chalia la tour

Chalia La Tour

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Born and raised in New York City, La Tour grew up with a love for the arts and began performing at a young age. She attended the prestigious Fiorello H. LaGuardia High School of Music & Art and Performing Arts, where she honed her craft and developed a deep appreciation for theater.

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Chalia La Tour, Slave Play

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Chalia La Tour has appeared on Broadway in 2 shows.

Chalia La Tour has appeared on London's West End in 1 shows.

Chalia La Tour has been nominated for Best Performance by an Actress in a Featured Role in a Play at the Tony Awards for her role in Slave Play.

Chalia La Tour's first West End show was Slave Play which opened in 2024

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Chalia La Tour

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• 2017 • 1 ep

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• 2017 • 4 eps

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• Other works (September 4 to 26, 2012) She played a member of the ensemble in William Shakespeare 's play, "Romeo and Juliet," in a Brown-Forman Series production at the Actors Theatre of Louisville in Louisville, Kentucky with Michael Zuccola (Sampson); Ian Whitt (Peter); Kim Fischer (Abram); Ben Diskant (Benvolio); Jordan Dean (Tybalt); [link=nm7681661 (Escalus); Yvette Ganier (Lady Montague); Grantham Coleman (Romeo); Matthew Stucky (Paris); Bruce McKenzie (Lord Capulet); Amy Morse (Lady Capulet); Myra Lucretia Taylor (Nurse); Elvy (as Elvy, portraying Juliet): Nate Miller (Mercutio); Brandon Averett (Friar Lawrence) and Reynaldo Piniella (Balthasar) in the cast. Conor Eifler, Tamara Del Rosso, Ben Vigus, Kimberly Weinkle and Sarah Grace Welbourn were in the Ensemble. Tony Speciale was director.

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Alumna Chalia La Tour Nominated for Tony Award

• BY Cal State East Bay
• PHOTOGRAPHY BY Courtesy
• September 23, 2021

Ten years ago, Chalia La Tour was exploring the technical side of theater by working in the costume shop at Cal State East Bay.

Now she’s a Tony-nominated actress. 

La Tour (BA ‘12, Theatre) is one of five nominees for “Best Performance by an Actress in a Featured Role in a Play” at this Sunday’s Tony Awards for her performance in “Slave Play.” 

The production — which ran on Broadway from late 2019 through early 2020 — set a record for a play with its 12 Tony nominations. It is considered both groundbreaking and controversial for its portrayals of race and sexuality.

As part of a family of artists, La Tour has been involved in theater in some form since she was a 12-year-old in Stockton. But she was mainly focused on the design and technical side when she first transferred to Cal State East Bay from San Joaquin Delta College. 

“A play called ‘Xtigone’ came along and I finally decided to audition and get back to acting,” La Tour said. “That kind of really snapped things back together. I realized ‘Wait, I want to do theater in all the ways.’ I really appreciated that at East Bay I could search and explore all the parts of storytelling and theater making.”

She was a part of numerous productions at Cal State East Bay between acting, design and even directing. 

“I'm so fortunate for the teachers at Cal State East Bay for really keeping all avenues open,” she said.

After graduation, La Tour joined a training company in Louisville, Ky. for about 10 months and then was accepted to Yale’s prestigious School of Drama, where she earned her MFA in acting. 

It was there that she first got involved in Slave Play. Playwright Jeremy O. Harris workshopped the production at Yale, and La Tour said that half of the cast and creative team are her former classmates.

“I’m really happy that I created community in as genuine a way as possible and I’ve followed work that I have the most interest in,” she said. “I find myself here at this moment having done a show that I very much believe in and am so proud to have been a part of.”

La Tour recently returned to New York with live theater finally starting up again this month after the pandemic shutdown. She has a few upcoming projects that she can’t share the details of quite yet. But first, there are the Tonys to celebrate. 

“What I’m looking forward to most is being with the artists that I love and doing the storytelling that I love while bringing along the lessons of this last year,” she said.

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“Funny  as  it  is eye  wateringly  provocative.  The  performances  in Robert  O’Hara’s superbly  acted  production are  as  witty  as  the  script” Metro

“Intimate,  tender,  brave,  repellent  and  gut  wrenching” Time Out

“A  sharp,  intelligent,  multi-layered  satire” Independent

“I  challenge  anyone  to  leave  Slave Play  without  needing  to  argue  in  favour  or against,  describe  moments,  express  solidarity  or  otherwise.  A  charismatic,  needling  theatre.  An  event.” Guardian

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Chalia La Tour

• Performer: Chalia La Tour [Teá]

Tony Award®

Best performance by an actress in a featured role in a play, find out where.

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Review: In ‘Cadillac Crew,’ a Road Trip Through Racism and Erasure

By Jesse Green

• May 6, 2019

NEW HAVEN — The playwright Tori Sampson defines all four characters in “Cadillac Crew” with the same phrase: “a powerhouse of a young woman.”

They would have to be.

Rachel, Abby, Dee and Sarah make up the barely paid staff of the Richmond branch of the Virginia Office for Civil Rights in 1963. Their walls may be jauntily decorated with posters touting “justice for women” and “unrestricted voting rights” — along with college pennants from Fisk, Howard and Hampton — but half of the phone calls they get are vicious. And someone keeps taping bullets to the door.

Yet “Cadillac Crew,” having its world premiere at the Yale Repertory Theater here, is only partly about physical danger. More fundamentally it’s a play about a metaphorical threat: the threat of erasure. It may be men who start the job of suppressing women’s contributions to the civil rights movement, but history completes it.

Both processes play out in the first act. Rachel ( Chalia La Tour ) is in a state of high excitement as her plan to have Rosa Parks deliver the keynote address at a civil rights convocation finally approaches fruition. Even better, as far as Rachel is concerned, Parks will be speaking about something less familiar than her refusal to give up her seat on a bus eight years earlier. She will be speaking about her anti-rape activism and the need to integrate women’s issues into the movement.

