Slaves program quark - American Repertory Theater

Dear Friends,
Welcome to the final production of the 2005-06 season, Marivaux’s Island of Slaves
directed by Robert Woodruff.
Like La Dispute, which Anne Bogart directed at the A.R.T. in 2003, Island of Slaves
is a play of paradoxes. At first glance it appears to be a slender social comedy; the longer
you look at it, the less funny and more sinister it becomes. Marivaux’s genius is to make
us laugh at his character’s misfortunes, or to shudder at their laughter. No other playwright
has been better able to turn a scene from comedy to tragedy in a single line, or, as in
Island of Slaves, to flip the social order on its head.
Marivaux sets his plays in hermetically closed, self-referential environments peopled with archetypes and
fairytale characters; at the same time his whimsical comedies can feel bitingly satirical and politically engaged.
They never make direct reference to the world outside the stage – to France, the King, politicians, the church –
yet there are moments in all his plays when a character addresses us directly and dissects our own lives with
shocking, contemporary accuracy.
The men and women of Marivaux’s plays live in a constant state of surprise and wonder – they are, as the
director and translator Neil Bartlett has said, eternal improvisers – yet they speak in some of the most perfectly
measured, rhetorically balanced sentences ever created. This contradiction makes Marivaux simultaneously a
joy and a nightmare to translate (let alone to act) because – another paradox – every panicky line contains at least
one elegant word game, which invariably has no direct equivalent in English.
Marivaux wrote at a time when there was no pretence of realism in the theatre. It’s clear that his actors
always took in their audience and played across the “fourth wall.” Even when alone on stage his characters perform their solitude – they seem fully aware that they are alone in the company of five hundred spectators. While
we were trying to find a modern equivalent for this self-conscious mode of performance, Robert and I came upon
Boston’s extraordinary community of drag performers. The theatre that these gifted artists create is, like
Marivaux’s, simultaneously hilarious and disturbing, fictional and personal, hermetic and political, improvisational
and virtuosic, steeped in a rich tradition and resolutely alive. Like Trivelin’s island, it is also a space in which the
order of the world is temporarily turned upside-down.
Thank you for all your support. We look forward to seeing you again in the fall for the start of our 2006-07
season.
Best wishes,
Gideon Lester
Associate Artistic Director
Professional Company — 2005-06 Season
Remo Airaldi
Che Ayende
Christina Baldwin
Jeff Biehl
Dieter Bierbrauer
Annika Boras
John Campion
Kelvin Chan
Marissa Chibas
Madeline Cieslak
Thomas Derrah
Sean Dugan
Rinde Eckert
Fiona Gallagher
Jeremy Geidt
Marc Aden Gray
Bradley Greenwald
Elizabeth Hess
Suzan Hanson
John Kelly
Julienne Hanzelka Kim
Will LeBow
Karen MacDonald
Justin Madel
Kelly McAndrew
Chris McKinney
Bill Murray
Jennifer Baldwin Peden
Paula Plum
Mickey Solis
Momoko Tanno
Molly Ward
Corissa White
Sarah Grace Wilson
Frank Wood
Zero Arrow Theatre
Our exciting second
performance space!
“Boston’s Best New Theatre (2005)”
– Improper Bostonian.
The A.R.T.’s flexible and intimate second performance
space at the intersection of Arrow Street and Mass.
Avenue in Cambridge is now a year old! This 300-seat
theatre serves as an incubator for new work in addition to hosting performances by the A.R.T. Institute for
Advanced Theatre Training and collaborations with World Music/CRASHarts. This season has seen the
premieres of, among others, the A.R.T. productions of The Keening and Orpheus X, four productions by
the Institute for Advanced Theatre Training, four joint projects with WORLD MUSIC, and at least three dance
presentations. Performance times and dates will be updated on the A.R.T. (www.amrep.org) and World
Music/CRASHarts (www.worldmusic.org) web sites. Don’t miss the adventure of new work, young artists,
and multiple disciplines all at affordable prices – the signature mission of ZERO ARROW THEATRE.
Print sponsor for Zero Arrow Theatre.
American Repertory Theatre Advisory Board
Philip Burling Co-Chair
Joel Alvord
Joseph Auerbach, emeritus
George Ballantyne
Carol V. Berman
Page Bingham
Robert Brustein
Paul Buttenwieser
Greg Carr
Caroline J. Chang
Antonia H. Chayes
Clarke Coggeshall
Gwenn Cohen
Kathy Connor
Robert Davoli
David Edwards
Ted Wendell Co-Chair
Mrs. Ralph P. Rudnick Vice-Chair
Charles Gottesman
Barbara W. Grossman
Ann Gund
Joseph W. Hammer
Priscilla S. Hunt
Horace H. Irvine II
Michael Jacobson
Michael B. Keating
Nancy P. King
Glenn KnicKrehm
Myra H. Kraft
Lizbeth Krupp
Barbara Cole Lee
Barbara Lemperly Grant
Carl Martignetti
Dan Mathieu
Eileen McDonagh
Rebecca Milikowsky
Ward Mooney
Anthony Pangaro
Joan H. Parker
Beth Pollock
Suzanne Priebatsch
Jeffrey Rayport
Michael Roitman
Henry Rosovsky
Linda U. Sanger
John Shane
Michael Shinagel
Donald Ware
Sam Weisman
The A.R.T./Harvard Board of Directors
Philip Burling
Luann Godschalx
Jonathan Hurlbert (clerk)
T
O
O
U
Judith Kidd
Robert James Kiely
Jacqueline A. O’Neill (chair)
R
A
U
Robert J. Orchard
Robert Woodruff
D
I
E
N
C
E
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 devices 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.
All Are Welcome!
“ . . . I’ll show you how Madame walks into the theatre when she goes to see a play, the emphatic gestures, the imposing voice, and yet so absent-minded, so distracted – skills you only get with an expensive education. I’ll show you how, when she’s found her seat, she glances, pitying and bored, at the
women on either side of her, and how she pretends she doesn’t even know them.”
– The servant Cléanthis in Island of Slaves
In Island of Slaves, Marivaux shows us a society of masters and servants in which strict class
divisions determine behavior and movement. Since its inception, the A.R.T. has been a place where
people from different communities, countries, ages, and backgrounds can engage in a shared theatrical experience. The A.R.T. was born with a deep commitment to community, and for the past twenty-five years the organization has made the Theatre accessible to a wide range of audiences.
Each season, the A.R.T. runs a number of programs
designed to give middle school, high school, and university
students opportunities to experience live theatre and engage
in dialogue with the actors, directors, and dramaturgs. The
A.R.T.’s Student Matinee Series offers student groups deeply
discounted tickets to A.R.T. season productions and to The
Island of Anyplace, a critically acclaimed annual production
that introduces the elements of live theatre to thousands of
schoolchildren each year. All student matinee performances
are enhanced by study guides and post-performance discussions with artists. This season, over 6,000 area high school students attended matinees of the A.R.T.’s
production of Romeo and Juliet. Next season, Oliver Twist will play to even more student groups.
The A.R.T. also offers a number of other student discounts through its “Student
Rush,” “Theatre for the Price
of a Movie Ticket,” and
“College Night” programs.
Adult audiences receive discounts through the Theatre’s
“Pay-What-You-Can,” Group
Discount, and Senior
Discount programs.
When Robert Woodruff
became the new Artistic
Director of the A.R.T. in 2002,
one of his goals was to
Students from Mother Caroline Academy gather in the lobby of the A.R.T.
engage more local artists in the
after enjoying a free performance of Romeo and Juliet.
The A.R.T. was
born with a
deep
commitment to
community
creation of our work. Over the
The Dresden Dolls
past four seasons, a number of
Boston-area composers, instrumentalists, video artists, and
singers have participated in the
creation and performance of the
Theatre’s work. Next season, The
Dresden Dolls, one of Boston’s
most popular bands, will be featured in the A.R.T.’s world premiere of The Onion Cellar.
Performed cabaret-style at the
A.R.T.’s second stage at Zero
Arrow Street, the production is certain to attract Dolls fans who’ve never come to the Theatre in the
past. Like many of the A.R.T.’s new music theatre pieces (Highway Ulysses, The Sound of a Voice,
Snow in June, Orpheus X), The Onion Cellar will also bring members of Boston’s extensive music
community into the Theatre. As it does with all of its music theatre productions, the A.R.T. will offer
students at local music schools discounted tickets to The Onion Cellar.
