WHO’S AFRAID OF VIRGINIA WOOLF? Yale Repertory Theatre, October 6–29, 2022

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CONTENTS

MASKING

A NOTE FROM THE ARTISTIC DIRECTOR

Welcome to this performance of Edward Albee’s Who’s Afraid of Virginia Woolf?—and the start of Yale Rep’s 2022–23 season!

Devolving over the course of one very late, very boozy night in a living room in the fictional college town of New Carthage, the play sent shockwaves through American popular culture when it premiered on Broadway in 1962. Edward Albee’s wickedly funny and frank depiction of two marriages stood in stark contrast to the conservative mores and stagecraft of the preceding decade. Indeed, Who’s Afraid of Virginia Woolf? stands as a stinging critique of prevailing values of its day—and, to a considerable extent, our own—even as it holds a mirror up to the ambiguities of intimate relationships.

Although this is one of the most famous plays in contemporary drama, our production of Virginia Woolf is nonetheless the first professional staging of Albee’s masterpiece in Connecticut 30 years. I am thrilled that so many in our audience will experience the play for the first time here at Yale Rep, and it is a particular joy to share with you the talents of such an extraordinary cast of actors and our artistic, technical, and management collaborators.

Our season continues this fall with the Yale-commissioned world premiere of The Brightest Thing in the World by Leah Nanako Winkler, directed by Margot Bordelon. The funny and compassionate new play will run November 25–December 17.

In the new year, we will present Mojada: A Medea in Los Angeles, by Luis Alfaro, March 10–April 1. Laurie Woolery will stage the reimagining of the classic Greek tragedy through the story of an undocumented family caught in the grip of the American immigration system.

Playwright Christina Anderson’s latest play, the ripple, the wave that carried me home, directed by Tamilla Woodard, will be performed April 28–May 20. The work garnered Anderson the biennial Horton Foote Prize, which honors works of exceptional quality.

I hope you will join us for the entire season. Tickets for all three productions are available now at yalerep.org. And it’s not too late to subscribe: you may apply the cost of today’s ticket to a full subscription through Friday, November 18. Please call the Box Office at (203) 432-1234 to learn more.

Whether you are a longtime Yale Rep audience member or this is your first time at Yale Rep, thank you for joining us today. As always, I look forward to hearing what you think about Who’s Afraid of Virginia Woolf? or any of your experiences at Yale Rep. The best way to reach me is by email at james.bundy@yale.edu.

Sincerely,

James Bundy, Artistic Director

YALE REPERTORY THEATRE

James Bundy, Artistic Director | Florie Seery, Managing Director

PRESENTS

Scenic Designer

Miguel Urbino

Costume Designer

Kyle J. Artone

Lighting Designer

Jiahao (Neil) Qiu 邱嘉皓

Sound Designer

Joe Krempetz

Wig and Hair Designer

Matthew Armentrout

Makeup Designer

Earon Chew Nealey

Production Dramaturg

Nicholas Orvis

Technical Director

Mia Sara Haiman

Vocal Coach

Walton Wilson

Fight and Intimacy Directors

Kelsey Rainwater and Michael Rossmy

Movement Consultant

Erica Fae

Casting Director

Tara Rubin, C.S.A.

Stage Manager

James Mountcastle

Who’s Afraid of Virginia Woolf? is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. concordtheatricals.com

Yale Repertory Theatre thanks our 2022–23 season funders:

Season Sponsor: The Study at Yale

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CAST

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Martha René Augesen George

Dan Donohue Honey Emma Pfitzer Price

Nate Janis

SETTING

The living room of a house on the campus of a small New England college.

There will be two 10-minute intermissions.

CONTENT ADVISORY

This play contains profanity; misogynist and racist language and slurs; sexually explicit language; sexual situations; and violence, which is in the context of an intimate partner relationship. In addition to specific language and slurs that are anti-AAPI, anti-Arab, and anti-Latinx, the action of the play contains acts of orientalism and the fetishization of Asian cultures.

STAGE EFFECTS

Herbal cigarettes are smoked in this production.

RECORDING AND PHOTO POLICY

The videotaping or making of electronic or other audio and/or visual recordings of this production and distributing recordings or streams in any medium, including the internet, is strictly prohibited, a violation of the author(s)’s rights and actionable under United States copyright law. For more information, please visit: concordtheatricals.com/resources/protecting-artists.

Questioning the

On September 14, 1962, LIFE magazine ran an issue dedicated to “The TakeOver Generation.” Its first story, a foldout portrait gallery, featured “A RedHot Hundred.” The very first portrait among the alphabetically arranged faces of young, overwhelmingly white men was that of a gangly 34-year-old with dark hair and protruding ears, smiling in a slightly uncomfortable way: playwright Edward Albee.

Albee (1928–2016) was, in 1962, just coming into his own. Adopted at two weeks old by Reed and Frances Albee, the heirs of vaudeville impresario Edward F. Albee II (for whom he was named), Albee spent much of his adolescence being shuttled from one private school to another. After a brief flirtation with college, he moved to New York’s Greenwich Village and began to work odd jobs while writing poetry. A few years later, while visiting a friend at a writers’ retreat, he shared his poems with Thornton Wilder, author of Our Town and The Skin of Our Teeth, who suggested that Albee might try his hand at playwriting instead.

Albee followed Wilder’s advice, but it took him until the cusp of his 30s to find success in the theatrical form—and he found it not in the US but Germany. Albee’s 1959 The Zoo Story, a bleakly funny play about a pair of New Yorkers from different classes meeting on a Central Park bench, was initially rejected by American producers. Thanks to a network of friends and contacts, it premiered in more avantgarde Berlin before returning to New York. Once home, the play made a splash among theater artists and afficionados,

American Dream

who hailed it as an exciting experiment and Albee as an American writer in the new European style critics were calling “Theater of the Absurd.” For his part, Albee was ambivalent about that label—he commented in a 1962 essay that the true theater of the absurd seemed to be Broadway, obsessed as it was with commercial success: “What […] could be more absurd than a theatre in which the aesthetic criterion is something like this: a ‘good’ play is one which makes money; a ‘bad’ one (in the sense of ‘Naughty! Naughty!’ I guess) is one which does not…”.

Who’s Afraid of Virginia Woolf? was Albee’s attempt to mount a play of aesthetic value on Broadway and was a gamble both financially—as all Broadway shows are—and artistically. Up to that point, Albee had only had absurdist one-act plays produced. Following European writers such as Samuel Beckett and Eugene Ionesco, his plays (both before and after Virginia Woolf) frequently employ characters who eschew linear history or logic. While continental dramatists tended to focus on fundamental existential questions following the devastation of World War II and the use of the nuclear bomb, however, Albee followed a long American tradition of playwriting concerned with questions of American civic life—his 1961 play The American Dream, for example,

uses characters who are named as if archetypes (“Mommy,” “Daddy,” “The American Dream”) to comment on what Albee saw as the problems endemic to American society.

