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T N T B R ITA IN & AD G EU R OP E
present
ROMEO
AND
JULIET
by William Shakespeare
Directed by Paul Stebbings
Producer: Grantly Marshall
Musical Director - John Kenny
ADG Europe presents TNT theatre Britain in:
ROMEO & JULIET
Directed and edited by Paul Stebbings
Original score composed or arranged by John Kenny
Cast List
Romeo Montague
Juliet Capulet
Father Capulet
Nurse
Mercutio
Friar Laurence
Natey Jones
Georgie Ashworth
Darius McStay
Ruth Cataroche
Jude Owusu
Damien Warren-Smith
Other roles played by the ensemble
Director: Paul Stebbings
Musical director: John Kenny
Costume design: Juliane Kasprzik
Movement director: Tom Ward
Set design: Arno Scholz
Sword fight instruction: Armin Kreuzmaier
TNT dramaturg: Phil Smith
Production assistant: Monika Verity
Art Promotion: Angelika Martin
Production assistant: Christian Werner
Programme editor: Stefani Hidajat
Producer ADGE: Grantly Marshall
ADGE website: www.adg-europe.com
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PAUL STEBBINGS is artistic director of TNT theatre
Britain and the American Drama Group Europe. He was
born in Nottingham and studied drama at Bristol University,
where he received first class honours. He trained in the Grotowski
method with TRIPLE ACTION THEATRE in Britain and
Poland. Paul founded TNT theatre in 1980 and received
regular Arts Council funding for work in the UK. Paul has
also acted for NOTTINGHAM PLAYHOUSE and TNT and directed and written for the SHANGHAI DRAMATIC ARTS
CENTRE, TEATRO TERRUNO Costa Rica, PARAGON
ENSEMBLE Glasgow, TAMS THEATER Munich, the
ST PETERSBURG STATE COMEDY THEATRE and the
Athens Concert Hall MEGARON. His productions have toured
to over thirty countries worldwide. Festival appearances include WIZARD OF JAZZ at the
Munich Biennale (critics prize), the Off Broadway Festival in New York, the Tehran Fajr
Festival, the Tokyo International Festival, and award winning performances at the Edinburgh
Festival (THE MURDER OF SHERLOCK HOLMES, in which he played the title role). His
numerous productions for ADGE and TNT include MACBETH, BRAVE NEW WORLD,
MOON PALACE (a dance drama version of Paul Auster’s contemporary novel), DEATH
OF A SALESMAN, A MIDSUMMER NIGHT’S DREAM. OTHELLO and the recent prize
winning HAMLET. One of Paul’s main areas of interest is the integration of music and
theatre which culminated in his large scale production MOBY DICK which will be revived
by the National theatre of Greece next year. He has directed productions in Russian, Greek,
German and is increasingly working in Spanish, while he recently directed OLIVER TWIST
in Mandarin at the Shanghai Dramatic Arts Centre. This season sees Paul direct ROMEO &
JULIET by Shakespeare, ONE LANGUAGE MANY VOICES (an exploration of Britain’s
colonial legacy), BRAVE NEW WORLD (UN MUNDO FELIZ) and DON QUIJOTE (both
in Spanish), FRANKENSTEIN, and three premiers which he also writes: THE WAVE, DR
JEKYLL AND MR HYDE and a site specific production for the Isle of Man: THE GHOST OF
ILLIAM DHONE. These varied productions tour to over thirty countries on three continentsperforming in cities as diverse as Beijing, Jerusalem, Prague, Tokyo, Jakarta, Istanbul, San
Jose’ de Costa Rica, London and Berlin. In June 2013 Paul was awarded an MBE (Member of
the Order of the British Empire) by H.M the Queen for services to British culture.
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Director’s Notes
ROMEO AND JULIET is neither a classical tragedy nor even a traditional romance.
It is a play that has become a myth, and the myth obscures the play. Great ballets,
musicals and films have transformed the original beyond recognition. In approaching
this most famous fiction a director must take care not to dramatise what the audience
think ROMEO AND JULIET should be, but what was written on the page two hundred years before Romanticism changed our culture. First we might ask what the play
is not. It is not a tragedy because the central characters do not suffer from “hubris”,
the fatal flaw that Aristotle defined and Shakespeare elaborated. Neither Romeo nor
Juliet suffer from Macbeth’s ambition or Lear’s selfish rage, let alone Othello’s
jealousy or Hamlet’s moral indecision. Romeo’s kills Tybalt but only after failing to
pacify him, and in revenge for the murder of his dear friend. Certainly no Elizabethan
audience would call him guilty. Juliet only defies her father after she marries Romeo,
when legally and morally Romeo has become her Lord. (Indeed the audience are told
that she has the right to reject Paris in Act one). The play is often surprisingly unromantic, Romeo and Juliet have only two scenes in the entire long play when they are
alive and alone. Love itself is parodied as much as worshipped, the fullest and most
complex characters in the play – Mercutio and the Nurse – are both pragmatists who
mock love or treat it as an adjunct of sex. The entire play might easily be a comedy,
in fact it follows the pattern of classical and Shakespearian comedy right up until
the death of Mercutio. If it were not for the entirely (it seems) accidental plague that
prevents the Friar’s letter reaching Mantua then there is no reason why Juliet should
not live happily ever after with her Romeo. Many directors have tried to make sense
of this by following WEST SIDE STORY by ignoring the very first line of the text “Two
houses both alike in dignity in fair Verona…”. Why should Capulet scold Tybalt for
wanting to evict Romeo from his feast if the conflict was truly deep? Surely Shakespeare’s point is that the conflict is both brutal but that it is futile and irrational.
We suggest that the proper answer to the problem of how to understand and therefore
stage ROMEO AND JULIET lies in its poetic form. The entire play is constructed as a
sonnet. The love sonnet was the publishing phenomenon of the 1590’s. Shakespeare
himself made his name as the author of sonnets. This play explores the form and
themes of both classical and Elizabethan sonnets (for technical details see below). The
play opens with a sonnet and Romeo and Juliet first speak within a sonnet. The text
uses more rhyme than any other of his plays. The form of the sonnet is also a form
where endings often contradict beginnings, and this is surely influences the structure
of the play – which of course ends with a famous rhyme – just as every sonnet ends
with an emphatic rhyming couplet. Poetry allows us to approach the content of the
play symbolically, rather than force it into a realistic mould. The plot has considerable
weaknesses when viewed as realism (not just the accidental non-delivery of the letter
but also the crucial failure of Juliet to simply go to Mantua to her Lord and husband
rather than return to her family in Act four – she is already out of the house!).
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Poetry works through image and symbol. The key may be the third symbolic protagonist, unseen but ever present: Death.
“Death is my son in law, Death is my heir
My daughter he hath wedded. I will die
And leave him all: life, living, all is Death’s.”
