Yale reconoce que los pueblos y naciones indígenas, entre los que incluyen los mohegan, los mashantucket pequot, los pequot del este, los schaghticoke, los golden hill paugussett, los niantic, los quinnipiac y otros pueblos de lengua algonquina, han cuidado las tierras y vias de agua de lo que hoy llamos el estado de Connecticut. Honramos y respetamos la relación duradera que existe entre estos pueblos y naciones y esta tierra.
También reconocemos el legado de la esclavitud en nuestra región y a los africanos esclavizados quien fueron explotados durante generaciones para ayudar a crear la empresa de la Universidad de Yale, así como la economía de Connecticut y Estados Unidos.
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, Decano | Elizabeth Parker Ware Dean
Florie Seery, Decano Asociado | Associate Dean
Chantal Rodriguez, Decano Asociado | Associate Dean
Carla L. Jackson, Decano Asistente | Assistant Dean
Nancy Yao, Decano Asistente | Assistant Dean
Liz Diamond, Presidenta del programa de dirección | Chair, Directing Program
PRESENTA | PRESENTS
Director Músical | Music Director Stefano Boccacci
Diseño de vestuario | Costume Designer Tricie Bergman
Diseño de iluminación | Lighting Designer Larry Ortiz
Diseño de sonido y música original
Sound Design and Original Music Xi (Zoey) Lin 林曦
Diseño de proyecciones | Projection Designer Christian Killada
Dramaturgista | Production Dramaturg A.B. Orme
Dirección técnica | Technical Director Erik Keating
Dirección de escenas de combates | Fight Director Michael Rossmy
Directora de movimiento | Movement Director Megan Wright
Dirección de escena | Stage Manager Ellora Venkat
This production is supported by the Benjamin Mordecai III Production Fund.
SEASON SPONSOR
David Geffen School of Drama y Yale Repertory Theatre entrenan y promueven líderes en la práctica de todas las disciplinas teatrales, creando arte para inspirar alegría, empatía y entendimiento en el mundo.
VALORES | VALUES MISIÓN | MISSION
Habilidad artística
Ampliamos el conocimiento para promover la creatividad y la expresión imaginativa, acogiendo la complejidad del espíritu humano.
Pertenencia
Las personas son nuestra prioridad, por lo que nos centramos en el bienestar, la inclusión y la igualdad de los creadores de teatro y el público a través de prácticas antirracistas y antiopresivas.
Colaboración
Construimos nuestro trabajo colectivo sobre una base de respeto mutuo, valorando las contribuciones y logros individuales y del equipo.
Descubrimiento
Nos enfrentamos a cuestiones urgentes de nuestra época. Impulsados por la curiosidad, la invención, la valentía y el humor, tomamos riesgos y aprendemos del fracaso y la vulnerabilidad.
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.
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 antioppressive 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.
elenco | cast
en orden alfabético / in alphabetical order
Manisalva; Santa Rita/Helena; Rocío; Coro de almas en pena | C horus of Roaming Spirits …. .............. Caroline Campos
Tomasa ; Ruth; Coro de almas en pena| Chorus of Roaming Spirits Cindy De La Cruz
Castaño; San José/Tadeo; Polidoro; Coro de almas en pena| Chorus of Roaming Spirits Ariyan Kassam
Noelia ; Brígida; Ercilia; Coro de almas en pena| Chorus of Roaming Spirits Gretta Marston
Élmer; Felicia; Coro de almas en pena| Chorus of Roaming Spirits Francisco Morandi Zerpa
Atrato… ............................................................................................................... Erik Robles
Ángel de la muerte | Angel of Death; Santa Tecla/Casimira; Coro de almas en pena | Chorus of Roaming Spirits Emma Steiner
Viajero Marlon Alexander Vargas
Modelos sin fronteras | Models Without Borders Alice Kasdan
Eason Rytter
Nicole Stack
escenario | setting
El pueblo ficticio de Tragosmiandó en el río Atrato, Chocó, Colombia. The fictional town of Tragosmiandó on the Atrato river, Chocó, Colombia.
Kilele se realiza sin intermedio.
Kilele will be performed without an intermission.
guía de contenido | content guidance
Kilele contiene blasfemias, representaciones de guerra y referencias a la muerte de niños.
Kilele contains profanity, depictions of war, and references to the death of children.
