Anton Chekhov Directed by Krystian Lupa November 26 — January 1

vol. 3 no. 2 November, 2005

Chekhov’s masterpiece seen through the eyes of one of Europe’s greatest directors THREE SISTERS by Anton Chekhov directed by Krystian Lupa November 26 — January 1

See what’s happening at our exciting second theatre! page 5

Double Edge Theatre the UnPOSSESSED November 16-20 Commemorating th the 100 anniversary Everett Dance Theatre of Sartre’s birth Home Movies January 11-15 NO EXIT A.R.T./MXAT Institute by Mayhem Jean-Paul Sartre by Kelly Stuart December 8-10 directed by Jerry Mouawad This Is How It Goes January 7-29 by Neil LaBute December 15-17 Melancholy Play by Sarah Ruhl February 10-18 Pants on Fire created by the cast & KJ Sanchez June 2-10 VE! AYS. SUBSCRIBE NOW & SA 7.8300 CHOOSEamrep.org ANY 3 OR 617.54 MORE PL A GREAT GIFT IDEA! Gift certifcates available in any amount

Gideon Lester introduces SHADOWLAND the theatre of Krystian Lupa new produc- ments and more than ten hours of stage spoke, we understood them exactly as within-the-play, but that fictional audience tion of Three time. The show was mysterious and beauti- human beings. and we, the real audience, were bound Sisters has ful, and veered in style from episodes of epic Over the ensuing years I’ve seen sever- together for the whole production, and the beenA.R.T.’s six years in the mak- actors would often turn to us at particularly ing. It was in 1999 that we charged moments and stare at us, as if to first asked the Polish say, “What do you make of all this?” The director Krystian Lupa to auditorium itself became an extension of the visit the A.R.T., with a view set, and we were acutely aware that the per- to directing his first formance existed both on the stage and in English-language produc- the theatre — the one room occupied jointly tion. That was also the by actors and audience. Lupa’s great insight year in which I first saw is that The Seagull is a meditation on the Lupa’s work; the nature of theatre itself, and the production Edinburgh International demonstrated that brilliantly. Festival was presenting Lupa has often said that he owes his his adaptation of the greatest artistic debt to the philosopher and Sleepwalkers trilogy by psychologist Carl Jung. His theatre is the Austrian novelist indeed Jungian, for Lupa’s major preoccu- Hermann Broch. pation is with the human subconscious — Even before seeing the realm of dreams, mania, magic, and Sleepwalkers, Lupa’s unspeakable terror and desire. Over the theatre was the stuff of past decade he has staged works by many legend for me. Rob authors whose work inhabits the same terri- Orchard, the A.R.T.’s tory, including Thomas Bernhard, Mikhail Executive Director, and Bulgakov, Robert Musil, and Friedrich Alvin Epstein, a member Nietzsche. It is no surprise that Lupa finds of our resident acting com- great affinity with Chekhov, perhaps the pany, had seen a produc- greatest playwright of the unconscious and tion of his in Krakow a inexpressible. Chekhov’s characters are year earlier, and both had spoken with awe theatricality in which scores of performers, al of Lupa’s productions, and now recognize famously unable to give voice to their true about the virtuosity and originality of his singing and dancing, filled the stage, to that, although he reinvents his artistic signa- feelings; as Lupa told the Three Sisters cast stagecraft. It later turned out that Robert scenes of exquisite domestic realism, often ture with each new project, the qualities that during a workshop this summer, “between Woodruff, now the A.R.T.’s Artistic Director, conducted in silence. The set, at first glance made Sleepwalkers such an unforgettable what they say and what lies inside them was also one of the very few Americans to nothing more than roughly painted walls that experience are the hallmarks of his theatre. there is an abyss.” have seen Krystian’s work — a theatre in housed ordinary doors, windows, and bed- The intricate, layered performances, the This breach between consciousness Israel had invited the two directors to stage frames all contained within a square outlined scenes of intense, concen- productions concurrently — so Lupa and the in duct tape, soon acquired a fluid, poetic trated silence, the abstract square of tape delineating the stage, the brightly-colored, deceptively simple sets of walls, windows, and doors — all these are common to Krystian’s work, and yet they barely begin to describe the experience of watching — I’d rather say of living through — one of his productions. For Krystian is a profoundly spiri- tual, philosophical director, and his theatre is effectively a laboratory in which he and his audience scrutinize aspects of the human psyche. The audience is a vital part of this process, indeed Lupa often insists on our mental and emotional participation by having his actors address us directly. His recent produc- A.R.T. have been traveling in the same orbit quality, as if the spaces they described were tion of Chekhov’s Seagull for more than a decade. not literal rooms, but representations of the opened with a row of empty Sleepwalkers was unlike anything I’d characters’ interior landscapes. And what chairs facing away from us at ever encountered in the theatre. The pro- characters! The actors created performanc- the edge of the stage; they duction was in every sense vast, its enor- es of such nuance and complexity that it were filled slowly by the char- mous narrative unfolding in three install- hardly mattered they were speaking Polish; acters who had come to see though we couldn’t understand a word they Konstantin Treplev’s play- 2 ARTicles

