The Carlotta Festival, 2026, David Geffen School of Drama
Celebrating its 100th anniversary this year, David Geffen School of Drama at Yale, in partnership with Yale Repertory Theatre, trains and advances leaders in the practice of every theatrical discipline, making art to inspire joy, empathy, and understanding in the world.
Artistry
We expand knowledge to nurture creativity and imaginative expression embracing the complexity of the human spirit.
Belonging
We put people first, centering wellbeing, inclusion, and equity for theatermakers and audiences through anti-racist and anti-oppressive practices.
Collaboration
We build our collective work on a foundation of mutual respect, prizing the contributions and accomplishments of the individual and of the team.
Discovery
We wrestle with compelling issues of our time. Energized by curiosity, invention, bravery, and humor, we challenge ourselves to risk and learn from failure and vulnerability.
Yale acknowledges that indigenous peoples and nations, including Mohegan, Mashantucket Pequot, Eastern Pequot, Schaghticoke, Golden Hill Paugussett, Niantic, and the Quinnipiac and other Algonquian speaking peoples, have stewarded through generations the lands and waterways of what is now the state of Connecticut. We honor and respect the enduring relationship that exists between these peoples and nations and this land.
We also acknowledge the legacy of slavery in our region and the enslaved African people whose labor was exploited for generations to help establish the business of Yale University as well as the economy of Connecticut and the United States.
a note from the playwriting chairs
Welcome and thank you for joining us!
The Carlotta Festival at David Geffen School of Drama serves as a platform not only to celebrate the artistic endeavors of three up-and-coming writers and their collaborators but also as an opportunity to witness their remarkable abilities and the compelling narratives they have to share. Working with directors, actors, dramaturgs, designers, technicians, stage managers, and theater managers as well as faculty, these playwrights have dedicated months to crafting their plays.
To this end, the Carlotta Festival is more than just a gathering; it is a forum for exchanging ideas and a showcase of diverse artistic expression. In this year’s offerings, the supernatural, the mythic, and the grotesque collide with everyday life to contend with the monsters within ourselves and our culture:
In The Leopard Women , Colombian sisters Amanda and Lucia have always struggled to get along. After an explosive fight and the loss of their mother, they are each visited by supernatural beings.
In What Rough Beast , aspiring dancer Jia has never had luck on her side, but when she befriends a mysterious creature with the power to grant wishes, things finally take a turn for the better. Yet she soon learns that the creature’s gifts always come with a price.
In Pigskin, there’s something happening in the woods. A coming-of-age mythic adventure unfolds over decades past, present, and possible. What happens next is anyone’s guess.
While the plays presented at the festival represent a culmination of the writers’ efforts at the Geffen School, they merely scratch the surface of their talent and creativity. We are privileged to present these plays as we commend Andrew, Matthew, and Emily for embarking on the next phase of their careers as they continue to enrich the world of theatre with their unique voices.
Anne Erbe and Marcus Gardley Co-Chairs of the Playwriting program, David Geffen School of Drama
DAVID GEFFEN SCHOOL OF DRAMA AT YALE
James Bundy, Elizabeth Parker Ware Dean
Florie Seery, Associate Dean
Chantal Rodriguez, Associate Dean
Carla L. Jackson, Assistant Dean
Nancy Yao, Assistant Dean of Student Life
Anne Erbe and Marcus Gardley, Co-Chairs of Playwriting
PRESENTS
The Leopard Women
By Andrew Rincón
Directed by Destyne R. Miller
What Rough Beast
By Matthew Chong
Directed by Andreas Andreou
By Emily Breeze
Directed by Jasmine Brooks
These productions are supported by the Benjamin Mordecai III Production Fund.
Pigskin
creative team
Scenic Designer
Romello Huins (Rome)
Costume Designer
Sveta Moroz
Lighting Designer
Qier Luo 罗绮儿
Sound Designer
Nicky Milou Brekhof
Projection Designer
Jae Lee
Technical Director
David DiFabio
Production Dramaturg
Elliot Valentine
Fight and Intimacy Director
Kelsey Rainwater
Stage Manager
Claire Young
setting
A hospital in Florida. Amanda’s apartment in Florida. Various rooms in Lucia’s art studio in Tokyo.
By Andrew Rincón
Directed
by
Destyne R. Miller
cast in alphabetical order
Lucia Ashly Chalico
Amanda
Marian Del Valle Torres
The Leopard Woman
Yishan Hao 郝艺姗
Death
Kimberly Vilbrun-François
content and atmospheric guidance
This production contains haze, fog, flashing lights, and blood.
The Leopard Women is performed without an intermission.
Whoa! Existential
What is the meaning of life?
Existentialists would argue that there isn’t one—at least, not one conveniently prepared for you. As Nietzsche says, “no one gives man his qualities—neither God, nor society, nor his parents and ancestors, nor he himself.” Instead of relying on religion, ideology, or the government, existentialists make their meaning in a meaningless universe.
Existentialism was a philosophical and artistic movement that began in Paris during World War II with thinkers like Jean-Paul Sartre, Simone de Beauvoir, Albert Camus, and Maurice Merleau-Ponty. In the face of war, these philosophers found themselves disillusioned with the idea of devoting one’s life to a national cause, living and dying for a government’s values. When the war ended, the Existentialists saw a chance to reshape society towards a better future. Instead of trusting institutions, governmental or religious, they emphasized the importance of freedom: making your own meaning in a meaningless universe. Since there was nothing predetermined for anyone, each individual was free to define their own values to live by. In fact, the worst betrayal one could commit was to adhere to a set of values someone else had dictated.
To Existentialists, life becomes meaning-making. The question “What is the meaning of life?” becomes “What does it mean to choose how I live my life?” Andrew Rincón’s The Leopard Women explores how one can balance this idea of autonomy with care for others. How do you tread the line between familial obligations and living by your own rules? Where do we draw the line between obligation and subjugation? The characters of The Leopard Women explore not only what you owe to yourself, but what you owe to family, both the one you are born with and the one you choose.
The Leopard Women is also a play about death. To philosophers from the Stoics to the Existentialists, death gives meaning to life. As Roman emperor and Stoic philosopher Marcus Aurelius stated, “You could leave life right now. Let that determine what you do and say and think.” Or, as Sartre said, “I refuse to let death hamper life. Death must enter life only to define it.”
Every choice characters make in The Leopard Women—choosing whom to create family with, whom to befriend, whom to forgive—defines their life. The play is about the ferocious courage needed to make these choices. Let us choose to fight, to love, to die, to live.
