Julius Caesar

by

A production of Théâtre National de Bretagne

Arthur Nauzyciel Director

Friday Evening, April 5, 2019 at 7:30 Saturday Evening, April 6, 2019 at 7:30 Power Center Ann Arbor

43rd and 44th Performances of the 140th Annual Season Theater Series This weekend’s performances are supported by Michigan Medicine, the James and Barbara Garavaglia Theater Endowment Fund, the Ilene H. Forsyth Theater Endowment Fund, and the Herbert S. and Carol L. Amster Endowment Fund. Special thanks to Linda Gregerson and Peter Holland for their participation in events surrounding this weekend’s performances. appears by arrangement with Maia Arts. In consideration of the artists and the audience, please refrain from the use of electronic devices during the performance. The photography, sound recording, or videotaping of this performance is prohibited. CAST Portia/Calpurnia / Sara Kathryn Bakker Soothsayer / Luca Carboni Lucius / Jared Craig Casca/Lepidus / Roy Faudree Cinna/Lucillius/Clitus/Marrullus/Trebonius / Ismail Ibn Conner Octavius/Carpenter/Popilius/Octavius’ Servant / Isaac Josephthal Julius Caesar / Dylan Kussman Cassius / Mark Montgomery Runner/Metellus / Rudy Mungaray Mark Anthony / Daniel Pettrow Runner/Cato/Young Cato/Dardanius / Timothy Sekk Decius Brutus / Neil Patrick Stewart Brutus / James Waterson

JAZZ TRIO Double Bass / Dmitry Ishenko Guitars / Leandro Pelligrino Vocals / Marianne Solivan

CREATIVE AND PRODUCTION TEAM Author / William Shakespeare Director / Arthur Nauzyciel Set Designer / Riccardo Hernandez Lighting Designer / Scott Zielinski Costume Designer / James Schuette Sound Designer / David Remedios Choreographer / Damien Jalet Assistant / Bertille Kapela General Manager / Sylvain Saysana Light Technician / Christophe Delarue Sound Technician / Florent Dalmas Props and Wardrobe / Myriam Rault Stage Technician / Antoine Giraud-Roger

Julius Caesar runs approximately three hours and 20 minutes in duration and is performed with one intermission.

Following Friday evening’s performance, please feel free to remain in your seats and join us for a post-performance Q&A with members of the company.

3 DIRECTOR’S NOTE

Written in 1599 for the opening of of the Apes. The characters project The Globe Theatre and right before themselves into the future, in which Hamlet, Julius Caesar is the first in a they will be the spectators of their series of great tragedies. It contains own past, in which their acts will be in itself all the subsequent plays of a spectacle for others to see. Like a Shakespeare. It is a political play, testimony for the future of what we in which language and rhetoric are and were. play a prominent part; the power of We created this piece in Boston 10 discourse can change the course years ago at the American Repertory of history; the flow of words both Theater, which was built in 1964. Pop reveals and hides their extraordinary culture in the US then had never been presence. so dominant, the world so loud; there And if the world pictured in the were images everywhere and all was play still resembles ours (what appearance. That is why I wanted to has changed in politics?), one place the play in the 1960s, during nonetheless feels throughout the text the years when one wanted to believe a will to encompass both the visible that Kennedy would open onto a new and the invisible, the real and dream era, when a crowd became a mass, life, the living and the dead in a one- when the image won over the word, and-only unit, a singular cosmography. and when the most innovative and We are connected to the Greeks, significant artistic trends were born in the Romans, and to Shakespeare by a this country: architects, performers, long chain which, from the beginning performance art, photography, collage, of time and for many centuries to and reproduction. come, contains, like a DNA loop, the collective memory of human fears and — Arthur Nauzyciel illusions. As Eric Hobsbawm wrote in The Age of Extremes: “The short 20th century ended in problems, for which nobody had, or even claimed to have, solutions. As the citizens of the fin de siècle tapped their way through the global fog that surrounded them, into the third millennium, all they knew for certain was that an era of history had ended. They knew very little else.” We have yet to come to terms with the dark side of this century. Whenever I confront myself with a classical text, I have the feeling I ought to direct a “memory for the future.” The classics are like the Statue of Liberty at the end of Planet

