BATTLE OF BLACK

AND DOGS
APRIL 16 TO MAY 8
Joseph Stellu, Battle of Lights, Coney Island, Mardi Gras (detuil), . Oil on cunvus. Yule Universitv Art Gullerv, Git o Collection Societe Anonvme
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Welcome to Battle of Black and Dogs, the nal production of
Yale Reps 20092010 season!
From the breathtaking heights of Ibsens The Master Builder,
to the war-torn Liberia of Danai Guriras astonishing Eclipsed;
from the soaring melodies that shot through Andy Warhols
Factory in POP!, to Mandy Patinkins passionate performance
in Compulsion and the inspired shenanigans of The Servant
of Two Masters, this has been a remarkable celebration and
rich exploration of humanitys aws, foibles, tragedies, and
triumphs. Whether youve joined us all season long, or if this is
your rst visit to Yale Rep, thank you for sharing the journey with us.
The work of French playwright Bernard-Marie Kolts is produced regularly across
Europe, but has had little exposure here in the U.S. I am delighted at this opportunity
to introduce New Haven audiences to this remarkable writer, who left behind about
a dozen plays when he died at the age of 41 in 1989. I am thrilled also to welcome
back Robert Woodruff, one of Americas most daring and distinguished directors. As
you may know, he made an electrifying Yale Rep debut last season with Notes from
Underground, which will be presented at Californias La Jolla Playhouse next season.
Robert will be back at Yale Rep next year to direct the U.S. premiere of Autumn Sonata
by Ingmar Bergman. Our 20102011 season will also include two world premieres:
the musical We Have Always Lived in the Castle by Adam Bock and Todd Almond,
based on Shirley Jacksons novel, and Bossa Nova, a poignant and powerful new
play by Kirsten Greenidge; two Pulitzer Prize-winning masterpieces: Edward Albees A
Delicate Balance and August Wilsons The Piano Lesson; and the greatest love story of
all time: Shakespeares Romeo and Juliet.
Please join us! Subscriptionsstarting at less than $30 per ticketare now available
(ordering details are on the page opposite this note). You can choose the plays youd
like to see with our new 4-play package, or you can join us for the entire season and
enjoy all six productions.
In the meantime, visit us online at yalerep.org and facebook.com/yalerep for the
latest updates about next season, including casting and creative team newsand
help us spread the word to your family and friends. And of course, I look forward to
receiving and responding to your emails about Battle of Black and Dogs (my email
address is james.bundy@yale.edu).
Thank you again for being here today. I look forward to seeing you again in September
for another season of thrilling and surprising theatre at Yale Rep!
Sincerely,
James Bundy
Artistic Director
P
H
O
T
O
B
Y
JO
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N
G
R
O
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WORLD PREMIERE MUSICAL
WE HAVE ALWAYS
LIVED IN THE CASTLE
BOOK AND LYRICS BY ADAM BOCK
MUSIC AND LYRICS BY TODD ALMOND
BASED ON THE NOVEL BY SHIRLEY JACKSON
DIRECTED BY ANNE KAUFFMAN
September 17 to October 9, 2010
EDWARD ALBEES
A DELICATE BALANCE
DIRECTED BY JAMES BUNDY
October 22 to November 13, 2010
PENDING AUTHORS APPROVAL
WORLD PREMIERE
BOSSA NOVA
BY KIRSTEN GREENIDGE
DIRECTED BY EVAN YIONOULIS
November 26 to December 18, 2010
AUGUST WILSONS
THE PIANO LESSON
DIRECTED BY LIESL TOMMY
January 28 to February 19, 2011
WILLIAM SHAKESPEARES
ROMEO AND JULIET
DIRECTED BY SHANA COOPER
March 11 to April 2, 2011
U.S. PREMIERE
AUTUMN SONATA
BY INGMAR BERGMAN
DIRECTED BY ROBERT WOODRUFF
April 15 to May 7, 2011
THE CAST OF THE SERVANT OF TWO MASTERS, PHOTO BY RICHARD TERMINE, 2010.
PLAYS, DATES, AND ARTISTS SUBJECT TO CHANGE.
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YALE REP 201011 SEASON
APRI L 16 TO MAY 8, 2010
Translator and Composer
Scenic Designer
Costume Designers
Lighting Designer
Sound Designer
Production Dramaturg
Fight Director
Vocal Coach
Casting Directors
Stage Manager
YALE REPERTORY THEATRE
James Bundy, Artistic Director Victoria Nolan, Managing Director
PRESENTS
By BERNARD-MARIE KOLTS
Directed by ROBERT WOODRUFF
SEASON MEDIA SPONSOR
5
MICHAL ATTIAS
RICCARDO HERNANDEZ
TOM McALISTER
ILONA SOMOGYI
STEPHEN STRAWBRIDGE
CHAD RAINES
AMY BORATKO
RICK SORDELET
WALTON WILSON
TARA RUBIN
LAURA SCHUTZEL
JENNA WOODS
BATTLE OF
BLACK AND DOGS
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2008 Hospitality 3 All rights reserved
This translation was originally commissioned by In Parentheses and
Dangerous Ground Productions for the Kolts Festival New York 2003, with the
support of tant donns, The French-American Fund for the Performing Arts.
7 6
CAST
ANDREW ROBINSON
ALBERT JONES
TRACY MIDDENDORF
TOMMY SCHRIDER
Horn
Alboury
Lone
Cal
SETTING
CONSTRUCTION SITE RUN BY A FOREIGN COMPANY IN A
WEST AFRICAN COUNTRY, ANYWHERE FROM SENEGAL TO NIGERIA
(IN ORDER OF SPEAKING)
To Bernard-Marie Kolts, a persons
biography was more complicated than
just a mere listing of facts, dates,
and places. He had a complicated
relationship with his own origins and
even his own language and constantly
reimagined his own roots. In 1983, the
year that Battle of Black and Dogs had its
rst major production in France, Kolts
wrote to a friend about an impending
African voyage: Im leaving for Senegal
(to go back to see the place where my
roots should be, to discover once again
that they are not there, and then come
back here once more to take the time to
reinvent for myself their being there).
Kolts rejected every label that was
attached to him, and he sought out
places where he would be the outsider
or the other. He felt more at home in
Pariss suburbs, lled with African
immigrants, than he did in the citys
center. His aesthetic taste and style
deed boundaries: he loved to fuse
popular culture with the ne arts. He
adored the American cinema and its
actors: Robert DeNiro in Taxi Driver
and Raging Bull, Marilyn Monroe in
The Mists, James Dean in East of Eden
and Rebel Without a Cause, and Marlon
Brando in Apocalypse Now. He was
attracted to the physicality of boxing and
of kung-fu movies; one of his favorite
lms was The Last Dragon. Rap or Bob
Marleys reggae rhythms might play
in his apartment one day, Chopin or
Bach the next. Though he felt a kinship
to French playwrights like Marivaux
and Racine, he devoured the writings
of Faulkner, Melville, Conrad, and
Steinbeck and sometimes wished he,
too, could write in English.
Born in 1948, he grew up in Metz, a
barracks town in eastern France near
the German border. In the 1950s, his
hometown became the site of religious
and political strife: violence between
longtime French citizens and recent Arab
immigrants escalated as colonial wars
burned through Africa. Koltss father, a
professional soldier, fought in many of
these wars and spent most of the decade
in Algeria, away from his family. Every
day, Kolts walked through Metzs Arab
neighborhood to reach his Jesuit school,
and he witnessed the riots and street
violence that erupted regularly there.
Abandoning his journalistic studies in
Strausbourg, twenty-year-old Kolts set
out to travel the world in 1968, the year
that revolution engulfed Europe and
America. Amidst this backdrop of political
upheaval and personal liberation, Kolts
saw his rst play: Senecas Medea. Maria
Casaress performance in the title role
inspired him to write for the theatre; his
admiration of her skill ran so deep that
he vowed that she would star in his plays.
(She did perform in his play Quay West, in
a part written for her.) His rst theatrical
works were adaptations of novels and
poems, including Gorkys My Childhood,
Dostoevskys Crime and Punishment,
and Song of Songs. By the late 1970s, he
wrote his rst original dramatic pieces:
The Night Just Before the Forests, which
he called a soliloquy play; and an early
draft of Sallinger. A decade later, in 1978,
Battle of Black and Dogs began to take
shape during Koltss trip to Western
Africa. There he visited friends who were
working on a construction site in Nigeria,
and the landscape and characters of
Battle emerged.
Kolts completed Battle of Black and
Dogs almost a year later in Guatemala.
He appreciated the experience of writing
in a country where French wasnt the
primary language; he said that when
you take a long trip to a foreign country
where you dont know the language, you
nd it changes your own language and
the structure of your thoughts. An early
version of Battle was broadcast on French
radio, but the rst major production of the
play wasnt until 1983 after Kolts began
working with director Patrice Chreau,
who became one of the writers most
signicant collaborators.
After Chreaus production of Battle in
Nanterre, Kolts became increasingly
well-known in European theatre circles.
However, throughout the 1980s, as
he wrote all of his major plays, he was
secretly battling AIDS. He kept his
personal life extremely private, not
wanting his sexuality to dene him as a
playwright. He never wanted any of his
works to be dened by one element,
whether it be his homosexuality or his
politics; he hated the labels gay theatre
and political theatre. Even after his
death, in 1989 at the age of 41, his small
canon of work continues to defy labels
and geographical boundaries. The French
claim his work, but a theatre in Atlanta
hosts an annual Kolts symposium that
features tours showcasing the Koltsian
character of the American metropolis. And
a statue of him stands outside the Mini
Theatre in Ljulbjana, Slovenia, far from his
French birthplace, and even farther from
his imagined Senegalese homeland. The
roots have spread.
