsummer Night’s Dream this April at Yale School of Drama.

Assistant Design credits include The Little Mermaid, Shrek the Musical (Broadway); as well as productions at Goodspeed Musicals, Papermill Playhouse, Signature Theatre, Live from Lincoln Center, George Street Playhouse, Norwegian Cruise Lines and The Ringling Brothers and Barnum and Bailey Circus Gold Unit. Mr. Dobkowski is the 2009–2010 recipient of the Jay and Rhonda Keene Scholarship for Costume Design.

ALAN C. EDWARDS (LIGHTING DESIGN) is a second-year MFA candidate at Yale School of Drama, where his credits include Love’s Labour’s Lost. Other credits include The Pulp of the Matter (Connecticut College Dance); A Day in Dig Nation, Lady Day at Emerson’s Bar & Grill, See What I Wanna See (Yale Cabaret); and The Marriage of Figaro (Tri-Cities Opera). While studying at Ithaca College, he designed Urinetown, Burn This, and scenery for the opera Acis & Galatea. His New York credits include the Broadway productions of A Catered Affair (set design assistant), Boeing-Boeing and The Country Girl (props); and the Off-Broadway production of Amazons and Their Men (props).

JESSE JOU (DIRECTOR) is originally from Houston, Texas, but lived and worked in New York City before attending Yale School of Drama, where his credits include 99 Ways to F@%k a Swan. His other credits include Write On! Young Playwright’s Competition 2009 (Hartford Stage); Take on Me: Adoption, Addiction, and a-ha (New York International Fringe Festival); My Mom Across America (The Kitchen Theatre Co., Ithaca, NY); Estrella Cruz [The Junkyard Queen], Mask Ritual: Electra, Flowers and Other Stories, and Language of Angels (Yale Cabaret). At Yale, he is the recipient of the Edgar and Louise Cullman Scholarship.

KIRSTEN PARKER (STAGE MANAGER) is a second-year MFA candidate at Yale School of Drama. Stage management credits include Hamlet (Yale School of Drama); Bones in the Basket, and Be Aggressive! (Yale Cabaret). Assistant stage management credits include The Master Builder (Yale Rep); The French Play and The Robbers (Yale School of Drama).

Other credits include Betrayal, Visiting Mr. Green, The Memory of Water, The Violet Hour, This Is How It Goes, The Clean House, The Uneasy Chair, Thérèse Raquin (Ensemble Theatre Company); as well as productions at University of California, Santa Barbara, Center Stage Theater, and Santa Barbara City College. She received her BA’s in English and Theatre from the University of California, Santa Barbara.

CHIEN YU PENG (SCENIC DESIGNER), originally from Taiwan, is a second-year MFA candidate at Yale School of Drama. He received his BA in theatre and drama from National Taiwan University, where his credits include Twelfth Night. His other credits include The Brank, A Lover’s Discourse, Postcard from Hell, Woyzeck, and K24. Assistant design credits include Oculus, Lysistrata, Sarah Kane @ 4.48 Psychosis, Do Women Want Love?, and Takasago.

NATHAN A. ROBERTS (SOUND DESIGNER / COMPOSER) is a third-year MFA candidate at Yale School of Drama. Recent credits include Man=Man, Love’s Labour’s Lost, The Bedtrick (Yale School of Drama); Fly-By-Night, The Mystery of Irma Vep, Late: A Cowboy Song, The Who’s Tommy, Traumland, and Recess (Yale Summer Cabaret); Orestes, Flowers and Other Stories, One for the Road, Estrella Cruz [The Junkyard Queen] (Yale Cabaret); Ferdinand the Bull (Arden Theatre Company); and Faust (Blue Heron Arts Center).

