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.
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
Nancy Yao, Assistant Dean
Liz Diamond, Chair, Directing Program
PRESENTS
BY JORDAN E. COOPER
DIRECTED BY KEMAR JEWEL
Scenic Designer
Anthony Robles
Costume Designer
Kristen Taylor
Lighting Designer
Celia Chen
Composer and Sound Designer
Emilee Biles
Projection Designer
Ke Xu 许可
Drag Makeup Artist
Bryan Vega aka Sapphire Bills
Drag Wig Artist
Maddelynn Hatter
Production Dramaturg
Eric M. Glover
Fight and Intimacy Directors
Kelsey Rainwater and Michael Rossmy
Technical Director
John Simone
Stage Manager
Hannah Louise Jones
Originally developed and world premiere by The Public Theater, March 2019. Oskar Eustis, Artistic Director; Patrick Willingham, Executive Director; Directed by Stevie Walker-Webb.
Ain’t No Mo’ was created with support from the 2050 Fellowship Program at New York Theatre Workshop and received support from the New York Theatre Workshop annual Usual Suspects summer residency at Dartmouth College.
Ain’t No Mo’ is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. concordtheatricals.com
This production is supported by the Benjamin Mordecai III Production Fund.
SEASON SPONSOR
Peaches ................................................................................................... Juice Mackins
Passenger 1 ................................................................................................ Tyler Clarke
Passenger 2 ....................................................................................... Lawrence Henry
Passenger 3 ......................................................................................... Bella Orobaton
Passenger 4 ................................................................................................. Henita Telo
Passenger 5 ...................................................................................... Messiah Cristine setting
In the not-too-distant future, but also closer than ever before. The U.S.
Ain’t No Mo’ will be performed without an intermission.
content guidance
Ain’t No Mo’ depicts anti-Black racism, cultural appropriation, lynching, and police brutality and meaningfully engages homophobia, internalized oppression, racialized social control, and reproductive rights.
recording and photo policy
The videotaping or making of electronic or other audio and/or visual recordings of this production and distributing recordings or streams in any medium, including the internet, is strictly prohibited, a violation of the author(s)’s rights and actionable under United States states copyright law. For more information, please visit: concordtheatricals.com/resources/protecting-artists
In Loving Memory of Lee Kenneth Richardson and O’Shae Sibley.
Comedy Tonight
Fable has it that a Black person’s laugh once offends a white person so much that plantations install laughing barrels to insulate our laughter. If an enslaved or even a free Black adult or child were to laugh under slavery, life would flash before our eyes: either hide our heads or pay the price—be killed. Reports of laughing barrels widely circulate, handed down from generation to generation, and while they are entirely unsubstantiated, they are not entirely implausible, either. Although pathophysiologically death by laughter was and remains extremely rare under Jim Crows Old and New, one guesses the idiom laughing to keep from crying begets the slang dead and dyin’ etymologically. Add Laughing While Black, why don’t you, to the list of mundane concerns that we, Black people in the U.S., cannot take for granted.
Jordan E. Cooper’s Ain’t No Mo’ (2022) asks us, “What’s so funny?” about Black people’s conquest and interrogates the wages of cisgender heterosexual patriarchy. Inspired by George C. Wolfe’s The Colored Museum (1986), a “post-soul”-era satirical sketch comedy chestnut, Cooper’s Middle Passage by Another Name also harks back to the Jacksonian Era, before Project 2025. Robert Finley, a white abolitionist, establishes the American Colonization Society to expatriate his fellow country people back to the continent of Africa in 1816. Finley argues that Black people serve no purpose in the republic, and many white clergy and enslavers aid him, abetting one-way trips in 1821 to what is now known today as Liberia. Cooper’s eight vignettes are as much about cultural stereotypes, politics, and popular culture as they are about white supremacy’s capacity for evil and self-deception.