2 de mayo de 2002
El agua lamiente del río Atrato se filtra dentro y fuera de la tierra en su ribera. Los guacos gritan a lo largo de la costa. Su canto, un graznido repetitivo que burla y lamenta, advierte de la muerte. El sonido debería mezclarse con el parloteo de los pescadores de Bellavista, Bojayá, un pequeño pueblo en la región del Pacífico de Colombia, de mayoría afrocolombiana, mientras llevan la pesca del día a la orilla. En vez, estos chillidos de martinete se suman al ruido de los disparos y gritos que rompen el silencio inquietante que ha caído sobre Bojayá desde que 300 residentes se refugiaron en la iglesia local a las primeras horas de la mañana. El Atrato, alma de la región, tan esencial para las comunidades afrocolombianas e indígenas que una década más tarde le otorgarían personalidad jurídica, sigue fluyendo con una ambivalencia implacable. Aporta alimento y conexión, medios para que una población olvidada por el gobierno aproveche de la enorme diversidad ecológica y la riqueza de recursos de la región. También ha sido un canal histórico de explotación, ya que hace tiempo facilitó el transporte de las personas esclavizadas y el oro que extraían, y hasta el día de hoy instiga a las fuerzas del capital y el estado en su proyecto extraccionista sin límites. Como si estuviera saturado por su propia capacidad de traer violencia y salvación, el río se desbordó anoche.
Hoy en día, dos facciones enfrentadas en el largo conflicto armado interno de Colombia, las guerrillas de las FARC y los paramilitares de las AUC (Respaldados ilegalmente por el Estado), se han concentrado en Bojayá a través del Atrato, cada uno luchando por el control de la región y sus recursos. Mientras la gente del pueblo se acurruca en la seguridad de su templo, los soldados de las AUC se posicionan cerca de la iglesia, muy conscientes de los civiles aterrorizados que hay dentro. Las FARC lanzan una bomba casera contra las AUC, que, no obstante, cae por el techo de la iglesia y explota en su interior, matando a casi 80 personas. Los sobrevivientes huyen a río arriba, sin poder empezar los ritos de duelo, ni siquiera identificar los cuerpos en medio del caos. Sin esos rituales, las almas de los muertos quedan vagando entre el cielo y la tierra, incapaces de ascender al paraíso y de ofrecer guía a sus familiares vivientes recién desplazados. Esta es la masacre de Bojayá. Esto no es el fin.
Enero de 2025
El Atrato sigue fluyendo, como lo hacen todos los ríos. Sus olas acarician las orillas de Bellavista Nuevo, el pueblo que surgió de las cenizas de lo que fue. Y, como todos los ríos, el Atrato se divide, sus líneas fragmentadas se unen al Océano Pacífico y el Golfo de Urubà. En teoría, uno podría tomar un bote desde las orillas de Bojayá a lo largo de una red de océanos, lagos, ríos y canales, y acabar en las agitadas costas de New Haven. Sería un viaje largo, pero el agua nos conecta a todos. Esta producción de Kilele de Felipe Vergara Lombana es un intento por rastrear nuestra conección acuática —como compañía, como artistas, como estudiantes en el corazón del imperio— con la masacre de Bojayá y el ajuste de cuentas que engendró. “¡Kilele!” es un grito de celebración y rebelión para los afrocolombianos que viven en la región Pacífico colombiano; aquí, también sirve como un llamado a dar testimonio. Lombana, un dramaturgo de Bogotá, escribió Kilele basándose en sus experiencias como testigo de los procesos espirituales y políticos de duelo y memoria de la comunidad. La masacre de Bojayá se ha convertido en un ejemplo paradigmático del conflicto colombiano, y desempeñó una función esencial en el largo (y continuo) proceso de la verdad y la reconciliación de la nación. El texto de Lombana, presentado aquí en una nueva traducción bilingüe, convierte el viaje de las almas desarraigadas por la masacre en una parábola de atrocidades similares en todo el mundo y a través del tiempo. Kilele utiliza la serpenteante dramaturgia de un ríorefluente, desbordante, constante y evolucionantepara garantizar que el legado de la masacre de Bojayá trascienda la abstracción aplanadora de las estadísticas. La obra destaca aquellos elementos de la masacre y su contexto que resuenan a nivel mundial: el abandono estatal de las poblaciones afro e indígenas, la explotación capitalista de los recursos naturales, la magnitud de la victimización de civiles, la imposibilidad de avanzar después de una atrocidad sin justicia.
