creating lasting impressions
printing and mailing 475 Heffernan drive, West Haven, Ct 06516 203 479-7500 212 209-3901 www.ghpmedia.com
JANUARY 23–29, 2016
YALE SCHOOL OF DRAMA James Bundy, Dean Victoria Nolan, Deputy Dean Joan Channick, Associate Dean
PRESENTS
WOMENBEWAREWOMEN By
HOWARD BARKER THOMAS MIDDLETON LEORA MORRIS and
Directed by
Choreographer
GRETCHEN WRIGHT
Scenic Designer
CLAIRE DeLISO
Costume Designer
ALEXAE VISEL
Lighting Designer
CAROLINA ORTIZ HERRERA
Composer and Sound Designer Projection Designer
KATE MARVIN YANA BIRYUKOVA
Production Dramaturg
NAHUEL TELLERÍA
Stage Manager
REBEKAH HEUSEL
SEASON SPONSOR
OPENING NIGHT SPONSOR
1
Brick Oven Pizza Freshly Brewed Beer dancing
254 Crown Street, New Haven
barnightclub.com
Cast in alphabetical order Bianca BAIZE BUZAN Widow JULIANA CANFIELD Guardiana JENELLE CHU Sordido PAUL STILLMAN COOPER Cardinal BRONTË ENGLAND-NELSON Fabritio
DYLAN FREDERICK
Livia ANNIE HÄGG Servants REBECCA HAMPE
KATIE TRAVERS
Leantio SEAN PATRICK HIGGINS Duke GALEN KANE Messenger STEVEN C. KOERNIG Hippolito NIALL POWDERLY Ward BRADLEY JAMES TEJEDA Isabella SHAUNETTE RENÉE WILSON SETTING Florence THERE WILL BE ONE TEN-MINUTE INTERMISSION.
The company dedicates this production to the memory of Tim Vasen DRA ’93, YC ’87 Lecturer in Directing, 2008–2015
Tim Vasen, Lecturer in Directing, and a graduate of the Directing program here at Yale School of Drama, passed away on December 28, 2015. As the Directing Supervisor of the School of Drama Shows for the past six years, Tim provoked and challenged, but, above all, encouraged his students to lead generously and to direct fearlessly. His death leaves us bereft of a colleague and mentor who glowed with warmth, with boundless curiosity, passion for learning and for teaching, for theatre in all its forms. We loved Tim. We will miss him more than words can say, and are so grateful to have known him. —LIZ DIAMOND, CHAIR, DIRECTING 3
A TWICE-FAT Thomas Middleton wrote the original Women Beware Women around 1621. He set his play in Medici Florence, and based his plot on the real-life court intrigue of Franceso I, Grand Duke of Tuscany, and his Venetian mistress, Bianca Cappello. In doing so, Middleton created a veiled critique of the sexual licentiousness and moral depravity in then-contemporary London with delicious wit, sophisticated dramaturgy, and a rich visual vocabulary. His Jacobean revenge tragedy veers from romantic entanglements in the parlor to a deadly court masque that employs knives, poisoned incense, and combustible gold to dispense with most of the dramatis personae. Flash forward to 1986, when London’s Royal Court Theatre commissioned Howard Barker to write a play about the stock market and the economic policies of Margaret Thatcher’s fiscally and morally conservative, neo-liberal government. He chose to adapt Middleton’s Women Beware Women, which he admired for “its obsessive linkage between money, power, and sex,” but found its conventional religious ending—a cardinal sermonizing about the virtues of chastity and fidelity among the corpses of the sexually deviant characters—disappointing. In Barker’s view, Middleton wrote off his characters simply because they dared to have sex. They dared to desire. Barker believes in “the redemptive power of desire.” In his version, sex doesn’t kill—capitalism does. He condenses Middleton’s acts one through four and asserts himself in act five, the point at which the mechanical deaths in the original begin. Unlike his dour seventeenth-century co-author, Barker claims he’s an optimist. (Of course, many who’ve read his apocalyptic/millennial writing might quibble with his definition of the term.)
