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.
Yale Repertory Theatre, the internationally celebrated professional theater in residence at David Geffen School of Drama, has championed new work since 1966, producing well over 100 premieres—including two Pulitzer Prize winners and four other nominated finalists—by emerging and established playwrights. Seventeen Yale Rep productions have advanced to Broadway, garnering more than 40 Tony Award nominations and ten Tony Awards. Yale Rep is also the recipient of the Tony Award for Outstanding Regional Theatre. Established in 2008, Yale’s Binger Center for New Theatre has distinguished itself as one of the nation’s most robust and innovative new play programs. To date, the Binger Center has supported the work of more than 70 commissioned artists and underwritten the world premieres and subsequent productions of more than 30 new plays and musicals at Yale Rep and theaters across the country.
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.
VALUES
Artistry
We expand knowledge to nurture creativity and imaginative expression embracing the complexity of the human spirit.
Belonging
We put people first, centering wellbeing, 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.
The company of Wish You Were Here by Sanaz Toossi, directed by Sivan Battat, Yale Repertory Theatre.
Playwright Steve Carter is best known for his trilogy chronicling Caribbean immigrant life in the United States. Eden, the first of the three plays, premiered in 1976 at Negro Ensemble Company and garnered Carter the Outer Critics Circle Award for the season’s most promising playwright as well as an AUDELCO Award, which honors Black theater and its artists. Widely produced in New York and at other theaters across the country in the 70s and 80s, Carter’s plays are long overdue to be rediscovered by 21st-century audiences.
Keeping the flame of Carter’s legacy burning is the work of artists and scholars who are publishing about these plays and pitching new productions of them. In fact, Tia Smith, a dramaturgy student at David Geffen School of Drama (and one of the two dramaturgs on the show’s creative team) and faculty member Awoye Timpo both recommended Eden for consideration to Yale Rep’s season planning committee, and I am deeply grateful to them.
Set in 1927, in the San Juan Hill neighborhood of Manhattan (where Lincoln Center now stands), Eden is at its heart the love story of Eustace, a young Black man from the American South, and Annetta, whose father envisions her marriage to another West Indian immigrant in order to protect his bloodline. With humor and heart, Carter’s singular play, set in a world that may be unfamiliar to some of us, reveals universal truths about the complexities of familial bonds and the varied powers of love.
Director Brandon J. Dirden makes his Yale Rep debut with this production. Also an actor, Brandon numbers Take Me Out, Skeleton Crew, and All the Way among his Broadway credits. With his recent performance in Gem of the Ocean at Two River Theater in New Jersey, he has acted in or staged all ten plays in August Wilson’s American Century Cycle. Under Brandon’s exceptional direction, a magnificent company of actors, as well as the artistic, technical, and management teams, have brought Eden to life for us with remarkable originality, specificity, and compassion.
I am so glad you have joined us today, and I look forward to sharing two more Yale Rep plays with you this coming spring. Next up is The Inspector, Nikolai Gogol’s outrageously anarchic comedy of errors, newly adapted and directed by Yura Kordonsky. The show will run March 9–29. Closing the season will be Notes on Killing Seven Oversight, Management, and Economic Stability Board Members, Mara Vélez Meléndez’s revenge saga-meets-drag extravaganza taking aim at unelected officials who think they know what’s best for the people. Directed by Javier Antonio González, it will play April 25–May 17.
Whether this is your first visit to Yale Rep or you are a longtime subscriber, thank you for choosing to spend your time with us. As always, I look forward to hearing your thoughts on Eden or any of your experiences in our theatre. My email address is james.bundy@yale.edu.
Sincerely,
James Bundy
JANUARY 16–FEBRUARY 8, 2025
YALE REPERTORY THEATRE
James Bundy, Artistic Director | Florie Seery, Managing Director
PRESENTS
A PLAY BY
STEVE CARTER
DIRECTED BY
BRANDON J. DIRDEN
Scenic Designer
George Zhou 周亦扬
Costume Designer
Caroline Tyson
Lighting Designer
Ankit Pandey
Sound Design and Original Music
Tojo Rasedoara
Projection Designer
Ein Kim
Hair and Wig Designers
Krystal Balleza and Will Vicari
Production Dramaturgs
Austin Riffelmacher
Tia Smith
Technical Director
Nickie Dubick
Fight and Intimacy Director
Michael Rossmy
Vocal and Dialect Coach
Paul Pryce
Casting Director
Calleri Jensen Davis
Stage Manager
Hope Binfeng Ding
Eden was first presented by The Negro Ensemble Company at the Saint Marks Playhouse opening on March 3, 1976.
Eden is produced by special arrangement with Broadway Play Publishing Inc, NYC. broadwayplaypublishing.com
Yale Repertory Theatre gratefully acknowledges Carol L. Sirot for generously funding the 2024–25 season.
Yale Repertory Theatre thanks our 2024–25 season funders:
Eustace Baylor ......................................................................................... Marcus Fitzpatrick
Joseph Barton Greg Alverez Reid
Nimrod Barton, Solomon Barton Cole Taylor
Florie Barton, Lizzie Harris Henita Telo
Assistant Stage Managers ................................................................ Rethabile Headbush ................................................................................................ Thomas Nagata
Setting
1927. San Juan Hill, Manhattan.
Eden is performed with a 15-minute intermission.
Content and Atmospheric Guidance
This production contains coarse language, including the use of racial slurs, sexually explicit language, discussion of domestic violence and moments of staged violence. This production also includes use of herbal pipe smoke which is tobacco- and nicotine-free
steve carter, Playwright and
Writer bell hooks stylized her name in lowercase to draw attention to her work rather than herself. Similarly, Steve Carter de-emphasized himself by writing his name as steve carter. Carter valued his playwriting over the accompanying accolades, such as the 2001 Living Legend Award at the National Black Theatre Festival. When Carter was a member of the Negro Ensemble Company (NEC) from 1968 to 1981, he cherished his job as Director of the Playwright’s Workshop, training a generation of Black dramatists, over being a playwright himself. He valued the intimacy of American regional theater over the visibility of Broadway.
The NEC was the premier Black theater company of the late 20th century. It was co-founded in 1967 by playwright-actor Douglas Turner Ward, actor-producer Robert Hooks, and theater manager Gerald S. Krone. Together they envisioned a repertory Black theater primarily centered on the development of new plays. At the NEC, Carter performed several roles, including “literary manager, costume and set designer, ticket-taker, [and] whatever job that needed to be done.” In fact, on the opening night of Eden, Carter operated the elevator. One of Carter’s significant contributions was his and fellow script reader Cheryl Greene’s recommendation of Joseph
A. Walker’s The River Niger to Ward, the company’s artistic director. The play, which opened off-Broadway in 1972, funded the company for the next ten years. Niger became the first play in NEC history to transfer to a second theater to meet audience demand. A few years later, Eden would become the third play.
Before Carter died in 2020 at 90 years old, he wrote a prolific number of one-act and full-length plays, dozens of which he kept private during his life but hoped that the next generation of artists would unearth them upon his death. Eden, Nevis Mountain Dew, and Dame Lorraine, three of the plays that Carter did openly discuss, are some of his most celebrated works. Together, they are known as the Caribbean Trilogy (or the Caribbean-American Trilogy). Each play dramatizes the domestic life of a West Indian immigrant family living in New York City during the 20th century and the family’s struggle to (re)define themselves in a U.S. context.
The Caribbean Trilogy
Although the plays don’t share characters in common, several threads run across the trilogy: a three-act structure; a plot inspired by Carter’s personal history; West Indian immigrants from an intentionally unspecified country who dissociate from Black Americans to evade antiBlack racism; a disabled patriarch who asserts his agency and intellect to his family; and wives, sisters, and daughters who tend to labor as homemakers, cleaners, and caretakers and who must reckon with their sexual desires.
Nevis Mountain Dew, the second play in the trilogy, was first directed offBroadway by stage manager Horacena J. Taylor in 1978 and was published in The Burns Mantle Yearbook: The Best Plays of 1978–1979. In Dew, the Philiberts, a middle-class family of a West Indian patriarch in an iron lung, gather to celebrate the man’s 50th birthday with a special rum that forces the family to reveal their dreams. The play is set in 1954 in Queens Village. In Dame Lorraine, the last of the trilogy, a West Indian family in 1980s Harlem awaits the arrival of their last surviving son as he returns from prison. The play, which starred Esther Rolle—an original NEC member whom Carter deemed “The Empress/ the great actress…the great friend”—premiered at Chicago’s Victory Gardens Theater in 1981. That same year, Carter left the NEC to become the first Playwright-inResidence at Victory Gardens. With the trilogy, Carter strove to highlight the underrepresented experiences of Black immigrants, who, like Black Americans, are descendants of slaves but chose to arrive in the U.S.
Eden
Eden is the first play in Carter’s Caribbean Trilogy. It was originally presented off-Broadway by the NEC at the St. Marks Playhouse on March 3, 1976, and ran for a total of 181 performances after two extensions and a transfer to the Theatre de Lys. The success of Eden led Carter to adapt the play into a screenplay, which was never produced, for Tobias Pictures in 1985. The play is largely inspired by Carter’s family history. When his Trinidadianborn mother, whose middle name was Annetta, and his Black American father
from Richmond, Virginia, fell in love, their romance was thwarted by Carter’s maternal grandfather, a follower of Marcus Garvey’s Back to Africa Movement, who believed that Black Americans were racially inferior to West Indians. The play is set in 1927 in the Manhattan neighborhood San Juan Hill, where Carter was raised and where his mother first lived upon emigrating from the Caribbean.
