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 today’s performance of The Inspector!
Nikolai Gogol’s comic masterpiece is one of the most trenchant observations of human nature in all of Russian literature. Set in an unnamed village somewhere beyond the boondocks—a character in the play notes that you could travel three years and not get anywhere—The Inspector introduces us to a mayor and assorted civil servants who are bankrupting their own town through grift and incompetence. When word spreads that an undercover inspector from St. Petersburg is in their midst, they go to extreme lengths to cover up their misdeeds.
In his new adaptation, director Yura Kordonsky reveals something much deeper underneath the hijinks. The Inspector is also the very moving tale of a community whose increasingly desperate—and hilarious—actions are driven by fear and longing. As much as we might wish otherwise, these feelings are as current in 2025 as they were in 1836.
An internationally renowned theater artist making his Yale Rep debut, Yura is also the Associate Chair of the Directing program at David Geffen School of Drama. When we began discussing the possibility of this production more than a year ago, Yura stressed the importance of building a company of actors with whom he shares an artistic shorthand and suggested casting the show entirely with graduates and current students of the Acting program. I am delighted to welcome back to our campus so many gifted artists to work alongside peers who soon will join them in the wider profession.
The Inspector is also our second WILL POWER! production this season, following Macbeth in Stride in December. This month, we will welcome students from New Haven Public High Schools, who will attend morning matinee performances at no cost. For many this work, made by a magnificent team of artistic, technical, and management collaborators, will be their first live theater experience.
Thank you so much for joining us today. I hope that you will return later in the spring for the final show of our season, Notes on Killing Seven Oversight, Management and Economic Stability Board Members. Mara Vélez Meléndez’s revenge saga-meets-drag extravaganza takes aim at unelected officials who think they know what’s best for the people. Directed by Javier Antonio González, the comedy will run April 25–May 17.
In the meantime, I look forward to hearing your thoughts on The Inspector or any of your experiences at Yale Rep. My email address is james.bundy@yale.edu.
Sincerely,
James Bundy
YALE REPERTORY THEATRE
James Bundy, Artistic Director | Florie Seery, Managing Director
PRESENTS
Scenic Designer
Silin Chen
Costume Designer
KT Farmer
Lighting Designer
Masha Tsimring
Sound Designer
Minjae Kim 김민재
Composer
Arseniy Gusev
Hair Designer
Matthew Armentrout
Production Dramaturgs
Sophia Carey
Georgia Petersen
Technical Director
Cian Jaspar Freeman
Fight and Intimacy Directors
Kelsey Rainwater
Michael Rossmy
Vocal Coach
Walton Wilson
Casting Director
Calleri Jensen Davis
Stage Manager
Adam Taylor Foster
Development and production support for The Inspector is provided by Yale’s Binger Center for New Theatre.
Yale Repertory Theatre gratefully acknowledges Carol L. Sirot for generously funding the 2024–25 season.
Yale Repertory Theatre thanks our 2024–25 season funders:
Season Sponsor:
Cast
The Mayor Brandon E. Burton
Anna, the Mayor’s wife Elizabeth Stahlmann
Marya, the Mayor’s daughter ........................................................................Chinna Palmer
Ivan Khlestakov ............................................................................................ Samuel Douglas Osip Nomè SiDone
The Director of Public Health.. Whitney Andrews
The Postmaster Annelise Lawson
The School Superintendent .................................................................. John Evans Reese
The Judge .............................................................................................................. Darius Sakui
The Doctor Grayson Richmond
Piotr Ivanovich Bobchinsky Edoardo Benzoni
Piotr Ivanovich Dobchinsky Malik James
Understudy Cast
The Mayor. Kieron J. Anthony
Ivan Khlestakov ............................................................................................. Liam Beveridge
Osip; The Judge ............................................................................................. Shawn Bowers
Piotr Bobchinsky; The Doctor Jeremy A. Fuentes
The Postmaster; The Director of Public Health Yishan Hao
Anna ................................................................................................................. Dorottya Ilosvai
Piotr Dobchinsky; The School Superintendent ...................................... Ameya Narkar
Marya. Olamide Oladeji
Assistant Stage Managers Hannah Louise Jones ................................................................................................. Caileigh Potter
The Inspector is performed with a 15-minute intermission.
THE DEVIL’S IN THE FALSE FRONTS IN GOGOL’S
In 1787, Russian statesman Grigory Potemkin tried to convince his lover, Empress Catherine the Great, that he had successfully colonized Crimea, even though he hadn’t. In fact, he had run out of money just as Catherine was planning a river cruise through her “newly annexed” lands. Legend has it that Potemkin, determined to fail up, had workers design and erect portable, pasteboard façades painted to look like state-of-the-art provincial amenities that could, if you were squinting from the deck of a boat, be perceived but not apprehended. The phrase “Potemkin Village” now refers to any mad, perversely charming scam machinated to obscure an ugly truth—a devil in disguise.
Nikolai Gogol’s 1836 play Revizor (translated by director and adaptor Yura Kordonsky as The Inspector) takes place in an unnamed Russian nowhere chock-a-block with would-be Potemkins. Sent into a frenzy by the prospect of big-city glamour that
has hitherto existed only elsewhere, the village bureaucrats slap on an overcoat of pompous deference worthy of the capital. Tripping over their feet and their tongues in an effort to pull off gross misconduct, the town officials break the laws—of language and government—they’re supposed to uphold and enforce. But this is the grammar of bureaucracy: every rule has its privileged exceptions.
The words grammar and glamour are etymologically related. Both refer to occult languages’ or Devilworshippers’ “power to charm.” Gogol was fascinated by the Devil and his various cults. An element of the supernatural drives nearly all Gogol’s prose works. Finding the supernatural in The Inspector, though, takes a bit of nosing around. Conflict in The Inspector is driven first and foremost by the cult of civil service—the Russian empire’s official caste system designed to entrench the authority of the autocrat. This type of administration isn’t foreign to the United States. One of President
THE DETAILS: INSPECTOR
Trump’s first acts of his second term was to fire seventeen inspectors general—the individuals responsible for protecting citizens against fraud, mismanagement, and misuse of taxpayer money. Corruption has become a lingua franca.
American essayist Joan Didion wrote that “all writing is an attempt to find… the grammar in the shimmer” or “to impose a grammar on the shimmer.” The art of translation is in many ways the art of illusion—the art of literally imposing the grammar of one language onto the otherwise inaccessible expression of the other and claiming that the former faithfully reflects the latter. There’s a scene in The Inspector that’s long been colloquially known, in Russia and abroad, as “The Lying Scene.” Kordonsky has re-translated it as “The Dreaming Scene,” awakening us to the question: When is it lying and when is it art?
Nineteenth-century political satirists often show empathy toward swindlers— think Dickens’s Artful Dodger. There’s an art and a charm to pickpocketing.
But there’s a difference between a pickpocket and a profiteer. The profiteer steals out of greed—but the pickpocket? Needs must when the devil drives.
The Devil, in this play, is everywhere—it’s poverty, and the fear of it; hunger and the fear of it; capitalism, and the fear of it; hell and the fear of it. These devils we’re dealing with in our gilded age are remarkably similar to the ones Gogol witnessed—and then wrote about— almost 200 years ago in his.
In her 1908 play Cassandra, about a woman cursed to tell prophetic truths no one believes, Ukrainian playwright Lesya Ukrainka has the line, “And what are we to call such truth that is borne of lies?” We call it art. Gogol’s playwriting was fed by the lies, the bribes, and the above-board extortion he saw happening around him. While The Inspector doesn’t serve its “heroes” their just deserts, neither does the play give the Devil his due. Gogol relies on his audiences to ensure no one gets away scot-free. Don’t let yourself be charmed.
—Sophia Carey, Production Dramaturg
STAGING SKAZ AND Gogol’s Voice in a New Inspector
Listen: in an old Soviet joke, a guard stationed at a border stops and searches a man pushing a wheelbarrow. Finding nothing, the attendant lets him cross. Each day the man arrives pushing his wheelbarrow, and each day the guard permits his passage. In some versions, the rapport between the men turns into friendship. In every version, however, the punchline is the same: the man has been smuggling wheelbarrows. The joke’s payoff is the same as its premise; the humor comes in the drawing-out. What—you didn’t laugh? Read it to the person next to you; jokes often ring brighter spoken aloud.
In 1836, nearly a century before the founding of the Soviet Union, Nikolai Gogol premiered The Inspector, whose plot functions in much the same way as the joke. As you watch, ask yourself: what really happens here? In other words, what cannot be inferred from the show’s premise alone, that of a man come to town whom everyone believes is an inspector? In Gogol’s masterwork, tragedy comes not from
the revelation of the fraud but from the way the characters—and we—keep filling the coffers of optimism only to have them emptied out, again and again, hoping beyond hope that the givens will somehow shatter themselves into something else. The comedy of the play comes from the way the premise explodes off the page, not so much forward as in a dust cloud of unproductive labor, a frenzy of language that only ever leads back to itself. The Inspector goes nowhere; the inspector was never there to begin with, but still Khlestakov crosses the border of the town again and again, smuggling in Gogol’s words and more than a little humor.
