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CAST

THERE WILL BE ONE TEN-MINUTE INTERMISSION.

CHRISTOPHER THOMPSON

FABIAN FIDEL AGUILAR

ANDREW F. GRIFFIN

SINAN ZAFAR

RASEAN DAVONTE JOHNSON

HELEN C. JAKSCH

EMELY SELINA ZEPEDA

AARON BARTZ

ATO BLANKSON-WOOD

JAMES CUSATI-MOYER

CORNELIUS DAVIDSON

CHRISTOPHER GEARY

CHASTEN HARMON

MAURA HOOPER

TIFFANY MACK

AARON LUIS PROFUMO

MATT RAICH

ARIANA VENTURI

ZENZI WILLIAMS

Scenic Designer

Costume Designer

Lighting Designer

Composition and Sound Design

Projection Designer

Production Dramaturg

Stage Manager

Berlioz, Rimsky

The Master

Pilate, Stravinsky, Archibaldovich

Styopa, Latunsky, Archibaldikova

Ivan, Aloisy, Secretary, Andrei

Yeshua, Hella, Nurse

Koroviev, Kaifa

Natasha, Frieda, Glumova

Woland, Afranius

Azazello, Varenukha

Margarita

Behemoth, Ratslayer

Adapted by EDWARD KEMPFrom the novel by MIKHAIL BULGAKOV

Directed by SARA HOLDREN

OCTOBER 21–25, 2014

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

Joan Channick, Associate Dean

PRESENTS

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

The writing of The Master and Margarita was a long and tortuous process that oc-cupied Russian writer Mikhail Bulgakov for roughly twelve years. In 1929, he filled two fat notebooks with what became the first half of the novel. Then came what Bulga-kov called his “year of catastrophe.” His plays The Days of the Turbins and Crimson Island were both banned from the stage; Zoika’s Apartment was removed from the repertoire at the Vaktangov Theatre; his new play Flight, which was already in re-hearsal, was also banned; and a vicious campaign was launched against him in the press. In the spring of 1930 he tore the pages from his notebook—ripping them diagonally from top right to bottom left—and fed them to the woodstove.

Bulgakov met Elena Sergeevna Shilovskaia in 1932. Both married, they began an af-fair which ended in a pistol duel between Bulgakov and Elena’s husband. The lovers parted ways, but then met again on the streets of Moscow a year and a half later. The first thing Bulgakov said to her was, “I can’t live without you.” She replied, “Nei-ther can I.” With Elena by his side, Bulgakov returned to his novel with renewed vigor in 1933, rewriting much of it from memory. He finally completed the manuscript a few months before his death in 1940. Still the book was not published until 1968.

—FROM LESLEY MILNE’S MIKHAIL BULGAKOV: A CRITICAL BIOGRAPHY

Th

E R

Ea

lit

iEs

OF

A F

ict

ioN

al

FE

AR

.

MANUSCRIPTS DON'T BURN.

FOLLOW ME, READER! WHO TOLD YOU THAT THERE IS NO TRUE, FAITHFUL, ETERNAL LOVE IN THIS WORLD! MAY THE LIAR'S VILE TONGUE BE CUT OUT! FOLLOW ME, MY READER, AND ME ALONE, AND I WILL SHOW YOU SUCH A LOVE!

—MIKHAIL BULGAKOV, THE MASTER AND MARGARITA

WH

AT

WO

ULD

YO

UR

GO

OD

DO

IF E

VIL

DID

N’T

EX

IST

?

AN

D W

HA

T W

OU

LD

TH

E W

OR

LD

LO

OK

LIK

E IF

AL

L T

HE

SH

AD

OW

S D

ISA

PP

EA

RE

D

FR

OM

IT?

—MIK

HAIL BULGAKOV, T

HE MASTER A

ND MARGARITA

Th

E R

Ea

lit

iEs

OF

A F

ict

ioN

al

FE

AR

.

In both B

ulgakov’s

novel a

nd Kem

p’s th

eatrica

l adapta

tion,

the M

aster d

isappears

one dark and st

ormy n

ight afte

r

being publicly

criti

cized fo

r writ

ing work

that f

ails to

toe

the Party

line of m

ilitant a

theism

and historic

al optim

ism.