Assimilation is a major theme in the play. According to Carter, Eden dramatizes what happens when West Indian immigrants are “lumped together with Black Americans.” Just as Joseph Barton, the West Indian patriarch, desires for his family to be seen as culturally distinct from Black Americans, his daughter Annetta yearns for her own identity beyond being the Barton family’s homemaker. Racism aims to strip Black people of our individuality, and Joseph, by forcing his dreams onto his family, stifles his children’s personhoods.
Whereas Joseph believes that freedom has no room for love, Black feminist thought maintains that freedom and love can coexist. In a 1992 article on Amy Jacques Garvey, Garvey’s second wife, Karen S. Alder writes that the feminist recognized that “emotional intimacy” should not be sacrificed for the Movement. Like Annetta, she wanted her husband to see beyond her “helpmate” role. Unfortunately, Garvey never fully recognized his wife’s contributions, even as she combed through texts for his speeches and articles, edited and published his writings, and became the face of the Movement during his imprisonment. For Annetta and her mother, Florie, who have been indoctrinated to believe that the pursuit of their individual desires will hinder the progress of, as Garvey described, “the four hundred million Negroes in the world,” love and the centering of oneself is a revolutionary act. In Eden, the Barton women have the potential to discover that a revolution can come from within.
—Tia Smith, Production Dramaturg
Steve Carter with his mother Carmen Annetta Samuels, in San Juan Hill, Manhattan, 1976.
“The once dear, lovely Garden of Eden has become the sphere of men uneven.”
—Marcus Garvey “The Tragedy of White Injustice,” 1927
If Steve Carter’s Eden is a garden akin to its namesake in the Book of Genesis, the evil that manifests within comes in the form of the Politics of Respectability. First defined in 1993 by Evelyn Brooks Higginbotham in her book Righteous Discontent: The Women’s Movement in the Black Baptist Church: 1880–1920, the term is now commonly used to criticize the ways in which marginalized groups of people assimilate into the dominant culture. Political scientist Hakeem Jefferson writes, “Advocates of respectability viewed good behavior as morally right and prudent and consistent with middle-class values and sensibilities. On the other hand, negatively stereotyped behavior was considered unbecoming and detrimental to the goal of racial self-help, independent of the white gaze.” The image of respectability is dictated by the system of white supremacy. And it is here where the character of Joseph Barton in Eden reveals his contradictions.
Marcus Garvey, 1922.
In the play, Barton is a strong proponent and supporter of Marcus Garvey. Garvey (1887–1940) was a Jamaican political activist who came to Harlem in 1916. Garvey’s journey to the U.S. was inspired by Booker T. Washington’s speech in 1895 encouraging Blacks to “Cast down your bucket where you are,” meaning Black people should not solely rely on legislation to improve their lives or solve their problems. Instead, they should rely on their own hard work and education if they wished to improve their condition. Washington then entreated Blacks to make friends with “people of all races.” Garvey adopted Washington’s idea of Black individualism and advocated for Pan-Africanism (the unity of all descendants of African peoples torn apart by European colonization and chattel slavery) through the establishment of the Universal Negro Improvement Association (U.N.I.A). Followers of Garveyism, like Barton, were extremely loyal working-class individuals inspired by their leader’s fervor for pride in being Black.
Carter sets Eden in 1927, the same year Garvey was deported from the U.S. for mail fraud for his failed Black Star Line, a reversal of The Middle Passage, an experiment aimed at bringing Blacks back to Africa. At this time, the community of San Juan Hill, where the play takes place, was made up largely of Black people from around the country and from the Caribbean. Most came to New York City because of displacement, migrating from the Jim
Crow South (like Eustace) or to follow the ideas of Garvey (like Barton). Though connected by race and displacement, Barton does not extend Washington’s plea to make friends with “people of all races” to Eustace. The racism Barton projects towards Eustace in the play offers an illustration of the sort of privilege some in immigrant communities practice toward African Americans. Yes, both families in this play are Black, but only one of them is tied to the American South and the history of slavery in the U.S., a country in which they are reminded of the color of their skin every day. The Barton family’s privilege is best defined by Isabel Wilkerson, the author of Caste: The Origins of Our Discontents, in her analysis of America’s caste system where she says, “…Only when they [immigrant communities] enter into a multilayered caste structure...a hierarchy such as this, do they then have to think of themselves as Black. But back where they are from, they do not have to think of themselves as Black, because Black is not the primary metric of determining one’s identity.” In the play, the Bartons identify primarily as “West Indian.” Joseph Barton says he knows he is Black, but he is on a staunch mission to promote a racial purity amongst West Indians through his daughter, Annetta; one that doesn’t involve mixing with American Negroes like Eustace.
Barton wants his sons, who were born in the U.S., to abandon anything he finds objectionable. He believes the plight of African Americans is their
own doing. Though Barton’s goal for his family is to go back to Africa, he wants them to assimilate as well as possible while they are here. When one of his sons starts using more African American Vernacular English, Barton deems this unacceptable, even though A.A.V.E. is rooted in West African and Caribbean language. What Barton never says explicitly in the play is that they are avoiding chastisement by the white majority, therefore they must exhibit “respectable” qualities to reform the negative imagine of Black people. He tells his sons, “Remember, having a black skin is not a curse. Being in this country with a black skin is a curse.” In this frame of mind, one must be equal to the white man, not your fellow Black men.
To be clear, Barton is not an “Uncle Tom,” but he is not the Garveyite he thinks he is either. As Eustace says, Barton’s ideas are a “poison.” It is important not to reduce Eden to a play about Black people despising other Black people. How the Barton family views the Baylor family, and vice versa, is the consequence of white supremacist and colonial power. There are no white characters in this play, but the harm done by them on Black bodies is implicit in the conflict between these two families. Barton’s effort at respectability will not allow him the proximity to whiteness he is unconsciously seeking. The Eden he searches for, does not exist.
—Austin Riffelmacher, Production Dramaturg
San Juan Hill neighborhood in 1939.
Photo courtesy of Lee Sullivan/Museum of the City of New York/Lincoln Center.
CAST
in alphabetical order
Chaundre Hall-Broomfield* (Eustace Baylor) is a Newburgh, New York, native with a B.F.A. in acting from SUNY Purchase. He is so excited to be making his Yale Rep debut, working in such a powerful play and being directed by the great Brandon Dirden. His previous theater credits include the first national tour of Hamilton, Pipeline at Lincoln Center (understudy), A Raisin in the Sun at the Guthrie Theater, and Covenant at the Roundabout Theatre. Film and television credits include Netflix’s Luke Cage and R&B, FBI, Law & Order, and BET’s Kingdom Business. As a firstgeneration Jamaican American citizen, he’s so excited to tell this story! Special shout out to mom and dad! I love you! Romans 8:28. @chaundrehallb
Russell G. Jones* (Mr. Joseph Barton) is an AUDELCO, OBIE, and SAG Award–winning actor who has worn many theatermaker hats as a fixture on New York City stages since the mid-90s. Russell proudly originated roles in plays by Lynn Nottage, Suzan-Lori Parks, Tanya Barfield, Fernanda Coppel, Kirk Wood Bromley, and Stephen Adly Guirgis. On TV, he was a series regular opposite Edie Falco in CBS’s Tommy and recurred on Steven Soderbergh’s Full Circle for Max, Only Murders in the Building for Hulu, and Godless for
Netflix. Russell founded BLND SPOT EXPERIENCE and facilitates crosscultural dialogue and critical thinking by providing tools and context for perceiving racial inequity.
Juice Mackins (Nimrod Barton) is a second-year M.F.A. candidate at David Geffen School of Drama, an alum of Fordham University’s theater program, and a Debbie Allen Dance Academy baby, studying with and under her in various forms of dance and artistic ventures she’s shared. His stage credits include Come Fall in Love—The DDLJ Musical directed by Aditya Chopra at the Old Globe; the tour of Brothers of The Knight directed by Debbie Allen; and the Broadway musical The Prom, directed by Casey Nicholaw; as well as work in concert and commercial dance. Television appearances include Shook, Grey’s Anatomy, and Blue Bloods, among others. Juice would like to thank his family and friends who’ve taken time to generously pour into him as it led to him making his Yale Rep debut. @juicemackins
Prentiss Patrick-Carter he/him (Solomon Barton) is thrilled to be making his professional debut at Yale Rep! Prentiss is a junior at Yale University studying theater and African American studies. He also performs improv, sketch comedy, and stand-
up on the side. Recent credits at Yale include Legally Blonde, The Colored Museum, Moon Man Walk, and Hamlet. Training: British American Drama Academy (MIO 2023). He’s incredibly grateful to his teachers, mentors, friends, and family for their wisdom and support. @p.patrickcarter
Alicia Pilgrim* (Agnes Barton) is so grateful to be making her Yale Rep debut with this play and company of creatives!
