WO R L D PREMIERE
2018 – 19
SEASO N
YALE REPERTORY THEATRE, the internationally celebrated professional theater in residence at Yale School of Drama, is dedicated to the production of new plays and daring interpretations of the classics that make immediate connections to contemporary audiences. A champion of new work by early career and established playwrights, Yale Rep has produced well over 100 premieres, including two Pulitzer Prize winners and four other nominated finalists, since 1966. Seventeen Yale Rep productions have advanced to Broadway, garnering more than 40 Tony Award nominations and 11 Tony Awards including one for Outstanding Regional Theatre. Established in 2008, Yale’s Binger Center for New Theatre has distinguished itself as one of the nation’s most robust and innovative new play programs. To date, the Binger Center has supported the work of more than 50 commissioned artists and underwritten the world premieres and subsequent productions of 31 new American plays and musicals at Yale Rep and theaters across the country. MISSION Yale School of Drama and Yale Repertory Theatre train and advance leaders to raise the standard of global professional practice in every theatrical discipline, pursuing excellence in art to promote wonder, empathy, and understanding in the world.
VALUES Artistry: We nurture imagination and court
inspiration through mastery of skills and techniques, to create fluent, authentic, original storytelling that illuminates the complexity of the human spirit and questions accepted wisdom. Collaboration: We attend both to process and
to results, hearing the voices of colleagues and striving for a collective vision of our goals; we prize the contributions and accomplishments of the individual and of the team.
Discovery: We wrestle with the most compelling
issues of our time. Therefore, we foster curiosity, invention, bravery, and humor: we risk and learn from failure and vulnerability in order to build lifelong habits of innovation and revelation. Inclusion: We commit to fair and ongoing
practices that enhance our relationships to theater makers, audiences, and society, finding strength in our diversity, and lowering barriers to participation in the field. Professionalism: We dedicate our best selves
to both training and practice, holding ourselves accountable for a safe, sound, and respectful workplace, animated by good will.
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James Udom and Eboni Flowers in Father Comes Home From the Wars, Parts 1, 2 & 3. Photo by Joan Marcus, 2018.
A NOTE FROM THE ARTISTIC DIRECTOR Welcome to Yale Repertory Theatre and the final production of our 2018–19 Season, the world premiere of Cadillac Crew! I am delighted you are here today to celebrate with us the Yale Rep debuts of Tori Sampson and Jesse Rasmussen, who began their collaboration on this remarkable play several years ago, as students at Yale School of Drama. At the height of the Civil Rights Movement in the 1960s, groups of black women and white women traveled together in cars throughout the Southern United States to promote desegregation. Information about these activists and their work has not been widely shared in mainstream historical narratives: stories of these “Cadillac crews” have been by turns been treated with discretion, overlooked, suppressed, as well as occasionally celebrated. In Cadillac Crew, Tori Sampson brings to center stage these marginalized truths of the American story. With insight, imagination, and wit, she has created four complex women who work in a Virginia civil rights office on the eve of their first such road trip. Their journey, brought to magnificent life by this company of actors and artistic collaborators, shines a light on the long line of women activists at the forefront of social justice movements leading right to the present moment and into our future promise. Thank you for being with us today. Whether you are a longtime Yale Rep subscriber or this is your first visit to our theater, your attendance is essential to the life of our theater. I hope that you will return in the fall: we have a thrilling lineup of four extraordinary new plays and a fresh look at one of the most influential American plays of the last century. Subscriptions are on sale, and I am also pleased to tell you that we have simplified our pricing, and modestly lowered prices across the board, so that we can share our season with as many theater lovers as possible. The season will open in October with Girls, an electrified and electrifying new spin on the classic Greek tragedy, The Bacchae by Euripides, created by playwright Branden Jacobs-Jenkins, choreographer Raja Feather Kelly, and director Lileana Blain-Cruz; and will continue in November with The Plot, a new play by Pulitzer Prize finalist Will Eno, directed by Oliver Butler. In 2020, we will present Mary Kathryn Nagle’s Manahatta, about commercial exploitation and attempts to eradicate Native culture, directed by Laurie Woolery; A Raisin in the Sun, Lorraine Hansberry’s seminal look at the dreams of an African American family in a country always on the cusp of change, directed by Carl Cofield; and Testmatch, Kate Attwell’s play about sport, gender politics, and colonialism, directed by Margot Bordelon. As always, please feel free to write to me with your thoughts about Cadillac Crew or any of your experiences at Yale Rep. My email address is james.bundy@yale.edu. Sincerely, James Bundy Artistic Director 2
COMPLIMENTARY GLASS OF PROSECCO WITH DINNER BEFORE OR AFTER THE SHOW
Harvest is a fresh take on our lifelong dedication to satisfying meals and loyal guests. Custom cuisine from farm to fork. 372 Greenwich Avenue, Greenwich | 1104 Chapel Street, New Haven 36 Railroad Place, Westport | 64 Lasalle Road, West Hartford harvestwinebar.com 3
APRIL 26–MAY 18, 2019 YALE REPERTORY THEATRE
James Bundy, Artistic Director Victoria Nolan, Managing Director
PRESENTS THE WORLD PREMIERE OF
CADILLAC CREW TORI SAMPSON JESSE RASMUSSEN AND TORI SAMPSON BY DIRECTED BY
Scenic Designer JESSIE CHEN Costume Designer MATTHEW R. MALONE Lighting Designer KATHY A. PERKINS Sound Designer ANDREW ROVNER Projection Designer RASEAN DAVONTE JOHNSON
Although this play is inspired by real events and people, characters have been dramatized or fictionalized. Production sponsor: Carol L. Sirot Production support for Cadillac Crew is provided by Yale’s Binger Center for New Theatre and the National Endowment for the Arts.
Production Dramaturgs AMY BORATKO SOPHIE SIEGEL-WARREN Technical Director ALEXANDRA McNAMARA Vocal and Dialect Coach RON CARLOS Casting Directors TARA RUBIN/LAURA SCHUTZEL, C.S.A.
Yale Repertory Theatre gratefully acknowledges Carol L. Sirot for generously funding the 2018–19 season. Yale Rep is supported in part by the Connecticut Department of Economic and Community Development.
Stage Manager OLIVIA LOUISE TREE PLATH
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heirloom FA R M + C O A S T A L C U I S I N E
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1157 Chapel Street | www.heirloomnewhaven.com | 203.503.3919
CAST
in alphabetical order DRIA BROWN Abby ASHLEY BRYANT Dee
Daily Deliveries to the Greater New Haven Area European Style Floral Designs Gourmet Gift Baskets House Plants
BRONTË ENGLAND-NELSON Sarah CHALIA LA TOUR Rachel
SETTING A local civil rights office, Virginia, early 1960s. There will be a ten-minute intermission.
-7589 The taking of photographs or the use of recording devices of any kind in the theater without the written permission of the management is prohibited.
forgetmenotfloristCT.com 6
Reinscribing Audacity: An In Tori Sampson’s Cadillac Crew begins on a busy morning at the fictional Virginia Office for Civil Rights in the early 1960s. Rachel, Abby, Dee, and Sarah work to register black voters, organize convocations to spread awareness of sexual violence, and advocate for equal pay reform while tangling with questions of identity, advocacy, and legacy. Through these four women, Sampson brings to the stage a part of the history often relegated to the footnotes: the work of black female activists. Production dramaturg Sophie Siegel-Warren interviewed the playwright about why and how she writes about history—and the continual struggle to keep black women’s narratives present in the historical record.