En esta compañia, vemos a Kilele como un gesto de solidaridad, no de imitación. No se trata de recrear prácticas culturales afrocolombianas, ni de traducirlas hasta el punto de perder su esencia. Interpretamos a Kilele para aullar contra aquellas instituciones que quieren que nos sentemos cómodamente en la desembocadura del río imperial, mientras nuestros desechos violentos destruyen vidas al río abajo. Interpretamos a Kilele para reconocer que el río no ha dejado de fluir, y que no tiene que presagiar solo la muerte. Ninguna comunidad debería tener que hacer el luto sola, ni en New Haven, ni en Nguli, ni en Mariúpol, ni en Gaza, ni en Bojayá. ¡Kilele!
—A.B. Orme, Dramaturgista y Co-traductor
May 2, 2002
The lapping water of the Atrato River seeps in and out of the soil on its banks. The guacos cry out along the shore. Their birdsong—a repetitive squawk that mocks and mourns—warns of death. The sound should be mingling with the chatter of fishermen from Bellavista, Bojayá, a small town in Colombia’s majority Afro-Colombian Pacific region, as they bring the day’s haul to shore. Instead, these heron screeches join gunfire and screams punctuating the uneasy silence that has fallen on Bojayá since 300 residents took shelter in the local church early in the morning. The Atrato, lifeblood of the region, so essential to local Black and Indigenous life that it would be granted legal personhood a little more than a decade later, continues flowing with relentless ambivalence. It brings nourishment and connection, means for a population long neglected by its government to gain some benefit from the region’s immense ecological diversity and wealth of resources. It has also been a historical corridor of exploitation, having once facilitated the easy transportation of enslaved people and the gold they mined, and to this day abetting the forces of capital and state in their project of endless extraction. As though overwhelmed by its own capacity for bringing both violence and salvation, the river flooded last night.
Today, two warring factions in Colombia’s decades-long internal armed conflict— the FARC guerillas and the state-backed AUC paramilitary—have converged on Bojayá via the Atrato, each fighting for control of the region and its resources. As the townspeople huddle in the safety of their house of worship, AUC soldiers position themselves near the church, well aware of the terrified civilians within. The FARC launch a homemade cylinder bomb at the AUC, which instead falls through the roof of the church and explodes inside, killing almost 80 people. The remaining townspeople flee upstream, unable to begin mourning rites or even identify bodies amidst the ensuing chaos. Absent these traditions, the souls of the dead are left wandering between heaven and earth, unable to ascend to paradise and offer guidance to their newly displaced living relatives. This is the Bojayá massacre. This is not the end.
January, 2025
The Atrato continues to flow, as rivers do. Its waves brush the shores of Bellavista Nuevo, the town that emerged from the ashes of its former self. And, like all rivers, the Atrato branches, its splintering lines joining the Pacific Ocean and the Gulf of Urubá. One could, in theory, take a boat from the banks of Bojayá along a network of oceans, lakes, rivers, and canals, and wind up on New Haven’s choppy shores. It would take some doing, but water already connects us all. This production of Felipe Vergara Lombana’s Kilele represents an attempt to trace our own watery connection—as a company, as individual artists, and as students at the heart of empire—to the Bojayá massacre and the reckoning it engendered. “Kilele!” is a shout of celebration and rebellion for the Black Colombians who live in Colombia’s Pacific region; here, it also serves as a call to bear witness.
Lombana, a playwright from Bogotá, wrote Kilele based on his experiences witnessing the community’s spiritual and political processes of mourning and remembrance. The Bojayá massacre had become a paradigmatic example of the Colombian conflict, playing a crucial role in the nation’s long (and continuing) truth and reconciliation process. Lombana’s text, presented here in a new, bilingual translation, turns the journey of souls uprooted by the massacre into a parable for similar atrocities worldwide and across time. Kilele uses the winding dramaturgy of a river—ebbing, flooding, constant, evolving—to ensure that the Bojayá massacre’s legacy transcends the flattening abstraction of statistics. The play highlights those elements of the massacre and its context that resonate globally: state abandonment of Black and indigenous populations, capitalist exploitation of natural resources, mass civilian casualties, the impossibility of moving forward from atrocity without justice.
