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Fall 2011 - 2012 Spotlight Celebrating 30 Years of Timeless Theatre

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Fall 2011 - 2012 Spotlight Celebrating 30 Years of Timeless Theatre N TRE THEAANY VENUE OF THE ARTS HUNTINGTO A SOUTH END COMP & FALL 2011 - 2012 SPOTLIGHT CELEBRATING 30 YEARS OF TIMELESS THEATRE CANDIDE P.4 BEFORE I LEAVE YOU P.8 CAPTORS P.12 ANNOUNCING THE CHAIRMAN’S CHALLENGE P.16 STICK FLY HEADS TO BROADWAY P.22 PERFORMANCE CALENDARS P.23 JOIN US FOR OUR 2011-2012 SEASON MOST 30TH BIRTHDAY PARTIES LAST A NIGHT. OURS RUNS GLORIOUS MUSICAL ALL SEASON LONG. CANDIDE SEPT.10-OCT. 16 SUBSCRIBE NOW – LOVE STORY FOR GROWNUPS SPECIAL INTRODUCTORY OFFER BEFORE I LEAVE YOU 7-Play Package 4-Play Package OCT.14-NOV.13 See the entire season! Choose any 4 shows! THRILLING TRUE STORY YOUR Price Full Price YOUR Price Full Price $420 $581 $240 $365 CAPTORS NOV.11-DEC.11 SUBSCRIBING IS EASY! SCATHING HIT COMEDY See all 7 shows for $420 or choose any 4 for $240. Sit in the BEST SEATS and save up to 34% off our single ticket prices. GOD OF CARNAGE PICK your day of the week, and get the BEST SEATS JAN.6-FEB.5 available! Plus free and easy ticket exchanges, missed performance insurance, and much more. POWERFUL & MOVING DRAMA This is a limited time offer! MA RAINEY’S BLACK BOTTOM MAR.9-APR.8 CONSIDER A FLEXPASS! Looking for more flexibility? Purchase at least 4 tickets COMPELLING BOSTON STORY ($55 each) and use them however you want: split them up across multiple shows or use them all for one show. You’ll THE LUCK OF THE IRISH get the best seats available when you’re ready to redeem your Flex tickets and still get all of our great subscriber MAR.30-APR.29 benefits, like ticket exchanges! SPARKLING COMEDY huntingtontheatre.org/packages PRIVATE LIVES 617 266 0800 MAY 25-JUNE 24 WE WANT YOUR HUNTINGTON STORIES! Help us celebrate our anniversary by sharing your Huntington memories with us. What is your favorite production? Who introduced you to the Huntington? Do you have a ritual for each time you come? Visit huntingtontheatre.org/30 or email [email protected] with your written or video recollection or with a request for us to help record it. WELCOME TO OUR 30TH ANNIVERSARY SEASON! Over the past 30 years, the Huntington Theatre Company has established itself as a major force on the Boston cultural scene. Known for productions of groundbreaking new works and classics made current, the Huntington brings together the most talented theatre artists from the Boston area and throughout the United States. YOU’RE INVITED TO OUR 30TH ANNIVERSARY OPEN HOUSE! MONDAY, OCTOBER 10, 2011 11AM - 12PM light brunch for subscribers only 12PM - 3PM open to the general public Activities include backstage tours, technical demonstrations, discussions with artists, giveaways, and more — families welcome! • Take the stage like an actor • Interact with our world-class staff and artists • Explore the production shops where our award-winning designs are brought to life RSVP by September 30 at huntingtontheatre.org/openhouse. GLORIOUS MUSICAL MUSIC BY LYRICS BY LEONARD RICHARD BERNSTEIN WILBUR DIRECTED BY CANDIDE MARY ZIMMERMAN SEPT. 10 - OCT. 16 AVENUE OF THE ARTS BU THEATRE PRODUCTION SPONSORS ADDITIONAL LYRICS BY GERRY AND SHERRY COHEN STEPHEN SONDHEIM, JOHN LATOUCHE, LILLIAN HELLMAN, PRODUCTION CO-SPONSOR DOROTHY PARKER, AND LEONARD BERNSTEIN SHIRLEY SPERO “Gorgeously imagined, Tony Award and MacArthur “Genius” of delights!” Grant-winning director Mary Zimmerman’s — CHICAGO SUN-TIMES breathtaking new production features a soaringCandide score and lyrics from the wittiest writers of our time. Bernstein’s of the most memorable music ever written for is a garden Broadway including “Glitter and Be Gay” and “Make Our Garden Grow.” Candide enchants with some Lauren Molina (Cunegonde), Geoff Packard (Candide), and Director Mary Zimmerman in rehearsal; photos: Liz Lauren ENTERTAINED AND ENCHANTED VISIONARY DIRECTOR/ADAPTOR MARY ZIMMERMAN ON CANDIDE “Mary Zimmerman is a true genius. Her production will blow the doors off of the theatre and will kick off our 30th Anniversary Season with ambition, imagination, and glorious music.” – PETER DUBOIS I’ve always been drawn to adapt thorny, difficult, epic old texts. Voltaire’s What makes the play funny and absurd, I hope, is the way in which chance Candide has that epic sweep and broad range of feeling that I like, and it is and mischance pile up so fast and furious, while the characters’ views of full of difficult things to stage, which I like as well. And then Bernstein’s music the world as “all for the best” remain absolutely unchanged in the face of all is so glorious. evidence to the contrary. It’s the story of a young man named Candide who is the illegitimate nephew of Candide is a tougher text than people realize. It challenges