Pilgrim is a vibrant actor, writer, producer, and sound curator, originally from Washington, DC, now based in Brooklyn, New York. With an unwavering passion for authentic storytelling and fostering community, Alicia brings depth and heart to every project. She captivated audiences with her performance in cullud wattah at The Public Theater, earning Antonyo and AUDELCO Award nominations. Alicia can be seen playing Najja in HBO Max’s Peabody Award–winning Random Acts of Flyness (S2) and in the Sundance-winning A Thousand and One, continuing to break new ground. With her solo piece, me vs. ME {a self actualizing ritual}, she challenges creative, personal, spiritual, and social boundaries. Alicia is grateful to God, her ancestors, her mother, siblings and community for their continued grace & love. @atribecalledalicia
Christina Acosta Robinson* (Florie Barton) Happy to return to Yale Rep and David Geffen School of Drama at Yale, which is, in a way, my artistic Eden—where I was first loved, formed, and embraced as an actor. Broadway: The Godmother in Andrew Lloyd Webber’s Bad Cinderella and Summer: The Donna Summer Musical. Regional favorites include Glinda in The Wiz and Dorothy Brock in 42nd Street at Broadway Sacramento; Shug Avery in The Color Purple at Broadway Sacramento and Milwaukee Rep; Titania in A Midsummer Night’s Dream at the Guthrie Theater; Erzulie in Once on this Island at Cincinnati Playhouse; Vera in Seven Guitars at Two River Theater. I love you Ken, Mari, Bennie, and Trace.
Heather Alicia Simms* (Lizzie Harris) appeared in the Broadway hit Purlie Victorious. Other Broadway credits include Ma Rainey’s Black Bottom and A Raisin in the Sun. OffBroadway: Fairview (Soho Rep/Theatre for a New Audience); Fabulation and By the Way, Meet Vera Stark (OBIE Award, Signature Theatre); Barbecue (The Public Theater); born bad (Soho Rep); and Richard III (New York Stage Shakespeare Festival). She previously appeared at Yale Rep in Kia Corthron’s Breath, Boom. Television: The Kings of Napa, Swarm, Marvel’s Luke Cage, The
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
CAST
Equalizer, Blue Bloods, The Last O.G., Broad City, Seven Seconds, and Law & Order. Film: Vampires vs. the Bronx, Red Hook Summer, The Nanny Diaries, and Broken Flowers. Awards: Fox Foundation Fellowship, Audie Award. Education: Tufts University, Columbia University. Love to my family, especially Michelle.
Lauren F. Walker (Annetta Barton) is a third-year actor at David Geffen School of Drama, where her credits include Cactus Queen, Cleansed, The Alley, and the original production of Furlough’s Paradise. As an artist who is dedicated to telling stories that make space for healing and the complexities of humanity, Lauren is honored to uplift this story. Lauren is a graduate of Duke Ellington Achool of the Arts and SUNY Purchase’s B.F.A. acting conservatory. Her 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
Tyler Clarke (understudy for Annetta Barton, Agnes Barton) is a second-year actor at David Geffen School of Drama, where her credits include Ain’t No Mo’ and rent free @Tylerl_clarke
Marcus Fitzpatrick (understudy for Eustace Baylor) is a graduate of New York University’s Graduate Acting program. His most recent credits include A Midsummer Night’s Dream (Classical Theatre of Harlem), The Moors (NYU), The African Company Presents Richard III (NYU), and Topdog Underdog (Freeplay Festival). Marcus was born and raised in Wilmington, North Carolina. His love of acting first emerged in a junior production of Annie where he played the incomparable Oliver Warbucks. Marcus is grateful to make his first appearance at Yale Repertory Theatre. He thanks his mother for her constant guidance and support.
Greg Alverez Reid* (understudy for Joseph Barton) recently starred in Fat Ham at Studio Theatre and This Bright Wilderness: Celebrating the Legacy of Black Theater at Mark Taper Forum. He also was seen in Sweat at Northern Stage, Blues for an Alabama Sky directed
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
by Phylicia Rashad at Mark Taper Forum, and The Bluest Eye directed by Awoye Timpo at Huntington Theatre Company. Other credits include The Fabulous Miss Marie (New Federal Theatre/Castillo Theatre); Detroit ‘67 (Signature Theatre); Fences (McCarter Theatre Center); All My Sons (People’s Light Theatre); Broke-ology (Theater Alliance); Gem of The Ocean (Hangar Theatre); and Seven Guitars (Studio Theatre). On-screen he can be seen in the HBO film Between the World and Me, Wu-Tang: An American Saga (Hulu), and FBI: Most Wanted (CBS). @gregariousreid
Credits: Romeo and Juliet, I & You, Pipeline, The African Company Presents Richard III, Gruesome Playground Injuries, Blues for an Alabama Sky, Saved by The Bell (Peacock), and Strive (Amazon Prime). Cole is a graduate of New York University’s Graduate Acting program. Thank you to SMS and Stride. And also, God. And also, all my teachers. hi, mom. hi, dad. hey, squid. love y’all.
Henita Telo (understudy for Florie Barton, Lizzie Harris) is a first-generation Liberian-American actress at David Geffen School of Drama, where her credits include Ain’t No Mo’ and 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. OffBroadway 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
Krystal Balleza (Hair and Wig Designer) Off-Broadway: Orlando (Signature Theatre); The Connector (MCC); Good Bones, The Tempest (The Public Theater); The Blood Quilt, Six Characters, At the Wedding (Lincoln Center); Americano! (New World Stages). Regional: White Christmas (Paper Mill Playhouse); falcon girls, Mojada: A Medea in Los Angeles, and the ripple, the wave that carried me home (Yale Rep); Ain’t Misbehavin’ (Barrington Stage Co); Angels in America, Part One: Millennium Approaches (Arena Stage); Real Women Have Curves (A.R.T.).
Opera: Émigré (NY Philharmonic), Opera Theatre of St. Louis’s 2023 and 2024 Seasons. Krystal is the Hair and Makeup Department Head at Six: The Musical on Broadway, and previously for Tina: The Tina Turner Musical and Slave Play. Krystal holds a B.F.A. in wig and makeup design from Webster
CREATIVE TEAM
in alphabetical order
Conservatory and is co-owner of The Wig Associates with her design partner, Will Vicari. thewigassociates.com
Calleri Jensen Davis (Casting Director) is a creative casting partnership among James Calleri, Erica Jensen, and Paul Davis of over 20 years. They began their collaboration with Yale Rep in 2023 with Mojada: A Medea in Los Angeles and the ripple, the wave that carried me home. Broadway credits: The Piano Lesson, Topdog/Underdog, for colored girls..., Thoughts of a Colored Man, Burn This, Fool for Love, The Elephant Man, Hedwig and the Angry Inch, Of Mice and Men, Venus in Fur, A Raisin in the Sun, 33 Variations. Television: Love Life, Queens, Dickinson, and The Path, to name a few. callerijensendavis.com
Steve Carter (Playwright) Horace E. “Steve” Carter, Jr., was an American playwright, best known for his trilogy of plays involving Caribbean immigrants living in Manhattan. Mr. Carter received the Living Legend award at the 2001 National Black Theatre Festival. After taking over the position from Lonnie Elder as Director of the Negro Ensemble Company’s (NEC) Playwright’s Workshop, Steve Carter later became Literary Manager/ Dramaturg at NEC. During those years, NEC produced the first two plays of his Caribbean trilogy: Eden (1975, winner of an Outer Critics Circle Award, AUDELCO Award, and the Los Angeles Drama Critics Circle Award) and Nevis Mountain Dew (1978). He
was Victory Gardens Theater’s first playwright-in-residence beginning in 1981, and he also served as playwrightin-residence at George Mason University. Carter’s Pecong (winner of the Joseph Jefferson Award for New Work) premiered at Victory Gardens in the 1989–90 season and received subsequent productions at London’s Tricycle Theatre, American Conservatory Theatre in San Francisco, and Newark Symphony Hall. His plays Dame Lorraine, House of Shadows, Shoot Me While I’m Happy, Spiele ’36, or the Fourth Medal, and Root Causes also premiered at Victory Gardens. Mr. Carter died at the age of 90 in 2020.
Hope Binfeng Ding* she/her (Stage Manager) is a third-year M.F.A. candidate in stage management at David Geffen School of Drama, originally from Shenzhen, China. Selected theatrical credits include falcon girls, The Far Country (Yale Rep); Romeo and Juliet (NAATCO); Aubergine (South Coast Rep); Sleep No More Shanghai; Eye of the Storm Stunt Spectacular (Disney Shanghai).
B.A., UC San Diego. All my love and gratitude to family and friends.
