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Home , Aniara (opera), Anna Bergman, Dramatens elevskola, Erland Josephson, Gunnel Lindblom, Margareta Hallin

June 2001 BAMcinematek 2001 Spring Season ___ 651 AFLlS

Andres Serrano, Hooded Warbler II, 2000

BAM Spring Season sponsor:

PHILIP MORRIS ~lAGf8lll COM PAN I E SIN C. 200] Spriog

Brooklyn Academy of Music

Bruce C. Ratner Alan H. Fishman Chairman of the Board Chairman, Campaign for BAM

Karen Brooks Hopkins Joseph V. Melillo President Executive Prod ucer

presents The of

Approximate BAM Harvey Lichtenstein Theater running time: June 20-23,2001, at 7:30pm 1 hour and June 24, at 3pm 35 minutes with Performed in Swedish with simultaneous English translation no intermission Written by Directed by

Set design Giiran Wassberg Costume design Anna Bergman Lighting design Pierre Leveau Wigs and masks Leif Qvistriim, Barbro Forsgardh Choreography Virpi Pahkinen Translation Inga Stina Ewbank

BAM Theater sponsors: AOL Time Warner Inc. and Fleet

Leadership support: The Peter Jay Sharp Foundation; The Shubert Foundation, Inc.; The Norman & Rosita Winston Foundation, Inc.; and The SHS Foundation

Major support: The Barbra Osher Pro Suecia Foundation

Additional support: Consulate General of Sweden and Trallback & Company

Official airline for the BAM presentation of The Royal Dramatic Theatre of Sweden's The Ghost Sonata: Scandinavian Airlines

17 The Cast

The Old Man Jan Malmsjo The Student Jonas Malmsjo The Milkmaid Virpi Pahkinen The Doorman's Wife Gertrud Mariano The Dead Man Nils Eklund The Dark Lady Gerthi Kulle The Young Lady Elin Klinga The Colonel Per Myrberg Mummy Johansson brjan Ramberg Bengtsson Ingvar Kjellson Posh Man Anders Beckman The Cook The Fiancee Margreth Weivers-Norstrom and Maria Aim-Norell , Sven-Erik Eriksson , Carl-Lennart Frobergh , Per Hedefalk, Henrik Sjogren , Ulf Strandberg

The Royal Dramatic Theatre production credits

Dramaturg Ulla Aberg Music Bela Bartok * Lighting technician Stefan Berglund , Tommy Sund Sound Jan-Eric Piper Stage manager Tomas Wennerberg First carpenter Claes Snell Prompter Hanna Pauli Property manager Anders Olausson Head of stage crew Kaj Forsgardh Stage technicians Ulrika Behrenfeldt, Morgan Hogberg, Lennart Eriksson Dressers Anna Hedstrom, Ditte Krestesen Simultaneous translation Magnus Florin Assistant director Ulph Bergman Prod ucer Sofi Lerstrom Artistic and Managing Director of The Royal Dramatic Theatre Ingrid Dahlberg

*Music for string instruments, percussion instruments, and celesta (1936)

English translation performance by Eva Engman , Tana Ross , Anders Cato , Bjorn Olsson

18 The Ghost Sonata is a chamber play in three scenes . It opens on a square in front of an elegant home, where the Student converses with the Milkmaid, who is visible only to him. Hummel , an elderly gentleman, encounters the Student and introduces himself. During their conversation, he learns that the Student is a Sunday Child , which, according to Swedish folklore, means he has supernatural powers. Intrigued, Hummel invites the Student to dinner at the house, where he meets its inhabitants-the colonel; his wife, the Mummy; and their beautiful daughter, the Young Lady-as well as various guests and servants. Over the course of the evening, the Student falls in love with the Young Lady, and secrets are gradually unfolded that reveal the entire cast-except the Student-as both physically and emotionally corrupt.

