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Thursday–Saturday Evenings, November 5–7, 2015, at 7:30

Post-performance discussion with Conor Lovett, Judy Hegarty Lovett, and Bill Irwin on Friday, November 6

Beckett Shorts

Here All Night (U.S. premiere) Featuring selected music and texts from across Beckett’s prose and plays

Gare St. Lazare Ireland Conor Lovett , Actor Melanie Pappenheim , Singer Christopher Allan , Cello John-Paul Gandy , Piano Caoimhín Ó Raghallaigh , Hardanger d’amore Chorus : Margery Daley, Madeline Apple Healey, Margaret Lias, Kate Maroney, Heather Petrie, Jamet Pittman

Judy Hegarty Lovett , Director Paul Clark , Composer and Musical Director Mike Gunning , Lighting Design Maura O’Keeffe , Producer

Here All Night is approximately 65 minutes long and will be performed without intermission.

Here All Night was created by Paul Clark, Judy Hegarty Lovett, Conor Lovett, and Caoimhín Ó’Raghallaigh.

These performances are made possible in part by the Josie Robertson Fund for Lincoln Center.

Marjorie S. Deane Little Theater Please make certain all your electronic devices at the West Side YMCA are switched off.

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MetLife is the National Sponsor of Lincoln Center. Upcoming White Light Festival Events:

Saturday, November 7, at 4:00 in the “Here All Night,” based on “Watt,” “First Love,” Stanley H. Kaplan Penthouse and “The Unnamable” by Samuel Beckett, is White Light Conversation: Language and presented through special arrangement with Human Consciousness Georges Borchardt, Inc. on behalf of The Estate John Schaefer , Moderator of Samuel Beckett. All rights reserved. With Joan La Barbara , Colum McCann , Steven Pinker , and Gary Tomlinson Performance extract of Gare St. Lazare Ireland’s work in progress of How It Is by Samuel Beckett, performed by Conor Lovett, with director Judy Hegarty Lovett

Monday and Tuesday, November 9–10, at 7:30 No’s Knife (world premiere) Excerpts from Texts for Nothing by Samuel Beckett Lisa Dwan , Performer and Co-director Nicholas Johnson , Co-director

Friday, November 13, at 7:30 in the Bruno Walter Auditorium White Light on Film: Waiting for Beckett— A Portrait of Samuel Beckett Directed and produced for Global Village by John L. Reilly, produced by Melissa Shaw-Smith. 1994. 86 minutes.

Friday and Saturday, November 20–21, at 7:30, and Sunday, November 22, at 3:00 at New York City Center A Sadler’s Wells Production Thomas Adès: Concentric Paths—Movements in Music (U.S. Premiere) Thomas Adès, Piano and Conductor Orchestra of St. Luke’s Wayne McGregor , Choreographer Karole Armitage , Choreographer Alexander Whitley , Choreographer Crystal Pite , Choreographer THOMAS ADÈS: Concentric Paths, Life Story, Piano Quintet, Polaris Presented in association with New York City Center

For tickets, call (212) 721-6500 or visit WhiteLightFestival.org. Call the Lincoln Center Info Request Line at (212) 875-5766 to learn about program cancellations or to request a White Light Festival brochure.

Visit WhiteLightFestival.org for full festival listings.

Join the conversation: #LCWhiteLight

We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members. In consideration of the performing artists and members of the audience, those who must leave before the end of the performance are asked to do so between pieces. The taking of photographs and the use of recording equipment are not allowed in the building. 11-05 Here All Night.qxp_GP 10/27/15 4:11 PM Page 3

Note from the Director opted for Here All Night . Most exciting for us four was the music that Beckett himself By Judy Hegarty Lovett wrote and which features in his novel The first play I saw in my early teens was Watt. Over several years and with the addi - Beckett’s Waiting for Godot at the Ivernia tion of original compositions and arrange - Theatre in Cork. Since then, I have loved ments by Paul, the inventiveness of Samuel Beckett’s writing. His influence and Caoimhín, and Conor as a leading inter - brilliance continues to ripple across the arts preter of Beckett’s work, I had the experi - worldwide. With Gare St. Lazare Ireland, ence of sculpting this immense fountain of I’ve directed over 17 Beckett productions talent. We put together the current ensem - covering Beckett’s novels and plays. ble of musicians and singers in 2012 and performed at the Brighton Festival in 2013. It was while I was directing Beckett’s It was a very special time. The busy sched - seven radio plays for RTÉ, Ireland’s national ules of our virtuoso team meant that this is radio, in 2006 that I spoke with Paul Clark our second-ever outing for Here All Night, and Conor Lovett about exploring the and we are delighted to have with us a cho - music in Beckett’s work. An accomplished rus of six local singers, making it a unique pianist, Beckett loved music, and the evi - New York event. dence is ever-present in his gorgeous prose. The seemingly effortless flow of his We continue to develop Here All Night writing is full of rhythm and musicality, knowing its endless potential. We always counterpoint and harmony. One of his learn so much from bringing the work to a short stories, “First Love,” is mapped out live audience and genuinely feel it is the across the same terrain as Schubert’s audience who completes the work. It is an Winterreise (Winter Journey). absolute honor to share Here All Night with the White Light Festival audience. In 2010 Paul, Conor, Caoimhín Ó Ragh- allaigh, and I compiled, collated, and We wish to dedicate the U.S. premiere to explored music across Beckett’s plays, Christopher J. Herbert and Nancy Welch, novels, stories, and poetry. This resulted in who celebrate ten years as patrons of Gare a work we almost titled Love and Per - St. Lazare Ireland. mutations , however for reasons that will become clearer as the evening unfolds, we —Copyright © 2015 by Judy Hegarty Lovett

