SNM program 13 - American Repertory Theater

Punchdrunk and American Repertory Theater
present
DIRECTED AND DEVISED BY FELIX BARRETT AND MAXINE DOYLE
WITH THE COMPANY
Director and Designer
Felix Barrett
Director and Choreographer
Maxine Doyle
Sound and Graphic Designer Stephen Dobbie
Associate Designer
Livi Vaughan
Associate Designer
Beatrice Minns
Costumer
David Israel Reynoso
Staff Director
Mikhael Tara Garver
Assistant Director
Paul Stacey
Stage Manager
Carolyn Rae Boyd
First performance October 8, 2009
The Old Lincoln School, Brookline
is being made possible through a generous grant from The Andrew
W. Mellon Foundation.
Sleep No More is supported by the British Council.
Diane Paulus dedicates her inaugural 2009/10 season to the memory of Gerald
Schoenfeld, a great champion of the American theater, and a great friend of the A.R.T.
The A.R.T. wishes to thank its institutional partners, whose support helps to make the theater’s
programs possible:
Cast
CAST
Duncan
Malcolm
Macbeth
Banquo
Macduff
Porter
Lady Macbeth
Lady Macduff
Witch
Witch
Witch
Hecate
The Second Mrs. de Winter
Mrs. Danvers
Bellhop
Annie Darcy
Elsie Price
Man in Bar
Phil Atkins
Hector Harkness
Geir Hytten
Vinicius Salles
Robert McNeill
Thomas Kee
Sarah Dowling
Alli Ross
Conor Doyle
Stephanie Eaton
Fernanda Prata
Careena Melia
Poornima Kirby
Tori Sparks
Alexander LaFrance
Annie Goodchild
Haley Jane Soggin
Robert Najarian
CAST
From November 10
Duncan
Malcolm
Macbeth
Banquo
Macduff
Porter
Lady Macbeth
Lady Macduff
Witch
Witch
Witch
Hecate
The Second Mrs. de Winter
Mrs. Danvers
Bellhop
Annie Darcy
Elsie Price
Speakeasy Bartender
Phil Atkins
Robert Najarian
Eric Bradley
Jeffery Lyon
Luke Murphy
Thomas Kee
Tori Sparks
Alli Ross
Andrew Broaddus
Stephanie Eaton
Kelly Bartnik
Careena Melia
Poornima Kirby
Hope T. Davis
Alexander LaFrance
Annie Goodchild
Haley Jane Soggin
Sogdiana Azhibenova
THE ANNIE DARCY BAND
Bass/Sax
Drums
Piano
Timo Shanko
Django Carranza
Rusty Scott
Production
PRODUCING TEAM
Executive Director (Punchdrunk)
Senior Producer (Punchdrunk)
Technical Director (Punchdrunk)
Producer (A.R.T.)
Line Producer (A.R.T.)
Assistant Producer
Colin Marsh
Colin Nightingale
Euan Maybank
Diane Borger
Chris De Camillis
Allison Kline
PRODUCTION STAFF
Production Manager
Associate Production Manager
Associate Production Manager
Technical Director Assistant Technical Director
Acting Assistant Technical Director
Scenic Charge Artist
Assistant Scenic Charge
Scenic Painter
Master Carpenter
Scenic Carpenters
Scenic Interns
Paint Interns
Scenic Staff
Properties Manager
Assistant Properties Manager
Properties Carpenter
Properties Staff
Properties Interns
Props Volunteer Coordinator
Costume Shop Manager
Assistant Costume Shop Manager
Costume Drapers
Stitchers
Crafts Artisan
Hair and Make-up
Master Electrician
Lighting Assistant
Lighting Engineer
Audio Supervisor
Audio Engineer
Pat Quinlan
Chris Viklund
Skip Curtiss
Stephen Setterlun
Nick Fouch
David Buckler
Gerard P. Vogt
Kristin Knutson
Katie Richmond
Peter Doucette
Jason Bryant, York-Andreas Paris,
Ben Clark, Sarah Pierce, Katie Wilson, Rena Luczkiewicz
Tacy Flaherty, Rebecca Keithley,
Abigail Neuhoff
Alan Boyer, Stephen “Dex” Woodward,
George Kane, Tom Ibbitson, Irene Yee, Kayla Szumowski, Lee Czemba, Lane Black, Dan Black, Tim Boland, Andrew Remillard, Olivia Brownlee, Erin Gilligan, James Crosby, Karina Shorten,
John Hardin
Cindy Lee-Sullivan
Tricia Green
Stacey Horne
Rebecca Helgeson, Brittany Burke,
Sean Cote, Meagan Miller-McKeever
Jeff Desautels, Brian Hoefling
Katie Flemming
Olivia Benowitz
Jeannette Hawley
Hilary Gately
Carmel Dundon, Mary Hurd
Tova Moreno, Jennifer Guadagno
David Israel Reynoso
Rachel Padula Shufelt
Derek Wiles
Ken Helvig
David Oppenheimer
David Remedios
Katrina McGuire
Production
Audio Staff
Meghan McDonough, Jason Van Sleet
Alexis Rodriguez-Carlson,
Darby Smotherman
Assistant Stage Manager
Kyle Carlson
Assistant Stage Manager
Alexandra McConnell-Trivelli
Sound Intern
Sarah Weintraub
Band Contractor/Bar Manager
Jason Waddleton
Stage Supervisor
Jeremie Lozier
Production Assistants
Chris Eschenbach, Kevin Klein,
Matthew Sebastian
Wardrobe Supervisor
Steven Drueke
VOLUNTEERS
Scenic
Bryan Atterberry, John Hardin, Katie Richmond, Angela Mussacchio, Jeannette
Vivas, Jaycee Do, Anna Oliver, Michael Berman, Evan Cole, Ariel Miller, Stephanie
Lederman, Veronika Kruta, Larry Switzky.
Props/Detail
Anna Oliver, Elyssa Jakim, Zachary Baker-Salmon, Robin McGuire, Lindsay Boss,
Juliana Beecher, Evan Cole, Marghuerite White, Maia Laperle, Melanie Garber,
Karen Kosco, Ariel Miller, Julia Bloom, Danielle Drees, Angela Mussacchio, Scarlett
Redmond, Ian DeLeon, Kara Stokowski, Scott Hadley, Molly Lanzarotta, Luis
Santos, Justin Tease, Beth Fagan, Patrick Mills, Mark Collett, Sydney Robinson,
Madeline Barr, Anna Brownsted, Samara Scott, Chelsea Barrett, Julia Rocha.
War-room installation and special projects: Maria Magdalena Campos Pons and
the students of her School of the Museum of Fine Arts Installation Art class:
Susan Childress, Shannon Carroll, Olivia Becker, Alaina Gurdak, Alex Rathbun,
Maddie Barr, Anna O’Hara, Sofia Botero, Ani Avnian, Eunice Choi, Doyle Bley,
Esther Chung, Eusaem Choy, George Oliveira, Ivette Slaom, James Lyman, Natalia
Vergara, C. Fisher, Katrina Neumann.
Lighting
Nicole Barron, Evan Cole, John Harrison, John Bechtold.
Sound
Bryan Atterberry, Mary Simpson, Max Lord.
Sleep No More was originally produced by Punchdrunk at the Beaufoy Building,
London in 2003. The producers would like to thank Raquel Meseguer for her
contribution to the 2009 production.
The Manderley Bar is operated by La Morra Restaurant, under the ownership of Josh and Jennifer Ziskin and managed by Stephanie Szabo and Jason
Waddleton.
Thanks to the Town of Brookline and Brookline Schools for working on this
adventurous partnership with A.R.T. and Punchdrunk. A portion of every ticket
purchased for Sleep No More helps support Brookline public schools.
THERE IS NO SMOKING IN THE BUILDING
Program Notes
Colliding Worlds: Shakespeare, Hitchcock and Punchdrunk
Directors’ Note by Felix Barrett and Maxine Doyle
Punchdrunk explores the space between the theatrical and cinematic. For us, this
building offers a multitude of cinematic framings, each charged with emotion.
Exploring the space individually, the audience is given the opportunity to both act
in and direct their own film; to revisit, to edit and to indulge themselves as
voyeurs. Like a Hitchcock film, the audience is plunged into the world of the
unknown and left to piece the puzzle together. Screen dialogues become
intense physical duets between characters and the body becomes the site of
debate. Spoken words rarely find their way into our world; we are excited by the
human body as a primary source of emotive storytelling.