(Capulet)
And Romeo’s last despairing jealous call:
“Death has sucked the honey of they breath!”
Death is Juliet’s last lover and both she and Romeo’s last word is “die”. If the plague
in Mantua is not a dramatist’s easy way out but a symbolic stroke of Death the play
starts to make sense. Death is present from the first bloody street fight until the last
graveyard scene. We have chosen to personify Death, to explore the conflict not between different clans or even races but between love and death, Eros and Thanatos.
Death unites the different themes and conflicts within the play, and even Mercutio’s
“gallows humour” revels in death, at his own end he will become a “grave man”. But
the play is no simple melodrama where Love and Death are good and evil. Death is
seductive, a lover as well as an enemy. The poetry of the play allows the symbol to
expand and create an image of all-consuming commitment and even erotic power. (“To die” is Elizabethan usage for orgasm – see Dowland’s song below). Juliet
captures this in perhaps the play’s most startling image:
“Give me my Romeo; and, when he shall die,
Take him and cut him out in little stars,
And he will make the face of heaven so fine
That all the world will be in love with night”
The intensity of Romeo and Juliet’s love courts death and is sealed by it. Death freezes
the lover’s impossible passion in its moment of perfect commitment, as Romeo notes
the last time he sees his love alive:
“Come Death and welcome, Juliet wills it so”
Death’s triumph is however hollow, the lover’s deaths redeem their sinning
fathers and indeed the entire city. Montague promises the lovers will rise as statues
in pure gold. And here the poetic symbolism develops into the religious. Like Christ,
Romeo and Juliet triumph over death by passing through it to a type of immortality, an
immortality that brings forgiveness and peace. This is the symbolic greatness of the
play, the culmination of its poetic form and the goal of our production:
“The which, if you with patient ears attend,
What here shall we miss, our toil shall strive to mend.”
Paul Stebbings 2009 - 14
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Music and poetry in the 1590’s
TNT seek to integrate music and theatre and take our cue from Shakespeare who
always included music in his plays and indeed even wrote dialogue for musicians in
ROMEO AND JULIET. Our score includes music by Shakespeare’s exact
contemporary John Dowland.
The text of his famous song “Come again” (written two years before Romeo and
Juliet) may well have even influenced Shakespeare. It’s use of death as an erotic
metaphor and a proof of commitment illuminates our understanding of
Shakespeare’s love story:
Come Again
Come again, sweet love doth now invite.
Thy graces that refrain, to do me due delight.
To see, to hear, to touch, to kiss, to die,
with thee again in sweetest sympathy.
Come again, that I may cease to mourn.
Through thy unkind disdain, for now left and forlorn.
I sit, I sigh, I weep, I faint, I die,
in deadly pain and endless misery.
All the day, the sun that lends me shine,
By frowns do cause me pine, and feeds me with delay.
Her smiles, my springs, that makes, my joys, to grow,
her frowns the winters of my woe.
All the night, my sleeps are full of dreams,
My eyes are full of streams, my heart takes no delight.
To see, the fruits, and joys, that some, do find,
and mark the storms are me assigned.
Out alas, my faith is ever true.
Yet will she never rue, nor yield me any grace.
Her eyes, of fire, her heart, of flint, is made,
whom tears nor truth may once invade.
Gentle love, draw forth thy wounding dart.
Thou canst not pierce her heart, for I that do approve.
By sighs, and tears, more hot, than are, thy shafts,
did tempt while she for triumph laughs.
(John Dowland, 1597)
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Allegory of Love
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ROMEO AND JULIET as a sonnet.
The sonnet was the most popular form of Elizabethan poetry and writing this style of
poetry was where Shakespeare made his name before he was known as playwright. The
form and content of ROMEO AND JULIET is that of a typical sonnet. The Prologue to the
play is a sonnet; the Prologue to Act 2 is a sonnet; and scholars often identify the first
fourteen lines of the first meeting of Romeo and Juliet (beginning with Romeo's "If I
profane with my unworthiest hand") as a sonnet. In addition, Romeo's love-longing for
Rosaline seems to be borrowed directly from the eternally suffering lover portrayed over
and over in sonnets. Consider Mercutio's greeting to Romeo:
Here comes Romeo…..
Without his roe, like a dried herring: O flesh,
flesh, how art thou fishified! Now is he for the numbers
that Petrarch flowed in. Laura to his lady was a
kitchen-wench; marry, she had a better love to
be-rhyme her; Dido a dowdy; Cleopatra a gipsy;
Romeo without his "roe" is "me O," as in "O, me O, woe is me"; and a person who is
wasting away looks as thin as a fish without roe (and a "dried herring" is the thinnest). The
point is that Romeo's forelorn love for Rosaline is killing him, body and soul.
Mercutio's next point is that Romeo is about to burst into love poetry ("numbers") of the
kind that Petrarch wrote about Laura. According to Mercutio, it is Romeo's opinion that
Petrarch's Laura was only a "kitchen-wench" compared to Rosaline, and that other famous
beauties were likewise nothing to Rosaline. The reference to Petrarch is in effect a
reference to the hundreds of sonnets which were popular in Shakespeare's time, because
Petrarch was considered to be the father of all sonnets.
The sonnet was the most popular kind love poetry of Shakespeare's time, and love poetry
in general was extremely popular. The craze for sonnets began in 1557, with publication
by Richard Tottel of SONGES AND SONNETTES. Tottel sold all he printed, and issued
another edition less than two months later,it is mentioned by a character in Shakespeare's
The Merry Wives of Windsor, which was written at about the same time as Romeo and
Juliet.
The star poet of Tottel's book, the Earl of Surrey, created the English sonnet form by
modifying Petrarch's sonnet form. The form which Surrey created (three quatrains in
alternate rhyme and a concluding couplet) is easier to write in English than the Petrarchan
form, which has a more complicated rhyme scheme.
Surrey also borrowed his subject-matter from Petrarch. Petrarch wrote sonnets about his
eternal, helpless, hopeless love for Laura; Surrey translated some of Petrarch's sonnets and
wrote his own in the same vein. Following is one of Surrey's sonnets.
Romeo echoes these sentiments early on when he talks about his hopeless love for Rosalyn.
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A COMPLAINT BY NIGHT OF THE LOVER NOT BELOVED
Alas! so all things now do hold their peace!
Heaven and earth disturbed in no thing
The beasts, the air, the birds their song do cease,
The night’s car the stars about do bring.
Calm is the sea. The waves work less and less:
So am not I, whom love, alas! doth wring,
Bringing before my face the great increase
Of my desires, whereat I weep and sing,
In joy and woe, as in a doubtful case.
For my sweet thoughts sometime do pleasure bring;
But by and by, the cause of my disease
Gives me a pang, that inwardly doth sting,
When that I think what grief it is again,
To live and lack the thing should rid my pain.
