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Introduction Dear Friends, Welcome to the start of the 2007-08 season, and to our fourth collaboration with Theatre de la Jeune Lune. The performance that you'll see this evening is part of a double-bill, Don Juan Giovanni and Figaro, two “opera-plays” that blend elements from Mozart, Molière, and Beaumarchais to create something quite new. The two productions are performed by a single cast of actors and opera singers, most of whom will be familiar to you from our earlier projects with Jeune Lune, The Miser, Amerika or the Disappearance, and Carmen. Each of the opera-plays stands alone, but to get the full effect we hope that you will see both of them, since they create a fascinating dialogue with each other. I love these productions because they demonstrate the great theatrical invention that we have come to expect from Jeune Lune, blending seriousness and whimsy, intertwining opera and classical drama, switching genres and tones often without warning. But more than this, I love the games that both Don Juan Giovanni and Figaro play with time. Each is a meditation on the power that the past holds over us, both personally and historically. Each is a ghost story, in which the protagonists Don Juan, the Count, Figaro are haunted by their former selves and deeds. They are ghost stories in a larger sense too, for they invite us to notice in our own age echoes and shadows of the French Revolution, the bloody cradle of democracy, and they remind us that past, present and future are wonderfully and terrifyingly entangled. I hope these productions give you great pleasure, and that you'll join us for the other six productions of our 2007-08 season. Best wishes, Gideon Lester Acting Artistic Director Professional Company • 2007–08 Season Remo Airaldi Christina Baldwin Dieter Bierbrauer Bryan Boyce Oya Campelle Thomas Derrah Steven Epp Jeremy Geidt Bradley Greenwald Laura Heisler Carrie Hennessey Bryan Janssen Paula Langton Will LeBow Karen MacDonald Dan McCabe Nazmiye Oral Jennifer Baldwin Peden Meral Polat Dominique Serrand Mara Sidmore Nilaja Sun Momoko Tanno TO OUR AUDIENCE To avoid disturbing our seated patrons, latecomers (or patrons who leave the theatre during the performance) will be seated at the discretion of the management at an appropriate point in the performance. By union regulation: • Taking photographs and operating recording equipment is prohibited. • All electronic devises such as pagers cellular phones, and watch alarms should be turned off during the performance. By Cambridge ordinance, there is no smoking permitted in the building. SEASON 07/08 Comedies and dramas, music and satire, plays about childhood and revolution, science and love – this season offers an amazing range of theatrical experiences. Donnie Darko Copenhagen October 27 – November 18 November 24 – December 23 No Child… Julius Caesar January 3 – February 3 February 9 – March 22 Create your own, personalized A.R.T. theatre series See 3 or more plays and save up to 27% over single ticket prices Join us. Create your customized theatre series by choosing three or more productions from those listed below. Along with your series purchase, you'll receive a host of special privileges, including: Elections and Erections A Chronicle of Fear & Fun April 3 – May 4 FREE ticket exchange Discounts on nearby parking, fine dining, and tickets to other area theatres ARTicles: a behind-thescenes look at each production and info on A.R.T. and other artsrelated happenings Pre- or post-performance discussions on selected dates Childcare at affordable prices for selected Saturday matinees *Special Event: The Veiled Monologues October 16 - 21 *Due to its limited run, The Veiled Monologues is not available as part of a series. Series brochures are available at the box office. Cardenio May 10 – June 8 www.amrep.org 617.547.8300 Zero Arrow Theatre Our exciting second performance space! “Boston’s Best New Theatre” – Improper Bostonian 2005 The A.R.T.’s flexible and intimate second performance space at the intersection of Arrow Street and Mass. Avenue in Cambridge is now two years old! This three hundred-seat theatre serves as an incubator for new work in addition to hosting performances by the A.R.T./MXAT. Institute for Advanced Theatre Training. Performance times and dates will be updated on the A.R.T.’s website (www.amrep.org). Don’t miss the adventure of new work, young artists, and multiple disciplines all at affordable prices—the signature mission of ZERO ARROW THEATRE. The American Repertory theatre and the Institute for Advanced Theatre Training at Harvard are supported in part by major grants from The Andrew W. Mellon Foundation, the Doris Duke Charitable Foundation, The Shubert Foundation, and the Carr Foundation. The A.R.T. also gratefully acknowledges the support of Harvard University, including president Drew Gilpin Faust, Provost Steven E. Hyman, Faculty of Arts and Sciences Dean Michael D. Smith, the Committee on Dramatics, Dean Michael Shinagel, and the School of Continuing Education. We also wish to give special thanks to our audience and to the many A.R.T. Annual Fund donors for helping us make this season possible. American Repertory Theatre Advisory Board Philip Burling Co-Chair Ted Wendell Co-Chair Joseph Auerbach, emeritus George Ballantyne Page Bingham William H. Boardman, Jr. Robert Brustein Paul Buttenwieser Greg Carr Caroline Chang Antonia Handler Chayes Clarke Coggeshall Kathleen Connor Robert Davoli Charles Gottesman Barbara W. Grossman Ann Gund Joseph W. Hammer Horace H. Irvine II Michael E. Jacobson Michael B. Keating Glenn KnicKrehm Myra H. Kraft Barbara Lemperly Grant Carl J. Martignetti Dan Mathieu Eileen McDonagh Rebecca Gold Milikowsky Ward Mooney Anthony Pangaro Beth Pollock Jeffrey Rayport Michael Roitman Henry Rosovsky Linda U. Sanger John A. Shane Michael Shinagel Donald Ware Sam Weisman The A.R.T./Harvard Board of Directors Philip Burling Luann Godschalx Jonathan Hurlbert (clerk) Judith Kidd Robert James Kiely Jacqueline A. O'Neill (chair) Robert J. Orchard (*) Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. Actors’ Equity Association (AEA), founded in 1913, represents more than 45,000 actors and stage managers in the United States. Equity seeks to advance, promote and foster the art of live theatre as an essential component of our society. Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. AEA is a member of the AFL-CIO, and is affiliated with FIA, an international organization of performing arts unions. The Equity emblem is our mark of excellence. www.actorsequity.org American Repertory Theatre in association with Theatre de la Jeune Lune and the Loeb Drama Center present DON JUAN GIOVANNI Based on the work of Molière and Mozart From the original production by Steven Epp, Felicity Jones, Dominique Serrand, and Paul Walsh FIGARO Based on the work of Beaumarchais and Mozart Conception by Steven Epp and Dominique Serrand Text by Steven Epp Music Adapted by Bradley Greenwald Directed by Dominique Serrand Music direction and Piano by Barbara Brooks Scenography by Dominique Serrand Costume design by Sonya Berlovitz Lighting Design by Marcus Dilliard Video design by Dominique Serrand Surtitles by Steven Epp Stage Manager Glenn D. Klapperich Assistant Stage Manager Christopher DeCamillis CAST Don Juan Giovanni Charlotte CHRISTINA BALDWIN* Peter DIETER BIERBRAUER* Don Giovanni BRYAN BOYCE* Sganarelle STEVEN EPP* Leporello BRADLEY GREENWALD* Girl CARRIE HENNESSEY* Commendatore BRYAN JANSSEN Elvire JENNIFER BALDWIN PEDEN* Don Juan DOMINIQUE SERRAND* Donna Anna MOMOKO TANNO* Figaro Cherubino Basilio Figaro Fig Count Almaviva Marcellina Bartolo Countess Mr. Almaviva Susanna String quartet: Daniel Stepner and Julie Leven, violins; Laura Jeppesen, viola; Guy Fishman, cello Running time for both productions is two hours and forty-five minutes, including one fifteen-minute intermission. Theatrical smoke, gunshots, and strobe lights are used. Additional Staff: Dan Lori, Production Manager, Theatre de la Jeune Lune; Anna Lawrence, Camera Operator; Paulina Jurzec, Video Operator; Katrina MacGuire, Production Sound Engineer; Juliana Reisinger, Assistant Set Designer; Kristen Knutson, Scenery Assistant. First performance August 31, 2007. The first version of Don Juan Giovanni was produced in 1994 in association with Berkeley Repertory Theatre. First performance September 7, 2007. The first version of Figaro produced in 2003 at the Theatre de la Jeune Lune. Don Juan Giovanni Synopsis Act One Sganarelle, Don Juan’s long-suffering servant, is tired and jealous of his master’s libertine ways. Juan lurches from one sexual escape to another, while Sganarelle is left to pick up the pieces and drive the escape car. But when Sganarelle tries to raise moral objections, Don Juan runs rhetorical circles around him and persuades him to continue—and so the pattern of their life together continually repeats itself as the two of them motor across the country in an unending road trip to nowhere. One day, at a drive-in movie, Don Juan and Sganarelle meet their counterparts Don Giovanni and Leporello. Giovanni, in disguise has attempted to seduce the wealthy Donna Anna, who runs into the street calling for help (“Non sperar, se non m’uccidi”). Her father, the Commendatore, comes to her aide, but is killed in the ensuing brawl. Leporello consoles Anna, who makes him vow to avenge her father’s death (“Era glia alquanta”). Giovanni and Leporello escape in the car with Juan and Sganarelle. Juan has misgivings about the newcomers, but when Giovanni reveals his true identity (“Madamina”) they embrace each other as long-lost cousins. The four travelers meet Peter, a simple mechanic, and con him out of a tank of gas for the car. Thrilled at their success they drive on (“Fin ch’han dal vino”). Soon, though, they run into Juan’s estranged wife Elvire, who accosts her runaway husband (“Ah, chi mi dice mai”). Juan attempts to reason with her, but Elvire curses him before heaven and storms off in a fury. The mechanic Peter, meanwhile, is having difficulties with his fiancèe Charlotte, who