We took Macbeth as a source and fused it with Hitchcock’s aesthetic because
for us they are a perfect match. Macbeth is Shakespeare’s most fear-filled play;
husbands fear for their wives, mothers fear for their children, and children fear for
their lives. Hitchcock’s protagonists, like those in Macbeth, hover on the edge of
tempestuous instability; in Sleep No More characters from Hitchcock films
permeate the world, wandering through Macbeth’s story. The young Mrs. de
Winter from Hitchcock’s Rebecca is searching for her lost husband – Shakespeare’s
Duncan – and is bullied by the Macbeths’ cruel housekeeper – Hitchcock’s Mrs.
Danvers. Shakespeare and Hitchcock collide in Punchdrunk’s world which will, we
hope, offer a fresh perspective on these two enigmatic artists.
Conor Doyle. Photo by Stephen Dobbie and Lindsay Nolin
Program Notes
Very Superstitious
By Paul Stacey
Every line of Shakespeare’s Macbeth is embedded in the multiple languages —
sound, light, design, and dance — of Sleep No More. Punchdrunk has woven
Shakespeare’s language into the fabric of the entire building, saturating each
room with superstitions. The following superstitions have inspired scenes in Sleep
No More.
BABIES
Anything that touches on the precarious health and welfare of babies is a focus for
superstitions. The rocking of an empty cradle is considered extremely bad luck. It
has also been thought that newborns should be wrapped in old clothes. Wrapping
a baby in an old shirt belonging to its father would ensure the baby grew up strong.
MIRRORS
Mirrors are known to protect the soul and should therefore be guarded lest the soul
be lost. Mirrors should be removed from a sickroom, as the soul is more vulnerable
during these times, and covered after a death, to stop the souls of the living from
being carried off by a ghost:
The custom of covering, not looking-glasses only, but various articles in the apartment where the corpse is laid was a well-known custom in Scotland. Different
individuals have different whims; for example, I have heard of persons…turn[ing] the
face of a portrait of the deceased… Glasgow Notes and Queries, 1888
If one looks into a mirror at night they will see the devil.
A bowl of water with a knife inside it, placed by a doorway, is believed to keep out
witches. Seeing its own reflection in the water and believing its soul to be pierced
by the knife, the witch will flee.
PEACOCKS
Peacock feathers have long been regarded as unlucky. Many people refuse to have
them in their house or handle anything made with them. They are particularly bad
luck when used in theater productions.
Peacock screaming is also considered an ill omen:
A Devonshire friend tells me of peacock screaming being considered to forebode death (just the same as a dog howling), and a notable instance of the fact actually happened a few months ago in this house.
Folk Lore Journal, 1883
Program Notes
HAIR
It was once believed that witches had the power to attract any person whose hair
had fallen into their hands. Hair was also used in spells; it could be mixed with the
wax for an image which, melted slowly before a fire, would cause the person
represented to waste away.
WITCH BOTTLE
The heart of a bewitched animal, if pierced with pins, was believed to cause a witch
excruciating pain. In cases of bewitched humans a similar effect was achieved by
placing items in a bottle which was then buried or put in a heap, depending on
whether fast or slow torture was desired. Contents of bottles varied but tended to
include nails or thorns, plus pieces of the victim’s hair, fingernails, or urine.
DEATH KNOCKS
Knocking is considered an omen of death. When someone is on their death bed,
three knocks on the door signifies that they have three days until they die.
BIRDS
A bird appearing at a window was widely interpreted as an ill omen; if there was a
sick person in the household it was taken as evidence that they would die.
In Scotland it was believed that the swallow had the blood of the Devil in its veins.
The bird carried two precious stones within its body: a red one to cure insanity and
a black one thought to bring good luck.
CARDS
The nine of diamonds has become known as the ‘Curse of Scotland’:
It was thought that before the Battle of Culloden in 1746 Charles Edward Stuart
was playing cards with the Laird of Macintosh at his Inverness house. The Nine of
Diamonds was dropped from the table and lost. Some time later when the Duke of
Cumberland stayed at the house the card was found and the Duke used it to
authorise a death warrant.
Chambers: Scottish Superstitions, 1990
SALT
A dish of salt was placed on the breast of a corpse as soon as possible after the
death and it remained there until the body had been placed in the coffin. In some
cases the salt was mixed with earth on a wooden platter and then placed on the
corpse. The earth was an emblem of the corruptible body, the salt an emblem of
the immortal soul.
Paul Stacey is a second-year dramaturgy student in the A.R.T./MXAT Institute for Advanced Theater
Training at Harvard University.
Program Notes
Macbeth
Macbeth opens with thunder and lighting, as three witches are plotting their
meeting with Macbeth, the Thane of Glamis. Macbeth and Banquo soon encounter the witches on a heath. The first witch hails Macbeth as “Thane of Glamis,” the
second as “Thane of Cawdor,” and the third proclaims, “All hail, Macbeth, that shalt
be King hereafter!” The witches then prophesize that Banquo will father a line of
kings, though he himself will never be one. As quickly as the witches vanish, a
messenger arrives with news from King Duncan: Macbeth has been named Thane
of Cawdor. With the witches’ prophecies starting to come true, Macbeth begins to
harbor ambitions of becoming king. He shares the predictions with his wife, Lady
Macbeth, who becomes consumed with her husband’s potential ascent to the
throne. When Duncan announces that he plans to visit Macbeth at his castle, Lady
Macbeth concocts a scheme to kill the king and secure the throne for her husband.
Macbeth is reluctant to go along with his wife’s plan of regicide, but Lady Macbeth
convinces him to commit the murder.
Macbeth kills Duncan in the middle of the night and is immediately traumatized by his actions. Lady Macbeth is forced to assume control of their plan.
Duncan’s son, Malcolm, discovers his father’s body and flees to hatch a plan with
Banquo and Macduff to avenge his father’s death. With Malcolm and the rightful
heirs gone, Macbeth, a kinsman to Duncan, assumes the throne as the new King of
Scotland.
Macbeth is soon consumed with the witches’ prophesies for Banquo. When
he receives word that Banquo will be leaving that night, Macbeth murders Banquo.
With the burden of his guilt wearing him down, Macbeth sees Banquo’s ghost at
the royal banquet. His guests, however, see only an empty chair. As Macbeth
screams at the apparition, Lady Macbeth forces everyone out of the banquet hall,
desperate to keep her husband silent.
Macbeth visits the three witches again and is warned to “beware Macduff,”
but also told that “none of woman born shall harm Macbeth.” The witches’ last
prophesy to Macbeth is that he “will never vanquish’d be until Great Birnam Wood
to high Dunsinane Hill shall come against him.” With Macduff gone, Macbeth
decides to kill all who reside in Macduff’s home, including Macduff’s heavily pregnant wife. The crimes that Lady Macbeth and her husband have committed rack
her with guilt. As she sleepwalks through the castle, she futilely tries to wash
imaginary blood off of her hands.
When Malcom and Macduff learn that Macbeth has murdered Lady Macduff,
they return to seek revenge. They take Macbeth by surprise by cutting down trees
to camouflage themselves as they encroach on the castle, thus fulfilling the witches’ third prophesy. As the forces draw closer, Macduff and Macbeth are eventually
locked in confrontation.
Summary prepared by Jenna Clark Embrey
Company
Phil Atkins — Duncan
Native of England; graduate of Middlesex University, London. New York: The Seagull
(Trigorin). US regional: Rhinoceros, Noises Off, The Dumb Waiter, Betrayal. UK national
tour: The Voices. Edinburgh Fringe: The Balcony, Deathwatch. Television UK: We’ll Meet
Again, Cymbeline, The Sweeney. Further training SITI Company Summer Institute.
Kelly Bartnik — Witch
Performance: Melissa Briggs Dance, the WrightNow! Performance Xperience, Carl
Hancock Rux, Nicki Marshall & Helen Tocci, and Cora Dance. Choreography: presented
at Brooklyn Arts Exchange/BAX, BRIC Studio, Dance Theater Workshop, Dixon Place,
Joyce Soho, James Madison University, Long Island University, Williamsburg Arts Nexus,
Arena Stage, The Publick Playhouse. Teaching: Sarah Lawrence College, James Madison
University, director of BAXCo. Video Production: Founder GK1 Productions, specializing
in dance films.
