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.
Welcome to Yale Repertory Theatre and this performance of Macbeth in Stride! It is an honor to present the show, a co-production of Philadelphia Theatre Company, Shakespeare Theatre Company, and Brooklyn Academy of Music (where it will play in the spring), to New Haven audiences.
Whitney White, who wrote the music, lyrics, and book for Macbeth in Stride, and plays the lead role, is one of the most dynamic—and in demand—artists working in the American theater today. She received her first Tony Award nomination earlier this year for directing Jaja’s African Hair Braiding by Jocelyn Bioh, and later this season, she will stage Jason Robert Brown’s musical The Last Five Years on Broadway.
Macbeth in Stride is the first installment of Whitney’s four-part musical exploration of Shakespeare’s women and ambition. It’s a subversive and thrilling reimagining of one of the Bard’s most iconic tales: Whitney brings to the project a bold theatricality and contemporary political sensibility that interrogate received wisdom and offer new perspectives on femininity, desire, and power in the dramatic canon. Her key collaborators, Taibi Magar and Tyler Dobrowsky, who serve as Artistic Directors of Philadelphia Theatre Company, and choreographer Raja Feather Kelly, who last worked at Yale Rep on Branden Jacobs-Jenkins’ Girls in 2019. I am so pleased that you are here to experience the magnificent work they and their team have created.
Macbeth in Stride is one of our WILL POWER! productions this season: we will welcome over 600 high school students and their educators from New Haven Public Schools to a free morning matinee. Having experienced the show landing joyfully in Philadelphia with many young people in the audience, I cannot wait to see and hear how it takes off here!
Our season will continue in the new year with Steve Carter’s blistering family drama, Eden, directed by Brandon J. Dirden. Running January 16–February 8, the play is set in the San Juan Hill neighborhood of 1920s Manhattan, where tensions run deep between its populations of Black American and Caribbean immigrants.
Eden will be followed by director Yura Kordonsky’s new adaptation of Nikolai Gogol’s masterpiece, The Inspector. Simultaneously a compelling drama of a community desperately chasing a better life and a farce exposing the absurd lengths to which the citizenry will go in their pursuit thereof, the play will be performed March 7–29.
We will conclude the season with Notes on Killing Seven Oversight, Management and Economic Stability Board Members, written by Mara Vélez Meléndez and directed by Javier Antonio González, April 25–May 17. An outrageously funny revenge saga (and a drag show!), Notes on Killing… takes aim at unelected officials who think they know what’s best for the people—and their bodies.
Thank you for choosing to spend your time with us today. I am always eager to hear your thoughts about the play or any of your experiences at our theater. My email address is james.bundy@yale.edu. And I look forward to seeing you again in 2025!
Sincerely,
James Bundy
DECEMBER 5–14, 2024
YALE REPERTORY THEATRE
James Bundy, Artistic Director | Florie Seery, Managing Director
PRESENTS
THE PHILADELPHIA THEATRE COMPANY, SHAKESPEARE THEATRE COMPANY, AND BROOKLYN ACADEMY OF MUSIC PRODUCTION OF
Scenic Designer
Daniel Soule
Costume Designer
Qween Jean
Lighting Designer
Jeanette Oi-Suk Yew
Sound Designer
Nick Kourtides
Hair and Wig Designer
Rachel Padula-Shufelt
Technical Director
Constanza Etchechury López
Vocal Coach
Grace Zandarski
Casting Director
Taylor Williams, C.S.A.
Stage Manager
Zachry J. Bailey
Music Director
Nygel D. Robinson
Orchestrations
Whitney White
Production support for Macbeth in Stride is provided by Yale’s Binger Center for New Theatre.
World premiere produced by American Repertory Theater, Diane Paulus, Artistic Director; Diane Borger, Executive Producer.
Yale Repertory Theatre gratefully acknowledges Carol L. Sirot for generously funding the 2024–25 season.
Yale Repertory Theatre thanks our 2024–25 season funders:
First Witch, Second Witch, Third Witch ....................................................... Victoria Byrd
Assistant Stage Managers .......................................................................... Colleen Rooney .............................................................................................................. ty ruwe
Band
Conductor/Piano/Keyboard ................................................................ Nygel D. Robinson
Drums Barbara “Muzikaldunk” Duncan
Guitar
Kenny Rosario-Pugh
Bass Bobby Etienne
Conductor Sub John Bronston
Macbeth in Stride is performed without an intermission
Content Guidance
This production contains fog, haze, bright lights, and loud music.
A NOTE FROM WHITNEY WHITE
Macbeth in Stride began as a love letter to music and Shakespeare. When I first encountered the great Bard and sat down to speak his words I was overcome with feeling. The language challenged and pushed me to new possibilities. Macbeth in particular sounded so fresh and near to the world I was living in. The text vibrated with energy, unstoppable rhythm, and unapologetic feeling. This musical adaptation is an attempt to communicate those first feelings with you.
In my early beginnings as a singer and performer in Chicago, I was able to witness live music on a weekly basis. From the weekly splendor of my Apostolic church to local blues and rock bands at Kingston Mines—the setting of live concert music has always been my home. The “concert” is a space in which all are welcome and the barrier between performer, band, and audience is lifted. It is a communal and equalizing space where politics of respectability can recede and we can all get down together.
Then in 2005, I saw Nine Inch Nails perform at The Riviera, a grand performance hall built in 1917. I have since seen the band perform five times. Somehow, their concerts made and continue to make me feel akin to the way reading and speaking Shakespeare’s words does. And I always joke that I can convince any friend to come see a concert with me but it can be hard to get anyone to see a play. I know I’m not the first artist to contemplate why this is and to blend the worlds of theatre and concert together. Stew’s unforgettable Passing Strange is one of several works that do this and transformed what I thought was possible in the theatre.