appears not to love him. The car reappears, and Juan and Giovanni manage to steal Charlotte from Peter and seduce her (“La ci darem la mano”), Peter is left alone to mourn another loss (“Dalla sua pace”). The tangled love plots converge as Elvire, Anna, and Charlotte all meet, and chaos and confusion ensue (“Non ti fidar”). The men slip away, and Anna renews her vow to avenge herself on Giovanni and Juan (“Or sai chi l’onore”). The women steal clothes from the car and disguise themselves. Juan and Sganarelle, briefly alone, reminisce about their childhood together. As they drive on they encounter the three women, now disguised as men, who beg Juan and Sganarelle to help them (“Protegga il giusto cielo”). Giovanni and Leporello reappear (“ Viva la liberta”), Peter soon joins them, and general mayhem ensues (“ Tutto gia si sa!”). Act Two Don Giovanni, alone with Leporello, rebukes his servant for his part in the pandemonium (“Eh via, buffone”). They leave and Sganarelle and Don Juan arrive in disguise—Sganarelle as a nurse, Juan as her patient. When Peter enters they continue to abuse him, then abandon him once more, alone and bruised. Charlotte appears and comforts him (“ Vedrai, Carino”). Both Juan and Giovanni begin to reflect on the nature of life and love (“Deh vieni alla finestra”). Juan contemplates the start of his love affair with Elvire, who mysteriously appears. Juan dresses Sganarelle up as himself, and using him as a stand-in, watches himself seducing Elvire all over again (“A taci, inguisto core”) and is surprised to discover that he still harbors feelings for her. Meanwhile Anna, Charlotte, Peter rage about their mistreatment at the hands of Juan and Giovanni (“Sola, sola in buio loco”). Don Juan Giovanni Sganarelle is driving, but blinded by his fury at Juan’s callousness he crashes the car, which starts to bleed. A supernatural air begins to overwhelm the protagonists, as a mechanic appears, singing the fate music of the Commendatore (“Di rider finirai”). Juan orders Sganarelle to prepare for a great banquet, the time has come for him to have dinner with the ghost of his dead father. Charlotte and Peter arrive, reconciled—and the feast becomes their wedding banquet (“Il mio tesoro”). Anna appears as an avenging spirit (“Mi tradi”) followed by Elvire (“I quali ecesso”), Juan seems to beg her forgiveness, but Elvire refuses (“Non mi dir”). At last the ghostly Commendatore arrives, demanding his dinner (“Don Juan Giovanni, a cenar teco”), and the story is brought to its fateful conclusion (“Questo e il fin”). The Thief of Hearts: The Potency of Don Juan by Sarah Ollove Men want to emulate him, women want him and want to change him. Not a bad reputation for a guy born five hundred years ago. From his first appearance, Don Juan, the Latin lover of a thousand conquests, seduced his way into the lexicon as shorthand for a man whose superhuman virility wins one woman after another. Don Juan made his debut in Tirso de Molina’s play, El Burlador de Sevilla in 1630, identified by the title as a rogue or trickster. Though this marks the first time Don Juan appears by name, the archetype predates it. Almost every culture from Greece to Africa to North America features a mythological male irresistible to the opposite sex and some sort of trickster figure. Tirso’s play, however, combines these two characters with a third feature: Don Juan’s damnation. Whereas other cultures discourage these traits with a wink, Spanish Catholicism takes a harder line. In the end, Don Juan’s deceit, lust, and cruelty are punished with an eternal roasting. Molière’s Don Juan introduces another important part of the myth. This addition is named Elvire, Don Juan’s recently abandoned wife, one among a string of marriages Don Juan accumulates in his hedonistic foray through Europe. Though Tirso’s seducer is far from harmless, Molière, while maintaining a comic tone, introduces a cruel Don Juan, careless of the repercussions of his actions. Where Tirso’s Don Juan has Don Juan meets the statue... Etching by Cars for the too much love to confine himself to one woman, 1734 edition of Molière’s Don Juan Don Juan Giovanni Molière’s courts only lust, not attachment. There are few acts more despicable than seducing a nun and abandoning her without an instant of regret. Don Juan’s passions cool as quickly as they ignite. In the hundred years between Molière’s play and Mozart’s opera, the legend continued to grow. Mozart most likely saw an earlier operatic adaptation by Giuseppe Gazzaniga (composer) and Giovanni Bertati (librettist) in Vienna called Don Giovanni Tenorio, o sia il convitato di pietra. Gazzaniga (and therefore Mozart) used episodes from Tirso excised from Don Juan, including the beginning from El Burlador de Sevilla. In the opera’s opening, Donna Anna chases Don Giovanni from her bedchamber. Outside her door he encounters her father. They fight, the father falls, Don Giovanni runs, now branded a lover and a killer. Though this plot point drives much of the action in Molière, the actual event happens before the curtain rises, and the wronged woman never appears onstage. Mozart recognized the dramatic value of the skirmish. Thus the operatic Don Giovanni has two sopranos to dodge—while Mozart, a posthumous portrait. pursuing a third. Unlike Molière’s play with its comic tone, the opera complicates genres, Mozart went so far as to give it a new name, dramma giocoso. Moments of low comedy intrude upon high tragedy, blurring the Don Juan archetype. When the statue of Donna Anna’s dead father drags Don Juan to hell in Molière, we want to cheer. When the Statue appears in Don Giovanni, the music seduces us into putting ourselves into the Don’s place, and we quake in fear. Like Don Quixote and Count Almaviva, Don Juan wouldn’t be complete without a servant as his constant companion. The servant appeared at the same time as Don Juan and has been through as many names: Catalinón in Tirso, Sganarelle in Molière, Leporello in Mozart. Catalinón/Sganarelle/Leporello serves as both a moralizing figure and a comic foil for Don Juan. Even while begging him to quit his evil ways, the servant can’t help but envy his master. Don Juan appeared around the same time as several other archetypes who seized the imagination of the world: Don Quixote, Hamlet, Doctor Faustus, and Falstaff. The dreamer, the melancholy intellectual, the damned scholar, the jolly fat man form a modern mythology whose legends are still move us. Don Juan is as potent as ever. – Sarah Ollove is a second-year dramaturgy student at the A.R.T./MXAT Institute for Advanced Theatre Training Don Juan Giovanni Program Notes by Steven Epp & Dominique Serrand We call it Don Juan Giovanni, placing the titles side by side like the authors from whom we’ve borrowed—Molière and Mozart, but also da Ponte, Tirso de Molina, Lord Byron, and others, including a great deal of ourselves. Our show is a river, but without banks. It is neither a reflection nor an essay, but an event made of opera and theatre. It contains scenes of seduction, separation, hatred, idiocy, intuition, and love. It is not recommended for people who fear the sense of vertigo that comes from staring into the chasm between life and death. Here there is sensuality and abandonment, passion, beauty, and vulgarity too, like greens in a bouquet—all of it resounding in the present moment for today. The myth of Don Juan is that of the great seducer. For Mozart he was a libertine, and a brutal one. For Molière a heretic, but philosophical. For us he goes beyond comprehension. He is at once the angst and the thirst for life. His Molière eternity resides in the moment and his profound despair in the absence of the moment. This is the gap he inhabits and defines and it is how he seduces and loves and is loved and destroys; why he un-does so passionately, cruel, and relentless. Don Juan is an insurrection—his life a rejection of all the fathers, all forms of male dominance, all the accepted norms of class and society. Mozart’s Don Giovanni literally kills the Commendatore—the father of one of his conquests. Molière’s Don Juan refutes his own biological father and the acceptance of a patriarchal god. He seduces peasants as well as noble women. He marries his wife, stealing her away from the convent where she has taken refuge. In the end, both incarnations of the myth deny the notions of heaven and hell and face their own death with open arms, ready for the embrace. As for the women, each pursue their own path, strong in their individuality, but changed irrevocably through their encounters with Don Juan. They are set free into the world and allowed to see it for what it is and is not, but also for all that it could be. The unimagined possibilities become palpable. Each of them in their own way is thrown into the shallow pool of love, only to find themselves at sea. As for the rest of us, we are invited to see with a new and profound enormity—hate is blind, though politically profitable—love is nonsensical, flabbergasted, bloodshot, and like a river, it always finds its course. “If it were sufficient to love, things would be too easy. The more one loves, the stronger the absurd grows. It is not through lack of love that Don Juan goes from woman to woman. . . . But it is indeed because he loves them with the same passion and each time with his whole self that he must repeat his gift and his profound quest.” – Albert Camus, The Myth of Sisyphus, 1955 Figaro Synopsis Act 1 We are in Paris in the year 1792, and the French Revolution is raging. Count Almaviva and his long-time servant, the barber Figaro, have taken refuge in a deserted mansion across the street from the Bastille. The Count spends most of his days hiding in a closet, with Figaro still tending to him, more or less. They bicker and insult each other, and remember their past life together in Seville. Figaro recalls the day of his wedding to Susanna, who suddenly appears, as if in his memory (“Cinque…dieci…venti…trenta”). The Count emerges from his closet, and Figaro shaves him. As they continue to reminisce, images of their younger selves