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2014–15 SEASON

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CAST

THERE WILL BE ONE TEN-MINUTE INTERMISSION.

JEAN KIM

ASA BENALLY

ELIZABETH MAK

KATE MARVIN

KELLY KERWIN

KELLY MONTGOMERY

YAHYA ABDUL-MATEEN II

AARON BARTZ

ANDREW BURNAP

CHRISTOPHER GEARY

LUKE HARLAN

CHASTEN HARMON

MAURA HOOPER

PORNCHANOK KANCHANABANCA

JONATHAN MAJORS

NIALL POWDERLY

JENNIFER SCHMIDT

ZENZI WILLIAMS

SHAUNETTE RENÉE WILSON

Scenic Designer

Costume Designer

Lighting Designer

Sound Designer

Production Dramaturg

Stage Manager

Yevgeny Sergeyevich Dorn

Boris Alexeyevich Trigorin

Semyon Semyonovich Medvedenko

Konstantin Gavrilovich Treplev

Yakov

Nina Mihailovna Zarechnaya

Irina Nikolayevne Arkadina

The Maid

Pyotr Nikolayevich Sorin

Ilya Afanasyevich Shamrayev

The Cook

Masha

Paulina Andreyevna

By ANTON CHEKHOVTranslated by PAUL SCHMIDT

Directed by JESSICA HOLT

DECEMBER 12–18, 2014

YALE SCHOOL OF DRAMAJames Bundy, Dean Victoria Nolan, Deputy Dean

Joan Channick, Associate Dean

PRESENTS

Presented by special arrangement with Helen Merrill, LLC.

Yale School of Drama thanks Nina Adams and Moreson Kaplanfor their generous support of this production.

In 1895, Anton Chekhov wrote a letter to his dear friend Alexei Suvorin: “I’m going to write something strange…I’m writing a play…I’m enjoying writing it, although I am doing dreadful violence to stage conventions. It is a comedy with three parts for women, six for men, four acts, a landscape (view of a lake), many conversations about literature, hardly any action and five poods of love” (a pood was roughly 36 pounds, so that’s just about 180 pounds). This “strange” piece became The Seagull, a sublime play about people’s relentless pursuit of their dreams to capture center stage, live an extraordinary life, and leave a legacy.

I first encountered this play in depth during my first year at Yale School of Drama, in a year-long Chekhov immersion. In our Chekhov Lab, the directors and actors created magical, romantic worlds, self-consciously theatrical worlds, worlds where artists cavort, lament, love, sing songs, and dream big dreams. We brought all of ourselves into that room and grabbed ahold of each other and didn’t let go. I knew then that I wanted to continue our heart-expanding, playful, emotionally explosive work for my thesis, and here we are.

We have created a world inspired by the generative spirit of the rehearsal room—that pliable, plastic space where anything is possible, and the imagination is champion. This vast, open landscape creates the space for these characters’s fantastical larger-than-life experiences. This play begins in the realm of infinite possibilities. Everyone is a dreamer.

But what happens when the dream dies? How do we find the strength to go on? How do we face the realities of our life when we would rather invent a new fantasy? How do we confront our failure? These are the questions at the center of The Seagull’s funny, fragile, and tragic heart. And they are questions that drive us as artists, as humans, as beautiful, flighty creatures, today. Welcome to the show. —JESSICA HOLT

FROM THE DIRECTOR

The pendulum that was

the Russian playwright

Anton Chekhov’s life

(1860–1904) perpetually

swung between good and

ill fortune. He enjoyed a

middle-class childhood

in Taganrog, Russia, until

the age of 16, when his

father’s business went

bankrupt. The family

home was auctioned off;

creditors claimed the

furniture, and the family

moved away to Moscow.

Anton, however, stayed

behind, working as a

tutor to finance his own

education. In his early

20s, he began showing

signs of tuberculosis —

the disease that would

eventually kill him. Still,

fiercely determined to

relish life, he forged ahead

and trained as a doctor,

writing short stories and

plays on the side. In 1901,

he married a woman he

loved, the great actress

Olga Knipper. He died just

three years later, at the

age of 44.

In many ways, The Seagull

reflects its author’s life.

