august wilson’s
the piano lesson
january 28 to february 19
into the light of things rebecca salter, works 1981–2010
A companion exhibition, Rebecca Salter and Japan, will be on view at the Yale University Art Gallery.
ya l e center for british art
1080 Chapel Street, New Haven, CT 06520 Tuesday–Saturday, 10–5; Sunday 12–5 Admission is free 877 b r i t a rt yale.edu/ycba Rebecca Salter, Untitled J1 (detail), 1994, mixed media on canvas, © Rebecca Salter
LOCATED NEXT DOOR TO YALE REP 1104 Chapel Street 203-776-8268
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4 AND 6-TICKET PASSES AVAILABLE! Tickets can be used in any combination on the dates of your choice—you can even share your tickets with family and friends at the same performance. Pass holders enjoy FREE ticket exchanges, parking discounts at nearby garages, and 15% off at Heirloom restaurant. Redeem your passes online, by phone, or in person.
UP NEXT March 11 to April 2, 2011
WILLIAM SHAKESPEARE’S
ROMEO AND JULIET
DIRECTED BY SHANA COOPER April 15 to May 7, 2011
U.S. PREMIERE
AUTUMN SONATA
BY INGMAR BERGMAN DIRECTED BY ROBERT WOODRUFF
Jenn Gambatese and Sean Palmer in the world premiere of We Have Always Lived in the Castle. Photo by Joan Marcus, 2010.
Welcome to august Wilson’s The Piano Lesson at yale rep! No writer is more joyfully identified with Yale Rep’s history than August. Six of the ten plays in his epic Cycle, chronicling the African American experience in each decade of the 20th century, premiered here in New haven: Ma Rainey’s Black Bottom (1984), Fences (1985), Joe Turner’s Come and Gone (1986), The Piano Lesson (1987), Two Trains Running (1990), and Radio Golf (2005). In seminal collaborations with Lloyd Richards and generations of leading American actors, August made this theatre and city a home—when he was here with us rehearsing Radio Golf almost six years ago, he wrote vigorously and joyfully, but he also found plenty of time to talk to members of the community up and down Chapel Street. In truth, a theatre poet of August’s stature is home wherever imagination and heart are summoned to embrace his work. Five seasons after his passing, he returns to Yale not as one of our greatest living playwrights, but as a canonical giant, his works produced all over the world. His plays still ring with the authoritative and poetic truth of language and experience he absorbed in his beloved Hill District in Pittsburgh, and hum with the craft he forged in countless productions at regional theatres and on Broadway. Now August’s home is in the hands of new generations. Here at Yale, actors who worked on premieres of the Cycle have joined forces with artists for whom this is the first Wilson production. Up the road in Waterbury, while we’re working on The Piano Lesson, high school juniors and seniors at the Waterbury Arts Magnet School have pressed their claim as responsible and vital interpreters of Joe Turner’s Come and Gone, appealing the district superintendent’s veto of their production over his personal and professional concerns about characters’ scripted use of the word “nigger.” Attending the public meeting of the School Board, I joined community members addressing the Board and the superintendent. As the thirtieth of almost fifty people to do so, I felt much worse than a fifth wheel: the students had already made every good argument. They made it clear how well their history and literature lessons and connections to popular culture helped them to understand what Randall Kennedy, in his authoritative book of the name, has termed “The Strange Career of a Troublesome Word.” They showed that they understood and loved August’s writing—his command and proud ownership of the complexities and specifics of African American history, culture, and characters. They proudly described the job of the theatre artist: to bring challenging arguments to life; and they warned against the chilling implications of censoring works of art, or the artists who are drawn to them. And when the superintendent reversed his decision and allowed the play to go forward, calling it “the most teachable moment” in his 10 year tenure in Waterbury, the students—and almost everyone else in the room—made it clear with a standing ovation and warm handshakes that they were prepared to work with him to carry the lessons of the teachable moment out into their community. You can see their production on February 4 and 5 at WAMS, or February 10 at the Palace Theater in Waterbury (www.palacetheaterct.org). I am sure you’ll be glad if you do. Meanwhile, thank you for joining us. I am confident that August, and the remarkable artists who have come together in this company under the leadership of my treasured colleague Liesl Tommy, have more—though no less potent—lessons in store for you. I look forward to knowing your thoughts about what you have seen and heard, either in person or by e-mail: james.bundy@yale.edu. Sincerely yours,
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James bundy artistic director
HOME
For Yale Repertory Theatre
My face in the mirror. The buttons on my coat. The coin in my pocket. These are my compatriots. My compatriots & I ask for your attention. We are going to begin now. My compatriots & I have traveled many roads. Some circuitous, some sharp & straight, others brambled & rough, & all of them have led, as if by some grand design, to the one burnished with art & small, irrevocable tragedies. We have carried in our pockets to bargain our passage, memory, peaches, acorns, & a wild heart that plies its trade with considerate & alarming passion. Some roads have opened to us. Some have refused our bargain & bred landscapes of severe wolves to blunt & discourage our advance. Others, closed for repairs, shall remain closed & wanting forever. My compatriots & I have come from many places, many tapestries of roads, to come now, in our fortieth year, to this place rich with welcome; remembering the time we batted .400 & sent eleven homeruns crashing into the windows of the houses behind the park, how we would touch each base nonchalantly, & the same bases, the same object:
My compatriots & I we arrive here at this place knowing the measure of distance that between that space & this, like the space between a man’s hand & a woman’s hair, are many passages of tremor & trust. My compatriots & I We take off our hat. We salute you. We walk up to the door. We open it & enter. We take off our hat. We hang it up. We give you, with love & thanks ‘this bloodless execution of the alphabet.’
August Wilson April 27, 1985
To find a way home even at the start. photo by david cooper.
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jANUARY 28 To FeBRUARY 19, 2011
YALE REPERTORY THEATRE james Bundy, Artistic Director Victoria Nolan, Managing Director
PRESENTS
the piano lesson by august wilson directed by liesl tommy Scenic designer costume designer Lighting Designer Sound designer production dramaturg Vocal and Dialect Coach Music Director Fight Director casting directors Stage Manager
DEDE m. AYiTE jENNifER SALim ALAN c. EDwARDS juNgHOON Pi cHENg-HAN wu bETH mcguiRE EiSA DAviS Rick SORDELET TARA RubiN LAuRA ScHuTzEL ALLiSON HALL jOHNSON
ORigiNAL muSic bY EiSA DAviS; LYRicS bY AuguST wiLSON. “bERTA bERTA” muSic AND LYRicS, TRADiTiONAL. The Piano Lesson had its world premiere at Yale Repertory Theatre, November 23–December 19, 1987. development of The Piano Lesson was supported by the eugene o’Neill Theater Center during a residency at the National Playwrights Conference of 1986. The Piano Lesson is presented by special arrangement with Samuel French, Inc. SeASoN MeDIA SPoNSoR
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Serious Coffee.
cAST cAST (IN oRDeR (IN oRDeR oF SPeAKINg) oF SPeAKINg)
Willie Willie LeROY LeROY mccLAiN mccLAiN boyboy doaker kEiTH kEiTH RANDOLPH RANDOLPH SmiTH SmiTH doaker Lymon cHARLiE cHARLiE HuDSON, HuDSON, iii iii Lymon berniece EiSAEiSA DAviS DAviS berniece Maretha mALENkY mALENkY wELSH wELSH Maretha avery TYRONE TYRONE miTcHELL miTcHELL HENDERSON HENDERSON avery Wining boyboy cHARLES cHARLES wELDON wELDON Wining grace jONiEcE jONiEcE AbbOTT-PRATT AbbOTT-PRATT grace
SETTiNg SETTiNg THeTHe CHARLeS CHARLeS HoUSeHoLD. HoUSeHoLD. PITTSBURgH, PITTSBURgH, 1936. 1936. THeRe THeRe WILLWILL Be oNe Be oNe FIFTeeN-MINUTe FIFTeeN-MINUTe INTeRMISSIoN. INTeRMISSIoN. . .