4
THERED PLAY Director Leora Morris enters the centuries-long conversation with her production of Middleton and Barker’s Women Beware Women, a provocation to a world that still tells stories about women from a male-centric point of view. As a team, we’ve puzzled over the play’s title, the relationship and inequities of the sexes across human history, and the persistence of those staid relationships and mind-boggling inequalities in sixteenth-century Florence, seventeenthand twentieth-century London, and twenty-first-century New Haven. That level of déjà vu can be depressing. Middleton argues ‘beware the woman who will jeopardize your immortal soul and tempt you into sin.’ Barker counters, ‘beware the woman who will painfully grant you knowledge.’ But we find an alternative meaning to the title— one perhaps devoid of irony, one that holds both Middleton and Barker’s interpretations of “beware.” While the word’s primary meaning is “to be cautious or one’s guard, to be wary; to take care, take heed, in reference to a danger,” it also means—in obsolete usage—“to take care, have a care of,” derived from the Old English warian, meaning “to guard,” and its compound bewarian, meaning “to defend.” It’s the colorful possibilities of this grey liminal space between “watching out for” and “taking care of” that our production explores: if we mind the gap between vindictive harpy, and nurturing mother-figure, what landscape of new distinctions could we chart for woman, who is made and not born? —NAHUEL TELLERÍA, PRODUCTION DRAMATURG LEFT: THOMAS MIDDLETON ETCHING BY E. BOCOURT. RIGHT: HOWARD BARKER PHOTO COURTESY OF ALAMAY.
Cast BAIZE BUZAN (BIANCA) is a second-year MFA candidate at Yale School of Drama, where she has been seen in Best Lesbian Erotica 1995, The Skin of Our Teeth, and Preston Montfort—An American Tragedy. Other credits include Sister Sandman Please, The Commencement of William Tan (Yale Cabaret); Failure: A Love Story (Victory Gardens Theater); Fat Pig (Steppenwolf Garage); Look Back in Anger, The Cripple of Inishmaan (Redtwist Theatre); Rich and Famous (Jackalope Theatre); and multiple workshops at Writers Theatre. She can also be seen in the upcoming feature film Our Father. Baize is a graduate of Vassar College and The School at Steppenwolf.
JULIANA CANFIELD (WIDOW) is a second-year MFA candidate at Yale School of Drama, where she has been seen in Best Lesbian Erotica 1995, The Skin of Our Teeth, and Deer and the Lovers. Her credits include Dental Society Midwinter Meeting, Once Five Years Pass (Williamstown Theatre Festival); Roberto Zucco, Leonce and Lena, Episode #121: Catfight (Yale Cabaret); and Fortuna Fantasia (New York International Fringe Festival). Juliana holds a BA in English from Yale College.
JENELLE CHU (GUARDIANA) is a third-year MFA candidate at Yale School of Drama, where she has been seen in Tiny, Coriolanus, This Flat Earth, Don Juan, Paradise Lost, and In Arabia We’d All Be Kings. Other credits include We Are Proud to Present a Presentation…(Yale Summer Cabaret); The Secretaries, We Are All Here (Yale Cabaret); Burying Barbie (Samuel French Off Off Broadway Short Play Festival); The Importance of Being Earnest (The Tank); and The Comedy of Errors (Shakespeare and Company). While in New York, she was a proud member of The Bats at The Flea where her credits include Nectarine EP, These Seven Sicknesses, a cautionary tail, and #serials@theflea. Jenelle received her BM in vocal performance from University of MissouriKansas City.
PAUL STILLMAN COOPER (SORDIDO) is a third-year MFA candidate at Yale School of Drama, where his credits include The Skin of Our Teeth, The Troublesome Reign of King John, Coriolanus, Riverbank: A Noh Play for Northerly Americans, Paradise Lost, and In Arabia We’d All Be Kings. He has also appeared in Solo Bach, Knives in Hens, Roberto Zucco (Yale Cabaret); Design for Living (Berkshire Theatre Festival); Good, King Lear, Julius Caesar, The Labute New Theater Festival: Blood Brothers (St. Louis Actors’ Studio); Reckless, The Play About the Baby, and Big Love (Brown University).
