AN A.R.T./ YOUNG VIC/ ACTORS TOURING COMPANY CO

Transcription

AN A.R.T./ YOUNG VIC/ ACTORS
TOURING COMPANY CO-PRODUCTION
50 Select Exhibitors
MARCH 15-18, 2012
The Cyclorama
at the Boston Center for the Arts
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Contents
4
7
25
26
Artistic Director’s Welcome
Wild Swans Program
About the A.R.T.
A.R.T./MXAT Institute
PLUS:
36
Guide to Local Theater
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WILD SWANS
3
Artistic Director’s Welcome
Photo: Dario Acosta
Welcome to Wild Swans! I am so glad you’re here to
experience this world premiere stage adaptation of Jung
Chang’s best-selling memoir. A co-production with
London’s Young Vic Theatre and the Actors Touring
Company, Wild Swans will play in London following the
A.R.T. performances, where it will participate in a citywide
cultural festival organized around the 2012 Olympic
Games. We’re thrilled to be participating in this
international collaboration.
Since its publication in 1991, Jung Chang’s astonishing family chronicle has
sold over 13 million copies in 36 different languages. These days, as a rapidly
changing China seems to dominate the headlines, Chang’s story holds even
greater resonance. Through the lens of one family’s struggle, we see how the
early, hopeful days of the Communist Revolution unfolded into an oppressive
regime and how that era, in turn, gave way to a period of unprecedented growth
and prosperity.
The epic scale of this visually invigorating production melds the personal story
with the political one. I hope that Wild Swans will inspire a larger conversation
about China, about memoir, and about the intersection of history and psychology. We’ve collaborated with Harvard’s Fairbank Center for Chinese Studies to
curate a Wild Swans discussion series featuring some of the most exciting scholars, artists and authors from our community. Please see further in your program
for dates and details.
As always, thank you for joining the experience at the A.R.T., and enjoy the
show!
4
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WILD SWANS
5
THE AMERICAN REPERTORY THEATER,
YOUNG VIC and ACTORS TOURING COMPANY PRESENT
BY
JUNG CHANG
ADAPTED BY
ALEXANDRA WOOD
DIRECTED BY
SACHA WARES
SCENIC DESIGN
COSTUME DESIGN
LIGHTING DESIGN
SOUND DESIGN
MIRIAM BUETHER
TOM RAND
D M WOOD
GARETH FRY
VIDEO DESIGN
MOVEMENT DIRECTION
PROJECTION DESIGN
MUSIC DIRECTION
WANG GONGXIN
LEON BAUGH
TIM REID
JOANNA
ZENGHUI QIU
PUPPET DESIGN
ASSOCIATE DIRECTOR
US CASTING
UK CASTING
MICHAEL FOWKES
RAMIN GRAY
ZOE ROTTER
JULIA HORAN CDG
HAIR AND WIGS
SOUND ASSOCIATE
MOVEMENT ASSOCIATE
CAMPBELL YOUNG
ASSOCIATES
DOMINIC BILKEY
JOANNE FONG
RESEARCH AND
PRODUCTION ASSISTANT
ASSISTANT DIRECTOR
STAGE MANAGERS
KATE HEWITT
VICKY BERRY
CHRIS DE CAMILLIS
HONG YANE WANG
First performance at the Loeb Drama Center on February 11, 2012
First Performance at the Young Vic on April 13, 2012
Ann and Graham Gund
Production Sponsors:
Lis Tarlow and Stephen Kay
Don and Susan Ware
Wild Swans is a recipient of an “Edgerton Foundation New American Plays” Award.
Presented with the support of the British Council
Additional support provided by The Harold and Mimi Steinberg Charitable Trust
e President and Fellows
of Harvard College
WILD SWANS
7
Cast
(in order of speaking)
Yu-Fang ................................................................................JULYANA SOELISTYO
De-Hong ..................................................................................KA-LING CHEUNG
Shou-Yu ................................................................................................ORION LEE
Ting ..................................................................................................CELESTE DEN
Bolin ....................................................................................................JON KIT LEE
Heng ....................................................................................................VICTOR CHI
Zhen ................................................................................JOANNA ZENGHUI QIU
Huifen ............................................................................................JOANNE FONG
Dr. Wan ................................................................................................ERIC CHAN
Governor Lin ..............................................................................RON NAKAHARA
Team Leader Chi ................................................................................LES J.N. MAU
Teacher Shu ..............................................................................JENNIFER LIM (UK)
Er-Hong (child) ....................................................................EMME FUZHEN RICCI
Niu ....................................................................................NEKHEBET KUM JUCH
Dai ..................................................................................................ANNIE CHANG
Weimin ..............................................................................................OLIVER BILES
Er-Hong..............................................................................................KATIE LEUNG
All other named and ensemble roles are played by members of the company.
COMMUNITY CHORUS MEMBERS:
Kevin Lin (Chorus Leader), Christine An, Christina Chan,
LinAnn Ching, DeAnna Choi, HyoJeong Choi, Kenneth Chung,
Lily Hong, Mariko Kanto, Lester Kim, Steven Lee, Michelle Merry,
Roxanne Morse, Katherine Sao, Jeff Song, Yi-Jun Tan, Michael Tow,
Andrew Tung, Giselle Ty, Paul Sung Ventresca, Jie Wang
Annie Chang, Eric Chan, Ka-Ling Cheung, Victor Chi, Chris De Camillis,
Celeste Den, Jon Kit Lee, Les J.N. Mau, Ron Nakahara, Terri K. Kohler, and
Julyana Soelistyo are members of Actors’ Equity Association.
Tamara Albachari, Vicky Berry, Oliver Biles, Joanne Fong, Orion Lee,
Katie Leung, and Jennifer Lim (UK) are appearing with the permission of Actors’
Equity Association pursuant to an exchange program between American Equity
and UK Equity.
The Producers gratefully acknowledge Actors’ Equity Association and
UK Equity for their assistance on this production.
Kate Hewitt is supported through the Young Vic/Jerwood Assistant Director
Programme.
8
Deputy Stage Manager ..................................................................................Tamara Albachari
Assistant Stage Manager ....................................................................................Terri K. Kohler
Production Supervisor ....................................................................................Diane Willmott
Deputy Production Supervisor ..........................................................................Lloyd Thomas
Assistant Production Supervisor ..............................................................................Mike Ager
Dialect Coach ....................................................................................................Majella Hurley
Costume Supervisor ..................................................................................................Fizz Jones
Chinese Costume Advisor ....................................................................................Dai Guijiang
Assistant Costume Supervisor ..................................................................................Rose Love
Assistant Set Designer..............................................................................................Lucy Sierra
Props Buyer (China) ..........................................................................................Chen Fengyan
Wang Gongxin’s video team ......................Zhou Chen, Zhijun, Yao Yu, Yuguang, Young Fu,
Shaun Wang, Guoer Lin, Alice and Yao Wang
FOR THE A.R.T.
Chorus Coordinator ........................................................................................Allegra Libonati
Production Intern......................................................................................................Kevin Lin
Props Craftsperson ................................................................................................Chris Fields
Costume Crafts ..............................................................................Eric Propp, Jeffrey Burrows
Dressers ................................................................................Brian Choinski, Robin Rittenour
Wigs Runner ......................................................................................................Emily Damron
Swing Dresser ......................................................................................................Amber Voner
Light Board Operator ..............................................................................................Kirk Miller
Video Operator..............................................................................................Matthew Houstle
Carpenters ..............................Nathaniel Drake, Dan Lincoln, Paul Mayer, Garrett McEntee,
Heather Morris, Jon Seiler, Matthew Sebastian, Bartley Stevens, Ben St. Louis
Paint Intern ......................................................................................................Benji Boudreau
Stage Crew ..........................................................................................................Brian Melcher
Harvard Office of Career Services Art Fellows........................................Bryan Kauder, Jiayi Li
FOR THE YOUNG VIC
Props Construction Supervisor ......................................................................Emma Hayward
Props Buyers ..................................................................................Nafeesah Butt, Ian Andlaw
Props Makers ..........................Anna Bruder, Penny Spedding, Bella Lagnado, Natasha Piper,
Ed Wirtz, Bob Weatherhead, Fiona Ryan, Nick Benjamin, Anna Tang
Puppet Makers ............................................................Jan Zalud, Julia Jeulin, Michael Fowkes
Puppet Workshop Assistants ........................Amber Donovan, Fiona Gourlay, Elizabeth Peck
Rehearsal Carpenter ..............................................................................................Dario Fusco
Rehearsal Crew ............................................................................Jack Harding, Stuart Farnell
Stage Management Assistant ....................................................................Tamykha Patterson
Production Assistant ..............................................................................................Ben Brown
Dyeing ..................................................................................................Nicola Killeen Textiles
Bound feet shoes ....................................................................................................Lewis Jones
Trainee Directors supported by the Boris Karloff Foundation....Meline Danielewicz, Ola Ince
Wild Swans plays at the Young Vic in April 2012 as part of World Stages London,
a season of exceptional new shows celebrating the cosmopolitan diversity of
London. It is a once-in-a-lifetime collaboration between 8 leading London theatres
and 12 UK and international co-producers, including the A.R.T. and the Young Vic.
Wild Swans is part of the Young Vic’s International Programme and is supported by
With special thanks to Jon & NoraLee Sedmak and American Airlines
for their generous support of this production.
WILD SWANS
9
The A.R.T., Young Vic and Actors Touring Company would like to thank:
Katie Chapman, Ed Cooper at XL Video, Philip Dodd, Frankie Fathers, Charlotte Hone at
Hitachi Europe Ltd, Jackie Jupp Project Management, Lara Mattinson, Jo Maund, Meredith
Oakes, Matt Padden at National Theatre of Scotland, Simon and Midge Palley, Bettina
Patel, Georgina Rae at Mark Rubinstein Ltd, prompt side, Rock at War Productions,
Tealwood Printing Services, Peque Varela.
For UK filmed sequences:
Director of Photography ..................................................................................David Schwartz
Hair and make-up ........................................................................................Jenny Hammond
Extras ..............................................................................Hong Cameron, Lannah Carbonilla,
Christopher Chan, Jade Chau, Tse-Yan Choi, Sharon Chou, Richard Chow,
Ricki Chow, Naomi Christie, Olivia Chung, Meline Danielewicz, Cindy Huang, Sophie
Hung, Richard Lam, Hsiang-Ju Lin, Lin Yan Liu, Yan-Ping Mew,
Vivian Ng, Linh Nguyen, Luke Rabbito, Victoria So, Angie Teh, Rosaline Ting, Chinh
Truong, Hong Yane Wang, Annie Wong, Ian Wong, Marion Yau,
Michael Yim, Lucy Zhang
We would also like to thank all the participants
in the production’s development workshops:
Anoushka Athique, Charlotte Austin, Fraser Ayres, Rachel Bagshaw, Henriette Baker,
Amy Ball, Emma Baggott, Pun Bandhu, Sarah Bedi, Russell Bender, Polly Bennett, David
Betz-Heinemann, Noah Birksted-Breen, Nick Borsack, Alex Brown, Cecily Boys, Nina
Brazier, Brid Brennan, Daniel Burgess, Francesca Camozzi, Cecilia Carey, Danny Cerqueira,
Valentina Cecshi, Raymond Chu, Chipo Chung, Cathal Cleary, Meline Danielwicz, Sasha
Milavic Davies, Bill Davis, Selma Dimitrijevic, William Drew, William Edelsten, Jessica
Edwards, Tilly Edwards, Emma Faulkner, Tamsin Fessey, Adrian Figueroa, Rebecca
Frecknall, Karina Garnett, Sophie Gilpin, Burn Gorman, Polly Graham, Heidi Griffiths,
Rikki Henry, Melanie Hillyard, Petra Hjortsberg, Ola Ince, Bettina John, Jackie Kane,
Ninaz Khodaiji, Julienne Hanzelka Kim, Erin Koster, Chryssanthi Kouri, Wendy Kweh,
Nina Kwok, Klas Lagerlund, Sophie Larsmon, Hoon Lee, Rachel Leonard, Katherine Leung,
Siu Hun Li, Bronwyn Lim, Effie Loy, Jonathan Man, Lyndsey Marshal, Nadine Marshall,
Sandra Maturana, Julia Maxfield, Tim McMullan, Will Measham, Clive Mendus, Remi
Merchant, Jo Mei, Erica Miller, Melissa Miller, Clare McKenna, Remi Merchant, Anna
Morrissey, Amy Mulholland, Diana Mumbi, Georgia Murphy, Ron Nakahara, Aya
Nakamura, Mez Ndukwe, Alison Newman, Pui Shan Ng, Mohsen Nouri, Kady Howey
Nunn, Olivia Oguma, Tanja Pagnuco, Martin Parr, Natasha Pipper, Anna Privitera, Luke
Rabbito, John Ramm, Paul Ready, Richard Rees, Helena Rice, Hannah Rowlands, James
Saito, Sarah Scharf, Jon Norman Schneider, Rajha Shakiry, Bright Sheng, David Shih,
Sophia Skiles, Eleanor Slade, Natasa Stamatari, Chloe Stephens, Mark Stevenson, Alex
Sutton, Tim Sutton, Emily Swains, Jordan Thaler, Moi Tran, Joanna Turner, Ching
Valdes-Aran, Ben Vardy, Nora Wardell, Reuben Webb, Roy Weise, Benedict Wong,
Tom Wu, Zoe Zak, Shane Zaza.
Oskar Eustis, Maria Goyanes, Eric Louie, Heidi Griffiths, Jordan Thaler, and all at The
Public Theater.
10
Adapting Wild Swans
Assistant Director Kate Hewitt interviews director Sacha Wares,
scenic designer Miriam Buether, and playwright Alexandra Wood
Kate Hewitt: How did this project
come about?
Sacha Wares: In 2006 David Lan [the
Artistic Director of the Young Vic]
approached me to ask if I’d be interested in
adapting Wild Swans for the stage. I
initially began exploring the idea with
Miriam, who I’ve worked with as a designer
for the past eleven years. Together we spent
two years workshopping and developing
ideas until Alex came on board as a writer
in 2008. Jung Chang [the author of Wild
Swans] has been very supportive and
involved in the process from the outset.
KH: Why did you decide to join the
project, Alex?
Alexandra Wood: A couple of things appealed to me about the project. I didn’t
know all that much about Communism or
China, and it was something I wanted to
understand better. But the main appeal was
the opportunity to tell such an epic story.
This didn’t necessarily mean writing a four
hour play or for a cast of hundreds! But to
tell the story of a family living through and
playing a part in the huge societal changes
that happened in twentieth century China
felt like an exciting challenge.
KH: Can you tell me a bit about your
collaborative process?
SW: What has been especially exciting for
me is the way that the design and scripting
processes have informed one another. In
my experience, normally the play is
finished and then the design comes after
that, but in this case the visual concept for
the play came first out of the early workshop explorations. Then, over the last
fifteen months a huge creative energy has
come from the fact that as Miriam has been
designing, Alex has been writing and rewriting, and the two processes have really
influenced the development of the other.
It’s been very creative and organic.
AW: The design has informed the writing,
and vice versa. When I’ve been stuck, it’s
been really useful to take a step back and
think more generally about how a
particular act will look or what the feel is.
KH: How did the production concept
emerge?
SW: Before we had a script, we knew we
wanted to capture a sense of the enormous
upheaval that Jung Chang’s family and
China as a whole experienced over the
twentieth-century. These are characters that
go through massive, unprecedented
change. We wanted to find a way to put
that on stage, to give expression to the idea
of a people trying to remould the world
around them, despite that being a
seemingly impossible task. I remember
reaching the end of the book and
wondering how it was possible that a
family could have lived through all that
happened. We wanted the audience to go
out with that same feeling.