AMY BORATKO, PRODUCTION DRAMATURG
TAPPING HIS ROOTS:
FINDING BERNARD-MARIE KOLTSS SOURCE AND SOURCES
ABOVE: BERNARD-MARIE KOLTS IN 1984. PHOTO COURTESY OF SOPHIE BASSOULS/SYGMA/CORBIS.
9 8
Oh, if you could see like I see, walking
under the bougainvilleas, the one I
see from my window walking, barely
covered by a shirt (in the sun his skin
and his eyes glow like the radiant
statues of the virgins of Lourdes at
night!), on your evening walks, you too
would hold in your hands the mauve
and red branch of the bougainvillea,
and you would caress it with your lips;
these owers are so beautiful; they
have no fragrance.
And so, the only perception which
prevents this trip from completely
draining me from my substance and
reducing everything to an image on
a slide projector, is the very same
one which arouses the perversion
that, under other skies, compels me
to lurk in the depths of the drugstore
Saint-Germainoh sweet and cruel
perception, twice as cruel here for
being forbiddenwhy do I today have
to pay the price for a hundred years
of stupid history? Where do I le for
redemption? What testimony do I
bring? If the forbidden did not run so
deep that neither the Negro, nor the
White, who sit, one morning, next to
each other, in the doorway, and smile
at each other, can do anything about it
and know it, I would like at least that a
mirror offer him my gaze, as I imagine
his, cast from this doorway out onto
the pool a few meters ahead, around
which four or ve fat red blotchy
women surrender themselves to the
hideous worship of their ridiculous
bodies.
But: the table where I write is in front
of a glass wall that looks out onto a
shadowy patio. There in the shadow,
as if blocking the entranceknees
bent up against belly, one arm props
the head while the other lazily brushes
away a few mosquitoesthere sleeps
the future revolution.
The oil wells make gigantic red skies
in the sky. The huge buildings of the
multinationals crush Lagos and Port
Harcourt. General Olusegun Obasanjo,
chief of state, is considering making
soldiers supervisors in the high
school to re-establish order. But
the average age is fteen. Unions are
forming. The black worker looks at his
white employer with different eyes,
it is said; and, at last, the maximum
degree of proliterianization has been
reached, an immense sense of power
emanates from the groups of workers,
during their break, sitting in a circle
in their machines. Each camp is as
precisely drawn as on a diagram of
the class struggle, and one cannot
walk through a site without a profound
sense of an imminent revolution, a
violent one no doubt, under the red
skies of the oil wells.
But: heres the joke. I know, for having
seen it done, that I only need reach out
my hand and tap on the window pane
for It, the revolution, to rise abruptly,
push open the glass door, and say:
Yes, Master?
And the mere thought of this
possibility lls me with dread of this
slumbering body.
I had seen and known Negroes since I could
remember. I just looked at them as I did at
rain, or furniture, or food or sleep. But after
that I seemed to see them for the rst time
not as people, but as a thing, a shadow in
which I lived, we lived, all white people, all
other people. I thought of all the children
coming forever and ever into the world, white,
with the black shadow already falling upon
them before they drew breath. And I seemed
to see the black shadow in the shape of a
cross. And it seemed like the white babies
were struggling, even before they drew
breath, to escape from the shadow that was
not only upon them but beneath them too, as
if they were nailed to the cross. I saw all the
little babies that would ever be in the world,
the ones not yet even borna long line of
them with their arms spread, on the black
crosses. I couldnt tell them whether I saw it
or dreamed it. But it was terrible to me. I
cried at night. At last I told father, tried
to tell him. What I wanted to tell him
was that I must escape, get away from
under the shadow, or I would die. You
cannot, he said. You must struggle,
rise. But in order to rise, you must raise
the shadow with you. But you can never
lift it to your level. I see that now, which
I did not see until I came down here. But
escape it you cannot. The curse of the
black race is Gods curse. But the curse of
the white race is the black man who will
be forever Gods chosen own because He
once cursed Him.
A PASSAGE FROM WILLIAM FAULKNERS
LIGHT IN AUGUST (1932). KOLTS ADMIRED
FAULKNERS WRITING, AND HE USED THIS
QUOTE IN A 1983 LETTER TO FRANOIS
REGNAULT.
I have always rather detested theatre
because theatre is the opposite of life;
but I always come back to it and I love it
because it is the one place where you say:
this is not life.

BERNARD-MARIE KOLTS IN HIS AFTERWORD
TO BATTLE OF BLACK AND DOGS
The French language, like French
culture in general, only interests
me when its been altered. A French
language that has been revised and
corrected, colonized by a foreign
culture, has a new dimension and
gains richness, expressions, in the
same way that an ancient statue
that has lost its head and arms is
more beautiful precisely because of
the absence.
BERNARD-MARIE KOLTS IN A
FEBRUARY 19, 1983, INTERVIEW
WITH ALAIN PRIQUE
10 11
You taught me language, and my prot ont
Is I know how to curse. The red plague rid you
For learning me your language.
CALIBAN, THE TEMPEST,
ACT I, SCENE II
FROM THE SOURCE AND HIS SOURCES
AN EXCERPT OF A 1978 LETTER KOLTS WROTE FROM AHODA TO HIS MENTOR HUBERT
GIGNOUX, DESCRIBING HIS TRIP TO WEST AFRICA. TRANSLATED BY MICHAL ATTIAS.
Koltss notebooks for Battle of Black
and Dogs (Combat de ngre et de
chiens) are often published alongside
the playtext. This collection, organized
in twenty entriesone for each scene
in the play, contains images and char-
acter histories that provide insight on
the play. Below are a few excerpts of
the notebooks.
10
THE SITE, LIT BY LIGHTNING
An inverted eld out to innitywhere
plants grow their roots upwards towards
the sky and bury their foliage down
deep. A small white dog scrambles in
a panic between the legs of an enor-
mous buffalo who huffs and puffs and
tramples the ground, while, all around,
gurgling mud bubbles up between
smoking clumps of black earth.
12
THE DREAM OF THE HOUSE BACK HOME
IN THE COUNTRY, ACCORDING TO HORN
They all dream of France, but they all
stay. They all talk about a house in the
country, and spend years drawing the
blueprints, but you couldnt drag one of
them out of here even if there were two
of you. Sure, they bitch, sure they do,
but I know one thing: wherever theres
cash, once a person gets a taste, no
kick in the ass will ever make him budge
from his spot. And in Africa, there is
cash to be made. So with all their talk of
France and the countryside, Ive never
gotten a single postcard from any one of
those dreamers.
17
LEONES CONCEPT OF REINCARNATION
My personal belief is that in your rst
life youre a man, like that horrible guy,
Cal; men like that understand so little,
theyre stupid and thick, its got to be
their rst life, the scoundrels! I believe
that only after many laughably limited
lives as a man, brutal and brawling
as all mens lives are, only then can a
woman be born. And only after many
womens lives, many unfullled dreams
and meaningless adventures, and many
tiny deaths, only then can a Negro be
born, in whose blood more of life and
death, more acts of brutality and failure,
more tears ow than in any other blood.
And what about me, how many more
times will I have to die, how many more
memories and meaningless experiences
will I have to stack up within me?
When is the life I will nally fully live?
20
CAL
In his innermost self: a large green bird
ies over the prairie, holding in its claws
a puppy with womens eyes, panting
close to its ear.
HORN
In his innermost self: an old woman,
unknown, dressed all in black, face in
shadow, comes regularly every night
and sits by his side until morning, never
saying a word, never making a sound;
he could swear he doesnt know who
she is.
TRANSLATED BY MICHAL ATTIAS
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12
ALBERT JONES (ALBOURY) is making his Yale Rep debut.
New York credits include the Broadway production of Henry IV
(Lincoln Center Theater); and Off-Broadway: Oroonoko (Theatre
for a New Audience, AUDELCO Award nomination), Pericles
(Theatre for a New Audience at BAM), Iphigeneia at Aulis and
Richard III (The Pearl Theatre Company). Regional theatre
credits include A Midsummer Nights Dream (Shakespeare
on the Sound); The Brothers Size (City Theatre); A Raisin
in the Sun (Hartford Stage); Intimate Apparel (Intiman Theatre); The Piano Lesson
(Cleveland Play House); Flag Day (Contemporary American Theater Festival); Much
Ado About Nothing (Portland Center Stage); Arms and the Man (Barrington Stage
Company); Edward II, The Threepenny Opera (American Conservatory Theater); As
You Like It and Scapin (California Shakespeare Festival). Film and television credits
include Salt, Cadillac Records, The Magnicent Cooly-T, American Gangster, The
Bourne Ultimatum, Proud (Tribeca Film Festival, 2005), Army Wives, Law & Order
(original series, SVU, and Criminal Intent), Rescue Me, Kidnapped, and Love Money.
Mr. Jones received his MFA from the American Conservatory Theater.