Numerous very important Black writers, directors, designers, and performers have always used satire as a tool of telling the truth and shaming the devil. Enslaved and free Black people performed the cakewalk during the long 19th century as a satire of white enslavers, exemplifying not only the extraction of Black people’s labor but also their invisibilization. Aida Overton Walker, the prima donna assoluta of The Williams and Walker Company, helps to popularize this social dance through her fin-de-siècle stage work. Walker’s husband George W. Walker and Bert Williams, “Two Real Coons,” interpolate cakewalking and expatriation as themes in their (1903) “back-to-Africa” musical In Dahomey that runs on both sides of the Atlantic. Reginald Hudlin’s Space Traders (1994), Sharon Stockard Martin’s Canned Soul (1978), and Douglas Turner Ward’s Day of Absence (1965) follow in their footsteps.
Sketch comedy’s origins lie in blackface minstrelsy, where many Black people with dreams of showbiz have to darken our faces to make it big. Beneath the stereotype of the shuffling and slowwitted Negro is a race of artists who learn to change the joke and slip the yoke by saying some things without saying some things. Long before the groundbreaking In Living Color (1990–1994), which heralds A Black Lady Sketch Show (2019–2023), Chappelle’s Show (2003–2006), and Wild ‘n Out (2005–present), we go to the theater, where we laugh—not at, never that, but with one another—despite anti-Black racism and despite anti-Black racism disguised as concern about non-Black people of color’s condition. These spontaneous movements and sounds, what Jessie Fauset once describes as “the gift of laughter,” provide numerous Black audiences an outlet for our outrage.
W. E. B. Du Bois predicts his research question, “How does it feel to be a problem?” turning civilization every which way but loose. When Black people talk about anti-Black racism, Black people become the problems, the proverbial killjoys, and “good (white) people” close ranks around the aggressors, then eventually— absolutely predictably—turn against the aggressed: “All lives matter!” they exclaim. “Cancel culture!” they exclaim. “Go back to Africa!” they exclaim. “I have Black friends!” they exclaim. “I’m not racist!” they exclaim. “It’s not about race!” they exclaim. “When you expose a problem you pose a problem” in the words of Sara Ahmed, after Du Bois’ The Souls of Black Folk (1903). “It might then be assumed that the problem would go away if you would just stop talking about it or if you went away” (Living
a Feminist Life [2016], 37; emphasis mine). A U.S. without Black people, where many a “nigga” is heard but nary a nigga is seen, is what The Powers That Be want. If, as Nina Simone’s “Four Women” (1966) goes, “My skin is brown/My manner is tough/I’ll kill the first mother I see/My life has been rough/I’m awfully bitter these days/ Because my parents were slaves/What do they call me?/My name is Peaches,” excuse us no longer accepting that all we can do is grin and bear it.
—Eric M. Glover, Production Dramaturg
cast in alphabetical order
Tyler Clarke (Passenger 1) is a second-year actor at David Geffen School of Drama, where her credits include rent free. She would like to extend a special thanks to her mother (Lauren) for being the first person to give her love, her best friend (Javon) for being the first person to give her sisterhood, and her father for being the first person to give her shadows— without the dark we can’t appreciate the light. Her highest thanks goes to God, the one who always leads her back home, back to love.
@Tylerl_clarke
Messiah Cristine (Passenger 5) is a third-year actor at David Geffen School of Drama, where credits include rent free and Measure for Measure. Other credits include the ripple, the wave that carried me home (understudy, Yale Rep). Messiah holds a B.A. from Sarah Lawrence College.
Lawrence Henry (Passenger 2) is a third-year actor at David Geffen School of Drama, where he appeared in Cleansed, 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 Berger-Sobeck for their artistic guidance.
Juice Mackins (Peaches) is a secondyear actor at David Geffen School of Drama, where credits include Cactus Queen as well as The Royale at Yale Cabaret. @juicemackins
Bella Orobaton (Passenger 3) is a playwright, educator, and second-year actor at David Geffen School of Drama. She trained at Cornish College of the Arts, where she graduated summa cum laude with a degree in original work. Previous theater credits include rent free (the Geffen School); Returning the Bones (National Association for Campus Activities); Tiara’s Hat Parade (BookIt Repertory Theatre’s educational tour); A Scythe and Sandglass the Skeleton Bore and A Pond as Deep as Hell (Shaxberd, script development); This Girl Laughs, This Girl Cries, This Girl Does Nothing (Arts West); Auntie Val (Freehold Theatre); A Beautiful Day in November on the Banks of the Greatest of the Great Lakes, Descendants, Trojan Women, Men on Boats, and others (Cornish College of the Arts). Big thanks and love to her family, friends, and teachers!
