RHINOCEROS, Yale Repertory Theatre 2026

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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.

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A hotel for the campus community: simply inspired and thoughtful by design.

A NOTE FROM THE ARTISTIC DIRECTOR

Welcome to this performance of Rhinoceros by Eugene Ionesco!

I have long believed that plays and players are better at posing timely and timeless questions than at answering them. And the central questions Ionesco poses in his 1959 play Rhinoceros, written in response to the rise of fascism across Europe in the 1930s and the widespread oppression in the post-war years as the Soviet Union annexed nations and formed the socialist Eastern Bloc, continue to resonate in our own moment in this country and abroad.

Rhinoceros is a bracingly funny cornerstone of the Theatre of the Absurd, a style that emerged in Europe following World War II that grapples with existentialist quandaries such as the futility of life without purpose. In the play, Ionesco takes aim at his contemporaries in the French intelligentsia who compromise their values and beliefs to be on the side of power. Our altogether ordinary middleaged hero, Berenger, is gobsmacked as he watches his friends and neighbors suddenly begin sprouting hides and horns.

It is a joy to see a play as vital and urgent as this one in the masterful hands of OBIE Award-winning Resident Director Liz Diamond, who marks her 20th production at Yale Rep with Rhinoceros. One of the most prolific and significant artists in our theater’s history, Liz has staged seminal productions here of plays by Bertolt Brecht, Caryl Churchill, Lucinda Coxon, Anna Deavere-Smith, Marcus Gardley, Seamus Heaney, Sunil Kuruvilla, Charles Ludlam, Molière, Suzan-Lori Parks, Harold Pinter, George Bernard Shaw, William Shakespeare, August Strindberg, Thornton Wilder, and others. I am delighted you are here to experience the thrilling work Liz, her frequent choreography collaborator Emily Coates, and the entire company of visiting and resident artists, managers, and technicians—all working together at the top of their game—have created.

We will conclude our season later this spring with Furlough’s Paradise written by a.k. payne and directed by abigail jean-baptiste, April 24–May 16. The lyrical medication on grief, home, and kinship—written while a.k. was a student at David Geffen School of Drama and originally presented as part of the School’s annual Carlotta Festival—is the recipient of the prestigious Susan Smith Blackburn Prize, the oldest and largest prize honoring women+ writing for the English-speaking theater. (Previous honorees include Geffen School alums Sarah Mantell and Lynn Nottage as well as faculty member Sarah Ruhl.) It is an honor to welcome a.k. and abigail to Yale Rep for this new production. I hope you will join us!

Thank you for being with us today. As always, I look forward to hearing your thoughts about Rhinoceros or any of your experiences at Yale Rep: my email address is james.bundy@yale.edu.

Sincerely,

James Bundy

YALE REPERTORY THEATRE

James Bundy, Artistic Director | Florie Seery, Managing Director

PRESENTS

BY

EUGENE IONESCO

TRANSLATED BY

DEREK PROUSE

ADAPTED BY FRANK GALATI

CHOREOGRAPHY BY

DIRECTED BY

EMILY COATES

LIZ DIAMOND

Scenic Designer

Jennifer Yuqing Cao 曹语晴

Costume Designer

Tricie Bergmann

Lighting Designer

Donald Holder

Original Music and Sound Designer

Xi (Zoey) Lin 林曦

Projection Designer

Ke Xu 许可

Hair, Wig, and Makeup Designers

The Wig Associates

Production Dramaturgs

Daria Kerschenbaum and Mia Van Deloo

Technical Director

Lilliana Gonzalez

Fight and Intimacy Director

Michael Rossmy

Vocal and Dialect Coach

Grace Zandarski

Casting Director

Calleri Jensen Davis

Stage Manager

Caileigh Potter

Rhinoceros is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. concordtheatricals.com

Yale Repertory Theatre gratefully acknowledges our 2025–26 season funders:

Funding has been provided by the Connecticut State Legislature, and is administered by the Department of Economic and Community Development, Office of the Arts.

CAROL L. SIROT

SEASON SPONSOR:

Cast in alphabetical order

Dudard ................................................................................................................... Will Dagger

Waiter ..................................................................................................... Jeremy A. Fuentes

Mrs. Boeuf .................................................................................... Nicole Michelle Haskins

Botard .................................................................................................... Richard Ruiz Henry

Townsperson ............................................................................................... Dorottya Ilosvai

Cafe Owner/M. Papillon .................................................................................... Tony Manna

Townsperson ................................................................................................... Ameya Narkar

Berenger ................................................................................................................ Reg Rogers

Daisy .................................................................................................... Elizabeth Stahlmann

Gene................................................................................................................. Phillip Taratula

Collette .................................................................................... Kimberly Vilbrun-François

Understudies

Daisy, Townsperson ................................................................................... Tessa Albertson

Berenger ............................................................................................................ Walker Borba

Gene........................................................................................................................ Gabriel Cali

Mrs. Boeuf, Collette ........................................................................................ Ashly Chalico

Botard, Cafe Owner/M. Papillon ..................................................John Maria Gutierrez

Dudard .................................................................................................................. Rasan Kuvly

Waiter, Townsperson ........................................................................... Sboniso Thombeni

Dance Captain ....................................................................................... Jeremy A. Fuentes

Assistant Stage Managers ............................................................................ Amanda Blitz ................................................................................... Jonathan Fong 馮子睿

Setting

A small town in France.

Rhinoceros is performed without an intermission.

Atmospheric and Content Guidance

This production includes coarse language, a brief moment of physical violence, the use of strobe lights, loud sounds, fog, and haze.

Recording and Photo Policy

The videotaping or making of electronic or other audio and/or visual recordings of this production and distributing recordings or streams in any medium, including the internet, is strictly prohibited, a violation of the author(s)’s rights and actionable under United States copyright law. For more information, please visit: concordtheatricals.com/resources/protecting-artists

the streets of a small French village? Surely not. After all, rhinoceroses’ natural habitats are the savannas, grasslands, swamps, and forests of Asia and Africa.

Did the rhinoceros running by have one horn or two? If it was one, it was likely an Asiatic rhinoceros. If two, that’s probably an African rhinoceros, unless it was a Sumatran rhinoceros, the Asiatic rhino with two horns. But does the number of horns really matter when it’s charging around at 40 mph?

While a rhino running through town is a fearful sight, their vegetarian diet puts them in the category of apex consumer rather than apex predator. Typically, they’re solitary animals, living on the defensive, avoiding confrontation if possible. Isolated and content. But when challenged or spooked, they instinctively herd together, forming what is known as a “crash,” an appropriate name for a group of 2,000-pound perissodactyls, horns at the ready, prepared to stampede.

Being myopic, rhinoceroses rely on their excellent senses of hearing smell when targeting a perceived threat, though their poor eyesight means they are somewhat indiscriminate, likely to destroy anything and everything in their path.

So, if you happen to see a rhinoceros charging down Main Street, what should you do? Stand aside and admire their frenetic majesty? Dive behind the nearest café table? Or, is there something ineffable coaxing you to join them?

—Mia Van Deloo, Production Dramaturg

A is for Absurd: A Rhinoceros Glossary

Many of Eugene Ionesco’s plays seek to demonstrate the inability of words to impose order on chaos. In his 1962 book, Notes and Counter Notes: Writings on the Theatre, he suggests, “To give theatre its true measure, which lies in going to excess, words themselves must be stretched to their utmost limits, language must be made almost to explode, or to destroy itself in its inability to contain its meaning.” This is certainly true of Rhinoceros, written in 1959, which satirizes the inanity of intellectual discourse in the face of fascism. Characters desperately use (and misuse) words to assert control over the stampede, only to discover meaning itself has run away with the herd. Below is a collection of terms that are instrumental to Ionesco and the world of Rhinoceros.

—Daria Kerschenbaum, Production Dramaturg

absurd (adj. & n.)

1. (adj.) Of a thing or a person: without reason; incongruous, unreasonable, illogical.

2. (n.) The chaotic and purposeless nature of the universe, and the futility of human attempts to make sense of it. Ionesco defined the absurd in several different ways throughout his career. In a 1957 essay about Franz Kafka, he wrote, “Est absurde ce qui n’a pas de but,” or in English, “The absurd is that which has no goal, or purpose.” Later, in Claude Bonnefoy’s 1966 book, Conversations with Eugene Ionesco, Ionesco says he finds absurdity in “the gap between ideology and reality.”

see also: Theatre of the Absurd (n.)

In 1961, dramaturg Martin Esslin’s landmark book, Theatre of the Absurd, identified a major shift in postwar European theatre. This aesthetic is defined by its efforts “to express its sense of the senselessness of the human condition and the inadequacy of the rational approach by the open abandonment of rational devices and discursive thought.” Esslin identifies five main writers in this genre, including Samuel Beckett, Arthur Adamov, Jean Genet, Harold Pinter—and, of course, Eugene Ionesco. (This movement was overwhelmingly white and male, and as such, possesses a particular understanding of “the human condition.”) These dramatists did not see themselves as belonging to a collective. Still, Esslin suggests their many commonalities reveal “the preoccupations and anxieties, the emotions and thinking of many of their contemporaries in the Western world” of the 1950s and 1960s.

nature (n.)

1. Physical or bodily power; also, mental or physical impulses or requirements; or one’s innate character. Appeals to nature, especially the supposedly natural hierarchies of gender and race, appear across authoritarian ideologies. These movements often subscribe to a philosophy of might makes right and idealize dominance over people and the planet.

2. Phenomena of the physical world (such as plants or animals), distinguished from human creations or humans. Ionesco creates a blurry boundary between human and rhinoceros in this play, highlighting both the animal in the human and the human in the animal. This is why several of the characters have animal-inspired surnames; boeuf translates to ox in English, and papillon translates to butterfly.

perissodactyl (n.)

1. A member of the order of Perissodactyla (odd-toed ungulates), herbivorous mammals with one hoof or three hooves on their hindfeet. These includes horses, tapirs, and rhinoceroses.