Brandon J. Dirden (Director) recently appeared on Broadway starring in the Tony Award–winning production of Take Me Out and Skeleton Crew for which he received a Drama Desk nomination. He also appeared on Broadway as Martin Luther King, Jr., in the Tony Award–winning production of All the Way, with Bryan Cranston; as well as in the
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
Tony Award-winning revival of August Wilson’s Jitney, Clybourne Park, Enron, and Prelude to a Kiss. Off-Broadway, he has appeared in The Piano Lesson, for which he won OBIE, Theatre World, and AUDELCO awards; The First Breeze of Summer, Day of Absence (Signature Theatre); Detroit ’67 (The Public Theater, Classical Theatre of Harlem); Peter and the Starcatcher (New York Theatre Workshop); and as Brutus in Julius Caesar (Theatre for a New Audience). On screen he has appeared in The Good Wife, For Life, Evil, The Big C, Public Morals, Manifest, The Get Down, The Accidental Wolf, Blue Bloods, The Quad, the FX miniseries Mrs. America, and four seasons of FX’s The Americans as Agent Dennis Aderholt. He has directed numerous plays by Dominique Morisseau and August Wilson and recently Wine in the Wilderness by Alice Childress for Two River Theater. Brandon is an Associate Arts Professor on the faculty of Tisch Grad Acting at NYU; a frequent volunteer at the 52nd Street Project; and a proud memb er of both Actors’ Equity Association and Stage Directors and Choreographers Society.
Nickie Dubick she/her (Technical Director) is a third-year M.F.A. candidate in the technical design and production program at David Geffen School of Drama, where her credits include Ghosts (properties manager), Marys Seacole (assistant production electrician), and Measure for Measure (technical director). Her Yale Rep credits include the ripple, the wave that carried me home (assistant
technical director), Wish You Were Here (production electrician), The Far Country (properties manager), and falcon girls (assistant technical director). Prior to Yale, she earned a B.A. in scenic design from Marymount Manhattan College and worked for The Polar Express Train Ride™ as Décor and Props Supervisor.
Rethabile Headbush (Assistant Stage Manager) is a second-year stage manager at David Geffen School of Drama. Raised in Johannesburg, South Africa, Rethabile has a background in and passion for devised and interdisciplinary theater. Recent credits at the Geffen School include Jordan E. Cooper’s Ain’t No Mo’, María Irene Fornés’s What of the Night?, and Sarah Kane’s Cleansed. Off-Broadway work includes production assisting as a Management Fellow for RCI Theatricals on Mario Correa’s new play N/A, directed by Diane Paulus. Further credits include The Centre for the Less Good Ideas’s SEASON 9 programme, artsINSIDEOUT (ArtsIgnite) program, and D’haus’s URGENT INTERACTIONS Youth International Congress (Market Theatre Laboratory).
Ein Kim (Projection Designer) is a video artist and a third-year projection design student at David Geffen School of Drama. Hailing from South Korea, she earned her B.F.A. in film from the Korea National University of Arts. Her artistic journey is dedicated to unraveling the universal language of visuals, transcending geographical and linguistic boundaries. Recent theater works include Gianni Schicchi, Seven
CREATIVE TEAM
in alphabetical order
Deadly Sins, and Measure for Measure Video installation projects include Moving Sculpture: Streams, and You See What You See. einkim.com
Thomas Nagata he/they (Assistant Stage Manager) is thrilled to be making his Yale Rep debut. Selected credits include Fucking A, Uncle Vanya, Cactus Queen, Tempt Me (David Geffen School of Drama); The Tempest, it’s not a trip it’s a journey, Quixote Nuevo (Round House Theatre); King Lear (Shakespeare Theatre Company); Ain’t No Mo’, The Nosebleed, Incendiary, Rose: You Are Who You Eat (Woolly Mammoth Theatre Company); In the Heights, Annie, Proof (Olney Theatre Center); All the Way, The Roommate, The Yoga Play (South Coast Repertory). Thomas received their B.A. from Wheaton College, Massachusetts. Thomas would like to thank their amazing team: Hope and Retha.
Ankit Pandey (Lighting Designer) is a lighting designer, theater practitioner, and educator originally based in New Delhi, India, and currently a third-year M.F.A. candidate at David Geffen School of Drama. They have worked in and designed for a wide gamut of performances including but not limited to theater, music, dance recitals, films, exhibitions, and installations. Notable among these are Dastaan LIVE; Table Radica; Green Room; and Love, Prufrock; Pearl’s Beauty Salon, Fucking A, The Winter’s Tale (Geffen School). Ankit has also served as the technical and art director for various performing arts festivals. They are also a co-founder of
Tech Quartet, a technical design and production company based in New Delhi.
Paul Pryce (Vocal and Dialect Coach) Coaching credits include Playboy of the West Indies (NYU Grad Acting) and Play the Devil (feature film). OffBroadway: King Lear, The Merchant of Venice (Compagnia de Colombari); Pecong (National Black Theatre of Harlem); She Talks to Beethoven (JACK!); Harry the Hunk (Cherry Lane Theatre); Empire State Works (Whitney Museum). Regional: Create Dangerously (Miami New Drama); Hamlet, The Piano Lesson, Good Goods, American Night: The Ballad of Juan Jose (Yale Rep); Julius Caesar, Pericles (Elm Shakespeare). International: Everything That Rises Must Converge (Compagnia de Colombari, Italy); Silence and Fear (Lieux Dits, France); Smile Orange (Scarlett Project, Trinidad and Tobago). Film and television: Jessica Jones, Narco Saints (Netflix); Unforgettable (CBS/ A+E). Directing and producing: Constellations, Five Times in One Night, Almost Maine (HB Playwrights); Nina Goes to New York, Mary Jane (Korea). Education: M.F.A. in acting, David Geffen School of Drama.
Tojo Rasedoara (Sound Design and Original Music) is a third-year sound designer and M.F.A. candidate at David Geffen School of Drama. Recent and notable credits include The Seven (The Juilliard School); Every Goodbye Ain’t Gone, Charlotte, Springtime, Birthday Candles, Fabulation, falcon girls, The Light and the Dark (Chautauqua Theater); Pearl’s
Beauty Salon, Measure for Measure, Macbeth, Ghost, Furlough’s Paradise (Geffen School); Wish You Were Here (Yale Rep); Soft Jade (Yale Cabaret); OFF-PEAK (world premiere, Hudson Stage Company, 59E59 Theatre); Sandblasted (Vineyard Theatre); Is There Still Sex in the City? (Daryl Roth Theatre); Citizen: An American Lyric (Duke University); The Gradient (Repertory Theatre of St. Louis); and Harriet Tubman (HI-ARTS). Tojo holds a B.A. in entertainment technology from City Tech Brooklyn. He also worked with various New York Fashion Weeks as a production assistant. He would like to thank his sound team and creatives Cat Slanski, Robert Salerno, Kiersten Lamora, Stephanie Smith, Mike Backhaus, Justin Ellington, James Monaco, and Jill Du Boff for their incredible support towards the play.
Austin Riffelmacher he/him (Production Dramaturg) is a thirdyear M.F.A. candidate at David Geffen School of Drama, where his credits include Stray Dogs by comfort ifeoma katchy, HELLYOUTALMBOUT by ML Roberts, and The Misanthrope directed by Mary Lou Rosato. At Yale Cabaret, his work includes The Royale directed by Lauren F. Walker and his solo performance “A Phantastic Christmas.” Originally from Worcester, Massachusetts, he holds a B.A. in English with a concentration in African American literature and film from Framingham State University. Austin would like to dedicate his work on this production to his father, Donald.
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 The Public’s production of Troilus and Cressida and is a 2024 Barrymore Award nominee for Bonez at People’s Light. Upcoming: the Broadway premiere of Branden Jacobs-Jenkins’s Purpose directed by Phylicia Rashad.
Tia Smith (Production Dramaturg) is a second-year M.F.A. candidate at David Geffen School of Drama and the current Robert and Jean Steele Intern at Yale University Art Gallery. As a Mellon Mays Undergraduate Fellow, she authored an awardwinning thesis on Eden by Steve Carter and nominated the play for Yale Rep’s 2024–25 season. She is a recipient of the Black Theatre Network’s S. Randolph Edmonds Young Scholars Award and the Cody Renard Richard Scholarship. She holds
CREATIVE TEAM
in alphabetical order
a B.A. in theater studies and African & African American studies from Duke University. She thanks her sister for introducing her to Carter’s work. She is proud to be from the South Side of Chicago.