6
BRONTË ENGLAND-NELSON (CARDINAL) is a second-year MFA candidate at Yale School of Drama, where she was seen in Best Lesbian Erotica 1995 and Preston Montfort—An American Tragedy. Other credits include Episode #121: Catfight, We Are All Here, and Roberto Zucco at Yale Cabaret; As You Like It at Hudson Shakespeare Company; The Three Musketeers at Shakespeare Santa Cruz; and The Seagull at University of California, Santa Cruz, where she received a BA in theatre arts.
DYLAN FREDERICK (FABRITIO) is a second-year MFA candidate at Yale School of Drama, where he has been seen in The Skin of Our Teeth and Deer and the Lovers. Other credits include Episode #121: Catfight and Roberto Zucco at Yale Cabaret. His regional credits include work with Children’s Theatre Company, Guthrie Theater, Illusion Theater, Workhaus Collective, and Playwrights’ Center. His musical Summer Valley Fair premiered at the 2015 New York Musical Theatre Festival. Dylan holds a BFA in theatre performance from the University of Evansville.
ANNIE HÄGG (LIVIA) is a third-year MFA candidate at Yale School of Drama, where her credits include Don Juan, Best Lesbian Erotica 1995, Preston Montfort—An American Tragedy, THUNDERBODIES, Paradise Lost, and This Flat Earth. Other credits include The Caucasian Chalk Circle (Yale Repertory Theatre); A New Saint for a New World (Yale Cabaret); Dancing at Lughnasa (Irish Repertory Theatre); Boeing-Boeing (New Harmony Theatre); and The Most Happy Fella (The Acorn at Theatre Row). Annie has trained at the British American Drama Academy in Oxford, England, and at the Adishakti Center for Performing Arts in Tamil Nadu, India. She received a BA in international history from the London School of Economics and Political Science.
REBECCA HAMPE (SERVANT) was recently seen in The Skin of Our Teeth at Yale School of Drama and The Commencement of William Tan at Yale Cabaret. She has performed in Mousetrap (Great Lakes Theater Festival), at the New Ground Theater Festival (Cleveland Play House), and the American Shakespeare Center, where she was part of their Acting Apprentice Company. Rebecca has a BM in voice.
SEAN PATRICK HIGGINS (LEANTIO) is a third-year MFA candidate at Yale School of Drama, where he has been seen in Deer and the Lovers, The Winter’s Tale, Fucking A, Paradise Lost, The Tempest, This Land Was Made, This Flat Earth, and In Arabia We’d All Be Kings. Regional credits include Pericles (Elm Shakespeare Company); The Liar, Much Ado About Nothing, The Taming of the 7
Cast Shrew, Romeo and Juliet (Livermore Shakespeare Festival); Noises Off, The Taming of the Shrew (Idaho Repertory Theatre); and We Are All Here (Yale Cabaret). His new play, Moonsong, premiered at Yale Cabaret in October. Sean holds a BFA from the University of Wyoming and is a proud recipient of the Wesley Fata and Jerome L. Greene Scholarships.
GALEN KANE (DUKE) is a third-year MFA candidate at Yale School of Drama, where his credits include This Land Was Made, The Children, Paradise Lost, The Rules, In Arabia We’d All Be Kings, and The Winter’s Tale. Other credits include The Brothers Size, The Untitled Project, The Hotel Nepenthe (Yale Cabaret); Fences and The Color Purple: The Musical (University of Maryland Eastern Shore). Galen holds a degree in business administration marketing from UMES, and a certificate in photography from Boston University Center for Digital Art. He is a member of Actors’ Equity Association.
STEVEN C. KOERNIG (MESSENGER) is a third-year MFA candidate in theater management at Yale School of Drama and a joint-degree MBA candidate at Yale School of Management. He is the Marketing Fellow for Met Opera at Yale and has served as Assistant Managing Director of Yale Repertory Theatre. Last fall, Steven completed a theater management fellowship under Timothy Shields at McCarter Theatre Center in Princeton, New Jersey. At Yale Cabaret, he has worked on many shows, including Trouble in Tahiti, The Commencement of William Tan, Episode #121: Catfight, and We Fight We Die. Steven also is an Emmy Award-winning video producer. He holds a BA from the College of William and Mary.