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August Wi August Wilson’s plAys inexorAbly Work their WAy home AgAin And AgAin, as if drawn back by magnetic force. The first of these homes is the city inhabited by his characters; another is the place where his productions took root and came alive. In effect, Wilson’s lifework, aptly called a “cycle,” evokes both progress and a feeling of perpetual homecoming at the same time. Within the plays themselves, home base is Pittsburgh, the metropolis of Wilson’s youth. Born Frederick August Kittel in 1945 (he took the last name of his mother, Daisy Wilson, in 1965), the playwright grew up in the ethnically mixed but predominantly African American neighborhood known as the Hill District; he himself was the son of a white father and a black mother. When his mother remarried in 1959, she moved her six children to a white suburb. After being unjustly accused of plagiarism in tenth grade, an insulted Wilson dropped out of school and took charge of his own education, both through studying at the public library and soaking up the sights and stories he encountered in the Hill District’s tobacco houses, bars, and restaurants. At the age of 20, Wilson moved into a shared room in the Hill District and began to write. He allied himself with a circle of black intellectuals,
THe CAST oF Joe TuRneR’s CoMe and Gone, PHoTo BY WILLIAM B. CARTeR, 1986.
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ilson:
Coming Home Again writers, and political activists and in 1968 co-founded the Black Horizon Theater with friend and fellow playwright Rob Penny. Wilson’s immersion in the stories, people, and places of the Hill District resonates throughout his Century Cycle—a collection of ten plays documenting the African American experience in the twentieth century. each play focuses on a distinct decade. Apart from Ma Rainey’s Black Bottom, which is set in Chicago, every play in the Cycle takes place in the Hill District. The neighborhood’s streets, locales, and even the names of Wilson’s childhood friends and the details of his life are woven into the Cycle’s fictional stories. Yet the Pittsburgh to which Wilson continually returns is a changing one. His plays track the Hill District’s evolution to the influx of blacks during the great Migration into its emergence as a black cultural center, through Pittsburgh’s destructive urban renewal campaign and into the neighborhood’s decline at the century’s end.
CHARLeS S. DUTToN AND ALeTA MITCHeLL IN Ma RaIneY’s BLaCK BoTToM, PHoTo BY WILLIAM B. CARTeR, 1984; LAUReNCe FISHBURNe, CYNTHIA MARTeLLS, AND SULLIVAN WALKeR IN TWo TRaIns RunnInG, photo by Jay THoMPSoN, 1990.
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August Wilson: Coming Home Again Still another “home” linked to Wilson’s plays lies outside of their pages, in the place where many of them were cultivated and first brought to life: Yale Rep. In 1982, Wilson met Lloyd Richards, then the Artistic Director of both Yale Rep and the National Playwrights Conference at the eugene o’Neill Theater Center in Waterford, CT, where Richards selected Ma Rainey’s Black Bottom for a reading. This first encounter blossomed into a deep and lasting relationship, in which Richards won Wilson’s trust as one of his closest advisors and primary director of his work. For Ma Rainey, which had its world premiere at Yale Rep in 1984, the Pulitzer Prize-winning Fences (1985), Joe Turner’s Come and Gone (1986), the Pulitzer encore The Piano Lesson (1987), and Two Trains Running (1990), the duo followed a model of refining each play through productions at Yale and other regional theatres prior to its Broadway debut. For more than a decade, Yale Rep was an artistic home for Wilson, a place where his work found its way to fighting form. In the early 1990s, Richards left his post at Yale Rep, and his health began to decline. Wilson’s circle of collaborators and theatres expanded. Marion McClinton and Kenny Leon began directing premieres of the Cycle plays, following the same production model that Wilson and Richards established at Yale: world premieres at regional theatres before arriving on Broadway. But Yale still remained a home. As Wilson began working on Radio Golf, the final play in the Cycle, it only seemed appropriate that the Cycle end where it began: at Yale Rep. In May 2005, Radio Golf premiered at the Rep, just months before Wilson passed away. With this production of The Piano Lesson, Wilson is coming home again. just twenty four years ago, he brought The Piano Lesson to this stage, a new play in front of its first audiences. Now, in the first Yale revival of any of Wilson’s works, it returns as a classic, one of the plays that has forged a permanent place in the American canon. —ALexANDRA RIPP, ASSISTANT DRAMATURg
jAMeS eARL joNeS IN FenCes, PHoTo BY WILLIAM B. CARTeR, 1985; RICHARD BRooKS AND ANTHoNY CHISHoLM IN RadIo GoLF, PHoTo BY CARoL RoSegg, 2005.
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plAying Piano The eponymous piano of August Wilson’s play depicts the Charles’s family history in the elaborate engravings of the family’s ancestors and sings out their story in the tunes emanating from its ivories. The blues dominate The Piano Lesson. Here’s a brief lesson in the types of music that make up the aural landscape of 1930s Pittsburgh.
pArchmAn Work songs At Mississippi State Penitentiary, the African American inmates faced long hours in the fields of the former Parchman Plantation. Call-and-response songs helped set the pace of work: a caller would sing a verse, and the rest of the line would respond with the chorus.
rAilroAd songs These tunes provided the soundtrack for the great Migration. With roots in the South, this genre of music helped to narrate the trials and triumphs of African Americans moving north in search of a better life.
boogie-Woogie A piano-driven form of the blues, boogie-woogie had its roots down south, likely in rural Texas. By the late 1920s and early 30s, boogie-woogie spread north, fueled by the great Migration. Bands got bigger and the tunes, which had an uptempo beat conducive to dancing, gained more national popularity. —CHeNg-HAN WU, PRoDUCTIoN DRAMATURg
CoNVICT WoRKeRS AT PARCHMAN PLANTATIoN, 1911. oRIgINALLY PUBLISHeD BY The neW YoRK TIMes.
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heAding north to A In many ways, the great Depression was a great leveler, as once-prosperous citizens fought off Dust Bowl devastation or tried to claw their way out of Hooverville shanty towns. The hoi polloi and the hoity toity rubbed shoulders on breadlines; a good part of the country was dirt poor. All this financial upheaval sparked massive migrations in the 1930s—Americans moving to new “frontiers” because of the promise of employment, abundance, and a new start. Franklin Delano Roosevelt’s New Deal programs helped to bolster national confidence and, for the lucky ones, pocket books. For African Americans, particularly those living in southern states, economic woes were compounded by racism and a lack of basic civil rights. Below the Mason-Dixon line, discrimination persisted, as did the horrifying lynchings by the declining—but still dominant—Ku Klux Klan. jim Crow laws, which had cast African Americans as second-class citizens since 1877, institutionalized the South’s pervasive racism. Yet the inhospitable social climate was not all African Americans had to contend with. Devastated crops and mechanized cotton gins caused a sharp decline in sharecropping and plantation work, once-reliable sources of meager income. Northern defense plants, shipyards, steel mills, and meatpacking houses seized on the economic—and social—hardships facing the southern states and recruited African American workers for jobs in industry. The lure of prosperity north of the Mason-Dixon Line led to what many call the great Migration. From about 1910 until 1970, over six million African Americans migrated from the South to areas in the North and the West. The migration boomed particularly from 1910 until 1930, largely because the manufacturing needs of World War I created unskilled factory jobs in northern cities. As a result of this exodus, southern industries, such as agriculture, turpentine, milling, and cotton, foundered. Between 1900 and 1920, the black population of New York City increased by 91,000, of Philadelphia by 73,000, and of Detroit by 36,000. A life in the North not only held the promise of wealth for African American families: many hoped to enjoy a life free of the oppressive racism of the South. While there was more tolerance in the North, African Americans still experienced the discrimination and racism they thought they might escape entirely. Competition for the new industrial jobs and housing created significant tension between blacks and whites. Residential segregation laws confined African Americans to specific neighborhoods, and city governments, banks, and realtors worked to cement this segregation. These African American neighborhoods, which included Harlem in New York City, the South Side of Chicago, and of course, Pittsburgh’s Hill District, became thriving centers of African American life. The Hill had long had the reputation of welcoming in Pittsburgh’s
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home on the hill newest denizens: in the early nineteenth century, the neighborhood opened its doors to waves of european jews, Italians, Syrians, greeks, and Poles. By the 1880s, African Americans also began to settle in the Hill. From 1930 through the 1950s, the neighborhood became one of the country’s major hubs of black culture. Music pervaded the Hill’s streets, its jazz clubs attracting whites as well as blacks. jazz greats such as Ramsey Lewis, oscar Peterson, and Cannonball Adderly could be heard regularly at the Hurricane Lounge or the Crawford grill, and even legends such as Lena Horne, ella Fitzgerald, Count Basie, Duke ellington, and Sarah Vaughn performed in the Hill. In addition, The Pittsburgh Courier, established in 1907 in the district, became one of the most popular black newspapers in the country, comparable to The Chicago defender and baltimore’s The afro-american. The vibrant cultural legacy that grew up, in the face of segregation and forced insularity, endures to this day; the Hill’s history in the mid-twentieth century just one example of how Americans created new communities and new life in the aftermath of some of the country’s greatest challenges. —ALexANDRA RIPP, ASSISTANT DRAMATURg
THe HILL SeCTIoN oF PITTBURgH, 1930s. PHoTo CoURTeSY oF CARNegIe MeLLoN LIBRARY.