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Samuel Beckett a feeling of joy. The friend said it was the kind of day that made one glad to be alive. By Mel Gussow Beckett responded, ‘‘I wouldn’t go that far.’’ Samuel Beckett (1906 –1989) was a tower - Samuel Barclay Beckett was born in ing figure in drama and fiction who altered Foxrock, a suburb of , on Good the course of contemporary theater. His Friday, April 13, 1906 (that date is some - plays became the cornerstone of 20th- times disputed; it is said that on his birth century theater beginning with Waiting for certificate the date is May 13). He majored Godot , which was first produced in 1953. in French and Italian at Trinity College, As the play’s two tramps wait for a Dublin. At school he excelled both in his salvation that never comes, they exchange studies and in sports, playing cricket and vaudeville routines and metaphysical rugby. He received his Bachelor of Arts musings—and comedy rises to tragedy. degree in 1927 and his Master of Arts degree in 1931. At the root of his art was a philosophy of the deepest yet most courageous pessimism, In 1938, while walking with friends on a exploring man’s relationship with his God. Paris street, he was stabbed with a knife With Beckett, one searched for hope amid by a panhandler. A young piano student despair and continued living with a kind of named Suzanne Deschevaux-Dumesnil stoicism, as illustrated by the final words of came to his rescue and telephoned for an his novel, The Unnamable : “You must go ambulance. One of his lungs was perfo - on, I can’t go on, I’ll go on.” Or as he wrote rated and the knife narrowly missed his in Worstward Ho , one of his later works of heart. Beckett fully recovered from the fiction: “Try again. Fail again. Fail better.” wound but it left psychological scars. When he asked his assailant the reason for Beckett wrote six novels, four long plays the assault, the man replied, “Je ne sais and dozens of shorter ones, volumes of pas, Monsieur.” More than ever, Beckett stories and narrative fragments, some of became aware of the randomness of life. which were short novels. He wrote poetry The episode had one other long-ranging and essays on the arts, including an essay effect: He began a lifelong relationship about Marcel Proust (one of his particular with Deschevaux-Dumesnil, whom he favorites), radio and television plays, and married in Folkestone, , in 1961. prose pieces he called residua and disjecta. With her, he chose to remain in France dur - In 1969 the Irish author, who wrote first in ing World War II rather than return to the English and later in French, received the safety of Ireland. Nobel Prize in Literature.

In the last year of his life, Beckett lived in a For more than 50 years Beckett lived in his small, barely furnished room of a nursing adopted city of Paris. Though he wrote home. He had a television set on which he most of his work in French, he remained watched major tennis and soccer events, definably Irish in his voice, manner, and and several books, including his boyhood humor. Even in his final years, when he copy of Dante’s Divine Comedy in Italian. lived in a nursing home in Paris, he joined He died on December 22, 1989. friends in a sip of Irish whisky, which seemed to warm his bones and open him to —Excerpted from The New York Times , Decem - greater conviviality. In no way could Beckett ber 27, 1989 © 1989 The New York Times. All ever be considered an optimist though. In rights reserved. Used by permission and pro - an often repeated story, on a glorious tected by the Copyright Laws of the United States. The printing, copying, redistribution, or sunny day he walked jauntily through a retransmission of this Content without express London park with an old friend and exuded written permission is prohibited. 11-05 Here All Night.qxp_GP 10/27/15 4:11 PM Page 5