In addition to welcoming audiences from the local community, the A.R.T. is also a center for international theatre exchange. The A.R.T. has a long history of hosting leading foreign directors, designers, actors, and writers. These artists have created some of the most dynamic productions in the
Theatre’s history and helped give
the A.R.T. its reputation around the
world as one of the most hosJohn Kelly and Suzan Hanson
in Orpheus X
pitable places for international
artists to develop their work. Over
the past four seasons alone, the
A.R.T. has hosted artists from
Russia, China, Hungary, Poland,
Romania, Kazakhstan, Britain,
Canada, and Colombia.
Accessibility is fundamental
to sustaining a lively, diverse audience. The A.R.T.’s discount, outreach, and international artist initiatives all make the theatre accessible to people from all over the local
community and world, but the cost
of maintaining these programs escalates each season. The success of building the Theatre’s complex community depends on a shared commitment of support. Tax-deductible gifts to A.R.T.’s annual fund are critical in allowing the A.R.T. to offer these special access initiatives. Please contact the
A.R.T. Development Department if you would like to help the Theatre continue to welcome audiences
and artists of all ages from the local community and beyond.
ACT NOW
Lizzy Cooper Davis, Stephen
Webber, Ellen Lauren, Remo Airaldi
in Marivaux’s La Dispute (2003)
Support the A.R.T.’s 2005-06 Annual Fund.
Three convenient ways to give:
Online:
via credit card at www.amrep.org
By phone: 617.496.2000 x8832
By mail: American Repertory Theatre
Attn: Development Office
64 Brattle Street, Cambridge, MA 02138
Did you know that your purchases from Amazon.com can also help American
Repertory Theatre? Visit www.amrep.org and click the Amazon icon. By entering
via A.R.T.’s portal, a percentage of all purchases will be donated to the American
Repertory Theatre.
ACT NOW! Support A.R.T.’s 2005-06 Annual Fund.
ACT NOW! Support A.R.T.’s 2005-06 Annual Fund. ACT NOW! Support A.R.T.’s 2005-06 Annual Fund.
ACT NOW! Support A.R.T.’s 2005-06 Annual Fund. ACT NOW! Support A.R.T.’s 2005-06 Annual
ACT NOW! Support A.R.T.’s 2005-06 Annual Fund. ACT NOW!
Annual Fund 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, 2004 and April 10, 2006
to the Annual Fund.
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.
The Harold and Mimi Steinberg
Charitable Trust
TIAA-CREF
Archangel • $50,000 – $99,999
The Educational Foundation of
America
The Hershey Family Foundation
The Norman and Rosita Winston
Foundation
Anonymous
Angel • $25,000 – $49,999
Altria Group, Inc.
Association of Performing Arts
Presenters Ensemble/Theatre
Collaborations Grant Program
The Boston Globe
Philip and Hilary Burling
The E.H.A. Foundation, Inc.
Cassandra and Horace Irvine
Massachusetts Cultural Council
National Endowment for the Arts
National Corporate Theatre Fund
Rockefeller Foundation/Multi-Arts
Production Fund
Theatre Communications Group
Trust for Mutual Understanding
Ted and Mary Wendell
Mr. and Mrs. Byron R. Wien
list of donors from $500 + compiled as of April 10, 2006
Benefactor • $10,000 – $24,999
Page Bingham and Jim Anathan
Paul and Katie Buttenwieser
Mabel H. and Louis Cabot
Patricia and Dick Chute
Ted and Joan Cutler
Alan and Suzanne Dworsky
Priscilla and Richard Hunt
The Roy A. Hunt Foundation
Barbara and Steve Grossman
Michael E. Jacobson
Lizbeth and George Krupp
Barbara and Jon Lee
Dan Mathieu/Neil Balkowitsch/
MAX Ultimate Food+
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Rebecca and Nathan Milikowsky
Cokie and Lee Perry
Beth Pollock
Michael Roitman and
Emily Karstetter
Mrs. Ralph P. Rudnick
Mary and Edgar Schein
Lawrence & Lillian Solomon Fund,
Inc.
Virginia Wellington Cabot
Foundation
Pacesetter • $5,000 – $9,999
Joel and Lisa Alvord
George C. and Hillery Ballantyne
Carol and Harvey Berman
Clarke and Ethel D. Coggeshall
Gwenn Cohen
Robert Davoli and Eileen
McDonagh
Michael G. Feinstein and
Denise Waldron
Rachael and Andrew Goldfarb
Ann and Graham Gund
Joseph W. Hammer
Glenn KnicKrehm
Dr. Henry and Mrs. Carole Mankin
James C. Marlas
Carl Martignetti
Millennium Partners – Boston
Ward K. and Lucy Mooney
Robert J. Orchard
The Bessie E. Pappas Charitable
Foundation, Inc.
Joan H. Parker/Pearl Productions
The Polish Cultural Institute+
Jeffrey F. Rayport
Henry and Nitza Rosovsky
Tony Shalhoub and
Brooke Adams
The Shane Foundation
Donald and Susan Ware
Sam Weisman and Constance
McCashin Weisman
Anonymous
Partner • $2,500 – $4,999
Enid L. Beal
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Cambridge Trust Company
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Stevens Foundation
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Anonymous
Patron • $1,000 – $2,499
Steven and Elizabeth Adams
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Sheldon Appel
Howard and Leslie Appleby
Sharyn Bahn
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Antonia H. Chayes
City Schemes +
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Gardner Hendrie
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Frederic D. Grant
Ann Lenard
Joy Lucas
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Jacqueline Kinney
New England Biolabs, Inc.
Finley and Patricia Perry
Suzanne Priebatsch
Beatrice Roy
William A. Serovy
Michael Shinagel and
Marjorie North
The Sholley Foundation
Marshall Sirvetz
Jeanne and Don Stanton
Matthew Stuehler and
Treacy Kiley
The Joseph W. and Faith K.
Tiberio Charitable Foundation
Francis H. Williams
Judith and Stephen Wolfberg
Christopher Yens and
Temple V. Gill
Anonymous
Mentor • $500 — $999
Javier Arango
Paul and Leni Aronson
William Bazzy
Martha Jane Bradford and
Alfred Ajami
Caroline Chang
Liz Coxe and Dave Forney
Richard Donoho
Gail Flatto
Donald and Marjorie Forté
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Christine and Michael Garrity
Homer Hagedorn
Sarah Hancock
Haney Foundation
Dena and Felda Hardymon
Stefaan Heyvaert
The Knapp Family
Susan and Harry Kohn
Alan S. and Jeanne Krieger
Stephen and Judy Lippard
John D.C. Little
Louise and Sandy McGinnes
Judy and Paul Marshall
Michael and Annette Miller
Parker Family Fund
Carolyn G. Robins
Elisabeth Schmidt-Scheuber
Maurice and Sarah Segall
Kay and Jack Shelemay
Lisbeth Tarlow
Betty Taymor
David Tobin
Jean Walsh and Graham Davies
Mindee Wasserman
Harry Wechsler
James and Jane Wilson
Peter and Dyann Wirth
World Education, Inc.
Anonymous
Supporter • $250 — $499
Mark Akerson
A. Scott and Joan Anderson
Ronald Arky
Marjorie Bakken
Janet and Arthur Banks
Richard R. Beaty
Sue Beebee and Joe Gagné
Leonard and Jane Bernstein
Helene B. Black Charitable
Foundation
Tom and Judy Bracken
Jacqueline Brown
Donald Butterfield
Fred and Edith Byron
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Bonny Cannell Northern
Barry Chaiken
Iris and Harold Chandler
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Combined Jewish Philanthropies
John Comings and Rima Rudd
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Frederica Cushman
Cross Retail Ventures, Inc.