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cAST jONiEcE AbbOTT-PRATT* (gRACe) is making her Yale Rep debut. Her New York and regional stage credits include The Good negro directed by Liesl Tommy (The Public Theater); dividing the estate (People’s Light & Theatre Company); Mama’s Gonna Buy You (William Inge Theatre Festival); dirt Rich (Summer Stage); The Piano Lesson (Delaware Theatre Company); stick Fly, The overwhelming (Contemporary American Theater Festival); False Creeds (Alliance Theatre Company); Breath, Boom (Synchronicity Performance group); and The doll Play’s (Actor’s express). Film and television: Why did I Get Married? EiSA DAviS* (BeRNIeCe/oRIgINAL MUSIC and MUSIC director) is making her Yale Rep debut. Theatre work includes Passing strange (oBIe Award), This, Intimate apparel, Blues for an alabama sky, Valley song, and Adrienne Kennedy’s June and Jean in Concert. Select film and television credits include Passing strange, The Wire, damages, Mercy, the Law & order franchise, Welcome to the Rileys opposite james gandolfini, Robot stories, the HBo short happenstance, and the upcoming In the Family. As a playwright and composer, eisa has collaborated with Liesl Tommy on both angela’s Mixtape (named a Best of 2009 by The new Yorker) and The history of Light. other plays include Paper armor (presented at Yale’s Langston Hughes Centenary), six Minutes, Ramp (winner of the Ruby Prize), and Bulrusher, a 2007 finalist for the Pulitzer Prize. She has performed original music from her album something else at BAMCafe, Symphony Space, joe’s Pub, and Yale Cabaret. A graduate of Harvard, the Actors Studio School, and an alumna of New Dramatists, eisa lives in Brooklyn, NY. www.eisadavis.com
TYRONE miTcHELL HENDERSON* (avery) made his Yale Rep debut in the world premiere of The america Play by SuzanLori Parks in 1994 and also appeared in the play at The Public Theater. His other New York credits include The Tempest, Two noble Kinsmen, The Public sings, Letters to the end of the World, stonewall, and the first national tour of Bring in ’da noise, Bring in ’da Funk. His regional theatre credits include Radio Golf, The 39 steps, Reckless, enemy of the People, Romeo and Juliet, Julius Caesar, antony and Cleopatra, Much ado about nothing, The Merchant of Venice, othello, hamlet, Topdog/underdog, Intimate apparel, Gutenberg the Musical, Yellowman, The Piano Lesson, Jitney, all My sons, art, The Crucible, “MasTeR haRoLd”…and the boys, angels in america, a Raisin in the sun, and Blues for an alabama sky. Film and television: Ride for Your Life, The Treatment, Law & order, Law & order: Criminal Intent, a Legal Mind, as the World Turns, and all My Children. Awards: AUDeLeCo Award nominee and recipient of the Dallas Theatre Critics and Leon Rabin Awards. *MeMBeR oF ACToRS’ eqUITY ASSoCIATIoN, UNIoN oF PRoFeSSIoNAL ACToRS AND STAge MANAgeRS.
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cHARLiE HuDSON, iii* (LYMoN) is making his Yale Rep debut. Previous theatre credits include White Women street (Irish Repertory Theatre); “MasTeR haRoLd”…and the boys (portland Stage Company); Fly (Crossroads Theatre Company, The Vineyard Playhouse); a Raisin in the sun, Richard III, a Christmas Carol, all the King’s Men, Cyrano de Bergerac (Trinity Repertory Company); hillary (New georges); old Comedy (Classic Stage Company); Mother Courage and her Children (The Public Theater); sweet Bird of Youth (Williamstown Theatre Festival); Romeo and Juliet (bread Loaf Acting ensemble); Julius Caesar and Topdog/underdog (brown/trinity consortium). Charlie’s film and television credits include The Rosa Parks story and Waterfront, and his voice is featured in the Mcgraw-Hill’s PodClass GRe Vocabulary study Guide. Mr. Hudson is the 2003 KC/ACTF Irene Ryan Best Actor Award winner, Region IV. He is a 2004 graduate of Alabama State University and a 2007 MFA graduate of the Brown University/Trinity repertory consortium.
LeROY mccLAiN* (BoY WILLIe) is a proud graduate of Yale School of Drama and is excited to return to the Yale Rep stage where, as a student, he appeared in The Taming of the shrew, King Lear, and Medea/Macbeth/Cinderella. his broadway credits include Cymbeline and The history Boys. other New York credits include Measure for Measure, othello (with Philip Seymour Hoffman; also toured internationally in Austria and germany), The Good negro, oroonoko, Bengal Tiger at the Baghdad Zoo, huck & holden, and In search of stanley hammer. his regional credits include antony and Cleopatra, The Whipping Man, The Good negro (also directed by Liesl Tommy), Blue/orange, elmina’s Kitchen, othello, Trouble in Mind, The Comedy of errors, Rough Crossing, Richard II, Three days of Rain, Private eyes, a Midsummer night’s dream, Like sun Fallin’ in the Mouth, and Twelfth night. His television and film credits include a recurring role on Rubicon, The adjustment Bureau, Law & order: Criminal Intent, Guiding Light (recurring), Breaking In, The stage, and after. LeRoy also trained at the National Theatre Acting Studio in London.
kEiTH RANDOLPH SmiTH* (DoAKeR) is making his Yale Rep debut. Broadway credits include the Tony Award-winning revival of august Wilson’s Fences (standby for Troy Maxson) starring Denzel Washington, as well as the original productions of King hedley II, The Piano Lesson, and Come Back, Little sheba. His off-Broadway appearances include The First Breeze of summer, Fabulation, august Wilson’s Jitney, holiday heart, and a Midsummer night’s dream. His regional theatre credits include antony and Cleopatra (Hartford Stage), In Walks ed (Long Wharf), a Midsummer night’s dream (California Shakespeare Festival), Resurrection (Philadelphia Theatre Company), The dreams of sarah Breedlove (goodman Theatre), and Looking over the President’s shoulder (Merrimack Rep). Film and television credits include Three Windows, Warrior Class, Backstreet Justice, Girl six, and Law & order. 17
cAST cHARLES wELDON* (WININg BoY) is the Artistic Director of The Negro ensemble Company, Inc., where he has performed in more than forty plays including The River niger and a soldier’s Play. Film and television work includes stir Crazy, Roots: The next Generation, Fast-Walking, The Wishing Tree, and hill street Blues. Charles started his career as lead singer of the Paradons with the number one song “Diamonds and Pearls” and segued to musical theatre, starting with the original San Francisco company of hair. His first Broadway performance was in the musical Big Time Buck White.
mALENkY wELSH (MAReTHA) made her Yale Rep debut earlier this season in the world premiere of Bossa nova by Kirsten greenidge. Malenky’s first stage experience was in the world premiere of paula vogel’s a Civil War Christmas at Long Wharf Theatre, and she also appeared in the same show at New Haven Theater Company the following year. Malenky has worked for Wilhemina Models in New York and has performed in a children’s music video. She is a member of the elm City girls Choir, and in her free time, she enjoys reading, drawing, playing with her sisters, and skateboarding. Her dream is to be a veterinarian one day.
cREATivE TEAm DEDE m. AYiTE (SCeNIC DeSIgNeR), originally from ghana, is a third-year MFA candidate at Yale School of Drama. She received her BA in theatre and behavioral neuroscience from Lehigh University. Past design credits include costume design for american schemes by Radha Blank (NYC Summerstage); every other hamlet In The universe, The seagull (Yale School of Drama); Passing, orestes (Yale Cabaret); Frozen, The Fantasticks, and no exit. Dede has also worked as a Scenic Artist for The Santa Fe opera, The Studio Theatre, Playwrights Theatre of New jersey, gateway Playhouse, and the Sono dance company’s production of The nutcracker.
