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Home , Akenfield, Bianca Amato, Charlotte Parry, John Leguizamo, Robert Petkoff, Sam Waterston

April 2006 2006 Spring Season

Clayton Brothers, SptInf TIme Fmh, (detail) 2006

BAM 2006 $prI1II Seaon Is sponsoted by: Bloomberg ENCOREThe Performing Arts Magazine I ~AMbili Contents April 2006

Village Voice Critics' Fave 2005 Films BAMcinematek's annual Village Voice Film Critics Poll series Film review excerpts 26

Kammer/Kammer A Q&A with choreographer

William Forsythe 28 Kammer/Kammer Photo: Armin Linke BAM/Restoration DanceAfrica Ensemble Celebrating its tenth anniversary by Indira Etwaroo 30

Program 37 Upcoming Events 47 BAM Directory 48

BAM/Restoration DanceAfrica Ensemble Photo: Jack Vartoogian

Cover Artists

Rob and Christian Clayton grew up in Aurora, CO, and graduated from Center College of Design in Pasadena, CA in 1988 and 1991. Both concurrently served on the faculty at Art Center and now lecture worldwide. Their book, The Most Special Day of My Life, was published by La Luz de Jesus Press in 2003. In 2004, the Clay tons exhibited with Mackey Ga llery in Houston, TX and at Art Statements, Art Basel Miami Beach. Their work is in many public collections including The Madison Museum of Contemporary Art (Madison, WI) where their installation Tim House will be on view in April, 2006. The Clayton Brothers' next solo exhibition will be at Bellwether (New York) in May 2006. Rob and Christian Clayton are brothers and collabora­ tors, and the best of friends. Collectively they work as the Clayton Brothers, Cover: Clayton Brothers, producing dynamic, improvisational, yet purposeful and humane paintings, Rob Clayton and Christian Clayton installations and mixed-media works on paper. The Clayton Brothers' Spring Time Fresh, 2006 Mixed media on canvas approach to art-making is a collaborative process: one brother begins a 60" x 84" painting, then hands it off to the other, then back again, and so on. Their art is narrative, autobiographical, uncanny, and intuitive, CUlled from the secret Proceeds from the sale of this work benefit BAM. For information on this language of shared childhood and sprinkled with the sour irony of truth. and other BAMart offerings, contact Rath er than nostalgic musings about youth, the Clayton Brothers' recollec­ Neil Freeman at 718.636.4101 or tions of the past are revealed through the tainted lens of adulthood. Th eir [email protected] images speak through illuminated memories; visual vernaculars lifted from folklore, mythology, urban legend, sound bytes, and info-graphics. 25 Village Voice Best of 2005

BAMcinematek presents Village Voice: Best of 2005, April 6- 23, a series of selections from the prestigious The Village Voice Take 7 Film Critics Poll, The weekly newspaper's annual poll enlists film critics from across the country to pick the best films of the year plus outstanding undistributed works, Following are excerpts of selected reviews by Voice critics, Full info & schedule at BAMorg

Funny Ha Ha , dir, Andrew Bujalski, Apr 7 Most of the ha-ha's in Funny Ha Ha are not exactly funny: Andrew Bujalski's debut feature is foremost a squirming comedy of recognition, This Boston ultra-indie-which Bujalski wrote, directed , edited, and co-starred in-slouches through the blurry limbo of post-collegiate existence, a period at once ephemeral and cruelly decisive, It opens with 23-year-old heroine Mamie (Kate Dollenmayer) stumbling into a tattoo parlor, where the proprietor refuses to ink her because she's plastered, This movie about the fear of the permanent-and the barely conscious, unwittingly reckless processes behind life-altering decisions-might be subtitled The Possibly Indelible Adventures of a Desultory Twentysomething, Shot on 16mm in an unassuming pseudo-verite, Funny Ha Ha is less offhand than it first appears, '" A movie full of goofy-cute people conducting profoundly casual and casually profound conversations littered with dangling sentences and pockets of dead air, it's seemingly designed to elicit a collective c'est moi from twentysomething hipster enclaves across the country, But Bujalski doesn't just reproduce the halting, roundabout patterns of actual talk-he has a keen ear for the defensive and passive-aggressive uses of inarticulate speech, "Bujalski's film thrums with ambivalent dread-underlying the characters' inert indecision is a reluctance to let the rest of their lives begin , not least for fear that it might prove an undifferentiated haze, The final scene is as close to perfection as any Amerindie has come in recent memory-in a single reaction of Mamie's, we see a small but definite shift in perspective; abruptly, Bujalski stops the film, as if there's nothing more to say, It's a wonderful parting shot for a movie that locates the momentous in the mundane, - Dennis Lim

The Intruder, dir. Claire Denis, Apr 8 Claire Denis' tactile tone poems are premised on the primacy of sensory experience " , Her latest feature, The Intruder, is a decisive breakthrough-her most poetic and primal film to date, as thrilling as it is initially baffling, '" Denis claims as inspiration French philosopher Jean-Luc Nancy's L'lntrus, an account of his heart transplant that ponders the existential implications of this corporeal intrusion, Denis, more intuitive than analytical, applies the text's pungent sense of internal foreignness-along with its push-pull of encroachment and rejection- not just to the human body but also to the natural world, border crossings, post-colonial dynamics, fathers and 26 Village Voice Best of 2005

sons. For what is essentially an adaptation of a metaphor, The Intruder is almost shockingly concrete. Its intractable physica lity owes much to Michel Subor, a man's-man presence in the lead role, and the imposing landscapes in which he's often framed. A weathered recluse, Subor's Lou is lives with his beloved huskies in a mountain cabin near the Franco-Swiss border. Nancy terms his transplant a "metaphysical adventure"-and the phrase perfectly describes Denis' film as well. With a new ticker, Louis escapes to the other side of the world, in search of a new life-or a place to die. The Intruder imagines the post­ transplant condition as a simultaneous rebirth and afterlife .... The title most obviously refers to Louis' grafted organ, a stranger within, but also to the dreams that come with it- hauntings that invade his consciousness so completely that we and he can no longer tell the difference . ... Cinematographer Agnes Godard ensures that almost every image leaves a retinal imprint.. This mysterious object may be Denis' most gorgeous film (which is saying something), but more than that, it's a fearless filmmaker'S boldest experiment yet, a direct line from her unconscious to yours . - Dennis Lim

Far Side of the Moon dir. Robert Lepage, Apr 12 An inventive adaptation of a one-man stage play into a lavish, hi-def, big-screen production, the fifth feature from actor-playwright-director Robert Lepage is easily his best since his masterful debut, Le Confessional. Far Side of the Moon is likewise set in his hometown of Quebec City, but rather than piling on the Hitchcock references, Lepage offers a sly, semi-autobiographical lesson in the motion of bodies, on and above the Earth . Employing plenty of the director's signature seamless pans across time and space, Lepage lyrically fuses childhood memories with present-day sibling riva lry, archival footage with crisp video. Far Side of the Moon is also the first time filmmaker Lepage has directed the actor Lepage, and here he even stars as brothers .... Both brothers are obstinate in equa l measure-Philippe, though, is a cancer survivor, and hence more bitter-and Lepage patiently brings the two mirror-image narcissists in line, like planets on parallel orbits. Reworking his own raw material, Lepage spins a rich, moving film that acknowledges humanity's power to break out of Earth's daily gravity; in the process, he leaves audiences floating. - Mark Peranson