Note on Beckett’s Prose determining to quit the stage in favor of the page. He wrote to his French publisher By Dan Gunn Jérôme Lindon, in November 1969, after protesting that he should not be counted I am in acute crisis about my work (on on for any new dramas: “There is also and the lines familiar to you by now) and have decided that I not merely can’t but above all the fact that I must work, and had won’t go on as I have been going more promised myself, to that end, to stay away or less ever since the Textes pour Rien from the theater for at least 2 years.” [Texts for Nothing ] and must either get back to nothing again and the bottom of It is in prose written to be read, rather than all the hills again like before Molloy or plays to be performed, that Beckett felt he else call it a day. could be most exploratory and most uncompromising, pushing back the bound - The Samuel Beckett who wrote these aries of his aesthetic of “indigence” far words, in November 1958, to his friend and beyond what he considered performable on intimate Barbara Bray, had been far from stage—however “dispeopled” or constrain - unproductive during the seven years since ing he might make that stage (requiring as completing the original French of Texts for it inevitably did actors, voices, live bodies). Nothing ; these were years which saw him And within the pantheon of his prose, “The write the second of his long plays, End” holds a vital place: Begun in 1946 in Endgame , his first play for radio, All That English, it was completed in French, and Fall , as well as his monologue master - was the first of the “four stories” that, piece, Krapp’s Last Tape . Why, then, did he along with the novel Mercier et Camier , feel the need to upbraid himself for inactiv - inaugurated the greatest and most produc - ity? One week earlier, to his New York pub - tive years in Beckett’s writing life. So lisher Barney Rosset, having issued a simi - strongly did Beckett care about his story lar declaration of determined intent, he that when Simone de Beauvoir published wrote: “It’s not going to be easy, but it’s its first part in Les Temps Modernes but definitely the only last gasp worth trying to then declined to publish the second part, he pant as far as I’m concerned. So if all goes wrote to her one of his very few genuinely well no new work for a long time now, if angry letters, appealing to her in the follow - ever.” A clue to what Beckett was driving ing terms: “You are giving me the chance to at is given by the “new work” that he was speak only to retract it before the words about to embark upon, surely one of his have had time to mean anything. There is most challenging and least read: Comment something nightmarish about that.” c’est (How It Is ). If it is barely a novel, then it is surely a fictional work in prose, a work The key place, within the sequence of the written not—above all not—for theater. prose works, held by Texts for Nothing , is clearly intimated by Beckett’s belief that he However surprising it may be to those who required years to move beyond it—through know Beckett best through his plays, what How It Is . With the third novel in his “tril - his letters make abundantly clear is that for ogy,” the formidably difficult but absolutely him the fullest exploration of what he was central The Unnamable , Beckett felt, as he trying to achieve in language was possible put it to Lindon, that he had got himself only, if at all, in fiction; only there, and in into “a sorry state,” a state beyond which the quiet enjoyed by the solitary reader, nothing could be said, with no place left could he really hope to “get back to noth - from which to say it. Texts for Nothing ing again.” From the moment his plays were his attempt to write himself out of became popular, Beckett was forever that “sorry state”: The original French title

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catches up the musical sense of a momen - respond: “Frankly I can’t see how the TV tary silence (a bar “for nothing”), but also pieces, especially Ghost Trio , can be trans - the sense contained in Beckett’s words to ferred to the stage without severe loss. Bray about his urgent need to “get back to But you know what authors are. Texts for nothing again.” Nothing perhaps. Seated. Head in hands. Nothing else. Face invisible. Dim spot. And these two works, written purposefully Speech hesitant. Mike for audibility. But for the page, are now to be produced on don’t let this thought discourage yours. For stage? Famously, Beckett was almost you know what authors are.” always hostile to proposals for adaptations of his work—radio to stage (as it might be), Dan Gunn, co-editor of The Letters of stage to television, television to stage… Samuel Beckett , is Professor of Compar a- Yet, after issuing his almost invariably neg - tive Literature and English at the American ative verdict, he very often did allow him - University of Paris. He is author, most self to be persuaded that adaptation might recently, of the novel The Emperor of Ice- be viable. So it was that he did permit the Cream . fourth and probably best known of his “four stories,” “First Love,” to be drama - —Copyright © 2015 by Lincoln Center for the tized, while pleading that it be done as un- Performing Arts, Inc. theatrically as possible. So it was that, late in his life, when approached in 1980 by the American actor Joseph Chaikin, who had For more on Samuel Beckett’s impact on proposed to stage Ghost Trio , he could literature, turn to page 26. 11-05 Here All Night.qxp_GP 10/27/15 4:11 PM Page 7

Illumination

something there by Samuel Beckett

something there where out there out where outside what the head what else something there somewhere outside the head

at the faint sound so brief it is gone and the whole globe not yet bare the eye opens wide wide till in the end nothing more shutters it again

so the odd time out there somewhere out there like as if as if something not life necessarily

—Poems from THE COLLECTED POEMS OF SAMUEL BECKETT by Samuel Beckett, copyright © 1930, 1935, 1961, 1977, 1989 by Samuel Beckett. Copyright © 2012 by the Estate of Samuel Beckett. Copyright © 1978, 1992 by Samuel Beckett/Editions de Minuit. Used by permission of Grove/Atlantic, Inc. Any third-party use of this material, outside of this publication, is prohibited.