Nu: Eugene Ionesco’s Theatre of Derision

Born in 1909 to a French Romanian mother and a Romanian father whose marriage collapsed when Eugene was a child, Ionesco spent his youth moving back and forth between Paris and Bucharest, never feeling entirely at home in either country. While studying French literature at the University of Bucharest, Ionesco witnessed the rise of the Iron Guard, the paramilitary wing of the Romanian Christian Nationalist party, and the horrific ease with which many of his friends became “Greenshirts” themselves. In 1942, he was able to escape to France with his family, but only by working for the Romanian delegation to Vichy in cultural propaganda. After World War II, Ionesco became immersed in the Parisian literary avant-garde. But Ionesco did not fit in here either; he was appalled by the hypocrisy of “bourgeois communists” like Jean-Paul Sartre, who turned a blind eye to Stalin’s crimes.

These formative experiences manifest across the playwright’s oeuvre. His often mischievous, sometimes tragic plays highlight the contradictions and ridiculousness of society. His works feature an overarching critique of authoritarianism—as well as a persistent suspicion of (and equivocation of) all ideologies. His famous one-act, The Lesson, features a Professor (who wears a black armband) as he dominates his young Pupil with mathematic facts and literary knowledge, eventually stabbing her as she translates knife into various languages. These politics are present from the beginning of his writing career; one of his first publications, a collection of antiliterary criticism, is simply and aptly titled Nu (1934), the Romanian word for no (and French for naked). But despite this constant disavowal, one thing remains consistent in Ionesco’s writing: beneath the ridiculousness and the senseless cruelty is a deep, abiding commitment to humankind. This is best embodied in the final moments of in Berenger’s final

How can we, as average, everyday people, stand up for humanity in the face of fascism? What will be enough to jolt us out of our passivity? Ionesco doesn’t give us solutions, ideological or otherwise, but compels us to find the answer for ourselves—and fast.

—DK

Eugene Ionesco at home in Paris. Photo by Sally Soames.

Cut the “ism”

“Rhinoceros is certainly an anti-Nazi play, yet it is also and mainly an attack on collective hysteria.”

—Eugene Ionesco, preface to Rhinoceros (1959)

While we all like to comfort ourselves that we are consistently on the right side of history, Eugene Ionesco finds that comfort an enemy to the vigilance required to maintain our humanity. This must be clear, Rhinoceros is as much an anti-Communist play as it is an antiFascist play. Above all, regardless of the “ism,” it is an anti-ideology play, born of Ionesco’s alarm at the ease with which so many of his contemporaries embraced first one and then the other of these two extreme societal constructs in the mid20th century. The playwright argued that alignment with any ideology overwhelms thinking and, most importantly, empathy. Submitting blindly to an ideology precipitated a loss of individuality, the first step to joining herd. After all, we all know the truism, “There is safety in numbers.”

The danger of these polarizing doctrines is not unique to the years leading into and out of World War II. The “collective hysteria” Ionesco warned us about can be as insidious as a desperate devotion to fads that drive overconsumption or as overtly harmful as the seduction of a mob venting its righteous rage. Herd mentality becomes dangerous when myopia plagues the herd, when its members find comfort in the hatred and exclusion of others and boldness in anonymity, as well as a release from the burdens of critical thought, accountability, and decision-making that being a part of a group affords. But at what cost? The less human we are, the more like Ionesco’s rhinoceros we become until we may find we no longer have the strength to say to the gathering herd, with our full humanity, “No.”

An unknown man obstructs the path of a tank convoy near Beijing’s Tiananmen Square (June 5, 1989), one day after the Chinese military was deployed to quell student protestors. The man photographed is colloquially known as “Tank Man.” Photo, Jeff Weidner/CNN Archives.

CAST

in alphabetical order

Biographies are submitted by the artists and edited for common house style by Yale Rep.

Will Dagger* (Dudard) has helped develop new work with Ars Nova, Audible, The Civilians, Clubbed Thumb, Ensemble Studio Theatre, MTC, The New Group, New York Theatre Workshop, Primary Stages, The Public Theater, Roundabout, and Second Stage. Recent stage credits include Good Night, and Good Luck (Broadway); Give Me Carmelita Tropicana (Soho Rep); Well, I’ll Let You Go (Regular People); Corsicana (Playwrights Horizons); Uncle Vanya (O’Henry); Among The Dead (Ma-Yi); you don’t have to do anything (Here Arts); and Macbeth (Double Feature). Film and television credits include The Bride! (2026), Law & Order: SVU, FBI: Most Wanted, and The Blacklist. Thanks Dave & Ashley, love you M & W.

Jeremy A. Fuentes he/him (Waiter/ Dance Captain) is a second-year M.F.A. acting candidate at David Geffen School of Drama. He was born and raised in Miami, Florida, and is a graduate of the University of Florida where he received his bachelor’s degree in public health. Recent credits include Les Liaisons Dangereuses (Geffen School) and The Inspector (Yale Rep, understudy) . He is grateful to the faculty for their continuous guidance and wisdom.

Nicole Michelle Haskins* she/her (Mrs. Boeuf) is very excited to be making her Yale Rep debut with this piece. Regional: The Color Purple (Goodman Theatre, Jeff Award nominee, Black Theatre Alliance Award nominee); The Color Purple (Muny Theatre, St. Louis Theatre Circle winner); The Color Purple (Drury Lane Theatre, Jeff Award winner); U.S. premiere of Hopelessly Devoted (Piven Theatre, Jeff Award nominee); Caroline, or Change (Firebrand Theatre, BTAA nominee); The Spitfire Grill (Refuge Theatre Project, Jeff Award nominee); The Wiz (Kokandy Productions, BTAA, Jeff Award, and TimeOut Chicago Theatre Award nominee). Nicole is a School at Steppenwolf Acting Fellow and Mosaic Youth Theatre of Detroit alum.

Richard Ruiz Henry* (Botard) returns to Yale Rep for the fourth time, where he has been seen in American Night: The Ballad of Juan José, directed by Shana Cooper; Assassins, directed by James Bundy; and The Winter’s Tale, directed by Liz Diamond. Off-Broadway: The Two Gentlemen of Verona (The Public Theater), Drift (New World Stages), Streets of New York (Irish Repertory Theatre), Fiorello (Encores!). Regional: Oliver! (Goodspeed Musicals); Ragtime, The

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Pirates of Penzance (Utah Shakespeare Festival); The Two Gentlemen of Verona (Old Globe); Cyrano, The Winter’s Tale (Folger Shakespeare); Guys and Dolls (Milwaukee Rep); Twelfth Night (Pig Iron); A Gentleman’s Guide to Love and Murder (Florida Studio Theater); The Music Man (Guthrie); The Tempest (Roundhouse Theater); Disney’s The Hunchback of Notre Dame (La Jolla/ Papermill/cast recording). National tours: Urinetown, Sweet Charity, Man of La Mancha, and Jesus Christ Superstar. Television: The Other Two, The Marvelous Mrs. Maisel, Younger, Girls5Eva, Search Party, Bupkis, YOU, Law & Order, Adults, and The Chair Company for HBO.

Dorottya Ilosvai (Townsperson) is from Hungary and is a second-year M.F.A. candidate at David Geffen School of Drama, where her credits include Nadya in Utopia, Irina in Three Sisters, and You Can Tell a Tree by its Fruit, and as an understudy in The Inspector at Yale Rep. She received her B.A. from New York University, Abu Dhabi.

Tony Manna* (Cafe Owner/Papillon) is appearing in his sixth show at Yale Rep, having previously been seen in Cymbeline and These Paper Bullets!, among others. New York credits include Timon of Athens at The Public Theater, These Paper Bullets! at Atlantic Theater Company, The Hasty Heart at

Keen Company, and many more. He has performed regionally at Arena Stage, Alliance Theatre, Westport Country Playhouse, the Geffen Playhouse, and others. Select television credits include Interview with the Vampire (AMC), The Marvelous Mrs. Maisel (Amazon), Elementary (CBS), and Maniac (Netflix). He also produces the podcast Ask Ronna with Ronna (& Bryan). M.F.A., David Geffen School of Drama.

Ameya Narkar (Townsperson) is a second-year actor at David Geffen School of Drama, born and raised in Mumbai, India. His recent credits include Yura in Utopia and Vershinin in Three Sisters at the Geffen School, an understudy in The Inspector at Yale Rep, and Lysander in A Midsummer Night’s Dream with the Elm Shakespeare Company. He is immensely grateful for the opportunity to learn and grow alongside such a talented community.

Reg Rogers* (Berenger) Previous Yale Rep credits: Figaro/Figaro, Landscape of the Body, Rough Crossing, and An Enemy of the People (Connecticut Critic’s Circle Award). Recent New York theater: Little Shop of Horrors, Merrily We Roll Along (Lucille Lortel Nomination), Tootsie, The Iceman Cometh, Present Laughter. Not so recent: Privacy, You Can’t Take it With You, The Royal Family, The Dazzle (OBIE and Lucille Lortel Awards), Holiday

CAST

(Tony nomination). Film and television: Primal Fear, Runaway Bride, Igby Goes Down, I Shot Andy Warhol, Friends, The Americans, Boardwalk Empire, YOU, The Knick. Rogers is a Beinecke Fellow at David Geffen School of Drama this spring.

Elizabeth Stahlmann* (Daisy) is delighted to return to Yale Rep! She led the world premiere of Tectonic Theater Project’s

Here There Are Blueberries directed by Moisés Kauffman at New York Theatre Workshop, Shakespeare Theatre in Washington, D.C., and La Jolla Playhouse. Other theater credits include The Inspector (Yale Rep), Slave Play (Mark Taper Forum, understudy for Broadway), Grounded directed by Liz Diamond (Westport Country Playhouse), and productions with Dorset Theater Festival, The Alley Theatre, The Acting Company, The Guthrie Theater, Compagnia de’ Colombari, KrymovLab NYC. Television and film credits include Furious (upcoming), City on a Hill, The Equalizer, Law & Order: SVU, and The Snare (in production). B.F.A., University of Minnesota/Guthrie Theater; M.F.A., David Geffen School of Drama.