But as the big day wears on, several disasters detonate, as if designed to illustrate Ms. Sampson’s themes. Sarah ( Brontë England-Nelson ), a white ally in the office, delivers the information that the men who run the local movement have changed their mind and will not let Parks speak. She and her subject, they say, would be “a distraction.”

Worse news comes by phone and radio. Four women — two black, two white — have been shot and then burned to death in their car in Florida. They were part of a so-called Cadillac crew, driving from town to town to organize black and white women for civil rights.

If you haven’t heard of Cadillac crews, there’s a reason. As Ms. Sampson found in researching the play, little has been written about them except that they were organized in part by the civil rights leader Dorothy Height, herself nearly erased from the record but prominently honored here.

Though mostly fictional, the play is thus an effective form of historical reconstitution. It is not always an effective drama. Wrangling the four Richmond women toward a decision about forming a Cadillac crew of their own, Ms. Sampson indulges in some over-expedient plotting: Everyone has a very timely and distinct personal crisis that coincides with her choice.

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That includes Abby ( Dria Brown ), who went to college with two of the murdered women, and Dee ( Ashley Bryant ), whose daughter is among the first to integrate a local school. Rachel and Sarah likewise have family secrets lined up on the runway for revelation.

But the revelations, and the positions that emerge from them, are often abstract. “I need to believe that I’m possible,” Abby says.

And as the play’s style becomes more episodic and telegraphic once the women hit the road, the thread of character reality sometimes gets dropped. By the time we leap 56 years to a wild coda involving a podcast called “Uncovering American Herstory,” we’ve lost the Richmond foursome altogether.

That’s part of Ms. Sampson’s point. The names and specific traits of the women shunted to the backbench of the movement, even though they were often on the front lines of violence, are mostly lost to us. And that loss keeps happening today .

So it’s significant that in the podcast scene, when Ms. Bryant, Ms. La Tour and Ms. Brown play Patrisse Khan-Cullors, Alicia Garza and Opal Tometi, the founders of Black Lives Matter , they are able to own their agenda openly as black women, two of them further identifying as queer.

If their jargony speechifying didn’t work for me, the powerful contrast with 1963 did. That’s one of Ms. Sampson’s gifts: She is uncowed by supposed rules of construction, unafraid of genre-switching to make a point. In her professional playwriting debut , a delightful work whose title I’ll abbreviate as “If Pretty Hurts,” she made a hairpin turn near the end that deepened everything that came before it.

“Cadillac Crew,” a more ambitious play, is not yet hitting all its marks. Directed by Jesse Rasmussen and Ms. Sampson herself, both recent graduates of the Yale School of Drama , it often seems too eager to escape the gravity of drama, heading toward oratory or agitprop. A stronger production might indulge such moments less — not because what they say is politically outré or objectionable, but because it is not. Even a fine cast like this one has trouble thrilling us with what we already know.

That’s why “Cadillac Crew” is at its best when thrilling us with what we don’t. It names names we need to hear, even if most of them are, of necessity, invented.

An earlier version of this review misidentified the time that elapses between the main action of the play and the final scene. It is 56 years, not 52.

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Follow Jesse Green on Twitter: @JesseKGreen .

Cadillac Crew Through May 18 at Yale Repertory Theater, New Haven, Conn.; 203-432-1234, yalerep.org . Running time: 2 hours 15 minutes.

Slave Play Tickets

Jeremy O. Harris’ acclaimed work sheds light on race, gender and equality.

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Performances ended on Jan. 23, 2022.

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About slave play on broadway, video & photos.

Jeremy O. Harris’  Slave Play , the acclaimed production that “reimagines the possibilities of what theater can give us” ( The New York Times ) is returning to Broadway for a limited engagement beginning November 23. Don’t miss this opportunity to experience the groundbreaking play that rips open history at the intersection of race, love, sex, and sexuality in 21st-century America.

Know Before You Go

Written by Jeremy O. Harris, “one of the most promising playwrights of his generation” ( Vogue ), this “dazzling mix of satire and psychodrama” ( The New York Times ) is directed by two-time NAACP and OBIE Award winner Robert O’Hara.

Cast & Creative

Paul Alexander Nolan’s role as August in Water for Elephants will mark his 10th Broadway show. Most recently, he played prosecutor Hugh Dorsey in the 2023 Tony-winning revival o f Parade . In 2021, he reprised his role as Jim in the most Tony-nominated play in history, Slave Play , and toured with that production to the Mark Taper Forum in LA. Other Broadway roles include Jesus in Jesus Christ Superstar , Guy in Once , Jimmy Ray in Bright Star (Drama Desk nomination), Pasha/Strelnikov in Doctor Zhivago (Outer Critics Circle nomination), Billy Flynn in Chicago , and Tully in Escape to Margaritaville . Off Broadway: Original casts of Daddy Long Legs and Slave Play . Recent regional: Life After at Chicago's Goodman Theatre and Ahrens and Flaherty’s new musical, Knoxville , at Asolo Rep, directed by the late Frank Galati. Paul can be heard on 6 original cast albums. TV credits include The Code, Madam Secretary and Instinct for CBS.

