File - Bond Street Theatre

BOND STREET THEATRE NEWS
2 Bond Street, New York, NY 10012
Juliet contemplates taking the poison in scene from Bond Street Theatre
and Theatre Tsvete’s “Romeo and Juliet” in Kosovo. Actor Ekaterina
Stoyanova as Juliet; Rob Lok in background. Photo by Marko Georgiev
Spring 2001
fon/fax 212-254-4614
www.bondst.org
Performing in the refugee
camps during the war in
Kosovo — June 1999
See page two 
Touring “Romeo and Juliet”
in theatres across Kosovo
— July-August 2000
See page three 
Now to Serbia and Bosnia
— July-August 2001
See page four 
Bond Street Theatre Continues Balkan Peace Project:
Performance in Response to Crisis
1999 - in the refugee camps; 2000 - in Kosovo; 2001 - now to Serbia
Bond Street Theatre returns to the Balkans for the third time to continue its artistic-humanitarian
work in crisis areas. A non-verbal version of “Romeo and Juliet” will be performed at international theatre festivals in Romania and Yugoslavia, followed by performances in critical locations
throughout Serbia, workshops with young artists, and work with children through UNICEF.
Beginning with our tour to the seven Kosovar refugee camps in Macedonia during the purge of ethnic Albanians in
1999, Bond Street Theatre, and their Bulgarian collaborators, Theatre Tsvete, have been working for peace in the
region by following a mutual path: using the expressive arts and theatre to illuminate social issues and uplift spirits.
The enthusiastic response to our work in the camps encouraged us to return in 2000 to lend support to the KosovarAlbanians in their next challenge: rebuilding communities in Kosovo and maintaining peace. The two companies
created a non-verbal, image oriented version of Romeo and Juliet which they performed in theatres throughout Kosovo, many riddled with bullet holes and in disrepair. Audiences were deeply moved and told us that the non-verbal
nature of the play allowed them to add their own words, to personalize what we presented in symbols. Now is a
unique moment in the Balkans: an oppressive shroud has been lifted from the shoulders of Yugoslavia and hopes of
reconciliation and healing are possible for the first time in more than a decade. We are committed to encouraging
stability and peace in the region through our presence, the symbolism of the play, and direct work with young artists.
The Company: Joanna Sherman (Artistic Director); Michael McGuigan (Managing Director);
Luanne Dietrich (mask-maker/actor); Sean Nowell (Musical Director); Fred Collins (fight choreographer);
Rob Lok (actor); Alex Fortuit (percussion); Sima Wolf (musician/actor); Bruce Williamson (musician);
Joe Schufle (musician); Danny Evans (actor); Ruth Juliet Wikler (actor); Aaron Wiener (actor).
Page 2
Michael and Joanna performing in a refugee camp
during the war in Kosovo. Photo by Marko Georgiev
Bond Street Stilt Band parades through the streets of
Bogota: Festival al Aire Puro. Photo: Carmen Alvarez
Scene in Prishtina, capital city of Kosovo.
Photo by Marko Georgiev
Refugee Camp Story —
 June 1999: Bond Street Theatre brought laughter, excitement and creative play to more than 10,000 Kosovar children in seven refugee camps located throughout Macedonia, many children having been heavily
traumatized by the war in Kosovo. The experience was tremendously energizing and rewarding: from the
minute we entered the camp we were surrounded by hundreds of children— reaching, grabbing, watching,
waiting, ready for anything we might have to offer. We paraded through the camp with streams of children
and adults clamoring around us and trailing behind. We staged performances before audiences of 1,0002,000 people, in any open area we could find, trying to include some workshop activities as well, by playing theater games, call-and-response, and mime exercises, and using a small number of ‘volunteers’ with
whom the audience at large could identify. When we returned to a camp later, we were pleased to find the
children demonstrating what they remembered from a performance days before. We found great joy in
bringing joy to so many. This project has clearly demonstrated to us the value of interactive theatre, and
the healing power of all of the expressive arts. The project was facilitated by UNICEF, and funded in part
by the Trust for Mutual Understanding and an Edith Markson Travel grant through Arts International.
Other Highlights of 1999 — Bogota, Colombia