Miriam Buether: Very early on we had a
very strong sense of a five-act narrative. We
established five spaces that we felt should
be significantly different; in mood, feel and
look.
SW: A key moment in the development of
the concept was when Miriam and I were at
an exhibition of contemporary Chinese
video art at the ICA and discovered Wang
Gongxin’s [Video Artist] work. We came
across a fantastic piece of his called “My
Sun,” which captured something strikingly
close to our vision for Act Four, both in
terms of place and feeling.
MB: It felt very internal. We wanted to
focus on the state of the father’s mind,
rather than a real location.
SW: Much later we made contact with
Gongxin and he came on board to create
the video design for Acts Four and Five. His
WILD SWANS 11
a da pting wild swans
(continued)
influence has been far reaching because like
Jung he also lived through the Cultural
Revolution and so had many insights to
offer the production.
KH: Where did the idea of using puppetry come from?
SW: It came out of the very first workshop
explorations into different ways of telling
the story.
MB: One of these was puppetry, which
seemed a big part of Chinese performing
art.
SW: Yes, and there was a practical need for
a backstory. In the book, there’s a lot of
story before you get into the Revolution, by
which point the reader is aware of the
problems in China’s society and becomes
invested in the idea of the need for change.
In theatre we don’t have the luxury of so
much time for a backstory. With a puppet
you can very quickly say, “this is my father
and here’s what happened to him.” Also
there’s something about the charm of a
puppet which can sidestep the cynicism
that the audience might come in with
about Communism. And puppets are
meaningful thematically. The central
characters, who are the puppeteers at the
beginning, think they are the ones
changing the world. But by the end of the
play they have discovered they didn’t have
anything like the agency they initially
believed. They didn’t have the control.
AW: There was only one puppet master.
SW: Also there is something in the
relationship between puppetry and video as
opposites in a century. The naivety of the
simple rod puppets verses the complexity
of modern technology that helps give the
arc of a century of change.
KH: How did you choose which part
of the book to focus on? Why the
story of Jung Chang’s parents?
AW: I think we agreed where the heart of
the story was and that most of the drama
lay in the parents’ relationship.
12
SW: There is, of course, a version of this
story that could start right back with the
grandmother’s story and the concubines as
in the book, but something about that felt
to me to be filmic in its scope. Much of the
drama in what the grandmother goes
through lies in the tension between inner
thought and outer action. Whereas the
middle part of the original book; the story
of the husband and wife and the conflict
between them, felt like it had much more
potential for stage action.
KH: What has it been like writing a
play inspired by such a well-known
book?
AW: I tried to focus on how to tell this
story on stage, rather than the daunting
number of copies of the book that have
been sold!
SW: The script has been on a long and
complex journey. There have been many
drafts. With each, we worked hard to find a
way to stay true to the spirit and scale of
the original book while looking for the
strongest dramatic line. Jung herself has
been a tremendous help in this process and
has been a very inspiring collaborator. It
has been a real privilege to work so closely
with her, although often strange to
remember that what we are discussing is
not just the stuff of drama, but her life, her
family. Amongst the most memorable
moments in the process for me have been
times when mid conversation about the
play Jung has picked up the telephone to
her mother in China to clarify a detail. At
moments like that I was reminded just how
recent and fresh this history is.
KH: Why are you interested in telling
this story?
MB: Having grown up in East Germany,
I have personally lived through
Communism, and I find the story of the
father very interesting. He totally believes
in Communism. Of course Marx’s ideas are
beautiful, but in practice they don’t work.
a da pting wild swans
(continued)
His journey from enthusiasm for these
ideologies to disillusionment is really
interesting to me.
SW: At the beginning of the book there’s
such belief and hope, and it goes so horribly wrong for the family. It left me with the
question: what is the legacy of that? It is
curious that when you talk to a lot of
young people today, they don’t know the
vocabulary, philosophy, or history of
Communism. There’s a whole generation
coming through who haven’t experienced a
world in which Communism is widespread,
and who don’t know much about this very
recent period of history. I feel this story is
not to be so quickly forgotten.
AW: I’m interested in exploring the
individual's place in society, and this story
is very much about that. Yes, it’s set in
China, and certain details are unique to its
time and place, but the story is about
people wanting to change things for the
better and discovering whether that’s
possible, or not, and the costs you pay for
trying. I think that has universal relevance.
KH: What has been the biggest
challenge so far?
SW: The scale of the production is enormous, because of the ambitious design
concept. It’s like doing five completely
different shows.
MB: And it’s a great challenge to design a
play which starts in 1946 and ends in
modern times.
SW: And on top of that we’re producing in
two different countries, UK and the US.
MB: And costumes and props are bought in
China.
SW: The lighting designer is in the States,
and the video designer is in China. The
international dialogue aspect of it has been
highly challenging (especially with the
language and time differences), but at the
same time exhilarating.
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WILD SWANS 13
The Art of the Memoir
From the introduction to
Wild Swans: Three Daughters of China, by Jung Chang
Wild Swans was first published in 1991. The event changed my life,
because I finally became a writer.
I had always dreamed of being a writer. But when I was growing up
in China, the idea of writing for publication seemed out of the question. In those years, the country was under Mao’s tyranny, and most
writers suffered appallingly in endless political persecutions. Many
were denounced, some sent to labor camps, and some driven to suicide. In 1966 through 1967, during Mao’s Great Purge misnamed the
Cultural Revolution, the majority of books in people’s homes were burned. My father, who
had been a Communist official but had fallen victim, was forced to burn his beloved collection, and this was one of the main things that drove him to insanity. Even writing for
oneself was extremely dangerous. I had to tear up the first poem I ever wrote, which was
on my sixteenth birthday on 25 March 1968, and flush it down the toilet because my father’s persecutors had come to raid our apartment.
But I had an urge to write, and kept on writing with an imaginary pen. In the next few
years, I worked as a peasant and an electrician. While I was spreading manure in the paddy
fields and checking power distribution at the top of electricity poles, I would polish long
passages in my mind, or commit short poems to memory.
I came to Britain in September 1978. Mao had died two years earlier, and China was beginning to emerge from the stifling isolation he had imposed on the country. For the first
time since the founding of Communist China, scholarships for studying abroad were
awarded on academic, not political, grounds. I was able to leave the country after taking
these exams, and was perhaps the first person from the landlocked province of Sichuan,
which then had a population of about 90 million, to study in the West since 1949. With
incredible good fortune, at last I had the freedom to write, and to write what I wanted. […]
But it was years before I wrote Wild Swans. Subconsciously, I resisted the idea of writing.
I was unable to dig deep into my memory. In the violent Cultural Revolution between
1966 and 1976, my family suffered atrociously. Both my father and my grandmother died
painful deaths. I did not want to relive my grandmother’s years of untreated illness, my father’s imprisonment, and my mother’s kneeling on broken glass. The few lines I produced
were superficial and lifeless. I was not happy with them.
Then, in 1988, my mother came to London to stay with me. This was her first trip
abroad. I wanted her to enjoy herself thoroughly, and spent much time taking her out.
After a short while, I noticed she was not having the time of her life. Something was on
her mind; she was restless. One day, she declined a shopping trip, and settled at my black
dining table on which a bouquet of golden daffodils shone. Cupping a mug of jasmine tea
in her hands, she told me that what she most wanted to do was talk to me.
My mother talked every day for months. For the first time in our lives, she told me
about herself and about my grandmother. My grandmother, I learned, had been the concubine of a warlord general, and my mother had joined the Communist underground at
the age of fifteen. Both of them had eventful lives in a China that was tossed about by
wars, foreign invasions, revolutions, and then a totalitarian tyranny. In the general maelstrom they were involved in poignant romances. I learned about my mother’s ordeals, her
close shaves with death, and her love for my father and emotional conflicts with him. I
also came to know the agonizing details of my grandmother’s footbinding: how her feet
14
t he ar t of the memoir
(continued)
had been crushed under a big stone when she was two to satisfy the standards of beauty of
the day.
Tourism became the backdrop of our conversations. As we traveled to the Isle of Skye in
Scotland and Lake Lugano in Switzerland, my mother would talk in planes and cars, on
boats, during walks, and halfway through the night. When I was out working, she would
stay at home and speak into a tape recorder. By the time she left Britain, she had done
sixty hours of recordings. Here, outside the social and political confines of China, she was
able to do something she had not been able to do all her life: open her mind and her
heart.
As I listened to my mother, I was overwhelmed by her longing to be understood by me.
It also struck me that she would really love me to write. She seemed to know that writing
was where my heart lay, and was encouraging me to fulfill my dreams. She did this not
through making demands, which she never did, but by providing me with stories—and
showing me how to face the past. Despite her having lived a life of suffering and torment,
her stories were not unbearable or depressing. Underlying them was a fortitude that was
all the time uplifting.
It was my mother who finally inspired me to write Wild Swans, the stories of my grandmother, my mother, and myself through the turbulence of twentieth-century China.
Jung Chang is the author of Wild Swans: Three Daughters of China.
PLAYING MAY 2012
TICKETS FROM $25
CALL: 617.547.8300
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WILD SWANS 15
Chronology
From Wild Swans, by Jung Chang
1911: Manchu empire overthrown; republic; warlords.
1927: Kuomintang under Chiang Kai-shek unifies most of China.
1931: Japan invades Manchuria.
1934–35: Long March.
1937: Japan attacks deep into China.
Communist-Kuomintang alliance.
1945: Japanese surrender.
Chiang Kai-shek
1946–1949/50: Kuomintang-Communist Civil War.
1949: People’s Republic proclaimed.
1950: Land reform. China enters Korean War (to 1953).
1951: Campaign to suppress “counter-revolutionaries.”
1955: Campaign to “uncover hidden counterrevolutionaries.”
1957: Anti-Rightist Campaign.
Mao Zedong
1958: Great Leap Forward.
1959: Great Famine (to 1961). Campaign to catch “rightist opportunists.”
1963: Cult of Mao escalates.
1966: Cultural Revolution starts.
1972: Nixon visit.
1973: Deng Xiaoping reappears.
1976: Zhou Enlai dies; Deng ousted.
Demonstrations in Tiananmen Square. Mao dies.
1977: Deng back to power.
16
Richard Nixon and Mao Zedong
The Cultural Revolution
and Its Impact on China
To read more about the series please visit our website at:
americanrepertorytheater.org/culturalrevolutionseries
TUESDAY, FEBRUARY 14
Following the 7:30 p.m. performance: Post-performance discussion with A.R.T. Artistic Director Diane
Paulus, Young Vic Artistic Director David Lan, and Wild Swans author Jung Chang
THURSDAY, FEBRUARY 16
Following the 7:30 p.m. performance: Post-performance discussion with Wild Swans
author Jung Chang
SATURDAY, FEBRUARY 18
Following the 2 p.m. matinee: “Literary and Visual Representations of the Cultural Revolution”
Eugene Wang,
Abby Aldrich Rockefeller Professor of Asian Art, Harvard University
David Der-wei Wang,
Edward C. Henderson Professor of Chinese Literature and Director of CCK Foundation Inter-University Center for
Sinological Studies, Harvard University
Jie Li,
College Fellow in the Department of East Asian Languages and Civilizations, Harvard University
WEDNESDAY, FEBRUARY 22
Following the 7:30 p.m. performance: “The Psychological Impact of the Cultural Revolution”
Dr. Arthur Kleinman,
Esther and Sidney Rabb Professor, Department of Anthropology, Harvard University and Professor of Medical
Anthropology in Global Health and Social Medicine and Professor of Psychiatry, Harvard Medical School, Victor and
William Fung Director of Harvard University’s Asia Center.
THURSDAY, FEBRUARY 23
Following the 7:30 p.m. performance: “The Art of Memoir”
Claire Conceison,
Professor of Theater Studies and Professor of Asian and Middle Eastern Studies, Duke University
Xueping Zhong,
Professor of Chinese and Director of Chinese Program, Tufts University
TUESDAY, FEBRUARY 28
Following the 7:30 p.m. performance: “What the Cultural Revolution Means for China Today”
Elizabeth Perry,
Henry Rosovsky Professor of Government and Director of Harvard-Yenching Institute, Harvard University
WEDNESDAY, FEBRUARY 29
Following the 7:30 p.m. performance: “Collecting Oral Histories of Chinese-Born Seniors in Boston”
Nicole Newendorp,
Lecturer and Assistant Director of Studies at Harvard University’s Committee on Degrees in Social Studies
THURSDAY, MARCH 1
Following the 7:30 p.m. performance: “Being Foreign in the Cultural Revolution”
Anthony Saich,
Director of the Ash Center for Democratic Governance and Innovation and Daewoo Professor of International Affairs,
Harvard University
WILD SWANS 17
Cast
OLIVER BILES
Weimin
A.R.T.: Debut. Theater:
Why the Lion Danced?,
Yellow Earth Theatre;
Much Ado About Nothing,
Three Sisters, The Man of
Mode, A Midsummer
Night’s Dream, The Pillowman, Mountview
Academy of Theatre Arts. Television: “House
of Anubis,” Nickelodeon. Graduate of
Mountview Academy of Theatre Arts.
ERIC CHAN
Dr. Wan
A.R.T.: Debut. Original
Broadway companies:
Flower Drum Song (Mr. Lee,
Broadway revival company), Miss Saigon
(Assistant Comissar),
SHOGUN The Musical (Omi-san), Anything Goes
(Louie), revival, Lincoln Center. New York:
Take Me America (Winner Best Actor 2006,
Midtown International Theatre Festival).
Film/Television: New York I Love You; 3 A.M.,
Showtime; “Life On Mars,” ABC; “Fringe,”
FOX; “Lipstick Jungle,” NBC; “As The World
Turns,” CBS.
ANNIE CHANG
Dai
A.R.T.: Debut. New York:
Decade, La Mama, Harold
Clurman Festival of the
Arts; The Burkinis,
Abingdon Theatre; A
Name Without a Game,
Looking Glass Theatre; T.A.B., Manhattan
Theatre Repertory; Equity Fights AIDS
Shakespeare Benefit, The Connelly Theatre.
Regional: The Tempest, Romeo and Juliet,
Camino Real Playhouse; Miss Saigon, Starlight
Bowl. Film/Television: “One Life to Live,”
“Girlhattan.” B.F.A. from NYU Tisch School of
the Arts, Stella Adler Studio.
KA-LING CHEUNG
De-Hong
A.R.T.: Debut. National
Tour: The King and I,
Theater Under the Stars.
Regional: 25th Annual
Putnam County Spelling
Bee, Weston Playhouse,
18
Portland Center Stage; Metamorphoses,
Pittsburgh Public Theater, Artists Repertory
Theater; A Midsummer Night’s Dream,
Shakespeare Theatre of New Jersey; An
Intelligent Design of Jenny Chow, Portland
Center Stage, San Jose Repertory; A Christmas
Carol, American Conservatory Theatre; Romeo
and Juliet, American Conservatory Theatre—
Zeum; The Tempest, L.A. Women’s Shakespeare
Co.; Once on this Island, Flower Drum Song, The
Western Stage; It’s a Bird, it’s a plane, it’s
Superman, 42nd St. Moon. New York: Othello,
Twelfth Night, Leviathan Lab; The Tempest,
Theater1010; 7.11 Convenience Theater,
Desipina & Co. Film/Television: “Law and
Order: SVU,” “One Life to Live,” China Dolls.
Graduate of American Conservatory Theatre.
