There’s a lot in store in Atlanta for Jiréh Breon Holder ’16. His play, Too Heavy for Your Pocket, has won the Alliance/Kendeda National Graduate Playwriting Competition, and will be produced at the Alliance Theatre in the 2016-17 season. And, Jiréh was recently named Playwriting Fellow of the Department of Theater and Creative Writing Program at Emory University, where he will have the opportunity to explore his craft while engaging with students and the local artistic community. “As a young artist gaining recognition in American theatre, he is a terrific role model for our students,” commented Janice Akers, the artistic director of Theater Emory.
For Jiréh, this all feels a bit like going home—he attended playwriting classes at Emory while earning his BA in Drama from Morehouse College, where he served as artistic director of the Spellman College Playwrights’ Workshop. Theater Emory was the first professional company to produce his work—The Book of Joe, a one-act monologue featured in Emory’s Brave New Works Festival. “When I was an undergraduate desperately seeking an outlet for my playwriting passion, Emory welcomed me with open arms,” says Jiréh. After college, he stayed in Atlanta to serve as the 2012-13 Kenny Leon Fellow at the Alliance. “I am especially excited to work on my plays while immersed in the community that inhabits them,” he says. “Most of my plays take place in the South, so getting the voices and rhythms right is important to me. I cannot wait to return to Atlanta to teach, research, and engage the community.”
Jiréh is currently the artistic director of Pyramid Theatre Company in Des Moines, Iowa. His plays have been produced at the Yale Cabaret and Yale School of Drama, where his collaboration with Tori Sampson ’17, Some Bodies Travel, was recently presented at the 11th Carlotta Festival of New Plays. His work has received readings at Manhattan Theatre Club, Roundabout Theatre, the Alliance Theatre, the Old Globe Theatre, and Theater Emory.—Maria Inês Marques ’17
Jiréh Breon Holder. Photo by Joan Marcus.
Yi Zhao ’12 received a 2016 Vilcek Prize for Creative Promise in Theatre. The Vilcek Foundation awards this prize to young immigrants who are making significant contributions to biomedical science and the arts. Yi says, “I felt really honored not only to be awarded the prize but also to be recognized alongside my collaborators, Blanka Zizka, Desdemona Chiang, and Sarah Benson.” Zizka is the artistic director of the Wilma Theater and worked with Yi on Hamlet and Rosencrantz and Guildenstern Are Dead; Yi is designing for Chiang’s production of The Winter’s Tale at Oregon Shakespeare Festival this summer; and last fall he designed for Benson’s production of FUTURITY at Soho Rep and Ars Nova.
Yi was born in Beijing and came to the U.S. for college. He studied lighting design at YSD and has since worked on many productions at regional, off-Broadway, and off-off-Broadway theatres. Next spring, Yi will return to Yale to design the lighting for the Rep production of Assassins. In an interview for the Vilcek Foundation’s website, Yi quoted lighting designer Jennifer Tipton (Faculty)—“99% of the audience does not notice lighting, but 100% of the audience is affected by it.” He adds, “I just hope to be able to serve the performance as well as I can each time.”
Yi appreciates the importance of the Vilcek Foundation’s mission to support the work of immigrants in the U.S. “There is this theory that there’s a tendency for new immigrants to blend in and assimilate, to not stand out,” he says. “But one thing I've realized through this process is that everyone has a different background and different story to tell. This foundation celebrates that diversity of stories.”
This spring, Yi designed the lighting for Lileana Blain-Cruz’s ’12 productions of Red Speedo at New York Theatre Workshop and Revolt. She Said. Revolt Again. at Soho Rep. “Lileana has been my closest collaborator since graduation,” says Yi. “We’ve really developed a vocabulary.” They have worked together on a number of plays, including Yale Rep’s production of Branden Jacobs-Jenkins’s War and Much Ado about Nothing at Oregon Shakespeare Festival. In returning to OSF this summer for The Winter’s Tale, Yi is collaborating on the first production of this size at OSF to feature a cast mainly composed of Asian and Asian American actors. He is cautiously optimistic that we are in the midst of a “paradigm shift in the theatre community.” Yi adds, “Greater diversity in casts and artistic teams ultimately contributes to art that more closely resembles the world we live in.”