For poetry comments and suggestions, please write to [email protected].

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Meet the Artists and he was nominated for Outstanding Solo Performance in the 2013 Lucille Lortel Awards. He was an Irish Times Theatre Award nominee for Best Actor for Moby Dick in 2010 and for the judges’ special prize for First Love and The End in 2009.

Conor Lovett Conor Lovett is joint artistic director of Gare St. Lazare Ireland with director Judy Hegarty Lovett. He trained at École Melanie Internationale de Théâtre Jacques Lecoq in Pappenheim Paris. Mr. Lovett has performed 17 Beckett roles in 24 Beckett productions internation - Melanie Pappenheim is a singer and per - ally, including Vladimir and Lucky in Waiting former interested in combining music with for Godot , Hamm in Endgame , Bim in What visual art, and has devised work with Where , The Man in Act Without Words 1 , numerous leading multimedia groups B in Act Without Words 2 , and solo perfor - including DV8 Physical Theatre, Lumiere et mances of Molloy , Malone Dies , The Son, and the Shout. Ms. Pappenheim Unnamable , Texts for Nothing , First Love , appeared at the and The Calmative. In the Gare St. Lindbury Studio as the solo singer/actor in Lazare/RTÉ co-production of the Beckett the award-winning A Ring a Lamp a Thing radio plays, Mr. Lovett has played roles that by the renowned playwright Caryl Chur chill include Mr. Tyler in All That Fall , Henry in and composer Orlando Gough, and also at Embers , and Words in Words and Music . the English National Opera as Elizabeth I in Dr Dee by Damon Albarn and Rufus Norris. Other non-Beckett roles include the man in Title and Deed by Will Eno, the thief in The Ms. Pappenheim’s voice has inspired many Good Thief by Conor McPherson, Army in contemporary composers such as Gavin Requiem for a Heavyweight by Rod Serling, Bryars, Graham Fitkin, and her longtime and Gus in The Dumb Waiter by Harold collaborator Jocelyn Pook. She performed Pinter. On television Mr. Lovett has with Pook as the soloist in her highly appeared in Endeavour (ITV), Charlie (RTÉ), acclaimed Hearing Voices at the QEH and Father Ted (Channel 4), among other Theatre in 2012 with the BBC Concert shows . His film credits include Inter - Orchestra. The song cycle was revived this mission , The Kings of Cork City , Small summer at the Tête à Tête Opera Festival, Engine Repair , L’Entente Cordiale , and Moll garnering more excellent reviews. Ms. Flanders . Mr. Lovett has also worked with Pappenheim can be heard on countless Druid Theatre Company and the Gate television and film scores, including Gangs (Dublin), the Gate (London), Signature of New York , Silent Witness , Jane Eyre , Theatre Company (New York), and Rubicon and Doctor Who. She has composed music Theatre (Ventura, California). for plays and radio dramas and created sev - eral sound installations and solo perfor - Mr. Lovett’s awards include the Stage mance works, most recently Falling , com - Award for Acting Excellence at the 2014 missioned by the MK Gallery in Milton Edin burgh Festival Fringe for Title and Deed , Keynes, UK. 11-05 Here All Night.qxp_GP 10/27/15 4:11 PM Page 9