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Ingmar Bergman (director) was born in 8acchae (1996), and PO. Enquist's The Uppsala in 1918. He studied at Image Makers (1998 and presented at BAM University College between the years in 1999). 1937- 40. He was production assistant at The Royal Swedish , script writer and Virpi Pahkinen (choreographer) was born in director at Swedish Filmindustry, manager of Finland and studied dance and choreography at Helsingborg City Theater between 1944 and the Dance School in Stockholm 1989-92. She 1946, first director at Gothenburg City has been in several of Ingmar Bergman's pro­ Theater, guest director at several different ductions at The Royal Dramatic Theatre, includ­ theaters (his first production at The Royal ing , The Time and the Room , The Dramatic Theatre was in 1951), and director Goldberg Variations , The Winter's Tale, and The at Malmo City Theater in 1954. In 1960 he 8acchae. In 1996 she was awa rded Svenska returned to The Royal Dramatic Theatre and Dagbladets Operaprize and Finland's Cultural worked as the theater's manager between Prize for young artists. She has choreographed 1963- 66. Between 1975- 84 he lived in productions for Swedish television and made a Munich and directed plays at the short dance movie, Atom by Atom, 1999. She Residenztheater. He returned to The Royal has performed her solo shows all over the world: Dramatic Theatre again in 1984 and since in Mexico, Canada, Australia, South Africa, then has produced , among others, The Libya , and throughout Europe. She also has Winter's Tale , Madame de Sade, and The performed at Dansens Hus, Kulturhuset, and Image Makers at BAM; King Lear; Miss ; Moderna Dansteatern in Stockholm. ; Hamlet; Long Day's Journey Into Night ; A Dol/'s House; Peer Gynt; and Goran Wassberg (set design) trained at The The 8acchae (in Cupertino with the Royal 's studios. He has worked Swedish Opera). in stage design since 1964, both in Sweden and abroad . Twenty years with Sweden's Anna Bergman (costume design) came to Nationwide Theater resulted in approximately Stockholm in 1985 after studying fashion 120 productions: Richard III, Uttle Shop of design in Paris. At The Royal Dramatic Horrors , and Cabaret, among others. In 1980 Theatre she worked as stage design assistant he designed Moliere's L'eco/e des femmes, to Lennart Mark and Goran Wassberg, before directed by Alf Sjoberg. In 1986 he became making designs of her own. She has designed stage designer at The Royal Dramatic Theatre Strindberg's The Great Highway, Brian Friel 's and has designed such productions as Dancing at Lughnasa, Strindberg's The Shakespeare's Hamlet, Tabori's The Goldberg Pelican, and Anna Reynolds' Red, and she Variations , Gombrowicz' Yvonne; Enqvist's The designed the costumes for Euripides' Helena. Image Makers (directed by Ingmar Bergman Bergman also has designed productions for and presented at BAM in 1999), Arthur Miller's The Royal Swedish Opera, Swedish television , Death of a Salesman (directed by Arthur and Stockholm City Theatre. Miller), and Shakespeare's The Taming of the Shrew (directed by Hans Klinga). Wassberg also Pierre Leveau (lighting design) has lit several has designed productions for opera stages inter­ productions at The Royal Dramatic Theatre: nationally, including Munich and Chicago. He Ingmar Bergman and George Tabori's The designed Ingmar Bergman's television produc­ Goldberg Variations (1993), Euripides' The tion In the Presence of a Clown and recently Liv

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Ullmann's film Faithless , which was written by monologue at Dramaten in 1993. Recently Ingmar Bergman. she composed a chamber opera based on Sophocles' Elektra. Anders Beckman (Posh Man) studied acting at Theatre School in Stockholm. In 1973 he Ingvar Kjellson (Bengtsson) has been and some colleagues founded Skanska employed at Dramaten since 1949 and was Teatern, where he worked until it was shut educated at Dramaten's Elevskola. Kjellson is down in 1994. He played the lead role in a director as well as an actor. Roles he has Don Juan, Pantalone in Arlecchino and the performed include Peachum in Bertolt Brecht's Cup of Love, the lead role in Robin Hood , the The Threepenny Opera (1969); Prospero in Indian in One Flew Over the Cuckoo's Nest, Shakespeare's The Tempest (1982); Orgon in Woland in The Master and Margarita, and the Moliere's Tartuffe; the Cardinal in Witold lead role in Cyrano de Bergerac. For several Gombrowicz' Yvonne, Princess of Burgund; years Beckman was Skanska Teatern 's cre­ and Teiresias in Euripides' The Bacchae . He ative director and directed Kidnapped by has directed such plays as Strindberg's Lucky­ Daria Fo and Cabaret with 9 lives (also for Peter's Travels and One-Act Farces by Georges Swedish television), among others. Beckman Feydeau. Kjellson has done numerous charac­ is continuously involved in television, radio , ters for television and radio in addition to his and film productions. work at Dramaten.