Being assigned the infamous dagger scene in graduate school finally jump started the creation of this piece. While it was thrilling to study the language and explore all its technical elements, I kept wanting to bring more of myself to the work. I saw Lady Macbeth as a woman striving to achieve her dreams, and living in a time where it was difficult if not impossible to go out and achieve them alone. Her story echoed so many narratives in my own family. But I found that at the time I began creating this piece, there wasn’t space to interrogate classic work rooted in the Black experience. With Macbeth in Stride, I hope to challenge the expectations and rules that often define classical and musical theatre. Or, at the very least to inspire others to keep asking questions of theatrical forms and looking for ways to bring classical work into the now.
Theatre is not a solo sport, and there have been many supporters who have helped to make this work possible. I want to give a deep and special thanks to the entire faculty of the Brown University—Trinity Repertory M.F.A. program where I created the first draft of the show, Chautauqua Institution, Judson Memorial, The Academy for Teachers, Joe’s Pub, American Repertory Theater Company, Shakespeare DC, Philadelphia Theatre Company, The RSC, Mark Lunsford, my mother Janice, my husband Maxim, and all of my family. I also want to thank past performers and musicians I have had the good fortune of sharing the stage with.
Above all, it is my greatest wish to share with you all my belief that Shakespeare is for and about all of us. All the world’s a stage, and I hope that we keep seeing it that way.
What’s up, New Haven?
The rockstar greets her audience. She acknowledges our shared presence in a real geographic location. She sparkles amidst design elements blending concert and theatrical aesthetics steel trusses, visible lighting instruments, and fabulous costumes of velvet and leather. And she invites an active response from us in return. Live concerts are a form of a
performance in which the membrane between the stage and the audience is permeable. A raised platform may separate a star and her adoring fans, but there is no pretense that the reality onstage is confined to a separate time and place from the seats and mosh pits below. Midway through the night’s set, the lead singer might introduce the musicians and dancers fellow humans and visible collaborators in conjuring whole worlds.
When Shakespeare wrote Macbeth, theater architecture and staging practices were different, so the imaginary fourth wall between the actors and audience was not yet a convention in Western plays. Shakespeare’s characters spilled their tea and spoke their truth to an often rowdy group of people sharing space, bearing witness, and reacting in real time. When Lady Macbeth calls upon “you spirits who tend on mortal thoughts” to “unsex me here,” the “here” may be her bedchamber in a Scottish castle, but it is also here inside the theater. The heavens are the sky above; hell is beneath the trap door. By extension, the audience could even imagine themselves in the banquet hall with the Macbeths and the Scottish thanes at their table.
As Woman in Macbeth in Stride, Whitney White claims her right to the place of speaking as both rockstar and classical leading lady. In doing so, she draws attention to how similar a Shakespeare play might already be to a rock concert. How both forms are perfect for virtuosity and a direct connection with her audience. And
how both are platforms where she can claim the power of storytelling as a Black woman.
Unfortunately, it’s never as simple as claiming space when both rock-androll and Shakespeare plays already get claimed as part of a white male artistic legacy. The white men get to take up more historical space and stage space. Hell, Shakespeare was a white man. But the refrain in this play is reclaim, not claim. Whitney White is not aspiring to a “first” but shouting out and building on artistry with an existing Black history in both forms. With stylistic references to Tina Turner, White acknowledges the influence of Black women in rock as well as adding to it with her singular voice. Likewise, she does not claim Macbeth but reclaims it in stride with a legacy of Black artists who have found expressive opportunities in Shakespeare’s plays. For example, African American actor Ira Aldridge (1807-1867) broke ground performing iconic roles including Othello and King Lear, and even after leaving the US for Europe, he used his platform to advocate for the abolition of chattel slavery in the US. More recently, playwright James Ijames has explored the Black queer liberatory potential in
both adapting and intervening in the plot of Hamlet in his play Fat Ham.
White is also in good company among playwrights who highlight Black women’s perspectives through direct address. Adrienne Kennedy, Ntozake Shange, and Christina Anderson have all reclaimed an old theatrical technique to amplify their Black female characters’ voices. When powerful Black women speak directly to the audience, they have the opportunity to set the narrative frame and give the audience the truth on their terms. These characters’ truths may not sit easily with everyone, but they get to tell them. And the actors speaking these words can directly access “the Black us,” “the brown us,” “the femme us,” and the “queer us” in the same room. Direct address means an opportunity for empathy exchanged between an audience and performer who see each other.
What’s past is Whitney White’s prologue, and her plans for reclaiming are ambitious. Before you turn your attention to those stars on stage, all that’s left to ask is: what do you want to question and reclaim?
And how are you feeling tonight????!!!
—Hannah Fennell Gellman, Yale Rep Artistic Fellow
Margaret Holloway (1951-2020) was a well-known New Haven street performer and Drama School alumna, whose repertoire earned her the nickname “The Shakespeare Lady.” She, too, reclaimed the text of Macbeth as a Black woman. Even more intimately and vulnerably than a performer onstage, she engaged personally with her audiences when performing monologues on request. Life after her graduate training was not easy on her, and her struggles included coping with severe mental illness and housing insecurity. She died during the early months of the COVID-19 pandemic, and her legacy belongs in the canon of Black women artists we must not forget, especially in New Haven. Flights of angels sing thee to thy rest, and may you rest in power.
With Macbeth in Stride, playwright-performer Whitney White aims to rewrite Black women’s relationship to power. White samples lines and plot points from Shakespeare’s Macbeth and revamps them with original rock music to put Lady Macbeth’s story in the spotlight. White reclaims rock, a genre whose roots are often credited to white men but was largely pioneered by a queer Black woman, Sister Rosetta Tharpe, to center Black women and our desires. White plays Woman, who represents Lady Macbeth—now a Black woman—and women at large. Woman wants to challenge the Bard’s treatment of his female characters and overthrow a dominant narrative in Western stories and society that Black women can’t have it all and must choose between love and ambition. When (Black) female characters want more than what the world offers them, plays and movies often demand that they change or reprimand them with invisibility or death.