Proud member of Leviathan Lab and
Homunculus Mask Theater.
VICTOR CHI
Heng
A.R.T.: Debut. Regional:
Angel Street, Lizard
Theater; Layover in L.A.,
Alexandria Hotel Black
Box; Making It Big, Raven
Playhouse; Persimmons in
Winter, MACLA San Jose; The Waiting Room,
The Visit, Studio Theater, Riverside.
Film/Television: Heartburn, My Name is Charlie
Wong, Internal Behaviors, “Tim and Eric
Awesome Show.” Graduate of the University
of California, Riverside.
CELESTE DEN
Ting
Laws of Sympathy,
Playwrights’ Arena; The
Joy Luck Club, East West
Players; Othello, The
Boston Court; Between
Two Friends, Island, Actors’ Theatre of
Louisville; The Merchant of Venice, L.A.
Women’s Shakespeare. Film/Television: Larry
Crowne; “The Doctor,” Warner Brothers;
“Criminal Minds,” CBS. Graduate of the
California Institute of the Arts.
cast
(conti nued)
JOANNE FONG
Movement Associate/
Huifen
A.R.T.: Debut. Rambert
Dance Company; Rosas,
Belgium; Royal Exchange
Theatre Company;
National Theatre,
London; Quarantine Theatre; National Dance
Company Wales; Robin Dingeman
Productions; DV8 Physical Theatre; Bock and
Vincenzi; Jeremy James and Company; Mark
Bruce Company; Arc Dance Company; Reflex,
Holland; Ricochet. Winner of Best Female
Award by the Critic’s Dance Circle for the role
of Nastasya Flippovna in Elegy. Choreographer
and co-director for Snag Project; Independent
choreographer Welsh Independent Dance;
Wales Millenium Centre; Arnolfini, Bristol;
Opera production of Nabucco, Japan; National
Dance Company Wales. Joanne is an Associate
Choreographer for Welsh Dance Productions.
NEKHEBET
KUM JUCH
Niu
The King And I, Gypsy,
North Shore Music
Theatre. Community:
Winter on Broadway,
Wakefield Repertory Theatre; Footloose, Millis
Theatre Group; A Christmas Carol, Attleboro
Community Theatre; The Nutcracker Suite,
Terpsichore. Television/Film: I Hate You
Dad. 6th grade student at Beverly’s Briscoe
Middle School.
JON KIT LEE
Bolin
A.R.T.: Debut. Film/
Television: Shanghai Hotel,
A Crime, Romeo Must Die,
The Corrupter.
ORION LEE
Shou-Yu
A.R.T.: Debut. U.K. credits:
The Wheel (winner of
Fringe First and Amnesty
International Awards),
National Theatre of
Scotland; Enron (winner of
TMA Best New Play Award), Headlong; The
Peddler’s Tale, In Extremis. Appeared in multiple productions at LAMDA, including The
Prisoner’s Dilemma, Twelfth Night, The Cherry
Orchard, Our Boys. Film/Television: Macbeth
(title role), The Shorthouse Organization;
Creeping Zero, Dan Films; The Skyfall, MGM;
“The Jury,” “Silent Witness,” BBC.
KATIE LEUNG
Er-Hong
A.R.T.: Debut. Films: Harry
Potter and the Goblet of
Fire, Harry Potter and the
Order of the Phoenix, Harry
Potter and the Half-Blood
Prince, Harry Potter and the
Deathly Hallows (Cho Chang). Television:
“Agatha Christie’s Poirot—Cat Amongst the
Pigeons.”
JENNIFER
LIM (UK)
Teacher Shu
A.R.T.: Debut. London:
The Good Person of
Setzuan, Royal National
Theatre; Daughter of the
River, Mu-lan Theatre
Company; Pork Bellies, Theatre Centre. Other
theater: Speaking to Him, Birmingham
Repertory Theatre; Hecuba, Foursight Theatre.
Film/Television: Piercing Brightness; Womb; Act
of Grace; When Evil Calls; Hostel (Kana); Code
46; Rogue Trader; Red; Happy McGee; “Spirit
Warriors,” “Holby City,” “The League of
Gentlemen,” BBC; “Waves of Courage,” “The
Broadcaster,” TCS. Radio: “The Story of the
Stone,” BBC World Service; “And the Rain my
Drink,” “The Flower Room,” BBC Radio 4.
LES J.N. MAU
Team Leader Chi
Tibet Does Not Exist,
Theatre for Human
Rights; Rashomon, The Joy
Luck Club, Forbidden City
Blues, Wilderness, Eat a
Bowl of Tea, Empress of China, Teahouse, Pan
Asian Repertory; Pacific Overtures, York
Theatre Company; Dragonwings, Lincoln
Center Institute; The Cherry Orchard, A
Midsummer Night’s Dream, Purgatory, National
Asian American Theatre. Regional: The King
Stag, Yale Repertory; No Foreigners Beyond This
Point, Baltimore Center Stage; Dragonwings,
WILD SWANS 19
cast
(conti nued)
Syracuse Stage, Children’s Theatre Company,
Fulton Opera House; Legacy Codes, Hanger
Theatre; Twelve Angry Men, Merrimack
Repertory; Offshore, San Francisco Mime
Troupe; Annie Get Your Gun, Depot Theatre;
Where It Came From, O’Neill Theatre Center.
Film/Television/Animation: Too Big To Fail, Au
Pair III, Corn, Martin & Orloff, Face, A Bright
Shining Lie, Deadline, “Gideon Oliver,” “The
Onion News Network,” “Law & Order,” “Law
& Order: SVU,” “Law & Order: Criminal
Intent, “Naked Brothers Band,” “Madigan
Men,” “As the World Turns,” “Macy’s ‘Little
Spirit’,” “Grand Theft Auto III,” “Grand Theft
Auto IV.”
RON NAKAHARA
Governor Lin
Rashomon, Pan Asian
Repertory Theatre; Earth
and Sky, Second Stage; The
Three Sisters, Pan Asian;
Romeo and Juliet, NYSF/
Public Theatre; As You Like It, NYSF/Public
Theatre; Danton’s Death, LaMama E.T.C.; The
School for Wives, NATCO; A Midsummer Night’s
Dream, Pan Asian. Regional: The Merchant of
Venice, Hartford Stage Co.; Comedy of Errors,
The Shakespeare Theatre, D.C.; The Screens,
The Guthrie Theatre; Othello, Alliance Theatre
Atlanta; The Empress of China, Cincinnati
Playhouse; Cyrano, ACT, San Francisco; Taming
of the Shrew, ACT; Diary of a Scoundrel, Hawaii
Public Theatre. Film/Television: College Road
Trip, I Think I Love My Wife, Sleepwalk With Me
(upcoming), The 22, “The Good Wife,”
“Fringe,” “3 LBS.,” “Whoopi,” “Cosby
Mysteries,” “Law & Order,” “Law & Order
SVU,” “One Life to Live,” “As the World
Turns,” “All My Children,” “Pearl, The
Miniseries,” “Hawaii 5-O” (the original).
Studied acting at University of Hawaii.
Trained with Kristen Linklater (Voice),
Kikunobu Onoe (Kabuki acting and dance),
and National Treasure of Japan in Kyogen,
Nomura Mansaku.
JOANNA
ZENGHUI QIU
Music Direction/Zhen
A.R.T.: Debut. Principal
musician for Mei Lanfang
Beijing Opera Company
and London Jing Kun
Opera Association.
20
Performed in concerts at the Royal Opera
House, Queen Elizabeth Hall, Birmingham
Symphony Hall, and WOMEX & WOMAD
world music festivals. Music director/performer in stage productions including Golden
Dragon, ATC; Why the Lion Danced, Yellow
Earth; Slippery Mountain, Not So Loud; contributor to Monkey: Journey to the West. Graduate
of Tianjin Opera School and the China
National Beijing Opera College. Plays thirteen
different instruments.
EMME FUZHEN
RICCI
Er-Hong (child)
A.R.T.: Debut. Theater:
Rudolph the Red Nose
Reindeer (Baby Rudolph),
Taylor School; Willy
Wonka (Matilda, OompaLoompa), Foxboro Recreational. Print: Disney’s
Family Fun Magazine (February 2012, April
2011), Disney’s Family Fun KID’s Magazine
(Back Cover, November/December 2011),
Vantel Pearl Catalog (2011, 2009). Arts and
Special Skills: Boston Ballet School
(2006–2009), Foxboro Classical Ballet
Academy (2011–Current), Sharon Chinese
School (2007–Current), U.S. Figure Skating
Basic Skills Member (2006–Current), Dynasty
Models & Talent, Boston, MA. Loves her family and dogs.
JULYANA
SOELISTYO
Yu-Fang
A.R.T: Children of
Heracles directed by Peter
Sellars. New York: The
Glorious Ones (Armanda),
Lincoln Center; On The
Town, City Center; Pericles (Marina), BAM;
Golden Child (Tony nomination, Drama
League, Clarence Derwent Award), Broadway.
Regional: Iphigenia At Aulis (Yale Repertory
Theatre), Macbeth (Center Stage), Cymbeline
(Intiman), Naomi's Road (SCT). More recently,
Julyana played Ariel in The Tempest with
Christopher Plummer at the Stratford
Shakespeare Festival. Film: The Tempest, Earthly
Possessions, Bringing Out The Dead. Julyana received her M.F.A. from the American
Conservatory Theater. She lives in New York
with her husband and their children, Coco
and Leon.
Creative Team
JUNG CHANG
Adapter
Alexandra’s play, The Eleventh Capital, was produced by the Royal Court as part of their Young
Writers’ Festival in 2007, for which she won
the George Devine Award for Most Promising
Playwright. She was one of the writers to contribute to Decade, directed by Rupert Goold,
which explored the legacy of 9/11 ten years on.
Other plays include: The Andes (a finalist for
the Susan Smith Blackburn Award); Thirty Two
Years Is Nothing and Expecting, BAC; Unbroken,
Gate Theatre; Miles To Go, Latitude Festival; The
Lion’s Mouth, Rough Cuts at the Royal Court;
and the radio play Twelve Years, BBC 4.
Award for Theatre in Scotland), Way to Heaven,
Cock, Royal Court Theatre; Judgement Day (2009
Evening Standard Award nomination), When
the Rain Stops Falling, Almeida Theatre;
Everybody Loves a Winner, Manchester
International Festival; Government Inspector, In
the Red and Brown Water (2008 Evening
Standard Award Nomination), The Good Soul of
Szechuan, generations, The Bee, Red Demon,
Young Vic; Six Characters in Search of an Author,
Chichester, WE, Sidney; The Bacchae, Realism,
National Theatre of Scotland, EIF; Guantanamo:
Honor Bound to Defend Freedom, Tricycle
Theatre, WE, New York and San Francisco; Red
Demon, The Bee, written/directed Hideki Noda,
Japan; Long Time Dead, pool (no water), Theatre
Royal Plymouth; Trade, RSC at Soho Theatre.
Dance: Body of Poetry, Komische Oper Berlin;
Hartstocht, Introdans, Neatherland; Possibly Six,
Tenderhooks, Canadian National Ballet; Opera:
Anna Nicole, ROH; Trittico/Suor Angelica, ROH;
Turandot, ENO; The Sacrifice, WNO. Additional
awards: 2008 Hospital Club Creative Award for
Theatre; Overall winner of The Linbury Prize
for Stage Design in 1999. Born in Germany,
Miriam trained in theatre design at Central
Saint Martin’s College of Art and Design,
London and in costume design at the
Akademie für Kostüm Design, Hamburg.
SACHA WARES
TOM RAND
Director
A.R.T.: Debut. Sacha is an Associate Director of
both the Royal Court and Young Vic Theatres in
London. Her recent work includes Roy Williams’
Sucker Punch, debbie tucker green’s random, and
Mike Bartlett’s My Child (all at Royal Court).
Other work includes debbie tucker green’s generations (Young Vic) and trade (Royal Shakespeare
Company), Michel Houllebecq’s Platform (ICA),
Caryl Churchill’s A Number at Theatre Project
Tokyo. She was also co-director of Guantanamo:
“Honor Bound to Defend Freedom” at the Tricycle
Theatre in 2004, which transferred to London’s
West End and New York.
Costume Designer
A.R.T: Debut. Costume credits: West End: The
Philadelphia Story; Boston Marriage, Donmar
Warehouse; Medea; Twelve Angry Men; Ashes to
Ashes—world premiere; The Hothouse; What The
Butler Saw; Three Tall Women; A Letter of
Resignation; Taking Sides; Burn This; and Holiday.
Regional: Quartermaine’s Terms, Tour. Set and
Costume credits: Off Broadway: Beau Brummell
and Cooking For Kings, The Ideas Foundry/59E59.
West End: The Birthday Party; Relative Values; A
Kind of Alaska, The Lover, The Collection, Donmar
Warehouse. Regional: An Ideal Husband,
Moonstone, The Importance of Being Ernest, Royal
Exchange Theatre, Manchester. Over thirty feature
film costume credits including: The Count of Monte
Cristo; Un Pont Entre Deux Rives, directed by Gerard
Depardieu; A Business Affair; The Power of One;
Young Toscanini, directed by Franco Zeffirelli; Eleni,
directed by Peter Yates; The Pirates of Penzance; The
Shooting Party; The French Lieutenant’s Woman
(nominated for a BAFTA and Oscar), directed by
Karel Reisz and The Duellists (nominated for a
BAFTA), directed by Ridley Scott. First Prize at the
Author
Jung Chang was born in Sichuan Province,
China in 1952. During the Cultural Revolution
(1966–1976) she worked as a peasant, a barefoot
doctor, a steelworker and an electrician before
becoming an English-language student. In 1978
she moved to Britain and in 1982 became the
first person from the People’s Republic of China
to earn a PhD from a British university. Wild
Swans and her other best-selling book, Mao: The
Unknown Story (with Jon Halliday), have been
translated into more than 40 languages.
ALEXANDRA WOOD
MIRIAM BUETHER
Scenic Designer
A.R.T.: Debut. Theater: King Lear, Public
Theater; Decade, St Katherine’s Dock, Headlong;
Earthquakes in London (2011 Olivier Award
nomination, 2010 Evening Standard Award),
National Theatre; Sucker Punch (2010 Evening
Standard Award), Get Santa, Relocated, My Child,
The Wonderful World of Dissocia (2004/5 Critics
WILD SWANS 21
crea tive team
(cont inued)
Bandiero D’Argento Festival in Italy for contribution to the art of costume design.
D M WOOD
Lighting Designer
A.R.T.: Romance, Romeo and Juliet. Recent credits: Werther, Minnesota Opera; Die Liebe Der
Danae, Bard Summerscape; Il Trittico, Anna Nicole
(world premiere Co-Design), Royal Opera House.
Ms. Wood has also designed productions for
Virginia Opera, Long Beach Opera, Opéra de
Montréal, Glimmerglass Opera, Opera Colorado,
Houston Grand Opera, Canadian Opera
Company, Opern-Haus Graz (Austria), and the
Savonlinna Opera (Finland). Her work in theatre
includes designs for Contemporary American
Theater Festival (CATF), Primary Stages—NYC,
NYSF—The Public Theater, Children’s Theatre
Company (Minneapolis), Alabama Shakespeare
Festival, Baltimore Centerstage, Trinity Repertory
Company, and Philadelphia Theatre Company.