—Elliot Valentine, Production Dramaturg
The Leopard Women
about the playwright
Andrew Rincón he/she/they is a Queer Colombian-American writing plays that reimagine myths, queers the narrative, and fabulates stories for the stage (in Spanish, English, and Spanglish). Their plays have been developed with The Latinx Playwrights Circle, The Austin Latino New Play Festival, The Amoralists Theatre Company, Pork Filled Productions (Seattle), and Out Front Theatre Company (Atlanta). Andrew was a member of INKtank Lab for Playwrights of Color (2017), the 2017 Fornés Playwriting Workshop (Chicago), a Dramatist Guild Foundation Fellow (19–20), a MacDowell Fellow (Winter 2020), and Skidmore College’s Visiting Playwright in Residence (2021–22). Andrew is the winner of the 2018 Robert Chesley/Victor Bumbalo Grant for writers of Gay and Lesbian Theatre, New Light Theatre Project’s New Light New Voices Award (2019), and was a finalist in LGBTQ Drama for the 36th Lambda Literary Awards 2024. Select plays include The Lonely, El Mito, and The Leopard Women. Their play I Wanna Fuck like Romeo and Juliet had its world premiere in NYC at 59e59 Theatres (fall 2022) and was published by Concord Theatricals. They are currently developing a trio of plays reimagining biblical myths as Queer stories: The Genesis Trinity.
cast in alphabetical order
Ashly Chalico (Lucia) is a first-year M.F.A. candidate at David Geffen School of Drama. Born and raised in Magnolia, Texas, she received her B.F.A. in theater performance from the University of Evansville in 2025. She’s thrilled to be sharing this story alongside such an incredible team of artists. To her friends and family, “los quiero muchísimo!”
Marian Del Valle Torres (Amanda) is a Mexican first-year M.F.A. candidate at David Geffen School of Drama. She received her B.A. in musical theater from Columbia College, Chicago. Con amor y gratitud por el cast y team in this exploration of the meaning of family, life and death, art and magic. “Para mis hermanos que, aunque están lejos siempre me acompañan. los amo.”
Yishan Hao she/her (The Leopard Woman) is a second-year actor at David Geffen School of Drama, where she has been seen in Les Liaisons Dangereuses and A Doll’s House. Other credits include The Inspector (understudy) at Yale Repertory Theatre and birds and the curiosity at Hollywood Fringe. B.A. in psychology, UC Davis.
Kimberly Vilbrun-François (Death) is a Haitian-American actress, born and raised in Miami, Florida. She is a secondyear M.F.A. candidate at David Geffen School of Drama, where her credits include You Can Tell a Tree by its Fruit. She was also in the cast of Rhinoceros at Yale Rep. To Andrew, thank you for the story. To Destyne, thank you for your guidance. To my cast, thank you for the joy. All my love. Adios my friends! Biographies are submitted
School of Drama.
creative team in alphabetical order
Nicky Milou Brekhof (Sound Designer) is a second-year M.F.A. candidate at David Geffen School of Drama, where her credits as assistant designer and engineer include Macbeth in Stride, The Inspector (Yale Rep); Is God Is, Les Liaisons Dangereuses (Geffen School). Credits as an A2 include Hadestown (Carre, Amsterdam); Jesus Christ Superstar (Dutch Tour); The Bodyguard (Beatrix Theater, Utrecht). Nicky holds a B.F.A. in sound design for film and television from the Netherlands Film academy.
David DiFabio (Technical Director) is a second-year M.F.A. candidate with a focus in technical directing at David Geffen School of Drama. Credits include Williamstown Theatre Festival (Interim Technical Director 2025 Season), International Festival of Arts and Ideas (Indoor Technical Director 2024–26), Yale Repertory Theatre (ha ha ha ha ha ha ha, Assistant Technical Director; Spunk, Production Electrician), and the Geffen School (Kilele, Assistant Technical Director). He sends his love to his family, his girlfriend Erin, and all his classmates and friends in the Technical Design and Production program.
Romello Huins (Rome) he/they (Scenic Designer) is a Brooklyn native, the first August Wilson Fellow in Scenic Design at the Eugene O’Neill Center, and the recipient of the inaugural August Wilson Award for Theater Production and Design from The Kennedy Center. His notable
work includes Is God Is at the Geffen School, Witch at Yale Cabaret, The Book of Lucy at Brown University, Passing Strange with Shotgun Players, and Lady Day at Emerson’s Bar and Grill at NC Theater Raleigh. As assistant/associate to Beowulf Boritt, he contributed to New York, New York (Tony Award), The Piano Lesson (Drama Desk Award), Ohio State Murders, and Freestyle Love Supreme. His piano design for The Piano Lesson was featured in The New York Times and archived at the National Museum of African American History and Culture. He holds a B.F.A. from UNCSA and is an M.F.A. candidate at David Geffen School of Drama.
Destyne R. Miller (Director) is a theater director, playwright, and educator originally from Gatesville, Texas. She is currently pursuing her M.F.A. in directing at David Geffen School of Drama. She cultivated her artistic and professional career in Houston, Texas. Destyne’s work honors the voices of Black and marginalized contemporaries, reimagines the classical canon through a contemporary lens, and practices radical joy as both method and mission. Her directing credits include Les Liaisons Dangereuses, Antony and Cleopatra, The Care and Keeping of You Pages 76–77 (Geffen School); Witch, Twink Death (Yale Cabaret); Pipeline (Firecracker Productions); and Seven Guitars (August Wilson in the Park). She assisted Ralph Peña on the Pulitzer Prize finalist The Far Country (Yale Repertory Theatre) and wrote and produced Worn Out Soles, which won Best Play at the Houston
The Leopard Women
Fringe Festival. Prior to attending Yale, Destyne served as the director of the Bush Theatrical Ensemble at George Bush High School. Under her leadership, the ensemble earned state awards and honors in the University Interscholastic League One Act Play Contest, including a state championship with We Are Proud to Present…. Her productions of Ruined, Water By the Spoonful, In the Blood, and her original play, The Forgotten Prayer also had state appearances and award-winning finishes. Destyne has served as an instructor at the University of Houston’s School of Theatre and Dance and has held leadership roles as a board member of the Texas Educational Theatre Association and Texas Thespians, Inc. Miller earned her B.A. in theater arts from Grambling State University and an M.A. in theater from the University of Houston.