Woman battles what Black feminist scholar Patricia Hill Collins calls The Black lady. The Black lady is a “controlling image” or a representation of Black womanhood that normalizes our oppression through its repeated occurrence in media. She is an upwardly mobile professional who outperforms her colleagues and prioritizes her career over companionship. Her dominance (i.e. exceptionalism) masculinizes her and, as a result, scares men from dating her. Thus, she falls victim to the love-ambition conflict as the controlling image finds fault in the Black woman rather than racism and sexism. Variations of the Black lady have appeared in contemporary cinema as Eva Dandridge (Gabrielle Union) in The Taming of the Shrew-inspired Deliver Us from Eva (2003); Jordan Armstrong (Nina Long) in The Best Man (1999); Jacqueline Broyer (Robin Givens) in Boomerang (1992); and Tracy Chambers, performed by Diana Ross in Mahogany (1975), whose love interest tells her, “success is nothing without someone you love to share it with,” when she reaches the pinnacle of her career.
Whereas fictional Black women are forced to choose between love and ambition, real Black women, in particular musical artists, strive for both. They are known as divas rather than Black ladies. Diana Ross began life as an impoverished Black girl from Detroit and rose to global superstardom with her solo singing and acting careers upon leaving The Supremes
in 1970. However, Ross was criticized by members of the media and the public for her unapologetic desire to succeed. On Ross, music critic Danyel Smith writes, “there’s a massive amount of disdain, across race and gender lines, for Black women who not only know their worth but revel in it, ideate from it, and have expectations—of themselves and everyone else—of a flawless production.” As in Macbeth, Woman orchestrates King Duncan’s murder so that she and Man will ascend the throne. Man fears what will come of killing Duncan, but Woman reassures him that their plan will go off without a hitch: “screw your courage to the sticking-place, And we’ll not fail.”
Woman proclaims, “I want it all…Love and ambition. So him. I want him.” To want him is to also want the power made available to a coupled woman vis-à-vis her male partner that a single woman goes without. Ross, a consummate performer, like Woman, knows that success must be orchestrated. A meritocracy is as fictional as a controlling image. And a blending of love and ambition is one way for a woman to shatter a glass ceiling. While Ross and former boss, record label Motown founder Berry Gordy, deny that their affair influenced their work, it is plausible that their romance exacerbated a power imbalance between her (lead singer) and other members of the Supremes.
If not the love of a man, a duet with one will help. Unlike Tharpe and other Black women musicians, Tina Turner was crowned the Queen of Rock and Roll. The honorific title was not given to Turner, she took it. Cultural anthropologist Maureen Mahon suggests that Turner affiliated herself with white male rockers and their aesthetics, often appropriations of Black music, to cement her legacy. In the 1980s and 1990s, Tina Turner released several songs with white male artists such as David Bowie and Eric Clapton, galvanizing the support of white rock fans.
Ross, Turner, and Woman defy the rigid confines of misogynoir, which media scholar Moya Bailey coined as “the unique anti-Black racist misogyny that Black women experience.” But, what happens when women, Black ladies, or divas finally obtain the power that we desire? In upending “the story that framed you before you were even you,” there is a cost. Ross experiences loneliness. Turner loses trust among Black music listeners. And, Woman, who not only fights for royal power but against the scripted death of Shakespearean women, mirroring Lady Macbeth, loses her mind, hallucinating that she has a spot of blood on her hand.
Broadway: Jaja’s African Hair Braiding (Tony Award nomination, Best Direction). London: The Secret Life of Bees (The Almeida). OffBroadway: Walden (Second Stage), Soft (MCC Theater), On Sugarland (New York Theatre Workshop), What to Send Up When It Goes Down (The Public Theater, ART, Woolly Mammoth), Our Dear Dead Drug Lord (Second Stage/WP Theatre), For All the Women Who Thought They Were Mad (Soho Rep), A Human Being of a Sort (Williamsburg). Original work: Macbeth in Stride (American Repertory Theater, Philadelphia Theatre Company, Shakespeare Theatre Company), Semblance (NYTW). Awards: Herb Alpert, Jerome Fellowship, Rolex Arts Initiative. Television writing: Boots Riley’s I’m A Virgo (Amazon, Media Res). Whitney is an Associate Artist at Roundabout Theatre and Associate Director at Shakespeare Theatre Company in Washington, D.C. Later this season, she will direct the musical The Last Five Years on Broadway.
Charlie Thurston* (Man) is an actor and playwright and is making his Yale Rep debut. He co-wrote Someone Will Remember Us with Deborah Salem Smith which will premiere at Trinity Rep in Providence, Rhode Island, in January 2025. Off-
Broadway: Here There Are Blueberries (New York Theatre Workshop) and The Wedge Horse (Fault Line). Selected Regional: Macbeth in Stride (Shakespeare Theatre Company, Philadelphia Theatre Company, A.R.T.); Here There Are Blueberries (La Jolla, Shakespeare Theatre Company); Prince of Providence, The Song of Summer (Trinity Rep); Three Sisters (Arden); Completely Fictional—Utterly True—Final Strange Tale of Edgar Allan Poe (Baltimore Center Stage). Selected film and television: Finestkind, Boston Strangler, Life Itself, Julia, Dexter, SVU. He has narrated a bunch of audiobooks, including the Pulitzer Prize winner Demon Copperhead by Barbara Kingsolver. Training: Brown/ Trinity Rep. charliethurston.net
Holli’ Conway* (First Witch) is overjoyed to be a part of this incredible work! Credits include the Broadway productions of Six, Lempicka, and Tina; and most recently, the role of Lorraine in the Papermill Playhouse production of Jersey Boys. Holli’ was Miss Louisiana 2018. Thank you to 44 West Entertainment, DGRW, and Taylor Williams Casting! To my circle. For my family. All glory to God! @Welcometo_holliwood
Phoenix Best* (Second Witch, understudy for Woman, Dance Captain) is so excited to be rejoining this show! Her Broadway credits include Dear Evan Hansen (Alana Beck) and the revival of The Color Purple (swing). She also played Éponine in the 2017 North American Tour of Les Misérables. Other theater credits include Mary in the world premiere of A.D. 16 at Olney Theatre Center, Deena Jones in Dreamgirls at TUTS, and Witch in Macbeth in Stride at A.R.T. Television and film: The Best Man: The Final Chapters (Nicole), Twisted Assistant (Stella), Love Life (Ogechi), Estella Scrooge (Mercy and Charity), From Sea to Rising Sea (Lu).