The fear o

f being arre

sted, to

rture

d, and ev

en execu

ted w

as

very

real d

uring Sta

lin’s

large-sc

ale cam

paign of polit

ical

repre

ssion kn

own as the G

reat P

urge.

Bulgakov w

as denied th

e ability t

o writ

e and publish, b

ut it

could hav

e been much

worse

for h

im. V

sevo

lod Mey

erhold,

a prom

inent theatre

directo

r and B

ulgakov’s

conte

mpora

ry,

was arre

sted w

ith a w

arrant s

igned in blue pencil

for h

is

“dangero

us” th

eatrica

l exp

eriments.

This sig

nature

in blue

pencil in

dicate

d that h

e was d

estin

ed for e

xecu

tion. H

is

fam

ily w

as denied any i

nform

ation about h

is where

abouts

or his

trial. H

is wife

, act

ress

Zanaida R

aikh, w

as murd

ered.

His papers

were

seize

d by the st

ate. H

e was b

ruta

lly

tortu

red and ulti

mate

ly se

ntence

d to death

by firin

g squad.

If th

e manusc

ript o

f The M

aster a

nd Marg

arita had been

published in

his life

time,

Bulgakov—

under house

arrest

and

Stalin

’s watch

ful e

ye—m

ight hav

e share

d Mey

erhold’s

fate

.

Despite

this

fearfu

l reality

, Bulgako

v’s st

ory m

anages to

find love

, hum

or, and hope.

The Maste

r and M

argarit

a, as

Lesley

Miln

e so w

onderfully

phrase

s it,

“defies

the sm

ug

com

placency

and transc

ends the te

rror t

hat was t

he true

face

of early

20th-ce

ntury

Russ

ia.”

—HELEN C

. JAKSCH, P

RODUCTION D

RAMATURG

FOLLOW ME, READER! WHO TOLD YOU THAT THERE IS NO TRUE, FAITHFUL, ETERNAL LOVE IN THIS WORLD! MAY THE LIAR'S VILE TONGUE BE CUT OUT! FOLLOW ME, MY READER, AND ME ALONE, AND I WILL SHOW YOU SUCH A LOVE!

CAST

AARON BARTZ (BERLIOZ, RIMSKY) is a third-year MFA candidate at Yale School of Drama, where his credits include Bird Fire Fly, Twelfth Night, Peter Pan, Platonov, and King Richard 2. Other credits include Why Torture Is Wrong, and the People Who Love Them; A Map of Virtue; We Are Proud to Present a Presentation About the Herero of Namibia; Middletown; M.A.H. (A Museum Play); an excerpt from Undesirables; All Saints (Yale Summer Cabaret); A New Saint for a New World; Have I None; Beginners by Raymond Carver, or What We Talk About When We Talk About Love (Yale Cabaret); Hamlet, The Beaux’ Stratagem (Texas Shakespeare Festival); Macbeth, A Midsummer Night’s Dream (Shakespeare Theatre of New Jersey LIVE! tour); and To Kill a Mockingbird (Montana Repertory Theatre, national tour). BFA: University of Montana. Aaron is a proud recipient of the Pamela Jordan Scholarship.

ATO BLANKSON-WOOD (THE MASTER) is a third-year MFA candidate at Yale School of Drama, where his credits include House Beast, Platonov, I’m Sorry I Brought Up God, Measure for Measure, and As You Like It. Other credits include We Know Edie La Minx Had a Gun, He Left Quietly (Yale Cabaret); Tartuffe, The Shoemaker’s Prodigious Wife, Drunk Enough to Say I Love You?, M.A.H. (A Museum Play), an excerpt from Undesirables, The Mercury and the Magic, Your Living Room Is Full of Ghosts, Middletown; A Map of Virtue; and We Are Proud to Present a Presentation About the Herero of Namibia (Yale Summer Cabaret). Ato has appeared on Broadway in Lysistrata Jones and the Tony Award winning revival of Hair, as well as in the feature film It’s Kind of a Funny Story. He is a graduate of NYU’s Tisch School of the Arts.