ALAN c. EDwARDS (LIgHTINg DeSIgNeR) is a third-year MFA candidate at Yale School of Drama. earlier this season he designed the lighting for edward Albee’s a delicate Balance at Yale Rep. other credits include every other hamlet In The universe, the things are against us, La Ronde, Love’s Labour’s Lost (Yale School of Drama); hedwig and the angry Inch (also set design), The Phoenix, Muse (Yale Summer Cabaret); erebus & Terror, The Maids, a day in dig nation, orestes, Lady day at emerson’s Bar & Grill, see What
*MeMBeR oF ACToRS’ eqUITY ASSoCIATIoN, UNIoN oF PRoFeSSIoNAL ACToRS AND STAge MANAgeRS.
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I Wanna see (Yale Cabaret); The Pulp of the Matter (Connecticut College Dance); and The Marriage of Figaro (Tri-Cities opera). While studying at Ithaca College, he designed urinetown, Burn This, and scenery for the opera acis and Galatea. his new york credits include the Broadway productions of a Catered affair (set design assistant), BoeingBoeing and The Country Girl (props), and the off-Broadway production of amazons and Their Men (props). www.alancedwards.com
ALLiSON HALL jOHNSON* (STAge MANAgeR) is a third-year MFA candidate at Yale School of Drama. Her Yale Repertory Theatre credits include assistant stage managing eclipsed and We have always Lived in the Castle. Her Yale School School of Drama credits include orlando, Jelly’s Last Jam, Thriftcrawl, Tall skinny Cruel Cruel Boys, The Current War, The Bedtrick, and the things are against us. Her Yale Cabaret credits include The Mystery of Irma Vep, Fly By night, evil dead: The Musical, Lady day at emerson’s Bar & Grill, Babs the dodo, and a Portrait of the Woman as a Young artist. other credits include The daughters (Yale Institute for Music Theatre), Blues in the night (Post Street Theatre), and joe goode Performance group’s humansville (Yerba Buena Center for the Arts). She graduated from the University of California, Berkeley in 2007 with a BA in theatre and performance studies and a minor in African American studies. She got her start in theatre as a high school student at a performing arts school in Los Angeles called Amazing grace Conservatory. She has been a proud member of Actors equity Association for 3 years. bETH mcguiRE (VoCAL AND DIALeCT CoACH) Vocal and dialect coach credits include the off-Broadway productions of The overwhelming (Roundabout Theatre Company); The Black eyed (New York Theatre Workshop); Five by Tenn (Manhattan Theatre Club); People Be heard (Playwrights Horizons); Candida, Gas Light (The Roundtable ensemble); Free Market, exit Cuckoo (The Working Theatre); art of Memory (Company SogoNo); In darfur (The Public Theater). Regional: The servant of Two Masters, eclipsed, death of a salesman, Lydia, all’s Well That ends Well, dance of the holy ghosts, The Mystery Plays, The Taming of the shrew, King Lear, Iphigenia at aulis, Kingdom of earth (Yale Rep); hamlet, Carnival, King John, The Glass Menagerie (Shakespeare Theatre of New jersey); The Cook (hartford Stage); and Crimes of the heart (The Cape Playhouse). Ms. Mcguire is currently on faculty at Yale School of Drama; is a member of VASTA (The Voice and Speech Trainers Association), Actors’ equity, SAg, and AFTRA; and is an actress with over 30 years of performance experience. juNgHOON Pi (SoUND DeSIgNeR) is a Seoul-based composer and multimedia artist. He has written songs for major K-pop artists including R.ef, Zaza, Shinhwa, Roo’ra, and Crown j. He has also composed scores for Korean blockbuster films including Modern Boy, Man of Vendetta, a Better Tomorrow (invited to the Venice Film Festival, 2010). His American theatre composition credits include Price (Kraine Theatre, New York International Fringe Festival); Blood Wedding (Schapiro Theatre); Walkabout Yeolha (The Riverside Theatre); every other hamlet In The universe (Yale School of Drama); electra: Mask Ritual, 19
cREATivE TEAm The other shore (Yale Cabaret). Pi earned his BM and MM from Yonsei University and Dongguk University, and he is a second-year MFA candidate at Yale School of Drama, where he is the recipient of the eldon elder Fellowship.
TARA RubiN cASTiNg (CASTINg DIReCToRS) has been casting at Yale Rep since 2004. broadway: Promises, Promises; a Little night Music; Billy elliot (adult casting); shrek; Guys and dolls; The Little Mermaid; Mary Poppins; Jersey Boys; The Producers; Mamma Mia!; The Phantom of the opera; The Country Girl; Young Frankenstein; The Farnsworth Invention; Rock ’n’ Roll; The history Boys (US casting); Les Misérables; spamalot; The 25th annual Putnam County spelling Bee; The Pirate Queen; Good Vibrations; Bombay dreams; oklahoma!; Flower drum song; Imaginary Friends; Metamorphoses (new york casting). Lincoln Center Theater: happiness, The Frogs, Contact, Thou shalt not, a Man of no Importance, anything Goes (concert). The Kennedy Center: Mame, Mister Roberts, The sondheim Celebration, and Tennessee Williams explored. The old globe: Robin and the seven hoods, The First Wives Club, sammy. Film: The Producers: The Musical. Members, casting Society of america. jENNifER SALim (CoSTUMe DeSIgNeR) is a third-year MFA candidate at Yale School of Drama, where her credits include Phèdre and Macbeth. Yale Cabaret credits include Waking. originally from Chicago, she worked as a fashion stylist for Chicago magazine, american Idol, Time out Chicago, newcity magazine, honest magazine, Heidi Hess Designs, as well as styling consultation for various celebrity and corporate clients. She is the 2009–2010 recipient of the Zelma Weisfeld Scholarship for Costume Design and the 2010–2011 recipient of the jay and Rhonda Keene Scholarship for Costume Design. Rick SORDELET (FIgHT DIReCToR) Fifty Broadway productions, including Disney’s The Lion King, Beauty and the Beast, Tarzan, The Little Mermaid, and aida. More than fifty productions all over the world, including Cyrano de Bergerac starring placido domingo at the Metropolitan opera, The Royal opera House, and the LaScala in Milan. Stunt coordinator for the films The Game Plan starring Dwayne “The Rock” johnson, dan in Real Life starring Steve Carell and juliette Binoche, and hamlet starring Campbell Scott. He served as the chief stunt coordinator for Guiding Light. Rick sits on the board of the Shakespeare Theatre of New jersey and is a company member of Drama Dept. He teaches at Yale School of Drama, The New School for Drama, and The Neighborhood Playhouse; and he is the author of the play Buried Treasure. Rick is a proud recipient of the edith oliver Award for Sustained excellence from the Lucille Lortel Foundation. He is married to actress Kathleen Kelly and has three children: Kaelan, Christian, and Collin.
