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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.
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We wrestle with compelling issues of our time.
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ABOVE: Abigail C. Onwunali ’23, Rebeca Robles ’24, Tyler Cruz ’23, Karen Killeen ’24, Giovanna Drummond ’24, and Whitney Andrews ’24 in Marys Seacole by Jackie Sibblies Drury, directed by Leyla Levi ’23. Photo © T. Charles Erickson.
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NOVEMBER 16–22, 2024
DAVID GEFFEN SCHOOL OF DRAMA AT YALE
James Bundy, Elizabeth Parker Ware Dean
Florie Seery, Associate Dean
Chantal Rodriguez, Associate Dean
Carla L. Jackson, Assistant Dean
Nancy Yao, Assistant Dean
Liz Diamond, Chair, Directing Program
PRESENTS
METAMORPHOSES
BASED ON THE MYTHS OF OVID
WRITTEN AND ORIGINALLY DIRECTED BY
MARY ZIMMERMAN
DIRECTED BY ALEXIS KULANI WOODARD
Music Director
Steven Tran
Choreographer
Shyama Iyer
Scenic Designer
Jessie Baldinger
Costume Designer
Lyle Laize Qin
Lighting Designer
Gib Gibney
Composer and Sound Designer
Minjae Kim
Projection Designer
Wiktor Freifeld
Production Dramaturg
Sophia Carey
Technical Director
Leo Surach
Fight and Intimacy Directors
Kelsey Rainwater and Michael Rossmy
Stage Manager
Rosemary Lisa Jones
Metamorphoses is produced by special arrangement with Bruce Ostler, Bret Adams, Ltd., 448 West 44th Street, New York, NY 10036. bretadamsltd.net
Metamorphoses was originally produced by Lookingglass Theatre Company, Chicago, October 1998.
Premiered in New York City by the Second Stage Theatre, September 2001. Artistic Director, Carole Rothman; Managing Director, Carol Fishman; Executive Director, Alexander Fraser.
Ovid’s Metamorphoses translated by David Slavitt, John’s Hopkins University Press, 1994.
Rainer Maria Rilke’s poem Orpheus, Eurydice, Hermes translated by Stephen Mitchell, 1995 Modern Library.
This production is supported by the Benjamin Mordecai III Production Fund.
SEASON SPONSOR
METAMORPHOSES
cast in alphabetical order
Lolade Agunbiade
Mariah Copeland
Chloe Howard
Amrith Jayan
Sarah Lo
Darius Sakui
(Vin) Tré Scott
Max Sheldon setting a drought
Metamorphoses will be performed without an intermission.
content guidance
Metamorphoses depicts representations of incest, physical violence, and war. recording and photo policy
The taking of photos or use of recording devices of any kind for this production is strictly prohibited.
CHANGE ME
“Bodies, I have in mind, and how they can change to assume new shapes.”
Playwright Mary Zimmerman borrowed this line, unchanged, from the opening of Ovid’s Metamorphoses, as translated by David Slavitt, for her theatrical adaptation of the same name. The epic, penned in 8 CE by Roman poet Publius Ovidius Naso (“Ovid”) is a web-like collection of hundreds of Greek myths, each containing an instance of shapeshifting.
alpha (A): first letter of the Greek alphabet; derived from an Egyptian hieroglyph shaped like an ox’s head.
The only thing missing from the earthly paradise of early creation, according to Zimmerman’s Metamorphoses, was words. Humans were created “that [they] might talk.” The letters that make up written stories are simplified, shifted shapes of various physical forms, human and otherwise.
Words come from bodies. And bodies, I have in mind.
Bodies of Water
All versions of Metamorphoses directed by Zimmerman, and many other artists besides, have staged the play’s action in and around a pool of water. Water in Zimmerman’s mythic world is healing, sacred, and abundant, and remains so throughout the play. Ever-available water, however, keeps the stakes at low tide. Water in this present production, by contrast, assumes the most familiar characteristic of the miraculous: scarcity.
This production of Metamorphoses takes place in a drought. Here, myths are told not just to inform, but mostly to enact. The play’s storytellers dream that ritualistically embodying these mythical tales will move the gods to bring real water back to earth.