His first Broadway production, on the other hand, was a three-act saga that could pass for a realistic drama about two married couples in New England. Albee felt Virginia Woolf was what he needed to write next, and through his earlier productions he had gathered a circle of collaborators and supporters who were able to see his talent and willing to take some risks on his behalf, including director Alan Schneider and producers Richard Barr and Clinton Wilder. Their collective gamble paid off: Virginia Woolf was a hit, winning the 1963 Tony Award for Best Play and being selected for the 1963 Pulitzer Prize (the Pulitzer board refused to award the prize to Albee as they considered the play indecent). The success of Virginia Woolf, particularly its 1966 film adaptation starring Richard Burton and Elizabeth Taylor, bolstered Albee’s finances and cemented his status as a leading theatrical voice of his generation.

Albee’s popularity as a playwright waxed and waned over the remaining fifty years of his career. His plays from the ’60s were mostly acclaimed, including the Pulitzer Prize-winning A Delicate Balance (1966; also produced at Yale Rep and directed by James Bundy in 2010). His work from the ’70s and particularly the ’80s, such as The Lady from Dubuque (1980) and The Man

Questioning the American Dream

Who Had Three Arms (1982) were less successful, but he rebounded with Three Tall Women in 1991 (also a Pulitzer winner) and The Goat, or Who Is Sylvia? in 2000. In addition to continuing his own experiments in form and style, Albee actively supported new voices in American playwriting. Using a portion of the funds from Virginia Woolf, he founded the Playwrights’ Unit; there he developed the work of some of the most influential and avant-garde writers of the ’60s and ’70s, including Amiri Baraka, John Guare, Israel Horowitz, and Adrienne Kennedy. He later became a playwriting teacher at the University of Houston, and throughout his life he served as a producer for new plays.

Even beyond the direct reach of Albee’s work as a mentor, Virginia Woolf itself has remained a touchstone for American dramatists.

The play’s literary and theatrical fireworks, sharp critique of upperclass white American culture, and blending of American and European dramatic forms led to a revival of socially and intellectually provocative plays written with careful attention to language. Far more than just being, as LIFE put it, someone “who writes exciting plays in a new style,” Edward Albee both in 1962 and over his subsequent half-century career embodied a relentless quest for artistic excellence, for theatrical innovation, and for provocative truth-telling on the American stage.

—Nicholas Orvis, Production Dramaturg

CAMPUS

ABOVE: Keira Naughton and Ellen McLaughlin in A Delicate Balance in the 2010 Yale Rep production, directed by James Bundy. Photo by Joan Marcus, 2010. PREVIOUS: Edward Albee in 1962. Photo by Sam Falk/The New York Times Archives.

CAMPUS CULTURE IN ’62

Who’s Afraid of Virginia Woolf? premiered in October 1962, a time when the United States seemed to be on the verge of a fantastical but deeply uncertain future. The Sixties as we generally remember them hadn’t arrived yet; in many ways, it was still in the tail end of the ’50s, a time of conservatism and conformity. By 1962, though, signs of change were beginning to appear, and they were much on the minds of students and faculty in college towns like Albee’s fictional New Carthage.

—Nicholas Orvis

Cold War Woes

The Cold War between the US and USSR was approaching its peak in 1962. John F. Kennedy was in the second year of his presidency and had already exacerbated the conflict. In 1961, Kennedy supported the disastrous Bay of Pigs invasion, helping Cuban counterrevolutionaries attempt to overthrow the Castro government. The invasion failed and pushed Cuba closer to the USSR; later in 1962 (days after Virginia Woolf opened, in fact), this would precipitate the Cuban Missile Crisis. During the crisis, Yale and many campuses were divided between a majority who found Kennedy’s course “sane and intelligent” and a “deluded ‘ban the bomb’ fringe,” to use the words of the Yale Daily News on October 24, 1962.

ABOVE: Students for and against Cuban blockade, October 24, 1962. Photo courtesy of Indiana University Archives.

CAMPUS CULTURE

New Ideals Meet Old Prejudice

Students of 1962 were more progressive than their professors and administrators, but change was slow in coming. Many fraternities were desegregated in the 1950s, often over the protests of alumni, but universities admitted few students of color. Similarly, though more women were attaining a college education, that education was often oriented to preparing them to be wives and mothers. The elite college remained a predominately white and male domain—at Yale a record fourteen Black undergraduates matriculated in 1964, and no women entered Yale College at all until the fall of 1969. Even then, one anonymous “prominent lecturer” at Yale commented to the Yale Daily News that he got more satisfaction from teaching “those who will one day have a greater role in society—men.”

ABOVE: Yale students during co-education week, 1968. Photo courtesy of Yale University Manuscripts and Archives.

Men Race into Space

One of the Cold War’s most dynamic fronts was the competition to control outer space. In 1962, the Soviet Union was still ahead of the US; it had launched the first successful artificial satellite (Sputnik, 1957) and put the first human into space (Yuri Gagarin, 1961). The US was striving to catch up, though—on February 20, 1962, NASA astronaut John Glenn became the first

CULTURE IN ’62

Political Division at Home and Abroad

In August 1961, the East German government began construction on the Berlin Wall. The concrete barrier divided a major city and enclosed West Berlin, an island of Western influence behind the Iron Curtain. It was a fitting symbol of the suspicion and animosity of the age, and those feelings were entirely visible in college towns. Less than a decade before, Senator Joseph McCarthy had fueled the Red Scare, fomenting an atmosphere of fear and distrust among artists and intellectuals. One professor of political science, according to Calvin B. T. Lee, was known to assign the Communist Manifesto but grimly tell his students, “Go home, pull down the blinds, and read it.”

ABOVE: The Berlin Wall in 1965: Photo by Jürgen Wagner/Timeline Images/Alamy.

American to orbit the Earth, in a five-hour-flight that was followed by millions on TV. Technical progress didn’t necessarily mean social progress, though—Glenn told Congress in June 1962 that there was no need to continue funding a NASA program to train women astronauts, as “The fact that women are not [astronauts] is a fact of our social order.”

Setting the Scene for Edward Albee’s Who’s Afraid of Virginia Woolf? with Production Dramaturg Nicholas Orvis

LEFT: John Glenn, 1962. Photo by Bill Taub/NASA.

CAST BIOS

Martha: René Augesen previously appeared at Yale Rep in Good Faith, Arcadia, A Streetcar Named

Desire, A Woman of No Importance, and The Beaux’ Stratagem She was a core acting company member at American Conservatory Theater in San Francisco for twelve seasons, where she appeared in more than three dozen productions. In New York, she has appeared in Spinning into Butter (Lincoln Center Theater), Macbeth (The Public Theater), It’s My Party… (ArcLight Theatre), and Overruled (Drama League). Her other regional theatre credits include productions at South Coast Repertory, Great Lakes Theater Festival, Baltimore’s Center Stage, the Los Angeles Shakespeare Festival, and Stage West. Film and television: The Battle Studies, Law & Order, Guiding Light, Another World, and Saint Maybe (Hallmark Hall of Fame). As a 2011 Ten Chimneys Foundation Lunt-Fontanne Fellow, she was recognized for her extraordinary contributions to her community and to the overall quality of the American theater. She is a graduate of David Geffen School of Drama.

George: Dan Donohue Broadway: “Scar” in The Lion King. Over 30 roles at Oregon Shakespeare Festival including “Henry V,” “Iago,” “Richard III,” and “Hamlet.”

Other regional theaters include the Goodman, the Geffen, Long Wharf, Berkeley Rep, Seattle Rep and more. Recent television credits include recurring roles on For All Mankind, Longmire, Agents of S.H.I.E.L.D, and Damnation. A recording of his Hamlet at Oregon Shakespeare Festival received a Grammy Nomination in 2011.