Nils Eklund (The Dead Man) has worked at Elin Klinga (The Young Lady) received her Malmo City Theater under Ingmar Bergman's acting training at Stockholm School of Drama management, Stockholm City Theatre , and between the years 1991- 94. She started such private theaters as Maxim, Scala, working at The Royal Dramatic Theatre right Oscars, Intiman, and Vasan . During the after graduation and played Anne in 1980s he belonged to The Royal Dramatic Mishima's Madame de Sade, directed by Theatre's ensemble and appeared in Ingmar Bergman. She also played the role of Strindberg's Master Olaf (1988, directed by Isabelle in Corneille's Blandverk (directed by Lennart Hjulstrom) and Brecht's The Peter Oskarson), Dionysos in Euripides' The Threepenny Opera (1988, directed by Peter Bacchae , and Markisinnan in Yvonne, Langdal). Eklund has played Pirandellos in Princess of Burgundy (both directed by Henry IV at Stadsteatern (directed by Jonas Ingmar Bergman). She played the role of Cornell) and was recently in Beckett's Happy Melibea in Fernando de Roja's Celestina Days (directed by Karl Dunerl at The Royal (directed by Robert Lepage). She recently Dramatic Theatre . played Tora Teje in P.O. Enquist's . Margareta Hallin (The Cook) has been employed at The Royal Opera for 30 years. Gerthi Kulle (The Dark Lady) studied acting She has performed a majority of all the classi­ at the Theatre School in Stockholm. She start­ cal soprano roles , including such modern ed working at The Royal Dramatic Theatre in as Siddhartha and . Hallin also 1969. She debuted with the company in has worked extensively abroad singing opera Brecht's The Threepenny Opera. She has and popular standards. After 1984 she com­ performed in Claudel's The Commandment to bined singing with speech and composing. Maria (1974); Strindberg's Crime and Crime She perfomed Strindberg's A Dream Playas a (1980); Shakespeare's King Lear, directed by

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Ingmar Bergman (1984); and Kipphardt's Lady, and Tevye in Fiddler on the Roof. Brother Eichman directed by Erland Malmsjo has recorded several songs and has Josephson (1985), among others. Additional been on the Swedish Music Chart plays include Strindberg's , Ibsen's (Svensktoppen) many times. He has also writ­ Peer Gynt, Botho Strauss' The Room and The ten lyrics. Malmsjo has appeared in several Time, Gombrowicz' The Marriage (1995), film and television productions, including Euripedes' The Bacchae (1996), Brecht's The Ingmar Bergman's , Good Woman of Szechuan (1998), and Cora , and Lars Molin's The Sandel's Crane's Bakery (1999). The Ghost Tattooed Widow. At The Royal Dramatic Sonata is the seventh production directed by Theatre he played the lead roles in Holderlin Ingmar Bergman in which she has performed. (1972) and Hamlet (1974), Trigorin in The Seagull (1983), and the Captain in Dance of Gunnel Lindblom (Mummy) was trained at Death (1993), among others .. Prior to The Gothenburg School of Drama. After working a Ghost Sonata, he played Billy Flynn in couple of years in Gothenburg she continued Chicago for a year a half. on to Malmo City Theater, where she worked with Ingmar Bergman and played Solveig in Jonas Malmsjo (The Student) started acting Peer Gynt and Margareta in Faust. She also while studying creative writing in England in appeared in several of Bergman's movies, 1991. He appeared in Thorsten Flinck's including , Virgin Spring, production of SOderberg's Gertrud (1993), and Silence . In 1968 she began working at came to The Royal Dramatic Theatre with The Royal Dramatic Theatre and played lead Ingmar Bergman's production of roles in plays by Strindberg, Ibsen, and Shakespeare's The Winter's Tale (1994), and Chekhov, among others. Lindblom has directed continued with Williams' The Glass Uncle Vanya, The Cherry Orchard, The Menagerie and Goldoni's The Twins from Seagull, and The Lady from the Sea. During Venice. He played Wilhelm in Robert Wilson/ the 1980s she directed The Father and Tom Waits' The Black Rider and Parmeno in Twelfth Night in , plus The Good Fernando de Roja's Celestina (directed by Woman of Szechuan in Oslo. Lindblom has Robert Lepage, 1998). This season he per­ directed several movies, including A Paradise forms the role of Lysander in A Midsummer Place in 1977 and Summernights in 1985. Night's Dream directed by . Recently she directed 's new play at The National Theatre in Oslo. Gertrud Mariano (The Doorman's Wife) has appeared in many productions at The Royal Jan Malmsjo (The Old Man) studied at The Dramatic Theatre, including Ingmar Royal Dramatic Theatre between 1950-53. Bergman's production of Strindberg's Between 1953-58 he worked at Gothenburg A Dream Play. City Theater. During the 1960s he did shows in restaurants. In 1970 he portrayed the Per Myrberg (The Colonel) studied at Emcee in Cabaret at Malmo City Theater. from 1955-57. In Malmsjo belonged to the first Television 1996 he received the O'Neill Scholarship. Theater ensemble. At Malmo City Theater he Since 1979 he worked at The Royal Dramatic appeared as Zaza in La Cage Aux Folies from Theatre and played such roles as Majakovskij 1985-86. He also played Danilo in The in 's Kollonta} (1979), Gloucester Merry Widow, Professor Higgins in My Fair in Shakespeare's King Lear (1984), the lawyer