GARETH FRY
Sound Designer
A.R.T.: Debut. United States: Black Watch, National
Theatre of Scotland, U.S. tour; Richard III, BAM;
The Overwhelming, Roundabout Theatre Co.; One
Evening, Lincoln Centre; Waves, Duke on 42nd,
NY; The Noise of Time, Complicite/Emerson String
Quartet, U.S. tour; Strange Poetry, Walt Disney
Concert Hall. United Kingdom: The Master &
Margarita, Shun-kin, Endgame, Complicite; Dancing
at Lughnasa, The Old Vic; The Prisoner of Second
Avenue, The Old Vic/West End; Hamlet, Joe Turner’s
Come and Gone, Sweet Nothings, Young Vic;
Wastwater, Chicken Soup with Barley, The City,
Harvest, Under the Whaleback, Mountain Language,
Royal Court; Five Stages of Truth, V&A; Babel, Stan
Won’t Dance; No Idea, Improbable; Theatre of
Blood, Improbable/National Theatre; Beauty and
the Beast, The Cat in the Hat, Pains of Youth, Some
Trace of Her, Attempts on Her Life, Waves, The
Overwhelming, National Theatre; A Matter of Life
and Death, Kneehigh/National Theatre; Living
Costs, DV8; Macbeth, Out of Joint; Othello, Frantic
Assembly; The Fahrenheit Twins, Told by an Idiot;
Fräulein Julie, Schaubühne Berlin; Die Wellen,
Schauspiel Cologne. Gareth is the recipient of two
Olivier Awards, Best Sound Design, for Black
Watch and Waves.
Tianmiao)is considered to be among the most important works in recent years. His piece The Sky of
Brooklyn: Digging a Hole in Beijing was one of the
first site-specific installations in China. His work
on video includes The Old Bench, Baby Talk, Public
Hallway, and Shepard. His work has been exhibited
widely all over the world. In the UK he has been
presented at the V&A, the ICA and Tate Liverpool.
LEON BAUGH
Movement Director
A.R.T.: Debut. Dancer: In Your Rooms, Uprising,
Political Mother, Hofesh Shechter; Lullaby, Park,
Jasmin Vardimo; Masurca Fogo (Walrus), Pina
Bausch. Leon has also worked with with Stan Wont
Dance and Frantic Assembly. Choreographer:
Sucker Punch (2010 Olivier Award for Best Theatre
Choreography), Royal Court Theatre. He is also a
sports injury therapist and training Osteopath.
TIM REID
Projection Designer
A.R.T.: Debut. Tim has designed video effects and
playback systems for shows that range from experimental small-scale works to full-scale opera, ballet
and theater productions. He has designed video
for Vox Motus, National Theatre of Scotland, The
Royal Ballet, The Edinburgh International Festival,
DV8 Physical Theatre, Wee Stories, David Leddy,
Dogstar, Theatre By The Lake, The Arches,
Random Accomplice, Dancebase and TAG. He has
worked as Head of Video for the National Theatre
of Scotland and toured internationally as a video
technician with DV8 Physical Theatre. More information and images of his work can be found at
www.timreid.info.
MICHAEL FOWKES
Puppet Designer
A.R.T.: Debut. Puppetry credits include London:
Mojo, Lighten Up, Theatre-rites; Arabian Nights,
The Winter’s Tale, Royal Shakespeare Company;
Masque of the Red Death, Punchdrunk; Stuff and
Nonsense, Alice In Wonderland (performer), The
Giraffe, The Pelly and Me (performer), Little Angel
Theatre. Film/Television: “Burp,” ITV; “Harry
Hill’s Little Internet Show;” “The Mighty Boosh,”
BBC; “Penelope Princess of Pets,” “The Insiders,”
Channel 4; Sometimes the Moon is Velvet.
RAMIN GRAY
WANG GONGXIN
Video Designer
A.R.T.: Debut. Wang Gongxin is one of China’s
most respected and influential contemporary
artists. His work Here? Or There? (created with Lin
22
Associate Director
A.R.T.: Debut. Ramin is currently Artistic Director
of Actors Touring Company for whom he has recently directed the English-language premiere of
The Golden Dragon by Roland Schimmelpfennig.
crea tive team
(cont inued)
Previously, he was International Associate
(2000–05), then Associate Director (2005–09) at
the Royal Court Theatre where he directed many
world or British premieres including: Motortown
(also at Wiener Festwochen), The Ugly One, The
Stone, Over There (also at Schaubuehne, Berlin),
Terrorism, Ladybird, Way to Heaven, Just a Bloke,
Woman With Scarecrow, Push Up. Other credits include: The American Pilot, I’ll Be The Devil, Royal
Shakespeare Company; King Of Hearts, Out of
Joint/Hampstead; The Child, Gate Theatre. Ramin
has extensive experience of directing in German
at major theatres in Vienna, Salzburg and
Hamburg. Opera credits include: Bliss, Hamburg’s
Staatsoper; Death in Venice, Theater an der Wien.
CAMPBELL YOUNG ASSOCIATES
Hair and Wigs
A.R.T.: Debut. Broadway: Ghost the Musical,
Private Lives, Spider-Man, La Bête, Mary Stuart,
Rock ’n’ Roll. Touring USA: Les Misérables. For
the Young Vic: Hamlet, Government Inspector,
Annie Get Your Gun, The Good Soul of Szechuan,
Vernon God Little, Six Characters Looking for an
Author. London: Sweeney Todd, Ghost, Betrayal,
Million Dollar Quartet, The Children’s Hour, La
Bête, Love Never Dies, Breakfast at Tiffany’s,
Priscilla, Oliver, Billy Elliot, An Inspector Calls.
Opera: Prima Donna, NYC and MIF; Die
Meistersinger von Nürnberg, WNO; Der Freischütz,
Baden-Baden; Tristan und Isolde, La Scala; From
the House of the Dead, Vienna Festival.
ZOE ROTTER
US Casting
Casting Director credits include: Seven Homeless
Mammoths Wander New England, Two River
Theater Company; Breakfast At Tiffany’s (co-cast
with Ilene Starger); upcoming remount of Einstein
on the Beach; and BEARCITY. She is also casting
her second season of Selected Shorts at Symphony
Space. She has worked on films such as X-Men:
First Class, Cold Souls, Kickass, Notorious, Music
Lyrics, Night at the Museum, and School of Rock.
JULIA HORAN CDG
UK Casting
A.R.T.: Debut. Theater: Absent Friends, Harold
Pinter Theatre; Backbeat, Duke of York’s; South
Downs/The Browning Version, Chichester Festival
Theatre; After Miss Julie, Government Inspector, My
Dad’s A Birdman, Joe Turner’s Come And Gone, Glass
Menagerie, Annie Get Your Gun, In The Red & Brown
Water, The Good Soul Of Szechuan, Young Vic;
Wastwater, The Heretic, Get Santa, Kin, Red Bud,
Tribes, Wanderlust, Spur Of The Moment, Sucker
Punch, Ingredient X, Royal Court; Clybourne Park,
Royal Court/Wyndhams; The Golden Dragon,
Actors Touring Company; The Knot Of The Heart;
Through A Glass Darkly; Measure For Measure; When
The Rain Stops Falling; In A Dark Dark House; A
Chain Play; The Homecoming, Almeida; Death Of A
Salesman and The Hounding Of David Oluwale,
Bedroom Farce, The Grouch, WYP; Six Characters In
Search Of An Author, Headlong/Tour; The House Of
Special Purpose, Chichester/Neal St; Arcadia, Duke
of Yorks; Horse Marines, Plymouth; Edward Gant’s
Amazing Feats Of Loneliness, Headlong; Harvest,
Tour; Drowning On Dry Land, Salisbury Playhouse;
Six Characters In Search Of An Author, Chichester
and West End; Nocturne, Almeida and Edinburgh.
Opera: Lost Highway, ENO/Young Vic; Gaddafi—A
Living Myth, ENO.
DOMINIC BILKEY
Sound Associate
A.R.T.: Debut. Sound Design credits include: Dr
Marigold and Mr Chops, Masterclass, Bath Theatre
Royal; Twelfth Night, See How They Run, Dancing
At Lughnasa, Original Theatre; Pandora,
Standing on the Shoulder of Giants; After Troy,
Lifeblood Theatre; Journey’s End, Icarus/Original
Theatre; In The Solitude of Cotton Fields, Young
Vic; The Space Between My Head and My Body,
Gin in the Tea; The Only Girl in the World,
Fractured Venus; The Railway Children,
Sevenoaks Playhouse; Wagstaffe the Wind-up
Boy, Rapunzel, Kneehigh Theatre; Souterrain,
Cornwall, WildWorks. Associate Credits include:
The Government Inspector, Young Vic; The Hound
of The Baskervilles, Ian Fricker; Voyage Round My
Father, Donmar Warehouse.
HONG YANE WANG
Research and Production Assistant
A.R.T.: Debut. Film: Red Cliff (Assistant to Line
Producer, directed by John Woo); The Warrior
and the Wolf (Interpreter, directed by Tian
Zhuangzhuang); The Blue Bone (AD, directed by
Cui Jian); The Monkey King (VFX Assistant, directed by Cheang Pou-soi. Hong Yane Wang
was born in Beijing and now lives and works in
London. She has an M.A. in Film Studies,
Beijing Normal University and an M.A.
Filmmaking, Goldsmiths College.
KATE HEWITT
Assistant Director
Currently one of the Jerwood Assistant directors
at the Young Vic, Artistic Associate Electra (Gate
Theatre 2011 & Latitude festival 2011),
Assistant Director on the following productions:
Clybourne Park, Wyndhams Theatre West End
WILD SWANS 23
crea tive team
(cont inued)
2011 and Royal Court 2010; Through a Glass
Darkly, The Almeida 2010; Breathing Irregular,
The Gate, 2010. Co-creator with You Need Me
theatre company: How it Ended, Arcola 2009
and Edinburgh fringe; Certain Dark Things, 2010
Tabacco Factory and The Underbelly,
Edinburgh; two years Lecoq physical theatre
training at L.I.S.P.A, B.A. Hons in Drama and
Theatre Arts, Goldsmiths University London.
VICKY BERRY
Stage Manager
The Glass Menagerie, I am Yusuf and This is My
Brother, Amazonia, You Can See the Hills, A
Respectable Wedding, The Enchanted Pig, Tobias
and the Angel, The Knight of the Burning Pestle,
Sleeping Beauty, Cruel and Tender, Young Vic; The
Comedy of Errors, The God of Soho, Doctor Faustus,
The Bible, Anne Boleyn, Henry VIII, Love’s Labours
Lost, Helen, Romeo and Juliet, The Frontline, King
Lear, Shakespeare’s Globe Theatre; Major
Barbara, Women of Troy, National Theatre.
CHRIS DE CAMILLIS
Stage Manager
A.R.T.: Thirty-three productions including Johnny
Baseball; The Seagull; Cardenio; Oliver Twist;
Wings of Desire; Island of Slaves; Romeo and
Juliet; Three Sisters; Desire Under the Elms; Dido,
Queen of Carthage; Oedipus; A Midsummer
Night’s Dream; Lady with a Lapdog; Uncle
Vanya; Lysistrata; Marat/Sade; Richard II;
Mother Courage and Her Children; The Winter’s
Tale; Full Circle; Ivanov; The Merchant of Venice.
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; ’Til the Rapture Comes,
W.P.A.; Oliver Twist, Theatre for a New Audience.
Regional: Berkeley Repertory Theatre, 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.
TAMARA ALBACHARI
Deputy Stage Manager
A.R.T: Debut. West End: Calendar Girls. London:
Sizwe Banzi Is Dead, Coram Boy, Southwark Fair,
The Overwhelming, The Life of Galileo,
Burn/Chatroom/Citizenship, Henry IV Part 2,
National Theatre; Sucker Punch, Rhinoceros, My
Child, Food Chain, Royal Court Theatre; Crave,
Royal Court Theatre Bonn Germany;
Comedians, Lyric Theatre Hammersmith;
Aladdin, New Wimbledon Theatre; Mercy, Soho
24
Theatre; The Browning Version, South Downs, A
Month in the Country, Calendar Girls, Chichester
Festival Theatre; Beautiful Thing, Nineteen EightyFour, Roots, Pretend You Have Big Buildings,
Harvey, Rutherford & Son, Volpone, Six Degrees of
Separation, The Seagull, Secret Heart, Habitat, On
My Birthday, American Buffalo, Royal Exchange
Theatre Manchester; Jeffrey Bernard Is Unwell,
Theatre Royal Bath & UK Tour; The King and I,
Curve, Leicester; The English Game, Headlong
Theatre/UK Tour; Romeo & Juliet, ETT/UK
Tour/Hong Kong; Johnny Vegas: And Another
Thing, Manchester International Festival 2011.
TERRI K. KOHLER
Assistant Stage Manger
A.R.T.: Oedipus, A Midsummer Night’s Dream, La
Dispute, The Sound of a Voice. New York: Angel
Reapers, The Joyce Theater; The School for Lies, CSC;
In the Footprint, Brooklyn at Eye Level, The Civilians;
Tell the Way, St. Ann’s Warehouse; Orange, Hat &
Grace, Soho Rep; The Forest, CSC; Orpheus X, Tfana;
Killers and Other Family, Rattlestick; Garden of
Earthly Delights, 2 Step Productions; The Civilians
Paris Commune, In Darfur, Public LAB; The Black
Eyed, NYTW; Milk-n-Honey, Lightbox; When the
Messenger is Hot, 59E59; Broadway Bares 2007–11,
BC/EFA; Don Juan in Prague, BAM; Hell, the opera,
PS 122. Regional: Angel Reapers, ADF; Quixote,
Stillpoint Productions; Carmen, Madison Opera; I
Just Stopped By to See the Man, God’s Man in Texas,
Geffen Playhouse; Moscow: Cherry Tree Towers, The
Tenderland, Offenbach!!!, Bard Summerscape; The
Tales of Hoffman, New Orleans Opera. Ms. Kohler
is a graduate of the UCLA School of Theater, Film,
and Television.
Actors’ Equity Association (AEA), founded in 1913, represents more than 49,000 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
The scenic, costume, lighting and sound designers in
LORT Theatres are represented by United Scenic Artists
Local USA-829 IATSE.
Wild Swans was first performed in English on
February 11, 2012 at the American Repertory
Theater, 64 Brattle Street, Cambridge, MA 02138,
USA, with the first UK performance on April 13,
2012 at the Young Vic, 66 The Cut, London SE1
8LZ, UK. The copyright agent is Alan Brodie
Representation Ltd, www.alanbrodie.com
About the A.R.T.
The American Repertory Theater (A.R.T.), at Harvard University, is one of the country’s most
celebrated theaters and the winner of numerous awards, including the Tony Award, the
Pulitzer Prize and Elliot Norton and I.R.N.E. Awards. In May of 2003 it was named one of the
top three regional theaters in the country by Time magazine. The A.R.T. was founded by
Robert Brustein in 1980, who served as Artistic Director until 2002, when he was succeeded
by Robert Woodruff. In 2008, Diane Paulus became the A.R.T.’s Artistic Director.
During its 31-year history, the A.R.T. has welcomed many major American and international
theater artists, presenting a diverse repertoire that includes premieres of American plays, bold
reinterpretations of classical texts and provocative new music theater productions. The A.R.T. has
performed throughout the U.S. and worldwide in 21 cities in 16 countries on four continents.
The A.R.T. is also a training ground for young artists. The Theater’s artistic staff teaches
undergraduate classes in acting, directing, dramatic literature, dramaturgy, voice, and design at Harvard University. In 1987, the A.R.T. founded the Institute for Advanced Theater
Training at Harvard University. A two-year, five-semester graduate program that operates
in conjunction with the Moscow Art Theater School, the Institute provides world-class
professional training in acting, dramaturgy and voice.