appear. Young Figaro is in bed with his beloved Susanna (“Se a caso madama la notte ti chiama”). The Old Count reminds Old Figaro that his real intention had always been to seduce Susanna for himself. They watch their younger selves taunting each other (“Se vuol ballare”) and Old Figaro begins to set the table for dinner. Old Figaro now remembers Cherubino, the Countess’ young page, who was in love with her. Cherubino appears and professes his love for the Countess to Susanna (“Non so piu cosa son, cosa faccio”) The Young Count appears, and Susanna hides Cherubino. The Young Count has come to seduce Susanna, but he hears a noise and he too hides. In the confusion he discovers Cherubino (“Cosa sento! Tosto andate”) and orders Young Figaro to send the page off to war. The Old Count now remembers his wife, the Countess Rosina, who suffered a broken heart. The Countess appears, disconsolate (“Porgi Amor”). The Old Count hypocritically berates Old Figaro for allowing Cherubino to die on the battlefield. Young Figaro appears, and gives Cherubino his military commission (“Non piu andrai”). But Old Figaro reveals that he in fact saved Cherubino from battle, and instead hatched a plan with Susanna and the Countess, which involved disguising Cherubino in Susanna’s clothes. Suddenly we see the two women dressing the young page (“ Voi che sapete”). The Countess discovers that Cherubino has stolen a ribbon from her, which he has kept as a memento. Suddenly the Young Count appears at the door, and Cherubino hides in the closet. The Count, thinking that Susanna is hiding, tries to force her out (“Susanna, or via, sortite!”). He leaves to fetch a crowbar, and Susanna helps Cherubino to escape (“Aprite, presto, aprite”). But as he leaves, Cherubino accidentally drops his commission on the floor. The Young Count returns and discovers it, and mayhem ensues as the Old Count and Old Figaro get involved (“Finale”). Act 2 The Old Count is once again hiding in his closet, and the revolutionary soldiers are besieging the house. Old Figaro returns, having delivered roses to the estranged Countess. He tells the Old Count that he caught sight of Leon, young son of the Count and Countess, whom the Old Count has disowned. Old Figaro is again remembering the day of his wedding to Susanna. The characters from the past reappear (“Riconosci in questo amplesso.”) Since the Young Count discovered that Cherubino has not left for battle, the Countess and Susanna are forced to amend their plan. The Countess dictates a love letter that Susanna is to send to the Young Count (“Sull’aria”) and which she gives to him (“Crudel! Perch finora.”) Figaro Back in the present, Old Figaro remembers that letter. He has found another old letter which he reads, horrified, to the Old Count. It is from the Countess to Cherubino, revealing that he, not the Count, is Leon’s father. The Old Count asks Figaro for a gun, and shoots himself. With the gunshot reality becomes distorted, and past and present seem to merge. The Young Count suddenly appears, furious that he might lose Susanna to Young Figaro (“Hai gia vinta la causa.”) Meanwhile Old Figaro has discovered Cherubino’s reply to the Countess, in which he reveals that he did, after all, go to battle, where he was mortally wounded. Cherubino was dying as he wrote that letter (“L’ho perduta, me meschina.”) The Countess mourns him (“Dove sono”) and the ghostly characters from the past are brought together for the last time (“Finale.”) A scene from Act II of Beaumarchais’ The Marriage of Figaro by Saint-Quentin for the 1785 edition You Say You Want a Revolution? by Sarah Ollove It is 1792. The French Revolution is in full bloody swing. Mozart is dead. Beaumarchais’s life is in danger. But wily Figaro vaults over yet another obstacle. While Mozart lay in his grave, and Beaumarchais ran for his life, their masterpieces, Beaumarchais’s Figaro Trilogy and Mozart’s Le Nozze di Figaro, birthed a hero whom the French Revolution would baptize as the spirit of rebellion. Figaro’s battle with Count Almaviva, his master, over Figaro’s fiancèe, Susanna, echoes the struggle of the bourgeoisie with the nobility. Figaro’s famous speech, “Nobility, wealth, rank, high position, such things make a man proud. But what did you ever do to earn them? Chose your parents carefully, that’s all. Take that away and what have you got? A very average man,” sums up the feelings of the French revolutionaries as well as “Liberty, Equality, Fraternity.” The relationship between the Revolution and Figaro doesn’t begin and end with The Marriage of Figaro. In the first play of the Figaro trilogy, The Barber of Seville, Count Almaviva relies on Figaro, his social inferior, to woo Rosina, the love of his life. Figaro devises a clever scheme to win the girl, Figaro dryly noting: “Marvelous, isn’t it. When I’m useful, social distinctions just vanish.” After he marries Rosina the Count quickly puts those boundaries back into place in the events that make up The Marriage of Figaro; the Count’s sense of entitlement returns as soon as he wants something Figaro has—Susanna. By the time Beaumarchais wrote The Guilty Mother, the last of the trilogy, the Revolution makes its way directly into the text. Beaumarchais brings his characters from the Eden of Spain into the Terror of France, where the Count insists that no one call him ‘Lordship.’ In this turbulent atmosphere, the bitterness of the Count corrodes the household, as he hides behind his scheming secretary; Figaro has finally met his match in this Machiavellian manservant. The two fight for the loyalty of their employer. Though he maintains the comic atmosphere of the previous two plays, the stakes are higher, the transgressions deeper, the intrigue nastier. Even so, in the last act of The Guilty Mother, Figaro bests his rival, saves the Count yet again, and everyone reconciles. Unfortunately, in the French Revolution, such a satisfactory end remained elusive. Not coincidentally, 1792 is also the year that Theatre de la Jeune Lune set their version of the story. In the sixteen-year interval between the end of The Marriage of Figaro and the beginning of Jeune Lune’s Figaro, the fairy-tale reconciliation has melted into permanent disillusionment. Figaro and Susanna finally face an obstacle they cannot overcome: the Revolution. Figaro sends Susanna across the ocean to America for safety. Meanwhile, the Countess, after winning her husband back, loses him again to anger, jealousy, and other women. Though drawing heavily on the plot of The Guilty Mother, Figaro does not retell that story. The Count and Figaro are all that’s left of a once teeming world, doomed to spend eternity together. A Figaro without Susanna is heartbreaking, but a Figaro without the Count is impossible. They made their first appearance together in The Barber of Seville, and they remain together throughout the twenty-five year span of the Figaro trilogy. Like Don Quixote without Sancho Panza, without Figaro, the Count loses the anchor tethering him to the world, ensuring that he won’t give up the will to live. As sometimes happens with aging companions, their conversation focuses on the past, in particular, on that last day of promise, the day that offered so much but delivered so little. As they dwell on their youth, their memories come dramatically to life so that Figaro and the Count lose themselves in each jab and parry, momentarily forgetting that all they have to eat are potatoes. To this end, Jeune Lune introduces a device unknown to Beaumarchais and Mozart but a staple of film: the flashback. The flashback allows the introduction of the other major source of the production: Mozart’s opera, Le Nozze di Figaro. Premiering in 1784, the opera sets Beaumarchais’s story to some of the most sublime music ever written. The libretto by Lorenzo Da Ponte, although not taken directly from the play, follows the original closely. Because the events in Le Nozze di Figaro happened long ago, quotes from the opera appear only in flashback form. Therefore, the past takes on a beautiful quality that contrasts with the bleak present. The music of Mozart makes us yearn for the past as much as Figaro and the Count do. Both the Figaro Trilogy and Le Nozze di Figaro invite us into a world governed by iron-clad rules just as this order is being torn apart. In Jeune Lune’s production, however, order has re-established itself. The servant has already won when Figaro opens. Revolution only means the death of the aristocracy, not the demise of responsibility. Jeune Lune traces Figaro’s realization that perhaps mutiny was for naught; equality bears as many traps as servitude. Gradually, Figaro and the Count deal with what happens after the revolution ends, when the young radicals turn into old melancholics, living for the past. – Sarah Ollove is a second-year dramaturgy student at the A.R.T./MXAT Institute for Advanced Theatre Training Figaro Program Notes by Steven Epp & Dominique Serrand Paris. 