20B \ALh o 'c \ALho in August Strindberg's A Dream Play (1986), between 1943-45. She worked at Malmo the ghost in Shakespeare's Hamlet (1986), City Theater, from 1948-53, and then at Odoardo Gaiotti in Lessing's Emilia Gaiotti Norrkoping-Linkoping City Theater, where she (1988), and Woland in Bulgakov's The Master played Hedvig in The Wild Duck (1953) , and Margarita (1988). During the 1990s he Nora in A Dol/'s House (1964), Laura in The played Serebrjakov in Chekhov's Uncle Vanya Father (1966), Golde in Fiddler on the Roof (1990), Libius in Almqvist's Amorina (1990), (1967), the lead role in Mother Courage the man in Per Olov Enquist's Tupilak (1993) , (1968), Ranevskaja in The Cherry Orchard the colonel in Strindberg's The Ghost Sonata (1974), and mother Ase in Peer Gynt (1994), Wilhelm Foldal in Ibsen's John (1979). She has worked at theaters in Gabriel Borkman (1994), the father in Witold Helsingborg and Uppsala, for Swedish televi­ Gombrowicz' The Marriage (1995), the mes­ sion, and has appeared in several movies. senger in The Bacchae by Euripides, and Bertram in The Black Rider (1997). The Royal Dramatic Theatre (Dramaten) was founded by King Gustaf III in 1788. His Orjan Ramberg (Johansson) started his ambition was to "establish a national stage, acting career with musicals in the 1970s, for where the works of Swedish dramatists will example Hair (1971) and Jesus Christ be performed by Swed ish actors to the benefit Superstar (1972). He has been a part of The of language, taste , and public mores." Today, Royal Dramatic Theatre ensemble since he "Dramaten is probably the best repertory graduated from Malmo Theatreschool in theater in the world." (John Lahr, The New 1977. He has played many different roles, Yorker). The present theater building was including The Master in Bulgakov's The inaugurated in 1908. Today The Royal Master and Margarita (1988), Mercutio in Dramatic Theatre performs on five different Romeo and Juliet (1991), Tomas in Lars stages: the Main Theatre, the Little Theatre, Noren's Summer (1992), Pompejus in the Painter's Workshop, the Lions Pit, and the Shakespeare's Measure for Measure, and Power Station, as well as on tours. With such Jason in Euripides' Medea (1996). He possibilities the theater can cherish the classi­ played the role of Petruchio in Shakespeare's cal heritage as well as modem drama. The Taming ofthe Shrew (1997), Jasja in Famous actors that have been or are The Cherry Orchard (1997), the King currently members of the ensemble include and Knight Kato in Mio My Mio (1997), , , Gunnel and Peter Stockmann in Ibsen's An Enemy Lindblom , , , ofthe People (1998). Ramberg has Lena Endre, and . Ingmar also appeared in several movies and Bergman is still working in the theater. His television productions. latest production, Schiller's Maria Stuart, opened in December 2000. Bergman's next Margreth Weivers-Norstrom (The Fiancee) production-Ibsen's Ghosts-will open in started her acting career at a young age. As a Febuary 2002. In 2000 the theater per­ child she appeared in The Emperor of formed 930 performances for a total audience Portugal/ien at The Royal Dramatic Theatre. of nearly 250,000. The artistic and managing She attended Calle Flygares theater school director is Ingrid Dahlberg.