Since becoming Artistic Director, Diane Paulus has programmed innovative work that has
enhanced the A.R.T.’s core mission to expand the boundaries of theater. Productions such
as Sleep No More, The Donkey Show, Gatz, The Blue Flower, Prometheus Bound, Death
and the Powers: The Robots’ Opera and The Gershwins’ Porgy and Bess have immersed
audiences in original theatrical experiences. The A.R.T.’s club theater, OBERON, which
Paulus calls a “second stage for the 21st century,” has become an incubator for local artists
and has also attracted national attention for its groundbreaking model for programming.
Through all of its work, the A.R.T. is committed to building a community of artists, technicians, educators, staff and audience, all of whom are integral to the A.R.T.’s mission to expand the boundaries of theater.
A.R.T. Board of Trustees
A.R.T. Board of Advisors
Donald Ware, Chairman
Kathleen Connor, Co-Chair
Rachael Goldfarb, Co-Chair
Laurie Burt
Paul Buttenwieser
Kevin Cole Costin
Mike Dreese
Michael Feinstein
Provost Alan M. Garber
Lori Gross
Ann Gund
Sarah Hancock
Fumi Matsumoto
Rebecca Milikowsky
Ward Mooney
Diane Paulus
James Rhee
Diana Sorensen
Lisbeth Tarlow
Frances Shtull Adams
Joseph Auerbach*
Philip Burling*
Greg Carr
Antonia Handler Chayes*
Bernard Chiu
Lizabeth Cohen
Rohit Deshpande
Susan Edgman-Levitan
Erin Gilligan
Candy Gold
Barbara Grossman
Horace H. Irvine II
Dan Mathieu
Travis McCready
Ellen Gordon Reeves
Linda U. Sanger
Maggie Seelig
John A. Shane
Michael Shinagel
Sam Weisman
Alfred Wojciechowski
Yuriko Jane Young
*Emeriti
Founding Director
Robert Brustein
WILD SWANS 25
A.R.T./MXAT Institute
For Advanced Theater Training
Scott Zigler, Director Julia Smeliansky, Administrative Director
Marcus Stern, Associate Director
Nancy Houfek, Head of Voice and Speech Andrei Droznin, Head of Movement
Anatoly Smeliansky, Co-Head of Dramaturgy Ryan McKittrick, Co-Head of Dramaturgy
American Repertory Theater
Diane Paulus, Artistic Director/CEO
Moscow Art Theater School
Anatoly Smeliansky, Head
The Institute for Advanced Theater Training at Harvard University was established in 1987 by
the American Repertory Theater (A.R.T.) as a training ground for the professional American theater.
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 Theater (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, or voice pedagogy, 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 Harvard
University and an M.F.A. degree from the Moscow Art Theater School.
Further information about this program can be obtained by calling the Institute for a free catalog at (617) 495-2668 or going to our web site at www.harvardtheatertraining.org.
Faculty
Staff
Donna Ames
Singing
Robert Brustein
Criticism and Dramaturgy
Erin Cooney
Yoga
Thomas Derrah
Acting
Andrei Droznin
Movement
Jane Guyer Fujita
Voice
Tatyana Gassel
Russian Language and Culture
Jeremy Geidt
Acting
David Hammond
Acting, Shakespeare
Arthur Holmberg
Theater History, Dramaturgy
Nancy Houfek
Voice and Speech
Robert Lada
Alexander Technique
Jodi Leigh Allen
Coordinator of
Movement Training
Will Lebow
Voice-over
Ryan McKittrick
Dramaturgy, Dramatic Literature
Pamela Murray
Singing
Robert Najarian
Combat
Diane Paulus
Theater Practice
Anatoly Smeliansky
Theater History, Dramaturgy
Julia Smeliansky
History of Set Design, Translation
Marcus Stern
Acting
Tommy Thompson
Alexander Technique
Marina Van Winkle
Ballet
Robert Walsh
Combat
Sam Weisman
Director of Professional
Development
Scott Zigler
Acting, Dramaturgy
Janie Rangel Student Financial Aid Administrator
Chelsea Keating
Institute Associate
Christopher Viklund
Production Manager
Skip Curtiss
Technical Director
26
Acting
David Abrams
Milia Ayache
Elizabeth Bates
Kristen Alyson Browne
Matthew Christian
Liza Dickinson
Samantha Eggers
Marisa Fratto
Teri Gamble
Ashruf Ghanimah
Alison Gregory
Dustyn Gulledge
Elijah Guo
Rose Hogan
Megan Hopp
Amen Igbinosun
Carl James
Michael Kane
Rushi Kota
Luke Lehner
Lindsey Liberatore
Lisa Maley
Scotty Ray
Sarah Beth Roberts
Adeola Role
Lanise Shelley
Henry Austin Shikongo
Dereks Thomas
Robert Torres
Katherine Vos
Rolland Walsh
Luke Woodruff
Alexandra Wright
Jing Xu
Dara Yazdani
Dramaturgy
Annie DiMario
Jenna Clark Embrey
Christina Farris
Kenneth Molloy
Liana Stillman
Tyler Monroe
Voice
Ronald Carlos
Sarah Jessop
Annual Fund Donors
The American Repertory Theater is deeply grateful for the generous Annual Fund support from
individuals, foundations, corporations and government agencies, whose contributions make our work
possible. The following gifts were received between September 1, 2010 and January 17, 2012.
Patron Circle
Visionary: $100,000 and above
Ira and Lenore Gershwin Philanthropic Fund
Sarah Hancock
The President and Fellows of Harvard College
Andrew W. Mellon Foundation
Rebecca and Nathan Milikowsky
The Shubert Foundation
The Harold and Mimi Steinberg Charitable Trust
Benefactor: $50,000–$99,999
The Carr Foundation
Hershey Family Foundation
The Dana Foundation
Lisbeth Tarlow and Stephen Kay
Doris Duke Charitable Foundation Massachusetts Cultural Council
Don and Susan Ware
Artistic Committee: $25,000–$49,999
Bank of America
Paul and Katie Buttenwieser
Michael and Laura Dreese
Edgerton Foundation
The E.H.A. Foundation, Inc.
Ann and Graham Gund
Karmaloop
Lizbeth and George Krupp
Ward K. and Lucy Mooney
National Corporate Theatre Fund
National Endowment for the Arts
Frances Gershwin Godowsky Trust
Marcia Head
DuBose and Dorothy Heyward
Memorial Fund
Barbara W. Hostetter
Horace H. Irvine II
Steve and Rosemarie Johnson
Heni Koenigsberg
Judi and Douglas Krupp
Fumi and Kako Matsumoto
Bob and Alison Murchison
James Rhee
Greg and Dina Selkoe
Trust for Mutual Understanding
Welch and Forbes
Yuriko Jane Young
John Hancock Financial
Dan Mathieu and Neal Balkowitsch/
MAX Ultimate Food
Bessie Pappas Charitable
Foundation, Inc.
Diane Paulus and Randy Weiner
Cokie and Lee Perry
Janet and Irv Plotkin
Valerie Beth Schwartz Foundation
Maggie and John Seelig
The Shane Foundation
Swissnex Boston
Beth Weir
Barry Weissler
Ted and Mary Wendell
Alfred Wojciechowski and
Tammerah Martin
Barbara Wallace Grossman and
Steve Grossman
Joseph W. Hammer
The Roy A. Hunt Foundation
Paul and Wladzia McCarthy
David G. Mugar
Shelly and Ofer Nemirovsky
Robert and Janine Penfield
Julia Pershan and Jonathan Cohen
Cynthia Samuelson
Rick and Christine Shea
Jill Goldweitz and Morris Levitz
Nicholas and Marjorie Greville
Charles and Joan Gross
Lori E. Gross and
Robert Douglas Campbell
Gardner Hendrie and Karen Johansen
Jerome and Sheridan Kassirer
Lawrence Kotin
Lars Foundation
Mr. and Mrs. Richard Levitan
John D.C. Little
Nick and Jennifer Littlefield
Gregory Maguire
James and Marie Marlas
Alan Muraoka
Finley and Patricia Perry
Carol and Steve Pieper
Gerald Pier
William and Lia Poorvu
Dr. Lawrence Pratt
Ellen Gordon Reeves
Mr. and Mrs. Andres Rodriguez
Patricia Romeo-Gilbert and
Paul B. Gilbert
Producer: $10,000–$24,999
Anonymous (2)
Leo L. Beranek Foundation
Philip and Hilary Burling
Cambridge Trust Company
Kevin Cole Costin
RoAnn Costin and Jim Bailey
Ted and Joan† Cutler
Bernadette Mannix Feeney
Michael Feinstein and Denise Waldron
Partner: $5,000–$9,999
Anonymous
John W. Alden Trust
Joel and Lisa Alvord
Bernard Chiu
Clarke and Ethel D. Coggeshall
Susan and Gerald Cohen
Marc George Gershwin and
Andrea Gershwin
Erin Gilligan and Hoil Kim
Rachael Goldfarb
Sponsor: $2,500–$4,999
Anonymous
Frances Shtull Adams
Dr. Millicent Bell
David and Nancy Berman
Linda Cabot Black Foundation
Laurie Burt and Thomas Engelman
Patron: $1,000–$2,499
Anonymous (2)
Elizabeth Adams
Sheldon Appel
Barbara E. Bierer and
Steven E. Hyman
Sheldon and Dorothea Buckler
Eastern Bank
Walter Fey and Jan Bergstrom
M. Dozier Gardner
Kiki and David Gindler
Candy Kosow Gold
Seth Goldman and Julie Farkas
WILD SWANS 27
a nnual fund donor s
(continued)
Patron: $1,000–$2,499 (cont.)
The Schneer Foundation
Wendy Shattuck and Sam Plimpton
Michael Shinagel and Marjorie North
Marshall Sirvetz
Mason and Jeannie Smith
John Snow, Inc.
Dr. Clive Standley
Deborah Sweet and Steven Lazar
The Joseph W. and Faith K. Tiberio
Charitable Foundation
Paul Traub
Susan Whitehead
Francis H. Williams
Zipcar
Mr. and Mrs. James Joslin
Carol and Jonah Kanin
Susan B. Kaplan
Jane Katims and Dan Perlman
Ellen Kulik and Bill Barry
Katherine Lapp
Liberty Mutual Give with
Liberty Program
Barbara Manocherian
Erica and Bob Mason
Mark Natale
NSTAR Foundation
Jeryl and Stephen Oristaglio
Vincent Piccirilli and
Anita Meiklejohn
Skip Pile and Mary Jane Patrone
Thomas and Jennifer Pincince
Sally C. Reid and John D. Sigel
Charles and Patty Ribakoff
Jane Brooks Robbins
Joan Arbetter Rosenberg
Janice Saragoni
Mark Slovenkai
John Travis
Mindee Wasserman, Esq.
Ms. Kelsey Wirth and
Dr. Samuel Myers
Peter and Dyann Wirth
Robert Harrington
Margaret and Timothy Heitz
Alison M. Hodges and
Thomas F. Clarke
Dr. Joseph Kahan
Tosh Kawakami
CC King and Tom Tarpey
Lynn Kodama
Bill and Lisa Laskin
Mary Pfeifer Lentz and Tom Lentz
Greg and Mary Beth Lesher
Cynthia Livingston
Lorraine Lyman
Barbara A. Manzolillo
Steven and Kelly Migliero
Michael and Annette Miller
Evelyn Musser
Suzanne Ogden and Peter Rogers
Drs. Hilda and Max Perlitsh
Marita Rivero
Emily Rooney
Belinda and Evan Schapiro
Mary Shannon
Sheldon Simon and
Ruth Moorman
Ellen Simons
Mr. and Mrs. Andrew Snider
Diana Sorensen
Michele Steckler
Stephen Stulck
Wendell Sykes
Arnold and Gloria Tofias
Ryan West
Christopher White
Kirk and Glynis Wood
William Zinn and Nancy Bridges
† deceased
Friends of the A.R.T.
Contributor: $500–$999
Howard and Leslie Appleby
Jim and Chris Barker
William M. Bazzy
Leonard and Jane Bernstein
Diane Borger
Herrick Chapman and
Lizabeth Anne Cohen
Antonia H. Chayes
Brian and Eleanor Chu
Liz Coxe and David Forney
Howard Gardner
Grayson Family Foundation
Dena and Felda Hardymon
Larry Hirschhorn
Hurlbut Family Charitable
Lead Trust
Supporter: $250–$499
Anonymous (2)
Karen Allen
Richard R. Beaty
Clark and Susana Bernard
Ronnie Bretholtz
Paul and Cris Carter
Judith Chernoff, in honor of
Audra McDonald
Michael and Linda Frieze
Robert and Kathleen Garner
Tiffani Gavin
Mark Glasser
Marie and Daniel Glenn
Dr. Jeffrey and Laurie Goldbarg
Professors Byron and Mary-Jo Good
Silvia Gosnell
Garth and Lindsay Greimann
Homer Hagedorn
In-Kind Supporters
The A.R.T. thanks the following individual and corporate supporters for their invaluable in-kind donations.
MAX Ultimate Food/Dan Mathieu & Neal Balkowitsch
The Weekly Dig
90+ Cellars
Boston Beer Company
Cambridge 1
The Catered Affair
The Charles Hotel
Event Illuminations
Google Inc.
Grafton Street
Henrietta’s Table
The Kendall Hotel
Ilex Designs
Latitude Beverage
Company
OM
Rutland Nurseries
Sandrine’s
The D.L. Saunders
Companies
Robert Stolzberg
Tory Row
Trader Joe’s
The Urban Grape
Upstairs on the Square
The Hotel Veritas
Zipcar
Every effort has been made to ensure that all donor information is accurate, but if you have any
questions or concerns, please contact the Development Department: 617.496.2000 x8847.
28
a nnual fund donor s
(continued)
National Corporate Theatre Fund
National Corporate Theatre Fund is a not-for-profit 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 $10,000 or more to National Corporate Theatre Fund:
Bank of America #
Bloomberg
BNY Mellon
Wealth Management *
Steven Bunson
Christopher Campbell/
Palace Production
Center *
Cisco Systems, Inc. *
Citi Foundation #
Datacert, Inc.
Dorsey and Whitney
Foundation
Ernst & Young
Goldman, Sachs & Co.
Howard Kagan
Marsh & McLennan
Companies
The McGraw-Hill
Companies #
MetLife
Morgan Stanley
Pfizer, Inc.
Wilkie Farr & Gallagher
RBC Wealth Management LLP *
RVM/Vincent Brunetti
salesforce.com *
* NCTF/BNY Mellon Fund
Sharp Electronics ^
for New American
George S. Smith, Jr.
Theatre
James S. Turley
^ Includes In-kind support
UBS
# NCTF Fund for Theatre
USA Today * ^
Education
Vernalis Systems ^
Wells Fargo #
As of December 2011
Our 2011/12 season is generously supported by:
FUTURITY:
A MUSICAL BY THE LISPS
ON SALE NOW
TICKETS FROM $25
CALL: 617.547.8300
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at OBERON | MARCH 2012
WILD SWANS 29
2011/12 AT THE A.R.T.
VISIT: AMERICANREPERTORYTHEATER.ORG CALL: 617.547.8300
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USE DURING EVERY A.R.T. PERFORMANCE.
DISCOUNTED PARKING IS AVAILABLE AT
CHARLES SQUARE GARAGE (BENNETT ST.) &
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FOR BOTH VENUES.
ADVANCED PURCHASE PERMIT PARKING IS
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AVENUE LOT FOR OBERON.
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ADDRESS: 64 BRATTLE ST.,
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HOURS: TUE-SUN, NOON-5 P.M.