1792. Or by the calendar of the revolution—Year One. The heady days of liberty have deteriorated into chaos. The rascals of the regime flee Paris in droves. Louis XVI and his Queen make a run for the border. Violence and terror reign. But . . . on the Avenue de la Republique, across the boulevard from the ruins of the Bastille . . . here, in the refuge of this mansion . . . one lone family remains . . . We call this one simply Figaro, for it is through Figaro that we come to brush shoulders with the explosive events surrounding the French Revolution. Over the course of his life in service to Count Almaviva and through his tumultuous marriage to Suzanne, Figaro witnesses the world cracking open; society is upended and the human story irrevocably changed. We’ve chosen a vantage point late in Figaro’s life, after so much turbulent water has flowed under the bridge—from this precipice Figaro looks back to try to comprehend how we come to be of this world, how the world we inherit makes us who we are, and how anyone, against all odds, can change the outcome of that world. A revolutionary perspective on The Marriage of Figaro If it is controversial today for a country-rock band to protest its government, one can only imagine the plight of an artist who dared to be critical of the monarchy in prerevolutionary France. In The Marriage of Figaro, Beaumarchais’ criticism comes in his creation of a lustful, depraved Count and servants who are the intellectual equals of their masters. For years the king and playwright sparred over the right to perform the play. In 1782 Beaumarchais was at the peak of his popularity and responded to the king’s objections with what was a public relations coup; he organized an intense schedule of private readings and word-of-mouth soon took hold. On April 27, 1784, three years after The Marriage of Figaro was first submitted to the Comèdie Française, the king finally permitted a public performance in Paris. Thousands of people began crowding the Odèon Theatre early that morning. That evening, the audience applauded nearly every line; the show was a raving success. Many aristocrats joined in the applause, unaware that they were witnessing the prologue to their own demise. Five years later it was the people of Beaumarchais France who would challenge the monarchy. Many of those wealthy aristocrats—applauding at the premiere of Figaro—would pay with their heads! Two years later, with an Italian libretto rushed to the page by da Ponte in less than six weeks, Mozart premiered his operatic telling of Figaro’s marriage in Vienna. Hugely popular, the demand for encores sometimes pushed the four-hour length of the opera to eight, with audiences on their feet late into the night. This revolutionary work remains a cornerstone of the standard repertoire. Company CHRISTINA BALDWIN – Charlotte/Cherubino A.R.T.: Carmen (Carmen). Theatre de la Jeune Lune: Mefistofele (Lilith), Maria de Buenos Aires (Maria), the title role of Carmen, Circus of Tales (Princess/Parmatella), The Man Who Laughs (Dea/Joslana), Cosi fan tutte (Dorabella) and The Magic Flute (3rd Lady). The Guthrie Theater: The Great Gatsby, She Loves Me, The Pirates of Penzance, A Christmas Carol, and The Comedy of Errors. Other: The Minnesota Opera; Skylark Opera; Kansas City Repertory Theater; Ex-Machina; Great American History Theater; Nautilus Music-Theatre; and New Breath Productions. She has appeared as a featured soloist with the Minnesota Orchestra, and most recently took part in their world premiere of Steven Paulus’ To Be Certain of the Dawn, and performed again as Hansel in their staging of Hansel and Gretel this season. Ms. Baldwin has appeared as a guest on Garrison Keillor’s “A Prairie Home Companion,” and has lent her voice to animated short films by the Dutch filmmaker Rosto AD. She holds a Bachelor of Music degree from Lawrence University Conservatory of Music and a Master of Music degree from the University of Minnesota. SONYA BERLOVITZ – Costume Designer A.R.T.: The Miser, Amerika, Carmen. Sonya Berlovitz has been designing costumes since 1980, primarily for Theatre de la Jeune Lune. She has designed over forty-five productions including Hamlet, Cosi fan tutte, The Magic Flute, Tartuffe, and Medea. She has also designed several productions at Berkeley Repertory Theatre including Salman Rushdie’s Haroun and the Sea of Stories, three seasons at the Children’s Theatre Company, and Triumph of Love at the Guthrie Theater. She is a graduate of both La Chambre Syndicale de la Couture Parisienne and The School of the Art Institute in Chicago. She has worked as a textile designer for YohJi Yamamoto and also has been the recipient of many grants and awards including The Bay Area Theatre Critics Circle Best Costume Design award, McKnight Theatre Artists Fellowship and participation in World Stage Design in Toronto in 2005. This year, Ms. Berlovitz will be exhibiting in the Prague Quadrennial. DIETER BIERBRAUER – Peter/Basilio A.R.T. and Theatre de la Jeune Lune: Carmen (Morales). Other: The Guthrie Theater, The Children’s Theater Company, Chanhassen Dinner Theater, Theater Latte Da, Ordway Center for the Performing Arts, Nautilus Music-Theater, Jon Hassler Theater, and Illusion Theater. Mr. Bierbrauer has also been a featured soloist with The Minnesota Orchestra. Company BRYAN BOYCE – Don Giovanni/Figaro Bryan Boyce is originally from Beaver Dam, WI. This past summer he participated for a third time in the Central City Opera’s young artist program, covering Leporello in Mozart’s Don Giovanni. Other past engagements include Olin Blitch in Susannah with Theatre Latte Da, Colline in La Bohëme with Theatre Latte Da and with Opera Freca in Mendocino, CA, Littore in The Coronation of Poppea and the Denver Politician in The Ballad of Baby Doe with the Central City Opera. Boyce has also sung supporting roles in University of Minnesota Opera Theatre productions, and comprimario roles for the Minnesota Opera and Minnesota Orchestra. BARBARA BROOKS – Music Director/Conductor/Piano A.R.T.: Carmen. Barbara Brooks is an active vocal coach and music director in the Twin Cities area. She has worked with various opera companies including Canadian Opera, Minnesota Opera, New Orleans Opera, Opera Banff, Berkshire Opera, Des Moines Metro Opera, Kentucky Opera, as well as the University of Minnesota Opera and University of North Texas Opera programs. Ms. Brooks also served as a vocal coach for the Minnesota Opera’s Resident Artist Program and currently is on the music staff of the Wesley Balk Institute. She currently teaches piano at Macalester College and is the pianist for the Minnesota Chorale, the official chorus of the Minnesota Orchestra. MARCUS DILLIARD – Lighting Designer A.R.T. : The Miser, Amerika, Carmen. Jeune Lune: Don Juan Giovanni, The Hunchback of Notre Dame, Tartuffe, The Magic Flute, The Green Bird, Description of the World, Hamlet, Cosi fan tutte, The Seagull, Carmen, The Ballroom, The Miser, The Little Prince, Maria de Buenos Aires, Antigone, Amerika, and Mefistofele. He has designed for theatre and opera companies across North America and Europe, including the Spoleto Festival (Italy), The Athens Festival (Greece), the Flanders Opera, L’Opera De Montreal, Canadian Opera Company, Vancouver Opera, Portland Opera, San Diego Opera, Opera Company of Philadelphia, American Repertory Theatre, The Shakespeare Theatre, Arena Stage, Actors Theatre of Louisville, Dallas Theater Center, Berkeley Repertory Theatre and The Shakespeare Festival in Ashland, Oregon. Locally he has designed for the Guthrie Theater, Minnesota Opera, The Children’s Theatre Company, and The Ordway Center for the Performing Arts, The History Theatre and The Minnesota Orchestra. Marcus received a BA from Lehigh University and an MFA from Boston University’s School of the Arts. He has received a 2005 Ivey Award and a 2006 McKnight Theatre Artist Fellowship. Company STEVEN EPP – Sganarelle/Fig A.R.T.: The Miser (Harpagon), Amerika, or the Disappearance (Stoker, Delamarche, Head Cook). Steven Epp began working with Jeune Lune in 1983, and has played the titles roles in Crusoe, Tartuffe, Hamlet, Gulliver, and The Miser. He was the Head Waiter in The Magic Flute, Malvolio in Twelfth Night, Trigorln in The Seagull, The Poet in Maria de Buenos Aires, and St. Exupery in The Little Prince. He adapted and directed Medea and has collaborated on scripts for Children of Paradise: Shooting a Dream, 3 Musketeers, The Hunchback of Notre Dame, The Magic Flute, Don Juan Giovanni, Figaro, Amerika, and Mefistofele. He holds a degree in Theatre and History from Gustavus Adolphus College and is the recipient of a 1999 Fox Fellowship. He has performed with Jeune Lune at The La Jolla Playhouse, New Victory Theatre, The Alley Theatre, Actors Theatre of Louisville, Yale, Trinity, and Berkley Repertory Theatres. GUY FISHMAN – Cello Handel & Haydn Society Principal cellist since 2002; performances with Boston Baroque since 2002. Appearances across the US and England, Holland, Poland, and Switzerland. Concerts with Apollo’s Fire, Emmanuel Music, Boston Museum Trio, Orchestra of St. Luke’s, Mark Morris Dance Group. Chamber music at Jordan Hall, Sanders Theater, Carnegie’s Weill Hall, Merkin Concert Hall. Participant at the Tanglewood, Kneisel Hall, Chautauqua, and Musicorda festivals. Member, New Fromm Players at Tanglewood. Principal cellist, New York String Orchestra at Carnegie Hall. Studies with David Soyer, Peter Wiley, Julia Lichten. Doctoral work with Laurence Lesser at the New England Conservatory. 2005 Fulbright Scholar in The Netherlands; studies with Anner Bylsma. Director, Alpine Chamber Music Festival at the Leysin American School, Leysin, Switzerland. Recordings on the Centaur, Telarc, Titanic, and Newport Classics labels. Performs on a rare cello made in Rome in 1704 by David Tecchler. BRADLEY GREENWALD – Music Adaptor/Leporello/Count Almaviva A.R.T.: Carmen (Don Jose). Bradley Greenwald has collaborated with Jeune Lune over the past twelve years as performer and music adaptor for Mefistofele, Maria de Buenos Aires, Carmen, Magic Flute, and others. He performs opera, theatre, music-theatre, concert and recital repertoire with Guthrie Theater, Nautilus MusicTheater, Children’s Theatre Company, Jungle Theater, Minnesota Dance Theatre, Lyra Baroque Orchestra, 10,000 Things, Ballet of the Dolls and others. Bradley is the recipient of a Minnesota State Arts Board Fellowship in music, the McKnight Fellowship for Theater Artists, and an Ivey Award. Company CARRIE HENNESSEY – Girl/Marcellina Carrie Hennessey is a graduate of the University of MN Morris, where she received her BA in Vocal Performance. She is a native of the Twin Cities and has been actively doing recital work independently and with organizations such as Thursday Musical. Working almost exclusively with local composer Hiram Titus since 2003, she has been developing, premiering and performing his original art songs and theatrical works. Their latest collaboration is the release of Ms. Hennessey’s debut CD A Prelude to Summer, premiering performances of song cycles featuring off-beat Mother Goose rhymes and the poetry of the Carmelite Monk, St. John of the Cross. BRYAN JANSSEN – Commendatore/Bartolo Bryan Janssen has performed in Minnesota with the