Phillip Taratula* (Gene) Broadway: The Skin of Our Teeth (Lincoln Center Theater). OffBroadway: Ginger Twinsies (Orpheum Theatre), The Beastiary (Ars Nova), Becomes a Woman (Mint Theatre Company). National tour: What the Constitution Means to Me. Regional: Barrington Stage, Syracuse Stage, Two River Theater, Huntington Theatre, Humana Festival, Williamstown Theatre Festival, Portland Stage, Tuacahn Center, Gulfshore Playhouse, O’Neill Conference, North Shore Music Theatre, others. Film/television: Almost Love, And Just Like That (HBO Max); Dr. Death (NBC/Peacock); High Maintenance (HBO); For Life (ABC); FBI (CBS); The Outs (Vimeo Originals). B.F.A., Boston University.

Kimberly VilbrunFrançois (Collette) is a Haitian-American actress, born and raised in Miami, Florida. She is a second-year M.F.A. candidate at David Geffen School of Drama, where her credits include You Can Tell a Tree by its Fruit. She extends her heartfelt thanks to God for the continued guidance on her journey and to her talented cast and creative team, whose support and dedication made this experience unforgettable. Sending love to her 305 family and her new community in New Haven.

UNDERSTUDIES

in alphabetical order

Tessa Albertson** (understudy for Daisy, Townsperson) is thrilled to join the company of Rhinoceros. Theater credits include Dilaria (DR2), All Nighter (MCC Theater), I’m Gonna Marry You Tobey Maguire (Southwark Playhouse London/ Offie Award Nomination, NY world premiere), The Low Road (The Public Theater), Shrek the Musical (Broadway), Happy Days (wild project), Macbeth directed by Elena Araoz, and Branden Jacobs-Jenkins’s Girls. She is best known for her recurring role as Caitlin Miller on Younger. Other television: Generation, Law & Order: SVU, The Family, The Good Wife, and Instinct. Film: Blame and Barry. Albertson is a graduate of Princeton University and an M.F.A. candidate at David Geffen School of Drama.

Walker Borba (understudy for Berenger) is a first-year M.F.A. candidate at David Geffen School of Drama from Los Angeles, California. Theater: Commedia! (Chautauqua Theater Company); He’s Not Like That (RE/VENUE NYC); Henry V, Oedipus Rex (KCDC). Film: Popstar: Never Stop Never Stopping, Shattered Memories, Endangered. B.A., Kenyon College. Borba also studied at the British American Drama Academy and The Actors Center Mentorship Program (Cohort 1).

Gabriel Cali (understudy for Gene) is a first-year M.F.A. candidate at David Geffen School of Drama. Born in Philadelphia and raised in Melbourne, Australia, his international theater credits include Ghosts (Theatre Works), Henry VI (Prague Shakespeare Company), Lord of the Flies (Arts Centre Melbourne), and MOTHERLOD_^E (Frenzy Theatre Co.). His independent film credits include Splinters, Heart Throb, The Devil You Know, and Quiet. He received his B.F.A. in acting from the Victorian College of the Arts in 2021.

Ashly Chalico (understudy for Mrs. Boeuf, Collette) is a first-year M.F.A. candidate at David Geffen School of Drama, and she is thrilled to be making her understudy debut at Yale Rep. Born and raised in Magnolia, Texas, she received her B.F.A. in theater performance from the University of Evansville in 2025. To her friends and family, “los quiero muchísimo!”

John Maria Gutierrez (understudy for Botard, Cafe Owner/Papillon) is ecstatic to be making their Yale Rep debut alongside this incredible team. John is a first-year M.F.A. candidate at David Geffen School of Drama, originally from Washington Heights, NYC. Thank you, Liz, thank you, Ionesco, thank

UNDERSTUDIES

you, absurdity, thank you, classmates, teachers, and thank you love. Film: A Thousand and One (Sundance Grand Jury Prize), Preparation For the Next Life. Television: Dexter: Resurrection (Paramount), Law & Order: Organized Crime, Law & Order: SVU (NBC). Theater: Aristotle Thinks Again (La Mama, ETC), Veteran Project (Labyrinth Theater Intensive), Sadonna (Joe’s Pub).

Rasan Kuvly (understudy for Dudard) is a Kurdish American actor, writer, and filmmaker. He is a first-year M.F.A. candidate in acting at David Geffen School of Drama. His feature film So Far All Good—which he co-wrote, produced, and starred in— premiered in competition at the 2025 Tribeca Film Festival.

Sboniso Thombeni (understudy for Waiter, Townsperson) is a multidisciplinary artist from Johannesburg, South Africa, who works at the intersections of performance, theatermaking, arts education, and writing. They are a longtime “theater kid” with a training history in South Africa that includes the National School of the Arts, Rhodes University (cum laude), and the Market Theatre Foundation. As an actor, dancer, performance artist, choreographer, writer/Arts journalist, and arts educator, they have created works on stage and on screen that have largely reflected the post-apartheid realities as they are experienced by

black and queer people in the country. Thombeni is a first-year M.F.A. candidate at David Geffen School of Drama.

CREATIVE TEAM

in alphabetical order

Tricie Bergmann (Costume Designer) is a third-year M.F.A. candidate in costume design at David Geffen School of Drama, where her credits include Silence/ The Village and Kilele. She has worked as an assistant costume designer on The Salvagers (Yale Rep) and Hamlet (Geffen School). Additional credits include Pool (No Water) (Yale Cabaret); Kneading (Brut Theatre, Vienna); Voyage dans la Lune (costume production manager, Vienna Volksoper); Tristan und Isolde and Wozzeck (assistant costume production manager, Vienna State Opera); and Anatomyland (puppet creation, Aitor Throup Studio collection). She is originally from Vienna, Austria, and received her B.A. in fashion and textile design from the Amsterdam Fashion Academy.

Amanda Blitz (Assistant Stage Manager), hailing from Long Island, is a second-year M.F.A. candidate in stage management at David Geffen School of Drama. Notable credits at the School include Utopia, Three Sisters, Sort by Ida Cuttler, Kilele, and Charity by Matthew Chong. A graduate of Ithaca College, she received a B.F.A. in stage management as well as a B.S. in television and digital media production. Many thanks to her family, and her wonderful teammates Caileigh Potter and Jonathan Fong.

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.

Jennifer Yuqing Cao 曹语晴 (Scenic Designer) is a third-year M.F.A. candidate at David Geffen School of Drama, with bases in New York City and China, she works across theater and dance as an international artist, focusing on space as an active, narrative-generating force rather than a static visual backdrop. In 2024, she was a Yale-China Association Resident Artist, engaging in intercultural and site-responsive artistic practice. She has worked internationally with International Theater Amsterdam as an assistant scenographer, collaborating with Ivo van Hove and Jan Versweyveld on My Heavenly Favorite. Selected credits include Once 一场 (China National Tour) as set designer, costume designer, and production stage manager; Antony and Cleopatra and You Can Tell a Tree by its Fruit (David Geffen School of Drama); Here’s a Blue Morpho For You (Rattlestick Playwrights Theater); New York Housing Project (NYU Tisch); and The Mailroom (International Festival of Arts & Ideas, Yale–China Fellowship).

Emily Coates (Choreographer) has performed internationally with New York City Ballet, Mikhail Baryshnikov’s White Oak Dance Project, Twyla Tharp, and Yvonne Rainer, and worked with Jerome Robbins, Lucinda Childs, and Joan Jonas, among others. Her choreography has been commissioned and presented by Danspace Project (NYT Critic’s Pick 2017, NYT Fall Dance to Watch 2018), Performa (NYT Best Dance, Artforum Best Performance, 2019, with Rainer), Baryshnikov Arts Center (Martha Duffy Memorial Fellowship 2009), Works & Process (NYT Fall Dance 2025), The Wadsworth, Hopkins Center, Quick Center for the Arts at Fairfield University, Ballet Memphis, Neuberger Museum of Art, supported by NEFA, NEA, O’DonnellGreen Foundation, Jacob’s Pillow Lab, and more. Her recent piece Tell Me Where It Comes From premiered to a sold-out house at Guggenheim New York in November 2025, presented by Works & Process. A Fellow at Center for Ballet and the Arts and Jerome Robbins Dance Division/Library for the Performing Arts, she is Professor in the Practice of Theater, Dance, and Performance Studies and Directing, and the founding Director of Dance Studies at Yale (2006–2025). Previous productions with Liz Diamond include L’Histoire de Soldat (Carnegie Hall) and Max Makes a Million (Alliance Theatre). Emilycoates.art

CREATIVE TEAM

Liz Diamond (Director) has served as Resident Director at Yale Repertory Theatre since 1992, and this production of Ionesco’s Rhinoceros marks her 20th production here. Other productions at Yale Rep include Caryl Churchill’s Escaped Alone; William Shakespeare’s The Winter’s Tale; Marcus Gardley’s dance of the holy ghosts; Seamus Heaney’s The Cure at Troy; Bertolt Brecht’s The Caucasian Chalk Circle and St. Joan of the Stockyards; and SuzanLori Parks’s The America Play (world premiere), The Death of the Last Black Man in the Whole Entire World, and Father Comes Homes From the Wars, Parts 1, 2 & 3. She has also directed new plays, adaptations, and classical works at theaters in New York and across the United States. She has won the OBIE and the Connecticut Critics Circle Awards for Outstanding Direction. Diamond has served as a Professor of Directing since 1992, and as Chair of the Directing Program since 2002 at David Geffen School of Drama, where she has taught and learned from generations of gifted directors whose work is advancing the art of directing theater and serving communities around the world.

Jonathan Fong 馮子睿 (Assistant Stage Manager) is a second-year M.F.A. candidate in stage management at David Geffen School of Drama, hailing from Macau. Credits include Promoter House, The Tragedy of Coriolanus, A Doll’s House, Metamorphoses (Geffen School); Hippest Trip: The Soul Train Musical (world premiere, American Conservatory Theater); Galileo (world premiere, Berkeley Repertory Theatre); The Two Gentlemen of Verona, A Midsummer Night’s Dream (The Old Globe); Don Giovanni, El Milagro Del Recuerdo (San Diego Opera). He holds a B.A. in theater and communication

from UC San Diego and is an alum of the USITT Gateway Mentorship Program (2023, St. Louis).