OR 1/2 HOUR BEFORE CURTAIN
In addition to A.R.T. season programming,
OBERON is a thriving incubator for local
and emerging artists. Attracting national
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programming, the immersive experience at
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Actors Touring
Company
by Euripides
translated by Robin Robertson
directed by David R. Gammons
February 8 – March 4, 2012
Multicultural Arts Center
Cambridge
Tickets: 866-811-4111 or
actorsshakespeareproject.org
Absorbing...
the boston globe
Actors Touring Company was founded by
John Retallack in 1979 to present
international work on tour. Over its 33 year
history, the company has presented work by
international writers, contemporary
reworkings of classic texts, and new plays
by living authors such as Simon Stephens,
Mark Ravenhill, Roland Schimmelpfennig,
Tarrell Alvin McCraney, Sarah Rhul, and
Bernard Koltes.
Under the leadership of Ramin Gray, the
company has further developed its
approach. As well as continuing to present
the most exciting international texts, it is
pursuing a programme of collaborative
creation between theatre makers from
different countries and developing a
repertory approach to production. For
more information click www.atctheatre.com
or follow us on twitter @atctheatre.
Artistic Director....................................Ramin Gray
Executive Director ............................Nick Williams
Administrator ...............................Charelle Griffith
Development and Marketing Associate..Jo Cottrell
Collaborative Doctoral Student......Christine Twite
Board of Directors .............Maria Delgardo (Chair),
Nelson Fernandez (Vice-Chair), Ben Assefa-Folivi,
Caroline Bailey, Chris Barnes,Caroline Firstbrook,
Michael Quine, Hetty Shand
a National New Play Network
Rolling World Premiere by Stephen Sachs
directed by Jeﬀ Zinn
featuring Ken Cheeseman and Paula Langton
February 26 – March 18, 2012
black box theater
3 2 1 A R S E NA L S T . W A T E R T O W N M A
supported by
free parking!
tickets $35
Jack Tarlton, in The Golden Dragon By Roland
Schimmelpfennig, directed by Ramin Gray, 2011
IN RESIDENCE AT THE
ARSENAL CENTER FOR THE ARTS
newrep.org
617-923-8487
32
Young Vic
Artistic Director ....................................................David Lan
Executive Director ..........................................Lucy Woollatt
Associate Artistic Director ..................................Sue Emmas
Producers ...........................................................Daisy Heath
Despina Tsatsas for Mark Rubinstein Ltd
Touring Producer ...............................................Ben Cooper
Associate Producer(World Stages London)...Nicola Thorold
ASSOCIATES
Associate Directors.....................................Carrie Cracknell,
Joe Hill-Gibbins,
Daniel Kramer,
Sacha Wares
Associate Designer ........................................Jeremy Herbert
International Associates......................................Luc Bondy,
Gísli Örn Garðarsson,
Paul Heritage,
Amir Nizar Zuabi
Associate Artists .......................................Matthew Dunster,
Ian MacNeil,
Walter Meierjohann,
Rufus Norris
ADMINISTRATION & FINANCE
General Manager ........................................Frederica Notley
PA to Artistic Director ..........................................Liza Frank
Administrator to the Producers.........................Sarah Green
Finance Manager ..............................................Sophie Wells
Finance Assistant .............................................Janine Carter
DEVELOPMENT
Development Director .....................................Anna Silman
Head of Corporate Development .................Caroline Carey
Head of Trusts ......................................Gabbie Filmer-Pasco
Individual Giving
Executive .....................................Charlotte Christensen
Corporate Development Executive........Francesca Hayward
PRODUCTION
Technical Director................................................Chris Clay
Production Manager.........................................Al Parkinson
Company Manager ................................................Ros Terry
Head of Sound .............................................Dominic Bilkey
Head of Lighting ...............................................Nicki Brown
Head of Stage.........................................................Dave Tuff
Head of Workshop ......................................Emma Hayward
Head of Costume ....................................Catherine Kodicek
Senior Sound Technician ....................................Sally Evans
Senior Lighting Technician......................Nadene Wheatley
Senior Stage Technician ...................................Simon Evans
Sound Technician ...............................................Emily Legg
Lighting Technician .........................................Jamie Spirito
Production Administrator .............................Sarah McEwen
MARKETING & PRESS
Director of Marketing, Press & Sales ..................Alan Stacey
Marketing Managers ........................................Anca Chung,
Stacy Coyne
Press Manager....................................................Laura Myers
Marketing & Press Assistant ..............................Katie Marsh
TAKING PART
Head of Taking Part (maternity cover) ......Marcella Hughes
Taking Part Administrator...............................Kirsten Adam
WILD SWANS 33
A.R.T. Staff
ARTISTIC
Artistic Director/CEO.......................................Diane Paulus
Producer/Interim Managing Director ..............Diane Borger
Artistic Coordinator .................................Chris De Camillis
Director of Special Projects ........................Ariane Barbanell
Dramaturg...................................................Ryan McKittrick
Special Assistant to the
Artistic Director/CEO...................................Lauren Antler
Artistic Associate .........................................Allegra Libonati
Company Manager .......................................Mark Lunsford
Artistic Director Fellow .............................Shira Milikowsky
Dramaturgy Intern ................................................Eli Keehn
PRODUCTION
Production Manager...................................Patricia Quinlan
Associate Production
Managers .....................Christopher Viklund, Skip Curtiss
Loeb Technical Director ............................J. Michael Griggs
INSTITUTE
Director ...............................................................Scott Zigler
Administrative Director..............................Julia Smeliansky
Associate Director ............................................Marcus Stern
Co-head of Dramaturgy ........................Anatoly Smeliansky
Co-head of Dramaturgy..............................Ryan McKittrick
Resident Literary Advisor ..........................Arthur Holmberg
Head of Voice and Speech .............................Nancy Houfek
Institute Associate .......................................Chelsea Keating
Production Manager............................Christopher Viklund
Technical Director..............................................Skip Curtiss
Production Coordinator................................Taylor Adamik
LIGHTS
EXTERNAL AFFAIRS
DEVELOPMENT
Deputy Director of Development...............Megan Hinckley
Institutional Giving Officer .....................Meghan Coleman
Donor Information Coordinator .....................Emily O’Neil
MARKETING
Director of Marketing and Communications...Anna Fitzloff
Director of Press and Public Relations........Katalin Mitchell
Marketing and Communications Manager ..........Jared Fine
Graphic Design Associate .....................................Joel Zayac
Outreach and Education Associate.................Brendan Shea
Marketing and Communications Associate......Grace Geller
Donkey Show Intern .............................................Jake Egan
Marketing Interns ...........Olamide Babatunde, Vanessa Koo
BOX OFFICE
Head of Patron Systems .................................Derek Mueller
Box Office Manager ...........................................Ryan Walsh
Box Office and Group Sales Coordinator .........Alicia Curtis
Box Office Representative ...............................Karen Snyder
Box Office Staff......................................Nathaniel Beliveau,
Heather Conroe, Cassandra Long,
Amelia Mason, Emma Putnam, Alyssa Van Thoen
COSTUMES
Costume Shop Manager ...........................Jeannette Hawley
Assistant Costume Shop Manager ..................Mary R. Hurd
Crafts Artisan ......................................David Israel Reynoso
Costume Artisan ..........................................Caitlin Menotti
Wardrobe Supervisor ...................................Stephen Drueke
Costume/Props Stock Manager.....................Suzanne Kadiff
Master Electrician ..........................................Derek L. Wiles
Light Board Operator ................................Matthew Houstle
PROPERTIES
Properties Manager ............................ Cynthia Lee-Sullivan
Assistant Properties Master ......................Rebecca Helgeson
Properties Carpenter............................Stacey Horne-Harper
Properties Intern ........................................Samantha Sewell
SCENERY
Technical Director ....................................Stephen Setterlun
Assistant Technical Directors.............................Nick Fouch,
Chris Swetcky
Scenic Charge Artist..............................................Jerry Vogt
Scene Shop Supervisor .....................................Dave Buckler
Master Carpenter...........................................Peter Doucette
Scenic Carpenters ............York-Andreas Paris, Jason Bryant,
Kristin Knutson
SOUND
Resident Sound Designer/Engineer ..............Clive Goodwin
Production Sound Engineer.......................Katrina McGuire
Sound Console Operator.................................Brian Walters
STAGE
Stage Supervisor .............................................Jeremie Lozier
Assistant Stage Supervisor ............Christopher Eschenbach
Production Assistants ..........Kevin Klein, Matthew Sebastian
OBERON
Producer .........................................................Randy Weiner
Associate Producer .....................................Ariane Barbanell
Production Manager ..........................................Skip Curtiss
Venue Manager....................................................Erin Wood
Programming Manager....................................James Wetzel
THEATER AND FACILITIES
Theater and Facilities Manager .........................Tracy Keene
Front of House Manager ........................Stephen Wuycheck
Receptionists ............................Sarah Leon, Maria Medeiros
Duty House Managers .....................................Kevin Cloud,
Gretjen Hargesheimer, Michael Haviland,
Heather Quick, Courtney Smith,
Matthew Spano, Matt Wood
Volunteer Usher Coordinator .................Barbara Lindstrom
WEST
LOBBY
FINANCE
Comptroller ................................................Barbara Addison
Senior Finance Accountant........................Stephen Nishino
Financial Administrator ....................................Stacie Hurst
Payroll Administrator ..................................Floyd Patterson
Financial Assistant ..............................................Nira Tejada
Student Financial Aid Administrator ...............Janie Rangel
FRONT
LOBBY
Nearest exit route
Fire extinguishers
34
Designated
Meeting Site
Cross Brattle St.
to Radcliffe Yard
GUIDE to
LOCAL
THEATER
February/
March 2012
DOWNTOWN/THEATRE DISTRICT
THE ADDAMS FAMILY, Citi Performing Arts Center, The Shubert
Theatre, 265 Tremont St., 866-348-9738. Feb 7–19. This magnificently macabre new musical comedy is definitely not the
same old song and dance. It’s every parent’s nightmare—your
little girl has fallen in love with a sweet, smart young man from
a respectable family. Yes, Wednesday Addams, the ultimate
princess of darkness, has a “normal” boyfriend. For parents
Gomez and Morticia, this shocking development turns the
Addams house downside up.
AMERIVILLE, Universes, Paramount Theatre, 559 Washington
St., 617-824-8400. Mar 13–18. The state of the Union is put
under the microscope and into the microphone as energetic
and diverse young performers spin exquisite harmonies and
beatboxing around themes of race, poverty, politics, history and
government, examining our country through the lens of
Hurricane Katrina and its aftermath.
THE ANDERSEN PROJECT, Ex Machina, Cutler Majestic
Theatre at Emerson College, 219 Tremont St., 617-824-8400.
Mar 24–Apr 1. In this off-the-wall masterpiece by theater visionary Robert Lepage, a Canadian rock ’n’ roll writer is commissioned to draft a libretto for a children’s opera in Paris.
Inspired by the timeless fables of Hans Christian Andersen and
anecdotes from the author’s personal diaries, this play explores
unraveling relationships, personal demons, the thirst for recognition and the compromise that comes too late.
BLUE MAN GROUP, Charles Playhouse, 74 Warrenton St., 617931-2787 or 617-426-6912. Ongoing. This giddily subversive
off-Broadway hit serves up outrageous and inventive theater
where three muted, blue-painted performers spoof both contemporary art and modern technology. Wry commentary and
bemusing antics are matched only by the ingenious ways in
which music and sound are created. The show has recently
been updated with new performance pieces and music.
CIRCA, Paramount Theatre, 559 Washington St., 617-8248400. Feb 29–Mar 4. With no elaborate sets, gymnastics contraptions or animal acts, the virtuosic tumblers of Circa, a
seven-performer troupe from Brisbane, Australia, use their own
bodies and mesmerizing skills to conjure an air of classic circus showmanship with a touch of Vaudeville.
LES MISÉRABLES, Boston Opera House, 539 Washington
St., 866-523-7469. Mar 13–Apr 1. This 25th anniversary production of Boublil and Schönberg’s legendary musical based
VIVE LA FRANCE: The blockbuster musical Les
Misérables returns to Boston with a new 25th
anniversary production, beginning March 13 at
the Boston Opera House.
on Victor Hugo’s classic novel set during the French Revolution
features glorious new staging and dazzlingly re-imagined
scenery inspired by Hugo’s paintings.
SHEAR MADNESS, Charles Playhouse Stage II, 74 Warrenton
St., 617-426-5225. Ongoing. This hilarious Boston-set whodunit, where the clues change every night and the laughs
come fast and furious, is a worldwide phenomenon filled with
up-to-the-minute spontaneous humor and quicksilver improvisation where the audience becomes part of the action and gets
to solve the crime.
69˚ S. (THE SHACKLETON PROJECT), Phantom Limb,
Paramount Theatre, 559 Washington St., 617-824-8400. Feb
7–12. Sir Ernest Shackleton’s 1914 Antarctic expedition is
reignited through theater, dance, puppetry, photography and
film in an evocative series of tableaux, taking the audience on
an emotional journey that explores the symbiotic relationship
between man and the environment.
TOMÁŠ KUBÍNEK: CERTIFIED LUNATIC & MASTER OF THE
IMPOSSIBLE, Paramount Theatre, 559 Washington St., 617824-8400. Mar 29–Apr 1. A collision of theatre and musichall, this exuberant spectacle is equal parts comic brilliance,
virtuosic vaudeville and irresistible charm. Czech-born Tomáš
Kubínek is a self-proclaimed physical poet and verbal acrobat,
needless risk-taker, professor of fantastically useless inventions and arduous advocate of commonplace miracles.
LOCAL/REGIONAL THEATER
ABSURD PERSON SINGULAR, The Footlight Club, Eliot Hall, 7A
Eliot St., Jamaica Plain, 617-524-3200. Feb 3–18. This Alan
Ayckbourn play portrays three couples in their three kitchens
WILD SWANS 35
g uide to local thea ter
(continued)
on the Christmas Eves of three successive years. Running like
a dark thread through the wild comedy of behind-the-scenes
disasters at Christmas parties is the story of the advance of
one lower-class couple to material prosperity alongside the decline of the others.
AN AMERICAN JOURNEY, Revels Repertory Company, Charles
Mosesian Theater, Arsenal Center for the Arts, 321 Arsenal St.,
Watertown, 617-972-8300 x31. Mar 4. In the early 1900s, a
large number of immigrants came to Boston through Ellis
Island. This story imagines a voyage where Irish, Italians and
Eastern European Jews share their stories, songs and dances.
new musical from the co-director of Les Misérables and the
creators of Jane Eyre set in 1912 New England, a young
woman is given the opportunity to escape the orphanage she
grew up in when an anonymous benefactor spots her potential
and pays her way to attend university, as long as his identity
remains a secret.
DEPORTED, Boston Playwrights’ Theatre and Suffolk University,
Modern Theatre at Suffolk University, 525 Washington St., 617557-6537. Mar 8–Apr 1. Memories and dreams, music and
dance interweave in this riveting story of the Armenian genocide that celebrates playwright Joyce Van Dyke’s own family
history and that of many Armenian families forever changed.
BAKERSFIELD MIST, New Repertory Theatre, Black Box
Theater, Arsenal Center for the Arts, 321 Arsenal St.,
Watertown, 617-923-8487. Feb 26–Mar 18. After Maude
Gutman buys a possibly undiscovered Jackson Pollock painting
at a thrift store and a renowned art expert arrives at her trailer
to investigate, the two embark on a fiery debate over class,
truth and what we perceive as valuable.