To return to the first conversation between Romeo and Juliet, the actual poetic structure
follows that of the classic English sonnet: fourteen lines and ten syllables in each line.
The rhyme scheme is structured as follows;
The first eight lines A-B-A-B-C-D-C-D
The following four lines E-F-E-F
The final couplet G-G.
In one sense the entire play is a long sonnet – ending in a couplet that reconciles the
conflicts and pain that go before.
A note on Shakespeare and Commedia dell’arte
The Italian comedy or Commedia dell’arte was a powerful influence on Shakespeare – it
is easy to forget how new the English theatre was in the late 1500s. It is best compared
to the cinema of the 1920’s than, for example, the English novel (which developed slowly).
The young Shakespeare might only have seen amateur religious drama and local folk plays.
The only professional performance style he could have seen or been told about was
commedia dell’arte. His early plays such as THE TAMING OF THE SHREW or THE
COMEDY OF ERRORS literally quote this Italian form (such as the naming of the
foolish old lover as a “Pantalon” in SHREW – Pantalone being a stock character of
Commedia). The serenading of a lover on her night time balcony was a standard scene in
Commedia, where there are two stock characters simply called “The Lovers”. Mercutio
is surely a type of Harlequin. The masked ball is the central event of the first half. The
word “mask” is a central metaphor in the play. All Italian comedy was masked. Masks
turn performers into symbols – but symbols with life - the masks in the play form a visual
parallel to the heavy symbolism and overt poetry in the text. This symbolism is surely the
key to ROMEO AND JULIET – the most formal of all Shakespeare’s plays. Formal
because it is constructed exactly like a sonnet. We have tried to explore Commedia
dell’arte within this play both to provide a sense of the Italian spirit, with its
passion for pictures, statues and images and its marvellous stylised energy – a
poetry in motion that is suited to this great poetic drama.
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Historical settings and Shakespeare
Shakespeare was fascinated by history and of course divided his own works into histories,
tragedies and comedies on his title pages. When he wishes, he can stay close to his
favourite historical sources - Plutarch’s Roman Lives and Holinshed’s British Histories.
However, Shakespeare was writing theatre not dramatised documentaries, his use of
history is poetic and dramatic – his best historical writing in, say, HENRY IV and
MACBETH strays well away from documented fact. At the Globe this symbolic
approach to the past was visually very much in evidence. Just as there was no specific
scenery for any one production, so the costume store of the Globe would have been used
by all productions; a piece of armour for Julius Caesar might double up as one for Hamlet’s
very contemporary ghost. (Renaissance painting applies the same laxity to historical
scenes). It is curious that most modern settings for Shakespeare follow a pattern set during
the late 19th century and fix the visual in a precise historical frame at the expense of
symbolic and poetic impact. In our own production we aim for a mix of Elizabethan, later
Baroque and contemporary music, masks and costumes in order to explore the dense
imagery of the original. Just as Shakespeare’s Verona is not a Verona that any traveller
would recognise, (no Arena for example!) but a gorgeous chaotic symbol of a world in one
city – as Romeo says:
There is no world without Verona walls,
But purgatory, torture, hell itself.
This is clearly not Italy he is talking about! So our Italy, in this production, is the densest
Italy we can conjure – the Italy of Casanova, Don Juan, Caravaggio, Bernini and
Harlequino – but also an Italy perceived through the English imagination. (We doubt that
Shakespeare ever went to Italy – but it was the USA of his day, the cultural dreamworld).
Our English music sets this Italian Dream, just as that very music was rooted in Palestrina
and the Italian composers who created the sound we call “classical”. As discussed above
Commedia dell’arte freed Shakespeare and his contemporaries from the simplicities of the
English religious drama they saw in their youth. But to return to our own production, we
too cannot ignore the passing of time, our own image of classical Italy is not the “doublet
and hose” of Elizabethan England but the flowing cloaks and masks of the Venetian
Carnival (Venice by the way ruled Verona for three hundred years). The Baroque began
in Italy, the statues and symbols that we turn to for inspiration are above all Italian –
products of a Golden Age that lasted from the Florence of the Medici to French Revolution.
Our Italy is an Italy of the imagination, we can only apologise to those who wish it were
a real place.
Shakespeare's theatre and TNT’s cycle of his plays.
The company has been performing Shakespeare’s works almost continuously since the
summer of 2000. Over one thousand performances have taken place in more than thirty
countries on three continents.
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The sequence was: MACBETH, A MIDSUMMER NIGHT’S DREAM, HAMLET,
ROMEO AND JULIET, KING LEAR and THE TAMING OF THE SHREW. Revivals of
these productions developed rather than repeated the first incarnations.
Shakespeare's texts remain the densest and richest theatrical texts we have been privileged
to work upon. While the quality of the poetry and depth of theme and character are well
known it is always a lesson in humility to discover the excellence of Shakespeare's
theatrical craft. We often sense that Shakespeare is “on our side” in rehearsals. This is
especially so when a company works as we do with resources similar to Shakespeare's
own. We have a small troupe of multi-skilled actors who double roles and even swap
genders as needed, we use live music and minimal set . We have to be able to perform
without theatre lighting. We have to appeal to a wide audience and our greatest weapon is
the imagination of that audience. The resources of a large modern theatre often impede
these plays. For example Shakespeare never had slow or complex set changes between
scenes, the plays should be fast and furious - how else can they fit “within the two hours
traffic of our stage” to quote ROMEO AND JULIET. Indeed it’s almost impossible to read
aloud ROMEO AND JULIET in two hours – surely this text was adapted for performance? This reflects the opinion of Frank Kermode, professor of English at Cambridge,
who’s excellent book on Shakespeare’s language influences our productions.
We will never know if the texts printed in the famous Folio edition of Shakespeare's
complete works some seven years after his death are definitive. It was thought so for many
years but now the weight of scholarship suggests that the Folio may represent a literary
version “written up” by Shakespeare for publication and private reading. Poetry had high
status in Elizabethan and Jacobean England, theatre was low status. Indeed the theatres
were to be closed within a generation of Shakespeare's death. Even in Shakespeare's
lifetime poetry began to threaten popular theatre. Soon after KING LEAR was written
Shakespeare's troupe moved to the Royal Court and the later, more poetic, plays lack the
muscular theatricality of his earlier works. (With the honourable exception of the
TEMPEST).
What is interesting is that there are alternative texts to the Folio, the so called Quartos,
(names that come from the smaller sheets of paper they were printed upon). Some of these
alternative texts may be corrupt, pirated copies but increasingly they are being recognised
as theatrical versions of the texts. They are shorter and often more dynamic. For example,
in the First Quarto of HAMLET (which TNT use as the basis for our production), there are
scenes that do not exist in the longer Folio. Hamlet's mother is reintroduced at a crucial
moment. The position of “To be or not to be” is different and better. These feel like
amendments Shakespeare made to the script after it was first performed. Many scholars
believe that the MACBETH we know is a short version of a longer play. There are no
“Quarto” versions of MACBETH and it is so much more focused than the other tragedies.