SOPHIE SIEGEL-WARREN: In Cadillac Crew, you create a play around a littleknown activist strategy of the Civil Rights era, pioneered by Dorothy Height, the then-president of the National Council of Negro Women. What initially drew you to this idea? TORI SAMPSON: I was reading a biography of Dorothy Height, and I saw a mention of “Cadillac crews.” There wasn’t a lot of information, but it was enough to pique my interest about what they were: black women and white women, together, desegregating the South through these road trips. I began the play a few years ago, when I was studying at Yale School of Drama. When I went to the Yale libraries to find more information, I kept coming up short. Instead of dropping the idea, I got a new one: why can’t I find this information? What does it mean for these women to be written out of history? Then that felt like the play I should be writing.
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SSW: Do you see it as a strategy, that these women have been largely left out of the popular narrative of Civil Rights history? TS: Absolutely. Since our nation’s founding, we’ve decided the history that we’re going to tell about it. We’ve decided that indigenous people gave us this land, and that’s what Thanksgiving is. We’ve decided that slaves built this country because they were being paid, which is now in Texas schoolbooks. As Americans, we’re brought up in a culture of white supremacy and patriarchy—and you don’t have to be male or white to embody those tactics. Even within the Civil Rights movement, Bayard Rustin—a gay, black man—told Dr. Height that her agenda for, her participation in, and her physical body at the front of the March on Washington would be a distraction. SSW: How do you show the consequences of this systemic erasure for someone like Rachel, a young black woman who aspires to be a leader in the Civil Rights movement?
Tori Sampson photo by Courtney Jamison and Antoinette Crowe-Legacy.
nterview with Tori Sampson
TS: When I was writing the character of Rachel, I was thinking a lot about Martin Luther King, Malcolm X, and for some reason, Kanye West. Kanye consistently was calling himself a genius—to the point where other people started calling him a genius, too. I was fascinated by that: his audacity to name himself as something so exalted. He understands the power of rhetoric. He understands that if you say the same thing over and over and over, people will start to believe it. And I understand where he gained that knowledge as a man. The audacity of women is something that we’ve written out of history. What does it look like for a woman to say: “I am this. I am going to do this because I want to be a part of history. I want my name to be in history books. I want to be remembered. I am great. I am worthy. I can do this. Why can I not be the next Dr. King? What is stopping me from doing that?” We base what we think is possible on what we’ve seen before. If you are a young woman and you don’t know about Rosa Parks and her anti-rape activism, about Pauli Murray and her work to first integrate colleges on the basis of race and then of gender, about Lorraine Hansberry’s legacy beyond the stage and how she worked closely with Malcolm X and Dr. Height, if you don’t know the fullness of these pioneers, how would you know that you are possible? SSW: Several of your plays look back to recent American history—particularly lesser-known stories from the 1950s, 60s, and 70s. What attracts you to writing about history?
TS: My mom was a history teacher, and I grew up really interested in history. I majored in sociology and loved ethnographic studies—observing people and understanding the micro and the macro. I started off in journalism, which required me to take myself out of what was happening and understand people for who they were. No judgment, just falling into people, understanding both what’s happening right in front of me and the impact of the greater community and society. I think that that’s what playwriting is. You become very interested in something, you study it, you observe it, and then you pull yourself out of it far enough that you create characters who don’t all sound like you. Hopefully, you are able to present a reality that is bigger than one person or bigger than the people in your play. I consider myself an artivist. I know that the thing I love to do is to create and tell stories, so how do I use my art in service of my activism? What am I doing with this gift that God has given me? How am I using it to better the world? SSW: How do you approach honoring what happened in history when your subject might not be well documented? TS: When there are gaps in information, that’s where I enter. I want to expand my imagination and for my imagination to be embedded in the stories that I’m telling. There is a lot of pressure to get it right—so many pieces that have to fit and so many people counting on their history being told in a way that they respect. When you do get it right,
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REINSCRIBING AUDACITY: An Interview with Tori Sampson people recognize themselves; they feel seen and like their story’s being told in a way that honors them. SSW: In Cadillac Crew, you draw parallels to our contemporary society. Where do you see today reflected in the conversations these women are having in the 1960s? TS: Sadly, there are parallels all over the place. We still mirror the 60s when we talk about who is allowed to be in front and have a voice. Rosa Parks was chosen because of the way she looked; Claudette Colvin was silenced because of the way she looked. We have more affinity for somebody like Alexandria Ocasio-Cortez than we do
for Ilhan Omar, than we do for Lauren Underwood. Being Muslim and/or of darker skin evokes ideals of inferiority in this country. These identities don’t have the same proximity to whiteness—don’t catch people’s interests as much as someone like Ocasio-Cortez. The violent treatment Omar’s endured from the right and the lack of protection provided for her by the left has everything to do with how she aesthetically presents. Why is she not worthy of protection? Why is it so easy for folks to watch her experience this level of threat? How do we determine who gets our sympathy? How do we choose whom to uplift and whom to silence? Activism and politics. This is an age-old conversation and the
All in a Day’s Work: At th e V Production Dramaturgs Amy Boratko and Sophie Siegel-Warren imagine
Rachel’s bulletin board at the Virginia Office for Civil Rights.
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truth in how we live out the answers to these questions has to be acknowledged. I also see parallels with women banding together—the freshman class of women in Congress has united in a beautiful way to have each other’s backs and engage with each other on the national stage. I see that in how Dr. Height put together the Cadillac crews and what she was able to accomplish with other women who created coalition. That’s something women have known forever: we have to move together, as a force. We see the roadblocks. We hear the male voices consistently trying to shut us down and invalidate our voices, intellect, and what we’re able to accomplish.
The history of this country, although flawed and steeped in violence, is also a history of audacity, a history of the underdog. How do we preserve and lift that? How do we build upon that dream— one that was for white men—and allow for everybody else to get a piece of that? There’s no other country in the world that has the power to do that. There are so many things about this country that are possible! This country is malleable. We can actually shape it to be anything we want it to be. And we’re in a state right now where we are choosing ugly; we are choosing violence; we’re choosing hatred. And it’s so possible for us to choose peace; it’s so possible for us to choose love. And that’s sacred.