Christopher John-Paul Allan Gandy Christopher Allan studied cello with Stefan Pianist and composer John-Paul Gandy has Popov, Louise Hopkins, and Karine had a wide and varied musical journey. As a Georgian, and chamber music with the classical pianist, he has worked for compa - Takács and Borodin String Quartets. After nies such as the Royal Opera House– graduating from the Guildhall School of Covent Garden, English National Opera, Music and Drama, Mr. Allan joined the Rambert, London Sin fonietta, BBC Singers, acclaimed contemporary music group the and the acclaimed music-theater group Gogmagogs, performing in the City of Clod Ensemble. Outside of classical music, London and Sydney Festivals, among oth - Mr. Gandy is involved in performances and ers, and in cities like Toronto, New York, collaborations with the likes of rock legends and Sao Paolo, as well as across Europe. Mark E. Smith (The Fall) and Damo Suzuki (ex-Can), jazz improvisation luminaries like Mr. Allan is a member of Le Page Ensemble Meredith Monk, Alec Dankworth, Jacqui and performs with the Britten Sinfonia, the Dank worth, Barb Jungr, Ben Castle, Steve Irish Chamber Orchestra, Chroma, the Noble, and Viv Corringham, and folk-music Orchestra of the Swan, and the Clod projects with accordion virtuoso Luke Daniels. Ensemble. He has also worked on many theater productions, playing for the National Theatre in London, the Royal Shakespeare Company, and the Globe Theatre. As a chamber musician, session musician, per - former, composer, and arranger, Mr. Allan Caoimhín has collaborated with numerous composers Ó Raghallaigh including John Tavener, Django Bates, Stephen Warbeck , Mike Westbrooke , Caoimhín Ó Raghallaigh lives in Dublin, and Errollyn Wallen, Paul Clark, and choreogra - plays traditional and contemporary folk pher and composer Hofesh Shechter. music on the Hardanger d’amore. His dis - tinctive sound can be traced back to an Recordings include Music of Forgotten early interest in both the sound of the flat- English Composers with Roger Eno, Philip pitch Irish and a love for the Glass’s opera In the Penal Colony , and solo traditional music of and cello for Avie Record’s critically acclaimed County Clare. A proclivity for tuning the fid - recording of Hans Gal’s Sinfonia Concer - dle below concert pitch and a tendency tante . Recent projects include arranging toplay on two strings simultaneously had the strings for Shechter’s new work, already given Mr. Ó Raghallaigh a unique Untouchable , at the Royal Ballet. sound when he first encountered the Norwegian Hardanger , which has since become his chosen instrument. He has performed on some of the most beau - tiful stages in the world, including the Sydney Opera House, Royal Albert Hall, and Lincoln Center, and recorded 12 albums to date, performing solo, in duos, WhiteLightFestival.org 11-05 Here All Night.qxp_GP 10/27/15 4:11 PM Page 10

and with the bands This is How we Fly and Margaret Lias The Gloaming. Mezzo-soprano Margaret Lias (chorus) has been celebrated for her warm, arresting, Margery Daley and rich-toned singing. Since her debut at Soprano Margery Daley (chorus) has per - Boston’s Symphony Hall in 2011 with the formed as soloist with numerous new- Handel and Haydn Society, Ms. Lias has music ensembles, including Steve Reich been a frequent soloist under the baton of and Musicians, the Louisville Orchestra, Harry Christophers. Other select solo New York Philomusica, Group for Con- appearances this season include Seraphic temporary Music, and Musical Elements. Fire (Haydn’s Lord Nelson Mass ), Ms. Daley also has performed with many Princeton Pro Musica (John Corigliano’s early-music groups such as Music Before Fern Hil l ), New Bedford Symphony 1800, New York Collegium, Concert Royal, Orchestra (Men delssohn’s Elijah ), True Long Island Baroque Ensemble, and Concord Voices (Mozart’s Requiem in her Pomerium. She has sung on movie and Lincoln Center solo debut), Kuhmo television soundtracks, including Beauty Chamber Music Festival (Berg’s Sieben and the Beast , and appeared in the frühe Lieder ), and Arcadia Players Broadway production of The Merchant of (Mozart’s Requiem ). Ms. Lias was a found - Venice starring Dustin Hoffman. Ms. Daley ing member of the Skylark Vocal Ensemble also sang the role of Feodor in a Live From under Matthew Guard. She performs fre - Lincoln Center broadcast of Boris Godunov quently with Seraphic Fire under Patrick with the New York Philharmonic. She main - Dupré Quigley, Concert Chorale of New tains an active freelance career with a num - York under James Bagwell, Voices of ber of ensembles in the New York area. Ascension under Dennis Keene, Musica Sacra New York under Kent Tritle, and the Madeline Apple Healey New York Choral Artists under Joseph Soprano Madeline Apple Healey (chorus) Flummerfelt. She is a chorus representa - has been critically praised for her clear col - tive for the Handel and Haydn Society and oratura and silken voice. Recent engage - a board member for the Lorelei Ensemble. ments include Bach’s Mass in B minor and Bernstein’s MASS (Kennedy Center debut) Kate Maroney with Choral Arts Society of Washington, Recognized for elegant and versatile singing Bach’s Coffee Cantata with Apollo’s Fire, in music spanning from the Renaissance to and David Lang’s Little Match Girl Passion contemporary works, mezzo-soprano Kate with AMPERSAND. An active concert Maroney (chorus) has appeared in over 75 soloist and ensemble singer, she appears performances worldwide of Einstein on the regularly with Amor Artis, the Choir of St. Beach . Ms. Maroney made her Lincoln Luke in the Fields, Trinity University Center solo debut with the American Chamber Singers, Apollo’s Singers, the Classical Orchestra in Bach’s Mass in B Thirteen, and Quire Cleveland; she also minor and was part of the premiere cast of has performed at the Spoleto USA and Missy Mazzoli’s first opera, Song from the Lincoln Center Festivals. Ms. Healey is a Uproar , at the LA Opera. She has been a founding member of AMPERSAND, a soloist at the Oregon Bach Festival and with vocal-centric, project-based ensemble. New York City Ballet, Anonymous 4, She holds degrees in voice from West - American and Bangor Symphony minster Choir College and Baldwin Wallace Orchestras, Bach Collegium San Diego, University, and has recorded on the Princeton Pro Musica, Yale Choral Artists, Naxos, Koch, and Avie Records labels. A Sacred Music in a Sacred Space, Bach Cleveland native, Ms. Healey now resides Vespers at Holy Trinity, and Mark Morris in Brooklyn. Dance Group, among others. A champion of 11-05 Here All Night.qxp_GP 10/27/15 4:11 PM Page 11

