CLEANSED, David Geffen School of Drama, January 2024

2023–24 SEASON

OUR MISSION

David Geffen School of Drama and Yale Repertory Theatre train and advance leaders in the practice of every theatrical discipline, making art to inspire joy, empathy, and understanding in the world.

OUR CORE VALUES Artistry

We expand knowledge to nurture creativity and imaginative expression embracing the complexity of the human spirit.

Belonging

We put people first, centering well-being, inclusion, and equity for theatermakers and audiences through anti-racist and anti-oppressive practices.

Collaboration We build our collective work on a foundation of mutual respect, prizing the contributions and accomplishments of the individual and of the team.

Discovery

We wrestle with compelling issues of our time.

Energized by curiosity, invention, bravery, and humor, we challenge ourselves to risk and learn from failure and vulnerability.

drama.yale.edu ABOVE: Abigail C. Onwunali ’23, Rebeca Robles ’24, Tyler Cruz ’23, Karen Killeen ’24, Giovanna Drummond ’24, and Whitney Andrews ’24 in Marys Seacole by Jackie Sibblies Drury, directed by Leyla Levi ’23. Photo © T. Charles Erickson.

Yale acknowledges that indigenous peoples and nations, including Mohegan, Mashantucket Pequot, Eastern Pequot, Schaghticoke, Golden Hill Paugussett, Niantic, and the Quinnipiac and other Algonquian speaking peoples, have stewarded through generations the lands and waterways of what is now the state of Connecticut. We honor and respect the enduring relationship that exists between these peoples and nations and this land.

We also acknowledge the legacy of slavery in our region and the enslaved African people whose labor was exploited for generations to help establish the business of Yale University as well as the economy of Connecticut and the United States.

Contents Title Page................................................................................................. 4 Cast........................................................................................................... 5 Content Guidance................................................................................. 5 From Our Dramaturg............................................................................ 6 Cast Bios..................................................................................................9 Creative Team Bios............................................................................ 10 For This Production........................................................................... 14 David Geffen School of Drama Staff............................................. 15

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JANUARY 20–26, 2024 DAVID GEFFEN SCHOOL OF DRAMA AT YALE James Bundy, Elizabeth Parker Ware Dean Florie Seery, Associate Dean Chantal Rodriguez, Associate Dean Carla L. Jackson, Assistant Dean Liz Diamond, Chair, Directing Program PRESENTS

SARAH KANE Directed by GARRETT ALLEN By

Scenic Designer

George Zhou 周亦扬 Costume Designer

Rea J. Brown

Lighting Designer

Yung-Hung Sung 宋永鴻 Sound Designer

Cleansed was first performed at the Royal Court Theatre Downstairs on April 30, 1998.

“Things We Said Today” by John Lennon and Paul McCartney is provided courtesy of Sony/ATV Tunes LLC (ASCAP) and MPL Communications (PRS).

Minjae Kim

Production Dramaturg

Hannah Fennell Gellman

SEASON SPONSOR

Technical Director

Nic Benavides

Fight and Intimacy Directors

Kelsey Rainwater Michael Rossmy Stage Manager

Colleen Rooney 4

This production is supported by the Benjamin Mordecai III Production Fund.

cast

in alphabetical order: Grace................................................................................................ Whitney Andrews Carl.................................................................................................................. Karl Green Graham............................................................................................... Lawrence Henry Tinker..................................................................................................... Jahsiah Mussig Robin........................................................................................................ (Vin) Tré Scott Rod.................................................................................... Marlon Alexander Vargas Woman.............................................................................................. Lauren F. Walker

setting Here. Now.

content guidance Cleansed contains nudity; graphic simulations of sexual and physical violence, sexual intimacy, suicide, incest, death, and drug use; as well as coarse language.

These actions are enacted by and on Black people.

This production also contains loud sounds, extended gunfire, live flame, fog, bright lights, and strobe lighting effects.

recording and photo policy The taking of photos or use of recording devices of any kind in the theater is prohibited.

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It won’t end here.

It’s just the beginning.

I stole these words from the play you are about to see. I won’t tell you from whose mouths. No spoilers.

Cleansed explores the places where the self begins and ends, through events that provoke the characters’ strongest possible responses of grief, love, anger, awe. These characters have been separated from society for the perceived threat that their existence poses, but that does not stop them from fighting for survival and love.