4 SYNOPSIS

Shakespeare’s Julius Caesar is generally However, Cassius and the conspirators believed to have been first performed in plant forged letters, supposedly from 1599 at the new Globe Theatre. It is one angry citizens, to influence him on of several plays written by Shakespeare joining their cause. He is troubled based on Roman history — a popular by his decision, which he refuses to topic in 16th-century England — which share with his wife Portia. Despite the also include and Antony and portents invoked by his wife Calpurnia, Cleopatra. The assassination of Julius Julius Caesar goes to the Capitol, Caesar in Rome on March 15 (the “Ides where his assassination takes place of March”) in 44 BC was a central event in a spectacle of violence on stage, of the pre-Christian ancient world, but as the group of conspirators stab any justification for Caesar’s killing him multiple times. After the murder, always remained elusive.1 This ambiguity when Brutus addresses the crowd persisted into the early modern period, to explain their supposedly patriotic and Shakespeare incorporated it into his motives, the people initially seem to play in complex depictions of the main support his cause. But following him, characters such as Caesar and Brutus. Mark Antony delivers a funeral oration The play begins with Caesar’s (against Cassius’s objections), in which triumphant return after war. Some he reads Caesar’s will, bequeathing tribunes berate common citizens for money and use of public land to each celebrating his win. Public games are Roman citizen. His oration transforms held to mark this victory, and as Caesar the audience into a frenzied, murderous is headed there, a soothsayer warns mob. The conspirators flee and Rome him to beware the “Ides of March.” breaks into civil conflict. We then see the evolving conspiracy Brutus and Cassius gather an army against Caesar, led by Caius Cassius, to fight Mark Antony, who is joined by who discusses the threat of Caesar’s Octavius, Caesar’s grandnephew, and increasing power and god-like role with Lepidus, another ally. The conspirators Marcus Brutus, a fellow senator. Another are defeated, following their internal conspirator, Casca, enters to tell them divisions and suspicion of betrayal. that Mark Antony, Caesar’s protege, at Brutus commits suicide, but Mark the behest of the plebeians, offered Antony and Octavius acknowledge his Caesar a crown three times at the nobility and want to give him a burial games. While he refused it every time, with honor. The final vision of the play is Cassius and Brutus are suspicious of his both complex and tragic. aspirations and potentially dictatorial tendencies. Synopsis written by Jyotsna G. Singh, Brutus has a keen sense of honor professor of Renaissance studies in the and patriotism toward Rome, but mixed department of English at Michigan State feelings about joining the conspiracy. University.

1 For a background to the play, see David Daniell, “Introduction,” Julius Caesar. London: The Arden Shakespeare, 1-4.

5 RESONANCES

Like Hamlet, Julius Caesar is a puzzle. It is no coincidence that the world It doesn’t conform to the idea of of Julius Caesar is constructed Aristotelian tragedy in presenting almost entirely from language. The a noble man with a conspicuous play contains little physical action: flaw, nor to Elizabethan melodrama there are few shifts in location, in in presenting a conspicuous villain. contrast to As You Like It, the play Julius Caesar has great relevance that preceded it, nor are there any to our time, though it is gloomier, special stage effects, apart from because it is about a society that is the appearance of Caesar’s ghost doomed. Our society is not doomed, to Brutus. Except for Caesar’s but in such immense danger that the assassination at the Capitol and the relevance is great. It was a society suicides in the final act, the play doomed not by the evil passions of shows us very few events; almost selfish individuals, because such everything that happens takes place passions always exist, but by an offstage and is then retold through intellectual and spiritual failure of rumor or report. This gives Julius nerve that made the society incapable Caesar an oddly subjective quality; so of coping with its situation. little is enacted directly in front of us that we must rely on other people’s — W. H. Auden, Lectures on characterization of events, and we Shakespeare are never quite sure whom or what to believe. Words, not deeds, are the primary agents in the play, and they are endowed with extraordinary powers of creation, transformation, and destruction. Words can create a reality, or destroy a life.