NIALL POWDERLY (HIPPOLITO) is a third-year MFA candidate at Yale School of Drama, where he has been seen in Tiny, Coriolanus, King John, The Seagull, Paradise Lost, and In Arabia We’d All Be Kings. Other credits include Rose and the Rime, Knives in Hens (Yale Cabaret); Midsummer, The Life and Death of Doctor Faustus, and Orlando (Yale Summer Cabaret). He is originally from St. Louis and grew up in Dublin, Ireland. He holds a BFA from NYU’s Tisch School of the Arts.
BRADLEY JAMES TEJEDA (WARD) is a third-year MFA candidate at Yale School of Drama, where his past productions include Fucking A, The Children, The Winter’s Tale, Don Juan, and Bird Fire Fly. Other credits include Arcadia (Yale Repertory Theatre); The Hotel Nepenthe, We Fight We Die, The Defendant (Yale Cabaret); and King John (Marin Shakespeare Company). Born and raised in San Antonio, Texas, he holds a BA in theatre arts from the University of the Incarnate Word. 8
KATIE TRAVERS (SERVANT) is a New England-based actor who recently relocated to New Haven from Providence, Rhode Island. Credits include Hedda Gabler, Anne Boleyn (U.S. Premiere, The Gamm Theatre); Sally in Cabaret, The Threepenny Opera (The Wilbury Group); and Coriolanus (Summer Apprentice Program, Commonwealth Shakespeare Company). Katie holds a BFA in theatre arts from The University of Rhode Island, where her credits included A Flea in Her Ear, The 25th Annual Putnam County Spelling Bee, Oklahoma!, and Little Women, the musical.
SHAUNETTE RENÉE WILSON (ISABELLA) is a third-year MFA candidate at Yale School of Drama, where her credits include Best Lesbian Erotica 1995, The Skin of Our Teeth, The Children, The Seagull, Paradise Lost, and Cardboard Piano. Other credits include The Caucasian Chalk Circle (Yale Repertory Theatre); The Defendant, The Secretaries, and Look Up, Speak Nicely, and Don’t Twiddle Your Fingers All the Time (Yale Cabaret); We Are Proud to Present a Presentation…, Summer Shorts: A Festival of New Voices, Middletown, Midsummer, love holds a lamp in this little room, Orlando (Yale Summer Cabaret); The Marriage of Bette and Boo, Undone, Macbeth, A Dybbuk, and Romeo and Juliet (Queens College). Shaunette received her BA in drama and theatre from Queens College. She is also the recipient of the 2015 Princess Grace Award (Grace LeVine Theater Award).
Creative Team HOWARD BARKER (PLAYWRIGHT) was born in a working class family in South London in 1946. His first stage play was performed in 1970 at the Royal Court. Subsequently, his works were played by the Royal Court, Royal Shakespeare Company, The Open Space Theatre, Sheffield Crucible, and the Almeida. His early nausea with social realism, his embracing of tragedy ‘“the greatest art form known to man,” his poetic discourse, and what he calls “a suffocating unanimity of critical and theatre opinion” served to isolate him from mainstream theatre in this country, whose culture he describes as “utilitarian, entertainment-obsessed and awash with moral platitudes.” Such a solitude has been compensated by a powerful and growing international reputation and the formation of The Wrestling School, a company specifically created to develop his theories of theatre, now in its 24th year. Barker sees his mission as developing a “conscience-free, speculative, tragic theatre speaking its own language…” He describes his greatest achievement as earning worldwide status
9
Creative Team without compromising his principles. His work is played extensively in Europe, the United States, Australia, and in translation. He is the author of plays for marionettes and has written three librettos for opera. Howard Barker is the author of two works of theory and five volumes of poetry. He is also a painter. His work is held in national collections in England (V&A, London) and Europe.