When I first spoke to director Garrett Allen about this play, they shared that they have always imagined these characters as Black people.

Our whole company has joined them in this exploration, layering, and authorship of our version of Cleansed.

If you know it’s coming you’re prepared.

If you know it’s coming— You can surf it.

I have a story of my first time.

Freshman year of college. My Theater History and Theory professor, a charismatic white man famously averse to content warnings, assigned Sarah Kane’s first play, Blasted, and gave us a blanket content warning for everything imaginable.

I wonder now: why is this the most common way to encounter Kane?

In a classroom, on a page, with a pile of caveats to help students surf the pain. Couched in ways that Oediups Rex and the vulgar-humored French modernist satire Ubu Roi were not, surrounded by whispers of Kane’s death by suicide in 1999.

I wonder now: why could I only react to Blasted in disgust, and what has changed since? At that time, I knew no other way to respond to the intertwining of pleasure and pain in unexpected places, with a scope as big as a war and as small as a bed, juxtaposed and put so directly in front of me on a page. Interactions that I did not want to admit felt familiar.

As time passed, I got curious about the strength of my response. Kane’s refusal to suppress or repress stood out from other playwrights, made me want to return for what was underneath.

Whether or not this is your first time, how lucky are you, watching, to share in the bodily experience of Cleansed with this company? A play made of words that sprung from a human body (as all words do). Words that conjure the sheer extremity of being alive in a body.

Words ready to be gulped, ingested, vomited, bled, caressed, and danced.

In her final play, 4.48 Psychosis, Kane writes that “theft is a holy act / On a twisted path to expression,” and I love her for it. She simultaneously valorizes and calls out every playwright from Christopher Marlowe to Martin Crimp for stealing old stories to probe the thorniest and most intimate questions about how to be a human in a world. She doesn’t spare herself the glory or the blame.

In each play, she places herself in a lineage of artists trying to probe their bodies, minds, and spirits with all the tools that are available. A lineage in which I, too, want to participate.

Kleptomaniac or not, the way Kane reinterprets her plunder from the news and the library is startlingly original.

Sometimes it’s hilarious. (Don’t tell me you haven’t laughed at a joke about why Susie fell off the swing!)

Her plays give permission to laugh at horror, not out of discomfort but because of the sheer absurdity of violence and surviving it. Laugh, catch ourselves laughing, judge ourselves, and cry, and laugh again. Love again.

The erotic is measure between the beginnings of our sense of self and the chaos of our strongest feelings.

In the passage above, Black feminist poet, activist, and cultural theorist Audre Lorde calls upon people to embrace the erotic as a resource for living fully. Reading Lorde reminds me of Kane’s commitment to showing the fullest breadth of human actions, and Garrett’s commitment to open expression in the rehearsal room and onstage. Only by giving voice to our actual hopes and fears about the process could we unlock the work of telling this story.

Lorde is aware of people’s aversion to erotic expression, and she, too, names this aversion out loud: We have been taught to suspect this resource, vilified, abused, and devalued within Western society…. It has been made into the confused, the trivial, the psychotic, the plasticized sensation. For this reason, we have often turned away from the exploration and consideration of the erotic as a source of power and information….

Similarly, people frequently turn away from Kane’s work—mistaking the violence in her plays for provocation rather than exploration and missing the tenderness people show each other in extreme circumstances. Both Kane and Lorde demand that we do not settle for less than all the beauty, cruelty, satisfaction, and disappointment of feeling and acting and living.

Love me or kill me.

A sentence that appears twice in Cleansed. A writer making neon signs that we need to hear something again, emphasized, recontextualized, maybe even repeated back to the person who said it in the first place. Such a stark binary. Forcing someone to make a choice with decisive action, wholehearted commitment.

Love me or kill me.

This play demands both. Loving and killing. Sometimes from the same hand.

In crafting these characters and situations, Kane loves where she kills and kills where she loves. In our world full of violence so indiscriminate and incriminating, there is nothing indiscriminate about where she locates love and death. Gifts of life to one person that steal life from another.

Promises of high stakes and promises that drive an actual stake through the viscera. Gunfire that is fertile soil for love.