TRACY MIDDENDORF (LONE) is making her Yale Rep
debut. Her previous stage performances include Ah,
Wilderness! at Lincoln Center Theater, directed by Daniel
Sullivan; The Big Knife at Williamstown Theatre Festival,
directed by Joanne Woodward; The Pavilion at Westport
Country Playhouse; as well as Summer and Smoke and After
the Fall at The Fountain Theatre in Los Angeles, both of which
earned her Ovation and Drama Critics Circle Awards for best
actress. Her television and lm credits include The Mentalist, Lost, 24, Bones, House,
Alias, CSI, Just Add Water, Boy Wonder, The Assassination of Richard Nixon, and a
recurring role on Martin Scorseses upcoming HBO series Boardwalk Empire.
ANDREW ROBINSON (HORN) is making his Yale Rep debut.
Since receiving his Fulbright Fellowship to study at LAMDA, he
has acted in and directed theatre and lm all over the country
for 45 years. His Broadway credits include Any Given Day,
Mary Stuart, Narrow Road to the Deep North, and Operation
Sidewinder. Off-Broadway credits include Macbird, Futz, The
Cannibals, Woyzeck, Subject to Fits; and he is a founding
member of La MaMa Plexus. He is also a founding member of
CAST CAST
the Matrix Theatre Company in Los Angeles, where he directed the award-winning
productions of Endgame, The Homecoming, and Yield of the Long Bond. Other LA
credits include In the Belly of the Beast (directed by Robert Woodruff), Aristocrats,
The Genius, Wanderings of Odysseus (Mark Taper/Center Theatre Group); as well
as productions at South Coast Rep, Pasadena Playhouse, and other theatres. Film
credits include Dirty Harry, Charley Varrick, The Drowning Pool, and Hellraiser. His
numerous television appearances include the title role in Liberace, and he has
directed episodes of Deep Space 9 (also recurred as Garak), Voyager, and Judging
Amy. He created and is currently Director of the University of Southern Californias
MFA Acting Program.
TOMMY SCHRIDER (CAL) is making his Yale Rep debut.
Off-Broadway credits include Close Ties (Ensemble Studio
Theatre); Race (Classic Stage Company); Acts of Mercy, St.
Crispins Day (Rattlestick Playwrights Theater); She Stoops
to Conquer, Pigtown (Irish Rep); Indoor/Outdoor (Summer
Play Festival); Greek Holiday (Abingdon Theatre Company);
Septimus & Clarissa (Ripe Time/Red Bull); and I Lay Dying
(Ohio Theatre/The Essentials). Regional theatre credits
include The Importance of Being Earnest (South Coast Rep);
The Caretaker, The Einstein Project, One Flew Over the Cuckoos Nest (Berkshire
Theatre Festival); Victoria Musica (Cincinnati Playhouse); Loves Labours Lost,
Brendan (Huntington Theatre Company); Journeys End (Westport Country
Playhouse); The Blue Demon (Williamstown Theatre Festival); Hamlet (Syracuse
Stage); This Is Our Youth (Philadelphia Theatre Company); and Appointment with
a High Wire Lady (Andrews Lane, Dublin). Television credits include Medium,
Numb3rs, Law & Order, Whoopi, and As the World Turns. He received his MFA from
NYU Tisch School of the Arts Graduate Acting Program.
15 14
VISIT US ONLINE
yalerep.org facebook.com/yalerep
CREATIVE TEAM CREATIVE TEAM
MICHAL ATTIAS (TRANSLATOR AND COMPOSER) is a New York City-based
saxophonist/composer. He has performed concerts in clubs and festivals throughout
the United States, Europe, the Middle East, and Japan with musicians such as Paul
Motian, Anthony Braxton, Anthony Coleman, Oliver Lake, and many others. A recording
artist and leader of several ensembles, he has composed and designed for dance,
theatre, and lm, both in the US and Europe. His collaborations with Robert Woodruff
include Theatre for a New Audiences production of Edward Bonds Chair (The Duke on
42nd Street) and Yale Reps production of Dostoevskys Notes from Underground, for
which he designed sound, composed music, and in which he also performed.
AMY BORATKO (PRODUCTION DRAMATURG) previously served as dramaturg on
the Yale Rep productions of Compulsion, Notes from Underground, A Woman of No
Importance, Eurydice, and The Cherry Orchard. Other dramaturgy credits include The
Time of Your Life, The Summer People, Romeo and Juliet, The War Is Over (Yale School
of Drama) as well as Voice and Visions Envision Retreat at Bard College. She is the
Literary Manager at Yale Rep. She has been a teaching fellow at Yale College and Yale
School of Drama and was a managing editor of Theater magazine. A graduate of Rice
University, she received her MFA in Dramaturgy and Dramatic Criticism from Yale
School of Drama.
RICCARDO HERNANDEZ (SCENIC DESIGNER) Broadway credits include Caroline,
or Change; Elaine Stritch at Liberty (also National Tour, London); Topdog/Underdog
(also London); Bells Are Ringing; Parade (Tony, Drama Desk nominations); Bring in Da
Noise, Bring in Da Funk (also National Tour, Japan); and The Tempest. He designed
Yale Reps world premiere of The Evildoers in 2008. Recent credits include Fetch
Clay/Make Man (McCarter Theatre); Philip Glasss Appomattox (directed by Robert
Woodruff, San Francisco Opera), Let Me Down Easy, written and performed by Anna
Deavere Smith (Second Stage); Lost Highway (Londons English National Opera/
Young Vic); Julius Caesar (American Repertory Theater, Festival Automne Paris);
The Seagull (American Repertory Theater) and Alice Vs. Wonderland (Moscow MXAT
Institute), both directed by Jnos Szsz; Ethan Cohens Ofces and Almost an Evening
(Atlantic Theater Company). He has designed over 200 productions in the US and
internationally at New York Shakespeare Festival/The Public Theater, Lincoln Center
Theater, BAM, New York Theatre Workshop, MTC, Guthrie Theater, Goodman, Mark
Taper Forum, Lyric Opera of Chicago, New York City Opera, Houston Grand Opera, Los
Angeles Opera, Florida Grand Opera, Santa Fe Opera, Londons National Theatre, Old
Vic, Royal Court, Centre Dramatique Orleans France, and Det Norske Teatret Oslo.
Upcoming: Il Postino (Los Angeles Opera, Vienna, and Paris). He is a graduate of Yale
School of Drama.
TOM McALISTER (COSTUME DESIGNER) has been costume shop manager for
Yale Repertory Theatre/Yale School of Drama for twenty-one years, supervising over
250 productions. In the course of his nearly forty-year career, he has worked on such
17 16
diverse projects as the world premieres of Paula Vogels Desdemona: A Play About
a Handkerchief (Circle Repertory Theatre/Bay Street Theatre), The Great Gatsby
(Metropolitan Opera Company), and 1600 Pennsylvania Avenue (Broadway); as
well as Muppet Babies on Tour, Live from Lincoln Center: Juilliard at 80 (PBS-TV),
and Waynes World 2; and has had the pleasure of dressing such actors as Colleen
Dewhurst, Christopher Walken, Blythe Danner, Richard Thomas, and Dianne Wiest,
among others. New York and regional theatre credits include productions at The
Public Theater, Playwrights Horizons, Manhattan Theatre Club, Williamstown Theatre
Festival, Actors Theatre of Louisville, The Kennedy Center for the Performing Arts,
Boston Lyric Opera, and Houston Grand Opera. Tom is a professor in the Technical
Design and Production Department at Yale School of Drama.
CHAD RAINES (SOUND DESIGNER) is a second-year MFA candidate at Yale School
of Drama, where his credits include Orlando (sound design and composition) and
Baal (composition). He appeared as Tommy in The Whos Tommy and played drums
for Fly-By-Night: A New Musical, both at Yale Summer Cabaret. He also wrote and
performed in Missed Connections, a new musical for Yale Cabaret. As associate
sound designer for this year at Yale Cabaret, he sound designed Nijinskys Last Dance
and Language of Angels. He occasionally performs with the electro-pop group, The
Simple Pleasure.
TARA RUBIN CASTING (CASTING DIRECTORS) has been casting at Yale Rep
since 2004. Broadway: A Little Night Music, Billy Elliot (Adult Casting), Shrek,
Guys and Dolls, The Little Mermaid, Mary Poppins, Jersey Boys, The Producers,
Mamma Mia!, The Phantom of the Opera, The Country Girl, Young Frankenstein,
The Farnsworth Invention, Rock n Roll, The History Boys (US casting), Les
Misrables, Spamalot, The 25th Annual Putnam County Spelling Bee, The Pirate
Queen, Good Vibrations, Bombay Dreams, Oklahoma!, Flower Drum Song,
Imaginary Friends, Metamorphoses (New York casting). Lincoln Center Theater:
Happiness, The Frogs, Contact, Thou Shalt Not, A Man of No Importance, Anything
Goes (concert). The Kennedy Center: Mame, Mister Roberts, The Sondheim
Celebration, and Tennessee Williams Explored. Film: The Producers: The Musical.
Members, Casting Society of America.