Jae Lee (Projection Designer) is a projection and interactive designer whose work spans projection, film/ video, interactive design, and sound art. Recent projects include Turandot (Sejong Grand Theater), Alice in Wonderland (Seoul Ballet Theatre), and Hamlet (Hongik Art Center). At the Geffen School, he has designed Les Liaisons Dangereuses and Macbeth, as well as Cavalleria Rusticana at Yale Opera. He also assisted with projection design for Eden, Rhinoceros, and Notes on Killing Seven Oversight, Management and Economic Stability Board Members at Yale Rep. His work centers on immersive visual storytelling that explores emotional depth and spatial experience.
Qier Luo 罗绮儿 (Lighting Designer) is a lighting designer from Shanghai, China, and a second-year M.F.A. candidate at David Geffen School of Drama, where her credits include Is God Is and Coriolanus, as well as Apologiae 4 & 5 at Yale Cabaret. China-based designs: Sanctuary (Shenzhen), A Statue of a Woman Doing Chores (Shanghai), Midnight Movie (Aranya), To Be Buried (Shanghai and Guangzhou); New York: Rooftop Somnambulism (Brooklyn), Venus (Waterwall Productions), The Tenants (NYWF); Philadelphia: Ship (Azuka Theatre), King Lear (Hepburn Theater), Fear Babies (Headlong Institute), Milky Way (The Fidget Space); Bloomington: Wonderful Town, The Heiress, Julius Caesar, The Resistible Rise of Arturo Ui, and Prospect Hill. She holds a Bachelor’s degree in East Asian languages and culture from Bryn Mawr College. She is also the co-creator and lighting designer of the recent Yale-China Arts Residency Production, Windscape 风·景
Sveta Moroz (Costume Designer) is a Russian-born costume designer and scenographer based in New Haven. She is a second-year M.F.A. candidate at David Geffen School of Drama, and holds a B.F.A. in costume design from the Moscow Art Theatre School. In 2025, she received the Willa Kim Costume Design Scholarship. Recent productions include Utopia (Geffen School); Apologiae 4 & 5, Make Good, Lovesick, The Wish, Tools of Memory, Dance Nation, DIN DIN (Yale Cabaret); Save the Cave (Yale Summer Cabaret); the Dwight/Edgewood Project 2025; A Funny Thing Happened
(Yale College Ex!t Players); and productions with The Imaginists in Santa Rosa, California, including A Kind of Knowing, Nightlight, Casi Casa, and House of Sandwich. She also engages in human-rights advocacy in support of political prisoners in Russia. svetamoroz.com
Kelsey Rainwater (Fight and Intimacy Director) Kelsey’s work was most recently seen in Antigone (This Play I Read In High School) at The Public Theater. Broadway: Liberation, The Last Five Years, and Hell’s Kitchen. Off-Broadway: Liberation (Roundabout); Saturday Church (New York Theater Workshop); Walden (Second Stage); Jordans, Goddess, Sally and Tom, White Noise (The Public). Regional: Two Trains Running, Laughs in Spanish, Hot Wing King (Hartford Stage); In the Southern Breeze (Rattlestick); Blues for an Alabama Sky (Keen Company); Furlough’s Paradise, Hedda Gabler, Spunk, Notes on Killing…, The Inspector, Wish You Were Here, Between Two Knees, Edward Albee’s Who’s Afraid of Virginia Woolf?, Mojada: A Medea in Los Angeles, and the ripple, the wave that carried me home (Yale Rep). Film and television: Baby Ruby, The Green Veil, The Artist. She is a Lecturer in acting at David Geffen School of Drama, co-teaches stage combat and intimacy, and is a Resident Fight and Intimacy Director for Yale Rep.
Elliot Valentine he/him (Production Dramaturg) is a third-year dramaturg in the Dramaturgy and Dramatic Criticism program at David Geffen School of Drama. Previously, he has worked on Antony and Cleopatra directed by Destyne R. Miller, the Langston Hughes Festival, and the New Play Lab at the Geffen School, as well as The Far Country directed by Ralph Peña at Yale Rep. His writing has been published in the Journal of American Drama and Theatre. He is also a musical theater writer, currently an artist-in-residence at Musical Theatre Factory. He sends his gratitude to The Leopard Women team, the Dramaturgy department, and his fiancé, Mel. B.A., Princeton University.
Claire Young she/her (Stage Manager) is a second-year M.F.A. candidate at David Geffen School of Drama. Credits include ha ha ha ha ha ha ha (Yale Rep); Other People, Antony and Cleopatra, You Can Tell a Tree by its Fruit, Tempt Me (Geffen School); and the 2025 Dwight/Edgewood Project. She has also worked for Norwegian Cruise Lines, Pittsburgh Opera, Cortland Repertory Theatre, and Stagedoor Manor. She sends lots of love and gratitude to her family and to her cohort, particularly to her stellar ASM, Amanda Blitz.
Tim Kane (Trumpet Instructor) is a teacher at Hillhouse High School in New Haven. He greatly appreciates the opportunity to work with David Geffen School of Drama. Tim was recently featured as The Musician in ha ha ha ha ha ha ha at Yale Rep.
creative team
Choreographer
Samantha Shay
Scenic Designer
Yaya Zhang
Costume Designer
Allison Morgan
Lighting Designer
Amanda Burtness
Sound Designer
Robert Salerno
Technical Director
David DiFabio
Production Dramaturg
Abraham E. S. Rebollo-Trujillo
Fight and Intimacy Director
Michael Rossmy
Stage Manager
Payton Gunner
setting
New York City. Present.
By Matthew Chong
Directed by Andreas
Andreou
cast in alphabetical order
Creature-Man
Drew Bos
Jia
Junah Jang
Father Thomas Rasan Kuvly
Ian
Christopher Thomas Pow
Minsun
Chuja Seo
content and atmospheric guidance
What Rough Beast contains suicidal ideation and foul language. This production contains herbal cigarette smoke, a smoke alarm, haze, blood, and strobe lights.
There will be a ten-minute intermission.
What Generous Beast
Korean folklore tells of the 구미호 (gumiho), a fox creature with mystical powers. Some tellings, influenced by Daoist thought on the spiritual ascension of beings, feature the gumiho feeding on humans, something it must do to achieve a human form and, subsequently, immortality. Other stories emphasize the gumiho’s antidivine nature, portraying it killing dragons, divine beings. Foxes in general have negative connotations in the Korean imaginary, historically and contemporaneously associated with corrupt and deceitful politicians, nowadays used as a rhetorical symbol across both communist and capitalist media. And influenced by Buddhist thought, there is also a belief that the foolish are reincarnated as foxes.