The most unexpected moments of intimacy, an emotional sleight of hand.

We lean in, we soften together. A softening of the muscles we harden when we look at a story that feels far from us.

I invite you to let Cleansed feel close to your heart, in the ways only you know how.

—Hannah Fennell Gellman, Production Dramaturg

cast

in alphabetical order Whitney Andrews she/her (Grace) is a

Black and Haitian-American graduating actor at David Geffen School of Drama.

“And Shakespeare said, ‘Out of this nettle, danger, we pluck this flower, safety’. Art is here to prove, and to help one bear, the fact that all safety is an illusion. In this sense, all artists are divorced from and even necessarily opposed to any system whatever.”

—James Baldwin. A special thanks to Budi Miller and Ato Blankson-Wood.

Karl Green (Carl) is a fourth-year actor at David Geffen School of Drama, where his credits include HELLYOUTALMBOUT, The Misanthrope, The Cherry Orchard, Julius Caesar, Esme, and Color Boy. He has originated roles in the world premiere of Eve’s Song by Patricia Ione Lloyd (The Public Theater) and Socrates by Tim Blake Nelson (The Public Theater); as well as runboyrun by Mfoniso Udofia (New York Theatre Workshop). He holds a B.F.A. in acting from NYU Tisch, where he studied at the Stella Adler Studio and Classical Studio, as well as the Shanghai Theatre Academy and NYU Florence. This past summer he studied at the British American Drama Academy (BADA) at Oxford University.

Lawrence Henry (Graham) is a second-year actor at David Geffen School of Drama, where he appeared in HELLYOUTALMBOUT and Color Boy. He was seen on Broadway in Girl from the North Country (understudy,

Joe Scott) and Waitress as Cal. Some of his regional credits are Sex with Strangers, To Kill a Mockingbird, and Seminar. His film and television credits are Little Voice on Apple TV+ and Miles Ahead. He’s grateful for his beautiful daughter and the opportunity to be at the Geffen School. Special thanks to Budi Miller and Gregory BergerSobeck for their artistic guidance.

Jahsiah Mussig (Tinker) is a secondyear actor at David Geffen School of Drama, where he has been seen in Color Boy. He received his B.F.A. at The Mason Gross School of the Arts. He wants to thank the director for their care and their love.

(Vin) Tré Scott he/him (Robin)

is a multi-hyphenate artist from West Oakland, California. He is in his second year of the acting program at David Geffen School of Drama, where he was last seen as “Monster” in Fucking A and is very blessed to now be supporting this story. Tré dedicates this exploration to his Mama, the entire Cleansed team with a special thank you to artist/teacher Budi Miller, his collective Young Hot Thespian, and all the undesirables still leading with love.

Marlon Alexander Vargas (Rod)

is a Dominican actor from the Bronx, New York. He is in his second year at David Geffen School of Drama, where his credits include The Alley, Grand Concourse, and littleboy/ littleman. He graduated from Loyola University Chicago with a degree in journalism in 2020.

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Lauren F. Walker (Woman) is a second-year actor at David Geffen School of Drama, where her credits include The Alley and furlough’s paradise. As an artist who is dedicated to telling stories that make space for the complexities of humanity, Lauren is honored to uplift this story.

Lauren’s previous credits include Charmed (MCC), Cullud Wattah (The Public Theater), That Damn Michael Che (HBO), and Bad Monkey (Apple TV+). Lauren would like to send a special thank you to God, her family, and her support system here at Yale.

LaurenFWalker.com | @lovevolvz.

creative team

in alphabetical order Garrett Allen they/them/theirs (Director)is a Black, queer artist and fourth-year M.F.A. candidate at David Geffen School of Drama.

They tell stories and create activating experiences that excavate the complexities and simplicities of life, our lives, and our living. Their art uncovers layers, asks questions, and builds connections to imagine and realize a more liberated world. At Yale, they directed an original adaptation of Julius Caesar and Doug Robinson’s Esme in the Langston Hughes Festival.

Recent work includes Everybody by Branden Jacobs-Jenkins (Yale Dramat); Womb! There it is… (LEGACY BQPC/ Ars Nova); body100 by Garrett Allen and Nazareth Hassan (Prelude

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Festival); IAMNOTYOURTEACHER

by Kayodè Soyemi (Yale Cabaret); and BLK MLK by Garrett Allen and Kyle Carrero Lopez (Spectrum NYC).