and articulation can be powerfully theatrical. fine example; the Prozorovs’ house at first Lupa’s characters often live in silence seems “true to life,” but grows more and THREE SISTERS at a glance because words fail them, more unrealistic to by Anton Chekhov translated by Paul Schmidt and these silent scenes reflect the sisters’ directed by Krystian Lupa are among the most interior state. Along set design Krystian Lupa extraordinary sequences with many of Lupas’s assistant director and in his productions. Two rooms, the Prozorov costume design Piotr Skiba lighting design Scott Zielinski years ago I saw his dwelling also contains original music Jacek Ostaszewski adaptation of Bulgakov’s shadows of its former sound design David Remedios allegorical masterpiece occupants. “A house The Master and always retains ele- CAST Andrei Prozorov Sean Dugan* Margarita, in which the ments of its own his- Olga Kelly McAndrews* Devil visits Moscow in tory, remnants of the his sisters Masha Molly Ward* the guise of the magician life of its previous [ Irina Sarah Grace Wilson* Natasha, his fiancée, later his wife Julienne Hanzelka Kim* Woland, who begins his owners,” he says. Kulygin, Mashas’ husband, reign of chaos by occu- Lupa cites another a high school teacher Will LeBow* pying a theatre and stag- major influence, the Vershinin, colonel battery commander Frank Wood* Baron Tuzenbach, first lieutenant Jeff Biehl* ing a macabre cabaret. Austrian poet Rainer Solyony, captain Chris McKinney* The evening before the Maria Rilke, who Chebutykin, army doctor Thomas Derrah* Fedotik, second lieutenant Patrick Mapel performance the theatre manager is at noted that while walking through a city, Rohde, second lieutenant Sean Simbro home, and finds himself seized with an traces of former buildings and lives Ferapont, janitor at the county Counsel Jeremy Geidt* inchoate, prescient terror of what is to follow. remained visible — a bricked-in window, the Anfisa, the nurse TBA Lupa staged the scene by placing the man- footprint of a house destroyed by fire, the SYNOPSIS ager at one end of a dining table, in a room shape of a staircase on a half-demolished “Let’s pack our bags and go to Moscow; there’s no place like Moscow,” pleads Irina, the youngest sister. Her cry wall. echoes throughout Anton Chekhov’s play, a mantra for the entire Prozorov family. Stuck in a small town in provin- More than cial Russia, spinster schoolmistress Olga, unhappily married Masha, idealistic Irina, and Andrei, the failed six years after scientist, yearn for better days. The Prozorovs long for love and happiness, their only companions the soldiers seeing stationed in the local garrison, a group of would-be poets and philosophers. The family, forever aware of a better future just beyond reach, faces marriage, birth, and death alike, constantly searching for answers to why we keep Sleepwalkers, on living. *member of Actors’ Equity it’s extraordinary to think that Krystian Lupa is about to open a produc- Who is Krystian Lupa? tion at the Allen Kuharski introduces A.R.T. The journey has the director of Three Sisters presented both and puts him in the context of him and us with great chal- contemporary Polish theatre. lenges — in Poland, for Visit amrep.org enclosed by his signature walls, windows, example, Krystian can effectively rehearse a and doors, beyond which Woland and his production indefinitely, opening it only when for the complete article supernatural retinue crouched and watched, he feels ready. In the case of his major silent and unnoticed. The manager’s wife adaptations, this often takes more than a entered with a tureen of soup, which she year. We’ve managed to provide Krystian served her husband. For five minutes we with ten weeks in which to rehearse Three watched him eat, and although man and Sisters — double the time we usually give a wife never spoke, it was as if we occupied production and a great financial investment space inside their minds, so clearly could we for an American theatre, but a very short read their thoughts. The effect was unfor- period indeed for a Polish director. Likewise, gettably theatrical, and the performances so in Poland Krystian always creates his set present and alive that all of us in the audi- design during the rehearsal period, but the ence were collectively holding our breath. compression of our production calendar The stage for Lupa occupies a border- meant that he needed to complete his sce- land between the conscious and uncon- nic plans far earlier than usual. These scious worlds. The simple elements of his adjustments seem insignificant, though, set designs enhance this effect; at first sight compared with the pleasure of bringing they may seem realistic, but as the produc- Krystian’s magnificent theatre to this country tion unfolds, the scenic environment for the first time. I hope that you are as becomes increasingly poetic. “Sometimes stunned by his Three Sisters as I was by in life we are in a room, but our mind wan- Sleepwalkers in Edinburgh. Now, indeed, ders, and soon we’re somewhere quite dif- the wheel has come full circle; Lupa, the ferent,” Lupa told the Three Sisters cast. “I A.R.T., and Three Sisters have been invited can be in a hotel room, but suddenly I feel as to perform the closing production of the 2007 though I’m at a train station. The reality of Edinburgh International Festival. Opposite page: Detail of Lupa’s set design for A.R.T.’s Three Sisters. space is questioned. I’m always trying to Both pages: Krystian Lupa in rehearsal and scenes from Lupa’s production of Master and Margarita, which reveal different, hidden spaces contained Gideon Lester is the A.R.T.’s traveled throughout Europe. within the set. The more a design pretends Associate Artistic Director. to be true to life, the more I’m aware of its fal- sity.” Lupa’s design for Three Sisters is a ARTicles 3