Eric Bradley — Macbeth
Dance credits: Bill T. Jones /Arnie Zane Dance Company, Molissa Fenley, Johannes
Wieland, Sarah Skaggs, Creach/Koester, Compania de Danza de Lisboa, Rebecca Stenn,
Alexandra Beller, Zvi Gotheiner. Special projects with Sean Curran, David Dorfman,
Susan Marshall. Choreography: Dance (nominated best choreography ACDFA national
concert 2008). Theater: The Tempest. Teaches technique, improvisation and repertory
in NYC at The New School. Born in Plainwell, Michigan; graduated from The Juilliard
School; MFA in progress at University of Wisconsin.
Andrew Broaddus — Witch
Raised in Teaneck, NJ, graduate of Oberlin College. Ringmaster, clown, and juggler
with Ocircus from 2005-2009. Performed in the 2008 New York Fringe Festival in There
Will Come Soft Rains, Sinking Ship Productions. Performed in Mark of the Sun by
Takuya Muramatsu of Dairakudakan at the 2006 American Dance Festival. Studied with
Diane McIntyre, Nancy Stark Smith, Chris Aiken, KT Niehoff, and others. Worked with
Megan Sipe and Dancing Fish Productions, showing collaborative works in Manhattan.
Hope T. Davis — Mrs. Danvers
Native of Madison, Wisconsin; attended North Carolina School of the Arts. Has worked
with Dendy Dance Theater, Douglas Dunn and Dancers and The Yard.
Sarah Dowling — Lady Macbeth
Punchdrunk: Sleep No More, The Firebird Ball, The Masque of the Red Death. Dance/
Theater: Hungry Ghosts, Lost Dog; Every Good Boy Deserves Favour, National Theatre;
Ella G, Carlson Dance, Welsh Independent Dance with Peter Greenway; Red Countess,
Praxis Theatre Lab; Argentinian Moment, Old Vic. Movement direction: Waiting for
Godot with Ian McKellen and Patrick Stewart, Theater Royal Haymarket; Julius Caesar,
Royal Shakespeare Company. Dublin born, Sarah trained and worked in theater before
training in dance at the Laban Centre, London. She is currently an Associate Artist of
the Royal Opera House London.
Company
Conor Doyle — Witch
Punchdrunk: Faust, The Masque of the Red Death.Young Vic: Pictures from an
Exhibition, War Horse, Every Good Boy Deserves Favour, The Revengers Tragedy,
The National Theatre. Dance: Jammy Dodgers, Frauke Requardt, Damned Beautiful,
Helix Dance; Park, Jasmin Vardimon Dance Company; Such Sweet Thunder, Sarah
Fahie; Rusalka, Glyndebourne Opera Festival 2009. Trained at the London School of
Contemporary Dance.
Stephanie Eaton — Witch
Boston native, received her early training at the Boston Ballet School and Boston
Conservatory. She has danced professionally in Boston and New York with various
companies.
Hector Harkness — Malcolm
Punchdrunk: Sleep No More, The Firebird Ball, The Yellow Wallpaper, Faust, The
Masque of the Red Death, Clod & Pebble, Tunnel 228. Theatre: Kerching, tour; The Hairy
Ape, Cork Festival; Enemies, Almeida; Grope Box, Tristan Bates; Swing Night, Clod
Ensemble; 4:48 Psychosis and Ariel in The Tempest, Midlands Arts Centre; A Frail Light
in the Desert, Clear and Up The Feeder, Bristol Old Vic; Berkoff’s Darling You Were
Marvellous, Edinburgh & Tour. Film: Batcave, Ten Directors, A Gladiator.
Geir Hytten — Macbeth
Punchdrunk: Sleep No More, Forest, Faust, Tunnel 228 and The House that Jack Built.
Theatre/Dance: The Cholmondeleys and The Featherstonehaughs, Vincent Dance
Theatre, Welsh Independent Dance, National Theatre of Scotland/Frantic Assembly,
Coisceim (Knots, Dodgems), and Complicite. Trained at LCDS, Oslo and the Laban
Centre, London.
Thomas Kee — Porter
Regional: The Goatwoman of Corvis County, Shakespeare & Co.; Hunter Gatherer,
Pugilist Specialist, and Dog Problem, Wellfleet Harbor Actors Theatre; The Blowin of
Balle Gal, Dinner With Friends, The Vineyard Playhouse; Of Mice and Men, Stoneham
Theatre; A Few Good Men, Dracula, Syracuse Stage; God’s Man in Texas, Mill Mountain
Theatre. Film: The Company Men, Children of the Struggle, The Reawakening, School
Ties. Television: All My Children, As The World Turns, and Days of Our Lives. Poornima Kirby — The Second Mrs. de Winter
Credits: Measure for Measure (Mariana), Twelfth Night (U/S Viola), Wordplay (Kate/
Dromio), Shakespeare & Co.; Romeo and Juliet (Juliet), Midsummer (Hermia/
Snug), Macbeth (Ross/Witch), Shakespeare Now; Ariadne Mythweaver (Ariadne
Crowned), One Year Lease; The Winter’s Tale (Leontes), Importance of Being Earnest
(Gwendolyn), Macbeth (Macduff/Witch), Richard II (Duchess of York/ Scroop), Vassar;
Women Beware Women (Isabella), LAMDA. Training: B.A. in Drama from Vassar
College.
Company
Alexander LaFrance — Concierge
Graduate of Marymount Manhattan College BFA Acting Program. Further training:
Michael Howard Studios Conservatory, NYC. Recent projects include Coriolanus, with
the Actors’ Shakespeare Project. Regional productions: Hello, Dolly, The Producers, A
Christmas Carol. Educational productions: The Mystery of Edwin Drood, Assassins, The
Inspector General, Cymbeline, Baby: The Musical. Film: Edge of Darkness. Television:
See Kate Run, James Dean: Kleiner Prinz, Little Bastard, Life Without Green.
Jeffery Lyon — Banquo
Raised in northern California, graduated from Interlochen Arts Academy and the
Conservatory of Dance at Purchase College. Has performed with the Erick Hawkins
Dance Company, Syren Modern Dance, Sens Productions, and AMDaT; Dance Theater
Workshop, Jacob’s Pillow, Judson Church, St. Marks Church, and Alvin Ailey’s Joan
Weill Theater. Has also performed in or on abandoned swimming pools, escalators,
parking garages, Fort Adams [R.I.], museums, and a Frank Gehry building.
Robert McNeill — Macduff
Punchdrunk: Sleep No More, Woyzeck, The Firebird Ball, Marat/Sade, Faust, The
Masque of the Red Death. Theatre: Rusalka, Glyndebourne Opera Festival 2009;
Pictures from an Exhibition, Young Vic Theatre; Every Good Boy Deserves Favour,
The Revengers Tragedy, National Theatre. Dance: Wayne McGregor, Lisa Torin, Sheron
Wray, Andreas Constantinou & Rosemary Butcher. Film: Nottingham, Sweeney Todd, 28
Weeks Later. Robert has been producing his own work since 1998 with a focus on sitespecific installation and performance. Graduated from Laban Centre, London in 2003,
winning the award for choreological studies.
Careena Melia — Hecate
A.R.T.: Trojan Barbie (Helen). New York: Macbeth, Theatre for a New Audience; Anne
Frank and Me, American Jewish Theatre; Sunnyside & Sunday Mornings, Irish Repertory
Theatre; The Playboy of the Western World, Alpha Omega Theatre Company. Regional:
Romeo and Juliet, L.A. Shakespeare Festival; Ah, Wilderness, Huntington Theatre; All
the Rage, Pittsburgh Public Theatre; Moby Dick Rehearsed, Berkshire Theatre Festival;
Much Ado About Nothing, La Dispute, NJSF; All My Sons, Players Theatre, Dublin. TV/
Film: Moonlight Mile, Songs in Ordinary Time, JAG, Shakespeare in America, 18 Wheels
of Justice, Touched by an Angel, Under Hellgate Bridge. BA Sarah Lawrence College/
Trinity College Dublin, Ireland: MFA A.R.T./MXAT Institute.
Luke Murphy —Macduff
Native of Cork, Ireland; graduate of Point Park University. Recipient of the Bank or
Ireland Millenium Scholars Trust Scholarship for Study in the Arts and two Travel and
Training grants from The Arts Council of Ireland. Further training: apprenticeshp with
Bill T Jones/Arnie Zane Dance Company and The American Dance Festival in 2007
and 2008. Has worked with Heidi Latsky Dance, Sean Curran Company, Erick Hawkins
Dance Company, Daniel Gwirtzman Dance Company, and Kazuko Hirabayashi Dance
Theatre.
