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Marie Antoinette

The Creative Team


was listed as one of the Top Ten in Culture for 2011 by The New Yorker magazine. He is the author of Stunning (LCT3/Lincoln Center Theater, Woolly Mammoth Theatre Company), The Evildoers (Sundance, Yale Repertory Theatre), Caligula (Soho Rep Studio Series), and Strange Attractors (Empty Space). His play 3C received its world premiere at Rattlestick Playwrights Theater in June 2012 and was dubbed “the most divisive and controversial play of the season” by the New York PostElective Affinities, which premiered at the Royal Shakespeare Company, received its U.S. premiere last December at Soho Rep with Zoe Caldwell. He is developing an adaptation of Molière's Bourgeois Gentilhomme in tandem with choreographer Karole Armitage, as well as an untitled new play for Sean Hayes. David was awarded a Guggenheim Fellowship, the Whiting Writers’ Award, the Kesselring Prize for Drama, the Steinberg Playwright Award (the “Mimi”), and the Bush Artists Fellowship, among others. He is the recipient of multiple MacDowell Colony fellowships, a Sundance/Ucross residency and others. He currently holds commissions from Lincoln Center Theater, Yale Rep, Berkeley Rep, American Repertory Theater, and the Royal Court, and he is the recipient of the 2012 Fadiman Award from the Center Theatre Group. He has served on panels for the Luminato Festival, National Endowment for the Arts, the McKnight Foundation, Massachusetts Cultural Council, Harvard University, Yale School of Drama, and others. He is a member of New Dramatists, the Dramatists Guild, MCC Theater Playwrights’ Coalition, and Soho Theatre’s “The Hub.” A collection of David’s work, Stunning and Other Plays, is published by TCG, and his work is included in The Methuen Drama Book of New American Plays. His untitled memoir is forthcoming from HarperCollins.

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Previous Yale Rep productions include the world premiere of David Adjmi’s The Evildoers, as well as Iphigenia at Aulis. Her New York credits include Kirsten Greenidge’s Luck of the Irish (upcoming, LCT3) and Milk Like Sugar (Playwrights Horizons); Orlando by Sarah Ruhl (Classic Stage Company); the world premiere of Dark Sisters, music by Nico Muhly, libretto by Stephen Karam (Music Theater Group/Gotham Opera at John Jay); Telemann’s Orpheus (New York City Opera); The Scene by Theresa Rebeck (Second Stage Theatre); and Menopausal Gentleman (The Ohio Theatre). Regional productions include The Winter’s Tale (upcoming, McCarter Theatre and Shakespeare Theatre Company); Sleeping Beauty Wakes,book by Rachel Sheinkin, music and lyrics by Groove Lilly, Twelfth Night (McCarter Theatre); the world premiere of Milk Like Sugar (La Jolla Playhouse); She Loves Me (Oregon Shakespeare Festival); Cymbeline, Twelfth Night, The Taming of the Shrew (Shakespeare Theatre Company); Sarah Ruhl’s Dead Man’s Cell Phone (world premiere) and The Clean House (2006 Helen Hayes Award for Outstanding Resident Play), both at Woolly Mammoth; the world premiere of The Green Violin by Elise Thoron with music by Frank London (2003 Barrymore Award for Outstanding Direction of a Musical, The Prince Music Theatre); the world premiere of Swimming in March by Kate Robin (The Market Theater); and Oklahoma City by Tom Cole (Theatre Offensive). She is currently co-creating a new piece called Rehearsing Vengeance with Paula Vogel, co-commissioned by Oregon Shakespeare Festival and Yale Repertory Theatre. She is an instructor at The O’Neill National Theater Institute, MIT, Yale University, and the University of Maryland. A graduate of Yale School of Drama, Rebecca is the recipient of the TCG New Generations Grant with Woolly Mammoth and a Drama League Directing Fellowship.