They are a cofounder of LEGACY: a production collective created for and by Black, queer and trans artists. They love this team, and they love you. garrett-allen.com

Nic Benavides he/him/his (Technical Director) is a fourth-year M.F.A. candidate in technical design and production at David Geffen School of Drama. Prior to Yale, Nic worked at regional theaters in a variety of scenic and props production roles and spent one year as Technical Director for Alma College. Nic is excited to have the opportunity to apply his experience and the knowledge he has gained at the School for this project, and to learn from the mistakes he’s made along the way. This is new!

Rea J. Brown they/them (Costume Designer) is a second-year M.F.A. candidate at David Geffen School of Drama. They received their B.A. in theater and performance studies and visual arts from The University of Chicago (2022). Recent design credits include We F*cked Up (Yale Cabaret), Rasheeda Speaking (Shattered Globe Theater), WHITE (Definition Theater).

Assistant credits include Mojada: A Medea in Los Angeles (Yale Rep), Macbeth (David Geffen School of Drama), The Snow Queen (The

House Theater), America V 2.1: The Sad Demise & Eventual Extinction of the American Negro (Definition Theater). reajamesdesigns.com

Hannah Fennell Gellman she/her (Production Dramaturg) is a teaching artist and dramaturg who loves queer stories, movement, and poetry. Her production dramaturgy credits include Wish You Were Here and the ripple, the wave that carried me home (Yale Rep); Wake by Stefani Kuo, Twelfth Night, Hedda Gabler (David Geffen School of Drama); Dr. Ride’s American Beach House and soft apples (Yale Cabaret). She has also collaborated on developing new dance and theater work with ruth tang (The Alcove at the Lortel), Cameron Barnett, Qualia Dance Collective, and BODYSONNET, and worked as an educator at Elm Shakespeare Company, Berkshire Theatre Group, Lookingglass Theatre, and Shakespeare & Company. She holds a B.A. in English from Carleton College and is a fourth-year M.F.A. candidate in dramaturgy and dramatic criticism at the Geffen School.

Minjae Kim he/him (Sound Designer) is a Korean-Canadian theater artist and a second-year M.F.A. design candidate at David Geffen School of Drama. He was introduced to theater design as an undergraduate student at Princeton University and is incredibly excited to make his sound design debut at the School with Cleansed. Recent select sound credits include Fucking

A (the Geffen School, assistant sound designer and engineer), Ghost Quartet (Princeton Summer Theater), The Match Girl (Cellunova), Mary Stuart—A New Translation (Princeton), and The Hello Girls (Princeton McCarter). He hopes to continue exploring his artistry as a designer, director, playwright, and performer. mondayminjae.com

Kelsey Rainwater (Fight and Intimacy Director) is an intimacy coach, fight director, and actress based out of the ancestral lands of the Quinnipiac people. Kelsey’s work was recently seen in the premiere of Sally & Tom at the Guthrie. Some of her other credits include In the Southern Breeze at Rattlestick, The Public Theater’s Measure for Measure and White Noise by Suzan-Lori Parks, directed by Oskar Eustis; Blues for an Alabama Sky with the Keen Company; Bess Wohl’s film, Baby Ruby; Wish You Were Here, A Raisin in the Sun (canceled due to COVID-19), Edward Albee’s Who’s Afraid of Virginia Woolf?, Mojada: A Medea in Los Angeles, and the ripple, the wave that carried me home at Yale Rep; She is a Lecturer in acting at David Geffen School of Drama, co-teaching stage combat and intimacy, and is a Resident Fight and Intimacy Director for Yale Rep. Colleen Rooney they/she (Stage Manager) is a second-year student in the stage management M.F.A. program at David Geffen School of Drama. They hold a B.S. in theater 11

creative team arts and in anthropology from the University of Oregon. Prior to returning to school, they held the position of Production Stage Manager at Oregon Contemporary Theatre in Eugene, Oregon. Recent credits include Wish You Were Here (Yale Rep); Color Boy, WAKE (the Geffen School); and UDO (Yale Cabaret).