YANA BIRYUKOVA (PROJECTION DESIGNER) is a second-year MFA candidate at Yale School of Drama, where her credits include Don Juan. Her other designs include The Secretaries, We Are All Here (Yale Cabaret); The Life and Death of Doctor Faustus (Yale Summer Cabaret); 1/13/14 (Studio Tisch); Transport (Irish Repertory Theatre); and Chang in a Void Moon (Incubator Arts Project). Her assistant credits include Elevada (Yale Repertory Theatre), The Master and Margarita (Yale School of Drama), and Deepest Man (3-Legged Dog). Originally from Moscow, Russia, Yana holds a BA in film studies from the University of North Carolina at Wilmington. yanabiryukova.com
CLAIRE DeLISO (SCENIC DESIGNER) is a second-year MFA candidate at Yale School of Drama. Her credits include Boris Yeltsin, Shiny Objects (Yale Cabaret); Midsummer, The Life and Death of Doctor Faustus (Yale Summer Cabaret); The Doll People, Private Lives, Some Mother’s Son, Hedda Gabler (Smith College); Red, God of Carnage, Painting Churches, and Mr. Burns, a postelectric play (New Century Theatre). Claire’s film and television work includes Spooners (short), The Stand-ins (web series), Adult Beginners (assistant), and CBS’s third season of Unforgettable (assistant). Claire is the production and costume designer for BlueMoose Productions, which released BadPuss: A Popumentary last fall. She has collaborated with companies including New Brooklyn Theatre, 52nd Street Project, Infinite Theatre and Paint Box Theatre. Claire was born and raised in a small town in the south of France, and received her BA from Smith College.
CAROLINA ORTIZ HERRERA (LIGHTING DESIGNER) is a second-year MFA candidate at Yale School of Drama, where she designed The Skin of Our Teeth and The Troublesome Reign of King John. Other credits include The Untitled Project, Don’t Be Too Surprised, Trouble in Tahiti (Yale Cabaret); The Recommendation (IAMA Theatre Company, 2014 Ovation Award for Best Production of a Play); The Marriage of Bette and Boo, A Raisin in the Sun (University of La Verne); Esther’s Moustache (Studio Stage); The Onion Creek (Son of Semele); Hit, Wild in Wichita, Melancholia, Habitat (the Latino Theatre Company); as well as lighting, projections, and scenery for Datugan Dance
10
Theatre. Her directing projects include Strangers in Disguise and The Women of Juarez (University of La Verne). Carolina was born and raised in Mexico City and received a BA in theatre from the School of Theatre, Film and Television at UCLA.
REBEKAH HEUSEL (STAGE MANAGER) is a second-year MFA candidate at Yale School of Drama, where her credits include Paradise Lost and Preston Montfort—An American Tragedy. Other credits include Knives in Hens (Yale Cabaret) and The Little Mermaid Jr. (Children’s Theatre Company). Rebekah earned her BA in classics and theatre from Knox College, after Victor Pilolla sparked her love of theatre at East Laden High School.
KATE MARVIN (COMPOSER AND SOUND DESIGNER) is a third-year MFA candidate at Yale School of Drama, where her credits include Riverbank: A Noh Play for Northerly Americans and The Seagull. Other credits include love holds a lamp in this little room, Orlando, A Map of Virtue, We Are Proud to Present a Presentation…, Middletown, Why Torture Is Wrong, and the People Who Love Them (Yale Summer Cabaret); Elevada (Yale Repertory Theatre); Chimpanzee (St. Ann’s Warehouse Puppet Lab); Set in the Living Room of a Small Town American Play, Doctor Faustus, Three Seagulls or MASHAMASHAMASHA! (Theater Reconstruction Ensemble); POZHAR! (or Time Machine Ignition), Uncle Vanya, The Tempest, Second Language (Target Margin Theater); The Latvia Project (warner|shaw); The Secretaries, We Are All Here, He Left Quietly, The Mystery Boy, Quartet, Shiny Objects, Don’t Be Too Surprised, and Look Up, Speak Nicely, and Don’t Twiddle Your Fingers All the Time (Yale Cabaret). Kate is an associate artistic director of Theater Reconstruction Ensemble and an associate artist with Target Margin Theater.