Chekhov positions his

characters between hope

and despair, freedom and

stagnation, dreams and

darkness—conditions

familiar to him. They long

to create meaningful

art and fear becoming

obsolete. They love hard,

they feel deeply, and

they drink much. Even

as they face the Russian

winter, financial woes,

humiliation, physical

ailments, and unrequited

love, they endeavor to be

the makers of their own

story. Like Chekhov, they

are taking their best shot

at life.

The Seagull has survived

because it is, at its core,

an expression of this

worldview, one that is

as meaningful today as

it was in the late 19th

century. As Constantin

Stanislavski wrote in

My Life in Art, “Works

like Chekhov’s outlive

the generations of men,

notwithstanding that the

subjects treated in them

are old and no longer

fashionable. Chekhov’s

what may be dying, but

Chekhov’s how has not yet

begun to live as it should

in our theatres and in our

or art.” The Seagull is an

incisive exploration of

the reality of the human

experience, and a glimpse

at those who go to sleep

at night with hope for the

next day.

–KELLY KERWIN, PRODUCTION DRAMATURG

DANCING IN SPITE OF DEATH

YAHYA ABDUL-MATEEN II (YEVGENY SERGEYEVICH DORN) is a third-year MFA candidate at Yale School of Drama, where he has appeared in THUNDERBODIES, Sagittarius Ponderosa, Romeo and Juliet, Platonov, Tiny Boyfriend, and Twelfth Night. Other credits include He Left Quietly (Yale Cabaret); King Lear (The Public Theater); Marcus Gardley’s Loving v. Virginia directed by Patricia McGregor, Joshua Harmon’s The Pits directed by Sarah Krohn (Williamstown Theatre Festival); Stacey in Good Goods and Ivan Turgenev in The Coast of Utopia: Voyage (Theatre Bay Area). He is a recipient of the 2014–15 Jerome L. Greene Foundation Fellowship and a native of New Orleans, Louisiana. AARON BARTZ (BORIS ALEXEYEVICH TRIGORIN) is a third-year MFA candidate at Yale School of Drama, where his credits include The Master and Margarita, Bird Fire Fly, Twelfth Night, Peter Pan, Platonov, and King Richard 2. Other credits include Why Torture Is Wrong, and the People Who Love Them, A Map of Virtue, We Are Proud to Present a Presentation About the Herero of Namibia, Middletown, M.A.H. (A Museum Play), an excerpt from Undesirables, All Saints (Yale Summer Cabaret); A New Saint for a New World, Have I None, Beginners by Raymond Carver, or What We Talk About When We Talk About Love (Yale Cabaret); Hamlet, The Beaux’ Stratagem (Texas Shakespeare Festival); Macbeth, A Midsummer Night’s Dream (Shakespeare Theatre of New Jersey LIVE! tour); and To Kill a Mockingbird (Montana Repertory Theatre, national tour). BFA: University of Montana. Aaron is a proud recipient of the Pamela Jordan Scholarship.

ANDREW BURNAP (SEMYON SEMYONOVICH MEDVEDENKO) is a second-year MFA candidate at Yale School of Drama, where his credits include Paradise Lost and In Arabia We’d All Be Kings. Other credits include King Lear (The Public Theater); The Two Gentlemen of Verona, Coriolanus, All’s Well That Ends Well (Commonwealth Shakespeare Company); Why Torture Is Wrong, and the People Who Love Them (Yale Summer Cabaret); The Maids and Rose and the Rime (Yale Cabaret).

CHRISTOPHER GEARY (KONSTANTIN GAVRILOVICH TREPLEV) is a third-year MFA candidate at Yale School of Drama, where he has been seen in The Master and Margarita, THUNDERBODIES, Peter Pan, The Visit, and Sagittarius Ponderosa. His other credits include These Paper Bullets! (Yale Repertory Theatre); The Small Things, We Know Edie La Minx Had a Gun, A New Saint For A New World (Yale Cabaret); The Cat and the Canary, Design for Living (Berkshire Theatre Group); Losing Tom Pecinka (HERE Arts); and Elephant in the Room (New York International Fringe Festival). Christopher received his BA in theatre performance from Fordham College at Lincoln Center. He is a graduate of the Walnut Hill School for the Arts and has also studied at the London Academy of Music and Dramatic Arts. Christopher is the recipient of the Earle R. Gister Scholarship.