Our fox-like Creature-Man is kind, gentle, supportive, validating, encouraging. When he steps into Jia’s life, all her wishes suddenly start to come true. Everything she has ever wanted is within reach, so why not take it? Presented with the chance to save a loved one, go to the school of your dreams, or have the object of your attraction reciprocate your love, wouldn’t you? There’s a caveat. For one to gain, another must lose.
The Creature-Man’s rule, the balancing of scales, complicates things for Jia. The consequences in her world happen quickly and visibly, much more so than in our reality. Gaining becomes an exercise in compartmentalizing, in ignoring the interconnectedness of all things that makes her dreams someone else’s nightmare. This behavior, espoused by many characters in our play, is another loss, a loss of concern for others that accompanies assimilation into U.S.-American culture, a culture that emphasizes striving and individualism over retaining humanity, collectivity, and care.
This phenomenon is drawn from the real experiences of many immigrants who come seeking better lives but instead are confronted with the obligation to lose their cultures, tongues, and customs to achieve the “American Dream.” Faced with the destructive realities of their choices, some of our characters choose to turn a blind eye. After all, isn’t it so much easier to say “fuck you, I got mine” and enjoy our privileges than it is to see the pain that our desires bring to others?
The cruelty and individualism that the characters contend with is something we all confront. In a system where degrees are produced by corporations invested in weapons manufacturing, or where deadly industries pillage the Global South to stock supermarket shelves, or where even nominally humanitarian intentions manufacture consent for imperial interests, does it not become incumbent on us to see others’ suffering and to refuse to accept it as the normal cost of success and comfort?
The gumiho’s offers don’t make it easy, but when it tempts us, we must remember: the final price is our humanity.
about the playwright
Matthew Chong is a KoreanAmerican playwright and screenwriter. He is a third-year M.F.A. candidate at David Geffen School of Drama, where he wrote Reps (New Play Lab) and Charity (Langston Hughes Festival). He served as a co-artistic director of the 2025 Yale Summer Cabaret. His play Lessons was the recipient of the 2025 Paul Stephen Lim Playwriting Award at The Kennedy Center. He was a Writer-in-Residence at The New Harmony Project and his plays have been developed by Red Bull Theater, the Philadelphia Artists Collective, and Middlebury Acting Company. He has worked in television production at MTV and Netflix and is the recipient of the Elizabeth George commission from South Coast Repertory. Matthew’s work has been published by Stage Rights, and he is a member of the Dramatists Guild of America.
cast in alphabetical order
Drew Bos he/him (Creature-Man) is a first-year M.F.A. candidate at David Geffen School of Drama. Past credits include Romeo and Juliet (Oak Park Festival Theatre) and Lungs (Southern Plains Productions). Drew grew up in Ypsilanti, Michigan, and received his B.F.A. in acting from Carnegie Mellon University.
Junah Jang (Jia) is a first-year M.F.A. candidate at David Geffen School of Drama, experiencing glimpses of bliss. Born in Missouri and raised all over, she graduated from Stanford University
with a B.A. in public policy in 2025. Sincere gratitude for this cast and company and for this love letter to an immigrant mother in search of peace. To 엄마, as-always-but-maybe-thistime-especially, this one’s for you.
Rasan Kuvly (Father Thomas) is a Kurdish American actor, writer, and filmmaker. He is a first-year M.F.A. candidate 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.
Christopher Thomas Pow (Ian) is a second-year actor at David Geffen School of Drama. Credits include John of Gaunt in The Life and Death of King Richard the Second, Solyony in Three Sisters, Antigonus/Clown/Guitar in The Winter’s Tale (Geffen School); Nat in Grandmother/Bathtub, Josefo/Guitar in Beneath Soil (Yale Cabaret); understudy for Charlie/Guitar and Peter in Lucy & Charlie’s Honeymoon (Lookingglass Theatre Company); Albert in Tiger Style! (Writer’s Theatre); Ted/Leng/Guitar in Cambodian Rock Band (Victory Gardens Theater/City Theatre Company/ Merrimack Repertory Theatre and Theatre Mu/Jungle Theatre); Pip in Great Expectations, Ferdinand in The Tempest, Nathaniel/Guitar in Love’s Labor’s Lost (Great River Shakespeare Festival); understudy for Ross and Lennox in Macbeth (Chicago Shakespeare Theater); and Viola/ Guitar/Puppeteer in Hershel and the Hanukkah Goblins (Strawdog Theatre Company). A songwriter and multiinstrumentalist, Christopher is currently working on their debut music album!
Chuja Seo* she/her (Minsun) is an NYC-based actor originally from Seoul, South Korea. Early in her career, she co-developed and starred in the Korean international hit Nanta, which brought her to New York, where she ultimately moved to continue her acting studies. She has appeared in theater, film, and television productions around the world, including on Broadway, London’s West End, Edinburgh Fringe, and in Australia, Austria, Italy, Japan, Germany, and South Korea. She is truly honored to be part of this year’s Carlotta Festival. Theater credits: Nanta (Cookin’, New Victory, Minetta Lane, World Tours), Kim’s Convenience (Westport Country Playhouse), Wild Goose Dreams (Theatre Royal Bath, UK premiere), Salt Pepper Ketchup (InterAct Theatre; Barrymore Award nomination for Best Performance), Wit (Playhouse on Park), Prometheus Bound (Getty Villa). Film: Off Hollywood, Sticky, The Skin of the Teeth, Dog Walker, Architect, Gravidity, Joyce, Blink. Television: Long Bright River (Peacock, NBC); Blue Bloods (CBS). Education: M.F.A., CalArts; M.F.A., Brooklyn College; B.A., Seoul Institute of the Arts.
creative team in alphabetical order
Andreas Andreou (Director) is a theater and film director and writer from Athens, Greece. His work explores stories that lie at the intersection of reality and fiction, focusing on international
and unconventional theatrical perspectives. After studying classics at King’s College London on a Schilizzi Foundation Scholarship, he continued his graduate studies at the Royal Academy of Dramatic Art and David Geffen School of Drama, where he is a third-year M.F.A. candidate in theater directing. His directing work, showcased in several countries, includes the U.S. premiere of Apologiae 4 & 5 by Efthimis Filippou (Yale Cabaret, 2025), the Romanian premiere of Far Away by Caryl Churchill (UNATC 2024, FITS 2025), and the Greek and Cypriot language premiere of An Oak Tree by Tim Crouch (Bios, Athens; Rialto, Limassol, 2023). In 2022, Andreas wrote and directed his first short film, By Heart. While at Yale, he has directed Utopia by Mikhail Durnenkov, Shakespeare’s The Tragedy of Coriolanus, as well as new works by Emily Breeze and Andrew Rincón. Andreas has twice represented the National Theatre of Greece internationally under the auspices of the Union of European Theatre. Between 2016 and 2020, he worked with German theater group Rimini Protokoll. In 2023, he collaborated with Robert Wilson on his productions of Edward Albee’s Three Tall Women and Jarry/Miró’s UBU at the Municipal Theatre of Piraeus and The Watermill Center, respectively.