Nick:

Nate Janis is an actor, singer, and writer based in New York City. Recent credits include A Midsummer Night’s Dream (Classical Theatre of Harlem), The Heidi Chronicles (Guild Hall of East Hampton), The Fantasticks (Infinity Theatre Company), tenderly (Edinburgh Fringe), and Three Sisters (Columbia Stages). He is over the moon to be back at his alma mater performing one of his favorite plays. Training: B.A., Yale University; William Esper Studio; Columbia M.F.A. Special thanks to Felicia Sager, Avalon Artists, Tara Rubin Casting, Brian McManamon, Ron Van Lieu, James Calleri, and friends and family.

Honey:

Emma Pfitzer Price is thrilled to be making her Yale Rep debut. Emma appeared in productions of Major Barbara, Black Snow, A Bright Room Called Day, As You Like It, and The Cherry Orchard, among others, at The Juilliard School, where she recently received her B.F.A. in drama.

The Actors and Stage Manager employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Other theater includes Steel Magnolias (Virginia Theatre Festival). She has most recently appeared in Showtime’s American Rust. Originally from Kentucky, Emma is a Governor’s School for the Arts Scholar of Drama. She is beyond grateful for this opportunity to bring one of her favorite plays to life.

CREATIVE TEAM BIOS

Playwright: Edward Albee was born on March 12, 1928, and began writing plays 30 years later. His plays include The Zoo Story (1958), The Death of Bessie Smith (1959), The Sandbox (1959), Fam and Yam (1959), The American Dream (1960), Who’s Afraid of Virginia Woolf? (1961–62, Tony Award), Tiny Alice (1964), A Delicate Balance (1966, Pulitzer Prize; 1996, Tony Award), Malcolm (1966), Everything in the Garden (1969), Box and Quotations from Chairman Mao Tse-Tung: Two Inter-Related Plays (1969), All Over (1971), Seascape (1974, Pulitzer Prize), Listening (1975), Counting the Ways (1975), The Lady from Dubuque (1977–78), The Man Who Had Three Arms (1981), Finding the Sun (1982), Marriage Play (1986–87), Three Tall Women (1991, Pulitzer Prize), Fragments (1993), The Play About the Baby (1997), The Goat or, Who Is Sylvia? (2000, 2002 Tony Award), Occupant (2001), Knock! Knock! Who’s There!? (2003), At Home at the Zoo (Act 1: Homelife, Act 2: The Zoo Story) (2004), and Me, Myself & I (2008). He was a member of the Dramatists Guild Council and President of The Edward F. Albee Foundation. Mr. Albee was awarded the Gold Medal in

Drama from the American Academy and Institute of Arts and Letters in 1980. In 1996 he received the Kennedy Center Honors and the National Medal of Arts. In 2005, he was awarded a special Tony Award for Lifetime Achievement.

Hair Designer: Matthew Armentrout previously worked at Yale Rep on Today is My Birthday (2022) and Manahatta (2020). Broadway: Bernhardt/Hamlet. Off Broadway: Merrily We Roll Along (Roundabout), Othello (Shakespeare in the Park). Regional: Bliss (The 5th Avenue Theatre), Jitney (National Tour), Paradise Square (Berkeley Repertory Theatre).

Costume Designer: Kyle J. Artone is a fourth-year costume designer at David Geffen School of Drama and looking forward to graduating this May. He is incredibly excited and grateful to be making his Yale Rep debut designing the costumes for Who’s Afraid of Virginia Woolf?. Credits include Gidion’s Knot (Theatre Row Off-Broadway); the father, the son, and the holy spirit (Yale Summer Cabaret); She Kills Monsters (David Geffen School of Drama); Polkadots (Virginia Rep); Xanadu and The Sound of Music (State Theatre Center for the Arts); Little Shop of Horrors (Raymond Hodges Theater); Venus in Fur, The 39 Steps, and The Nightman Cometh (Shafer Street Playhouse). Kyle has won awards for Little Shop of Horrors, Venus in Fur, and The Nightman Cometh.

CREATIVE TEAM BIOS

Director:

James Bundy has served as Elizabeth Parker Ware Dean of David Geffen School of Drama at Yale and Artistic Director of Yale Repertory Theatre since 2002. He teaches in the Acting program at the School and in the Theater Studies program at Yale College. During his tenure, Yale Rep has produced more than thirty world, American, and regional premieres, nine of which have been honored by the Connecticut Critics Circle as Best Production of the year and two of which have been Pulitzer Prize finalists. Through WILL POWER!, an educational program initiated in 2004, Yale Rep has provided low-cost theater tickets and classroom visits to thousands of middle and high school students from Greater New Haven. The Binger Center for New Theatre, founded in 2008, has enabled the theatre to commission more than sixty artists to create new work. James has directed productions at the Mark Taper Forum, Theater for a New Audience, Oregon Shakespeare Festival, Great Lakes Theater Festival, The Acting Company, California Shakespeare Festival, Alabama Shakespeare Festival, and The Juilliard School Drama Division. He served from 2007–13 on the board of directors of Theatre Communications Group. Previously, he worked as Associate Producing Director of The Acting Company, Managing Director of Cornerstone Theater Company, and Artistic Director of Great Lakes Theater Festival. James is a graduate of Harvard College and David Geffen School of Drama; he also trained at the London Academy of Music and Dramatic Art.

Movement Consultant: Erica Fae is a theater/filmmaker, actor, and teacher. Her first feature film, To Keep the Light, was awarded the Fipresci Prize (International Critics’ Prize/Mannheim), Best Director (Berlin Independent Film Festival), Best of Show (Bendfilm), Best Emerging Director, two Best Narrative Feature Awards, and two Best Cinematography Awards, and is available on Amazon Prime. Recent works for theater as creator/co-creator/performer are Saved Again and by Him and Take What Is Yours, a New York Times Critic’s Pick. As an actor, she has appeared in HBO’s Boardwalk Empire, Random Acts of Flyness, and Doll & Em; and films First Reformed, Little Children, and Synecdoche, New York. She’s also on Netflix’s newly-released Partner Track and is currently in development on her second feature film. She is a faculty member in the Acting program at David Geffen School of Drama.

Technical Director: Mia Sara Haiman (she/her) is a fourthyear M.F.A. candidate in the Technical Design and Production program at David Geffen School of Drama, where her credits include Measure for Measure, She Kills Monsters, Carlotta Festival of Plays, and Yale Summer Cabaret 2021. Yale Rep credits include Girls, The Plot, Manahatta, and A Raisin in the Sun (canceled due to COVID). As a project and production manager, Mia has worked in live entertainment for Broadway, regionally, and abroad. Prior to Yale, Mia worked as Production Manager at Boston Center for the Arts and at the Cameri Theatre

of Tel-Aviv. Most recently, Mia worked on multiple Broadway and regional productions at ShowMotion, Inc.