Yi Zhao with his Vilcek Prize. Photo courtesy of the Vilcek Foundation.
“To have a career in the arts, you need talent, hard work, and luck,” said playwright David Henry Hwang ’83 during an informal discussion led by Ashley Chang ’16 at the Drama School in May. The author of more than 20 plays and several opera librettos, he has garnered three Tony nominations (winning Best Play in 1988 for M. Butterfly), is a three-time finalist for the Pulitzer Prize, and has won Drama Desk, Obie, and Outer Critic Circle awards. David has also found success in television and film—he’s currently writing for Sarah Treem’s ’05, YC ’02 Showtime series The Affair.
David has built his career examining the Asian American experience onstage, delving into questions of assimilation, identity, and culture. “My work is Asian American because I am Asian American,” he said. “Anything I do gets put through the filter of who I am.” Because he’s passionate about issues of equity and inclusion in his work, he’s also passionate about them in his life. “It’s a reciprocal thing. The artist creates the work, but the work also creates the artist.”
When developing characters, David doesn’t worry about finding a suitable actor—“I’ve spent my whole career creating roles that the industry says you shouldn’t be able to cast. When you create the opportunity, you find the artist who can do it.” Although his work is appreciated by all different types of theatregoers, David notices something unique when his plays are performed for Asian or Asian American audiences. “There’s a laugh that says ‘that’s funny,’ and a laugh that says ‘I understand that,’ and there’s a difference,” he explains.
David mentioned that as a young playwright, he felt compelled to write white characters, rather than those that reflected his own heritage—an experience echoed by playwriting students of color at the talk. He suspects this desire is caused by the nature of American media. “We grow up seeing and identifying with white characters, and we end up emulating that.” Citing the changing demographics of the country, David rejects this whitewashed idea of what is normal, arguing that “the whole notion of mainstream needs to be redefined.” He does see progress happening on this front. “Two years ago there were no TV shows with Asian American leads,” he said. “Now there are five or six.”
In pursuing opportunities in television, David is doing his part to change the culture of mainstream media. Even so, he says that theatre will always be his home. “I love the theatre because it’s comfortable with metaphor. It gives you liberty to acknowledge and accentuate the not-real—that’s why it will always be the form closest to my heart.”—Sam Linden ’19, SOM ’19
Ashley Chang and David Henry Hwang. Photo by Sam Linden.
James Magruder ’88, DFA ’92, who is currently writing a book about the history of Yale Rep in honor of the Rep’s 50th anniversary, recently published another book about Yale. Love Slaves of Helen Hadley Hall is a fictionalized reckoning of his first year in New Haven, 1983-84, when he was a graduate student in the French department—“before I defected to the Drama School,” he says. The novel follows five residents of the much beloved dormitory, Helen Hadley Hall, as they attempt to reinvent themselves, get noticed, and find love.
The characters are all modelled on people James knows from that year. He reports that “the actual love slaves are thrilled about the book.” He remembers a time when he and some friends were sitting together in Hadley Hall’s lounge and someone said, “One day we’ll write a book about this.” James recalls thinking, “Yeah, right—are we really that interesting?” He began writing about these friends in 1996, but put down the project for a time to write his first novel, Sugarless, and a collection of stories, Let Me See It, before returning to Love Slaves several years later.
When asked why he chose to write about the 1983-84 school year, James explains, “That year was so important because it was the year AIDS was discovered to be a virus, and that changed everything.” The AIDS epidemic looms over the residents of Hadley Hall, tracing a sobering thread through the funny, bawdy, but always earnest lives of the characters. In this way the book becomes an homage to those who lost their lives to the disease.
Watching over the entire novel is Helen Hadley, the long-deceased namesake of the dorm. From her faded portrait in the lounge, she follows the action of her favorites, taking joy in their schemes and accepting without question their oddities. James says, “It took me 14 years to find her voice, and she was there all along, on the first page, in her portrait on the wall.”