LiESL TOmmY (director) made her Yale Rep debut last season with eclipsed, which was honored with the outstanding Production of a Play Award from the Connecticut Critics Circle, following the play’s McCarter Theatre workshop and Woolly Mammoth Theatre Company world premiere. Her other recent credits include Ruined by Lynn Nottage (Huntington Theatre Company, La jolla Playhouse, oregon Shakespeare Festival); the world premieres of Peggy Pickett sees the Face of God by Roland Schimmelpfennig (Luminato 20
Festival/Volcano Theatre); eisa Davis’s angela’s Mixtape (Synchronicity Performance group, New georges); a history of Light (Contemporary American Theatre Festival); The Good negro by Tracey Scott Wilson (The Public Theater, Sundance Theatre Institute, Dallas Theater Center); a stone’s Throw by Lynn Nottage (Women’s Project); Yankee Tavern, stick Fly (CATF); a Christmas Carol (Trinity Rep); In the Continuum (Playmakers Rep); Flight (city Theatre); and Bus and Family Ties (Play Company) for the Romania Kiss Me! Festival. Ms. Tommy was awarded the NeA/TCg Directors grant, the New York Theatre Workshop Casting/Directing Fellowship, and is a New York Theatre Workshop Usual Suspect. She has also been a guest director and teacher at juilliard, Trinity Rep/Brown University’s MFA Directing and Acting Program, and NYU’s Tisch School of the Arts. She is a native of Cape Town, South Africa.
AuguST wiLSON (PLAYWRIgHT) authored Gem of the ocean, Joe Turner’s Come and Gone, Ma Rainey’s Black Bottom, The Piano Lesson, seven Guitars, Fences, Two Trains Running, Jitney, King hedley II, and Radio Golf. These works explore the heritage and experience of African Americans, decade by decade, over the course of the twentieth century. His plays have been produced at regional theatres across the country, all over the world, and on Broadway. Pulitzer Prizes: Fences (1987) and The Piano Lesson (1990). tony award: Fences. britain’s olivier award for Jitney, and eight NY Drama Critics’ Circle Awards. The cast recording of Ma Rainey’s Black Bottom received a 1985 grammy, and The Piano Lesson received a 1995 emmy nomination. august Wilson received rockefeller and guggenheim Fellowships, the Whiting Writers Award, 2003 Heinz Award, 1999 National Humanities Medal from the President of the United States, numerous honorary college degrees, and the only high school diploma ever issued by the Carnegie Library of Pittsburgh. He was an alumnus of New Dramatists, the American Academy of Arts and Sciences, and a 1995 inductee into the American Academy of Arts and Letters. on october 16, 2005, Broadway renamed the theatre located at 245 West 52nd Street “The August Wilson Theatre.” Posthumously he received the Dramatists guild Award for Lifetime Achievement, Theatre Hall of Fame induction, the namesake for Pittsburgh’s August Wilson Center for African American Culture. Born and raised in Pittsburgh’s Hill District, he lived in Seattle at the time of his death. He is immediately survived by his daughters, Sakina Ansari and Azula Carmen Wilson, and his wife, costume designer Constanza Romero. cHENg-HAN wu (DRAMATURg) is a second-year MFA candidate at Yale School of Drama, where his dramaturgy credits include homebody/Kabul and uncle Vanya. originally from Taiwan, he received his BA in drama and theatre from National Taiwan University (NTU), where his major dramaturgy credits include Twelfth night and Cat on a hot Tin Roof. Later, he served as web editor of PaR Performing arts Review magazine and research assistant of NTU Shakespeare Forum. Currently, he is also Resident Dramaturg as well as translator of Ren-Shin Theatre, a Taiwan-based troupe renown for staging euro-American contemporary plays in Chinese. For Ren-Shin, his dramaturgy credits include The homecoming, Wonder of the World, and Sarah Ruhl’s eurydice. he is also a director and actor in taiwan. his directing credits include Before Breakfast (NTU), I am My own Wife (Ren-Shin), and The other shore (Yale Cabaret). His acting credits include the new musical adaptation of Mulan (ntU). 21
YALE REPERTORY THEATRE jAmES buNDY (artiStic director) is in his ninth year as Dean of Yale School of Drama and Artistic Director of Yale Repertory Theatre. In his first eight seasons, Yale Rep has produced more than twenty world, American, and regional premieres, five of which have been honored by the Connecticut Critics Circle with the award for Best Production of the year, and two of which have been Pulitzer Prize finalists. During this time, Yale Rep has also commissioned more than two dozen artists to write new work and provided low-cost theatre tickets and classroom visits to thousands of middle and high school students from greater New Haven through WILL PoWeR!, an educational program initiated in 2004. Mr. Bundy’s directing credits include The Psychic Life of savages, The Ladies of the Camellias, all’s Well That ends Well, a Woman of no Importance, death of a salesman, and a delicate Balance at Yale Rep, as well as productions at great Lakes Theater Festival, The Acting Company, California Shakespeare Festival, Alabama Shakespeare Festival, and The juilliard School Drama Division. A recipient of the Connecticut Critics Circle’s Tom Killen Award for extraordinary contributions to Connecticut professional theatre in 2007, Mr. Bundy currently serves on the board of directors of Theatre Communications group, the national service organization for nonprofit theatre. 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. He is a graduate of Harvard College and Yale School of Drama. vicTORiA NOLAN (MANAgINg DIReCToR) is in her 18th year as Managing Director of Yale Repertory Theatre, serves as Deputy Dean of Yale School of Drama, and is on its faculty. She was previously Managing Director of Indiana Repertory Theatre, Associate Managing Director at Baltimore’s CeNTeRSTAge, Managing Director at Ram Island Dance Company in Portland, Maine; and she has held various positions at Loeb Drama Center of Harvard University; TAg Foundation, an organization producing off-Broadway modern dance festivals; and Boston University School for the Arts. Ms. Nolan has been an evaluator for the National endowment for the Arts, for which she has chaired numerous grant panels, and has served on other panels and foundation review boards including the AT&T Foundation, The Heinz Family Foundation, Lila Wallace-Reader’s Digest Fund, and the Metropolitan Life Foundation. She has also served on the executive Committee of the League of Resident Theatres (LoRT) and on numerous negotiating teams for national labor contracts. A Fellow at Yale’s Saybrook College, she is the recipient of the Betsy L. Mahaffey Arts Administration Fellowship Award from the State of Connecticut and the elm/Ivy Award, given jointly by Yale University and the City of New Haven for distinguished service to the community. jENNifER kigER (ASSoCIATe ARTISTIC DIReCToR) is in her sixth year at Yale Rep and is also director of the new play programs of the Yale Center for New Theatre, an artist-driven initiative that supports the creation of new plays and musicals for the American stage through commissions, residencies, workshops, and productions. Ms. Kiger came to Yale Rep from South Coast Repertory (SCR), where she was Literary Manager 22
from 2000 to 2005 and served as Co-Director of the Pacific Playwrights Festival. She was dramaturg on more than 40 new plays at SCR, including the world premieres of Rolin jones’s The Intelligent design of Jenny Chow, Amy Freed’s The Beard of avon, and the West Coast premieres of Sarah Ruhl’s The Clean house and Nilo Cruz’s anna in the Tropics. Prior to that, she served as production dramaturg at American Repertory Theatre, collaborating with Robert Brustein, Robert Woodruff, Liz Diamond, and Kate Whoriskey, and with multi-media director Bob Mcgrath on stage adaptations of Robert Coover’s Charlie in the house of Rue and Mac Wellman’s hypatia. She has been a dramaturg for the Playwrights’ Center of Minneapolis and Boston Theatre Works and a panelist for the National endowment for the Arts and the California Arts Council. Ms. Kiger completed her training in Dramaturgy at the American Repertory Theatre Institute for Advanced Theatre Training at Harvard University, where she taught courses in acting and dramatic arts. bRONiSLAw SAmmLER (PRoDUCTIoN SUPeRVISoR) has been Chair of Yale School of Drama’s acclaimed Technical Design and Production Department since 1980. In 2007 he was named the Henry McCormick Professor (Adjunct) of Technical Design and Production by Yale’s President, Richard C. Levin. He is co-editor of Technical Brief and Technical design solutions for Theatre, Vols. I & II. He co-authored Structural design for the stage, which won the United States Institute of Theatre Technology’s (USITT) golden Pen Award. Demonstrating his commitment to excellence in technical education and professional production, he co-founded USITT’s National Theatre Technology exhibit, an on-going biennial event; he has served as a commissioner and a director at-large and is a lifetime Fellow of the Institute. He was honored as educator of the Year in 2006 by the New england Theatre Conference and chosen to receive the USITT Distinguished Achievement Award in Technical Production in 2009. His production management techniques and his introduction of structural design to scenic technology are being employed in both educational and professional theatres throughout the world. jAmES mOuNTcASTLE (PRoDUCTIoN STAge MANAgeR), has been at Yale Rep since 2004. He has stage managed productions of We Have Always Lived in the Castle, The Master Builder, Passion Play, Richard II, Eurydice, a new adaptation of The Cherry Orchard, and the world premiere of The Clean House. a professional stage manager for more than twenty years, he has worked in regional, stock, and Broadway theatre. Broadway credits include Damn Yankees, Jekyll & Hyde, Judgment at Nuremberg, The Boys from Syracuse, The Smell of the Kill, Life x(3), and Wonderful Town. Mr. Mountcastle spent several Christmas seasons in New York City as stage manager for the now legendary production of A Christmas Carol at Madison Square garden. Broadway national tours include City of Angels, Falsettos, and My Fair Lady. He served as Production Stage Manager for Damn Yankees starring jerry Lewis for both its national tour and at the Adelphi Theatre in London’s West end. In addition, Mr. Mountcastle has worked at The Kennedy Center, CeNTeRSTAge in Baltimore, Actors Theatre of Louisville, Brooklyn Academy of Music, and elsewhere. james and his wife julie live in North Haven and are the very proud parents of two beautiful girls: ellie, who is 12 years old, and Katie, age 10.