– Arthur Nauzyciel, October 2007

6 ARTISTS

After studying visual arts and cinema, Slovenia (2015); and Kim Youg-ha’s Empire Arthur Nauzyciel (director) trained as an of Light (2016) at the National Theater actor in the school of the Théâtre National Company of Korea (NTCK) in Seoul. de Chaillot (Paris) run by Antoine Vitez He has also worked for dance and opera. (1978). He began his career as an actor In 2011 he staged the opera Red Waters by and then turned to stage directing. His first Keren Ann and Bardi Johannsson (Lady and production as a director was Le Malade Bird) and contributed to the creation of imaginaire ou le Silence de Molière, after Play by Sidi Larbi Cherkaoui and Shantala Molière and Giovanni Macchia (1999), Shivalingappa. In 2018, he staged Papillon followed by Samuel Beckett’s Happy Noir, a contemporary opera by Yannick Days (2003). Since then, he has directed Haenel and Yann Robin. He regularly works numerous productions in France and with other artists on his projects, such abroad, including Thomas Bernhard’s as Miroslaw Balka, Étienne Daho, Matt Heldenplatz at the Comédie-Française Elliot, José Lévy, Sidi Larbi Cherkaoui, (2004); Kaj Munk’s Ordet (The Word) Damien Jalet, and Gaspard Yurkievich. staged at the Festival (2008); Since January 1, 2017, Mr. Nauzyciel has Jan Karski (My Name is a Fiction), adapted been the director of the Théâtre National from the novel by Yannick Haenel, staged de Bretagne, where he created Alexandre at the Avignon Festival (2011); Hunger, Dumas Fils’s Camille in September 2018. based on Knut Hamsun’s novel (2011); Anton Chekov’s The Seagull staged in the The Thétre National de Bretagne Cour d’honneur of the Papal Palace at the (TNB) traces its history back to the very Avignon Festival (2012); KADDISH by Allen creation of the Centre Dramatique de Ginsberg (2013), reading created at the l’Ouest in 1949, part of the CDN (National Avignon Festival (2013); and Jean Genet’s Centers for the Dramatic Arts) network. It Splendid’s (2015) with Jeanne Moreau’s cooperated with the Maison de la Culture voice and the American actors from Julius in Rennes after the latter was founded Caesar. Mr. Nauzyciel works regularly in in 1968. The TNB was born in 1990 as the US. In Atlanta he staged two plays both organizations merged. Today, the by the French playwright Bernard-Marie TNB is preeminent in the French cultural Koltès: Black Battles With Dogs (2001) and landscape. The TNB organizes an annual Roberto Zucco (2004), along with Mike festival, has a cinema, and runs l’Ecole Leigh’s Abigail’s Party (2007), and William Superieure d’Art Dramatique, a leading Shakespeare’s Julius Caesar (2008). drama school. The TNB welcomes some Mr. Nauzyciel has created a number of 200,000 spectators each season across shows abroad that were then revived in its many programs of live performances, France or at international theater festivals, cinema, special events, and workshops. including Samuel Beckett’s The Image Since January 1, 2017, actor and stage in (2006); Marie Darrieussecq’s director Arthur Nauzyciel has led the TNB The Sea Museum, performed at the in Rennes. National Theater of Iceland (2009); R. W. Fassbinder’s The Bitter Tears of Petra von Kant staged for the Mini-teater in Ljubljana,