some of our most a Baron in a small province called Westphalia. Along with the Baron’s daughter, cherished ideas – ideas about one’s own virtue and the virtues of one’s own he is tutored by a professor named Doctor Pangloss, who claims that Westphalia home. I think this play is challenging in whichever country it is performed, is “the best possible place in all the world.” When Candide falls in love with because every country thinks it is the best in the best of all possible worlds. Cunegonde, his benefactors kick him out of the kingdom without a penny. The The novel and the play ask people to think about the fact that life is really rest of the story follows Candide making his way in the world, having adventure complicated and that random, tragic things happen all the time. It suggests that after adventure. He is candid and honest and innocent, and he is mistreated blind optimism, or the idea that everything is part of a grand plan and that all is and swindled over and over again. Cunegonde and her family also meet great for the best, is not only absurd but also an excuse for inaction in the face of social SEPT. 10 - OCT. 16 misfortune in a war, so some of Candide’s adventures involve reuniting with her. injustice. Yet it also rejects blind pessimism, through the figure of Martin, the scholar who is as consistently cynical and depressed as Pangloss is buoyant. AVENUE OF THE ARTS I read all the previous adaptations – the scripts for the musical – about three or four years ago, and then I stopped reading because I wanted to I hope that audiences are swept away by the production, that they are BU THEATRE go back to Voltaire’s original novel. Some of the versions have big changes extremely entertained and enchanted, but also attentive to Voltaire’s satire. from the original structure of the novel, and the primary challenge for me in Candide has gorgeous music that is incredibly witty, both lyrically and adapting it anew is that some of the songs have lyrics that are tied to events musically. Voltaire’s and Bernstein’s works are both achievements of such or circumstances that don’t exist in the novel. We want to preserve these high order that when combined, they remind us what people are capable of songs in a context that makes sense, while trying to be as trusting as possible at their best at the very same moment they are showing us what is worst. of Voltaire’s original structure and story. And in this way, the work manages to be affirmative – even transcendent – in the face of its own cynicism and satiric edge. Finding the tone is the most difficult key toCandide because terrible things happen to the characters, yet the novel is hilarious. - MARY ZIMMERMAN LEARN MORE ONLINE VISIT THE LEARN & EXPLORE SECTION OF HUNTINGTONTHEATRE.ORG/CANDIDE TO LISTEN TO THE CANDIDE OVERTURE, READ AN INTERVIEW WITH CHOREOGRAPHER DANIEL PELZIG, AND EXPLORE REHEARSAL AND PRODUCTION PHOTOS. HUNTINGTONTHEATRE.ORG 5 The cast of Candide; photo: Liz Lauren Geoff Packard as Candide; photo: Liz Lauren In the world of musical theatre, Leonard Bernstein’s Candide is the mother of all do-overs, continuing to evolve long after its original creators’ deaths. Longtime Huntington Theatre Company subscribers will be familiar with the 1973 version (produced here in 1989) and may be wondering why we are giving Candide our own do-over. Simply put, the “most labored-over show in theatre history” has been an irresistible challenge for generations of theatre artists. In the visionary hands of Mary Zimmerman, it has come to rest after an epic and improbable journey. THE BEST OF The idea for adapting Candide came to Lillian Hellman in 1953. She considered Voltaire’s 1759 novella to be “a great book, full of laughter, wisdom, comment, satire, and bite,” and thought it to be the perfect piece for her long-awaited collaboration with Bernstein. From the start, the project was wrought with tribulations: Bernstein initially refused ALL POSSIBLE the project, and the pair dropped their lyricist before even starting the second act. After tryouts at Boston’s Colonial Theatre, Candide was mounted on Broadway in 1956, only to close after just 73 performances. The initial production’s unfavorable reviews inspired several different revisions, adaptations, and concert versions of Candide across the country CANDIDES and around the world as different artists tried to solve the book’s inability to compete with, or effectively complete, the score. These subsequent productions incited new interest in Bernstein, who approached poet, playwright, and lyricist Richard Wilbur about continuing work. Wilbur agreed that there was so much “life in the show, so much that [was] good and finished, that it would be a shame to abandon it.” In 1973, director Harold Prince and book writer Hugh DEDICATED TO SUSAN F.
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