Human Bodies
The word “theater” comes from the Greek theatron, which means “seeing place” or “the place where people behold each other.” But the world of Metamorphoses is populated not just with humans, but also nymphs, wraiths, and gods. Bacchus, god of theater, sends King Midas to the place where people see each other in search of the ultimate miracle.
beta (B): second letter of the Greek alphabet; derived from the Phoenician beth (“house”); describing a version of a work of art at a stage of nearcompletion.
In Christian mythology, the Pool of Bethesda had the power to cure the sick. The pool, if it ever existed, has since dried up. In the almost thirty years since Metamorphoses’ premiere, Lake Poopó, once Bolivia’s secondlargest lake, has disappeared. Rising seas have diminished agricultural land in the Nile Delta. Anthropogenic climate change, behind all these transformations, has shrunk the Aral Sea to nothing.
Bacchus, god of theater, sends King Midas to the place where people see each other in search of the ultimate miracle.
In Metamorphoses, the desire to behold is entwined with the desire to be held. But witnessing, so often born of love, is also often born of mistrust. To assume is to lack the comfort of proof. As much as we crave it, bearing witness, or baring ourselves to being witnessed, can be catastrophic. Seeing isn’t essentially good or bad. The seeing place is simply the place where things can change.
gamma (Γ): third letter of the Greek alphabet; means “throwing stick”; relating to gamma rays, a form of penetrating electromagnetic radiation.
Surrealist painter Salvador Dali’s Three Sphinxes of Bikini (1947) depicts a modern metamorphosis. The human head in the foreground becomes a tree in the middle distance becomes a mushroom cloud on the horizon. Dali’s piece critiques the U.S government’s detonation of nuclear bombs in the Micronesian Bikini Atoll in 1946, which emitted poisonous radiation, displacing the islands’ residents. In many of Ovid’s myths, transformation is violent, selfishly brought on by those who call themselves gods.
Body of Myths
The first line of Metamorphoses contains within it the inevitable awkwardness of metamorphosis—of the transition from the oral tradition of early Greek myth to Ovid’s text, through numerous translations, into Zimmerman’s playtext written down to be spoken aloud again.
“The heart of [Ovid’s] poem turns out to be in the transitions,” writes Slavitt. The magic is in the moments between myths, traditions, words, bodies when we’re neither here nor there, this nor that. The play’s storytelling is protean, liquid even when water is rapidly becoming a thing of the past.
As the Therapist in Metamorphoses (psychoanalysis being another form of mythmaking) says, “we give our mythic side scant attention these days.” Myths help answer the questions: Where do we come from? Why are things the way they are? Who are we to each other? And how do we change?
delta (Δ): fourth letter of the Greek alphabet; wetland formed when a river empties into a larger body of water; the mathematical symbol for change.
The answer I have in mind is bodies.
—Sophia Carey, Production Dramaturg
Previous: The Nile Delta from orbit, by Jacques Descloitres (NASA), 2014.
METAMORPHOSES
cast in alphabetical order
Lolade Agunbiade is a NigerianAmerican second-year actor at David Geffen School of Drama, where her credits include rent free.
Mariah Copeland she/her is a thirdyear actor at David Geffen School of Drama, where she has worked on What of the Night?, rent free, Measure for Measure, Fucking A, Furlough’s Paradise by a.k. payne, as well as play and Heaven is Something to Keep You Warm at Yale Summer Cabaret and The Salvagers (understudy, Yale Repertory Theatre). Mariah has acted in productions at the John F. Kennedy Center for Performing Arts, Northlight Theatre, About Face Theatre, BoHo Theatre, and others in her hometown of Chicago. She graduated from Northwestern University, where she received a B.A. in theater.
Chloe Howard is a third-year M.F.A. candidate at David Geffen School of Drama. She is from the California Bay Area and a graduate of Northwestern University. She most recently lived in New York and co-created and acted in a web series, VIRAL, that premiered at the Tribeca Film Festival and subsequently screened at SeriesFest and Stareable Fest LA (Best Acting Nomination). While at Yale, Chloe has been in The Sign in Sidney Brustein’s Window, Moe’s a D*ck in the Langston
Hughes Festival of New Plays, How to Live on Earth, and understudied Escaped Alone at Yale Rep.
Amrith Jayan is an actor and theatermaker from India. As a multidisciplinary actor who has worked across mediums and formats, he thanks his family, colleagues, and high school for being catalysts in his journey as an artist. He was recently seen on Netflix’s Friday Night Plan (2023).