Lilliana Gonzalez (Technical Director) is a third-year M.F.A. candidate in technical design and production at David Geffen School of Drama. Her recent Yale credits include assistant technical director for Utopia, co-props manager for the 2025 Carlotta Festival, production electrician for Coriolanus, and assistant technical director for Metamorphoses. She also recently served as scenic designer for for colored girls who have considered suicide/when the rainbow is enuf with Black Arts MKE. One of her goals is to become a professor with an emphasis on inclusion and equitable theater practices. She hopes you enjoy the show!

Donald Holder (Lighting Designer) has worked extensively in theater, opera, dance, architecture, film, and television lighting in the U.S. and abroad for over 30 years. He has designed over 60 Broadway productions and has been nominated for fourteen Tony awards, winning for Best Lighting Design for The Lion King in 1998 and for the Lincoln Center revival of South Pacific in 2008. Broadway productions include McNeal; Call Me Izzy; Pirates! The Penzance Musical; Paradise Square; Tootsie; Kiss Me, Kate; Anastasia; Oslo; Straight White Men; She Loves Me; Fiddler on the Roof; The King and I; On the Twentieth Century; The Bridges of Madison County; Spider-man: Turn Off the Dark; Bullets Over Broadway; Movin’ Out; and many others. He has designed for most of the nation’s leading resident theater companies and has an extensive list of Off-Broadway credits, winning the OBIE, Drama Desk, Lucille Lortel, Helen Hayes, Connecticut

Critics Circle, LA Drama Desk, and many other awards for his work. Projects at the NY Metropolitan Opera include La Sonnambula, Champion, Rigoletto, Porgy and Bess, Samson et Delilah, Otello, The Magic Flute, and Two Boys. His film/ television work includes the theatrical lighting for Spirited (Apple Studios), Ocean’s 8 (Warner Brothers), Gossip Girl (HBO Max), The Marvelous Mrs. Maisel (Amazon Studios), American Classic (MGM+), and two seasons of Smash (NBC-Dreamworks). Mr. Holder is a graduate of the University of Maine and David Geffen School of Drama, where he is Head of the Lighting Design concentration. He served as head of the lighting design program at California Institute of the Arts from 2006–10 and Mason Gross School of the Arts, Rutgers University, from 2016–25.

Daria Kerschenbaum (Production Dramaturg) is a third-year M.F.A. candidate in Dramaturgy and Dramatic Criticism at David Geffen School of Drama. There, she has worked as a production dramaturg on Utopia, Charity, and Ruzante. Additional credits include Notes on Killing Seven Oversight, Management and Economic Stability Board Members (Yale Rep); True Scum, The Aughts (Yale Cabaret); and My Six Therapists (Yale Cabaret/Theater Mu). Her writing has been featured in the Journal of American Drama and Theatre and Theater magazine, where she served as a managing editor. In 2021, she was named an artist-inresidence at the Center at West Park, where she produced her play, Virginia/ Poe. Kerschenbaum holds a B.A. in playwriting and English literature from Fordham University.

Xi (Zoey) Lin 林曦 (Original Music and Sound Designer) is a native of Nanjing, China, and holds a B.A. in theater arts and a B.M. in piano performance from Lawrence University. She is currently an M.F.A. candidate at David Geffen School of Drama. Previous credits include original music composition for Morpho Studio’s digital fashion collection releases of「CORAL 珊瑚」 and VINCENT at Beijing Fashion Week; chamber music composition for Hop, hop... ins Wasser—A Sequel to Wozzeck at Yale College’s New Music Concert at the Beinecke Library; sound design and original music for Kilele and Macbeth at the Geffen School and The Far Country at Yale Rep (co-designer); sound design for Utopia (Geffen School); sound design for Apologiae 4&5 and Lovesick at Yale Cabaret; The Mailroom installation with Yale-China at International Festival of Arts & Ideas; and Detroit ’67 at Princeton Summer Theatre. She is also an enthusiast of dance and culinary arts.

Caileigh Potter* she/her (Stage Manager) is a third-year M.F.A. candidate at David Geffen School of Drama. She holds a B.A. in theater and a minor in biology from Florida State University. Select stage management credits include Hedda Gabler, The Inspector (Yale Rep); The Care and Keeping of You Pages 76-77, A Midsummer Night’s Dream, Cleansed, The Misanthrope (Geffen School); Measure for Measure, Suor Angelica/ Gianni Schicchi, New Dances 2022 (The Juilliard School); Marisol, Hairspray, Pinkalicious the Musical (Florida State University). Caileigh is also a 2023 graduate of The Juilliard School Stage Management Apprenticeship Program. She would like

CREATIVE TEAM

to thank her family and friends for their endless love and support!

Michael Rossmy (Fight and Intimacy Director) is a Resident Fight and Intimacy Director for Yale Rep and a lecturer in acting and stage management at David Geffen School of Drama. Broadway credits include Branden Jacobs-Jenkins’s Purpose directed by Phylicia Rashad, A Tale of Two Cities, Cymbeline, and Superior Donuts. Regional theater credits include The Public Theater, Roundabout, The Atlantic, Primary Stages, Westport Country Playhouse, Goodspeed Musicals, Paper Mill Playhouse, Asolo Rep, The Old Globe, TheaterWorks Hartford, Princeton University, The Acting Company, Soho Rep, the Geffen Playhouse, Long Wharf Theatre, McCarter Theatre, Kansas City Rep, People’s Light & Theatre, and others. He was nominated for a 2017 Drama Desk Award for The Public’s production of Troilus and Cressida and is a 2024 Barrymore Award nominee for Bonez at People’s Light. Recent work: The world premieres of Beau: The Musical and Branden Jacobs-Jenkins’s Purple Rain directed by Lileana Blain-Cruz.

Mia Van Deloo (Production Dramaturg) is a second-year M.F.A. candidate in Dramaturgy and Dramatic Criticism at David Geffen School of Drama, where she is a Managing Editor for Theater magazine. Before coming to Yale, she worked at La Jolla Playhouse in various departments including marketing, artistic, and front of house and was the assistant dramaturg on The Untitled Unauthorized Hunter S. Thompson

Musical. She was most recently the Yale Fellow at Berkeley Repertory Theatre’s Ground Floor Summer Residency Lab. She is originally from the San Francisco Bay Area and holds a B.A. in theater and history from the University of California, San Diego.

The Wig Associates (Hair, Wig, and Makeup Designers) Krystal Balleza and Will Vicari are New York–based wig and makeup designers who met at Webster Conservatory and are the co-owners of The Wig Associates. Their recent work includes Broadway’s Yellowface and Real Women Have Curves, as well as Twelfth Night, Good Bones, The Tempest (The Public Theater); Amadeus (Pasadena Playhouse); Grief Camp (Atlantic Theater Company); Eurydice, Orlando (Signature Theatre); The Connector (MCC); The Blood Quilt, Six Characters in Search of an Author; At the Wedding (Lincoln Center Theater). Regional credits include Yale Rep, Paper Mill Playhouse, Barrington Stage, Arena Stage, and Opera Theatre of Saint Louis, 2023–2026.

Ke Xu 许可 (Projection Designer) is a multidisciplinary theater designer. She graduated from Central Saint Martins (UAL) with first-class honors in product design and is currently a projection design M.F.A. candidate at David Geffen School of Drama. She was working professionally in China before coming to Yale and is passionate about exploring new theatrical language that integrates digital media with physical space. Recent credits include projection design for Spunk (Yale Rep); Silence/ The Village, Ain’t No Mo’ (Geffen

School); video and set design for Detective Zhao Gan’e (Beijing 77 Theater); projection design for And the Beetle Hums and Can the Peruvian Speak? (Yale Cabaret); Miss Julie (Beijing Star Theatre); 10:59 (Off Broadway Theater).

Grace Zandarski (Vocal and Dialect Coach) is Associate Chair of the Acting program and Head of Voice and Text at David Geffen School of Drama, where she has taught Voice since 2002. She has coached numerous productions at Yale Rep and the Geffen School including Macbeth in Stride, The Brightest Thing in the World, An Enemy of the People, Hamlet, The Caucasian Chalk Circle, and Between Two Knees New York coaching credits include the Mike Nichols productions of Death of a Salesman and Betrayal (Broadway), The Intelligent Homosexual’s Guide… (The Public Theater), and Homebody/ Kabul (BAM). She was named Associate Teacher of Fitzmaurice Voicework in 1998. Zandarski is a member and Board Chair of The Actors Center, a member of Pantheatre (Paris), SAG-AFTRA, AEA, and VASTA. Acting credits include McCarter Theatre, OSF Ashland, Wilma Theatre, and ACT. Directing credits include the Peer Gynt Project and Chekhov Shorts. M.F.A., American Conservatory Theater; B.A., Princeton University.

Eugene Ionesco (Playwright) was born November 26, 1909, in Slatina, Romania, and died March 28, 1994, in Paris, France. He studied in Bucharest and Paris, where he lived from 1945. His first one-act antiplay, The Bald Soprano (1950), inspired a revolution in dramatic techniques and helped inaugurate the Theatre of the Absurd. He followed it with other one-act plays in which illogical events create an atmosphere both comic and grotesque, including The Lesson (1951), The Chairs (1952), and The New Tenant (1955). His most popular full-length play, Rhinoceros (1959), concerns a provincial French town in which all the citizens are metamorphosing into rhinoceroses. Other plays include Exit the King (1962) and A Stroll in the Air (1963). He was elected to the Académie Française in 1970.

Derek Prouse (Translator) 1922–1996, was a writer and actor known for translating Eugene Ionesco’s works, including The Future is in Eggs, The Leader, and, with Donald Watson, The Bérenger Plays—The Killer (1958), Rhinoceros (1959), Exit the King (1962), and A Stroll in the Air (1963). His film and television credits include The Champagne Murders starring Anthony Perkins (1967, writer), Mademoiselle (1966, dialogue director), and the arts series Tempo (1964). Prouse was also a deputy film critic for The Sunday Times in London, covering film festivals and writing articles.