THE DONKEY SHOW, American Repertory Theater, Oberon,
2 Arrow St., Cambridge, 617-547-8300. Ongoing. Bringing the
ultimate disco experience to Boston, this crazy circus of mirror
balls, feathered divas, roller skaters and hustle queens tells the
story of A Midsummer Night’s Dream through great ’70s anthems you know by heart.
CIRCUMCISE ME, Leventhal-Sidman Jewish Community
Center, 333 Nahanton St., Newton, 617-965-5226. Mar 17 &
18. This poignant, provocative and powerfully witty one-man
show by comic actor Yisrael Campbell tells of his spiritual journey stretching across four decades, two continents and three
circumcisions.
ELECTION DAY, Happy Medium Theatre, Factory Theatre, The
Piano Factory, 791 Tremont St., 617-549-9854. Feb 9–18. This
witty comedy takes the audience through the day of a mayoral
election with an type-A lawyer/activist, her graphic designer
boyfriend, his slacker sister, a violent (sort of) political activist
and mayoral candidate as our guides.
DADDY LONG LEGS, Merrimack Repertory Theatre, 50 E.
Merrimack St., Lowell, 978-654-4678. Feb 9–Mar 4. In this
THE FULL MONTY, The Boston Conservatory Theater, 31
Hemenway St., 617-912-9222. Mar 1–4. Seeing how much
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their wives enjoy watching male strippers during their “Girls’
Night Out,” unemployed steelworkers in Buffalo, New York
come up with a bold way to make some quick cash. In the
process, they discover renewed self-esteem, the importance of
friendship and the ability to have fun.
FUTURITY: A MUSICAL BY THE LISPS, American Repertory
Theater, Oberon, 2 Arrow St., Cambridge, 617-547-8300. Mar
16–Apr 15. In this Civil War sci-fi musical, Union soldier Julian
Munro and the brilliant Ada Lovelace transcend time to invent
an omnipotent steam-powered brain. Blending American indiefolk music with dreams of invention, this musical explores a
world where utopia seems within reach.
GREEN EYES, Company One, The Ames Hotel, One Court St.,
800-838-3006. Through Feb 12. Travis Chamberlain’s highly
acclaimed, site-specific production of Tennessee Williams’
“lost” erotic thriller reveals the impact of war through the sexual fantasies of a newlywed couple on their honeymoon. He’s a
soldier, traumatized by his participation in the war; she’s a ravenous woman determined to satisfy the darkest recesses of
her most deviant desires.
THE LITTLE PRICKS, Gold Dust Orphans, Theater Machine,
1254 Boylston St., 800-838-3006. Feb 17–Mar 11. The
Orphans’ drag spoof of Lillian Hellman’s The Little Foxes tells
the story of peaceful, post-Civil War Southern town that is disrupted by the greedy machinations of a feuding, double-dealing clan and their unscrupulous business affairs.
THE LUCK OF THE IRISH, Huntington Theatre Company,
Wimberly Theatre, Calderwood Pavilion at the Boston Center
for the Arts, 527 Tremont St., 617-933-8600. Mar 30–Apr 29.
When an upwardly mobile African American family buys a
house in an all-white neighborhood, they pay a struggling Irish
family to act as their front. Fifty years later, the Irish family
asks for “their” house back in this intimate new play by Boston
area native Kirsten Greenidge.
MA RAINEY’S BLACK BOTTOM, Huntington Theatre Company,
Boston University Theatre, 264 Huntington Ave., 617-2660800. Mar 9–Apr 8. Legendary 1920s blues singer Ma Rainey
and her musicians gather in a run-down Chicago studio to
record new sides of old favorites when generational and racial
tensions suddenly explode in Tony Award-winner August
Wilson’s first Broadway hit.
MEDEA, Actors’ Shakespeare Project, Multicultural Arts Center
of Cambridge, Cambridge, 866-811-4111. Feb 8–Mar 4. In
this searing look at what we can do to each other when our
lives are turned upside down, Euripides reveals the depths to
which wounds push people as a betrayed woman enacts her
bloody revenge.
THE MIKADO, Riverside Theatre Works, 45 Fairmount Ave.,
Hyde Park, 617-361-5269. Mar 9–Apr 1. This contemporary
production frames Gilbert and Sullivan’s farcical collision of
19th century Japanese culture and Western theatrical convention in the context of pop culture, manga and anime.
MONSTERS: A MIDLIFE MUSICAL MELTDOWN!, Regent
Theatre, 7 Medford St., Arlington, 781-646-4849. Feb 25–Mar
9. Samantha thinks turning 40 is the scariest thing to happen
to her. See what occurs when a mysterious package arrives in
this hilarious look at a full-blown midlife crisis.
38
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(continued)
MRS. WHITNEY, Merrimack Repertory Theatre, 50 E.
Merrimack St., Lowell, 978-654-4678. Mar 15–Apr 8. Mrs.
Whitney seeks a cure for loneliness by tracking down her
ne’er-do-well ex-husband, an irresponsible mess she kicked
out more than 20 years ago, sending her on an odyssey of surprising and sharply funny encounters.
NEXT TO NORMAL, SpeakEasy Stage Company, Roberts
Studio Theatre, Calderwood Pavilion at the Boston Center for
the Arts, 527 Tremont St., 617-933-8600. Mar 9–Apr 7.
Featuring a compelling and surging pop rock score, this 2010
Pulitzer Prize-winning musical makes a direct grab for the
heart with its story of a suburban family dealing with the direct
and indirect effects of mental illness.
PHOTOGRAPH 51, The Nora Theatre Company, Central Square
Theater, 450 Massachusetts Ave., Cambridge, 866-811-4111.
Feb 9–Mar 4. In 1951, British biophysicist Rosalind Franklin
revealed DNA’s double helix structure, leading to the 1953
Nobel Prize—but not for Franklin. Told with wit and urgency,
the play tells the story of the fiercely independent spirit of a
young, ambitious scientist and her unsung, trailblazing
achievements.
THE PLAY ABOUT THE BABY, Exquisite Corps Theatre, Plaza
Black Box Theatre, Boston Center for the Arts, 539 Tremont St.,
617-933-8600. Mar 9–Apr 1. Edward Albee’s disturbingly
funny exploration of the bonds between parents and children
concerns a young couple who have just had a baby, and the
strange turn of events that transpire when they are visited by
an older man and woman.
PRIDE & PREJUDICE, Theatre@First, Somerville Theatre, 55
Davis Square, Somerville, 888-874-7554. Mar 23–31. This
new adaptation of Jane Austen’s beloved tale brings the delightful story of Elizabeth Bennet and Mr. Darcy finding love in
early 19th century England—despite differences of class and
temperament—to the stage.
RECENT TRAGIC EVENTS, Whistler in the Dark, Factory
Theatre, The Piano Factory, 791 Tremont St., 866-811-4111.
Mar 9–24. In the wake of September 11, 2011, Waverly, a
young advertising executive in Minneapolis nervously awaiting
news of her New York-based sister, invites the neighbors over
for a drink and a freewheeling debate about the interconnectedness of everyone’s lives in Craig Wright’s 2002 thought-provoking tragi-comedy.
ROMEO & JULIET, Stoneham Theatre, 395 Main St., Stoneham,
781-279-2200. Mar 1–18. When children act on their parents’
grievances and teens flame with the passion of first love, unintended consequences can devastate. Ten professional actors
team up with ten members of Stoneham’s young company to
explore Shakespeare’s timeless story of love and conflict.
SAINT JOHN THE DIVINE IN IOWA, Another Country
Productions, Boston Playwrights’ Theatre, Odyssey Theatre,
949 Commonwealth Ave., 866-811-4111. Mar 2–18.
Addressing the most relevant and current issues of family, how
we define it and whether we can truly learn to love each other
in spite of our differences, this play reveals the love a mother
has for her daughter and all she is willing to lose in order to
keep her.
SAVAGE/LOVE, Continuity Theatre and Dance Company, The
Julie Ince Thompson Theatre at The Dance Complex, 536
40
Massachusetts Ave., Cambridge, continuitytheatreanddance
[email protected]. Feb 12 & 13. Sam Shepard and Joesph
Chaikin’s intense glimpse into the truth of a relationship explores the first meeting, the hardships and the process of love
through monologues.
SOME EXPLICIT POLAROIDS, Brown Box Theatre Project,
Roberts Studio Theatre, Calderwood Pavilion at the Boston
Center for the Arts, 527 Tremont St., 617-424-6634 x222. Feb
17–26. This fast-paced look at the lives of six people dealing
with the harsh realities of politics, sex, drugs and violence explores the world of apathetic urbanites through the perspectives of an abused stripper, a disenchanted politician and an
ex-convict.
TIME OF MY LIFE, Zeitgeist Stage Company, Plaza Black Box
Theatre, Boston Center for the Arts, 539 Tremont St., 617-9338600. Feb 10–Mar 3. Revolving around a dinner at his family’s
favorite restaurant organized by successful businessman Gerry
Stratton to celebrate his wife Laura’s 54th birthday, Sir Alan
Ayckbourn’s play jumps around in time to reveal the separate
directions in the relationships and lives of the family members.
TIME STANDS STILL, Lyric Stage Company, 140 Clarendon St.,
617-585-5678. Feb 17–Mar 17. This acclaimed new play by
Donald Margulies tells the story of Sarah and James, a photojournalist and foreign correspondent, who are reeling after
their recent brush with death while on an assignment. Will their
relationship of nearly a decade be more threatened by a traditional go at domesticity than the roadside bombs of Baghdad?
THE TEMPERAMENTALS, Lyric Stage Company, 140
Clarendon St., 617-585-5678. Mar 30–Apr 28. This hit offBroadway play tells the story of two men—the communist
Harry Hay and the Viennese refugee and fashion designer Rudi
Gernreich—as they fall in love while forming the first gayrights organization in the pre-Stonewall United States.
WEST SIDE STORY, Turtle Lane Playhouse, 283 Melrose St.,
Newton, 866-811-4111. Mar 9–Apr 1. In 1950s New York City,
two young lovers find themselves caught between two teenage
street gangs of different ethnic backgrounds. This classic musical features such timeless songs as “I Feel Pretty,” “Maria”
and “America.”
THE WILD PARTY, The Footlight Club, Eliot Hall, 7A Eliot St.,
Jamaica Plain, 617-524-3200. Mar 30–Apr 14. Andrew
Lippa’s award-winning, 1920s-set musical about passions out
of control tells the story of one wild evening in the Manhattan
apartment shared by vaudeville performers Queenie and Burrs.
Amidst a relationship marked by vicious behavior and recklessness, they decide to throw a party to end all parties.
WILD SWANS, American Repertory Theater, Loeb Drama
Center, 64 Brattle St., Cambridge, 617-547-8300. Feb 11–Mar
11. Through the eyes of one fiercely courageous family, this
play takes audiences on a journey from the early days of
Communist China, through the chaos and confusion of Mao’s
Cultural Revolution to the birth of a superpower.
THE WIZARD OF OZ, Wheelock Family Theatre, 200 The
Riverway, 617-879-2300. Through Feb 26. Based on the
beloved film, this endearing classic celebrates the heart’s journey to friendship, inner strength and the true meaning of home
through the adventures of farm girl Dorothy after she is
whisked away to a magical land.
(continued)
DANCE
BALLET HISPANICO, Cutler Majestic Theatre at Emerson
College, 219 Tremont St., 617-824-8000. Mar 9–11. The
acclaimed dance troupe continues along the trail they have
blazed for more than 40 years, exploring the Latino voice in
dance, from the smart and spicy to the elegant and lyrical. The
program includes Boston premieres of Mad’moiselle by
Annabelle Lopez Ochoa and a new work by Ronald K. Brown.
PLAY WITH FIRE, Boston Ballet, Boston Opera House, 539
Washington St., 617-931-2787. Mar 1–11. The best of the
new comes to the stage in this rule-breaking, spell-binding
contemporary program: Jiří Kylián’s Bella Figura, Jorma Elo’s
Sharp Side of Dark and Christopher Bruce’s acclaimed
Rooster, set to the music of the Rolling Stones.
SIMPLY SUBLIME, Boston Ballet, Boston Opera House, 539
Washington St., 617-931-2787. Feb 9–19. This program presents three ballets: The world premiere production of Les
Sylphides by Florence Clerc; Christopher Wheeldon’s finest
masterpiece, Polyphonia; and George Balanchine’s stunning
Symphony in Three Movements.
TRIPLE PLAY, The Boston Conservatory Theater, 31 Hemenway
St., 617-912-9222. Feb 16–19. Three choreographers, three
composers and three different dance genres are highlighted in
this eclectic concert, featuring a premiere by Daniel Pelzig set to
Tchaikovsky’s Trio in A Minor for Violin, Piano and Cello; Zero
Cool, a jazz dance work by Cathy Young set to music by Duke
Ellington; and iconic choreographer Doug Varone’s The Constant
Shift of Pulse set to John Adams’ “Hallelujah Junction.”
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OPERA
THE BARBER OF SEVILLE, Boston Lyric Opera, Citi Performing
Arts Center, The Shubert Theatre, 265 Tremont St., 866-3489738. Mar 9–18. Rossini’s comic masterpiece boasts his
unique and irresistible mixture of manic madness and soaring
lyricism. Patter songs, love duets, serenades, a foiled elopement, a happy ending and even a thunderstorm—this opera
has it all and more.
DON GIOVANNI, The Boston Conservatory Theater, 31
Hemenway St., 617-912-9222. Mar 29–Apr 1. The legendary
libertine Don Juan unbuttons the yearnings and contradictions
of polite society in Mozart’s darkly comic masterpiece in which
seduction, betrayal and retribution combine with soaring
melody, brilliant ensembles and a flaming finale.
THE LIGHTHOUSE, Boston Lyric Opera, John F. Kennedy
Presidential Library and Museum, One Columbia Point, 617542-6772. Feb 8–12. A dark storm rages. An inquiry is opened
into the unnatural disappearance of three lighthouse keepers.
In the mysterious, deserted lighthouse nothing is amiss except
a chair lying on its back and a broken teacup. Verdict: death by
misadventure. Where lies the truth? Maxwell Davies’ opera is
an unforgettably gripping and overwhelming portrait of madness and possession.
Art New England
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WILD SWANS 41
GUIDE to
CAMBRIDGE
DINING
L–Lunch • D–Dinner • B–Breakfast
C–Cocktails • VP–Valet Parking
SB–Sunday Brunch • LS–Late Supper
THE ASGARD IRISH PUB & RESTAURANT, 350 Massachusetts
Ave., 617-577-9100. The Asgard was designed in Ireland, with
local artists putting the finishing touches on a truly one-of-akind bar. Communal tables and a variety of cool, comfortable
places to sit—along with an extensive menu, a large craft beer
selection, outdoor patio, live music, trivia nights, DJs and no
cover charge—make the Asgard a perfect spot for a pint and a
meal. L, D, Sat & SB, LS, C.
BONDIR, 279A Broadway, 617-661-0009. This cozy, farmhousestyle restaurant showcases the pastoral and marine bounty of
RAISING THE BAR: Enjoy modern, seasonal cuisine pre- or post-theater at Nubar, the recently
renovated restaurant at the landmark Sheraton
Commander Hotel in Harvard Square.
New England, and offers a finely curated selection of American
and European wines and beers. Following a simple philosophy of
quality and care, Chef Jason Bond uses vegetables picked the
same day, fish hours out of the ocean and pasture-raised meats
on his daily-changing menu. D Wed–Mon 5–10 p.m.
*Applies to food items only.