JAMES CUSATI-MOYER (PILATE, STRAVINSKY, ARCHIBALDOVICH) is a third-year MFA candidate at Yale School of Drama, where he has appeared in THUNDERBODIES, Measure for Measure, Tiny Boyfriend, Platonov, and House Beast. Other credits include The Soldier’s Tale, directed by Liz Diamond, part of the Yale in New York series at Carnegie Hall; Pierrot Lunaire, We Know Edie La Minx Had a Gun, A New Saint For A New World (Yale Cabaret); Why Torture Is Wrong, and the People Who Love Them (Yale Summer Cabaret); The Pits directed by Sarah Krohn and Loving v. Virginia directed by Patricia McGregor (Williamstown Theatre Festival). He holds a BA in theatre performance from Marymount Manhattan College and is a past recipient of the Constance Welch Memorial Scholarship.

CORNELIUS DAVIDSON (STYOPA, LATUNSKY, ARCHIBALDIKOVA) is a third-year MFA candidate at Yale School of Drama, where he has been seen in The Visit and Wintertime. His other credits include Derivatives, Dutchman, all of what you love and none of what you hate (Yale Cabaret), and Good Death (Edinburgh Fringe Festival). He received his BA from Western Michigan University and studied at the British American Dramatic Academy.

CHRISTOPHER GEARY (IVAN, ALOISY, SECRETARY, ANDREI) is a third-year MFA candidate at Yale School of Drama, where he was seen in THUNDERBODIES, Peter Pan, The Visit, and Sagittarius Ponderosa. His other credits include These Paper Bullets! (Yale Repertory Theatre); The Small Things, We Know Edie La Minx Had a Gun, A New Saint For A New World (Yale Cabaret); The Cat and the Canary, Design for Living (Berkshire Theatre Group); Losing Tom Pecinka (HERE Arts); and Elephant

in the Room (New York International Fringe Festival). Christopher received his BA in theatre performance from Fordham College at Lincoln Center. He is a graduate of the Walnut Hill School for the Arts and has also studied at the London Academy of Music and Dramatic Arts.

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

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

TIFFANY MACK (NATASHA, FRIEDA, GLUMOVA) is a third-year MFA candidate at Yale School of Drama, where she has appeared as Thea Elvsted in Hedda Gabler and Hilda in Wintertime. Other credits include all of what you love and none of what you hate (Yale Cabaret) and The Accident (Williamstown Theatre Festival). She received her BFA in theatre from the University of Oklahoma.

AARON LUIS PROFUMO (WOLAND, AFRANIUS) is a third-year MFA candidate at Yale School of Drama, where his credits include Measure for Measure, As You Like It, Peter Pan, Lottie in the Late Afternoon, and Platonov. Aaron also performed in Radio Hour at Yale Cabaret. He graduated from Oberlin College, where he studied acting and political science with a concentration in Middle Eastern studies. Aaron also performed with and directed the long-form improv troupe Primitive Streak. He is a co-founder and project director at RTC Studios, a multi-media performance and production company.

MATT RAICH (AZAZELLO, VARENUKHA) is a third-year MFA candidate at Yale School of Drama, where his credits include Wintertime, Platonov, Dead Ends., Measure for Measure, Much Ado About Nothing, and As You Like It. Other credits include The Twins Would Like To Say (Yale Cabaret); Cat on a Hot Tin Roof, The Comedy of Errors (Chautauqua Theater Festival); Romeo and Juliet, Julius Caesar (Nashville Shakespeare Festival); Hamlet, “8” the Play (Nashville Fringe Festival); and Arcadia (Blackbird Theater Company). This past summer he was seen in Yale Summer Cabaret’s productions of We Are Proud to Present a Presentation About the Herero of Namibia and Middletown. He holds a BA in American studies from Lipscomb University in Nashville, Tennessee.