Henita Telo (Passenger 4) is a firstgeneration Liberian-American actress at David Geffen School of Drama, where her credits include Cactus Queen. She’s thrilled to be working alongside such wonderful and talented collaborators. Her previous theater credits include The Seagull, Ibsen’s The Master Builder, Cymbeline, Twelfth Night, Fucking A, and Carol Churchill’s Vinegar Tom. Off- Broadway credits include The Hendrix Project directed by Roger Guenveur Smith at The Public Theater’s Under the Radar Festival (2018). Film and television: Lifetime Movie Network’s The Baby Stealer, CBS’s American Auto, and various regional and national commercials. She obtained her B.F.A. in acting from California Institute of the Arts.
creative team in alphabetical order
Emilee Biles (Composer and Sound Designer) is a multi-instrumentalist, songwriter, and engineer in her second year at David Geffen School of Drama. Select credits include Broadway: Cost of Living (Assistant Sound Designer). Regional: The Salvagers (Yale Repertory Theatre, Assistant Sound Designer), Into the Woods (Dallas Theater Center, Associate Sound Designer), The Manic Monologues (WaterTower Theatre), The Play that Goes Wrong (Stage West), and The Elephant Man (Theatre 3). Studio: letters to nowhere EP by e.vangeline (recording artist and producer). Love and thanks to Mom, without whom, none of this is possible. @emilee.party
Celia Chen (Lighting Designer) is a second-year M.F.A. candidate in at David Geffen School of Drama. Also working as a freelance producer and facilitator, Celia is currently the co-artistic director at PANShanghai, a non-profit arts organization promoting intercultural exchange and sustainability. Past lighting credits include Hamlet, Princesa de Dinamarca (the Geffen School); My Six Therapists, Rasa Jars (Yale Cabaret); The Dark (Shanghai International Dance Center); Wasteland of Puppies (Wuzhen Theatre Festival); 21 Miss Dulis (GoetheInstitut Beijing). Celia-Chen.com
Eric M. Glover (Production Dramaturg) is an Associate Professor Adjunct at David Geffen School of Drama and a Faculty Fellow in the Center for the Study of Race, Indigeneity, and Transnational Migration. Glover served as a production dramaturg at Yale Rep for productions of The Salvagers; the ripple, the wave that carried me home; Choir Boy; and A Raisin in the Sun (canceled due to COVID-19).
Maddelynn Hatter (Drag Wig Artist) is an American drag queen, performer, and photographer. She competed on season three of The Boulet Brothers’ Dragula. @theonlymadd
Kemar Jewel (Director) is a Black Queer director and choreographer from New York City, raised in Philadelphia. Currently, he is obtaining his M. F. A. in directing from David Geffen School of Drama. Kemar’s art has been seen in theater, dance, opera, music videos, live tours, and in musical theater. As a member of the Legendary House of Lanvin, Kemar, an alum of the Drama League Fellowship, draws inspiration from the Ballroom scene and his Caribbean upbringing. Kemar’s mission is to revamp classic stories by having them reflect the people today. Particularly, he is passionate about showcasing the magic of Blackness, Queerness, and their intersections through theatre, music, and dance. Kemar believes that great stories teach the best lessons, and that those stories should have everyone reflected in them. For more information, please visit kemarjewel.com or follow Kemar on IG: @kemar_jewel
Hannah Louise Jones (Stage Manager) is a black queer stage manager from Baltimore, Maryland. She is a third-year M. F.A. candidate in the stage management program at David Geffen School of Drama. Select stage management credits include Cactus Queen, The Misanthrope, the Dwight/Edgewood Project, and Furlough’s Paradise. She was a Stage Management Apprentice at New York Stage & Film in the summer of 2024. She received a B.A. from Hampshire College in 2020. Hannah wishes to thank her incredible teammates, Whitney and Rethabile, her family,
friends, partner, theater mentors, and the Ain’t No Mo’ team for their love, joy, and abundance of support. For MLJ, BJM, and EM.
