Yale acknowledges that indigenous peoples and nations, including Mohegan, Mashantucket Pequot, Eastern Pequot, Schaghticoke, Golden Hill Paugussett, Niantic, and the Quinnipiac and other Algonquian speaking peoples, have stewarded through generations the lands and waterways of what is now the state of Connecticut. We honor and respect the enduring relationship that exists between these peoples and nations and this land.
We also acknowledge the legacy of slavery in our region and the enslaved African people whose labor was exploited for generations to help establish the business of Yale University as well as the economy of Connecticut and the United States.
Yale Repertory Theatre, the internationally celebrated professional theater in residence at David Geffen School of Drama, has championed new work since 1966, producing well over 100 premieres—including two Pulitzer Prize winners and four other nominated finalists—by emerging and established playwrights. Seventeen Yale Rep productions have advanced to Broadway, garnering more than 40 Tony Award nominations and ten Tony Awards. Yale Rep is also the recipient of the Tony Award for Outstanding Regional Theatre. Established in 2008, Yale’s Binger Center for New Theatre has distinguished itself as one of the nation’s most robust and innovative new play programs. To date, the Binger Center has supported the work of more than 70 commissioned artists and underwritten the world premieres and subsequent productions of more than 30 new plays and musicals at Yale Rep and theaters across the country.
MISSION
David Geffen School of Drama and Yale Repertory Theatre train and advance leaders in the practice of every theatrical discipline, making art to inspire joy, empathy, and understanding in the world.
VALUES
Artistry
We expand knowledge to nurture creativity and imaginative expression embracing the complexity of the human spirit.
Belonging
We put people first, centering wellbeing, inclusion, and equity for theatermakers and audiences through anti-racist and anti-oppressive practices.
Collaboration
We build our collective work on a foundation of mutual respect, prizing the contributions and accomplishments of the individual and of the team.
Discovery
We wrestle with compelling issues of our time. Energized by curiosity, invention, bravery, and humor, we challenge ourselves to risk and learn from failure and vulnerability.
The company of Wish You Were Here by Sanaz Toossi, directed by Sivan Battat, Yale Repertory Theatre.
Welcome to Yale Repertory Theatre and the world premiere of falcon girls!
Hilary Bettis is an acclaimed playwright whose work has been produced across the country and in Mexico, including a production of Queen of Basel at TheaterWorks Hartford in 2023. Her television credits include the Emmy Award-winning series The Americans, for which she won the 2019 Writers Guild of America Award.
May Adrales is one of the nation’s leading directors of new plays: she has staged dozens of world premieres by writers including Qui Nguyen, Felicia Anchuli King, and Rajiv Joseph, among many others. A graduate of David Geffen School of Drama, she serves as Director of the Theatre Program at Fordham University.
In her new play, falcon girls, Hilary takes us back to the early 1990s when she was in eighth grade in rural Falcon, Colorado. It is a candid and cleareyed memoir about the girls and horses who saved her life. In and around their shared experience of the school’s competitive FFA horse judging team, the play highlights the resilience, intelligence, and strength of these adolescents. Hilary and May, along with the remarkable company of actors and a team of artistic, technical, and management collaborators, have brought to life a very particular American experience that resonates deeply in our current moment.
Our 2024–25 season continues later this fall with Macbeth in Stride, a musical reimagining of Shakespeare’s tale as the story of an ambitious Black woman. Infused with pop, rock, gospel, and R&B, the show—written and performed by Whitney White, directed by Taibi Magar and Tyler Dobrowsky, and choreographed by Raja Feather Kelly—will play 10 performances only: December 5–14.
The new year will begin with a revival of Steve Carter’s blistering family drama, Eden, staged by Brandon J. Dirden (January 14–February 8). It will be followed by The Inspector, Nikolai Gogol’s anarchic comedy of errors, newly adapted and directed by Yura Kordonsky (March 7–29). The season closes with the savagely funny revenge/drag extravaganza Notes on Killing Seven Oversight, Management, and Economic Stability Board Members written by Mara Vélez Meléndez and directed by Javier Antonio González (April 25–May 17).
I hope you will join us all season long: there’s still time to become a subscriber and enjoy this incredible lineup at a significant discount. You can also apply the cost of today’s ticket to a subscription in person at the Yale Rep Box Office or by calling 203.432.1234.
Thank you for being here today. As always, I look forward to hearing your thoughts about falcon girls or any of your Yale Rep experiences. My email address is james.bundy@yale.edu.
Sincerely,
James Bundy
YALE REPERTORY THEATRE
James Bundy, Artistic Director | Florie Seery, Managing Director
PRESENTS THE WORLD PREMIERE OF
Scenic Designer
Beowulf Boritt
Costume Designer
Micah Ohno
Lighting Designer
Kyle Stamm
Sound Design and Original Music
Joyce Ciesil
Projection Designer
Christian Killada
Hair, Wig, and Makeup Designers
Krystal Balleza and Will Vicari
Production Dramaturgs
Amy Boratko and Lara Priya Sachdeva
Technical Director
Tom Minucci
Fight and Intimacy Director
Kelsey Rainwater
Vocal Coach
Julie Foh
Choreographer
Kimiye Corwin
Casting Director
Calleri Jensen Davis
Stage Manager
Josie Cooper
Development and production support for falcon girls is provided by Yale’s Binger Center for New Theatre.
falcon girls is the recipient of a 2024 Edgerton Foundation New Play Award.
Yale Repertory Theatre gratefully acknowledges Carol L. Sirot for generously funding the 2024–25 season.
Yale Repertory Theatre thanks our 2024–25 season funders:
Season Sponsor:
Cast
in alphabetical order
Rebecca Annie Abramczyk
Mr. K, Other Voices Teddy Cañez
Dan ............................................................................................................... Juan Sebastián Cruz
Beverlee, Other Voices ...................................................................................... Liza Fernandez
April .............................................................................................................................. Alexa Lopez
falcon girls contains profanity; discussions of race/ethnicity, self-harm, sex, sexual assault, abortion, violence, and situations of domestic abuse. There is also a brief moment of partial nudity and a brief moment of staged sexual content.
A NOTE FROM THE PLAYWRIGHT
For most of my life, I’ve felt ashamed of who I am. I’ve felt insecure and invisible. I’ve felt that the world I grew up in, rural America, was something to denounce. Something to overcome. A punchline for the sophisticated. I was either in on the joke or I was the joke.
When people started asking, “who are you as a writer, as a woman,” I would spin my past into whatever I thought they wanted to hear. But I always felt like a liar. And then I became a mother. And I had the epiphany so many mothers have. God, I love these children. How do I help them love themselves as they grow up? How do I teach them to be okay with who they are, when I’m not okay with who I am?
And so, I took a deep breath, dusted off my childhood journals, and asked my parents questions I’d been too afraid to ask. I started to see my own life, the people I love, the kids I grew up with in a new light. We were all just doing the best we could do.
My parents, and my brothers, and these kids, and Mr. Kugler, and county fairs, and FFA, and Cosmo magazine, and make-out sessions in barn lofts, and abstinence-only sex ed, and Jesus, and Boone’s Farm, and missing girls, and broken bones, and guns, and gangsta rap, and Garth Brooks, and the magnificent creatures that taught me love, survival, resilience, and freedom is what made me who I am.
—Hilary Bettis
Photo courtesy of Hilary Bettis.
“They stand there. Sizing each other up.
Badass cowgirls with badass
swagger.”
In the early twentieth century, the title “First Cowgirl of the West” was extended to Lucille Mulhall, a teenaged girl in Oklahoma whose rodeo feats surpassed those of even her toughest cowboy mentors. Something of an equestrian femininomenon, she is said to have taught her horse, Governor, over forty tricks—among them, to successfully “pull off a man’s coat and put it on again.” (Lucille too proved well-versed in “pulling off” so-called emblems of masculinity.)
A cowgirl’s symbolism subsequently extends beyond the work itself; the idea that she could withstand a bucking horse, control an unruly steer, and embody the rugged persona of
one American fantasy—a means of extending the perceived frontiers of girlhood.
“…and maybe she could join?”
In 1969—twenty-nine years after Lucille’s passing, and twenty-one following the founding of the Girls Rodeo Association—cowgirls explored a new terrain: the world of schoolbased agriculture.
“I didn’t realize what a big deal it was,” recalls Anita Decker Wright, one of two first female delegates at the 1970 National FFA Convention. While its three-letter name may once have stood for Future Farmers of America, the FFA website describes its adolescent members: “Future Biologists, Future Chemists, Future Veterinarians, Future Engineers, and Future Entrepreneurs.” Expanding with efforts towards more inclusive membership, the acronym has come to encompass a second meaning: a Future For All.
Move over Fashion Star Fillies and My Little Ponies, a new “model horse” has come to town: the real thing. Nicknamed the beauty pageants of the horse world, halter classes see horses led around an arena by hand and ranked relative to each other and the breed standard. Students assess their conformation and quality, looking at balance, structural correctness, and muscling. Such observations are not to instill equine insecurity, but to facilitate important medical diagnoses and treatment; safe breeding choices; and activity levels.
No, this isn’t Acting 101. Equine performance classes ask students to watch horses ridden in the manner of: Western Pleasure; Hunter Under Saddle; Reining; or Hunter Hack. They will be asked such questions as: “Which horse was the highest quality mover?” or “Which horse was more resistant to the rider?” speaking to the horse’s ability to perform in a given style.
“...i wanna be an equine veterinarian...”
The National FFA Organization is overseen on the local level by school Ag[ricultural] teachers. These instructors stay after hours to prepare students for competitive Career Development Events (CDEs)—written and practice-based tests in subjects ranging from floriculture to food science, parliamentary procedure to poultry, agronomy to extemporaneity; modeling agrobiodiversity in their own right.