Ato Blankson-Wood (he/him) is best known for his starring role in Jeremy O. Harris' critically acclaimed  Slave Play , for which he was nominated for a 2021 Tony Award. He has also earned nominations for the Drama League Awards and the inaugural Antonyo Awards for playing Gary, a role he originated for the New York Theatre Workshop production, where his performance earned him a Lortel Nomination. This past summer, Ato played the titular role of  Hamlet  in Shakespeare in the Park's production directed by Kenny Leon. Prior to this, Ato starred opposite Bill Camp and Elizabeth Marvel in  Long Day’s Journey Into Night  for Audible, which reunited him with  Slave Play  director Robert O’Hara. Ato had his breakout performance in the Public Theatre musical  The Total Bent  (Drama League and Lucille Lortel Award nomination) which explored the life of a black musical prodigy in a nation on the verge of social upheaval. Ato has also been seen on Broadway in  Hair  and  Lysistrata Jones , as well as in  The Rolling Stone  for Lincoln Center (Drama League Award nomination for Distinguished Performance). Films include Kathryn Bigelow’s  Detroit , Spike Lee’s  BlacKKKlansman ,  Worth , opposite Michael Keaton, and Peter Hedge’s  The Same Storm . Television includes The Good Fight, She’s Gotta Have It , and Ava DuVernay’s When They See Us . Ato is represented by Independent Artist Group and D2 Management. 

Chalia La Tour is an alumna of the Yale School of Drama's MFA Acting program. Theater: Slave Play (New York Theatre Workshop); Cadillac Crew (Yale Repertory Theatre); The Review, or How to Eat Your Opposition (Women's Theatre Project). Television: The Good Fight, The Code  and Elementary  on CBS. Film: The Future is Bright, Love Repeat  and Three Pregnant Men . The Future is Bright had the honor of screening at the inaugural Smithsonian African-American Film Festival. Voiceover: “Pillars of Eternity II: Deadfire” (Pit Stop Productions). LaTour is also an alumna of the Actors Theatre of Louisville Professional Training Program and The British American Dramatic Academy. She is a proud member of Actors Equity Association.

Broadway debut. Off-Broadway:  City Of  (Playwrights Realm);  Unnatural Acts  (Classic Stage Company), for which his performance was awarded the Rosemarie Tichler Grant. Select TV/film: Lucifer, Goliath, American Housewife , Marvel’s The Runaways, Criminal Minds, The Path, Good Trouble ,  The Manor ,  Under the Silver Lake ,  Under the Lantern Lit Sky ,  Submission . Training: MFA, NYU Graduate Acting. Love and gratitude to Mom, The Boys, KC fam, ATMP, and MLE. Tonight is dedicated to his father, Kenji Kawaoka.

Broadway: Wit . Off-Broadway: Slave Play, Love and Information (NYTW), Orange Julius (Rattlestick), Undertaking (BAM), King Liz (Second Stage), We Play for the Gods (Women’s Project). Regional credits: Yale Rep, Studio Theater D.C., and Cal Shakes among others. Television: The Americans, Bartlett, Madam Secretary, Gossip Girl and Casi Casi . Lucio co-created the web series Buts  (NBC Short Film Festival winner). A Princeton and YSD graduate, she is originally from Puerto Rico.

Jonathan Chad Higginbotham has been seen in A Lie Agreed Upon  (The Gamm Theatre),  JQA  (The Gamm Theatre),  Cymbeline  (Yale Repertory Theater),  As You Like It  (Shakespeare Theatre of New Jersey),  Cymbeline  (Commonwealth Shakespeare Company),  KMS...The Feels  (New Ohio Theatre). TV: Shining Vale  (Starz), The Blacklist  (NBC), Bonding  (Netflix). Jonathan studied at the British American Drama Academy in Oxford. He holds a B.A. from Hamilton College and an M.F.A from Yale School of Drama.

Annie McNamara's theater credits include  Slave Play (New York Theatre Workshop); Iowa (Playwrights Horizons, Lortel Award nomination for Outstanding Featured Actress in a Musical); We’re Gonna Be Okay (Humana Festival/Actors Theatre of Louisville); Map of Virtue (13P); That Pretty Pretty (Rattlestick Playwrights Theater); Rapture, Blister, Burn (Huntington Theatre Company). With Elevator Repair Service: Gatz (Daisy - 2019 & Catherine - Original Cast); Everyone’s Fine with Virginia Woolf , The Sound and the Fury . With Clubbed Thumb, where she is an affiliated artist: The World My Mama Raised, Tomb of King Tot, 41-derful, Lay Me Down , Justin Timberlake, and U.S. Drag . Film: Blue Jasmine . Television: Orange is the New Black, The Knick  and Mozart in the Jungle .

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By Christina Anderson Directed by Tamilla Woodard

1992. Janice lives with her family in an Ohio suburb—a world away from her childhood in 1960s Kansas, where her activist parents fought to integrate public pools and taught Black children how to swim. When she is asked to return and speak at a ceremony honoring her father, she must decide whether she is ready to reckon with her political inheritance and a past she has tried to forget.  the ripple, the wave that carried me home  is a poignant, transporting, and quietly subversive story of justice, legacy, and forgiveness.

CONTENT GUIDANCE

This play contains themes related to and references of racism and violence towards Black people, including police brutality. The play includes a reference to sexual assault and the usage of profanity.

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Yale Rep productions are open to asymptomatic audiences with up-to-date COVID-19 vaccination and boosters. Audience members should carry vaccination documentation and be prepared to show it if asked. All patrons must wear masks at all times while inside the theater except when eating or drinking.

Meet the Artists

Creative team, christina anderson.