We have taken the standard text and edited it, presuming to make our own version much
as an acting company in Shakespeare's own time might have adapted and cut the original.
We have tried to approach the text in the spirit of the original. We hope that Shakespeare's
ghost will understand if not forgive.
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Venus & Mars
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William Shakespeare (1564-1616) was born to John Shakespeare and mother Mary Arden some
time in late April 1564 in Stratford-upon-Avon. There is no record of his birth, but his baptism
was recorded by the church, thus his birthday is assumed to be the 23 of April. His father was a
prominent and prosperous alderman in the town of Stratford-upon-Avon, and was later granted
a coat of arms by the College of Heralds. All that is known of Shakespeare's youth is that he
presumably attended the Stratford Grammar School, and did not proceed to Oxford or
Cambridge. The next record we have of him is his marriage to Anne Hathaway in 1582. The next
year she bore a daughter for him, Susanna, followed by the twins Judith and Hamnet two years
later.
Seven years later Shakespeare was recognized as an actor, poet, and playwright, when a rival
playwright, Robert Greene, referred to him as "an upstart crow" in "A Groatsworth of Wit." A
few years later he joined up with one of the most successful acting troupes in London: "The Lord
Chamberlain's Men." When, in 1599, the troupe lost the lease of the theatre where they
performed (appropriately called "The Theatre"), they were wealthy enough to build their own
theatre across the Thames, south of London, which they called "The Globe." The new theatre
opened in July of 1599, built from the timbers of "The Theatre", with the motto "Totus mundus
agit histrionem" (A whole world of players). When James I came to the throne (1603) the troupe
was designated by the new king as the "King's Men" (or "King's Company"). The Letters Patent
of the company specifically charged Shakespeare and eight others "freely to use and exercise the
art and faculty of playing Comedies, Tragedies, Histories, Interludes, Morals, Pastorals, stage
plays ... as well for recreation of our loving subjects as for our solace and pleasure."
Shakespeare entertained the King and the people for another ten years until June 19, 1613, when
a cannon fired from the roof of the theatre for a gala performance of Henry VIII set fire to the
thatch roof and burned the theatre to the ground. The audience ignored the smoke from the roof
at first, being too absorbed in the play, until the flames caught the walls and the fabric of the
curtains. Amazingly there were no casualties, and the next spring the company had the theatre
"new builded in a far fairer manner than before." Although Shakespeare invested in the
rebuilding, he retired from the stage to the Great House of New Place in Statford that he had
purchased in 1597, and some considerable land holdings, where he continued to write until his
death in 1616 on the day of his 52nd birthday.
Tragedies
Antony and Cleopatra
Coriolanus
Hamlet
Julius Caesar
King Lear
Macbeth
Othello
Romeo and Juliet
Timon of Athens
Titus Andronicus
Histories
King Henry IV Part 1
King Henry IV Part 2
King Henry V
King Henry VI Part 1
King Henry VI Part 2
King Henry VI Part 3
King Henry VIII
King John
Richard II
Richard III
Comedies
All's Well That Ends Well
As You Like It
The Comedy of Errors
Cymbeline
Love's Labour's Lost
Measure for Measure
The Merchant of Venice
Merry Wives of Windsor
A Midsummer Night's Dream
Much Ado About Nothing
Pericles, Prince of Tyre
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The Taming of the Shrew
The Tempest
Troilus and Cressida
Twelfth Night
Two Gentlemen of Verona
Winter's Tale
Poetry
A Lover's Complaint
Sonnets 1-30
Sonnets 121-154
Sonnets 31-60
Sonnets 61-90
Sonnets 91-120
The Passionate Pilgrim
The Phoenix and the Turtle
The Rape of Lucrece
Venus and Adonis
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PHIL SMITH was born in Coventry, England and studied
Drama at Bristol University. He is a co-founder of TNT
THEATRE with Paul Stebbings and their work has been performed from New York to Tokyo, from village halls to opera
houses. He has written or co-written over 100 professionally
produced plays and libretti. Since 1993 TNT have collaborated on numerous productions with the AMERICAN DRAMA
GROUP EUROPE, Phil working on these as co-writer and/or
dramaturg, including FAHRENHEIT 451 and THE TAMING
OF THE SHREW. Phil Smith is the author of: MYTHOGEOGRAPHY: A GUIDE TO WALKING SIDEWAYS (an artistic
form of exploring familiar places).
See: www.mythogeography.com and www.mis-guide.com
JOHN KENNY (musical director) has been writing
music for and performing with TNT Theatre since 1983. His
first collaboration with playwright Paul Stebbings, Cabaret
Faust, toured the UK for three years. Since then they have
collaborated on productions which have toured worldwide: TEMPEST NOW, THE WIZARD OF JAZZ, MOBY
DICK, MOON PALACE, THE TAMING OF THE SHREW,
ROMEO & JULIET, and THE MYSTERY OF EDGAR ALLAN
POE. In 2013 Kenny & Stebbings will collaborate on two new
music theatre productions: THE GHOST OF ILLIAM
DHONE, an historical drama to be premièred on the Isle
of Man, and THE WAVE, set in 1960’s America. As a
trombonist, John is internationally recognised as a leading interpreter of contemporary
music, having given solo recitals and broadcast in 46 nations to date. He is professor of
sackbut, specialising in early music, at the Royal Scottish Conservatoire, and professor of
trombone and the interpretation of contemporary music at the Guildhall School of Music and
Drama, London. His work embraces an unusually wide variety of styles, including backing
leading entertainers such as Frank Sinatra and Gladys Night, jazz artists including Chick
Corea and Steve Lacey, classical performance with ensembles such as the London Symphony
Orchestra and Ensemble Modern, and world music ensembles including La Banda Europa
and Kathryn Tickell’s Ensemble Mystical. He composes music for the concert hall, stage, and
film. In 2010 he undertook a month long toursolo of the USA. John is also deeply involved in
musical archaeology: as a memberof a team from the National Museum of Scotland he became
the first person for 2000 years to play the carnyx, a Celtic war horn which stands 4 meters high
when played. In 2003 he played the carnyx solo to an audience of 65.000 people in the Stade
de France, Paris!
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NATEY JONES is very excited to be involved in his second
tour with TNT Theatre and THE American Drama Group
Europe. Natey, who holds a degree in Law, was born and lives
in London, England. Having given up a career in law he trained
for two years at Identity Drama School. Upon leaving the school
in 2012 he took part in the first RADA Festival, appearing as
Steven in SLEEPWALK, and performed at the Rose Theatre,
Bankside playing the role of Lotario in CARDENIO. In 2013
Natey toured Germany with TNT Theatre for the first time
in the production of ONE LANGUAGE MANY VOICES. On
returning to London Natey played Oberon in Whistlestop
Theatre Company’s production of A MIDSUMMER NIGHT’S
DREAM at the Courtyard Theatre and the role of Zachary in
Daniel Rusteau’s THE TRUSTING PRINCESS. Outside of acting Natey is a lover of music,
fitness and all things football being an avid Manchester United supporter!