irginia Office for Civil Rights
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CAST DRIA BROWN* (Abby) National Tour:
CHALIA LA TOUR* (Rachel) returns to
Bedlam’s Hamlet/Saint Joan. Regional: Saint Joan (Folger Theatre); The Revolutionists (Gulfshore Playhouse); Actions and Objectives (Triad Stage); Crumbs from the Table of Joy (Martha’s Vineyard Playhouse). Off Broadway: #NewSlaves (Playwrights Realm); CRH (Kraine Theater). Voiceover: Resistance Radio: The Man in the High Castle Album (Emmy-nominated project, Cannes Bronze Lion winner). University of NC School of the Arts. Instagram: @DRIA.BROWN
Yale Rep, where she was previously seen in Cymbeline. Other credits include Slave Play (New York Theatre Workshop), The Review or How to Eat Your Opposition (Women’s Project Theater). Television: The Good Fight, The Code, and Elementary on CBS. Film: The Future is Bright, Three Pregnant Men, and Love, Repeat. The Future is Bright screened at the inaugural Smithsonian African American Film Festival. La Tour is a graduate of Yale School of Drama’s M.F.A. acting program and is also an alumna of the Actors Theatre of Louisville Professional Training Program and The British American Dramatic Academy. She is originally from Stockton, California. chalialatour.com Instagram: @chalialatour
ASHLEY BRYANT* (Dee) Broadway: The Play That Goes Wrong, A Free Man of Color. Off-Broadway: Eve Ensler’s Emotional Creature (Signature Theatre). Regional: Mouth Wide Open (American Repertory Theater), Emotional Creature (Berkeley Repertory Theatre), Sheila’s Day (Crossroads Theatre, Hartford Stage), Proof (TheatreWorks Silicon Valley), and King John (Shakespeare & Company). Television: Bull, Younger, The Marvelous Mrs. Maisel, Blue Bloods, The Knick, Nurse Jackie, Elementary, and Gossip Girl. B.F.A., University of Utah. M.F.A., Yale School of Drama. ashleybryant.net. Instagram: @ashleybryantmiller
BRONTË ENGLAND-NELSON* (Sarah) Broadway: Three Tall Women (understudy). New York: Acolyte (59E59) and workshops of Martyrs (La Mama) and Rocket Park (The Public Theater). Regional: Kleptocracy (Arena Stage); Three Musketeers, Henry IV, Part I (Santa Cruz Shakespeare); and As You Like It (Hudson Shakespeare Co). B.A., University of California, Santa Cruz. M.F.A., Yale School of Drama. 11
CREATIVE TEAM AMY BORATKO (Production Dramaturg) is the Literary Manager at Yale Rep and has previously served as dramaturg on the Yale Rep productions of Good Faith, Field Guide, Mary Jane, Imogen Says Nothing, peerless, Indecent, War, 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 credits include dramaturging new play workshops at New Dramatists and Voice and Vision’s ENVISION Retreat. 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 M.F.A. in dramaturgy and dramatic criticism from Yale School of Drama. Amy is a Connecticut representative for the Parent Artist Advocacy League.
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
RON CARLOS (Vocal and Dialect Coach) is a lecturer in acting at Yale School of Drama. Coaching credits include Good Faith, Native Son, Mary Jane, Assassins, Seven Guitars, War (Yale Rep); The Glass Menagerie, It’s Only a Play (Broadway); Mother of the Maid, Fire in Dreamland, Mlima’s Tale, The Low Road, Kings, Oedipus El Rey, Gently Down the Stream, Party People, Sweat, Plenty, Privacy (The Public Theater); Charm (MCC); Mary Jane (New York Theatre Workshop); The Gentleman Caller (Abingdon); The Capables (Judson Gym); Noises Off (Two River Theater); Grounded (Westport Country Playhouse); The Piano Lesson (Hartford Stage); Misalliance, Love’s Labour’s Lost (Shakespeare Theatre of New Jersey); The Lily’s Revenge (American Repertory Theater). Television: The Enemy Within (NBC), Family Pictures USA (PBS), Orange Is the New Black (Netflix), Madam Secretary (CBS), Power (STARZ), Unforgettable (CBS), and Fringe (Fox). Film: Beautiful Darkness, The Week Of. Ron received his M.F.A. in voice and speech pedagogy from the ART Institute at Harvard and is an Associate Teacher of Fitzmaurice Voicework® and Certified teacher of Knight-Thompson Speechwork.
JESSIE CHEN (Scenic Designer) is a third-year M.F.A. candidate at Yale School of Drama, where her credits include The Winter’s Tale and Sweat. Her other designs include The Ugly One, School Girls; Or, the African Mean Girls Play (Yale Cabaret); Delicacy of A Puffin Heart (NYC Corkscrew Theater Festival); Woyzeck (Lumin Theater Lab); and Ever After (National Taiwan University Art Festival). Originally from Taipei, Taiwan, she holds a B.A. in theatrical design from National Taiwan University. jessieyihuachen.com
RASEAN DAVONTE JOHNSON (Projection Designer) returns to Yale Rep where he previously worked on Cymbeline. A Chicago-based video artist and theatrical designer, he has had the opportunity to
work with institutions such as Steppenwolf Theatre Company, The Public Theater, Long Wharf Theatre, Geva Theatre Center, Berkshire Theatre Group, Alliance Theatre, Court Theatre, The Hypocrites, Manual Cinema, ArtsEmerson, Dallas Theater Center, The Sheen Center, McCarter Theatre Center, Olney Theatre Center, and internationally with the Ningbo Song and Dance Company. Additionally, his video and installation work has been seen at Yale University Art Gallery, The Bridgeport Film Festival, the Logan Center for the Arts, and the Columbus International Film Festival. M.F.A., Yale School of Drama. raseandavontejohnson.com
MATTHEW R. MALONE (Costume Designer) is a third-year M.F.A. candidate at Yale School of Drama, where he designed Marty and the Hands That Could and Passion. Other credits include NOVIOS: part one, The Light Fantastic, The Apple Tree (Yale Cabaret); Julius Caesar, The Tempest, Medea, Anna in the Tropics, The Cripple of Inishmaan, Wilderness of Mirrors, Five Women Wearing the Same Dress, Lizards… (Stella Adler Studios); Anything Goes (Little Theatre on the Square); Anne Boleyn (Calderwood Pavilion); Woyzeck, Trestle at Pope Lick Creek, Cold Summer (Boston University); and Gods and Kings (The Other Mirror). Matthew holds a B.F.A. in costume design from Boston University and has worked as a costume crafts artist for John Kristiansen New York, Inc.; Glimmerglass Opera; Boston Ballet; and as a draper for the 2012 London Olympics Opening Ceremony.
ALEXANDRA McNAMARA (Technical Director), raised in Nashville, Tennessee, is a second-year M.F.A. candidate at Yale School of Drama. She started at Yale Repertory Theatre as a staff carpenter before pursuing her M.F.A. She was Yale Cabaret’s Fall Production Manager, overseeing productions including The Purple Flower, Untitled Ke$ha Project, and The Whale in the Hudson. Prior to Yale, Alex was a freelance carpenter in New York City, working at The 12
CREATIVE TEAM Public Theater, Hudson Scenic, and Atlantic Theater Company. She has spent summers at Williamstown Theatre Festival, most recently as the Associate Technical Director for their mainstage. She holds a B.A. in theater from Middle Tennessee University.
KATHY A. PERKINS (Lighting Designer) New York: New Federal Theatre, Manhattan Theatre Club, Carnegie Hall, Brooklyn Academy of Music. Regional: Arden Theatre, Baltimore Center Stage, Goodman Theatre, Arena Stage, Steppenwolf, Alliance Theatre, Mark Taper Forum, Berkeley Repertory, Actors Theatre of Louisville, St. Louis Black Repertory, American Conservatory Theater, Indiana Repertory, Seattle Repertory, Congo Square, Alabama Shakespeare Festival, Writers Theatre, Two River, People’s Light, Playmakers Repertory Company. International: South Africa, Cuba, Switzerland. Kathy is a senior editor of The Routledge Companion to African American Theatre and Performance and is editor/co-editor of six anthologies focusing on African/African Diaspora women. She is Professor Emerita of the University of Illinois at Urbana-Champaign and University of North Carolina at Chapel Hill. Education: Howard University, University of Michigan.
OLIVIA LOUISE TREE PLATH* (Stage Manager) is a third-year M.F.A. candidate at Yale School of Drama, where her credits include Marty and the Hands That Could, Sweat, Escape from Happiness, and Wrong River. Her other credits include Mud, This American Wife, In the Red and Brown Water (Yale Cabaret); Mies Julie, Antony + Cleopatra (Yale Summer Cabaret); Melancholy Play (The Liminal Playhouse); Beauty and the Beast (The Theatre Downstream); among others. Olivia holds a B.F.A. in photography with a minor in theatre studies from Eastern Kentucky University.