Sarah Lo she/her is a second-year actor at David Geffen School of Drama, where credits include What of the Night? and Pearl’s Beauty Salon as well as The Aughts at Yale Cabaret. Regional credits: Today is My Birthday (understudy, Yale Repertory Theatre) and In Every Generation (TheatreWorks Silicon Valley). Chicago credits: Murder on the Orient Express and South Pacific (Drury Lane Oakbrook); In Every Generation and Cambodian Rock Band (Victory Gardens Theatre); Deck the Hallmark (The Second City); Mlima’s Tale (Griffin Theatre); and M. Butterfly (Court Theatre). Television and film: The Chair (Netflix), Candyman (Monkeypaw), Chicago Med (NBC), Christmas Again (Disney Channel), and Station Eleven (Max). Sarah is a proud graduate of the University of Chicago. Thank you for being part of our show—enjoy!
Darius Sakui he/him is extremely thankful to be a part of this talented cast and crew! He wants to thank his teachers, his friends, his family, and especially his mother for their love and support throughout the years! He is a second-year actor at David Geffen School of Drama.
(Vin) Tré Scott he/him is a multihyphenate artist from West Oakland, California. He is in his third year of the acting program at David Geffen School of Drama, where he was seen as “Jay” in Cactus Queen, “Robin” in Cleansed, and as “Monster” in Fucking A
Max Sheldon he/him is a secondyear actor at David Geffen School of Drama. His credits include Finian’s Rainbow (Irish Rep); Afloat (WP Theater); West Side Story, Peter and The Starcatcher (Weston Playhouse); and Dracula, or the Undead (Williamstown Theatre Festival). Film and television credits include Law & Order: Organized Crime (NBC), Theater Camp (Searchlight Pictures), Red Oaks (Amazon), and The Path (Hulu). Max is a proud graduate of NYU Tisch School of the Arts. Max would like to thank his family, his chosen family, all of his teachers, Ted Walch, and his parents for their love and unwavering belief.
creative team
in alphabetical order
Jessie Baldinger (Scenic Designer) is a second-year M.F.A. candidate at David Geffen School of Drama. Select previous credits include Pride of Doves (Yale Cabaret), As You Like It (Nashville Shakespeare Festival), Homofermenters (ANT Fest at Ars Nova), and Assistant Set Designer on Job and I Need That (Broadway). Originally from West Palm Beach, Florida, she is a graduate of Northwestern University.
Sophia Carey she/her (Production Dramaturg) is a third-year M.F.A. candidate in dramaturgy and dramatic criticism at David Geffen School of Drama, where she was the production dramaturg on Uncle Vanya, Running Play by Ida Cuttler, and Measure for Measure, which she co-adapted. Yale Cabaret credits include Every Brilliant Thing, Pride of Doves, and Tobie. In 2022, she graduated with a B.A. in English from the University of Washington, where she was named a 2021–22 Beinecke Scholar. Her writing engages art that draws from epic and mythological sources to center women’s voices and explore contemporary questions about gender, childhood, and magic. She is originally from Seattle, Washington.
Gib Gibney (Lighting Designer) is a second-year M.F.A candidate at David Geffen School of Drama, where his credits include Measure for Measure. Other select credits include Into the Woods and Blood at
the Root at Penn State’s Centre Stage as well as Associate Lighting Designer on Invasive Species at the Vineyard Theatre. Originally from Long Island, he is a graduate of SUNY Suffolk and Penn State University.
Shyama Iyer (Choreographer), a third-year M.F.A. candidate at David Geffen School of Drama, is a trained Indian classical and contemporary performance artist who works to blend Indian and Western art forms. Her choreography credits include How to Play a Trick (Western Kentucky Dance Company), Arlington (Yale Cabaret), The Rasa Jar (Yale Cabaret), and Journeys: A Bharatanatyam Dance-Play (Kentucky Center, Yale Cabaret). Her original musicals include The Rasa Jar, A Game of Dice, and most recently, The Sound of an Anklet. She is a resident choreographer and dance instructor for a Kentucky-based dance company (The Guru Vandana Arts Academy) as well as co-artistic director of the Geeva Arts Festival in Louisville. shyamaiyer.com
Rosemary Lisa Jones (Stage Manager) is a multi-faceted facilitator, technician, and manager of performance arts. She is a secondyear M.F.A. candidate in the Stage Management program at David Geffen School of Drama. Before coming to Yale, Rosemary spent several years becoming a staple in the small professional Seattle theater scene and received a B. A. in drama and comparative history of ideas from University of Washington. She
would like to acknowledge, celebrate, and uplift the artistic partnership of the Assistant Stage Managers on this production: Jonathan Fong and Colleen Rooney. Their work and creative input has been and continues to be vital to this production’s artistic success.