CAST

LUKE HARLAN (YAKOV) is a second-year MFA candidate in Directing at Yale School of Drama. He recently served as Co-Artistic Director of Yale Summer Cabaret’s 40th Anniversary Season where he directed Will Eno’s Middletown and Erin Courtney’s A Map of Virtue. At Yale Cabaret, he directed Tarell Alvin McCraney’s The Brothers Size. Luke has developed new plays at such institutions as The Public Theater, New York Theatre Workshop, Tectonic Theater Project, The New Group, New Dramatists, and The Lark. Luke is the founding Artistic Director of Engine Company No. 11, a recipient of the SDC National Directing Award, co-founder of the Working Theater Directors Salon, directing fellow at the O’Neill Playwright’s Conference, and member of the TS Eliot US/UK Exchange. Credits include the world premieres of Honky (Urban Stages, New York Times Critic’s Pick), home/sick (The Assembly, writer/performer, New York Times Critic’s Pick), Westward Mutations (Hunter College), Dogs of Oklahoma (Brick Theater), and Memoirist (Flea Theater). Regional/International: Shift (Old Vic Theatre, UK), Sousepaw: A Baseball Story (national tour), Fighting a Fish (Kennedy Center), and Insatiable Hunger, a new musical (Wellfleet Harbor Actors Theater). lukeharlan.net

CHASTEN HARMON (NINA MIHAILOVNA ZARECHNAYA) is a third-year MFA candidate at Yale School of Drama, where her credits include The Master and Margarita (Yeshua), Lottie in the Late Afternoon (Lottie), As You Like It (Celia), and Platonov (Marya). She was also seen in A Raisin in the Sun (Beneatha) and The Tempest (Ariel) at Chautauqua Theater Company. Prior to Yale, she was seen as Éponine in the 25th Anniversary national tour of Les Misérables. New York credits include the Tony Award winning revival of Hair on Broadway and Iphigenia 2.0 directed by Tina Landau at Signature Theatre Company. Regional credits include Ado Annie in Oklahoma! (Berkshire Theatre Festival), Ti Moune in Once on This Island, and Lorraine in All Shook Up (Marriott Lincolnshire Theatre). Chasten received her BFA from NYU’s Tisch School of the Arts.

MAURA HOOPER (IRINA NIKOLAYEVNE ARKADINA) is a third-year MFA candidate at Yale School of Drama, where she has been seen in The Master and Margarita, Measure for Measure, Peter Pan, Sagittarius Ponderosa, and Platonov. Her other credits include A New Saint for a New World, He Left Quietly (Yale Cabaret); Dear Elizabeth (understudy, Yale Repertory Theatre); Pygmalion (Williamstown Theatre Festival); Middletown, and Why Torture Is Wrong, and the People Who Love Them (Yale Summer Cabaret). She is originally from Los Angeles and holds a BFA from NYU’s Tisch School of the Arts.

PORNCHANOK KANCHANABANCA (THE MAID) is second-year MFA candidate in Sound Design at Yale School of Drama, where she recently designed Paradise Lost. Other credits include American Gothic, The Brothers Size, The Crazy Shepherds of Rebellion, The Shoemaker’s Prodigious Wife (Yale

CAST

Cabaret); Ain’t She Brave (FringeNYC); Ain’t Gonna Make It (ANT Fest); Oxygen (undergroundzero festival); and Red Demon (Tokyo Metropolitan, Singapore Arts Fest). Assistant design credits include A Streetcar Named Desire and Accidental Death of an Anarchist at Yale Rep. She also collaborated with theatre companies in Thailand including B-floor, Babymine, Crescent Moon, Makharmpom, and Democrazy. She holds her BFA in performing art from Chulalongkorn University, Thailand.

JONATHAN MAJORS (PYOTR NIKOLAYEVICH SORIN) is a second-year MFA candidate at Yale School of Drama, where his credits include Paradise Lost and Cardboard Piano. Other credits include A Raisin in the Sun, The Tempest (Chautauqua Theater Company); the world premiere of Cry Old Kingdom (Humana Festival of New American Plays); and the August Wilson’s American Century Cycle recordings of Ma Rainey’s Black Bottom and Fences (The Greene Space). Jonathan holds a BFA from the University of North Carolina School of the Arts.