Georgie Ashworth graduated from the University of
Leeds in 2011 with a first class BA (Hons) degree in Theatre
and Performance before training at Arts Educational Schools
London, where she attained an MA in Acting. Whilst at
drama school her roles included Desdemona in OTHELLO,
Julia in TWO GENTLEMEN OF VERONA and Jenny in WOMEN,
POWER AND POLITICS NOW, a series of short plays performed
at The Tabard Theatre, London. Georgie also perfomed at the Arts
Educational Schools industry showcase at The Criterion
Theatre, London to conclude her training. Since graduating she
has been cast in a number of short films and site specific theatre
projects but is delighted to be making her professional theatre
debut as Juliet in TNT’s international tour of ROMEO AND
JULIET.
Darius McStay is very excited to be part of TNT’s
Romeo and Juliet, his first experience of both Shakespeare and performing outside the UK. He trained at the Drama
Studio London. Since graduating some of his more memorable
performances include: playing an irate Texan in Alan
Ayckbourn’s TONS OF MONEY, playing the lead last minute in
THE BEAUX STRATEGEM and regularly appearing in Agatha’s
Christie’s THE MOUSETRAP as an understudy when making
his London West End debut. He is also the proud father of a
beautiful daughter, an occasional playwright and is the sort of
man you could take home to meet your mother.
16
Ruth Cataroche was born in Leeds, West Yorkshire
and started her career with the National Youth Music Theatre
training at East 15 Acting School. Since grauduating in
2005, Ruth has worked for a variety of theatre and television
companies including Starveling in A MIDSUMMER NIGHT’S
DREAM, British Touring Shakespeare Company, Azdak in
CAUCASIAN CHALK CIRCLE, Blackeyed Theatre Company,
Mrs Bennet in PRIDE AND PREJUDICE, Illyria Theare Company and Nurse Gemma Scales in EMMERDALE, ITV. Ruth is also
an accomplished actor/musician and has worked on a number
of projects incorporating music, masks and puppetry. When not
on tour, Ruth enjoys spending time on her narrowboat, where
she lives with her husband.
Jude Owusu was born in Ghana and emigrated with
his family to the United Kingdom at the age of 7. Though
challenging, the first years of his arrival to the UK became the
foundation for his passion as an actor. Lacking the cultural
comprehensions of a new country and unable to grasp the
language, acting became an outlet of self expression for Jude;
the ability to tell stories and the need to communicate, has
been a constant source of inspiration. After leaving school, he
attended the Oxford School of Drama where he honed his craft.
Since graduating in 2010 Jude has been seen in theatre plays like
JULIUS CAESAR as Cinna the Poet at the Royal Shakespeare
Company, THE COMEDY OF ERRORS as Merchant at The
National Theatre and WAYNE ROONEY as Wayne Rooney at The Etcetera Theatre. His TV appearances include The Bill: WITNESS WALL OF SILENCE and
INNOCENT BLOOD as Marlon Reed.
Damien Warren-Smith was born in Scotland but
grew up in rural Australia. He graduated from Actors Centre
Australia before moving back to the UK where he worked
with theatre companies such as Hull Truck, Nottingham
Playhouse, Catherine Wheels, Tall Stories, among others.
Television work includes Law & Order: UK, The Persuasionists, and Love My Way. He recently trained as
a clown at École Philippe Gaulier in France. This is his first
production with TNT.
17
JULIANE KASPRZIK was born in north Germany. She
studied design in Hamburg. She has worked extensively in
German theatre, designing or assisting for the Hamburg Schauspielhaus and the c ity theatres in Kassel, Darmstadt as well
as the Residenz theatre in Munich and many theatres on the
“Free” or alternative scene in Germany’s theatre capital such
as ETA and Theaterzelt. She has designed costumes for the all
recent TNT and ADGE productions including FRANKENSTEIN,
HAMLET , THE WAVE, A CHRISTMAS CAROL, MACBETH,
DR JEKYLL & MR HYDE and THE TAMING OF THE SHREW.
ARNO SCHOLZ (set design) was born in Berlin and has
lived in Munich for many years. He studied at the Muenchner Kunstakademie. After two years at the Theater der Jugend he started creating and building stage sets. Since
then he has created many sets for independent theatres:
Vaganten Buehne Berlin, Theater in der Garage Erlangen,
TamS Theatre, Theater 44 and Modernes Theater in Munich
and also for THE AMERICAN DRAMA GROUP EUROPE.
He has also worked on TV productions for example Tatort
Detective series but is now focusing on set building for touring
theatre. He has designed and constructed sets for all of TNT’s
recent productions including ROMEO AND JULIET, DON
QUIJOTE, HAROLD AND MAUDE, OTHELLO and DEATH OF A SALESMAN, THE WAVE,
DR JEKYLL AND MR HYDE, BRAVE NEW WORLD, etc.
TOM WARD trained in dance and choreography at
London Contemporary Dance School in 1986. Since leaving
he has danced with London Contemporary Dance Theatre,
Rambert Dance Company, DV8, Adventures In Motion Pictures
and many others. He has worked with TNT and ADG Europe,
Complicite, Royal National Theatre London and appeared in
several musical theatre productions including Hair at The Old
Vic, Cabaret at The Lyric Theatre in London’s West End and
most recently has been playing the role of Frank Sinatra in The
Rat Pack Live From Las Vegas Tour around the UK, Europe
and America. He is pleased to be back working on the creative
team with TNT and ADG Europe.
18
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ROMEO AND JULIET
by William Shakespeare
adapted and edited for TNT theatre by Paul Stebbings
ROMEO AND JULIET 2008 draft Oct TNT
A public place in Verona - GREGORY and SAMPSON are sharpening their weapons
as the audience enters – the scraping is harsh – blending with music cue 1 M1
Note: This is an experimental scene – it was not in the first production – so flexibility
will be needed. There may well be some cuts I have included nearly all the scene in
order to have raw material – this will affect the music of course – maybe a loop is in
order that we can trim – since the theme is an endless cycle/circle of violence.
SAMPSON
I strike quickly, being moved.
GREGORY
But thou art not quickly moved to strike.
SAMPSON
A dog of the house of Montague moves me.
GREGORY
To move is to stir; and to be valiant is to stand:
therefore, if thou art moved, thou runn'st away.
SAMPSON
A dog of that house shall move me to stand: I will
take the wall of any man or maid of Montague's.
GREGORY
That shows thee a weak slave; for the weakest goes
to the wall.