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YALE REPERTORY THEATRE STAff james Bundy, artistic director Victoria Nolan, Managing director jennifer Kiger, associate artistic director
ARTiSTic Resident Artists Paula Vogel, Playwright-in-Residence Liz Diamond, evan Yionoulis, Resident directors Catherine Sheehy, Resident dramaturg Ming Cho Lee, set design advisor Michael Yeargan, Resident set designer jane greenwood, Costume design advisor jess goldstein, Resident Costume designer jennifer Tipton, Lighting design advisor Stephen Strawbridge, Resident Lighting designer David Budries, sound design advisor Walton Wilson, Voice and speech advisor Rick Sordelet, Fight advisor Mary Hunter, stage Management advisor Associate Artists 52nd Street Project, Kama ginkas, Mark Lamos, MTYZ Theatre/Moscow New generations Theatre, Bill Rauch, Sarah Ruhl, Henrietta Yanovskaya Artistic Administration Amy Boratko, Literary Manager Kay Perdue Meadows, artistic associate Maya Cantu, artistic Coordinator Tanya Dean, Hannah Rae Montgomery, Literary associates Tara Rubin, CSA; Laura Schutzel, CSA; Casting directors Dale Brown, CSA; Merri Sugarman, CSA; eric Woodall, CSA; Casting associates Kaitlin Shaw, Casting assistant Ruth M. Feldman, director of education and accessibility services Teresa Mensz, Library services assistant josie Brown, senior administrative assistant to the artistic director and associate artistic director Laurie Coppola, senior administrative assistant for the directing, dramaturgy and dramatic Criticism, Playwriting, and stage Management departments Mary Volk, senior administrative assistant for the design and sound design departments
ADmiNiSTRATiON Suzanne R. Appel, Martha o. jurczak, associate Managing directors Matthew gutschick, assistant Managing director Caitie Hannon, Management assistant emalie Mayo, senior administrative assistant to the Managing director Katie Liberman, Company Manager
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Development and Alumni Affairs Deborah S. Berman, director of development and alumni affairs Debbie ellinghaus, senior associate director of development and alumni affairs elizabeth elliott, jennifer Harrison Newman, associate directors of development Barry Kaplan, senior staff Writer Susan C. Clark, development associate Belene Day, senior administrative assistant to development and Marketing & Communications Michael Bateman, development assistant finance and information Technology Katherine D. Burgue単o, director of Finance and human Resources Denise Zaczek, associate director of Finance Cristal Coleman, Hanna Hejmowski, Ashlie Russell, Business Office Specialists Randall Rode, Information Technology director Daryl Brereton, associate Information Technology director Mara Hazzard, director, Yale Tessitura Consortium Toni Ann Simiola, senior administrative assistant to Business Office, Information Technology, Operations, and Tessitura Laura Puopolo, Business Office Assistant Niti Mehta, Information Technology assistant marketing, communications, and Audience Services Anne Trites, director of Marketing and Communications Steven Padla, senior associate director of Communications Daniel Cress, senior associate director of Marketing Rachel Smith, Associate Director of Marketing Susan Kim, associate director of Marketing and Communications jennifer Harrison Newman, Associate Director of Marketing Sarah Stevens-Morling, online Communications and advertising Manager Maggie elliott, Publications Manager Rachel Harris, Graphic design and Production assistant Scott McKowen, Punch & judy Inc., Graphic designers joan Marcus, Production Photographer janna j. ellis, associate director of audience services and Tessitura specialist Laura Kirk, assistant audience services director Tracy Baldini, subscriptions Coordinator London Moses, audience services assistant Sam Bolen, Amanda Culp, Courtney engle, Tiffany Lin, jeffrey Reinhardt, emily Sanna, William Smith, joanna Wilson, Box Office Assistants
Operations Diane galt, director of Facility operations Rich Abrams, operations associate Paul Catalano, arts and drama Zone superintendent VonDeen Ricks, Custodial Team Leader Marcia Reily, Building attendant Lucille Bochert, Vermont Ford, Warren Lyde, Mark Roy, Custodians
Theater Safety and Occupational Health William j. Reynolds, director of Theater safety and occupational health jacob Thompson, Security Officer ed jooss, Audience Safety Officer Fred grier, Customer Service and Safety Officer
PRODucTiON Bronislaw j. Sammler, Production supervisor james Mountcastle, Production stage Manager jonathan Reed, senior associate Production supervisor grace Pavuk, senior administrative assistant to the Production department costumes Tom McAlister, Costume shop Manager Robin Hirsch, associate Costume shop Manager Mary Zihal, senior draper Clarissa Wylie Youngberg, draper Deborah Bloch, senior First hand Linda Kelley-Dodd, Costume Project Coordinator Denise o’Brien, Wig and hair design Barbara Bodine, Company hairdresser Linda Wingerter, Costume stock Manager Electrics Donald W. Titus, Lighting supervisor jason Wells, Linda Young, head electricians jacqueline Deniz Young, assistant to the Lighting supervisor Painting Ru-jun Wang, scenic Charge Angie Meninger, Kathleen Zeranski, scenic artists Keri Kriston, assistant scenic artist April Nichole Chateauneuf, Allison jackson, assistants to the Painting supervisor Properties Brian Cookson, Properties Master David P. Schrader, Properties Craftsperson jennifer McClure, Properties assistant Bill Batschelet, Properties stock Manager C. Nikki Mills, assistant to the Properties Master Scenery Don Harvey, Neil Mulligan, Technical directors Alan Hendrickson, electro Mechanical Laboratory supervisor eric Sparks, shop Foreman Matt gaffney, Sharon Reinhart, Master Carpenters Brandon Fuller, Ryan gardner, shop Carpenters Michael Backhaus, Kenyth x. Thomason, assistants to the Technical director Sound josh Loar, sound supervisor Paul Bozzi, staff sound engineer orlando Chavez, assistant to the sound supervisor
Projections erich Bolton, Projection supervisor Stage Operations janet Cunningham, stage Carpenter Kate Begley Baker, Properties Runner elizabeth Bolster, Wardrobe supervisor Charles Harbert, sound operator Amy jonas, assistant to the stage Carpenter
ADDiTiONAL STAff fOR THE PiANO LESSON Deanna Downes, assistant director edward T. Morris, assistant scenic designer Maria Hooper, assistant Costume designer Masha Tsimring, assistant Lighting designer Palmer Hefferan, assistant sound designer and engineer Alexandra Ripp, assistant dramaturg Maria Cantin, assistant stage Manager Steven A. Schmidt, associate Production supervisor justin elie, Technical director Stephen C. Henson, Barbara Tan-Tiongco, assistant Technical directors Ted griffith, Master electrician Shaminda Amarakoon, assistant Properties Manager judianne Wallace, draper Harry johnson, First hand Charlie Hudson, III, Fight Captain Reynaldi Lolong, assistant Company Manager Lico Whitfield, house Manager Hyun Seung Lee, Adam Rigg, jonathan Wemette, Run Crew uNDERSTuDiES Trai Byers, Boy Willie Will Cobbs, Lymon Winston Duke, Wining Boy Miriam A. Hyman, Berniece Andrew Z. Kelsey, avery Faith Philpot, Maretha Paul Pryce, doaker Da’Vine joy Randolph, Grace SPEciAL THANkS Terry Bogue, Ruben Santiago-Hudson, Blake Segal
Yale Repertory Theatre operates under an agreement between the League of Resident Theatres (LoRT) and Actors’ equity Association, 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.