In 1995, the badass cowgirls of Falcon, Colorado, “live, eat, breathe equine science.” Leading to future careers in Animal Systems (genetics, nutrition, veterinary care), their chosen CDE crosses scientist and orator for dominant traits: discernment and rhetoric. As such, the Horse Evaluation CDE asks students in teams of four to assess a given class of horses and defend their conclusions with a series of oral reasons.
Despite the name “Horse Evaluation,” the event culminates in evaluating its students. Student reasons are “ranked relative to each other” and “the standard:” each individual team member must independently come to the same conclusion, and this
Class evaluations are followed by the
conclusion must match (or disprove) an “official” judgment. Spoken presentations must further have “balance, structure, and muscle”—that is to say, they should be well paced, follow language conventions, and have a robust scientific basis.
“...FFA opens doors to that…”
Whether through trips to state and national competitions, increased chances to attend college, or scholarships to fund scientific inquiries, success in FFA carries with it notions of a widened frontier. For the FFAlcon girls, these emerge as singular opportunities to navigate a world beyond their present—that being mid 90s Colorado—where their ability to move freely is limited by anti-abortion rhetoric, chat room predators, and threats to their physical safety.
The fearless attitude of a cowgirl, then, holds heightened import. Indeed, a cowgirl is no stranger to danger; her passion carries an inherent risk—the inevitability of her falling off surpassed only by the certainty she’ll get back on. Her collection of past injuries, now reduced to scabs scarred over— evidence she already survived.
—Lara Priya Sachdeva, Production Dramaturg
Students take written exams asking them to identify horse breeds, coat colors, and markings, in addition to Western and English tack, tools, and equipment. They are then asked to address a scenario at the industry frontier—a new disease, marketing trend, or pressing environmental concern— collectively strategizing a way forward.
In 1994, just a small percentage of homes in the United States had access to the Internet, the growing information superhighway that had, until this point, mostly been traveled by tech-savvy computer cowboys. The fewer-than-10,000 websites could be navigated by a quick visit to “Jerry and David’s Guide to the World Wide Web” (which would become Yahoo! by 1995), and households with a personal computer could use an AOL CD-ROM as the first step into this new digital era. Anyone who could dial up, both through pulse and through touch-tone, had access to electronic mail, to information beyond the container of the printed Encyclopedias (or the pixelated images of Encarta), and the ability to talk to new “friends,” using aliases, in electronic chat rooms.
For a teenager in Falcon, Colorado, this new terrain might have been dizzying. Falcon itself, about fifteen miles northeast of Colorado Springs, is defined by a single crossroads—in the 19th century of rail lines and in the 20th of highway. The unincorporated area, sharing a ZIP code with nearby town Peyton, drew families who wanted five-acre plots of steppe to raise their animals or manage small ranches outside of the restrictions of city zoning. For those living either on their own land, or in one of the subdivisions springing up like weeds in the 1990s, life was defined by geography—the physical distance between friends, between neighbors and the distance from the bustle of the big city, which boasted the US Air Force Academy and the shiny new campus of the Christian evangelical parachurch organization Focus on the Family.
Girls, like the ones in falcon girls, had the strength to manage their families’ land and dozens of animals. But a new type of resilience and savvy would be required to navigate this larger world opening up to them. Teenagers could, with a few mouse clicks, explore beyond their families’ fences. But these fences often weren’t holding in the forces of 1990s feminism. The call of “Girl Power” inspired teens to lace up their combat boots and fling open the doors that their mothers set ajar in the 1970s and 1980s. But pop culture turned the potential for
empowerment into the sexualization of young girls. Glossy magazines for teens (and twentysomethings) like Seventeen, YM, and Cosmopolitan promoted lowcalorie diets, microskirts, and lusting after adult men. Clueless, a movie where the biggest insult is being “a virgin who can’t drive,” ends with its protagonist finding love with her adult step-brother. Poison Ivy paints its titular teen as the villain for seducing her friend’s father. As sex exploded on film and television screens, evangelical megachurches intensified calls for purity vows and abstinence.
Even those trying to shelter their children in remote Colorado couldn’t avoid danger. Falcon was the site of a very real tragedy: Heather Dawn Church, an 8th grader at Falcon Junior High, was abducted from her home in 1991. She was only thirteen. Her remains wouldn’t be found until 1993, and it would take another two years before a set of mysterious fingerprints discovered on Heather’s windowsill were connected to Robert Charles Browne, who convicted of the murder and confessed to killing many other women. Heather’s disappearance and the news of her death rattled this small town; Browne was the Church family’s neighbor, and for four years from Heather’s abduction to Browne’s arrest in 1995, this small community lived with the knowledge that a murderer might be among them.
The eponymous girls of Hilary Bettis’s play must brave more than just the land and their horses, but, at fourteen years old, they stand at frontiers of a new feminism, of a new digital landscape, and just months away, of the challenges of high school.
—Amy Boratko, Production Dramaturg
About Sumner Brook Farm
Though barely fourteen years old, the characters of Hilary Bettis’s play study to know every part of the horse, to triage common (and not-so-common) horse ailments, and learn the aspects of horse breeding. While some of the knowledge comes from their rigorous study, their daily care and keeping of horses teach them more than any textbook can.
This August, the company of falcon girls visited Sumner Brook Farm in Middletown, Connecticut, to experience a bit of barn life. Farm owner and horse trainer Amy Gardner Anderson invited a dozen “city” arts folk to volunteer and learn from her expert team. The company had the chance to muck stalls, practice not just learn about basic barn chores, and spend time with a few of the amazing equine residents enjoying their retirement over acres of bucolic Connecticut pasture.
Sumner Brook Farm is a registered non-profit organization that rehabilitates, retrains, and re-homes horses that have been abandoned, neglected, or mistreated, and provides care for horses unable to work due to illness, injury, or age. Gardner Anderson, who also trains and boards horses through her other outfit Bear Paw Barn, understands the bonds these characters have with their horses and helped bring to life parts of Ms. Bettis’s text for the actors and creative team. Gardner Anderson, and her team of caring, top-notch volunteers, are examples of the type of horse people the fictional Falcon girls are and the type of women that they aspire to be.
To learn more about Sumner Brook Farm, please visit the website sumnerbrookfarm.com.
The company of falcon girls with friends from Sumner Brook Farm. Photo by Chantal Rodriguez.
CAST
in alphabetical order
Annie Abramczyk she/her (Rebecca) is making her Yale Rep debut! She is a recent honors graduate of NYU’s Tisch School of the Arts, where she studied at the Experimental Theatre Wing and the Lee Strasberg Theatre & Film Institute. Annie also earned a journalism degree from NYU’s Arthur L. Carter Journalism Institute. She has worked with the International Theatre Workshop Amsterdam, The Prep NY, and the Verbatim Performance Lab. She is on staff at The Juilliard School. Represented by Rebel Creative Group and Take3Talent. Special thanks to Theresa Pittius. @annieabramczyk
Teddy Cañez* he/him (Mr. K, Other Voices) is delighted to be here at Yale Rep. Broadway: A Streetcar Named Desire. OffBroadway: Tiny Beautiful Things, ToasT (The Public); Chimichangas and Zoloft (Atlantic Theater Company); Post No Bills (Rattlestick). Regional: Tiny Beautiful Things, The Adventures of Tom Sawyer, Mister Roberts, Our Lady of 121st Street. Film: Jules, Naked Singularity, Shelter, Now You See Me, Frances Ha, Tracers, Sleepwalk with Me, Enduro
Television: Hello Tomorrow, Up Here, Bull, Tales of the City, Chicago PD, Blindspot, Dietland, The Detour, Elementary, Invisible, Person of Interest, Madam
Secretary, The Blacklist, Blue Bloods, Mob Doctor, Smash, Law & Order, Law & Order: SVU, Law & Order: C.I., Conviction, The Wire. TeddyCanez.com
Juan Sebastián Cruz (Dan) Theater credits include The Odyssey, A Christmas Carol, 72 Miles to Go..., The Winter’s Tale (Alley Theatre); falcon girls, Torera, 72 Miles To Go... (Alley All New Festival); Tamarie’s Texas Toast (Catastrophic Theatre); Panto Alicia in Wonderland, My Mañana Comes (Stages Repertory); Guys and Dolls (Theatre Under the Stars); Beatbox: A Raparetta (The Ensemble Theatre); Between Riverside and Crazy (4th Wall); Fandango for Butterflies and Coyotes (La Jolla Playhouse); My True Selves (La Mama Studios). B.A., Rice University. ¡Gracias ma!
Liza Fernandez* (Beverlee, Other Voices) Theater: The Fountain Theatre, Ammunition Theatre (Stage Raw nominee and Ovation Awards winner), Signature Theatre, Cherry Lane Theatre, Rattlestick Theater, Denver Theatre Center, Circle in the Square Theatre, Humana Festival, Steppenwolf Theatre, Goodman Theatre. Television: High Desert (Apple TV+); Dead Ringers (Amazon); Bull, FBI, S.W.A.T. (CBS); Mom (CBS); The Good Place (NBC); Mindhunter (Netflix); How to Get Away with Murder (ABC); Criminal Minds: Beyond Borders (CBS); among others. Liza is co-creator of Subway Token Films; she acted in TINTO (Tribeca Film Festival), as well as The Glasses, The Abduction (Macroverse podcast), Scoop (AT&T), and various independent films.
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
in alphabetical order
Alexa Lopez she/her (April) is ecstatic to be making her Yale Rep debut. Alexa is an actress, singer, and proud Cuban-American born and raised in Miami, Florida. Regional theater credits include Ride the Cyclone, Lizzie (Beck); Natasha, Pierre & The Great Comet of 1812 (Idaho Shakespeare/GLT); West Side Story (Porthouse); RENT (Cain Park); and Perpetual Sunshine and the Ghost Girls (5x15 Festival/Beck, 2021 ASCAP award winner, 2020 NAMT winner). Alexa holds the 2022 Cleveland Critics Circle Theater Award for Best Actress in a Musical and is a recipient of the 2024 Presser Foundation Undergrad Scholar Award. Alexa is a recent graduate of Baldwin Wallace, B.M., music theater. The warmest, biggest thank you to her family and team at A&R and Lasher.