SAMPSON
True; and therefore women, being the weaker vessels,
are ever thrust to the wall: therefore I will push
Montague's men from the wall, and thrust his maids
to the wall.
GREGORY
The quarrel is between our masters and us their men.
SAMPSON
'Tis all one, I will show myself a tyrant: when I
have fought with the men, I will be cruel with the
maids, and cut off their heads.
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GREGORY
The heads of the maids?
SAMPSON
Ay, the heads of the maids, or their maidenheads;
take it in what sense thou wilt.
GREGORY
They must take it in sense that feel it.
SAMPSON
Me they shall feel while I am able to stand: and
'tis known I am a pretty piece of flesh.
GREGORY
'Tis well thou draw thy tool! here comes
two of the house of the Montagues.
SAMPSON
My naked weapon is out: quarrel, I will back thee.
GREGORY
How! turn thy back and run?
SAMPSON
Fear me not.
GREGORY
No, marry; I fear thee!
SAMPSON
Let us take the law of our sides; let them begin.
GREGORY
I will frown as I pass by, and let them take it as
they list.
SAMPSON
Nay, as they dare. I will bite my thumb at him;
which is a disgrace to them, if they bear it.
TYBALT and other (enters)
Do you bite your thumb at us, sir?
SAMPSON
TYBALT
Do you bite your thumb at us, sir?
SAMPSON
[Aside to GREGORY] Is the law of our side, if I say
ay?
GREGORY
No.
SAMPSON
No, sir, I do not bite my thumb at you, sir, but I
bite my thumb, sir.
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GREGORY
Do you quarrel, sir?
TYBALT
Quarrel sir! no, sir.
SAMPSON
If you do, sir, I am for you: I serve as good a man as you.
TYBALT
No better.
SAMPSON
Well, sir.
GREGORY
Say 'better:' here comes one of my master's kinsmen.
SAMPSON
Yes, better, sir.
TYBALT
You lie.
SAMPSON
Draw, if you be men. Gregory, remember thy swashing blow.
They fight
Enter BENVOLIO
BENVOLIO
Part, fools!
Put up your swords; you know not what you do.
Beats down their swords
Enter TYBALT
TYBALT
What, art thou drawn among these heartless hinds?
Turn thee, Benvolio, look upon thy death.
BENVOLIO
I do but keep the peace: put up thy sword,
Or manage it to part these men with me.
TYBALT
What, drawn, and talk of peace! I hate the word,
As I hate hell, all Montagues, and thee:
Have at thee, coward!
They fight
(Note there is a natural break or change here when t he actual fighting starts and
BENVOLIO tries to stop it – overall the scene can all have music but it might be
that as BENVOLIO stops the fighting the music also stops? – making the music
their testosterone – their threat which builds from potential to actual violence).
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They fight M.2 – frozen music and action for Death
PROLOGUE – masked DEATH:
Two households, both alike in dignity,
In fair Verona, where we lay our scene,
From ancient grudge break to new mutiny,
Where civil blood makes civil hands unclean.
From forth the fatal loins of these two foes
A pair of star-cross'd lovers take their life;
Whole misadventured piteous overthrows
Do with their death bury their parents' strife.
The fearful passage of their death-mark'd love,
And the continuance of their parents' rage,
Which, but their children's end, nought could remove,
Is now the two hours' traffic of our stage;
The which if you with patient ears attend,
What here shall miss, our toil shall strive to mend.
(He passes his hand over the frozen fighters – one falls Note: I think previous section is clear – Death freezes life and music - although he
could have a sound like a wind or something that accompanies him ???
They fight – return to music M2/b
Enter, several of both houses, who join the fray;
CAPULET
What noise is this? Give me my long sword, ho!
My sword, I say! Old Montague is come,
And flourishes his blade in spite of me.
Enter MONTAGUE
MONTAGUE
Thou villain Capulet,-They fight
Enter PRINCE, with Attendants FANFARE/Drums M3
PRINCE
Rebellious subjects, enemies to peace,
Profaners of this neighbour-stained steel,-Will they not hear? What, ho! you men, you beasts,
That quench the fire of your pernicious rage
With purple fountains issuing from your veins,
On pain of torture, from those bloody hands
Throw your mistemper'd weapons to the ground,
And hear the sentence of your moved prince.
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Three civil brawls, bred of an airy word,
By thee, old Capulet, and Montague,
Have thrice disturb'd the quiet of our streets,
And made Verona's ancient citizens
Cast by their grave beseeming ornaments,
To wield old partisans, in hands as old,
Canker'd with peace, to part your canker'd hate:
If ever you disturb our streets again,
Your lives shall pay the forfeit of the peace.
Once more, on pain of death, all men depart.
Exeunt all but MONTAGUE, BENVOLIO
MONTAGUE
Who set this ancient quarrel new abroach?
Speak, nephew, were you by when it began?
BENVOLIO
Here were the servants of your adversary,
And yours, close fighting ere I did approach:
I drew to part them: in the instant came
The fiery Tybalt, with his sword prepared,
While we were interchanging thrusts and blows,
Came more and more and fought on part and part,
Till the prince came, who parted either part.
LADY MONTAGUE
O, where is Romeo? saw you him to-day?
Right glad I am he was not at this fray.
BENVOLIO
Many a morning hath he there been seen,
With tears augmenting the fresh morning dew.
Adding to clouds more clouds with his deep sighs;
Black and portentous must this humour prove,
Unless good counsel may the cause remove.
My noble uncle, do you know the cause?
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Death and the Maiden
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ROMEO:
The time and my intents are savage-wild,
More fierce and more inexorable far
Than empty tigers or the roaring sea.
Thou detestable maw, thou womb of death,
Gorged with the dearest morsel of the earth,
Thus I enforce thy rotten jaws to open,
And, in despite, I'll cram thee with more food!
A grave? O no! a lantern,
For here lies Juliet, and her beauty makes
This vault a feasting presence full of light.
Death, lie thou there, by a dead man interr'd.
How oft when men are at the point of death
Have they been merry! which their keepers call
A lightning before death: O, how may I
Call this a lightning? O my love! my wife!
Death, that hath suck'd the honey of thy breath,
Hath had no power yet upon thy beauty:
Thou art not conquer'd; beauty's ensign yet
Is crimson in thy lips and in thy cheeks,
And death's pale flag is not advanced there.
Tybalt, liest thou there in thy bloody sheet?
O, what more favour can I do to thee,
Than with that hand that cut thy youth in twain
To sunder his that was thine enemy?
Forgive me, cousin! Ah, dear Juliet,
Why art thou yet so fair? shall I believe
That unsubstantial death is amorous,
And that the lean abhorred monster keeps
Thee here in dark to be his paramour?
For fear of that, I still will stay with thee;
And never from this palace of dim night
Depart again: here, here will I remain
With worms that are thy chamber-maids; O, here
Will I set up my everlasting rest,
And shake the yoke of inauspicious stars
From this world-wearied flesh. Eyes, look your last!