Christina Anderson (Playwright) is a 2022 Tony Award nominee for Outstanding Book of the Broadway musical for Paradise Square. She is a playwright, screenwriter, educator, and creative. Plays include How to Catch Creation , pen/man/ship , Blacktop Sky , and Good Goods . Her work has appeared at the Goodman Theatre, Oregon Shakespeare Festival, The Public Theater, Yale Repertory Theatre (Good Goods, world premiere, 2012), Kansas City Repertory, and other theaters in the United States and Canada. Awards and honors include: 2022 Arthur Miller Award, 2022 Horton Foote Prize, 2021 Prince Prize, 2020 United States Artists Fellow, MacDowell Fellowship, Lily Awards Harper Lee Prize, Herb Alpert Award nomination, Barrymore nomination, and New Dramatists Residency. A graduate of David Geffen School of Drama, she has taught playwriting at the Geffen School, Wesleyan University, Rutgers University, SUNY Purchase College, and served as the interim Head of Playwriting at Brown University. christinaandersonwriter.com

Tamilla Woodard

Tamilla Woodard  is Chair of the Acting program at David Geffen School of Drama and a Resident Director at Yale Rep. She is the co-founder of the site-specific international partnership, PopUP Theatrics, proudly served as the co-Artistic Director of Working Theater in New York, and she was the Associate Director of the Tony Award-winning  Hadestown  on Broadway in its premier season. Prior to joining Working Theater, Tamilla was the BOLD Associate Artistic Director at WP Theater. Tamilla has directed at theaters nationally and internationally, including at WP Theater, The Alliance, Baltimore Center Stage, American Conservatory Theater, Classical Theater of Harlem, The Bushnell Center for the Performing Arts with TheaterWorksUSA, and The Cleveland Public Theatre, among others. Recently named one of 50 Women to Watch on Broadway, Tamilla is also a recipient of the Josephine Abady Award from the League of Professional Theatre Women and a proud board member of Society of Stage Directors and Choreographers. She received her MFA in Acting from David Geffen School of Drama.

Emmie Finckel

Scenic Designer

Emmie Finckel is a queer, Asian-American scenic and production designer. Recent credits include The Comedy of Errors (Public Theater: Mobile Unit), As You Like It (La Jolla Playhouse), 53% OF (Second Stage) , In the Southern Breeze (Rattlestick Playwrights Theatre), The Watering Hole (Signature Theatre), Manning (David Geffen School of Drama), In the Penal Colony (NYTW Next Door), Athena (JACK), Riot Antigone (La MaMa). Associate design credits include many productions with Gabriel Hainer Evansohn including KPOP (Broadway) and Empire Travel Agency as a member of Woodshed Collective. Emmie is the Associate Creative Director of the Outside Lands Music Festival and often works on festivals and experiential events in collaboration with Iron Bloom Creative Production. Emmie holds a B.A. from Wesleyan University and a M.F.A. from David Geffen School of Drama; and is currently on the faculty of the Playwrights Horizons Theater School at NYU. Member: Local USA 829. efinckel.com .

Aidan Griffiths

Costume Designer

Aidan Griffiths is a fourth-year M.F.A. candidate at David Geffen School of Drama and a graduate of University of North Carolina School of the Arts. Aidan has been working in the field of costumes for the last 13 years. As a freelance costume designer and illustrator, she has designed for theater, opera, and dance. Her work has been seen internationally with The Bang Group. Her most recent credits are Affinity (Geffen School), The Rite of Spring (Schwarzman Center), Lovesick: The Rock Opera (National Sawdust), and There’s a Strange Thing at the End of the Loop and Radiant Vermin (Yale Cabaret). She has worked with directors Gaye Taylor Upchurch, Carl Forsman, Tamilla Woodard, Alex Keegan, James Matthew Daniels, Christina Franklin, and Jacob Basri. She has collaborated on dance pieces with David Parker, Jeff Kazin, Emily Coates, and Lasso Coulibaly. aidangriffithsdesign.com

Alan C. Edwards

Lighting Designer

Alan C. Edwards – Work includes the world premieres of Harry Clarke (The Vineyard), Kill Move Paradise (National Black Theatre), and The Hot Wing King by Katori Hall (Signature Theatre Company, winner of the 2021 Pulitzer Prize for Drama). His regional design work includes Sally & Tom (world premiere by Suzan-Lori Parks at the Guthrie Theatre); Pipeline , Skeleton Crew (Actors Theatre of Louisville); Paradise Blue , and the new musical Lights Out: Nat King Cole (Geffen Playhouse). Additional credits include productions of Anna Deavere Smith’s Twilight: Los Angeles 1992 (Signature and A.R.T.), Smith’s Fires in the Mirror (Signature), Twelfth Night (Classical Theatre of Harlem), Bluebird Memories featuring rap-artist Common (Audible Theatre), and Baldwin and Buckley at Cambridge by Greig Sargeant and Elevator Repair Service. Edwards has been honored with awards and nominations for the Lucille Lortel, Drama Desk, and Henry Hewes Awards. His work in dance includes Where We Dwell and Chasing Magic by tap-dancer Ayodele Casel; Rhythm Is Life by Dormeshia Sumbry-Edwards; and Lifted , choreographed by Christopher Rudd for American Ballet Theatre. On Broadway he was the associate to renowned lighting designer Jennifer Tipton on The Testament of Mary . He is a graduate of David Geffen School of Drama, where he is also an assistant professor of lighting. alancedwards.com

Evdoxia Ragkou

Sound Designer

Evdoxia Ragkou she/her/hers  is a New Haven-based sound artist and composer. She is keenly interested in the nature of sound, using it as her primary medium for composition, and strongly believes in its storytelling powers. She writes all sorts of music and is oriented towards creative ways to tell stories. She has worked in venues such as Rattlestick Theater, Playwrights Horizons, Yale Cabaret, and Yale Repertory Theatre. She has also written music for various dance projects and short films. She also wears the hat of a solo artist. You can say that she is overall a person of a sound mind.

Krystal Balleza

Wig Designer

Krystal Balleza – Previously at Yale Rep: the ripple, the wave that carried me home and Mojada: A Medea in Los Angeles. Opera: Opera Theatre of Saint Louis 2023–24 season. Off-Broadway: Orlando (Signature Theatre); The Connector (MCC); Good Bones , The Tempest (The Public Theater); Six Characters in Search of an Author , At the Wedding (Lincoln Center); Americano! (New World Stages). Regional: Ain’t Misbehavin’ (Barrington); Angels in America, Part One (Arena Stage); Real Women Have Curves (ART). Krystal is the Hair and Makeup Department Head at Six: The Musical on Broadway. Krystal holds a B.F.A. in wig and makeup design from Webster Conservatory and is co-owner of The Wig Associates with her design partner, Will Vicari.