JESSE RASMUSSEN (Director) is a New York City-based director, writer, and lyricist originally hailing from Melbourne, Australia.
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This year, in addition to the world premiere of Tori Sampson’s Cadillac Crew at Yale Rep, she will direct a new play by Jeremy O. Harris. As a lyricist, she is currently developing a libretto based on Mary Shelley’s Frankenstein with Four Larks for The Wallis Centre in Los Angeles. Recently, she has directed Jeremy O. Harris’s Xander Xyst, Dragon: 1 at Ars Nova’s ANT Fest, and co-wrote Katabasis at The Getty Villa with Four Larks. Jesse is a graduate of Yale School of Drama, (M.F.A., directing), where she directed John Ford’s ’Tis Pity She’s A Whore, Macbeth, This Land Was Made by Tori Sampson and Everything That Never Happened by Sarah B. Mantell. She is a founding member of award-winning L.A.-based theatrical collective Four Larks, where her recent credits include hymns, The Temptation of St. Antony, and Undine.
ANDREW ROVNER (Sound Designer) is a third-year M.F.A. candidate at Yale School of Drama, where his credits include Seven Spots On The Sun, Marty and the Hands That Could, Romeo and Juliet, and Perfectly Timed Photos Taken Before a Disaster. Other credits include NOVIOS: part one, The Light Fantastic, The Other World (Yale Cabaret); 1984 (Steppenwolf Theatre Company); Four, Rolling (Jackalope Theatre Company); Edith Can Shoot Things and Hit Them (First Floor Theater); and The December Man (MaryArrchie Theatre Co.). He was also the sound designer for Storm, The Wild (Walkabout Theater Company); Circle-Machine (Oracle Theatre); among others. Andrew holds a B.A. in drama and philosophy from Vassar College.
TARA RUBIN/LAURA SCHUTZEL, C.S.A. (Casting Director) has been casting Yale Rep since 2004. Selected Broadway/National Tours: King Kong, Summer: The Donna Summer Musical, The Band’s Visit, Prince of Broadway, Indecent, Bandstand, Sunset Boulevard, Miss Saigon, Dear Evan Hansen, A Bronx Tale, Cats, Falsettos, Disaster!, School of Rock, Les Misérables, The Heiress, The Phantom of the Opera, Billy Elliot, Shrek,
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
Spamalot, The 25th Annual Putnam County Spelling Bee, The Producers, Mamma Mia!, Jersey Boys. Off-Broadway: Smokey Joe’s Café, Jersey Boys, Here Lies Love. Regional: Paper Mill Playhouse, La Jolla Playhouse, The Old Globe, Bucks County Playhouse, Westport Country Playhouse. tararubincasting.com
TORI SAMPSON (Playwright and Director), a native of Boston, is the author of If Pretty Hurts Ugly Must be a Muhfucka (Playwrights Horizons, 2019), This Land Was Made (Vineyard Theatre:Lab, 2018), and Where Butterflies go in the Winter. Her plays have been developed at Great Plains Theatre Conference, Berkeley Repertory Theatre’s The Ground Floor residency program, Victory Garden’s IGNITION Festival of New Plays, Playwrights Foundation, and Ubuntu Festival. Tori is a 2017–18 Playwright’s Center Jerome Fellow and a 2018–19 McKnight Fellow. Two of her plays appeared on the 2017 Kilroys List. Her awards and honors include the 2016 Relentless Award, Honorable Mention; the 2016 Paula Vogel Award in Playwriting from The Kennedy Center; the Lorraine Hansberry Playwriting Award, Second Place; the Alliance Theater’s 2017 Kendeda Prize, Finalist; the 2018 Susan Smith Blackburn
Prize, Finalist; and the 2018 National Theater Conference’s Paul Green Award. Tori is currently working on commissions from Berkeley Repertory Theatre, Yale Repertory Theatre, and Atlantic Theater Company. She holds a B.S. in sociology from Ball State University and an M.F.A. in playwriting from Yale School of Drama. torisampson.com
SOPHIE SIEGEL-WARREN (Production Dramaturg) is a third-year M.F.A. candidate at Yale School of Drama, where her dramaturgy credits include Trouble in Mind, The Winter’s Tale, and Sweat. Other credits include The Purple Flower, Fuck Her (Yale Cabaret); Near the Krummholz (Women’s Voices in Theater Festival). Her producing credits include Camille: A Tearjerker and AVITAL at Yale Cabaret. Sophie is an artistic associate at Yale Cabaret and the teaching artist for the Dwight/Edgewood Project. Before coming to Yale, she worked for College Possible Minnesota, mentoring first-generation students as they prepare for and enroll in college. She also wrote and produced an original play that was performed in Minneapolis in 2015. She received her B.A. in English at Carleton College in Northfield, Minnesota.
CADILLAC CREW STAFF ARTISTIC
Assistant Director Taylor Barfield
Assistant Stage Manager Samantha Tirrell
PRODUCTION
Assistant Scenic Designer Bridget Lindsay
Associate Production Manager Ben Jones
Assistant Costume Designer David Mitsch
Assistant Technical Directors Kirk Keen Dominick Pinto Yaro Yarashevich
Associate Lighting Designer Carolina Ortiz Assistant Lighting Designer Erin Earle Fleming Assistant Sound Designer and Engineer Daniela Hart Assistant Projection Designer Yana Birÿkova Hair and Makeup Designer Earon Nealy
Assistant Properties Master Dani Mader Master Electrician Donald Titus Assistant Master Electrician Ruo-Qiao Li Projection Engineer Martin Montaner V. Projections Programmer Yaara Bar
Run Crew Christopher D. Betts Madeline Carey Matthias Neckermann Ilia Isorelýs Paulino Patrick Young Yuhan Zhang
ADMINISTRATION House Manager Oakton Reynolds
UNDERSTUDIES
Doireann Mac Mahon, Sarah Ciara Monique McMillian, Abby Jade Radford*, Dee, Rachel
SPECIAL THANKS
From the playwright: The Playwrights Center, Michelle Obama, Julia Roberts, Ian Davis, Mummy, God From the director: Maureen McCrane
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YALE REPERTORY THEATRE STAFF Artistic Director James Bundy Managing Director Victoria Nolan Associate Artistic Director and Director of New Play Programs Jennifer Kiger
ARTISTIC Resident Artists
Playwright in Residence Tarell Alvin McCraney Resident Director Liz Diamond Resident Dramaturg Catherine Sheehy Set Design Advisor, Resident Set Designer Michael Yeargan Costume Design Advisor Ilona Somogyi
Resident Costume Designer Jess Goldstein Lighting Design Advisor Jennifer Tipton Resident Lighting Designer Stephen Strawbridge Sound Design Advisor David Budries Voice and Speech Advisor Walton Wilson Fight Advisor Rick Sordelet Stage Management Advisor Mary Hunter
Associate Artists
52nd Street Project Kama Ginkas Mark Lamos MTYZ Theatre/Moscow New Generations Theatre Bill Rauch Sarah Ruhl Henrietta Yanovskaya
Artistic Management
Felicia Rudolph, C.S.A. Xavier Rubiano Louis DiPaolo Senior Administrative Assistant to the Artistic Director and Associate Artistic Director Josie Brown
Production Management
Director of Production Shaminda Amarakoon Production Manager Jonathan Reed Associate Head of Production and Student Labor Supervisor C. Nikki Mills
Properties Craftsperson David P. Schrader
Wardrobe Supervisor Elizabeth Bolster
Master Properties Assistant Zach Faber
Head Properties Runner Billy Ordynowicz
Costume Project Coordinator Linda Kelley-Dodd Draper Nikki Fazzone Wig and Hair Design Denise O’Brien (on leave) Company Hairdresser Barbara Bodine
Senior Administrative Assistant to the Production, Theater Safety and Occupational Health Departments Grace O’Brien
Interim Costume Stock Manager Jamie Farkas
Scenery
Electrics
Technical Directors Neil Mulligan Matt Welander Electro Mechanical Laboratory Supervisor Alan Hendrickson
Stage Operations
Stage Carpenter Janet Cunningham
Senior Administrative Assistant for the Directing, Interim Properties Dramaturgy and Dramatic Assistant Madeline Winward Criticism, Playwriting, and Stage Management Properties Stock Manager Departments Mark Dionne Laurie Coppola Properties Intern Senior Administrative Hyejin Son Assistant for the Design and Sound Design Costumes Departments Costume Shop Manager Kate Begley Baker Tom McAlister Senior Administrative Senior Drapers Assistant for the Acting Harry Johnson Department Clarissa Wylie Youngberg Ellen Lange Mary Zihal Library Services Senior First Hands Lindsay King Deborah Bloch Patricia Van Horn PRODUCTION
Shop Foreman Eric Sparks Production Stage Manager Master Shop Carpenters James Mountcastle Matt Gaffney Literary Manager Ryan Gardner Amy Boratko Sharon Reinhart Libby Stone Artistic Associate Kay Perdue Meadows Painting Scenic Charge Literary Associate Ru-Jun Wang Charles O’Malley Scenic Artists Casting Lia Akkerhuis Tara Rubin, C.S.A. Nathan Jasunas Laura Schutzel, C.S.A. Merri Sugarman, C.S.A. Scenic Painting Intern Kaitlin Shaw, C.S.A. Amelia Pizzoferrato Claire Burke, C.S.A. Peter Van Dam C.S.A.