Sound Designer:

Joe Krempetz is a sound designer, composer, and audio engineer from the San Francisco Bay Area. Recent design credits include Transpositions (Schwarzman Center,) The Hedgehog’s Dilemma (Yale Cabaret), Eve (Phoenix Theatre, San Francisco), and Upwelling (Vetiver Oakland). Engineering credits include Between Two Knees (Yale Rep); How to Save the World in 90 Minutes (Cherry Lane Studio Theatre); and The 39 Steps, Measure for Measure, and Venus in Fur (Santa Cruz Shakespeare). Joe has managed or operated events for Microsoft Inc, Stanford Live, Berkeley Repertory Theatre, TheatreWorks Silicon Valley, The International Festival of Arts & Ideas, and many others. Joe holds a B.A. in theatrical technology from UC Santa Cruz and a technical certificate in sound from David Geffen School of Drama, where he is currently a third-year M.F.A. candidate.

Stage Manager:

James Mountcastle is the Production Stage Manager (PSM) at Yale Rep and a Professor in The Practice of Stage Management at David Geffen School of Drama. As PSM, he has supervised stage management teams through more than a hundred Yale Rep productions over the past 18 seasons. James graduated from David Geffen School of Drama himself in 1990 and before returning to teach at the School in 2004, he spent 15 years working in New York City where

he stage managed many musicals on Broadway and for Broadway National Tours. A professional stage manager for 38 years, James is proud to work on this production with two wonderful assistant stage managers. Ais Galvin and Alexus Coney are Stage Management Team Members of the very first rank, and they deserve all the applause they can possibly hear from one very proud and grateful PSM. Thank you!

Makeup Designer:

Earon Chew Nealey Broadway: Macbeth (associate hair designer); Chicken and Biscuits (associate wig and makeup designer); Sweat (associate makeup designer). Other design: Dames at Sea, Kinky Boots (Bucks County Playhouse); The Last Supper (SOPAC); Twelfth Night (Marcus Garvey Park) On Killing (Soho Rep); Fat Ham, Cullad Wattah, Mojada (The Public Theater); Little Girl Blue (Goodspeed, New World Stages); Meet Vera Stark, Matilda (Colorado University); On Sugarlad (New York Theatre Workshop); Nina Simone: Four Women (Berkshire Theatre Group); Once on This Island (Pioneer Theatre Company); Little Women (Dallas Theater Center); Oklahoma!, Patsy Cline (Weston Playhouse); Memphis, Dream Girls (Cape Fear Regional Theater); Cadillac Crew, Twelfth Night (Yale Rep).

Production Dramaturg: Nicholas Orvis (he/him) is a dramaturg, critic, and director in his final year at David Geffen School of Drama, where his work includes Green Suga Bloos (Langston Hughes Festival) and Almost (Nearly) Fucking Finally (Fourth-year Acting Project); also The

The Actors and Stage Manager employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

CREATIVE TEAM BIOS

Hedgehog’s Dilemma (Yale Cabaret) and the father, the son, and the holy spirit (Yale Summer Cabaret). Prior to beginning at the Geffen School, Nick was the Literary Associate for Premiere Stages at Kean University, where he helped develop new plays by writers including Deborah Brevoort, Nicole Pandolfo, Keith Josef Adkins, and Tammy Ryan. Nick is a former managing editor of Theater magazine and a co-creator and producer of the ongoing Dungeons + Drama Nerds, a podcast exploring the intersections between theater and tabletop roleplaying games.

Lighting Designer: Jiahao (Neil) Qiu is a fourthyear M.F.A. lighting design candidate at David Geffen School of Drama, where his credits include She Kills Monsters, Romeo and Juliet, Measure for Measure; as well as Over Easy and Radiant Vermin at Yale Cabaret. Other credits include Mirage, Metamorphosis International Residency Shanghai, Xiang Xiang, Dreamers, and Awakening. For more information, please visit: neilqiu.com | @neilqiu_design

Fight and Intimacy Director: Kelsey Rainwater is an intimacy coach, fight director, and actress based out of the ancestral lands of the Quinnipiac people. Kelsey’s most recent work was seen in the premiere of In the Southern Breeze at Rattlestick, David Geffen School of Drama’s She Kills Monsters, and Mason Gross School of the Arts’ Damocles and Smart People. Some of her other credits include The Public Theater’s Measure for Measure and White Noise by Suzan-Lori Parks, directed by Oskar Eustis; A Raisin in the Sun (canceled due to COVID) at Yale

Rep; Blues for An Alabama Sky with the Keen Company; and Bess Wohl’s film Baby Ruby. She is a Lecturer in Acting at David Geffen School of Drama, coteaching stage combat and intimacy, and is a Resident Fight and Intimacy Director for Yale Rep.

Fight and Intimacy Director: Michael Rossmy is a Resident Fight and Intimacy Director for Yale Rep, a lecturer in acting at David Geffen School of Drama, and the Stage Combat and Intimacy Advisor for Yale College. Broadway credits include A Tale of Two Cities, Cymbeline, and Superior Donuts. Regional credits include Yale Repertory Theatre, The Public Theater, 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, Carnegie Mellon University, 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. Upcoming projects include fight and intimacy direction for the world premiere of Sally & Tom by Suzan-Lori Parks at the Guthrie Theater.

Casting Director: Tara Rubin, C.S.A. has been casting at Yale Rep since 2004. Selected Broadway/National Tours: KPOP, Mr Saturday Night, Six, Ain’t Too Proud, King Kong, The Band’s Visit, Prince of Broadway, Indecent, Bandstand, Sunset Boulevard, Miss Saigon, Dear Evan Hansen, A Bronx Tale, Cats, Falsettos, School of Rock, Les Misérables, The

Heiress, The Phantom of the Opera, Billy Elliot, Shrek, Spamalot, The 25th Annual Putnam County Spelling Bee, The Producers, Mamma Mia!, Jersey Boys.

Off-Broadway: Gloria: A Life, Smokey Joe’s Café, Jersey Boys, Here Lies Love. Regional: Paper Mill Playhouse, La Jolla Playhouse, The Old Globe, Bucks County Playhouse, Westport Country Playhouse. Film: Billy Crystal’s Here Today tararubincasting.com

Scenic Designer: Miguel Urbino (he/him) is a queer, first generation, Filipino-American designer at David Geffen School of Drama at Yale, where he was the scenic designer for She Kills Monsters. Other credits include more more more (Yale Cabaret, scenic and costumes), soft apples (Yale Cabaret, costumes), The Tap Dance Kid (New York City Center Encores!, associate scenic), The Van Gogh Café (Yale Cabaret, costumes), The Motherfucker With The Hat (T. Schreiber Studios, scenic), The Widow of Tom’s Hill (59E59, scenic). Miguel has also collaborated with Studio McLane, Clint Ramos Design, and others. He received a B.A. in theater arts from Marymount Manhattan College. Miguel is a proud new member of United Scenic Artists, Local USA 829, IATSE. murbinodesigns.com | @murbinodesigns

