The Andersen Project

PRESENTS The Andersen Project

ELECTRONIC PRESS KIT

TABLE OF CONTENTS 2 Press Release: The Andersen Project 6 Welcome to ArtsEmerson: Letter from Rob Orchard 7 Envisioning ArtsEmerson 8 Production Credits 13 High-Resolution Photos 14 Critical Praise for The Andersen Project 15 Useful Links                                

2                                   

3                                                

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5 Welcome to ArtsEmerson: The World On Stage

As I think about the diverse array of offerings this month at ArtsEmerson, March appears to be a microcosm of our vision. Whether on stage or on screen, we’ve integrated pioneers, legends, films and family programming to bring you the best in world-class performance. In Ameriville, Universes put the state of the union under the microscope and into the microphone as they examine our country through the lens of Hurricane Katrina and her aftermath. What I find so compelling about this dynamic quartet is their fusion of hip hop, poetry, flamenco, stand up, jazz, gospel and storytelling. Their performance chops are formidable—the exquisite harmonies and precise choreography are at the top of the form. I hope you’ll also attend one of the film screenings in the Portraits of New Orleans series running this month in the Bright Family Screening Room. Next we present The Andersen Project, a multimedia masterpiece created by one of the most celebrated directors today—Robert Lepage. With work exploding all over the world (his historic Ring cycle is at the Metropolitan Opera this spring), we’re delighted to have a production by this major theatre artist in Boston. While Yves Jacques performs this incredible visual feat in the Cutler Majestic Theatre, Tomáš Kubínek: Certified Lunatic & Master of the Impossible will appeal to all ages on the Paramount Center Mainstage. It’s important to us at ArtsEmerson to bring performances that the whole family can enjoy, and with his comic quirks, Mr. Kubínek is sure to impress young and old alike. Finally, I want to echo President Pelton’s excitement about the arrival of The Center for the Theater Commons (“The Commons”) this summer. As a center for research into the processes, challenges, opportunities, and best practices for developing theatrical work, I look forward to the impact The Commons will have on Boston’s artistic community and beyond.

Rob Orchard, Executive Director

P.S. Our philanthropic base is key to our sustainability, and we are pleased to watch it begin to grow. The variety and uniqueness of this kind of programming needs your support, and I hope you’ll consider making a donation. Thank you.

6 Envisioning ArtsEmerson: The World On Stage ArtsEmerson: The World On Stage evolved from three founding objectives: ì to generate new work ì to bring international artists to Boston ì to add to the cultural choices of the community The facilities of the Paramount Center and the Cutler Majestic Theatre, nestled within a college of arts and communications and a thriving, culturally active city, are fantastic resources for artists and ensembles. These venues are programmed by ArtsEmerson with work from this country and around the world that would otherwise never be seen in Boston. ArtsEmerson also fosters the creation of new work by developing multi-year partnerships with a revolving roster of artists and institutions, giving Bostonians the opportunity to witness the artists’ growth over multiple years and building long-term, meaningful relationships between performers and audiences. Our programs include: THEATRE: LEGENDS: Established, highly regarded institutions and artists whose work is celebrated around the world, and PIONEERS: A new generation of acclaimed artists whose ideas are redefining the performing arts and pointing to the future. FILM: Weekends in the Bright Family Screening room feature films for every cinema fan: from family and children’s matinees to independent, repertory and foreign films. MUSIC: ArtsEmerson’s music programming complements the theatre offerings and connects with the tastes and sensibilities of a diverse audience. FAMILY: As part of ArtsEmerson’s commitment to including works that appeal to all ages, we have theatre productions and weekly films that will engage the whole family— young and old alike. EXTRAS: ArtsEmerson hosts a variety of ancillary events designed to enhance the experience of attending performances and screenings.