Land of the Dead , di r. George Rome ro, Apr 13 Where chaos reigned in Night of the Living Dead, Land of the Dead shows an institutionalized disaster. A mindless zombie underclass controls the countryside. The super-rich are holed up in gated high-rises while a demoralized service class huddles in shanty slums, venturing out to the dead zone to loot provisions from the stenches (whom they distract with firework displays). A few loudmouths talk revolution; then, led by an "evolved" corpse, the stenches march on the city ... . Set almost entirely at night and accompanied by a clanking industrial score, Land of the Dead is populated by an urgent gaggle of posturing loudmouths-notably John Leguizamo, Dennis Hopper, and Asia Argento-all of whom are upstaged by the reproachful horde of zombie extras and their anguished leader, Eugene Clark. Far stronger than Spielberg's post- 9!ll War of the Worlds, against which it opened in early summer, Romero's post-apocalyptic vision only came into its own with Hurricane Katrina. Suddenly, the movie's images of fire, flood , looting, evacuation, and shortages were abundantly present in Bush's America-if not yet the exploding heads and gooey entrail-chawing. Watching CNN, it was impossible not to appreciate Romero's warning that the fantasy of social cohesion is the first victim of catastrophe. - J. Hoberman 27 Kammer/Kammer

Q&A with choreographer William Forsythe, The Forsythe Company, about Kammer/Kammer

Rebecca Groves, dramaturg, The Forsythe Company: A chaotic scene is already underway when the audience enters the theater in Kammer/Kammer. The space-haphazardly strewn with moveable walls, painted flats and video equipment-appears to be a rehearsal studio, film set, and performance stage all in one. Dancers practice moves and improvise. Tony Rizzi runs around joking and chatting up the audience. What is the purpose of all this stage activity before he announces, "Curtain, up!"? William Forsythe: What seems in the opening scene to be unrehearsed chaos is actually a very calculated set-up. Its casua lness in terms of the performers' demeanor and the disorder of the stage space invites the audience to let down their defenses so that they can later be caught off guard. While making Kammer/Kammer I was reading a collection of writings by Anne Carson in which she describes metaphor as error. Th inking about mistakes, I wanted the audience to misread the tone of the performance right off the bat. Once they have warmed up to the apparent casualness in the opening scene, they can be confronted by the hyper-consciousness of the spoken texts and receptive to them in a different way than if we had started the show in a more serious tone. The fact that this is very similar to strategies of seduction is not at all coincidental.

RG: The piece is constructed from two literary texts by Anne Carson and Douglas Martin and a video work by Martin Schwember. How did these three different source materials come together? WF: I found the Douglas Martin text first. I wanted to make a project for Tony Rizzi and started by looking for a text for him to perform. Martin's Outline of My Lover is an autobiographical account of his failed love affair as a young man with a famous rock star that was perfectly suited for Tony's talent as a performer. In the introduction to Martin's book I came across a quote from Anne Carson, whom I hadn't yet read. As it was such an intriguing quotation, I went to the bookstore and picked up Men In The Off Hours in which I found "Irony is not enough: Essay on my life as Catherine Deneuve (2nd draft),'. This text by Carson shares a lot of the same imagery that had struck me in Outline of My Lover: hotel rooms, snow, lovers in Paris, visionary imaginings. The poetic language and the fun of quasi-impersonating Catherine Deneuve was ideal for Dana Caspersen to play. Also, the main character is a classics professor (as is Anne Carson) who styles herself as a contemporary Socrates in her teaching and self­ questioning. The darker side of the Deneuve character's identification with Socrates corresponds to Martin's text. Martin's lover's complaint depicts the older rock star as a corrupter of youth, which was

28 Kammer/Kammer exactly the charge brought against Socrates by the leading public figu res of Athens . Although in Carson's text it is the teacher who gets burned by the student, the power imbalances between wisdom/fame and youth are constantly in play.

The video by Martin Schwember came in accidentally-you're not always looking for everything that you find. Schwember was an art student in Frankfurt at the time, whom I met while he was working on $chmalclub at the TAT, a performance space. He had made the film First Touch as his final project for his arts degree and he wanted me to see it. It enacted a scene of desire and metaphor of love . Apparently Schwember had always wanted to play the viol in , but his parents never allowed him to take lessons. So in this art school assignment he filmed himself in a hotel room tenderly unpacking a violin and su rreptitiously playing it for the first time. Of course, this untrained musical attempt produces cascades of dissonance, but it's full of desire and tenderness. By setting this scene in a hotel room, the film foregrounds all of the connotations of inexperience and unrequited love. In love, every time it begins, we suffer from inexperience in the face of that sca ry unknown thing. Coincidentally, Carson's text also begins in an imaginary hotel room attesting to the difficulties of beginning. She writes, "Beginnings are hard ... Deneuve usually begins with herself and a girl together in a hotel room. This is mentaL"

RG: Carson's story makes a comparison between systems of currency and relations of love. How do you elaborate this metaphor in the performance of Kammer/Kammer? WF: The Catherine Deneuve/professor/narrator character introduces herself giving a seminar on Athenian monetary reform during the reign of Solon. We learn that the new currency introduced by Solon in ancient Athens had a symbolic va lue different from the commercial va lue of the metal of which the coin was made. Carson uses the fiscal metaphor to introduce the theme of non-correlation between surface and depth in love. The Deneuve character's surface demeanor is opposed to her fantasy life in which she is romantically obsessed with a student in her class. This psychological tensi on between the relative va lu es of legible surface'af'ld hidden depth is also explored in the staging of Kammer/Kammer in the opposition betWeen what is displayed on the video monitors and what is presented on the stage itself.

RG: Kammer/Kammer is perhaps more of a theatrical piece than a choreographic one. What is the role of the dance sequences in the context of this performance? WF: There is a poignant line at the beginning of Carson's text that introduces the distinction between mental fantasy and reality: "Meanwhile the body persists." For all we say about the ethereality of emotions, they res ide entirely in the body. The 'mattress trios' are the physical expression of emotional turmoil. The performance cuts to these scenes from time to time and frames them with the video design. Sometimes they are only visible through cracks in the walls. They feel like a perpetual stream of physical connections and avoidances going on in the background without beginning or end . ,.