Frank Galati (Adaptor) was born in Highland Park, Illinois, in 1943. His adaptation of John Steinbeck’s The Grapes of Wrath began at Steppenwolf Theatre Company in Chicago, and went on to Broadway, where it won Best Play and Best

CREATIVE TEAM

Direction Tony Awards in 1990. He was also nominated for another Tony, for his direction of the original production of Ragtime in 1998. As Associate Director of the Goodman Theatre, he directed The Winter’s Tale and wrote and directed She Always Said, Pablo, text adapted from Gertrude Stein and images of Pablo Picasso, which went on to a successful run at the Kennedy Center. He was Artistic Associate at the Asolo Repertory Theatre in Sarasota, Florida, where he adapted and directed the musical Knoxville, from James Agee’s novel A Death in the Family. He directed at the Metropolitan Opera, The Lyric Opera of Chicago, and San Francisco Opera, and was nominated for an Academy Award for Best Screenplay for The Accidental Tourist in 1988. Galati was Professor of Performance Studies at Northwestern University for over 25 years. Before his passing in 2023, he was inducted into the American Theatre Hall of Fame.

Concord Theatricals is the world’s most significant theatrical company, comprising the catalogs of R&H Theatricals, Samuel French, TamsWitmark and The Andrew Lloyd Webber Collection, plus dozens of new signings each year. Our unparalleled roster includes the work of Irving Berlin, Agatha Christie, George & Ira Gershwin, Marvin Hamlisch, Lorraine Hansberry, Kander & Ebb, Tom Kitt, Ken Ludwig, Marlow & Moss, Lin-Manuel Miranda, Anaïs Mitchell, Dominique Morisseau, Cole Porter, Rodgers & Hammerstein, Thornton Wilder, and August Wilson. We are the only firm providing truly comprehensive services to the creators and producers of plays and musicals, including theatrical licensing, music publishing, script publishing, cast recording, and first-class production. Follow us @concordshows.

FOR THIS PRODUCTION

artistic

Assistant Director

Tess Cruz

Assistant Scenic Designer

Ella Hough

Assistant Costume Designer

Mingmei Zhou

Assistant Lighting Designer

Amanda Burtness

Assistant Projection Designer

Jae Lee

Associate Sound

Designer and Engineer

CeCe Smith

Assistant Costume

Shop Supervisor

Bryant Heatherly

Recorded Musicians

Zack Hann, Kedao Qi 齐可道

Rhinoceros Mask Fabrication

Monkey Boys Productions:

Zach Stock, Zach Broome, Bridget Broskey, Russ Tucker

production

Associate Production Manager

Tamara Morris-Thompson

Assistant Technical Directors

Steven Blasberg, Eli Solis, Yun Wu 吳昀

Assistant Properties Manager

Cathy Ho 何家寶

Production Electrician

Gabriel Landes

Assistant Production Electrician

Toni Carton

Lighting Technical Consultant

Gib Gibney

Projection Engineer

Tom Minucci

special thanks

Projection Programmer

Dwight Bellisimo

Projection Content Creator

Nathaniel Britton

Wig Supervisor

KT Farmer

Run Crew

Victoria Barclay, Lee Donegan, Leslie Gaines, Amrith Jayan, Audrey Regan, Lara Sachdeva, Darius Sakui, Mark Yarde

Run Crew Swings

Nicky Milou Brekhof, Christian Smith

administration

Associate Managing Director

Joy (Xiaoyue) Chen

Assistant Managing Directors

Jocelyn Lopez-Hagmann, Kay Nilest

Management Assistants

Roberto Di Donato, Ebonee Johnson, Maya Simon

Company Managers

Raekwon Fuller, Gaby Rodriguez

Assistant Company Managers

Jenn London, Quinn O’Connor, Kiara Rivera, My Le

House Managers

Roberto Di Donato, Jenn London

Production Photographer

Joan Marcus

Poster Art and Design

Paul Evan Jeffrey/Passage Design

music credits

“Four Solos for Bass Clarinet, II Dance” by Patrick van Deurzen. Used by permission of Patrick van Deurzen

Ralph Chipman, Hanna Diamond Chipman, Michelle Coquillat, Thomas Duffy, Stephanie Hubbard, Konrad Kaczmarek, Christina Linsenmeyer, Guillermo Lopez-Vila, James Monaco, Katy Poetker, Martial Ren, David Shifrin.

Yale Repertory Theatre and David Geffen School of Drama

Artistic Director/ Elizabeth Parker Ware Dean

James Bundy

Managing Director/ Associate Dean

Florie Seery

Associate Artistic Director, Director of New Play Programs/Associate Dean

Chantal Rodriguez

General Manager/ Assistant Dean

Carla L. Jackson

Assistant Dean of Student Life

Nancy Yao

Academic Programs

Chair, Acting Program

Tamilla Woodard

Associate Chair, Acting Program

Grace Zandarski

Co-Chair, Design Program and Head of Set Design Concentration

Riccardo Hernández

Co-Chair, Design Program and Head of Costume Design Concentration

Toni-Leslie James

Head of Sound Design Concentration

Jill BC Du Boff

Head of Projection Design Concentration

Wendall K. Harrington

Head of Lighting Design Concentration

Donald Holder

Chair, Directing Program

Liz Diamond

Associate Chair, Directing Program

Yura Kordonsky

Chair, Dramaturgy and Dramatic Criticism Program

Catherine Sheehy

Associate Chair, Dramaturgy and Dramatic Criticism Program

Kimberly Jannarone

Co-Chairs, Playwriting Program

Anne Erbe

Marcus Gardley

Chair, Stage Management Program

Narda E. Alcorn

Associate Chair, Stage Management Program

James Mountcastle

Chair, Technical Design and Production Program

Shaminda Amarakoon

Associate Chair, Technical Design and Production Program

Jennifer McClure

Chair, Theater Management Program

Joshua Borenstein

ARTISTIC

Yale Rep

Resident Artists Playwright in Residence

Tarell Alvin McCraney

Resident Directors

Lileana Blain-Cruz

Liz Diamond

Tamilla Woodard

Dramaturgy Advisor

Amy Boratko

Resident Dramaturg

Catherine Sheehy

Set Design Advisor

Riccardo Hernández

Resident Set Designer

Michael Yeargan

Costume Design Advisors

Oana Botez

Ilona Somogyi

Resident Costume Designer

Toni-Leslie James

Lighting Design Advisors

Alan C. Edwards

Donald Holder

Projection Design Advisors

Shawn Lovell-Boyle

Joey Moro

Sound Design Advisor

Jill BC Du Boff

Voice and Text Advisor

Grace Zandarski

Resident Fight and Intimacy Directors

Kelsey Rainwater

Michael Rossmy

Stage Management Advisor

Narda E. Alcorn

Associate Artists 52nd Street Project, Kama Ginkas, Mark Lamos, MTYZ Theatre/Moscow New Generation Theatre, Bill Rauch, Sarah Ruhl, Henrietta Yanovskaya

Artistic Administration

Production Stage Manager

James Mountcastle

Yale Rep Senior Artistic Producer

Amy Boratko

Yale Rep Associate Producer

Kay Perdue Meadows

Education and Community Programs Manager

Elizabeth Nearing

Yale Rep Artistic Fellow

Hannah Fennell Gellman

Yale Rep Artistic Coordinator

Mithra Seyedi

Yale Rep Casting

James Calleri

Erica Jensen

Paul Davis

Editor, Theater magazine

Tom Sellar

Managing Editor, Theater magazine

Gabrielle Hoyt

Senior Associate Editor, David Geffen School of Drama

Alumni Magazine

Catherine Sheehy

Senior Executive Assistant to the Artistic Director/Dean

Grace O’Brien

Senior Administrative Assistant to the Dean/Artistic Director and Artistic Offices

Avery Amacher

Senior Administrative Assistant for Directing, Dramaturgy and Dramatic Criticism, Playwriting, Stage Management programs, and Theater magazine

Laurie Coppola

Senior Administrative Assistant, Design Program

Kate Begley Baker

Senior Administrative Assistant, Acting Program

Krista DeVellis

Library Services

Erin Carney

PRODUCTION

Production Management Director of Production

Shaminda Amarakoon

Production Manager

Jonathan Reed

Production Manager for Studio Projects and Special Events

C. Nikki Mills

Senior Administrative Assistant to Production, Theater Safety, and the Technical Design and Production Program

Rachel Zwick

Scenery

Technical Director for Yale Rep and Fall Protection Program Administrator

Neil Mulligan

Technical Directors for David Geffen School of Drama

Latiana “LT” Gourzong

Matt Welander

Electro Mechanical Laboratory Supervisor

Spencer Hrdy

Metal Shop Foreperson

Matt Gaffney

Wood Shop Foreperson

Ryan Gardner

Lead Carpenters

Doug Kester

Kat McCarthey

Sharon Reinhart

Abigail “Galleon” Richard

Carpentry Interns

Kai Hancock

Red Wehrmann

Painting Scenic Charge

Mikah Berky

Interim Scenic Charge

Nathan Jasunas

Lead Scenic Artist

Lia Akkerhuis

Paint Intern

Michaela Meyer Properties

Properties Supervisor

Jennifer McClure

Associate Properties Supervisor

Katie Pulling

Properties Craftsperson

Steve Lopez

Properties Associate

Zach Faber

Properties Stock Manager

Mark Dionne

Properties Interns

Lee Donegan

Susan Gibbs

Costumes

Costume Shop Manager

Christine Szczepanski

Senior Drapers

Susan Aziz

Clarissa Wylie Youngberg

Mary Zihal

Senior First Hands

Deborah Bloch

Patricia Van Horn

First Hand

Maria Teodosio

Costume Project Coordinator

Linda Kelley-Dodd

Costume Stock Manager

Jamie Farkas

Costume Technology Intern

Eli Oremland

Electrics

Lighting Supervisor

Donald W. Titus

Senior House Electricians

Price Foster

Linda-Cristal Young

Electricians

Ben Njus

Aspen Rogers

Alex Zinovenko

Electrics Interns

Toni Carton

Gabriel Landes

Sound

Sound Supervisor

Mike Backhaus

Lead Sound Engineer

Mariah Keener

Sound Interns

Jay Korter

Skylar Linker

Projections

Projection Supervisor

Anja Powell

Lead Projection Technician

Solomon Sheffield

Projection Interns

Naomi Rodriguez

Sarah Webb

Stage Operations

Stage Carpenter

Janet Cunningham

Lead Wardrobe Supervisor

Elizabeth Bolster

Yale Repertory Theatre and David Geffen School of Drama

Lead Properties Runner

William Ordynowicz

Light Board Programmer

Sabrina Idom

Lead Front of House

Mix Engineer

Keirsten Lamora

ADMINISTRATION

General Management

Associate Managing Directors

Joy (Xiaoyue) Chen

Victoria McNaughton

Kavya Shetty

Iyanna Huffington Whitney

Assistant Managing Director

Jocelyn Lopez-Hagmann

Management Assistants

Roberto Di Donato

Ebonee Johnson

Development & Alumni Affairs

Senior Director of Development and Alumni Affairs and Editor, David Geffen School of Drama Alumni Magazine