LEORA MORRIS (DIRECTOR) is a third-year MFA candidate at Yale School of Drama, where her credits include Shakespeare’s The Troublesome Reign of King John and Riverbank: A Noh Play for Northerly Americans by Brendan Pelsue. Her other credits include love holds a lamp in this little room, an original devised work (Yale Summer Cabaret); White Oleander (Yale Drama Coalition); and He Left Quietly by Yaël Farber, based on the life experiences of Duma Kumalo (Yale Cabaret). As Artistic Director of her own Toronto-based company, Theatre Hetaerae, Leora directed He Left Quietly (2014 SummerWorks Best Production); Horse (2011 Toronto Fringe Awards for Best Direction, Production, and Ensemble); Engaged (Rhubarb Festival); The Mistress Project at (Theatre Passe Muraille); and Grannie Didn’t Go to Florida (Cooking Fire Festival). Leora
11
Creative Team has worked as a dramaturg and director for new theatre and dance works across Canada, serving as Associate Dramaturg for the 2013 Banff Playwrights Colony and as Apprentice in New Play Development at Tarragon Theatre. As an associate artist with Small Wooden Shoe, Leora co-curated and directed the Reading Difficult Plays and Singing Simple Songs series and associate directed productions of Brecht’s Galileo and Evan Webber’s Antigone Dead People, which recently toured to Japan. In 2012 she was honored with Toronto’s Ken MacDougall Award for Emerging Directors. Leora is a graduate of McGill University and George Brown Theatre School (acting). This year, she is serving as co-artistic director of Yale Cabaret’s 48th season.
NAHUEL TELLERÍA (PRODUCTION DRAMATURG) is a third-year MFA candidate at Yale School of Drama, where his credits include The Rules and This Fucking Commedia Project. He has acted, directed, and dramaturged at Yale Cabaret, as well as mentored for the Dwight/Edgewood Project two years in a row. He will co-dramaturg the upcoming Yale Repertory Theatre production of Happy Days. Nahuel has a BA in English and drama/theatre arts from Columbia University, and an MA in humanities from the University of Chicago.
ALEXAE VISEL (COSTUME DESIGNER) is a third-year MFA candidate at Yale School of Drama, where she designed the costumes for The Children and Paradise Lost. Other designs include Awake and Sing! (NAATCO at The Public Theater), Zero Scenario, and Episode #121: Catfight (Yale Cabaret). Originally based in San Francisco, her designs were seen in The Coast of Utopia: Parts I and II, Sea of Reeds (Shotgun Players); The Comedy of Errors, Cymbeline, The Two Gentlemen of Verona (San Francisco Shakespeare Festival); and Octopus (Magic Theatre). Alexae holds a BFA in theatrical design and production from The College Conservatory of Music at the University of Cincinnati.
GRETCHEN WRIGHT (CHOREOGRAPHER) is a third-year MFA candidate in theater management at Yale School of Drama and joint-degree MBA candidate at Yale School of Management. She has served as Managing Director for the 2014 Yale Summer Cabaret and Company Manager for Yale Repertory Theatre. In spring 2015, she completed a theater management fellowship under Artistic Director Susan V. Booth at the Alliance Theatre in Atlanta, Georgia. Prior to coming to Yale, Gretchen worked at Court Theatre in Chicago, and performed with and directed for various storefront experimental dance and theatre companies in the city. Other choreography credits include The Skin of Our Teeth at Yale School of Drama, and “Galatea” from the 2014 Dance, Design, Directing, and Projection Project.
12
Three p erform ances o nly!
escuel
a
W r i tt e N a Nd direct ed By GuillerMo ca l d e r ó N
feB 24–26
at 8PM
2015–16 No BouNda series ries
yale
2 0 3 . rep.or yaler 4 3 2 . 1 2 g 34 ep@y al e.edu
photo © maría paz-Gonzáles, 2015.