The Piano Lesson, january 28 to February 19, 2011. Yale Repertory Theatre, 1120 Chapel Street.
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AbOuT YALE REP Yale Repertory Theatre is dedicated to the production of new plays and bold interpretations of classics and has produced well over 100 premieres—including two Pulitzer Prize winners and four other nominated finalists—by emerging and established playwrights. eleven Yale Rep productions have advanced to Broadway, garnering more than 40 Tony Award nominations and eight Tony Awards. Yale Rep is also the recipient of the Tony Award for outstanding Regional Theatre. Professional assignments at Yale Repertory Theatre are integral components of the program at Yale School of Drama, the nation’s leading graduate theatre training conservatory.
YALE cENTER fOR NEw THEATRE established in 2008, the Yale Center for New Theatre is an artist-driven initiative that devotes major resources to the commissioning, development, and production of new plays and musicals at Yale Rep and across the country. A key component of the Center’s work is the support of productions of Yale-commissioned works at theatres other than Yale Rep—over the next four years, over $600,000 will be committed to this project. The Yale Center for New Theatre also facilitates residencies of playwrights and composers at Yale School of Drama. To date, the Yale Center for New Theatre has supported the work of more than two dozen commissioned artists as well as the world premieres and subsequent productions of six new american plays and musicals. dostoevsky’s notes from underground, adapted by Bill Camp and Robert Woodruff, was the first commissioned play supported by the Yale Center for New Theatre to receive its world premiere at Yale Rep. This fall, notes had its West Coast premiere at La jolla Playhouse and its New York premiere at Theatre for a New Audience, in association with the Baryshnikov Arts Center, with further support from the Center. The Yale Center for New Theatre has also supported Yale Rep’s world premiere productions of the musical PoP! by Maggie-Kate Coleman and Anna K. jacobs; Compulsion by Rinne groff, co-produced with The Public Theater and Berkeley Repertory Theatre; the Yale-commissioned musical We have always Lived in the Castle by Adam Bock and Todd Almond; and Bossa nova by Kirsten greenidge. Additionally, the Center supported the world premiere of the Yale-commissioned on the Levee by Marcus gardley, Todd Almond, and Lear deBessonet at Lincoln Center Theater’s LCT3.
cOmmiSSiONED ARTiSTS DAVID ADjMI ToDD ALMoND HILARY BeLL ADAM BoCK BILL CAMP LeAR DeBeSSoNeT WILL eNo MARCUS gARDLeY KIRSTeN gReeNIDge
mAkE YOuR DONATiON gO TwicE AS fAR! This year, an anonymous donor will match one to one— up to $1 million—all new and increased donations made to the Yale Repertory Theatre Annual Fund by june 30, 2011. Make a gift this year and double its impact. To make a donation, please call jennifer Harrison Newman, Associate Director of Development, at 203.432.5650, or email yrt.donor@yale.edu. You can also give online at yale.rep.org/donate.
DANAI gURIRA ANN MARIe HeALY AMY HeRZog NAoMI IIZUKA BRANDeN jACoBS-jeNKINS DAN LeFRANC eLIZABeTH MeRIWeTHeR SCoTT MURPHY jULIe MARIe MYATT DAVID LeFoRT NUgeNT LINA PATeL Jay reiSS SARAH RUHL oCTAVIo SoLIS LUCY THURBeR ALICe TUAN PAULA VogeL KATHRYN WALAT anne WaShbUrn MARISA WegRZYN RoBeRT WooDRUFF
oPPoSITe PAge: RANDY HARRISoN IN PoP!. thiS PAge: jeNN gAMBATeSe AND ALexANDRA SoCHA in We haVe aLWaYs LIVed In The CasTLe. photoS BY joAN MARCUS, 2009, 2010.
cONTRibuTORS
To YALe SCHooL oF DRAMA AND YALe RePeRToRY THeATRe LEADERSHiP SOciETY ($50,000 and above) anonymous anonymous john Badham john B. Beinecke estate of Nicholas Ciriello Sterling and clare brinkley edgar M. Cullman, jr. edgar M. Cullman III Scott M. Delman A.R. gurney F. Lane Heard III David johnson Donald B. Lowy Neil Mazzella Andrew W. Mellon Foundation David Milch H. Thomas Moore estate of Tad Mosel estate of g.C. Niemeyer Robina Foundation Talia Shire Schwartzman Michael and Riki Sheehan The Shubert Foundation Stephen Timbers Jennifer tipton edward Trach esme Usdan guARANTORS ($25,000–$49,999) anonymous educational Foundation of america heidi ettinger national endowment for the Arts national endowment for the Arts, Arts Midwest, Shakespeare in american communities edward john Noble Foundation bENEfAcTORS ($10,000–$24,999) americana arts Foundation anonymous Mary L. Bundy CeCArts Link Michael Diamond edgerton Foundation Marc Flanagan
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Ruth and Steve Hendel Catherine MacNeil hollinger jane Kaczmarek Lucille Lortel Foundation renova Carol L. Sirot Foundation Trust for Mutual Understanding PRODucER’S ciRcLE ($5,000–$9,999) Foster Bam Jim burrows component engineers inc. bill conner The Noel Coward Foundation Sasha emerson Levin Ron Hansen, jr. Ben Ledbetter and Deborah Freedman Mionetto USA carol ostrow The Seedlings Foundation Sonja and patrick Seaver jeremy Smith Philip j. Smith DiREcTOR’S ciRcLE ($1,000–$4,999) Nina Adams and Moreson Kaplan Deborah Applegate and bruce tulgan Amy Aquino and Drew McCoy Anna Fitch Ardenghi general Charitable Purpose Trust, Bank of America, Trustee Paula Armbruster cornelia barr estate of Cynthia K. barrington Deborah S. Berman Jeffrey a. bleckner James bundy raymond carver joan D. Channick patricia clarkson enrico L. Colantoni Community Foundation of greater New Haven peggy cowles Michael S. David The Frederick A. DeLuca Foundation
Charles Dutton glen R. Fasman Terry Kevin Fitzpatrick Marcus Dean Fuller Fred gorelick and Cheryl MacLachlan Stephen godchaux David goldman and Debbie Bisno Naomi grabel Donald granger Mabel Burchard Fischer grant Foundation Richard Harrison Carol Thompson hemingway Albert Hurwitz James earl Jewell Donald and Candice Kohn The ethel & Abe Lapides Foundation george N. Lindsay, jr Sarah Long William Ludel jane Marcher Foundation edward Martenson Thomas Masse and Dr. James perlotto Susan McNamara, MD Bruce Miller Dawn g. Miller Neil Mulligan Arthur and Merle Nacht NewAlliance Foundation Christopher Noth Richard ostreicher Penwith Trust DW Phineas Perkins george and Kathy Priest Sarah Rafferty Arthur I. Rank III pamela rank Lance Reddick Scoozzi Trattoria and Wine bar Marie S. Sherer eugene F. Shewmaker Benjamin Slotznick Kenneth j. Stein Shepard and Marlene Stone Robert and Arlene Szczarba target Stores Alan Yuspeh Albert Zuckerman