SPCO, Minnesota Orchestra, North Star Opera, Lyra Concert, Minnesota Chorale, Hamline Oratorio and Bach Society Choruses, and performed the title role in Ragamala Dance Theater’s dance/opera production of Asoka. He has also worked with the Lyric Opera of Kansas City, the Missouri Repertory Theater, and the Kansas City Symphony and Chorus. LAURA JEPPESEN – Viola A.R.T.: Dido Queen of Carthage (Music Director, IRNE Award nomination). Prominent member of the Boston early music scene, plays with the Boston Museum Trio, Handel and Haydn Society, Boston Baroque, and the Boston Early Music Festival Orchestra. She has been a Fulbright Scholar, a Woodrow Wilson designate and a fellow at Radcliffe’s Bunting Institute. he currently teaches at Boston University and Wellesley College. GLENN D. KLAPPERICH – Stage Manager Glenn Klapperich has stage managed at Theatre de la Jeune Lune for the past four years. Previous Jeune Lune productions include: Mefistofele, Amerika, The Little Prince, Maria de Buenos Aires, Carmen, and The Miser at Jeune Lune and on tour. For the past fifteen years, Mr. Klapperich has stage managed for a variety of companies, including Three Days of Rain and Love! Valour! Compassion! at Park Square Theatre, Cloud Nine and The Most Fabulous Story Ever Told at Outward Spiral Theatre Company, and Tally’s Folly at Theatre L’Homme Dieu. Company JULIE LEVEN – Violin Principal player in the Handel and Haydn Society and Boston Baroque; concertmaster of the Bach and Beyond Festival of Fredonia NY, and has participated in the Aston Magna Festival, the BBC Proms, Krakow/Warsaw Easter Festival, the Edinburgh Festival, the Boston Early Music Festival, Spoleto Festival, Colorado Music Festival, and the Tanglewood Music Center. Ms. Leven has performed throughout the US, Japan, and Korea with the Boston Pops. She has been a member of the Jerusalem Symphony, and the Aarhus Symfonieorkester in Denmark. She can be heard as a soloist on Telarc recordings of Boston Baroque, including the “Handel Opus 6 Concerti Grossi,” and the 1999 Grammy nominated performance of the Monteverdi Vespers. JENNIFER BALDWIN PEDEN – Elvire/Countess A.R.T.: Carmen (Michaela). Over the last seven years her work with Theatre de la Jeune Lune has included productions of The Magic Flute, Cosi fan tutte, Carmen, The Ballroom, Carmina Burana (with MDT), Maria de Buenos Aires, and Mefistofele. She has also worked with other companies around the Twin Cities including Nautilus MuslcTheater, Guthrie Theater, History Theatre, Skylark Opera, Minnesota Dance Theatre, the Minnesota Orchestra, and Minnesota Opera. She has appeared at Berkeley Repertory Theatre with Haroun and the Sea of Stories, has been a guest on “A Prairie Home Companion,” and she appeared in the film Drop Dead Gorgeous where she portrays a singing pageant contestant. Her voice is used for a character in a Dutch animated film Jona/Tomberry, which won the Grand Prix Canal at the Cannes Film Festival in May 2005. DOMINIQUE SERRAND – Director/Don Juan/Mr. Almaviva A.R.T.: The Miser , Amerika , Carmen . Paris native Dominique Serrand is the Artistic Director and co-founder of Theatre de la Jeune Lune. He studied at the National Circus School and the École Jacques Lecoq in Paris. Mr. Serrand has acted, conceived, directed and designed for most Jeune Lune productions for over twenty-seven years, concentrating primarily on directing. His directing credits include The Kitchen, Lulu, The Bourgeois Gentleman , Romeo and Juliet , Red Noses , 1789 , Children of Paradise: Shooting a Dream , 3 Musketeers , The Pursuit of Happiness , Queen Elizabeth , Tartuffe , Gulliver , The Seagull , The Little Prince . He staged several operas including The Magic Flute, Cosi fan tutte , Don Juan Giovanni , Figaro , Carmen , Maria de Buenos Aires , and Mefistofele . Mr. Serrand’s directing stages include Berkeley Repertory Theatre, The La Jolla Playhouse, Yale Repertory Theatre, Actors Theater of Louisville, The Guthrie Theater, The Children Theatre, amongst others. Mr. Serrand is a USA Ford Fellow. He has been knighted by the French Government in the order of Arts and Letters Company DANIEL STEPNER – Violin A.R.T.: A Midsummer Night’s Dream (A.R.T.’s first Cambridge production in 1979), Musical Director. First violinist of the Lydian String Quartet, in residence at Brandeis University. He is also a member of the Boston Museum Trio, resident at the MFA, and the concertmaster of the Handel and Haydn Society. For the past 16 summers, he has been the Artistic Director of the Aston Magna Festival, a period instrument concert series which gives regular concerts in Great Barrington, Williamstown, and at Bard College. Mr. Stepner is also a Preceptor in Music at Harvard, where he team-teaches a performanceintensive course in chamber music with Professor Robert Levin. MOMOKO TANNO – Donna Anna/Susanna A.R.T.: Carmen (Frasquita). Jeune Lune: Figaro and Carmen. Recently, she performed as soloist in Bach’s “Christmas Oratorio” in Hellbronn, Germany, Mozart’s “B-minor Mass” with Bach Society of Minnesota, and “St John’s Passion” in Tokyo. Theatre: The Walleye Kid (Omani, Theater Mu), Pacific Overtures (Tamate/Shogun’s Mother, Park Square/Theater Mu), and Guys and Dolls (Sarah Brown, Lake Pepin Players). She has also performed with Chanhassen Dinner Theatre, Dale Warland Singers, Dorian Opera Theatre, Mixed Blood Theater, and North Star Opera. She holds a BA from Nihon University and MM from University of Minnesota, studied in Paris with Camille Maurane, and works with Elizabeth Mannion. Ms. Tanno is a faculty member at St. Paul Conservatory for Performing Artists. THEATRE DE LA JEUNE LUNE Founded by Barbra Berlovitz, Vincent Gracieux, Robert Rosen, and Dominique Serrand, and later joined by Steven Epp—Jeune Lune’s ensemble is a continually evolving collaboration of artists currently led by Dominique Serrand. Awarded the 2005 Tony Award for Outstanding Regional Theatre, this extraordinary partnership has produced a body of work remarkable for its strong and consistent artistic vision. It is a shared vision of theatrical creation in which an ensemble of theatre artists come together not just as performers, but as creators-approaching our work with the mind of a director, the eye of a designer, the vision of a writer, and the heart of an actor. The founders’ training at the renowned École Jacques Lecoq in Paris is evident in the strong physicality of the performing style and the sensitivity to the space in which each piece is performed. In addition, each piece of Jeune Lune’s work is infused with a sense of play, an emotional directness, and a desire to engage an audience. Their work ranges from Molière and Shakespeare to the contemporary Czech playwright Pavel Kohout and the operatic fantasy of The Magic Flute. We constantly seek new ways of knowing the world and new techniques to use in our desire to speak to our audience. In addition to classical techniques like commedia and circus, we have explored opera, modern dance, Japanese theatre, and even cinema. Company This unique way of creating theatre has garnered national and international attention for the work of the Company. In addition to the A.R.T., Jeune Lune has toured in recent years to such venues as Yale Repertory Theater, La Jolla Playhouse, Trinity Repertory Theatre, Actors Theatre of Louisville, and Berkeley Repertory Theatre. It has also expanded its national and international reputation with such productions as Children of Paradise: Shooting a Dream—which won the 1993 American Theatre Critic’s Association New Play Award, an adaptation of Carlo Gozzi’s The Green Bird, the play/opera Don Juan Giovanni, Zola’s epic Germinal, and The Hunchback of Notre-Dame, recipient of an AT&T: OnStage award. Jeune Lune’s acclaimed 3 Musketeers was the hit of the 1997 Spoleto USA Festival in Charleston, South Carolina, and toured in 1999 to Philadelphia’s Wilma Theater. Closer to home, the Company was honored in 1997 with a First Bank Sally Ordway Irvine Award for Artistic Vision. Hamlet enjoyed a short run off Broadway at New York City’s New Victory Theater. Six of the Company’s productions have been selected for Inclusion in the Theatre on Film and Tape Archive at Lincoln Center. Theatre de la Jeune Lune settled permanently in Minneapolis in 1985, after seven years of splitting seasons between France and the United States. In the fall of 1992, after fourteen years of peripatetic performance, the company moved into a permanent home in the renovated Allied Van Lines building in the Warehouse District of downtown Minneapolis. This flexible, 6,000 square foot performance space has won numerous architectural awards and serves as the home base for Jeune Lune’s work. Jeune Lune’s name—“Theatre of the New Moon”—reflects the company’s commitment to finding theatrical sustenance by looking for the new in the old and is shown in Jeune Lune’s credo: “We are a theatre of directness, a theatre that speaks to its audience, that listens and needs a response. We believe that theatre is an event. We are a theatre of emotions-an immediate theatre-a theatre that excites and uses a direct language—a theatre of the imagination.” ART/MXAT Institute for Advanced Theatre Training presents: Two New American Plays at Zero Arrow Theatre Gray City by Keith Huff Two college students try to find each other and themselves in the face of debilitating personal histories and under the intense pressure of trying to survive at an elite university. October 11, 12, and 13 at 7:30PM; October 13 at 2:00PM Expats by Heather Lynn MacDonald Inspired by stories of the thousands of Americans living in Moscow just after the fall of the Soviet Union. December 7, 8, 9, 13, 14 and 15 at 7:30 PM; December 8 and 15 at 2:00 For more information call 617-547-8300 or visit www.amrep.org PM About the A.R.T. A HISTORY OF THE AMERICAN REPERTORY THEATRE Robert J. Orchard Executive Director Gideon Lester Acting Artistic Director Robert Brustein Founding Director/Creative Consultant The American Repertory Theatre (A.R.T.) occupies a unique place in the American theatre. It is the only professional not-for-profit