ILONA SOMOGYI (COSTUME DESIGNER) Recent New York area productions
include Clybourne Park (Playwrights Horizons); Crooked (Womens Project);
Jerry Springer: The Opera (Carnegie Hall); Almost an Evening, Scarcity (Atlantic
Theater Company); The Piano Teacher (Vineyard Theatre); Fever Chart, Controversy
at Vallalodid, Fucking A (The Public Theater); Emma (New York Musical Theatre
Festival); The American Pilot (Manhattan Theatre Club); Hot n Throbbin (Signature
Theatre Company); Savannah Bay (MCC); as well as God of Hell, Wit, Swimming with
Watermelons, Unwrap Your Candy, Tabletop, and Hard Times. She also designed
Princess Wishes for Disney on Ice, currently on tour. Her many regional credits
include Passion Play, As You Like It (Yale Rep); Noises Off, A Midsummer Nights
Dream (Hartford Stage); Lils 90th (Long Wharf Theatre); The Torchbearer, The Autumn
Garden, Sweet Bird of Youth, Top Girls, On the Razzle (Williamstown Theatre Festival);
Scramble, Vigil, and Sedition (Westport Country Playhouse). She was also associate
costume designer for Spamalot, The Crucible, and Art on Broadway, and the Ringling
Bros. and Barnum & Bailey Circus. Ilona is a graduate of Yale School of Drama and is
currently a member of its faculty.
RICK SORDELET (FIGHT DIRECTOR) 44 Broadway productions, including Disneys
The Lion King, Beauty and the Beast, Tarzan, The Little Mermaid, and Aida. He has
staged the ghts for the opera Cyrano de Bergerac starring Placido Domingo at the
Metropolitan Opera, The Royal Opera House, and the LaScala in Milan, Italy; and
for over 40 productions on ve continents. Film: The Game Plan starring Dwayne
The Rock Johnson; Dan in Real Life starring Steve Carell and Juliette Binoche; and
Hamlet starring Campbell Scott. He served as the chief stunt coordinator for Guiding
Light and staged the ghts for First Jedi, a CD-ROM for George Lucas. Rick received
the Lucille Lortel Award for Sustained Excellence in 2007. He teaches at Yale School
of Drama, The New School for Drama, and The Neighborhood Playhouse. He is a
company member of The Drama Dept., a board member of The Shakespeare Theatre
of New Jersey, and the author of the play Buried Treasure. He is married to actress
Kathleen Kelly and has three children: Kaelan, Christian, and Collin.
STEPHEN STRAWBRIDGE (LIGHTING DESIGNER) has designed the lighting
for productions on and off Broadway, at most leading regional theatre and opera
companies across the US, and internationally in Bergen, Copenhagen, The Hague,
Hong Kong, Lisbon, Munich, Sao Paulo, Stockholm, and Vienna. Recent work includes
Athol Fugards Coming Home for Berkeley Rep and Long Wharf Theatre; School Boy
Play for the Linz 09 Festival in Austria; Having Our Say (McCarter Theatre); At Home
at the Zoo (American Conservatory Theater); Crime and Punishment (Berkeley Rep);
The Glorious Ones, Bernarda Alba (Mitzi Newhouse Theatre at Lincoln Center); Prayer
for My Enemy (Playwrights Horizons); Shipwrecked! (Primary Stages); and Souls of
Naples (Mercadante, Naples, Italy, and Theatre for a New Audience). He has been
nominated for or won the American Theatre Wing, Bay Area Theatre Critics Circle,
Dallas-Fort Worth Theater Critics Forum, Helen Hayes, and Lucille Lortel awards. He
is co-chair of the Design Department at Yale School of Drama and resident lighting
designer at Yale Repertory Theatre.
WALTON WILSON (VOCAL COACH) is Head of Voice and Speech at Yale School
of Drama. He was trained and designated as a voice teacher by Master Teacher
Kristin Linklater and was trained and certied as an associate teacher by Master
Teacher Catherine Fitzmaurice. He also studied with Richard Armstrong, Meredith
Monk, and Patsy Rodenburg. His New York credits include The Violet Hour, Golden
Child, and Victor/Victoria on Broadway; and the world premiere productions of The
Laramie Project, Argonautika, and Endangered Species. Regional theatre credits
include productions at Actors Theatre of Louisville, American Repertory Theatre,
Long Wharf Theatre, McCarter Theatre, Shakespeare & Company, and Williamstown
Theatre Festival. At Yale Rep, he has served as voice and dialect coach on Notes from
Underground, Boleros for the Disenchanted, The Evildoers, The Cherry Orchard, The
Intelligent Design of Jenny Chow, The Black Monk, Medea/Macbeth/Cinderella, Bettys
Summer Vacation, The Birds, and Richard III.
ROBERT WOODRUFF (DIRECTOR) co-adapted and directed Yale Reps 2009
production of Notes from Underground, which will be seen at La Jolla Playhouse
next season. He has directed over 60 productions across the US at theatres
including Lincoln Center Theater, The Public Theater, Brooklyn Academy of Music,
American Conservatory Theater, Guthrie Theater, and Mark Taper Forum, among
others. Recent credits include Madame White Snake, a new opera by Zhou Long
for Opera Boston, which will play in Beijing in the fall of this year; Orpheus X for
Theatre for a New Audience; Igeneia in Aulis with Toneelgroep Amsterdam; and
Philip Glasss Appomattox for the San Francisco Opera. Internationally, his work
has been seen at the Habimah National Theatre in Israel, Sydney Arts Festival, Los
Angeles Olympic Arts Festival, Edinburgh International Festival, Hong Kong Festival
of the Arts, Jerusalem Festival, and Spoleto Festival USA. Mr. Woodruff has taught
at the University of California campuses at San Diego and Santa Barbara, New York
Universitys Tisch School of the Arts, and Columbia University. He is on the faculty of
Yale School of Drama. In 1972, he co-founded the Eureka Theatre in San Francisco,
where he served as Artistic and Resident Director until 1978. In 1976, Mr. Woodruff
established the Bay Area Playwrights Festival, a summer forum for the development
of new plays that is still ourishing. From 2002 to 2007, Mr. Woodruff was the Artistic
Director of American Repertory Theatre. He was named a 2007 USA Biller Fellow by
United States Artists, an arts advocacy foundation dedicated to the support and
promotion of Americas top living artists.
JENNA WOODS (STAGE MANAGER) is a third-year MFA candidate at Yale School
of Drama, where her credits include Man=Man, Romeo and Juliet, Baal, and Grace,
or the Art of Climbing. Previous Yale Rep credits include the world premiere of POP!
earlier this season and last seasons Notes from Underground. Jenna has toured with
the national tours of The Music Man and Footloose (Props Supervisor) and the North
American tour of Riverdance (Wardrobe Supervisor). Jenna holds a BFA in theatre
design from the University of Kansas.
CREATIVE TEAM CREATIVE TEAM
19 18
ARTISTIC DIRECTOR
JAMES BUNDY is in his eighth year as Dean of Yale School of Drama and Artistic
Director of Yale Repertory Theatre. In his rst seven seasons, Yale Rep has
produced more than twenty world, American, and regional premieres, three
of which have been honored by the Connecticut Critics Circle with the award
for Best Production of the year, and two of which have been Pulitzer Prize
nalists. During this time, Yale Rep has also commissioned more than twenty
artists to write new work and provided low-cost theatre tickets and classroom
visits to thousands of middle and high school students from Greater New Haven through WILL
POWER!, an educational program initiated in 2004. Mr. Bundys directing credits include The
Psychic Life of Savages, The Ladies of the Camellias, Alls Well That Ends Well, A Woman of No
Importance, and Death of a Salesman at Yale Rep, as well as productions at Great Lakes Theater
Festival, The Acting Company, California Shakespeare Festival, Alabama Shakespeare Festival,
and The Juilliard School Drama Division. A recipient of the Connecticut Critics Circles Tom Killen
Award for extraordinary contributions to Connecticut professional theatre in 2007, Mr. Bundy
currently serves on the board of directors of Theatre Communications Group, the national service
organization for nonprot theatre. Previously, he worked as Associate Producing Director of The
Acting Company, Managing Director of Cornerstone Theater Company, and Artistic Director of
Great Lakes Theater Festival. He is a graduate of Harvard College and Yale School of Drama.
MANAGING DIRECTOR
VICTORIA NOLAN is in her 18th year as Managing Director of Yale Repertory
Theatre, serves as Deputy Dean of Yale School of Drama, and is on its
faculty. She was previously Managing Director of Indiana Repertory Theatre,
Associate Managing Director at Baltimores CENTERSTAGE, Managing
Director at Ram Island Dance Company in Portland, Maine; and she has
held various positions at Loeb Drama Center of Harvard University; TAG
Foundation, an organization producing Off-Broadway modern dance
festivals; and Boston University School for the Arts. Ms. Nolan has been an evaluator for the
National Endowment for the Arts, for which she has chaired numerous grant panels, and has
served on other panels and foundation review boards including the AT&T Foundation, The Heinz
Family Foundation, Lila Wallace-Readers Digest Fund, and the Metropolitan Life Foundation.
She has also served on the Executive Committee of the League of Resident Theatres (LORT)
and on numerous negotiating teams for national labor contracts. A Fellow at Yales Saybrook
College, she is the recipient of the Betsy L. Mahaffey Arts Administration Fellowship Award from
the State of Connecticut and the Elm/Ivy Award, given jointly by Yale University and the City of
New Haven for distinguished service to the community.
