by

Уильямa Шекспирa Буря www.cheekbyjowl.com The Tempest by William Shakespeare

Уильямa Шекспирa Б у р я www.cheekbyjowl.com The Tempest 2011 Буря 2011 Welcome to The Tempest! Добро пожаловать на спектакль «Буря»!

This production would never have been Этому спектаклю не суждено было бы possible without our indefatigable producer случиться без участия Валерия Шадрина, Valery Shadrin and his dedicated team at the нашего неутомимого продюсера Chekhov International Festival in . Междунароного театрального фестиваля This is our fourth production with our им.Ф.П.Чехова, и его самоотверженной Russian counterpart to and команды. Это четвертая постановка труппы we are honoured to continue working with «Чик бай Джаул» в сотрудничестве с русским such a talented and committed ensemble. партнером, и для нас большая честь работать с таким талантливым и преданным делу We are extremely grateful for the сплоченным коллективом. encouragement and commitment of all the teams at the Warwick Arts Centre, the Мы также бесконечно благодарны всем Oxford Playhouse, the Nuffield Theatre сотрудникам Центра искусств Варвика, and at the Barbican who have worked Оксфордcкого театра, театра Нафилда и so hard to bring this tour together. Центра искусств Барбикан, которые оказали нам помощь и поддержку, работая не Finally, thank you to Arts Council покладая рук, для того чтобы эти гастроли for their continuing support of our UK work. состоялись.

Enjoy the show! И, наконец, спасибо Художественному Совету Англии за ту постоянную поддержку, которую and они оказывают нам в Великобритании.

Хорошего просмотра!

Declan Donnellan and Nick Ormerod

Igor Yasulovich The Tempest 2011 Буря 2011 Welcome to The Tempest! Добро пожаловать на спектакль «Буря»!

This production would never have been Этому спектаклю не суждено было бы случиться possible without our indefatigable без участия Валерия Шадрина, нашего producer Valery Shadrin and his неутомимого продюсера Междунароного dedicated team at the Chekhov театрального фестиваля им.Ф.П.Чехова, и его International Festival in Moscow. This is самоотверженной команды. Это четвертая our fourth production with our Russian постановка труппы «Чик бай Джаул» в counterpart to Cheek by Jowl and we are сотрудничестве с русским партнером, и для нас honoured to continue working with such большая честь работать с таким талантливым a talented and committed ensemble. и преданным делу сплоченным коллективом.

It is a privilege to bring this production into Мы с большим удовольствием представляем the Silk Street Theatre. We are extremely нашу постановку на сцене театра Silk Street grateful to our friends at the Barbican for Theatre. Мы бесконечно благодарны нашим their constant encouragement and друзьям из центра искусств Барбикан за то, commitment to us in this, our sixth year as что на протяжении шести лет нашего участия Artistic Associates at the Barbican. We are в Художественной Ассоциации центра они nurtured by the warmth and enthusiasm of оказывают нам постоянную поддержку и Toni Racklin, Malin Forbes and their team. демонстрируют верность нашему делу. Нас вдохновляет доброе отношение и энтузиазм Finally, thank you to Arts Council England Тони Раклин и Малин Форбс и их команды. for their continuing support of our UK work. И, наконец, спасибо Художественному Совету Enjoy the show! Англии за ту постоянную поддержку, которую они оказывают нам в Великобритании. Declan Donnellan and Nick Ormerod Хорошего просмотра!

Declan Donnellan and Nick Ormerod Igor Yasulovich Hell is empty and all the devils are here. Act I, scene ii

Alexander Lenkov and Evgeny Samarin The Tempest by William Shakespeare Уильямa Шекспирa Буря

The Company Choreographer Konstantin Mishin Assistant Choreographer Irina Kashuba Prospero, the usurped Duke of Milan Igor Yasulovich Declan Donnellan’s Interpreter and Literary Consultant Anya Kolesnikova Miranda, Prospero’s daughter Anya Khalilulina Costume Design Assistant Natalia Vedeneeva Ariel, a spirit Andrey Kuzichev Stage Manager Olga Vasilevskaya Caliban, enslaved by Prospero Alexander Feklistov Company Manager Olga Sharapova Alonso, the King of Naples Mikhail Zhigalov Technical Director Vladimir Kizeev Sebastian, Alonso’s brother Pavel Kuzmin Light Sergey Timchenko Antonio, Prospero’s brother, the usurping Duke of Milan Evgeny Samarin Sound Valery Antonov Ferdinand, Alonso’s son, Prince of Naples Yan Ilves Make-up Olga Kazakova Gonzalo, a Counsellor Alexander Lenkov Props Larisa Abashkina Trinculo Ilya Iliin Costumes Natalia Vedeneeva Stephano Sergey Koleshnya Assistant Technical Manager Georgi Siprashvili Boatswain Gela Meskhi UK Technical Director Simon Bourne Master of the ship Maxim Onishchenko UK Technical Interpreter Martin Taylor Francisco Vadim Norshteyn Saxophone coach Dmitry Sarasek Adrian Sergey Zaytsev Surtitles Anya Kolesnikova Tour Manager Anya Krasnova Other parts played by the Company Production Photography Johan Persson

Director Declan Donnellan General Producer Valery Shadrin Designer Nick Ormerod Lighting Designer Kristina Hjelm Chekhov International Theatre Festival (Moscow); Theatre Les Gemeaux (Paris); Music Dmitry Volkov In cooperation with Cheek by Jowl (); Music Arrangement Maria Barskaya – - Great Britain Assistant Director Kirill Sbitnev The Tempest was first performed on 26th January 2011 at Théâtre Les Gemeaux, Sceaux, Paris. We are acting in a play we have never read and never seen, whose plot we don’t know, whose existence we can only glimpse, whose beginning and Alexander Feklistov end are beyond our present imagination and conception.