ROB ORCHARD, EXECUTIVE DIRECTOR In October 2009, theatre producer and educator Rob Orchard became Emerson College’s first Executive Director for the Arts and Stephen G. Langley Chair in Theater Management and Production. Orchard was Managing Director of the Yale Repertory Theatre and School of Drama, where he also served as associate professor and co-chair of the MFA Theatre Administration Program. Following his time at Yale, Orchard was the Founding Managing Director of the American Repertory Theater (A.R.T.) and subsequently Executive Director, and was the architect for the A.R.T. training Institute and its relationship with the Moscow Art Theatre School, as well as Director of the Loeb Drama Center at Harvard. At the A.R.T. he produced more than 200 works, including premieres by Nobel prize winners Dario Fo and Derek Walcott; composers Philip Glass, David Byrne, Liz Swados and Galt MacDermot; playwrights Robert Brustein, Marsha Norman, Christopher Durang, Milan Kundera, Susan Sontag, Charles Mee, David Mamet, Anna Deavere Smith, David Rabe, Paula Vogel, Sam Shepard and Lisa Kron, among others. He has also worked with many of the world’s most respected directors, among them: Andrei Serban, Robert Brustein, Peter Sellars, Joanne Akalaitis, Robert Wilson, Richard Foreman, Anne Bogart, Robert Woodruff, Janos Szasz, Andrzej Wajda and Martha Clarke. Orchard has served as chairman of both the Theatre and the Opera/Musical Theatre Panels at the National Endowment for the Arts, on the Board and Executive Committee of the American Arts Alliance, the national advocacy association for the performing and visual arts, and as a trustee of Theatre Communications Group (TCG). In addition, he has served on the Board of the Cambridge Multi-Cultural Arts Center and as President of the Massachusetts Cultural Education Collaborative. In 2000, Orchard received the Elliot Norton Award for Sustained Excellence. He is currently on the Board of the Boston Arts Academy.

7 PRESENTS The Andersen Project

WRITTEN & DIRECTED BY ROBERT LEPAGE

PERFORMED BY YVES JACQUES

SCRIPT COLLABORATORS: PEDER BJURMAN, MARIE GIGNAC ASSISTANT DIRECTOR AND STAGE MANAGER: FÉLIX DAGENAIS ASSOCIATE SET DESIGNER: JEAN LE BOURDAIS ASSOCIATE LIGHTING DESIGNER: NICOLAS MAROIS SOUND DESIGNER: JEAN-SÉBASTIEN CÔTÉ COSTUME DESIGNER: CATHERINE HIGGINS PROPERTIES: MARIE-FRANCE LARIVIÈRE PUPPETEER: JEAN-NICOLAS MARQUIS IMAGES PRODUCED BY: JACQUES COLLIN, VÉRONIQUE COUTURIER, DAVID LECLERC WIG MASTER: RICHARD HANSEN ROBERT LEPAGE'S AGENT: LYNDA BEAULIEU PRODUCTION MANAGER: LOUISE ROUSSEL PRODUCTION MANAGER (TOURING): MARIE-PIERRE GAGNÉ TOUR MANAGER: ISABELLE LAPOINTE TECHNICAL DIRECTOR: SERGE CÔTÉ TECHNICAL DIRECTOR (TOURING): SIMON CLOUTIER LIGHTING MANAGER: FÉLIX BERNIER GUIMOND SOUND MANAGER: CAROLINE TURCOT VIDEO MANAGER: NICOLAS DOSTIE WARDROBE AND PROP MANAGER: ISABEL POULIN HEAD STAGEHAND: CATHERINE GUAY AMERICAN EQUITY STAGE MANAGER: CAROLINE DUFRESNE TECHNICAL CONSULTANT: TOBIE HORSWILL COLLABORATION TO THE IMPROVISATIONAL AND CREATIVE PROCESS: NORMAND POIRIER MAKE-UP: NATHALIE GAGNÉ ASSISTANT TO THE COSTUME DESIGNER: JENNIFER TREMBLAY COSTUMES CUTTER: NICOLE FORTIN SEAMSTRESS: HÉLÈNE RUEL SET BUILDING LES CONCEPTIONS VISUELLES: JEAN-MARC CYR HORSE’S CART MAKER: MARTIN BEAUSOLEIL SCULPTURE MAKER (“FEMME PIQUÉE PAR UN SERPENT”): PATRICK BINETTE LIGHTING DESIGNER’S TRAINEE (CREATION): JENNIFER JIMENEZ (THEATRE ONTARIO'S PROFESSIONAL THEATRE TRAINING PROGRAM) AUDIOGUIDE VOICE: ULLA HENNINGSEN Ex Machina is appearing with the permission of Actors’ Equity Association. The performance lasts 2 hours and 10 minutes with no intermission. ArtsEmerson gratefully thanks season sponsors Ted and Mary Wendell and The Andrew W. Mellon Foundation.