Kammer/Kammer will be performed in the BAM Howard Gilman Opera House from May 2-6. For more of this interview, visit BAM. org. 29 DanceAfrica

Ten Years Young: BAM/Restoration DanceAfrica Ensemble by Indira Etwaroo

"Like this we dance to the limits of the universe." -Masisi Kunene, South African poet

Dressed in vibrant gold and pu rpl e African robes , in 1997 more than 75 students danced onto BAM's Opera House stage and captured the hearts of BAM's DanceAfrica audience. For ten yea rs, Bedford Stuyvesant Restoration Corporation and BAM have collaborated on an unprecedented partnership between a major cultural institution and a community development organization. The collaboration has given more than 3,000 students the opportun ity to immerse themselves in the performing, visual, and literary arts and cu ltural histories of the nati ve countries of DanceAfrica's guest companies, which va ry from year to year. Facilitated by BAM's Department of Education and Humanities and Bedford Stuyvesant Restoration Corporation's Youth Arts Academy, this collaboration offers students di rect engagement with world class performing and visual artists. For five months leading up to the DanceAfrica festival, chi ldren and young adults from Restoration participate in a comprehensive humanities-based curricu lum that includes workshops, lecture/demonstrati ons, field trips, art exhi bits, and special events. In add ition, the stu dents work closely with the DanceAfrica Council of Elders, which adds an intergenerational component to the experience, very much in the African tradition.

With endless energy, exuberant movements, and beautiful faces that light up the stage, the BAM/ Restoration Dan ceAfrica Ensemble-always a crowd favorite-has interacted and performed with dance companies from allover the world , inclu ding IWISA Music and Dance Company (Z imbabwe, 1998), Mizizi (Kenya, 1999), Genies Noirs (Benin, 2000), Nd ere Troupe (Uganda, 2001), Ballet Folclorico Cutumba (Cuba, 2002), Resurrection Dance Theater of Haiti (2003), Ni i Tettey Tetteh and The Kusun Ensemble (Ghana, 2004), L.:ACADCO: A Caribbean Dance Force (Jamaica , 2005), and Peru Negro (Peru, 2006). In January 2006, senior members of the BAM/Restoration Ensemble (some, now seventeen, sta rted dancing in the festival at seven yea rs of age) participated in an oral history project to commemorate, document, and celebrate thei r history within the 29 yea r-old DanceAfrica festival. Th is fittingly resonates in this year's theme Legacy: African Dance in Our World. When asked to describe themselves in one word, 'determi ned,' 'free,' and 'hopeful' are words three dancers provided. Certain ly,

30 DanceAfrica

these words deeply resound with the African spirit that has guided centuries of communication and expression from the Motherland. In celebrating the tenth anniversary of this collaboration, these three concepts remain at the heart of the BAM/ Bedford Stuyvesant Restoration Corporation partnership.

DanceAfrica founder and artistic director Baba Chuck Davis, who has been the inspiration and guiding force for th is program, has characterized this educational partnership as "inreach" because of the way it resonates with the loca l community, making it an integral part of th e DanceAfri ca festival. During the festival, community is at its finest-young dancers who perform on BAM's mainstage alongside a visiting dance company or to honor a select member from the DanceAfrica Counci l of El ders; an art installation in the African Sculpture Garden (located across Lafayette Avenue) where visual art students construct life-sized sculptures of dancers, drums, and other cultural artifacts made from wood, textu red with paper mache, and painted a vibrant array of colo rs ; young drummers who beat out complex rhythms on their djembes in awe-inspiring polyrh ythms. Following the Sunday matinee performance, approximately 100 you ng dancers dance in front of the Peter Jay Sharp Building where the breadth of Lafayette Avenue becomes their stage.

Behind the scenes, however, the communal heart beats the strongest. Look beyond the stage's wings to find parents ironing more than 100 costumes; lugging gallons and gallons of water and refreshments for rehearsals; picking up children following a late evening rehearsal or performance; pulling splinters and taping blisters; and clapping with thunderous applause for not just their own children, but for all the performers.

It has been with delight and maybe a bit of awe that we have watched these young people grow, just as we have watched the BAM/ Bedford Stuyvesa nt Restoration Corporation partnership evolve in the tradition of DanceAfrica. So when we hear the drum beat and the patter of little (and not so little) feet, we know-as we've known for the last ten years-that they dance to the very limits of the universe. In the words of Baba Chuck Davis at the 1997 DanceAfrica Festival, "This isn't a one-time thing. This collaboration is here to stay." Ashe! ~

Indira Etwaroo is BAM Project Director of the BAM/Bedford Stuyvesant Restoration Corporation Partner­ ship and Assistant Director, Department of Educa tion and Humanities at BAM. 31 2006 Spring Season

Brooklyn Academy of Music

Alan H. Fishman William I. Campbell Chairman of the Board Vice Chairman of the Board

Karen Brooks Hopkins Joseph V. Melillo President Executive Producer presents The Importance of Being Earnest By Oscar Wilde

Approximate BAM Harvey Theater running time: Apr 18-22, 25-29, May 2-6,9-13,2006 at 7:30pm two hours and Apr 22 & 29, May 6 & 13 at 2pm; Apr 23 & 30, May 7 & 14 at 3pm 30 minutes, including one Royal Bath/ Company intermission and Directed by Sir Peter Hall one pause Producer Danny Moar for Theatre Royal Bath Associate director/Producer Trish Rigdon Production design by Kevin Rigdon and Trish Rigdon Sound design by Rob Milburn and Michael Bodeen Casting Deborah Brown General management/Tour marketing & press CAPA Produ ction stage manager John McNamara Company manager/Assistant stage manager Brian J. L:Ecuyer

BAM 2006 Spring Season is sponsored by Bloomberg.

Leadership support for BAM Theater is provided by The Fan Fox and Leslie R. Samuels Foundation, Inc.; The Shubert Foundation; and The Gladys Krieble Delmas Foundation. Additional support for BAM Theater is provided by the Harold and Mimi Steinberg Charitable Trust; Francena T. Harrison Foundation Trust; Billy Rose Foundation, Inc.; and the Rose M. Badgeley Residuary Charitable Trust.

IN:NYCR Card from American Express is the presenting sponsor for BAMfans young donors club.

BAM thanks . 33 The Importance of Being Earnest

Cast Lane James A. Stephens In order of Algernon Moncrief! Robert Petkoff appearance Jack Worthing James Waterston Lady Bracknell Gwendolen Fairfax Bianca Amato Miss Prism Miriam Margolyes Cecily Cardew Charlotte Parry Reverend Canon Chasuble Terence Rigby Merriman Geddeth Smith Footman Greg Felden

Understudies For Lady Bracknell / Miss Prism: Margaret Daly For Algernon Moncrief! / Jack Worthing / Merriman: Greg Felden For Gwendolen Fairfax / Cecily Cardew: Diane Landers For Reverend Chasuble / Lane: Geddeth Smith

The Scenes of Act I Algernon Moncrieff's Flat in Half Moon Street, W. the Play Act II The Garden Room at the Manor House, Woolton Act III Morning-Room at the Manor House, Woolton

Time-1890s The Importance of Being Earnest

Oscar Wilde and The Importance Of Being Earnest

by Sir Peter Hall

The Illustrated Police Journal in June 1895 noted that Oscar Wilde might have become "as great as Shakespeare .... " It nonetheless concluded that his destruction was in the public interest: "if the moral to be drawn from Wilde's downfall and fate only deters others from following in the same line, the law will at least be revenged and the public satisfied. " Presumably they were.