R.D. Laing Andrey Kuzichev and Alexander Feklistov

Yan Ilves Yan Evgeny Samarin, Mikhail Zhigalov, Pavel Kuzmin O brave new world! That has such people in’t! Act V, scene i

Anya Khalilulina do the best you can to make the present production a success – don’t spoil the entire play just because you happen to think of another one that you’d enjoy Evgeny Samarin rather more. The same rule applies to politics and life at Court. If you can’t completely eradicate wrong ideas, or deal with inveterate vices as effectively as you could wish, that’s no reason for turning your back on public life

altogether. You wouldn’t Ilya Iliin abandon ship in a storm just because you couldn’t control the winds.

Thomas More, Utopia

Yan Ilves Gela Meshki That is no country for old men. The young O sages standing in God’s holy fire In one another’s arms, birds in the trees As in the gold mosaic of a wall, – Those dying generations - at their song, Come from the holy fire, perne in a gyre, The salmon-falls, the mackerel-crowded seas, And be the singing-masters of my soul. Fish, flesh, or fowl, commend all summer long Consume my heart away; sick with desire Whatever is begotten, born, and dies. And fastened to a dying animal Caught in that sensual music all neglect It knows not what it is; and gather me Monuments of unageing intellect. Into the artifice of eternity.

An aged man is but a paltry thing, Once out of nature I shall never take A tattered coat upon a stick, unless My bodily form from any natural thing, Soul clap its hands and sing, and louder sing But such a form as Grecian goldsmiths make For every tatter in its mortal dress, Of hammered gold and gold enamelling Nor is there singing school but studying To keep a drowsy Emperor awake; Monuments of its own magnificence; Or set upon a golden bough to sing And therefore I have sailed the seas and come To lords and ladies of Byzantium To the holy city of Byzantium. Of what is past, or passing, or to come.

W.B. Yeats, Sailing to Byzantium, 1927

Igor Yasulovich Maxim Onishchenko Vadim Norshteyn Sergey Zaytsev

Be not afeard; the isle is full of noises, Sounds and sweet airs, that give delight and hurt not. Sometimes a thousand twangling instruments Will hum about mine ears, and sometime voices That, if I then had waked after long sleep, Will make me sleep again: and then, in dreaming, The clouds methought would open and show riches Ready to drop upon me that, when I waked, I cried to dream again.

Act III, scene ii

Alexander Feklistov The Tempest by Gordon McMullan

2011 is the quatercentenary of The Tempest at the Blackfriars – and requiring and it deserves its moment. The play’s first Shakespeare to rethink his writing for new recorded performance took place on dimensions, new lighting conditions – Hallowmas Night 1611 when Shakespeare’s candles, not the sky – and new musical company, the King’s Men, played it before possibilities. And it was into the Blackfriars James I (a monarch who liked the theatre that The Tempest first crashed in early far more than his predecessor Elizabeth, 1611 with its explosive opening storm. whatever modern myth might claim to the contrary), but it had been playing from The Tempest is a mythical sort of play – earlier in the year in the company’s own it creates myths and myths are created for theatres. This was a golden age for the it. Usually, with Shakespeare, we know the King’s Company: they had been under source for the play: he was the world’s finest royal patronage for eight years and had story thief. But we don’t have a source for the a magnificent backlist of plays by story of The Tempest: he may actually have Shakespeare and others. Moreover, a couple made this one up himself. This has tended of years earlier they had expanded their to make critics imagine the play as personal, scope by acquiring a second playhouse in as a play in which we might locate addition to the Globe, the open-air theatre Shakespeare himself. And they turn to that had housed the first performances of Prospero the character to find Shakespeare fifteen or more of Shakespeare’s plays over the playwright. Until the end of the the previous decade. This new theatre was eighteenth century nobody had thought to across the Thames in the city proper and it ask in what order Shakespeare wrote his was a much smaller, indoor space in the plays but, once the Romantics reshaped the hall of the former monastery of Blackfriars, way people thought about creativity and giving the company the chance to play all made it the outward sign of inward growth, year round – summer at the Globe, winter the order of the plays became a critical Igor Yasulovich, Anya Khalilulina and Alexander Feklisto obsession. We have no diary or other a man keen to retire to Stratford doesn’t personal account of Shakespeare’s life, only usually, as Shakespeare did a year later, records of court cases and the like in which buy himself property near his place of work he was involved, so in their desperation for in London. personality and inwardness scholars looked to the plays themselves to make sense of In any case, why would Shakespeare want to the life (and then, afterwards, used the life see himself as Prospero? After all, he is they had created to make sense of the irascible, waspish, abrupt, and the power he plays). They decided that The Tempest was exerts over the other characters is far from Shakespeare’s last play – that in Prospero being benign, serene or admirable, as it has drowning his art, we had a figure of traditionally been presented. He imprisons Shakespeare on the verge of retirement Caliban and promises to ‘rack’ and ‘pinch’ – and they chose to ignore the awkward him (‘pinching’ here meaning torture with evidence that he wrote at least three more pincers, not merely a mild irritation with plays afterwards with the emerging finger and thumb); he threatens to wedge playwright John Fletcher and that The the spirit Ariel back into the oak into which Tempest may not in fact have come after he (she?) had been ‘pegged’ by the witch The Winter’s Tale or even Cymbeline. Sycorax; and he controls and manipulates his daughter Miranda with a rhetoric that is, So Prospero became Shakespeare and both at best, economical with the truth. Yes, became old. But, whatever age he imagined we understand his desire to reclaim his Prospero to be – and Gielgud played him dukedom and his fury at being exiled to equally magnificently at 27 and at 93 – a barren island by his brother’s machinations Shakespeare himself wasn’t old: he was in – of course we do – but we don’t necessarily his mid-forties, which was neither old nor admire the means he deploys to negotiate young in Jacobean London. The myth of the his return to the corridors of power in serene sage Shakespeare, soon to retire, . writing his self-consciously final play and creating in the lead role a version of himself And he deals all the time in loss, in failure, was built up in the second half of the in inadequacy. At times, tradition can blind nineteenth century and bears little relation us to Prospero’s limitations. A good instance to the original circumstances. In any case, is the famous and beautiful ‘cloud-capped Andrey Kuzichev towers’ speech – ‘We are such stuff / but for so much of the play this magician – Beautiful, this corpse, but a corpse As dreams are made on, and our little life / this male witch – seems disturbingly like the nonetheless for all the attractions of the Is rounded with a sleep’ – which is witch Sycorax who we never meet but who ‘sea change’ – and that Ferdinand’s father omnipresent in books of Shakepeare casts a malign shadow across the play. is in fact not a corpse is due to deceit not quotations yet which is followed in the action When, in his powerful resignation soliloquy to redemption. The Tempest is a noisy, by Prospero’s acknowledgement of the in act 5, Prospero tells the audience that, disturbed play, a far cry from the Victorian flimsiness of his control as he belatedly in his heyday, ‘graves at [his] command / visions of serenity that have shrouded it remembers the imminent clumsy revolt Have waked their sleepers’, that audience for so long. The music of The Tempest of Caliban, Stephano and Trinculo. ‘Sir’, may have been as appalled as they were comes as much from the losses, the he says, rather over-formally, to Ferdinand: impressed, even if the soundtrack is incompletions, the failed utopias, the ‘heavenly music’. sins, the punishments and the I am vexed; manipulations as it does from the Bear with my weakness; The play’s music is not by any means always freedom and redemption of which my old brain is troubled. ‘heavenly’; the music of the spheres – if that the characters – all the characters, Be not disturbed with my infirmity…. is what it is – can also be heard by Caliban in their different ways – dream. …A turn or two I’ll walk and is not the colonist’s preserve (‘Be not To still my beating mind. afeard’, Caliban tells Stephano and Trinculo, Gordon McMullan is Professor of English, ‘The isle is full of noises, / Sounds and sweet King’s College London Prospero’s idea of control is excessive, airs’), and it has an ominous sound to totalising, the product of years of frustration: Ferdinand in act 1: he wants to determine everything and he does achieve a great deal, but at a degree Full fathom five thy father lies, of cost to himself and others. He loves his Of his bones are coral made; daughter, but he uses her as a dynastic Those are pearls that were his eyes. pawn in a manner quietly underlined by Shakespeare when we see her playing chess with her fiancé. His redemptive potential is there, no question – this is, after all, one of Shakespeare’s later romantic tragicomedies, which all set the genuine possibility of redemption against the refusal of life and personality to yield that redemption easily – Anya Khalilulina Pavel Kuzmin Andrey Kuzichev and Yan Ilves Alexander Lenkov and Pavel Kuzmin