Vocal Coach: Walton Wilson (he/him) was trained and designated as a voice teacher by Kristin Linklater and was later trained and certified as an associate teacher by Catherine Fitzmaurice. He also studied with Richard Armstrong, Andrea Haring, Meredith Monk, Patsy Rodenburg, and members of the Roy Hart Theatre. As a voice/dialect coach, his New York credits

include The Violet Hour and Golden Child on Broadway; the world premiere productions of The Laramie Project and The Laramie Project: 10 Years Later; and Endangered Species. Regional credits include productions at Actors Theatre of Louisville, American Repertory Theater, Berkshire Theatre Group, Double Edge Theatre, Long Wharf Theatre, McCarter Theatre, Shakespeare & Company, and Williamstown Theatre Festival. At Yale Rep, he has served as voice and dialect coach for peerless, Accidental Death of an Anarchist, In a Year with 13 Moons, A Doctor in Spite of Himself, Autumn Sonata, Battle of Black and Dogs, Notes from Underground, Boleros for the Disenchanted, The Evildoers, The Unmentionables, The Cherry Orchard, The Intelligent Design of Jenny Chow, The Black Monk, Medea/Macbeth/Cinderella, Betty’s Summer Vacation, The Birds, and Richard III

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Artistic

Assistant Director:

Annelise Lawson

Assistant Scenic Designer: KIMKIM (Juhee Kim)

Assistant Costume Designer: Arthur Wilson

Assistant Lighting Designer: David DeCarolis

Assistant Sound Designer and Engineer: Joyce Ciesil

Casting Associate: Frankie Ramirez

Assistant Stage Managers: Alexus Coney

Aisling Galvin Production Associate Production Manager: Twaha Abdul Majeed

Assistant Technical Directors: Jason Dixon

Miguel Angel Lopez John Simone Luke Tarnow-Bulatowicz

Assistant Properties Supervisor: Leo Surach

Production Electrician: Steph Burke

Run Crew: Olivia Cygan Patrick Falcón

Stan Mathabane Anna Roman YuJung Shen

Mikayla Stanley

Rehearsal Line Prompters:

Josie Cooper

Hannah Louise Jones

Ellora Venkat Administration

House Managers: Annabel Guevara

Jeremy Landes

Understudies

Martha: Giovanna Drummond

George: Samuel DeMuria

Nick: Lucas Iverson Honey: Rebeca Robles

Special Thanks

Anne Tofflemire, Sharon Kugler, Merrianne Nedreberg and the CTG prop shop, Erin Peter and Long Wharf Theatre, Marcelo Martínez García, Kyle Slugg, Kate Baker, Kitty Cassetti, Kristor Lawson, Carofano Opticians, Gilberto’s Designs.

YALE REPERTORY THEATRE STAFF

Artistic Director: James Bundy

Managing Director: Florie Seery

Associate Artistic Director, Director of New Play Programs: Jennifer Kiger

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

Sound Design Advisor: Mikaal Sulaiman

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

Artistic Associate: Kay Perdue Meadows

Artistic Fellow: Jisun Kim

Casting: Tara Rubin, C.S.A. Merri Sugarman, C.S.A. Claire Burke, C.S.A. Peter Van Dam, C.S.A. Felicia Rudolph, C.S.A. Xavier Rubiano, C.S.A. Kevin Metzger-Timson, C.S.A. Spencer Gualdoni Olivia Paige West Frankie Ramirez

Senior Administrative Assistant to the Artistic Director and Associate Artistic Director: Josie Brown

Senior Administrative Assistant for Directing, Dramaturgy and Dramatic Criticism, Playwriting, and Stage Management: Laurie Coppola

Senior Administrative Assistant for the Design Program: Kate Begley Baker

Senior Administrative Assistant for the Acting Program: Krista DeVellis

Interim Arts Librarian Tess Calwell

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: Grace O’Brien

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

Scene Shop Supervisor: Eric Sparks

Senior Lead Carpenter: Matt Gaffney

Lead Carpenters: Ryan Gardner Kat McCarthey Sharon Reinhart

Libby JollyStone Painting

Paint Shop Supervisor: Ru-Jun Wang

Scenic Artists: Lia Akkerhuis Nathan Jasunas

Scenic Painting Intern: Marcus Fort Properties

Properties Supervisor: Jennifer McClure

Properties Craftsperson: David P. Schrader

Properties Associate: Zach Faber

Properties Stock Manager: Mark Dionne

Properties Intern: Bennet Goldberg

YALE REPERTORY THEATRE STAFF

Costumes

Costume Shop Manager: Christine Szczepanski

Senior Drapers: Clarissa Wylie Youngberg Mary Zihal

Senior First Hands: Deborah Bloch Patricia Van Horn

Costume Project Coordinator: Linda Kelley-Dodd

Costume Stock Manager: Jamie Farkas

Additional Costume Staff: Judianne Wallace

Electrics

Lighting Supervisor: Donald W. Titus

Senior House Electricians: Jennifer Carlson Linda-Cristal Young

Interim Production Electrician: Jasmine Moore

Sound Sound Supervisor: Mike Backhaus

Lead Sound Engineer: Stephanie Smith

Sound Interns: Saida Joshua-Smith Zoey Lin

Projections

Acting Projection Supervisor: Eric Lin

Projection Engineer: Mike Paddock

Projection Intern: Erin Sims

Stage Operations Stage Carpenter: Janet Cunningham

Lead Wardrobe Supervisor: Elizabeth Bolster

Lead Properties Runner: William Ordynowicz

Lead Light Board Programmer

David Willmore

FOH Mix Engineer: Stephanie Smith

ADMINISTRATION

General Management Associate Managing Directors: Sarah Scafidi

Matthew Sonnenfeld

Senior Administrative Assistant to the Managing Director: Emalie Mayo

Management Assistants: Andrew Valdez

Fanny Abib-Rozenberg

Company Manager: Annabel Guevara

Assistant Company Managers: Anne Ciarlone

Ramona Li

Development and Alumni Affairs Director of Development and Alumni Affairs: Deborah S. Berman

Senior Associate Director of Institutional Giving: Janice Muirhead

Senior Associate Director of Operations for Development and Alumni Affairs: Susan C. Clark

Associate Director of Development Communications and Alumni Affairs: Casey Grambo

Senior Administrative Assistant to Development and Alumni Affairs: Jennifer E. Alzona

Development Associate: Delaney Kelley Development Assistants: Anne Ciarlone

Maya Louise Shed

Finance, Human Resources, and Digital Technology

Finance Consultants: Regina Bejnerowicz

Katherine D. Burgueño

Denise Zaczek

Director of Human Resources: Trinh DiNoto

Director, Yale Tessitura Consortium, and Web Technology:

Janna J. Ellis

Manager, Business Operations: Martha Boateng

Digital Communications Associate: George Tinari

Interim Business Office Analyst: Win Knowles

Business Office Specialists: Aditya Agarwal Moriah Clarke Andrea Valcourt

Digital Technology Associates: Edison Dule Garry Heyward

Senior Administrative Assistant to Business Office, Digital and Web Technology, Operations, and Tessitura: Shainn Reaves

Database Application Consultants: Ben Silvert

Erich Bolton

Bo Du Marketing, Communications, and Audience Services

Director of Marketing: Daniel Cress

Director of Communications: Steven Padla

Senior Associate Director of Marketing and Communications: Caitlin Griffin

Assistant Director of Marketing and Communications: Jacob Santos

Senior Administrative Assistant for Marketing and Communications Mishelle Raza

Publications Assistant: Patrick Ball

Marketing Assistant: Sarah Machiko Haber

Assistant Assistant: Maggie Elliott

Production Photographer: Joan Marcus

Art and Design: Paul Evan Jeffrey/ Passage Design

Videographer: David Kane

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 Ed Jooss John Marquez (on leave)