Minjae Kim 김민재 he/him (Composer and Sound Designer) is a KoreanCanadian theater artist and a thirdyear M.F.A. design candidate at David Geffen School of Drama. He was introduced to theater design as an undergraduate student at Princeton University and is incredibly excited to make his official composition debut with Metamorphoses. Recent select sound credits include rent free, Cleansed, Fucking A (the Geffen School, assistant sound designer and engineer); Ghost Quartet (Princeton Summer Theater); The Match Girl (Cellunova), Mary Stuart—A New Translation (Princeton); and The Hello Girls (Princeton McCarter). He hopes to continue exploring his artistry as a designer, director, playwright, and performer. mondayminjae.com
Wiktor Freifeld (Projection Designer) is a second-year M.F.A. candidate at David Geffen School of Drama and is an interdisciplinary artist and designer. His work spans exhibition design, projection for stage, and new media. Using abstract forms, he creates narrative projects that provide meaningful sensory experiences.
Lyle Laize Qin 秦莱泽 he/him (Costume Designer) is from Chengdu, China, and holds a B.F.A. in environment design and fashion/ interior design from Sino-UK’s collaboration with the University of Edinburgh and Donghua University. He is currently a second-year M.F.A. candidate at David Geffen School of Drama. He has worked on a variety of projects across theater, television, and fashion, including a fashion product design internship at Disney and brand shoots for renowned magazines. Previous work includes the realityvariety show, Summer Refuge (assistant art director); Little Devil (Touch Lab, set and costume design assistant); Fucking A (Geffen School, assistant costume designer); Escaped Alone (Yale Rep, assistant costume designer); The Mailroom (costume/fabric designer). Lyle was recently awarded the Jay and Rhonda Keene Scholarship for Costume Design.
Kelsey Rainwater (Fight and Intimacy Director) is an intimacy coach, fight director, and actress based out of the ancestral lands of the Quinnipiac people. Kelsey’s work was recently seen in the premiere of Sally & Tom at the Guthrie. Some of her other credits include In the Southern Breeze at Rattlestick, The Public Theater’s Measure for Measure and White Noise by Suzan-Lori Parks, directed by Oskar Eustis; Blues for an Alabama Sky with the Keen Company; Bess Wohl’s film, Baby Ruby; falcon girls, Wish You Were Here, A Raisin in the Sun (canceled due
to COVID-19), Edward Albee’s Who’s Afraid of Virginia Woolf?, Mojada: A Medea in Los Angeles, and the ripple, the wave that carried me home at Yale Rep. She is a Lecturer in acting at David Geffen School of Drama, co-teaches stage combat and intimacy, and is a Resident Fight and Intimacy Director for Yale Rep.
Michael Rossmy (Fight and Intimacy Director) is a Resident Fight and Intimacy Director for Yale Rep, a lecturer in acting at David Geffen School of Drama, and Stage Combat and Intimacy Advisor for Yale College. Broadway credits include A Tale of Two Cities, Cymbeline, and Superior Donuts. Regional theater credits include The Public Theater, Roundabout, The Atlantic, Primary Stages, Westport Country Playhouse, Goodspeed Musicals, Paper Mill Playhouse, Asolo Rep, The Old Globe, TheaterWorks Hartford, Princeton University, The Acting Company, Soho Rep, the Geffen Playhouse, Long Wharf Theatre, McCarter Theatre, Kansas City Rep, People’s Light & Theatre, and others. He was nominated for a 2017 Drama Desk Award for his work on Troilus and Cressida for The Public Theater’s production in Central Park, and a 2024 Barrymore Award nominee for his work on Bonez at Peoples Light. His work can also be seen in the upcoming independent film Floating Carousel.