7 Born in Cuba and raised in Buenos Aires, for Miss Fortune by Judith Weir at the Royal Riccardo Hernandez (set designer) Opera in London. He holds a master’s in studied at the Yale School of Drama theater design from the in New Haven, Connecticut. He works School of Drama. For Arthur Nauzyciel, he regularly on Broadway, where he has won created the lighting design for The Sea many awards for productions including Museum, Jan Karski (My Name is a Fiction), Topdog/Underdog and Porgy and Bess Red Waters, Abigail’s Party, The Seagull, (2012 ). He has also worked Splendid’s, The Bitter Tears of Petra von for the opera, designing sets for Philip Kant, and La Dame aux camélias (Camille). Glass (Appomattox) and Diane Paulus (Lost Highway based on the David Lynch film). Damien Jalet (choreographer) is an In the theater he has worked for many independent Belgian and French stage directors, such as George C. Wolfe, choreographer and dancer. Interested in the Ron Daniels, Rebecca Taichman, Robert capacity of dance constantly reinventing Woodruff, Ethan Coen, Janos Szasz, John itself by conversing with other media such Turturro, Steven Soderbergh, and for Julie as visual art, music, cinema, theater, and Taymor in Grounded with Anne Hathaway. fashion, his works are often collaborative. Mr. Hernandez teaches stage design at He has worked as a choreographer and Yale University. For Arthur Nauzyciel, he dancer for companies such as Ballet C. de la created the sets of Jan Karski (My Name B., and Guests, Chunky Move, is a Fiction), Red Waters, Abigail’s Party, Eastman, NYDC, Hessiches Staatballet, Paris The Seagull, Splendid’s, The Bitter Tears of Opera Ballet, Scottish Dance Theatre, and Petra von Kant, The Empire of Lights, and La Iceland Dance Company. His latest works as Dame aux camélias (Camille). choreographer include Babel(words) with Sidi Larbi Cherkaoui with a set by Antony Scott Zielinski (lighting designer) lives in Gormley (two Olivier Awards), presented New York. For theater, dance, and opera, he in 2016 at the Cour d’Honneur du Palais has worked on projects created throughout des Papes in Avignon; Les médusés, a the world, with American and international choreographic installation for 30 performers directors including Richard Foreman, in some of the main rooms of the Louvre in Robert Wilson, Tony Kushner, Hal Hartley, Paris; YAMA for the Scottish Dance Theatre and Krystian Lupa. In New York, he works with a set design by American artist Jim regularly on Broadway for the production of Hodges; Bolero, which he directed together Topdog/Underdog by Suzan-Lori Parks, and with Cherkaoui and the performance for Lincoln Center and . artist Marina Abramović for the Paris He also creates the lighting for productions Opera Ballet with costumes by Riccardo in many other North American cities, Tisci; Inked for the British Kathak dancer with directors and choreographers such Aakash Odedra; and Obsidian Pieces for the as Neil Bartlett, Chase Brock, Chen Shi- Iceland Dance Company in collaboration Zheng, Karin Coonrod, Ron Daniels, David with Erna Omarsdottir. In October 2015 he Esbjornson, Daniel Fish, Sir Peter Hall, choreographed Gravity Fatigue, devised Tina Landau, Jonathan Moscone, Diane by fashion designer Hussein Chalayan at Paulus, Lisa Peterson, James Robinson, Sadler’s Wells in London. Anna Deavere Smith, Twyla Tharp, George C. Wolfe, Mary Zimmerman, and recently