Sophia Marcelle (Jasmine) is an Asian-Latina artist from Houston, Texas. She gravitates toward stories that foster community and characters with passion and resilience that can inspire and comfort her audiences. She graduated with her B.F.A. from the University of Houston School of Theatre & Dance. She’s worked with the Alley Theatre, Stages, and played major roles in Rec Room Arts’s Dance Nation and Put Your House in Order. Last summer, she played Juliet in Romeo and Juliet with the Houston Shakespeare Festival. One of her proudest achievements, aside from working with Yale Rep on this world premiere, is when she
collaborated with her fellow UH alumna Brenda Palestina to produce and act in Cloud Tectonics. She holds gratitude in her heart for all those who have loved and supported her.
@sophiaa.marcellee | sophiamarcelle.com
Alyssa Marek (Carly) is thrilled to be making her Yale Rep debut. Alyssa is grateful to return to this show after having workshopped it at the Alley Theatre in 2023. Selected regional credits: The Play That Goes Wrong (A.D. Players); Present Laughter, The Wickhams: Christmas at Pemberley, Enemies (Main Street Theatre); Crimes of the Heart, The Game’s Afoot (Unity Theatre); The Comedy of Errors (Houston Shakespeare Festival). She also does voice-over work with Houston-based anime company, Sentai Filmworks. In her free time, she enjoys training gymnastics, dance, and acrobatics. Alyssa holds a B.F.A. in acting from the University of Houston. Forever thankful to Hilary and May for the opportunity to return to such a formidable show and time in life. All my love and gratitude to family and friends.
Gabrielle Policano* she/they (H) is a New York-based actor who most recently starred opposite Maggie Siff in Breaking the Story at Second Stage. A recent graduate of Boston University’s B.F.A. acting program, their other theater credits include Let the Right One In (Berkeley Rep) and The
Welkin (Atlantic Theater Company), as well as workshops with New York Stage and Film and the Williamstown Theatre Festival. She recently shot a supporting role opposite Nicole Kidman and Antonio Banderas in the A24 film Babygirl. Gabrielle is also an award-winning spoken word poet, having performed regularly with the Nuyorican Poets Cafe.
Anna Roman she/her (Mary) is in her final year as an M.F.A. candidate at David Geffen School of Drama, where she has been seen in The Sign in Sidney Brustein’s Window, Uncle Vanya, Fucking A, and How to Live on Earth. Other credits include Romeo + Juliet (Sketchbook Theatre), Escaped Alone (Yale Rep, understudy), the dreamer examines his pillow (Tampa Repertory Theatre), cannabis passover by Sofya-Levitsky Weitz, and Pride and Prejudice (both at Chautauqua Theater Company). She has a B.F.A. in theater performance from the University of Florida. She is thrilled to make her official Yale Rep debut alongside this beautiful team. @a.rom | annaroman.com
in alphabetical order
Ruth Aguilar* (understudy for Beverlee) is an Emmy Awardwinner for her work on the commercial campaign NY1 Latinos. OffBroadway: Rancho Viejo, originating the role of Anita (Playwrights Horizons, NY Critics Choice list); Let’s Get Ready Together, originating the role of Maria/Mamá (The Tank); Rosa de dos Aromas (Teatro LATEA); Into the Glades, originating the role of Paula (NYC Fringe Festival); Etta Jenks opposite Vincent Pastore and Maureen Van Zandt. On-camera: Jessica Jones, The Blacklist, Love Life, The Black and White Comedy Special on A&E, English Vinglish (Toronto Film Festival, winner Best Foreign Film), Divorce Texas Style co-starring Daniel Baldwin, and Silent Notes co-starring Daniel Durrant.
Caroline Campos she/her (understudy for H) is a third-year actor at David Geffen School of Drama, where her credits include Pearl’s Beauty Salon, Moe’s a D*ck, Grand Concourse, as well as The Aughts and Hot and Cold Showers at Yale Cabaret. She graduated from Kenyon College where she received a B.A. in English.
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
UNDERSTUDIES
in alphabetical order
Dylan Scarlett Foster she/her (understudy for Mary and Rebecca) is ecstatic to be joining this wonderful cast in her Yale Rep debut! She is a recent graduate of Fordham University, where she earned her B.A. in theater performance. There she was featured in productions including A Midsummer Night’s Dream, Tartuffe, Aulis, and the world premiere of La Cocina. Huge thank you to my friends and family, and this amazing team!
Francisco Morandi Zerpa any pronouns (understudy for Dan) is a secondyear M.F.A. acting candidate at David Geffen School of Drama. He is a Queer Latinx actor, verbatim theatermaker, and voice teacher from Caracas, Venezuela. Francisco is a 2022 graduate of NYU Tisch School of the Arts, where he studied with Anna Deavere Smith. He collaborates most often with his friends and hopes to do that forever. He is forever indebted to his faculty, Tamilla, May, Hilary, and his family for this delight of a first production at Yale Rep.
Brendan Titley* (understudy for Mr. K) Broadway: Macbeth. New York: As You Like It, Measure for Measure, All’s Well That Ends Well (The Public/ NYSF), The Steadfast (Slant Theater Project), Henry IV pt.1, Julius Caesar, Romeo and Juliet (Wheelhouse), The Strangest (The Semitic Root). Regional: Animal Farm (Milwaukee Rep/Baltimore Center Stage), Henry V, As You Like It (Two River Theater Co.), JIB (Old Sound Room), Trayf (Penguin Rep), Of Mice and Men (Palm Beach Dramaworks). TV/Film: The Good Wife, Person of Interest, Mozart in the Jungle, Happyish, Cohab, The Lipstick Stain, Ladies Lounge, Maggie’s Plan. M.F.A., NYU Tisch graduate acting. brendantitley.com
Gabriela Veciana she/her (understudy for April and Jasmine) was born and raised in the theater district of New York City. She attended the famed Fiorello H. LaGuardia High School, where she trained under Sandy Faison, Mala Tsantilas, and Harry Shifman. She recently graduated from Princeton University, where she continued her music and theater studies with Tony Award winners John Doyle and Jane Cox. She produced and performed
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
original musical comedy with the Princeton Triangle Club at McCarter Theater, joining 133 years of the long kickline. Favorite roles include Diana in A Chorus Line, Nina in The Seagull, and Ella in Rodgers and Hammerstein’s Cinderella. gabrielaveciana.com
Rosie Victoria she/her (understudy for Carly) is a Canadian actor and second-year M.F.A. candidate at David Geffen School of Drama, where she was seen as Gloria in The Sign In Sidney Brustein’s Window and as Birdie/Greta in What of the Night?. She received her B.F.A. from the University of Toronto, joint with Sheridan College.
CREATIVE
TEAM in alphabetical order
May Adrales (Director) is a director, artistic leader, teacher, and mother; she has directed over 30 world premieres. Her work has been seen most recently at Manhattan Theatre Club (Qui Nguyen’s Vietgone and Poor Yella Rednecks, Felicia Anchuli King’s Golden Shield, Rajiv Joseph’s Dakar 2000), Second Stage (Rajiv Joseph’s Letters of Suresh), Signature Theatre, LCT3, MCC, Atlantic Theater Company, The Public Theater, WP, New York Theatre Workshop, The Huntington Theatre Company, Oregon Shakespeare Festival, Seattle Rep, Guthrie, Two River Theater Company, Milwaukee Rep, and South Coast Rep. She was awarded the prestigious Ammerman Award at Arena Stage and Theater Communications Group’s
Alan Schneider Award for freelance directors and was a finalist for the Zelda Fichandler SDCF Awards. She is a Drama League Directing Fellow, Van Lier Directing Fellow, WP Lab Director, SoHo Rep Writers/ Directors Lab and New York Theatre Workshop directing fellow, TCG New Generations Grantee, SDC Denham Fellowship, and Paul Green Directing Award. She served as an Associate Artistic Director at Milwaukee Rep, Artistic Associate at The Playwrights Center, Artistic Associate at The Public Theater, and Director of Artistic Programs and Artistic Director at The Lark. She served on the board of Theater Communications Group. May has directed and taught at Juilliard, Harvard/ART, ACT, Fordham, NYU, and Bard College. May has served on faculty at David Geffen School of Drama and Brown/Trinity M.F.A. program. M.F.A., David Geffen School of Drama. She is currently an Assistant Professor and the Director of the theatre program at Fordham University. mayadrales.net
Krystal Balleza (Hair, Wig, and Makeup Designer) Previously at Yale Rep: the ripple, the wave that carried me home and Mojada: A Medea in Los Angeles. Opera: Opera Theatre of Saint Louis 2023–24 season. Off-Broadway: Orlando (Signature Theatre); The Connector (MCC); Good Bones, The Tempest (The Public Theater); Six Characters in Search of an Author, At the Wedding (Lincoln Center); Americano! (New World Stages). Regional: Ain’t Misbehavin’ (Barrington); Angels in America, Part One (Arena Stage); Real Women Have Curves (ART). Krystal is the Hair and Makeup Department Head at Six: The
CREATIVE TEAM
in alphabetical order
Musical on Broadway. Krystal holds a B.F.A. in Wig and Makeup Design from Webster Conservatory and is co-owner of The Wig Associates with her design partner, Will Vicari. @thewigassociates
Hilary Bettis (Playwright) is a critically acclaimed playwright, TV writer, and filmmaker. She grew up raising horses and chickens in rural Colorado, with her Chicana mother and Southern Methodist father. Her work is a culmination of these cultures, exploring the American identity through a working-class Latiné lens. Her plays have been developed and produced all over the US and Mexico, including, Roundabout Theatre, New Georges, The Sol Project, Yale Rep, Miami New Drama, Studio Theatre, Alley Theatre, New York Theatre Workshop, La Jolla Playhouse, Lark’s playwright workshop at Second Stage, O’Neill NPC, amongst others. She’s currently under commission at Roundabout Theatre, Miami New Drama, Untitled Theatricals, and is writing a musical with Grammywinning composer Julio Reyes Copello. Bettis won the 2019 Writers Guild of America Award for her work on the Emmy Award-winning FX series The Americans. She was nominated for an Emmy for the Hulu miniseries The Dropout. She’s currently writing a new Apple series starring Anya TaylorJoy, and has multiple TV shows in development at Peacock, Amazon, and MGM. She’s an alumni of the Sundance Institute Episodic TV Lab, a graduate of The Juilliard School, a board member of New Georges, a resident playwright at New Dramatists, and a proud member of the WGAEast. She lives in New York with her husband,
dog, and two children, who are the loves of her life. She’s represented by CAA and Brillstein.