The progenitor of Russian literature as we know it, Gogol crystallized the literary technique skaz, described by its foremost theorist, the formalist critic Boris Eichenbaum (1886–1959), as “the form of narrative prose which, through its vocabulary, its syntax, and its intonations points toward the oral speech of the narrator.”
AND SILENCE: Inspector
In Gogol’s upside-down worlds— where a man can lose his nose and watch it usurp his life, where a man can lose everything in pursuit of a viable overcoat—skaz turns away from narrative that drives forward and toward the irresistible pleasure of the word itself. Skaz is the practice of irresponsibility, of contraband, of unignorable untruth, of percussion, of mixing metaphors; skaz is its own perpetual stew, a swirling borscht into which everyone can throw everything, should they choose to do so.
Crucially, Eichenbaum’s skaz was also an illusion. Orality was something to be gestured-to, a quality implied, and necessarily not fulfilled, by written prose. In one way, Yura Kordonsky’s restaging of The Inspector, 189 years after its inception, betrays Gogol’s signature technique by giving voice to the text: it breaks the incommensurability of forms, a tension that buzzes like an old filament at
the center of skaz. In another way, Kordonsky’s process—the months of translation and retranslation, of ungovernable character studies, and rehearsals which ignored any charge to calcify into performance—embodies the essence of skaz itself. The illusion, broken, finds ways to impede its own perfect functioning. The chaos, the hiccups, the lies that pop up in this bright light: skaz finds its way in through fissures. Offstage, Kordonsky and Gogol keep tabs on each other’s crossings across time and geography, admire each other’s wheelbarrows and record books, and trust the punchline will eventually come. The characters and their actors, onstage, stir the borscht, faster and faster, centrifugal force opening a hole in the center where the pot hisses, or doesn’t. At some point, the joke must end—who is to blame?
—Georgia Petersen, Production Dramaturg
Who was Nikolai Gogol?
Beloved during his life by readers, fellow writers, and even Tsar Nicholas I, Nikolai Vasilyevich Gogol (1809–1852) was born in Ukraine, then a part of the Russian Empire. His now-canonical short story collection St. Petersburg Tales (“The Overcoat,” “The Nose”), his novel (Dead Souls), and his plays (The Government Inspector, Marriage) use humor for incisive social critique.
Gogol was a dramatist committed to representing real life onstage, no matter how scathingly. Frustrated by the imported melodramas and vaudevilles that dominated the Russian theater in the early nineteenth century, Gogol wrote in 1836, “For heaven’s sake, give us Russian characters, give us ourselves—our scoundrels, our eccentrics!”
While he garnered praise for his early writings, Gogol turned toward fanatical Christian mysticism near the end of his life, alienating himself from his friends and casting him into poverty. This would have ruined his reputation, if not for the integrity of his early works and the writers (Turgenev, Tolstoy, Dostoyevsky) who had already become acolytes.
Upon Gogol’s death the novelist Ivan Turgenev wrote an obituary for the St. Petersburg Gazette. It read, “Gogol is dead…. What Russian heart is not shaken by those three words? He is gone, that man whom we now have a right (the bitter right, given to us by death) to call great.” The obituary didn’t pass the censors. Turgenev was subsequently arrested. He was later exiled from St. Petersburg.
“Optimism is cruel…
INSOFAR AS THE VERY PLEASURES OF BEING INSIDE A RELATION HAVE BECOME SUSTAINING REGARDLESS OF THE CONTENT OF THE RELATION, SUCH THAT A PERSON OR A WORLD FINDS ITSELF BOUND TO A SITUATION OF PROFOUND THREAT THAT IS, AT THE SAME TIME, PROFOUNDLY CONFIRMING.”
—LAUREN BERLANT, CRUEL OPTIMISM
“Don’t blame the mirror for your own ugly mug.”
While The Inspector puts its laser focus on the higherups of a small-town government, common people we never see, hear, or meet haunt all of Gogol’s works.
Below are all of the names in the original playscript:
Fiodr Andreyevich Luliukov—esteemed personage of the town
Ivan Lazarevich Rastakovsky—personage of the town
Stepan Ivanovich Korobkin—ex-official
Svistunov-police sergeant
Pugovitzyn—police sergeant
Derzhimorda—police sergeant
Mishka—the mayor’s servant
Cheptovich—suing Varkhovinsky
Varkhovinsky—suing Cheptovich
Chorniayev, a merchant
Filipp Antonovich Pachechuyev—sells kegs for French brandy
Whitney Andrews* she/her (The Director of Public Health) is a Haitian American actor and is making her Yale Rep debut!
Off-Broadway: Sex
Variants of 1941 (Skirball). Television: Manifest, Wu Tang: An American Saga, Happy!, Gotham. M.F.A., David Geffen School of Drama at Yale. @whitneyjanell
Edoardo Benzoni (Piotr Bobchinsky)
is a third-year M.F.A. acting candidate at David Geffen School of Drama, where he has been seen in Uncle Vanya, The Care and Keeping of You Pages 76–77, How to Live on Earth, and A Midsummer Night’s Dream. Other credits include The Far Country (Yale Rep, understudy); Pride and Prejudice and Cannabis Passover (Chautauqua Theater Company). He received his bachelor’s degree from the University of California, Berkeley.
Brandon E. Burton* (The Mayor) is excited to return to Yale! Last summer, Brandon was back in New Haven to do King Lear at the International Festival of Arts & Ideas under the direction of Karin Coonrod. You can catch Brandon this summer in Pennsylvania Shakespeare Festival’s production of A Raisin in the Sun. Brandon wants to thank Mom, Dad, Nichole, Stephanie, Alicia, Evan, and George. 277 for Life. Other theater credits include Death of a Salesman
(Broadway), Fences (Pennsylvania Shakespeare Festival), The Folks at Home (Baltimore Center Stage), Merry Wives (Public Theater). Yale Rep: A Raisin in the Sun (Bobo, canceled due to COVID). Film/Television: Cram (Amazon/Tubi), Evil (CBS). M.F.A., David Geffen School of Drama.
Samuel Douglas* (Ivan Khlestakov) New York: Wipeout (MTC). Regional: Leopoldstadt (Huntington Theatre, Shakespeare Theatre Company); The Comedy of Errors (Chicago Shakespeare Theatre); Arlington, The Betrayal Project (Yale Cabaret); Uncle Vanya, Macbeth (David Geffen School of Drama). M.F.A., David Geffen School of Drama (Oliver Thorndike Award); B.A., Northwestern University. @samwdouglas
Malik James* (Piotr Dobchinsky) is excited to be making his return to the Yale Rep stage, where he was previously seen in Choir Boy. He is a recent M.F.A. graduate of David Geffen School of Drama, where he was seen in Ruzante, Measure for Measure, The Alley, among others. Malik also holds a B.F.A. in acting from Texas State University. He would like to thank everyone involved in this production and his friends and family for their unwavering support. He dedicates this performance to his late Aunt Janice. maliktjames.com
Annelise Lawson* (The Postmaster) is a bi-coastal actress and director. Recent credits include Masha in Three Sisters (Two River Theater); Anna in Babes in the Wood (Signature Theatre, world premiere); The Last Act (Israeli Stage, world premiere); √3 Sisters (International Festival of Arts & Ideas); Arcadia (Yale Rep); Midsummer (Edinburgh Fringe, The Araca Project); The Oresteia, Our Lady of 121st Street, The Troublesome Reign of King John (David Geffen School of Drama); Middletown, A Map of Virtue (Yale Summer Cabaret); The Madness of Edgar Allan Poe (First Folio). Film: The Familiars DnD (Twitch and YouTube Live) and Close-Up (NY Indie Theater Film Festival Winner). Voiceover: Hiding in Plain Sight (Ken Burns). Directing: How to Live on Earth (the Geffen School); The Climate Change Project (Whitman College); Edward Albee’s Who’s Afraid of Virginia Woolf? (Assistant Director, Yale Rep). She holds an M.F.A. in acting from David Geffen School of Drama and certificates in acting from the Moscow Art Theatre School, the British American Drama Academy, and iO.
Chinna Palmer (Marya) is a third-year M.F.A. candidate at David Geffen School of Drama. Her credits include Measure for Measure, Our Town (Shakespeare Theatre Company); Behind the Sheet (St. Louis Black Rep); and Fairview (Woolly Mammoth Theatre). Her hope as an artist is that
everything she does is rooted in Love, driven with Purpose, in search of Truth. @chinna.palmer
John Evans Reese* (The School Superintendent) is proud to make his Yale Rep debut. OffBroadway: A Taste of Honey (Pearl Theatre Company, directed by Austin Pendleton), Way to Heaven (Repertorio Español, The New York Times Critics’ Pick). Regional: Lord of the Flies (Barrington Stage Company), An Inspector Calls (Pioneer Theatre Company), This is Our Youth (Wellfleet Harbor Actors Theatre), The History Boys (Palm Beach Dramaworks), Shakespeare’s R&J (Cygnet Theatre), The Way of the World (Franklin Stage). Select Yale credits: COCK (Yale Cabaret, Yura Kordonsky and Alex Keegan); In His Hands; The Last Days of Judas Iscariot; Shoot Her, Shooter; shakespeare’s as u like it (the Geffen School). John voices all characters in the new cartoon Nepo Babies created by Margaret E. Douglas and Stephanie Osin Cohen. He is the recipient of the Oliver Thorndike Acting Prize and a Jerome L. Greene Fellow. He is a proud member of the Actors Center Company. Training: David Geffen School of Drama, UNCSA. @johnevansreese
Grayson Richmond (The Doctor) is making his Yale Rep debut and is a third-year M.F.A. candidate at David Geffen School of Drama. Acting: The Care and Keeping of
CAST
in alphabetical order
You Pages 76–77, The Sign in Sidney Brustein’s Window, Hamlet: princesa de Dinamarca, Grand Concourse, How to Live on Earth (Geffen School); Apologiae 4 & 5, The Horrors, The Betrayal Project, Hot & Cold Showers (Yale Cabaret); A Streetcar Named Desire (Costa Mesa Playhouse).