CAST

CREATIVE TEAM

ARIANA VENTURI (MARGARITA) is a third-year MFA candidate at Yale School of Drama, where her credits include Hedda Gabler and Platonov. She has also appeared at Yale Repertory Theatre as Higgy in These Paper Bullets! and in Robert Woodruff’s production of In a Year with 13 Moons. Other credits include Why Torture Is Wrong, and the People Who Love Them; A Map of Virtue (Yale Summer Cabaret); Michael Von Siebenburg Melts Through the Floorboards (Actors Theatre Louisville, Humana Festival); Design For Living, The Cat and the Canary (Berkshire Theatre Group); and Sousepaw (US Fringe Tour). New York: Alex Timbers’s Dance Dance Revolution (Les Freres Corbusier), Vendetta Chrome (Clubbed Thumb), The Great Recession (The Flea Theater), and the sketch comedy series Ephemerama. Ari has a BA in English from Vassar College.

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

FABIAN FIDEL AGUILAR (COSTUME DESIGNER) is a second-year MFA candidate at Yale School of Drama. He has worked for various theatres, conservatories, and universities in Boston including American Repertory Theater, Boston Ballet, Moscow Ballet, and the Commonwealth Shakespeare Company, among others. Originally from El Paso, Texas, Fabian received his BA from Boston University.

ANDREW F. GRIFFIN (LIGHTING DESIGNER) is a second-year MFA candidate at Yale School of Drama, where he designed Measure for Measure. Selected credits include The Brothers Size, The Crazy Shepherds of Rebellion, He Left Quietly, Bound To Burn (Yale Cabaret); Henry V, Twelfth Night, Othello (Folger Theatre); Avenue Q, A Chorus Line, You’re a Good Man Charlie Brown (Olney Theatre Center); You for Me for You, The K of D, and The Last Cargo Cult (Woolly Mammoth Theatre Company). He has also collaborated on designs with companies including Signature Theatre, Studio Theatre, Synetic Theater, Tri-Cities Opera, Theater J, Forum Theatre, Adventure Theatre, UrbanArias, GALA Hispanic Theatre, Faction of Fools, Imagination Stage, Everyman Theatre, The Delaware Shakespeare Festival, MetroStage, and Michigan Opera Theatre Children’s Chorus. Andrew received the Helen Hayes award for Outstanding Lighting Design for his designs of Henry V at Folger Theatre and King Lear at Synetic Theatre. AFGLighting.com

SARA HOLDREN (DIRECTOR) is a third-year MFA candidate at Yale School of Drama and a theatre maker from Charlottesville, Virginia. Credits include Shakespeare’s Measure for Measure, the new plays Tiny Boyfriend by Phillip Howze and Have You Been There? by Emily Zemba (Yale School of Drama); and the new play A New Saint for a New World by Ryan Campbell (Yale Cabaret). At Live Arts Theater

in Charlottesville, she chaired the season programming committee for the 2011–12 season and directed her own adaptations of Shakespeare’s Henry IV and Leonid Andreyev’s He Who Gets Slapped. Other credits include Red Noses by Peter Barnes, as well as Shakespeare’s The Tempest, Richard III, and As You Like It. Sara has a passion for Shakespeare and for making theatre with young people, most recently directing Romeo and Juliet for the young company of the American Shakespeare Center in Staunton, Virginia. Sara graduated magna cum laude from Yale College (BA, theater studies) where she directed and performed with the Control Group Experimental Theater Ensemble. She is also a graphic designer and a graduate of the Acting Shakespeare program at the Royal Academy of Dramatic Art in London.

HELEN C. JAKSCH (PRODUCTION DRAMATURG) is a third-year MFA candidate at Yale School of Drama, where she served as dramaturg for THUNDERBODIES, Dead Ends., Sagittarius Ponderosa, and abominable. Other dramaturgy credits include A Streetcar Named Desire (Yale Repertory Theatre); Don’t Be Too Surprised, The Mystery Boy, We Know Edie La Minx Had a Gun, Radio Hour, A New Saint for a New World, all of what you love and none of what you hate, Pierrot Lunaire (Yale Cabaret); Red (Southern Rep); and La Concierge Solitaire (St. Francisville Transitory Theatre). Helen has worked as an Artistic Associate for Women’s Project in New York and as a managing editor for Theater magazine. She currently serves as Associate Artistic Director of the St. Francisville Transitory Theatre, Literary Associate for Yale Rep, and Producing Director of the Dwight/Edgewood Project. Her writings on theatre and performance studies have been featured in Theater magazine, TDR, The NOLA Defender, and Performing Fiction. She received her MA in performance studies from NYU’s Tisch School of the Arts, and a BA in theatre and English from Tulane University.