ASSOCIATE ARTISTIC DIRECTOR
JENNIFER KIGER is in her fth year at Yale Rep and is also director of the new
play programs of the Yale Center for New Theatre, an integrated, playwright-
driven initiative that supports the creation of new plays and musicals for
the American stage through commissions, residencies, workshops, and
productions. Ms. Kiger came to Yale Rep from South Coast Repertory (SCR),
where she was Literary Manager from 2000 to 2005 and served as
YALE REPERTORY THEATRE
20
Co-Director of the Pacic Playwrights Festival. She was dramaturg on more than 40 new plays at
SCR, including the world premieres of Rolin Joness The Intelligent Design of Jenny Chow, Amy
Freeds The Beard of Avon, and the West Coast premieres of Sarah Ruhls The Clean House and
Nilo Cruzs Anna in the Tropics. Prior to that, she served as production dramaturg at American
Repertory Theatre, collaborating with Robert Brustein, Robert Woodruff, Liz Diamond, and Kate
Whoriskey, and with multi-media director Bob McGrath on stage adaptations of Robert Coovers
Charlie in the House of Rue and Mac Wellmans Hypatia. She has been a dramaturg for the
Playwrights Center of Minneapolis and Boston Theatre Works and a panelist for the National
Endowment for the Arts and the California Arts Council. Ms. Kiger completed her training in
Dramaturgy at the American Repertory Theatre Institute for Advanced Theatre Training at Harvard
University, where she taught courses in acting and dramatic arts.
PRODUCTION SUPERVISOR
BRONISLAW SAMMLER has been Chair of Yale School of Dramas acclaimed
Technical Design and Production Department since 1980. In 2007 he was
named the Henry McCormick Professor (Adjunct) of Technical Design and
Production by Yales President, Richard C. Levin. He is co-editor of Technical
Brief and Technical Design Solutions for Theatre, Vols. I & II. His book
Structural Design for the Stage won the United States Institute of Theatre
Technologys Golden Pen Award. Demonstrating his commitment to excellence
in technical education and professional production, he founded USITTs National Theatre
Technology Exhibit, an on-going biennial event; he has served as a commissioner and a director-
at-large and is a lifetime Fellow of North Americas Theatre Technology Association. He was
honored as Educator of the Year in 2006 by the New England Theatre Conference. His production
management techniques and his introduction of structural design to scenic technology are being
employed in both educational and professional theatres throughout the world.
PRODUCTION STAGE MANAGER
JAMES MOUNTCASTLE has been at Yale Rep since 2004. He has stage
managed productions of The Master Builder, Passion Play, Richard II,
Eurydice, a new adaptation of The Cherry Orchard, and the world premiere
of The Clean House. A professional stage manager for more than twenty
years, he has worked in regional, stock, and Broadway theatre. Broadway
credits include Damn Yankees, Jekyll & Hyde, Judgment at Nuremberg, The
Boys from Syracuse, The Smell of the Kill, Life x(3), and Wonderful Town.
Mr. Mountcastle spent several Christmas seasons in New York City as stage manager for the
now legendary production of A Christmas Carol at Madison Square Garden. Broadway national
tours include City of Angels, Falsettos, and My Fair Lady. He served as Production Stage
Manager for Damn Yankees starring Jerry Lewis for both its national tour and at the Adelphi
Theatre in Londons West End. In addition, Mr. Mountcastle has worked at The Kennedy Center,
CENTERSTAGE in Baltimore, Actors Theatre of Louisville, Brooklyn Academy of Music, and
elsewhere. James and his wife Julie live in North Haven and are the very proud parents of two
beautiful girls: Ellie, who is 11 years old, and Katie, age 9.
21
22 23
James Bundy, Artistic Director
Victoria Nolan, Managing Director
Jennifer Kiger, Associate Artistic Director
ARTISTIC
Resident Artists
Paula Vogel, Playwright-in-Residence
Liz Diamond, Evan Yionoulis, Resident Directors
Catherine Sheehy, Resident Dramaturg
Ming Cho Lee, Set Design Advisor
Michael Yeargan, Resident Set Designer
Jane Greenwood, Costume Design Advisor
Jess Goldstein, Resident Costume Designer
Jennifer Tipton, Lighting Design Advisor
Stephen Strawbridge, Resident Lighting Designer
David Budries, Sound Design Advisor
Walton Wilson, Voice and Speech Advisor
Rick Sordelet, Fight Advisor
Mary Hunter, Stage Management Advisor
Associate Artists
52nd Street Project, Kama Ginkas, Mark Lamos,
MTYZ Theatre/Moscow New Generations
Theatre, Bill Rauch, Sarah Ruhl, Henrietta Yanovskaya
Commissioned Artists
David Adjmi, Todd Almond, Hilary Bell, Adam Bock,
Bill Camp, Will Eno, Marcus Gardley, Ann Marie Healy,
Amy Herzog, Naomi Iizuka, Dan LeFranc, Liz Meriwether,
Scott Murphy, Julie Marie Myatt, Jay Reiss, Sarah Ruhl,
Octavio Solis, Paula Vogel, Kathryn Walat, Anne Washburn,
Marisa Wegrzyn, Robert Woodruff
Artistic Administration
Amy Boratko, Literary Manager
Alex Grennan, Kay Perdue Meadows, Artistic Coordinators
Brian Valencia, Walter Byongsok Chon,
Hannah Rae Montgomery, Literary Associates
Tara Rubin, CSA, Laura Schutzel, CSA, Casting Directors
Eric Woodall, Merri Sugarman, Casting Associates
Paige Blanseld, Rebecca Carfagna, Dale Brown,
Casting Assistants
Ruth M. Feldman, Director of Education and
Accessibility Services
Teresa Mensz, Library Services Assistant
Josie Brown, Senior Administrative Assistant to the
Artistic Director and Associate Artistic Director
Kathleen Driscoll, Senior Administrative Assistant for
the Directing, Dramaturgy and Dramatic Criticism,
Playwriting, and Stage Management Department
Mary Volk, Senior Administrative Assistant for the
Design and Sound Design Departments
ADMINISTRATION
Michael Barker, Belina Mizrahi, Meghan Pressman,
Associate Managing Directors
Elizabeth Elliott, Jennifer Harrison Newman,
Assistant Managing Directors
Katie Liberman, Management Assistant
Emalie Mayo, Senior Administrative Assistant
to the Managing Director
Tara Kayton, Company Manager
Development and Alumni Affairs
Deborah S. Berman, Director of Development and Alumni Affairs
Debbie Ellinghaus, Senior Associate Director of
Development and Alumni Affairs
Whitney Estrin, Associate Director of Development
Barry Kaplan, Senior Staff Writer
Susan C. Clark, Development Associate
DeDe Jacobs Komisar, Development Assistant
Belene Day, Senior Administrative Assistant to
Development and Marketing and Communications
Finance and Information Technology
Katherine D. Burgueo, Director of Finance and
Human Resources
Sheila Daykin, Associate Director of Finance
Cristal Coleman, Magaly Costa, Maria Frey, Ashlie Russell,
Business Ofce Specialists
Randall Rode, Information Technology Director
Daryl Brereton, Associate Information Technology Director
Mara Hazzard, Director, Yale Tessitura Consortium
Toni Ann Simiola, Senior Administrative Assistant to Business
Ofce, Information Technology, Operations, and Tessitura
Jacqueline Sappleton-Henry, Business Ofce Assistant
Niti Mehta, Information Technology Assistant
Marketing, Communications, and Audience Services
Anne Trites, Director of Marketing and Communications
Steven Padla, Senior Associate Director of Communications
Daniel Cress, Associate Director of Marketing
Shin-Hyoung Shon, Associate Director of Marketing
and Communications
Devon Smith, Director of Analytics
Rachel Smith, Associate Director of Marketing and
Audience Services
Maggie Elliott, Marketing and Publications Manager
Sarah Stevens-Morling, Online Communications and
Print Advertising Manager
Karena Fiorenza Ingersoll, Marketing Assistant
Scott McKowen, Punch & Judy Inc., Graphic Designers
David Cooper, Photographer
Joan Marcus, Production Photographer
Janna J. Ellis, Associate Director of Audience Services
and Tessitura Specialist
Tracy Baldini, Laura Kirk, Assistant Audience Services Directors
London Moses, Audience Services Assistant
Courtney Engle, Ruth Kim, Tiffany Lin, Sue Malone,
William Smith, Anya Van Wagtendonk, Joanna Wilson,
Box Ofce Assistants
Operations
Diane Galt, Director of Facility Operations
Rich Abrams, Operations Associate
Ben Holder, Ron Maybrey, Custodial Supervisors
Lucille Bochert, Vermont Ford, Warren Lyde, Vondeen Ricks,
Mark Roy, Custodians