Directing: The Aughts (Yale Cabaret). B.F.A. in screen acting, Chapman University. Thanks to the production team, the School, and especially Mom, Dad, Aria, Tamilla, Grace, James, Walton, Yura, Jeremy, Karoline, and Zak.
Darius Sakui he/him (The Judge) is extremely thankful to be a part of this talented cast and crew! He wants to thank his teachers, his friends, his family, and especially his mother for their love and support throughout the years! He is a second-year actor at David Geffen School of Drama, where he was seen in Metamorphoses.
Nomè SiDone* (Osip) Regional: Richard II, The Heart of Robin, The Sea Maid Music, The Taming of the Shrew (Hudson Valley Shakespeare). University: Macbeth, Hedda Gabler, Love’s Labour’s Lost, Udo (David Geffen School of Drama). M.F.A., David Geffen School of Drama; B.F.A., UNC School of the Arts/UNCSA. A proud immigrant from Lagos, Nigeria, Nomè is an actor/writer residing in NYC.
Elizabeth Stahlmann* (Anna) is proud to make her Yale Rep debut. She most recently led the world premiere of Tectonic Theater Project’s Here There Are Blueberries directed by Moisés Kauffman at New York Theatre Workshop, Shakespeare Theatre in Washington, D.C., and La Jolla Playhouse. Other theater credits include Slave Play (Mark Taper Forum, understudy for Broadway), Grounded directed by Liz Diamond (Westport Country Playhouse), and productions with The Alley Theatre, The Acting Company, The Guthrie Theater, Compagnia de’ Colombari, KrymovLab NYC. Television and film credits include City on a Hill, The Equalizer, Law & Order: SVU, and The Snare (in production). B.F.A., University of Minnesota/Guthrie Theater; M.F.A., David Geffen School of Drama.
UNDERSTUDIES
in alphabetical order
Kieron J. Anthony (understudy for The Mayor) is a first-year actor at David Geffen School of Drama, hailing from the sunny twin-island republic of Trinidad and Tobago. A University of Miami and Atlantic Acting School graduate, Kieron is grateful to be making his Yale Rep debut! Look at God! Selected credits include One Night in Miami (Colony Theater); King Lear (A.R.T./New York Theatres); KIN (WP Theater); Field, Awakening (Signature Theatre); Inventing Anna (Netflix). @kieronjanthony
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
Liam Beveridge (understudy for Ivan Khlestakov) is a firstyear actor at David Geffen School of Drama. Liam grew up in Seattle and received his B.A. in theater from Lewis & Clark College. Liam is grateful to be working alongside so many talented collaborators at Yale Rep!
Shawn Bowers (understudy for Osip; The Judge) is a firstyear M.F.A. candidate at David Geffen School of Drama. Yale Rep debut! Broadway: Ain’t Too Proud—The Life and Times of the Temptations. OffBroadway: Jelly’s Last Jam (City Center Encores), The Harder They Come (The Public Theater). Additional credits: Ragtime, Rent, Beautiful: The Carole King Musical, Smokey Joe’s Cafe, After Midnight. Film: Rio Uphill (musical adaptation). Television: Tony Awards and Macy’s Thanksgiving Day Parade with the original cast of Ain’t Too Proud. He would like to thank his family and friends for their continuous love and support. Shawn is a proud member of Actors’ Equity Association. @shawnedwardbowers
Jeremy A. Fuentes he/him (understudy for Piotr Bobchinsky; The Doctor) is a first-year M.F.A. acting candidate at David Geffen School of Drama. He was born and raised in Miami, Florida, and is a recent graduate of the University of Florida where he received his bachelor’s degree in public health. This is the first production
that he has worked on at Yale. He is grateful to the faculty for their continuous guidance and wisdom.
Yishan Hao she/ her (understudy for The Postmaster; The Director of Public Health) is a firstyear actor at David Geffen School of Drama. Previous credits include birds and the curiosity at Hollywood Fringe. B.A., UC Davis, psychology.
Dorottya Ilosvai (understudy for Anna) is from Hungary and is a first-year M.F.A. candidate at David Geffen School of Drama. She just received her B.A. from New York University, Abu Dhabi.
Ameya Narkar (understudy for Piotr Dobchinsky; The School Superintendent) is a first-year actor at David Geffen School of Drama. He was born and raised in Mumbai, India. Ameya is grateful for the opportunity to learn and grow alongside such talented artists.
Olamide Oladeji she/ her (understudy for Marya) is a first-year actor at David Geffen School of Drama. Her previous theater credits include The Cherry Orchard, Chicken and Biscuits, and Bite Me
CREATIVE
TEAM in alphabetical order
Matthew Armentrout (Hair Designer) previously worked at Yale Rep on The Far Country, Escaped Alone, Wish You Were Here, The Brightest Thing in the World, Edward Albee’s Who’s Afraid of Virginia Woolf?, Today is My Birthday, and Manahatta. Broadway: Birthday Candles, Paradise Square, Flying Over Sunset, and 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).
Calleri Jensen Davis (Casting Director) is a creative casting partnership among James Calleri, Erica Jensen, and Paul Davis of over 20 years. They began their collaboration with Yale Rep in 2023 with Mojada: A Medea in Los Angeles and the ripple, the wave that carried me home. Broadway credits: The Piano Lesson, Topdog/Underdog, for colored girls..., Thoughts of a Colored Man, Burn This, Fool for Love, The Elephant Man, Hedwig and the Angry Inch, Of Mice and Men, Venus in Fur, A Raisin in the Sun, 33 Variations. Television: Love Life, Queens, Dickinson, and The Path, to name a few. callerijensendavis.com
Sophia Carey she/her (Production Dramaturg) is a third-year M.F.A. candidate in dramaturgy and dramatic criticism at David Geffen School of Drama, where she was the production dramaturg on Metamorphoses, Uncle Vanya, Running Play by Ida Cuttler, and Measure for Measure, which she co-adapted. Yale Cabaret credits include Every Brilliant Thing, Pride of Doves, Tobie, and Annunciation, which she wrote. In 2021 she was named a Beinecke Scholar. Her
writing engages art that draws from epic and mythological sources to center women’s voices and explore contemporary questions about gender, childhood, and magic. She is originally from Seattle and holds a B.A. in English from the University of Washington.
Silin Chen (Scenic Designer) is a third-year M.F.A. candidate at David Geffen School of Drama, where she designed Uncle Vanya and Cactus Queen. She designs for stage and exhibitions. @de.silin | silindesign.com
KT Farmer they/them (Costume Designer) is a third-year M.F.A. candidate at David Geffen School of Drama, where their credits include Hamlet: princesa de dinamarca. Other costume design credits include Intimate Apparel, Heart of a Dog, and Twelfth Night. Assistant credits include productions at Synetic Theater, Yale Rep, the Geffen School, and VCU Raymond Hodges Theatre. KT has won multiple awards in the arts field, including the SETC Undergraduate Costume Design Award in first place (2021) and honorable mention (2022), Bobby Chandler Award for Theatre Technology (2022), and the Georgia Shorts Film Festival Best Animated Short Film in first place (2022). In addition, KT has worked as a freelance illustrator, painter, and theater craftsperson for more than a decade. KT received their B.F.A. in theater from Virginia Commonwealth University, Richmond. Now more than ever, love and protect your community. I love you Mom and Mama. ktfarmer.com @creatikt
Adam Taylor Foster* (Stage Manager) is a third-year M.F.A. candidate at David Geffen School of Drama, where credits include Marys Seacole, How to Live on Earth, HELLYOUTALMBOUT, and Measure for Measure. Other select credits: Escaped Alone (Yale Rep); Three Sisters, Dindin, Buried Child, The Ballad of Bobby Botswain, Liv at Sea (Harbor Stage Company); Romeo and Juliet, Pride and Prejudice (UMass Boston). Thank you to Megan for marrying me.
Cian Jaspar Freeman they/he (Technical Director) is a third-year student pursuing their M.F.A. in technical design and production at David Geffen School of Drama, where his credits include serving as Technical Director for the 2024 Carlotta Festival, an Assistant Technical Director for Ghosts, as well as The Salvagers and falcon girls at Yale Rep. Prior to Yale, Cian worked as the Assistant Technical Director at the McGlothlin Center for the Arts, while pursuing their B.F.A. in theatrical design and production from Emory & Henry University. Cian is incredibly grateful for everyone who has had the patience to help guide him through this process.