PARTNERS ($500–$999) Mr. and Mrs. B. Ashfield Mary ellen and Thomas atkins alexander bagnall Jack W. belt alice b. and James t. brown Martin Caan and Carol Petschek ian calderon joy g. Carlin Cosmo Catalano, jr. john Conklin Marycharlotte Cummings Ramon L. Delgado Cory and Bob Donnalley Charitable Foundation eric elice Roberta enoch and Steven canner peter entin Michael T. Fulton and Catherine Hernandez james W. gousseff Rob greenberg Karsten Harries Katherine W. Haskins Michael Haymes and Logan green Jane c. head donald holder john Robert Hood Chih-Lung Liu Linda Lorimer and Charley ellis Dr. and Mrs. Robert W. Lyons Brian Mann john McAndrew Susie Medak Stephen Mendillo Daniel Mufson Arthur oliner Lawrence Perry and Rebecca Wayland Carol A. Prugh Alan Rosenberg David Saltzman Tony Shalhoub Thomas Thurston Shirin Devrim Trainer Lee Stump Carol M. Waaser William and Phyllis Warfel
Zelma Weisfeld carolyn S. Wiener Catherine Zuber iNvESTORS ($250–$499) Actors’ equity Foundation anonymous Susan and bruce ackerman Mary B. Arnstein raymond baldelli and Ronald Nicholes john Lee Beatty Robert Bienstock Susan brady and Mark Loeffler tom broecker claudia brown Bruce and janet Bunch Thomas Buttke and judith Waters Michael Cadden Anne and guido Calabresi Bozena Chepya george Corrin, jr. john W. Cunningham ernestine and ronald cwik Richard Sutton Davis drew S. days iii and Ann R. Langdon Charles Dillingham dennis dorn elizabeth english Dr. and Mrs. Frederic Finkelstein joel Fontaine David Freeman joseph gantman Nina M. glickson Melanie ginter Robert j. greenberg Norma and Richard grossi Regina guggenheim William B. Halbert Sarah Hancock Scott hansen D. Keith Hargreaves Walter and betty harris douglas harvey Barbara Hauptman Nicole and Larry Heath Peter Hentschel and elizabeth Prete jennifer Hershey-Benen june and george Higgins elizabeth Holloway joanna and Lee jacobus
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This list includes current pledges, gifts, and grants received from july 1, 2009, through November 1, 2010. For more information about making a donation to Yale Repertory Theatre, please contact Sue Clark at 203.432.1559 or susan.clark@yale.edu 31
NO BOUNDARIES: A SERIES OF GLOBAL PERFORMANCES
THE METHOD GUN WRITTEN BY KIRK LYNN
DIRECTED BY SHAWN SIDES CREATED BY RUDE MECHS
Presented by World Performance Project at Yale and Yale Repertory Theatre
FEBRUARY 23 TO 26 yalerep.org/noboundaries YALE REPERTORY THEATRE
WILLIAM SHAKESPEARE’S
ROMEO AND JULIET DIRECTED BY SHANA COOPER MARCH 11 TO APRIL 2 yalerep.org
YALE REPERTORY THEATRE U.S. PREMIERE
AUTUMN SONATA BY INGMAR BERGMAN
DIRECTED BY ROBERT WOODRUFF APRIL 15 TO MAY 7 yalerep.org
For tickets or more information, call 203.432.1234
fOR YOuR iNfORmATiON
AccESSibiLiTY SERvicES
how to reach us
Yale Repertory Theatre offers all patrons the most comprehensive accessibility services program in Connecticut, including a season of open-captioned and audiodescribed performances, a free assistive listening system, large-print and Braille programs, wheelchair accessibility with an elevator entrance into the Yale Rep Theatre located on the left side of the building, and accessible seating. For more information about the theatre’s accessibility services, contact Ruth M. Feldman, Director of education and Accessibility Services, at 203.432.8425 or rm.feldman@yale.edu.
Yale Repertory Theatre Box office 1120 Chapel Street (at York St.) Po Box 1257, New Haven, CT 06505 203.432.1234 email: yalerep@yale.edu
box office hours Monday to Friday from 10AM to 5PM Saturday from 12 to 5PM Until 8PM on all show nights
fire notice Illuminated signs above each door indicate emergency exits. Please check for the nearest exit. In the event of an emergency, you will be notified by theatre personnel and assisted in the evacuation of the building.
restrooms restrooms are located downstairs. please contact the concierge for assistance with the elevator.
emergency calls Please leave your cell phone and/or beeper, name, and seat number with the concierge. We’ll notify you if necessary. emergency-only telephone number at Yale Rep: 203.764.4014
group rates Discounted tickets are available for groups of ten or more. Please call 203.432.1572.
seating policy everyone must have a ticket. Sorry, no children in arms or on laps. Patrons who become disruptive will be asked to leave the theatre.
THE TAkiNg Of PHOTOgRAPHS OR THE uSE Of REcORDiNg DEvicES Of ANY kiND iN THE THEATRE wiTHOuT THE wRiTTEN PERmiSSiON Of THE mANAgEmENT iS PROHibiTED.
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Yale Repertory Theatre’s accessibility services are supported in part by the Frederick A. DeLuca Foundation, The Seedlings Foundation, and the Carol L. Sirot Foundation. Yale Repertory Theatre gratefully acknowledges the carol L. Sirot foundation for underwriting the assistive listening systems in our theatres.
audio description (ad)
A live narration of the play’s action, sets, and costumes for patrons who are blind or low vision.
open captioning (oc)
You’ll never again have to ask, “What did they say?” open Captioning provides a digital display of the play’s dialogue as it’s spoken. open captioning and audio description performances are on Saturdays at 2PM. AD pre-show description begins at 1:45PM.
The Piano Lesson
feb 12
feb 19
Romeo and Juliet
mar 26
Apr 2
autumn sonata
Apr 30
may 7
c2inc is pleased to be the official open captioning provider of yale Repertory Theatre.
YALE REP’S EDucATiON PROgRAmS as part of yale rep’s commitment to our community, we provide two significant youth theatre programs. Since our 2003–04 season, WILL PoWeR!, which offers teacher training and curricular support prior to seeing a selected play at Yale Rep, has served more than 10,000 Connecticut students and educators. The Dwight/edgewood Project brings ten middle school students from New Haven’s Augusta Lewis Troup Middle Schools to Yale Rep for a monthlong, after-school playwriting program designed to strengthen their self-esteem and creative expression.
FRoM ToP: SCHooLS gATHeRINg FoR WILL PoWeR!; THe DWIgHT/eDgeWooD PRojeCT, 2010.
yale rep’s education programs are supported in part by Allegra Print and Imaging; Donald and Patricia Anderson; Anna Fitch Ardenghi general Charitable Purpose Trust, Bank of America, Trustee; estate of Cynthia K. Barrington; Deborah S. Berman; Bob and Priscilla Dannies; the Frederick A. DeLuca Foundation; Bruce graham; the Lucille Lortel Foundation; Romaine A. Macomb; jane Marcher Foundation; Frances L. Miller; NewAlliance Foundation; Robbin A. Seipold; Sandra Shaner; Target Stores; esme Usdan; Charles and Patricia Walkup; Bert and Martha Weisbart; and Yale Cabaret.
SPONSORSHiP: cOmmuNiTY PARTNERS allegra print and imaging est est est Fleur de Lys Floral and gifts heirloom Hull’s Arts Supply and Framing Koji Mionetto new haven Register ocean Thin Films
Scoozzi Trattoria and Wine Bar The Shubert Foundation The Study at Yale, a Boutique Hotel Thames Printing Company, Inc. Willoughby’s Coffee and Tea WSHU Public Radio group The Yale Bookstore Yellowbook
These lists include current pledges, gifts, and grants received from July 1, 2009‚ through december 31, 2010. 35
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