Our Treat
Enjoy 10% off* any meal or dessert, pre or
post theatre during the ART 2011 season.
a t t h e c o m m a n d e r · 16 garden street cambridge, ma
617.234.1365 · www.nubarcambridge.com · dining until 11pm
42
guide to cambridge dining
(continued)
BORDER CAFE, 32 Church St., 617-864-6100. Sizzling fajitas,
overstuffed quesadillas and giant margaritas are the highlights
at this Tex-Mex hotspot in Harvard Square. Other specialties include Cajun and Creole dishes, all served in a bustling, lively
and fun atmosphere. L, D, C, LS.
CHEZ HENRI, 1 Shepard St., 617-354-8980. Chef/owner Paul
O’Connell offers up delicious French cuisine with a Cuban twist
in a classy and comfortable settting, located between Harvard
and Porter Squares. Be sure to sample signature dishes like
the camarones rellenos de yuca (baked stuffed shrimp) and the
blanquette de lapin (braised rabbit with creme fraiche), and
pair them with one of Chez Henri’s standout tropical cocktails.
D Mon–Thu 6–10 p.m., Fri & Sat 5:30–10:30 p.m., Sun
5:30–9:30 p.m.
CAMBRIDGE, 1., 27 Church St., Harvard Square, 617-5761111. City dwellers looking for refined, sophisticated pizzas
can find comfort in Cambridge, 1. Its Best of Boston awardwinning, thin crust, charcoal-grilled pies include such toppings
as grilled chicken, potato, arugula and even lobster. The menu
also offers salads in addition to beer and wine. L, D, C, LS.
DANTE, Royal Sonesta, 40 Edwin H. Land Blvd., 617-4974200. Chef Dante de Magistris dishes out playful, rich fare with
Italian, French and Spanish influences. The sophisticated
eatery boasts a seasonal patio and gorgeous views of the
Charles River and the Boston skyline. B Mon–Fri 6:30–10:30
a.m., Sat & Sun 7–11 a.m.; L Mon–Fri 11:30 a.m.–2:30 p.m.;
D Mon–Thu 5:30–10 p.m., Fri & Sat ’til 11 p.m.; Sat & SB
11 a.m.–2 p.m.
DOLPHIN SEAFOOD, 1105 Massachusetts Ave., 617-6612937. If you’re in the mood for quality seafood, then this longtime neighborhood favorite is not to be missed. From fried
seafood platters to healthier options like swordfish to all varieties of shellfish, if it comes from the sea, Dolphin serves it up
deliciously and fresh off the boat. L, D.
EAST COAST GRILL, 1271 Cambridge St., 617-491-6568. This
eatery from chef Chris Schlesinger offers fresh seafood and
grilled fish as well as hot and spicy barbecue options, all
served with traditional sides like cole slaw, beans, cornbread
and watermelon. An oyster bar, cabana-like cocktails and a
funky atmosphere prove fine dining can be fun. D, SB.
FINALE, 30 Dunster St., Harvard Sq., 617-441-9797; One
Columbus Ave., Boston, 617-423-3184. A trendsetter among
dessert-focused restaurants, Finale offers a wide array of time
honored favorites and specialty desserts, savory fare for lunch
and dinner, and an impressive selection of Illy coffee drinks,
wine and cocktails. Sample award-winning creations like the
gooey Molten Chocolate Cake and enjoy carry-out options from
the Finale Bakery including freshly baked cookies, cakes, minipastries and tarts. Dunster St.: Mon 11 a.m.–11 p.m.; Tue–Thu
’til 11:30 p.m.; Fri ’til 12:30 a.m.; Sat noon–12:30 a.m.; Sun
’til–11 p.m. Columbus Ave.: Mon 11:30 a.m.–11 p.m.; Tue–Thu
’til 11:30 p.m., Fri ’til midnight; Sat 5 p.m.–midnight; Sun 4–11
p.m. www.finaledesserts.com.
GRAFTON STREET, 1230 Massachusetts Ave., 617-497-0400.
This neighborhood hotspot is named after the spirited
cobblestone-lined shopping district in Dublin’s famed Temple
“Serving The Best Since 1975”
TWIN
TW
WIN LO
LOBSTERS
OBS
BSTER
RS $22.95
special price for Theatrebill readers
must present ad for discount
LATE NIGHT
DINING
EVERY FRIDAY
& SATURDAY
NIGHT
EVERY
WEDNESDAY–
SATURDAY
$1 RAW
BAR
617-661-2937
1105 MASS
MASSACHUSETTS
SSA
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SETTS
TTS
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AVENUE
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nseafood.com
eaffood.com
od.com
WILD SWANS 43
(continued)
Best Western PLUS
Bravo!
t Experience the BEST of
Cambridge & Boston
t Family friendly lodging
t Complimentary hot buffet
breakfast daily
t Bar 220, now open
t Convenient to area attractions
t Free shuttle to Harvard Square
& public transportation
AAA and Special Packages available
www.hoteltria.com
(617) 491-8000 or (866) 333-Tria
Bar area. Grafton Street deftly combines a traditional Irish
pub’s warmth and coziness with a comfortable full-service
restaurant serving contemporary American cuisine. L,D, LS, C,
Sat & SB.
GRENDEL’S DEN, 89 Winthrop St., 617-491-1160. Since 1971,
Grendel’s Den has been a comfortable, down-to-earth neighborhood eatery and bar, justly earning landmark status in the
Harvard Square community. Priding itself on a wide and varied
selection of domestic and imported beer, Grendel’s also offers
excellent food at even better prices. Tucked away in a basement off the cobbled paths of Winthrop Street, this Cambridge
classic is open late and never disappoints. L, D, BR, LS, C.
HARVEST, 44 Brattle St., 617-868-2255. In keeping with its
name, Harvest—located in the heart of Harvard Square—specializes in dishes that incorporate only the freshest local ingredients. Chef Mary Dumont adjusts her expansive menu of
classic American cuisine seasonally, taking full advantage of the
bounty available from New England farms and greenhouses.
Diners can treat themselves to delicious dishes like roasted
squash and apple soup, roasted local beet salad and Nova
Scotia halibut, as well as selections from Harvest’s raw bar.
HENRIETTA’S TABLE, The Charles Hotel, One Bennett St., 617661-5005. Nothing but locally grown and organic produce is
used to create a lively, textured menu of reinterpreted New
England classics. Private dining room available. B Mon–Fri
6:30–11 a.m., Sat 7–11 a.m., Sun 7–10:30 a.m.; Sat and SB
noon–3 p.m.; L Mon–Fri noon–3 p.m.; D daily 5:30–10 p.m.
HONG KONG, 1238 Massachusetts Ave., 617-864-5311. A local
favorite for more than five decades, this Harvard Square fixture
serves a full array of classic Chinese dishes and exotic drinks,
including its world-renowned scorpion bowl. Perfect for a meal
with friends, including lunch, dinner or late-night snacks, or for
checking out the latest sports action in the bar. Sun–Wed 11:30
a.m.–2 a.m., Thu ’til 2:30 a.m., Fri & Sat ’til 3 a.m.
AFTER SHOW
dessert
JASPER WHITE’S SUMMER SHACK, 149 Alewife Brook
Parkway, 617-520-9500; 50 Dalton St., Boston, 617-8679955. Top-notch fare such as pan-roasted lobster, awardwinning fried chicken and an impressive raw bar in a casual
setting. Boston: Sun–Wed 11:30 a.m.–10 p.m., Thu–Sat ’til
11 p.m., raw bar Thu–Sat ’til 1 a.m. Cambridge: Mon–Thu
11:30 a.m.–10 p.m., Fri & Sat ’til 11 p.m., Sun 3–9 p.m.
Visit us late night, at 30 Dunster St.
in Harvard Square.
finaledesserts.com
fi
finalede
inaledeesserts.com
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ts.com
/finaledesserts
/final
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Visit us in Boston at our P
Visit
Park
ark Plaza
Plaza
location at O
ne Columbu
us A
venue.
One
Columbus
Avenue.
44
LEGAL SEA FOODS, 20 University Road, Charles Square, 617491-9400; 5 Cambridge Center, Kendall Square, 617-8643400; Prudential Center, 800 Boylston St., Boston,
617-266-6800; other locations. Legal Sea Foods, a Boston tradition for more than 50 years, features more than 40 varieties
of fresh fish and shellfish as well as an award-winning wine
list. Named “Boston’s Most Popular Restaurant” (Zagat 2009).
L & D. www.legalseafoods.com.
NOIR, The Charles Hotel, One Bennett St., 617-661-8010. This
award-winning, stylish bar and lounge offers seasonally inspired cocktails as well as classic drinks like the Sidecar and
Old-Fashioned along with crispy pressed sandwiches, flavorful
flatbread pizzas, fresh salads and small bites in a sophisticated
setting. C 4:30 p.m.–2 a.m.; D 5–11 p.m.
NUBAR, Sheraton Commander Hotel, 16 Garden St., Harvard
Square, 617-234-1365. Under the glow of a Cambridge landmark, this restaurant and lounge boasts food reflective of its
(continued)
surrounding neighborhood: smart, seasonal and approachable.
Nubar serves elegant comfort food with a modern approach
applied to classic dishes. Private dining & reservations available. B, L, D daily ’til 11 p.m. C Sun–Thu ’til midnight, Fri & Sat
’til 1 a.m. www.nubarcambridge.com.
trees can include grilled Portuguese sardines with roasted peppers, fennel and capers or Moroccan style kofte with minted
yogurt. D.
OM, 92 Winthrop St., 617-576-2800. OM Restaurant & Lounge
in Harvard Square offers globally-influenced modern American
cuisine, drawing in foodies and neighborhood patrons alike. A
popular nightlife destination, OM’s lounge boasts sleek leather
sofas, a hypnotic water wall and signature cocktails. D, C.
RUSSELL HOUSE TAVERN, 14 JFK St., 617-500-3055.
Combining Executive Chef Michael Scelfo’s seasonally inspired
menu of modern interpretations of American classics with a
bar serving all-American wines, a locally driven craft beer selection and classic as well as modern hand-crafted cocktails,
this Harvard Square restaurant is a comfortable gathering spot
for every occasion. L, D, SB, LS, C.
P.F. CHANG’S, CambridgeSide Galleria, 100 CambridgeSide
Place, 617-250-9965. Enjoy unforgettable Chinese cuisine, attentive service and delicious desserts all served in a stylish
bistro setting. Featuring an award-winning wine list, P.F.
Chang’s offers an extensive wine-by-the-glass program as
well as original cocktails like the Lucky Cat Martini. L, D & LS.
Reservations accepted. Sun–Thu 11 a.m.–11 p.m., Fri & Sat
’til midnight. www.pfchangs.com.
SANDRINE’S BISTRO, 8 Holyoke St., 617-497-5300. This sophisticated bistro has been serving fine French food and wine
for 15 years. Located on a quiet side street just five minutes’
walk from both A.R.T. theaters, it’s the ideal beginning to an
evening of culture. Smooth service, crisp cocktails and decadent desserts complement a menu that includes oysters, foie
gras, steaks, game, vegetarian options and a poisson du jour. L
Mon–Sat 11:30 a.m.–2:30 p.m., D daily from 5:30 p.m.
RIALTO, The Charles Hotel, One Bennett St., 617-661-5050.
One of Greater Boston’s top restaurants, Rialto specializes in
fine wines and delectable Italian cuisine. Chef Jody Adams
showcases her creative talents on a menu exploding with flavor
and imbued with craftmanship. Reservations recommended. D.
SHAYS PUB & WINE BAR, 58 JFK St., 617-864-9161. A
Harvard Square fixture since 1984, this casual and comfortable
tavern boasts an excellent beer and wine selection along with
made-from-scratch appetizers, burgers, sandwiches and
Mexican specialities, all at reasonable prices. L & D Mon–Sat
11 a.m. –1 a.m., Sun noon–1 a.m.
RENDEZVOUS, 502 Massachusetts Ave., Central Square, 617576-1900. Acclaimed Boston chef Steve Johnson uses regional
products and the spices of Northern Africa, Italy, France and
Spain to create his own twist on seasonal cuisine. Rotating en-
TORY ROW, 3 Brattle St., Harvard Square, 617-876-TROW.
Located at the heart of Harvard Square, Tory Row takes its
name from the 1770s term for Brattle Street, once populated by
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WILD SWANS 45
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SETTING THE STAGE: The dramatic interior and
award-winning cuisine at Upstairs on the
Square makes it the perfect setting for dining
before or after the theater.
British loyalists. Serving up an eclectic mix of Euro-American
dishes at affordable prices, this neighborhood bar and restaurant has shed the conservative roots of its name and replaced
them with a diverse and creative culinary aesthetic. L, D.
58 JFK
JFK St
St.,., Cambr
Cambridge
idge
617.864.9161
617.864.9161
UPSTAIRS ON THE SQUARE, 91 Winthrop St., 617-864-1933.
Boasting an eclectic decor, this lush urban oasis features
everything from poached Atlantic salmon to fire-roasted
Meadow Farms lamb chops. A charming blend of eccentricity
and culinary luxury. L, D, C, LS.
WAGAMAMA, 57 JFK St., 617-499-0930; Faneuil Hall
Marketplace, Quincy Market, Boston, 617-742-9242; The
Prudential Center, 800 Boylston St., Boston, 617-778-2344.
This international chain, modeled on the classic Japanese
ramen noodle bar, has three locations in the Boston area.
Offering affordable prices, speedy service and authentic food,
Wagamama is a hip rendition of an old favorite, perfect for the
modern globe-trotting food enthusiast. L, D.
There’s something for everyone!
• Greek specialties • Breakfast is served all day!
MONDAY THRU SATURDAY 7:30 AM TO 10:00 PM
SUNDAY 8:00 AM TO 9:00 PM
1105 Massachusetts Ave.
Cambridge • 617-495-0055
46
ZOE’S, 1105 Massachusetts Ave., 617-495-0055. Offering a
menu of delicious homemade Greek and American food in a
fun atmosphere, this retro establishment serves breakfast all
day, and take-out and catering are available. A popular destination for the weekend brunch crowd, Zoe’s is also a great
place for dinner, boasting an affordable selection of beer and
wine. For dessert, try the delicious cheesecake frappe or the
famous frozen hot chocolate. B, L, D, SB. Mon–Wed 7:30
a.m.–9 p.m., Thu–Sat ’til 10 p.m., Sun 8 a.m.–9 p.m.
GA
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cambridge1.us
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9
2 Winthrop
Winthrop St.
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omrestaurant.com
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1230 Mas
sachusetts Ave.
Ave.
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graftonstreetcambridge.com
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graftonstreetcambridge.com
8 Holy
Holyoke
oke S
St.
t.
sandrines.com
sandrines.com
1 Bennett S
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henriettastable.com
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3 Brattle
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ttoryrow.us
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91 W
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t
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upstairsonthesquare.com
upstairsonthesquarre.com
For curr
current
ent pr
promotions
romotions and disc
discounts,
counts,
visit: americanrepertorytheater.org/discounts
america
anrepertorytheaterr.org/discounts
Restaurant
R
estaurant P
Partners
artners as of Jan 20.
2
20.
All your British dramas,
in one convenient place.
Every Monday, Tuesday & Wednesday, we turn
WGBH 44 into the English Channel, with all your
favorite dramas from across the pond, including
Ashes to Ashes, Hustle, Doc Martin, Waking the Dead,
MI-5, Lark Rise to Candleford and, of course,
your weekly encore of Masterpiece!
wgbh.org/englishchannel

AN A.R.T./ YOUNG VIC/ ACTORS TOURING COMPANY CO

Transcription

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