Caroline Tyson (Costume Designer) is a third-year M.F.A. candidate at David Geffen School of Drama, where credits include Pearl’s Beauty Salon and Fucking A. Other costume design credits include Herencia, Arlington, The Royale, And the Beetle Hums, and Marry Me A Little (Yale Cabaret); Bat Boy: The Musical (Weston Drama Workshop); and Twelfth Night (The Public Theater Children’s Shakespeare Ensemble). Assistant/associate design credits include productions at The Juilliard School, Cincinnati Opera, Barrington Stage, Berkeley Rep, Wolf Trap Opera, and Lincoln Center Theater. B.A., University of Maryland, Baltimore County. carolinetyson.com
Will Vicari (Hair and Wig Designer) Broadway hair design: Yellowface (Roundabout). Associate wig and makeup design: Parade (2023
Revival), Harmony, and Spamalot. Off-Broadway: Orlando (Signature Theatre); The Connector (MCC); At the Wedding (Lincoln Center); The Dead, 1904 (Irish Rep). Regional: White Christmas (Paper Mill Playhouse); falcon girls, the ripple, the wave that carried me home (Yale Rep); Ain’t Misbehavin’ (Barrington); Angels in America, Part One: Millenium Approaches (Arena Stage). Opera: Émigré (NY Philharmonic), Opera Theatre of St. Louis’ 2023 and 2024 Season. Will holds a B.F.A. in wig and makeup design from Webster Conservatory and is coowner of The Wig Associates with his design partner, Krystal Balleza. thewigassociates.com
George Zhou 周亦扬 (Scenic Designer) is a third-year M.F.A. candidate at David Geffen School of Drama, where his credits include Cleansed and rent free, as well as Baksa at Yale Cabaret. He received his bachelor’s degree in set design from the University of the Arts London. yiyangzhou.design
For This Production
ARTISTIC
Assistant Director
Stephanie Rolland
Assistant Scenic Designer
Richard Lee
Associate Costume Designer
Arthur Wilson
Assistant Costume Designer
Rebecca Pietri
Assistant Lighting Designer
Celia Chen
Assistant Sound Designer and Engineer
Cat Slanski
Assistant Projection Designers
Jae Lee
Wiktor Freifeld
Wig Supervisor
Courtney Horry
PRODUCTION
Associate Production Manager
Mara Bredovskis
Technical Direction Advisor
Shawn Poellet
Assistant Technical Directors
Cathy Ho 何家寶
Alex Theisen
T Morris-Thompson
Assistant Properties Manager
Angie Hause
Production Electrician
Yun Wu 吳昀
Projection Engineer
Forrest Rumbaugh
Projection Programmer
Ke Xu 许可
Lead Painter
Gwendoline Chen
Run Crew
Jordan Allyn, Nicky Brekhof, Nana Chanmalee, Romello Huins, Hsiao Ru-Ho
Run Crew Swing
Robert Salerno
ADMINISTRATION
Associate Managing Director
Adrian Alexander Hernandez
Assistant Managing Directors
Sarah Saifi
Mithra Seyedi
Management Assistants
Alesandra Reto Lopez
Gaby Rodriguez
Davon Williams
Company Managers
Joy Chen
Victoria McNaughton
Assistant Company Managers
Jocelyn Lopez-Hagmann
Catherine MacKay
Alesandra Reto Lopez
House Managers
Kay Nilest
Gavin D. Pak
Production Photographer
Joan Marcus
Poster Art and Design
Paul Evan Jeffrey/Passage Design
SPECIAL THANKS
The Negro Ensemble Company, Deborah A. McGee, Clyde Santana, Tyra Smith, Broadway Play Publishing
Yale Repertory
Theatre and David Geffen School of Drama Staff
Artistic Director/ Elizabeth Parker Ware Dean
James Bundy
Managing Director/ Associate Dean
Florie Seery
Associate Artistic Director, Director of New Play Programs/Associate Dean
Chantal Rodriguez
General Manager/ Assistant Dean
Carla L. Jackson
Assistant Dean
Nancy Yao
Academic Programs
Chair, Acting Program
Tamilla Woodard
Associate Chair, Acting Program
Grace Zandarski
Co-Chair, Design Program and Head of Set Design Concentration
Riccardo Hernández
Co-Chair, Design Program and Head of Costume Design Concentration
Toni-Leslie James
Head of Sound Design Concentration
Jill BC Du Boff
Head of Projection Design Concentration
Wendall K. Harrington
Head of Lighting Design Concentration
Stephen Strawbridge
Chair, Directing Program
Liz Diamond
Associate Chair, Directing Program
Yura Kordonsky
Chair, Dramaturgy and Dramatic Criticism Program
Catherine Sheehy
Associate Chair, Dramaturgy and Dramatic Criticism Program
Kimberly Jannarone
Co-Chairs, Playwriting Program
Anne Erbe
Marcus Gardley
Chair, Stage Management Program
Narda E. Alcorn
Associate Chair, Stage Management Program
James Mountcastle
Chair, Technical Design and Production Program
Shaminda Amarakoon
Associate Chair, Technical Design and Production Program
Jennifer McClure
Chair, Theater Management Program
Joan Channick
ARTISTIC
Yale Rep
Resident Artists
Playwright in Residence
Tarell Alvin McCraney
Resident Directors
Lileana Blain-Cruz
Liz Diamond
Tamilla Woodard
Dramaturgy Advisor
Amy Boratko
Resident Dramaturg
Catherine Sheehy
Set Design Advisor
Riccardo Hernández
Resident Set Designer
Michael Yeargan
Costume Design Advisors
Oana Botez
Ilona Somogyi
Resident Costume Designer
Toni-Leslie James
Lighting Design Advisors
Alan C. Edwards
Stephen Strawbridge
Projection Design Advisor
Shawn Lovell-Boyle
Sound Design Advisor
Jill BC Du Boff
Voice and Text Advisor
Grace Zandarski
Resident Fight and Intimacy Directors
Kelsey Rainwater
Michael Rossmy
Stage Management Advisor
Narda E. Alcorn
Associate Artists
52nd Street Project, Kama Ginkas, Mark Lamos, MTYZ Theatre/Moscow New Generation Theatre, Bill Rauch, Sarah Ruhl, Henrietta Yanovskaya
Artistic Administration
Production Stage Manager
James Mountcastle
Yale Rep Senior Artistic Producer
Amy Boratko
Yale Rep Associate Producer
Kay Perdue Meadows
Yale Rep Artistic Fellow
Hannah Fennell Gellman
Yale Rep Artistic Coordinator
Andrew Aaron Valdez
Yale Rep Casting
James Calleri
Erica Jensen
Paul Davis
Editor, Theater magazine
Tom Sellar
Managing Editor, Theater magazine
Gabrielle Hoyt
Senior Associate Editor, David Geffen School of Drama Alumni Magazine
Catherine Sheehy
Senior Administrative Assistant to the Artistic Director/Dean and Associate Artistic Director/ Associate Dean
Josie Brown
Senior Administrative Assistant for Directing, Dramaturgy and Dramatic Criticism, Playwriting, Stage Management programs, and Theater magazine
Laurie Coppola
Senior Administrative Assistant, Design Program
Kate Begley Baker
Senior Administrative
Assistant, 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, Technical Design and Production Program, and Theater Safety
Rachel Zwick
Scenery
Technical Director for Yale Rep and Fall Protection Program
Administrator
Neil Mulligan
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
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
Hsiao Ru-Ho
Costumes
Costume Shop Manager
Christine Szczepanski
Senior Drapers
Susan Aziz
Clarissa Wylie Youngberg
Mary Zihal
Independent Draper
Chris Larson-Nelson
Senior First Hands
Deborah Bloch
Patricia Van Horn
First Hand
Maria Teodosio
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
Electrics Interns
April Salazar
Tyler Zickmund
Sound
Sound Supervisor
Mike Backhaus
Senior Lead Sound Engineer
Stephanie Smith
Sound Interns
Eden Wyandon
Eun Kang
Projections
Projection Supervisor
Anja Powell
Projection Technician
Henry Rodriguez
Projection Intern
Jada Rose Pinsley
Stage Operations
Stage Carpenter
Janet Cunningham
Lead Wardrobe Supervisor
Elizabeth Bolster
Lead Properties Runner
William Ordynowicz
Light Board Programmer
Sabrina Idom
Lead Front of House
Mix Engineer
Keirsten Lamora
Yale Repertory Theatre and David Geffen School of Drama Staff
ADMINISTRATION
General Management
Associate Managing Directors
Anne Ciarlone
Adrian Alexander Hernandez
Jeremy Landes
Mikayla Stanley
Assistant Managing Director
Sarah Saifi
Senior Administrative
Assistant to the Managing Director, General Manager, and Theater Management Program
Sarah Masotta
Management Assistant
Gaby Rodriguez
Company Manager
Joy Chen
Assistant Company Managers
Catherine MacKay
Jocelyn Lopez-Hagmann
Development & Alumni Affairs
Senior Director of Development and Alumni Affairs and Editor, David Geffen School of Drama Alumni Magazine
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
Alumni Affairs Officer and Senior Writer
Cayenne Douglass
Senior Administrative
Assistant to Development and Alumni Affairs
Jennifer E. Alzona
Development and Alumni Affairs Assistant
Gaby Rodriguez
Finance, Human Resources, & Digital Technology
Director of Finance and Business Administration/Lead
Administrator
Nicola Blake
Human Resources Business Partner
Trinh DiNoto
Manager, Staff and Faculty Affairs
Malaika Green El Hamel
Interim Director of Information Technology
Eric Lin
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 Business Office, Digital and Web Technology, Facility Operations, Human Resources, Tessitura
Monique Moore
Database Application Consultants
Ben Silvert
Erich Bolton
Financial Aid, Admissions, and Student Services
Financial Aid Officer
Andre Massiah
Registrar/Admissions
Administrator
Ariel Yan
Non-Clinical Counselor
Krista Dobson
Senior Administrative
Assistant to Financial Aid and Admissions
Laura Torino
Marketing, Communications, & 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
Taylor Ybarra
Senior Administrative
Assistant to Marketing and Communications
Mishelle Raza
Marketing and Communications Assistant
Raekwon Fuller
Publications Manager and Program Designer
Marguerite Elliott
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
Box Office Assistants
Taylor Blackman, Pilar Bylinsky, Emma Fusco, Jordan Graf, Aaron Magloire, Diana Shyshkova, Elliot Valentine, Timothy “TJ” Wildow
Accessibility Assistant Prentiss Patrick-Carter
Ushers
Calum Baker, Danielys Batista, Mia Bauer, Maura Bozeman, Alex Brooks, Logan Carr, Gerson Espinoza Campos, Kelvin Esselfie, Megan Foster, Nicole Gillinov, Lydia Gompper, Isaac Kozukhin, Nat Lopez, Di’Jhon McCoy, Bonnie Moeller, Sarah RamosGonzalez, William Romain, Jonathan Singleton, Nicole Stack, Julia Weston, Larsson Youngberg
Theater Safety and Occupational Health
Director of Theater Safety and Occupational Health
Yale Repertory Theatre and David Geffen School of Drama are supported by the work of over 200 faculty members.