Other design and production credits include lighting design for the 2023 Dwight/Edgewood Project, sound design for Yale Summer Cabaret: Developmental Studio’s The Betrayal Project, and technical direction at Camp Walden in Maine.

Michael Rossmy (Fight and Intimacy Director) is a Resident Fight and Intimacy Director for Yale Rep, a lecturer in acting at David Geffen School of Drama, and the Stage Combat and Intimacy Advisor for Yale College. Broadway credits include A Tale of Two Cities, Cymbeline, and Superior Donuts.

Regional theater credits include The Public Theater, Westport Country Playhouse, Goodspeed Musicals, Paper Mill Playhouse, Asolo Rep, The Old Globe, TheaterWorks Hartford, Princeton University, The Acting Company, Soho Rep, the Geffen Playhouse, Long Wharf Theatre, McCarter Theatre, Kansas City Rep, People’s Light & Theatre, and others. He was nominated for a 2017 Drama Desk Award for his 12

work on Troilus and Cressida for The Public Theater’s production in Central Park. Recent credits include Cyrano de Bergerac at Kansas City Rep directed by Nelson T. Eusebio III and the world premiere of Bonez written and directed by Steve Broadnax III. Upcoming is the New York premiere of Sally & Tom by Suzan-Lori Parks.

Yung-Hung Sung 宋永鴻 he/him (Lighting Designer) Originally from Kaohsiung, Taiwan, YungHung Sung is a second-year M.F.A. candidate in design at David Geffen School of Drama. He received his B.F.A. in theater arts from National Sun Yat-Sen University. His design footprints have been seen around several nations and major theaters in Taiwan, such as National Theater of Taiwan, National Taichung Theater, and National Kaohsiung Center for the Arts (Weiwuying). Also, Edinburgh International Fringe Festival, Migration Matters Festival (UK); Beijing Dance Festival, Shanghai International Festival of Arts (China); Changmu Performing Arts Festival (Korea); Festival Off Avignon (France). Selected awards include Ten Lines of Poetry to NK, which received third place for Professional Lighting Design at the World Stage Design Exhibition 2022 in Calgary, Canada. Recent work includes Moonie and Every Brilliant Thing at Yale Cabaret, and Macbeth at the Geffen School. yhslightingdesign.com

George Zhou 周亦扬 (Scenic Designer) is a second-year M.F.A. candidate at David Geffen School of Drama. He received his bachelor’s degree in set design from the University of the Arts in London. His credits include The Importance of Being Earnest at Wimbledon College of Arts, Ghosts (assistant) at the Geffen School, and Mojada: A Medea in Los Angeles (assistant) at Yale Repertory Theatre. He worked as an assistant for Ao Li (’19) in several productions in China including Li Zi Zhou in 1929, Sherlock Holmes: Secret of the Anderson Family, and the 15th FIRST International Film Festival Ceremony. zhouyiyangdesign.com

Sarah Kane (1971–99) Despite initial critical hostility and outrage, Sarah Kane’s plays are now regarded as modern classics and have had hundreds of productions around the world.

Her first play, Blasted, was produced at the Royal Court Theatre in 1995.

Other plays include Phaedra’s Love, Cleansed, Crave, and 4.48 Psychosis. Her screenplay, Skin (Channel Four/British Screen, directed by Vincent O’Connell), was first televised in June 1997.

The Benjamin Mordecai III Production Fund, established by a graduate of the School, honors the memory of the Tony Award-winning producer who served as Associate Dean and Chair of the Theater Management program at David Geffen School of Drama from 1993 until his death in 2005. During his tenure as Yale Rep’s Managing Director alongside Dean/ Artistic Director Lloyd Richards, 1982–1993, he developed a model of professional producing that changed the course of new play development in the American theater.

His 25 Broadway credits included Tony Kushner’s Angels in America, as well as work by Anna Deavere Smith, Athol Fugard, David Henry Hwang, Terrence McNally, Robert Schenkkan, and perhaps most significantly August Wilson, with whom he collaborated on each of the ten plays in the epic 20th-Century Cycle.