NIALL POWDERLY (ILYA AFANASYEVICH SHAMRAYEV) is a second-year MFA candidate at Yale School of Drama, where he has been seen in Paradise Lost and In Arabia We’d All Be Kings. He was also recently seen in Rose and the Rime with Yale 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. Niall is a recipient of the Constance Welch Memorial Scholarship.

JENNIFER SCHMIDT (THE COOK) is a DFA candidate at Yale School of Drama, where her dramaturgy credits include Hedda Gabler, The Really Big Fat Show, What a Very Pretty Pageant!, Blueberry Toast, and The Two Gentlemen of Verona. She also performed in The Visit. At Yale Cabaret, she served as dramaturg for Dutchman, and performed in American Gothic, Creation 2011, and Ain’t Gonna Make It. Jennifer received her BA in English from Carleton College and MFA from Yale School of Drama.

ZENZI WILLIAMS (MASHA) is a third-year MFA candidate at Yale School of Drama, where she has been seen in The Master and Margarita, Measure for Measure, Platonov, and Wintertime. She was also in the cast of all of what you love and none of what you hate at Yale Cabaret. This summer she participated in A Lover’s Tale at the Berkshire Theatre Group, directed by Dustin Wills. Zenzi studied at the British American Drama Academy and holds a BA in theatre from Temple University.

SHAUNETTE RENÉE WILSON (PAULINA ANDREYEVNA) is a second-year MFA candidate at Yale School of Drama, where her credits include Paradise Lost and Cardboard Piano. Other credits include We Are Proud to Present a Presentation about the Herero of Namibia, Ron Bobby Had Too Big a Heart,

CREATIVE TEAM

M.A.H. (A Museum Play), an excerpt from Undesirables, Your Living Room Is Full of Ghosts, Middletown (Yale Summer Cabaret); The Marriage of Bette and Boo, Undone, Macbeth, A Dybbuk, Romeo and Juliet (Queens College); Look Up, Speak Nicely, and Don’t Twiddle Your Fingers All the Time and The Defendant (Yale Cabaret).

ASA BENALLY (COSTUME DESIGNER) is a second-year MFA candidate at Yale School of Drama. He is originally from the Navajo Nation in northern Arizona. His design credits include Tricks the Devil Taught Me (Minetta Lane Theatre); A Midsummer Night’s Dream, Measure for Measure, The Taming of the Shrew (West End Theater); Far Away, Platonov (Columbia University); and The Crazy Shepherds of Rebellion (Yale Cabaret). Musical theatre credits include Chicago, Beauty and the Beast, Anything Goes, Cinderella, Hello Dolly!, Miss Saigon, Guys and Dolls, and, at the New York Musical Theatre Festival, Zapata! The Musical. Opera credits include The Marriage of Figaro and La Bohème. Asa received his BFA in fashion design from Parsons School of Design.

JESSICA HOLT (DIRECTOR) is a third-year MFA candidate at Yale School of Drama. She is originally from San Francisco, California. Yale School of Drama credits include Shakespeare’s Twelfth Night and Dead Ends. by Ryan Campbell. She also directed Have I None by Edward Bond at Yale Cabaret. As the Co-Artistic Director of the 2014 Yale Summer Cabaret, Jessica directed We Are Proud to Present a Presentation about the Herero of Namibia and Why Torture Is Wrong, and the People Who Love Them. She also co-directed Summer Shorts: A Festival of New Voices. Before coming to Yale, Jessica spent three years as the Artistic Director of the Bay One Acts (BOA) Festival, where she produced, developed, and directed new plays by local playwrights. She was an associate artist at the Magic Theatre, where she directed Act 5 of Taylor Mac’s five-hour epic The Lily’s Revenge and The Laramie Project: Ten Years Later. While in the Bay Area, she directed at Cutting Ball Theater (Aulis: An Act of Nihilism in One Long Act), Boxcar Theatre (The Glass Menagerie), New Conservatory Theatre Center (No Bull, Dis-Connected), and Playwrights Foundation (My New Best Friend), among others. Jessica graduated from UCLA with a BA in cultural anthropology and from UC Berkeley with an MA in performance studies.