Theater Safety and Occupational Health
William J. Reynolds, Director of Theater Safety
and Occupational Health
Jacob Thompson, Security Ofcer
Ed Jooss, Audience Safety Ofcer
Fred Grier, Customer Service and Safety Ofcer
YALE REPERTORY THEATRE STAFF
PRODUCTION
Bronislaw J. Sammler, Production Supervisor
James Mountcastle, Production Stage Manager
Jonathan Reed, Senior Associate Production Supervisor
Marla J. Beck, Senior Administrative Assistant
to the Production Department
Costumes
Tom McAlister, Costume Shop Manager
Robin Hirsch, Associate Costume Shop Manager
Mary Zihal, Senior Draper
Clarissa Wylie Youngberg, Draper
Deborah Bloch, First Hand
Linda Kelley-Dodd, Costume Project Coordinator
Denise OBrien, Wig and Hair Design
Barbara Bodine, Company Hairdresser
Linda Wingerter, Costume Stock Manager
Robert C. Snipes, Assistant to the Costume Shop Manager
Electrics
Donald W. Titus, Lighting Supervisor
Jason Wells, Linda Young, Head Electrician
Painting
Ru-Jun Wang, Painting Supervisor
Angie Meninger, Scenic Artist
Nora Hyland, Assistant Scenic Artist
Jennifer Herbert, Assistant to the Painting Supervisor
Properties
Brian Cookson, Properties Master
David P. Schrader, Properties Craftsperson
Jennifer McClure, Properties Assistant
Rachel Reynolds, Properties Stock Manager
Nishi L. Hamrick, Assistant to the Properties Master
Scenery
Don Harvey, Neil Mulligan, Technical Directors
Alan Hendrickson, Electro Mechanical
Laboratory Supervisor
Eric Sparks, Shop Foreman
Matt Gaffney, Sharon Reinhart, Master Carpenters
Lisa McDaniel, Ryan Gardner, Shop Carpenters
Amy Jonas, Michael Backhaus, Assistants to
the Technical Director
Sound
Josh Loar, Sound Supervisor
Paul Bozzi, Staff Sound Engineer
Palmer Hefferan, Nicholas Pope, Assistants to the
Sound Supervisor
Projections
Erik Trester, Head Projection Technician
Stage Operations
Janet Cunningham, Stage Carpenter
Kate Begley Baker, Properties Runner
Elizabeth Bolster, Wardrobe Supervisor
Charles Harbert, Sound Operator
ADDITIONAL STAFF FOR
BATTLE OF BLACK AND DOGS
Luisa Proske, Assistant Director
Maruti Evans, Assistant Scenic Designer
Rebecca Welles, Assistant Costume Designer
Travis McHale, Assistant Lighting Designer
Nicholas Pope, Associate Sound Designer
Erich Bolton, Sound Engineer
Anne Erbe, Assistant Dramaturg
Lindsey Turteltaub, Assistant Stage Manager
Shaminda Amarakoon, Associate Production Supervisor
Stephen C. Henson, Technical Director
Michael Backhaus, Sandra J. Jervey, Assistant Technical
Directors
Joe Stoltman, Master Electrician
Mikey Rohrer, Assistant Properties Manager
Kit McKay, Assistant Company Manager
Jaeeun Joo, House Manager
Matthew Gutschick, Michael McQuilken, Kirsten Parker,
Robert Shearin, Run Crew
UNDERSTUDIES
Brett Dalton, Cal
Marcus Henderson, Alboury
Ben Horner, Horn
Emily Trask, Lone
SPECIAL THANKS
Alderman-Dow Iron & Metal Company, Anything But
Costumes, Long Wharf Theatre Prop Shop, Doris Mirescu,
Arthur Nauzyciel, Dr. James Speiser
Yale Repertory Theatre operates under an agreement between
the League of Resident Theatres (LORT) and Actors Equity
Association, 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.
The Actors and Stage Manager employed in this
production are members of Actors Equity Association,
the Union of Professional Actors and Stage Managers.
Batlle of Black and Dogs, April 16 to May 8, 2010.
Yale Repertory Theatre, 1120 Chapel Street.
YOU CAN
MAKE A
DIFFERENCE!

The process of creating theatre is a mutually
rewarding experience for artists and audiences:
we cannot do it without each other. The quality
of the experience at Yale Rep depends on
friends like you. Please consider making a
contribution to Yale Rep this year.

By making a gift to our Annual Fund, you not
only support the creative work on our stages,
but also our outreach programs, like WILL
POWER!, which brings thousands of students
to specially scheduled performances at Yale
Rep, and The Dwight/Edgewood Project, a
mentor-based playwriting program for local
middle school students.

PLAY YOUR PART TODAY
and help us continue our great tradition
of bold storytelling.

To make a gift to Yale Repertory Theatre,
please call Whitney Estrin, Associate Director
of Development, at 203.432.1536, or email
yrt.donor@yale.edu. You can also make a
donation online at yalerep.org/donate.
SUSAN HEYWARD IN
THE MASTER BUILDER. PHOTO BY
T. CHARLES ERICKSON, 2009.
Serious Cofee.

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John McAndrew
Susie Medak
Stephen Mendillo
David E. Moore
Arthur Oliner
James M. Perlotto, M.D.
Lawrence Perry and
Rebecca Wayland
Thomas J. Peterson
Carol A. Prugh
John Rhee
Alan Rosenberg
David Saltzman
Suzanne Sato
G. Erwin Steward
Shirin Devrim Trainer
John M. Turturro and
Katherine Borowitz
Carol M. Waaser
Carolyn S. Wiener
Steven Wolff
Stephen Zuckerman
INVESTORS
($250-$499)
Actors Equity Foundation
Anonymous
Susan and Bruce
Ackerman
Mary B. Arnstein
James Robert Bakkom
Raymond Baldelli and
Ronald Nicholes
Robert Baldwin
Richard E. Bianchi
Robert Bienstock
Tom Broecker
Mark Brokaw
Claudia Brown
Bruce and Janet Bunch
Thomas Buttke and
Judith Waters
Michael Cadden
Anne and Guido Calabresi
William Caruth
David M. Conte
Marycharlotte Cummings
John W. Cunningham
Richard Sutton Davis
Charles Dillingham
Constance Dimock
Dennis Dorn
Elizabeth English
David Freeman
Meredith Freeman
Joseph Gantman
Cleveland Gardner
Stuart and Beverly Gerber
Julie Grant
Robert J. Greenberg
Elizabeth Greene
Michael Gross
Dick and Norma Grossi
Regina Guggenheim
William B. Halbert
Scott Hansen
Walter and Betty Harris
Douglas Harvey
Barbara Hauptman
Nicole and Larry Heath
Peter Hentschel and
Elizabeth Prete
Jennifer Hershey-Benen
June and George Higgins
Catherine MacNeil
Hollinger
Abraham Maimon
Elizabeth Holloway
John Robert Hood
Christine Jahnke
Rolin Jones
Cynthia Kaback
Edward Kaye
Ashley York Kennedy
Richard H. Klein
Diana E.E. and Fred S.
Kleiner
Harvey Kliman and
Sandra Stein
John and Evelyn Kossak
Foundation
David Kriebs
Frances Kumin
William Kux
James Lapine
Michael John Lassell
Richard and Elaine Lau
Dr. Robert and Inez Liftig
Jane Lyman
Thomas Lynch
Sandra Manley
Delia Maroney and
Jolie Damiano
Carol and Arthur Mikesell
Jeffrey Milet
Daniel Mufson
Victoria Nolan and
Clark Crolius
Dwight Odle
Louise Perkins and
Jeff Glans
Laura Perlow
Stephen Pollock
Alec and Drika Purves
Asghar and Faye Rastegar
Ronald Recasner
Bill and Sharon Reynolds
Ross Sumner Richards
Harry M. Ritchie
Dawn Robertson
Laila Robins
Lori Robishaw
Steve Robman
Dorothy Rostov
Dr. Ortwin Rusch
Alvin Schecter
Larry Schwartz and Russ
Rosensweig
Alexander Scribner
Paul Selfa
Sandra Shaner
Rachel Sheinkin
Mark and Cindy Slane
David Soper and
Laura Davis
Erich William Stratmann
Paul Charles Tigue III
Suzanne Tucker
David J. Ward
Vera Wells
Dana Westberg
Judith and Guy Yale
Evan Yionoulis
Catherine Zuber
FRIENDS
($100-$249)
Anonymous
Emily Aber and
Robert Wechsler
David E. Ackroyd
Joseph V. Agostini
Roberto F. Aguirre-Sacasa
Michael Albano
Sarah Jean Albertson
Narda Alcorn
Liz Alsina
Richard Ambacher
Dr. and Mrs. Lane Ameen
Annette Ames
Leif Ancker
Nephelie Andonyadis
Bob and Jane Archibald
Atticus Bakery
Clayton May Austin
Angelina Avallone
Joe and Ravit Avni-Singer
Arthur Baer
Dylan Baker
Frank and Eileen Baker
Paul Baker
James Bakkom
Drs. M. Baron and
R. Magraw
Christopher Barreca
Barbara Barry
Pattsy Bates
William Batsford
Mark Bauer
Nancy and Richard Beals
Andrew A. Beck
Spencer P. Beglarian
Ursula Belden
Ronald Bell
Wendell and Lora Lee Bell
James C. Bellavance
Albert Bennett
Edward Bennett
Elizabeth Bennett
Jenefer and Frank Berall
Melvin Bernhardt
Richard Bianchi
Mrs. Frank Black
Edward Blunt
John Cummings Boyd
John Breedis
Mr. and Mrs. Scott
Brennan
Russell and Freddie
Brenneman
Amy L. Brewer
Cynthia Brizzell-Bates
Theresa Broach
Carole and Arthur Broadus
Brenda and Howard Brody
Arvin B. Brown
Shawn Hamilton Brown
Philip Bruns
Robert Brustein
Rene Buch
William Buck
Gerard and Ann Burrow
Robert and Linda Burt
Jonathan Busky
Sheldon Bustow
Susan Wheeler Byck
Donald Cairns
Bianca Calabresi
Kathryn A. Calnan
Vincent Cardinal
Carolyn Foundation
Adrienne Carter
William E. Caruth
Raymond Carver
Anna Cascio
Sami Joan Casler
Cosmo A. Catalano, Jr.