8 MUSIC “Una Furtiva Lagrima” by Gaetano Donizetti, performed by Vincenzo La Scola, used by arrangement with Naxos of America

“Sonate pour violon et piano #1 en Fa majeur” by Edvard Grieg, performed by Olivier Charlier and Brigitte Engerer, used by arrangement with Harmonia Mundi

“Sweet Surrender” (DJ Tiësto Remix) by Sarah McLachlan, used by arrangement with Tyde Music & Nettwerk Productions

“Pas de deux” (from the ballet Le Papillon) by Jacques Offenbach, performed by John Georgiadis, used by arrangement with Universal Music Canada for Decca London

PRODUCTION Ex Machina Co-production: Auckland Festival; Bite:06, Barbican, London; Bonlieu Scène Nationale, Annecy; Festival de Otoño de la Comunidad de Madrid; Cal Performances, Berkeley; Canadian Stage, Toronto; Carolina Performing Arts; Célestins, Théâtre de Lyon; Change Performing Arts, Milan; ArtsEmerson: The World On Stage, Boston; La Comète (scène nationale de Châlons-en- Champagne); La Coursive, La Rochelle; Le Festival d'automne à Paris; Le Grand Théâtre de Québec; Le Théâtre du Nouveau Monde, Montréal; Le Théâtre du Trident, Québec; Le Théâtre français du Centre national des Arts d'Ottawa; Le Théâtre National de Bordeaux Aquitaine; Le Théâtre National de Chaillot; Le Théâtre National de Toulouse Midi-Pyrénées; Le Volcan-Scène nationale du Havre; LG Arts Center, Seoul; Maison des Arts, Créteil; MC2 : Maison de la Culture de Grenoble; National Chiang Kai-Shek Cultural Centre, Taipei; Pilar de Yzaguirre-Ysarca Art Promotions, Madrid; Setagaya Public Theatre, Tokyo; spielzeiteuropa I Berliner Festspiele; Teatre Lliure, Barcelona; The Hans Christian Andersen 2005 Foundation; The Sydney Festival; Théâtre de Caen; Wiener Festwochen, Vienna

Associate Producer, Europe, Japan: Richard Castelli Associate Producer, United Kingdom: Michael Morris Associate Producer, The Americas, Asia (except Japan), Australia, NZ: Menno Plukker Producer for Ex Machina: Michel Bernatchez

Acknowledgements: Le-Maillon, Théâtre de Strasbourg; Odense City Museums Ex Machina is funded by the Canada Council for the Arts, Québec’s Arts and Literature Council and the City of Québec.

www.lacaserne.net

9 Director’s Note The process that led to this solo show began with a commission from the Kingdom of Denmark, as part of the year’s celebrations, with pomp and circumstance, of the 200th anniversary of the birth of Hans Christian Andersen. Artists from all over the world were invited to create works inspired from his novels and fairy tales.

I was to take a more personal interest in Andersen. The point was not so much biographical, but rather a way to find out how this Scandinavian writer’s life and works could find an echo in a modern world that has lost its innocence and romantic ideals. Experience from my previous solos told me I couldn’t just be interested in Andersen: I had to identify with him.

At first, this was quite difficult, as I knew next to nothing about him or his time. Reading long, arid and often contradictory biographies did nothing to simplify the matter. Finally, it was through some candid revelations found in his diary that I began to understand that we were much more alike than I would have wished. In some cases, it was quite obvious. Other comparisons were more…oblique. Mostly, there was a feeling, born in early childhood, of being different from others, a feeling that can lead to suffering and isolation, yet capable of making us realize that everyone is indeed unique. It is clear that as Andersen was writing The Ugly Duckling, he had understood that the capacity to turn the difficulties that life throws at us into opportunities for self-realization is to be found within ourselves.