Arms, take your last embrace! and, lips, O you
The doors of breath, seal with a righteous kiss
A dateless bargain to engrossing death!
Come, bitter conduct, come, unsavoury guide!
Thou desperate pilot, now at once run on
The dashing rocks thy sea-sick weary bark!
Here's to my love!
Drinks
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O true apothecary!
Thy drugs are quick. Thus with a kiss I die.
Dies (Music can now rise to crescendo as he dies and Juliet dreamily awakes,
JULIET
(reviving during Romeo's death – the kiss waking her).
What's here? a cup, closed in my true love's hand?
Poison, I see, hath been his timeless end:
O churl! drunk all, and left no friendly drop
To help me after? I will kiss thy lips;
Haply some poison yet doth hang on them,
To make die with a restorative.
Kisses him
Thy lips are warm. (Perhaps his death agony or rattle is also a song?).
FIRST WATCHMAN
[Within] Lead, boy: which way?
JULIET
Yea, noise? then I'll be brief. O happy dagger!
Snatching ROMEO's dagger
This is thy sheath;
Stabs herself
there rust, and let me die.
Falls on ROMEO's body, and dies
Enter, at the other end of the churchyard, FRIAR LAURENCE – music now ends –
FRIAR LAURENCE (note the FRIAR might keep the, here cut, dialogue with JULIET
– to be decided in rehearsal).
Saint Francis be my speed! how oft to-night
Have my old feet stumbled at graves! Who's there?
Fear comes upon me:
O, much I fear some ill unlucky thing.
Romeo! Advances Enters the tomb
Romeo! O, pale! Who else? Ah, what an unkind hour
Is guilty of this lamentable chance!
VOICE:
This is the place; there, where the torch doth burn.
(Death emerges from shadows on tomb).
FRIAR: I dare no longer stay. (Pulls curtains and covers dead - flees).
FIRST WATCHMAN
Pitiful sight! here lies Romeo slain,
And Juliet bleeding, warm, and newly dead,
Who here hath lain these two days buried.
Go, tell the prince: run to the Capulets:
Raise up the Montagues:.
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Enter the PRINCE and Attendants
PRINCE
What misadventure is so early up,
That calls our person from our morning's rest?
Enter CAPULET, and others (Silence now – prosaic – still perhaps cold and wet but a
contrast to the ecstatic resurrection to come).
CAPULET
The people in the street cry Romeo,
Some Juliet, and all run,
With open outcry toward our monument.
PRINCE
What fear is this which startles in our ears?
FIRST WATCHMAN
Sovereign, here lies Romeo dead; and Juliet, dead before,
Warm and new kill'd.
PRINCE
Search, seek, and know how this foul murder comes.
FIRST WATCHMAN
Here is a friar,
With instruments upon him, fit to open
These dead men's tombs.
CAPULET
O heavens! look how my daughter bleeds!
O me! this sight of death is as a bell,
That warns my old age to a sepulchre.
Enter MONTAGUE and others
PRINCE
Come, Montague; for thou art early up,
To see thy son and heir more early down.
MONTAGUE
What further woe conspires against mine age?
PRINCE
Look, and thou shalt see.
MONTAGUE
O Romeo! what manners is in this?
To go before thy father to a grave?
PRINCE
Seal up the mouth of outrage for a while,
Till we can clear these ambiguities,
Bring forth the parties of suspicion.
FRIAR LAURENCE
I am the greatest, able to do least,
Yet most suspected of this direful murder;
And here I stand, both to impeach and purge
Myself condemned and myself excused.
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PRINCE
Then say at once what thou dost know in this.
FRIAR LAURENCE
Romeo, there dead, was husband to that Juliet;
And she, there dead, that Romeo's faithful wife:
I married them;
All this I know; and to the marriage
Her nurse is privy: and, if aught in this
Miscarried by my fault, let my old life
Be sacrificed, some hour before his time,
Unto the rigour of severest law.
PRINCE
We still have known thee for a holy man.
Where be these enemies? Capulet! Montague!
See, what a scourge is laid upon your hate,
That heaven finds means to kill your joys with love.
CAPULET
O brother Montague, give me thy hand:
This is my daughter's jointure, for no more
Can I demand.
MONTAGUE
But I can give thee more:
For I will raise her statue in pure gold;
That while Verona by that name is known,
There shall no figure at such rate be set
As that of true and faithful Juliet.
CAPULET
As rich shall Romeo's by his lady's lie;
Poor sacrifices of our enmity!
PRINCE
A glooming peace this morning with it brings;
The sun, for sorrow, will not show his head:
Go hence, to have more talk of these sad things;
Some shall be pardon'd, and some punished:
For never was a story of more woe
Than this of Juliet and her Romeo.
(Exeunt -M27 All sing as a Golden Romeo and Juliet rise on high above the tomb and
freeze as statues). This might be the lyrics of Heart’s Ease??
THE END
28
TNT THEATRE
The company was founded in 1980 by Paul Stebbings and other actors trained in the Grotowski method in Britain and Poland. While valuing the imaginative and physical techniques of
the Polish director they wanted to extend their work into comic and popular forms with greater contemporary relevance. Their first production, HARLEQUIN, was a commedia dell’arte
based on the life of the Russian artist Meyerhold and his struggles with Stalin. (The play
was revived in 1989 and became the first play about Stalinism to be performed throughout
Eastern Europe after the fall of the Berlin Wall). Other productions took popular forms and
explored serious themes; such as finance and fairy tales in FUNNY MONEY, vaudeville and
war in ENGLISH TEA PARTY and the detective thriller and violence in THE MURDER OF
SHERLOCK HOLMES. Since its foundation all TNT productions have been written or
edited by Paul Stebbings and Phil Smith. The company’s approach to the classics is to critically
examine the themes of the original rather than slavishly present a hallowed text. Since 2000
the company has extended this approach to interpretations of Shakespeare with considerable
international success.
Music plays an important role in the company’s work, and most productions include a newly
commissioned score. Notable music theatre productions include CABARET FAUST (inspired
by Klaus Mann’s MEPHISTO) and the WIZARD OF JAZZ (prize winner at the Munich Biennale) both scored by composer John Kenny. TNT’s most ambitious production was the integrated drama, dance and music version of Melville’s MOBY DICK, with a score by John Kenny
and Paul Flush. Other long term members of TNT are the choreographer Eric Tessier Lavigne
and composer Thomas Johnson.