*Member of Actors’ Equity Association, the union of professional actors and stage managers in the United States.
What Rough Beast
Amanda Burtness (Lighting Designer) is a second-year M.F.A. candidate at David Geffen School of Drama, where her credits include Les Liaisons Dangereuses and Macbeth. Other credits include DinDin, Twink Death, A Spider Learns to Dance, and Dragaret (’26) at Yale Cabaret. She is the design representative for the School of Drama Student Government and a member of the Yale Cabaret Student Advisory Board for Season 58, Pulse. She is originally from the Bay Area, California, and is a graduate of Chapman University.
David DiFabio (Technical Director) Please see page 9 for David’s bio.
Payton Gunner she/her (Stage Manager), from Atlanta, Georgia, is a second-year M.F.A. candidate at David Geffen School of Drama, where her credits include The Care and Keeping of You Pages 76-77, The Tragedy of Coriolanus, and Silence/The Village. Other credits include Hedda Gabler (Yale Rep), The Complete Works of William Shakespeare (abridged) (The Shakespeare Theater of New Jersey), The Pickleball Wars (Wellfleet Harbor Actors Theater), X: The Life and Times of Malcolm X (Odyssey Opera). B.A., Brandeis University. Payton sends her love and gratitude to her family and friends.
Allison Morgan (Costume Designer) is a designer who creates costumes for the stage and screen. She is completing study for an M.F.A. in costume design from David Geffen School of Drama. She holds a B.F.A. in apparel design and a B.A. in art history and French studies from the Brown University/ Rhode Island School of Design dual-
degree program. She is particularly interested in collaborating on musicbased works. This spring, she designed costumes for the New Chamber Ballet’s performance of Grieg’s Violin Sonata No.3 in New York, and the Yale Baroque Opera Project’s production of Cavalli’s L’Egisto. She has an extensive background in opera, beginning with a Fulbright Fellowship for the Arts in Venice, Italy. While at Yale, she researched archival costume designs as a Graduate Research Fellow at the University’s Beinecke Rare Book and Manuscript Library. During the past two summers, she was the assistant costume designer on productions of Mozart’s Don Giovanni and Verdi’s Rigoletto at the Santa Fe Opera. Additional Geffen School design credits include Matthew Chong’s What Rough Beast, Aleshea Harris’ Is God Is, Ida Cutter’s Sort and Shakespeare’s Antony and Cleopatra. Before attending Yale, Allison worked as a costume production assistant and coordinator for a variety of television shows, including The Deuce, Halston, Bupkis and Only Murders in the Building. She is a member of IATSE United Scenic Artists Local 829.
Robert Salerno he/him (Sound Designer) is a second-year M.F.A. candidate in sound design at David Geffen School of Drama, where his credits include The Life and Death of King Richard the Second. He was assistant sound designer for Measure for Measure and Ain’t No Mo’ (Geffen School) and The Far Country (Yale Rep). Other sound design credits Include Beautiful, Jesus Christ Superstar, A Chorus Line, Blood Brothers, A Class Act, Million Dollar Quartet (Weathervane
Theatre); Mouth/Full, Beinecke Plaza, BAKSA, True Scum, Life is a Drag, The Wish (Yale Cabaret). He would like to thank his incredible classmates Nicky and Jinling.
Abraham E.S. Rebollo-Trujillo (Production Dramaturg) is a known commie fag Jew and third-year Dramaturgy and Dramatic Criticism student working in Spanish-GreekEnglish translation. Her dramaturgy is primarily concerned with antiimperialism and resistance, examining the relationships between migrant, refugee, and indigenous populations and hegemonic power. She has worked on various projects which bring attention to such issues, such as Notes on Killing Seven Oversight, Management and Economic Stability Board Members (Yale Rep), which boldly promoted Puerto Rican independence, a reading of Twenty One Positions, which raised funds for mutual aid initiatives for Palestinians in Gaza, and Dragaret (Yale Cabaret), for which she has donated tips to the United Nations Relief and Works Agency and Advocates for Trans Equality. In her free time, she likes to bake, play with her cats, and imagine a world without capitalism. She dedicates this work to all those displaced and harmed by the U.S.A. and its interventions. abrahamesrt.com
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.
Samantha Shay she/her (Choreographer) is a multidisciplinary artist. Her work challenges boundaries and dances on the fault lines between disciplines. She was most recently a Special Research Fellow at David Geffen School of Drama and a Fulbright Scholar at Tanztheater Wuppertal Pina Bausch. She makes theater, dance, and films. She is currently producing Juliana Morales Carreño’s Solitaria at La MaMa, ETC. As a performer, she has worked with such artists as Marina Abramović and Meredith Monk, and will next perform in Abramović’s Balkan Erotic Epic at the Park Avenue Armory. She is honored to be back at Yale.
Yaya Zhang (Scenic Designer), born in Nanjing, China, is a secondyear M.F.A. candidate at David Geffen School of Drama, who creates visual environments in service of narrative. yayadrama.com
By Emily Breeze
Directed by Jasmine Brooks
cast creative team
Scenic Designer
Seth Byrum
Costume Designer
John Hardy
Lighting Designer
Finn Bamber
Composer and Sound Designer
Jinling Duan 段珒苓
Technical Director
David DiFabio
Production Dramaturg
Lara Sachdeva
Fight and Intimacy Director
Michael Rossmy
Stage Manager
Thomas Nagata
setting
Redwood forests in Mill Valley, California
Act 1— a long time ago
Act 2—6 years later
Act 3—5 years later
Act 4—17 years later
Dominic; The Last Russian Cowboy
Rafael Sebastian
Peter C; Zebul
Walker Borba
Riley; Jeb Gabriel Cali
Evan; Hamor
Liam Beveridge
Abby; Mamie/Cora/Storgé
Dorottya Ilosvai
Sam; Jericho Catherine Young
content and atmospheric guidance
Pigskin contains slurs, depictions of physical violence and injury, gun violence, drug use, and references to sexual assault. This production contains flashing lights, fog, and haze.