Arseniy Gusev (Composer) is a graduate of the Yale School of Music and currently a student at The Juilliard School. Arseniy has been pursuing a double career, as a composer and concert pianist. Since his orchestral debut at the age of 15, Gusev’s compositions have been performed in such venues as Mariinsky Theater, Carnegie Hall, Konzerthaus Dortmund, St. Petersburg Philharmonic, Shanghai Philharmonic; they present a colorful variety of
styles and genres, some of which are solo, collaborative, orchestral and chamber music, film and theater scores, electronic compositions, lofi, techno, ballet, and opera. Several of Gusev’s works notably explore alternative and imaginative history, as well as its cultural oddities, such as Madrigals on Ancient Egyptian Poetry, Fragments from Wojciech Bobowsky’s Diary, Mandrakes from the Garden of Rudolf II, among others.
Hannah Louise Jones* (Assistant Stage Manager) is a third-year M.F.A. candidate at David Geffen School of Drama, where select stage management credits include Ain’t No Mo’, Cactus Queen, The Misanthrope, and Furlough’s Paradise. Other credits include The Lesson (Ars Nova); the betrayal project, Alien Girls, and The Cycle (Yale Cabaret). Hannah was a Stage Management Apprentice for New York Stage and Film’s 2024 Summer Season. She thanks her incredible family and friends for their love and support.
Minjae Kim 김민재 he/him (Sound Designer) is a Korean-Canadian theater artist and a third-year M.F.A. candidate at David Geffen School of Drama. He discovered his passion for theater design as an undergraduate at Princeton University before coming to Yale to specialize in sound. He is excited to mark the culmination of his time here by collaborating with friends and peers on The Inspector. Recent select sound and/ or composition credits include Metamorphoses, rent free, Cleansed (the Geffen School); Ghost Quartet (Princeton Summer Theater), The Match Girl (Cellunova), Mary Stuart—A
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
CREATIVE TEAM
in alphabetical order
New Translation (Princeton); and The Hello Girls (McCarter). He hopes to continue exploring his artistry as a designer, director, playwright, and performer. mondayminjae.com
Yura Kordonsky (Adaptor and Director) Born in Odessa, Ukraine, Yura received his M.F.A. degrees in acting and directing from the St. Petersburg State Academy of Theatre Arts, Russia, under the direction of Lev Dodin. He has taught, performed, and directed internationally since 1989. Directing credits include his original play Disappearance and House of Bernarda Alba (Maly Drama Theatre, St. Petersburg, Russia); Uncle Vanya, The Marriage, Crime and Punishment, Marble, Bury Me Under the Baseboard, and Zinc Boys (Bulandra Theatre, Bucharest, Romania); The Lower Depths, The Cherry Orchard (Hungarian Theatre, Cluj, Romania); The Encounter (UNESCO ITI congress, Manila, Philippines); Fatherlessness (Orkeny Szinhaz, Budapest); Last Day of Youth (National Theatre “Radu Stanca,” Sibiu, Romania); The Seagull, Erendira (German National Theatre, Timisoara, Romania); The Heart of a Dog, Romeo and Juliet (National Theatre, Bucharest); Peer Gynt, Oedipus Rex, The Bald Soprano (Wesleyan University); A Diary of a Madman (West End Theatre, Gloucester, Massachusetts); and Canterbury Tales (Riverside Theater, New York), among others. International awards include Golden Light, Governor’s Award, and Bravo Award for Best Production (Russia), Union of European Theatres’ Award for Best Production (Italy), multiple UNITER Awards for Best Production and Best Director (Romania), and the Special Prize of the Romanian
Ministry of Culture. In the U.S., he has taught at Wesleyan University, where he served as Professor and Chair of Theater Department, Columbia University, UC San Diego, George Washington University, Colgate University, and the Eugene O’Neill Theater Center. He currently serves as Associate Chair of Directing and Professor in the Practice of Directing at David Geffen School of Drama.
Georgia Petersen (Production Dramaturg) is a second-year M.F.A. candidate in dramaturgy and dramatic criticism at David Geffen School of Drama and a managing editor at Theater magazine, Yale’s journal of theater and performance. She most recently worked as a dramaturg on Escaped Alone at Yale Rep. She holds a B.F.A. in acting with a minor in creative writing from New York University.
Caileigh Potter she/her (Assistant Stage Manager) is a second-year M.F.A. candidate at David Geffen School of Drama. She holds a B.A. in theater and a minor in biology from Florida State University. Select stage management credits include The Care and Keeping of You Pages 76-77, A Midsummer Night’s Dream, Cleansed, The Misanthrope (Geffen School); Measure for Measure, Suor Angelica/ Gianni Schicchi, New Dances 2022 (The Juilliard School); Marisol, Hairspray, Pinkalicious the Musical (Florida State University). Caileigh is also a 2023 graduate of The Juilliard School Stage Management Apprenticeship Program. She would like to thank her family and friends for their endless love and support!
Kelsey Rainwater (Fight and Intimacy Director) is an intimacy and fight director, and actress based out of the ancestral lands of the Quinnipiac people. Kelsey’s work was recently seen in Liberation at Roundabout and Hell’s Kitchen on Broadway. Some of her other credits include Walden at Second Stage; Jordan’s, Sally and Tom, and Manahatta at The Public Theater. Other credits include, Hot Wing King at Hartford Stage, In the Southern Breeze, Measure for Measure, and White Noise by SuzanLori Parks, directed by Oskar Eustis at The Public Theater; Blues for an Alabama Sky with the Keen Company; Wish You Were Here, Between Two Knees, Edward Albee’s Who’s Afraid of Virginia Woolf?, Mojada: A Medea in Los Angeles, and the ripple, the wave that carried me home at Yale Rep. Film and television: Baby Ruby, The Green Veil. She is a Lecturer in acting at David Geffen School of Drama, co-teaches stage combat and intimacy, and is a Resident Fight and Intimacy Director for Yale Rep.
Michael Rossmy (Fight and Intimacy Director) is a Resident Fight and Intimacy Director for Yale Rep, a lecturer in acting at David Geffen School of Drama, and Stage Combat and Intimacy Advisor for Yale College. Broadway credits include A Tale of Two Cities, Cymbeline, and Superior Donuts. Regional theater credits include The Public Theater, Roundabout, The Atlantic, Primary Stages, Westport Country Playhouse, Goodspeed Musicals, Paper Mill Playhouse, Asolo Rep, The Old Globe, TheaterWorks Hartford, Princeton University, The Acting Company, Soho Rep, the Geffen Playhouse, Long Wharf Theatre, McCarter Theatre, Kansas City
Rep, People’s Light & Theatre, and others. He was nominated for a 2017 Drama Desk Award for The Public’s production of Troilus and Cressida and is a 2024 Barrymore Award nominee for Bonez at People’s Light. Upcoming: the Broadway premiere of Branden Jacobs-Jenkins’s Purpose directed by Phylicia Rashad.
Masha Tsimring (Lighting Designer) Off-Broadway: A Woman Among Women (Bushwick Starr), Six Characters (LCT3), Coach Coach (Clubbed Thumb), Staff Meal (Playwrights Horizons), Grief Hotel (Clubbed Thumb), Sad Boys in Harpy Land (Playwrights Horizons/ Abrons Art Center), Self Portraits (Bushwick Starr), Montag (Soho Rep). Regional: Primary Trust (La Jolla Playhouse), English (Barrington Stage), Eternal Life, Part 1 (The Wilma), The Appointment (Lightning Rod Special), Vietgone (Guthrie), Tick Tick…Boom! (Portland Center Stage). Dance/Opera: Terce (Prototype), Me. You. We. They. (LA Dance Project/ Paris Philarmonie), morning/mourning (Prototype/HERE), Deepe Darknesse (Lisa Fagan/Lena Engelstein/New York Live Arts), Unstill Life (LA Dance Project), The Hunt (Miller Theater), Rodelinda (Hudson Hall/Santa Fe Opera), Der Freischütz (Wolf Trap Opera). In addition to design, Masha’s interests include working towards a more ethical model of making in the American theater. She is a proud member of USA829. mashald.com
Walton Wilson he/him (Vocal and Dialect Coach) is a member of the Acting faculty at David Geffen School of Drama at Yale. He was trained and designated as a voice teacher by Kristin Linklater and was later trained and certified as an associate teacher
CREATIVE
TEAM in alphabetical order
by Catherine Fitzmaurice. His ongoing studies include working with voice teachers such as Richard Armstrong, Andrea Haring, Meredith Monk, Natsuko Ohama, Patsy Rodenburg, and members of the Roy Hart Theatre. As a voice and dialect coach, his New York credits include The Violet Hour and Golden Child on Broadway as well as the world premiere productions of The Laramie Project, The Laramie Project: 10 Years Later; and Endangered Species. Regional credits include serving as a voice and dialect coach on productions at Actors Theatre of Louisville, American Repertory Theater, Berkshire Theatre Group, Dorset Theatre Festival, Double
Edge Theatre, Long Wharf Theatre, McCarter Theatre, Shakespeare & Company, Swine Palace Theatre, and Williamstown Theatre Festival. At Yale Rep, he has served as voice and dialect coach for Edward Albee’s Who’s Afraid of Virginia Woolf?, 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.