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is the Artistic Director of the Armitage Gone! Dance Company based in New York and renowned for pushing the boundaries to create contemporary works that blend dance, music, and art. Armitage has choreographed for major dance companies throughout Europe and the U.S. and has directed opera for leading European houses. She was director of the Florence Ballet (1996–2000), the Venice Biennale of Contemporary Dance (2001), and was resident choreographer for the Ballet de Lorraine (2000–2005). She is known for her collaborations with important contemporary artists, such as Jeff Koons, Brice Marden, filmmaker James Ivory, and pop icons Madonna and Michael Jackson. She has also created choreography for a William Wegman dog and choreographed the Cirque du Soleil production AmaLuna in 2012, directed by Diane Paulus. Armitage received a Tony nomination for her Broadway choreography of Hair (2009), also directed by Diane Paulus, after making her Broadway debut with Passing Strange (2008), which was filmed by Spike Lee. She received the French honor Commandeur dans L’ordre des Arts et des Lettres. She danced with Balanchine’s Geneva Ballet (1973–1975) and the Merce Cunningham Dance Company (1976–1981).

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Previous Yale Rep productions include Autumn Sonata, Battle of Black and Dogs, and David Adjmi’s The Evildoers. His Broadway credits include The Gershwins’ Porgy and Bess; The People in the Picture; 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. Other credits include Il Postino (Los Angeles Opera; Theater an der Wien, Vienna); Philip Glass’s Appomattox, directed by Robert Woodruff (San Francisco Opera); Anna Deavere Smith’s Let Me Down Easy (Second Stage Theatre, PBS Great Performances); Lost Highway (London’s English National Opera/Young Vic); The Seagull (American Repertory Theater); Julius Caesar (also at A.R.T., Festival Automne Paris); and Ethan Coen’s Offices and Almost an Evening (Atlantic Theater Company). He has designed over 200 productions in the U.S. and internationally at The Public Theater, Lincoln Center Theater, Brooklyn Academy of Music, New York Theatre Workshop, Manhattan Theatre Club, Guthrie Theater, Goodman Theatre, American Repertory Theater, Mark Taper Forum, Lyric Opera of Chicago, New York City Opera, Houston Grand Opera, Florida Grand Opera, Santa Fe Opera, London’s National Theater, Old Vic, Royal Court, Centre Dramatique Orleans (France), and Det Norske Teatret (Oslo). He is a graduate of Yale School of Drama and a visiting lecturer at Princeton University.

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Recent work includes Osvaldo Goliov’s Ainadamar,directed by Peter Sellars for the Teatro Real in Madrid; Stew and Heidi Rodewald’s The Total Bent at The Public Theater; and the world premiere of Tennessee Williams’s last play, Of Masks Outrageous and Austere,at the Bleeker Street Theatre in New York. An OBIE and Bessie Award winner, Ms. Berry is the only American to ever win an individual medal at the Prague International Design Quadrennial, receiving a silver medal for her contributions to experimental theatre.

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Recent productions include the set and lighting design for Topdog/Underdog,directed by Suzan-Lori Parks (Two River Theatre); the Broadway production of The Gershwins’ Porgy and Bess (Tony Award nomination); Martha Clarke’s L’Altra Metra del Cielo (Teatro alla Scala, Milan); the worldpremiere of Philip Glass’s Appomattox,directed by Robert Woodruff (San Francisco Opera). Other Broadway credits include End of the Rainbow, Superior Donuts, Top Girls, 110 in the Shade (Tony nomination), Shining City, Rabbit Hole, Talk Radio, Awake and Sing (Tony nomination), Seven Guitars (Tony nomination), The Light in the Piazza (Tony, Drama Desk, Outer Critics, and Henry Hewes Awards). His extensive credits in opera include productions at the Boston Lyric, Dallas, Glimmerglass, Hamburg, Houston, Minnesota, New York City, Nissei, and Santa Fe Operas and over forty-six productions for Opera Theatre of St. Louis, where he was resident lighting designer for twelve years. A graduate of Yale School of Drama, he is the recipient of an OBIE Award for Sustained Excellence in Lighting Design, the Michael Merritt Award for Design and Collaboration, and numerous nominations for the Drama Desk, Lucille Lortel, Outer Critics Circle, and Tony Awards.