Pigskin is performed without an intermission.
“A little girl is one thing. A little runty pig is another,” says Mr. Arable to his eightyear-old daughter, Fern, at the beginning of Charlotte’s Web—a book typically assigned to readers about her age. On the farm, the smallest pigs are doomed from the outset: “never [to] amount to anything.” But there is hope for the smallest children. For her part, Fern feels an affinity for the runt. Taking him in and naming him Wilbur, she becomes something of a guardian angel. Wilbur finds another in the titular spider, who saves him once more by making him a celebrity.
To misquote the mantra from Emily Breeze’s Pigskin, Wilbur’s survival goes to show: pigs are stronger with support from friends—some of whom might not be pigs.
“You need an army for […] hunting pigs,” according—not to one of Wilbur’s wouldbe killers, nor Pigskin’s hog-hating Jeb—but to twelve-year old Jack, one of several boys William Goulding strands on an island in his young-adult bildungsroman, Lord of the Flies. On the unnamed territory, the pigs pose less of a threat to the boys’ physical persons than to their humanity, becoming the vehicles through which they exercise their most violent tendencies.
The boys, it might be said, “grow up too fast”—a phrase easily extended to pigs. With average lifespans under twenty years, pigs reach maturity in a matter of months. For farmers such as Arable this is arguably a good thing. For filmmakers like Chris Noonan, however, it presents a problem; Noonan’s 1995 film Babe about a pig with an affinity for corralling sheep—casts not one but 48 different piglets to realize the eponymous role. They are stronger together.
Like Wilbur, Babe too finds friends across species, an idea reflected by the name: sheep-pig. Pigs, however, have non-human predators still in wolves, bears, and lions. This complicates a simple split like the “four legs good, two legs bad” espoused by Snowball, one of several pigs who takes charge in George Orwell’s adult classic, Animal Farm.
Animal Farm ultimately ends opposite Charlotte’s Web’s beginning—which is to say, argues pigs and human beings are the same. Pigskin, for its part, falls somewhere in between. In the middle of the woods, a pig can walk on two legs, and a boy can speak in squeals. The designation is to some extent, a matter of choice. Whether it be in a herd or in a village, family lives where it is found.
Biographies are submitted by the artists and edited for common house style by David Geffen
about the playwright
Emily Breeze is a playwright and screenwriter based on the East Coast. Her plays include Whore and Wife, The Care and Keeping of You Pages 76-77, They Died From Their Wounds, and Are the Bennet Girls OK? (2026 Drama Desk Nominee, upcoming at The Public Theater, January 2027). Her debut short film Shallow Water premiered in 2023 at the Phoenix Film Festival, and was screened at the Ridgefield Independent Film Festival and the Roze Filmdagen among others. Awards include the 2020–21 GreenStage Live Arts Artist Award for her play The Homewrecker (co-written with Maria DiFabbio), the 2021 Rising Artist Award for her play Hallmark, and she was recently selected as the 2026 Playwright for the New Voices Literary Festival at Ithaca College. Residencies include Millay Arts, the Writers’ Colony at Dairy Hollow, and the 2022–23 Playwright-in-Residence for The Bechdel Group. While at Yale, she was a co-artistic director of the 2025 Yale Summer Cabaret alongside Andrew Rincón and Matthew Chong, two of the greatest living playwrights of our time. B.A., Vassar College.
cast in alphabetical order
Liam Beveridge (Evan; Hamor) is a second-year M.F.A. candidate at David Geffen School of Drama, where his credits include You Can Tell a Tree by its Fruit as well as The Inspector (understudy) at Yale Rep. Liam grew up in Seattle and received his B.A. in theater from Lewis & Clark College.
Walker Borba (Peter C; Zebul) is a first-year M.F.A. candidate at David Geffen School of Drama from Los Angeles, California. Theater: Rhinoceros (understudy, Yale Rep); 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 (Riley; Jeb) 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 Rhinoceros (understudy, Yale Rep), 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.
School of Drama.
Dorottya Ilosvai (Abby; Mamie/ Cora/Storgé) 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. She was also in the cast of Rhinoceros and understudied in The Inspector at Yale Rep. She received her B.A. from New York University, Abu Dhabi.
Rafael Sebastian (Dominic; The Last Russian Cowboy) Regional: Paper Dolls directed by Mark Brokaw (American Premiere, Mosaic Theater Company); Macbeth (Folger Theatre); Romeo and Juliet (Shakespeare Theatre Company); A Departure, Cartography The (Kennedy Center New Visions/New Voices); The Jungle Book (Adventure Theatre MTC); Wiley and The Hairy Man (Imagination Stage/Helen Hayes Award for outstanding TYA production); Carried Away on the Crest of a Wave (Hub Theatre, American Premiere). Film and television: The Girl Who Left Home, Veep (HBO). Rafael is a former company member of Only Make Believe and a first-year M.FA. candidate at David Geffen School of Drama.
Catherine Young (Sam; Jericho), from Kentucky and is a second-year M.F.A. candidate at David Geffen School of Drama. Catherine’s recent credits include The Maids, Lovesick, Three Sisters, Promoter House at Yale Cabaret; Sort at the Geffen School; and The Little Prince at The Guthrie. Catherine got their B.F.A. in acting from SUNY Purchase.