Company
Robert Najarian — Man in Bar/Malcolm
Regional: Don Giovanni, Washington National Opera; Shear Madness, Charles St.
Playhouse; The Life of Galileo, Central Square Theatre; Einstein’s Dreams, Underground
Railway Theatre; Coriolanus, Actors’ Shakespeare Project; Take Me Out, Speakeasy
Stage Company; The Complete Works of William Shakespeare abridged, A Streetcar
Named Desire, The Underpants, Foothills Theatre. Fight Direction: As You Like
It, Commonwealth Shakespeare Company; Don Quixote, Boston Ballet; The Lieutenant
of Inishmore, New Repertory Theatre. Faculty member in Theatre Departments of
Boston University, College of the Holy Cross, and EMS Department at Northeastern
University. MFA: The Shakespeare Theatre’s Academy for Classical Acting at the
George Washington University.
Fernanda Prata — Witch
Punchdrunk: Forest, Faust, The Masque of Red Death, Tunnel 228 and The House that
Jack Built. Theatre: Timon Of Athens, Shakespeare’s Globe; Every Good Boy Deserves
Favour, National Theatre. Dance: Jasmin Vardimon, Stan Won’t Dance, Sarah Crow,
Quasar, Carlota Portella, Nos Da Danca, Dani Lima. Film: For All, O tranpoilin da Vitoria;
Trained at Laranjeiras Arts Center and Angel Vianna University, Brazil.
Alli Ross — Lady Macduff
Chimera butoh/dance company with Jennifer Hicks, Awarded Space Grant 2006
through Green Street Studios; premiered own work Bubbasafish and 50-meter freestyle, L’Anima (with Marjorie Morgan), Influx Dance; This Fairytale is not Working Out.
Collaboration with Jimena Bermejo: Vex, Foam, Then..Again, Deborah Hay’s Solo
Commissioning Project 2000, “Boom Boom Boom”. Action Theater with Ruth Zaporah
and Billie Jo Joy. Other influential artists Olivier Besson, Debra Bluth, Tere O’Connor,
Martin Keough, Karen Nelson and Body-Cartography Project. Contact Improvisation
and movement research both locally and internationally. She holds a B.A. from
Skidmore College in Anthropology and Dance and is an M. Ed. candidate for Arts in
Education at HGSE. Vinicius Salles — Banquo
For Punchdrunk: Faust, Picnic, The Masque of the Red Death. Theatre/Dance: Dani
Lima, Intrepida Troupe, Jasmin Vardimon Dance Company, Stan Won’t Dance; Timon
of Athens, Shakespeare’s Globe; Every Good Boy Deserves Favour, National Theatre.
Choreography: Sobre Todas as Esquinas do Mundo, Xristos, Cabeças Trocadas, BR,
NOcontact, Copycat, The Place. Graduated from Escola de Teatro Martins Pena.
Tori Sparks – Mrs. Danvers/Lady Macbeth
Dancer/artist living in New York City. Dance: Noemie LaFrance, Johannes Wieland,
Andrea Hgenggi/AMDaT, New York; Beppie Blankert, Netherlands; Magnar Aam/
Einy Aam, Norway. Music video: Chisako Mikami (Sakido). Directiorial: J Mandle
Performance, Third Rail Projects. Founder of Sharpelbow, producing dance-integrated
videos and installations. BFA Florida State University.
Creative Team
Felix Barrett — Director and Designer
Artistic Director of Punchdrunk and a graduate and Honorary Fellow in Drama,
University of Exeter. Felix has conceived, designed, and directed all of Punchdrunk’s
productions since founding the company in 2000. He is a Critics’ Circle Drama Award
winner (Best Design, Faust, 2006) and one of the first recipients of a Paul Hamlyn
Foundation Breakthrough Fund Award (2008-2011), which supports exceptional arts
practitioners in the development of their vision. Most recently, he directed (with Tom
Morris) the Stoppard/Previn Every Good Boy Deserves Favour at the National Theatre,
London, and It Felt Like A Kiss, a collaboration between Punchdrunk, documentary filmmaker Adam Curtis, and rock musician Damon Albarn for the Manchester International
Festival (2009).
Diane Borger — Producer (A.R.T.)
Diane has worked in London for the past 30 years, mostly recently as General Manager
of the Royal Court Theatre where she produced over one hundred and fifty shows.
Transfers to New York include The Seagull, Rock’n’Roll, and The Weir. Before that, she
was Deputy Head of the National Theatre Studio for thirteen years.
Carolyn Rae Boyd — Stage Manager
A.R.T.: Let Me Down Easy and Aloha, Say the Pretty Girls. Other credits: Cinderella, The
Nutcracker, and Ballet Russes, Boston Ballet; Joe Turner’s Come and Gone, Lincoln
Center Theatre, Streamers, Huntington Theatre Company; productions at Williamstown
Theatre Festival, Hangar Theatre, and Boston Midsummer Opera. Native of Jacksonville,
Florida; alumna of Boston University’s College of Fine Arts.
Kyle Carlson — Assistant Stage Manager
Native of Shakopee, Minnesota; graduate of St. Olaf College. Has interned with the
American Repertory Theater. Has worked with the American Repertory Theater,
Northfield Arts Guild, and Workhaus Collective.
Stephen Dobbie — Sound and Graphic Designer
Punchdrunk: sound and graphic designer since 2002, working in England on the
award winning Faust, The Masque of The Red Death, and most recently collaborating
on Tunnel 228 and Punchdrunk’s collaboration with Adam Curtis and Damon Albarn
on It Felt Like A Kiss for the Manchester International Festival. He has also worked as
a sound designer on two Greenwich & Docklands Festivals (UK) as well as producing
original graphic design artwork for CD cover, short films and music videos.
Maxine Doyle — Director and Choreographer
Bonnie Bird Choreography Award winner and Year of the Artist commission recipient.
Trained in London where she received her MA, she was artistic director of First Person.
Her full-length works include Plastic Chill (1999/2000) and It’s Only a Game Show
(2002). Other choreographic commissions include Rough and Tumble, Who Dunnit?,
Picnic, and The House that Jack Built. She was a semi-finalist, with Felix Barrett, for
The Place Prize in 2006. Maxine’s association with Punchdrunk began with Sleep No
More (2003) and she has co-directed Woyzeck (2004), The Firebird Ball, Marat/Sade,
The Yellow Wallpaper (2005), Faust (2006), The Masque of the Red Death (2007), and
Creative Team
Tunnel 228 (2009). Maxine’s recent work as choreographer for theater includes Timon
of Athens (Shakespeare’s Globe, 2008) and Every Good Boy Deserves Favour (National
Theatre, 2009).
Mikhael Tara Garver — Staff Director
Graduate of Northwestern University and Columbia University M.F.A. 2010 where she
is a recipient of the Heyward Fellowship. Chicago Directing Credits: Moment: Three
Days of Rain & The Author’s Voice; The Lover; why they invented dancing; The Pool
of Bethesda (After Dark Award); Enter Alice; Recent Tragic Events (Top 10 Time Out/
Tribune); The Violet Hour; Tintypes; Faith Healer (Jeff Award); and Orange Lemon
Egg Canary. New York Directing Credits: For Homeostasis; The Legislative Process;
Checkpoint; Mourning; Three Sisters; and was the writer and director of nonplay:
shadows of a dream. Artistic Director/Co-founder of Uma Productions at the Chopin
Theater, Chicago, IL 2001-2007. Current Artistic Director of the The New Ensemble,
New York.
Colin Marsh — Executive Director
Trained in drama and dance at Dartington College of Arts and at Exeter University
(Rolle College, Exmouth). He worked as a professional actor for over twenty years, in
fringe, repertory, for the RSC and in the West End, on TV and radio, appearing in over
70 productions, including the original London cast of Les Misérables (1985-86). He
moved into arts management in 1997 and has produced all of Punchdrunk’s work since
the original version of Sleep No More in 2003. Colin is one of the first recipients, with
Felix Barrett, of a Paul Hamlyn Foundation Breakthrough Fund Award (2008-2011).
Euan Maybank — Technical Director
Technical Director for Punchdrunk since 2000 for all productions including It Felt LIke
A Kiss, Tunnel 228, The Masque of the Red Death and Faust. Other work includes lighting design and technical production, most recently a British Council international tour
of An Evening with Adrienne. Euan has also worked on the development of Mscape
with Hewlett Packard Labs and the The Infrasound Project for Punchdrunk.