FOR THIS PRODUCTION
ARTISTIC
Assistant Director
Amanda Whiteley
Assistant Scenic Designer
Yaya Zhang
Assistant Costume Designer
Caleb Krieg
Associate Lighting Designer
Jordan Barnett
Assistant Sound Designer and Engineer
Nicky Brekhof
Wig Supervisor
Courtney Horry
Dance Captain
Nomè SiDone
German Language Consultant
Karoline Vielemeyer
Custom Printing
Kimberly Green
PRODUCTION
Associate Production Manager
Katie Chance
Technical Direction Advisor
Shawn Poellet
Assistant Technical Directors
Sean Blue
Keira Jacobs
Meredith Wilcox
Properties Manager
Constanza Etchechury López
Production Electrician
Tyler Zickmund
Run Crew
Jessie Baldinger, Laurel Capps, Héctor Flores Komatsu 小松輝, Sarah
Lo, Thomas Nagata, Caroline Tyson, Claire Young
Run Crew Swings
Lolade Agunbiade, Michael Saguto, Nat King Taylor
ADMINISTRATION
Associate Managing Director
Mikayla Stanley
Assistant Managing Director
Sarah Saifi
Management Assistants
Jocelyn Lopez-Hagmann
Catherine MacKay
Company Manager
Joy Chen
Assistant Company Managers
Kay Nilest
Gavin D. Pak
House Managers
Raekwon Fuller
Gaby Rodriguez
Production Photographer
Joan Marcus
Poster Art and Design
Paul Evan Jeffrey/Passage Design
SPECIAL THANKS
Natalia Melnikova, Yale Cabaret, Tammy
Sirois and everyone at Wallingford Flower, Chris Bayes, Glen Seven Allen, Jill Brunelle.
Some text comes from Thomas Seltzer’s The Government Inspector (1917 translation of Gogol’s play). German language translations by Karoline Vielemeyer.
Yale Repertory Theatre and David Geffen School of Drama Staff
Artistic Director/ Elizabeth Parker Ware Dean
James Bundy
Managing Director/ Associate Dean
Florie Seery
Associate Artistic Director, Director of New Play Programs/Associate Dean
Chantal Rodriguez
General Manager/ Assistant Dean
Carla L. Jackson
Assistant Dean
Nancy Yao
Academic Programs
Chair, Acting Program
Tamilla Woodard
Associate Chair, Acting Program
Grace Zandarski
Co-Chair, Design Program and Head of Set Design Concentration
Riccardo Hernández
Co-Chair, Design Program and Head of Costume Design Concentration
Toni-Leslie James
Head of Sound Design Concentration
Jill BC Du Boff
Head of Projection Design Concentration
Wendall K. Harrington
Head of Lighting Design Concentration
Stephen Strawbridge
Chair, Directing Program
Liz Diamond
Associate Chair, Directing Program
Yura Kordonsky
Chair, Dramaturgy and Dramatic Criticism Program
Catherine Sheehy
Associate Chair, Dramaturgy and Dramatic Criticism Program
Kimberly Jannarone
Co-Chairs, Playwriting Program
Anne Erbe
Marcus Gardley
Chair, Stage Management Program
Narda E. Alcorn
Associate Chair, Stage Management Program
James Mountcastle
Chair, Technical Design and Production Program
Shaminda Amarakoon
Associate Chair, Technical Design and Production Program
Jennifer McClure
Chair, Theater Management Program
Joan Channick
ARTISTIC
Yale Rep
Resident Artists
Playwright in Residence
Tarell Alvin McCraney
Resident Directors
Lileana Blain-Cruz
Liz Diamond
Tamilla Woodard
Dramaturgy Advisor
Amy Boratko
Resident Dramaturg
Catherine Sheehy
Set Design Advisor
Riccardo Hernández
Resident Set Designer
Michael Yeargan
Costume Design Advisors
Oana Botez
Ilona Somogyi
Resident Costume Designer
Toni-Leslie James
Lighting Design Advisors
Alan C. Edwards
Stephen Strawbridge
Projection Design Advisor
Shawn Lovell-Boyle
Sound Design Advisor
Jill BC Du Boff
Voice and Text Advisor
Grace Zandarski
Resident Fight and Intimacy Directors
Kelsey Rainwater
Michael Rossmy
Stage Management Advisor
Narda E. Alcorn
Associate Artists
52nd Street Project, Kama Ginkas, Mark Lamos, MTYZ Theatre/Moscow New Generation Theatre, Bill Rauch, Sarah Ruhl, Henrietta Yanovskaya
Artistic Administration
Production Stage Manager
James Mountcastle
Yale Rep Senior Artistic Producer
Amy Boratko
Yale Rep Associate Producer
Kay Perdue Meadows
Yale Rep Artistic Fellow
Hannah Fennell Gellman
Yale Rep Artistic Coordinator
Andrew Aaron Valdez
Yale Rep Casting
James Calleri
Erica Jensen
Paul Davis
Editor, Theater magazine
Tom Sellar
Managing Editor, Theater magazine
Gabrielle Hoyt
Senior Associate Editor, David Geffen School of Drama Alumni Magazine
Catherine Sheehy
Senior Administrative Assistant to the Artistic Director/Dean and Associate Artistic Director/ Associate Dean
Josie Brown
Senior Administrative Assistant for Directing, Dramaturgy and Dramatic Criticism, Playwriting, Stage Management programs, and Theater magazine
Laurie Coppola
Senior Administrative Assistant, Design Program
Kate Begley Baker
Senior Administrative Assistant, Acting Program
Krista DeVellis
Library Services
Erin Carney
PRODUCTION
Production Management
Director of Production
Shaminda Amarakoon
Production Manager
Jonathan Reed
Production Manager for Studio Projects and Special Events
C. Nikki Mills
Senior Administrative Assistant to Production, Theater Safety, and the Technical Design and Production Program
Rachel Zwick
Scenery
Technical Director for Yale
Rep and Fall Protection Program Administrator
Neil Mulligan
Technical Directors for David Geffen School of Drama
Latiana “LT” Gourzong
Matt Welander
Electro Mechanical
Laboratory Supervisor
Eric Lin
Metal Shop Foreperson
Matt Gaffney
Wood Shop Foreperson
Ryan Gardner
Lead Carpenters
Doug Kester
Kat McCarthey
Sharon Reinhart
Carpentry Interns
Jacob Thompson
Laurel Capps
Painting
Scenic Charge
Mikah Berky
Lead Scenic Artists
Lia Akkerhuis
Nathan Jasunas
Paint Interns
Gabriela Ahumada
Gwendoline Chen
Properties
Properties Supervisor
Jennifer McClure
Properties Craftsperson
Steve Lopez
Properties Associate
Zach Faber
Properties Stock Manager
Mark Dionne
Properties Assistant
Destany Langfield
Properties Interns
Angie Hause
Hsiao Ru-Ho
Costumes
Costume Shop Manager
Christine Szczepanski
Senior Drapers
Susan Aziz
Clarissa Wylie Youngberg
Mary Zihal
Senior First Hands
Deborah Bloch
Patricia Van Horn
First Hand
Maria Teodosio
Costume Project Coordinator
Linda Kelley-Dodd
Costume Stock Manager
Jamie Farkas
Costume Technology Intern
Nana Chanmalee
Electrics
Lighting Supervisor
Donald W. Titus
Senior House Electricians
Jennifer Carlson
Linda-Cristal Young
Electricians
Alary Sutherland
Ryan White
Electrics Interns
April Salazar
Tyler Zickmund
Sound
Sound Supervisor
Mike Backhaus
Senior Lead Sound Engineer
Stephanie Smith
Sound Interns
Eden Wyandon
Eun Kang
Projections
Projection Supervisor
Anja Powell
Projection Technician
Henry Rodriguez
Projection Intern
Jada Rose Pinsley
Stage Operations
Stage Carpenter
Janet Cunningham
Lead Wardrobe Supervisor
Elizabeth Bolster
Lead Properties Runner
William Ordynowicz
Light Board Programmer
Sabrina Idom
Lead Front of House
Mix Engineer
Keirsten Lamora
Yale Repertory Theatre and David Geffen School of Drama Staff
ADMINISTRATION
General Management
Associate Managing Directors
Anne Ciarlone
Adrian Alexander Hernandez
Jeremy Landes
Mikayla Stanley
Assistant Managing Director
Sarah Saifi
Senior Administrative
Assistant to the Managing Director, General Manager, and Theater Management Program
Sarah Masotta
Management Assistants
Jocelyn Lopez-Hagmann
Catherine MacKay
Company Manager
Joy Chen
Assistant Company Managers
Kay Nilest
Gavin D. Pak
Development & Alumni Affairs
Senior Director of Development and Alumni Affairs and Editor, David Geffen School of Drama Alumni Magazine
Deborah S. Berman
Deputy Director of Operations for Development and Alumni Affairs
Susan C. Clark
Senior Associate Director of Development and Alumni Affairs
Scott Bartelson
Associate Director of Development and Alumni Affairs
Roman Sanchez
Alumni Affairs Officer and Senior Writer
Cayenne Douglass
Senior Administrative
Assistant to Development and Alumni Affairs
Jennifer E. Alzona
Development and Alumni Affairs Assistant
Jazzmin Bonner
Finance, Human Resources, & Digital Technology
Director of Finance and Business Administration/Lead Administrator
Nicola Blake
Human Resources Business Partner
Trinh DiNoto
Manager, Staff and Faculty Affairs
Malaika Green El Hamel
Interim Director of Information Technology
Eric Lin
Director, Yale Tessitura Consortium, and Web Technology
Janna J. Ellis
Manager, Business Operations
Martha O. Boateng
Business Office Analyst
Shainn Reaves
Financial Analyst
Juliana Norman
Web Technology Assistant
Kenneth Murray
Business Office Specialists
Moriah Clarke
Karem Orellana-Flores
Digital Technology Associates
Edison Dule
Garry Heyward
Senior Administrative
Assistant to Business Office, Digital and Web Technology, Facility Operations, Human Resources, Tessitura
Monique Moore
Database Application Consultants
Ben Silvert
Erich Bolton
Financial Aid, Admissions, and Student Services
Financial Aid Officer
Andre Massiah
Registrar/Admissions
Administrator
Ariel Yan
Non-Clinical Counselor
Krista Dobson
Senior Administrative
Assistant to Financial Aid and Admissions
Laura Torino
Marketing, Communications, & Audience Services
Director of Marketing
Daniel Cress
Director of Communications
Steven Padla
Senior Associate Director of Marketing and Communications
Caitlin Griffin
Associate Director of Marketing and Communications
Taylor Ybarra
Senior Administrative
Assistant to Marketing and Communications
Mishelle Raza
Marketing and Communications Assistant
Alesandra Reto Lopez
Publications Manager and Program Designer
Marguerite Elliott
Director of Audience Services
Laura Kirk
Assistant Director of Audience Services
Shane Quinn
Subscriptions Coordinator
Tracy Baldini
Audience Services Associate
Molly Leona
Customer Service and Safety Officers
Teo Baldwin
Ralph Black, Jr.