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Properties
Properties Master Jennifer McClure
Costume Stock Manager Elizabeth Beale (on leave)
Lighting Supervisor Donald W. Titus Senior Head Electricians Jennifer Carlson Linda-Cristal Young Electrics Interns Ruo-Qiao Li Kyra Tamiko Murzyn
Sound
Sound Supervisor Mike Backhaus Staff Sound Engineer Stephanie Smith Sound Interns Marisa Arellano Yitong Huang
Projections
Projection Supervisor Erich Bolton Head Projection Technician Mike Paddock
FOH Mix Engineer Jacob Riley Light Board Programmer David Willmore
ADMINISTRATION General Management General Manager Kelvin Dinkins, Jr.
Associate Managing Directors Trent Anderson Caitlin Crombleholme Leandro A. Zaneti Assistant Managing Director Caitlin Volz Senior Administrative Assistant to the Managing Director and General Manager Emalie Mayo Management Assistants Eliza Orleans Emma Perrin Company Manager Dani Barlow Assistant Company Managers Madeline Carey Estefani Castro
Development and Alumni Affairs
Director of Development and Alumni Affairs Deborah S. Berman
Senior Associate Director of Institutional Giving Janice Muirhead Senior Associate Director of Operations for Development and Alumni Affairs Susan C. Clark Associate Director of Development and Alumni Affairs Lisa D. Richardson Senior Administrative Assistant to Development and Marketing & Communications Jennifer E. Alzona Development Assistants Casey Grambo Chad Kinsman
Finance and Human Resources
Director of Finance and Human Resources Katherine D. Burgueño Director, Yale Tessitura Consortium Janna J. Ellis Business Office Analyst Stacie Wcislo (on leave) Business Office Specialists Preston Mock Teressa Reese Senior Administrative Assistant to Business Office, Digital Technology, Operations, and Tessitura Shainn Reaves Business Operations Portfolio Analyst Ann Corris Business Office Assistant Ashlie Russell
Marketing, Communications, and Audience Services Director of Marketing Daniel Cress
Director of Communications Steven Padla Senior Associate Director of Marketing and Communications Caitlin Griffin
Associate Director of Marketing and Communications Sam Linden
Christiana Hart Taylor Hoffman Bonnie Moeller Emily Persico Jordan Pilant Marketing and Tobiah Richkind Communications Assistant Hannah Sachs William Gaines Ryan Sutherland Monica Traniello Director of Audience Jocelyn Wexler Services Cody Whetstone Laura Kirk Elizabeth Wiet Larsson Youngberg Assistant Director of Audience Services Art and Design Shane Quinn Paul Evan Jeffrey Subscriptions Coordinator Production Photographer Tracy Baldini Joan Marcus Audience Services Videographer Assistant David Kane Molly Leona Box Office Assistants Mikaela Boone Morgan Cronin Samantha Else Paige Hann Kenneth Murray Alexis Payne Amir Rezvani Irene Vázquez Ushers Jillian Albrecht Lorena Benitez Tracy Bennett Tasha Boyer Denyse Burke Sabrina Clevenger Kristina Cuello Helia Gagnon Renata Hanuskova
Theater Safety and Occupational Health
Director of Theater Safety and Occupational Health Anna Glover
Customer Service and Safety Officers Kevin Delaney Ed Jooss John Marquez
Operations
Operations Assistant Devin Matlock Arts and Graduate Studies Superintendents Jennifer Draughn Michael Halpern Team Leaders Andy Mastriano Sherry Stanley Facility Stewards Michael Humbert Marcia Riley Custodians Christina Davis Tylon Frost Cassandra Hobby Kathy Langston Mark Roy
Digital Technology
Director of Digital Technology Chris Kilbourne
Digital Technology Associate Andre Griffith Interim Digital Communications Associate George Tinari Web and Email Consultant Luis Serrano
Director of Facility Operations Jennifer Gonsalves
Database Application Consultants Bo Du Ben Silvert
Operations Associate Nadir Balan
Yale Repertory Theatre operates under an agreement between the League of Resident Theatres (LORT) and Actors’ Equity Association (AEA), the Union of Professional Actors and Stage Managers in the United States.
The Scenic, Costume, Lighting, and Sound Designers in LORT are represented by United Artists Local USA-829, IATSE.
A Unique& Distinct Caterer Available for Corporate or Personal Events
Stacey Ference stacey@savour.catering
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GENERAL INFORMATION RESTROOMS Restrooms are located in the lower level of the building.
SEATING POLICY Everyone must have a ticket. Sorry, no children in arms or on laps. Patrons who arrive late or leave the theater during the performance will be reseated at the discretion of house management. Those who become disruptive will be asked to leave the theater.
FIRE NOTICE Illuminated signs above each door indicate emergency exits. Please check for the nearest exit. In the event of an emergency, you will be notified by theater personnel and assisted in the evacuation of the building.
YOUTH PROGRAMS As part of Yale Rep’s commitment to our community, we provide two significant youth programs. WILL POWER! offers specially priced tickets and early schooltime matinees for high school students for select Yale Rep productions every season. Since our 2003–04 season, WILL POWER! has served more than 20,000 Connecticut students and educators. The Dwight/Edgewood Project brings middle school students to Yale School of Drama for a month-long, after-school playwriting program designed to strengthen their selfesteem and creative expression. Yale Rep’s youth programs are supported in part by:
Bob and Priscilla Dannies; Mr. and Mrs. Kenneth Fellows; the Lucille Lortel Foundation; Dawn G. Miller; Arthur and Merle Nacht; NewAlliance Foundation; Sandra Shaner; Southern Connecticut Gas Company; United Illuminating Company; Esme Usdan.