For a complete faculty listing by program and department, please visit drama.yale.edu/about-us
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.
ACCESSIBILITY SERVICES
February 1 at 2PM
Audio Description
Pre-show description begins at 1:45PM
A live narration of the play’s action, sets, and costumes for patrons who are blind or have low vision.
Touch Tour
Prior to a performance, patrons who are blind or have low vision touch fabric samples, rehearsal props, and building materials to understand better what comprises the production design.
February 1 at 8PM
American Sign Language (ASL)
An ASL-interpreted performance for patrons who are deaf or have hearing loss.
February 8 at 2PM
Open Captioning
A digital display of the play’s dialogue as it’s spoken for patrons who are deaf or have hearing loss.
c2 is pleased to be the official Open Captioning Provider of Yale Repertory Theatre.
Free listening devices, headsets, and neck loops, and Sensory items as well as Braille and large print programs are available at the concierge desk in the theater lobby.
Yale Repertory Theatre gratefully acknowledges the Carol L. Sirot Foundation for underwriting the assistive listening systems in our theaters.
Plan Ahead!
Upcoming Accessibility Services for Nikolai Gogol’s The Inspector, newly adapted and directed by Yura Kordonsky.
Audio Description
March 22 at 2PM
Touch Tour
March 22 at 2PM
American Sign Language
March 22 at 8PM
Relaxed Performance
March 28 at 8PM
Open Caption March 29 at 2PM
Dates and times are subject to change.
For more information about our accessibility services or to provide feedback about your experience, contact Laura Kirk, Director of Audience Services: 203.432.1234 or laura.kirk@yale.edu.
ACCESSIBILITY TEAM
Gracy Brown (Audio Describer) a New Haven-based, award-winning actor, director, and educator, has an extensive list of credits, including various roles at Elm Shakespeare Company, Long Wharf Theatre, Great Lakes Theater Festival, Edinburgh Fringe Festival, Cornerstone Theatre Company, Mark Taper Forum, and Collective Consciousness Theatre Company. Gracy is an alumna of Southern Connecticut State University, where she earned a B.A. in theater. She is a proud member of Actor’s Equity Association.
David Chu/c2inc-caption coalition (Open Captioner) is a 501(c)3 nonprofit consultant and the leading provider of professional Live Performance Captioning (sm) for theatrical and cultural presentations. c2 members hold the distinction of being the very first to caption live theater (the Paper Mill Playhouse, NJ), the first to debut on Broadway and Off-Broadway, and have introduced open captioning in prestigious theaters across the country and in London. Captioning in theater has gained momentum and acceptance by theatergoers since its debut in 1996. It addresses the needs of a far larger audience of hard of hearing and deaf people, which includes those who do not use sign language, are late deafened, not self-identified with hearing loss, and those who simply might have missed a punch line.
Monique Sarpy (ASL Interpreter) is making her Yale Rep interpreting debut. She is a heritage signer and has worked as a professional interpreter for almost 20 years. She is always humbled by the opportunity to play a role in providing access to the performing arts for her beloved Deaf community. As the bi-racial daughter of Deaf parents,
she understands the importance of representing the underrepresented through art. She comes to Yale by way of Louisiana, New York City, and Washington, DC. Her latest involvement with theater has been through the following: Jordans (The Public Theater), Town Hall (Salisbury University), A Christmas Carol (Ford’s Theatre), as well as interpreting opening night for Private Jones (Signature Theatre). She dedicates her interpreted performance to those questioning love, with the hope that they find healing, empowerment, and freedom through Eden.
Christopher S. Robinson (ASL Interpreter) has been a renowned ASL/ English performing arts interpreter for over 30 years. He was chosen to work on productions in the August Wilson canon at Boston’s Huntington Theatre, some alongside Mr. Wilson himself. Robinson’s extensive interpreting experience includes Hamilton (the Kennedy Center and the Boston Citizens Bank Opera House), Hadestown (Broadway), and other productions at Oregon Cabaret Theatre in Ashland, Commonwealth Shakespeare Company, Wheelock Family Theatre, Oregon Shakespeare Festival, Seattle Rep, Pittsburgh Playhouse, Portland Stage Company, American Repertory Theater, and The Huntington Theatre Company. He co-founded Think Outside The Vox, an arts accessibility consulting company, and he has worked at Boston University Disability & Access Services since 1994. @think_outside_the_vox thinkoutsidethevox.org
Thanks to our ASL Consultant, Michelle Banks.
YOUTH PROGRAMS
WILL POWER! is Yale Rep’s annual educational initiative, designed to bring middle and high school students to see live theater. Since our 2003–04 season, WILL POWER! has served more than 20,000 Connecticut students and educators. This season we will offer programming centered on Whitney White’s Macbeth in Stride and Gogol’s The Inspector to New Haven Public Schools students and educators. In previous seasons, the program has included early school-time matinees, free or heavily subsidized tickets, study guides, and post-performance discussions with actors and members of the creative teams. WILL POWER! is committed to giving teachers curricular support through free workshops and professional development about the content and themes of the plays.
THE DWIGHT/EDGEWOOD PROJECT
(D/EP) is a community-focused, youth engagement program within David Geffen School of Drama and Yale Rep. Each year, middle school students from Barnard Environmental Studies Interdistrict Magnet School become playwrights and create original dramatic works through one-on-one mentorship from students at the Geffen School. The month-long project culminates in fully produced performances of each student’s play in front of an audience. Through its values of community care, joy, curiosity, empowerment, and equity, D/EP has helped to shape the minds of over 200 young people from the Dwight and Edgewood neighborhoods of New Haven since 1995.
Yale Rep’s youth programs are supported by The Robert and Mercedes Eichholz Foundation, NewAlliance Foundation, and the Esme Usdan Community Youth Fund.
EVENTS!
FRIDAY, JANUARY 17 at 8PM
SATURDAY, JANUARY 18 AT 8PM
Post-Show Conversation
Join us in the August Wilson Lounge following the performance for a conversation about the show with Yale Rep artistic staff.
FRIDAY, JANUARY 24 at 8PM
Black Night Out
Yale Rep joyfully invites Black theatergoers to experience Steve Carter’s masterpiece in community at Black Night Out. A discussion of the play’s themes will follow this special affinity night performance.
MONDAY, JANUARY 27 at 5PM
Yale Rep @ NHFPL
Stetson Branch Library, 197 Dixwell Ave.
Join members of the Eden cast and creative team for a community conversation about the production.
WEDNESDAY, JANUARY 29 at 1PM
Pre-Show Reception and Conversation
Please join us for refreshments in the August Wilson Lounge, where members of the creative team will hold a discussion about the play at 1:20PM.
SATURDAY, FEBRUARY 1 at 2PM
Talk Back
Join us after the show for a conversation about the play and its themes with members of the company.
FRIDAY, FEBRUARY 7 at 8PM
Spanish-Language Captioning
La presentación del 7 de febrero será subtitulada en español. This performance will be open-captioned in Spanish.
All events are subject to change. Additional details at yalerep.org.