RASEAN DAVONTE JOHNSON (PROJECTION DESIGNER) is a second-year MFA candidate at Yale School of Drama, where he was the assistant lighting designer for Hedda Gabler. He also served as assistant projection designer at Yale Repertory Theatre for The Accidental Death of an Anarchist and These Paper Bullets!. Other projection credits include La Cenerentola (Yale Opera); Convergence: a mad tea pARTy (Yale University Art Gallery); We Fight We Die, Brothers Size (Yale Cabaret); as well as collaborations with Court Theatre, Chicago Dramatists, Porchlight Music Theatre, Manual Cinema, the Catharsis Junkies, and American Theater Company. Rasean received his BA in theatre, focusing on video art, from Ohio State University. rasean-johnson.squarespace.com

EDWARD KEMP (ADAPTOR) is the current Artistic Director at the Royal Academy of Dramatic Art. His plays include The Iron and the Oak (Most Promising Playwright, Texaco Playwriting Competition), Counterparts, and A Proper Place. Other writing credits include 5/11, the musical Six Pictures Of Lee Miller (Chichester Festival Theatre), and the comedy series Four Sleepless Knights (co-written with Toby Jones, Radio 4). He has adapted Bulgakov’s The Master And Margarita; a version of Nathan the Wise (Chichester Festival Theatre, Radio 3), two versions of The Mysteries (RSC, Radio 3), Faulkner’s As I Lay Dying (Young Vic), WG Sebald’s The Emigrants, Kay Munk’s ORDET in French (Théâtre Sans Frontières, National Theatre Studio), and

Prokofiev’s Ivan the Terrible (BBC Proms). He also translated Molière’s Le Malade Imaginaire and Don Juan for the West Yorkshire Playhouse. He has written a dozen short opera libretti, including collaborations with Terry Davies, Sally Beamish, Tansy Davies, Alwynne Pritchard, and Julian Philips. His libretto for Rushdie’s The Ground Beneath Her Feet was performed at the first Manchester International Festival. He has created ballet scenarios for Cathy Marston: Clara; Ibsen’s Ghosts (Royal Opera House première); The Firebird, Wuthering Heights, and Romeo and Julia (Stadt Theater, Bern). For his own company, The Table Show, he co-wrote and directed The Reprieve (BAC), Coventry (NT Education), Wanted Man (BAC, Edinburgh, Leeds, New Zealand, Budapest), and Missing Reel (West Yorkshire Playhouse, Traverse, Radio 4). He also co-wrote Word on the Street, a mile-long text work for Lavender Hill. His libretto of Ted Hughes’s How the Whale Became opens December 3 at the Royal Opera House’s Linbury Studio.

CHRISTOPHER THOMPSON (SCENIC DESIGNER) is a second-year MFA candidate at Yale School of Drama. His recent designs include He Left Quietly (Yale Cabaret and Summer Works Festival, Toronto); A Map of Virtue, We Are Proud to Present a Presentation About the Herero of Namibia, Middletown (Yale Summer Cabaret); Class (Penguin Rep), Proof, An Ideal Husband (Sink or Swim Rep); Cosi, The Woman Standing On The Moon (Urban Stages); Lady Windermere’s Fan, Bronx Kiss (Purchase Repertory Theatre); and The Mock Tempest (Shakespeare Santa Cruz). His assistant and associate credits include Owners (Yale Repertory Theatre), the Carlotta Festival of New Plays (Yale School of Drama), the Radio City Christmas Spectacular, the Clinton Global Initiative Annual Meeting, New Year’s Eve in Times Square, Macy’s Holiday Windows, and For Colored Girls (Tyler Perry Studios). Christopher’s design for Lady Windermere’s Fan was exhibited as part of the 2011 Prague Quadrennial. He holds a BFA in scenic design from SUNY Purchase College. CTSetDesign.com

SINAN ZAFAR (COMPOSITION AND SOUND DESIGN) is a second-year MFA candidate at Yale School of Drama. He is a sound designer, aural collagist, composer, actor, and clown. A Bay Area native who was based in the Los Angeles area for several years, his recent work includes A New Saint for a New World (Yale Cabaret); O, Fallen One (Curly Cue & Co); and Blood Knot (Lounge Theatre). Other work includes Woyzeck (Illyrian Players); Julius Caesar (Griot Theatre of the West Valley); Hello Again, The Misanthrope directed by Keith Fowler, Jane Eyre directed by Annie Loui, A New Brain (University of California, Irvine); How I Learned to Drive (Nixon Theatre); and In Arabia We’d All Be Kings (The Little Theatre). Sinan graduated with a BA in drama with honors in sound design from the University of California, Irvine.