Deborah S. Berman

Deputy Director of Operations for Development and Alumni Affairs

Susan C. Clark

Senior Associate Director of Development and Alumni Affairs

Scott Bartelson

Associate Director of Development and Alumni Affairs

Claudia Campos

Assistant Director of Development and Alumni Affairs

Gavin D. Pak

Alumni Affairs Officer and Senior Writer

Cayenne Douglass

Senior Administrative

Assistant to Development and Alumni Affairs

Jennifer E. Alzona

Development and Alumni Affairs Assistant

My Le

Finance, Human Resources, & Digital Technology

Director of Finance and Business Administration/Lead

Administrator

Nicola Blake

Human Resources Business

Partner

Trinh DiNoto

Manager, Staff and Faculty Affairs

Malaika Green El Hamel

Director of Theater and Information Technology

Eric Lin

Director, Yale Tessitura Consortium, and Web Technology

Janna J. Ellis

Manager, Business Operations

Martha O. Boateng

Business Office Analyst

Shainn Reaves

Financial Analyst

Juliana Norman

Web Technology Assistant

Kenneth Murray

Business Office Specialists

Moriah Clarke

Karem Orellana-Flores

Interim Business

Office Specialist

Toyin Mary Kakulu

Senior Administrative

Assistant for the Business Office, Digital Technology, Operations, and Tessitura

Sadartha DiNello

Digital Technology Associates

Edison Dule

Garry Heyward

Database Application Consultants

Ben Silvert

Erich Bolton

Financial Aid, Admissions, and Student Services

Director of Financial Aid

Andre Massiah

Registrar/Admissions

Administrator

Ariel Yan

Non-Clinical Counselor

Krista Dobson

Senior Administrative Assistant to Financial Aid and Registrar/Admissions Administrator

Laura Torino

Marketing, Communications, & Audience Services

Director of Marketing

Daniel Cress

Director of Communications

Steven Padla

Senior Associate Director of Marketing and Communications

Caitlin Griffin

Senior Administrative

Assistant to Marketing and Communications

Mishelle Raza

Marketing and Communications Assistant

Ebonee Johnson

General Press Representative

Blake Zidell & Associates

Publications Manager and Program Designer

Marguerite Elliott

Director of Audience Services

Laura Kirk

Assistant Director of Audience Services

Shane Quinn

Subscriptions Coordinator

Tracy Baldini

Audience Services Associate

Molly Leona

Customer Service and Safety Officers

Teo Baldwin

Ralph Black, Jr. Kevin Delaney

Box Office Assistants

Pilar Bylinsky, Emma Fusco, Mel Hornyak, Lauren Foster, Sawan Garde, Aaron Magloire, Yusra Mohamed, Diana Shyshkova, Elliot Valentine

Accessibility Assistants

Abigail Murphy

Prentiss Patrick-Carter

Ushers

Mia Bauer, Maura Bozeman, Alex Brooks, Logan Carr, Jackie Cook, Kelvin Esselfie, Anna Forbes, Isaac Kozukhin, Nat Lopez, Kristin Loughry,

Bonnie Moeller, Sarah Ramos-Gonzalez, Eric Regis, William Romain, Jonathan Singleton, Nicole Stack, Kane Trundle, Julia Weston, Larsson Youngberg

Theater Safety and Occupational Health

Director of Theater Safety and Occupational Health

Anna Glover

Assistant Director of Theater Safety

Kelly O’Loughlin

Associate Safety Advisor

Forrest Rumbaugh

OPERATIONS

Director of Facility Operations

Nadir Balan

Interim Associate Director of Operations

Aleks Landolfi

Operations Assistant

Devon Reaves

Facilities Area Manager

Joey Adcock

Arts and Graduate Studies

Superintendents

Jennifer Draughn

Francisco Eduardo Pimentel

Custodial Team Leaders

Andrew Mastriano

Sherry Stanley

Facility Stewards

Ronald Douglas

Marcia Riley

Custodians

Leo Torres, Sulema Hamilton, Rodney Heard, Jessica Hernandez, Cassandra Hobby, Wendy Jerez, Melloney Lucas, Shanna Ramos, Johnny Stanley, Jerome Sonia

Yale Repertory Theatre and David Geffen School of Drama are supported by the work of over 150 faculty members.

For a complete faculty listing by program and department, please visit drama.yale.edu/about-us

Yale Repertory Theatre operates under an agreement between the League of Resident Theatres (LORT) and Actors’ Equity Association (AEA), the Union of Professional Actors and Stage Managers in the United States.

The Scenic, Costume, Lighting, and Sound Designers in LORT are represented by United Artists Local USA-829, IATSE.

ACCESSIBILITY SERVICES

March 21 at 2PM

Touch Tour (at 1PM)

Prior to this performance, patrons who are blind or have low vision touch fabric samples, rehearsal props, and building materials to understand better what comprises the production design.

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.

March 21 at 8PM

American Sign Language

An ASL-interpreted performance for patrons who are deaf or have hearing loss.

March 28 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 Rep.

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 Furlough’s Paradise, by a.k. payne and directed by abigail jean-baptiste.

Audio Description

Touch Tour

May 9 at 2PM

ASL May 9 at 8PM

Open Captioning May 16 at 2PM

For more information about our accessibility services or to provide feedback about your experience, contact Laura Kirk, Director of Audience Services: 203.432.1234 or laura.kirk@yale.edu.

ACCESSIBILITY TEAM

Michelle Banks (ASL Coach), a native of Washington, D.C., is an award-winning actress, writer, director, and producer. She is the Co-Founder and Artistic Director of Visionaries of the Creative Arts (VOCA). She is the 2022 recipient of the D.C. area Black Deaf Advocates Award for Outstanding Achievements in Theater for Deaf BIPOC Artists and the 2017 recipient of Gallaudet University’s Laurent Clerc Award for her contribution to theater. Acting credits include Girlfriends, Soul Food, Compensation (film), The C.A. Lyons Project (Alliance Theatre), Reflections of a Black Deaf Woman (one- woman show), and Big River (Mark Taper Forum, Ford Theater).

Directing: Camellia For Camille (Deaf Spotlight’s Short Play Festival), Trash (JACK, IRT); ISM and ISM II (Atlas Performing Arts Center); and A Raisin in the Sun (Gallaudet University, Atlas Performing Arts Center). Michelle also served as Director of Artistic Sign Language (DASL) for The Music Man (Olney) and for colored girls who have considered suicide/when the rainbow is enuf (Broadway).

Victor Blanco (ASL Interpreter) is an ASL interpreter whose interest in theater began at the University of Virginia when he joined the First Year Players. Since then, he has combined his love for theater and American Sign Language by interpreting for a variety of theatrical performances ranging from An Irish Carol at the Keegan Theatre in Washington, D.C. to Hamilton at the Richard Rodgers Theatre in New York. Victor has also worked with Yale Rep on Hedda Gabler and The Salvagers, and he is thrilled to be back.

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.

Katrina Clark (ASL Interpreter) previously interpreted The Brightest Thing in the World at Yale Rep and is thrilled to return to support Deaf audiences. Other credits include & Juliet (Kennedy Center for the Performing Arts), Paranormal Activity (Shakespeare Theatre Company), Titus Andronicus (Faction of Fools), Gilgamesh (Constellation Theater), and The Picture of Dorian Gray (Synetic Theater). Additional interpreting: Studio Theater, Olney Theatre Center, Baltimore Center Stage. Voice Director: Julius Caesar (Gallaudet University). Teaching: Maryland Theater Interpreting Training. Katrina holds RID National Interpreter Certification. B.A., in theatrical interpretation (Gallaudet University); M.F.A., George Washington University/Shakespeare Theatre Company, classical acting.

ACCESSIBILITY TEAM

Marydell Merrill (Audio Describer) is an audio describer for Yale Rep and Hartford Stage and the Artistic Director of Hamden High School’s Mainstage Ensemble. Credits include Yale Rep’s WILL POWER!; the Connecticut Association for Physical Fitness, Health, Recreation, and Dance; Breakdancing Shakespeare at Hartford Stage (Master Teaching Artist); and several regional and national educational theater festivals and conferences. Marydell is a national theater performance adjudicator and a member of the national screening team

YOUTH PROGRAMS

of exemplary high school theatrical productions for the Educational Theatre Association. Awards: 2014 Northeast Educational Theatre Festival Hall of Fame, 2014 International Thespian Society Inspirational Theatre Educator Award, and the 2017 Connecticut Theatre Educator of the Year from the Connecticut Chapter of the International Thespian Society. A member of Actors’ Equity Association, she has performed with several companies including Long Wharf Theatre and Connecticut Free Shakespeare.