OLGA TIMOSHENKO (CHOREOGRAPHER) was born in Belarus and began dancing at the age of 13 at the Piruet Ballroom Studio. In her late teens, she danced at numerous events and festivities organized by the Belorussian State University Lyceum; and later she was a member of the creative/directing team at the Belorussian State University where she studied economics. She continued her studies at the University of Western Ontario. For the 2005 show dedicated to Russian culture at the Summer Language School in Trois-Pistoles, Quebec, she choreographed a dance number, and was a member of the technical and directing teams. Currently in her fourth year of PhD studies at Yale, she is doing research on international trade with a focus on multiproduct firms and production sharing. She is also a senior member of the Yale ballroom dancing team and has represented the team at a number of collegiate competitions.

up NEXT YALE SCHOOL OF DRAMA

Irish Pub & Restaurant 1166 Chapel Street New Haven, CT 06511 203.777.4367

viRginiA wOOLF’S

ORLANDO

Adapted by SARAH RUHL Directed by JEn winEMAn

JAnUARY 26 TO 30 PHOTO BY BROOkE FAsAnI/CORBIs

drama.yale.edu

nO BOUnDARiES: A SERiES OF gLOBAL PERFORMAnCES

THE BE(A)ST OF TAYLOR MAC

Written and performed by TAYLOR MAC Directed by DAviD DRAkE Presented by World Performance Project at Yale and Yale Repertory Theatre

JAnUARY 28 TO 30 yalerep.org/noboundaries

PHOTO BY DREW GERACI

YALE REPERTORY THEATRE WORLD pREMiERE

COMpuLSiON

By RinnE gROFF Directed by OSkAR EUSTiS Featuring MAnDY PATinkin

Want to save money on your next mailing?

CT Presort is a complete letter shop and mailing service facility. We offer:

A co-production with The Public Theater and Berkeley Repertory Theatre

Inkjet Addressing • Postnet Barcoding Mailing List Maintenance • Fulfillment Call us today to find out how we can save you money on postage!

CT PRESORT, L.L.C. 87A State Street, North Haven 203.239.3199 • ctpresort@aol.com

JAnUARY 29 TO FEBRUARY 28 PHOTO BY DAVID COOPER

yalerep.org

For tickets or more information, call 203.432.1234

LA RONDE PRODUCTION STAFF Associate Managing Director

Belina Mizrahi

Associate Production Supervisor

Amanda J. Haley

Associate Marketing Director

Shin Hyoung Sohn

Assistant Scenic Designer

Portia W. Elmer

Assistant Costume Designer

Rebecca L. Welles

Assistant Lighting Designer

Hyun Seung Lee

Assistant Stage Manager

Brandon Curtis

Technical Director

Kellen McNally

Assistant Technical Directors

Bona Lee, Joe Stoltman

Master Electrician

James Zwicky

Properties Master

Robert Shearin

Costume Shop Manager

Tom McAlister

Associate Costume Shop Manager

Robin Hirsch

Senior Draper

Mary Zihal

Draper

Clarissa Wylie Youngberg

First Hand

Deborah Bloch

Sound Engineer

Kenneth C. Goodwin

Associate Sound Designer

Benjamin Strange

Staff Sound Engineer

Paul Bozzi

Head Electrician

Jason Wells

Scenic Charge

Jennifer L. Herbert

Scenic Artist

Angie Meninger

Staff Carpenter

Ryan Gardner

Stage Carpenter

Andrew V. Wallace

Build Crew

Shaminda Amarakoon, Brian Dambacher, Christopher Russo,

Matt Saunders, Christopher Swetcky

Electrics Crew

Maria Cantin, Hsiao Ya Chen, Karen Hashley, Sandra Jervey,

Allison Hall Johnson, Amy E. Jonas, Julia Lee,

Kimberly Rosenstock

Sound Crew

Michael Backhaus

Run Crew

Ben Horner, Ying Song, Katherine Buechner,

Maria Cantin, Amy E. Jonas, Miriam A. Hyman

Paint Crew

Germán Cardenas, Kimberly Rosenstock, Michael Mitnick

Dance Captain

Emily Trask

House Manager

Elizabeth Elliott

Program Designer

Maggie Elliott

SPECIAL THANKS Marcus Doshi, B&J Fabrics, Rosen and Chadick Fabrics, Mood Fabrics, Jung Griffin, Jennifer Salim

New Haven’s own

® Connecticut’s premiere specialty coffee roaster since 1985

Our newest store is right down the street: Yale Architecture Library 194 York St., near Chapel 203-789-8400 open 7 days until 9pm 258 Church St., corner Grove 203-777-7400 open 7 days Also Branford & Madison