Oscar Wilde's obituary in The Times found that all his work had the same qualities-"a paradoxical humor and a perverted outlook on life being the most prominent." Solitary confinement in Reading Gaol and eight hours a day on the treadmill soon destroyed Wilde. After three months his health was broken -this was the treatment for homosexuals in Britain just over a century ago.

Never was an author's phi losophy of compassion more cruelly tested by the punishment he was forced to endure. He clung desperately to his belief in love and forgiveness and avoided-just-the bitterness that could have afflicted lesser men. His courage was incredible.

And it is this spirit that continues to attract audiences. To Wilde, care and understanding were integral parts of love. So was tolerance and so-above all-was self-sacrifice. Far from finding his plays "perverted," the public from the first enjoyed his critical mockery of society and his ability to show up hypocrisy.

All Wilde's characters are extravagantly emotional and are naturally egocentric. But they never, never show their feelings: that would be fundamentally un-English . So they utter witticisms instead. The more emotional they become, the more they cover their feelings with extravagant wit. It is a type of English "stiff-upper-lip," and it informs all of Wilde's theater. Beneath the wit there is always an intense emotional reality. And if the actor doesn't create that reality every night, then the plays may look facetious, even pointless: as if the actor has only one function-to stand on the stage and utter witticism after witticism and obscure what the play is really about.

This defense by wit is of course abundant in Wilde's surrealistic masterpiece The Importance of Being Earnest. It is a completely original farce. There is no play like it in English before nor (thanks to our brutal treatment of its author) is there any play li ke it after. It looks at Society and particularly the material excesses of the market in young girls with an unblinking eye. The is tough and the criticism merciless. But it is offset with a sense of the absurd which might well have come straight from Edward Lear or Lewis Carroll.

Where would Wilde have led us had he been able to go on writing? Perhaps into realms of the absurd where lonesco and even Beckett might seem restrained.

The Importance of Being Earnest has a plot which is fantastic and it is shown by a series of events which are emotionally alarming. Is it comedy? Or is it farce? Is it melodrama or is it-like all the other major Wilde plays-a social drama? Truth to tell , it defies category. It is a masterpiece which heralds the coming of surrealism- which I would define as the representation of reality at such a high pitch that it becomes more than real as it verges on the absurd. But when the laughter subsides we are left with Wilde's humanity and warmth. And it is the warmth more than the wit that still ensures the popularity of his plays. It is good to spend an evening with an author so markedly generous and whose sense of the ridiculous is so extreme that it prevents him ever being sentimental.

Pinter on Speech "The speech we hear is an indication of what we don't hear. It is a necessary avoidance, a violent, sly, anguished or mocking smoke-screen which keeps the other in its place ... One way of looking at speech is to say it is a constant stratagem to cover nakedness." - Who's Who