Kevin Delaney
Box Office Assistants
Taylor Blackman, Pilar Bylinsky, Emma Fusco, Jordan Graf, Aaron Magloire, Diana Shyshkova, Elliot Valentine, Timothy “TJ” Wildow
Accessibility Assistant Prentiss Patrick-Carter
Ushers
Calum Baker, Danielys Batista, Mia Bauer, Maura Bozeman, Alex Brooks, Logan Carr, Gerson Espinoza Campos, Kelvin Esselfie, Megan Foster, Nicole Gillinov, Lydia Gompper, Isaac Kozukhin, Nat Lopez, Di’Jhon McCoy, Bonnie Moeller, Sarah RamosGonzalez, William Romain, Jonathan Singleton, Nicole Stack, Julia Weston, Larsson Youngberg
Theater Safety and Occupational Health
Director of Theater Safety and Occupational Health
Yale Repertory Theatre and David Geffen School of Drama are supported by the work of over 200 faculty members.
For a complete faculty listing by program and department, please visit drama.yale.edu/about-us
Yale Repertory Theatre operates under an agreement between the League of Resident Theatres (LORT) and Actors’ Equity Association (AEA), the Union of Professional Actors and Stage Managers in the United States.
The Scenic, Costume, Lighting, and Sound Designers in LORT are represented by United Artists Local USA-829, IATSE.
ACCESSIBILITY SERVICES
March 22 at 2PM
Audio Description
Pre-show description begins at 1:45PM
A live narration of the play’s action, sets, and costumes for patrons who are blind or have low vision.
Touch Tour
Prior to a performance, patrons who are blind or have low vision touch fabric samples, rehearsal props, and building materials to understand better what comprises the production design.
March 22 at 8PM
American Sign Language (ASL)
An ASL-interpreted performance for patrons who are deaf or have hearing loss.
March 28 at 8PM
Relaxed Performance
“Relaxed” theater etiquette supporting patrons who have sensory, communication, movement, and learning needs with a judgement free audience experience.
March 29 at 2PM
Open Captioning
A digital display of the play’s dialogue as it’s spoken for patrons who are deaf or have hearing loss.
c2 is pleased to be the official Open Captioning Provider of Yale Repertory Theatre.
Free listening devices, headsets, and neck loops, and Sensory items as well as Braille and large print programs are available at the concierge desk in the theater lobby.
Yale Repertory Theatre gratefully acknowledges the Carol L. Sirot Foundation for underwriting the assistive listening systems in our theaters.
Plan Ahead!
Upcoming Accessibility Services for Notes on Killing Seven Oversight, Management and Economic Stability Board Members, by Mara Velez Meléndez, directed by Javier Antonio González.
Audio Description May 10 at 2PM
Touch Tour May 10 at 2PM
American Sign Language May 10 at 8PM
Open Caption May 17 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 Coach), 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).
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.
Danielle I. J. Hunt she/her/they (ASL Interpreter) is an Associate Professor in the Department of Interpretation and Translation at Gallaudet University in Washington, D.C., where she has been a full-time faculty member for over 10 years. Having been a professional ASL-English interpreter for 25 years, she specializes in performance arts interpreting.
Roger Ideishi he/him (Relaxed Performance Consultant) is Japanese American and the Program Director of Occupational Therapy and Professor of Health, Human Function, and Rehabilitation Sciences at George Washington University. His clinical and research work is focused on improving accessibility and inclusion in the arts including visitor services and employment. He has advised arts and cultural institutions around the globe including in Japan, Russia, Romania, and Ireland. In 2017, he received the Philadelphia Art-Reach Cultural Access Impact Award. In 2019, he received the Kennedy Center’s Excellence in Accessibility Leadership Award for his leadership in educating and advancing accessibility. In 2022, the Kennedy Center recognized him on their Next 50 honoree list for significant impacts on society through the arts.
Marydell Merrill (Audio Describer) is an audio describer for Yale Rep and Hartford Stage and the Artistic Director of Hamden High School’s Mainstage Ensemble. Credits include Yale Rep’s WILL POWER!; the
ACCESSIBILITY TEAM
Connecticut Association for Physical Fitness, Health, Recreation, and Dance; Breakdancing Shakespeare at Hartford Stage (Master Teaching Artist); and several regional and national educational theater festivals and conferences. Marydell is a national theater performance adjudicator and a member of the national screening team of exemplary high school theatrical productions for the Educational Theatre Association. Awards: 2014 Northeast Educational Theatre Festival Hall of Fame, 2014 International Thespian Society Inspirational Theatre Educator Award, and the 2017 Connecticut Theatre Educator of the Year from the Connecticut Chapter of the International Thespian Society. A member of Actors’ Equity Association, she has performed with several companies including Long Wharf Theatre and Connecticut Free Shakespeare.
Christopher Robinson (ASL Interpreter) has been a renowned ASL/English performing arts interpreter for over 30 years. He was chosen to work on productions in the August Wilson canon at Boston’s Huntington Theatre, some alongside Mr. Wilson himself. Robinson’s extensive interpreting experience includes Hamilton (the Kennedy Center and the Boston Citizens Bank Opera House), Hadestown (Broadway), and other productions at Oregon Cabaret Theatre in Ashland, Commonwealth Shakespeare
Company, Wheelock Family Theatre, Oregon Shakespeare Festival, Seattle Rep, Pittsburgh Playhouse, Portland Stage Company, American Repertory Theater, and The Huntington Theatre Company. He co-founded Think Outside The Vox, an arts accessibility consulting company, and he has worked at Boston University Disability & Access Services since 1994. @think_outside_the_vox thinkoutsidethevox.org
Aimee Schiffman-Robinson (ASL Interpreter) is a freelance ASL Interpreter with a passion for interpreting the performing arts. Some of the productions she has interpreted include Seussical, Honk, Miracle Worker, Ragtime (Wheelock Family Theatre), The Producers (The Colonial Theatre), A Year with Frog and Toad, The Pregnancy Pact (Weston Playhouse), Annie, Hadestown (The Wang Theatre), King of the Jews, The Birthday Party (Boston Center for American Performance), Avenue Q, Young Frankenstein, Wicked, Dear Evan Hansen, To Kill A Mockingbird (Broadway In Boston), Beauty Queen of Leenane (ArtsEmerson), and The Wizard of Oz (Open Door Theatre).
Aimee greatly appreciates the amazing opportunities she’s given to work in this field and she’s grateful to Yale Rep for making their productions accessible to the Deaf/Hard of Hearing community. Connect with Think Outside The Vox: @think_outside_the_vox or thinkoutsidethevox.org
YOUTH PROGRAMS
WILL POWER! is Yale Rep’s annual educational initiative, designed to bring middle and high school students to see live theater. Since our 2003–04 season, WILL POWER! has served more than 20,000 Connecticut students and educators. This season we will offer programming centered on Whitney White’s Macbeth in Stride and Nikolai Gogol’s The Inspector to New Haven Public Schools students and educators. In previous seasons, the program has included early school-time matinees, free or heavily subsidized tickets, study guides, and post-performance discussions with actors and members of the creative teams. WILL POWER! is committed to giving teachers curricular support through free workshops and professional development about the content and themes of the plays.