Alexandra McConnell-Trivelli — Assistant Stage Manager
Punchdrunk: Masque of the Red Death, London. Other: We Won’t Pay, We Won’t Pay,
Nora Theatre Company. Props master for the 2007 season of Greenbrier Valley Theatre.
Native of Morgantown, West Virginia; graduate of Emerson College.
Beatrice Minns — Associate Designer
Punchdrunk: Faust, The Masque of the Red Death, Tunnel 228, It Felt Like A Kiss,
Trained as a Fine Artist, specialising in painting at Winchester College of Art. Currently
lives and works in London as a freelance designer-maker, illustrator and animator. Other
freelance work includes Kneehigh Theatre, BAC, Future Cinema, Shunt, Sussex Wit
Productions and Annex.
Colin Nightingale — Senior Producer
Graduating with a 1st Class (Hons) management degree, Colin started working in
the events industry but through his passion for music was drawn to the fringes of
Creative Team
London’s art scene. Meeting Felix Barrett in 2002, he has become an integral part of
Punchdrunk, helping to create all major productions since Woyzeck (2004). Between
2004 and 2007, Colin was senior project manager at London’s leading outdoor arts
festival Greenwich & Docklands International Festival and is also a director of Gideon
Reeling, which co-founded the Hide & Seek social gaming festival.
David Israel Reynoso — Costumer
A.R.T. :Trojan Barbie, Copenhagen, No Man’s Land, The Keening.
A.R.T. Institute: Ajax in Iraq, Shakespeare Slams, Abigail’s Party, Other: Dead Man’s Cell
Phone, Lyric Stage Company; The Comedy of Errors, Commonwealth Shakespeare
Company; The Woman in Black, Gloucester Stage; The Fabulous Invalid, Emerson
College; Training Wisteria, Boston Playwright’s Theatre, Kennedy Center; This is a Ne
wspaper, CollaborationTown; Little Wing, NYC Fringe Festival; Britten’s A Midsummer
Night’s Dream, B.U. Opera Institute; The Country Wife, As You Like It, Twelfth Night,
Boston University; Film/TV: Juan Son’s Mermaid Sashimi (music video art direction),
Universal Music; Porter’s Host of a Ghost (music video art direction), Tercer Piso
Records. David is A.R.T.’s Resident Crafts Artisan.
Paul Stacey — Assistant Director
A.R.T.: Director of Sexual Perversity in Chicago. Assistant Dramaturg on The Seagull.
A.R.T. Institute: Dramaturg on Little Tragedies. Other: Kangaroo Court Theatre
Company: Assistant Director on The Pillowman, Bent, Blasted, Lady Chatterley’s Lover,
Edinburgh Fringe & Bush Theatre, London; The Picture of Dorian Grey, Tabard Theatre,
London. BA University of Nottingham. Second year Dramaturg at the ART/MXAT
Institute.
Livi Vaughan — Associate Designer
Punchdrunk: The Firebird Ball, Faust, The Masque of the Red Death, Tunnel 228, It felt
like A Kiss, and Punchdrunk Enrichment project, Under the Eiderdown. Graduated in
theater design at Central St Martins. Her freelance work includes events, promos, animations and short films.
SPECIAL THANKS: Janet Messineo’s Island Taxidermy; Steve Puopolo, E. Puopolo
& Son Plumbing; Peter Quigley and Chris Dicarlo, Weidlinger Associates, Inc; Rob
Orchard; Sean Egan Bates, Wells & Braithwaite, LLP; Ruth Shepherd, UK Rehearsals;
Mike Garrett, National Theatre; Laura Bateman; Amer Chadha-Patel; Rachael Smith,
Masks; Giselle Ty; John Doerschuk, Terry Hanley Audio Systems; John Lay & The
Faculty of the New England Institute of Art; Nita Sturiale; Magda Campos Pons; Moly
Lanzarotta; Rob Daves; Amy Clark, Brookline High School; Erin Drury, Bertucci’s; Kara
Brewton; Denise Marika; Brian Harvey, City Year; Kelley Clark, Boston Cares; Scott
Pinkney; Matt Murphy’s Pub; Orinoco; Tashi Delek; Kookoo’s Cafe; The Wine Gallery;
Upper Crust; Village Pizza; Alyson Abramson and Anthony Wigmore from Skipton Pet
Centre for providing the Eel and advice.
About Punchdrunk
British theatre company Punchdrunk is the acknowledged pioneer of a new form of
immersive theatre, in which roaming audiences experience epic storytelling inside
intensely atmospheric theatrical worlds. Blending classic texts, physical performance,
award-winning design installation, and unexpected sites, the company’s infectious format transports the viewer from the passive familiarity of conventional theatre to a state
of activated imagination.
Since 2000, the company has developed a phenomenal reputation for transformative
productions that focus as much on the audience and the performance space as on the
performers and narrative. Inspired designers occupy deserted buildings and apply a
cinematic level of detail to immerse the audience in the world of the play. Punchdrunk
rejects the passive obedience expected of audiences in conventional theatre. Its audiences rediscover the childlike excitement and anticipation of exploring the unknown,
and experience a real sense of adventure. Free to roam the installed environment in an
individual sensory journey, they choose what to watch and where to go. This is a unique
theatrical experience where the line between performer and spectator is extraordinarily
blurred. Audiences experience the essence of participation, shedding their customary
identity to more deeply follow and enjoy their own imaginations.
Punchdrunk
Felix Barrett - Artistic Director
Maxine Doyle - Associate Director and Choreographer
Colin Marsh - Executive Director
Colin Nightingale - Senior Producer
Euan Maybank - Technical Director
Stephen Dobbie - Sound and Graphic Designer
Beatrice Minns - Design Associate
Livi Vaughan - Design Associate
Jennie Hoy - Administrator
Peter Higgin - Punchdrunk Enrichment Director
Jen Thomas - Punchdrunk Enrichment Officer
Board of Trustees
Phil de Montmorency
Clara Eisenberg (Chair)
Hyun-Ho Khang
Josephine Machon
Tom Morris
A Company limited by guarantee No 4547069. A Registered Charity No 1113741.
Friends of Punchdrunk
Would you like to keep in touch and help Punchdrunk to continue to innovate and
break new theatrical ground? Visit the company’s website for more information about
becoming a Friend of Punchdrunk. www.punchdrunk.org.uk
About the A.R.T.
A HISTORY OF THE AMERICAN REPERTORY THEATER
Diane Paulus Artistic Director/CEO
The AMERICAN REPERTORY THEATER (A.R.T.) is one of the country’s most celebrated
resident theaters and the winner of numerous awards — including the Tony Award, the
Pulitzer Prize, and numerous local Elliot Norton and I.R.N.E. Awards. In 2002 the A.R.T.
was the recipient of the National Theatre Conference’s Outstanding Achievement Award,
and in May of 2003 it was named one of the top three theaters in the country by Time
magazine. Founded by Robert Brustein in 1980, during its twenty-nine year history the A.R.T. has
welcomed major American and international theater artists, presenting a diverse
repertoire that includes new 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 twenty-one cities in sixteen countries on four continents. It
has presented over two hundred productions, over half of which were premieres of new
plays, translations, and adaptations. 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, design,
and playwriting at Harvard University, and in 1987 the A.R.T. founded the Institute for
Advanced Theater Training at Harvard University. In conjunction with the Moscow Art
Theater School, the Institute provides world-class graduate level training in acting,
dramaturgy, and voice. Last fall the A.R.T. welcomed its new Artistic Director, Diane Paulus. Under her
leadership, the Theater has developed a new initiative, EXPERIENCE THE A.R.T., which
seeks to revolutionize the theater experience through a sustained commitment to
empowering the audience. This initiative recognizes that theater is not just a play on
the stage, but also a social occasion for people to come together and experience
community. This audience-driven vision speaks directly to the A.R.T.’s core mission —
“to expand the boundaries of theater.” By expanding its focus to include the
audience’s total theater experience, the A.R.T. seeks to give audiences a voice, a sense
of ownership, and a feeling of importance in the theatrical event.
A.R.T. 2009-10 Board of Trustees
Donald Ware, Chairman of the Board
Phil Burling
Paul Buttenwieser
Michael Feinstein
Lori Gross
Ann Gund
Sarah Hancock
Provost Steven Hyman
Jonathan Hulbert
Ex-Officio
Fumi Matsumoto
Rebecca Milikowsky
Ward Mooney
Jackie O’Neill
Diane Paulus
Diana Sorensen
Lisbeth Tarlow
A.R.T. 2009-10 Board of Advisors
Barbara W. Grossman Co-Chair
Ted Wendell Co-Chair
Joseph Auerbach*
Page Bingham
William H. Boardman, Jr.