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 Zora Neale Hurston’s Spunk and Furlough’s Paradise by a.k. payne to New Haven Public Schools students and educators. In previous seasons, the program has included early school-time matinees, free or heavily subsidized tickets, study guides, and post-performance discussions with actors and members of the creative teams. WILL POWER! is committed to giving teachers curricular support through free workshops and professional development about the content and themes of the plays.

THE DWIGHT/EDGEWOOD PROJECT (D/EP) is a community outreach program of Yale Repertory Theatre and David Geffen School of Drama. Created in 1995 by theater management student Ricardo Morris (’97), D/EP pairs middle school students from New Haven schools with students from the Geffen School, who serve as mentors in an intensive four-week playwriting program.

Modeled after the 52nd Street Project, students learn the basics of Playmaking, spend a weekend away at a writing retreat to complete their plays, and return for a rehearsal and tech process. The process culminates in two evenings of fully produced performances open to the public. Through its values of community care, joy, curiosity, empowerment, and equity, D/EP has helped to develop over 200 original plays written by young people from the Dwight and Edgewood neighborhoods of New Haven.

In 2024, D/EP hosted a conference and reunion in celebration of the legacy of the D/EP Project Coordinator Emalie A. Mayo. In 2025, D/EP celebrated its 30th anniversary season.

Yale Rep’s youth programs are supported by The Robert and Mercedes Eichholz Foundation, NewAlliance Foundation, and the Esme Usdan Community Youth Fund.

EVENTS

SATURDAY, MARCH 7 AT 8PM

MONDAY, MARCH 9 AT 8PM

Post-Show Discussion

Join us downstairs in the August Wilson Lounge following the performance for a conversation about the show with Yale Rep artistic staff.

FRIDAY, MARCH 13 AT 8PM

Panel Discussion: Art as Resistance

Join us after the show for an engaging panel with working creatives about art as an act of political resistance.

WEDNESDAY, MARCH 18 AT 1PM

Pre-Show Reception and Conversation

Please join us for refreshments downstairs in the August Wilson Lounge, where members of the creative team will hold a discussion about the play at 1:20PM.

SATURDAY, MARCH 21 AT 2PM

Talk Back

Join us after the performance for a conversation about the play and its themes with members of the company.

FRIDAY, MARCH 27 AT 8PM

Spanish-Language Captioning

La presentación del 27 de marzo será subtitulada en español. This performance will be open-captioned in Spanish.

All events are subject to change. Additional details at yalerep.org

DAVID GEFFEN SCHOOL OF DRAMA BOARD

OF ADVISORS

Julie Turaj YC ’94, Chair

Jeremy Smith ’76, East Coast Vice Chair

John Badham ’63, YC ’61, West Coast Vice Chair

Nina Adams MS ’69, NUR ’77

Rudy Aragon LAW ’79

Amy Aquino ’86

Pun Bandhu ’01

John B. Beinecke YC ’69

Sonja Berggren Special Research Fellow ’13

Frances Black ’09

Carmine Boccuzzi YC ’90, LAW ’94

Lynne Bolton

Lois Chiles

Edgar M. Cullman III ’02, YC ’97

Michael David ’68

Wendy Davies Special Research Fellow ‘21

Sasha Emerson ’84

Lily Fan YC ’01, LAW ’04

Terry Fitzpatrick ’83

Marc Flanagan ’70

Anita Pamintuan Fusco YC ’90

David Alan Grier ’81

Sally Horchow YC ’92

Ellen Iseman YC ’76

David G. Johnson YC ’78

Sarah Long ’92, YC ’85

Cathy MacNeil-Hollinger ’86

Brian Mann ’79

Drew McCoy

David Milch YC ’66

Jennifer Harrison Newman ’11

Thank you to the generous contributors to David Geffen School of Drama and Yale

LEADERSHIP SOCIETY

($50,000+)

Anand S. Ahuja and Sonam A. Kapoor

Americana Arts Foundation

Anonymous

Sallie Baldwin

John B. Beinecke

Sonja Berggren and Patrick Seaver

Lois Chiles

Connecticut Department of Economic and Community Development

The Robert and Mercedes Eichholz Foundation

Estate of William J. Evans, Jr*

Anita Pamintuan Fusco and Dino Fusco

David Geffen Foundation

The Horace W. Goldsmith Foundation

Steve Grecco

Estate of Elizabeth Rhodes Holloway*

David G. Johnson

Sharon and Jim Lowe

Estate of Robert D. Mitchell*

Brian Ong

Talia Shire Schwartzman

Tracy Chutorian Semler

The Shubert Foundation

Stephen Timbers

Edward Trach

Julie Turaj and Rob Pohly

Esme Usdan

Donald Ware

GUARANTORS

($25,000–$49,999)

The Roy Cockrum Foundation

Wendy Davies

Sarah Long

Cathy MacNeil-Hollinger and Mark Hollinger

Estate of Harriet Koch*

Neil Mazzella

David and Leni Moore

Family Foundation

The Sir Peter Shaffer

Charitable Foundation

Jeremy Smith

Woody Taft

Richard Ostreicher ’79

Carol Ostrow ’80

Maulik Pancholy ’03

Daphne Rubin-Vega

Tracy Chutorian Semler YC ’86

Michael Sheehan ’76

Anna Deavere Smith HON ’14

Woody Taft YC ’92

Andrew Tisdale

Edward Trach ’58

Esme Usdan YC ’77

Courtney B. Vance ’86

Donald Ware YC ’71

Shana C. Waterman YC ’94, LAW ’00

Kim Williams

Henry Winkler ’70

Amanda Wallace Woods ’03

Repertory Theatre

BENEFACTORS

($10,000–$24,999)

Nina Adams and Moreson Kaplan

Rudy and Jeanne Aragon

Cornelia T. Bailey Foundation

Pun Bandhu

Ed Barlow

Carmine Boccuzzi and Bernard Lumpkin

Lynne and Roger Bolton

James and Deborah Burrows Foundation

Lily Fan

Ruth and Charles Grannick Jr. Fund at The Community Foundation for Greater New Haven

Mabel Burchard Fischer Grant Foundation

Burry Fredrik Foundation

Rolin Jones

Lucille Lortel Foundation

Tarell Alvin McCraney

Richard Ostreicher

Michael and Riki Sheehan

Carol L. Sirot

Trust for Mutual Understanding

PATRONS

($5,000–$9,999)

Eugene G. & Margaret M. Blackford Memorial Fund for the Blind, Bank of America, N.A.,Trustee

Santino Blumetti

Joan Channick

Michael S. David

Terry Fitzpatrick

Marcus Gardley

Howard Gilman Foundation

Sally Horchow

Rocco Landesman

Tien-Tsung Ma

James Munson

Jason Najjoum

NewAlliance Foundation

Carol Ostrow

Marshall B. Williams*

Amanda Wallace Woods

PRODUCER’S CIRCLE

($2,500–$4,999) Anonymous

John Badham

Nancy Bynum

Ian Calderon

Francis Carling

Bob and Priscilla Dannies

Deborah Freedman and Ben Ledbetter

Will Gaines

Fred Gorelick and Cheryl MacLachlan

Lane Heard

Ellen Iseman

JANA Foundation

Ann Judd and Bennett Pudlin

Fran Kumin

Pam and Jeff Rank

Bill and Sharon Reynolds

Abby Roth and R. Lee Stump

Daphne Rubin-Vega and Thomas Costanzo

Rosalie Stemer and Stuart Feldman

Nancy Yao

DIRECTOR’S CIRCLE

($1,000–$2,499)

Actors’ Equity Foundation

Bruce Altman and Darcy McGraw

Debby Applegate and Bruce Tulgan

Paula Armbruster

John Lee Beatty

Karen BedrosianRichardson

Deborah S. Berman

Frances Black

Dorothy and Jim Bridgeman

Andrew Brolin

Rea Brown

James Bundy and Anne Tofflemire

Jonathan Busky and Galen Sherwin

Anne and Guido

Calabresi

Enrico Colantoni

Ramon Delgado

Deeksha Gaur

Melanie Ginter

Eric M. Glover

Betty and Joshua Goldberg

Naomi Grabel

Rob Greenberg

Barry and Maggie Grove

Mark Haber and Chiyo Moriuchi

William Halbert

Judy Hansen

Andy Hamingson

Jane Head

Don Holder

James Guerry Hood

Pam Jordan

Elizabeth Kaiden

Fran Kumin

The Ethel & Abe Lapides Foundation

Charles Letts

George Lindsay, Jr.

Jennifer Lindstrom

Linda Lorimer and Charley Ellis

Ed Martenson

John McAndrew

Maulik Pancholy

F. Richard Pappas

Amy Povich

Kathy Priest

Ben Sammler

Mark Schmitt and Holly Yeager

Florie Seery

Anne Seiwerath

Shekar Shetty

Slotznick Family Fund, a charitable fund of The Foundation for Enhancing Communities

Sandra Stein and Harvey Kliman

Mark Stevens

Shepard and Marlene Stone

Leo Surach

Anne Trites

Courtney B. Vance

Carol Waaser

Chris Wall, Daniel Schmitt, Henry Schmitt, and William Schmitt

Carolyn Seely Wiener

Kim Williams

PARTNERS

($500–$999)

Donna Alexander

Shaminda and Carole Amarakoon

Michael Barker and Heidi Hanson

Richard and Alice Baxter

Ashley Bishop

Josh Borenstein

Tom Broecker

Eleanor J. Burgess

Claudia Campos

Joy Carlin

Peter Chance

Sarah Bartlo Chaplin

Bill Conner

Bill Connington

Daniel Cooperman and Mariel Harris

Sean Cullen

Elwood and Catherine Davis

Rick Davis

Robert Dealy

Kelvin Dinkins, Jr.