Warren Cutler
Susan and David Davidoff
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Petie Hilsinger Fund
Nada and Steven Kane
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Samuel Plimpton
Laurel Simmons
Robert Skenderian
Julia Smeliansky +
George Smith
W. Mason and Jean Smith
Rachel Somer and
Jean-Francois Formela
Ain and Epp Sonin
Rina Spence
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Scott Taylor
Linda Thorsen and
Mark Bernstein
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Alexander Walker
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Anonymous
+ denotes gift-in-kind
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Bank of America
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Bob Davoli and
Eileen McDonagh
William Gallagher Associates
Merrill and Charles Gottesman
Ann and Graham Gund
Rick and Priscilla Hunt
Hod and Cassandra Irvine
Michael Jacobson
Lizbeth and George Krupp
Barbara and Jon Lee
Rebecca and Nathan Milikowsky
Millennium Partners
Jackie O’Neill
Jeryl and Stephen Oristaglio
Office of the Provost,
Harvard University
Polaris Capital Management,
Inc.
Beth Pollock
Joan and Robert Parker
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Linda and Daniel Waintrup
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National Corporate Theatre Fund
National Corporate Theatre Fund is a
nonprofit corporation created to increase
and strengthen support from the business community for 10 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
American Express
Bank of America
Bloomberg LLP
Bristol-Myers Squibb
Citigroup
Colgate-Palmolive
Credit Suisse First Boston
Dimension Data
Dorsey & Whitney LLP
Dramatists Play Service
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Paul Newman (NCTF Fund for
Theatre Education)
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Pfizer
Tom Quick
The Seinfeld Family Foundation
Skadden, Arps, Slate, Meagher &
Flom LLP
James and Lynne Turley
UBS Paine Webber
Verizon
THE ISLAND
OF SLAVES
presents
by Pierre Marivaux
translated by Gideon Lester
directed by Robert Woodruff
set and costume design
lighting design
sound design
movement
casting
production stage manager
David Zinn
Christopher Akerlind
David Remedios
Freddy Franklin
Judy Bowman
Chris De Camillis
First performance May 13, 2006
Production Sponsors
Barbara and Steve Grossman
CHANEL, Boston
season sponsor
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 Harold
and Mimi Steinberg Charitable Trust, the Shubert Foundation, and the Carr Foundation. The
A.R.T. also gratefully acknowledges the support of Harvard University, including President
Lawrence H. Summers, Provost Steven E. Hyman, Dean William C. Kirby, the Committee on
Dramatics, the Loeb Visiting Committee, 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.
CAST
Iphicrate
Arlequin
Euphrosine
Cléanthis
Trivelin
John Campion*
Remo Airaldi*
Karen MacDonald*
Fiona Gallagher*
Thomas Derrah*
The Islanders
Mohogoney Brown
Fena Barbitall
Raquel Blake
JuJu Bee
Landa Plenty
Freddy Franklin
Ryan Carpenter
Adam Shanahan
Airline Inthyrath
Santio C. Cupon
Understudies: Tony Roach, Iphicrate; Scott MacArthur, Arlequin; Ryan West, Trivelin;
Tamara Hickey, Euphrosine; Mara Sidmore, Cléanthis; David Mitsch, Islanders.
Running time is about 90 minutes. There will be no intermission.
assistant stage manager
production associate
dramaturgy
voice and speech
assistant director
video sequences
advertising consultants
Luke Peters
Katherine Shea
John Herndon & Mark Poklemba
Chris Lang
Javierantonio González
Leah Gelpe
Stevens Advertising
Additional Staff: Nancy Houfek, Assistant Voice and Speech; Rachel Padula-Shufelt, Wigmaster; Megan
Allen, Properties Craftsperson; Alexia Muhlsteff, Interim Assistant Technical Director; Aaron Bell, George
Kane, Nate Steele, Scenic Carpenters; Nicole Coppinger, Scenic Painter; Amy Vlastelica, Scenic Intern;
Amanda Robbins, Stage Management Intern.
Special thanks Jeff Lieberman, Timonthy Feeney, Blake Newman
and to www.pinballplus.com for the jukebox.
The A.R.T. operates under an agreement between the League of Resident
Theatres and Actors’ Equity Association, the union of Professional Actors and
Stage Managers in the United States. The director of this production is a
member of the Society of Stage Directors and Choreographers, Inc., and most
of the designers are members of United Scenic Artists, both independent labor
unions. The A.R.T. is also a constituent member of Theatre Communications
Group (TCG), the national service organization for the American not-for-profit
theatre. Supporting administrative and technical staff are represented by the
Harvard Union of Clerical and Technical Workers/AFSCME
(*) Members of Actors’ Equity Association,
the Union of Professional Actors and Stage
Managers in the United States.
(*) 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
TAMING THE CLOWN
John Herndon explores the ancestry of Arlequin
Pierre Marivaux wrote The Island of Slaves not for the distinguished, classically trained actors of the French national theatre, the Comédie-Française, but for a troupe of exiled Italian
performers, the Comédie-Italienne. The company, which had
taken up residency in Paris several years earlier, specialized in
performing the improvised scenarios of the commedia dell’arte,
the highly physical form of popular theatre that had flourished in
northern Italy for most of the previous century.
Since the principalities of Italy were not united by a common language, commedia performers developed a highly
Domenico
sophisticated system of gestures and pratfalls (“lazzi”) through
Biancolleli as
which they communicated with their audience, and which distinArlequin in the
guished the behavior of each of the stock characters that inhab1660s.
ited the plays. Each actor specialized in the performance of one
character, whose adventures would continue from play to play.
This tradition was continued by the players of the ComédieItalienne, although their dramatic style was considerably modified to suit the taste of Parisian audiences. While commedia
scenarios were traditionally improvised, the French company
generally worked with a playwright, most frequently Marivaux,
whose urbane wordplay and sophisticated psychological plotting substantially altered the form.
Perhaps the most famous of all commedia characters is Arlecchino, the witty, rough servant, instantly recognizable for the bright, geometrical patterns on his clothes. In France Arlecchino became “Arlequin” (“Harlequin”
is his English cousin) and the Arlequin of the Comédie-Italienne was the brilliant actor Antonio Vicentini
Thomasso, who played the role in the first production of Island of Slaves in 1725.
By the early eighteenth century when Marivaux was writing plays for Thomasso, the Arlecchino tradition
had existed for at least two hundred years. Some scholars place his birth many centuries earlier; they see him
as a continuation of the Young Satyr, a figure from ancient Greek drama further developed in the comedies of
ancient Rome through the 6th century AD. Frequently performed with an exaggerated phallus, the Young Satyr
typically forced the sensuality and bestiality
of Pan into contact with the civilized world.
This figure, often masked and dressed in a
patchwork of animal skins and rags, was
coarse, gluttonous, and highly entertaining.
Echoes of these bestial impulses can be
seen in the earliest surviving Arlecchino
mask from the sixteenth century, with its
prominent forehead, tiny eyes, and thick
beard.
Other scholars place Arlecchino’s origins in
the medieval world of Carnival. In this final
celebration of carne (“meat”) before the ausHarlequin and Cornetto in a 16th century etching.
terity of Lent, demons and other masked figures were allowed to run amok, indulging in the physical pleasures
that would soon be foregone. Arlecchino’s commedia mask traditionally bears a wart on the forehead, perhaps
a vestigial reminder of the horns he originally wore. The name “Arlecchino” seems to have developed from
“Alichino,” one of the demon guards whom Dante mentions in the Inferno, a bawdy comrade of the devil who
“made a trumpet of his ass.”
Although his ancestry is ancient, the Arlecchino of the commedia dell’arte, was born as a caricature of peasants from Bergamo, in the northeast of Italy. In the 1500s, impoverished farmers from the lands around Venice
poured into the city to seek work. Filthy, starving, and dressed in rags, the only work they could find was as
porters, hauling trunks for wealthy Venetians. In the commedia scenarios of Venice and Bergamo these laborers were reborn as “zanni”, comic servants. The zanni spoke a stylized version of the Bergamask dialect, filled
with curses and sexual innuendo, and they were always more concerned with filling their stomachs than carrying
out their masters’ wishes. The zanni provided much of the broad, slapstick
humor of commedia. Often the performers would digress from a play’s narrative to indulge in extended sections of physical clowning; in one famous
lazzo, a servant is ordered by his master to deliver a letter, but before he does
so he takes a break to capture and eat a fly – a virtuosic piece of stage business that could last several minutes.