Is 1156 c eman theat hapel e streetr
13
Women Beware Women Staff ARTISTIC Emona Stoykova, Assistant Scenic Designer Katie Touart, Assistant Costume Designer Erin Fleming, Assistant Lighting Designer Fan Zhang, Assistant Sound Designer and Engineer Johnny Moreno, Assistant Projection Designer Shelby North, Assistant Stage Manager
PRODUCTION Alexandra Reynolds, Associate Production Manager Elise Masur, Technical Director Matt Davis, Wei-hsuan Cross Wang, Assistant Technical Directors Stephanie Waaser, Properties Master Jen Seleznow, Master Electrician Ian Elijah Hannan, Projection Engineer Harrison Beauregard, Stage Carpenter Sebastian Arboleda, Brittany Bland, An-Lin Dauber, Yagil Eliraz, Luke Harlan, Hellen Irene Muller, Rachel Shuey, Sinan Refik Zafar, Run Crew
ADMINISTRATION Kathy Li, Sylvia Xiaomeng Zhang, House Managers
SPECIAL THANKS David E. Bruin, David Chambers, Christopher Ghaffari
Yale School of Drama Staff James Bundy, Dean Victoria Nolan, Deputy Dean Joan Channick, Associate Dean
ARTISTIC Artistic Management Jennifer Kiger, Associate Artistic Director Director of New Play Programs James Mountcastle, Production Stage Manager Amy Boratko, Literary Manager Kay Perdue Meadows, Artistic Associate Rachel Carpman, Literary Associate Lindsay King, Teresa Mensz, Library Services 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, Sound Design, and Projection Departments
PRODUCTION Production Management Bronislaw J. Sammler, Head of Production Jonathan Reed, Production Manager C. Nikki Mills, Associate Head of Production and Student Labor Supervisor Grace O’Brien, Senior Administrative Assistant to the Production and Theater Safety and Occupational Health Departments Scenery Neil Mulligan, Matt Welander, Technical Directors Alan Hendrickson, Electro Mechanical Laboratory Supervisor Eric Sparks, Shop Foreman Matt Gaffney, Ryan Gardner, Sharon Reinhart, Master Shop Carpenters Alex McNamara, Shop Carpenter Bryanna Kim, Jill Chandler Salisbury, Assistants to the Technical Director Painting Ru-Jun Wang, Scenic Charge Lia Akkerhuis, Nathan Jasunas, Assistant Scenic Artists Daniel Cogan, Assistant to the Painting Supervisor
Women Beware Women January 23–29, 2016 Iseman Theater, 1156 Chapel Street
drama.yale.edu 14
Properties Jennifer McClure, Properties Master David P. Schrader, Properties Craftsperson Ashley Flowers, Properties Assistant Bill Batschelet, Properties Stock Manager Costumes Tom McAlister, Costume Shop Manager Robin Hirsch, Associate Costume Shop Manager Clarissa Wylie Youngberg, Mary Zihal, Senior Drapers Deborah Bloch, Harry Johnson, Senior First Hands
Linda Kelley-Dodd, Costume Project Coordinator Denise O’Brien, Wig and Hair Design Barbara Bodine, Company Hairdresser Elizabeth Beale, Costume Stock Manager Jamie Farkas, Assistant to the Costume Shop Manager Electrics Donald W. Titus, Lighting Supervisor Brian Quiricone, Linda-Cristal Young, Senior Head Electricians Sound Mike Backhaus, Sound Supervisor Ien DeNio, Matthew Fischer, Assistants to the Sound Supervisor Projections Erich Bolton, Projection Supervisor Mike Paddock, Head Projection Technician Brittany Bland, Assistant to the Projection Supervisor Stage Operations Janet Cunningham, Stage Carpenter Kate Begley Baker, Head Properties Runner Elizabeth Bolster, Wardrobe Supervisor Jacob Riley, FOH Mix Engineer Mark Bailey, Light Board Programmer