Speaking of dangerous places… later that summer of 1999—Bond Street Theatre traveled to the highaltitude city of Bogotá, Colombia, for the II Internacional Festival al Aire Puro, hosted by the famous
stilt troupe, Teatro Taller. Theatre companies from around the world took over the streets, parks and plazas
of Colombia’s capital for a full week of plays, parades, workshops and salsa. Bond Street performed a
new work, a satire on American pop culture called Incognito. The Festival flew us to a town just outside
Bogota for several performances: as the Festival’s only Americans, two armed bodyguards were hired by
the town to escort us wherever we went, hovering about us during performances, meals, shopping. We
spoke to many people: Colombians see no end to the poverty and civil unrest. The military, paramilitary,
police, guerillas, counter-guerillas, are equally mistrusted since, in the view of most, only the few elites at
the top are comfortable while the vast majority suffer through poverty, violence, destruction of their crops
(coca and non-coca), their bodies and their morale. In this setting, the arts play an ever more crucial role in
keeping life in Colombia bearable. Bond Street again provides an alternative to US military intervention.
Page 3
Kosovo Peace Project
 July-August 2000: After months of collaboration via email, six actors from Bond Street Theatre and six
from Theatre Tsvete of Bulgaria spent two intensive weeks at a simple resort on the Black Sea creating a
unique version of Romeo and Juliet. By combining Bond Street’s engaging physicality with Theatre Tsvete’s
compelling imagery, the irony and tragedy of Shakespeare’s tale is revealed through visual and situational dynamics rather than through verbal twists and turns. The two troupes chose to bring this play, in which neighbor wars with neighbor, into an embattled Kosovo because it so aptly expresses the situation of young men in
many areas of the world today who must confront the choice between love and violence. Most important, the
story does not take sides but offers a provocative plea for peace. We began with the premise that most people
want to live their lives in peace and are led into violent offense and defense only when provoked. This point
resonated deeply with audiences as we traveled to theatres throughout Kosovo. The venues themselves wore
scars of battle: theatres shot full of bullet holes, lacking electricity, and still adorned with KLA flags and slogans.
As the first American theatre company to perform in these spaces, we brought new perspectives, new aesthetics (contrasting their usual fare of heavily nationalistic plays), and a hopeful vision. Many former refugees remembered us from our performances in the camps. It is still a difficult time in Kosovo; the challenge to foster
mutual tolerance and respect in the region is daunting. We know that creative expression is healing, and a
language of symbols is a powerful yet kinder means of addressing the grief of war. The positive response to
our work encourages us to return. We thank the Trust for Mutual Understanding and ArtsLink for funding this
project, and UNICEF and the Jewish-American Joint Distribution Committee for helping us reach the children.
Bringing the Peace Project to Serbia
July-August 2001: Now we are returning to the Balkans, to bring Romeo and Juliet to the other side of the
conflict, to Serbia, focusing on those areas hardest hit by NATO bombing, with large refugee settlements, and
where the movement for freedom was most vigorous. Propelled by the belief that every person is affected by
violence and tragedy of war, we enter this project with faith in the essential humanity of all people. This juncture in Yugoslavian history is an opportune time to help Serbians envision the possibility of peaceful coexistence, to inspire a different kind of peacemaking dialogue through artistic expression, to entertain, and to uplift. The dangers of nationalism are not dispelled but the hope for reconciliation and healing is emerging for the
first time in more than a decade. In Serbia, antagonism toward the role of the United States is still fresh. We
need to show another face of the U.S., a non-military visage. Our role as cultural ambassadors is crucial at this
time. But then again, that is not unfamiliar territory for Bond Street Theatre. We appreciate the Trust for Mutual Understanding’s faith in our work and continued support, and Arts International’s Fund for U.S. Artists at
International Festivals for sponsoring our presentations of Romeo and Juliet at the Sibiu International Theatre
Festival in Romania, and the International Festival of Alternative and New Theatre in Belgrade.
Left: Romeo & Juliet: Violence erupts at the Capulet’s party.
Right: Bond Street performs for Roma & Albanian children
at tent school in Gllogovc, Kosovo. Photos: Marko Georgiev

Page 4
Bond Street Members News
Balkan Youth Reconciliation Seminars
Interns —
Bond Street Theatre has been proud to participate in an effective peace project, convened by the Friendship Ambassadors
Foundation and UNESCO, which brings together young people
(ages 16-24) from across the Balkans, with the aim of accentuating the role of the arts in promoting peace. The first Seminar,
which took place in Plovdiv, Bulgaria, in August 2000, featured
the premiere of “Romeo and Juliet” along with workshops in
self-expression and conflict resolution. The second, held in Budapest in January 2001, was geared toward leadership training
and developing professional presentation skills to prepare these
young leaders for public roles. The third will take place in Timisoara, Romania, this August. Bond Street will help students to
develop creative presentations to present at the United Nations
General Assembly in New York this October. As workshop facilitators, we can testify to the power of the arts in uniting this diverse group of students from every area in the Balkans, in encouraging energetic debate on the issues, and in enabling a
natural growth of tolerance and understanding. Bond Street will
be giving several BYRS students a hands-on theatre experience
this summer assisting the company on their tour in Serbia. The
Barbara Barondess Foundation has graciously donated two airfares in support of Bond Street’s international peace projects.
Ryan Hilsabeck joined us for a semester as a program of Coe College, IA. As an acting intern, he participated in rehearsals & arts-in-education projects.
Misako Takashima is here from Japan as a Design
intern. Her work has been invaluable as she creates
masks and props for “Romeo & Juliet” for the tour.
New Members —
Aris Mejias Agosto is returning to Puerto Rico—
after a trip to China. She is our office assistant, a
stilter and video editor. We hope she returns soon.
Ruth Juliet Wikler, recently from Circomedia Circus School in Bristol,UK, added her physical theatre
skills to our rehearsals this Spring and her writing
skills to the creation of this newsletter. She’s a keeper!
Aaron Wiener, recently returned from work with the
Odin Teatret, was a valuable addition to our rehearsal process this Spring—a fine actor and musician.
Past Members —
Congratulations to Mary Dino and Scott Bloom on
the birth of Sophia on February 28, 2001 — a first!
Congratulations to Stephen Ringold and Deborah
Berkson on their marriage on May 20, 2001 — a first!
Ray Abruzzo, a founding member, re-found us thru
our website. Ray is a popular TV actor (The Practice).
Bond Street Theatre is a physical
theatre company with a social consciousness, a global vision, and a sense of humor.
Please support our good works with your
tax-deductible donation!
Other Highlights of 2000—2001
 Marko Georgiev’s compelling photo of Michael and Joanna
parading in the refugee camps in Macedonia is prominently featured in UNICEF’s Annual Report for the Year 2000.
 Following their dialogue on Performance in Crisis at DTW last
year, Dah Teatar of Serbia has invited Bond Street to attend
their International Symposium June 2001 in Belgrade.
 Bond Street Theatre has been invited to the II International
Arts Festival in Valencia, Venezuela, in October 12-28, 2001.
BOND STREET THEATRE
Bond Street Theatre and Theatre Tsvete parade in the
streets of Podujeve, Kosovo. Photo by Marko Georgiev
2 Bond Street
New York, NY 10012 USA