Robert Brustein
Greg Carr
Caroline Chang
Antonia Handler Chayes*
Clarke Coggeshall
Kathleen Connor
Robert Davoli
Joseph W. Hammer
Horace H. Irvine, II
Michael E. Jacobson
Glenn KnicKrehm
Barbara Lemperly Grant
Dan Mathieu
Eileen McDonagh
Michael Roitman
Linda U. Sanger
John A. Shane
Michael Shinagel
Sam Weisman
*emeritus
Brookline Village
Welcome to Brookline Village!
Brookline Village
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Enjoy the local restaurants before or after the show, or come back another time just for the
food! Below is a map and listing of Brookline Village restaurants likely to be open during
theatre hours.
Starbucks
Coffee
15 Harvard Street
617-232-5063
Matt Murphy’s
Irish Pub
14 Harvard Street
617-232-0188
Stoli Bar & Restaurant
Russian
213 Washington Street
617-731-5070
Baja Betty’s Burritos
Mexican
3 Harvard Square
617-277-8900
New England Soup Factory
Hearty American
2 Brookline Place
617-739-1899
Tashi Delek
Tibetan
236 Washington Street
617-232-4200
Bottega di Capri
Italian
41 Harvard Street
617-738-5333
Oriental Pearl
Vietnamese, Chinese
220 Washington Street
617-739-0008
The Village Smokehouse
Texas Barbeque
6-9 Harvard Square
617-566-3782
Brookline Family Restaurant
Turkish
305 Washington Street
617-277-4466
Orinoco: A Latin Kitchen
Venezuelan
22 Harvard Street
617-232-9505
Village Pizza House
Pizzeria
312 Washington Street
617-731-4210
Dunkin’ Donuts
Coffee
20 Boylston St. / 8 Harvard St.
617-739-1144 / 617-232-7252
Pomodoro
Italian
24 Harvard Square
617-566-4455
Yokohama
Japanese
238 Washington Street
617-734-6465
La Morra
L
Italian
48 Boylston Street
617-739-0007
Sichuan Garden
Chinese
295 Washington Street
617-734-1870
Zen 320
Japanese
320 Washington Street
617-713-4320
Join us for a bite at our
featured restaurant partner
$30 3-course meal
$35 4-course meal
Three- and fourcourse wine
pairing for $12
and $15
LaMorra
48 Boylston St
Brookline, MA
(617) 739-0007
www.lamorra.com
our season restaurant partners
Henrietta’s Table
The Charles Hotel
One Bennett Str. • Cambridge, MA
(617) 661-5005 • www.henriettastable.com
10% off Lunch
and Dinner
OM
92 Winthrop St. • Cambridge, MA
(617) 576-2800 • www.omrestaurant.com
$30 pre-fixe menu
available during dinner
5 p.m.-10 p.m. with
ticket stub.
UpStairs on the square
91 Winthrop St. • Cambridge, MA
(617) 864-1933 • www.upstairsonthesquare.com
$35 three course meal. Does
not include tax or gratuity.
Legal Sea Foods
Charles Square
20 University Rd • Cambridge, MA
(617) 491-9400 • www.legalseafoods.com
Complimentary cup of clam
chowder with entrée purchase.
Must show Season Ticket ID
card. Only at Charles Square
location through 5/29/10.
Sandrine’s
8 Holyoke St. • Cambridge, MA
(617) 497-5300 • www.sandrines.com
20% off food only (excluding any special menus,
including prix fixe menu).
Visit americanrepertorytheater.org/restaurants
for a taste of our other partner discounts ­—
more restaurants, parking, books, and more!
American
repertory
theater.org
Donors
The American Repertory Theater is deeply
grateful for the generous support of the
individuals, foundations, corporations, and
government agencies whose contributions to
our Annual Fund and pARTy make our work
possible. The list below reflects gifts between
September 1, 2008 and July 31, 2009.
$100,000 and above
Anonymous
The Andrew W. Mellon Foundation
The Carr Foundation
The Doris Duke Charitable Fund
The President and Fellows of Harvard College
The Shubert Foundation, Inc.
$75,000 - $99,999
Anonymous
$50,000 - $74,999
Anonymous
Edgerton Foundation New American Plays
Award
The Harold and Mimi Steinberg Charitable
Trust
Hershey Family Foundation
Massachusetts Cultural Council
Ted and Mary Wendell*
$25,000–$49,999
Anonymous
Boston Metro+
Philip and Hilary Burling*
Paul and Katie Buttenwieser*
Robert E. Davoli and Eileen L. McDonagh*
The E.H.A. Foundation, Inc.
Ann and Graham Gund*
Sarah Hancock*
Horace Irvine*
Dan Mathieu/Neal Balkowitsch/MAX
Ultimate Food+*
Rebecca and Nathan Milikowsky*
Minelli, Inc.
National Endowment for the Arts
Theatre Communications Group
Trust for Mutual Understanding
Donald and Susan Ware*
$10,000–$24,999
Anonymous*
Bank of America Philanthropic Management
Page Bingham and Jim Anathan*
The Boston Foundation
Boston Investor Services*
Ted and Joan Cutler
Étant Donnés
Michael G. Feinstein and Denise Waldron*
Google, Inc.+
Merrill and Charles Gottesman
Barbara W. Hostetter
The Roy A. Hunt Foundation
Michael and Wanda Jacobson*
The Robert & Myra Kraft Family
Foundation, Inc.
Kako and Fumi Matsumoto*
Ward and Lucy Mooney
National Corporate Theatre Fund
Office of the Provost, Harvard University*
Cokie and Lee Perry
Beth Pollock*
Michael Roitman and Emily Karstetter
Ed Schein
Lisbeth Tarlow and Stephen Kay*
The Wallace Foundation
$5,000–$9,999
Anonymous*
Joel and Lisa Alvord
Howard and Leslie Appleby
Boston Beer Company+
Clarke and Ethel D. Coggeshall
Event Illuminations+
Genevieve C. Fisher°
Patricia Romeo-Gilbert and Paul B. Gilbert
Barbara Lemperly Grant and
Frederic D. Grant*
Joseph W. Hammer
Glenn A. KnicKrehm
The Lawrence & Lillian Solomon Fund, Inc.
Audrey Love Charitable Foundation
Dr. Henry and Mrs. Carole Mankin
Carl Martignetti
Jackie O’Neill*
Robert J. Orchard
Office of the Provost, Harvard University*
Anthony Pangaro
The Bessie E. Pappas Charitable
Foundation, Inc.
Polaris Capital Management, Inc.*
Ricochet Group, LLC.*/Ric Wanetik
Alan Savenor
Cathleen Douglas Stone and James Stone*
Tony Shalhoub and Brooke Adams
$1,000–$4,999
Anonymous
Elizabeth M. Adams
Sheldon Appel
Donors
Sharyn Bahn
Barbara Lee Family Foundation
Enid Beal
John A. Boyd
Linda Cabot Black
Dr. Jeffrey Borenstein and Lilly Pelzman
Martha Bradford and Alfred Ajami
Ronnie Bretholtz
Sara and Tim Cabot*
Caroline Chang
Stanley and Peggy Charren
Antonia H. Chayes
Stephen Coit
Kathleen Connor
Jane and Marvin Corlette
Corning Incorporated Foundation
Crystal Capital*
Jean-Francois Ducrest
Draper Laboratory
Alan and Suzanne Dworsky
Philip and Debbie Edmundson
Rachael and Andrew Goldfarb
Merle and Marshall Goldman
Hannelore and Jeremy Grantham
Nicholas Greville
Barbara and Steve Grossman
Jonathan Harris
Jerry and Margaretta Hausman
The Harvard Coop
Priscilla and Richard Hunt
Nancy P. King
Douglas and Judith Krupp
Jim and Lisa La Torre
Stacey Lee
Mary Pfeifer Lentz and Tom Lentz*
John D.C. Little
Lars Foundation
Esther Maletz-Stone
James C. Marlas
Judy and Paul Marshall
Wladzia and Paul McCarthy
Robert and Jane Morse
Bob and Alison Murchison
The Netherland-America Foundation, Inc.