THE
DWIGHT/EDGEWOOD PROJECT (D/EP) is a community-focused, youth engagement program within David Geffen School of Drama and Yale Rep. Each year, middle school students from Barnard Environmental Studies Interdistrict Magnet School become playwrights and create original dramatic works through one-on-one mentorship from students at the Geffen School. The month-long project culminates in fully produced performances of each student’s play in front of an audience. Through its values of community care, joy, curiosity, empowerment, and equity, D/EP has helped to shape the minds of over 200 young people from the Dwight and Edgewood neighborhoods of New Haven since 1995.
Yale Rep’s youth programs are supported by The Robert and Mercedes Eichholz Foundation, NewAlliance Foundation, and the Esme Usdan Community Youth Fund.
EVENTS!
FRIDAY, MARCH 7 and MONDAY, MARCH 10 at 8PM
Post-Show Conversation
Join us in the August Wilson Lounge following the performance for a conversation about the show with Yale Rep artistic staff.
WEDNESDAY, MARCH 19 at 1PM
Pre-Show Reception and Conversation
Please join us for refreshments in the August Wilson Lounge, where members of the creative team will hold a discussion about the play at 1:20PM.
SATURDAY, MARCH 22 at 2PM
Talk Back
Join us after the show for a conversation about the play and its themes with members of the company.
WEDNESDAY, MARCH 26 at 8PM
Spanish-Language Captioning
La presentación del 26 de marzo será subtitulada en español. This performance will be open-captioned in Spanish.
All events are subject to change. Additional details at yalerep.org.
DAVID GEFFEN SCHOOL OF DRAMA BOARD
OF ADVISORS
John B. Beinecke YC ’69, Chair
Jeremy Smith ’76, Vice Chair
Nina Adams MS ’69, NUR ’77
Amy Aquino ’86
Rudy Aragon LAW ’79
John Badham ’63, YC ’61
Pun Bandhu ’01
Sonja Berggren
Special Research Fellow ’13
Frances Black ’09
Carmine Boccuzzi YC ’90, LAW ’94
Lynne Bolton
Lois Chiles
Patricia Clarkson ’85
Edgar M. Cullman III ’02, YC ’97
Michael David ’68
Wendy Davies
Special Research Fellow ’21
Sasha Emerson ’84
Lily Fan YC ’01, LAW ’04
Terry Fitzpatrick ’83
Marc Flanagan ’70
Anita Pamintuan Fusco YC ’90
David Alan Grier ’81
Sally Horchow YC ’92
Ellen Iseman YC ’76
David G. Johnson YC ’78
Sarah Long ’92, YC ’85
Cathy MacNeil-Hollinger ’86
Brian Mann ’79
Drew McCoy
David Milch YC ’66
Jennifer Harrison Newman ’11
Richard Ostreicher ’79
Carol Ostrow ’80
Maulik Pancholy ’03
Daphne Rubin-Vega
Tracy Chutorian Semler YC ’86
Michael Sheehan ’76
Anna Deavere Smith DFAH ’14
Woody Taft YC ’92
Andrew Tisdale
Edward Trach ’58
Julie Turaj YC ’94
Esme Usdan YC ’77
Courtney B. Vance ’86
Donald R. Ware YC ’71
Shana C. Waterman YC ’94, LAW ’00
Kim Williams
Henry Winkler ’70
Amanda Wallace Woods ’03
Thank you to the generous contributors to David Geffen School of Drama and Yale Repertory Theatre
LEADERSHIP SOCIETY
($50,000+)
Americana Arts Foundation Anonymous
Rudy and Jeanne Aragon
Sallie Baldwin Bam
John B. Beinecke
Sonja Berggren and Patrick Seaver
Lois Chiles
Connecticut Department of Economic and Community Development
Estate of Nicholas Diggs*
Estate of Richard Diggs*
The Robert and Mercedes Eichholz Foundation
Anita Pamintuan Fusco and Dino Fusco
David Geffen Foundation
The Horace W. Goldsmith Foundation
Steve Grecco
Estate of Elizabeth Rhodes Holloway*
David G. Johnson
Estate of Robert D. Mitchell*
Talia Shire Schwartzman
Tracy Chutorian Semler
The Shubert Foundation
Woody Taft
Stephen Timbers
Edward Trach
Julie Turaj and Rob Pohly
Esme Usdan
Donald R. Ware
GUARANTORS
($25,000–$49,999)
Edgerton Foundation
New Play Award
Donald S. Holder and Evan Yionoulis
Sarah Long
Neil Mazzella
National Endowment for the Arts
The Sir Peter Shaffer
Charitable Foundation
Jeremy Smith
BENEFACTORS
($10,000–$24,999)
Nina Adams and Moreson Kaplan
Carmine Boccuzzi and Bernard Lumpkin
Lynne and Roger Bolton
James and Deborah Burrows Foundation
Trip Cullman
Wendy Davies
Lily Fan
Mabel Burchard Fischer
Grant Foundation
Burry Fredrik Foundation
Estate of Stephen R. Lawson*
Lucille Lortel Foundation
Cathy MacNeil-Hollinger and Mark Hollinger
Michael and Riki Sheehan
Carol L. Sirot
Trust for Mutual Understanding
PATRONS
($5,000–$9,999)
Pun Bandhu
Ed Barlow
Eugene G. & Margaret M. Blackford Memorial Fund for the Blind, Bank of America, N.A.,Trustee
Santino Blumetti
James Bundy and Anne Tofflemire
Joan Channick
CT Humanities
Michael S. David
Terry Fitzpatrick
Marcus Gardley
Howard Gilman Foundation
Ruth and Charles Grannick Jr. Fund at The Community Foundation for Greater New Haven
Sally Horchow
Rolin Jones
Tien-Tsung Ma
Tarell Alvin McCraney
Roz and Jerry Meyer
David and Leni Moore
Family Foundation
James Munson
Jason Najjoum
NewAlliance Foundation
Peter Nigrini
Richard Ostreicher
Carol Ostrow
PRODUCER’S CIRCLE
($2,500–$4,999)
Anonymous
Angela Bassett
Cyndi Brown
Nancy Bynum
Ian Calderon
Deborah Freedman and Ben Ledbetter
Fred Gorelick and Cheryl MacLachlan
Lane Heard
Ellen Iseman
JANA Foundation
Ann Judd and Bennett Pudlin
Rocco Landesman
Pam and Jeff Rank
Bill and Sharon Reynolds
Abby Roth and R. Lee Stump
Daphne Rubin-Vega and Thomas Costanzo
Amanda Wallace Woods
DIRECTOR’S CIRCLE
($1,000–$2,499)
Chuck Adomanis
Laura and Victor Altshul
Debby Applegate and Bruce Tulgan
Paula Armbruster
John Lee Beatty
Deborah S. Berman
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)
Narda E. Alcorn
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
Bill Conner
Daniel Cooperman and Mariel Harris
Robert Cotnoir
Sean Cullen
Bob and Priscilla Dannies
Robert Dealy
Kelvin Dinkins, Jr.