KELLY KERWIN (PRODUCTION DRAMATURG) is a third-year MFA candidate at Yale School of Drama. She was an artistic director for Yale Cabaret’s 46th Season, where she also directed and co-wrote We Know Edie La Minx Had a Gun. This season at Yale Cabaret, she produced Look Up, Speak Nicely, and Don’t Twiddle Your Fingers All the Time and directed Rose and the Rime. Selected dramaturgy credits include the world premieres of Tiny Boyfriend, Lottie in the Late Afternoon (Yale School of Drama); Hit the Wall

(Steppenwolf’s Garage Rep, The Inconvenience); Oblivion (Steppenwolf’s First Look Rep); and The Sparrow (The House Theatre of Chicago), which received the Jeff Award for Best New Play. Prior to Yale, she served as a member of the artistic staff at Steppenwolf Theatre Company, Atlantic Theater Company, The House Theatre of Chicago, and as the associate producer at Chicago’s Collaboraction. She also helped found Chicago’s Salonathon, a weekly series specializing in underground performance. Additionally at Yale, she is a founding member of Guided Tour, where she devises and produces theatre experiences in non-traditional spaces. Kelly holds a BFA from the Theatre School at DePaul University.

JEAN KIM (SCENIC DESIGNER) is a second-year MFA candidate at Yale School of Drama. Her recent designs include Beginners by Raymond Carver, or What We Talk About When We Talk About Love; We Fight We Die; and A New Saint for A New World (Yale Cabaret). Her assistant credits include The Visit (Yale School of Drama); and The Fairytale Lives of Russian Girls (Yale Repertory Theatre). Prior to Yale, Jean was an illustrator and muralist based in New York City. She holds a BFA from Rhode Island School of Design.

ELIZABETH MAK (LIGHTING DESIGNER) is a second-year MFA candidate at Yale School of Drama. Her credits include Twelfth Night (Yale School of Drama); Beckett Shorts, The Flu Season (American Repertory Theater); Counterpoint, 35 (Harvard-Radcliffe Modern Dance Company); House of Yes, Accidental Death of an Anarchist, Far Away, The Balcony (Harvard-Radcliffe Dramatic Club); and projects at Urbanity Dance, NineSidedBox, Edinburgh Fringe Festival, and the Anglo-Chinese Junior College Dance Society Singapore. Independent productions: Graveyard Book and Waiting. elizabethmak.com KATE MARVIN (SOUND DESIGNER) is a second-year MFA candidate at Yale School of Drama. Her credits include He Left Quietly, The Mystery Boy (Yale Cabaret); These Paper Bullets! (associate sound designer, Yale Repertory Theatre); Chimpanzee (St. Ann’s Warehouse Puppet Lab); Set in the Living Room of a Small Town American Play, Three Seagulls or MASHAMASHAMASHA! (Theater Reconstruction Ensemble); Uncle Vanya, POZHAR! (or Time Machine Ignition), The Tempest, Second Language (Target Margin Theater); and The Latvia Project (warner|shaw). Kate is an associate artistic director of Theater Reconstruction Ensemble and an associate artist with Target Margin Theater.

KELLY MONTGOMERY (STAGE MANAGER) is a second-year MFA candidate at Yale School of Drama, where her credits include As You Like It and Peter Pan. Other credits include These Paper Bullets! (assistant stage manager, Yale Repertory Theatre); Sweet Bird of Youth, A Christmas Carol, Other Desert Cities, Measure for Measure, The Jungle Book, and By the Way, Meet Vera Stark (Goodman Theatre); Welcome Yule (Chicago Symphony Orchestra); A Chorus Line, Legally Blonde, Sunset Boulevard, 42nd Street, Always…Patsy Cline (Maine

CREATIVE TEAM

State Music Theatre); Heroes, Mourning Becomes Electra, Chesapeake (Remy Bumppo Theatre Company); Not Wanted on the Voyage (American Music Theatre); One Singular Sensation, Fantastical Family Night, Music of the Night, and Steppin’ Out Live with Ben Vereen (Transcendence Theatre Company). She is a graduate of the Theatre School at DePaul University where she holds a BFA in stage management.