Patricia Cavanaugh
Edward Check
Mary Chesnutt
Suellen G. Childs
Olive Chypre
Fred and Laura Clarke
Christian Clemenson
Lani Click
Becky and Gary Cline
Katherine D. Cline
Margaretta M. Clulow
Roxanne Coady
Jack Cockerill
Joel Cogen and
Elizabeth Gilson
Robert S. Cohen
Patricia J. Collins
Forrest Compton
Kristen Connolly
David Conte
Helen and Jack Cooper
Gregory Copeland
Aaron Copp
George Corrin, Jr.
Robert Cotnoir
Stephen Coy
Dana S. Croll
Timothy and Pamela
Cronin
Douglas and Roseline
Crowley
Jane Ann Crum
Sean Cullen
Donato Joseph DAlbis
F. Mitchell Dana
Sue and Gus Davis
28
This list includes current pledges, gifts, and grants received from July 1, 2008 through April 5, 2010.
For more information about making a donation to Yale Repertory Theatre, please contact Sue Clark at
203.432.1559 or susan.clark@yale.edu.
29
CONTRIBUTORS
Nigel W. Daw
Mr. and Mrs. Paul
DeCoster
Elizabeth DeLuca
Julia L. Devlin
Jose A. Diaz
George Di Cenzo
Thomas Di Mauro
Francis Dineen
Gene Diskey
Melinda DiVicino
Alexander Dodge
Dennis Dorn
Franchelle S. Dorn
Merle Dowling
JoAnne E. Droller, R.N.
D. William Duell
John A. Duran
Karen and Edwin Duval
East Coast Management
& Consulting, LLC
Mr. and Mrs. David Ebbin
Douglas Edwards
Frances L. Egler
Dr. and Mrs. Richard
Ehrenkranz
Marc and Heidi
Eisenberg
Nancy Reeder El Bouhali
Janann Eldredge
Debbie Ellinghaus
Jack and Lucina
Embersits
Elizabeth English
Dirk Epperson
David Epstein
Edith Dallas Ernst
Howard and Jackie Ertel
Frank and Ellen Estes
Dan and Elizabeth Esty
Jerry N. Evans
Eva Ewing
John D. Ezell
Michael Fain
Kristan Falkowski
Jon Farley
Ann Farris
Paul and Susan Fiedler
Dennis Flynn
Joel Fontaine
Anthony Forman
Keith Fowler
Walter M. Frankenberger III
Abigail Franklin
Brackley Frayer
Karen Freedman
Linda and Gary
Friedlaender
Reynold Frutkin
Randy Fullerton
Richard Fuhrman
John Gaddis and Toni
Dorfman
David Gainey
Jim and Eunice Galligan
Shawn Marie Garrett
Steven Gefroh
Mary Louise Geiger
Eugenie and Bradford
Gentry
Robert Gerwien
Paul and Liz Giamatti
Patricia Gilchrist
Robert and Anne Gilhuly
Morfydd and Gilbert
Glaser
Robert Glen
William Glenn
Neil Gluckman
Susan Gobel
Lindy Lee Gold
Norma and Myron H.
Goldberg
Robert Goldsby
Jess Goldstein
David Gorton
Lori S. Gorton
Naomi S. Grabel
Christopher Grabowski
Charles F. Grammer
Kris and Marc Granetz
Katharine Grant
Bigelow Green
Anne K. Gregerson
Joe Grifasi
Karen Grimmell
Alan A. Grudzinski
John Guare
Eugene Gurlitz
Dr. Ronald and
Maria Hagadus
Phyllis O. Hammel
Alexander Hammond
Ann T. Hanley
Jerome R. Hanley
David W. Hannegan
Scott Hansen
Harold Harlow
John Harnagel
Charlene Harrington
Lawrence and Roberta
Harris
Lyndsay N. Harris
Walter and Betty Harris
James T. Hatcher
Ihor Hayda
James Hazen
Patricia Helwick
Elba and Juan
Hernandez
Jennifer Hershey-Benen
Greg and Elaine Herzog
Dennis F. Hickey
Roderick Lyons Hickey III
Bente and Walter
Hierholzer
Christopher Higgins
Hill Regional Career
High School
Mr. and Mrs. Edward F.
Hirsch, Jr.
Elizabeth Holloway
Amy Holzapfel
Agnes Hood
James Guerry Hood
Carol V. Hoover
David Howson
Evelyn Huffman
Hulls Art Supply
and Framing
Derek Hunt
Mary and Arthur Hunt
Peter H. Hunt
Timothy and Diane Hunt
John Huntington
Raymond P. Inkel
Patricia Ireland
Candace Jackson
Ihor Hayda
Mr. and Mrs. Herrick
Jackson
Kirk Jackson
Peter and Catherine
Jackson
John W. Jacobsen
Christine and Matt
Jacobs-Wagner
Joanna and Lee Jacobus
Paul Jaeger
Chris Jaehnig
Drs. Donald and
Diana Jaffe
Mr. and Mrs. Robert
Jaffee, Sr.
Jim and Cynthia Jamieson
Jeffreys, a restaurant
Cynthia Lee Jenner
Kristen Johnsen-Neshati
Geoffrey A. Johnson
Donald E. Jones, Jr.
Elizabeth Kaiden
Jonathan Kalb
Gregory Kandel
Carol Kaplan
Lloyd A. Kaplan
James D. Karr
Dr. and Mrs. Michael
Kashgarian
Nancy Lee Kathan
Bruce Katzman
Edward A. Kaye
Asaad Kelada
Arthur J. Kelley, Jr.
Abby Kenigsberg
Bettyann Kevles
Alan Kibbe
Colette Ann Kilroy
Peter Young Hoon Kim
Carol Souscek King
Shirley Kirschner
Dragan Klaic
Raymond Klausen
Dr. Michael and Terri
Klein
Richard Klein
James Kleinmann
Fredrica Klemm
Donald Knight
Daniel Koetting
Harvey and Ruth Koizim
Stephen Kovel
Brenda and Justin Kreuzer
Joan Kron
Bernard Kukoff
Raymond T. Kurdt
Mitchell Kurtz
Howard and Shirley Lamar
Marie Landry and Peter
Aronson
David Larson
C. James Lawler
Gerard Leahy
Wing Lee
Charles E. Letts III
Emily Leue
Bradford Lewis
Irene Lewis
Jeremy Licht
Alan Lichtenstein
Martha Lidji
Bertram Linder
Jennifer Lindstrom
Romulus Linney
Bruce Lockwood
Edgar Loessin
Robert Hamilton Long II
Frank Lopez
Sara Low
Jean Murkland Luburg
Suzanne Cryer Luke
Everett Lunning, Jr.
Paul David Lukather
Thomas Lynch
Andi Lyons
Janell M. MacArthur
Elizabeth M. MacKay
Lizbeth Mackay
Laura Brown MacKinnon
Wendy MacLeod
Mrs. Romaine Macomb
Alan Mokler MacVey
Peter Andrew Malbuisson
Joan Manning
Peter Marcuse
Elizabeth Margid
Jonathan Marks
Robin Marshall
Craig Martin
Maria Mason and
William Sybalsky
Margaret P. Mason and
Samuel W. Bowlby
Peter Mason
Richard Mason
Carole A. Masters
Gayle Maurin
Beverly May
Mary McCabe
Tarell Alvin McCraney
John and Rebecca
McCullough
Robert A. McDonald
Brian McEleney
Thomas McGowan
Deborah McGraw
Robert J. McKinna
Ann and Chad McLaughlin
Patricia McMahon
Bruce W. McMullan
Lynne Meadow
Mr. and Mrs. James
Meisner
Stephen W. Mendillo
Donald Michaelis
Brina Milikowsky
George Miller and
Virginia Fallon
Jonathan Miller
Robert J. Miller
Saul and Sandy Milles
Inga-Brita Mills
Mary Jane Minkin
and Steve Pincus
Cheryl Mintz
Lawrence Mirkin
Stanley and Phyllis
Mishkin
Thomas Reed Mohan
Richard R. Mone
Donald W. Moreland
George Morfogen
Paul and Maureen Moses
Grafton V. Mouen
Carol Bretz Murray-Negron
Gayther Myers, Jr.