Amy Boratko (Production Dramaturg) is the Senior Artistic Producer at Yale Rep and previously has served as dramaturg on the Yale Rep productions of Wish You Were Here, The Brightest Thing in the World, The Plot, Girls, Cadillac Crew, Good Faith, Field Guide, Mary Jane, Imogen Says Nothing, peerless, Indecent, War, The Fairytale Lives of Russian Girls, Dear Elizabeth, The Realistic Joneses, Good Goods, Belleville, We Have Always Lived in the Castle, Compulsion, Notes from Underground, and Eurydice, among others. Other credits include dramaturging new play workshops at New Dramatists, the Acting Company, and Voice and Vision’s ENVISION Retreat. She is a lecturer at David Geffen School of Drama at Yale. B.A., Rice University; M.F.A., David Geffen School of Drama.
Beowulf Boritt (Scenic Designer) 31 Broadway designs include the Tony Award-winning sets for New York, New York and Act One; the Tony-nominated sets for The Scottsboro Boys, POTUS, Thérèse Raquin, and Flying Over Sunset. Also on Broadway: The Piano Lesson, Come from Away, The 25th Annual Putnam County Spelling Bee, Rock of Ages. 100 Off-Broadway shows include Shakespeare in the Park (Hamlet, Much Ado About Nothing, Merry Wives, Coriolanus); The Last Five Years, The Connector, and Miss Julie. He has designed for New York City Ballet, Ringling Bros. and Barnum & Bailey Circus, and around the world in England, Russia, China, Australia,
and Japan. He received a 2007 OBIE Award for sustained excellence. Beowulf is the author of Transforming Space Over Time: Set Design and Visual Storytelling with Broadway’s Legendary Directors and the founder of The 1/52 Project which provides grants to early career designers from historically excluded groups.
Calleri Jensen Davis (Casting Director) is a creative casting partnership among James Calleri, Erica Jensen, and Paul Davis of over 20 years. They began their collaboration with Yale Rep in 2023 with Mojada: A Medea in Los Angeles and the ripple, the wave that carried me home. Broadway credits: The Piano Lesson, Topdog/Underdog, for colored girls..., Thoughts of a Colored Man, Burn This, Fool for Love, The Elephant Man, Hedwig and the Angry Inch, Of Mice and Men, Venus in Fur, A Raisin in the Sun, 33 Variations. Television: Love Life, Queens, Dickinson, and The Path, to name a few. callerijensendavis.
Joyce Ciesil (Sound Design and Original Music) Originally from the suburbs of Chicago, Joyce is a Jeff Award-nominated sound designer and a third-year M.F.A. candidate at David Geffen School of Drama, where her credits include Hamlet, Uncle Vanya, and littleboy/littleman. This past summer Joyce was the resident sound designer for the National Playwrights Conference at the Eugene O’Neill Theater Center, and an NTI Theatermakers Summer 2024 Faculty Member. Selected design credits
include Hurricane Diane (Theater Wit), Seven Days at Sea (Light and Sound Productions), and SPAY (Rivendell Theatre Ensemble).
Josie Cooper* she/her (Stage Manager) is a third-year M.F.A. candidate at David Geffen School of Drama. Select stage management credits include The Salvagers (Yale Rep); for the honey, you gotta say when. (New York Theatre Workshop/ Frances Black Projects, the Geffen School); rent free, Grand Concourse, Color Boy, Julius Caesar, Esme (the Geffen School); The Phantom of the Opera, Mean Girls, Six Characters in Search of an Author, Mary Zimmerman’s Metamorphoses, Spring Awakening (Weston Drama Workshop); She Kills Monsters (Mount Holyoke College). Josie holds a B.A. in theater arts with a mathematics minor from Mount Holyoke College. She sends love and gratitude to her friends and family.
Kimiye Corwin (Choreographer) is an actor/choreographer/teacher living in Roxbury, Connecticut. She danced professionally with the José Limón Dance Company before becoming a professional actor. She has choreographed for productions at the Dallas Theater Center, Guthrie, Oregon Shakespeare Festival, National Asian American Theatre Company, Hudson Valley Shakespeare Festival, and Shakespeare Festival of New Jersey. She has taught at Stella Adler Studio/NYU and is the Director of Theater at The Woodhall School in
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
CREATIVE TEAM
in alphabetical order
Bethlehem, Connecticut. Member of AEA, SAG-AFTRA, The National Alliance of Acting Teachers, Advisory Board of Connecticut Theatre Exchange. Training: The Actors Center NYC; B.F.A., Juilliard in dance; M.F.A., Brown/Trinity in acting. kimiyecorwin.com
Hope Binfeng Ding she/her (Assistant Stage Manager) is a third-year M.F.A. candidate in stage management at David Geffen School of Drama, originally from Shenzhen, China. Credits at the Geffen School include Uncle Vanya, Ghosts, Next to Normal, Grand Concourse, and The Winter’s Tale. Other selected credits include The Far Country (Yale Rep); Romeo and Juliet (NAATCO); Aubergine, The Scarlet Letter (South Coast Rep); Sleep No More Shanghai; Eye of the Storm Stunt Spectacular (Disney Shanghai). B.A., UC San Diego.
Julie Foh she/her (Vocal Coach) is a voice, text, and dialect coach and is an Associate Professor Adjunct of acting at David Geffen School of Drama. Previous coaching credits include Escaped Alone and the ripple, the wave that carried me home (Yale Rep); All My Sons and The Winter’s Tale (Hartford Stage); A View from the Bridge (Long Wharf Theatre); As You Like It, The Taming of the Shrew, Othello, Love’s Labour’s Lost, The Tempest, The Winter’s Tale, Measure for Measure, Henry V, Twelfth Night, Coriolanus (Next Chapter Podcasts); As You Like It, A Gentleman’s Guide to Love and Murder, A Man for All Seasons, And a Nightingale Sang, The Caretaker, A Child’s Christmas in Wales (Shakespeare Theatre of New Jersey);
Belfast Girls (Irish Rep); Mlima’s Tale (Repertory Theatre of St. Louis and Westport Country Playhouse); Ride the Cyclone: The Musical, Sleuth (McCarter Theatre Center); Wolverine: The Lost Trail (Marvel podcast); As You Like It, King Charles III (Colorado Shakespeare Festival); Sherwood (Cleveland Play House); Pygmalion (BEDLAM); Familiar (Woolly Mammoth); Trans Scripts, Cardenio (American Repertory Theater); The Tallest Tree in the Forest (Tectonic Theater Project); and others. She is an Associate Teacher of Fitzmaurice Voicework, a Master Teacher of Knight-Thompson Speechwork, and co-author of Experiencing Speech: A Skills-Based, Panlingual Approach to Actor Training
Christian Killada (Projection Designer) is an Egyptian transmedia designer and a third-year M.F.A. candidate in projection design at David Geffen School of Drama, where his credits include Pearl’s Beauty Salon. He holds a degree in set and costume design. His research is dedicated to exploring the synergy between technology, interactive media, and live performance arts. Chris’s selected credits include De la cave au grenier (French Cultural Center, Egypt, projection designer), Fantasia (Alhosabir Theater, scenic designer), and Gymnastics World Challenge Cup 2021 (Cairo Stadium, 3D video designer). @cnwk122
Tom Minucci he/him (Technical Director) Originally from New Jersey, Tom is a second-year M.F.A. candidate at David Geffen School of Drama, where his credits include Hamlet (properties manager) and The
Carlotta Festival (2024, co-production electrician). He was also an assistant technical director for The Salvagers at Yale Rep last season. Prior to Yale, he served as the Technical Director for DeSales University and Barrington Stage Company. Other credits include Technical Director for the Berkshire Theatre Group, Assistant Technical Director for the Virginia Opera Association, and an engineering intern at Hudson Scenic. B.F.A., Mason Gross School of the Arts, Rutgers University.
Micah Ohno (Costume Designer) is a costume designer and researcher from Golden, Colorado. She is a thirdyear M.F.A. candidate at David Geffen School of Drama, where she designed costumes for Measure for Measure and A Midsummer Night’s Dream. Other credits include The Aughts (Yale Summer Cabaret); S’MORES, Hot and Cold Showers, and Four Meddling Kids and One Dumb Dog (Yale Cabaret). She holds two certificates in costume technology from the Geffen School and a B.S. in fashion design from Philadelphia University, where her thesis fashion collection “Art Medicine” received the Mike Ternosky Obey Award for Most Creative Collection. micahohno.com
Kelsey Rainwater (Fight and Intimacy Director) is an intimacy and fight director, and actress based out of the ancestral lands of the Quinnipiac people. Kelsey’s work was recently seen in Hell’s Kitchen on Broadway. Some of her other credits include Jordan’s, Sally & Tom, and Manahatta at The Public. Other credits include Hot Wing King at Hartford Stage; In the Southern Breeze, Measure for Measure and White Noise by Suzan-Lori Parks, directed
by Oskar Eustis; Blues for an Alabama Sky with the Keen Company; Wish You Were Here, Between Two Knees, Who’s Afraid of Virginia Woolf?, Mojada: A Medea in Los Angeles, and the ripple, the wave that carried me home at Yale Rep. Film and television: Baby Ruby and The Green Veil. She is a Lecturer in acting at David Geffen School of Drama, co-teaches stage combat and intimacy, and is a Resident Fight and Intimacy Director for Yale Rep.