creative team in alphabetical order
Finn Bamber (Lighting Designer) is a New England-based lighting designer, photographer, and secondyear M.F.A. candidate in at David Geffen School of Drama. Recent lighting credits include Two Girls (Ars Nova, The Goat Exchange and Eliya Smith); Shark (The Goat Exchange and Mabou Mines); The Seagull (Quinnipiac University); Utopia, Antony and Cleopatra (Geffen School); Once Upon a Carnival (Moonbox Productions); OtherWise (Ilya Vidrin and the Harvard Davis Center); Dad Don’t Read This (The Goat Exchange and The Loading Dock Theater); Manic Monologues, Legally Blonde (Moonbox). Finn is the resident designer with The Goat Exchange, an international theater ensemble. finnbamber.com
Jasmine Brooks (Director) is a director, producer, and a thirdyear M.F.A. candidate in directing at David Geffen School of Drama. Jasmine is the Co-Artistic Director of the 2025–26 Yale Cabaret. Jasmine has directed new play workshops at the National New Play Network, Playwrights’ Center, San Diego Repertory Theatre, and more. Jasmine is a 2025 recipient of the Cody Renard Richard Scholarship Program. Jasmine’s directing credits include Is God Is, Macbeth co-adapted with Tia Smith, Charity (Geffen School); Pool (No Water), Pride of Doves, seven methods of killing kylie jenner (Yale Cabaret); Intimate Apparel (Silverthorne Theatre Company); Bite
Me (NNPN National Showcase of New Plays); Truth or Consequences (Fresh Ink Theatre). Jasmine’s associate/assistant directing credits include Joe Turner’s Come and Gone (The Huntington, directed by Lili-Anne Brown); Twilight: Los Angeles, 1992 (American Repertory Theater, directed by Taibi Magar); The Bluest Eye (The Huntington, directed by Awoye Timpo); BLKS (Speakeasy Stage, directed by Tonasia Jones); can i touch it? (NNPN National Showcase of New Plays, dir. Nicole Watson); Wolf Play (Company One Theatre, directed by Summer L. Williams); Vietgone (Company One Theatre, directed by Michelle Aguillon). Jasmine holds a B.F.A. in theater arts from Boston University, School of Theatre. Jasminerosebrooks.com
Seth Byrum (Scenic Designer) is thrilled to be collaborating with this amazing team. As an architect, he has worked with the Studio Gang and the Bjarke Ingels Group on projects including proposals for the Delacorte Theater renovation, the National Black Theater in Harlem, and the new home of the Hudson Valley Shakespeare Festival opening this spring. His most recent solo architectural project is a new 300-seat theater and nightclub in Brooklyn opening in 2027. Recent set and event designs include Lempika Korea (associate to Riccardo Hernández), Utopia (Geffen School), Cats (Casa Mañana), Brandcast (David Geffen Hall, Lincoln Center), YouTube at Coachella, and a proposal for Winter Lights at Lincoln Center (assistant to Mimi Lien). Seth is an M.F.A. candidate at David Geffen School of Drama, and holds an M. Architecture from Cornell University.
David DiFabio (Technical Director) Please see page 9 for David’s bio.
Jinling Duan 段珒苓 (Composer and Sound Designer) is a sound designer and composer originally from China. She is currently a second-year M.F.A. candidate in sound design at David Geffen School of Drama. Her design work explores sonic storytelling across theater, film, and installation art. Her recent credits in the U.S. include King Lear (La Noche Llegará) at the Geffen School), You sit down and you cry, Pool (No Water), Witch at Yale Cabaret, and Windscape (Yale China).
John Hardy (Costume Designer) is a costume and scenic designer, and a second-year M.F.A. candidate at David Geffen School of Drama. His designs have been seen at Williamstown Theatre Festival, Alliance Theatre, High Museum of Art, Kenny Leon’s True Colors Theatre, Juilliard, Baryshnikov Arts Center, The Blanc Gallery, REDCAT Festival, The Guggenheim Museum, AFI, among many others. John has most notably worked on Broadway revivals of Macbeth (directed by Sam Gold), West Side Story (directed by Ivo van Hove), All My Sons with Tracy Letts (directed by Jack O’Brien), True West with Ethan Hawke and Paul Dano, Carousel (choreographed by Justin Peck), and Jason Robert Brown’s The Bridges of Madison County. Regional: Jeremy O. Harris’s Spirit of the People, John Mellencamp and Stephen King’s Ghost Brothers of Darkland County, and the world premiere of Bring It On: The Musical, as well as other productions. John’s credits extend to The David Letterman Show and artists like Lil Nas X. johnpetehardy.com
Thomas Nagata he/they (Stage Manager) Selected credits include Spunk, The Inspector, Eden (Yale Rep); Sort, Tempt Me, Uncle Vanya, Fucking A (David Geffen School of Drama); The Tempest, it’s not a trip it’s a journey, Quixote Nuevo (Round House Theatre); King Lear (Shakespeare Theatre Company); Rose: You Are Who You Eat, Incendiary, The Nosebleed, Ain’t No Mo’ (Woolly Mammoth Theatre Company); In the Heights, Annie, Proof (Olney Theatre Center); All the Way, The Roommate, The Yoga Play (South Coast Repertory). Thomas received their B.A. from Wheaton College, Massachusetts.
Michael Rossmy (Fight and Intimacy Director) Please see page 17 for Michael’s bio.
Lara Sachdeva she/her (Production Dramaturg) is a third-year M.F.A. candidate in Dramaturgy and Dramatic Criticism at David Geffen School of Drama, where she has previously worked on Three Sisters and The Sign in Sidney Brustein’s Window. Additional dramaturgy credits include falcon girls (Yale Rep) and The Wish (Yale Cabaret). She holds a B.A. in theater and performance studies from the University of Chicago.
festival direction
Katie Chance (Production Manager) could not be happier to culminate her time at David Geffen School of Drama as the Production Manager for The Carlotta Festival! Katie worked in regional theater as a stage manager for 15 years before jumping into production management and holding positions at both Philadelphia Theatre Company and The Wilma Theater. Katie will be forever grateful for her time at the Geffen School, doubly so for the love and support from her wife, Silje, and her mom, Momert.
Iyanna Huffington Whitney (Managing Director) is a multidisciplinary performing arts professional, who has collaborated with Off-Broadway, regional, and Theatre for a Young Audience (TYA) institutions. Prior to attending Yale, she served as Interim Director of Education at Virginia Children’s Theatre, leading youth-centered programming and community engagement initiatives. While at David Geffen School of Drama, Iyanna has served as Managing Director of Yale Summer Cabaret and Associate Managing Director of the Yale Cabaret. She was also the Artistic Programming Fellow at New Victory Theater in NYC, where she supported season curation and artistic research. Iyanna concludes her time at the Geffen School supporting artists through individualized engagement and institutional programming. iyannahuffington.com
festival direction
Caileigh Potter (Production 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 Rhinoceros, 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 to thank her family and friends for their endless love and support!
The Benjamin Mordecai III Production Fund, established by a graduate of the School, honors the memory of the Tony Award-winning producer who served as Associate Dean and Chair of the Theater Management
program at David Geffen School of Drama from 1993 until his death in 2005. During his tenure as Yale Rep’s Managing Director, alongside Dean/ Artistic Director Lloyd Richards from 1982–1993, Mordecai developed a model of professional producing that changed the course of new play development in the American theatre. His 25 Broadway credits included Tony Kushner’s Angels in America, as well as work by Anna Deavere Smith, Athol Fugard, David Henry Hwang, Terrence McNally, Robert Schenkkan, and perhaps most significantly August Wilson, with whom he collaborated on each of the ten plays in the epic 20thCentury Cycle.