Finley and Patricia Perry
Leslie and David Puth
Jan Saragoni
The Shane Foundation
Laura Pels Foundation
The Ramsey McCluskey Family Foundation
Andres Rodriguez
Henry and Nitza Rosovsky*
Linda Sanger
Kay and Jack Shelemay
Michael Shinagel and Marjorie North
The Abbot and Dorothy H. Stevens
Foundation
Caroline Taggart and Robert Sachs
The Sholley Foundation
Marshall Sirvetz
May K. Takayanagi
Julie Taymor
Theatre Communications Group
TheatricalProjections.com
Wagamama Inc.
William Weber
John Weltman
Vita Weir and Edward Brice
Sam Weisman and Constance McCashin*
Francis H. Williams
Alfred Wojciechowski
Judith and Stephen Wolfberg
Zipcar+
$500 - $999
Anonymous
Virgil J. Aiello
Reed Augliere
Sarah Baker and Tim Albright
William M. Bazzy
Daniel Berman
Leonard and Jane Bernstein
Robert and Maria Bradley
Jean and Arthur Brooks Jr.'s kids
Deborah Carroll
Nader Darehshori
Erica DeRosa
Helen Glikman
Norman Goldberg
James Gray
Lenore and Eric Gustafson
Helen Glikman
Dena and Felda Hardymon
Judith Kidd
Gillian and Bill Kohli
Dudley H. Ladd
Melody Libonati
Nick Littlefield
Carolyn Meade
Michael and Annette Miller
Patricia Cleary Miller Ph.D.
Carol and Steve Pieper
Wendy Shattuck and Samuel Plimpton
Natalie Reed
Sally C. Reid and John D. Sigel
Kim and Fernando Salazar
Valya and Robert Shapiro
Jacqueline A. Simon
Donors
Robert Skenderian
Thomas Tarpey
Ruth and Harry Wechsler
Peter and Dyann Wirth
Linda Chin Workman
IBM Corporation
Somerled Charitable Foundation
Hurlbut Family Charitable Lead Trust
$250–$499
Anonymous
Rena and Walter Abelmann
Janet and Arthur Banks
Sue Beebee and Joe Gagné
Helene B. Black Charitable Foundation
Joseph Blatt and Leda Zimmerman
Thomas B. Bracken
Arthur H. Brooks
Jacqueline Brown
Fred and Edith Byron
Ronni and Ronald Casty
Corporate Ink Public Relations
Richard and Dorothy Cole
Liz Coxe and Dave Forney
Pamela Coravos and Garrett Stuck
Frederica Cushman
Beatrice and Anirudh Dhebar
Linda and William Faiella
Ken and Linda Felter
Charles Flowers
Robert and Kathleen Garner
GE Foundation
Arthur and Younghee Geltzer
David Golan and Laura Green
Dr. Jeffrey and Laurie Goldbarg
Randy and Stephen Goldberger
Richard Greene
Dianne Haas
Janice Harvey
John R. Hauser
Roger and Jane Haynes
Dr. Earl Hellerstein
Stefaan Heyvaert
Jeanne and Allen Krieger
Mark Krueger
Bill and Lisa Laskin
Greg and Mary Beth Lesher
Drs. Mortimer and Charlotte Litt
Stephen and Jane Lorch
Lorraine Lyman
Gregory Maguire
Shelley and Ofer Nemiorvsky
Roderick and Joan Nordell
Abigail Norman
Carmel and Peter O’Reilly
Joan H. Parker and Robert Parker
Mark and Pauline Peters
Joseph Raposo
Katharine and William Reardon
Diane Remin
Judy and David Rosenthal
Christopher Schalick
Wendell Sykes
Arnold and Gloria Tofias
John Travis
Mark Thurber and Susan Galli
Donna Wainwright
Elizabeth West
Mary Winslow
+denotes gift-in-kind
*includes gala sponsorship
°denotes individual is deceased
2009 pARTy Contributors
The A.R.T. is deeply grateful for the following
contributors for their kind donations to our
2009 pARTy raffle and auctions.
A member of A.R.T.’s Artistic Committee
A. Quinn Hair Studio
Alan Savenor
American Repertory Theater
Barbara Lynch Gruppo
Bauer Wine & Spirits
Boston Public Library
Boston Red Sox
Cabot Design Ltd.
Carlos Falchi
Casablanca Restaurant
Child’s Gallery
Claire Messud
Commonwealth Shakespeare Company
Craigie on Main
Darwin’s Ltd.
DeLuca’s Markets
Diane Paulus
DreamWorks
Galatea Fine Jewelry
Galt MacDermot
Green Street Studios/Paula Spina
Hallie’s Garden
Harvard Book Store
Iggy’s Bread of the World
James Joseph Salon
James Wood
Jessica Kagan Cushman Studio
Le Pli Day Spa
Donors
Little Lettice/Sara Cabot
Loro Piana
Margaret Lampert Photography
Mary Pfeifer Lentz
Michael McDonald
Rialto Restaurant
Rocca Kitchen and Bar
Savenor’s Market
Sissy Yates Designs
SkinCare Physicians/Dr. Jeffrey Dover
Sofra Bakery
Sorellina
Suzanne Shepard
Tess & Carlos
The Harvard Art Museum
The Penninsula New York
The Public Theater
The Sherry-Netherland
Tremont 647/Andy Husbands
UpStairs on the Square
Victoria Munroe Fine Art
Yuriko and Brace Young
Anonymous
Corporate Partners
The A.R.T. would like to thank the following
Corporate Partners for their support during
the current season. Corporate partners
provide invaluable in-kind and monetary
support for the programs of the A.R.T. For
more information please call Joan Moynagh,
Director of Institutional Giving and Strategic
Partnerships @ 617-496-2000x8842.
Boston Beer Company
The Bay State Banner
The Boston Globe
The Boston Phoenix
Google Inc.
The Harvard Coop
The Harvest Restaurant
MAX Ultimate Food
Newbury Comics
Sandrine’s Restaurant
TheatricalProjections.com
Wagamama Inc.
The Weekly Dig
Zipcar
National Corporate Theatre Fund
National Corporate Theatre Fund is a
nonprofit corporation created to increase
and strengthen support from the business
community for ten of this country’s most
distinguished professional theatres. The following foundations, individuals, and corporations support these theatres through their
contributions of $5,000 or more to National
Corporate Theatre Fund:
Altria Group, Inc.
AT&T
Bingham McCutchen
Bloomberg
Bristol Myers Squibb
James Buckley
Steven Bunson
Robert Cagnazzi
Christopher Campbell
Jason and Marla Chandler
Clear Channel
Cisco Systems, Inc.
Citi Private Bank
Colgate-Palmolive Company
Credit Suisse Dorsey & Whitney Foundation
Dramatists Play Service, Inc.
Ernst & Young
Goldman, Sachs & Company
HIRECounsel
IMG
JP Morgan Chase
KPMG
Lehman Brothers
Marsh & McLennan Companies, Inc.
McCarter & English LLP
Merrill Lynch & Co.
MetLife
Morgan Stanley
National Endowment for the Arts
Newsweek New York State Council on the
Arts
Ogilvy & Mather New York
Pfizer, Inc.
Thomas Quick
Seinfeld Family Foundation
Sharp Electronics*
George Smith
Theatermania
James S. Turley
UBS
Verizon Communications
Willkie Farr & Gallagher LLP
!
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MAKE GREAT
GREAT THEATER
THEATER HAPPEN.
HAPPEN.
MAKE
Find out
out how
how YOU
YOU can
can make
make aa difference:
difference:
Find
Contact Julia
Julia Propp
Propp at
at 617.496.2000
617.496.2000 x8832
x8832 or
or donate
donate now
now at
at
Contact
www.americanrepertorytheater.org
www.americanrepertorytheater.org
Photo:Vinicius
Vinicius
Salles.
Photo
by Stephen
Dobbie Liindsay
and Lindsay
Photo:
Salles.