We in this company view Kilele as a gesture of solidarity rather than emulation. This is no attempt to recreate Afro-Colombian cultural practices, nor to translate them beyond recognition. We perform Kilele to howl against those institutions that would have us sit comfortably at the mouth of the imperial river, as our violent detritus destroys lives downstream. We perform Kilele to recognize that the river has not stopped flowing, and that it need not portend only death. No community should have to grieve alone—not in New Haven, not in Nguli, not in Mariupol, not in Gaza, not in Bojayá. Kilele!
—A.B. Orme, Production Dramaturg and Co-Translator
artístico
artistic
Asistente de diseño de escenografía
Assistant Scenic Designer
Kiki Gordon
Asistente de diseño de vestuario
Assistant Costume Designer
Sveta Moroz
Asistente de diseño de iluminación
Assistant Lighting Designer
Amanda Burtness
Asistente de diseñode proyección
Assistant Projection Designer
Kyle Stamm
Asistente de diseño e ingeniero de sonido
Assistant Sound Designer and Engineer
Eun Kang
Fabricantes de títeres
Puppet Creation
Anne Clubberly and Susan Aziz
Asistentes de dirección de escena
Assistant Stage Managers
Amanda Blitz
Rosemary Lisa Jones
producción
production
Gerente de Producción
Production Manager
Kino Alvarez
Gerente de Producción Asociado
Associate Production Manager
Bekka Broyles
Asistentes de dirección técnica
Assistant Technical Directors
Laurel Capps
David DiFabio
Supervisora de pintura de escena
Scenic Charge
Gabriele Ahumada
Gerente de administración de utilería
Properties Manager
Tom Minucci
Electricista de producción
Production Electrician
Allie Posner
Programacion de iluminación
Lightboard Programmer
Gib Gibney
Ingeniería de proyecciónes
Projection Engineer
Jada Pinsley
Creador de supertítulos
Supertitles Creator
Héctor Flores Komatsu
Carpintero de escenario
Stage Carpenter
Aaron Frongillo
Técnicos
Run Crew
Patrick Blanchard, Seth Byrum, Shannon Dodson, John Hardy, Catherine MacKay, Colleen Rooney, April Salazar, Robert Salerno
Técnico adicional
Run Crew Swing Alexis Kulani Woodard administración administration
Gerente asociado
Associate Managing Director
Jeremy Landes
Asistente de gerente asociado
Assistant Managing Director
Sarah Saifi
Asistentes administrativos
Management Assistants
Gaby Rodriguez
Davon Williams
Jefe de recepción
House Manager
Anne Ciarlone
Traducción al español adicional
Abraham E.S. Rebollo-Trujillo
Fotógrafa de producción
Production Photographer
T. Charles Erickson
créditos musicales music credits
“Kilele” realizado por/performed by Grupo Bahía; “La Vírgen se azara mucho realizado” por/performed by Cantadoras del Pogue; “Malvada” por/ by Canalón de Timbiquí
Agradecimientos especiales special thanks
Yamileth Martínez, Natalie Romero, Juan Ospina, Jonathan Martínez y a La Rueda de Oro (NYC), Esther Aragón y Fidelina Hurtado. Gracias por compartir con nosotres su resiliencia y la fuerza de la música y la juntanza.
Thank you, High End Lighting.
kilele: Una Epopeya Artesanal
cast in alphabetical order
Caroline Campos she/her (Manisalva; Santa Rita/Helena; Rocío; Chorus) is a third-year M.F.A. candidate in acting at David Geffen School of Drama. Credits include falcon girls (understudy, Yale Repertory Theatre); Grand Concourse, Moe’s a D*ck, and Pearl’s Beauty Salon (the Geffen School). B.A. in English, Kenyon College.
Cindy De La Cruz (Tomasa; Ruth; Chorus) is a Bronx-bred firstgeneration, Dominican-American artist and producer and a thirdyear actor at David Geffen School of Drama, where she appeared in HELLYOUTALMBOUT and Color Boy. She is an Artistic Producer of the Dominican Artists Collective. Producing credits include Sharing Sessions and Sharing Sessions with Los Pros (Dominican Artists Collective); Tools for an Artist in Process (creator and co-produced with NYTW and Oye Group); Aqui ’Tamos and Vessel of Woman (The Tank). She has worked as an actor at Williamstown Theatre Festival, Olney Theatre Center, People’s Light, Atlantic Theater, Florida Studio Theatre, Urbanite Theatre, Arden Theatre, Westcoast Black Theatre Troupe, Rattlestick Playwrights Theater, Asolo Repertory Theatre, among others. Television:
Blue Bloods (CBS), The Village (NBC), Blindspot (NBC). Film: Ro & The Stardust and What Doesn’t Float (Apple TV+, Amazon Prime).