By 1560 Arlecchino emerged as one of the most popular and widespread
of these zanni. He showed the greatest acrobatic prowess of any of the characters – Thomasso was famous for holding a full wine glass and performing
a back flip without spilling a drop. Arlecchino’s life was ruled by bodily urges,
so much so that in one popular trick his hunger gained control of his reason,
Assumed to be the earliest
and he ate himself.
Zanni/Arlequino mask.
In the mid-seventeenth century the performance of Arlecchino
become increasingly stylized. His costume, which had begun as a patchwork of oddly shaped scraps, became
formalized as a regular pattern of evenly spaced diamonds, and his clumsy physical gestures were refined into
a physical code that today would probably look to us like dance. These transformations continued when
Arlecchino and his peers traveled to France. Their performances became less and less improvised and their text
increasingly literary. As the director of the Comédie-Italienne noted in the introduction to a volume of their plays,
“These comedies are not the kind of Italian pieces I spoke of when I said that such pieces ‘could not be printed
because they cannot be separated from the stage actions’ and that ‘the Italians perform without learning anything
by heart.’ The comedies presented here are those played by the company when, in order to conform to the taste
and intelligence of the majority of the spectators, it was necessary to insert more French than Italian into its plays.”
In the company of Marivaux and Thomasso, Arlecchino became still
more domesticated – a psychologically complex character who mixed a newfound pathos with his pratfalls. One contemporary wrote that Thomasso’s
Arlequin was “a mixture of ignorance, naivety, with stupidity and grace. He is
a great child visited by flashes of reason and intelligence, whose sorrows are
as amusing as his joys.” The Arlequin of Island of Slaves is certainly a product of his past; he still prefers the physical to the metaphysical, and takes care
of his stomach before his soul. He is, though, a very different creature from the
rough-hewn peasant from Bergamo. Polished, witty, and soulful, this is an
Arlequin fit for service in the salons of Paris.
John Herndon is a second-year dramaturgy student at the A.R.T.
Institute for Advanced Theatre Training.
An engraving of Arlequin by Claude Gillot, 1695.
The World Upside-Down:
Carnival,
ancient and modern
assembled by Mark Poklemba and John Herndon
On the Island of Slaves, masters and servants are forced to swap roles as part of what Trivelin calls a “lesson in
humanity.” Marivaux’s play dramatizes a ritual humiliation that is intended to produce a kind of rebirth and the
establishment of a new order. Marivaux did not invent the idea of a controlled social inversion; it has its roots in
ancient religious ceremonies and reached its pinnacle in the Carnivals of medieval Europe, where traditional hierarchies would be reversed for a period of riotous celebration just before Lent.
In 1940 the Russian scholar Mikhail Bakhtin published his controversial, evocative study of Carnival traditions, Rabelais and his World. Bakhtin’s depictions of wild feasting, and his analysis of the universal and anthropological nature of Carnival, were crucial to director Robert Woodruff’s understanding of Island of Slaves. As
he prepared the production, Robert also researched contemporary embodiments of the Carnival spirit. Most
notable was Paris is Burning (1990), Jennie
Livingston’s documentary film about the drag balls of
Harlem – raucous, elaborate celebrations in which
impoverished members of New York’s underclass
created fantastical performances based on the lives,
outfits, and attitudes of models and movie stars.
A 16th-century etching featuring “The Wild Man,”
a traditional carnival figure in many Alpine regions.
The carnival celebrated a temporary liberation from
the prevailing truth and from the established order; it
marked the suspension of all hierarchical rank, privileges, norms, and prohibitions. Carnival was the true
feast of time, the feast of becoming, change and
renewal. It was hostile to all that was immortalized
and completed.
— Mikhail Bakhtin, Rabelais and his World
“I’d always see the way the rich people lived and it would slap me in the face. I’d say, ‘I have to have that.’
Because I never felt comfortable being poor. I just don’t. Or even being middle-class doesn’t suit me. Seeing
the riches, seeing the way people on Dynasty lived, these huge houses. And I would think, ‘These people have
forty-two rooms in their house. Oh, my God, what kind of a house is that?’ And we’ve got three rooms. So why
is it that they always got to have all of
that and I didn’t? I always felt cheated
out of things like that.”
— Pepper LaBeija (Paris is Burning)
“Grotesque Woman,”
1521 Carnival etching
by Hans Weiditz.
They built a second world and a second life outside officialdom, a world in
which all medieval people participated,
in which they lived during a given time
of the year. Carnival is not a spectacle
seen by the people: they live in it, and
everyone participates because its very
idea embraces all the people. While
Carnival lasts, there is no life outside of
it. During Carnival time, life is subject
only to its laws, that is, the laws of its
own freedom.
— Mikhail Bakhtin,
“Fat Man,”
1521 Carnival etching
by Hans Weiditz.
A 16th century carnival theme illustration by Bolswert: “The battle between the meat and the fish eaters.”
Rabelais and his World
“A ball is the very word. Whatever you want to be, you can be. So at a ball, you have a chance to display your elegance, your seductiveness, your beauty, your wit, your charm, your knowledge. You can become anything and do anything right here, right now, and it won’t be questioned. I came, I saw, I conquered. That’s a ball.”
— Ball participant (Paris is Burning)
[During Carnival] all that is ordinary, commonplace, belonging to everyday life, and recognized by all suddenly becomes
meaningless, dubious and hostile. Our own world becomes an alien world. Something frightening is revealed in that
which was habitual and secure. The theme of madness is inherent to all grotesque forms, because madness makes
men look at the world with different eyes. — Mikhail Bakhtin, Rabelais and his World
“It’s like looking into the glass and crossing into Wonderland.” — Ball participant (Paris is Burning)
To degrade is to bury, to sow, and to kill simultaneously, in order to bring forth something more and better. To degrade
an object does not imply merely hurling it into the void of nonexistence, into absolute destruction, but to hurl it down into
the reproductive lower stratum, the zone in which conception and a new birth take place. [In carnival] people were, so
to speak, reborn.
— Mikhail Bakhtin, Rabelais and his World
“In real life, you can’t get a job as an executive unless you have the educational background and the opportunity. Now,
the fact that you are not an executive is merely because of the social standing of life. Black people have a hard time
getting anywhere, and those that do are usually straight. In a ballroom you can be anything you want. You’re not really an executive, but you’re looking like an executive, and therefore, you’re showing the straight world that I can be an
executive. If I had the opportunity, I could be one, because I can look like one. And that is like a fulfillment.”
— Dorian Corey (Paris is Burning)
[Carnival] consecrates inventive freedom. The carnival spirit offers the chance to have a new outlook on the world, to
realize the relative nature of all that exists, and to enter a completely new order of things.
— Mikhail Bakhtin, Rabelais and his World
“I am what I am. I am my own special creation.” — Carmen Xtravaganza (Paris is Burning)
“Respect, Fidelity, and Obedience”
Extracts from a seventeenth-century guide to good service
John Gother, a Catholic priest, was born in Southampton, England, in the mid-seventeenth century. His
Instructions for Apprentices and Servants (1699) was one of the most widely circulated handbooks on the complex relationships between servants and their masters. As in many such texts, Gother uses religious arguments
to justify the service of one man to another. The Instructions take the form of a Socratic dialogue:
Q. There being particular Duties belonging to every State, pray tell me, what are the Principal Duties of
Servants?
A. As to what concerns their Masters, and those whom they serve, their principal Duties are Respect, Fidelity,
and Obedience.
Q. What do you mean by Respect?
A. I mean that Servants are to be mindful of the Command given by Saint Paul, Romans 13:7: “Render therefore to all their Dues – Fear to whom Fear, Honor to whom Honor.” There is an Honor due to all who have any
Superiority or Authority over us: And Master being in this degree, according to the Order of God, there is an
Honor or Respect due to them from Servants.
Q. How is this Respect to be shown?
A. In Behavior, in Words and Actions: Servants are not to say or do any thing, but all ought to be temper’d with
such a Respect, as may be a perpetual Acknowledgment of the Superiority Masters have over them. Hence,
first, Servants are not to give to their Masters Surly or Disrespectful Answers. Secondly, they are not to mock
them, nor by any Words, Signs, or Gestures, express a Contempt of them. Thirdly, they are not to make any
Discourse with their Fellow-Servants of any Failings they apprehend or observe in their Masters, and much less
with Strangers.