TNT began its collaboration with The American Drama Group Europe and producer
Grantly Marshall in 1993. Notable productions include BRAVE NEW WORLD, LORD OF THE
FLIES, FAHRENHEIT 451, DEATH OF A SALESMAN, OLIVER TWIST and many of Shakespeare’s greatest plays including our recent award winning HAMLET, KING LEAR and THE
TAMING OF THE SHREW. TNT has received regular funding from the British Council and
the UK Arts Council and collaborated or co-produced with organisations such as Athens Concert Hall (Megaron), The St Petersburg State Comedy Theatre (Akimov), Tams Theatre Munich and St Donats Arts Centre (Wales) and the current long term collaborations with Costa
Rica’s Teatro Espressivo and ongoing work in Mandarin and English with the one of China’s
leading theatres: the Shanghai Dramatic Arts Centre. Paul Stebbings new play THE GHOST OF
ILLIAM DHONE was recently staged by TNT for Manx Heritage in Britain. TNT has toured
from the London to Jerusalem, from Guatemala to Tokyo, from Atlanta to St Petersburg and
Jakarta to Berlin in venues that range from opera houses to village halls and from Royal
palaces to National theatres. We borrow our motto from the great Soviet theatre director
Meyerhold: “Tragedy with a smile on its lips”.
Repertoire 2013/14:
ROMEO AND JULIET and HAMLET by William Shakespeare, FRANKENSTEIN – THE
MONSTER & THE MYTH, A CHRISTMAS CAROL by Charles Dickens (in Spanish and
English) , DON QUIJOTE (in Spanish), THE WAVE (an exploration of the roots of fascism),
OLIVER TWIST (in Mandarin) DR JEKYLL & MR HYDE by Robert L Stevenson and a multicultural project ONE LANGUAGE MANY VOICES based on Britain’s colonial experience.
Further details: [email protected]
TNT, Koduke, Taddyforde Court, Exeter EX4 4AR, Britain.
29
GRANTLY MARSHALL
Actor, producer, founder of THE
AMERICAN DRAMA GROUP
EUROPE, begins his 36th season.
This is his 269th production.
GUNNAR FRED KUEHN
Canadian actor, director, and producer has been with the company for 32
years. He is currently producing in
The Netherlands, Slovenia, Hungary,
Italy and Austria.
CHRISTIAN WERNER
After a successful career as a
computer engineer he begins his
second profession with ADGE.
A true meeting of the minds.
ANGELIKA MARTIN
has been involved in cultural management since the 1980’s. After completing assignments with various city
governments in Germany, she became
freelance and has worked with ADGE
for the past 18 seasons.
STEFANI HIDAJAT, author and student,
is now completing her Masters Degree at the
University of Münster. She joined ADGE in
the spring of 2013 and hopes to help
organize tours in her native Indonesia.
30
THE AMERICAN DRAMA GROUP EUROPE - HISTORY
THE AMERICAN DRAMA GROUP EUROPE was formed by Ohio native Grantly Marshall in
1978 in the city of Munich. It was linked in the beginning to the University of Munich where
the first performances were held. It expanded quickly to other theatres in Munich and also
began to give guest performances in other German cities. The expansion was continued to
include many countries in Europe and Asia.
The actors come from New York, London, and Paris (in 1985 French theatre performances were added to our repertoire) where the productions are cast and directed. The plays
performed include American, British, and French classic and modern dramas such as DEATH
OF A SALESMAN, A STREETCAR NAMED DESIRE, OUR TOWN, WHO’S AFRAID OF VIRGINIA WOOLF?, ARSENIC AND OLD LACE, HAROLD AND MAUDE, OF MICE AND MEN,
EDUCATING RITA, KING LEAR, THE CANTERVILLE GHOST, AMADEUS, SLEUTH, A
CHRISTMAS CAROL, ANIMAL FARM, THE PICTURE OF DORIAN GRAY, OLIVER TWIST,
THE BEGGAR’S OPERA, THE IMPORTANCE OF BEING EARNEST, THE GLASS MENAGERIE, LE PETIT PRINCE, RHINOCEROS, HUIS CLOS, LE BOURGEOIS GENTILHOMME,
ANTIGONE, FABLES, EXERCICES DE STYLE, CAT ON A HOT TIN ROOF, DAVID COPPERFIELD, THE GREAT GATSBY, MOBY DICK, PYGMALION, THE GRAPES OF WRATH,
MAUPASSANT, DR JEKYLL AND MR HYDE, MACBETH, THE GHOSTS OF POE, DINNER
FOR ONE, CANDIDE.
The goal of THE AMERICAN DRAMA GROUP EUROPE is to perform high quality theatre
in as many countries in the world as possible. Our 2013-2014 schedule includes the following
productions: THE GHOST OF ILLIAM DHONE, THE WAVE, DR JEKYLL AND MR HYDE,
PETER PAN, A CHRISTMAS CAROL, MACBETH, LES BOURGEOIS GENTILHOMME, DINNER FOR ONE, ONE LANGUAGE MANY VOICES, DON QUIXOTE, ROMEO AND JULIET
In 1994 THE AMERICAN DRAMA GROUP EUROPE began touring European Castles.
CASTLE TOUR 2013 THE TAMING OF THE SHREW - features many illustrious places and
surprises. We are hoping to make it a pan-European tour. Wish us luck with the weather.
We hope that you will be able to attend and enjoy our performances and wish you all the best
for the coming theatre season.
Grantly Marshall Munich, January 2014
31
Presents
THEATRE SEASON 2013/2014
THE GHOST OF ILLIAM DHONE - Paul Stebbings / Phil Smith
THE WAVE - Morton Rhue
DR JEKYLL AND MR HYDE - Robert Louis Stevenson
PETER PAN - JM Barrie
A CHRISTMAS CAROL - Charles Dickens (2 versions)
MACBETH - William Shakespeare
LES BOURGEOIS GENTILHOMME - Moliere (French language)
DINNER FOR ONE - Laurie Wylie
ONE LANGUAGE MANY VOICES - Conrad, Achebe, Maugham, Rushdie
DON QUIXOTE - Miguel de Cervantes (Spanish language)
CASTLE TOUR 2014
ROMEO AND JULIET - William Shakespeare
THE AMERICAN DRAMA GROUP EUROPE
TNT THEATRE
KodukeTaddyforde Court
Exeter EX4 4AR
E mail: [email protected]
ART PROMOTION
Feldstr. 21
D-85445 Oberding
Tel. 08122 / 4 26 66
Fax 08122 / 4 26 67
[email protected]
Grantly Marshall
Karolinenplatz 3
D-80333 München
Tel: (49) 89 / 34 38 03
Fax: (49) 89 / 189 09 68 28
[email protected]
www.adg-europe.com
THEATRE EN ANGLAIS
Tel et fax: 33(0)1 55 02 37 87
http://theatre.anglais.free.fr
4 bis rue de Strasbourg, 92600
Asnières-Sur-Seine, France
TOUR DE FORCE THEATRE
87A High Street
Tring, Herts HP 23 4 AB
Tel: 0044-1442-827934
[email protected]
www.tdf.theatre.com