Moreover, a solo, by its very nature, evokes solitude and even turns it into one of its main themes: the protagonist’s solitude, that of the actor playing him and, in this case, that of Hans Christian Andersen. After having worked alongside him over the course of this show’s creation, I will at least have understood that my desire to tell stories is not only a way to wring out my imagination’s overflow, but also an opportunity, for me as for him, to come out of isolation and to try to gain acceptance from the rest of the world.

—Robert Lepage

10 About the Artists

ROBERT LEPAGE (Director/Writer). Versatile novel by George Orwell, with Maestro Lorin in every form of theatre craft, Québec-born Maazel providing the musical direction (2005), Robert Lepage is equally talented as a director, The Rake’s Progress (2007) and The Nightingale playwright, actor and film director. His creative and Other Short Fables which premiered in and original approach to theatre has won him Toronto at the Canadian Opera Company (2009), international acclaim and shaken the dogma of and has been presented at the Festival d’Aix-en- classical stage direction to its foundations, Provence and Opéra de Lyon in 2010. Das especially through his use of new technologies. Rheingold, Wagner’s Ring prelude, premiered Contemporary history is his source of September 2010 at The Metropolitan Opera with inspiration, and his modern and unusual work the cycle being presented during the 2010–11 transcends all boundaries. and 2011–12 seasons. From 1989 to 1993 he was Artistic Director of Robert Lepage’s work has been recognized the Théâtre français at the National Arts Centre by many awards. Among the most important was in Ottawa. Meanwhile, pursuing his own creative the medal of the Officers of the Ordre national du projects, he directed Needles and Opium (1991), Québec in 1999. In September 2000, he was given Coriolanus, Macbeth, and The Tempest (1992). the SORIQ Award (La Société des relations With A Midsummer Night’s Dream in 1992 he internationales de Québec) for the impact of his became the first North American to direct a work outside Québec. In October, 2001, he was Shakespeare play at the Royal National Theatre recognized with the World Leaders Association in London. of Harbourfront Centre, once again in honor of In 1994 he founded the multidisciplinary the international scope of his career. In 2002, production company Ex Machina. Under his France inducted him into the Légion d’honneur, artistic direction, this new team produced a the Québec Chamber of Commerce named him steady output of plays, beginning with The Seven “Grand Québécois,” and he won the Herbert Streams of the River Ota (1994), A Midsummer Whittaker Drama Bench Award for his Night’s Dream (1995) and a solo production, outstanding contribution to Canadian theatre. Elsinore (1995). In 1994, he made his début in the The following year he won the Denise Pelletier world of cinema. He wrote and directed his first Prize, the highest distinction awarded by the feature film, Le Confessional, which appeared the Quebec government in the performing arts field, following year at the Cannes Festival Directors’ as well as the National Theatre School’s Gascon Fortnight. He went on to direct Polygraph (1996), Thomas Award. In 2004 he was awarded the Nô (1997), Possible Worlds (2000) (his first feature Hans Christian Andersen Prize for his film written in English), and finally, in 2003, a outstanding artistic contribution to honoring film adaptation of his play The Far Side of the Hans Christian Andersen worldwide. In 2005 he Moon. received the Institut France-Canada’s Samuel de La Caserne, a multidisciplinary production Champlain Prize for his contribution to French centre in Québec City, opened in 1997 under culture and the Stanislavski Award for his Robert Lepage’s leadership. In their new quar- contribution to international theatre. In 2007, the ters he and his team created and produced Festival de l’Union des Théâtres de l’Europe Geometry of Miracles (1998), Zulu Time (1999), The honored him with the distinguished Prix Europe. Far Side of The Moon (2000), La Casa Azul (2001), a The production of The Far Side of the Moon was new version of The Dragons’ Trilogy with a new recognized by The Golden Mask Festival of cast (2003) and The Busker’s Opera (2004). This Russian Performing Arts 2007 in the category of was followed by The Andersen Project (2005), Best Foreign Production. In 2009, he received the Lipsynch (2007), The Blue Dragon (2008) and Governor General’s Performing Arts Award for Eonnagata (2009). his outstanding contribution to the cultural life of Robert Lepage made a grand entrance in the the country. He is the recipient of the 2012 opera world when he staged the successful dou- Eugene McDermott Award in the Arts at the ble bill: Bluebeard’s Castle and Erwartung (1993). Massachusetts Institute of Technology. His presence on the operatic stage continued with La Damnation de Faust presented for the YVES JACQUES (Performer). Jacques’ first time in the Saito Kinen Festival Matsumoto, professional journey led him from his native Québec Japan (1999), then at the Opera National de Paris City to Montreal, and then drove him to Paris, where and the Metropolitan Opera in New York. Among he has been performing on stage and in movies his achievements in opera: 1984 based on the ever since. After graduating from theatre school in