new music, Ms. Maroney premiered Jamet Pittman Damon Albarn’s Monkey: Journey to the Soprano Jamet Pittman (chorus) earned West at Lincoln Center Festival in 2013, and both bachelor and master of music is heard on the recording of Julia Wolfe’s degrees in voice from the Catholic Pulitzer-winning Anthracite Fields, with the University of America in Washington, D.C. Bang on a Can All-Stars and the Choir of She was invited to study at the Manhattan Trinity Wall Street. She has worked closely School of Music, where she was a Paul with composers Philip Glass, Daron Hagen, Robeson Scholarship recipient. Since then, Matthew Welch, Hannah Lash, Paola Ms. Pittman has performed as a classical Prestini, Ted Hearne, and Olga Bell, among soloist and in professional choral groups others. She holds degrees in music from such as Musica Sacra, New York Choral Eastman School of Music, Yale University, Artists, and the esteemed Choir of St. and SUNY Purchase College. Ms. Maroney Ignatius Loyola. She has also performed on teaches at Mannes School of Music at the Broadway (Baz Luhrmann’s La Bohème ) New School. and in non-classical genres with the group Just Friends, specializing in music from the Heather Petrie African-American experience. Ms. Pittman Contralto Heather Petrie (chorus) has is now a member of the professional choir appeared recently as soloist with the of the Cathedral of St. John the Divine. She American Symphony Orchestra, Conn - was also a cast member of 3 Mo’ Divas , ecticut Lyric Opera, and Sacred Music in a which was showcased in a PBS special and Sacred Space. She performs frequently with highlighted her versatility in singing opera, the New York Philharmonic, the Choir of St. musical theater, spirituals, and R&B. Ms. Ignatius Loyola, Musica Sacra, Clarion Pittman also appeared recently as part of Music Society, Essential Voices USA, and Jason and Alicia Hall Moran’s ”Work Voices of Ascension. She has also sung in Songs” exhibit at the Venice Biennale. the Bach Vespers series at Holy Trinity, and at the Cathedral of St. John the Divine. Ms. Judy Hegarty Lovett Petrie has given concert performances of Judy Hegarty Lovett (director) is joint artistic Suor Angelica (La Zia Principessa) and director of Gare St. Lazare Ireland with actor Hänsel und Gretel (the Witch). Other opera Conor Lovett. She has a bachelor’s degree roles include Annina in Der Rosenkavalier , in fine art from the Crawford College of Art Mary in Der fliegende Holländer , Larina in & Design (Cork, Ireland), and studied dra - Eugene Onegin , Miss Todd in The Old Maid matherapy at the University of Hertford shire and the Thief , Arnalta in L’incoro nazione di (UK), as well as theater with Philippe Gaulier Poppea , and Marcellina in Le nozze di in London. Ms. Hegarty Lovett joined Gare Figaro . She has also been a member of the St. Lazare Players Chicago in Paris in 1991 opera chorus at both Bard Summerscape as an assistant to the artistic director, Bob and the Princeton Festival. Ms. Petrie is a Meyer. In 1996 she directed Conor Lovett founding member of the critically acclaimed, in Molloy by Samuel Beckett in London, eight-voice treble group Etherea Vocal and so began Gare St. Lazare Ireland . Ensemble, and is prominently featured on both of their recordings (Delos). She holds Ms. Hegarty Lovett has directed 17 a bachelor of arts degree in voice from Bard Beckett titles, including Waiting for Godot , College, a master of music degree in Rockaby , the Beckett trilogy ( Molloy, opera performance from SUNY Purchase Malone Dies , and The Unnamable ), Conservatory, and is a proud member of the Lessness , Enough , Texts for Nothing , American Guild of Musical Artists. Worstward Ho , All That Fall , and Here All