PAUL SCHMIDT (TRANSLATOR) was one of the most influential critics, translators, and playwrights of his time. His translations, including plays by Chekhov, Gogol, Genet, Brecht, and Marivaux, have been produced by such directors as Robert Wilson, JoAnne Akalaitis, and Peter Sellars and have won awards in France, Italy, and the United States. His plays have been performed at the Brooklyn Academy of Music, Thalia Theater in Hamburg, and Institute for Contemporary Art in London. Dr. Schmidt, who held a PhD in Slavic Literature from Harvard, was a Professor of Russian Literature at the University of Texas and at Wellesley College. He also taught at Harvard, Cornell, and Yale and lectured widely in this country and abroad. His critical essays appeared in The Nation, The New York Review of Books, and Delos. A recipient of a fellowship from the National Endowment for the Arts, Dr. Schmidt was the author of Meyerhold at Work and editor of The Complete Works of Arthur Rimbaud and The Collected Works of Velimir Khlebnikov. His collected translations of Chekhov’s plays were published in 1997.

THE SEAGULL STAFF

ARTISTIC Choul Lee, Assistant Scenic DesignerSylvia Xiaomeng Zhang, Assistant Costume DesignerElizabeth Green, Assistant Lighting DesignerIan Williams, Assistant Sound Designer and EngineerShawn Boyle, Projection ConsultantHelen Muller, Assistant Stage Manager

PRODUCTION Lee O’Reilly, Associate Production ManagerMitch Massaro, Technical DirectorAndrew Knauff, Scott Keith, Assistant Technical Directors Pat Lawrence, Properties MasterSpencer Hrdy, Master ElectricianMichael Hsu, Stage CarpenterMontana Levi Blanco, Ben Clark, Emily DeNardo, Ashley Flowers, George Hampe, Jessica Hawkins, Rebekah Heusel, Jonathan Higginbotham, Run Crew

ADMINISTRATION Ahn Lê, House Manager

SPECIAL THANKSYury Butusov, Ilya Khodosh, Janos Szasz, Dustin Wills

YALE SCHOOL OF DRAMA STAFFJames Bundy, Artistic DirectorVictoria Nolan, Managing DirectorJoan Channick, Associate Dean

ARTISTICArtistic ManagementJennifer Kiger, Associate Artistic Director Director of New Play ProgramsJames Mountcastle, Production Stage ManagerAmy Boratko, Literary ManagerKay Perdue Meadows, Artistic AssociateBenjamin Fainstein, Artistic Coordinator Helen C. Jaksch, Kelly Kerwin, Literary AssociatesLindsay King, Teresa Mensz, Library ServicesJosie Brown, Senior Administrative Assistant to the Artistic Director and Associate Artistic DirectorLaurie Coppola, Senior Administrative Assistant for the Directing, Dramaturgy and Dramatic Criticism, Playwriting, and Stage Management DepartmentsMary Volk, Senior Administrative Assistant for the Design, Sound Design, and Projection Departments

PRODUCTION Production ManagementBronislaw J. Sammler, Head of ProductionJonathan Reed, Production ManagerSteven Schmidt, Associate Head of Production and Student Labor SupervisorGrace O’Brien, Senior Administrative Assistant to the Production and Theater Safety and Occupational Health Departments

SceneryNeil Mulligan, Matt Welander, Technical DirectorsAlan Hendrickson, Electro Mechanical Laboratory SupervisorEric Sparks, Shop ForemanBrandon Fuller, Matt Gaffney, Ryan Gardner, Sharon Reinhart, Master Shop CarpentersSamantha Catanzaro, Kelly Rae Fayton, Alexandra Reynolds, Assistants to the Technical Director

PaintingRu-Jun Wang, Scenic ChargeLia Akkerhuis, Nathan Jasunas, Assistant Scenic ArtistsEmily Baldasarra, Assistant to the Painting Supervisor

PropertiesBrian Cookson, Properties Master David P. Schrader, Properties CraftspersonJennifer McClure, Master Properties AssistantBill Batschelet, Properties Stock ManagerAshley Flowers, Assistant to the Properties Manager

THE TAKING OF PHOTOGRAPHS OR THE USE OF RECORDING DEVICES OF ANY KIND IN THE THEATRE WITHOUT

THE WRITTEN PERMISSION OF THE MANAGEMENT IS PROHIBITED.