8 Sara Kathryn Bakker (Portia/Calpurnia) from 2009–2015. He became a member performed the original roles of Portia and of Saveria Project, a collective founded in Calpurnia in Julius Caesar in Boston in 2008 Bologna which promotes and produces and on tour with the production three times contemporary artistic works in Italy and in France and once in Bogota, Colombia. abroad. She has appeared regionally at the Denver Center Theatre, American Repertory Jared Craig (Lucius) performed in Julius Theater, Utah Shakespearean Festival, Caesar and Splendid’s for Arthur Nauzyciel. Contemporary American Theater Festival, He graduated with a BFA in acting from the Pioneer Theater, Williamstown Theatre School of Theatre at Boston University, and Festival, Chautauqua Theater, Pennsylvania also studied at the London Academy of Shakespeare Festival, and Delaware Theater Music and Dramatic Art. He has performed Company. Off-Broadway, she has worked at in Be.The.Dog. at New York International the Roundabout Theater and collaborated Fringe Festival (2009) and in The Starving on the original show As Far As We Know for Class, a reading directed by Jim True-Frost. the NYC Fringe and Fringe Encores. Work In Boston, he performed in The Island of in New York has also included workshops Slaves, The History Boys, , and readings with Primary Stages, the A Midsummer Night’s Dream, First Blush, The Drama Department, Adobe, Rattlestick, Red Lion, and Lilly’s Purple Plastic Purse. and director Austin Pendleton. Film and TV work has included Law & Order, Conviction, Roy Faudree (Casca/Lepidus) created the Ghost Stories, and the feature filmEnd of No Theater with Sheena See in 1974 in the Spear. She also appeared in the web Northampton, Massachusetts. His creations series The Accidental Wolf with Kelli O’Hara, have been performed in Paris, London, directed by Arian Moayed. Ms. Bakker Manchester, Rotterdam, Ghent, Linz, Munich, graduated from Yale University and received Berlin, Tokyo, and Melbourne. More recently, her MFA from the American Conservatory No Theater has played Let Go at Lang/ Theater in San Francisco. She has two Bocanegra in Soho, Caveman by Richard children, lives in Connecticut, and is a Maxwell at the Performing Garage in New public speaking coach. York, and End of the Road with the Young@ Heart Chorus. No Theater’s major shows are Luca Carboni (Soothsayer) was born Dupe, Last Resort..., and its first creation, in Bologna and now lives in . The Elephant Man, by Mr. Faudree. He has He received his diploma at the Piccolo regularly performed with the Wooster Teatro in Milan, and has acted for Luca Group in The Hairy Ape, House/Lights, To you Ronconi, Arthur Nauzyciel, Massimo Castri, the birdie (Phedre), and Fish Story, and in Matthew Lenton, and Tatjana Pessoa. He Samara by Richard Maxwell at Soho Rep. has performed for Italian and European audiences for the last 15 years, working Ismail Ibn Conner (Cinna/Lucillius/Clitus/ for public theaters and private companies. Marrullus/Trebonius) has performed in He was president, an active member, and Black Battles With Dogs, Julius Caesar, actor at the theater company Gli Incauti and Splendid’s for Arthur Nauzyciel. He

Photo (next spread): Julius Caesar; photographer: Frederic Nauczyciel.