ADMINISTRATION General Management Emika Abe, Sooyoung Hwang, Associate Managing Directors Adam J. Frank, Emily Reeder, Assistant Managing Directors Emalie Mayo, Senior Administrative Assistant to the Managing Director Al Heartley, Kathy Li, Sam Linden, Sylvia Xiaomeng Zhang, Management Assistants Flo Low, Company Manager Kathy Li, Lulu Tang, Assistant Company Managers Development and Alumni Affairs Deborah S. Berman, Director of Development and Alumni Affairs Janice Muirhead, Senior Associate Director of Development Susan C. Clark, Development and Alumni Affairs Officer Joanna Romberg, Associate Director of Development Alice Kenney, Jennifer Schmidt, Development Associates Al Heartley, Development Assistant Maya Martindale, Interim Senior Administrative Assistant to Development and Marketing & Communications
Finance and Human Resources Katherine D. BurgueĂąo, Director of Finance and Human Resources Erin Ethier, Business Manager Janna J. Ellis, Director, Yale Tessitura Consortium Monica Avila, Chris Fuller, Preston Mock, Business Office Specialists Shainn Reaves, Senior Administrative Assistant to Business Office; Technology, Media, and Web Services; Operations; and Tessitura Marketing, Communications, and Audience Services Daniel Cress, Director of Marketing Steven Padla, Director of Communications Libby Peterson, Associate Director of Marketing and Communications Caitlin Griffin, Sylvia Xiaomeng Zhang, Marketing and Communications Assistants Marguerite Elliott, Publications Manager T. Charles Erickson, Production Photographer David Kane, Videography Laura Kirk, Director of Audience Services Shane Quinn, Assistant Director of Audience Services Tracy Baldini, Subscriptions Coordinator Roger-Paul Snell, Audience Services Assistant Alexandra Cadena, Jordan Graf, Anthony Jasper, Katie Metcalf, Kenneth Murray, Kyra Riley, Aaron Wegner, Box Office Assistants Operations Diane Galt, Director of Facility Operations Ian Dunn, Operations Associate (on leave) Nadir Balan, Interim Operations Associate Joe Proto, Arts and Graduate Studies Superintendent Vondeen Ricks, Sherry Stanley, Team Leaders Michael Humbert, Facility Steward Lucille Bochert, Tylon Frost, Kathy Langston, Warren Lyde, Patrick Martin, Mark Roy, Custodians Technology, Media, and Web Services Daryl Brereton, Interim Director of Technology, Media, and Web Services Kathleen Martin, Web Services Associate Eric Jaske, Technical Support Specialist Don Harvey, Ron Rode, Ben Silvert, Database Application Consultants Theater Safety and Occupational Health William J. Reynolds, Director of Theater Safety and Occupational Health Jacob Thompson, Security Officer Ed Jooss, Audience Safety Officer Kevin Delaney, John Marquez, Customer Service and Safety Officers 15
FW REE TickE
T!
iTH THE p a 5-TickET u R c H a S E O F ST u d E n T p aS S
5 TickETS
FOR 70 !
Limite d code 6 time only w tickets tix. Redeem ith f o pass r yo of sho ws and ur choice dates. Wo rld P
remie
THE MOORS
re
by JEn Sil vER diREcTEd b Man y JackSOn Gay J
an 29–FEb
20
cyMbElinE
by WilliaM SH diREcTEd b akESpEaRE y Evan yiO nOuliS MaR 2 diann
e Wie
Happy day S st in
by SaMuEl bE diREcTEd b ckETT y JaMES b undy ap
R 29–May 2
1
16
Teresa Avia Lim and Tiffany Villarin in peerless by Jiehae Park, 2015. Photo © Joan Marcus.
5–apR 16
BOOK YOUR NEXT EVENT HERE!!! Private Dinner Parties All Special Events No Event too Big or too Small Formal to Casual Holiday Parties Birthday Parties Graduation Parties Wedding Rehearsals Dance Parties Social Events
Contact Our Catering Department
BOX63CATERING@GMAIL.COM 203-821-7772
Proud Season Sponsor of Yale School of Drama
JOIN US FOR HAPPY HOUR BEFORE OR AFTER THE SHOW MON - FRI 4 - 7 SUN - THURS 10 - 1AM SAT, SUN 3 - 5 $5 MOJITOS • $5 MARGARITAS • $3 DRAFTS • $5 APPETIZERS
1180 Chapel Street • New Haven • (203) 691-5696 barracudanewhaven.com