DAVID GEFFEN SCHOOL OF DRAMA BOARD
OF ADVISORS
John B. Beinecke YC ’69, Chair
Jeremy Smith ’76, Vice Chair
Nina Adams MS ’69, NUR ’77
Amy Aquino ’86
Rudy Aragon LAW ’79
John Badham ’63, YC ’61
Pun Bandhu ’01
Sonja Berggren
Special Research Fellow ’13
Frances Black ’09
Carmine Boccuzzi YC ’90, LAW ’94
Lynne Bolton
Lois Chiles
Patricia Clarkson ’85
Edgar M. Cullman III ’02, YC ’97
Michael David ’68
Wendy Davies
Special Research Fellow ’21
Sasha Emerson ’84
Lily Fan YC ’01, LAW ’04
Terry Fitzpatrick ’83
Marc Flanagan ’70
Anita Pamintuan Fusco YC ’90
David Alan Grier ’81
Sally Horchow YC ’92
Ellen Iseman YC ’76
David G. Johnson YC ’78
Rolin Jones ’04
Sarah Long ’92, YC ’85
Cathy MacNeil-Hollinger ’86
Brian Mann ’79
Drew McCoy
David Milch YC ’66
Jennifer Harrison Newman ’11
Richard Ostreicher ’79
Carol Ostrow ’80
Maulik Pancholy ’03
Daphne Rubin-Vega
Tracy Chutorian Semler YC ’86
Michael Sheehan ’76
Anna Deavere Smith DFAH ’14
Woody Taft YC ’92
Andrew Tisdale
Edward Trach ’58
Julie Turaj YC ’94
Esme Usdan YC ’77
Courtney B. Vance ’86
Donald R. Ware YC ’71
Shana C. Waterman YC ’94, LAW ’00
Kim Williams
Henry Winkler ’70
Amanda Wallace Woods ’03
Thank you to the generous contributors to David Geffen School of Drama and Yale Repertory Theatre
LEADERSHIP SOCIETY
($50,000+)
Americana Arts Foundation
Anonymous
Rudy and Jeanne Aragon
Sallie Baldwin Bam
John B. Beinecke
Sonja Berggren and Patrick Seaver
Lois Chiles
Connecticut Department of Economic and Community Development
Estate of Nicholas Diggs*
Estate of Richard Diggs*
The Robert and Mercedes Eichholz Foundation
Anita Pamintuan Fusco and Dino Fusco
David Geffen Foundation
The Horace W. Goldsmith Foundation
Steve Grecco
Estate of Elizabeth Rhodes Holloway*
David G. Johnson
Estate of Robert D. Mitchell*
Talia Shire Schwartzman
Tracy Chutorian Semler
The Shubert Foundation
Woody Taft
Stephen Timbers
Edward Trach
Julie Turaj and Rob Pohly
Esme Usdan
Donald R. Ware
GUARANTORS
($25,000–$49,999)
Edgerton Foundation New Play Award
Donald S. Holder and Evan Yionoulis
Sarah Long
Neil Mazzella
National Endowment for the Arts
The Sir Peter Shaffer
Charitable Foundation
Jeremy Smith
BENEFACTORS
($10,000–$24,999)
Nina Adams and Moreson Kaplan
Carmine Boccuzzi and Bernard Lumpkin
Lynne and Roger Bolton
James and Deborah Burrows Foundation
Trip Cullman
Wendy Davies
Lily Fan
Mabel Burchard Fischer Grant Foundation
Burry Fredrik Foundation
Estate of Stephen R. Lawson*
Lucille Lortel Foundation
Cathy MacNeil-Hollinger and Mark Hollinger
Michael and Riki Sheehan
Carol L. Sirot Trust for Mutual Understanding
PATRONS
($5,000–$9,999)
Pun Bandhu
Ed Barlow
Eugene G. & Margaret M. Blackford Memorial Fund for the Blind, Bank of America, N.A.,Trustee
Santino Blumetti
James Bundy and Anne Tofflemire
Joan Channick
CT Humanities
Michael S. David
Terry Fitzpatrick
Marcus Gardley
Howard Gilman
Foundation
Ruth and Charles Grannick Jr. Fund at The Community Foundation for Greater New Haven
Sally Horchow
Rolin Jones
Tien-Tsung Ma
Tarell Alvin McCraney
Roz and Jerry Meyer
David and Leni Moore
Family Foundation
James Munson
Jason Najjoum
NewAlliance Foundation
Peter Nigrini
Richard Ostreicher
Carol Ostrow
PRODUCER’S CIRCLE
($2,500–$4,999)
Anonymous
Angela Bassett
Cyndi Brown
Nancy Bynum
Ian Calderon
Deborah Freedman and Ben Ledbetter
Fred Gorelick and Cheryl MacLachlan
Lane Heard
Ellen Iseman
JANA Foundation
Ann Judd and Bennett Pudlin
Rocco Landesman
Pam and Jeff Rank
Bill and Sharon Reynolds
Abby Roth and R. Lee Stump
Daphne Rubin-Vega and Thomas Costanzo
DIRECTOR’S CIRCLE
($1,000–$2,499)
Chuck Adomanis
Laura and Victor Altshul
Debby Applegate and Bruce Tulgan
Paula Armbruster
John Lee Beatty
Frances Black
Anne and Guido Calabresi
Audrey Conrad
Elwood and Catherine Davis
Ramon Delgado
Lynn Doucette-Stamm
Melanie Ginter
Robin Goldberg and Jeffrey Park
LT Gourzong
Eric M. Glover
Rob Greenberg
Andy Hamingson
Sara Hazelwood
Jane Head
Dale and Stephen Hoffman
James Guerry Hood
Pam Jordan
Abby Kenigsberg
Fran Kumin
The Ethel & Abe Lapides Foundation
Charles Letts
Kenneth Lewis
George Lindsay, Jr.
Jennifer Lindstrom
Brian Mann
Jonathan Marks
John McAndrew
Jim and Eileen Mydosh
Stephen Newman in memory of Ruth Hunt
Newman
Maulik Pancholy
Florie Seery
Traci D. Shed
Slotznick Family Fund, a charitable fund of The Foundation for Enhancing Communities
Shepard and Marlene Stone
Courtney B. Vance
Carol M. Waaser
Carolyn Seely Wiener
Walton Wilson
The Raul Yanes and Sara Hazelwood Foundation
PARTNERS
($500–$999)
Donna Alexander
Shaminda and Carole Amarakoon
Richard and Alice Baxter
Miles Benickes
Ashley Bishop
John and Suzanne Bourdeaux
Shawn Boyle
James and Dorothy Bridgeman
Laura Brown-Mackinnon
Joy Carlin
The Leo J. & Celia Carlin Fund
Sarah Bartlo Chaplin
Daniel Cooperman and Mariel Harris
Robert Cotnoir
Sean Cullen
Bob and Priscilla Dannies
Robert Dealy
Kelvin Dinkins, Jr.
Austin Durant
John Dwyer
Sasha Emerson
Peter Entin
Anne Erbe
Jon and Karen Farley
Randy Fullerton
Betty and Joshua Goldberg
Mark Haber
Al Heartley
Regina Guggenheim
Judy Hansen
Helen Kauder and Barry Nalebuff
Jay B. Keene
Harvey Kliman and Sandra Stein
Kenneth Lewis
Matthew H. Lewis
Pericles S. Lewis
Eric Lin
Charles H. Long
Chih-Lung Liu
Virginia (Wendy) Riggs
Cathy C. Mock
Mariel Monney
Barbara and William Nordhaus
Janet Oetinger
Arthur Oliner
F. Richard Pappas
Dw Phineas Perkins
Louise Perkins and Jeff Glans
Jeffrey Powell and Adalgisa Caccone
Kathy and George Priest
Alec Purves
Faye and Asghar Rastegar
Chantal Rodriguez
Howard Rogut
Cynthia Santos-DeCure
Robin Sauerteig
Anna Deavere Smith
Matthew Sonnenfeld
Kyle Stamm
James Steerman
Neal Ann Stephens
David Sword
Tides Foundation
John Turturro and Katherine Borowitz
Ron Van Lieu
Vera Wells
Steven Wolff
Amanda Wallace Woods
Nancy Yao
Stephen Zuckerman
INVESTORS
($250–$499)
Actors’ Equity
Foundation
Narda E. Alcorn
Mamoudou Athie
Stephen and Judith
August
Clayton Austin
Alexander Bagnall
Deborah S. Berman
Michael Bianco
Josh Boerenstein
Susan Brady and
Mark Loeffler
Tom Broecker
Donald Brown
Suzanne Bruhn
Mr. and Mrs. Robert Buckholz
Michael Cadden
Sarah Cain
Lauren Ivy Chiong
Nicholas Cimmino
Jeffrey Cohen
Leeland Cole-Chu
Claire A. Criscuolo
Jane Crum
Brett Dalton
Rick Davis
Kem and Phoebe
Edwards
Kenneth Elliott
Susan S. Ellis
Robert Emmons
Michael Fain
Richard and Barbara Feldman
Deborah and Henry Fernandez
Tony Forman
Adam Frank
David Freeman
Randy Fullerton
Lindy Lee Gold
Shaina Graboyes
Ann Hanley
Judith Hansen
Scott Herring
Jennifer Hershey
Chuck Hughes
John Huntington
Carla L. Jackson
Chris Jaehnig
Galen Kane
Bruce Katzman
Edward Kaye
Alan Kibbe
Hedda and Gary Kopf
Mitchell Kurtz
Gabriela Lee
Irene Lewis
Katie Liberman and Eric Gershman
Suzanne Cryer Luke and Greg Luke
Thomas G. Masse and James M. Perlotto, MD
Pamela and Donald Michaelis
Kathryn Milano
David Muse
Regina and Thomas Neville
Adam O’Byrne
Kevin and Margaret O’Halloran
Gamal Palmer
Michael Parrella
Bruce Payne and Jack Thomas
Michael Posnick