Ariyan Kassam (Castaño; San José/Tadeo; Chorus) is a Britishborn actor of Indian descent with roots in Nairobi, Kenya, as well as Johannesburg, South Africa. He is grateful for this opportunity to be of service to a story and a cause that needs more upliftment in our global community. A human cause that resembles atrocities that continue to occur elsewhere in the world. He thanks the beautiful team and cast around him for sharing this experience of bringing to life the story of this resilient community in Bojayá.
Alice Kasdan (Model Without Borders) is a first-year student at Yale college, prospectively majoring in theater and anthropology. Recently, she performed in Top Girls (Dull Gret, Angie, Jeanine) and Into the Woods (Steward) at Yale College. She assistant-directed Stupid Fucking Bird, and is currently working on props for Gloria, and costume design for Peachy at Yale Dramatic Association. Alice is also involved in comedy on campus as a member of the Purple Crayon and The Good Show. She is so excited to perform in her first show at the David Geffen School of Drama!
Gretta Marston (Noelia; Brigia; Ercilia; Chorus) is a bilingual, PeruvianAmerican playwright and performer who works both in the U.S. and Peru. She creates work about immigrant women, people of indigenous descent, and the land/water that nourishes us. A Miranda Family Fellow alumna, Gretta was awarded a National Theater Institute apprenticeship and was the Literary Associate at the Latiné Musical Theater Lab. Gretta’s most recent projects include her single, “Caballerito de Mar”, showcasing her original musical Como La Tierra at the Miranda Family Fellowship Summit in NYC; and publishing GLORIA, a biographical podcast about her grandmother’s life.
Francisco Morandi Zerpa any pronouns (Élmer; Felicia; Chorus) is a second-year M.F.A. candidate at David Geffen School of Drama from Caracas, Venezuela. Recent productions include falcon girls at Yale Rep and The Sign in Sidney Brustein’s Window at the Geffen School. He is a 2022 graduate of NYU Tisch School of the Arts where he studied with Anna Deavere Smith.
Erik Robles (Atrato) is a proud AfroLatino storyteller born and raised in Providence, Rhode Island, currently in his second year as an M.F.A. candidate at David Geffen School of Drama. Recent credits: The Care & Keeping of You Pages 76-77, rent free (the Geffen School); Much Ado About Nothing (Commonwealth Shakespeare); Sweat, A Midsummer Night’s Dream, Ironbound
(Gamm Theatre); Burning Patience (Martha’s Vineyard Playhouse). “Bienaventurado el que sabe que compartir un dolor es dividirlo y compartir una alegría es multiplicarla. Bienaventurado este lugar y este momento, amigo mío, porque la vida es aquí y ahora y contigo” —Facundo Cabral
Eason Rytter (Model Without Borders) is an undergraduate, honored to be making his David Geffen School of Drama debut in Kilele. Eason performed at the University Theatre in the Yale Dramat’s production of Into the Woods, and in other undergraduate productions including Black & Blue Boys/Broken Men and The Perfect American Man. Eason is a graduate of Fiorello LaGuardia High School’s Drama Studio. He was a 2022 Young Arts winner in Theater and a U.S. Presidential Scholar in the Arts. He has worked previously with Gingold Theatrical Group. Film and television: No Hard Feelings; How to Be Single, The Loudest Voice. Special thanks to Daniela Varon and this inspiring creative team!
Nicole Stack (Model Without Borders) is a junior at Yale College studying English. She recently played Masha in an outdoor production of The Seagull at Yale and is excited to co-direct The Prime of Miss Jean Brodie in the Spring. Born and raised in Scotland, Nicole received an A1 in Advanced Higher Drama and a gold award from LAMDA (London Academy of Music and Dramatic Arts)
kilele: Una Epopeya Artesanal
after passing her grade 8 exam with distinction. She currently works as an usher at Yale Repertory Theatre.