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Night , a creation with music and texts by Theatre of Great Britain), Fraulein Julie Beckett and original music by Paul Clark. (Schaubuehne, Berlin), and Wunsch kon - zert (Koln Schauspiel). Mr. Clark has collab - Other directing credits include Copen - orated with artists across the spectrum, hagen by Michael Frayn (Rubicon including filmmakers Arnaud Desplechin, Theatre), Title and Deed by Will Eno (Gare John Michael McDonagh, and Emily Young; St. Lazare/Signature Theatre Company co- performers Split Britches and Stacy production), Moby Dick adapted by Ms. Makishi; philosophers Alexander Garcia Hegarty Lovett and Conor Lovett (interna - Duttman and Bill Brewer; artists Rut Blees tional tour), Swallow by Michael Harding, Luxemburg and Mark Aerial Waller; video Tanks a Lot, co-written by her and designer Leo Warner; writers David Sedaris Raymond Keane (Project Arts Centre), and and Alice Oswald; and musicians ranging The Good Thief by Conor McPherson from Österreichisches Ensemble für (Rubicon Theatre) . Nueue Musik to post-punk band The Fall.

Ms. Hegarty Lovett’s work has toured to Mr. Clark’s relationship with Gare St. more than 150 theaters in Ireland and Lazare Ireland began with the centenary cities around the world. She has won recording of Samuel Beckett’s radio plays awards for Moby Dick in China, Molloy in for RTÉ (Ireland’s national broadcaster), for Germany, and The Good Thief in the U.S. which he wrote new scores. In 2013 Title and Deed was nominated for Outstanding Solo Performance at the Mike Gunning Lucille Lortel Awards. This year Ms. Mike Gunning’s (lighting design) theater Hegarty Lovett was a Best Director nomi - credits include Alice Underground (Emma nee for the Off West End Theatre Awards Brunjes Productions), The Drowned Man for Beckett’s First Love . (punchdrunk), Macbeth (Siren Productions, Dublin), Dangerous Lady (Theatre Royal Paul Clark Stratford East), The Second Mrs. Paul Clark (composer and musical director) Tanqueray (Rose Theatre, Kingston, UK), is the co-artistic director of the perfor - The Wizard of Oz (Royal Festival Hall), The mance company Clod Ensemble in London Jew of Malta and Aunt Dan and Lemon and has written original music for all the (Almeida Theatre, UK), Julius Caesar and company’s productions to date. These School for Scandal (Barbican Theatre and include Under Glass , An Anatomie in Four international tour), Medea (Broadway), Quar ters , Zero (Sadler’s Wells, London), Tales from the Vienna Woods (National Silver Swan ( Turbine Hall, Theatre), Shakespeare: The Man from Victoria and Albert Museum Raphael Stratford (Ambassador Theatre), Kafka’s Room, Royal Opera House –Covent Gar - Mon key and Eurydice (Young Vic), Richard den), Red Ladies (Southbank Centre and III and Henry V (Royal Shakespeare Com - Institute of Con temporary Arts, London; pany), and Romeo & Juliet (HOME Museu Serralves, ), and Must with Theatre), which won Best Design at the Peggy Shaw (Public Theater, New York). recent Manchester Theatre Awards.

Mr. Clark has written four chamber operas, Mr. Gunning has also worked on operas including The Weather Man (Opera North) such as The Magic Flute (English National and liebeslied/my suicides (ICA/Genesis Opera), Il trovatore (Royal Opera House– Foundation), dozens of scores for theater, Covent Garden), Dido and Aeneas , including several “live cinema” produc - Rigoletto , and Tristan und Isolde (ENO), tions for director Katie Mitchell such as and Madame Butterfly and L’elisir Waves (Lincoln Center and National d’amore (Opera Holland Park). Dance 11-05 Here All Night.qxp_GP 10/27/15 4:11 PM Page 13