Ciara Alyse Harris* (Third Witch) is overjoyed to be a part of this production at Yale Rep! Her credits include Dear Evan Hansen (Broadway) and White Girl in Danger (Second Stage). Tour: The First National Tour of Dear Evan Hansen. Regional: All Shook Up, Gypsy (The Muny); Spring Awakening (The 5th Avenue Theatre); Ain’t Misbehavin’ (Cape Playhouse). B.F.A., CCM. When not performing, she’s working on her podcast Queen Made of Light to help others find the light within themselves. She is so grateful to be a part of this incredible company and team! @ciaraalyse
*Member of Actors’
the United States.
UNDERSTUDIES
Gunnar Manchester* (understudy for Man) is a New England-born, New York-based performer, composer, music director, and teaching artist. Regional: The Huntington, Trinity Repertory, The Gamm, Commonwealth Shakespeare, Wilbury Theatre Group, Gloucester Stage, Actor’s Shakespeare Project, College Light Opera Company, and Williamstown Theatre Festival. He is a graduate of Brown University/ Trinity Rep M.F.A. Training Program, where he was a recipient of the Stephen Sondheim Graduate Fellowship in Theater Arts, and the Antonio Cirino Memorial Fellowship awarded by the Rhode Island Foundation. Visit gunnarmanchester.com
Victoria Byrd*(understudy for First, Second, and Third Witch) is an NYC-based actor from Sarasota, Florida. She holds a bachelor of fine arts degree in musical theater from the Boston Conservatory. She was most recently seen in the ensemble of Back to the Future on Broadway. Previously, she worked on the North American tour of Aladdin in the ensemble and understudying Princess Jasmine. Regional credits include The Muny, North Shore Music Theater, and Asolo Rep. Endless gratitude to my agents at DGRW. Witches unite!
CREATIVE TEAM
in alphabetical order
Zachry J. Bailey* he/him (Stage Manager) Zack is honored to return to Yale Rep and champion their season. Thank you to those who have filled my life with light and joy. Love to Isuri. Tours: Hadestown (First National).
Off-Broadway: Cats: The Jellicle Ball (PAC NYC). Select Regional: Memnon (Classical Theatre of Harlem); A Raisin in the Sun (canceled due to COVID), The Plot, Twelfth Night (Yale Rep); Jesus Christ Superstar (Connecticut Repertory); Broadway for Biden. Film: CRAM (Radical Rhinoceros Pictures), Overlook (Two + Eight Productions), and The Promotion (C1 Media). @zachryjbailey
Tyler Dobrowsky (Director)
New York/Off-Broadway: The Public Theater. Regional: American Repertory Theater, Asolo Repertory Theatre, The Gamm Theatre, Long Wharf Theatre, Philadelphia Theatre Company, PlayMakers Repertory Company, Shakespeare Theatre Company, Trinity Repertory Company. Tyler currently serves as one of the Artistic Directors of Philadelphia Theatre Company. Previously served as Associate Artistic Director and Director of New Play Development at Trinity Repertory Company and Practitioner in Residence at the Swearer Center for Public Service at Brown University. Teaching: Brown, NYU, Rhode Island College, UPenn.
Constanza Etchechury López she/her/ella (Technical Director) is a Mexican theatermaker and a thirdyear student in the technical design and production program at David Geffen School of Drama. She began her career as a stagehand and drafting
stage machinery and has served as a run crew member and carpenter for the National Theatre Company of Mexico as well as an assistant technical director for many set designers in Mexico’s most important theaters and festivals. As a production manager, she worked for the National Theatre Council. Constanza graduated as an engineer from the National Polytechnic Institute.
Qween Jean (Costume Designer) is a New York-based stage and film costume designer. They have worked at the Shakespeare Theatre Company, Signature Theatre, and Santa Fe Opera. She is a native of South Florida and began her theater career at Florida School of the Arts. Qween has earned a bachelor’s degree in business communications at the University of North Carolina and costume studies at Greensboro College. She has an M.F.A. in design from NYU’s Tisch School of the Arts. Qween has designed costumes for over 80 productions, works freelance throughout the year, and is the Assistant Costume Shop Manager at the Chautauqua Theater Company. Her shows include Our Dear Dead Drug Lord, One in Two, Siblings Play, Amen Corner, Rags Parkland, Good Grief, Othello, Wig Out!, Playboy of the West Indies, A Doll’s House, and the highly acclaimed What to Send Up When it Goes Down by Aleshea Harris.