Mail Order 800-388-8400 www.willoughbyscoffee.com

up NEXT YALE SCHOOL OF DRAMA

Irish Pub & Restaurant 1166 Chapel Street New Haven, CT 06511 203.777.4367

viRginiA wOOLF’S

ORLANDO

Adapted by SARAH RUHL Directed by JEn winEMAn

JAnUARY 26 TO 30 PHOTO BY BROOkE FAsAnI/CORBIs

drama.yale.edu

nO BOUnDARiES: A SERiES OF gLOBAL PERFORMAnCES

THE BE(A)ST OF TAYLOR MAC

Written and performed by TAYLOR MAC Directed by DAviD DRAkE Presented by World Performance Project at Yale and Yale Repertory Theatre

JAnUARY 28 TO 30 yalerep.org/noboundaries

PHOTO BY DREW GERACI

YALE REPERTORY THEATRE WORLD pREMiERE

COMpuLSiON

By RinnE gROFF Directed by OSkAR EUSTiS Featuring MAnDY PATinkin

Want to save money on your next mailing?

CT Presort is a complete letter shop and mailing service facility. We offer:

A co-production with The Public Theater and Berkeley Repertory Theatre

Inkjet Addressing • Postnet Barcoding Mailing List Maintenance • Fulfillment Call us today to find out how we can save you money on postage!

CT PRESORT, L.L.C. 87A State Street, North Haven 203.239.3199 • ctpresort@aol.com

JAnUARY 29 TO FEBRUARY 28 PHOTO BY DAVID COOPER

yalerep.org

For tickets or more information, call 203.432.1234

DECEMBER 12 TO 17 UNIVERSITY THEATRE

2009–10 SEASON

LA RONDE PRODUCTION STAFF Associate Managing Director

Belina Mizrahi

Associate Production Supervisor

Amanda J. Haley

Associate Marketing Director

Shin Hyoung Sohn

Assistant Scenic Designer

Portia W. Elmer

Assistant Costume Designer

Rebecca L. Welles

Assistant Lighting Designer

Hyun Seung Lee

Assistant Stage Manager

Brandon Curtis

Technical Director

Kellen McNally

Assistant Technical Directors

Bona Lee, Joe Stoltman

Master Electrician

James Zwicky

Properties Master

Robert Shearin

Costume Shop Manager

Tom McAlister

Associate Costume Shop Manager

Robin Hirsch

Senior Draper

Mary Zihal

Draper

Clarissa Wylie Youngberg

First Hand

Deborah Bloch

Sound Engineer

Kenneth C. Goodwin

Associate Sound Designer

Benjamin Strange

Staff Sound Engineer

Paul Bozzi

Head Electrician

Jason Wells

Scenic Charge

Jennifer L. Herbert

Scenic Artist

Angie Meninger

Staff Carpenter

Ryan Gardner

Stage Carpenter

Andrew V. Wallace

Build Crew

Shaminda Amarakoon, Brian Dambacher, Christopher Russo,

Matt Saunders, Christopher Swetcky

Electrics Crew

Maria Cantin, Hsiao Ya Chen, Karen Hashley, Sandra Jervey,

Allison Hall Johnson, Amy E. Jonas, Julia Lee,

Kimberly Rosenstock

Sound Crew

Michael Backhaus

Run Crew

Ben Horner, Ying Song, Katherine Buechner,

Maria Cantin, Amy E. Jonas, Miriam A. Hyman

Paint Crew

Germán Cardenas, Kimberly Rosenstock, Michael Mitnick

Dance Captain

Emily Trask

House Manager

Elizabeth Elliott

Program Designer

Maggie Elliott

SPECIAL THANKS Marcus Doshi, B&J Fabrics, Rosen and Chadick Fabrics, Mood Fabrics, Jung Griffin, Jennifer Salim

New Haven’s own

® Connecticut’s premiere specialty coffee roaster since 1985

Our newest store is right down the street: Yale Architecture Library 194 York St., near Chapel 203-789-8400 open 7 days until 9pm 258 Church St., corner Grove 203-777-7400 open 7 days Also Branford & Madison

Mail Order 800-388-8400 www.willoughbyscoffee.com