Austin Durant
John Dwyer
Sasha Emerson
Peter Entin
Anne Erbe
Jon and Karen Farley
Randy Fullerton
Betty and Joshua Goldberg
Mark Haber
Al Heartley
Regina Guggenheim
Judy Hansen
Helen Kauder and Barry Nalebuff
Jay B. Keene
Harvey Kliman and Sandra Stein
Kenneth Lewis
Matthew H. Lewis
Pericles S. Lewis
Eric Lin
Charles H. Long
Chih-Lung Liu
Virginia (Wendy) Riggs
Cathy C. Mock
Mariel Monney
Victoria Nolan and Clark Crolius
Barbara and William Nordhaus
Janet Oetinger
Arthur Oliner
F. Richard Pappas
Dw Phineas Perkins
Louise Perkins and Jeff Glans
Jeffrey Powell and Adalgisa Caccone
Kathy and George Priest
Alec Purves
Faye and Asghar Rastegar
Chantal Rodriguez
Howard Rogut
Cynthia Santos-DeCure
Robin Sauerteig
Anna Deavere Smith
Matthew Sonnenfeld
Kyle Stamm
James Steerman
Neal Ann Stephens
David Sword
Tides Foundation
John Turturro and Katherine Borowitz
Ron Van Lieu
Vera Wells
Steven Wolff
Nancy Yao
Stephen Zuckerman
INVESTORS
($250–$499)
Actors’ Equity Foundation
Mamoudou Athie
Stephen and Judith August
Clayton Austin
Alexander Bagnall
Michael Baumgarten
Michael Bianco
Josh Boerenstein
Susan Brady and Mark Loeffler
Tom Broecker
Donald Brown
Suzanne Bruhn
Mr. and Mrs. Robert Buckholz
Michael Cadden
Sarah Cain
Lauren Ivy Chiong
Nicholas Cimmino
Jeffrey Cohen
Leeland Cole-Chu
Bill Connington
Claire A. Criscuolo
Jane Crum
Brett Dalton
Rick Davis
Laura Eckelman
Kem and Phoebe Edwards
Kenneth Elliott
Susan S. Ellis
Robert Emmons
Richard and Barbara Feldman
Deborah and Henry Fernandez
Marsha Finley
Tony Forman
Adam Frank
David Freeman
Randy Fullerton
Lindy Lee Gold
Naomi Grabel
Shaina Graboyes
Ann Hanley
Judith Hansen
Scott Herring
Jennifer Hershey
Chuck Hughes
John Huntington
Carla L. Jackson
Chris Jaehnig
Galen Kane
Bruce Katzman
Edward Kaye
Alan Kibbe
Hedda and Gary Kopf
Mitchell Kurtz
Gabriela Lee
Irene Lewis
Katie Liberman and Eric Gershman
Suzanne Cryer Luke and Greg Luke
Thomas G. Masse and James M. Perlotto, MD
Pamela and Donald Michaelis
Kathryn Milano
David Muse
Regina and Thomas Neville
Adam O’Byrne
Kevin and Margaret O’Halloran
Gamal Palmer
Michael Parrella
Bruce Payne and Jack Thomas
Michael Posnick
Jon and Sarah Reed
Dr. Michael Rigsby and Prof. Richard Lalli
Tialoc Rivas
Steve Robman
Erin Rocha
Constanza Romero
Allen Rosenshine
Nan Ross
Donald Sanders
Suzanne Sato
Kenneth Schlesinger
Georg Schreiber*
Paul Selfa
Sandra Shaner
Lorraine Siggins
James Sinclair
David Soper and Laura Davis
Erich Stratmann
Matthew Tanico
Josh Taylor
Katherine Touart
Judith and Guy Yale
Lisa Yancey
FRIENDS
($100–$249)
Emika Abe
Ikeena Aberdeen
Melinda Agsten
Michael Albano
Sarah Albertson
Michael Annand
Anonymous
William Armstrong
The Arts Council of Greater New Haven
Nancy Babington
Katalin Baltimore
Robert Bartner
Warren Bass
William and Donna Batsford
Mark Bly
Amy Brewer
Linda Broker
Arvin Brown
Donald and Mary Brown
Stephen and Nancy Brown
Stephen Bundy
Richard Butler
Susan Byck
Michael Cadden
H. Lloyd Carbaugh
Catherine and Steven Carlson
Sami Joan Casler
Kwan Chi Chan
Nicole Ciomek
Cynthia Clair
Susan Clark
Ellen Cohen
Geoffrey Cohen
Leland Cole-Chu
Jennifer Corman
Caitlin E. Crombleholme
Douglas and Roseline
Crowley
Samanta Cubias
Phyllis CummingsTexeira
John Cunningham
Alama Cuervo
Jonathan Daen
Eric Dana
Anne Danenberg
Timothy Davidson
Connie and Peter Dickinson
Derek DiGregorio
Melinda DiVicino
Donna Doherty
Patricia Doukas
Megan and Leon
Doyon
John Duran
Fran Egler
Robert Einenkel
Nancy Reeder
El Bouhali
Janna Ellis
David Epstein
Dustin Eshenroder
Frank and Ellen Estes
Femi Euba
Connie Evans
Michael Fain
Ann Farris
Kathryn Ferguson
Margaret Fikrig
Terry S. Flagg
Sarah Fornia
Hugh Fortmiller
Walter M. Frankenberger III
Deborah Fried and Kalman Watsky
Richard Fuhrman
David Gainey
Don and Margery Galluzzi
Barry Gladue
Lorraine Golan
Carol Goldberg
Donna Golden
Charles Grammer
Hannah Grannemann
Jason Gray
Anne Gregerson
Michael Gross
Annabel Guevara
Dr. James L. Hadler
Alexander Hammond
Scott Hansen
John Harnagel
Babo Harrison
Michael Haymes
Ethan Heard
Steve Hendrickson
Jeffrey Herrmann
Ashton Heyl
Betsy Hoos
Nicholas Hormann
Kathleen Houle
Melissa Huber
Evelyn Huffman
Charles Hughes
Derek Hunt
Jennifer Ito
Chris Jaehnig
Eliot and Lois Jameson
Elizabeth Johnson
Jean Jones
Galen Kane
Carol Kaplan
Jim Kenny
Peter Young Hoon Kim
Lawrence Klein
George Klug
Chloe Knight
Stephen Kobasa
David and Julie Koppel
David Kriebs
Joan Kron
Susan Laity
Marie Landry and Peter Aronson
C.J. Lawler
Martha Lidji Lazar
Elizabeth Lewis
Fred Lindauer
Jerry Lodynsky
Robert H. Long II
Judith Loughry
Everett Lunning
Nancy F. Lyon
Andi Lyons
Joan MacIntosh
Wendy MacLeod
Edwin Martin
Sarah Masotta
Robert McCaw
Mary McCutcheon
Deborah McGraw
James Meisner and Marilyn Lord
Jonathan Miller
Michele Millham
Lawrence Mirkin
Richard Mone
Michele Moriuchi
Leora Morris
Janice Muirhead
Jennifer Harrison Newman
Ellen Novack
Jane Nowosadko
Leah Ogawa
Max Okst
Richard Olson
Jacob G. Padrón
Michael Petrillo
Alan Plattus
Linda Polgar
Philip Proctor
William Purves
Sarah Rafferty
Norman Redlich
Ralph Redpath
Barbara Reid
Deborah J. Reissman
Carolynn Richer
Felicia Riffelmacher
Joan Robbins
Nathan Roberts
Peter S. Roberts
Brian Robinson
Lori Robishaw
Joanna Romberg
Miguel Rosadu
Robin Rose
Russ Rosensweig
Donald Rossler
of Drama and Yale Repertory Theatre
Katherine Sacks
Dr. Robert and Marcia
Safirstein
Steven Saklad
Robert Sandberg
Christopher Sanderson
Peggy Sasso
Joel Schechter
Rita Scheeler
Steven Schmidt
Jennifer Schwartz
Kathleen Scott
Alexander Scribner
Patrick Seeley
Tom Sellar
Subrata K. Sen
Suzanne Sessions
Jeremy Shapira
John K. Sheehan
Graham Shiels
Gilbert and Ruth Small
James Smith
Helena L. Sokoloff
Suzanne Solensky and Jay Rozgonyi
Ilona K. Somogyi
Ying Song
Dr. and Mrs. Dennis D. Spencer
Howard Steinman
Rosalie Stemer
Marcus Stern
John Stevens
Mark Stevens
Mark Sullivan
Thomas Sullivan
Sy Sussman
Bob Tanner
Michelle Tattenbaum
Douglas Taylor
Jane Savitt Tennen
Ashley Thomas
Patti Thorp
David F. Toser
Jaime Totti
Katherine Touart
Russell L. Treyz
Deb Trout
Adam Tucker
Lloyd Tucker
Joan Van Ark
Pamela Vercillo
Adin Walker
Christine Wall
Jaylene Wallace
Paul Walsh
Erik Walstad
Emma Wang
David Ward
Joan Waricha
Steven Waxler
Dr. Robert White
Robert Wildman
Alexandra Witchel
Ariana Venturi
EMPLOYER
MATCHING GIFTS
Ameriprise Financial
The Benevity Community Impact Fund
Covidien
The Prospect Hill Foundation
Gifts to the For Humanity campaign and David Geffen School of Drama New Facility Fund
Anonymous (3)
Nina Adams and Moreson Kaplan
Amy Aquino and Drew McCoy
Rudy Aragon
John Badham
Pun Bandhu
Frances and Ed Barlow
John B. Beinecke
Sonja Berggren and Patrick Seaver
Frances Black and Matthew Strauss
Carmine Boccuzzi and Bernard Lumpkin
Reginald Brown and Tiffeny Sanchez
James Bundy and Anne Tofflemire
Nancy Bynum
Lois Chiles
Michael David and Lauren Mitchell
Wendy Davies
Scott Delman
Michael Diamond* and Amy Miller
Estate of Nicholas Diggs*
Estate of Richard Diggs*
Sasha Emerson
Lily Fan
Terry Fitzpatrick
Barbara Franke
Anita Pamintuan Fusco and Dino Fusco
David Marshall Grant
Gilder Foundation
The Hastings and Barcone Trust
Lane Heard and Margaret Bauer
Cheryl Henson
Sally Horchow
Ellen Iseman
David G. Johnson
David H. Johnson
Rolin Jones
Jane Kaczmarek
Cathy MacNeil-Hollinger and Mark Hollinger
Brian Mann
Jennifer Harrison Newman
Richard Ostreicher
The Prospect Hill Foundation
Daphne Rubin-Vega and Thomas Costanzo
Julie Turaj and Rob Pohly
Tracy Chutorian Semler
Michael and Riki
Sheehan
Jeremy Smith
Woody Taft
Andrew and Nesrin
Tisdale
Ed Trach
Esme Usdan
Donald and Susan Ware
Shana C. Waterman
Amanda Wallace
Woods and Eric Wasserstrom
Dr. Jessica WeiserMcCarthy and Timothy McCarthy
Henry Winkler
*deceased
These lists includes current pledges, gifts, and grants received from July 1, 2023, through December 31, 2024.