Osca r Wilde was born in 1854, the son of a the South Bank. Prominent productions for the celebrated ear surgeon and an Irish nationalist NT included Pinter's No Man's Land (with John mother who wrote poetry and literary tracts. Gielgud and ); Tamburlaine Educated at Trinity College Dublin and Magdalen the Great with Albert Finney; Bedroom Farce by College Oxford , he was a brilliant student ; 's Amadeus with whose early poems were quickly published. ; Aeschylus' Oresteia; and Antony Wilde became a leading light in the Aesthetic and Cleopatra with and Anthony Movement- a romantic reaction against the Hopkins. In 2002 he returned to the RNT with commonplace art of the period. As his notoriety an acclaimed production of Euripides' Bacchai increased he attended all the best sa lons, and which was also seen on tour in the U.K. and frequently escorted famous actresses of the at the Athens Festival in Epidaurus. He has time including Lily Langtry, Sarah Bernhardt, directed at many of the worl d's lead in g opera and El len Terry. Wilde ea rned a living by writing houses including the Royal Opera House, The reviews and short stories and a successful lecture Metropolitan Opera, Bayreuth (a celebrated tour of America enhanced his reputation as a production of Wagner's Ring Cycle) , Lyric Opera wit. He married Constance Lloyd in 1885 and of , Houston Grand Opera , and Geneva. they had two sons. But soon homosexuality From 1984-90 he was artistic director of became central to his life. In 1891 he began Glyndebourne Festiva l Opera, producing some a relationship with Lord Alfred Douglas whose 20 operas. In 1988 he launched the Peter vindictive and erratic father, the Marquis of Hall Company with productions of Orpheus Queensberry, was to be the cause of Wi lde's Descending with and The tra gic downfall and ultimate imprisonment. Merchant of Venice with Dustin Hoffman. Between 1892 and 1895 Wilde rea ched the The Company has mounted more than 40 height of his success as a playwright. It was hard productions in , New York , Europe, and to believe that by 1900 he would be dead. Australia including a landmark season at including , Waste , and Peter Hall (d irector), in 2003, celebrated . Recent productions have included 50 years as a director. He made his debut at The Royal starring Judi Dench , Lady Windsor in 1953 and was director of the Oxford Windermere's Fan sta rring Vanessa Redgrave Playhouse 1954-55. He ran the Arts Th eatre and Joely Richardson, Mrs. Warren's Profession London 1954-59 where his productions with Brenda Blethyn, Richard Johnson, and included the Engli sh language premiere of , Whose Life is it Anyway starring Beckett's Waiting for Godot, celebrating its Kim Cattrall , and The Dresser starring Nicholas 50th anniversary this yea r. In the 1957-59 Lyndhurst and Julian Glover. In 2003 the Peter seasons he was at Stratford on Avon where his Hall Company gave its first Summer Residency productions included Cymbeline with Peggy at the Theatre Royal Bath where productions Ashcroft, Coriolanus with Lau rence Olivier and included Pinter's ; Coward's Design Edith Evans, and A Midsummer Night's Dream for Living; a rare D.H. Lawrence, The Fight with Charles Laughton. Peter Hall created the for Barbara (directed by Thea Sharrock); Royal Shakespeare Company in 1960 and Shakespea re's ; and Manfridi's opened the RSC's first London home at the Cuckoos in an English version by Colin Teevan . Aldwych Theatre. Productions for the RSC Betrayal transferred to the Duchess Theatre, and included The Wars of the Roses, David Warner's As You Like It was seen on an acclaimed nine­ , The Government Inspector with Paul week tour of the U.S. Also in 2003 Peter Hall Scofield, and premieres of plays by Pinter (The directed a new production of Beckett's Happy Homecoming and Old Times) , Albee, and Simon Days starring Felicity Kendal at the Arts Theatre. Gray. He became director of the Royal National In 2004 the Peter Hall Company returned Theatre in 1973, spending fifteen years with the again to Bath for another Summer Residency. Company and moving it into the new theaters on The season included the rarely seen full-length Who's Who version of Shaw's Man and Superman, and the Other recent awards include the New York world premiere of Timberlake Wertenbaker's Shakespeare Medal and Membership of the Galileo's Daughter. The 2005 Peter Hall Athens Academy in Greece for his outstanding Company Summer Residency included acclaimed contribution to Greek classical drama. In January new productions of Shakespeare's Much Ado 2006, Hall was inducted into the Theater Hall of About Nothing; Shaw's You Never Can Tell Fame in New York in recognition of his lifetime (currently playing in the West End at the Garrick service to the theater. Hall's films for cinema and Theatre) and the 50th Anniversary celebratory TV include Work is a Four Letter Word (1968), production of Beckett's Waiting for Godot. In A Midsummer Night's Dream (1969), Three into 2003 Peter Hall was appointed director of Rose Two Won 't Go (1969), Perfect Friday (1971), of Kingston, a new theater in Kingston upon (1973), Akenfield (1974, and Thames. In December 2004 he directed an November 2004, in a special 30th Anniversary inaugural season which included his production showing at the NFT), She's Been Away (1989), of As You Like It with Rebecca Hall , Dan Stevens, Orpheus Descending (1990), The Camomile Michael Siberry, and Philip Voss. This production Lawn (1991), and The Final Passage (1996) then toured to the U.S. visiting New York (BAM), His books include Peter Hall's Diaries (1983); Los Angeles, and San Francisco. Peter Hall Making an Exhibition of Myself (1993); The has directed regularly in the U.S. since 1957. Necessary Theatre (1999), and Exposed by the Recent productions there include John Guare's Mask (2000). His latest book, Shakespeare's Four Baboons Adoring the Sun; two productions Advice to the Players , published in America by of Peter Shaffer'S Amadeus; the formation of a TCG, was recently issued in paperback. Peter Hall Shakespeare Company in Los Angeles where is Chancellor of Kingston University and lectures productions between 1999-2001 included regularly on theater both in the U.K. and abroad. , A Midsummer Night's Dream, and , as well as a new Trish Rigdon 's (associate director/producer/ production of for Theater production designer) work with the Peter Hall for a New Audience in New York, also in 200l. Company as associate director includes Much His celebrated production of John Barton's ten­ Ado About Nothing and You Never Can Tell (West hour epic Tantalus was premiered by the Denver End), Man and Superman, Galileo's Daughter, Center for the Performing Arts in association and As You Like It (The Rose at Kingston and with the RSC in 2001 prior to a season at the U.S. tour). Credits as director include Breakfast Barbican in 2002. Peter Hall has directed more at Eight, La Llama (Express Theatre, Houston) ; than 300 major theater productions including 30 The Laramie Project, Antigone, Spike Heels (Rice of Shakespeare's plays, and premieres of plays University, Houston); as assistant director-the by Samuel Beckett, Harold Pinter (nine world 2003 production of As You Like It (Peter Hall premieres), , , Company, Theatre Royal Bath, U.K. tour, and Jean Anouilh, Peter Shaffer, , John U.S. tour); Romeo and Juliet (with Sir Peter Whiting, Simon Gray, David Edgar, and Alan Hall, Ahmanson, Los Angeles); Romeo and Ayckbourn. His upcoming productions in 2006 Juliet (Houston Shakespeare Festival) ; and God's include Coward's Hay Fever starring Judi Dench, Man in Texa s (Stages Repertory, Houston) . As Shakespeare's Measure for Measure, and Alan lighting designer, theater and dance includes Bennett's Habeas Corpus, both of which will be Texas Contemporary Dance Initiative, City Dance seen at the Theatre Royal Bath. A recipient of Company (Miller, Houston 2000-05), and many arts awards and nominations including Chrysalis Dance. As costume designer, theater two (for The Homecoming and and dance includes Waiting for Godot, Much Ado for Amadeus) and an Olivier Award for Lifetime About Nothing, Man and Superman, Galilieo's Achievement in 1999, Peter Hall was Knighted in Daughter, Don Juan (Peter Hall Company, 1977 for his services to the British Theatre. Theatre Royal Bath); Open House/Open Book Who's Who

(Rice University with Choreographer Stephen nominations, seven Joseph Jefferson Awards, two Koplowitz); and Chrysalis Dance Company. American Theatre Wing Design Awards , and the As assistant lighting designer, theater includes Dramalogue Award. Rigdon is professor of design One Flew Over the Cuckoo's Nest (Broadway, at the University of Houston. Barbican , and Steppenwolf, Chicago); (off-Broadway, ); Rob Milburn & Michael Bodeen 's (sound Topdog/Underdog (Steppenwolf Theatre/Alley designers) Broadway credits include music Theatre co-production Houston and Dallas) ; com position and sound for One Flew Over the The Goat, Of Mice and Men, As Bees in Honey Cuckoo's Nest and The Speed of Darkness, Drown, Comedy of Errors (Alley Theatre, music for My Thing of Love and sound for A Houston) ; Lemonade (Alley, Houston , off­ Year with Frog and Toad , Ma Rainey's Black Broadway). Rigdon holds a Master of Fine Arts Bottom, Hollywood Arms, King Hedley II, Buried in Theatre from University of Houston and is the Child, The Song of Jacob Zulu , and The Grapes Director of Theatre at Rice University, Houston of Wrath. Off-Broadway credits include music where she teaches acting, directing, and design . and sound for Boy Gets Girl, Red , Space, and Marvin 'S Room. They have created music and Kevin Rigdon 's (production designer) credits sound at many of America's resident theaters include the Peter Hall Company productions of (often with Chicago's Goodman and Steppenwolf You Never Can Tell , Waiting For Godot, Much ) , Comedy Theatre in London 's West Ado About Nothing, Galileo's Daughter, Man End , Barbi ca n Center, National Theatre of Great and Superman, and Don Juan. On Broadway his Britain , Cameri Theatre in Tel Aviv, Subaru Acting credits include One Flew Over the Cuckoo's Nest , Company in Japan , and festivals in Toronto, The Old Neighborhood, Buried Child, The Rise Dublin , Galway, Perth , and Sydney. and Fall of Little Voice, The Song of Jacob Zulu, A Streetcar Named Desire , The Grapes of Wrath , Deborah Brown (casting) has cast for Broadway, Speed the Plow , Our Town , Glengarry Glen off-Broadway, and many of the leading regional Ross, The Caretaker, and Ghetto. Off-Broadway theaters in the country, and is currently casti ng Rigdon has designed Distant Fires, Unidentified director for Theatre for a New Audience in New Human Remains and the True Nature of Love, York and the Westport Country Playhouse . She Orphans, Lemonade, Picasso at the Lapin Agile , shared an Emmy Award for HBO's series From American Buffalo , Oleanna, Edmond, Danger/ the Earth to the Moon. Other television projects Memory, Prairie Du Chein, and The Shawl. On include The Days and Nights of Molly Dodd and tour: Landscape of the Body, Balm in Gilead And New York casting on Band of Brothers. a Nightingale Sang ... , and True West . He was the resident designer for Steppenwolf Theatre John McNamara (production stage manager) from 1976-97 during which he designed the was the production stage manager for Peter Hall 's scenery, costumes, and lighting for more than acc laimed production of As You Like It and for last 110 productions. He is currently the associate year's U.S. tour of the Abbey Theatre's centenary director/design for Houston's Alley Theatre production of The Playboy of the Western where he has designed 50 productions. Other World. Broadway credits include Riverdance theater credits include productions for The Old on Broadway, Wizard of Oz , Fosse, Camelot, Vic, , The Barbi can, Shimada , Welcome to the Club, and Teddy and Mark Taper Forum, Kennedy Center, American Alice; on tour- Bubblin' Brown Sugar, West Repertory Theatre, Alliance Theatre, Cincinnati Side Story, and Ain't Mis behavin'. Fi ve years as Playhouse in the Park, Cleveland Playhouse, resident stage manager at Westchester Broadway Virginia Museum Theatre , , Theatre. He was production supervisor for the Goodman Theatre, Ford's Theatre, Festival of transfer of Woman in Black from the West End for Perth , Festival of Sydney, and Cameri Theatre of its U.S. premiere. Tel-Aviv. Rigdon is the recipient of two Tony Award 3~ Who's Who