theatre in the country that maintains a resident acting company and an international training conservatory, and that operates in association with a major university. Over its twenty-seven year history the A.R.T. has welcomed American and international theatre artists who have enriched the theatrical life of the nation. The theatre has garnered many of the nation’s most distinguished awards, including a Pulitzer Prize, a Tony Award, and a Jujamcyn Award. In December 2002, the A.R.T. was the recipient of the National Theatre Conference’s Outstanding Achievement Award, and in May of 2003 it was named one of the top three theatres in the country by Time magazine. Since 1980 the A.R.T. has performed in eighty-three cities in twenty-two states around the country, and worldwide in twenty-one cities in sixteen countries on four continents. It has presented one hundred and eighty-seven productions, over half of which were premieres of new plays, translations, and adaptations. The A.R.T. was founded in 1980 by Robert Brustein and has been resident for twenty-seven years at Harvard University’s Loeb Drama Center. In August 2002 Robert Woodruff became the A.R.T.’s Artistic Director, the second in the theatre’s history. Gideon Lester became Acting Artistic Director in July 2007, joining Executive Director Robert J. Orchard as the theatre’s management team. Mr. Brustein remains with the A.R.T. as Founding Director and Creative Consultant. The A.R.T. is known for its commitment to new American plays and music/theatre explorations; to neglected works of the past; and to established classical texts reinterpreted in refreshing new ways. The A.R.T. is also a training ground for young artists. The theatre’s artistic staff teaches undergraduate classes in acting, directing, dramatic literature, design, and playwriting at Harvard, and in 1987 the A.R.T. founded the Institute for Advanced Theatre Training. In conjunction with the Moscow Art Theatre School, the Institute provides world-class graduate level training in acting, dramaturgy, and special studies. The A.R.T. attempts to establish historical continuity as contemporary artists reinterpret the past, and classical work helps to inform the present. The Company prides itself on being an artistic home for top-level playwrights, actors, directors, designers, technicians and administrators. A full list of participating artists can be found on the A.R.T. web site—www.amrep.org NEW WORKS The A.R.T.’s American and world premieres include among others, works by Robert Auletta, Edward Bond, Robert Brustein, Don DeLillo, Keith Dewhurst, Humberto Dorado, Christopher Durang, Rinde Eckert, Elizabeth Egloff, Jules Feiffer, Dario Fo, Carlos Fuentes, Larry Gelbart, Philip Glass, Stuart Greenman, William Hauptman, David Henry Hwang, Milan Kundera, Mark Leib, David Lodge, Carol K. Mack, David Mamet, Charles L. Mee, Roger Miller, John Moran, Robert Moran, Heiner Müller, Marsha Norman, Han Ong, David Rabe, Franca Rame, Adam Rapp, Keith Reddin, Ronald Ribman, Paula Vogel, Derek Walcott, Naomi Wallace, and Robert Wilson. About the A.R.T. DIRECTORS Many of the world’s most gifted directors have staged productions at the A.R.T., including JoAnne Akalaitis, Neil Bartlett, Andrei Belgrader, Anne Bogart, Lee Breuer, Robert Brustein, Chen Shi-Zheng, Liviu Ciulei, Martha Clarke, Ron Daniels, Liz Diamond, Joe Dowling, Michael Engler, Alvin Epstein, Dario Fo, Richard Foreman, Kama Ginkas, David Gordon, Adrian Hall, Richard Jones, Michael Kahn, Jerome Kilty, Krystian Lupa, John Madden, Ola Mafaalani, David Mamet, Des McAnuff, Jonathan Miller, Nicolas Montero, Jerry Mouawad, Tom Moore, François Rochaix, Robert Scanlan, Dominque Serrand, János Szász, Peter Sellars, Andrei Serban, Susan Sontag, Marcus Stern, Slobodan Unkovski, Les Waters, David Wheeler, Frederick Wiseman, Robert Wilson, Mark Wing-Davey, Robert Woodruff, Yuri Yeremin, Francesca Zambello, and Scott Zigler. TOURING A.R.T. productions were included in the First New York International Festival of the Arts, the 1984 Olympic Arts Festival in Los Angeles, the Serious Fun! Festival at Lincoln Center’s Alice Tully Hall, the Next Wave Festival at the Brooklyn Academy of Music, the International Fortnight of Theatre in Quebec; the international festivals in Asti, Avignon, Belgrade, Edinburgh, Haifa, Jerusalem, Ljubljana, Singapore, Taipei, Tel Aviv, and Venice; and at theatres in Amsterdam, Perugia, Rotterdam, and London (where its presentation of Sganarelle was filmed and broadcast by Britain’s Channel 4). In 1986 the A.R.T. presented Robert Wilson’s adaptation of Alcestis at the Festival d’Automne in Paris, where it won the award for Best Foreign Production of the Year, and in 1991 Robert Wilson’s production of When We Dead Awaken was presented at the 21st International Biennale of São Paulo, Brazil. In March 1998, the A.R.T. opened the Chekhov International Theatre Festival in Moscow the first American company to perform at the Chekhov Moscow Art Theatre with The King Stag, Six Characters in Search of an Author, and Joseph Chaikin and Sam Shepard’s When The World Was Green (A Chef’s Fable). In October 2000 the A.R.T. embarked on a year-long national and international tour of The King Stag, with stops in twenty-seven American cities in fifteen states, ending with a three-week residency at London’s Barbican Centre in the summer of 2001. Most recently, productions of Lysistrata, The Sound of a Voice, The Miser, Lady with a Lapdog, Amerika, No Exit, and Oliver Twist have been presented at theatres throughout the US; the A.R.T. returned to the Edinburgh International Festival two years in a row, with Krystian Lupa’s Three Sisters in 2006, and Robert Woodruff’s Orpheus X in 2007. In February, 2008, Orpheus X will perform at the Hong Kong International Festival of the Arts. FROM THE PRESS “…the nation’s most prestigious resident theatre. One of the top three theatres in the country." – Time Magazine “Theatre that cries out to be seen.” – Boston Globe “Stretching the limits of artistic possibility with an imaginative daring the has few parallels on the contemporary scene.” – Washington Post “One of the most vital influences on the U.S. stage in the last twenty years.” – International Herald Tribune “more concentrated, provocative quality than New York City has delivered all year.” – USA Today About the A.R.T. GIDEON LESTER – Acting Artistic Director Recent translations: Marivaux’s Island of Slaves and La Dispute (published by Ivan Dee, directed by Anne Bogart at the A.R.T.), Bertolt Brecht’s Mother Courage (directed by János Szász), Georg Büchner’s Woyzeck (directed by Marcus Stern), and two texts by the French playwright Michel Vinaver, King and Overboard (published by Methuen and staged at the Orange Tree Theatre in London.) Adaptations: Wings of Desire by Wim Wenders, Peter Handtke, and Richard Reitinger, directed by Ola Mafaalani; Kafka’s Amerika, or the Disappearance (directed at the A.R.T. by Dominique Serrand), Anne Frank for the Carr Center for Human Rights at Harvard, and Enter the Actress, a one-woman show that he devised for Claire Bloom. Born in London in 1972, Mr. Lester studied English Literature at Oxford University. In 1995 he came to the US on a Fulbright grant and Frank Knox Memorial Scholarship to study dramaturgy at the A.R.T. Institute for Advanced Theatre Training at Harvard. When he graduated from the Institute, Mr. Lester was appointed Resident Dramaturg. He became the A.R.T.’s Associate Artistic Director in 2002, and Acting Artistic Director in 2007. He teaches dramaturgy at the A.R.T./MXAT Institute and playwriting at Harvard. ROBERT J. ORCHARD – Executive Director Mr. Orchard served as the A.R.T’s founding Managing Director for twenty-one years. He currently serves as Executive Director of the A.R.T. and the Institute for Advanced Theatre Training, and Director of the Loeb Drama Center at Harvard University. Prior to 1979, he was Managing Director of the Yale Repertory Theatre and School of Drama where he also served as Associate Professor and CoChairman of the Theatre Administration Program. For nearly twenty years, Mr. Orchard has been active facilitating exchanges, leading seminars, and advising on public policy with theatre professionals and government officials in Russia. At the A.R.T. he has produced nearly 186 productions over half of which were new works. In addition, he has overseen tours of A.R.T. productions to major festivals in Edinburgh, Avignon, Belgrade, Paris, Madrid, Jerusalem, Venice, Sao Paulo, Tokyo, Taipei, Singapore, and Moscow, among others. Under his leadership, A.R.T. has performed in eighty-one cities in twenty-two states and worldwide in twenty-one cities in sixteen countries on four continents. Mr. Orchard has served as Chairman of both the Theatre and the Opera/Musical Theatre Panels at the National Endowment for the Arts, on the Board and Executive Committee of the American Arts Alliance, the national advocacy association for the performing and visual arts, and as a trustee of Theatre Communications Group (TCG), the national service organization for the American professional theatre and publisher of American Theatre magazine. In addition he has served on the Board of the Cambridge Multi-Cultural Arts Center and as President of the Massachusetts Cultural Education Collaborative. In 2000, Mr. Orchard received the Elliot Norton Award for Sustained Excellence. Almost There! We are racing to finish a challenge grant! There is only $18,000 left to raise and just one month remaining. A $700,000 challenge grant from the Doris Duke Charitable Foundation for endowment requires a dollar for dollar match. Success with this challenge will safeguard A.R.T.'s mission and commitment to adventurous programming. We have 97% of the funds we need—please help us with the final 3%! Contact Sharyn Bahn, Director of Development at [email protected] or 617-496-2000 x8838 or send a check made out to A.R.T. Endowment to Sharyn Bahn, A.R.T., 64 Brattle Street, Cambridge, MA 02138. dance music theater film spoken word life is a stage. find your passion at encoremag.com Donors American Repertory Theatre