Raja Feather Kelly (Choreographer) is a choreographer and director, and the artistic director of the dancetheatre-media company the feath3r theory, for which he has created 18 premieres, most recently Ugly Part 3: Blue (Chelsea Factory) and The
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
Absolute Future (NYU Skirball). Kelly’s work appears on stages across the country, including Girls at Yale Rep, Bunny Bunny at UC San Diego, and most recently Teeth at Playwrights Horizons. His choreography was seen in White Girl in Danger at Second Stage Theater. He choreographed the Broadway musicals Lempicka and A Strange Loop (premiered Off-Broadway at Playwrights Horizon), winner of two Tony Awards, including Best Musical. His Off-Broadway collaborators include Lileana Blain-Cruz, Sarah Benson, and Michael R. Jackson. His work has been seen at Playwrights Horizon, New York Theatre Workshop, The Public Theater, La Jolla Playhouse, Soho Rep and New York Live Arts, among many other venues. He’s worked on two Pulitzer Prize-winning productions and has received a Princeton Arts speaker Fellowship, three Princess Grace Awards, an OBIE Award, an Outer Critics Circle honor, and many others. Upcoming: The Fires at Soho Rep.
Nick Kourtides (Sound Designer) is the global sound designer for Magic Mike Live in Las Vegas, London, Berlin, and Australia. Recent theater: Three Houses (Signature), The Keep Going Songs (LCT3), Travels (Ars Nova), Heather Christian’s TERCE (Prototype). Other Off-Broadway: Oratorio for Living Things (Ars Nova), Blacklight (Greenwich House), The Lucky Ones (Ars Nova), Object Lesson (NYTW, BAM), Elephant Room (St. Ann’s), Carson McCullers Talks About Love (Rattlestick), and Jomama Jones: Radiate (Soho Rep). Regional: Shakespeare Theatre, Actors Theatre of Louisville, Cincinnati Playhouse in the Park, Cleveland Playhouse, New York Stage and Film, McCarter, Center Theatre Group, Geffen, Folger, Studio,
Milwaukee Rep, the Wilma, the Arden, Philadelphia Theatre Company, Prince Music Theater, La Jolla Playhouse, and Pig Iron Theatre Company Nick has taught Sound Design for Live Performance at Drexel University and Swarthmore College. He has received an Obie, Lucille Lortel, Bessie, and Barrymore awards. nickkourtides.com
Taibi Magar (Director) New York/OffBroadway: We Live in Cairo (NYTW), The Half-God of Rainfall (New York Theatre Workshop); Twilight: Los Angeles, 1992 (Signature Theatre, Lucille Lortel Award for Best Revival); Capsule (The Public Theater); Claudia Rankine’s Help (The Shed); Blue Ridge, The Great Leap (Atlantic Theater Company); Is God Is (Soho Rep); Master (The Foundry, The New York Times Critic’s Pick); Underground Railroad Game (Ars Nova, The New York Times Critic’s Pick). International: Hamburg Festival, Edinburgh Festival, Malthouse Theatre (Melbourne), Soho Theatre (London). Selected regional: Woolly Mammoth Theatre, Alley Theatre, The Guthrie Theater, Seattle Rep. Awards: 2018 OBIE Award, 2019 SDC Breakout, Lucille Lortel nomination, 2022 Stephen Sondheim Fellowship, Oregon Shakespeare Festival Fellowship, The Public Theater Shakespeare Fellowship. Taibi serves as one of the Artistic Directors of Philadelphia Theatre Company. Training: M.F.A., Brown University; Lincoln Center Directors Lab; NYTW Usual Suspect.
Rachel Padula-Shufelt (Hair and Wig Designer) Broadway credits include The Glass Menagerie and Waitress At American Repertory Theatre: Becoming a Man, Life of Pi, Macbeth in Stride, Black Clown, Waitress, Marie Antoinette, Crossing; and three Elliot
CREATIVE TEAM
in alphabetical order
Norton award winners for Best Design: Moby Dick; Fingersmith, Natasha, Pierre & the Great Comet of 1812. Huntington Theatre Company: John Proctor is the Villain, The Band’s Visit, The Heart Sellers, Joy and Pandemic, The Colored Museum. Rachel is the hair and makeup supervisor for Boston Ballet and the resident hair and wig designer for North Shore Music Theatre.
Nygel D. Robinson (Music Director) is an artist based in Chicago. Select theater credits include playing Brother Davis and serving as Music Director in The Amen Corner (Shakespeare Theatre Company), Jimmy Powers in Lady Day at Emerson’s Bar and Grill (Mercury Theater), and actor/musician in The All Night Strut (Milwaukee Rep). Nygel has his hands in many other projects as a composer/lyricist, music director, music producer, and educator. Nygel is the co-creator of and performer in the new live-looped musical Mexodus, which started development at New York Stage and Film in early 2020, had its world premiere at Baltimore Center Stage and Mosaic Theatre in Washington D.C., and recently finished a run at Berkeley Rep.
Colleen Rooney they/she (Assistant Stage Manager) is a third-year student in the stage management M.F.A. program at David Geffen School of Drama. They hold a B.S. in theater arts and in anthropology from the University of Oregon. Select credits include Wish You Were Here (Yale Rep); The Carlotta Festival, Cleansed, Color Boy, WAKE (Geffen School); UDO (Yale Cabaret); Alabaster, Northwest 10, The Curious Incident of the Dog in the Night-Time, and A Doll’s House, Part 2 (Oregon Contemporary Theatre). Other theatrical credits include Co-Executive Artistic Director of Yale Summer Cabaret
Season 50 Greenhouse, sound design for Arlington (Yale Cabaret Season 56 Sandbox), and The Betrayal Project (Yale Summer Cabaret: Development Studio 49).
ty ruwe they/them (Assistant Stage Manager) is a second-year M.F.A. candidate at David Geffen School of Drama, where their credits include Hellyoutalmbout, Pearl’s Beauty Salon, and Hamlet, princesa de Dinamarca as well as My Six Therapists, The Aughts, seven methods of killing kylie jenner at Yale Cabaret. Other credits include The Pirates of Penzance (Cape Repertory Theatre); Fairview (Speakeasy Stage Company); honeyhole (MoonBox Productions, Boston New Works Festival); The Half-Life of Marie Curie, Ada and the Engine (Central Square Theater). ty received their B.A. in psychology from Smith College.