Box Office Assistants: Sydney Raine Garick

Jordan Graf

Lucy Harvey

Aaron Magloire Kenneth Murray a.k. payne Dominic Sullivan Jessica Wang

Ushers: Tracy Bennett Danielys Batista Maura Bozeman

Denny Burke

Regina Carson Amalia Crevani Gerson Espinoza Campos Nina Gaither Madi Garfinkle Lydia Gompper Elli Herzog Şeyma Kaya Spencer Knoll Di’Jhon McCoy Justin Meadows Keenan Miller Bonnie Moeller William Romain Jana Ross Joe Webb Larsson Youngberg

Theater Safety and Occupational Health

Director of Theater Safety and Occupational Health and Interim COVID Compliance Manager: Anna Glover

COVID Compliance Coordinator: Amy Stern

Associate Safety Advisor: Megan Birdsong Operations

Director of Facility Operations: Nadir Balan

Operations Associate: Brandon Fuller

Interim Operations Assistant: Kelvin Essilfie

Arts and Graduate Studies

Superintendents: Jennifer Draughn Francisco Eduardo Pimentel

Custodial Team Leaders: Andrew Mastriano Sherry Stanley

Facility Stewards: Ronald Douglas Marcia Riley

Custodians: Rodney Heard Andrew Martino James Hansberry Sybil Bell Jerome Sonia Willia Grant Melloney Lucas Tylon Frost

Who’s Afraid of Virginia Woolf?, October 6–29, 2022, Yale Repertory Theatre, 1120 Chapel Street, New Haven, Connecticut.

Yale Repertory Theatre operates under an agreement between the League of Resident Theatres (LORT) and Actors’ Equity Association (AEA), the Union of Professional Actors and Stage Managers in the United States.

The Scenic, Costume, Lighting, and Sound Designers in LORT are represented by United Artists Local USA-829, IATSE.

ACCESSIBILITY TEAMACCESSIBILITY SERVICES

October 22 at 1:30PM

American Sign Language (ASL)

An ASL-interpreted performance for patrons who are deaf or have hearing loss.

Audio Description

Pre-show description begins at 1:15PM

A live narration of the play’s action, sets, and costumes for patrons who are blind or have low vision.

October 29 at 1:30PM

Open Captioning

A digital display of the play’s dialogue as it’s spoken for patrons who are deaf or have hearing loss

Open Captioner: David Chu/c2inc (caption coalition) 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 theatres 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.

Audio Describer: Sarah Nuland’s directing credits include Blithe Spirit, The Crucible, Black Nativity by Langston Hughes; Gary Grinkle’s Race Singing Forrest, and My Red Hand, My Black Hand by Dael Orlandersmith (Long Wharf Theatre); She Stoops to Conquer (Fairfield University); La Calisto (Yale Baroque Opera Project). Regional credits: The Exact Center of the Universe (Festival Stage Theatre); The Shaker Chair (Humana Festival of New Plays, 2005); The Cocktail Hour, Lips Together Teeth Apart (Philadelphia Theatre Company); Spinning Into Butter, The Children (Stamford Theatre Works); ’Tis Pity She’s A Whore (Goodman Theatre); The Heiress (McCarter Theatre). Other theatre: The Merry Wives Of Windsor (Hudson Valley Shakespeare Festival);

Twelfth Night, The Winter’s Tale (American Shakespeare Theatre); Richard III, and The Winter’s Tale (Elm Shakespeare Company). Film credits: Jeffrey. Ms. Nuland has been providing Audio Description for Yale Rep since 2007. She is the founder and President of the Sherwin B. Nuland Foundation for Palliative Care.

ASL Interpreters: Emilia Lorenti-Wann has interpreted Aladdin, On Your Feet!, West Side Story, Les Misérables, Beauty and the Beast, and Godspell on Broadway along with Yale Rep productions including El Huracán and Twelfth Night. She also does various music concerts at Madison Square Garden and Universal Studios with well-known artists and festivals. Emilia was the featured interpreter/trainer for the cruise industry for five years, interpreting shows every night from musicals to comedy acts and trained a team of over 200 interpreters. Emilia is of Uruguayan descent, and Spanish is her first language.

Keith Wann has interpreted Aladdin, Annie, The Play That Goes Wrong, A Midsummer Night’s Dream, Mary Poppins, Something Rotten!, School of Rock, Long Day’s Journey into Night, Noises Off, West Side Story, Shrek: The Musical; Little Shop Of Horrors, Hamlet, Beauty and the Beast, and The 39 Steps. Keith has appeared in short movies, television shows, and commercials featuring sign language and is currently directing, writing, and acting in several online projects geared towards deaf children. Keith is excited to be working on his third production with Yale Rep.

YOUTH PROGRAMS

As part of Yale Rep’s commitment to our community, we provide two significant youth programs.

WILL POWER! is Yale Rep’s annual educational initiative, designed to bring middle and high school students to see live theater. Since our 2003–04 season, WILL POWER! has served more than 20,000 Connecticut students and educators. In 2022–23, we will offer programming centered on Mojada: A Medea in Los Angeles to New Haven Public Schools students and educators. The program has included early schooltime matinees, free or heavily subsidized tickets, study guides, and postperformance discussions with actors and members of the creative teams. WILL POWER! is committed to giving teachers curricular support through free workshops and professional development about the content and themes of the plays.

THE DWIGHT/EDGEWOOD PROJECT (D/EP) is a community engagement program of Yale Rep and David Geffen School of Drama for middle school-aged students from Barnard Environmental Science and Technology Magnet School, a K-8 school located on the edge of the Dwight and Edgewood neighborhoods in New Haven. The students are paired with mentors from the Geffen School to write their own plays. The month-long program begins in late May, culminating in fully produced plays performed by the Yale mentors and presented for the New Haven community in late June.

Yale Rep’s youth programs are supported in part by:

NewAlliance Foundation

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

Rudy Aragon LAW ’79

Amy Aquino ’86

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

Clare Brinkley

Sterling B. Brinkley, Jr. YC ’74

Kate Burton ’82

James Chen ’08

Lois Chiles

Patricia Clarkson ’85

Edgar M. Cullman III ’02, YC ’97

Michael David ’68

Michael Diamond ’90

Polly Draper ’80, YC ’77

Charles S. (Roc) Dutton ’83

Sasha Emerson ’84

Lily Fan YC ’01, LAW ’04

Terry Fitzpatrick ’83

Marc Flanagan ’70

Anita Pamintuan Fusco YC ’90

David Marshall Grant ’78

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

Carol Ostrow ’80

Tracy Chutorian Semler YC ’86

Tony Shalhoub ’80

Michael Sheehan ’76

Anna Deavere Smith HON ’14

Andrew Tisdale

Edward Trach ’58

Esme Usdan YC ’77

Courtney B. Vance ’86

Donald R. Ware YC ’71

Shana C. Waterman YC ’94, LAW ’00

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

John B. Beinecke

Sonja Berggren and Patrick Seaver Estate of James T. Brown*

Lois Chiles

The Roy Cockrum Foundation Connecticut Department of Economic and Community Development Estate of Nicholas Diggs* Estate of Richard Diggs* Anita Pamintuan Fusco and Dino Fusco David Geffen Foundation The Horace W. Goldsmith Foundation David G. Johnson