Q. If their Masters are unreasonable in their Commands, and by Passionate or Abusive Words provoke their
Servants, must not they answer?
A. The Advice given by Saint Paul is “Not to answer again,” at least, not to Contradict them: But if there be
sometimes reason to give an Answer, then this cannot be reprov’d, if it be done with Respect. I am sensible
how difficult this is, under some Provocations; but it being their Duty to be ever Respectful and Moderate, the
Difficulty obliges them to be more Watchful in their Words, but cannot excuse them from their Duty. Every
Christian is bound to submit to the Difficulties of their State, and bear them with Patience. And since this is what
particularly belongs to Servants, they must labor with Humility and Meekness to bear the Burthen of their
Condition. It were to be wish’d, that Masters, and all in Authority, would follow the Advice of Saint Paul in governing their Passions, and using Moderation with their Servants; but if Masters are wanting to this Duty, and are
unreasonably provoking, this is no Warrant for Servants to lose either their Respect or their Patience.
THE ISLAND OF SLAVES
Acting Company
REMO AIRALDI* — Arlequin
A.R.T.: Forty-eight productions, including Romeo and Juliet (Peter), No Exit (Valet), Amerika (Captain, Green,
Head Porter), Dido, Queen of Carthage (Nurse), The Provok’d Wife (Constable), The Miser (Master Jacques),
The Birthday Party (McCann), A Midsummer Night’s Dream (Francis Flute), Pericles (Fisherman), La Dispute
(Mesrou), Uncle Vanya (Telegin), Marat/Sade (Cucurucu), Enrico IV (Bertoldo), The Winter’s Tale (Clown), The
Wild Duck (Molvik), Buried Child (Father Dewis), Tartuffe (Monsieur Loyal), Henry IV and V (Mistress Quickly),
Waiting for Godot (Pozzo), Shlemiel the First (Mottel/Moishe Pippik/Chaim Rascal), The King Stag (Cigolotti),
Six Characters in Search of an Author (Emilio Paz). Other: Camino Real and Eight by Tenn (Hartford Stage),
productions at La Jolla Playhouse, Geffen Playhouse, American Conservatory Theater, Walnut St. Theatre, Prince
Music Theater, Actors’ Theatre of Louisville, Serious Fun Festival, Moscow Art Theatre, Taipei International Arts Festival, Boston Playwrights
Theatre.
JOHN CAMPION* — Iphicrate
A.R.T.: Romeo and Juliet (Escalus), Oedipus (Oedipus), A Midsummer Night’s Dream (Theseus/Oberon), The
Caucasian Chalk Circle (Azdak), King Lear (Cornwall), When We Dead Awaken (Ulfheim, directed by Robert
Wilson). Other: Baal (Baal) Trinity Repertory Company; The Duchess of Malfi (Bosola) American Conservatory
Theatre; The Skin of Our Teeth (Mr. Antrobus) The Guthrie Theater, all directed by Robert Woodruff; Slavs! (Popi)
La Jolla Playhouse and Mark Taper Forum; The Hairy Ape (Yank) and Tartuffe (Madame Pernelle) La Jolla
Playhouse; Julius Caesar (Brutus), Seattle Repertory Theatre; Hamlet (Claudius) GevaTheatre; The Trojan
Women (Menelaus) and Hedda Gabler (Lovborg) The Globe; Pericles (Antiochus, Simonides, the Pander)
Hartford Stage; The Triumph of Love (Hermocrate) Center Stage. New York: Measure for Measure (Angelo) and
Henry VI (York), Theatre for a New Audience; In the Jungle of Cities (George Garga, directed by Anne Bogart), Hamlet, Aunt Dan and Lemon,
The Golem, Joseph Papp Public Theater; Measure for Measure, Lincoln Center. Television: David Mamet’s The Unit, Law and Order, Cover
Me, Crime Story. Film: Heaven’s Fall, Hamlet, The Milagro Beanfield War. Trained at the Royal Academy of Dramatic Art, performed for the
Queen of England and the Duke of Edinburgh.
RYAN CARPENTER — Fena Barbitall
Local and national nightclubs: Jacques Cabaret, Avalon, Axis, Chaps; Boston. Divas Nightclub, Northampton; The
Two Door, New Hampshire; The Chez Est, Hartford, CT; various clubs in Chicago, IL; Trixies, Hollywood, FL;
Backdoor Bambi, Miami, FL Was crowned Ms UMass in 2005.
SANTIO CUPON — Landa Plenty
A.R.T.: Romeo and Juliet (Ensemble). Other theatre: The Who’s Tommy (Ensemble), Core Stage Company;
The Firebugs (Fireman), Chelsea Theater Works. Dance: Fusion Works Do Bop, Bridgewater State College
Dance Company, and Tandem Dance. Television: CBS’ The Way, XY TV Roomies (Choreographer). Other: Walt
Disney World Entertainment. Teaches dance at Beverly Richards Dance Center of East Boston. BA from
Bridgewater State College.
THOMAS DERRAH* — Trivelin
A.R.T.: Romeo and Juliet (Friar Lawrence), Three Sisters (Chebutykin), Carmen (Zuniga), Olly’s Prison (Barry),
The Birthday Party (Stanley), A Midsummer Night’s Dream (Nick Bottom), Highway Ulysses (Ulysses), Uncle
Vanya (Vanya), Marat/Sade (Marquis de Sade), Richard II (Richard), Mother Courage (Chaplain), Charlie in
the House of Rue (Charlie Chaplin), Woyzeck (Woyzeck), The Oresteia (Orestes). Broadway: Jackie: An
American Life (twenty-three roles). Off-Broadway: Johan Padan and the Discovery of the Americas (Johan),
Big Time (Ted). Tours with the Company across the U.S., with residencies in New York, Chicago, San Francisco,
and Los Angeles, and throughout Europe, Canada, Israel, Taiwan, Japan, and Moscow. Other: Approaching
Moomtaj (New Repertory Theatre); Twelfth Night and The Tempest (Commonwealth Shakespeare Co.);
London’s Battersea Arts Center; five productions at Houston’s Alley Theatre, including Our Town (Dr. Gibbs, directed by José Quintero); and
many theatres throughout the U.S. Awards: 1994 Elliot Norton Prize for Sustained Excellence, 2000 and 2004 IRNE Awards for Best Actor, 1997
Los Angeles DramaLogue Award (for title role of Shlemiel the First). Television: Julie Taymor’s film Fool’s Fire (PBS American Playhouse),
Unsolved Mysteries, Del and Alex (Alex, A&E Network). Film: Mystic River (directed by Clint Eastwood). He is a graduate of the Yale School of
Drama.
FREDDY FRANKLIN — Mohogoney Brown
A.R.T.: Three Sisters (Soldier). Other: Hypochondria, Boston Theatre Works; Shackles and Sugar, Theatre
Offensive. National tours: Aladdin, American Family Theatre; Harriet Tubman and the Underground Railroad,
Theatre IV. Singer, dancer, master of ceremonies at Spirit of Boston. Clubs: Jacques, Axis, Embassy, Avalon,
Chaps. Appearances: Fierce Forever, MIT, 2006 Matthew Shepard Benefit, Fitchburg Stage College. BFA from
Emerson College.
FIONA GALLAGHER* — Cléanthis
New York: Sake with the Haiku Geisha, Perry Street Theatre; Girl Talk and Women of Manhattan, Barrow Group;
The Square, Ma-Yi Co. The Public Theater; five productions at Ensemble Studio Theatre (where she is a member),
New York Theatre Workshop (Usual Suspect member). Regional: Water’s Edge, Street Scene, The Winter’s Tale,
Williamstown Theatre Festival; Ghosts, Hartford Stage; Picasso at the Lapin Agile, Chautauqua Festival; The
Bells, McCarter Theatre; Psychic Life of Savages, Yale Repertory Theatre; Noises Off, Paper Mill Playhouse;
Loot, La Jolla Playhouse, McCarter Theatre, A Touch of the Poet, Arena Stage and Denver Center; among others. Films: Second Best, The Juror, Trial by Jury. Television: Law and Order, Law and Order: CI, Guiding Light, Kate
and Allie, 100 Centre Street, Feds.