Leo Surach
he/him (Technical Director) is a thirdyear M.F.A. candidate at David Geffen School of Drama. He is a set designer, technical manager, and a co-founder of Circle Theatre in Bangkok, Thailand. Recently he joined the internship program in the scenic and technology department at PRG, Las Vegas. Selected credits include technical-directing the installation You See What You See (the Geffen School), Production Manager for Yale Cabaret’s 55th season, properties manager for Escaped Alone (Yale Rep), and set design for Tad Mala (Thailand Cultural Center).
Steven Tran (Music Director) is a Brooklyn-based music director, orchestrator, music producer, and DJ.
Credits include music director for Lizard Boy (Oregon Shakespeare Festival); additional composer/music production/ music supervisor for Lydia and the Troll (Seattle Rep); original music for Marvel’s Squirrel Girl: The Unbeatable Radio Show; co-orchestrator for Yoko’s Husband’s Killer’s Japanese Wife, Gloria (National Music Theater Conference at the O’Neill, National Alliance for Musical Theatre); music director/orchestrator for The Mortification of Fovea Munson (The Kennedy Center); And So That Happened... (The 5th Avenue Theatre); composer for Stars Between (Creation Lab at Seattle Opera). Steven is a 2021 National Playwrights Conference semifinalist and 2025 Yaddo resident. @steven_nk_tran
Alexis Kulani Woodard she/her (Director) is a director and adaptor, proud Spelman College Alumna, former Spelman Leadership Fellow at the Alliance Theatre, and current M.F.A. candidate in directing at David Geffen School of Drama. She is a 2024 Princess Grace Award Winner in Theatre. She served as the Co-Artistic Director of The Alliance Theatre’s inaugural 2020–2021 Digital Season, where she programmed Laugh Track, BackStage Atlanta, Spotlight Studio, and From the Ashes. Select directing credits include Measure for Measure (Geffen School); Four Meddling Kids and One Dumb Dog, Every Brilliant Thing (Yale Cabaret); Hamlet (The Tiny Theater Company, Alliance Theatre: Guest Artist Series); Hands Up: 7 Playwrights, 7 Testaments, Do You Love The Dark? (Alliance Theatre); From the Ashes (Alliance Theatre Anywhere). Associate directing credits include A Christmas Carol: The Live Radio Play, Working (Alliance Theatre) and the world premiere triproduction of Dream Hou$e (Alliance Theatre, Long Wharf Theatre, Baltimore Center Stage). Hands Up: 7 Playwrights, 7 Testaments won a Suzi Bass award in 2022 for outstanding Social Justice production. She has also assistantdirected for the Suzi Award-winning world premiere play, Hands of Color (Synchronicity Theater), A Christmas Carol (The Repertory Theater of St. Louis), Escaped Alone (Yale Repertory Theatre), and A Kids Play About Racism (Bay Area Children’s Theater). alexiskwoodard.squarespace.com
Mary Zimmerman is a writer and director who specializes in the adaptation of classic stories of world literature for the stage. She has earned national and international recognition, including a Tony Award, Obie Award, and Drama Desk Award for Metamorphoses, which she developed at Northwestern University. She is a 1998 recipient of the MacArthur “Genius” grant. Her other acclaimed adaptations include Journey to the West (named Best Production of the Year by Time Magazine), The Odyssey, The Arabian Nights, The Notebooks of Leonardo da Vinci, Eleven Rooms of Proust, The White Snake, The Mirror of the Invisible World, Candide, The Jungle Book, Treasure Island, and The Steadfast Tin Soldier. Zimmerman is an Artistic Associate of the Goodman Theatre, an Ensemble Member at Lookingglass Theatre Company, and a Professor of Performance Studies at Northwestern University. Other awards include the ATHE Award for Lifetime Achievement in Professional Theatre (Montreal 2015) and over twenty Joseph Jefferson “Jeff” Awards for her theater work in the Chicago area.