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"There's no venue that I wouldn't take the music Sounds of Pra ise attracts the devout and the to," says Bratton. "As a ministry we are obligated atheist alike. "There are a lot of people who to go and find people where they are and bring would like to hear authentic gospel music but the music to them." aren't going to church to find it," says Hopkins. "There are a lot of people who only go to their In a twist on the missionary concerts typically church, so they don't have the opportunity to given by gospel musicians, BAM's Sounds of hear gospel at other churches." Praise brings the audience to the . "Putting gospel into a performing arts center on a regular "The audience is the grooviest thing," says basis provides a place for these artists to get Tomer. "If you look around the room you see hip­ wider recognition," says Hopkins. And this recog­ sters, white people, black people, families, little nition extends beyond the concert hall. "We kids, Philip Glass, and all these people we've thank God for the exposure that BAM is giving never seen at BAM. BAM is really taking its place us," says Bond . "We do have people that visit our as a meeting point that transcends borders, church that say they heard us at BAM and where it's all about the vibe and the music." wanted to come to a service, so that's a good open door." Ann Lewinson writes frequently about the arts.

Reverend Wright Photo by Greg Mango

21 The Royal Dramatic Theatre of August Strindberg may be best known in Amer­ ica for such angst-ridden dramas of searing Sweden brings August Strindberg's psychological realism as Miss Julie and The The Ghost Sonata to BAM under Father, but essential to the great Swedish play­ wright's output are his later dream plays. These the distinguished direction of film are evocative, symbolist fantasies shot through and theater dynamo Ingmar with Buddhist touches. At the same time these dream plays reflect Strindberg's growing interest Bergman. By Stan Schwartz in the 18th-century Swedish theologian Emanuel Swedenborg and his notions of spiri­ tual correspondence. Strindberg's works in this category include the epic three-part To Damas­ cus as well as the aptly titled and equally epic A Dream Play. On a far more compact scale, there is The Ghost Sonata, one of Strindberg's so­ called late "chamber plays" written in 1907 for his own Intimate Theatre. With striking economy of language and its startling mix of lyricism and grotesquerie, The Ghost Sonata reveals Strind­ berg as a true master of the dream play idiom .

Dream plays are very tricky things-to write, of course , but perhaps even more so to direct. Bergman (left) at work Photo by Bengt Wansefius How do you stage events in a credible way

22 when logical cause-and-effect and psychologi- The Gh ost Sonata Photo by Bengt Wanselius cal realism are jettisoned , or at least, substantially blurred? How do you maintain dramatic tension if much of the proceedings seems dreamily inexplicable? Enter Ingmar Bergman, arguably as much a legend, at this point, as Strindberg himself. Of course, Bergman is known to all as one of the great film directors. But for more than five decades, he's also shown himself to be a master conjurer of theater magic , principally at Stockholm's Royal Dramatic Theatre (known as Dramaten), where his most recent production, Schiller's Mary Stu­ art, has been playing to packed houses since its premiere last December.

There's no disputing that these two towering figures in Swedish cultural histo ry are closely linked. The influence of Strindberg on Bergman's fil m work is formidable and, con­ versely, one cannot overstate Bergman's particular affinity for Strindberg's plays, not just the realistic plays with their fierce psychological warfare, but also for the otherworld Ii ness of the dream plays. After all , what is a dream if not The Ghost Sonata Photo by Bengt Wanselius the idiosyncratic presentation of pure, concen­ trated feelings expressed through a peculiar constellation of pure, concentrated imagery? And what better way to describe the entire Bergman oeuvre?