Lara Priya Sachdeva she/her (Production Dramaturg) is a secondyear M.F.A. candidate at David Geffen School of Drama, where she most recently worked on Lorraine Hansberry’s The Sign in Sidney Brustein’s Window. Before coming to Yale, she attended the University of Chicago, where she earned undergraduate degrees in political science and theater & performance studies. She has previously worked with the Goodman, Court, and Lookingglass theaters.
Kyle Stamm (Lighting Designer) is a third-year M.F.A. candidate at David Geffen School of Drama and is originally from Framingham, Massachusetts. Select lighting design credits include Cactus Queen, Uncle Vanya, Julius Caesar (the Geffen School); Arlington, The Royale (Yale Cabaret); the betrayal project (Yale Summer Cabaret); for the honey, you gotta say when. (New York Theatre Workshop, Frances Black Projects); Phantom of the Opera, Something Rotten, Six Characters in Search of an Author, Indecent, Metamorphoses, The Wolves (Weston Drama Workshop); The Wizard of Oz, In the Heights (Framingham High); Rent, Trojan Women (Ithaca College). Kyle graduated from Ithaca College
CREATIVE TEAM
in alphabetical order
with a B.F.A. and was most recently Co-Artistic Director of Yale Cabaret, Season 56. kylestammdesign.com
Ellora Venkat she/her (Assistant Stage Manager) is a third-year M.F.A. candidate in stage management at David Geffen School of Drama originally from Los Angeles. She obtained her B.A. in theater arts production and design from Pepperdine University. She is ecstatic to have spent the summer working on Santa Fe Opera’s stage crew. Recent credits include Hamlet, princesa de Dinamarca (the Geffen School); Wish You Were Here and Mojada: A Medea in Los Angeles (Yale Rep); Sea of Terror (The Hudson); Accommodation (The Odyssey). She is eternally grateful for working with her team, Josie and Hope.
Will Vicari (Hair, Wig, and Makeup Designer) Previously at Yale Rep: the ripple, the wave that carried me home. Broadway: Yellowface (Roundabout), Parade (2023 revival), Harmony, and Spamalot (associate wig and makeup design). Opera: Opera Theatre Saint Louis 2023 and 2024 seasons. OffBroadway: Orlando (Signature Theatre); The Connector (MCC); At the Wedding (Lincoln Center); Mrs. Warren’s Profession, Candida (Gingold Group). Regional: Ain’t Misbehavin’ (Barrington Stage Company), Angels in America, Part One (Arena Stage). Will holds a B.F.A. in Wig and Makeup Design from Webster University and is co-owner of The Wig Associates with his design partner, Krystal Balleza. @thewigassociates
ARTISTIC
Assistant Director
Kimiye Corwin
Associate Scenic Designer
Alexis Distler
Assistant Costume Designers
Sveta Moroz, Arthur Wilson
Assistant Lighting Designer
Larry Ortiz
Assistant Sound Designer and Engineer
Constant Dzah
Assistant Projection Designer
Jae Lee
Recorded Voices
Teddy Cañez, Liza Fernandez, Francisco Morandi Zerpa, Brendan Titley
PRODUCTION
Associate Production Manager
Matthew Phillips
Assistant Technical Directors
Nickie Dubick, Cian Jaspar
Freeman, Cat Slanski
Assistant Properties Manager
Matteo Lanzarotta
Production Electrician
Steph Burke
Projection Engineer
Mara Bredovskis
Projection Programmer
Doaa Ouf
Run Crew
Gabriela Ahumada Mier y Concha, Jennifer Yuqing Cao, Gwendoline
Kuan Jen Chen, KT Farmer, Destany Langfield, Aura Michelle, Allison Morgan
Run Crew Swings
Dorottya Ilosvai, Tojo Rasedoara
ADMINISTRATION
Associate Managing Director
Anne Ciarlone
Assistant Managing Director
Mithra Seyedi
Management Assistants
Jazzmin Bonner, Alesandra Reta Lopez, Kay Nilest
Company Manager
Victoria McNaughton
Assistant Company Managers
Raekwon Fuller
Davon Williams
House Managers
Jocelyn Lopez-Hagmann
Catherine MacKay
Production Photographer
Joan Marcus
Poster Art and Design
Paul Evan Jeffrey/Passage Design
MUSIC CREDITS
“Strong Enough” by David Baerwald, Bill Bottrell, Sheryl Suzanne Crow, Kevin Gilbert, Brian Macleod, David Ricketts.
Used by Permission of 48/11 Music, Reservoir 416, Sony/ATV Tunes LLC.
“Don’t Fence Me In” by Cole Porter. Used by permission of Cole Porter Trust
SPECIAL THANKS
Amy Gardner Anderson and all the volunteers at Sumner Brook Farm; Stephanie Caceres; Joe Dotts, Claire Dionne, and Hartford Stage; Jess Hayes; Chris Sirois; Amanda Wass and Katie Smith of Alliance Equestrian Center; Amy Wiknik
From the playwright: There’s so many people who’ve been instrumental in bringing this play to life for this production and over the play’s development. Liz Frankel, Lily Wolff, and The Alley for being the first people to see potential in 60 pages of scribbled memories. Jade King Carroll and Chautauqua Theater Company for giving this play a home for a week. My partner, collaborator, fellow mother, and sometimes therapist May Adrales. She is a force of brilliance, confidence, and a master at her craft. I am a better writer for knowing her.
And, of course, the people in my life who’ve loved me even when I couldn’t love myself. My mother, the real Beverlee, and my father, Allen, who will get his story in the next part of this trilogy. Thank you for teaching me resilience and survival. For letting me have horses. For making me get back on the horse no matter how ugly my fall was.
The real Falcon Girls and the real Mr K, who deserve the world. My horse, Mizan, who was by my side until I married my soulmate, Bobby Moreno. You and our two perfect children are my reason for being. You are the things that made all the pain worth it. As my mother always says, I love you to the moon and back.
From the director: Thank you mama (Jocelyn Adrales) and to my sisters, JoAnn, Gina and Tricia who teach and inspire me so much. Thanks to Dad (Mamerto B Adrales, my own version of Mr K). My beautiful family Brad, Macy J, Chad, Tina, Bets, and Nance; my Fordham community for your support; and to Seth Glewen and Victoria Fanning who made this possible!
YALE REPERTORY THEATRE STAFF
Artistic Director
James Bundy
Managing Director
Florie Seery
Associate Artistic Director, Director of New Play Programs
Chantal Rodriguez
General Manager
Carla L. Jackson
Artistic
Resident Artists
Playwright in Residence
Tarell Alvin McCraney
Resident Directors
Lileana Blain-Cruz
Liz Diamond
Tamilla Woodard
Dramaturgy Advisor
Amy Boratko
Resident Dramaturg
Catherine Sheehy
Set Design Advisor
Riccardo Hernández
Resident Set Designer
Michael Yeargan
Costume Design Advisors
Oana Botez
Ilona Somogyi
Resident Costume Designer
Toni-Leslie James
Lighting Design Advisors
Alan C. Edwards
Stephen Strawbridge
Projection Design Advisor
Shawn Lovell-Boyle
Sound Design Advisor
Jill BC Du Boff
Voice and Text Advisor
Grace Zandarski
Resident Fight and Intimacy
Directors
Kelsey Rainwater
Michael Rossmy
Stage Management Advisor
Narda E. Alcorn
Associate Artists
52nd Street Project, Kama Ginkas, Mark Lamos, MTYZ
Theatre/Moscow New Generation Theatre, Bill Rauch, Sarah Ruhl, Henrietta Yanovskaya
Artistic Management
Production Stage Manager
James Mountcastle
Senior Artistic Producer
Amy Boratko
Associate Producer
Kay Perdue Meadows
Artistic Fellow
Hannah Fennell Gellman
Artistic Coordinator
Andrew Aaron Valdez
Casting
James Calleri
Erica Jensen
Paul Davis
Senior Administrative
Assistant to the Artistic Director and Associate
Artistic Director
Josie Brown
Senior Administrative
Assistant for Directing, Dramaturgy and Dramatic Criticism, Playwriting, Stage Management, and Theater magazine
Laurie Coppola
Senior Administrative Assistant for Design
Kate Begley Baker
Senior Administrative Assistant for the Acting Program
Krista DeVellis
Library Services
Erin Carney
PRODUCTION
Production Management
Director of Production
Shaminda Amarakoon
Production Manager
Jonathan Reed
Production Manager for Studio Projects and Special Events
C. Nikki Mills
Senior Administrative Assistant to Production and Theater Safety
Rachel Zwick
Scenery
Technical Director for Yale Rep
Neil Mulligan
Technical Directors for
David Geffen School of Drama
Latiana “LT” Gourzong
Matt Welander
Electro Mechanical
Laboratory Supervisor
Eric Lin
Metal Shop Foreperson
Matt Gaffney
Wood Shop Foreperson
Ryan Gardner
Lead Carpenters
Doug Kester
Kat McCarthey
Sharon Reinhart
Carpenters
Joel Morain
Ryleigh Rivas
Carpentry Interns
Jacob Thompson
Laurel Capps
Painting
Scenic Charge
Mikah Berky
Lead Scenic Artists
Lia Akkerhuis
Nathan Jasunas
Paint Interns
Gabriela Ahumada Mier y Concha
Gwendoline Chen
Properties
Properties Supervisor
Jennifer McClure
Properties Craftsperson
Steve Lopez
Properties Associate
Zach Faber
Properties Stock Manager
Mark Dionne
Properties Assistant
Destany Langfield
Properties Interns
Angie Hause
Ru Ho Hsiao
Costumes
Costume Shop Manager
Christine Szczepanski
Senior Drapers
Clarissa Wylie Youngberg
Mary Zihal
Senior Draper/Patternmaker
Susan Aziz
Senior First Hands
Deborah Bloch
Patricia Van Horn
First Hand
Anna Blankenberger
Costume Project Coordinator
Linda Kelley-Dodd
Costume Stock Manager
Jamie Farkas
Costume Technology Intern
Nana Chanmalee
Electrics
Lighting Supervisor
Donald W. Titus
Senior House Electricians
Jennifer Carlson
Linda-Cristal Young
Electricians
Katie Brown