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-teaches stage combat and intimacy, and is a Resident Fight and Intimacy Director for Yale Rep.
Anthony Robles (Scenic Designer) is a scenic designer who appreciates the ongoing process of discovery. Led by his sensibilities, he trusts his instincts to create visual compositions that are bold, visceral, and poetic. Born and raised in Wilmington, California, he comes from a legacy of wisdom, endurance, and indescribable love. He has his B.A. in film and television production from the USC School of Cinematic Arts.
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 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, Roundabout, The Atlantic, Primary Stages, 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 work on Troilus and Cressida for The Public Theater’s production in Central Park, and a 2024 Barrymore Award nominee for his work on Bonez at Peoples Light. His work can also be seen in the upcoming independent film Floating Carousel.
John Simone (Technical Director) is happily in his third year at David Geffen School of Drama, where he served as production electrician for A Midsummer Night’s Dream. He was also the assistant technical director for Edward Albee’s Who’s Afraid of Virginia Woolf? and Wish You Were Here at Yale Rep. He is very happy to have worked on this project with this wonderful team of collaborators. When he’s not working on productions, John enjoys time on the beach with his family and playing the bass.
Kristen Taylor (Costume Designer) is from Celebration, Florida and has a B.F.A. in costume design and technology from the University of West Florida. Recent credits include Pride of Doves (Yale Cabaret Spring 2024), These Shining Lives (Studio Theatre Tierra Del Sol, 2023), and Xanadu (Emerald Coast Theatre Company 2022).
Bryan Vega aka Sapphire Bills (Drag Makeup Artist) is a professional makeup artist and drag queen with over five years of experience. Based in Connecticut, Bryan has an extensive background in bridal, television, media, fashion, editorial, and SFX makeup. His artistry has been highlighted in highprofile projects, including working with a Grammy-award winning client on a beauty campaign. As a passionate and skilled artist, Bryan is excited to take on the role of lead makeup artist for the drag queen persona in this production, bringing creativity and expertise to the stage.
Ke Xu 许可 (Projection Designer) is a multidisciplinary theater designer. She graduated from Central Saint Martins (UAL) with first-class honors in product design and is currently a projection design M.F.A. candidate at David Geffen School of Drama. She was working professionally in China before coming to Yale and is passionate about exploring new theatrical language that integrates digital media with physical space. Recent credits include video and set design for Detective Zhao Gan’e (Beijing 77 Theater); projection design for And the Beetle Hums and Can the Peruvian Speak? (Yale Cabaret); Miss Julie (Beijing Star Theatre); 10:59 (Off Broadway Theater). behance.net/kxu
Jordan E. Cooper is an award-winning playwright, producer, director, and performer. His Obie Award-winning play Ain’t No Mo’ originally debuted to a sold-out run at The Public Theater in 2019, and in December 2022 opened on Broadway to resounding acclaim, marking Jordan’s Broadway debut both off-stage and on—starring as the hilarious and bossy flight attendant “Peaches.” Press called Ain’t No Mo’ “fearlessly provocative,” “jubilantly disruptive,” and the “Best New Play on Broadway this Year,” citing Jordan as “Broadway’s Groundbreaking New Voice.” Jordan co-created, executiveproduces, and directs the Emmynominated The Ms. Pat Show, which is hailed by critics as “one of the most radical sitcoms of the modern era.” The hit multi-cam series returned to BET+ for its fourth season this May. Jordan was also featured on the final season of FX’s groundbreaking series Pose as “MC Tyrone” and has his own production company, Cookout Entertainment.