is deeply grateful for the generous support of the individuals, foundations, corporations, and government agencies whose contributions make our work possible. The list below reflects gifts between August 1, 2006 and July 31, 2007 to the Annual Fund and special events. Guardian Angel • $100,000 and above The Carr Foundation Doris Duke Charitable Foundation The Andrew W. Mellon Foundation The President and Fellows of Harvard College The Shubert Foundation, Inc. Archangel • $50,000–$99,999 The Boston Globe+ Educational Foundation of America The Hershey Family Foundation The Harold and Mimi Steinberg Charitable Trust Angel • $25,000–$49,999 Philip and Hilary Burling* The E.H.A. Foundation, Inc. Ann and Graham Gund* Cassandra and Horace Irvine Massachusetts Cultural Council National Endowment for the Arts National Corporate Theatre Fund Theatre Communications Group Trust for Mutual Understanding Ted and Mary Wendell* Mr. and Mrs. Byron R. Wien Benefactor • $10,000–$24,999 Altria Group, Inc. Joel and Lisa Alvord* Bank of America Philanthropic Management Page Bingham and Jim Anathan* Boston Investor Services* Paul and Katie Buttenwieser* Ted and Joan Cutler Étant Donnés Barbara W. Hostetter The Roy A. Hunt Foundation Merrill and Charles Gottesman Michael E. Jacobson* Lizbeth and George Krupp Dan Mathieu/Neal Balkowitsch/MAX Ultimate Food*+ Rebecca and Nathan Milikowsky New England Foundation for the Arts Cokie and Lee Perry Michael Roitman and Emily Karstetter The Lawrence & Lillian Solomon Fund, Inc. Visionary • $5,000–$9,999 George C. and Hillery Ballantyne Carol and Harvey Berman Citizens Bank Clarke and Ethel D. Coggeshall Crystal Capital* Robert E. Davoli and Eileen L. McDonagh * Alan and Suzanne Dworsky Michael G. Feinstein and Denise Waldron Barbara and Steve Grossman* Joseph W. Hammer Glenn KnicKrehm The Robert & Myra Kraft Family Foundation, Inc. Mary and Tom Lentz* Audrey Love Charitable Foundation Dr. Henry and Mrs. Carole Mankin Carl Martignetti Kako and Fumi Matsumoto Millennium PartnersBoston* Jackie O’Neill Robert J. Orchard Anthony Pangaro The Bessie E. Pappas Charitable Foundation, Inc. Polaris Capital Management, Inc. Beth Pollock* Provost’s Fund for Arts and Culture Jeffrey F. Rayport Henry and Nitza Rosovsky Mrs. Ralph P. Rudnickº Mary and Edgar Schein Tony Shalhoub and Brooke Adams The Shane Foundation Donald and Susan Ware* Anonymous Associate • $2,500–$4,999 Enid Beal John A. Boyd Terry and Catherine Catchpole Stanley and Peggy Charren Philip and Debbie Edmundson Hannelore and Jeremy Grantham Wladzia and Paul McCarthy Robert and Jane Morse The Netherland-America Foundation, Inc. The Ramsey McCluskey Family Foundation The Abbot and Dorothy H. Stevens Foundation Francis H. Williams Partner • $1,200–$2,499 Elizabeth M. Adams Howard and Leslie Appleby Sharyn Bahn Barbara E. Bierer and Steven E. Hyman Linda Cabot Black Martha Jane Bradford and Alfred Ajami Clark and Gloria Chandler Draper Laboratory Diane and Joel Feldman Nicholas Greville Sarah Hancock The Harvest + Michael B. Keating Nancy P. King Barbara Lemperly Grant and Frederic D. Grant James C. Marlas Judy and Paul Marshall Robert and Janine Penfield Finley and Patricia Perry William A. Serovy Valya and Robert Shapiro Kay and Jack Shelemay Michael Shinagel and Marjorie North Sholley Foundation Marshall Sirvetz The Joseph W. and Faith K. Tiberio Charitable Foundation Leading Player • $500–$1,199 Sheldon Appel The Bay State Federal Savings Charitable Foundation William Bazzy Leonard and Jane Bernstein Sheldon and Dorothea Buckler Donald Butterfield Caroline Chang Antonia H. Chayes Jane and Marvin Corlette Edmond duPont The Friends of Rob Merle and Marshall Goldman Charlotte Hall Dena and Felda Hardymon Margaretta Hausman Stefaan Heyvaert Robert P. Hubbard Karen Johansen and Gardner Hendrie Judith Kidd Gillian and Bill Kohli Pam and Nick Lazares Ann Lenard John D.C. Little Joy Lucas and Andrew Schulert Gregory Maguire Arthur and Merle Nacht Susan and Joe Paresky Parker Family Fund Marty Rabinowitz Renee Rapaporte Carolyn G. Robins Arthur P. Sakellaris Cathy and George Sakellaris Lisbeth Tarlow Julie Taymor David Tobin Jean Walsh and Graham Davies Ruth and Harry Wechsler G. Mead and Ann Wyman Christopher R. Yens and Temple V. Gill Anonymous Featured Player • $250–$499 Christina Anderson Dorothy and John Aram Ronald and Marie Arky Janeen Ault Marjorie Bakken Janet and Arthur Banks Sue Beebee and Joe Gagné Clark and Susana Bernard Betsy and Bob Bingham Catherine Bird Helene B. Black Charitable Foundation Jeffrey Borenstein Thomas B. Bracken Fred and Edith Byron William E. Cain and Barbara Harman Katrina Carye Iris Chandler Richard and Dorothy Cole Donald and Linda Comb John Comings and Rima Rudd Frederica Cushman Warren Cutler Julianne Dow Christine Doyle Timothy E. Driscoll Eric Drouart Donors Dorothy Z. Eister Fabrizio Ferri Charles Flowers Donald and Marjorie Forté Helen and Stephen Freidberg Margalit Gai Christine and Michael Garrity Arthur and Younghee Geltzer Susan Glassman Helen Glikman David Golan and Laura Green Laurie and Jeffrey Goldbarg Randy and Stephen Goldberger Richard Grubman and Caroline Mortimer Homer Hagedorn Saundra Haley Robert Hardman Drs. Earl & Marjorie Hellerstein Petie Hilsinger Fund Alison Hodges and Thomas Clarke Arthur and Susan Holcombe Judith S. Howe Laurie and Cecil Howell Charles Justice Nada and Steven Kane David and Meredith Kantor Karen Kelly Michael and Jeannine Kerwin Anna Kitzis Allen S. and Jeanne Krieger Bill and Lisa Laskin Judith and Stephen Lippard Drs. Mortimer and Charlotte Litt Stephen and Jane Lorch Lucy Lynch Barbara Manzolillo Jane and Thomas Martin Douglas Bruce McHenry Jane N. Morningstar Bob and Alison Murchison Roderick and Joan Nordell Suzanne Ogden and Peter Rogers Nicholas Patterson Mark and Pauline Peters Steve and Carol Pieper Paul and Anna Maria Radvany Katharine and William Reardon Alan M. Rich Peter Romano Civia and Irwin Rosenberg Judy and David Rosenthal Bonnie Rosse Kim and Fernando Salazar Alan and Michelle Savenor Mark Selig Wendy Shattuck and Samuel Plimpton Sarah Slaughter Tom Slavin George Smith Ronald Smyth Rina Spence and Gary Countryman Wendy Stern Robert and Nicola Swift Wendell Sykes Scott D. Taylor Betty Taymor Linda Thorsen and Mark Bernstein Adele Viguera Donna Wainwright Dr. Linda Warren Mindee Wasserman, Esq. Jennie Weiner and Jeremiah Jordan Wendy Wheeler Susan and Bruce Wheltle George Whitehouse Susan Worst and Laurence Cohen Nikki and Warren Zapol William and Nancy Zinn Anonymous Endowment Support As of July 31, 2007, the following individuals and foundations made generous contributions to A.R.T.’s endowment in response to a $700,000 challenge grant from The Doris Duke Charitable Foundation. The funds contributed thus far represent 95% of the dollar-for-dollar goal. The endowment will safeguard A.R.T.’s mission and commitment to adventurous programming.The challenge must conclude on September 30, 2007. $75,000 and above Philip and Hilary Burling Robert Davoli and Eileen McDonagh Ted and Mary Wendell Anonymous $25,000–$74,999 Paul and Katie Buttenwieser Sarah Hancock The Hershey Family Foundation Priscilla and Richard Hunt Michael E. Jacobson Donald and Susan Ware $10,000–$24,999 Ann and Graham Gund Lizbeth and George Krupp The Arthur Loeb Foundation Rebecca and Nathan Milikowsky Linda U. Sanger $5,000–$9,999 Page Bingham and Jim Anathan Clarke and Ethel D. Coggeshall Merrill and Charles Gottesman Barbara and Steve Grossman Joseph W. Hammer The Robert & Myra Kraft Family Foundation, Inc. Ward K. and Lucy Mooney Anthony Pangaro Cokie and Lee Perry Beth Pollock $2,500–$4,999 Carol and Harvey Berman Mary and Edgar Schein Anonymous $1,000–$2,499 Joel and Lisa Alvord George C. and Hillery Ballantyne Caroline Chang Kathy Connor Michael B. Keating Glenn KnicKrehm Barbara and Jon Lee Joan H. Parker Suzanne Priebatsch Michael Roitman and Emily Karstetter Henry and Nitza Rosovsky Mrs. Ralph P. Rudnickº John A. Shane Sam Weisman and Constance McCashin Weisman $500–$999 Michael Shinagel * includes contributions to special events + denotes gift-in-kind º deceased National Corporate Theatre Fund National Corporate Theatre Fund is a nonprofit corporation created to increase and strengthen support from the business community for ten of this country’s most distinguished professional theatres. The following foundations, individuals, and corporations support these theatres through their contributions of $5,000 or more to National Corporate Theatre Fund: Altria Group, Inc. AT&T Bingham McCutchen Bloomberg Bristol Myers Squibb James Buckley Steven Bunson Robert Cagnazzi Christopher Campbell Jason and Marla Chandler Clear Channel Cisco Systems, Inc. Citi Citi Private Bank Colgate-Palmolive Company Credit Suisse Dorsey & Whitney Foundation Dramatists Play Service, Inc. Ernst & Young Goldman, Sachs & Company HIRECounsel IMG JP Morgan Chase KPMG Lehman Brothers Marsh & McLennan Companies, Inc. McCarter & English LLP Merrill Lynch & Co. MetLife Morgan Stanley National Endowment for the Arts Newsweek New York State Council on the Arts Ogilvy & Mather New York Pfizer, Inc. Thomas Quick Seinfeld Family Foundation Sharp Electronics* George Smith Theatermania James S. Turley UBS Verizon Communications Willkie Farr & Gallagher LLP Staff Robert J. Orchard Executive Director Gideon Lester Acting Artistic Director Robert Brustein Founding Director / Creative Consultant Artistic Scott Zigler Director, A.R.T. Institute Jeremy Geidt Senior Actor Marcus Stern Associate Director Christopher De Camillis Artistic Coordinator Arthur Holmberg Literary Director Nancy Houfek Voice and Speech Coach Ryan McKittrick Associate Dramaturg David Wheeler Associate Artist Administration and Finance Jonathan Seth Miller General Manager Nancy M. Simons Comptroller Angela Paquin Assistant Comptroller Julia Smeliansky Administrative Director, Institute Steven Leon Assistant General Manager Tracy Keene Company / Front of House Manager Stacie Hurst Financial Administrator Tali Gai Artistic Associate / Executive Assistant Alexander Popov Moscow Program Consultant Development Sharyn Bahn