No man is an island entire of itself; every man is a piece of the continent, a part of the main; if a clod be washed away by the sea, Europe is the less, as well as if a promontory were, as well as any manner of thy friends or of thine own were; any man’s death diminishes me, because I am involved in mankind. And therefore never send to know for whom the bell tolls; it tolls for thee.

John Donne, Meditation XVII

Mikhail Zhigalov and Ian Ilves Declan Donnellan Director Kristina Hjelm Lighting Designer The Tempest biographies Declan Donnellan is joint Artistic Director of Cheek by Jowl. Graduated from Rose Bruford BA honours degree in Lighting His book, The Actor and the Target, was first published in Design in 2001. Kristina has worked on Cheek by Jowl’s 2000. As Associate Director at the National Theatre productions of Othello, The Changeling, Cymbeline, Troilus productions include: Fuente Ovejuna, Sweeny Todd, and Cressida, Andromaque and Macbeth. Design credits The Mandate, and both parts of Angels in America. include: Count One (Nicola Conibere, Linbury Studio), Other Directing credits include: Le Cid for the Avignon Any Which Way (Only Connect), Room Temperature Romance Festival, Falstaff for the Salzburg Festival, Romeo and (Levantes Dance Theatre, Barbican), The Unknown (Cecile Juilet for the Bolshoi Ballet, Moscow and The Winter’s Tale Feza Bushidi, BITE Barbican), The Race (Gecko, international for the of St. Petersburg. and national tour), Meltdown (Rambert Dance Company, Queen Elisabeth Hall), Pagliacci (English Touring ), Alexander Feklistov Caliban 30,000 Lies (Mkultra, Turin, ), Restricted Area, The Dark (Sir Toby Belich in Twelfth Night, Vershinin in Three Sisters, Room and 22 Rooms (F2, Athens, ), Always (Mkultra, in Boris Godunov). Arcola and BAC). Graduated from the School Studio in 1982. Worked at the Moscow Art Theatre from 1982 to 1988 Ilya Iliin Trinculo and from 1995 to 2001. He was one of the founders of the 5th (Maria in Twelfth Night, Vorotynsky in Boris Godunov). Moscow Art Theatre Studio. Theatre includes: Masquerade Graduated from the Russian Theatre Academy (RATI) in 1993 by (5th Moscow Art Theatre Studio); The Worked at the Russian Youth Theatre from 1993 to 2000. Emigrants by Slawomir Mrozek, Waiting for Godot by Samuel Theatre includes: Romeo and Juliet by William Shakespeare, Beckett (Theatre-Studio Chelovek); Alter Ego N (Nizhinsky) Captain’s Daughter by , Our Town by by Alexey Burykin and one man show based on The Overcoat Thornton Wilder, King Lear by William Shakespeare, The by Nikolay Gogol (Agency BOGIS); Hamlet by William Green Bird |by (Russian Youth Theatre); Shakespeare, Boris Godunov by Alexander Pushkin, Twelfth Tarelkin’s Death by Аlexander Sukhovo-Kobylin (Alexey Night by William Shakespeare and Three Sisters by Anton Kazantsev and Mikhail Roshchin Playwright and Director Chekhov (Chekhov International Theatre Festival); The Black Centre); Boris Godunov by Alexander Pushkin and Twelfth Prince by Ian Murdock (Pushkin Theatre), The Pickwick Night by William Shakespeare (Chekhov International Papers by Charles Dickens (Chekhov Moscow Art Theatre). Theatre Festival). Film and TV credits include: Master Thief, Film and TV credits include: Detachment, Plumbum or The Little Nothings of Life, Lady Thief, Twins, Photographer, a Dangerous Play, A Close Circle, Envy of Gods, Luna Park, The Third Wish, Cry of the Cranes, Going Out to Seek You…, Glutton, Bourgeois’s Birthday, Avalanche and others. Boiling Point. Since 1990 works for Radio of Russia.