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Previous credits include How We Got On, Death Tax, A Devil at Noon  (Humana Festival of New American Plays); Three Pianos (New York Theatre Workshop, American Repertory Theater); The Human Scale (The Public Theater); 100 Saints You Should Know (Playwrights Horizons); Telephone (Foundry Theatre); Hammock, The Matter of Origins: Tea, Blueprints of Relentless Nature, 613 Radical Acts of Prayer (Liz Lerman Dance Exchange); as well as work at the National Playwrights Conference at the Eugene O’Neill Theater Center. A company member of the TEAM, he has designed Mission Drift, Architecting, Particularly in the Heartland, and A Thousand Natural Shocks. He holds a BA in philosophy as a University Scholar at Xavier University.

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made his Yale Rep debut as puppet designer and puppetry supervisor on the world premiere of Rinne Groff’s Compulsion, a co-production with Berkeley Repertory Theatre and The Public Theater. His other credits include A Howling Flower, directed by Nami Yamamoto, and the film In the House of the Sin Eater, and he has also worked with Dan Hurlin, Mabou Mines, Lee Breuer, Basil Twist, Paula Vogel, Chris Green, the Metropolitan Opera, MTV, and Lake Simons. Currently, Matt directs the Puppet Lab at St. Ann’s Warehouse and serves as Resident Puppetry Director for the Broadway production of War Horse at Lincoln Center Theater and Associate Puppetry Director for the play’sNorth American tour.

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is a lecturer in acting at Yale School of Drama. Her coaching credits include Good Goods, Bossa Nova, and We Have Always Lived in the Castle at Yale Rep, as well asproductions at American Repertory Theater, Ensemble Studio Theatre, Primary Stages, Actors' Shakespeare Project, and Shakespeare in the Parking Lot. Jane received her MFA in voice and speech pedagogy from the American Repertory Theater Institute at Harvard University and is an associate teacher of Fitzmaurice Voicework®.

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Broadway credits include Wit; Born Yesterday; A Life in the Theatre; Speed the Plow; Come Back, Little Sheba; Spring Awakening; and The Lieutenant of Inishmore. Other credits include the New York premieres of Blasted, The Whipping Man, Ages of the Moon, The American Pilot, Blackbird, Bug,and Killer Joe. He has workedwith The Public Theater, the Metropolitan Opera, Manhattan Theatre Club, Atlantic Theater Company, The Roundabout, Guthrie Theater, David Mamet, Sam Shepard, Ethan Coen, Martin McDonough, Tracy Letts, Ken Russell, and Franco Zeffirelli.

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previously served as stage manager on Yale Rep’s American premiere of Happy Now? by Lucinda Coxon. Her Off-Broadway credits include Black Tie, Happy Now?, NEWSical the Musical, Ink’d, and Macbeth. Her other theatre credits include productions at Westport Country Playhouse, CENTERSTAGE, Northern Stage, Elm Shakespeare, as well as the National Tours of NEWSical the Musical, Finding Ways…, and Macbeth. Television: The Academy Awards. Amanda received her MFA from Yale School of Drama.

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The American Repertory Theater (A.R.T.) at Harvard University is dedicated to expanding the boundaries of theater. Winner of the 2012 Tony Award for Best Musical Revival for its production of The Gershwins’ Porgy and Bess, the A.R.T. is a leading force in the American theater, producing groundbreaking work in Cambridge and beyond. The A.R.T. is the recipient of numerous other awards including the Tony Award for Outstanding Regional Theatre, the Pulitzer Prize, and many Elliot Norton and I.R.N.E. Awards. Its recent premiere production of Death and the Powers: The Robots’ Opera was a 2012 Pulitzer Prize finalist. During its 32-year history, the A.R.T. has welcomed many major American and international theater artists, presenting a diverse repertoire that includes premieres of American plays, bold reinterpretations of classical texts, and provocative new music theater productions. Since becoming Artistic Director, Diane Paulus has enhanced the A.R.T.’s core mission to expand the boundaries of theater by continuing to transform the ways in which work is developed, programmed, produced and contextualized, always including the audience as a partner. The A.R.T.’s club theater, OBERON, which Paulus calls a second stage for the 21st century, has become an incubator for local and emerging artists, and has also attracted national attention for its innovative programming model.

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