Heather Helinsky explores Anton Chekhov’s sense of humor

COATING THEand farces, PILL writ- patience because “he had written a happy Chekhov before his final medical examina- ing jokes for comedy and all of us . . . wept over it. tion illuminates his views on the power of humor maga- Evidently, Chekhov thought that the play comedy. “First of all, I’d get my patients zines, and pen- had been misunderstood and that it was . into a laughing mood, and only then would ning a theatre . . a failure.” I begin to treat them.” In rehearsals for gossip column, The Chekhovian sense of humor that Three Sisters, Stanislavski found a similar Chekhov began baffled Stanislavski is evident in the man patter in the rhythm of the play. He noted: to cough up Chekhov chose as a stand-in for the play- “1st Act — joyous, lively, 2nd act — blood. Although wright at rehearsals for Three Sisters. Chekhovian mood, 3rd act — terribly with his own Chekhov insisted that a colonel take his tense, works on speed and nerves. medical expert- place to instruct the ise he could actors on military uni- diagnose the forms. Prior to the mortal disease, Russian Revolution, Chekhov pur- society was divided sued an active into a rigid hierarchy career in both of fourteen official medicine and lit- ranks. Each military erature. As his position had an tuberculosis equivalent civilian worsened, his rank. In Three moods became Sisters, Masha’s volatile. “On a husband Kulygin, a The sisters from the original Moscow Art Theatre production of Three Sisters. bad day schoolmaster, would Chekhov hated receive a civilian rank of Court Councillor. Towards the end energy has run out and everyone,” The military equivalent of Court Councillor the tempo slackens, 4th act — not sure l to r: Gertrude Musgrove (Irina), noted the novel- is Lieutenant-Colonel, yet.” Three days prior to Judith Anderson (Olga), Katherine Cornell (Masha) in the ist and play- Vershinin’s rank. Both Chekhov’s self portrait. the opening performance, Ethel Barrymore Theatre production of Three Sisters (1942). wright Maxim Masha’s husband and Chekhov’s sister Masha Gorky. Forced lover, therefore, would reports that the Act One hekhov’s interest in theatre began by ill health, he left rehearsals for Three wear uniforms and enjoy was “interesting . . . how early. Although his religious father Sisters for the warmer climates of Yalta the same rank, title, and merry!” yet by the third act believed theatre was the gateway to and France. privileges. The expert on “I . . . wept.” The aesthetic Chell, the adolescent boy wrote farces titled Humor, as psychologists tells us, is a military propriety, Colonel beauty of Chekhov’s writ- The Hen Has Good sophisticated defense Petrov, clashed with the ing, therefore, treats Reason for Clucking mechanism. Konstantin actors and Stanislavski. tragedy and comedy like a and He Had Met His The playwright Stanislavski, who direct- Not only did he criticize Mobius strip — an infinite Match This Time. ed the first production of the uniforms, but also the continuity. Stanislavski dis- Enthralled by play-act- lost patience Three Sisters, observed acting. Olga Knipper, covered in My Life in Art ing, Anton (with the help that it was “impossible to Chekhov’s future wife “the men of Chekhov do of his siblings) put on because “he had understand what made and lifeline into the not bathe, as we did at that amateur performances [Chekhov] laugh.” In a rehearsal process time, in their own sorrow. and cast himself as the written a happy letter to the writer reports, “Petrov causes a lot of good- Just the opposite; they like Chekhov him- comic Mayor in Gogol’s Alexander Kuprin, hearted laughter . . . ‘our military profes- self, seek life, joy, laughter, courage.” Inspector General. comedy and Chekhov spoke of his sor’ as we call him . . . Luzhski, a bit of a Chekhov always coats the bitterness of life Schoolboys were forbid- struggle to create “new joker, does a wonderful imitation of him with laughter. den to enter the rowdy all of us . . . forms” that could express saying . . . ‘the performance — it’s not theatres in Taganrog, wept over it.” “the sad comicality of working!’” Heather Helinsky is a first-year dra- the city in which everyday life . . . every- A comment made by Doctor maturg at the A.R.T./MXAT Institute for Chekhov grew up, but the defiant Anton would don dark glasses thing mixed up and a false beard to evade school officials. together: the impor- As a student at Moscow University, tant and the paltry, Chekhov turned to writing as a source of the great and the income not only for himself but also for his base, the tragic and family, plunged into poverty by his father’s the ridiculous.” This debts. He also wrote a farce titled The mixing together Cleanshaven Secretary and the Pistol. helps to explain Writing short stories under the name why the first reading Antosha Chekhonte, his reputation grew of Three Sisters in and his prose matured. Later he com- October 1900 mented that “medicine is my wife and writ- ended in uproar. ing my mistress.” Chekhov stormed At twenty-four, while establishing his out. Stanislavski reputation as the author of short stories later wrote that the playwright had lost Chekhov reading The Seagull to the original Moscow Art Theatre cast. 4 ARTicles