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Will Vicari

Hair and Makeup Designer

Will Vicari – Previously at Yale Rep: the ripple, the wave that carried me home. Broadway: Yellowface (Roundabout), Parade (2023 revival), Harmony , and Spamalot (associate wig and makeup design). Opera: Opera Theatre Saint Louis 2023 and 2024 seasons. Off-Broadway: The Connector (MCC); At the Wedding (Lincoln Center); Mrs. Warren’s Profession , Candida (Gingold Group). Regional: Ain’t Misbehavin’ (Barrington Stage Company), Angels in America, Part One (Arena Stage). Will holds a B.F.A. in wig and makeup design from Webster University and is co-owner of The Wig Associates with his design partner, Krystal Balleza.

Henry Rodriguez

Projection Designer

Henry Rodriguez is a multi-disciplinary projections and media designer. His recent credits include She Kills Monsters (David Geffen School of Drama), L’elisir d’amore (Yale School of Music), Dragaret (Yale Cabaret), and This Place is a Message (Yale Schwarzman Center). Henry is a Mexican American, Las Vegas native, and holds a bachelor’s degree in projection design from the University of Northern Colorado. In his final year at David Geffen School of Drama, Henry looks forward to future projects including, but not limited to projection design, live media, and virtual production.

Hannah Fennell Gellman

Production Dramaturg

Hannah Fennell Gellman she/her is a teaching artist and dramaturg who loves queer stories, movement, and poetry. Her production dramaturgy credits include the ripple, the wave that carried me home (Yale Rep); Wake by Stefani Kuo, Twelfth Night , Hedda Gabler (David Geffen School of Drama); Dr. Ride’s American Beach House and soft apples (Yale Cabaret). She has also collaborated on developing new dance and theater work with ruth tang (The Alcove at the Lortel), Cameron Barnett, Qualia Dance Collective, and BODYSONNET and worked as an educator at Elm Shakespeare Company, Berkshire Theatre Group, Lookingglass Theatre, and Shakespeare & Company. She holds a B.A. in English from Carleton College and is a fourth-year M.F.A. candidate in dramaturgy and dramatic criticism at the Geffen School.

Eric M. Glover

Eric M. Glover is an Assistant Professor Adjunct at David Geffen School of Drama and a Faculty Fellow in the Center for the Study of Race, Indigeneity, and Transnational Migration. Glover served as a production dramaturg at Yale Rep for productions of the ripple, the wave that carried me home , Choir Boy , and A   Raisin   in   the   Sun  (canceled due to COVID-19).

Nate Angrick

Technical Director

Nate Angrick is in his fourth year of the technical design and production program at David Geffen School of Drama, where his credits include She Kills Monsters, Twelfth Night, and Affinity . He also recently served as technical director for The Brightest Thing in the World and assistant technical director for The Plot at Yale Rep. He received his B.F.A. in technical theater and design from the University of Wisconsin, Stevens Point. He worked as technical director of Payomet Performing Arts Center in Massachusetts and Peninsula Players in Wisconsin. Before attending Yale, he worked as a scenic carpenter at The Juilliard School.

Vocal Coach

Julie Foh she/her is a voice, text, and dialect coach and is an Associate Professor Adjunct of acting at David Geffen School of Drama. Previous coaching credits include Escaped Alone and the ripple, the wave that carried me home (Yale Rep); All My Sons and The Winter’s Tale (Hartford Stage); A View from the Bridge (Long Wharf Theatre); As You Like It , The Taming of the Shrew , Othello , Love’s Labour’s Lost , The Tempest , The Winter’s Tale , Measure for Measure , Henry V , Twelfth Night , Coriolanus (Next Chapter Podcasts); As You Like It , A Gentleman’s Guide to Love and Murder , A Man for All Seasons, And a Nightingale Sang , The Caretaker , A Child’s Christmas in Wales (Shakespeare Theatre of New Jersey); Belfast Girls (Irish Rep); Mlima’s Tale (Repertory Theatre of St. Louis and Westport Country Playhouse ) ; Ride the Cyclone: The Musical , Sleuth (McCarter Theatre Center ) ; Wolverine: The Lost Trail (Marvel podcast); As You Like It , King Charles III (Colorado Shakespeare Festival); Sherwood (Cleveland Play House); Pygmalion (BEDLAM); Familiar (Woolly Mammoth); Trans Scripts , Cardenio (American Repertory Theater); The Tallest Tree in the Forest (Tectonic Theater Project); and others. She is an Associate Teacher of Fitzmaurice Voicework, a Master Teacher of Knight-Thompson Speechwork, and co-author of Experiencing Speech: A Skills-Based, Panlingual Approach to Actor Training .

Kelsey Rainwater

Fight and Intimacy Director

Kelsey Rainwater is an intimacy coach, fight director, and actress based out of the ancestral lands of the Quinnipiac people. Kelsey’s work was recently seen in the premiere of Sally & Tom at the Guthrie. Some of her other credits include I n the Southern Breeze at Rattlestick, The Public Theater’s Measure for Measure and White Noise by Suzan-Lori Parks, directed by Oskar Eustis; Blues for an Alabama Sky with the Keen Company; Bess Wohl’s film, Baby Ruby ; Wish You Were Here , A Raisin in the Sun (canceled due to COVID-19), Edward Albee’s Who’s Afraid of Virginia Woolf? , Mojada: A Medea in Los Angeles , and the ripple, the wave that carried me home at Yale Rep. She is a Lecturer in acting at David Geffen School of Drama, co-teaches stage combat and intimacy, and is a Resident Fight and Intimacy Director for Yale Rep.