Carlotta Monterey, the widow of Eugene O’Neill, chose Yale University Press as the publisher of Long Day’s Journey Into Night. It is written on the copyright page of the first paperback edition that the proceeds from its publication are to go to playwriting at Yale University.
artistic
Festival Producer
Anne Erbe
Assistant Scenic Designers
Zendell Addai (What Rough Beast)
Ella Hough (Pigskin)
Assistant Lighting Designers
Mila Mussatt (The Leopard Women)
Jacob Nguyen (What Rough Beast)
Alexandra Vásquez Dheming (Pigskin)
Assistant Projection Designer
Jasmine Williams (The Leopard Women)
Assistant Sound Designers and Engineers
Skylar Linker (The Leopard Women)
Jay Korter (What Rough Beast)
Eunyeong Kang 강은영 (Pigskin)
Assistant Stage Managers
Amanda Blitz (The Leopard Women)
Jiawei Pei (What Rough Beast)
Lexi Ashraf (Pigskin)
production
Associate Production Manager
Allie Posner
Assistant Technical Directors
Casper Apodaca
Kevin Kenkel
Will Maresco
Scenic Charge
Michaela Meyer (The Leopard Women, What Rough Beast)
Properties Managers
Susan Gibbs
Judith C. Villalva
Assistant Costume Shop Manager
Bryant Heatherly
Production Electrician
Sam Kisthardt
Assistant Production Electrician
Matthew Phillips
Production Sound Engineer
Eunyeong Kang 강은영
Projection Engineer
Naomi Rodriguez
Projection Content Creator
Nate Britton (The Leopard Women)
Supertitles Creator and Operator
Andrew Rodriguez (What Rough Beast)
Lighting Programmers
Toni Carton
Gabriel Landes
Projection Programmer
Bobby Marcus (The Leopard Women)
Stage Carpenter
Eli Solís
Run Crew
Ángela Sofía Caro
Héctor Flores Komatsu 小松輝
Chanel Johnson
Nancy Kimball
Carter King
Charlotte Maskelony
Kiara Rivera
Andrew Rodriguez
Nicole Brooks Sanwandee
Amanda Whiteley
Mingmei Zhou
Changeover Manager
Angie Hause
Changeover Crew
Kai Hancock
Forrest Rumbaugh
Red Wehrmann
Yun Wu 吳昀 administration
Assistant Managing Director
Jocelyn Lopez-Hagmann
Management Assistants
Chanel Johnson
My Le
Festival House Manager
Ramona Li
Production Photographer
T. Charles Erickson
music credits
“Utopia” was written and composed for The Leopard Women by Elliot Valentine.
special thanks
For The Leopard Women
Andreas Andreou
Jasmine Brooks
Héctor Flores Komatsu 小松輝
Whitney Renell Roy
Andrew Rodriguez
For What Rough Beast
Bar Tipota by DAJ
Eunji Lim
Youngmi Park
Grayson Richmond
Andrew Rodriguez
For Pigskin
Sara Culver
Gammy GinGin
Christina Herrick
Julia Sears
A special thank you to Thomas Kurzman for his generosity providing this production with hair and makeup services.
Thank you, Elation lighting.
David Geffen School of Drama and Yale Repertory Theatre Staff
Elizabeth Parker Ware Dean/ Yale Rep Artistic Director
James Bundy
Associate Dean/Yale Rep
Managing Director
Florie Seery
Associate Dean/Yale Rep
Associate Artistic Director, Director of New Play Programs
Chantal Rodriguez
Assistant Dean/Yale Rep
General Manager
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
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
David Geffen School of Drama and Yale Repertory
Senior Associate Editor, David Geffen School of Drama Alumni Magazine
Catherine Sheehy
Senior Executive to the Dean/Artistic Director
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, Technical Design and Production Program, and Theater Safety
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
Lead Scenic Artist
Lia Akkerhuis
Nathan Jasunas
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
Acting Production Projections
Supervisor
Md Fadzil “Fed” Hanafi Md Saad
Lead Projection Technician
Solomon Sheffield
Projection Technician
Jada Pinsley
Projection Interns
Naomi Rodriguez
Sarah Webb
Stage Operations
Stage Carpenter
Janet Cunningham
Lead Wardrobe Supervisor
Elizabeth Bolster
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 Assistant
My Le
Company Manager
Raekwon Fuller
Assistant Company Managers
Phayna Poulin
Kiara Rivera
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
Alumni Affairs Officer and Senior Writer
Cayenne Douglass
Senior Administrative Assistant to Development and Alumni Affairs
Jennifer E. Alzona
Assistant Director of Development and Alumni Affairs
Gavin D. Pak
Development and Alumni Affairs Assistant
Roberto Di Donato
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
Digital Communications Associate
Kenneth Murray
Business Office Specialist
Moriah Clarke
Digital Technology Associates
Edison Dule
Garry Heyward
Database Application Consultants
Ben Silvert
Erich Bolton
Financial Aid, Admissions, and Student Services
Financial Aid Officer
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
Publications Manager and Program Designer
Marguerite Elliott
Marketing and Communications Assistant
Jenn London
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
David Geffen School of Drama and Yale Repertory Thea t re Staff
David Geffen School of Drama and Yale Repertory Theatre 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
The Leopard Women
MAY 05 | 8PM
MAY 08 | 2PM
MAY 09 | 8PM
MAY 12 | 2PM
MAY 11 | 2PM MAY 12 | 8PM SEE ALL THREE PLAYS THROUGH MAY 13! Pigskin
What Rough Beast
MAY 06 | 8PM MAY 08 | 8PM
MAY 07 | 8PM MAY 09 | 2PM
MAY 11 | 8PM MAY 13 | 2PM
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The Dwight/Edgewood Project (D/EP), now in its 31st season, is a joint youth summer program between Yale Repertory Theatre and David Geffen School of Drama. Fifth- and sixth- graders from Barnard Environmental Science and Technology School (B.E.S.T) write original 10-minute plays that are then fully produced and performed by graduate students at the Geffen School.
JUNE 18 & 20
OFF-BROADWAY THEATER, 41 BROADWAY, NEW HAVEN
To make a donation, reserve seats, or to learn more about D/EP, please email us at dwight.edgewood@yale.edu.