Daniel Soule (Scenic Designer) is a scenic and production designer based in lower Manhattan. Recent productions include Roméo et Juliette at the Washington National Opera and King Lear at the Shakespeare Theatre Company. Dan also teaches design at the NYU’s Tisch School of the Arts. Many thanks to Whitney, Yale Rep, and the creative team. danielsouledesign.com
Taylor Williams, C.S.A. (Casting Director) Artios Award. Film: Good One, The Front Room, Omni Loop, Rocky’s Deli. Broadway: Romeo + Juliet, Stereophonic, Illinoise, An Enemy of the People, The Sign in Sidney Brustein’s Window, POTUS, Slave Play, What the Constitution Means to Me Upcoming: John Proctor Is the Villain TaylorWilliamsCasting.com
Jeanette Oi-Suk Yew (Lighting Designer) is an award-winning designer for theater, dance, opera, musicals, music performances, and large-scale immersive installation. The New York Times described her designs as “clever” and “inventive.” She is excited to bring Macbeth in Stride to Yale Rep. Broadway: Kimberly Akimbo, The Thanksgiving Play. Off-Broadway: The Connector (MCC Theater); Golden Shield (Manhattan Theatre Club); cullud wattah, Manahatta (The Public); The Nosebleed, Your Own Personal Exegesis (LCT3); american (tele)visions (New York Theatre Workshop); Snow in Midsummer (Classic Stage Company). Regional: King Lear (Shakespeare Theatre Company), WILD: A Musical Becoming (A.R.T.), Walden (TheaterWorks Hartford). Other: Oratorio for Living Things (Ars Nova), Theatre of the Mind with David Byrne. jeanetteyew.com
Grace Zandarski (Vocal Coach) is Associate Chair of the Acting program and Head of Voice and Text at David Geffen School of Drama, where she has taught Voice since 2002. She has coached numerous productions at Yale Rep and the Geffen School including The Brightest Thing in the World, An Enemy of the People, Hamlet, The Caucasian Chalk Circle, and Between Two Knees. New York coaching credits include the Mike Nichols productions of Death of a Salesman and Betrayal (Broadway), The Intelligent Homosexual’s Guide… (The Public Theater), and Homebody/Kabul (BAM). She was named Associate Teacher of Fitzmaurice Voicework in 1998. Grace is a member and Board Chair of The Actors Center Workshop Company, a member of Pantheatre (Paris), SAG-AFTRA, AEA, and VASTA. Acting credits include McCarter Theatre, OSF Ashland, Wilma Theatre, and ACT. Directing credits include the Peer Gynt Project and Chekhov Shorts. M.F.A., American Conservatory Theater; B.A., Princeton University.
Founded in 1974, Philadelphia Theatre Company (PTC) is a vital civic institution dedicated to the creation of extraordinary theatrical experiences that reflect the essential issues and ideas of our time, and which foster connection, understanding, and transformation. PTC has presented over 150 world and Philadelphia premieres, more than half of which moved on to New York or other major cities, helping Philadelphia to earn a national reputation as a hub for new play development. PTC is led by Artistic Directors Taibi Magar and Tyler Dobrowsky, alongside Managing Director Margo Moskowitz.
For over 35 years, the Tony Award-winning Shakespeare Theatre Company has been recognized as the nation’s premier classical theatre. STC tells vital stories in audacious forms, stories that are Shakespearean in the deepest sense, even if they are not written by Shakespeare. We stage epic stories in exhilarating style.
Brooklyn Academy of Music (BAM) is the home for curious people and adventurous ideas. We support artistic experimentation and champion inclusion and accessibility throughout the arts as presenter, activator, and connector. bam.org
ARTISTIC
Associate Choreographer
Ashley Chavonne
Associate Lighting Designer
Alex deNevers
Associate Sound Designer
Robert Salerno
Assistant Sound Designer and Engineer
Nicky Brekhof
Musician Preparation
Matt DeMaria
Associate to Whitney White
Rosalind Bevan, Drama League
Directing Assistantship
Production Assistant
Ais Galvin
Sub Assistant Stage Manager
Jason Weixelman
PRODUCTION
Associate Production Manager
Nat King Taylor
Assistant Technical Directors
Keira Jacobs, Jacob Thompson
Assistant Properties Manager
Hsiao Ru-Ho
Production Electrician
Sean Blue
Wig Supervisor
Courtney Horry
Run Crew
Emilee Biles, Constant Dzah, Jonathan Fong 馮子睿, Adam
Taylor Foster, Raekwon Fuller, Payton Gunner, Kay Nilest, Alexis
Kulani Woodard
Run Crew Swings
Joyce Ciesil, Kemar Jewel
Ableton Programmer
Dana Haynes
ADMINISTRATION
Associate Managing Director
Mikayla Stanley
Assistant Managing Director
Mithra Seyedi
Management Assistants
Alesandra Reto Lopez
Gaby Rodriguez
Company Manager
Victoria McNaughton
Assistant Company Managers
Raekwon Fuller, Catherine MacKay, Davon Williams
House Managers
Maura Bozeman, Davon Williams
Production Photographer
Joan Marcus
Poster Art and Design
Paul Evan Jeffrey/Passage Design
Costumes fabricated by Eric Winterling, Inc.
Rehearsed at the NEW 42ND STREET Studios.