Calleri Jensen Davis

Casting Director

Calleri Jensen Davis is a creative casting partnership among James Calleri, Erica Jensen, and Paul Davis of over 20 years. They began their collaboration with Yale Rep in 2023 with Mojada: A Medea in Los Angeles and the ripple, the wave that carried me home . Broadway credits: The Piano Lesson, Topdog/Underdog , for colored girls… , Thoughts of a Colored Man , Burn This, Fool for Love , The Elephant Man , Hedwig and the Angry Inch , Of Mice and Men , Venus in Fur , A Raisin in the Sun , 33 Variations . Television: Love Life , Queens , Dickinson , and The Path , to name a few.

callerijensendavis.com

Andrew Petrick

Stage Manager

Andrew Petrick is a fourth-year M.F.A. candidate at David Geffen School of Drama, where his credits include Manning and Measure for Measure , both directed by Alex Keegan, and In His Hands, or the gay christian play , directed by Maeli Goren. Other stage management credits include The Brightest Thing in the World (Yale Repertory Theatre); The Blacker the Berry , directed by Stew, and Harmless , directed by Dan Hurlin (Sarah Lawrence College); Pride and Prejudice , directed by Christopher Edwards, and Cry It Out, directed by Marc Masterson (Dorset Theatre Festival); Jack and the Beanstalk, directed by Julie Atlas Muz (Abrons Art Center); and When We Were Young and Unafraid, directed by Spencer Knoll (Downstage Theatre Company). B.A., Sarah Lawrence College. Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Jennean Farmer

Jennean Farmer – NYC Theater: Cullud Wattah, Ain’t No Mo’ (The Public Theatre); Toni Stone (Roundabout Theatre). Regional: Her Portmanteau (George Street Playhouse), Mlima’s Tale (Westport Country Playhouse). Film: The Good Nurse (co-star), A Thousand and One (co-star), The Secret Art of Human Flight (co-star), How the Light Gets In (co-star). Television: Dead Ringers (recurring), WuTang: An American Saga (guest star), Evil (guest star), That Damn Michael Che (co-star), New Amsterdam (co-star), FBI (co-star). M.F.A. in acting from the New School for Drama. U.S. Army Veteran.

Marcus Henderson

Marcus Henderson  is a dynamic thespian from St. Louis, Missouri, who started his drama journey after falling in love with theater at Alabama State University. He went on to graduate school to hone his craft at David Geffen School of Drama. Immediately recognized for his immense talent, he booked a role in Django Unchained , directed by Quentin Tarantino, and has enjoyed a blossoming career ever since with roles in Whiplash , John Singleton’s Snowfall , and Jordan Peele’s Get Out . Today, you can catch him starring in the hilarious TV show Tacoma FD and paying it forward by teaching and uplifting up-and-coming actors who have committed to the journey of the craft. He is very happy to be welcomed back for his second Yale Rep production, following Romeo and Juliet in 2011.

Chalia La Tour

Chalia La Tour  is an actor, educator, and creator. A member of the original Broadway cast of Slave Play by Jeremy O. Harris, she was nominated for the 2020 Tony Award for Best Featured Actress in a Play for her role in that play. Her other theater credits include Cadillac Crew by Tori Sampson (Yale Repertory Theatre, 2019) and The Review or How to Eat Your Opposition by Donetta Lavinia Grays (Women’s Project Theater). Television credits include The Good Fight, The Code, and Elementary on CBS. Film credits include The Future is Bright, The Year Between, and Mother Melancholia . Directing credits include Faster Than a Blink (Portland Center Stage JAW) , assistant director for The Brothers Size (Oklahoma City Rep), Savage/Love (Highland Summer Theatre). The Future is Bright screened at the inaugural African American Smithsonian Film Festival. The Year Between is currently available on streaming services and in cinema. Mother Melancholia is in collaboration with Tanztheater Wuppertal Pina Bausch. She maintains a commitment to storytelling that asks the questions of humanity with the fullness of humanity. She has also worked with the anti-racism organization Broadway Advocacy Coalition as a consultant for their Artivism Fellowship. La Tour received an M.F.A. in acting from David Geffen School of Drama. She is also a graduate of the British American Dramatic Academy, Summer in Oxford program. Theatrical technical design from CSU East Bay. Instagram: @chalialatour

Adrienne S. Wells

Gayle/Young Chipper Ambitious Black Woman

Adrienne S. Wells is excited to be back at her alma mater! Her theater credits include The Skin of Our Teeth (Lincoln Center Theater); A Cakewalk (Garage magazine); Girls (Yale Rep); Seven Spots On the Sun; Alice; How Black Girls Get Over Fuckbois, vol. 1; Marty and The Hands That Could; and School Girls: or The African Mean Girls Play (David Geffen School Drama). TV: Black Monday (Showtime). B.A., Temple University; M.F.A., David Geffen School of Drama. Instagram: @adriennewells

Understudy Cast

Whitney andrews.

Understudy for Janice

Whitney Andrews  is an actor and writer based in New Haven. She is a Connecticut native, and currently an M.F.A. candidate in acting at David Geffen School of Drama, where her credits include Marys Seacole . Prior to her performances on the School’s stages, she was seen on Manifest (NBC), Wu-Tang: An American Saga (Hulu), Gotham (FOX) and Happy! (Syfy). Today, Whitney tells stories illustrating multifaceted Black women who exist in the fullness of their complexities. She is a fearless feeler and pleasure seeker, who is constantly finding herself through her work.

Messiah Cristine

Understudy for Gayle

Messiah Cristine is a first-year actor at David Geffen School of Drama at Yale. They hold a B.A. from Sarah Lawrence College.