Yan Ilves Ferdinand Graduated from the Shchepkin Theatre Institute in 2010. Theatre includes: Girl Without Dowry by , On the Wedding Day by Victor Rozov (Shchepkin Institute Theatre). Film and TV credits include: Two Sisters, Ivan the Terrible.

Back row from left: Kristina Hjelm, Olga Vasilevskaya, Kirill Sbitnev, Alexander Feklistov, Mikhail Zhigalov, Igor Yasulovich, Pavel Kuzmin, Nick Ormerod, Andrey Kuzichev, Declan Donnellan, Sergey Koleshnya, Alexander Lenkov Middle row from left: Anya Kolesnikova, Irina Kashuba, Evgeny Samarin, Ilya Iliin, Yan Ilves Front row from left: Vadim Norshteyn, Sergey Koleshnya, Maxim Onishchenko, Anya Khalilulina, Gela Meshki Anya Khalilulina Miranda Pavel Kuzmin Sebastian Graduated from the Shchepkin Theatre Institute in 2009. Graduated from the Shchepkin Theatre Institute in 2009. Theatre includes: Black Snow by , Since 2009 – an actor of Moscow Stanislavsky Theatre. Barbarians by Maxim Gorky, Don Juan from Agridjento by Theatre includes: Don Juan from Agrigento by Luigi Luigi Pirandello (Shchepkin Institute Theatre); Boris Godunov Pirandello, Black Snow, The White Guard and Days of the by Alexander Pushkin and Three Sisters by Turbins by Mikhail Bulgakov, Barbarians by Maxim Gorky (Chekhov International Theatre Festival). Film and TV credits (Shchepkin Institute Theatre); La Guerre de Troie N’aura Pas include: To Hear the Sea, Terrible Times; Moscow. Central Lieu by Jean Giraudoux, 7 Days Before the Flood by Oleg and District; Moscow. Three Station; Love Doesn’t Come Alone. Vladimir Presnyakov (Stanislavsky Theatre). Film and TV credits include: Ivan the Terrible, Love Poste Restante, Sergey Koleshnya Stephano The Melody of Love. Graduated from the Shchukin Theatre Institute in 1995. He was one of the founders of the Moscow Theatre Pyramid in 1990. Alexander Lenkov Gonzalo Worked at the Moscow Taganka Theatre from 1991 to 1992 (Nikolka in Boris Godunov). and at the Moscow Art Theatre from 1995 to 1998. Since Graduated from Yury Zavadsky’s Studio in 1965. Since 1954 2000 – Artistic Director of the Moscow Theatre NotaBene. works at the Mossovet Theatre. Theatre includes: Twelfth Theatre includes: Boris Godunov by Alexander Pushkin, Night by William Shakespeare, Noises Off by Michael Frayn, The Possessed, Crime, Punishment andThe Adolescent by Vasily Terkin by Alexander Tvardovsky, by Anton Feydor Dostoevsky (Moscow Art Theatre); Master and Chekhov, The Romantics by Edmond Rostand, The Bee by Margarita by Mikhail Bulgakov, Hamlet by William Anatole France, Not a Penny More by Alexander Ostrovsky, Shakespeare (Theatre NotaBene). Film and TV credits Half-Way to the Summit by Peter Ustinov (Mossovet Theatre); include: The Olympic Village, Scenes from the Life Boris Godunov by Alexander Pushkin and Three Sisters by of Captain Chernyaev, The Pursuit of Happiness, The Crazy Anton Chekhov (Chekhov International Theatre Festival). Angel, Atlantis, Korolev. Winner of the Brno International He has also directed Noises off by Michael Frayn. Film and Festival Prize (1996). TV credits include: Keys to the Sky, A True Story, The Spring Pains, An Endless Street, Dreams of an Idiot, Little Vera, Andrey Kuzichev Ariel Winter Cherry, The Barber of Siberia, Turetsky March, (Viola in Twelfth Night, Dmitri in Boris Godunov, Alexander Pushkin. He has also acted in many films for Tuzenbach in Three Sisters). children, including: Black and White Magic, Adventures Graduated from the Russian theatre Academy (RATI) in 1996. of Petrov and Vasechkin, The Mystery of Snow Queen, Worked at the Sphere theatre in Moscow. Since 1999 – an The Book of Masters. actor of Alexey Kazantsev and Mikhail Roshchin Playwright and Director Centre. Theatre includes: Plasticine by Vasily Gela Meskhi Boatswain Sigarev, West Side Story by Leonard Bernstein, Shopping Graduated from the Moscow Art Theatre School-Studio in and Fucking by Mark Ravenhill, Your Well-known Writer by 2009. Since 2009 – an actor of Moscow Stanislavsky Theatre. Olga Subbotina; Boris Godunov by Alexander Pushkin, Theatre includes: Los Locos de Valencia by Lope de Vega, Twelfth Night by William Shakespeare and Three Sisters by Silence is Golden by Pedro Calderon, Hamlet by William Anton Chekhov (Chekhov International Theatre Festival). Shakespeare (MHAT School-Studio Theatre); La Guerre de Film and TV credits include: Investigation is Led by Experts. Troie N’aura Pas Lieu by Jean Giraudoux, Romeo and Juliet by Twenty Years After, Family Secrets, A Murderer’s Diary, Moon William Shakespeare, by Nikolay Glades, Lines of Fate, Children of the Arbat, May, The Doctor Gogol (Stanislavsky Theatre). Film and TV credits include: Zhivago, The Night is Bright. Too Adult Daughter, Hamlet. Ilya Iliin and Sergey Koleshnya Vadim Norshteyn Francisco Kirill Sbitnev Assistant Director Sergey Zaytsev Adrian Graduated from the All-Russia State Institute of Graduated from the Sankt-Petersburg Theatre Art Academy