11 about the artists (continued)

1977, he first gained notoriety with his musical par- His most rewarding filmmaking association in ody Slick and the Outlags, created with his musician France has been with director Claude Miller, with friends. The show was an instant hit and was shown whom he has worked on many successive films. in Québec City and Montreal, before touring Québec His latest project with the director was during the again in a 1984 revival. After the show’s first run, summer of 2010 on Voyez comme ils dansent, fol- Mr. Jacques began to be offered parts in stage lowing Un secret (2006), Betty Fisher et autres his- plays and television shows. For five years, in toires (International Critics’ Award, 2001), La Québec City, he played only leading roles in the chambre des magiciennes (International Critics’ city’s top theatres. Award, Berlin, 2000), and La classe de neige (Prix du In 1984, his part in Denys Arcand’s The Jury, Cannes, 1998). In 2003, he was at the Cannes Decline of the American Empire confirmed his Film Festival with two movies: Claude Miller’s La standing as an actor, and was followed by a Petite Lilly and Denys Arcand’s The Barbarian succession of hits both on stage and screen. Invasions (which won many awards including the Since September 1993, he has been living in Academy Award for Best Foreign Film in 2004). Paris, which has allowed him to play in films shot In February 2001, he was bestowed the title in France, the Czech Republic, Portugal, Hungary of Chevalier de l’Ordre des Arts et des Lettres, (with Charles Aznavour), Belgium and Sweden (in awarded by France’s Ministère de la Culture and the studios of Ingmar Bergman). His first stage was conferred with the title of Officier de l’Ordre appearance in Paris took place in January 1996 du Canada in 2009. From 2001–2005, Mr. at the Théâtre National de Chaillot (Trocadéro), Jacques toured the world in Robert Lepage’s The where he played alongside Rupert Everett in Far Side of the Moon, and his performance won Jérome Savary’s production of Oscar Wilde’s The him Montreal’s Théâtre du Nouveau Monde’s Importance of Being Earnest. He appeared in Best Actor Award (Prix Gascon-Roux) in 2003. another Paris hit production with Savary, His collaboration with Robert Lepage continues Molière’s Le Bourgeois gentilhomme, which had a with The Andersen Project, which has toured the run of over 125 performances. world since 2006.

12 High-Resolution Press Images

Photo gallery online: http://www.ashmontmedia.com/AE_photos_season_andersen.html

Please click on image for print-ready size:

13 Critical Praise for The Andersen Project

“The Andersen Project stands as a playful and dazzling ode to the imagination and an evening of storytelling worthy of Hans Christian himself.” – Guardian UK

- “The Andersen Project is another real accomplishment from one of the world's top stage creators.” – The Globe and Mail

“But the real magician, of course, is Lepage, who’s created another not-to-be-missed marvel.” – NOW Toronto

14 Useful Links

Ex Machina http://lacaserne.net/index2.php/robertlepage/

Lepage interview in MacLeans http://www2.macleans.ca/2010/10/28/robert-lepage- in-conversation/

Metropolitan Opera’s Ring cycle http://www.nytimes.com/2012/01/30/arts/music/ robert-lepages-gotterdammerung-at-the-met- review.html?_r=1&ref=robertlepage

Hans Christian Andersen Center http://www.andersen.sdu.dk/index_e.html