AIRLINE INTHYRATH — JuJu Bee
Theatre: Some Asians, Attempts on Her Life, University of Massachusetts; The Gingerbread
Lady, Hovey Players. Performs at Axis, Boston and Diva’s Nightclub in Northampton. Singing
engagements at various events throughout Massachusetts.
KAREN MACDONALD* — Euphrosine
A.R.T.: founding member, fifty-seven productions. Recent seasons: Romeo and Juliet (Nurse), No Exit (Estelle),
Olly’s Prison (Ellen), Dido, Queen of Carthage (Anna), The Provok’d Wife (Madamoiselle, IRNE award), The
Miser (Frosine, IRNE award), The Birthday Party (Meg,IRNE Award), A Midsummer Night’s Dream
(Hypolita/Titania, IRNE award), Pericles (Dionyza), Highway Ulysses (Circe), Uncle Vanya (Marina), Lysistrata
(Kalonika), Mother Courage and Her Children (Mother Courage), Marat/Sade (Simone), Othello (Emilia, IRNE
award). Director of Dressed Up! Wigged Out!, Boston Playwrights Theatre. New York: Roundabout Theatre,
Second Stage, Playwright’s Horizons, and Actors’ Playhouse. Regional: The Misanthrope (Arsinöe), Berkshire
Theatre Festival; Infestation (Mother), Boston Playwrights Theatre; Hamlet (Gertrude) and Twelfth Night (Maria),
Commonwealth Shakespeare Company; The Beauty Queen of Leenane (Maureen) and The Last Night of Ballyhoo (Boo) Vineyard
Playhouse; Who’s Afraid of Virginia Woolf (Martha, Elliot Norton Award) and Frankie and Johnny in the Clair de Lune (Frankie), Merrimack
Repertory Theatre; As You Like It (Rosalind), Shakespeare & Co; Shirley Valentine (Shirley), Charles Playhouse. Other: Alley Theatre
(Company member), the Goodman Theatre, the Wilma Theatre, Long Wharf Theatre, Geva Theatre, Syracuse Stage, Buffalo Studio Arena,
Cincinnati Playhouse, Philadelphia Festival of New Plays.
ADAM SHANAHAN — Raquel Blake
Local and national nightclubs: Axis, Jacques, Downstairs Café, Boston; Twist, South Beach, FL. Has collaborated
with RuPaul and has toured with Lips & Hips Illusions and California Dolls (National drag tour). Has been crowned
Miss Gay Massachusetts 2005-06, Miss Frank’s Place 2002-present, and Miss Gay Pride Boston 2004-present.
Creative Staff
ROBERT WOODRUFF — Director/Artistic Director
A.R.T.: directed Orpheus X, Olly’s Prison, Oedipus, Sound of a Voice, Highway Ulysses, Richard II, Full Circle
(2000 Elliot Norton Award for Best Director) and In the Jungle of Cities (1998 Elliot Norton Award for Best Director).
A.R.T. Institute: directed Charles L. Mee’s Trojan Women A Love Story. His credits include the premieres of Sam
Shepard’s Curse of the Starving Class, Buried Child (Pulitzer Prize), and True West at the New York
Shakespeare Festival; In the Belly of the Beast, A Lie of the Mind, and Philip Glass’s A Madrigal Opera at the
Mark Taper Forum; The Comedy of Errors (with the Flying Karamazov Brothers) at Lincoln Center; David Mamet’s
adaptation of Red River at The Goodman Theatre; The Tempest, A Man’s a Man, and Happy Days (among others) at La Jolla Playhouse; Julius Caesar at Alliance Theatre; The Duchess of Malfi and Nothing Sacred at the
American Conservatory Theatre; The Skin of Our Teeth at The Guthrie Theater, and Baal at Trinity Repertory Company. His work has been
seen at most major U.S. Arts Festivals and abroad. Recent work includes Medea at the National Theatre of Israel and Saved at Theatre for a
New Audience. Mr. Woodruff co-founded The Eureka Theatre, San Francisco, and created The Bay Area Playwrights Festival.
GIDEON LESTER — Translator/Associate Artistic Director
Recent translations: Marivaux’s 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: Kafka’s Amerika (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. He teaches dramaturgy at the A.R.T./MXAT Institute,
playwriting at Harvard.
DAVID ZINN — Set and Costume Designer
A.R.T.: sets and costumes for Orpheus X, Olly’s Prison, Highway Ulysses. Recent: costumes for Ellen McLaughlin’s adaptation of Oedipus
(Guthrie Theater); sets and costumes for Handel’s Orlando (New York City Opera); The Cunning Little Vixen (Lyric Opera of Chicago); Don
Giovanni (Santa Fe Opera); and Sandra Tsing Loh’s Sugar Plum Fairy (Seattle Rep, Geffen Theater, San Jose Rep). Other: Spoleto Festival
USA, Mark Taper Forum, Glimmerglass Opera, Merrimack Repertory Theater, Intiman Theater, Long Wharf Theater, Center Stage (Baltimore),
Curtis Institute of Music, Yale Rep, Berkeley Rep, Shakespeare Santa Cruz, Cincinnati Playhouse, Children’s Theater Company and many others. New
York: 2nd Stage, Culture Project, Atlantic Theater, Jane Street, MCC, Juilliard, and company member of Target Margin Theater (many shows and
Obie Award) and SALT Theater. Mr Zinn was recently awarded the Irene Sharaff Young Master Award from the Theatre Development Fund.
CHRISTOPHER AKERLIND — Lighting Designer
A.R.T.: Orpheus X, Olly’s Prison, Desire Under the Elms, Oedipus, La Dispute, Uncle Vanya, Enrico IV, and Misalliance. Broadway:
Shining City, Awake and Sing!, Well, Rabbit Hole, A Touch of the Poet, In My Life, Light in the Piazza (Tony, Drama Desk, Outer Critics’
Circle Awards). Recent: Martha Clarke’s Belle Epoch (Lincoln Center Theatre), Nicholas and Alexandra (L.A. Opera), Anne Bogart’s productions of Score, Room, and A Midsummer Night’s Dream (SITI Company); Homebody/Kabul (BAM); My Life as a Fairy Tale (Lincoln Center
Festival). His extensive credits in opera include productions at the Boston Lyric, Dallas, Glimmerglass, Hamburg, Houston, Minnesota, New York
City, Nissei and Santa Fe Operas and over forty productions for Opera Theater of Saint Louis where he was Resident Lighting Designer for twelve
years. He is the recipient of an Obie Award for Sustained Excellence in Lighting Design, the Michael Merritt Award for Design and
Collaboration and numerous nominations for the Drama Desk, Lucile Lortel, Outer Critics Circle and Tony Awards.
DAVID REMEDIOS – Sound Designer
ART: Thirty-four productions, including Orpheus X, Amerika, Olly’s Prison, Dido, Queen of Carthage, The Provok’d Wife (original music),
The Miser, Oedipus, Snow in June, Highway Ulysses, Absolution, Enrico IV, Mother Courage and Her Children (2001 Elliot Norton Award)
and Man and Superman. Other credits include The Scottish Play (La Jolla Playhouse), Leap (Cincinnati Playhouse in the Park), Dressed Up!
Wigged Out! (original music and sound, Boston Playwrights Theatre), and productions for Emerson Stage, Boston Theatre Works, and Vineyard
Playhouse. Dance soundscapes include works for Snappy Dance Theatre Company, Concord Academy, and Lorraine Chapman.
JUDY BOWMAN — New York Casting
A.R.T.: Romeo and Juliet, The Keening, Olly’s Prison, Desire Under the Elms. New York: Baby Girl (Center Stage), Michael John Garces’s
Point of Departure (INTAR), Havana Bourgeois (59E59), A Matter of Choice (Chashama), The Wonderer (Flea Theatre), An American Maul
(Culture Project), Rothchild’s Fiddle (Connelly Theatre), premieres of Keith Reddin’s Almost Blue, Sarah Kane’s Phaedra’s Love, the musical Love According to Luc. Regional: Twelfth Night (Actors Theatre of Louisville), the musical Saint Heaven (Stamford Center for the Arts).