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for this production artistic Assistant Scenic Designer

Stage Carpenter

Jennifer Yuqing Cao

Katie Chance

Assistant Costume Designer

Scenic Charge

Kristen Taylor

Nicole Goldstein

Assistant Lighting Designer

Run Crew

Larry Ortiz

Assistant Sound Designer and Engineer

Xi (Zoey) Lin

Assistant Stage Managers

Rethabile Headbush Caileigh Potter

production Production Manager

Timothy “TJ” Wildow Associate Production Manager

Kino Alvarez

Assistant Technical Directors

Constanza Etchechury López Yun Wu 吳昀 Production Electrician

Run Crew Swing

Thomas Nagata

administration Associate Managing Director

A.J. Roy

Assistant Managing Director

Jeremy Landes

Management Assistant

Kavya Shetty

John Simone

House Manager

Associate Production Electrician

special thanks

Matteo Lanzarotta

Lightboard Programmer

Steven Blasberg

Properties Manager

Cathy Ho

Prosthetic Design

Tyler Green

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Steven Blasberg Constant Dzah Destany Langfield Karen Loewy Movilla Victoria McNaughton Eugenio Sáenz Flores Sarah Saifi Arthur Wilson

Roman Sanchez

Simon Kane, Sarah Benson, Bobbin Ramsey, Sammy Zeisel, Dominique Rider, Ken Urban, Casarotto Ramsay & Associates, and members of the Yale community who volunteered their vocal talents to this production.

drama.yale.edu

David Geffen School of Drama Staff Elizabeth Parker Ware Dean James Bundy Associate Dean Florie Seery Associate Dean Chantal Rodriguez Assistant Dean Carla L. Jackson

Artistic Fellows Jisun Kim Madeline Pages Senior Administrative Assistant to the Dean and Associate Dean Josie Brown

academic programs Chair, Acting Program Tamilla Woodard

Senior Administrative Assistant for Directing, Dramaturgy and Dramatic Criticism, Playwriting, and Stage Management Laurie Coppola

Co-Chairs, Design Program Riccardo Hernández Toni-Leslie James

Senior Administrative Assistant for Design Kate Begley Baker

Chair, Directing Program Liz Diamond

Senior Administrative Assistant for the Acting Program Krista DeVellis

Chair, Dramaturgy and Dramatic Criticism Program Catherine Sheehy Co-Chairs, Playwriting Program Anne Erbe Marcus Gardley Chair, Stage Management Program Narda E. Alcorn (on leave) Acting Chair, Stage Management Program James Mountcastle Chair, Technical Design and Production Program Shaminda Amarakoon Chair, Theater Management Program Joan Channick

Library Services Erin Carney

production Production Management

Senior Lead Carpenter Matt Gaffney Lead Carpenters Ryan Gardner Doug Kester Kat McCarthey Sharon Reinhart Carpenter David Di Fabio Carpentry Intern Isaac Lau

Painting

Scenic Charge Mikah Berky Scenic Artists Lia Akkerhuis Nathan Jasunas Kathleen Kennan Paint Interns Nicole Goldstein Laam Tsang

Properties

Properties Supervisor Jennifer McClure

Director of Production Shaminda Amarakoon

Properties Craftsperson David P. Schrader

Production Manager Jonathan Reed

Properties Associate Zach Faber

Production Manager for Studio Projects and Special Events C. Nikki Mills

Properties Stock Manager Mark Dionne

Scenery

Properties Intern Destany Langfield

Technical Director for Yale Rep Neil Mulligan

Costumes

Production Stage Manager James Mountcastle

Technical Directors for David Geffen School of Drama Latiana “LT” Gourzong Matt Welander

Senior Drapers Clarissa Wylie Youngberg Mary Zihal

Senior Artistic Producer, Yale Repertory Theatre Amy Boratko

Electro Mechanical Laboratory Supervisor Eric Lin

Associate Producer, Yale Repertory Theatre Kay Perdue Meadows

Scene Shop Supervisor Eric Sparks

artistic management

Costume Shop Manager Christine Szczepanski

Interim Senior Draper Susan Aziz Senior First Hands Deborah Bloch Patricia Van Horn

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David Geffen School of Drama Staff Costume Project Coordinator Linda Kelley-Dodd Costume Stock Manager Jamie Farkas Costume Interns Amani Jaramoga Annie Wang