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ACCESSIBILITY SERVICES Yale Repertory Theatre offers all patrons the most comprehensive accessibility services program in Connecticut, including a season of open-captioned and audiodescribed performances, a free assistive FM listening system, large-print and Braille programs, wheelchair accessibility with an elevator entrance into Yale Repertory Theatre (located on the left side of the building), and accessible seating. For more information about the theater’s accessibility services, contact Laura Kirk, Director of Audience Services, at 203.432.1522 or laura.kirk@yale.edu.
FOR CADILLAC CREW: AUDIO DESCRIPTION MAY 11 AT 2PM A live narration of the play’s action, sets, and costumes for patrons who are blind or low vision. Pre-show description begins at 1:45PM.
TOUCH TOUR MAY 11 AT 1PM Prior to a performance, patrons who are blind or low vision touch fabric samples, rehearsal props, and building materials in the August Wilson Lounge to understand better what comprises the production design.
OPEN CAPTIONING MAY 18 AT 2PM A digital display of the play’s dialogue as it’s spoken. Braille and Large Print programs are available at the concierge desk in the theater lobby.
c2 is pleased to be the official Open Captioning Provider of Yale Repertory Theatre.
COMMUNITY PARTNERS
Hull's U N I V E R S I T Y
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YALE SCHOOL OF DRAMA BOARD OF ADVISORS John B. Beinecke, Chair John Badham, Vice Chair Jeremy Smith, Vice Chair Nina Adams Amy Aquino Pun Bandhu Sonja Berggren Frances Black Carmine Boccuzzi Lynne Bolton Clare Brinkley Sterling B. Brinkley, Jr. Kate Burton
James Chen Lois Chiles Patricia Clarkson Edgar M. Cullman III Michael David Scott Delman Michael Diamond Polly Draper Charles S. Dutton Sasha Emerson Heidi Ettinger Lily Fan Terry Fitzpatrick Marc Flanagan Marcus Dean Fuller Anita Pamintuan Fusco
David Marshall Grant David Alan Grier Sally Horchow Ellen Iseman David G. Johnson Rolin Jones Jane Kaczmarek Asaad Kelada Sarah Long Cathy MacNeil-Hollinger Brian Mann Elizabeth Margid Drew McCoy David Milch Tom Moore Arthur Nacht
Jennifer Harrison Newman Carol Ostrow Amy Povich Liev Schreiber Tracy Chutorian Semler Tony Shalhoub Michael Sheehan Anna Deavere Smith Andrew Tisdale Edward Trach Esme Usdan Courtney B. Vance Donald Ware Shana C. Waterman Henry Winkler Amanda Wallace Woods
Thank you to the generous contributors to Yale School of Drama and Yale Repertory Theatre LEADERSHIP SOCIETY ($50,000 and above) Nina Adams and Moreson Kaplan Anonymous (2) Dr. Richard Beacham John B. Beinecke Lois Chiles and Richard Gilder William H. Cowles Foundation The Horace W. Goldsmith Foundation Jerome L. Greene Foundation Lane Heard and Margaret Bauer William and Sarah Hyman David G. Johnson David H. Johnson Jane Kaczmarek Rocco Landesman The Frederick Loewe Foundation Tom Moore Alan Poul Robina Foundation Ruderman Family Foundation The Shubert Foundation Jeremy Smith Stephen Timbers
Time Warner Foundation Nesrin and Andrew Tisdale Edward Trach Esme Usdan
GUARANTORS ($25,000–$49,999)
Sonja Berggren and Patrick Seaver Burry Fredrik Foundation Connecticut Department of Economic and Community Development Anita Pamintuan Fusco and Dino Fusco Jennifer Lindstrom James Munson National Endowment for the Arts Tracy Chutorian Semler
BENEFACTORS ($10,000–$24,999)
Louis Alexander Americana Arts Foundation Bank of America Foundation Carmine Boccuzzi and Bernard Lumpkin Lynne and Roger Bolton Clare and Sterling Brinkley
Jim Burrows Michael Diamond Educational Foundation of America Heidi Ettinger Lily Fan Donald Granger Mabel Burchard Fischer Grant Foundation Ellen Iseman Sarah Long Lucille Lortel Foundation Cathy MacNeil-Hollinger Neil Mazzella Arthur and Merle Nacht Lupita Nyong’o Seedlings Foundation Ted and Mary Jo Shen Talia Shire Schwartzman Carol L. Sirot Trust for Mutual Understanding Donald Ware
Susan Berresford Brett Dalton Scott Delman Terry Fitzpatrick Julie and Marcus Fuller Barbara and Richard Franke Jane Head Linda Gulder Huett Charles B. Johnson Aja Naomi King Eugene Leitermann Charles E. Letts III Adrianne Lobel Brian Mann Roz and Jerry Meyer Marissa Neitling NewAlliance Foundation Carol Ostrow Pam and Jeff Rank Russ Rosensweig Michael and Riki Sheehan Philip J. Smith Sophie von Haselberg
PATRONS ($5,000–$9,999)
PRODUCER’S CIRCLE ($2,500–$4,999)
John Badham The Hilaria and Alec Baldwin Foundation Foster Bam Pun Bandhu
John Lee Beatty Frances Black Mark Blankenship Donald and Mary Brown
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contributors to Yale School of Drama and Yale Repertory Theatre James Bundy and Anne Tofflemire Joan Channick and Ruth Hein Schmitt William Connor Michael S. David Jon Farley Marc Flanagan Anthony Forman Fred Gorelick and Cheryl MacLachlan Catherine Hazlehurst da Cruz JANA Foundation Rolin Jones The Ethel & Abe Lapides Foundation Ben Ledbetter and Deborah Freedman Jonathan S. Miller Victoria Nolan and Clark Crolius Richard Ostreicher Thomas G. Masse and James M. Perlotto, MD Kenneth J. Stein United Illuminating & Southern Connecticut Gas Courtney B. Vance Marshall Williams
DIRECTOR’S CIRCLE ($1,000–$2,499)
Donna Alexander In memory of Anna Altman Victor and Laura Altshul Deborah Applegate and Bruce Tulgan Amy Aquino and Drew McCoy Paula Armbruster Mary Ellen and Thomas Atkins Alexander Bagnall Jody Locker Berger Jeff Bleckner James T. Brown Thomas Bruce Kate Burton Ian Calderon Ben Cameron Cosmo Catalano, Jr. CEC Artslink Peggy Cowles Stephen Coy Catherine and Elwood Davis Ramon Delgado Alexander Dodge Christopher Durang Terry Dwyer Glen R. Fasman Eric Gershman and Katie Liberman Rob Greenberg Jeremy O. Harris Patrick Herold Stephen J. Hoffman Donald Holder Sally Horchow James Guerry Hood Elizabeth Kaiden James Earl Jewell