Graduated from the Shchepkin Theatre Institute in 2010. Cinematography (VGIK) in 2010. Theatre includes: Hay! (LGITMiK) in 2007. Since 2007 – an actor of Nikolay Roshchin Theatre includes: Girl Without Dowry by Alexander Ostrovsky, after The Government Inspector by Nikolay Gogol, Lev Gurych A.R.T.O (Actor and Director Theatre Company). Since 2008 – The Insulted and Humiliated by Feydor Dostoevsky, On the Sinichkin by Alexey Bondi, The Winter’s Tale and The Two Director of the State Theatre of Nations. Theatre includes: Wedding Day by Victor Rozov, (Shchepkin Institute Theatre); Gentlemen of Verona by William Shakespeare, Ivanov by Mystery-Bouffe by Vladimir Mayakovsky, Savva.Ignis Sanat. The Happy Event (Theatre Modern). Anton Chekhov, Alaley and Leyla by Alexey Remizov, after play Savva by Leonid Andreev, Bokh after En Attendant The Philosopher by Ambrose Bierce (VGIK Theatre). Godot by Samuel Beckett and The Urgency of Change by Mikhail Zhigalov Alonso Jiddu Krishnamurti (A.R.T.O.). Directing credits include: (Antonio in Twelfth Night, Chebutykin in Three Sisters, Maxim Onishchenko Master of the ship The Letters to Felice by (Theatre of Nations), Basmanov in Boris Godunov). Graduated from the Shchepkin Theatre Institute in 2009. The Merry Wives of Winsdor. Sub Specie Ludi by William Graduated from the Moscow Chemical Engineering Industry Since 2009 – an actor of Roman Viktyuk Theatre. Theatre Shakespeare (A.R.T.O.). Institute in 1965 and Moscow Children’s Theatre includes: Black Snow after The White Guard and Days of the Studio in 1970. Worked at the Moscow Children’s Theatre Turbins by Mikhail Bulgakov, Barbarians by Maxim Gorky Igor Yasulovich Prospero from 1970 to 1978. Since 1978 – actor of the (Shchepkin Institute Theatre). Film and TV credits include: (Feste in Twelfth Night, Chebutykin in Three Sisters, theatre. Theatre includes: The Merry Wives of Windsor by The Hen Night, Barvikha, Always Say “Always”-4, The Redhead, Pushkin in Boris Godunov). William Shakespeare, We are performing Shiller after Maria Law and Order, Birds in the City. Graduated from the All-Russia State Institute of Stewart by ), A Sudden Route by Evgeny Cinematography (VGIK) in 1963. Theatre and cinema Actor Ginzburgh, NLO by Vladimir Malyagin, Humble Graveyard Nick Ormerod Designer and Director. Professor of RATI and VGIK. Since 1993 he by Sergey Kaledin, From Lopatin’s Notes by КConstantin Nick Ormerod is Joint Artistic Director of Cheek by Jowl. has worked at the Moscow Young Spectator Theatre (TUZ). Simonov (Sovremennik theatre); Boris Godunov by For the National Theatre: Fuente Ovejuna, Peer Gynt, Sweeny Theatre includes: Ivanov and others by Anton Chekhov, Alexander Pushkin, Twelfth Night by William Shakespeare Todd, The Mandate, and both parts of Angels in America. Thunderstorm by Alexander Ostrovsky, The Black Monk by and Three Sisters by Anton Chekhov (Chekhov International For The Royal Shakespeare Company: The School for Anton Chekov, Rotshild’s Violin by Anton Chekhov, Absurd Theatre Festival). Film and TV credits include: Petrovka, 38; Scandal, King Lear (RSC Academy) and Great Expectations, Little Poem by Fedor Dostoevsky, Médée by Jean Anouilh and Start Liquidation, Hounds; The Afghan Break, Frontier. Taiga which he also co-adapted. Other work includes: The Rise and Lucius Annaeus Seneca (Moscow Young Spectator Theatre); Romance; Brigade, Don’t Be Born Pretty. Fall of the City of Mahagonny (English National Opera), Martin In the Shadow of Vineyard by Valery Mukhariamov (Moscow Guerre (Prince Edward Theatre), Hayfever (Savoy Theatre), Pushkin Theatre); Boris Godunov by Alexander Pushkin, Antigone (The Old Vic), Falstaff (Salzburg Festival). Twelfth Night by William Shakespeare and Three Sisters by Anton Chekhov (Chekhov International Theatre Festival). Film Evgeny Samarin Antonio and TV credits include: Uncle’s Dream, Ruslan and Lyudmila, Graduated from the Chelyabinsk Art and Culture Academy in Twelve Chairs, There is No Way back, Once, Twenty Years After, 1999. Worked at the Chelybinsk Drama Theatre from 1997 to There are Skies behind the Clouds, There Over the Horizon, 2002. Since 2002 – an actor of Moscow Stanislavsky Theatre. Petersburg Mysteries, That Very Munghausen; Go on, Reefers!; Theatre includes: The Dance of Life, the Dance of Death Krechinsky Polonaise, Wind-Man. by August Strindberg, Guilty Without Guilt by Alexander Ostrovsky, My Fair Lady by Frederick Loewe, The Winter’s Tale by William Shakespeare (Chelyabinsk Drama Theatre); Le Bourgeois Gentilhomme by Jean-Baptiste Molière, A Midsummer Night’s Dream by William Shakespeare, The Master and Margarita by Mikhail Bulgakov, Le Verre D’eau by Eugene Scribe, Ruslan and Lyudmila by Alexander Pushkin, Romeo and Juliet by William Shakespeare, La Guerre de Troie N’aura Pas Lieu by Jean Giraudoux (Stanislavsky Theatre). Alexander Lenkov Play Your Part Our work this year would not have been possible without:

Our patrons Our associates Roger Harwood Kate O’Rourke Anonymous Lady Mary Hatch Roger Holland Philip Percival Bridget Astor Hugh Nineham David and Anthea Houghton Carolyn Sands Lady Jennie Bland Joyce Hytner Ann Thompson Richard Briance Our friends Charlotte Joll Tom Stoppard Ralph Fiennes Danielle Beggs Helen Jones Svetlana Walker If you feel passionate about Cheek by Jowl’s Sophie Hamilton Zanna Beswick C Maggs work please support its future. David Orr Nicholas Bryan Brown Bill and Doreen Mapleson John Scott Moncrieff Mrs G Bullock Dinah Moses Chrissy Sharp Vlada Chernomordik Harry Nash ‘Cheek by Jowl’s enduring gift to theatre Tim Stockil Kay Ellen Consolver Hugh Nineham Judith Unwin Maryan Farkhadi Kalo Alexandre Nikititch is its uncanny ability to live in an eternal, Bill and Anda Winters Matt Goulding precarious present.’ The Telegraph

In addition to the generous support that Cheek by Jowl receives from Arts Council England and the Barbican, we rely on a growing body of supporters to realise our work. This year we need to raise £60,000 to continue making theatre of the highest international standards. If you would like to support Cheek by Jowl’s work in the future please contact [email protected] or call 0207 382 7304 for more details on how to become a friend, associate or patron.

Anya Khalilulina and Yan Ilves Eye Witness

We are launching a project to gather If you would like to share a memory with descriptions of ou past shows from audience us please email [email protected] members and would love it if you would or write to: share your experience with us. Perhaps you saw Measure for Measure in Montevideo, Eye Witness Project in Oxford or As You Like It in Adelaide – Cheek by Jowl, Barbican Centre we just want to know what it was like to be Silk Street, London EC2Y 8DS there. Was there a particular performance you remember? A specific moment? A song? A fight? A dance? The best testimonials will form part of a commemoration of Cheek by Jowl’s work.

Olivia Williams and Will Keen in The Changeling (2006) Photo: Keith Pattinson Three Sisters by Anton Chekov А. П. Чехов Три сестры

The Russian ensemble return to the UK with Three Sisters in June 2011

‘I have never seen a production ‘Miraculous Simplicity. Superb!’ of the play that moved with Le Figaro, France such expressive fluency or that communicated its volatile, ‘an aching experience… contradictory moods with profoundly moving.’ a more piercing precision.’ The Washington Post, USA The Independent ‘I cannot imagine a more ‘beautifully crafted theatre that delicate, luminous and will lure you into its tragic spell… emotionally piercing this is something truly special.’ production.’ The Times The Irish Independent

‘Chekhov’s characters, whom we think we know all too well, suddenly burst open, dazzlingly and unforgettably. No one other Box Office: 0115 989 5555 than Donnellan could have Book Online: www.trch.co.uk

achieved this.’ Kommersant, Russia www.cheekbyjowl.com Photo: Igor Zakharkin Proprietor: Nottingham City Council (Tickets subject to a credit/debit card booking fee) 1 2 3

4 5 6 An ensemble of the finest Russian actors

‘the acting was nothing short of sublime’ The Times

‘A first class ensemble...close to perfection.’ Le Figaro

‘a superb Russian cast…this ensemble’s 7 8 1 Alexander Feklistov in Three Sisters revelatory treatment proves heartbreaking.’ 2 Andrey Kuzichev in Boris Godunov The Washington Post, USA 3 Mikhail Zhigalov in Twelfth Night 4 Igor Yasulovich in Boris Godunov ‘Magical...[with] a degree of empathy 5 Alexander Lenkov in Boris Godunov that is almost heartbreaking.’ The Guardian 6 Alexander Feklistov in Boris Godunov 7 Anya Khalilulina in Boris Godunov 8 Ilya Iliin in Boris Godunov ‘as close to undiluted pleasure as this Opposite: Igor Yasulovich in Twelfth Night ambiguous old world allows.’ New York Times Past Productions

1981 The Country Wife Wycherley 1995 As You Like It (revival) Shakespeare 1982 Othello Shakespeare 1996 The Duchess of Malfi Webster 1983 Vanity Fair * Thackeray 1997 Out Cry * Tennesse Williams 1984 Pericles Shakespeare 1998 Much Ado About Nothing Shakespeare 1985 Andromache * Racine 1999 Le Cid **** Corneille 1985 A Midsummer Night’s Dream Shakespeare 2000 Boris Godunov ** Pushkin 1985 The Man of Mode Etherege 2002 Homebody/Kabul * Kushner 1986 The Cid * Corneille 2003 Twelfth Night ** Shakespeare 1986 Twelfth Night Shakespeare 2004 Othello Shakespeare 1987 Macbeth Shakespeare 2005 Three Sisters ** Chekhov 1988 A Family Affair * Ostrovsky 2006 The Changeling Middleton & Rowley 1988 Philoctetes Sophocles 2007 Cymbeline Shakespeare 1988 The Tempest Shakespeare 2008 Troilus and Cressida Shakespeare 1989 The Doctor of Honour Calderon 2009 Andromaque *** Racine 1989 Lady Betty * Donnellan 2010 Macbeth Shakespeare 1990 Sara * Lessing 2011 The Tempest ** Shakespeare 1991 Hamlet Shakespeare 1992 As You Like It (revival) Shakespeare * British première 1993 Don’t Fool With Love de Musset ** Produced by Chekhov International Festival in association with Cheek by Jowl 1993 The Blind Men * de Ghelderode *** Bouffes du Nord in association with Cheek by Jowl 1994 Measure for Measure Shakespeare **** An Avignon Festival production Camille Cayol in Andromaque (2009) Photo: Keith Pattinson Since 1981 Cheek by Jowl has performed in…