9 10 11 is the founder of the US Koltès Project, On Broadway, Mark Montgomery (Cassius) working in conjunction with François performed in Mamma Mia! (Bill Austin), Koltès on American English translations Macbeth, and The Seagull directed by and international performances, which Christopher Hampton with Kristin Scott have produced performances in the US Thomas in 2008. He is involved in many and France including Dans la solitude des projects with the Shakespeare in the Park champs de coton, Le Jour des meurtres festival in New York. A member of the dans l’histoire d’Hamlet, and La Nuit juste Chicago Shakespeare Theatre, he performed avant les forêts. in Rose Rage (Joseph Jefferson Award for “Best Production,” performed at the Duke Raised in North Carolina, Isaac Josephthal Theatre in New York) and performed in As (Octavius/Carpenter/Popilius/Octavius’ You Like it, King Lear, Antony and Cleopatra, servant) is a Brooklyn-based artist. Recent Henry IV, Much Ado About Nothing, and The stage credits include The Lion in Winter Comedy of Errors. On television, he has (Cape May Stage, dir., John Gulley), Public appeared in Law & Order and Guiding Light. Enemy (The Pearl Theatre Co., dir. Hal Brooks), The Ugly One (A.R.T./New York, Rudy Mungaray (Runner/Metellus) dir. Miles Mandwelle), and the American graduated from New World School of the premiere of Lars von Trier’s Dogville (Tisch, Arts and went on to receive a BFA from the dir. Robert O’Hara). He previously worked Acting Conservatory at the State University with TNB on Jean Genet’s Splendid’s, and of New York at Purchase. His theater credits joined the cast of Julius Caesar in 2017. include Blood & Gifts (Lincoln Center), Television and film credits includeDivorce , Lush Valley and Sounding (HERE Arts Big Dogs, and Read Aloud. He received his Center), Sunken Living Room (Southern BFA from NYU/Tisch. Rep, world premiere), and Paradise (New Theatre, Miami). For film and television, Dylan Kussman (Julius Caesar) makes he performed in Boardwalk Empire, Blue his debut with the Théâtre National de Bloods, Elementary, Power, Law & Order, Bretagne with this production. He has and Unforgettable. For Arthur Nauzyciel, Mr. appeared on numerous stages throughout Mungaray performed in Splendid’s by Jean the US, including the Berkeley Repertory Genet (2017). Theater, the Magic Theater, the Oregon Shakespeare Festival, the Victory Theater Daniel Pettrow (Mark Anthony) has in Los Angeles, and the Ensemble Theater performed in Black Battles With Dogs, of Chattanooga (ETC). Some of his favorite Roberto Zucco, Julius Caesar, and Splendid’s Shakespearean roles include Romeo with for Arthur Nauzyciel. As an actor and stage the San Francisco Shakespeare Festival, director, he has appeared in more than Henry V with Shotgun Players, and Macbeth 60 productions in the US and abroad. He with ETC. His film credits includeDead Poets also works for film and television. He is the Society (in which he appeared with James assistant director and performer of The Waterston), The Way of the Gun, X2, Jack Principles of Uncertainty, a collaboration Reacher, and The Mummy (2017), along with between the artist Maira Kalman and numerous American television appearances. the choreographer John Heginbotham, He currently lives in Chattanooga, presented in 2017 at Jacob’s Pillow, the Tennessee, with his wife and son. Guggenheim, and BAM.

12 Timothy Sekk’s (Runner/Cato/Young Cato/ spent five seasons at the Williamstown Dardanius) New York credits include Theatre Festival, three seasons at The Old A Clockwork Orange, Avow, and Dreyfus Globe, and three seasons at the Sundance in Rehearsal. International credits include Institute. His film and television credits Splendid’s, directed by Arthur Nauzyciel. include Certainty, Visiting, Dead Poets Regional credits include Portland Center Society, Little Sweetheart, Treme, The Good Stage, Cincinnati Playhouse, Repertory Wife, a recurring role on Six Feet Under, Theatre of St. Louis, Baltimore Center Stage, Live from Baghdad, Wedding Daze, and Northern Stage, The Acting Company, and Christy: The Movie. For Arthur Nauzyciel, Shakespeare Theatre Company. On film and he performed in Jan Karski (My Name is a television, he has appeared in Alice Fades Fiction) in 2011. Away, The Blacklist, Odd Mom Out, The Affair, The Good Wife, Elementary, Person of Dmitry Ishenko (double bass) is a versatile Interest, and Boardwalk Empire. He received and in-demand bass player based in New his BA from Vassar College and MFA from York. He has performed and/or recorded NYU’s Graduate Acting Program. with such jazz greats as Steve Lacy, John Tchicai, Eric Harland, Dave Liebman, Kenny For Arthur Nauzyciel, Neil Patrick Stewart Werner, Terri Lynn Carrington, Myron (Decius Brutus) has appeared in Julius Walden, Roy Campbell, Jr., Sam Yahel, Caesar, Abigail’s Party, and Splendid’s. He is and Kenny Wollesen. A graduate of both an actor and stage director, and he teaches the Berklee College of Music and New master classes and multi-day performance England Conservatory, he is also a busy workshops. He is the director of the musical session player and arranger, having worked Volleygirls, which won several awards, and in the studio and on the road with Paul a production of The Elephant Man for the Banks of Interpol. Mr. Ishenko has toured nonprofit Mechanicals Theatre Group, which all over North America, Western Europe, was nominated for Ovation Awards. Russia, and Japan, appearing at the NYC CareFusion Jazz Festival, Vision Festival, James Waterson’s (Brutus) Broadway Blue Note Jazz Festival, Toronto Jazz theater credits include Enemy of Festival, Boston Beantown Jazz Festival, the People (MTC). Off-Broadway, he Carnegie Hall, Kennedy Center, Lincoln performed in Love and Information (New Center, The Blue Note, and countless other York Theatre Workshop), The Importance venues around the world. of Being Earnest (Brooklyn Academy of Music, directed by Sir Peter Hall), As Leandro Pelligrino (guitars) is an You Like It (The Public Theater/NYSF), internationally acclaimed guitarist who has Parents’ Evening (The Flea Theater), and been steadily developing his reputation as Buffalo Gal (Primary Stages). Regional one of the finest guitarists of his generation. and international credits include Born in São Paulo, Brazil, Mr. Pelligrino Chinglish (Goodman Theatre), Othello studied music composition and jazz (Commonwealth Shakespeare Company), improvisation as a teenager. After earning Private Lives (Huntington Theater), his bachelor’s degree, he auditioned for the Twelfth Night (The Old Globe), The Seagull prestigious Berklee College of Music and (George Street Playhouse), and Children was awarded a full scholarship to pursue (Williamstown Theatre Festival). He has his studies in jazz and improvised music. In