Photo
credit:
Stephen Dobbie,
Nolin Nolin
Staff
Artistic Director/CEO Diane Paulus
ARTISTIC
Artistic Coordinator Chris De Camillis
Acting Associate Producer Diane Borger
Director of Special Projects Ariane Barbanell
Dramaturg Ryan McKittrick
Assistant to Artistic Director/CEO Julia Renaud
Artistic Fellow Allegra Libonati
Producing Fellow Allison Kline
Artistic/Producing Fellow Mikhael Tara Garver
Artistic Interns Eve Bryggman, Rheeqrhreeq
Chainey, Vanda Gyuris, Emily Hyman, Megan
Savage
Dramaturgy Intern Jenna Embrey
INSTITUTE
Director Scott Zigler
Administrative Director Julia Smelianksy
Associate Director Marcus Stern
Co-head of Dramaturgy Anatoly Smeliansky
Literary Director Ryan McKittrick
Resident Literary Advisor Arthur Holmberg
Voice and Speech Coach Nancy Houfek
Institute Intern Chelsey Keating
INTERNAL AFFAIRS
General Manager Jonathan Seth Miller
Comptroller Nancy M. Simons
Assistant General Manager Steven Leon
Assistant Comptroller Angela Paquin
Financial Administrator Stacie Hurst
Company/Front of House Manager Tracy Keene
Receptionists Sarah Leon, Maria Medeiros
House ManagersGretjen Hargesheimer,
Michael Haviland, Heather Quick,
Matthew Spano, Cheryl Turski, Matt Wood
Volunteer Usher Coordinator Barbara Lindstrom
EXTERNAL AFFAIRS
DEVELOPMENT
Director of Development Erica DeRosa
Assistant Director of Development Sue Beebee
Director of Institutional Giving and Strategic
Partnerships Joan Moynagh
Development Officer Julia Propp
MARKETING
Director of Communications and Marketing
Ruth Davidson
Director of Press and Public Relations
Katalin Mitchell
Audience Development Manager Kerry Israel
Communications Manager Amanda Gutowski
Marketing Associate Jared Fine
Advertising Consultant Blitz Media
Social Media Consultant David Ginsburg
Creative Consultant Minelli, Inc.
Marketing Interns Emily Hecht
Public Relations Intern Christine Miller
BOX OFFICE
Box Office Managers Derek Mueller, Ryan Walsh
Box Office Representative Karen Snyder
PRODUCTION
Production Manager Patricia Quinlan
Associate Production Managers
Christopher Viklund, Skip Curtiss
Loeb Technical Director J. Michael Griggs
COSTUMES
Costume Shop Manager Jeannette Hawley
Assistant Costume Shop Manager Hilary Gately
Draper Carmel Dundon
Stitcher Tova Moreno
Crafts Artisan David Israel Reynoso
Wardrobe Supervisor Stephen Drueke
Costume Stock Manager Suzanne Kadiff
LIGHTS
Master Electrician Derek L. Wiles
Lighting Assistant Kenneth Helvig
Light Board Operator David Oppenheimer
Lighting Intern Sarah Weintraub
PROPERTIES
Properties Manager Cynthia Lee-Sullivan
Assistant Properties Manager Tricia Green
Properties Carpenter Stacey Horne
SCENERY
Technical Director Stephen Setterlun
Assistant Technical Directors Emily W. Leue,
Nick Fouch
Scenic Charge Artist Gerard P. Vogt
Master Carpenter Peter Doucette,
Carpenters York-Andreas Paris, Jason Bryant,
David Buckler
SOUND
Resident Sound Designer/Engineer
David Remedios
Production Sound Engineer Katrina McGuire
STAGE
Stage Supervisor Jeremie Lozier
Production Assistants Christopher Eschenbach,
Kevin Klein, Matthew Sebastian
STAGE MANAGEMENT
Resident Stage Manager Chris De Camillis
Stage Manager Katherine Shea
Assistant Stage Manager
Amanda Robbins-Butcher
Institute Stage Manager Elizabeth Bouchard
OBERON
Producer Randy Weiner
Bar Director Erin Wood
Program Associate Daniel Pecci
House Technician Garrett Herzig
Institute
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 Dramaturgy
Ryan McKittrick, Co-Head Dramaturgy
AMERICAN REPERTORY THEATER
Diane Paulus, Artistic Director/CEO
MOSCOW ART THEATER SCHOOL
Anatoly Smeliansky, Head
The Institute for Advanced Theater Training at Harvard was established in 1987 by the American Repertory Theater
(A.R.T.) as a training ground for the American theatre. Its programs are fully integrated with the activities of the A.R.T.
In the summer of 1998 the Institute commenced a historic joint program with the Moscow Art 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, and special
studies, during which students work closely with the professionals at the A.R.T. and the MXAT as well as with the
best master teachers from the United States and Russia. At the end of the program, students receive a Certificate
of Achievement from the faculty of the American Repertory Theater and an M.F.A. Degree from the faculty of the
Moscow Art Theatre School.
Further information about this new program can be obtained by calling the Institute for a free catalog at (617)
496-2000 or going to our web site at www.amrep.org.
Faculty
Elizabeth BergmannMovement
Robert Brustein Criticism and Dramaturgy
Erin Cooney Yoga
Thomas Derrah Acting
Holly Derr Viewpoints
Elena Doujnikova Movement
Andrei Droznin Movement
Tatyana Gassel Russian Language
and Culture
Jeremy Geidt Acting
Arthur Holmberg Theater History, Dramaturgy
Nancy Houfek Voice and Speech
Roman Kozak Acting and Directing
Alla Kruglova Movement
Will LeBow Acting
Ryan McKittrick Dramaturgy
Pamela Murray Singing
Robert Narajan Combat
Diane Paulus Acting, Dramaturgy
Robert Scanlan Dramatic Literature
Andrei Shchukin Movement
Anatoly Smeliansky Theater History, Dramaturgy
Julia Smeliansky History of Set Design
Marcus Stern Acting
Jim True-Frost Acting for the Cinema
Cheryl Turski Dance
Tommy Thompson Alexander Technique
Catherine Ulissey Ballet
Robert Walsh Stage Combat
Scott Zigler Acting, Dramaturgy
Staff
Christopher Viklund Production Manager
Angela Paquin Financial Aid
Acting
Jason Beaubien
Renee-Marie Brewster
Megan Brotherton
Zach Bubolo
Nick Crandall
Jared Eaton
Tim Eliot
Annika Franklin
Steven Good
Heather Gordon
Kelly Green
Christian Grunnah
Angela Gulner
Michala Hansen
Susannah Hoffman
Faith Imfadion
Sarah Jadin
Ian Kerch
Derek Lettman
Jordan Lievers
Scott Lyman
Jacob Martin
Cameron Oro
Laura Elizabeth Parker
Therese Plaehn
Richard Scott
Charles Settles Jr.
Vincent Selhorst-Jones
Jennifer Soo
Christopher Staley
Ed Walsh
Erikka Walsh
Rebecca Whitehurst
Dramaturgy
Sara Bookin-Weiner
Whitney Eggers
Beck Holden
Laura Henry
Rachael Huttl
Joe Pindelsky
Brendan Shea
Paul Stacey
Voice
Jane Guyer
May Nazarino
Endnote
Thank you for taking Punchdrunk¹s magical journey this evening!
I am so thrilled that my first season at the A.R.T. introduces London¹s theatrical phenomenon
Punchdrunk to America. By transporting the viewer from the passive familiarity of
conventional theater to a state of activated imagination, Punchdrunk¹s immersive
experiences speak directly to the mission of the A.R.T. — to “expand the boundaries of
theater.” Since 2000, Punchdrunk has garnered international recognition and praise for their
extraordinary work, and with this partnership with the A.R.T., they are transforming the scope
and definition of theater here in America.
SLEEP NO MORE is one of several theatrical events in our Shakespeare Exploded! Festival
that transform audience experience. Dance over to our new club theater venue OBERON
for The Donkey Show, a retelling of A Midsummer Night¹s Dream through the great disco
anthems of the 1970s. Join the revival at the Best of Both Worlds, a new R&B/gospel musical
inspired by The Winter’s Tale playing at our Loeb stage. To learn more about the Festival and
its accompanying shows, panels, and readings, please visit www.amrep.org.
Most importantly, I¹d like to thank you, our audience, for demonstrating your adventurous
spirit and willingness to engage in theater in new ways!
Warmly,
Diane Paulus, Artistic Director
ARTifacts
SINGLE ticket prices
Day
Zone
LoebOberonLincoln School
Fri /Sat
A
$75
eves
B
$45
Sat/Sun
C
$25
mats
Table
$49
Dance Floor
$25
General
$39
Harvard
(Faculty/
Staff)
$150 $200
Any 09/10 season event
Sun - A
$69
Thu
B
$39
eves
C
$25
Table
$39
Dance Floor
$25
General
$25
PASSES
Type of
pass
Adventure!
Allaround
Student
(fulltime)
# admissions
5
8
$99
$175
$60
Valid for...
Sleep No More,
The Donkey Show
Any 09/10 sea$340
son event
n/a
n/a
Any 09/10 season event
American Repertory Theater | americanrepertorytheater.org | 617.547.8300
64 Brattle Street, Cambridge, MA 02138