The Benjamin Mordecai III Production Fund, established by a graduate of the School, honors the memory of the Tony Award-winning producer who served as Associate Dean and Chair of the Theater Management program at David Geffen School of Drama from 1993 until his death in 2005. During his tenure as Yale Rep’s Managing Director alongside Dean/Artistic Director Lloyd Richards, 1982–1993, he developed a model of professional producing that changed the course of new play development in the American theater. His 25 Broadway credits included Tony Kushner’s Angels in America, as well as work by Anna Deavere Smith, Athol Fugard, David Henry Hwang, Terrence McNally, Robert Schenkkan, and perhaps most significantly August Wilson, with whom he collaborated on each of the ten plays in the epic 20th-Century Cycle.
for this production
artistic
Assistant Scenic Designer
Romello Huins
Assistant Costume Designer
John Hardy
Assistant Lighting Designer
Qier Luo
Assistant Sound Designer and Engineer
Jinling Duan 段珒苓
Assistant Projection Designer
Doaa Ouf
Dance Captain
Max Sheldon
Assistant Stage Managers
Jonathan Fong 馮子睿
Colleen Rooney
production
Production Manager
Timothy “TJ” Wildow
Associate Production Manager
Nat King Taylor
Assistant Technical Directors
Aaron Frongillo
Lilliana Gonzalez
Properties Manager
Judith Villalva
Production Electrician
Shawn Poellet
Lightboard Programmer
Finn Bamber
Projection Engineer
Md Fadzil 'Fed' Hanafi Md Saad
Projection Content Creator
Christian Killada
Projection Programmer
Ein Kim
Stage Carpenter
Steven Blasberg
Run Crew
Jazzmin Bonner, Joyce Ciesil, Josie Cooper, Gaby Rodriguez, Kristen Taylor, Ellora Venkat
Run Crew Swing
Kemar Jewel administration
Associate Managing Director
Jeremy Landes
Assistant Managing Director
Mithra Seyedi
Management Assistant Kay Nilest
House Manager
Andrew Aaron Valdez
Production Photographer
T. Charles Erickson
special thanks
The director would like to thank Alfred & Ella Woodard and The 'College of Directors'
Martin Lighting
David Geffen School of Drama Staff
Elizabeth Parker Ware Dean
James Bundy
Associate Dean
Florie Seery
Associate Dean
Chantal Rodriguez
Assistant Dean
Carla L. Jackson
Assistant Dean
Nancy Yao
academic programs
Chair, Acting Program
Tamilla Woodard
Co-Chairs, Design Program
Riccardo Hernández
Toni-Leslie James
Chair, Directing Program
Liz Diamond
Chair, Dramaturgy and Dramatic Criticism Program
Catherine Sheehy
Co-Chairs, Playwriting Program
Anne Erbe
Marcus Gardley
Chair, Stage Management Program
Narda E. Alcorn
Chair, Technical Design and Production Program
Shaminda Amarakoon
Chair, Theater Management Program
Joan Channick
artistic administration
Artistic Management
Production Stage Manager
James Mountcastle
Senior Artistic Producer
Amy Boratko
Associate Producer
Kay Perdue Meadows
Artistic Fellow
Hannah Fennell Gellman
Artistic Coordinator
Andrew Aaron Valdez
Senior Administrative
Assistant to the Dean and Associate Dean
Josie Brown
Senior Administrative Assistant for the Directing, Dramaturgy and Dramatic Criticism, Playwriting, and Stage Management Programs
Laurie Coppola
Senior Administrative Assistant for the Design Program
Kate Begley Baker
Senior Administrative Assistant for the Acting Program
Krista DeVellis
Library Services
Erin Carney production
Production Management Director of Production
Shaminda Amarakoon
Production Manager
Jonathan Reed
Production Manager for Studio Projects and Special Events
C. Nikki Mills
Senior Administrative Assistant to Production and Theater Safety
Rachel Zwick
Scenery
Technical Director for Yale Rep
NeilMulligan
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
Carpenters
Ryleigh Rivas
Isaac Lau
Carpentry Interns
Jacob Thompson
Laurel Capps
Painting
Scenic Charge
Mikah Berky
Lead Scenic Artists
Lia Akkerhuis
Nathan Jasunas
Paint Interns
Gabriela Ahumada
Gwendoline Chen
Properties
Properties Supervisor
Jennifer McClure
Properties Craftsperson
Steve Lopez
Properties Associate
Zach Faber
Properties Stock Manager
Mark Dionne
Properties Assistant
Destany Langfield
Properties Interns
Angie Hause