13

2011, he moved to the US to live his dream has worked with luminaries including of being immersed in the country’s fertile Christian McBride, Roy Hargrove, Peter musical environment. Since then, he has Bernstein, Jeremy Pelt, Lewis Nash, gained an impressive reputation among Johnathan Blake, and Bruce Barth. She his peers and had the chance to work went to school at Berklee College of Music with many of the greatest jazz musicians and the New England Conservatory, where in activity. He has performed with artists she earned her master’s degree and honed including Dave Liebman, Danilo Pérez, Manu her skills as a bandleader, amassing a huge Katché, John Pattittuci, Bob Cranshaw, Terri repertoire that can challenge any song Lyne Carrington, Romero Lubambo, Eric hound. Ms. Solivan has taught all grade Harland, Donny McCaslin, Gerald Clayton, levels for over 18 years and currently runs and Erik Truffaz. He is also part of the her own jazz vocal workshop series in New Grammy Award-winning album Beautiful York. Her first CD,Prisoner of Love, received Life by the exceptional jazz singer Dianne critical acclaim and a four-star review Reeves. In 2013, he entered the Montreux from DownBeat magazine in 2012, and her Jazz Guitar Competition and was awarded second CD, SPARK, was released in 2015 to first prize by the legendary Lee Ritenour as critical acclaim. the first South American guitarist to ever win the competition. UMS welcomes Théâtre National de Bretagne as the company makes its UMS Marianne Solivan (vocals) is an debut this weekend. internationally touring jazz vocalist, composer, bandleader, and educator. She

Premiere / American Repertory Theater, Loeb Drama Center (Cambridge, Massachusetts), February 13–March 16, 2008 Executive production / Théâtre National de Bretagne Coproduction / Centre Dramatique National Orléans/Loiret/Centre in partnership with the American Repertory Theater (major production sponsor: Philip and Hilary Burling), Festival d’Automne à Paris, Maison des Arts de Créteil, TGP-CDN de Saint-Denis. With the support of / Etant Donnés/The French-American Fund for the Performing Arts, a Program of FACE; and the Cultural Services of the French Embassy in the United States.

15 THIS WEEKEND'S VICTORS FOR UMS: Michigan Medicine — James and Barbara Garavaglia Theater Endowment Fund — Ilene H. Forsyth Theater Endowment Fund — Herbert S. and Carol L. Amster Endowment Fund

Supporters of this weekend’s performances of Julius Caesar.

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