Jon and Sarah Reed
Dr. Michael Rigsby and Prof. Richard Lalli
Tialoc Rivas
Steve Robman
Erin Rocha
Constanza Romero
Allen Rosenshine
Nan Ross
Donald Sanders
Suzanne Sato
Kenneth Schlesinger
Georg Schreiber*
Paul Selfa
Sandra Shaner
Lorraine Siggins
Thank you to the generous contributors to David Geffen School
James Sinclair
David Soper and Laura Davis
Erich Stratmann
Matthew Tanico
Josh Taylor
Katherine Touart
Deb Trout
Lisa Yancey
FRIENDS
($100–$249)
Ikeena Aberdeen
Melinda Agsten
Michael Albano
Sarah Albertson
Jeffrey Alexander
Glenn Anderson
Kaitlyn Anderson
Michael Annand
Anonymous
William Armstrong
The Arts Council of Greater New Haven
Nancy Babington
Katalin Baltimore
Michael Banta
Robert Bartner
Warren Bass
William and Donna Batsford
Michael Baumgarten
Richard Beals
James Bender
Vivien Blackford
Mark Bly
Joseph Brennan
Amy Brewer and David Sacco*
Emiko Brewer
Linda Broker
Arvin Brown
Christopher P. Brown
Donald and Mary Brown
Stephen and Nancy Brown
Colin Buckhurst
Stephen Bundy
Richard Butler
Susan Byck
Michael Cadden
Kathryn A. Calnan
H. Lloyd Carbaugh
Vincent Cardinal
Catherine and Steven Carlson
Andrew Carson
Sami Joan Casler
Kwan Chi Chan
Zoe Z. Chance
King-Fai Chung
Nicole Ciomek
Cynthia Clair
Susan Clark
Ellen Cohen
Bill Connington
Leland Cole-Chu
Aaron Copp
Jennifer Corman
Jane Cox
Caitlin E. Crombleholme
Douglas and Roseline
Crowley
Samanta Cubias
Phyllis CummingsTexeira
John Cunningham
Alama Cuervo
Jonathan Daen
Eric Dana
Anne Danenberg
Timothy Davidson
Connie and Peter
Dickinson
Derek DiGregorio
Melinda DiVicino
Donna Doherty
Dennis Dorn
Patricia Doukas
Megan and Leon Doyon
Samuel Duncan
John Duran
Ann D’Zmura
Laura Eckelman
Fran Egler
Robert Einenkel
Nancy Reeder
El Bouhali
Janna Ellis
Samantha Else
Dustin Eshenroder
Frank and Ellen Estes
Femi Euba
Connie Evans
Teresa Eyring
Ann Farris
Kathryn Ferguson
Paul Fiedler and Susan
Birke Fiedler
Margaret Fikrig
Terry S. Flagg
Sarah Fornia
Hugh Fortmiller
Raymond Forton
Keith Fowler
Walter M. Frankenberger III
Richard Freeman
Deborah Fried and Kalman Watsky
Richard Fuhrman
Gerald E. Gaab
Carol Gallagher
Don and Margery
Galluzzi
Leah C. Gardiner
Rachana Garg
Christopher Geary
Tobe Gerard
Barry Gladue
Stephen L. Godchaux
Lorraine Golan
Carol Goldberg
Donna Golden
Susan Goldin
Naomi Grabel
Charles Grammer
Hannah Grannemann
Jason Gray
Michael Gross
Annabel Guevara
Greg Guthe
Dr. James L. Hadler
Marion Hampton
Alexander Hammond
Scott Hansen
Michael Haymes
James Hazen
Ethan Heard
Steve Hendrickson
Thomas Herman
Jeffrey Herrmann
Ashton Heyl
Betsy Hoos
Nicholas Hormann
Kathleen Houle
Melissa Huber
Evelyn Huffman
Charles Hughes
Derek Hunt
Jennifer Ito
Tatsuya Ito
John W. Jacobsen
Chris Jaehnig
Eliot and Lois
Jameson
Elizabeth Johnson
Jean Jones
Jonathan Kalb
Galen Kane
Jim Kenny
Kiernan Kelly
Young H. Kim
Amir Kishon
Lawrence Klein
Fredrica Klemm
George Klug
Chloe Knight
Stephen Kobasa
Steve Koernig
Daniel Koetting
David and Julie Koppel
Bonnie Kramm
David Kriebs
Joan Kron
Azan Kung
Susan Laity
Marie Landry and Peter Aronson
Michael Lassell
C.J. Lawler
Martha Lidji Lazar
Gabriella Lee
Elizabeth Lewis
Fred Lindauer
Jerry Lodynsky
Robert H. Long II
Judith Loughry
Everett Lunning
Nancy F. Lyon
Andi Lyons
Joan MacIntosh
Wendy MacLeod
Peter Malbuisson
Jonathan Marks
Edwin Martin
Sarah Masotta
Robert McCaw
Mary McCutcheon
Deborah McGraw
Bill McGuire
James Meisner and Marilyn Lord
Jonathan Miller
Michele Millham
Cheryl Mintz
Lawrence Mirkin
Marta Moret
Richard Mone
Michele Moriuchi
Beth Morrison
Janice Muirhead
James Naughton
Tina Navarro
Kaye Neale
Jennifer Harrison
Newman
Ellen Novack
Jane Nowosadko
Deb and Ron Nudel
Tom O’Connor
Leah Ogawa
Max Okst
Jacob G. Padrón
Kendric T. Packer
Dr. and Mrs. Michael
Parry
Linda and Peter Perdue
William Peters
Michael Petrillo
Alan Plattus
Linda Polgar
William Purves
Sarah Rafferty
Norman Redlich
Ralph Redpath
Deborah J. Reissman
of Drama and Yale Repertory Theatre
Carolynn Richer
Felicia Riffelmacher
Tialoc Rivas
Joan Robbins
Nathan Roberts
Peter S. Roberts
Brian Robinson
Lori Robishaw
Joanna Romberg
Miguel Rosadu
Robin Rose
Russ Rosensweig
Donald Rossler
Katherine Sacks
Dr. Robert and Marcia
Safirstein
Steven Saklad
Robert Sandberg
Christopher Sanderson
Peggy Sasso
Joel Schechter
Rita Scheeler
Steven Schmidt
Jennifer Schwartz
Kathleen Scott
Alexander Scribner
Patrick Seeley
Tom Sellar
Subrata K. Sen
Suzanne Sessions
Jeremy Shapira
John K. Sheehan
Graham Shiels
Gilbert and Ruth Small
James Smith
Helena L. Sokoloff
Suzanne Solensky and Jay Rozgonyi
Ilona K. Somogyi
Matthew Specter and Marjan Mashhadi
Dr. and Mrs. Dennis D.
Spencer
Aleta Staton*
Howard Steinman
Rosalie Stemer
Marcus Stern
John Stevens
Mark Stevens
Marsha Beach Stewart
Mark Sullivan
Thomas Sullivan
Tucker Sweitzer
Bob Tanner
Michelle Tattenbaum
Douglas Taylor
Jane Savitt Tennen
Ashley Thomas
Patti Thorp
David F. Toser
Katherine Touart
Russell L. Treyz
Adam Tucker
Lloyd Tucker
Joan Van Ark
Pamela Vercillo
Adin Walker
Christine Wall
Jaylene Wallace
Paul Walsh
Erik Walstad
Emma Wang
David Ward
Joan Waricha
Steven Waxler
Jon West
Peter White
Dr. Robert White
Robert Wildman
Alexandra Witchel
EMPLOYER
MATCHING GIFTS
Ameriprise Financial
The Benevity Community Impact Fund
Covidien
The Prospect Hill Foundation
Gifts to the For Humanity campaign and David Geffen School of Drama New Facility Fund
Anonymous (3)
Nina Adams and Moreson Kaplan
Amy Aquino and Drew McCoy
Rudy Aragon
John Badham
Pun Bandhu
Frances and Ed Barlow
John B. Beinecke
Sonja Berggren and Patrick Seaver
Frances Black and Matthew Strauss
Carmine Boccuzzi and Bernard Lumpkin
Reginald Brown and Tiffeny Sanchez
James Bundy and Anne Tofflemire
Nancy Bynum
Lois Chiles
Michael David and Lauren Mitchell
Wendy Davies
Scott Delman
Michael Diamond* and Amy Miller
Estate of Nicholas Diggs*
Estate of Richard Diggs*
Sasha Emerson
Lily Fan
Terry Fitzpatrick
Barbara Franke
Anita Pamintuan Fusco and Dino Fusco
David Marshall Grant
Gilder Foundation
The Hastings and Barcone Trust
Lane Heard and Margaret Bauer
Cheryl Henson
Sally Horchow
Ellen Iseman
David G. Johnson
David H. Johnson
Rolin Jones
Jane Kaczmarek
Cathy MacNeil-Hollinger and Mark Hollinger
Brian Mann
Jennifer Harrison Newman
Richard Ostreicher
The Prospect Hill Foundation
Daphne Rubin-Vega and Thomas Costanzo
Julie Turaj and Rob Pohly
Tracy Chutorian Semler
Michael and Riki
Sheehan
Jeremy Smith
Woody Taft
Andrew and Nesrin
Tisdale
Ed Trach
Esme Usdan
Donald and Susan Ware
Shana C. Waterman
Amanda Wallace
Woods and Eric Wasserstrom
Dr. Jessica WeiserMcCarthy and Timothy McCarthy
Henry Winkler
*deceased
These lists includes current pledges, gifts, and grants received from July 1, 2023, through December 31, 2024.
MAKE A GIFT! When you make a gift to Yale Rep’s Annual Fund, you support the creative work on our stage and our education programs in New Haven. For more information, or to make a donation, please call Susan C. Clark, 203.432.1559. You can also give online at yalerep.org/support.