Caitlin Dutkiewicz

Sasha Emerson

Peter Entin

Jon and Karen Farley

Barbara and Richard Feldman

Adam Frank

LT Gourzong

Regina Guggenheim

The Raul Yanes and Sara Hazelwood Foundation

Bruce Katzman

Alan Kibbe

Kenneth Lewis

Matthew H. Lewis

Katie Liberman and Eric Gershman

Eric Lin

Chih-Lung Liu

Brian Mann

Ann and Bill Mesnard

Pamela and Donald Michaelis

Kathryn Milano

Meg Miroshnik

Melissa Mizell

Chiyo Moriuchi

Merle and Arthur Nacht

Victoria Nolan and Clark Crolius

Barbara and William Nordhaus

Janet Oetinger

Arthur Oliner

Dw Phineas Perkins

Louise Perkins and Jeff Glans

Joel Polis

Jeffrey Powell and Adalgisa Caccone

Alec Purves

Neil Qui

Faye and Asghar Rastegar

Karen Bedrosian Richardson

Chantal Rodriguez

Cynthia Santos-DeCure

Anne Seiwerath

Lorraine Siggins

Matthew Sonnenfeld

Paul Spadone

Kyle Stamm

James Steerman

Neal Ann Stephens

Stephen Strawbridge

David Sword

Tides Foundation

John Turturro and Katherine Borowitz

Emma Wang

Vera Wells

Paul Whitaker

Robert Wildman

Walton Wilson

Steven Wolff

Judith and Guy Yale

Steve Zuckerman

INVESTORS

($250–$499)

Narda E. Alcorn

Trent Anderson and Leandro Zaneti

Stephen and Judith August

Alexander Bagnall

Johannes Boeckmann

Susan Brady and Mark Loeffler

Donald and Mary Brown

Ashley Bryant

Cathy and Steve Carlson

Aurélia Cohen

Ellen Cohen and

Steven Fraade

Claire A. Criscuolo

Caitlin Crombleholme

Jane Crum

Dennis Dorn

Liz Diamond

Laura Eckelman

Susan S. Ellis

Deborah and Henry Fernandez

Marsha Finley

Marc Flanagan

David Freeman

Shelley Geballe

Michael Gross

Jennifer Hershey

Nicholas Hormann

Abby Kenigsberg

Alan Kibbe

Mitchell Kurtz

Marie Landry and Peter Aronson

Irene Lewis

Silje Lier

Chip Long

Suzanne Cryer Luke and Greg Luke

Jonathan Marks*

Thomas G. Masse and James M. Perlotto, MD

David Muse

Jennifer Harrison

Newman

Stephen Newman in memory of Ruth Hunt

Newman

Ankit Pandy

Thank you to the generous contributors to David Geffen School

Bruce Payne and Jack

Thomas

Michael Posnick

Jon and Sarah Reed

Steve Robman

Nan Ross

Suzanne Sato

Kenneth Schlesinger

Paul Selfa

James Sinclair and Sylvia Van Sinderen

Sy Sussman

Matthew Tanico

Douglas Taylor

Katherine Touart

Richard Trousdell

Hannah Wasileski

Shana C. Waterman

Harold Wolpert

Yale-China Association

Yi Zhao

FRIENDS

($100–$249)

Melinda Agsten

Michael Albano

Sarah Albertson

Alyssa Anderson-Kuntz

Michael Annand

Anonymous

David Armstrong

William Armstrong

The Arts Council of Greater New Haven

Angelina Avallone

Nancy and John Babington

Katalin Baltimore

Dani Barlow

Warren Bass

William and Donna Batsford

Elana Bildner

Mark Bly

Amy Brewer

Amy Bowers

Linda Broker

Arvin Brown

Stephen and Nancy Brown

Thomas Bruce

Stephen Bundy

Barbara Bzdyra

Michael Cadden

Kathryn Calnan

H. Lloyd Carbaugh

Juliette Carrillo

Sami Joan Casler

Kwan Chi Chan

Ji-Youn Chang

Robert Channick

Walter Chon

Cynthia Clair

Susan Clark

Geoffrey Cohen

Leland Cole-Chu

Michael Connair

Shoshana Cooper

Ellen Cordes and Harry

Haskell

Rachel and Matt Cornish

Stephanie Covington

Alama Cuervo

Scott Cummings

John Cunningham*

Campbell Dalglish

Brett Dalton

Eric Dana

Dr. and Mrs. Alan Davidson

Sheldon Deckelbaum

Sarah and Ted DeLong

Connie and Peter Dickinson

Derek DiGregorio

Kathleen Dimmick

Melinda DiVicino

John Duran

Laura Eckelman

Fran Egler

Robert Einenkel

Nancy Reeder

El Bouhali

Janann Eldredge

Sandra Elgee

Janna Ellis

David Epstein

Dustin Eshenroder

Laura Esposito

Frank and Ellen Estes

Dan and Elizabeth Esty

Femi Euba

Connie Evans

Michael Fain

Shelli Farhadian

Ann Farris

Richard Feleppa

Mary-Christy Fisher

Mark Fitzpatrick

Sarah Fornia

Hugh Fortmiller

Walter Frankenberger

Richard Freeman

Richard Fuhrman

David Gainey

Don and Margery

Galluzzi

Tobe Gerard

Barry Gladue

Martin and Carole

Goldberg

Donna Golden

Melissa Goldman

Charles Grammer

Hannah Grannemann

Alyssa B. Greenwald

Anne Gregerson

John Guare

Annabel Guevara

Dr. James L. Hadler

Alexander Hammond

Ann Hanley

John Harnagel

Michael Haymes

Ethan Heard

Peter Hefferan

Kevin Henderson

Stephen Hendrickson

Jeffrey Herrmann

Christoper Higgins

Emily B. Hill

Allison Hoffman

Nadine Honigberg

Betsy Hoos

Kathleen Houle

David Howson

Melissa Huber

Evelyn Huffman

Charles Hughes

Derek Hunt

Jennifer Ito

Carla L. Jackson

Lee A. Jacobus

Tracey Jaeger

Chris Jaehnig

Eliot and Lois Jameson

Kimberly Jannarone

Gareth Jenkins

Elizabeth Johnson

Jean Jones

Martha Jurczak

Jay Keene

Barnet Kellman

Jim Kenny

Peter Young Hoon Kim

Eugene Kimball

Natalie King

Lawrence Klein

George Klug

Glenn Knapp

Chloe Knight

Steve Koernig

David Kriebs

Susan Laity

Gabriela Lee

Sheree Levine

Elizabeth Lewis

Malia Lewis

Martha Lidji Lazar

Erik Lier

Annie Lin

Fred Lindauer

Sam Linden

Mark Linn-Baker

Jerry Lodynsky

Robert H. Long II

Judith Loughry

Everett Lunning

Nancy F. Lyon

Wendy MacLeod

Maite and ‘B’ito

Trui Malten

Edwin Martin

Sarah Masotta

Maria E. Matasar-Padilla

Marya Mazor

Robert McCaw

Mark McCullough*

Mary McCutcheon

Phyllis McGrath

Helen McSweeney

James Meisner and Marilyn Lord

Jonathan Miller

Michele Millham

Lawrence Mirkin

Belina Mizrahi

Richard Mone

Sherry Mordecai

Frederick More

Michele Moriuchi

David Morgan

Leora Morris

Donna Moss

Gwyneth Muller

Jan O’ Malley

James Naughton

Leah Ogawa

Jennifer B. Oliver

Richard Olson

Jacob G. Padrón

Joey Parnes

Lisa Rigsby Peterson

Michael Petrillo

Brenda Planck

Alan Plattus

Helen Pospisil

William Purves

Sarah Rafferty

Mohamed A. Ramy

Barbara Reid

Michael Reiner

Deborah J. Reissman

Rachel Resnick

Lisa Richardson

Carolynn Richer

Felicia Riffelmacher

Joan Robbins

Katherine Roberts

Nathan Roberts

Peter S. Roberts

Lori Robishaw

Naomi Rogers

Robin Rose

Robert Rosenheck

Russ Rosensweig

Joseph Ross

of Drama and Yale Repertory Theatre

Marcia and Bob Safirstein

Robert Sandberg

Sallie Sanders

Christopher Sanderson

Peggy Sasso

Arven Saunders

Joel Schechter

Rita Scheeler

Jennifer Schwartz

Alexander Scribner

Patrick Seeley

Tom Sellar

Subrata K. Sen

Sandra Shaner

Jeremy Shapira

Catherine Sheehy

Kavya Shetty

Graham Shiels

Gilbert and Ruth Small

Mary Smith

Teresa Snider-Stein

Helena L. Sokoloff

Suzanne Solensky and Jay Rozgonyi

Ilona K. Somogyi

Mikayla Stanley

Howard Steinman

John Stevens

Susan Stevens

Mark Sullivan

Jean and Yeshvant Talati

Jane Savitt Tennen

Patrice Thomas

Benjamin Thoron

Patti Thorp

David F. Toser

David and Lisa Totman

Julie Trager

Gifts

Anonymous (3)

Russell L. Treyz

Shira Turner

Carrie Van Hallgren

Ariana Venturi

Adam Versenyi

Mary Vitelli and Mickey

Schaller

John Waldes

Jaylene Wallace

Martin Walsh

Paul Walsh

Erik Walstad

David Ward

Linda Warner and Peter C. Perdue

Steven Waxler

Jonathan Wemette

Dr. Robert White

Alexandra Witchel

Richard Whittington

Humanity

W.C. Wilson

Christopher Yurkovsky and Deborah McArthur

John and Pat Zandy

Liza Zenni

Yuhan Zhang

Jennifer Zoga

GIFTS IN KIND

Disney Theatrical Group

ETC Lighting

EMPLOYER

MATCHING GIFTS

The Benevity Community Impact Fund

The Prospect Hill Foundation

David Geffen School of Drama New Facility Fund

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

*deceased

Cheryl Henson

Sally Horchow

Ellen Iseman

David G. Johnson

David H. Johnson

Rolin Jones

Jane Kaczmarek

James and Sharon Lowe

Cathy MacNeil-Hollinger and Mark Hollinger

Brian Mann

Lara Meiland-Shaw

Jennifer Harrison

Newman

Brian Ong

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 Ware

Shana C. Waterman

Amanda Wallace Woods and Eric Wasserstrom

Dr. Jessica WeiserMcCarthy and Timothy McCarthy

Henry Winkler