Victoria B. Mars Richard Ostreicher Estate of June M. Rosenblatt

The Shubert Foundation Jeremy Smith

Stephen Timbers

Nesrin and Andrew Tisdale

Edward Trach Esme Usdan

GUARANTORS

($25,000–$49,999)

James and Deborah Burrows Foundation

Sarah Long Neil Mazzella

Talia Shire Schwartzman

Tracy Chutorian Semler Estate of Eugene Shewmaker*

The Sir Peter Shaffer Charitable Foundation Donald R. Ware Estate of William Swan*

BENEFACTORS

($10,000–$24,999)

Nina Adams and Moreson Kaplan Americana Arts Foundation Rudy Aragon

Carmine Boccuzzi and Bernard Lumpkin

Lynne and Roger Bolton Burry Fredrik Foundation Wendy Davies Michael Diamond Educational Foundation of America Mabel Burchard Fischer Grant Foundation Lucille Lortel Foundation Cathy MacNeil-Hollinger and Mark Hollinger National Endowment for the Arts Michael and Riki Sheehan Estate of Merrill L. Sindler* Carol L. Sirot Trust for Mutual Understanding

PATRONS

($5,000–$9,999)

Foster Bam Pun Bandhu

Richard C. Beacham James Bundy and Anne Tofflemire Ian Calderon

Janet Ciriello

CT Humanities Michael S. David

Scott Delman Robert and Mercedes Eichholz Foundation Terry Fitzpatrick Barbara and Richard Franke* Howard Gilman Foundation

The Jesse & Dorothy Hartman Foundation Brian Tyree Henry Sally Horchow Ellen Iseman in memory of Marjorie Frankenthaler Iseman Rolin Jones Rocco Landesman Tien-Tsung Ma Brian Mann

Tarell Alvin McCraney Roz and Jerry Meyer David and Leni Moore Family Foundation James Munson

Jason Najjoum NewAlliance Foundation Carol Ostrow Bill and Sharon Reynolds

PRODUCER’S CIRCLE

($2,500–$4,999)

Anonymous

Frances Black

JANA Foundation Ann Judd and Bennett Pudlin Fred Gorelick and Cheryl MacLachlan George Lindsay, Jr. Abby Roth and R. Lee Stump

DIRECTOR’S CIRCLE

($1,000–$2,499)

Donna Alexander Anonymous

Debby Applegate and Bruce Tulgan Amy Aquino and Drew McCoy Paula Armbruster Mamoudou N. Athie Richard and Alice Baxter John Lee Beatty Santino Blumetti Kate Burton Anne and Guido Calabresi James Chen Audrey Conrad Brett Dalton Ramon Delgado Anne S. Erbe ERJ Fund

Melanie Ginter Marc Flanagan Rob Greenberg Jane Head Amy Herzog Suzanne Jackson Elizabeth Kaiden Elizabeth Katz and Reed Hundt Helen Kauder and Barry Nalebuff Fran Kumin

The Ethel & Abe Lapides Foundation Kenneth Lewis Neil Mulligan Amy Povich Kathy and George Priest Pam and Jeff Rank Lance Reddick

Dr. Michael Rigsby and Prof. Richard Lalli Douglas and Terri Robinson Russ Rosensweig

Ben and Laraine

Sammler

Slotznick Family Fund, a charitable fund of The Foundation for Enhancing Communities

Shepard and Marlene Stone

John Thomas III Courtney B. Vance Carol M. Waaser Clifford Lee Warner Shana C. Waterman Carolyn Seely Wiener Steven Waxler

PARTNERS

($500–$999)

Actors’ Equity Foundation

Shaminda Amarakoon Ashley Bishop John Bourdeaux Joy Carlin Joan Channick and Ruth Hein Schmitt* Sarah Bartlo Chaplin Sean Cullen Bob and Priscilla Dannies Rick Davis Robert Dealy Aziz Dehkan and Barbara Moss Kelvin Dinkins, Jr. and Alexis Rodda Sasha Emerson Peter Entin Jon Farley Glen R. Fasman Randy Fullerton Tony Foreman Geballe Family Peter Gerwe

LT Gourzong William J. Grambo Eduardo Groisman Regina Guggenheim William B. Halbert Andy Hamingson Judy Hansen Peter Hunt Pam Jordan Roger Kenvin Blair Kohan Eric Lin Harvey Kliman and Sandra Stein Nancy F. Lyon Virginia (Wendy) Riggs Lyons in memory of Robert W. Lyons John McAndrew

Susie Medak and Greg Murphy

Jonathan Miller

Janice Muirhead Barbara and William Nordhaus

Janet Oetinger

Arthur Oliner

F. Richard Pappas Louise Perkins and Jeff Glans

Point Harbor Fund of the Maine Community Foundation

Alec Purves Howard Rogut Anna Deavere Smith

Matthew Specter and Marjan Mashhadi Dr. and Mrs. Dennis D. Spencer James Steerman Kenneth J. Stein Matthew Suttor David Sword Paul Walsh Vera Wells Ray Werner Walton Wilson Steven Wolff Amanda Wallace Woods Albert Zuckerman

INVESTORS ($250–$499) Bruce Ackerman and Susan Rose-Ackerman Narda Alcorn

Alexander Bagnall Georg’Ann Bona Susan Brady and Mark Loeffler Mr. and Mrs. Robert Buckholz David Budries Jonathan Busky Lawrence Casey Nicholas Cimmino Paul Cleary William Connor Daniel Cooperman and Mariel Harris Robert Cotnoir Claire A. Criscuolo John W. Cunningham William Curran F. Mitchell Dana Laura Davis and David Soper Dennis Dorn Dr. Marc Eisenberg Richard and Barbara Feldman

Joel Fontaine

David Freeman Eric Gershman and Katie Liberman

Lindy Lee Gold Linda Greenhouse Emmy Grinwis Michael Gross Barbara Hauptman

Jennifer Hershey Dale and Stephen Hoffman Casey Grambo James Guerry Hood Chuck Hughes David Henry Hwang Joanna and Lee A. Jacobus Bruce Katzman Edward Kaye Alan Kibbe Amir Kishon Mitchell Kurtz Maryanne Lavan and Larry Harris Bona Lee Irene Lewis Jennifer Lindstrom Charles H. Long Mary Lloyd Adam Man Peter Marshall Thomas G. Masse and James M. Perlotto, MD Deborah McGraw David Muse Jennifer Harrison Newman Regina and Thomas Neville Adam O’Byrne Edward and Frances O’Neill Bruce Payne and Jack Thomas Dw Phineas Perkins Jeffrey Powell and Adalgisa Caccone Jon and Sarah Reed Ted Robb Brian Robinson Steve Robman Constanza Romero Nan Ross

Jean and Ron Rozett Sarah Ruhl Robert Sandberg Suzanne Sato

Robin Sauerteig

Kenneth Schlesinger Kathleen McElfresh Scott Florie Seery Paul Selfa

William Skipper Kenneth Stein

Howard Steinman Susan Stevens

Wilma and Williams Summers Bernard Sundstedt Matthew Taniko Richard B. Trousdell George C. White Guy and Judith Yale

FRIENDS ($100–$249)