Director of Development Sue Beebee Assistant Director of Development Jan Graham Geidt Coordinator of Special Projects Joan Moynagh Director of Institutional Giving Jessica Obara Development Officer Publicity, Marketing, Publications Ruth Davidson Director of Communications and Marketing Katalin Mitchell Director of Press and Public Relations Nicholas Peterson Marketing Associate Douglas F. Kirshen Web Manager Burt Sun Director of Graphic/Media Design Ariane Barbanell Audience Development Assistant Stevens Advertising Associates Advertising Consultant Box Office Derek Mueller Box Office Manager Ryan Walsh Box Office Manager Lilian Belknap Box Office Representative Public Services Erin Wood Theatre Operations Coordinator Maria Medeiros Receptionist Sarah Leon Receptionist Killian Clarke House Manager Doug Fallon House Manager Shannon Matathia House Manager Heather Quick House Manager Matthew Spano House Manager Production Patricia Quinlan Production Manager Christopher Viklund Associate Production Manager Skip Curtiss Associate Production Manager Amy James Assistant Stage Manager Amanda Robbins Institute Stage Manager J. Michael Griggs Loeb Technical Director Lauren Audette Zero Arrow House Technician Scenery Stephen Setterlun Technical Director Emily W. Leue Assistant Technical Director Alexia Muhlsteff Assistant Technical Director Gerard P. Vogt Scenic Charge Artist Evan Wilkinson Scene Shop Supervisor Peter Doucette Master Carpenter Chris Tedford Scenic Carpenter York-Andreas Paris Scenic Carpenter Jason Bryant Scenic Carpenter Properties Cynthia Lee Properties Manager Tricia Green Assistant Properties Manager Stacey Horne Properties Carpenter Costumes Jeannette Hawley Costume Shop Manager Hilary Hacker Assistant Costume Shop Manager Karen Eister Head Draper Carmel Dundon Draper David Reynoso Crafts Artisan Stephen Drueke Wardrobe Supervisor Suzanne Kadiff Costume Stock Manager Lights Derek L. Wiles Master Electrician Kenneth Helvig Lighting Assistant David Oppenheimer Light Board Operator Sound David Remedios Resident Sound Designer / Engineer Darby Smotherman Production Sound Engineer Stage Joe Stoltman Stage Supervisor Jeremie Lozier Assistant Stage Supervisor Christopher Eschenbach Production Assistant Kevin Klein Production Assistant Internships Elizabeth Bouchard Stage Management Molly Yarn Administration Richard Andrew Yeskoo Scenery Megan Deeley Dramaturgy Program Loeb Drama Center 64 Brattle Street, Cambridge, MA 02138 Editors: Katalin Mitchell, Ryan McKittrick Special Events @ZERO ARROW Sxip’s Hour of Charm A hybrid of circus, music, cabaret, sideshow and burlesque, an exhilarating sampling of the most exciting performing artists in the country today. Weekends, Sept. 14-30 (Friday and Sunday at 8 p.m., Saturday at 7 & 10 p.m.) Featured acts change each weekend. After acting in a production of Eve Ensler’s The Vagina Monologues, Dutch actress Adelheid Roosen approached Muslim women living in the Netherlands to ask them similar questions about their sexuality. The result is a vital, surprising, and poetic portrait of love and relationships under Islam. Committees American Repertory Theatre National Advisory Committee Dr. Stephen Aaron Donald and Lucy Beldock Alexandra Loeb Driscoll Ronald Dworkin Wendy Gimbel Stephen and Kathy Graham Kay Kendall Robert and Rona Kiley Rocco Landesman Wilee Lewis William and Wendy Luers Joanne Lyman James Marlas Stuart Ostrow Dr. David Pearce Steven Rattner Nancy Ellison Rollnick and Bill Rollnick Daniel and Joanna S. Rose Mark Rosenthal Miriam Schwartz Daniel Selznick Rose Styron Mike and Mary Wallace Seth Weingarten Byron Wien William Zabel American Repertory Theatre Honorary Board Each monologue is imbued with deep feeling and delicate detail, allowing us more than a glimpse into each woman’s soul. October 16 – 21 written and directed by Adelheid Roosen Zero Arrow Theatre corner of Mass.Ave and Arrow St., Cambridge www.amrep.org (617) 547-8300 JoAnne Akalaitis Laurie Anderson Rubèn Blades Claire Bloom William Bolcom Carmen de Lavallade Brian Dennehy Christopher Durang Carlos Fuentes Philip Glass Andrè Gregory Mrs. John Hersey Geoffrey Holder Arliss Howard Albert Innaurato John Irving Anne Jackson and Eli Wallach Robert R. Kiley James Lapine Linda Lavin Jonathan Miller Kate Nelligan Andrei Serban John Shea Talia Shire Meryl Streep Rose Styron Lily Tomlin Christopher Walken Mike and Mary Wallace Sam Waterston Robert Wilson Debra Winger Frederick Wiseman Visiting Committee for the Loeb Drama Center Stockard Channing Anthony E. Malkin James C. Marlas Jeffrey D. Melvoin Thomas H. Parry Daniel Selznick Winifred White Neisser Byron R. Wien Institute A.R.T./MXAT INSTITUTE FOR ADVANCED THEATRE TRAINING Scott Zigler, Director Julia Smeliansky, Administrative Director Marcus Stern, Associate Director Nancy Houfek, Head of Voice and Speech Andrei Droznin, Head of Movement AMERICAN REPERTORY THEATRE Robert J. Orchard, Executive Director Gideon Lester, Acting Artistic Director MOSCOW ART THEATRE Oleg Tabakov, Artistic Director MOSCOW ART THEATRE SCHOOL Anatoly Smeliansky, Head The Institute for Advanced Theatre Training at Harvard was established in 1987 by the American Repertory Theatre (A.R.T.) as a training ground for the American theatre. Its programs are fully integrated with the activities of the A.R.T. In the summer of 1998 the Institute commenced a historic joint program with the Moscow Art Theatre (MXAT) School. Students engage with two invaluable resources: the work of the A.R.T. and that of the MXAT, as well as their affiliated schools. Together, this exclusive partnership offers students opportunities for training and growth unmatched by any program in the country. The core program features a rigorous two-year, five-semester period of training in acting, dramaturgy, and special studies, during which students work closely with the professionals at the A.R.T. and the MXAT as well as with the best master teachers from the United States and Russia. At the end of the program, students receive a Certificate of Achievement from the faculty of the American Repertory Theatre and an M.F.A. Degree from the faculty of the Moscow Art Theatre School. Further information about this new program can be obtained by calling the Institute for a free catalog at (617) 496-2000 or going to our web site at www.amrep.org. Faculty Robert Brustein Erin Cooney Thomas Derrah Elena Doujnikova Andrei Droznin Tanya Gassel Jeremy Geidt Arther Holmberg Nancy Houfek Roman Kozak Will LeBow Gideon Lester Stathis Livathinos Karen MacDonald Alexandre Marin Ryan McKittrick Jeff Morrison Pamela Murray Lori O'Doherty Robert J. Orchard Robert Scanlan Andrei Shchukin Anatoly Smeliansky Julia Smeliansky Marcus Stern Oleg Tabakov Tommy Thompson Robert Walsh Scott Zigler Criticism and Dramaturgy Yoga Acting Movment Movement Russian Language Acting Theatre History and Dramaturgy Voice and Speech Acting and Directing Acting Dramaturgy Acting and Directing Acting Acting and Directing Dramatic Literature and Dramaturgy Voice Singing Yoga Theatre Management Dramatic Literature Movement Theatre History and Dramaturgy History and Practice of Set Design Acting and Directing Acting Alexander Technique Combat Acting, Directing, and Dramaturgy Staff Christopher Viklund Production Manager Acting Elizabeth Allen Joseph Almanza Emily Alpren Renzo Ampuero Sarah Baskin Skye Noel Basu Kaaron Briscoe Sheila Carrasco Doug Chapman Gardiner Comfort Shawn Cody Emmy Lou Diaz Jia Doughman Carl Foreman Megan Hill Manoel Hudec Perry Jackson Nina Kassa Thomas Kelley Adam Kern Roger Kuch Rocco LaPenna Daniel Le Sarah Jorge Leon Careena Melia DeLance Minefee Paul Murillo Angela Nahigian Yelba Osorio Kunal Prasad Anna Rahn James Senti Lisette Silva Josh Stamell Chudney Sykes Elizabeth Wilson Dramaturgy Sean Bartley Marshall Botvinick Njal Mjos Heidi Nelson Sarah Ollove Katheryn Rasor Lynde Rosario Sarah Wallace Voice Carey Dawson Julie Foh ARTifacts SUBSCRIPTIONS AND INDIVIDUAL TICKETS NOW ON SALE 617.547.8300 www.amrep.org subscribe & save! box office hours • Subscribe now and get great seats for the 2007-08 season • Free and easy ticket exchange! • All subscriptions are discounted—save up to 25% off single ticket prices • Discounts on parking and fine dining in Harvard Square LOEB DRAMA CENTER Tuesday–Sunday noon–5 PM Monday closed Performance days open until curtain new to the A.R.T.? subscribe now with no risk exchanges We’re so sure you’ll enjoy the 2007–08 season, here’s a money back guarantee: After you’ve seen your first two productions, if you’re not completely satisfied, just give us a call and we'll refund the remainder of your season tickets. (New subscribers only.) preplay Preshow discussions one hour before 7:30 curtain led by the Literary Department. Loeb Stage plays only. ZERO ARROW THEATRE box office opens one hour before curtain SUBSCRIBERS can change to any other performance free of charge SINGLE TICKET BUYERS can exchange for a transaction fee of $10 A.R.T. student pass $60 gets you 5 tickets good for any combination of plays.That's only $12 a seat! (Full-time students only.) discount parking Don Juan Giovanni Sun, Sept 2; Wed, Sept 12; Thu, Sept 20 Figaro Sun, Sept 9, Thu, Sept 13, Wed, Sept 26 LOEB STAGE Have your ticket stub stamped at the reception desk when you attend a performance and receive discounts at the University Place Garage or The Charles Hotel Garage. playback ZERO ARROW THEATRE Discount parking is available at the Harvard University lot at 1033 Mass. Ave. (entrance on Ellery Street). Go to www.amrep.org/venues/zarrow/ for more information. Post-show discussions after all Saturday matinees. All ticket holders welcome. curtain times Tue/Wed/Thu/Sun evenings – 7:30pm Friday/Saturday evenings – 8:00pm Saturday/Sunday matinees – 2:00pm individual ticket prices LOEB STAGE Fri/Sat evenings All other perfs A B $79 $56 $68 $39 ZERO ARROW Donnie Darko/The Veiled Monologues Fri/Sat evenings $52 All other perfs $39 order today! subscriptions & tickets on sale now 617.547.8300 www.amrep.org Sxip’s Hour of Charm all seats $25 617.547.8300 www.amrep.org 64 Brattle Street, Cambridge, MA 02138