Emma Steiner (Angel of Death; Santa Tecla/Casimira; Chorus) is a second-year actor at David Geffen School of Drama, where she has been seen in Charity and Pearl’s Beauty Salon. In 2021, she graduated with a B.F.A. in acting from the University of Michigan. Thanks and love to her family and friends. emmasteiner.me
Marlon Alexander Vargas (Viajero) is a third-year actor at David Geffen School of Drama. He is an immigrant from the Dominican Republic and was raised in New York City. He is thrilled to be a part of this predominantly Spanish-speaking production, which is a first for him. He would like to acknowledge the Black lives lost in the massacre of Bojayá, Colombia and honored to be a guiding force to bring their story to New Haven.
creative team in alphabetical order
Tricie Bergmann (Costume
Designer) is a costume designer from Vienna, Austria. She holds a B.A. in fashion and textile design from the Amsterdam Fashion Academy. Before coming to Yale, she worked as a costume production manager at the Vienna State Opera and Volksoper, and designed for performance art and film. While at Yale, she has worked as an assistant costume designer on The
Salvagers (Yale Rep) and Hamlet (the Geffen School). She is grateful to be part of this creative team.
Stefano Boccacci (Music Director) is a Colombian-Italian symphonic, opera, and ballet conductor. He has worked with professional orchestras and opera productions in Europe, the U.S., and Latin America. He has conducted the Welsh National Opera Orchestra, Lithuanian State Symphony Orchestra, and BBC Orchestra of Wales, Colorado Music Festival, Immling Opera Festival (Germany), Welsh Ballet, Buxton International Opera Festival (UK), and Ensemble Multilatérale (France). Stefano works as a language coach in Italian, French, and Spanish. He is a conducting teacher at Oxford University and the Royal Welsh College of Music.
Erik Keating he/him (Technical Director) began his theater career in high school before entering a B.F.A. theater program in college. A need for a deeper understanding of the physical world led him to pursue a bachelor’s degree in mechanical engineering, a field he worked in while technical directing at local theaters. The decision to return to the entertainment industry brought Erik to David Geffen School of Drama, where he is a third-year M.F.A. candidate. Erik is passionate about bringing shows to life, while maintaining the safety of everyone involved.
Christian Killada (Projection Designer) is an Egyptian transmedia designer and a third-year M.F.A. candidate in projection design at David Geffen School of Drama, where his credits include Pearl’s Beauty Salon. He holds a degree in set and costume design. His research is dedicated to exploring the synergy between technology, interactive media, and live performance arts. Chris’s selected credits include falcon girls (Yale Rep), De la cave au grenier (French Cultural Center, Egypt, projection designer), Fantasia (Alhosabir Theater, scenic designer), and Gymnastics World Challenge Cup 2021 (Cairo Stadium, 3D video designer). @cnwk122
Xi (Zoey) Lin 林曦 (Sound Design and Original Music) is a native of Nanjing, China, and holds a B.A. in theater arts and a B.M. in piano performance from Lawrence University. She is currently an M.F.A. candidate at David Geffen School of Drama. Previous credits include original music composition for Morpho Studio’s digital fashion collection releases of CORAL 珊瑚and VINCENT at Beijing Fashion Week, The Far Country at Yale Rep, The Mailroom installation with Yale-China at International Festival of Arts & Ideas, the Carlotta Festival of New Plays 2023 (the Geffen School, production sound engineer), and Detroit ’67 at Princeton Summer Theatre. xizoeylin.com
Karen Loewy Movilla she/her/ ella (Scenic Designer) is a Colombian multi-hyphenated artist and a secondyear set designer at David Geffen School of Drama. Select design credits
include S’Mores (Yale Cabaret), Aya Ogawa’s Meat Suit (Mercury Lounge), New England Summer Storms (Columbia University), Our Bodies like dams (Mabou Mines, The Brick), and The Night Alive (Chain Theatre). Assistant credits: Uncle Vanya (Geffen School), Ogawa’s Nosebleed (Lincoln Center), Zoetrope (Abrons Arts Center), Rubalee (New Ohio Theatre), Kiss ( Wilma Theatre). She was part of Ars Nova’s 2021 ANT Fest ’21 and The Tank’s Core Productions in 2023 with Tía Talk and was part of a Object Movement Puppetry Residency in 2023.
Juliana Morales Carreño (Director and Translator) is a Colombian interdisciplinary theater artist in search of spaces of communion in which, through theatrical language, we can scratch our wounds as a society. She is a third-year M.F.A. candidate at David Geffen School of Drama, where she has translated, adapted, and directed a bilingual adaptation, Hamlet, princessa de Dinamarca, and directed The Alley by comfort ifeoma catchy. She has also assisted Pat Diamond on Gianni Schicchi by Giacomo Puccini and The Seven Deadly Sins by Kurt Weill and Bertolt Brecht for Yale Opera.