credits include The Five and Boy Blue and in 2009 it created an adaptation by (Barbican) and 5 Soldiers (Rosie Kay). In Conor Lovett and Judy Hegarty Lovett of music Mr. Gunning has worked with the Moby Dick by Herman Melville, with live Cork Gamelan Ensemble and Grace Jones fiddle by Caoimhín Ó Raghallaigh. (inter national tour). White Light Festival Gare St. Lazare Ireland I could compare my music to white light, Gare St. Lazare Ireland is an Irish theater which contains all colors. Only a prism can company run by joint artistic directors Judy divide the colors and make them appear; Hegarty Lovett and Conor Lovett. Since this prism could be the spirit of the listener. its inception in 1997, the company has —Arvo Pärt. Celebrating its sixth anniver - toured work in Ireland and around the sary, the White Light Festival is Lincoln world. With over 17 titles by Samuel Center’s annual exploration of music and Beckett in the repertory, the company has art’s power to reveal the many dimensions built a reputation as the leading exponent of our interior lives. International in scope, of the Nobel Prize–winning Irish author’s the multidisciplinary Festival offers a work, with a particular emphasis on his broad spectrum of the world’s leading prose and novels. instrumen talists, vocalists, ensembles, choreographers, dance com panies, and The company has performed in more than directors complemented by conversations 80 cities in 25 countries worldwide. Gare with artists and scholars and post-perfor - St. Lazare has forged strong links with fes - mance White Light Lounges. tivals and theaters in Ireland and abroad, including the Kilkenny Arts Festival, Dublin Lincoln Center for the Performing Fringe Festival, the Rubicon Theatre in Arts, Inc. Ventura, California, and Signature Theatre Lincoln Center for the Performing Arts Company in New York. Gare St. Lazare’s (LCPA) serves three primary roles: presen - First Love was performed at the Dublin ter of artistic programming, national leader Theatre Festival and in 2013 the company in arts and education and community rela - co-produced Waiting for Godot with the tions, and manager of the Lincoln Center festival. That production has since toured campus. A presenter of more than 3,000 to Belfast, Boston, Shanghai, and most free and ticketed events, performances, recently New York. The company’s first tours, and educational activities annually, presentation of a Beckett prose work in LCPA offers 15 programs, series, and festi - New York was Molloy , at the Irish Arts vals including American Songbook, Great Center, in 1998. In 2009 First Love was per - Performers, Lincoln Center Festival, formed at Under the Radar at New York’s Lincoln Center Out of Doors, Midsummer Public Theater, and in 2012 Title and Deed , Night Swing, the Mostly Mozart Festival, specially written for the company by Will and the White Light Festival, as well as the Eno, ran for six weeks off-Broadway in a Emmy Award–winning Live From Lincoln co-production with Signature Theatre Center , which airs nationally on PBS. As Company. The show played at the 2014 manager of the Lincoln Center campus, Festival Fringe to rave reviews. LCPA provides support and services for the Lincoln Center complex and the 11 resi - Though primarily associated with Beckett, dent organizations. In addition, LCPA led a Gare St. Lazare has also produced plays by $1.2 billion campus renovation, completed Michael Harding and Conor McPherson, in October 2012.

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Lincoln Center Programming Department Jane Moss, Ehrenkranz Artistic Director Hanako Yamaguchi, Director, Music Programming Jon Nakagawa, Director, Contemporary Programming Jill Sternheimer, Director, Public Programming Lisa Takemoto, Production Manager Charles Cermele, Producer, Contemporary Programming Kate Monaghan, Associate Director, Programming Mauricio Lomelin, Producer, Contemporary Programming Julia Lin, Associate Producer Regina Grande, Assistant to the Artistic Director Luna Shyr, Programming Publications Editor Madeleine Oldfield, House Seat Coordinator Kathy Wang , House Program Intern

For the White Light Festival Avancy Inc., Production Services Stefanie Lehmann, Company Manager

For Here All Night Rob Furey, Technical Manager Kent Tritle, Choral Coordinator

Gare St. Lazare Ireland Administration Judy Hegarty Lovett and Conor Lovett, Artistic Directors Maura O’Keeffe, Associate Producer Christine Monk, Publicist (Ireland)

Gare St. Lazare Ireland is supported by Culture Ireland, UCC School of Music and Theatre, Everyman Theatre Cork. Gare St. Lazare Gold Circle Funding Patrons: The Sakharoff Family Foundation, Christopher J. Herbert & Nancy Welch.

In Memoriam: Micheline Sakharoff 1923–2015.

Gare St. Lazare wishes to acknowledge the support of the following supporters with thanks for their generosity and belief: Madison Cox, Virginia Gelder, Barbara & Steven Isenberg, Georganne Aldrich Heller, John and Suzann O’Neill, Jean Stein, Steve Fagin, Molly and Sean Lynch, Nancy Newhouse, Sheila Lynott, Gail Gregg, Eloisa Haudenschild, Anthony and Mary Smith, Kathleen Allaire, Linda Healey, Charles and Jill Crovitz, Rose Marsh Boyle, Kerry & Olga English.

Special thanks to Jane Moss, Jon Nakagawa, Mauricio Lomelin, and the White Light Festival team; the Irish Consul General to New York, Barbara Jones, Christine Sisk (Culture Ireland), Nik Quaife, Pauline Turley & Aidan Connolly at Irish Arts Center, Georganne Aldrich Heller, Barbara & Steve Isenberg, Jim Houghton, Mel Mercier, Julie Kelleher, Michael Harrington and NYU’s Skirball Center, Glucksman Ireland House NYU, D. Kern and Elisabeth Holoman, Molly Grogan Lynch, Linda Purl, Brian and Melissa Ormond, Catherine and Mark Reid, Stephen Dillane and Naomi Wirthner, Orla Flanagan and the Brighton Festival team.