OPENING NIGHT SPONSOR

The SeagullDecember 12–18, 2014Iseman Theater, 1156 Chapel Street

CostumesTom McAlister, Costume Shop ManagerRobin Hirsch, Associate Costume Shop ManagerClarissa Wylie Youngberg, Mary Zihal, Senior DrapersDeborah Bloch, Harry Johnson, Senior First HandsLinda Kelley-Dodd, Costume Project CoordinatorDenise O’Brien, Wig and Hair DesignBarbara Bodine, Company HairdresserLinda Wingerter, Costume Stock ManagerChristina King, Assistant to the Costume Shop Manager

ElectricsDonald W. Titus, Lighting SupervisorBrian Quiricone, Linda-Cristal Young, Senior Head Electricians

SoundMike Backhaus, Sound SupervisorMonica Avila, Staff Sound EngineerJessica Hawkins, Stephanie Smith, Assistants to the Sound Supervisor

ProjectionsErich Bolton, Projection SupervisorMike Paddock, Head Projection Technician

ADMINISTRATIONGeneral ManagementLouisa Balch, Sarah Williams, Associate Managing Directors Libby Peterson, Stephanie Rolland, Assistant Managing DirectorsEmalie Mayo, Senior Administrative Assistant to the Managing DirectorGretchen Wright, Company ManagerAdam Frank, Assistant Company Manager

Development and Alumni AffairsDeborah S. Berman, Director of Development and Alumni AffairsJanice Muirhead, Senior Associate Director of DevelopmentEric Gershman, Associate Director of DevelopmentBarry Jay Kaplan, Senior Staff WriterSusan C. Clark, Development and Alumni Affairs OfficerKatherine Ingram, Development AssociateEmily Reeder, Development AssistantBelene Day, Senior Administrative Assistant to Development and Marketing & Communications

Finance and Human ResourcesKatherine D. Burgueño, Director of Finance and Human ResourcesJonathan Rohner, Business ManagerCristal Coleman, Joanna Romberg, Jennifer Truong, Business Office SpecialistsJanna J. Ellis, Director, Yale Tessitura ConsortiumToni Ann Simiola, Senior Administrative Assistant to Business Office; Technology, Media, and Web Services; Operations; and Tessitura

Marketing, Communications, and Audience ServicesDaniel Cress, Interim Director of MarketingSteven Padla, Interim Director of CommunicationsAnh Lê, Associate Director of Marketing Marguerite Elliott, Publications ManagerCaitlin Griffin, Marketing and Communications AssistantFlo Low, Emily Reeder, Marketing AssistantsT. Charles Erickson, Production PhotographerLaura Kirk, Associate Director of Audience ServicesShane Quinn, Assistant Director of Audience Services Tracy Baldini, Subscriptions CoordinatorRoger-Paul Snell, Audience Services AssistantJanie Alexander, Charles Cowen, Nathaniel Dolquist, Paul Hanna-Cook, Katie Metcalf, Andrew Moore, Peter Schattauer, Box Office Assistants

OperationsDiane Galt, Director of Facility OperationsNadir Balan, Interim Operations AssociateIan Dunn, Operations Associate—on leaveJoe Proto, Arts and Graduate Studies SuperintendentSherry Stanley, Team LeaderMichael Humbert, Facility StewardLucille Bochert, Tylon Frost, Kathy Langston, Warren Lyde, Patrick Martin, Louis Moore, Mark Roy, Custodians

Technology, Media, and Web ServicesSarah Stevens-Morling, Director of Technology, Media, and Web ServicesDaryl Brereton, Associate Director of Technology, Media, and Web ServicesKathleen Martin, Web Services Associate

Theater Safety and Occupational HealthWilliam J. Reynolds, Director of Theater Safety and Occupational HealthJacob Thompson, Security OfficerEd Jooss, Audience Safety OfficerKevin Delaney, Fred Geier, Patrick Grant, John Marquez, Customer Service and Safety Officers

printing and mailing475 Heffernan drive, West Haven, Ct 06516

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creating lasting impressions

YaleRepVertAd_rd1.indd 1 8/18/11 9:54:43 AM