James Magruder on a Helen Hadley Hall outing to Mystic, CT in 1983. Photo and book cover courtesy of James Magruder.
After almost two decades of television and film acting, Evan Parke ’97 has returned to New Haven to train for the next phase of his career, this time at Yale Divinity School. “I have a passion for storytelling and a passion for service and justice that is global,” says Evan. With the theological framework he acquires at the Divinity School, he plans to found a tuition-free, faith-based school in Brooklyn.
Evan explains that he has always been fascinated by the powerful impact public theologians like Martin Luther King, Jr., Mahatma Gandhi, and Dietrich Bonhoeffer have had globally. Living in L.A., he became more aware of gangs and youth culture and saw “how the environment set up these kids’ whole lives.” It was then that Evan decided he wanted to work in education and create opportunities for low-income students to find their vocations and achieve economic stability.
For Evan, spirituality is central to his mission. He talks about “inviting the divine into the solution.” Evan’s school will be modelled on the NativityMiguel Coalition, a collection of faith-based schools that serve poor and marginalized communities, offering an extended day, rigorous academics, small class sizes, and support for students long after graduation. They are also committed to providing a holistic education, one that helps students grow morally, socially, and spiritually. Evan says, “We’re all created in the image of God, and we’ve got to treat all people that way. I want my school to be a place where that happens.”
While a full-time student, Evan is continuing to act. This year he has roles in the indie films Smartass and Blue: The American Dream, and in the Netflix series The Get Down. Evan reports, “Acting while in divinity school is a real challenge, but I’m finding a way to do both.” He’s also planning to apply to Yale School of Management, and to start a fund that will support his school and others like it. Evan knows it’s a lot of work, but he’s confident—“with storytelling and social entrepreneurship, I’m going to be able to do this.”
Evan Parke in the Yale Divinity School Quad. Photo courtesy of Evan Parke.
White Heron Theatre Company, founded by Lynne Bolton, a member of YSD's Board of Advisors, will unveil a newly built theatre this summer. Lynne, who serves as the company’s artistic director, moved White Heron from New York to Nantucket in 2012, but it did not initially have a performance space. “We made a black box out of a tent, and I bought chairs on eBay from a Jehovah’s Witness hall,” says Lynne. The new theatre is located on the last buildable lot in the historic area of downtown Nantucket. Lynne hopes the space will become a new cultural and educational center for the island.
A number of YSD alumni have worked at White Heron, including Rob Campbell ’91, Caitlin Clouthier ’08, Max Roll ’13, and Brandy Zarle ’97. Marcus Dean Fuller ’04 is on White Heron’s board of advisors.
The inaugural production in the new theatre will be Napoli, Brooklyn by Meghan Kennedy, which will open White Heron’s summer season on June 30. Through a collaboration with Gordon Edelstein, artistic director of Long Wharf Theatre, the play will be produced at Long Wharf in the fall, and then at Roundabout Theatre next spring. Lynne and Gordon have collaborated on a number of productions. “We go back and forth to choose the play that works for both theatres,” says Lynne.
White Heron will also be a host for the Sundance Institute Theatre Lab this summer. This partnership will allow them to offer more support to new plays and emerging playwrights. Five playwrights will be in residence for a writers’ workshop and each of their plays will receive a staged reading. One play will be fully produced in the White Heron repertory next season, with the possibility of going on to Long Wharf. Lynne describes this process as a way to “incubate new plays and know that they have a life after White Heron.”
(Top) Michael Kopko (left) and Brandy Zarle (right) in White's Heron's "God of Carnage." (Bottom) Michael Kopko and Lynne Bolton in the new theatre during construction.Photos courtesy of Michael Kopko.
Since her time as a design student at YSD, Kate Cusack ’06 has been making jewelry out of a material we usually see as utilitarian and ordinary: zippers. Her Zipper Jewelry has been featured in dozens of fashion magazines including Vogue, Glamour, and Cosmopolitan. “I really enjoy seeing people smile when they realize what my work is made out of,” says Kate. “Elevating a material that is normally overlooked has a bigger impact than starting with a precious material. It really makes people stop and think and see their world in a different way.”