Film: 508 Nelson, Duane Incarnate w/Kristen Johnston & Jim Gaffigan, The Eden Myth. As Casting Associate: NY Casting for the films Mean
Girls, Something’s Gotta Give, and Nowhere To Go But Up w/Audrey Tautou & Jennifer Tilly. TV: Animated TV series Proof of Life on Earth w/Julia
Sweeney, Charles Grodin, & Mickey Dolenz. Also the Resident Casting Director for Partial Comfort and Reverie Productions in New York, and
is producing the film The Persistence of Memory.
CHRIS DE CAMILLIS* — Production Stage Manager
A.R.T.: Romeo and Juliet, Three Sisters, Desire Under the Elms, Dido, Queen of Carthage, The Provok’d Wife, Oedipus, A Midsummer
Night’s Dream, Lady with a Lapdog, Pericles, Uncle Vanya, Lysistrata, Marat/Sade, Johan Padan and the Discovery of the Americas,
Richard II, Mother Courage and Her Children, Three Farces and a Funeral, The Winter’s Tale, Full Circle, Ivanov, We Won’t Pay! We
Won’t Pay!, The Merchant of Venice, and The Cripple of Inishmaan. Off-Broadway: Pride’s Crossing (Lincoln Center Theater), The Boys
in the Band (Lucille Lortel Theatre), Slavs! (New York Theatre Workshop), Raised in Captivity (Vineyard Theatre), and ‘Till the Rapture
Comes (W.P.A.) Regional: The Guthrie Theater, Berkshire Theatre Festival (three seasons), George Street Playhouse, Shakespeare &
Company, San Antonio Festival, Old Globe Theatre in San Diego, The Acting Company (fifteen productions over five seasons, including As You
Like It, directed by Liviu Ciulei, A Doll’s House, directed by Zelda Fichlandler, and A Midsummer Night’s Dream, directed by Joe Dowling).
Mr. De Camillis is A.R.T. Artistic Coordinator.
ROBERT J. ORCHARD — Executive Director
Mr. Orchard co-founded the A.R.T. with Robert Brustein in 1979 and served as the Company’s 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 170 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.
(*) 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
New ad from Richard.
Robert J. Orchard
Robert Woodruff
Co-Founder / Executive Director
Gideon Lester
Artistic Director
Associate Artistic Director / Dramaturg
Robert Brustein
Founding Director / Creative Consultant
Artistic
Scott Zigler
Jeremy Geidt
Marcus Stern
Christopher De Camillis
Arthur Holmberg
Nancy Houfek
Ryan McKittrick
David Wheeler
Director, A.R.T. Institute
Senior Actor
Associate Director
Artistic Coordinator
Literary Director
Voice and Speech Coach
Associate Dramaturg
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
Maura Nolan Henry
Artistic Associate / Executive Assistant
Alexander Popov
Moscow Program Consultant
Development
Sharyn Bahn
Sue Beebee
Jan Graham Geidt
Joan Moynagh
Jessica Obara
Director of Development
Assistant Director of Development
Coordinator of Special Projects
Director of Institutional Giving
Development Associate
Publicity, Marketing, Publications
Henry Lussier
Director of Marketing
Katalin Mitchell
Director of Press and Public Relations
Jeremy Allen Thompson Director of Audience Development
Douglas F. Kirshen
Web Manager
Burt Sun
Director of Graphic/Media Design
Stevens Advertising
Advertising Consultant
Associates
Box Office
Derek Mueller
Ryan Walsh
Lilian Belknap
Public Services
Erin Wood
Maria Medeiros
Sarah Leon
Nicole Meinhart
Heather Quick
Charlean Skidmore
Matthew Spano
Production
Patricia Quinlan
Christopher Viklund
Rusty Cloyes
Amy James
Katherine Shea
J. Michael Griggs
Box Office Manager
Box Office Manager
Box Office Representative
Theatre Operations Coordinator
Receptionist
Receptionist
House Manager
House Manager
House Manager
House Manager
Production Manager
Associate Production Manager
Associate Production Manager
Assistant Stage Manager
Institute Stage Manager
Loeb Technical Director
Scenery
Stephen Setterlun
Emily W. Leue
Gerard P. Vogt
John Duncan
Peter Doucette
Chris Tedford
Stephen Smith
Jon Maciel
Props
Cynthia Lee
Lyn Tamm
Terry S. Flint
Costumes
Jeannette Hawley
Hilary Hacker
Karen Eister
Carmel Dundon
David Reynoso
Bettina Hastie
Theadora Fisher
Stephen Drueke
Suzanne Kadiff
Tova Moreno
Lights
Derek L. Wiles
Kenneth Helvig
Lauren Audette
Sound
David Remedios
Darby Smotherman
Stage
Joe Stoltman
Jeremie Lozier
Christopher Eschenbach
Kevin Klein
Angie Prince
Internships
Margaret Bierne
Abigail Estabroook
Catherine Mangan
Amanda Robbins
Amanda Shank
Dan Soule
Amy Vlastelica
Technical Director
Assistant Technical Director
Scenic Charge Artist
Scene Shop Supervisor
Master Carpenter
Scenic Carpenter
Scenic Carpenter
Scenic Carpenter
Properties Manager
Assistant Properties Manager
Properties Carpenter
Costume Shop Manager
Assistant Costume Shop Manager
Head Draper
Draper
Crafts Artisan
First Hand
First Hand
Wardrobe Supervisor
Costume Stock Manager
Stitcher
Master Electrician
Lighting Assistant
Zero Arrow House Electrician
Resident Sound Designer / Engineer
Production Sound Engineer
Stage Supervisor
Assistant Stage Supervisor
Production Assistant
Production Assistant
Props Runner
Finance
Administration
Stage Management
Stage Management
Dramaturgy
Scenery
Scenery
The American Repertory Theatre Program
Loeb Drama Center • 64 Brattle Street • Cambridge, MA 02138
Editors
Katalin Mitchell & Gideon Lester
For information about advertising call:
Richard Cravatts, Publisher
Publications Management Company 781.237.1900
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
Willee 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
Beverly Sills
and Peter Greenough
Daniel Selznick
William and Rose Styron
Mike and Mary Wallace
Seth Weingarten
Byron Wien
William Zabel
American Repertory Theatre Honorary Board
JoAnne Akalaitis
Laurie Anderson
Rubén Blades
Claire Bloom
William Bolcom
Art Buchwald
Carmen de Lavallade
Brian Dennehy
Christopher Durang
Carlos Fuentes
John Kenneth Galbraith
Philip Glass
André 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
Beverly Sills
Meryl Streep
William and 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 Mayer Selznick
Winifred White Neisser
Byron R. Wien
The Red House
Comma Shiatsu
A History of the American Repertory Theatre
Robert J. Orchard
Co-founder / Executive Director
Robert Woodruff
Artistic Director
Robert Brustein
Gideon Lester
Associate Artistic Director / Dramaturg
Founding Director / Creative Consultant
The American Repertory Theatre (A.R.T.) occupies a unique
place in the American theatre. It is the only 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-five-year
history the A.R.T. has welcomed American and international
theatre artists who have enriched the theatrical life of the whole
nation. The theatre has garnered many of the nation’s most
distinguished awards, including a Pulitzer Prize, a Tony Award,
and a Jujamcyn Award. Since 1980 the A.R.T. has performed in
eighty-one 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 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
Robert J. Orchard, and has been resident for twenty-four 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. Mr. Orchard assumed the new role
of Executive Director, and Gideon Lester that of Associate
Artistic Director. Mr. Brustein remains with the A.R.T. as
Founding Director and Creative Consultant.
The A.R.T. provides a home for artists from across the
world, whose singular visions generate and define the theatre’s work. The company presents a varied repertoire that
includes new plays, progressive productions of classical texts,
and collaborations between artists from many disciplines. 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.’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, Peter
Feibleman, Jules Feiffer, Dario Fo, Carlos Fuentes, Larry
Gelbart, Leslie Glass, 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.
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, John
Madden, David Mamet, Des McAnuff, Jonathan Miller, Nicolás
Montero, Tom Moore, David Rabe, François Rochaix, Robert
Scanlan, János Szász, Peter Sellars,Andrei Serban, Dominique
Serrand, 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..