SPECIAL
THANKS
The Graduate, Chris Young at Shakespeare Theatre Company
YALE REPERTORY THEATRE STAFF
Artistic Director
James Bundy
Managing Director
Florie Seery
Associate Artistic Director, Director of New Play Programs
Chantal Rodriguez
General Manager
Carla L. Jackson
Artistic
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 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
Casting
James Calleri
Erica Jensen
Paul Davis
Senior Administrative
Assistant to the Artistic Director and Associate
Artistic Director
Josie Brown
Senior Administrative
Assistant for Directing, Dramaturgy and Dramatic Criticism, Playwriting, Stage Management, and Theater magazine
Laurie Coppola
Senior Administrative Assistant for Design
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
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
Carpenters
Ryleigh Rivas
Carpentry Interns
Jacob Thompson
Laurel Capps
Painting
Scenic Charge
Mikah Berky
Lead Scenic Artists
Lia Akkerhuis
Nathan Jasunas
Paint Interns
Gabriela Ahumada
Gwendoline Chen
Properties
Properties Supervisor
Jennifer McClure
Properties Craftsperson
Steve Lopez
Properties Associate
Zach Faber
YALE REPERTORY THEATRE STAFF
Properties Stock Manager
Mark Dionne
Properties Assistant
Destany Langfield
Properties Interns
Angie Hause
Hsiao Ru-Ho
Costumes
Costume Shop Manager
Christine Szczepanski
Senior Drapers
Clarissa Wylie Youngberg
Mary Zihal
Senior Draper/Patternmaker
Susan Aziz
Senior First Hands
Deborah Bloch
Patricia Van Horn
First Hand
Anna Blankenberger
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
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 Managing
Director and General Manager
Sarah Masotta
Management Assistant
Gaby Rodriguez
Company Manager
Victoria McNaughton
Assistant Company Managers
Catherine Mackay
Alesandra Reto Lopez
Development & 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
Development and Alumni Affairs Assistant
Gavin D. Pak
Finance, Human Resources, & Digital Technology
Director of Finance and Business Administration/Lead Administrator
Nicola Blake
Human Resources Business Partner
Trinh DiNoto
Director, Yale Tessitura Consortium, and Web Technology
Janna J. Ellis
Manager, Business Operations
Martha Boateng
Business Office Analyst
Shainn Reaves
Web Technology Assistant
Kenneth Murray
Business Office Specialists
Moriah Clarke
Karem Orellana-Flores
Business Office Assistant
Asberry Thomas
Digital Technology Associates
Edison Dule
Garry Heyward
Senior Administrative
Assistant to Business Office, Digital and Web Technology, Facility Operations, Human Resources, Tessitura
Monique Moore
Database Application
Consultants
Ben Silvert
Erich Bolton
Marketing, Communications, & Audience Services
Director of Marketing
Daniel Cress
Director of Communications
Steven Padla
Senior Associate Director of Marketing and Communications
Caitlin Griffin
Publications Manager and Program Designer
Marguerite Elliott
Senior Administrative
Assistant to Marketing and Communications
Mishelle Raza
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 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.
Macbeth in Stride, December 5–14, 2024.
University Theatre, 222 York Street, New Haven, Connecticut.
ACCESSIBILITY SERVICES
December 14 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 what better comprises the production design.
Open Captioning
A digital display of the play’s dialogue as it’s spoken for patrons who are deaf or have hearing loss.
December 14 at 8PM
American Sign Language (ASL)
An ASL-interpreted performance 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 Eden by Steve Carter, directed by Brandon J. Dirden.
Audio Description February 1 at 2PM
Touch Tour February 1 at 2PM
American Sign Language February 1 at 8PM
Open Caption February 8 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
Michelle Banks (ASL Consultant), a native of Washington, D.C., is an award-winning actress, writer, director, and producer. She is the Co-Founder and Artistic Director of Visionaries of the Creative Arts (VOCA). She is the 2022 recipient of the DC area Black Deaf Advocates Award for Outstanding Achievements in Theater for Deaf BIPOC Artists and the 2017 recipient of Gallaudet University’s Laurent Clerc Award for her contribution to theater. Acting credits include Girlfriends, Soul Food, Compensation (film), The C.A. Lyons Project (Alliance Theatre), Reflections of a Black Deaf Woman (one- woman show), and Big River (Mark Taper Forum, Ford Theater). Directing: Camellia For Camille (Deaf Spotlight’s Short Play Festival), Trash (JACK, IRT); ISM and ISM II (Atlas Performing Arts Center); and A Raisin in the Sun (Gallaudet University, Atlas Performing Arts Center). Michelle also served as Director of Artistic Sign Language (DASL) for The Music Man (Olney) and For Colored Girls...(Broadway).
Bennie Barber (ASL Interpreter) is a heritage signer hailing from Long Beach, California, is nationally certified, and has been interpreting for just about 13 years. His experiences include interpreting local theater in the Los Angeles area alongside various other interpreting settings. He is CODA (Child of Deaf Adults) and is extremely proud of his heritage. He enjoys watching anime and learning about the wonders of the universe.
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.
Rorri Burton (ASL Interpreter) is a multiple-certified, community-raised interpreter who hails from Chicago, where she began learning American Sign Language at an early age. After graduating college with her degree in deaf education, she taught in school districts around the country for ten years, before beginning what she assumed would be a temporary foray into a career as a full-time ASL Interpreter. Sixteen years and five cities later, Rorri has interpreted in a variety of settings, including Video Relay Service, vacation cruises, Hollywood film sets, operating rooms, court rooms, award shows, and Broadway stages, among others. She is the founder and director of Pro Bono ASL, a group of Black, Latiné, Indigenous, MENA, Asian and Pacific Islander interpreters, who are providing culturally relevant and professional interpreting services around the country, for a wide range of industries and entities.
ACCESSIBILITY TEAM
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.
YOUTH PROGRAMS
EVENTS!