Malik James

Understudy for Edwin

Malik James  is a third-year M.F.A. candidate at David Geffen School of Drama at Yale, where he has been seen in Blood Wedding . He holds a B.F.A. in acting from Texas State University, where he performed in The Harvest , The Importance of Being Earnest , We Are Proud to Present… , and The Crucible . He made his professional debut in Choir Boy at Yale Rep last season. maliktjames.com

Chinna Palmer

Understudy for Helen

Chinna Palmer – “Rooted in Love; driven with Purpose; in search of Truth.” Chinna has made her way to Yale Repertory Theatre for her debut as a first-year student at David Geffen School of Drama. This is not her first time to the stage, thanks to the incredible cast and crews from productions such as Our Town  (Shakespeare Theatre Co.),  Behind the Sheet  (St. Louis Black Rep.),  Fairview  (Woolly Mammoth Theatre); and in film, Alemanji and  The Zeke Sanders Story . Chinna is excited to continue her journey here in the coming years and beyond. B.F.A., Howard University. Instagram: @chinna.palmer

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Chalia La Tour

by DKC/O&M , October 7, 2019

Chalia La Tour is currently making her Broadway debut in the critically acclaimed  Slave Play written by Jeremy O. Harris. A graduate of the Yale School of Drama, Chalia’s theater credits include  Slave Play (New York Theatre Workshop),  Cadillac (Yale Repertory Theatre), and  The Review or How to Eat Your Opposition (WP Theatre). She can also be seen on TV in “The Good Fight”, “The Code”, and “Elementary”.  Slave Play opens this Sunday at the Golden Theatre!

What do you consider to be your best asset? My love for humanity, I truly find joy in the beauty of the wide range of the human experience and I try to share that with others.

What was your proudest moment?  Whoa! In life? Well, here’s one — in high school I thought I was an outrageous mess and my little sister stood up in front of our student council and told me I was her hero. To hear a sibling say that was so powerful and to see her choose to take a moment to lift me up at a low time made me very proud.

What is your favorite drink? Love me some seltzer…like most things with bubbles actually.

What is your favorite food?  Lasagna. Every kind. I was obsessed with Garfield as a kid.

What is your favorite condiment? BBQ sauce. Oh wow, yeah like almost any kind, from anywhere.

What is your current obsession? Euphoria, how to be a more compassionate human, different natural hair protective styles, understanding our country’s political/judicial system, various forms of spirituality (I’ve got a lot of Virgo and Aquarius placements, so a lot of stuff swirls around my head).

If you could give up one of your vices, what would it be? Saying yes when I should say no (so I can say yes to what’s more aligned with me).

What is the one professional accomplishment you long for most? A knowing that I’ve contributed something to society that makes doing life feel like a communal experience. For folks to feel less alone in all of this. Expanding our collective capacity for empathy. Not sure if there is a definitive thing that will show me that, but that’s what I’m pursuing.

What is the one thing you waste too much money on? Takeout! If any chefs out there wanna help me out, I’m trying to cook more.

What is the one activity you waste too much time doing? Scrolling through Instagram.

What do you consider to be the single greatest threat to your health? A white supremacist, hetero-patriarchal, capitalist system.

What is the single best trait you inherited or learned from your parents? To value and respect other people. That, that basic thing can open up so much in life and is where the greatest parts of life are.

What is the single worst trait you inherited or learned from your parents? Haha, we love take out.

What in the world most thrills you?  Oh falling in love, but in all the ways. With people, a place, an idea, a smell… that’s the good stuff.

What current trend in popular culture most irritates you? Speaking without listening, listening without a desire to understand, but to create a counter to an argument.

What was the single most embarrassing moment you’ve ever experienced on the job? I was in a show once where I played a 60s go-go dancer with this awesome long ponytail extension and in the middle of a big dance number I whipped my hair around and the ponytail went flying into the audience. It was the end of the number and a person I had a crush on in the audience picked it up and had it in their hand. Not exactly the big finale I had in mind.

What is your favorite place in the world?  My grandparent’s home during the holidays.

What is the most important trait you seek in a romantic partner? Humble compassion.

Do you prefer the company of dogs or cats? Neither at the moment, but my animal lover friends are opening me up.

What would have to happen to make today the best day of your life?  The best day of my life?! Okay, um, I guess that we would find ourselves in a place where the Earth is healed, humans are living harmoniously with one another, and I am in a place of complete peace (and not just like a nap and a sheet mask, but that real inner glow).

What is your personal motto? I don’t have a phrase, but I remind myself to focus on “is this coming from a place of love?” “Is there love here?” and “am I growing?”.

Headshot by Ian Whitt

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Theatres in Moscow

Cultural life of Moscow city is various and rich! Operas, ballets, symphonic concerts... Russian composers have created some of the most beautiful classical music. Russian classical music is very popular in Moscow. It is performed in many beautiful historical venues. Do not forget to include a visit to a concert hall in your itinerary when you are planning your stay in Moscow! And do it in advance.

There are almost no restrictions on dress code in Russian theatres. Visitors may wear jeans and sports shoes, they may have a backpack with them. Only shorts are not allowed.

A typical feature of Russian theatre – visitors are bringing a lot of flowers which they present to their favorite performers after the show.

Here are some practical advices where to go and how to buy tickets.

The Bolshoi Theatre

The Bolshoi Theatre is the oldest, the most famous and popular opera and ballet theatre in Russia. The word “Bolshoi” means “big” in Russian. You can buy a ticket online in advance, 2-3 months before the date of performance on the official website . Prices for famous ballets are high: 6-8 thousand rubles for a seat in stalls. Tickets to operas are cheaper: you can get a good seat for 4-5 thousand rubles. Tickets are cheaper for daytime performances and performances on the New Stage. The New Stage is situated in the light-green building to the left of the Bolshoi's main building. The quality of operas and ballets shown on the New Stage is excellent too. However, you should pay attention that many seats of the Bolshoi’s Old and New Stages have limited visibility . If you want to see the Bolshoi’s Old Stage but all tickets are sold out, you can order a tour of the theatre. You can book such a tour on the official website.