Brian J. t.:Ecuyer (company manager/ass istant Miriam Margolyes (Miss Prism) is one of Britain's stage manager) just completed the U.S./Japan best-loved and busiest character actresses tour of the critically acclaimed Deaf West working on both sides of the Atlantic. Born in production of Big River. Other stage management Oxford and educated at Newnham College, credits include Edgar Allan Poe-Once Upon A Cambridge, she started her professional life on Midnight (with John Astin; national/international BBC Radio and from there graduated to theater, touring productions); Doctor Dolittle, Baby television , and films. In the West End , she was (recent Paper Mill production); Jerry's Girls, What first seen in (with Vanessa The Butler Saw; Follies; Assassins; and numerous Redgrave) , in Orpheus Descending and She Shakespeare classics. With many thanks to Stoops To Conquer (both for Sir Peter Hall), and family, friends , Susan , Debbie, and Steve for The Killing of Sister George. In Los Angeles, she their encouragement, help, and support. was the Nurse in Sir Peter Hall's production of Romeo and Juliet, which she had previously Lynn Redgrave (Lady Bracknell) was born filmed with Baz Luhrmann in Mexico. In in London into a family of actors. She made Australia, she was Madame Arcati in her stage debut as Helena in A Midsummer and Lady Wishfort in The Way of the World. Her Night's Dream (1962), and was a founding one-woman show, Dickens ' Women in which member of The Royal National Theatre. West she plays 23 characters from Charles Dickens' End performances include (with novels, was nominated for an Olivier Awa rd and sister Vanessa) and Noises Off; Broadway shows has been presented in Edinburgh, New Delhi, include Black Comedy, My Fat Friend, Mrs. Sydney, Jerusalem, and Johannesburg. Her film Warren's Profession (Tony nomination), Aren't career blossomed after her appearance in Little We All, Moon Over Buffalo , and Strike up the Dorrit which won her a Best Supporting award Band. Author of Shakespeare for My Father from the L.A. Critics' Ci rcle. She then appeared (Tony nomination), also national and world tours. in Yentl, Pacific Heights, End of Days, Magnolia, Off-Broadway experience includes Miss Fozzard Sunshine, and James and the Giant Peach , and in 's Talking Heads (Drama Desk, won a Best Supporting BAFTA for The Age of Obie, and Outer Critics Circle Awards) and The Innocence (for Martin Scorsese). Most recently, Exonerated (also national tour); she appeared in she was Professor Sprout in Harry Potter and the the Sondheim Celebration production of Company Chamber of Secrets, Peter Sellers' mother in The at the Kennedy Center. She made her film debut Life and Death of Peter Sellers (with Geoffrey in Tom Jones (1963); and was featured in Georgy Rush) , Dorcas in Ladies in Lavender (with Girl (1966 Oscar nomination, Golden Globe, Dames Judi Dench and Maggie Smith), and Dolly N.Y. Film Critics awards); Gods and Monsters in Being Julia with Annette Bening. She was the (1999 Golden Globe, Independent Spirit Award, voice of Fly in Babe and The Matchmaker in Oscar nomination); Shine (BAFTA and SAG Mulan and her work in audio recordings has won nominations); P.J. Hogan's Peter Pan; Kinsey, many awards . In 2002, she was awarded the written and directed by Bill Condon (OutFest O.B.E. for her services to Drama. Award), among many other credits. Her most recent film: MerchanVlvory's The White Countess Terence Rigby's (Reverend Chasuble) film work (with Vanessa and niece Natasha Richardson) ; includes Mona Lisa Smile, Accident, Get Carter, most recent stage production- The Constant Elizabeth , Dogs of War , Tomorrow Never Dies, Wife on Broadway. Redgrave is twice Emmy The Young Americans , Mrs. Cauldicott's Cabbage nominated, and has been a member of Equity War, and due for release in Paris 2006, Colour since 1967. Redgrave has also written the text Me Kubrick with John Malkovich (directed for Journal, A Mother and Daughter's Recovery by Brian Cook). Has recently played Pozzo in From Breast Cancer, featuring photographs by Waiting for Godot; Davies in The Caretaker at her daughter, Annabel Clark, currently in its third the Old Vic in Bristol ; 's Skylight in printing from Umbrage Editions. Chester, MA; Pinter's Th e Birthday Party at ART Who's Who