Electrics

Lighting Supervisor Donald W. Titus Senior House Electricians Jennifer Carlson Linda-Cristal Young Electricians Katie Brown Alary Sutherland Ryan White

administration

Development Assistant Joy Chen

Associate Managing Directors Jake Hurwitz Chloe Knight A.J. Roy

Finance, Human Resources, and Digital Technology

General Management

Assistant Managing Director Jeremy Landes Senior Administrative Assistant to the Managing Director and General Manager Sarah Masotta Management Assistant Kavya Shetty Company Manager Sarah Haber

Sound Supervisor Mike Backhaus

Assistant Company Managers Claudia Campos Mithra Seyedi

Senior Lead Sound Engineer Stephanie Smith

Development and Alumni Affairs

Sound

Sound Intern Robert Salerno

Projections

Projection Supervisor Anja Powell

Stage Operations Stage Carpenter Janet Cunningham

Lead Wardrobe Supervisor Elizabeth Bolster Lead Properties Runner William Ordynowicz Lead Light Board Programmer Sabrina Idom Front of House Mix Engineer Abe Joyner-Meyers

Senior Director of Development and Alumni Affairs Deborah S. Berman

Deputy Director of Operations for Development and Alumni Affairs Susan C. Clark Senior Associate Director of Development Casey Grambo Associate Director of Development and Alumni Affairs Jacob Santos Assistant Director of Development and Alumni Affairs Maya Louise Shed Senior Administrative Assistant to Development and Alumni Affairs Jennifer E. Alzona Development Associate Delaney Kelley

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Director of Finance and Business Administration/ Lead Administrator Nicola Blake

Human Resources Business Partner Trinh DiNoto Director, Yale Tessitura Consortium and Web Technology Janna J. Ellis Manager, Business Operations Martha Boateng Business Office Analyst Shainn Reaves Digital Communications Associate George Tinari Business Office Specialists Moriah Clarke Karem Orellana-Flores Business Office Assistant Asberry Thomas Digital Technology Associates Edison Dule Garry Heyward Senior Administrative Assistant to Finance, Web Technology, Tessituria, and Human Resources Monique Moore Database Application Consultants Ben Silvert Erich Bolton Bo Du

Financial Aid and Admissions

Financial Aid Officer Andre Messiah Registrar/Admissions Administrator Ariel Yan

Assistant to Financial Aid and Admissions Laura Torino

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 Samanta Cubias Assistant Director of Marketing and Communications Roman Sanchez Community Engagement Associate a.k. payne Senior Administrative Assistant for Marketing and Communications Mishelle Raza Interim Senior Administrative Assistant for Marketing and Communications Rachel Zwick Marketing and Communications Assistant Taylor Ybarra Publications Manager Marguerite Elliott

Production Photographer T. Charles Erickson Videographer David Kane Director of Audience Services Laura Kirk Assistant Director of Audience Services Shane Quinn Subscriptions Coordinator Tracy Baldini Audience Services Associate Molly Leona Customer Service and Safety Officers Ralph Black, Jr. Kevin Delaney Ed Jooss Box Office Assistants Pilar Bylinsky Jordi Bertrán Ramírez Emma Fusco Sydney Raine Garick Jordan Graf Elliot Lee Kenneth Murray Accessibility Assistant Prentiss Patrick-Carter

theater safety and occupational health Director of Theater Safety and Occupational Health Anna Glover Assistant Director of Theater Safety Kelly O’Loughlin Associate Safety Advisors Cian Jaspar Freeman Luanne Jubsee

operations

Director of Facility Operations Nadir Balan Associate Director of Operations Brandon Fuller Operations Assistant Kelvin Essilfie Arts and Graduate Studies Superintendents Jennifer Draughn Francisco Eduardo Pimentel Custodial Team Leaders Andrew Mastriano Sherry Stanley Facility Stewards Ronald Douglas Marcia Riley Custodians Tylon Frost Willia Grant Cassandra Hobby Melloney Lucas Shanna Ramos Jerome Sonia

David Geffen School of Drama students are supported and advised by more than 200 faculty members. For a full list, please visit drama.yale.edu/about-us/who-we-are Cleansed, January 20–26, 2024.

University Theatre, 222 York Street, New Haven, Connecticut.

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M AY 2024 NEW WORK FROM DAV I D G E F F E N S C H O O L O F D R A M A G R A D U AT I N G P L AY W R I G H T S

drama.yale.edu