If you want, following Russian tradition, to give flowers to the performers at the end of the show, in the Bolshoi flowers should be presented via special staff who collects these flowers in advance.

In August the Bolshoi is closed.

The Stanislavsky and Nemirovich-Danchenko Music Theatre

This theatre is noteworthy. On one hand, it offers brilliant classical opera and ballet performances. On the other hand, it is an experimental venue for modern artists. You can check the program and buy tickets online here http://stanmus.com/ . If you are opera lover, get a ticket to see superstar Hibla Gerzmava . The theatre has a very beautiful historic building and a stage with a good view from every seat. Tickets are twice cheaper than in the Bolshoi.

The Novaya Opera

“Novaya” means “New” in Russian. This opera house was founded in 1991 by a famous conductor Eugene Kolobov. Its repertoire has several directions: Russian and Western classics, original shows and divertissements, and operas of the 20th and 21st centuries. It is very popular with Muscovites for excellent quality of performances, a comfortable hall, a beautiful Art Nouveau building and a historic park Hermitage, which is situated right next to it. You can buy tickets online here http://www.novayaopera.ru/en .

Galina Vishnevskaya Opera Center

The Opera Center has become one of the best theatrical venues in Moscow. It was founded in 2002 by great diva Galina Vishnevskaya. Nowadays its artistic director is Olga Rostropovich, daughter of Galina Vishnevskaya and her husband Mstislav Rostropovich, great cellist and conductor. Not only best young opera singers perform here, but also world music stars do; chamber and symphonic concerts, theatrical productions and musical festivals take place here. You can see what is on the program here http://opera-centre.ru/theatre . Unfortunately “booking tickets online” is available in Russian only. If you need help, you can contact us at and we can book a ticket for you. 

Tchaikovsky Concert Hall and The Great Hall of Moscow Conservatory

These are two major concert halls for symphonic music in Moscow. Both feature excellent acoustics, impressive interior, various repertoire and best performers. You can check the program here http://meloman.ru/calendar/ . You need just to switch to English. Booking tickets online is available only for owners of Russian, Ukrainian and Belorussian phone numbers. If you need help, you can contact us and we can book a ticket for you. 

Moscow International Performing Arts Center (MIPAC)

This modern and elegant concert hall houses performances of national and foreign symphony orchestras, chamber ensembles, solo instrumentalists, opera singers, ballet dancers, theatre companies, jazz bands, variety and traditional ensembles. Actually, it has three concert halls placed on three different levels and having separate entrances. The President of MIPAC is People’s Artist of the USSR Vladimir Spivakov, conductor of “Virtuosy Moskvy” orchestra. You can see pictures of the concert halls here http://www.mmdm.ru/en/content/halls . The program is impressive in its variety but is not translated into English. You can contact us at and we can find a performance for you.

Welcome to Moscow food tours

Food tasting and cultural walking tours through Moscow

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You will get an introduction to the culture of traditional Russian cuisine and get you acquainted with some of Russian’s most loved (and devoured) traditional dishes (such as blynis and pies). You will discover Russian cuisine as a collection of the different traditions of the Russian people. You and your group will embark on a four-hour…

Private dinners

This culinary experience can immerse you into the authentic and intimate atmosphere of dinning in people’s homes and you can go through memorable experiences you won’t find in any restaurant. Our local hosts are great personalities, with passion for cooking and they are speaking English fluently…

Cooking classes with dinner

Beyond our tours you can learn how to cook Russian cuisine dishes at the open kitchen. This service combines a cooking class with a dinner party also we can add Russian wine tasting session. We believe that cooking is a wonderful way to expand your knowledge of Russia. We will start with an aperitif and…

Eat is Moscow

We are passionate about the food. Eat is Moscow provides food tasting walking tours and gastro guide assistance in the city. Our mission is to give you a snapshot of real Russia and a taste of the country’s true local cuisine! We invite you to join the fascinating journey into the gastro world of Moscow. Our main objective is to show visitors what local people in Moscow really eat. Our customers taste freshly prepared foods from the markets, cafes and food shops across the city — and they learn about how each item is prepared, its history, and its importance and role in local culture. By the end of our tours, you are full up and happy, and you’ve learned something you can share with your friends back home.

"Eat is Moscow" will be happy to plan and organize any type of special private or group event, whether it is an intimate dinner, cooking classes of Russian food or a help with finding Russian most famous products. Just let us know what you have in mind, and we will do our best to help make it happen.

We are a team of food lovers who lives in Russia and we would love to share our experience and knowledge about the best city spots to meet with traditional and modern Russian cuisine. We provide a “non-touristy” experience so you can feel as a native Muscovite.

Constantly we make our research work searching for the most delicious dishes and tastiest bites work through neighborhoods, local markets, specialty food shops, bars and restaurants and we take only the best ones to include onto our food tours. Each tour includes food tastings from the best food spots, the city has to offer, but it is not just about the food. We’ll be sharing with you our local knowledge of the dining culture and latest gastronomy trends.

Our clients say

We are foodies and we were looking for some special service which could offer help with meeting and understanding real Russian cuisine. Eat is Moscow made it come true. Thanks!

I had a great time on the tour, I was extremely full by the end of the tour, the selections were very good I thought and Leo was a great guide. I was pleased to see some of the local parts of town.

Is was a very nice experience to eat with Alexander and his wife. The Russian food was good. And the explanation was very interesting. I enjoyed the evening fully and i wish Alexander and his wife all the best for the future!!!

Traditional Russian cuisine tour was great – food was delicious and the tour guide was able to throw in some history and neighbourhood references.

The benefit of a private guide is that he can tailor the experience to exactly what you want to see and take you to all local spots you won’t find on tripadvisor. Our guide was able to show us real Moscow!

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