Harvard and filmed with Julia Roberts in Mona Charlotte Parry (Cecily Cardew) made her Lisa Smile in New England and Maryland. Further Ameri ca n debut in the highly-acclaimed Broadway work in the U.S . includes premieres of Pinter's revival of Stoppard's The Real Thing, playing plays The Homecoming, No Man's Land, both Debbie opposite Jennifer Ehle and Stephen on Broadway directed by Sir Peter Hall ; also Dillane. The production won three Tony awards. on Broadway, Hamlet with Ralph Fiennes and She returned to the U.S. last season as Phebe in Amadeus; and in New York , Richard 11/ with Ian Peter Hal l's production of As You Like It, which McKellen; Saved by Edward Bond ; Troilus and performed at the Ahmanson in Los Angeles, Cressida; Smelling a Rat (an ea rl y Mike Leigh toured the U.S. , and played at BAM. Among play); and in Seattle The Last True Believer by her other major roles have been Eleanor in Robert W. Sherwood. Television includes Softly Northanger Abbey and Constanze in Amadeus Softly, The Biederbeck Series , Tinker Tailor Soldier at the Theater Royal , York ; Nina in The Seagull Spy, Born to Run with Billie Whitelaw, Great at the Th eater Royal Norwich; Kitty in a National Expectations, and Who Bombed Birmingham? Tour of Charley's Aunt; Irina in a tour of The Trained at RADA, his first job was Anthony and Three Sisters; Helena in A Midsummer Night's Cleopatra at the Old Birmingham Rep directed by Dream; Young Sally in Follies; Swallow in Whistle Bernard Hepton. His later work in Dublin included Down The Wind; and Madame de Tourvel in Les performances directed by Vincent Dowling, Jack Liaisons Dangereuses. She has appeared on Dowling, and John Franklyn. Seasons at the British television in The Safe House, and most RSC, National Theatre, and Lond on's West End recently Extreme Ghost Stories and in film in included Henry V, , Plunder, The Park Bench. Parry trained at LAMDA (post­ State of Revolution, Man Beast and Virtue, graduate) and at the National Youth Theatre and Man and Superman, Bajazet, The Wild Duck, National Youth Music Th eatre of Great Britain. , and The Man Himself Robert Petkoff (Algernon Moncrieff) has appeared Bianca Amato (Gwen dol en Fairfax) migrated on Broadway in with Alfred from South Africa to the in 2002. Molina (directed by ) as Perchik, Experi ence in theater includes in New York and in Epic Proportions (directed by ); (off-Broadway), Mr. Fox: A Rumination (with in London's West End in with ), Signature Th eater; and Glance At Judi Dench (directed by Sir Peter Hall); off­ New York , Lin coln Center Directors Lab; in Broadway in Avow and More Stately Mansions Minneapolis-The , As You Like (directed by ) which also played at It (Rosalind, dir. ); Pygmalion (Eliza the Edinburgh Theatre Festival; and regionally Doolittle); (El izabeth Bennet); in the roles of Achilles, Neoptolemus, Aegisthus, and Topgirls (Marlene); in South Africa-Theater and Orestes in Sir Peter Hall's production of John on the Bay, Proof (Catherine); at The Baxter Barton's Tantalus with The Denver Center Theatre Theater-Kindertransport; Greek (Fleur Du Cap Company and The Royal Shakespeare Company. award), A Dol/'s House; and Under Milkwood (Vita Other credits include title roles in Sunday In The award). She has appeared in film and television Park With George (After Dark award for Principal in Sex and the City, The Adventures of Sinbad Role in a Musical), Hamlet, Romeo and Juliet, (U.S./Canada), Gegen Den Wind (Germany), Troilus and Cress ida , and Compleat Female Stage Isidingo-The Need (South Africa's leading Beauty (Robby Award for Best Actor in a Play). television series-Principal), and A Fatal Game. Regionally Petkoff has played at Mark Taper She earned a Performer's Diploma in Speech Forum, The Old Globe Theater, The Shakespeare and Drama (with Distinction), University Of Cape Theatre in D.C., The Hartford Stage, and The Town , South Africa. Chicago Shakespeare Theatre, among others. He received a Joseph Jefferson nomination for Who's Who his most recent work in Chicago as Mercutio in 50 roles in Shakespeare's plays , recently John Mark Lamos' production of Romeo and Juliet. of Gaunt in Richard /I at Shakespeare Theatre of Film credits include Milk and Money, Gameday, New Jersey. Television appearances include Man Vice Versa , and Loverboy. He has appeared on Without a Country, Milligan, Blue Hotel, and television in Chapelle's Show (Comedy Central) , others. He is an affiliate artist with Bloomsburg Law & Order (NBC), Hack (CBS) , Theatre Ensemble, and author of two biographies (NBC) , Married ... With Children (FOX) , the TV of nineteenth-century actors, The Brief Career pilot Mona, and the role of young Liberace in the of Eliza Poe and Thomas Abthorpe Cooper, movie of the week Liberace (ABC). America's Premier Tragedian.

James Waterston 's (Jack Worthing) New York James A. Stephens (Lane) is a native of the U.K. theater experience includes As You Like It and has lived in the U.S. for the last 22 years. (directed by Mark Lamos) , New York Shakespeare He was last seen on stage in New York as Master Festival; Ashley Montana Goes Ashore in the Boyle in the recently acclaimed production of Caicos (d irected by Jim Simpson), The Flea ; and Philadelphia, Here I Come. He has appeared Another Time (AJT, with Malcolm McDowell and on Broadway in Neil Simon's 45 Seconds From Marian Seldesl. Regiona l th eater includes Julius Broadway, and in Alan Ayckbourn's House and Caesar (directed by Daniel Sullivan) , Old Globe Garden at the Th eatre Club. In London Th eater; Twelfth Night (di rected by Jack O'Brien) , he has appeared at the Old Vic and Prospect Old Globe Theater; Proof (West Coast premiere Theatre companies, The National Th eatre, production, South Coast Rep.) ; , Our London's West End , and many of Britain's Town, The Seagull, Ah, Wilderness! , Long Day's repertory theaters. In musicals he played The Journey Into Night (with father Sam Waterston) Doctor in the Broadway International tour of and three seasons with the Wi llia mstown Theater Grand Hotel. Off-Broadway credits include God Festival's Greylock Project. Film and television Hates the Irish , The Country Boy, Don Juan in cred its include Six Feet Under (recurring) , Live Hell, The Hostage, and Peg 0 My Heart. Regional From Baghdad, Dead Poets Society, and fR. theater credits include Malcolm in Ten Unknowns Waterston is a founding member of the Malaparte (John Robin Baitz), George in Who's Afraid of Theater Company and enjoys playing New Virginia Woolf?, Captain Scott in Terra Nova, Orleans piano. and Pastor Manders in Ghosts and Owen in the American premiere of Michael Frayn's Clouds. Geddeth Sm ith (Merriman/Understudy: Reverend Television credits include Law & Order, Another Chasuble, Lane) on Broadway has appeared World, General Hospital, and All My Children. in Waiting in the Wings, Alice in Wonderland, Film work includes Descent (2006), Little Black The Imaginary Invalid, Tonight at 8:30, and A Dress (2005), Britannia Hospital (Lindsey Touch of the Poet; on the road as Pl ayer King in Anderson), and The Hard Way (John Boorman Hamlet (Woodfcill-Twain production with Nicol Productionl. Williamson), and Davison in Mary Stuart (Tyrone Guthrie production with Eva LeGallienne and Greg Felden (Footman/Understudy: Algernon Signe Hassol. Off-Broadway, he's been seen in Moncrieff, Jack Worthing, Merriman) has The Shaughraun; Shadow of a Gunman; and appeared in regional productions of A Midsummer recently Ben Burton in Philadelphia, Here I Come , Night's Dream (directed by Mark Lamos), The ; and regionally as Matt Shakespeare Theater, Washington, DC; Wilfred Hafigan in John Bul/'s Other Island, Geva Theatre Owen in Not About Heros , Playmakers Repertory Center; Boltzman in Restoring the Sun (World Theatre; and Rough Magic , The Hangar Theatre; Premiere) , Cleveland Playhouse, Elder Piper in and in New York in Golden Age ; Say You Love The Sons of Ulster, Huntington Theatre Company; Satan, by Roberto Aguirre-Sacasa; and Naked also with the Hartford Stage Company, Walnut Will , PS 122. Felden's origina l, one-man show, Street Theatre, and others.He has played over State of the Union, premiered atthe American Who's Who