Aberdeen, Accrington, Adelaide, Aldeburgh, Aldershot, Alexandria, Alkmaar, Almagro, Kortrijk, Krakow, Kuala Lumpur, Kyoto, Lagos, Lahore, Lancaster, Langholm, Leeuwarden, Ambleside, Amersfoort, Amiens, Amstelveen, Amsterdam, Ankara, Ann Arbor, Antwerp, Leicester, Leiden, Leighton Buzzard, Lichfield, Lille, Lipetsk, Lisbon, Liverpool, Ljubljana, Apeldoorn, Arizona, Armagh, Arnhem, Assen, Athens, Aversham, Avignon, Aylesbury, Bacup, Llantwit Major, Lochgelly, London, Los Angeles, Loth, Loughborough, Louviers, Lowestoft, Banbury, Bangalore, Bangor, Barcelona, Barrow, Barton upon Humber, Basildon, Basingstoke, Ludwigshafen, Luton, Luxembourg, Lyon, Maastricht, Madras, Madrid, Maidstone, Manchester, Bath, Bedford, Belfast, Belgorod, Belo Horizonte, Bergen Op Zoom, Berkeley, Berlin, Beziers, Market Drayton, Marseilles, Melbourne, Meppel, Mexico City, Meylan, Middelburg, Milton Biggar, Billericay, Birmingham, Blackpool, Blois, Bogota, Bombay, Bordeaux, Boston, Bourges, Keynes, Moffat, Montevideo, Moscow, Munich, Namur, Nancy, Neerpelt, Nelson, New York, Bourne End, Bracknell, Brasilia, Bratislava, Breda, Brétigny-sur-Orge, Bridgnorth, Bridgwater, Newcastle, Newtown, Nijmegen, Norwich, Oldham, Omagh, Ormskirk, Oslo, Oswestry, Oundle, Brighton, Brisbane, Brno, Broadstairs, Bronte, Brussels, , Buckingham, Budapest, Oxford, Paris, Pendley, Perth, Peshawar, Petit-Quevilly, Phoenix, Pilsen, , Plymouth, Porto, Buenos Aires, Builth Wells, Burton Upon Trent, Bury St Edmunds, Buxton, Caen, Cairo, Calcutta, Porto Alegre, Portsmouth, Prague, Preston, Princes Risborough, Princeton, Pushkinskie Gory, Cambridge, Canterbury, Caracas, Carlisle, Cergy, Châlons-en-Champagne, Chartres, Recife, Recklinghausen, Redhill, Reims, Rennes, Reykjavic, Richmond, Riga, Rio de Janeiro, Cheltenham, Chelyabinsk, Chertsey, Chicago, Chichester, Chipping Norton, Cleethorpes, Cluj, Roermond, Rome, Roosendaal, Rotterdam, Rugby, Runcorn, Ryazan, St Andrews, St Austell, Colchester, Coleraine, Cologne, Colombo, Copenhagen, Coventry, Craiova, Crawley, Créteil, St Petersburg, Salford, Santiago de Chile, San Sebastian, Sao Paulo, Sceaux, Scunthorpe, Crewe, Croydon, Cuyk, Darlington, Delhi, Den Bosch, Den Haag, Derry, Dhaka, Dilbeek, Seoul, Shanghai, Sheffield, Shizuoka, Shrewsbury, Singapore, Sittard, Skegness, , Doetinchem, Drachten, Dublin, Dudley, Dumfries, Dundee, Durham, Dusseldorf, Eastbourne, Southampton, Southport, Stadskanaal, Stafford, Stamford, Stevenage, Stirling, Stockholm, Edinburgh, Ekaterinburg, Ellesmore, Epsom, Erlangen, Evesham, Evreux-Louviers, Exeter, Stoke on Trent, Stranraer, Strasbourg, Stratford-upon-Avon, Stratton on Fosse, Strombeek- Fareham, Farnham, Frankfurt, Frome, Gainsborough, Gap, Gatehouse, Geneva, Gerona, Bever, Sudbury, Sutton, Sydney, Taipei, Tallin,Tampere, Tamworth, Taormina, Taunton, Tel Aviv, Glasgow, Gorinchem, Grenoble, Grimsby, Groningen, Great Yarmouth, Guildford, Gutersloh, Telford, Tewkesbury, Thame, Thessaloniki, Thornhill, Tokyo, Tolworth, Torrington, Tours, Haaksbergen, Haarlem, Haifa, Halesowen, Harderwijk, Harlow, Hasselt, Helmond, Helsinki, Tunbridge Wells, Turin, Turnhout, Tyumen, Uppingham, Utrecht, Valence, Valladolid, Valletta, Hemel Hempstead, Hereford, Heusden-Zolder, Hexham, High Wycombe, Hilversum, Hong Kong, Varna, Venlo, , Voronezh, Wakefield, Wallingford, Warminster, Warsaw, Warwick, Hoogeveen, Hoorn, Horsham, Hounslow, Huddersfield, Hull, Ipswich, Irvine, Islamabad, Istanbul, Washington, Wellington, Wells, Whitehaven, Winchester, Windsor, Withernsea, Wolverhampton, Jerusalem, Kandy, Karachi, Keswick, Kathmandu, Kidderminster, King’s Lynn, Kirkcudbright, Worthing, Wuerzburg, Yalta, Yerevan, York, Zaragoza, Zurich, Zutphen and Zwolle. In 2001 the Chekhov Festival was held at the One of the most distinctive features of the same time as the World . An Chekhov Festival was that it sponsored co- experimental stranded was included in addition productions with foreign directors and Russian to the traditional program of Russian and foreign actors in association with other international theatre alongside two programs presented by organizations. Valery Fokin and Anatoly Vasiliev in the newly built facilities: the Meyerhold Centre and the The Chekhov Festivals is also a space for Theatre School of Dramatic Art. The Festival also exchanging ideas and experiences: meetings featured an extensive program of international with artists, round-tables, readings of plays. The First Chekhov International Theatre not excluded from the international art scene. street theatre, with Slava Polunin as artistic Since its foundation Peter Brook, Ariane Festival was held in autumn 1992, which was I like to believe that the International Theatre director. The very fact that the International Mnoushkine, Peter Stein, Otomar Krejca, not the easiest time for Russia. The decision to Festival will become a tradition, a joyful event Committee for Theatre Olympics chose Giorgio Strehler, Theodoros Terzopoulos, hold the Festival at such a time was expressed for all those who love theatre.’ Moscow as its venue attested to the recognition Patrice Chereau, Andrey Shcherban, Declan by its President, Kirill Lavrov: of Moscow as a major center of the Festival Donnellan, Eimuntas Nekrosius, Tadashi In the 15 years of its history the Festival movement, which happened largely owing to Suzuki, Heiner Goebbels, Matthias ‘No matter how hard and troubled our life is, we has undergone considerable changes. In the successes of the previous Chekhov Festivals. have no right to give way to despair, to lose our the beginning, its program was focused on The geography of the Fifth and Sixth Chekhov will for creativity. I am firmly convinced that this internationally renowned theatre artists: Festivals expanded to include Asia and Latin is the right time to start a Festival; we can’t be Peter Brook, Giorgio Strehler, Peter Stein, America - Japanese and Brazilian seasons were waiting for better times to come. This Festival Otomar Krejca. In 1994 the Festival presented both held within the framework of the Festival. is hugely important. It testifies to our resolve the first of what would become eleven to live in a cultural cosmos with no frontiers. performances by Declan Donnellan. The The Seventh Chekhov International Theatre The Russian theatre - the theatre of Anton and Third Festival already included the work of Festival, which was held in Moscow from May Mikhail Chekhov, Stanislavsky, Meyerhold, directors little known to Russian audiences: 30 to July 29 2007, theatre art was represented Vakhtangov -once enriched the world with a Ariane Mnoushkine, Robert Wilson, Christoph by a range of shows – circus and drama, dance wealth of fruitful ideas. But, for reasons only Marthaler, Krystian Lupa, Tadashi Suzuki and and opera – in both traditional and cutting-edge too well known, for many decades Russian some others. The Festival was also enriched styles. The main event of the Festival was the theatre was excluded from the global evolution by the inclusion of other artforms: opera, presentation of productions by the outstanding of the performing arts. We in Russia had always ballet and the performances of the Zingaro Canadian director Robert Lepage. The Festival been painfully aware of this injustice and our Equestrian Theatre. also included productions staged by Pina best artists had done their best to counteract it. Bausch (), Philippe Genty (France), So even behind the ‘iron curtain’ Moscow was Matthew Bourne and other well-known directors. Langhoff, Krystian Lupa, Alexander Morfov, contained productions ‘after Chekhov, about For Cheek by Jowl Stefan Moskov and others, including the Chekhov, to Chekhov’. Fifteen of these most outstanding Russian directors, have productions were co-produced by the Festival participated in these events. and Russian and foreign directors and theatres. Among them were performances The Eighth Chekhov International Theatre directed by Frank Castorf, Mats Ek, Gerardo Festival took place in Moscow between May Vera, Josef Nadj, Wajdi Mouawad, Nacho Artistic Directors Declan Donnellan, Nick Ormerod 26 and August 2, 2009. Duato and the others. In 2010 Declan Executive Director Griselda Yorke Donnellan was made President of the Tours Producer Anna Schmitz This Festival was significant for two reasons: it Chekhov International Theatre Foundation. Assistant Producer Hannah Proctor focussed on France and its program featured UK Press Agent Sharon Kean at Kean Lanyon theatre and circus shows staged by the most The next Chekhov Festival will be held Graphic Design Eureka! Design Consultants, London interesting foreign companies, including those in Moscow in Summer from May 25 to July Work Placements Olivia Amory and Edward Fortes from France, in the style of Nouveau Cirque. 31, 2011. Directors of Cheek by Jowl Other events included productions by directors Sophie Hamilton (Chair), Jane Reid, John Scott-Moncrieff, that are familiar to and much admired by the Sameer Pabari, Emma Stenning, Tim Stockil, Nicola Thorold Russian public. These include Bartabas and his Théâtre Equestre Zingaro, Daniele Finzi Pasca, Cheek by Jowl Philippe Genty, Robert Lepage, Pina Bausch, Barbican Centre, Silk Street, London EC2Y 8DS Mathew Bourne, James Thierree, Jean-Baptiste Scottish Charity No: SCO13544 Thierrée, Victoria Chaplin. They presented new or renewed stagings.

Asian theatre was represented by the ‘Bunraku’ company of , the National Guo Guang Opera Company of China and the unique ‘Cloud Gate Dance Theatre of Taiwan’.

The Ninth Chekhov International Theatre Festival was dedicated to the 150th Cheek by Jowl gratefully acknowledges support from Arts Council England. anniversary of Anton Chekhov, its program Cheek by Jowl is proud to be an Artistic Associate at the Barbican.