Alary Sutherland
Ryan White
Sound
Sound Supervisor
Mike Backhaus
Senior Lead Sound Engineer
Stephanie Smith
Sound Interns
Eden Wyandon
Eun Kang
Projections
Projection Supervisor
Anja Powell
Lead Projection Technician
Alessandro Maione
Projection Technician
Erin Pleake
Projection Intern
Jada Rose Pinsley
Stage Operations
Stage Carpenter
Janet Cunningham
Lead Wardrobe Supervisor
Elizabeth Bolster
Lead Properties Runner
William Ordynowicz
Light Board Programmer
Sabrina Idom
Front of House Mix Engineer
Keirsten Lamora
ADMINISTRATION
General Management
Associate Managing Directors
Anne Ciarlone
Adrian Alexander Hernandez
Jeremy Landes
Mikayla Stanley
Assistant Managing Director
Mithra Seyedi
Senior Administrative
Assistant to the Managing Director and General Manager
Sarah Masotta
Management Assistant
Jazzmin Bonner
Alesandra Reta Lopez
Kay Nilest
Company Manager
Victoria McNaughton
Assistant Company Managers
Raekwon Fuller
Davon Williams
Development & Alumni Affairs
Senior Director of Development and Alumni Affairs
Deborah S. Berman
Deputy Director of Operations for Development and Alumni Affairs
Susan C. Clark
Senior Associate Director of Development and Alumni Affairs
Scott Bartelson
Associate Director of Development and Alumni Affairs
Roman Sanchez
Assistant Director of Development and Alumni Affairs
Kavya Shetty
Alumni Affairs Officer and Senior Writer
Cayenne Douglass
Senior Administrative Assistant to Development and Alumni Affairs
Jennifer E. Alzona
Finance, Human Resources, & Digital Technology
Director of Finance and Business Administration/Lead Administrator
Nicola Blake
Human Resources Business Partner
Trinh DiNoto
Director, Yale Tessitura Consortium, and Web Technology
Janna J. Ellis
Manager, Business Operations
Martha Boateng
Business Office Analyst
Shainn Reaves
Web Technology Assistant
Kenneth Murray
Business Office Specialists
Moriah Clarke
Karem Orellana-Flores
Business Office Assistant
Asberry Thomas
Digital Technology Associates
Edison Dule
Garry Heyward
YALE REPERTORY THEATRE STAFF
Senior Administrative Assistant to Business Office, Digital and Web Technology, Facility Operations, Human Resources, Tessitura
Monique Moore
Database Application Consultants
Ben Silvert
Erich Bolton
Marketing, Communications, & Audience Services
Director of Marketing
Daniel Cress
Director of Communications
Steven Padla
Senior Associate Director of Marketing and Communications
Caitlin Griffin
Publications Manager and Program Designer
Marguerite Elliott
Senior Administrative
Assistant to Marketing and Communications
Mishelle Raza
Marketing and Communications Assistant
Jazzmin Bonner
Director of Audience Services
Laura Kirk
Assistant Director of Audience Services
Shane Quinn
Subscriptions Coordinator
Tracy Baldini
Audience Services Associate
Molly Leona
Customer Service and Safety Officers
Ralph Black, Jr.
Kevin Delaney
Box Office Assistants
Pilar Bylinsky, Emma Fusco, Jordan Graf, Aaron Magloire, Elliot Valentine, Timothy “TJ” Wildow
Accessibility Assistant Prentiss Patrick-Carter
Ushers
Calum Baker, Danielys
Batista, Mia Bauer, Maura Bozeman, Alex Brooks, Logan Carr, Gerson Espinoza Campos, Kelvin Esselfie, Megan Foster, Nicole
Gillinov, Lydia Gompper, Isaac Kozukhin, Nat Lopez, Di’Jhon McCoy, Bonnie Moeller, Sarah RamosGonzalez, William Romain, Jonathan Singleton, Nicole Stack, Julia Weston, Larsson Youngberg
Theater Safety and Occupational Health
Director of Theater Safety and Occupational Health
Yale Repertory Theatre operates under an agreement between the League of Resident Theatres (LORT) and Actors’ Equity Association (AEA), the Union of Professional Actors and Stage Managers in the United States.
The Scenic, Costume, Lighting, and Sound Designers in LORT are represented by United Artists Local USA-829, IATSE.
falcon girls, October 10–November 2, 2024.
Yale Repertory Theatre, 1120 Chapel Street, New Haven, Connecticut.
ACCESSIBILITY SERVICES
October 26 at 2PM
Audio Description
Pre-show description begins at 1:45PM
A live narration of the play’s action, sets, and costumes for patrons who are blind or have low vision.
Touch Tour
Prior to a performance, patrons who are blind or have low vision touch fabric samples, rehearsal props, and building materials to understand what better comprises the production design.
October 26 at 8PM
American Sign Language (ASL)
An ASL-interpreted performance for patrons who are deaf or have hearing loss.
November 2 at 2PM
Open Captioning
A digital display of the play’s dialogue as it’s spoken for patrons who are deaf or have hearing loss.
c2 is pleased to be the official Open Captioning Provider of Yale Repertory Theatre.
Free listening devices, headsets, and neck loops, and Sensory items as well as Braille and large print programs are available at the concierge desk in the theater lobby.
Yale Repertory Theatre gratefully acknowledges the Carol L. Sirot Foundation for underwriting the assistive listening systems in our theaters.
Plan Ahead!
Upcoming Accessibility Services for Macbeth in Stride written and performed by Whitney White, directed by Taibi Magar and Tyler Dobrowsky, choreographed by Raja Feather Kelly.
Audio Description
December 14 at 2PM
Touch Tour
December 14 at 2PM
American Sign Language
December 14 at 8PM
Open Caption
December 14 at 2PM
Dates and times are subject to change.
For more information about our accessibility services or to provide feedback about your experience, contact Laura Kirk, Director of Audience Services: 203.432.1234 or laura.kirk@yale.edu.
ACCESSIBILITY TEAM
Gracy Brown (Audio Describer) a New Haven-based, award-winning actor, director, and educator, has an extensive list of credits, including various roles at Elm Shakespeare Company, Long Wharf Theatre, Great Lakes Theater Festival, Edinburgh Fringe Festival, Cornerstone Theatre Company, Mark Taper Forum, and Collective Consciousness Theatre Company. Gracy is an alumnus of Southern Connecticut State University, where she earned a B.A. in theater. She is a proud member of Actor’s Equity Association.
David Chu/c2inc-caption coalition (Open Captioner) is a 501(c)3 nonprofit consultant and the leading provider of professional Live Performance Captioning (sm) for theatrical and cultural presentations. c2 members hold the distinction of being the very first to caption live theater (the Paper Mill Playhouse, NJ), the first to debut on Broadway and Off-Broadway, and have introduced open captioning in prestigious theaters across the country and in London. Captioning in theater has gained momentum and acceptance by theatergoers since its debut in 1996. It addresses the needs of a far larger audience of hard of hearing and deaf people, which includes those who do not use sign language, are late deafened, not self-identified with hearing loss, and those who simply might have missed a punch line.
Marissa Rivera she/her (ASL Interpreter) is an American Sign Language interpreter based in Connecticut. She is a mixed-race child of Deaf adults. Her father is Puerto
Rican and her mother is Western European. M.A., interpreting studies and communication equity, St. Catherine University; B.A., communication studies, Gallaudet University.
Danielle I. J. Hunt she/her/they (ASL Interpreter) is an Associate Professor in the Department of Interpretation and Translation at Gallaudet University in Washington, DC, where she has been a full-time faculty member for over 10 years. Having been a professional ASL-English interpreter for 25 years, she specializes in performance arts interpreting. Danielle holds a PhD, a National Interpreter Certification/A (NIC), and is master level a Board of Evaluation for Inertreters (BEI) Master level.
Aiswarya Vincent Kodiveedu she/her (understudy ASL Interpreter) is a person of color and a sibling of a Deaf adult. She is a dedicated American Sign Language interpreter based in Connecticut. Aish’s passion for speech, language, and hearing sciences led her to complete her undergraduate degree at the University of Connecticut and a master’s degree in combined interpreter practice and research from Gallaudet University. She proudly serves as a fulltime faculty and program coordinator for the Interpreter Training and Deaf Studies Program at Northwestern Connecticut Community College.
Thank you to our ASL Consultant Luisa Gasco-Soboleski.
EVENTS!
FRIDAY, OCTOBER 11 AT 8PM
SATURDAY, OCTOBER 12 AT 8PM
Post-Show Conversation
Join us in the August Wilson Lounge following the performance for a conversation about the show with our production dramaturgs.
WEDNESDAY, OCTOBER 23 AT 1PM
Pre-Show Reception and Conversation
Please join us for refreshments in the August Wilson Lounge, where members of the creative team will hold a discussion about the play at 1:20PM.
SATURDAY, OCTOBER 26 AT 2PM
Talk Back
Join us after the show for a conversation about the play and its themes with members of the company.
WEDNESDAY, OCTOBER 30 AT8PM
Spanish Language Captioning
La presentación del 30 de octubre será subtitulada en español. This performance will be open-captioned in Spanish.
All events are subject to change. Additional details at yalerep.org.