FRIDAY, DECEMBER 6 AT 8PM
Post-Show Coversation
Join us in the August Wilson Lounge following the performance for a conversation about the show with Yale Rep artistic staff.
WEDNESDAY, DECEMBER 11 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.
FRIDAY, DECEMBER 13 AT8PM
Spanish-Language Captioning
La presentación del 13 de diciembre será subtitulada en español. This performance will be open-captioned in Spanish.
SATURDAY, DECEMBER 14 AT 2PM
Talk Back
Join us after the show for a conversation about the play and its themes with members of the company.
All events are subject to change. Additional details at yalerep.org.
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 communityfocused, 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.
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+)
Anonymous
Rudy and Jeanne Aragon
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)
Americana Arts Foundation
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
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
Jason Najjoum
NewAlliance Foundation
Peter Nigrini
Carol Ostrow
PRODUCER’S CIRCLE
($2,500–$4,999)
Anonymous
Angela Bassett
Cyndi Brown
Ian Calderon
Deborah Freedman and Ben Ledbetter
Fred Gorelick and Cheryl MacLachlan
Ellen Iseman
JANA Foundation
Ann Judd and Bennett Pudlin
Rocco Landesman
Richard Ostreicher
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
Peter Entin
Anne Erbe
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
Arthur Oliner
F. Richard Pappas
Dw Phineas Perkins
Louise Perkins and Jeff Glans
Kathy and George Priest
Alec Purves
Faye and Asghar Rastegar
Chantal Rodriguez
Howard Rogut
Cynthia Santos-DeCure
Robin Sauerteig
Anna Deavere Smith
Matthew Sonnenfeld
James Steerman
David Sword
Tides Foundation
John Turturro and Katherine Borowitz
Ron Van Lieu
Paul Walsh
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
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
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
David Freeman
Richard Fuhrman
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
Edward Kaye
Alan Kibbe
Hedda and Gary Kopf
Mitchell Kurtz
Gabriela Lee
Irene Lewis
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
Michael Posnick
Jon and Sarah Reed
Dr. Michael Rigsby and Prof. Richard Lalli
Thank you to the generous contributors to David Geffen School
Tialoc Rivas
Steve Robman
Erin Rocha
Constanza Romero
Allen Rosenshine
Nan Ross
Donald Sanders
Suzanne Sato
Kenneth Schlesinger
Georg Schreiber*
Paul Selfa
Sandra Shaner
David Soper and Laura Davis
Erich Stratmann
Matthew Tanico
Josh Taylor
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
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
Kathryn A. Calnan
Vincent Cardinal
Catherine and Steven Carlson
Andrew Carson
Sami Joan Casler
Zoe Z. Chance
King-Fai Chung
Nicole Ciomek
Cynthia Clair
Susan Clark
Bill Connington
Leland Cole-Chu
Aaron Copp
Jennifer Corman
Jane Cox
Caitlin E. Crombleholme
Douglas and Roseline
Crowley
Samanta Cubias
Phyllis CummingsTexeira
John Cunningham
Jonathan Daen
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
Samantha Else
Sasha Emerson
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
Raymond Forton
Keith Fowler
Walter M. Frankenberger III
Deborah Fried and Kalman Watsky
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
Annabel Guevara
Greg Guthe
Julie Haber
Dr. James L. Hadler
Marion Hampton
Alexander Hammond
Scott Hansen
Michael Haymes
James Hazen
Steve Hendrickson
Thomas Herman
Ashton Heyl
Betsy Hoos
Nicholas Hormann
Kathleen Houle
Evelyn Huffman
Charles Hughes
Derek Hunt
Jennifer Ito
Tatsuya Ito
John W. Jacobsen
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
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
Elizabeth Lewis
Fred Lindauer
Jerry Lodynsky
Robert H. Long II
Everett Lunning
Nancy F. Lyon
Andi Lyons
Joan MacIntosh
Peter Malbuisson
Jonathan Marks
Edwin Martin
Sarah Masotta
Robert McCaw
Deborah McGraw
Bill McGuire
James Meisner and
Marilyn Lord
Jonathan Miller
Michele Millham
Cheryl Mintz
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
Norman Redlich
Ralph Redpath
Deborah J. Reissman
Carolynn Richer
of Drama and Yale Repertory Theatre
Felicia Riffelmacher
Tialoc Rivas
Joan Robbins
Nathan Roberts
Peter S. Roberts
Brian Robinson
Lori Robishaw
Miguel Rosadu
Robin Rose
Russ Rosensweig
Donald Rossler
Katherine Sacks
Dr. Robert and Marcia
Safirstein
Steven Saklad
Robert Sandberg
Peggy Sasso
Joel Schechter
Rita Scheeler
Steven Schmidt
Jennifer Schwartz
Kathleen Scott
Alexander Scribner
Patrick Seeley
Tom Sellar
Subrata K. Sen
Suzanne Sessions
John K. Sheehan
Lorraine Siggins
Gilbert and Ruth Small
Helena L. Sokoloff
Suzanne Solensky and Jay Rozgonyi
Matthew Specter and Marjan Mashhadi
Dr. and Mrs. Dennis D.
Spencer
Aleta Staton*
Howard Steinman
Rosalie Stemer
Marcus Stern
John Stevens
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
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
Erik Walstad
David Ward
Joan Waricha
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
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
Henry Winkler
*deceased
A Museum for Everyone
The Yale Peabody Museum has remade how we see the world. Famous for its discoveries of iconic dinosaurs like Triceratops, Brontosaurus, and Stegosaurus, the Museum shows the wonders of life on Earth.
Through its breathtaking galleries and exhibition spaces, the Peabody Museum takes visitors on a journey over millions of years, from the first moments where the oceans teemed with tiny creatures to when dinosaurs roamed. The Peabody’s galleries are a place of learning, surprise – and fun!