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Ann Judd and Bennett Pudlin Elizabeth Katz and Reed Hundt Helen Kauder and Barry Nalebuff Rik Kaye Jay B. Keene Abby Kenigsberg Roger Kenvin Hedda and Gary Kopf George Lindsay, Jr. William Ludel Jane Lyman Emily Mann Robert Marx Peter and Wendy McCabe Meghan McMahon and David Swensen George Morfogen Neil Mulligan Gather Myers Chris Noth Dw Phineas Perkins Amy Povich Kathy and George Priest Lance Reddick Dr. Michael Rigsby and Prof. Richard Lalli Mark C. Rosenthal Dana Sanders Liev Schreiber Alec and Aimee Scribner The Gary and Barbara Siegler Foundation Benjamin Slotznick Adam Stockhausen Shepard and Marlene Stone Arlene Szczarba John Thomas III Benjamin Thoron and Patricia Saraniero Jennifer Tipton Joan van Ark Carol M. Waaser Shana C. Waterman Steven Waxler Robert Wierzel Evan Yionoulis Steve Zuckerman
PARTNERS ($500–$999)
Actors’ Equity Foundation Mr. and Mrs. B.N. Ashfield Deborah S. and Bruce M. Berman Ashley Bishop Donald Brown Anne and Guido Calabresi Joy Carlin Lawrence Casey Sarah Bartlo Chaplin Myung Hee Cho Daniel Cooperman and Mariel Harris Bob and Priscilla Dannies Robert Dealy Polly Draper Bernard Engel Roberta Enoch and Steven Canner
Peter Entin Susan and Fred Finkelstein Tony Foreman Leiko Fuseya Betty and Joshua Goldberg Robert W. Goldsby Anne Gregerson Eduardo Groisman Regina Guggenheim Lorence Gutterman William B. Halbert Doug Harvey Ann Hellerman Jennifer Hershey David Howson Carolyn Hsu-Balcer Shane Hudson Mary and Arthur Hunt Peter Hunt Barnet Kellman Harvey Kliman and Sandra Stein David Kriebs Drew Kufta Frances Kumin Mildred Kuner Robert Goldsby Melanie Ginter and John Lapides Suttirat Larlarb Kenneth Lewis The Loo Family Chi-Lung Lui Charles H. Long Linda Lorimer and Charles Ellis Nancy Maasbach Jenny Mannis and Henry Wishcamper John McAndrew Daniel Mufson Jim and Eileen Mydosh Laura Naramore Regina and Thomas Neville William and Barbara Nordhaus Arthur Oliner F. Richard Pappas James Perakis Louise Perkins and Jeff Glans Point Harbor Fund of the Maine Community Foundation Stephen Pollock Faye and Asghar Rastegar Jon and Sarah Reed David and Barbara Reif Anne Renner Bill and Sharon Reynolds Melissa Rose Abby Roth and R. Lee Stump Helen Sacks Dr. Mark Schoenfeld Sandra Shaner Rachel Shuey Dr. and Mrs. Dennis D. Spencer James Steerman Erich Stratmann Matthew Suttor
David Sword Sarah Treem Emmy Tu Sylvia Van Sinderen and James Sinclair Paul Walsh Carolyn Seely Wiener Terrence Witter Steven Wolff Lila Wolff-Wilkinson Walton Wilson
INVESTORS ($250–$499)
Liz Alsina Shaminda Amarakoon Arnold Aronson Christopher Barreca Richard and Alice Baxter Susan Brady and Mark Loeffler Tom Broecker Claudia Brown Robert Buckholz Jonathan Busky Susan Wheeler Byck Michael Cadden Lawrence Casey Barbara Jean and Nicholas Cimmino Lani Click Bill Connington Dean Lynn Cooley and Ted Killiam John W. Cunningham F. Mitchell Dana Laura Davis and David Soper Sue and Gus Davis Aziz Dehkan and Barbara Moss Dennis Dorn Michael Fain Fine Family Joel Fontaine David Freeman Shelley Geballe Stephen Godchaux Marian Godfrey Greer Goodman Naomi Grabel Rob Greenberg Scott Hansen Douglas Harvey Barbara Hauptman Chuck Hughes David Henry Hwang Joanna and Lee A. Jacobus Pam Jordan Elizabeth Kaiden Bruce Katzman Barnet Kellman York Kennedy Lindsay King James Kleinmann David Kriebs Maryanne Lavan and Larry Harris Bona Lee Wing Lee Max Leventhal and Susan Booth Suzanne Cryer Luke
Adam Man Marvin March Deborah McGraw David Muse David Nancarrow James Naughton Andrea Nellis George and Marjorie O’Brien Janet Oetinger Bruce Payne and Jack Thomas Lisa Rigsby Peterson Geoffrey Pierson Jeffrey Powell and Adalgisa Caccone Meghan Pressman Alec and Drika Purves Theodore Robb Kerry Robinson and Michael Capello Steve Robman Howard Rogut Fernande E. Ross Jean and Ron Rozett Robert Sandberg Suzanne Sato Robin Sauerteig Eugene Shewmaker William Skipper Mary C. Stark Regina Starolis Jeremy Stein Nausica Stergiou Stephen Strawbridge Bernard Sundstedt Richard B. Trousdell John Turturro and Katherine Borowitz Wendy and Peter Wells Vera Wells Dana Westberg George C. White Marshall Williams Amanda Wallace Woods Guy and Judith Yale Arthur and Ann Yost Pat and John Zandy
Nancy and Richard Beals Todd Berling Edward Blunt Anders Bolang Debra Booth Josh Borenstein Marcus and Kellie Bosenberg Michael Boyle Shawn Boyle Leslie Brauman Amy Brewer and David Sacco James and Dorothy Bridgeman Linda Briggs and Joseph Kittredge Michael Broh Linda Broker Christopher Brown Julie Brown Stephen and Nancy Brown Warwick Brown Oscar Brownstein William Buck Stephen Bundy Richard Butler David Byrd Susan Cahan David Calica Kathryn A. Calnan Robert Campbell Juliana Canfield H. Lloyd Carbaugh Lisa Carling Raymond Carver Sami Joan Casler David Chambers Ricardo and Jenny Chavira Terri Chegwidden Hsiao-Ya Chen James Chen Myung Hee Cho King-Fai Chung Cynthia Clair Gary and Becky Cline Katherine D. Cline Jack Cockerill Aurélia and Ben Cohen FRIENDS Robert Cohen ($100–$249) Judith Colton and Anonymous Wayne Meeks Emika Abe Forrest Compton Paola Allais Acree Aaron Copp Christopher Akerlind Jennifer Corman Michael Albano Rachel and Matt Cornish Sarah Jean Albertson Robert Cotnoir Narda Alcorn Douglas and Roseline Rachel and Ian Alderman Crowley Heath and Mary Aldridge Alma Cuervo Dale Amlund Sean Cullen Nephelie Andonyadis Scott Cummings Michael Annand Phillip L. Cundiff Sr. Peter Aronson William Curran Stephen and Judy August Donato Joseph D’Albis Robert Auletta Brian Dambacher Angelina Avallone Nigel W. Daw Sandra and Kirk Baird Katherine Day Dylan Baker Peter De Breteville James Bakkom Mr. and Mrs. Paul DeCoster Robert Barr Sheldon Deckelbaum Warren Bass Elizabeth DeLuca William and Donna Batsford Connie and Peter Dickinson Michael Baumgarten Derek DiGregorio
Melinda DiVicino Merle Dowling Megan and Leon Doyon Ms. JoAnne E. Droller, R.N. Jeanne Drury John Duran Anne D’Zmura Laura Eckelman Kem and Phoebe Edwards Susan and Richard Ehrenkranz Fran Egler Robert Einienkel Dr. Marc Eisenberg Nancy Reeder El Bouhali Janann Eldredge Elizabeth English Dirk Epperson David Epstein Dustin Eshenroder Christine Estabrook Frank and Ellen Estes Femi Euba Connie Evans Jerry N. Evans Douglass Everhart John D. Ezell Ann Farris Richard and Barbara Feldman Mr. and Mrs. Kenneth Fellows Eugene Fidell and Linda Greenhouse Paul and Susan Birke Fiedler Andria Fiegel Terry S. Flagg Madlyn and Richard Flavell Keith Fowler Walter M. Frankenberger III Donald Fried Reynold Frutkin Richard Fuhrman Randy Fullerton David Gainey Barbara and Gerald Gaab Josh Galperin James Gardner Jackson Gay David and Joan Geetter Eugénie and Brad Gentry Lauren Ghaffari Michael Giannitti Robert Glen William Glenn Nina Glickson and Worth David Lindy Lee Gold Robert Goldsby Diane Goldsmith Steven Gore Charles Grammer Bigelow Green Elizabeth M. Green Elizabeth Greenspan and Walt Dolde Joseph Grifasi Marion Grinwis Michael Gross John Guare Corin Gutteridge David Hale Amanda Haley Alexander Hammond