YOUTH PROGRAMS
WILL POWER! is Yale Rep’s annual educational initiative, designed to bring middle and high school students to see live theater. Since our 2003–04 season, WILL POWER! has served more than 20,000 Connecticut students and educators. This season we will offer programming centered on Whitney White’s Macbeth in Stride and Gogol’s The Inspector to New Haven Public Schools students and educators. In previous seasons, the program has included early school-time matinees, free or heavily subsidized tickets, study guides, and post-performance discussions with actors and members of the creative teams. WILL POWER! is committed to giving teachers curricular support through free workshops and professional development about the content and themes of the plays.
THE DWIGHT/EDGEWOOD PROJECT (D/EP) is a communityfocused, youth engagement program within David Geffen School of Drama and Yale Rep. Each year, middle school students from Barnard Environmental Studies Interdistrict Magnet School become playwrights and create original dramatic works through one-on-one mentorship from students at the Geffen School. The month-long project culminates in fully produced performances of each student’s play in front of an audience. Through its values of community care, joy, curiosity, empowerment, and equity, D/EP has helped to shape the minds of over 200 young people from the Dwight and Edgewood neighborhoods of New Haven since 1995.
Yale Rep’s youth programs are supported by The Robert and Mercedes Eichholz Foundation, NewAlliance Foundation, and the Esme Usdan Community Youth Fund.
DAVID GEFFEN SCHOOL OF DRAMA BOARD
OF ADVISORS
John B. Beinecke YC ’69, Chair
Jeremy Smith ’76, Vice Chair
Nina Adams MS ’69, NUR ’77
Amy Aquino ’86
Rudy Aragon LAW ’79
John Badham ’63, YC ’61
Pun Bandhu ’01
Sonja Berggren
Special Research Fellow ’13
Frances Black ’09
Carmine Boccuzzi YC ’90, LAW ’94
Lynne Bolton
Lois Chiles
Patricia Clarkson ’85
Edgar M. Cullman III ’02, YC ’97
Michael David ’68
Wendy Davies
Special Research Fellow ’21
Sasha Emerson ’84
Lily Fan YC ’01, LAW ’04
Terry Fitzpatrick ’83
Marc Flanagan ’70
Anita Pamintuan Fusco YC ’90
David Alan Grier ’81
Sally Horchow YC ’92
Ellen Iseman YC ’76
David G. Johnson YC ’78
Rolin Jones ’04
Sarah Long ’92, YC ’85
Cathy MacNeil-Hollinger ’86
Brian Mann ’79
Drew McCoy
David Milch YC ’66
Jennifer Harrison Newman ’11
Richard Ostreicher ’79
Carol Ostrow ’80
Maulik Pancholy ’03
Daphne Rubin-Vega
Tracy Chutorian Semler YC ’86
Michael Sheehan ’76
Anna Deavere Smith DFAH ’14
Woody Taft YC ’92
Andrew Tisdale
Edward Trach ’58
Julie Turaj YC ’94
Esme Usdan YC ’77
Courtney B. Vance ’86
Donald R. Ware YC ’71
Shana C. Waterman YC ’94, LAW ’00
Kim Williams
Henry Winkler ’70
Amanda Wallace Woods ’03
Thank you to the generous contributors to David Geffen School of Drama and Yale Repertory Theatre
LEADERSHIP SOCIETY
($50,000+)
Anonymous
Rudy and Jeanne Aragon
John B. Beinecke
Sonja Berggren and Patrick Seaver
Lois Chiles
Connecticut Department of Economic and Community Development
Estate of Nicholas Diggs*
Estate of Richard Diggs*
The Robert and Mercedes Eichholz Foundation
Anita Pamintuan Fusco and Dino Fusco
David Geffen Foundation
The Horace W. Goldsmith Foundation
Elizabeth Rhodes Holloway*
David G. Johnson
Talia Shire Schwartzman
The Shubert Foundation
Woody Taft
Stephen Timbers
Edward Trach
Julie Turaj and Rob Pohly
Esme Usdan
Donald R. Ware
GUARANTORS
($25,000–$49,999)
Americana Arts Foundation
Edgerton Foundation
New Play Award
Donald S. Holder and Evan Yionoulis
Sarah Long
Neil Mazzella
National Endowment for the Arts
Tracy Chutorian Semler
The Sir Peter Shaffer
Charitable Foundation
Jeremy Smith
BENEFACTORS
($10,000–$24,999)
Nina Adams and Moreson Kaplan
Carmine Boccuzzi and Bernard Lumpkin
Lynne and Roger Bolton
James and Deborah Burrows Foundation
Trip Cullman
Wendy Davies
Lily Fan
Mabel Burchard Fischer Grant Foundation
Burry Fredrik Foundation
Estate of Stephen R. Lawson*
Lucille Lortel Foundation
Cathy MacNeil-Hollinger and Mark Hollinger
Michael and Riki Sheehan
Carol L. Sirot
Trust for Mutual Understanding
PATRONS
($5,000–$9,999)
Pun Bandhu
Eugene G. & Margaret M. Blackford Memorial Fund for the Blind, Bank of America, N.A.,Trustee
Santino Blumetti
James Bundy and Anne Tofflemire
Joan Channick
CT Humanities
Michael S. David
Terry Fitzpatrick
Marcus Gardley
Howard Gilman Foundation
Ruth and Charles Grannick Jr. Fund at The Community Foundation for Greater New Haven
Sally Horchow
Rolin Jones
Tien-Tsung Ma
Roz and Jerry Meyer
David and Leni Moore
Family Foundation
Jason Najjoum
NewAlliance Foundation
Peter Nigrini
Carol Ostrow
PRODUCER’S CIRCLE
($2,500–$4,999)
Anonymous
Angela Bassett
Cyndi Brown
Ian Calderon
Deborah Freedman and Ben Ledbetter
Fred Gorelick and Cheryl MacLachlan
Ellen Iseman
JANA Foundation
Ann Judd and Bennett Pudlin
Rocco Landesman
Tarell Alvin McCraney
Richard Ostreicher
Pam and Jeff Rank
Bill and Sharon Reynolds
Abby Roth and R. Lee Stump
Daphne Rubin-Vega and Thomas Costanzo
DIRECTOR’S CIRCLE
($1,000–$2,499)
Chuck Adomanis
Laura and Victor Altshul
Debby Applegate and Bruce Tulgan
Paula Armbruster
John Lee Beatty
Frances Black
Anne and Guido
Calabresi
Audrey Conrad
Elwood and Catherine Davis
Ramon Delgado
Lynn Doucette-Stamm
Melanie Ginter
Robin Goldberg and Jeffrey Park
LT Gourzong
Eric M. Glover
Rob Greenberg
Andy Hamingson
Sara Hazelwood
Jane Head
Dale and Stephen Hoffman
James Guerry Hood
Pam Jordan
Abby Kenigsberg
Fran Kumin
The Ethel & Abe Lapides Foundation
Charles Letts
Kenneth Lewis
George Lindsay, Jr.
Jennifer Lindstrom
Brian Mann
Jonathan Marks
John McAndrew
Jim and Eileen Mydosh
Stephen Newman in memory of Ruth Hunt Newman
Maulik Pancholy
Florie Seery
Traci D. Shed
Slotznick Family Fund, a charitable fund of The Foundation for Enhancing Communities
Shepard and Marlene Stone
Courtney B. Vance
Carol M. Waaser
Carolyn Seely Wiener
Walton Wilson
The Raul Yanes and Sara Hazelwood Foundation
PARTNERS
($500–$999)
Donna Alexander
Shaminda and Carole Amarakoon
Richard and Alice Baxter
Miles Benickes
Ashley Bishop
John and Suzanne Bourdeaux
Shawn Boyle
James and Dorothy Bridgeman
Laura Brown-Mackinnon
Joy Carlin
Sarah Bartlo Chaplin
Daniel Cooperman and Mariel Harris
Robert Cotnoir
Sean Cullen
Bob and Priscilla Dannies
Robert Dealy
Kelvin Dinkins, Jr.