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, and the International Fortnight of
Theatre in Quebec. The company has also performed at international festivals in Edinburgh, Asti, Avignon, Belgrade,
Ljubljana, Jerusalem, Haifa, Tel Aviv, and Venice, and at theatres in Amsterdam, Rotterdam, Perugia, 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. In 1991 Robert Wilson’s production of When We
Dead Awaken was presented at the 21st International
Biennale of São Paulo, Brazil. The company presented its
adaptation of Carlo Gozzi’s oriental fable The King Stag,
directed by Andrei Serban, at the Teatro Español in Madrid in
1988 and at the Mitsui Festival in Tokyo in 1990. The production was also presented at the Taipei International Arts Festival
in Taiwan, together with Robert Brustein’s adaptation of
Pirandello’s Six Characters in Search of an Author in 1995.
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 June 1998 the company presented two
works including Robert Brustein’s new play Nobody Dies on
Friday at the Singapore Festival of the Arts. In October 2000,
sponsored in part by AT&T:On Stage, the company 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. In December 2002,
the A.R.T. was the receipient 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.
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
Robert J. Orchard
Co-Founder/Executive Director
Robert Woodruff
Artistic Director
MOSCOW ART THEATRE
Oleg Tabakov, Artistic Director
Gideon Lester
Associate Artistic Director/Dramaturg
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 new 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. Individually, both organizations represent the best in theatre production
and training in their respective countries. 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
(617) 617-496-2000 x8890 or on our web site at www.amrep.org.
Faculty
Robert Brustein
Trey Burvant
Thomas Derrah
Elena Doujnikova
Andrei Droznin
Tanya Gassel
Jeremy Geidt
Arthur Holmberg
Nancy Houfek
Roman Kozak
Will LeBow
Gideon Lester
Stathis Livathinos
Karen MacDonald
Alexandre Marin
Ryan McKittrick
Jeff Morrison
Pamela Murray
Robert J. Orchard
Robert Scanlan
Andrei Shchukin
Anatoly Smeliansky
Julia Smeliansky
Marcus Stern
János Szász
Oleg Tabakov
Robert Walsh
Robert Woodruff
Scott Zigler
Staff
Rusty Cloyes
Criticism and Dramaturgy
Yoga
Acting
Movement
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
Theatre Management
Dramatic Literature
Movement
Theatre History and Dramaturgy
History and Practice of Set Design
Acting and Directing
Acting
Acting
Combat
Acting and Directing
Acting, Directing and Dramaturgy
Production Manager
Acting
Katia Asche
James T Alfred
Mariko Barajas
Caroline Beth Barad
Devon Berkshire
Jacqueline Brechner
Henry David Clarke
Teniqua Crawford
Emmy Lou Diaz
Brian Farish
Kristen Frazier
Aaron Ganz
Adel Hanash
Tamara Hickey
Merritt Janson
Deirdre Ilkson
Scott MacArthur
Patrick Mapel
Dramaturgy
Mavourneen Arndt
Heather Helinsky
John Herndon
Christopher Hildebrand
Katie Mallison
Voice
Christopher Lang
David Mitch
George Montenegro
Nicole Muller
Anthony Roach
Lorraine Rodriguez
Christian Roulleau
Natalie Saibel
Sarah Scanlon
Neil Stewart
Sandra Struthers
Mara Sidmore
Sean Simbro
Cheryl Turski
Dinora Walcott
Ryan West
Tim Wynn
Matthew Young
Sharon Perkins
Mark Poklemba
Rachael Rayment
Miriam Weisfeld
Vivian Majkowski
Charlie Victor Romeo
TWO WEEKS ONLY! MAY 17-28 ZERO ARROW THEATRE
Created by Bob Berger, Patrick Daniels, and Irving Gregory, with sound design by Jamie Mereness
"Charlie Victor Romeo holds you in a hammerlock for 90 unforgettable
minutes. It's the most frightening show I've ever seen." — Wall Street Journal
"Intensely engrossing . . . a brilliant, powerful experience."
"No show in town can match its sheer intensity
or hermetic artistic perfection." — Time Out New York
One of the most unique and riveting theatrical experiences in
recent years and a New England debut, Charlie Victor
Romeo (CVR) is a live performance documentary derived
entirely from the "black box" transcripts of six major real-life
airline emergencies. Following its 1999 New York debut, the
play became an instant theatrical sensation with sold-out
houses for eight months and enormous praise from the aviation community. Catapulting the audience into the tensionfilled cockpits of
actual flights in
distress, CVR is a
fascinating portrait
of the psychology
of crisis and a
testament to the
strength of the
human spirit.
— New York Times
NO EXIT
The smash hit returns!
by Jean-Paul Sartre
directed by Jerry Mouawad
“A grand funhouse ride!”
– Variety
“Heavenly!”
– Boston Globe
JUNE 22 – JULY 9 Zero Arrow Theatre
THE TWO AND ONLY!
PRIOR TO BROADWAY
written & performed
by Jay Johnson
“Populist,
accessible,
genre-busting!”
– Chicago Tribune
“Glorious!”
The star and creator of
George Gershwin Aone!
– Chicago Sun-Times
JUNE 15 – JULY 9
– New York Times
JULY 12 – AUGUST 6
Zero Arrow Theatre
Loeb Drama Center
617.547.8300
“You will not
believe your
eyes or ears!!”
www.amrep.org
64 Brattle Street Harvard Square
curtain times
A.R.T. student pass
ticket prices
a membership = flexibility!
Tue/Wed/Thu/Sun evenings – 7:30pm
Friday/Saturday evenings – 8:00pm
Saturday/Sunday matinees – 2:00pm
LOEB STAGE
A
B
Fri/Sat evenings
All other perfs
$74 $51
$64 $37
Fri/Sat evenings
All other perfs
$50
$38
All tickets
$45
A.R.T. AT ZERO ARROW THEATRE
MONSIEUR CHOPIN
Subscribers, Members, Seniors, Students deduct $10
Student Tickets, day of performance – $15
Groups of 10 or more save up to 60%!
Call Jeremy Thompson at 617-496-2000 x8844
A.R.T. INSTITUTE SHOWS
$10 • $5 for seniors/students/A.R.T. subscribers
box office hours
LOEB STAGE
Tuesday – Sunday
noon – 5pm
Monday
closed
Performance days
open until curtain
ZERO ARROW open 1 hour before curtain
A.R.T. 2005-06 Season
ISLAND OF SLAVES
by Pierre Marivaux
in a new translation by Gideon Lester
directed by Robert Woodruff
May 13 — June 4 Loeb Stage
Co-production with
World Music/CRASHarts
CHARLIE VICTOR ROMEO
May 17-28
Zero Arrow Theatre
A.R.T. Institute productions
PANTS ON FIRE
by the cast and K.J. Sanchez
directed by K.J. Sanchez
June 2-10 Zero Arrow Theatre
$60 gets you 5 tickets good for any play.
That’s only $12 a seat! (Full-time students only.)
for only $35, members can buy tickets at $10 off
the regular prices and you’ll receive the benefits of
subscribing (including ticket exchange).
preplay
Preshow discussions one hour before curtain led by the
Literary Department. Loeb Stage plays only.
ISLAND OF SLAVES preplays
Sunday, MAY 28 before 7:30pm performance
Wednesday, May 31 before 7:30pm performance
Thursday, June 1 before 7:30pm performance
playback
Post-show discussions after each Saturday matinee.
discount parking
LOEB STAGE
Have your ticket stub stamped at the reception desk
when you attend a performace and receive discounts at
the University Place Garage or The Charles Hotel
Garage.
ZERO ARROW THEATRE (corner of Mass. Ave. and Arrow St.)
Discount parking is available at a nearby Harvard
University lot, with limited additional parking at the Inn at
Harvard and at the Zero Arrow Theatre. Valet parking is
available at Grafton Street Pub & Grill on Mass. Ave. Go
to amrep.org for more information.
Special Summer Events
Heshey Felder as
MONSIEUR CHOPIN
the music of Frédéric Chopin
book by Hershey Felder
directed by Joel Zwick
June 15 – July 9 Loeb Stage
The Smash Hit Returns
NO EXIT
by Jean-Paul Sartre
directed by Jerry Mouawad
June 22 – July 9 Zero Arrow Theatre
Jay Johnson in
THE TWO AND ONLY!
written & performed by Jay Johnson
July 12 – August 6 Zero Arrow Theatre
617.547.8300
www.amrep.org
64 Brattle Street, Cambridge, MA 02138