Concord Theatricals is the world’s most significant theatrical company, comprising the catalogs of R&H Theatricals, Samuel French, TamsWitmark and The Andrew Lloyd Webber Collection, plus dozens of new signings each year. Our unparalleled roster includes the work of Irving Berlin, Agatha Christie, George & Ira Gershwin, Marvin Hamlisch, Lorraine Hansberry, Kander & Ebb, Tom Kitt, Ken Ludwig, Marlow
& Moss, Lin-Manuel Miranda, Anaïs Mitchell, Dominique Morisseau, Cole Porter, Rodgers & Hammerstein, Thornton Wilder, and August Wilson. We are the only firm providing truly comprehensive services to the creators and producers of plays and musicals, including theatrical licensing, music publishing, script publishing, cast recording, and first-class production. Follow us @concordshows.
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.
for this production
artistic
Assistant Scenic Designer
Yaya Zhang
Assistant Costume Designer
Caleb Krieg
Assistant Lighting Designer
Finn Bamber
Assistant Sound Designer and Engineer
Robert Salerno
Assistant Projection Designer
Dwight Bellisimo
Assistant Stage Managers
Rethabile Headbush
Whitney Renell Roy
Musicians
Charles Armstrong
Samuel S Oliver III
production
Production Manager
Twaha Abdul Majeed
Associate Production Manager
Matthew Phillips
Assistant Technical Directors
Steven Blasberg
Forrest Rumbaugh
Production Electrician
Katie Chance
Lightboard Programmer
Yung-Hung Sung 宋永鴻
Projection Engineer
Bekka Broyles
Projection Content Creators
Christian Killada, Ein Kim,
Doaa Ouf, Ke Xu 许可
Projection Programmer
Wiktor Freifeld
Properties Manager
Alex Theisen
Stage Carpenter
David DiFabio
Run Crew
Kino Alvarez, Nicky Brekhof, Silin Chen, Eun Kang, Allie Posner, April Salazar, Arthur Wilson, Eden Wyandon
Run Crew Swing
Gavin D. Pak administration
Associate Managing Director
Jeremy Landes
Assistant Managing Director
Mithra Seyedi
Management Assistants
Jazzmin Bonner
Alesandra Reto Lopez
Kay Nilest
House Manager
Claudia Campos
Production Photographer
T. Charles Erickson
special thanks
From the director: Jacinto “J” Grant, Terrance Embry, The House of Lanvin, Nilan, Gabriel Stelian-Shanks, Amina Robinson, Nataki Garrett, Marybeth Rim, Keisha Lewis, Xiomarie Labeija, Mommy, Grandma, Pyle.
Martin Lighting
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
Assistant Dean
Nancy Yao
academic programs
Chair, Acting Program
Tamilla Woodard
Co-Chairs, Design Program
Riccardo Hernández
Toni-Leslie James
Chair, Directing Program
Liz Diamond
Chair, Dramaturgy and Dramatic Criticism Program
Catherine Sheehy
Co-Chairs, Playwriting Program
Anne Erbe
Marcus Gardley
Chair, Stage Management Program
Narda E. Alcorn
Chair, Technical Design and Production Program
Shaminda Amarakoon
Chair, Theater Management Program
Joan Channick
artistic administration
Senior Administrative Assistant to the Dean and Associate
Dean
Josie Brown
Senior Administrative Assistant for the Directing, Dramaturgy and Dramatic Criticism, Playwriting, and Stage Management Programs
Laurie Coppola
Senior Administrative Assistant for the Design Program
Kate Begley Baker
Senior Administrative Assistant for the Acting Program
Krista DeVellis
Library Services
Erin Carney production
Production Management Director of Production
Shaminda Amarakoon
Production Manager
Jonathan Reed
Production Manager for Studio Projects and Special Events
C. Nikki Mills
Senior Administrative Assistant to Production and Theater Safety
Rachel Zwick
Scenery
Technical Directors for David Geffen School of Drama
Latiana “LT” Gourzong
Matt Welander
Electro Mechanical Laboratory Supervisor
Eric Lin
Metal Shop Foreperson
Matt Gaffney
Wood Shop Foreperson
Ryan Gardner
Lead Carpenters