Austin Durant
John Dwyer
Peter Entin
Anne Erbe
Randy Fullerton
Betty and Joshua Goldberg
Mark Haber
Al Heartley
Regina Guggenheim
Judy Hansen
Helen Kauder and Barry Nalebuff
Jay B. Keene
Harvey Kliman and Sandra Stein
Kenneth Lewis
Matthew H. Lewis
Pericles S. Lewis
Eric Lin
Charles H. Long
Chih-Lung Liu
Virginia (Wendy) Riggs
Cathy C. Mock
Mariel Monney
Barbara and William Nordhaus
Arthur Oliner
F. Richard Pappas
Dw Phineas Perkins
Louise Perkins and Jeff Glans
Kathy and George Priest
Alec Purves
Faye and Asghar Rastegar
Chantal Rodriguez
Howard Rogut
Robin Sauerteig
Anna Deavere Smith
Matthew Sonnenfeld
James Steerman
David Sword
John Turturro and Katherine Borowitz
Ron Van Lieu
Paul Walsh
Vera Wells
Steven Wolff
Amanda Wallace Woods
Nancy Yao
Stephen Zuckerman
INVESTORS
($250–$499)
Actors’ Equity
Foundation
Narda E. Alcorn
Mamoudou Athie
Stephen August
Clayton Austin
Alexander Bagnall
Deborah S. Berman
Michael Bianco
Susan Brady and Mark Loeffler
Tom Broecker
Donald Brown
Suzanne Bruhn
Mr. and Mrs. Robert Buckholz
Michael Cadden
Sarah Cain
Lauren Ivy Chiong
Nicholas Cimmino
Jeffrey Cohen
Leeland Cole-Chu
Claire A. Criscuolo
Brett Dalton
Rick Davis
Kem and Phoebe
Edwards
Kenneth Elliott
Robert Emmons
Michael Fain
Richard and Barbara Feldman
Deborah and Henry Fernandez
Tony Forman
David Freeman
Richard Fuhrman
Randy Fullerton
Lindy Lee Gold
Shaina Graboyes
Ann Hanley
Judith Hansen
Scott Herring
Jennifer Hershey
Chuck Hughes
John Huntington
Carla L. Jackson
Chris Jaehnig
Galen Kane
Edward Kaye
Alan Kibbe
Hedda and Gary Kopf
Mitchell Kurtz
Gabriela Lee
Irene Lewis
Thomas G. Masse and James M. Perlotto, MD
Pamela and Donald Michaelis
Kathryn Milano
David Muse
Regina and Thomas Neville
Adam O’Byrne
Kevin and Margaret O’Halloran
Gamal
Palmer
Thank you to the generous contributors to David Geffen School
Michael Parrella
Michael Posnick
Jon and Sarah Reed
Dr. Michael Rigsby and Prof. Richard Lalli
Tialoc Rivas
Steve Robman
Erin Rocha
Constanza Romero
Allen Rosenshine
Nan Ross
Donald Sanders
Cynthia Santos-DeCure
Suzanne Sato
Kenneth Schlesinger
Georg Schreiber*
Paul Selfa
David Soper and Laura Davis
Erich Stratmann
Matthew Tanico
Josh Taylor
Deb Trout
Lisa Yancey
FRIENDS
($100–$249)
Ikeena Aberdeen
Jessica Adler
Michael Albano
Sarah Albertson
Jeffrey Alexander
Glenn Anderson
Kaitlyn Anderson
Michael Annand
Anonymous
William Armstrong
Nancy Babington
Michael Banta
Dr. Francis A. Baran
Warren Bass
William and Donna Batsford
Michael Baumgarten
Richard Beals
James Bender
Vivien Blackford
Mark Bly
Joseph Brennan
Amy Brewer and David Sacco*
Emiko Brewer
Linda Broker
Arvin Brown
Christopher P. Brown
Donald and Mary Brown
Stephen and Nancy Brown
Colin Buckhurst
Stephen Bundy
Richard Butler
Susan Byck
Kathryn A. Calnan
Vincent Cardinal
Catherine and Steven Carlson
Andrew Carson
Sami Joan Casler
Zoe Z. Chance
King-Fai Chung
Nicole Ciomek
Cynthia Clair
Susan Clark
Bill Connington
Aaron Copp
Jennifer Corman
Jane Cox
Caitlin E.
Crombleholme
Douglas and Roseline
Crowley
Samanta Cubias
Phyllis CummingsTexeira
John Cunningham
Jonathan Daen
Anne Danenberg
Timothy Davidson
Connie and Peter
Dickinson
Derek DiGregorio
Melinda DiVicino
Donna Doherty
Dennis Dorn
Patricia Doukas
Megan and Leon Doyon
Samuel Duncan
John Duran
Ann D’Zmura
Laura Eckelman
Fran Egler
Robert Einenkel
Nancy Reeder
El Bouhali
Samantha Else
Sasha Emerson
Frank and Ellen Estes
Femi Euba
Connie Evans
Teresa Eyring
Ann Farris
Paul Fiedler and Susan
Birke Fiedler
Terry S. Flagg
Sarah Fornia
Raymond Forton
Keith Fowler
Walter M. Frankenberger III
Gerald E. Gaab
Carol Gallagher
Don and Margery
Galluzzi
Leah C. Gardiner
Rachana Garg
Christopher Geary
Tobe Gerard
Barry Gladue
Stephen L. Godchaux
Lorraine Golan
Carol Goldberg
Donna Golden
Susan Goldin
Naomi Grabel
Charles Grammer
Hannah Grannemann
Jason Gray
Stephen R. Grecco
Annabel Guevara
Greg Guthe
Julie Haber
Dr. James L. Hadler
Marion Hampton
Alexander Hammond
Scott Hansen
Roberta and Lawrence
Harris
Michael Haymes
James Hazen
Steve Hendrickson
Thomas Herman
Ashton Heyl
Nicholas Hormann
Kathleen Houle
Evelyn Huffman
Charles Hughes
Derek Hunt
Jennifer Ito
Tatsuya Ito
John W. Jacobsen
Eliot and Lois
Jameson
Jean Jones
Jonathan Kalb
Kiernan Kelly
Young H. Kim
Amir Kishon
Lawrence Klein
Fredrica Klemm
Chloe Knight
Steve Koernig
Daniel Koetting
David and Julie Koppel
Bonnie Kramm
David Kriebs
Joan Kron
Azan Kung
Susan Laity
Marie Landry and Peter Aronson
Michael Lassell
Martha Lidji Lazar
Elizabeth Lewis
Fred Lindauer
Jerry Lodynsky
Robert H. Long II
Everett Lunning
Nancy F. Lyon
Andi Lyons
Joan MacIntosh
Peter Malbuisson
Jonathan Marks
Edwin Martin
Sarah Masotta
Robert McCaw
Deborah McGraw
Bill McGuire
James Meisner and
Marilyn Lord
Jonathan Miller
Cheryl Mintz
Marta Moret
Richard Mone
Michele Moriuchi
Beth Morrison
Janice Muirhead
James Naughton
Tina Navarro
Kaye Neale
Jennifer Harrison Newman
Ellen Novack
Jane Nowosadko
Deb and Ron Nudel
Tom O’Connor
Leah Ogawa
Max Okst
Jacob G. Padrón
Kendric T. Packer
Dr. and Mrs. Michael Parry
Linda and Peter Perdue
William Peters
Linda Polgar
William Purves
Norman Redlich
Ralph Redpath
Deborah J. Reissman
Carolynn Richer
Felicia Riffelmacher
Tialoc Rivas
Joan Robbins
Nathan Roberts
of Drama and Yale Repertory Theatre
Peter S. Roberts
Brian Robinson
Lori Robishaw
Miguel Rosadu
Robin Rose
Russ Rosensweig
Donald Rossler
Dr. Robert and Marcia
Safirstein
Steven Saklad
Robert Sandberg
Peggy Sasso
Joel Schechter
Rita Scheeler
Steven Schmidt
Jennifer Schwartz
Kathleen Scott
Alexander Scribner
Patrick Seeley
Tom Sellar
Subrata K. Sen
Suzanne Sessions
John K. Sheehan
Lorraine Siggins
Gilbert and Ruth Small
Helena L. Sokoloff
Suzanne Solensky and Jay Rozgonyi
Matthew Specter and Marjan Mashhadi
Dr. and Mrs. Dennis D.
Spencer
Aleta Staton
Howard Steinman
Rosalie Stemer
Marcus Stern
John Stevens
Mark Stevens
Marsha Beach Stewart
Mark Sullivan
Thomas Sullivan
Tucker Sweitzer
Bob Tanner
Michelle Tattenbaum
Douglas Taylor
Jane Savitt Tennen
Ashley Thomas
Patti Thorp
David F. Toser
Katherine Touart
Russell L. Treyz
Adam Tucker
Lloyd Tucker
Joan Van Ark
Pamela Vercillo
Adin Walker
Christine Wall
Jaylene Wallace
Erik Walstad
David Ward
Joan Waricha
Jon West
Peter White
Dr. Robert White
Robert Wildman
Alexandra Witchel
Barbara Wohlsen
EMPLOYER MATCHING GIFTS
Ameriprise Financial
The Benevity Community Impact Fund
Covidien
The Prospect Hill Foundation
Gifts to the For Humanity campaign and David Geffen School of Drama New Facility Fund
Anonymous (3)
Nina Adams and Moreson Kaplan
Amy Aquino and Drew McCoy
Rudy Aragon
John Badham
Pun Bandhu
Frances and Ed Barlow
John B. Beinecke
Sonja Berggren and Patrick Seaver
Frances Black and Matthew Strauss
Carmine Boccuzzi and Bernard Lumpkin
Reginald Brown and Tiffeny Sanchez
James Bundy and Anne Tofflemire
Nancy Bynum
Lois Chiles
Michael David and Lauren Mitchell
Wendy Davies
Scott Delman
Michael Diamond* and Amy Miller
Estate of Nicholas Diggs*
Estate of Richard Diggs*
Sasha Emerson
Lily Fan
Terry Fitzpatrick
Barbara Franke
Anita Pamintuan Fusco and Dino Fusco
David Marshall Grant
Gilder Foundation
The Hastings and Barcone Trust
Lane Heard and Margaret Bauer
Cheryl Henson
Sally Horchow
Ellen Iseman
David G. Johnson
David H. Johnson
Rolin Jones
Jane Kaczmarek
Cathy MacNeil-Hollinger and Mark Hollinger
Brian Mann
Jennifer Harrison Newman
Richard Ostreicher
The Prospect Hill Foundation
Daphne Rubin-Vega and Thomas Costanzo
Julie Turaj and Rob Pohly
Tracy Chutorian Semler
Michael and Riki
Sheehan
Jeremy Smith
Woody Taft
Andrew and Nesrin
Tisdale
Ed Trach
Esme Usdan
Donald and Susan Ware
Shana C. Waterman
Amanda Wallace
Woods and Eric Wasserstrom
Henry Winkler
*deceased
These lists includes current pledges, gifts, and grants received from July 1, 2023, through September 30, 2024.
MAKE A GIFT! When you make a gift to Yale Rep’s Annual Fund, you support the creative work on our stage and our education programs in New Haven. For more information, or to make a donation, please call Susan C. Clark, 203.432.1559. You can also give online at yalerep.org/support.
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The Yale Peabody Museum has remade how we see the world. Famous for its discoveries of iconic dinosaurs like Triceratops, Brontosaurus, and Stegosaurus, the Museum shows the wonders of life on Earth.
Through its breathtaking galleries and exhibition spaces, the Peabody Museum takes visitors on a journey over millions of years, from the first moments where the oceans teemed with tiny creatures to when dinosaurs roamed. The Peabody’s galleries are a place of learning, surprise – and fun!