She is co-founder of Anfibia Teatro, a theater company and cultural enterprise based in Bogotá, Colombia. She was a 2020 winner of the New Creators Cycle for directing at Teatro la Maldita Vanidad and the Guanábana Scholarship for Performing Arts Entrepreneurship at Teatro Varasanta and IDARTES.
Her literature thesis for the play María Pizarro was awarded a merit.
kilele: Una Epopeya Artesanal
A.B. Orme (Translator and Production Dramaturg)is a third-year M.F.A. candidate at David Geffen School of Drama. Dramaturgy credits include The Far Country (Yale Rep), The Alley (Langston Hughes Festival), and Solstice (New Play Lab). They were the recipient of the 2024 John W. Gassner Memorial Prize for their article in Theater magazine, “Trans Synecdoche.” Stop the genocide. Arms Embargo Now.
Larry Ortiz (Lighting Designer) is a second-year M.F.A. candidate at David Geffen School of Drama, originally from El Paso, Texas. Select lighting design credits include La Muerte y La Doncella, La Pasion Segun Antigona Perez (El Repetorio Espanol, Off-Broadway); A Midsummer Night’s Dream (the Geffen School); Lepke in the Night, H.E.A.T.T. (Connecticut College); Can the Peruvian Speak?, Romeo and You-Liet (Yale Cabaret); Let it Be-A Beatles Musical, Vanya and Sonia and Masha and Spike (Okoboji Summer Theatre). Larry Ortiz graduated from The University of Texas at El Paso with a B.F.A. in theater. Special thanks for my family and partner who have inspired me immensely. LarryOrtiz.com
Michael Rossmy (Fight 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
Ellora Venkat (Stage Manager) is a third-year M.F.A. candidate in stage management at David Geffen School of Drama, originally from Los Angeles, California. She obtained her B.A. in theater arts production and design from Pepperdine University. Recent credits include falcon girls, Wish You Were Here, Mojada: A Medea in Los Angeles (Yale Rep); Hamlet, princesa de Dinamarca (the Geffen School); Accommodation (The Odyssey). Ellora will be returning to work at Santa Fe Opera as the stage management intern in the summer.
Megan Wright (Movement Director)
is pleased to support Kilele as a movement consultant. She spent over a decade as a dancer and performance collaborator in New York and San Francisco, most notably with the companies of Stephen Petronio and Margaret Jenkins. Selected performance credits include: Tread (Merce Cunningham), Trio A With Flags (Yvonne Rainer), Excerpt from Goldberg Variations (Steve Paxton), Glacial Decoy (Trisha Brown), and Marc Jacobs’ A/W 2020 show choreographed by Karole Armitage. Megan now studies economics at Yale, where she works with the Economic Growth Center and the Institution for Social and Policy Studies. meganwright.co
Felipe Vergara Lombana is from Bogotá, Colombia and is an acclaimed director and playwright known for innovative, site-specific, and experimental theater. His work includes Corruptour, país de mierda (2016), performed on a moving bus; Emoteísmo (2018), an anarchist and satirical religion with public “services” and “processions”; and Aguafuertes (2020), a 7-hour daily gallery performance. In 2023, his large-scale transdisciplinary project Constelaciones drew over 70,000 nightly viewers in Bogotá’s Plaza de Bolívar. His plays include Kilele, Arimbato, the trilogy Cómo regresa el humo al tabaco, and Coragyps Sapiens (published and produced also
in Mexico and France). He holds an M.F.A. from Temple University and was a Fulbright recipient (2006) and Arena Stage Directing Fellow (2011). In Philadelphia, he co-founded Found Theater Company, directing site-specific performances for the Fringe Festival. He also directed Life is a Dream for the Philadelphia Arts Collective and returned in 2021 with his own adaptation for EgoPo Classic Theater.
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 .
David Geffen School of Drama and Yale Repertory
Elizabeth Parker Ware Dean/ Yale Rep Artistic Director
James Bundy
Associate Dean/Yale Rep
Managing Director
Florie Seery
Associate Dean/Yale Rep
Associate Artistic Director, Director of New Play Programs
Chantal Rodriguez
Assistant Dean/Yale Rep
General Manager
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
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
David Geffen School of Drama and Yale Repertory
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, Artwork, 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
Theater Safety and Occupational Health
Director of Theater Safety and Occupational Health