Living Room Festival at HERE. Projects at Yale nine days before the Battle of Trafalgar. When include lanna, Don't! , The Merchant of Venice , much of the original exterior was destroyed by The Rocky Horror Show,Macbeth, and Sincerity fire in 1862 an architectural competition was Forever. Awards include New York Fringe Festival: held to choose a new design. The winner was a Excellence in Directing for Rolin Jones' The young Bathonian, C.J. Phipps, who went on to Jammer; he received an MFA from Yale School become the leading theater designer of the late of Drama . Victorian period. Theatre Royal Bath is one of the most successful theaters in Britain with many Margaret Daly (Understudy: Lady Bracknell , Miss productions visiting Bath either directly from or Prism) in regional theater has appeared in The immediately prior to a London West End run. The Time of Your Ufe , A Mother (world premiere), addition of the Ustinov Studio in 1997 and The Juno and the Paycock , A Christmas Carol Egg-a theater for children and y6ung people-in (American Conservatory Theatre) ; The Winter's 2005 hugely extended the Theatre's repertoire. Tale, Twelfth Night, She Stoops to Conquer, In addition to its weekly productions, the Theatre The Sea Gull, The Merry Wives of Windsor Royal Bath presents a range of celebrated (Shakespeare Santa Cruz); The House of Blue Festivals: The Bath Shakespeare Festival; The Leaves , Rhinoceros (Berkeley Repertory Theatre); Bath International Puppet Festival, Britain's Present Laughter, Hedda Gabler (Oregon biggest celebration of the art of adult puppetry, Shakespeare Festival); Hay Fever, Eleemosynary, and The Wild and Wacky Festival of Theatre The Golden Age , Relative Values (The Chamber for Children. In the Summers of 2003, 2004, Theater); Spinning Into Butter (TheatreWorks); and 2005 the Peter Hall Company presented Kissing the Witch (Magic Theatre) ; and others. an acclaimed season of plays at the Theatre Television appearances include Law & Order, Law Royal Bath. An additional summer season & Order: Criminal Intent, and Nash Bridges. is being planned for 2006. In 1998 Theatre Royal Bath Productions was formed to create Diane Landers' (Understudy: Gwendolen Fairfax, high quality drama for the Theatre Royal , to Cecily Cardew) New York credits include GIRL tour it to other regional theaters, and to transfer (directed by Chris McGarry) , NY Fringe/LAByrinth it to the West End. West End credits include Theater Co.; Prince Hal (directed by Elysabeth Harold Pinter's The Birthday Party (Piccadilly Kleinhans) , Primary Stages/45th Street Theater; Theatre) , Joe Orton 's Entertaining Mr. Sloane Bodega Lung Fat by Mike Batistick (directed by (Arts Theatre), Ron Hutchinson's The Beau Jo Bonney) , /New Work Now!; (), David Williamson's Third Floor, Second Door on the Right with Allan Up For Grabs (Wyndham 's Theatre), Mike Leigh 's Arbus (directed by Arin Arbus), Cherry Lane Abigail's Party (New Ambassadors/Whitehall Theatre; Macbeth (directed by Kevin Moriarty); Theatre) , Shakespeare's R & J (Arts Theatre) , Beckett's Company, Rude Mechanicals; Port Harold Pinter's Betrayal (Duchess Theatre), Authority Throwdown by Mike Batistick (directed Samuel Beckett's Happy Days (Arts Theatre) , by Arin Arbus) , HERE / (directed by Michael John Noel Coward's Blithe Spirit (), Garces), Ars Nova. Television appearances include Ronald Harwood's The Dresser (Duke of York's Ed (NBC). Landers is a graduate of Fordham Theatre) , and Bernard Shaw's You Never Can University. Tell (Garrick Theatre) . In 2003 the Theatre Royal Bath/Peter Hall Company's acclaimed production Theatre Royal Bath of Shakespeare's As You Uke It played in New Widely considered to be one of the most beautiful Haven, Columbus, and Boston. As You Uke It theaters in Britain , the Theatre Royal Bath has returned to the U.S. in 2004 for a sixteen-week enjoyed an illustrious history. In 1768 the original tour performing at BAM , and in Los Angeles and playhouse was granted a Royal Patent to become San Fran cisco. the first theater outside London to be called 'Royal. ' The current theater opened in 1805 just Who's Who

For Theatre Royal Bath Production Staff for Chairman Greg Ingham The Importance of Being Earnest Director Danny Moar Finance Director Simon Payne General Management CAPA , John F. Fisher General Manager Eugene Hibbert Production Manager Mark Carey for Venture For Theatre Royal Bath Productions Events Ltd. Chairman Roy Griffiths Production Stage Manager John McNamara Managing Director Danny Moar Company Manager/Assistant Stage Manager Production Administrator Nicky Palmer Brian J. L'Ecuyer Wardrobe Supervisor Michelle Roussell CAPA (General Management) is one of Production Electrician/Relights (Columbus, New America's most respected theater managers and Haven, Phoenix) Mark Carey for Venture producers. In addition to managing the legendary Events Ltd . Shubert Theater (New Haven, CT), CAPA is UK Costume Supervisor Joan Hughes owner/operator of downtown Columbus, Ohio's Production Sound Philip G. Allen magnificent historic theatres (Ohio Theatre, Palace Properties Master Karin Rabe Theatre, Southern Theatre) and manager of the Assistant Costume Designer Elizabeth Flauto contemporary Riffe Center Theatre Complex. Assistants to Mr. Rigdon CAPA is a not-for-profit, award-winning presenter. Anthony Contello, Kevin Holden, Clint Allen Now in its 36th year, CAPA presents 200 live events and classic films a year, including concerts Credits throughout Columbus and Ohio. CAPtls website Scenery built by Ravenswood Studios; address is www.CAPA.com. Costumes provided by Barbara Matera Ltd. , Ange ls the Costumier, CosProp; Actors' Equity Association (A EA), founded in Wigs designed and provided by Paul Huntley; 1913, represents more than 45,000 actors and Sound equipment by Jon Sound; stage managers in the United States. Equity Lighting equipment by Hollywood Rentals seeks to advance, promote, and foster the art Production Services. of li ve theater as an essential component of our society. Equity negotiates wages and working Special thanks conditions, providing a wide range of benefits, The Alley Theatre, Houston including health and pension plans. AEA is a member of the AFL-C IO, and is affiliated with FIA, an international organization of performing arts unions. The Equ ity emblem is our mark of excellence. www.actorsequity.org