Ann and Jerome R. Hanley Charlene Harrington Lawrence and Roberta Harris Brian Hastert James Hazen Ethan Heard Beth Heller Robert Heller Ann Hellerman Steve Hendrickson Molly Hennighausen Chris Henry Jeffrey Herrmann Joan and Dennis Hickey Roderick Hickey Christopher Higgins Gabrielle and Michael Hirschfeld Elizabeth Holloway Betsy Hoos Nicholas Hormann Kathleen Houle David Howson Evelyn Huffman Derek Hunt Peter H. Hunt John Huntington John W. Jacobsen Chris Jaehnig Ina and Robert Jaffee Eliot and Lois Jameson William Jelley Elizabeth Johnson Geoffrey Ashton Johnson Donald E. Jones, Jr. Jonathan Kalb Carol Kaplan Dr. and Mrs. Michael Kashgarian Dr. Jane Katcher Edward Kaye Patricia Keenan Asaad Kelada Roger Kenvin Peter Kim Carol Soucek King Susan Kirschner-Robinson and Shirley Kirschner William Kleb Dr. Lawrence Klein Elise F. Knapp David Koppel Joseph Kovalick Brenda and Justin Kreuzer Susan Kruger and Family Ann Kuhlman and Adel Allouche Tom Kupp Andrea Chi-Yen Kung Mitchell Kurtz William Kux Ojin Kwon Howard and Shirley Lamar Naomi Lamoreaux Marie Landry and Peter Aronson Michael Lassell James and Cynthia Lawler Martha Lidji Lazar Fred Lindauer Rita Lipson Irene Lewis
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contributors to Yale School of Drama and Yale Repertory Theatre Sam Linden Rita Lipson Robert Hamilton Long II Arthur Lueking Everett Lunning Andi Lyons Janell MacArthur Lizbeth Mackay Wendy MacLeod Alan MacVey James Magruder Dr. Maricar Malinis Jocelyn Malkin, MD Geertruida Malten Peter Maradudin Frederick Marker Patrick Markle Jonathan Marks Craig Martin Kenneth Martin Nancy Marx Maria Mason and William Sybalsky Maria Matasar-Padilla Craig Mathers Ben and Sally Mayer Marya Mazor Margaret and Robert McCaw Matthew McCollum Patrick and Linda McCrelles Robert McDonald Thomas McGowan Bill McGuire Robert McKinna and Trudy Swenson Patricia McMahon Susan McNamara Brian McManamon Charles McNulty Lynne Meadow James Meisner and Marilyn Lord Donald Michaelis Carol Mikesell Kathryn Milano Bruce Miller Jonathan Miller Sandra Milles Lawrence Mirkin Frank Mitchell Jennifer Moeller Richard Mone George Moredock David and Betsy Morgan Beth Morrison Jay Mullen Richard Munday and Rosemary Jones Rachel Myers Rhoda F. Myers Mariko Nakasone Tina C. Navarro
Kate Newman Jennifer Harrison Newman Ruth Hunt Newman Gail Nickowitz Nancy Nishball Mark Novom Deb and Ron Nudel Adam O’Byrne Eileen O’Connor Dwight R. Odle* Sara Ohly Richard Olson Edward and Frances O’Neill Alex Organ Sara Ormond Lori Ott Kendric T. Packer Jacob Padrón Maulik Pancholy Joan Pape Michael Parrella Jeffrey Park Russell Parkman Dr. and Mrs. Michael Parry Dr. Gary Pasternack Alexandra Paxton Amanda Peiffer Peter and Linda Perdue William Peters Dr. Ismene Petrakis Lisa Porter Michael Posnick Gladys Powers Robert Provenza Jeffry Provost William Purves Sarah Rafferty Carolyn Rochester Ramsey and William Ramsey Gail Reen Theodore Robb Laila Robins Joan Robbins Sheila Robbins Nathan Roberts Peter S. Roberts Brian Robinson Lori Robishaw Priscilla Rockwell Doug Rogers Joanna Romberg Constanza Romero Melina Root Robert Rooy Stephen Rosenberg June Rosenblatt Allen Rosenshine Joseph Ross Donald Rossler John Rothman Deborah Rovner Allan Rubenstein Dean and Maryanne Rupp
Janet Ruppert Ortwin Rusch Raymond Rutan John Barry Ryan David Sacco Dr. Robert and Marcia Safirstein Steven Saklad Donald Sanders Robert Sandine and Irene Kitzman Adam Saunders Peggy Sasso Joel Schechter Anne Schenck Kenneth Schlesinger Georg Schreiber Jennifer Schwartz Kimberly Scott Forrest E. Sears Paul Selfa Ellen Seltzer Subrata K. Sen John Shea III Morris Sheehan Paul R. Shortt Lorraine D. Siggins William Skipper Cindy and Mark Slane William and Elizabeth Sledge Gilbert and Ruth Small E. Gray Smith, Jr. Helena L. Sokoloff Sarah Sokolovic Suzanne Solensky and Jay Rozgonyi Amanda Spooner Charles Steckler Louise Stein Neal Ann Stephens John Stevens Mark Stevens Howard Steinman Michael Strickland Jarek Strzemien Katherine Sugg William and Wilma Summers Mark Sullivan Thomas Sullivan Jane Suttell Tucker Sweitzer and Jerome Boryca Janet Takami Douglas Taylor Jean and Yeshvant Talati Kathleen Taylor Jane Savitt Tennen J. Terrazzano Aaron Tessler Muriel Test Kat Tharp Pat Thomas
Eleanor Q. Tignor, P.h.D David F. Toser Albert Toth David and Lisa Totman Russell L. Treyz Ellen Tsangaris Deborah Trout Suzanne Tucker Gregory and Marguerite Tumminio Leslie Urdang Carrie Van Hallgren Dr. Stein Vermund Eva Vizy Fred Voelpel Mark Anthony Wade Erik Walstad Brad Ward David Ward Barbara Wareck and Charles Perrow John Weikart Rosa Weissman Peter and Wendy Wells Charles Werner Kathleen Whitby Peter White Robert and Charlotte White Stanley Wiklinski Lisa A. Wilde Robert Wildman David Willson Annick Winokur and Peter Gilbert Alex Witchel Carl Wittenberg Andrew Wolf Gretchen Wright Anita Yavich Robert Zoland Shoshana Zax Albert Zuckerman
EMPLOYER MATCHING GIFTS
Aetna Foundation Ameriprise Financial Chevron Corporation Covidien General Electric Corporation IBM Mobil Foundation, Inc. Pfizer Procter & Gamble The Prospect Hill Foundation
IN KIND
Carmine Boccuzzi Jane Kaczmarek Asaad Kelada Brian Mann
This list includes current pledges, gifts, and grants received from July 1, 2018, through April 15, 2019.
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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/support.
photograph by David Ottenstein
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Study Hotels Celebrating 10 Years at Yale
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