Ru Ho Hsiao
Costumes
Costume Shop Manager
Christine Szczepanski
Senior Drapers
Susan Aziz
Clarissa Wylie Youngberg
Mary Zihal
Senior First Hands
Deborah Bloch
Patricia Van Horn
Costume Project Coordinator
Linda Kelley-Dodd
David Geffen School of Drama Staff
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 Intern
Jada Rose Pinsley
Stage Operations
Stage Carpenter
Janet Cunningham
Lead Wardrobe Supervisor
Elizabeth Bolster
Lead Properties Runner
William Ordynowicz
Lead Light Board Programmer
Sabrina Idom
Lead Front of House
Mix Engineer
Keirsten Lamora
administration
General Management
Associate Managing Directors
Anne Ciarlone
Adrian Alexander Hernandez
Jeremy Landes
Mikayla Stanley
Assistant Managing Director
Mithra Seyedi
Senior Administrative Assistant to the Associate Dean, Assistant Dean, and Theater Management Program
Sarah Masotta
Management Assistant
Alesandra Reto Lopez
Company Manager
Victoria McNaughton
Assistant Company Managers
Raekwon Fuller
Davon Williams
Development and Alumni Affairs
Senior Director of Development and Alumni Affairs
Deborah S. Berman
Deputy Director of Operations for Development and Alumni Affairs
Susan C. Clark
Senior Associate Director of Development and Alumni Affairs
Scott Bartelson
Associate Director of Development and Alumni Affairs
Roman Sanchez
Assistant Director of Development and Alumni Affairs
Kavya Shetty
Alumni Affairs Officer and Senior Writer
Cayenne Douglass
Senior Administrative
Assistant to Development and Alumni Affairs
Jennifer E. Alzona
Finance, Human Resources, and Digital Technology
Director of Finance and Business Administration/Lead Administrator
Nicola Blake
Financial Analyst
Juliana Norman
Human Resources Business Partner
Trinh DiNoto
Director, Yale Tessitura
Consortium and Web Technology
Janna J. Ellis
Manager, Business Operations
Martha Boateng
Business Office Analyst
Shainn Reaves
Web Technology Assistant
Kenneth Murray
Business Office Specialists
Moriah Clarke
Karem Orellana-Flores
Business Office Assistant Asberry Thomas
Digital Technology Associates
Edison Dule
Garry Heyward
Senior Administrative Assistant to Finance, Web Technology, Tessituria, and Human Resources
Monique Moore
Database Application Consultants
Erich Bolton
Ben Silvert
Financial Aid and Admissions
Financial Aid Officer
Andre Messiah
Registrar/Admissions Administrator
Ariel Yan
Assistant to Financial Aid and Admissions
Laura Torino
Marketing, Communications, and Audience Services
Director of Marketing
Daniel Cress
Director of Communications
Steven Padla
Senior Associate Director of Marketing and Communications
Caitlin Griffin
Senior Administrative
Assistant for Marketing & Communications and the Assistant Dean
Mishelle Raza
Publications Manager and Artwork
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
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
Anna Glover
Assistant Director of Theater Safety
Kelly O’Loughlin
Associate Safety Advisors
Steph Lo 盧胤沂
Kay Nilest
operations
Director of Facility Operations
Nadir Balan
Associate Director of Operations
Brandon Fuller
Operations Assistant
Devon Reaves
Arts and Graduate Studies
Superintendents
Jennifer Draughn
Francisco Eduardo Pimentel
Custodial Team Leaders
Andrew Mastriano
Sherry Stanley
Facility Stewards
Ronald Douglas
Marcia Riley
Custodians
David Geffen School of Drama productions are supported by the work of more than 200 faculty and staff members throughout the year.
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Tylon Frost, Willia Grant, Cassandra Hobby, Melloney Lucas, Shanna Ramos, Jerome Sonia UP NEXT: JANUARY 25–31
KILELE
By Felipe Vergara
Translated and directed by
Juliana Morales Carreño
Viajero, a riverine peasant, undertakes a journey to the land from which he was displaced by the war of the new gods. He must confront the horror of the past to bury his dead with ¡Kilele!, the chant of rebellion, jolgorio, and joy. Based on the story of the resilient Bojayá community in Colombia, Kilele is our conversation with the land, the water, y nuestros muertos after the war renders all unrecognizable.