Paola Allais Acree Theresa Aldamlouji Christopher Akerlind Michael Albano

Jeffrey Alexander Michael Annand Anonymous William Armstrong Peter Aronson Clayton Austin Angelina Avallone Emily Bakemeier and Alain Moreaux Warren Bass William and Donna Batsford Michael Baumgarten Richard Beals Karen BedrosianRichardson Jennifer Bennick Neil Blackhawk Mark Bly Amy Brewer and David Sacco Arvin Brown Donald and Mary Brown Oscar Brownstein Stephen Bundy Richard Butler Susan Byck David Byrd Barbara Bzdyra David Calica Kathryn A. Calnan Robert Campbell Juliana Canfield H. Lloyd Carbaugh Vincent Cardinal Sami Joan Casler Gus Christiansen King-Fai Chung Nicholas Cimmino Cynthia Clair David Conte Jane Cox Douglas and Roseline Crowley Anne Danenberg Cathy Davies-Harmon

Mr. and Mrs. Paul DeCoster

Penney Detchon Connie and Peter Dickinson Derek DiGregorio Melinda DiVicino Megan and Leon Doyon Jeanne Drury Samuel Duncan John Duran Terry Dwyer Ann D’Zmura Laura Eckelman William Eckerd Phoebe and Kem Edwards Fran Egler Robert Einienkel Nancy Reeder El Bouhali Janann Eldredge Donald Engelman Dirk Epperson David Epstein Dustin Eshenroder Frank and Ellen Estes Femi Euba Connie Evans Jerry Evans John D. Ezell Ann Farris Paul and Susan Birke Fiedler Terry S. Flagg Keith Fowler Adam Frank Walter M. Frankenberger III Richard Fuhrman Gerald E. Gaab Stephen Gefroh Carol Gibson-Prugh Lorraine Golan Lindy Lee Gold Betty and Joshua Goldberg Carol Goldberg Robert Goldsby Naomi Grabel Hannah Grannemann Steve Grecco Bigelow Green David Hale Stephanie Halene Amanda Haley Marion Hampton Alexander Hammond Ann Hanley Scott Hansen John Harnagel Charlene Harrington Babo Harrison Brian Hastert Catherine Hazelhurst James Hazen

Al Heartley

Beth Heller

Robert Heller Ann Hellerman Steve Hendrickson Chris Henry Brian Herrera

Jeffrey Herrmann Caite Hevner Elizabeth Holloway Nicholas Hormann Susan Horrowitz Bruce Horton Kathleen Houle Kevin Hourigan John Howland Evelyn Huffman Charles Hughes Derek Hunt Peter H. Hunt John Huntington John W. Jacobsen Chris Jaehnig Eliot and Lois Jameson Elizabeth Johnson Martha Jurczak Jonathan Kalb Carol Kaplan Edward Lapine Jay B. Keene Samuel Kelley Roger Kenvin Peter Kim

William Kleb Dr. Lawrence Klein Fredrica Klemm Deborah Kochevar Steve Koernig Bonnie Kramm Brenda and Justin Kreuzer David Kriebs

Joan Kron

Mitchell Kurtz Ojin Kwon Marie Landry and Peter Aronson Robert Langdon James and Cynthia Lawler Clare Leinweber Martha Lidji Lazar Drew Lichtenberg Elizabeth Lewis Fred Lindauer Benjamin Lloyd Thornton Lockwood Jerry Lodynsky Robert Hamilton Long II Everett Lunning Andi Lyons Wendy MacLeod Marvin March Edwin Martin Maria Matasar-Padilla

Amy McCauley

Margaret and Robert McCaw

Robert McDonald Deborah McGraw

Bill McGuire

Patricia McMahon

Donald Michaelis Kathryn Milano George Miller Jane Ann Miller Lawrence Mirkin Jennifer Moeller Richard Mone Beth Morrison Jay Mullen

Kevin Muzin

Jim and Eileen Mydosh Kaye Neale Netalia Neparidze Jennifer Newman Kate Newman Ruth Hunt Newman Jane Nowosadko Mark Novom

Deb and Ron Nudel Adam O’Byrne Eileen O’Connor Richard Olson Alex Organ Kendric T. Packer Steven Padla Michael Parrella Jeffrey Park Dr. and Mrs. Michael Parry Amanda Peiffer Ruth Perlman

William Peters

Joel Polis Lisa Porter Michael Posnick

Gladys Powers

Robert Provenza William Purves Norman Redlich Ralph Redpath

Gail Reen

Barbara Reid Oakton Reynolds Lisa Richardson Elizabeth Riedemann Joan Robbins

Nathan Roberts

Peter S. Roberts Lori Robishaw Chantal Rodriguez Kevin Rogers

Stu Rohrer

Robert Rooy Melissa Rose Joseph Ross Donald Rossler

John Rothman

of Drama and

Rebecca Rugg

Janet Ruppert

John Barry Ryan

Dr. Robert and Marcia

Safirstein

Steven Saklad

Robert Sandberg

Donald Sanders

Cynthia Santos-DeCure

Adam Saunders

Peggy Sasso

Joel Schechter

Anne Schenck

Kenneth Schlesinger

Georg Schreiber

Jennifer Schwartz

Patrick Seeley

Tom Sellar

Ellen Seltzer

Subrata K. Sen

Paul Serenbetz

Sandra Shaner

Morris Sheehan

Theatre

Jane Suttell

Douglas Taylor

Jane Savitt Tennen

Lorraine Siggins William and Elizabeth Sledge

Gilbert and Ruth Small E. Gray Smith, Jr. George Smith Helena L. Sokoloff Suzanne Solensky and Jay Rozgonyi Charles Steckler Louise Stein John Stevens Mark Stevens Michael Strickland Mark Sullivan Thomas Sullivan Erik Sunderman

Muriel Test

David F. Toser

Russell L. Treyz

Deb Trout

Carrie Van Hallgren

Adin Walker Jaylene Wallace Erik Walstad

Brad Ward

Joan Waricha Peter White Robert Wildman Annick Winokur and Peter Gilbert June Yearwood

EMPLOYER MATCHING GIFTS

Aetna Foundation

Ameriprise Financial Chevron Corporation Covidien

General Electric Corporation

IBM Mobil Foundation, Inc. Pfizer

Procter & Gamble

The Prospect Hill Foundation

the For Humanity

Drama

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 Carmine Boccuzzi and Bernard Lumpkin James Bundy and Anne Tofflemire

Lois Chiles

Michael David and Lauren Mitchell Scott Delman Michael Diamond and Amy Miller Estate of Nicholas Diggs* Estate of Richard Diggs* Lily Fan Terry Fitzpatrick Anita Pamintuan Fusco and Dino Fusco

David Marshall Grant Gilder Foundation Lane Heard and Margaret Bauer

Cheryl Henson Ellen Iseman

David G. Johnson Rolin Jones Jane Kaczmarek Cathy MacNeil-Hollinger and Mark Hollinger Brian Mann Jennifer Newman Julie Turaj and Rob Pohly Tracy Chutorian Semler Michael and Riki Sheehan Frances Black and Matthew Strauss

1,

Andrew and Nesrin Tisdale

Ed Trach Esme Usdan Shana C. Waterman Amanda Wallace Woods and Eric Wasserstrom

The Prospect Hill Foundation Jeremy Smith Courtney B. Vance Donald and Susan Ware Henry Winkler