EMELY SELINA ZEPEDA (STAGE MANAGER) is a second-year MFA candidate at Yale School of Drama, where her credits include Twelfth Night, Tiny Boyfriend, Cardboard Piano, and Hedda Gabler. Prior to her work at Yale, Emely worked as the assistant stage manager at Tri-Cities Opera and also was the stage manager for A Midsummer Night’s Dream (Binghamton University, DUOC Universidad) and Clouds Are Pillows for the Moon (Yale Institute for Music Theatre).

CREATIVE TEAM

JANUARY 27–31 DON JUANBy MOLIÈRETranslated by BRENDAN PELSUE Adapted by ANDREJ VISKY, BRENDAN PELSUE, and SAMANTHA LAZARDirected by ANDREJ VISKY

DECEMBER 12–18

THE SEAGULLBy ANTON CHEKHOVTranslated by PAUL SCHMIDTDirected by JESSICA HOLT

UP NEXT AT YALE SCHOOL OF DRAMA

drama.yale.edu203.432.1234ysd.shows@yale.edu

A daring new play is performed on the shore of a lake. Its idealistic young author is devastated when his work is mocked by family and friends. Passions and jealousies surge as his beloved gives her heart away to his older rival. With comic brio and keen understanding, The Seagull explores our insatiable human desire to live an extraordinary life. When our dreams—and delusions—are dashed, and all that remains is the excruciating ordinariness of daily living, how do we find the strength to go on?

Driven by insatiable desire, Don Juan, with his servant Sganarelle, travels the world, seeking pleasure through romantic conquest. Don Juan defies every authority he encounters. No moral code, religious belief, or social institution is safe from his scathing attack. What lies underneath the furious bravado of this man? To whom is Don Juan ultimately issuing his challenge? At the heart of this darkly comic 17th-century play lies a completely modern terror: that there is no God, and no ultimate meaning beyond the appetites of the flesh.

THE MASTER AND MARGARITA STAFF

ARTISTIC Ni Wen, Fufan Zhang, Assistant Scenic DesignersHaydee Zelideth, Assistant Costume DesignerCarolina Ortiz Herrera, Assistant Lighting DesignerJing (Annie) Yin, Assistant Sound Designer and EngineerYana Biryukova, Assistant Projection DesignerMichael Rossmy, Rick Sordelet, Fight ConsultantsGracie White, Lyra Consultant and Aerial Coach Paula R. Clarkson, Assistant Stage Manager

PRODUCTION Lee O’Reilly, Associate Production ManagerTommy Rose, Technical DirectorWilliam Hartley, Sean Walters, Assistant Technical Directors Elise Masur, Properties MasterMichael Hsu, Master ElectricianJoey Brennan, Projection EngineerTannis Boyajian, Stage CarpenterMichael Commendatore, Mitchell Cramond, Pornchanok Kanchanabanca, Elizabeth Mak, Rae Powell, Lydia Pustell, Anita Shastri, Alexae Visel, Shaunette Renée Wilson, Run Crew

ADMINISTRATION Libby Peterson, House Manager

SPECIAL THANKSRachel Carpman, Tricia Emlet, John Holdren, Scott Keith, Dorian Kerr, Yulia Klenova and family

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

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

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

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

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

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

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

THE WRITTEN PERMISSION OF THE MANAGEMENT IS PROHIBITED.

OPENING NIGHT SPONSOR

The Master and MargaritaOctober 21–25, 2014Iseman Theater, 1156 Chapel Street

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

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

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

ProjectionsErich Bolton, Projection SupervisorMike Paddock, Head Projection Technician

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

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

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

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

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

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

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

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