Kate also creates custom headdresses, hats, and sculptural costumes using materials like paper and plastic wrap for clients such as The Museum of Craft and Design in San Francisco, Tiffany & Company, and Nordstrom. Trained as a costume designer, she credits YSD with teaching her research skills that have become vital to her design process. “If I hadn’t had that training, the finished designs wouldn’t have been so thoughtful,” she said.
Kate has been selected multiple times to show her work in the highly-competitive Smithsonian Craft Show, where artists present and sell their artwork in a 10 x 10 space. To help her determine the layout, she uses a 3D model with a scale figure, something she learned in Ming Cho Lee’s (Faculty) scenic design class. Kate’s husband, Burke Brown ‘07, creates lighting environments for her displays. When he’s not lighting Kate’s special events, Burke’s credits include lighting design for New York and regional theatres, as well as lighting for international festivals.
Burke also has an extensive career in lighting design for dance, which he first became involved in when he volunteered to light a dance concert for Yale College students. Later, Jennifer Tipton (Faculty) invited lighting design students to New York to watch tech rehearsals for the Paul Taylor Dance Company. These experiences taught Burke how to light a performance quickly. “In theatre, you have a 10 out of 12 (a technical rehearsal where the company rehearses for 10 out of 12 hours) to do a 90-minute or 2-hour play. In dance, you often have only 4 hours of tech rehearsal for a 3-hour ballet,” Burke explained. After graduation, Jennifer recommended Burke for a project at the Baryshnikov Arts Center. From there, he began working with the choreographer Aszure Barton, with whom he continues to collaborate on projects for Alvin Ailey and other companies.
Burke says that he and Kate spend a lot of time talking about their lives as professional artists. “Having a partner in this has been wonderful,” he said. “And, of course, I love her.”—Melissa Rose ’18
(Top) Kate Cusack and Burke Brown at one of Kate's Zipper Jewelry shows. (Bottom) Bayerisches Staatsballett's production of "Adam is" by Aszure Barton, set and lighting design by Burke Brown. Photo by Wilfried Hösl.
Three times a week Yale Repertory Theatre Costume Project Coordinator Linda Kelley-Dodd (Staff) becomes Pinky Nails, or Pinky for short. Linda is a member of CT RollerGirls, a local roller derby league. Alex McNamara (Staff), who works in the YSD metal shop, is also a skater, known as Assault N. Pepper. CT RollerGirls is completely self-run, and all skaters have a role in its governance. Linda, who is currently co-chair of public relations, works to increase awareness about the sport and the league, to attract more spectators to competitions and more skaters to try-outs.
When asked what she loves most about roller derby, Linda talks about the camaraderie and “the incredible bonding that happens when you compete alongside your teammates.” Getting ready for a game reminds Linda of the collaboration she sees in design teams at YSD, with everyone swapping ideas to reach a consensus. “You make all your plans before you even get out on the track, and then you have to know and trust your teammates because the game is constantly moving," she says. “Your teammates become your family, like sisters.” Linda is especially grateful for the friendship she has formed with Alex. “It’s great to have a teammate who is a co-worker, especially one I don’t get to see every day at YSD.”
Like many skaters, Linda never played sports before trying roller derby five years ago. Adding to the challenges of the physically demanding sport, Linda is skating with Multiple Sclerosis (MS)—she was actually diagnosed because of a skating injury. She says, “I know that roller skating has helped me a lot in battling the disease and the exercise helps me stay healthy.” Both new and veteran skaters can have difficult days, “but it’s hard to be discouraged playing roller derby,” says Linda. She remembers one novice who a few months ago couldn’t even stand on her skates. She’s now a fast and fierce competitor, “a testament to what you can do if you persevere.”
(Top) Linda Kelley-Dodd (left) and Alex McNamara (right). Photo courtesy of Linda Kelley-Dodd.
(Bottom) Alex McNamara (second from left) and Linda Kelley-Dodd (third from right) during introductions before the start of a recent game. Photo by Am Norgren.