Over the years, Bergman has staged many Strindberg plays at Dramaten, and it's significant that the current production of The Ghost Sonata marks the director's fourth inquiry into its mys­ teries. Bergman has a habit of continually returning to the same play, but it would be wrong to characterize this as an instance of someone "trying to get it right." Rather, it's the mark of a master interpreter who feels com­ pelled to continually explore further. Bergman first staged The Ghost Sonata in 1941 as an amateur production, with understandably prob­ lematic results (the director was 23), but version number three, at Dramaten in 1973, was ground breaking in its treatment of the play's dif­ ficult final scene. The current production further crystallizes Bergman's interpretation of Strind­ berg's enigmatic text into one seamless, haunting vision.

23 This leads to Hummel's own fatal comeuppance at the hands of the Colonel's Mummy-wife, who emerges from her closet, clucking like a parrot.

Meanwhile, the Student is falling in love with the beautiful young Girl who mayor may not be the Colonel's daughter. In the play's last and most troubling and mystical scene, set in the so-called Hyacinth Room , the Student, now irreversibly poisoned by the household's menacing air, con­ fronts the Girl and reveals her as the horribly scarred and diseased creature she really is. The truth proves too much for her to bear.

That's the story. The chal lenge is to transform it into a coherent dream-vision- in the heightened, quasi-mystical sense of the term. The process seems to come remarkably easy for Bergman, himself a Sunday Chi ld (a detail of fundamental importance to such films as Fanny and Alexander and Sunday's Children). The director understands that achieving a convincing dream-state onstage has nothing to do with hokey effects and every­ thing to do with mining the play's relentless inner logic and filling it out with an emotionally charged hyperrealism. To further the effect, Bergman employs a deliberate and elegant choreography to underscore the play's musicality.

All the while, the director punctuates the proceed­ ings with sma ll , sal ient details not spell ed out by Strindberg but logical ly extrapolated from his world: a maid emptying a pail of steamy excre­ ment, Hummel's hand bleeding from advanced The Ghost Sonata Photo by Bengt Wansefius psoriasis (Strindberg suffered from the same), that On paper, The Ghost Sonata sounds fairly sim­ same hand leaving a trace of blood as it caresses ple, if strange. In the first of its three scenes­ a white marble statue of a beautiful woman. Each "movements," if you like-the young Student of these small moments has the shocking impact meets up with the sinister, wheelchair-bound old of a sudden, unexpected film close-up. Taken man Hummel outside a house in Stockholm's together, Bergma n's strategies conspi re to create a fashionable bstermalm district. The Student is most particular and peculiar tonality best now revealed to be a Sunday Child (according to described as lyricism infused with grotesquerie Swedish folklore, a child born on a Sunday has and a certain amount of macabre humor. The visionary powers, and this Student is no excep­ tone is perfectly suited to Strindberg's twilight­ tion), which intrigues Hummel. The old man zone vision of Swedish upper-middle-class contrives a plan by which they will both end up respectability at the turn of the century: a sad invited to dinner later that night in the house, bunch of morally and spiritually bankrupt ghosts which Hummel explains is presided over by the doomed to fester in their exposed lies, and die. Colonel. Scene two comprises the famous "ghost supper" in which Hummel mercilessly exposes "Although it ends very tragically, I think it's a good the past crimes and false identity of the Colonel. thing, in a way," says Jonas Malmjso. Malmjso

24 plays the Student (and in a striking casting coup, encounter some years back with the ghost of the role of Hummel is played by Swedish stage Strindberg. Upon hearing this anecdote, Malmjso veteran Jan Malmjso, the young actor's real-life laughs. "Well, you never know with Erland! But father). "If you have deep dark secrets that are hey, I don't know l No one would be happier than just eating away at you," the actor continues, me if it was true. I like the idea of ghosts, that we "there can be some kind of salvation in meeting don't just disappear when it's allover." someone who unlocks whatever it is and forces you to confront your fears." In Bergman's hands, Strindberg's ghosts couldn't be more alive and palpable. But what abcut all those scarred, deformed ghosts? I recall a conversation I had a year ago with Erland The Ghost Sonata will be presented at BAM Josephson , chatting quietly in the Dramaten green Harvey Theater. June 20-24. room (Josephson originally played in this produc­ tion but, regrettably, could not join the New York Stan Schwartz is a freelance critic who has writ­ tour due to recent back surgery). The famed ten about theater and film for the New York Bergman actor had told me quite emphatically that Tim es, Time Out New York, Filmmaker Maga­ Dramaten was haunted-he'd had a personal zine, and Film Comment Magazine.

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