David Nancarrow
James Naughton
Tina C. Navarro
William Ndini
Tobin Nellhaus
Christianna Nelson
Regina and Thomas
Neville
Martha New
Ruth Hunt Newman
Dr. Nickolas Nickou
William and Barbara
Nordhaus
Mimi and Harold Obstler
Dwight R. Odle
Janet Oetinger
Ann Okerson
Richard Olson
Fran and Ed ONeill
Sara Ormond
Lori Ott
Kendric T. Packer
Joan D. Pape
Dr. and Mrs. Michael Parry
Usha Pasi
Mary L. Pepe
John L. Peschel
William Peters
Zane Pihlstrom
Andrew Plummer
Stephen B. Pollock
Lisa Porter
Michael B. Posnick
Amy Povich
Gladys S. Powers
Robert Provenza
Alvin S. Prusoff and
Dr. Deborah DeRose
William Purves
Michael Quinn
Sarah Rafferty
Faye and Ashgar Rastegar
Ronald Recasner
Ralph Redpath
Sandra and Gernot
Reiners
Joe Reynolds
Mary B. Reynolds
Ross Sumner Richards
Lisa Steele Roach
Brian Robinson
Lori Robishaw
Douglas Rogers
Howard Rogut
Joanna Romberg
Melina Root
Fernande E. Ross
John M. Rothman
Ron and Jean Rozett
Julia Meade Rudd
Kevin Rupnik
Frederick Russell
Virginia Weaver Russell
A. Raymond Rutan IV
John Barry Ryan
Helen and Herbert Sacks
Steven Saklad
Peter Salovey and
Marta Elisa Moret
Robert Sandberg
Christopher Carter
Sanderson
Robert Sandine and Irene
Kitzman
Jack and Letha Sandweiss
Frank Sarmiento
Peggy Sasso
Cary Scapillato
Joel Schechter
Anne Schenck
Henry Scherer
Mr. and Mrs. Michael
Schmertzler
Ruth Hein Schmitt
William Schneider
Georg Schreiber
Jennifer Schwartz
Kimberly A. Scott
Forrest E. Sears
Subrata Sen
Paul H. Serenbetz
John Victor Shea
Morris Sheehan
Paul R. Shortt
Carol M. Sica
Lorraine Siggins and
Braxton McKee
Michael Vaughn Sims
William Skipper
Lee Skolnick
William and Betsy Sledge
Teresa Snider-Stein
Suzanne Solensky and
Jay Rozgonyi
E. Gray Smith, Jr.
Marian and Howard Spiro
Mary C. Stark
Charles Steckler
James Beach Steerman
Louise Stein
Neal Ann Stephens
John Stevens
Joseph C. Stevens
Marilyn and Robert
Stewart
Jaroslaw Strzemien
Thomas Sullivan
Richard Guy Suttor
Tucker Sweitzer
David Loy Sword
Jack Sydow
E. Richmond and
Sue Talbot
Paul J. Tines
Eric Ting
David F. Toser
Albert Toth
Tahlia Townsend
Howard B. Treat Jr.
Russell L. Treyz
James Triner
Richard B. Trousdell
Deborah Trout
Miriam S. Tulin
Mr. and Mrs. Gregory
Tumminio
Melissa Turner
Cheever and Sally Tyler
Russell Vandenbroucke
Joan Van Ark
Flora Van Dyke
Michael Van Dyke
Carrie Van Hallgren
Hyla and Barry Vine
Fred Voelpel
Fred Volkmar
Elaine and Patrick
Wackerly
Charles Walkup
Elizabeth Walsh
Barbara Wareck and
Charles Perrow
Anne C. Washburn
Steven I. Waxler
Gil Wechsler
Betsy and Harry Welch
Tan Falkowski Wells
Thomas Werder
Raymond Werner
J. Newton White
Peter White
Robert and Charlotte
White
Joan Whitney
Robert Wierzel
Lisa A. Wilde
Robert Wildman
John and Virginia
Wilkinson
David Willson
Catherine M. Wilson
Marshall Williams
Carl Wittenberg
Bess Wohl
Robin B. R. Wood
Amanda Woods
Tamilla Woodard
Yun C. Wu
Arthur Zigouras
Albert Zuckerman
EMPLOYER MATCHING
GIFTS
Aetna Foundation
Corning, Inc.
General Electric
Corporation
IBM
The John D. and
Catherine T. MacArthur
Foundation
Mobil Foundation, Inc.
Pzer
Pitney Bowes
Procter & Gamble
The Prospect Hill
Foundation
SBC Communications, Inc.
United Technologies
Corporation
As part of Yale Reps commitment to our community,
we provide two significant youth theatre programs.
Since our 200304 season, WILL POWER!, which
offers teacher training and curricular support prior to
seeing a selected play at Yale Rep, has served more
than 10,000 Connecticut students and educators. The
Dwight/Edgewood Project brings ten middle school
students from New Havens Augusta Lewis Troup
and Wexler/Grant Community schools to Yale Rep
for a month-long, after-school playwriting program
designed to strengthen their self-esteem and creative
expression.
Yale Reps education programs are supported in
part by Donald and Patricia Anderson; Anna Fitch
Ardenghi General Charitable Purpose Trust, Bank
of America, Trustee; Bank of America; Deborah
S. Berman; Bianca F.-C. Calabresi; the Carolyn
Foundation; Bob and Priscilla Dannies; the Frederick
A. DeLuca Foundation; Bruce Graham; the Lucille
Lortel Foundation; Romaine A. Macomb; Mrs.
Romaine Macomb; Jane Marcher Foundation; Frances
L. Miller; NewAlliance Foundation; Robbin A. Seipold;
Sandra Shaner; Target Stores; Esme Usdan; Charles
and Patricia Walkup; Bert and Martha Weisbart; and
Yale Cabaret.
SPONSORSHIP
community sponsors
Chestnut Fine Foods
Connecticut Presort
Est Est Est
Fleur de Lys Floral and Gifts
Hulls Arts Supply and Framing
New Haven Advocate
New Haven Register
The Study at Yale, a Boutique Hotel
Thames Printing Company, Inc.
Willoughbys Coffee and Tea
WSHU Public Radio Group
The Yale Bookstore
Yellowbook
corporate sponsors
how to reach us
Yale Repertory Theatre Box Ofce
1120 Chapel Street (at York St.)
PO Box 1257, New Haven, CT 06505
203.432.1234
TTY (TELETYPE): 203.432.1521
yalerep@yale.edu
box ofce hours
Monday to Friday from 10AM to 5PM
Saturday from 12 to 5PM
Until 8PM on all show nights
re notice
Illuminated signs above each door indicate
emergency exits. Please check for the
nearest exit. In the event of an emergency,
you will be notied by theatre personnel and
assisted in the evacuation of the building.
restrooms
Restrooms are located downstairs. Please
contact the concierge for assistance with
the elevator.
emergency calls
Please leave your cell phone and/or beeper,
name, and seat number with the concierge.
Well notify you if necessary. Emergency-
only telephone number at Yale Rep:
203.764.4014
group rates
Discounted tickets are available for groups
of ten or more. Please call 203.432.1572.
seating policy
Everyone must have a ticket. Sorry, no
children in arms or on laps. Patrons who
become disruptive will be asked to leave
the theatre.
FOR YOUR INFORMATION
ACCESSIBILITY SERVICES
Yale Repertory Theatre offers all patrons the most comprehensive accessibility services
program in Connecticut, including a season of open-captioned and audio-described
performances, a free assistive listening system, large-print and Braille programs, a direct
TTY (teletype) line to Yale Reps Box Ofce (203.432.1521), wheelchair accessibility with
an elevator entrance into the Yale Rep Theatre located on the left side of the building, and
accessible seating. For more information about the theatres accessibility services, contact
Ruth M. Feldman, Director of Education and Accessibility Services, at 203.432.8425 or
rm.feldman@yale.edu.
Yale Repertory Theatres accessibility services are supported in part by the Frederick A. DeLuca
Foundation, The Seedlings Foundation, the Carol L. Sirot Foundation and Romaine A. Macomb.
THE TAKING OF PHOTOGRAPHS OR THE USE OF
RECORDING DEVICES OF ANY KIND IN THE THEATRE
WITHOUT THE WRITTEN PERMISSION OF THE
MANAGEMENT IS PROHIBITED.
31
30
c2inc is pleased to be the ofcial
Open Captioning provider of Yale
Repertory Theatre.
audio description (AD)
A live narration of the plays action,
sets, and costumes for patrons who
are blind or low vision.
open captioning (OC)
Youll never again have to ask, What
did they say? Open Captioning
provides a digital display of the plays
dialogue as its spoken.
Open Captioning and Audio Description
performances are at 2PM. AD pre-show
description begins at 1:45PM.
Battle of Black and Dogs May 1 May 8
These lists include current pledges, gifts, and grants received from July 1, 2008
through April 5, 2010.
YALE REPS EDUCATION PROGRAMS
FROM TOP: SCHOOLS GATHERING FOR
WILL POWER!; THE DWIGHT/EDGEWOOD
PROJECT, 2009.
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1-800-YB-YELLOW /
A proud supporter of Yale Repertory Teatre
Innovative Italian cuisine
Zagat Guide Award of Distinction
Mezzo Prezzo Tuesdayshalf price wines by the bottle
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Knowledgeable, attentive staff
TRATTORIA & WINE BAR
LOCATED NEXT DOOR TO YALE REP
1104 Chapel Street
203-776-8268
www.scoozzi.com
Since 1947.
Supporting creative expression
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Hulls Art Supply & Framing
1144 Chapel Street 203.865.4855
Hulls Fine Framing & More
One Whitney Avenue 203.907.0320
33 32
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Visit www.artidea.org to buy tickets, watch preview videos, and
to see the compIete FestivaI scheduIe (incIuding many free events!)
For more information, caII the Shubert Theater Box Office
2D3.562.5666 888.736.2663
CLC
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36








February 18May 30, 2010
Organized by the Museum of the History of Science, University of Oxford,
and the Yale Center for British Art
ECF7IIKB;
architecture as mathematical practice in england, 15001750
yale center for bri ti sh art
1080 Chapel Street, New Haven, Connecticut
TuesdaySaturday 105, Sunday 125 | admission is free
877 brit art | yale.edu/ycba
Christopher Wren, Study designfor the dome of St. Pauls Cathedral, intwo half-sections, eachincorporating the curve of a cubic parabola (detail)
ca. 1690, penand brownink over graphite. British Museum, Department of Prints and Drawings, The Trustees of the British Museum
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