Doug Kester
Kat McCarthey
Sharon Reinhart
Carpenter
Ryleigh Rivas
Carpentry Interns
Jacob Thompson
Laurel Capps
Painting
Scenic Charge
Mikah Berky
Lead Scenic Artists
Lia Akkerhuis
Nathan Jasunas
Paint Interns
Gabriela Ahumada
Gwendoline Chen
Properties
Properties Supervisor
Jennifer McClure
Properties Craftsperson
Steve Lopez
Properties Associate
Zach Faber
Properties Stock Manager
Mark Dionne
Properties Assistant
Destany Langfield
Properties Interns
Angie Hause
Ru Ho Hsiao
Costumes
Costume Shop Manager
Christine Szczepanski
Senior Drapers
Clarissa Wylie Youngberg
Mary Zihal
Senior Draper/Patternmaker
Susan Aziz
Senior First Hands
Deborah Bloch
Patricia Van Horn
Costume Project Coordinator
Linda Kelley-Dodd
Costume Stock Manager
Jamie Farkas
Costume Technology Intern
Nana Chanmalee
Electrics
Lighting Supervisor
Donald W. Titus
Senior House Electricians
Jennifer Carlson
Linda-Cristal Young
Electricians
Alary Sutherland
Ryan White
Sound Sound Supervisor
Mike Backhaus
Senior Lead Sound Engineer
Stephanie Smith
Sound Interns
Eden Wyandon
Eun Kang
Projections
Projection Supervisor
Anja Powell
Lead Projection Technician
Alessandro Maione
Projection Intern
Jada Rose Pinsley
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
Keirsten Lamora
administration
General Management
Associate Managing Directors
Anne Ciarlone
Adrian Alexander Hernandez
Jeremy Landes
Mikayla Stanley
Assistant Managing Director
Mithra Seyedi
Senior Administrative Assistant to the Associate Dean, Assistant Dean, and Theater
Management Program
Sarah Masotta
Management Assistants
Jazzmin Bonner
Kay Nilest
Alesandra Reto Lopez
Development and Alumni Affairs
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 and Alumni Affairs
Scott Bartelson
Associate Director of Development and Alumni Affairs
Roman Sanchez
Assistant Director of Development and Alumni Affairs
Kavya Shetty
Alumni Affairs Officer and Senior Writer
Cayenne Douglass
Senior Administrative
Assistant to Development and Alumni Affairs
Jennifer E. Alzona
Finance, Human Resources, and Digital Technology
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
Web Technology Assistant
Kenneth Murray
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
Erich Bolton
Ben Silvert
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
Senior Marketing and Communications Manager
Mishelle Raza
Marketing and Communications Assistant
Jazzmin Bonner
Publications Manager and Artwork
Marguerite Elliott
Director of Audience Services
Laura Kirk
Assistant Director of Audience Services
David Geffen School of Drama Staff
Shane Quinn
Subscriptions Coordinator
Tracy Baldini
Audience Services Associate
Molly Leona
Customer Service and Safety Officers
Ralph Black, Jr.
Kevin Delaney
Box Office Assistants
Pilar Bylinsky
Emma Fusco
Jordan Graf
Aaron Magloire
Elliot Valentine
Timothy “TJ” Wildow
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
Shannon Dodson
Steph Lo 盧胤沂
Gaby Rodriguez
Davon Williams
operations
Director of Facility Operations
Nadir Balan
Associate Director of Operations
Brandon Fuller
Operations Assistant
Devon Reaves
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
Ain’t No Mo’, October 19–25, 2024, David Geffen School of Drama at Yale, University Theatre, 222 York Street, New Haven, Connecticut.
METAMORPHOSES
Based on the myths of Ovid
By Mary Zimmerman
Directed by Alexis Kulani Woodard
Based on Ovid’s epic poem, Metamorphoses is a whimsical meditation on the perils of being human—from the ordinary to the unimaginable— charged by the transformative power of love. Metamorphoses is a musing on how we create community brimming with gods and heroes, glory and possibility, unending sorrow, and epic joy.