What’s Happening at Zero Arrow Theatre

TILTING AT WINDMILLS — IN THE AIR! the UnPOSSESSED — Double Edge Theatre’s imagistic fantasy on Don Quixote

nously parallel questions about idealism and fanaticism, cultural wars and social decay, and individual honor and the nature of patriotic rebellion.” When we want to ask questions and look for answers which are beyond the ream of words, where can we turn? Where can we turn to ask questions and seek expression beyond the realm of words? Double Edge Theatre, founded in 1982, is an ideal site for examining the pursuit of an impossible dream. As an artistic community, DET develops original theatrical performances based on long- term collaboration between artists and their community. International artists/performers gather at DET’s rural Ashfield, MA home,farm to participate in training, prac- tice, performance, research, and cultural exchange. While there, they live and work together, growing their own food and tend- ing to the business of the farm. Founder and director Stacey Klein melds adapted the UnPOSSESSED, Double Edge act with today’s world. “In the aftermath of th texts with with physical training derived Theatre’s adaptation of Don Quixote, is a September 11 , 2001, despair overtook from Polish director Jerzy Grotowski’s story of hope bound within fantastical me,” writes Stacy Klein, the founding direc- Teatret Laboratorium. Working together, imagery. From the moment that Carlos tor of Double Edge Theatre. “I began to over time, the company devises sweeping Uriona’s Knight of the Woeful find my work empty and ineffectual, inca- theatrical events which explore what lies Countenance rises out of a pile of books, pable of changing the world or even touch- beyond the reach of words. Their resulting the audience ing just one per- productions combine vivid, visceral experiences the son.” the imagery with intense physicality, spectacle, world through his “Poetic, UnPOSSESSED, and circus. Over the past twenty years, eyes. Shadow Klein writes, DET’s devised perform- puppets transform punning, and “exists in the juxta- ance cycles have been into humans position between presented and lauded engaged in a perverse . . . the external night- internationally. never ending mare that we have dance between a rough created, and the Shari Perkins is a the elusive dream impossible dream second-year dramaturgy and the searching jumble of that we must risk student in the dreamer. Don creating.” Faced A.R.T./MXAT Institute Quixote’s battle WONDERMENT!” with the question for Advanced towards his enig- — the New York Times of how to respond Theatre Training. matic Dulcinea to the chaos of the echoes the quest world, Klein and NOVEMBER for meaning and beauty in a chaotic world. her artistic partner Carlos Uriona turned to The UnPOSSESSED is enhanced by an Miguel de Cervantes’s Adventures of Don 16-20 evocative original score by Justin Handley. Quixote. Although the novel was written The events of 9/11 prompted Klein to four hundred years ago, Klein observes explore the question of how art can inter- that it explores “similar dilemmas and omi- ARTicles 5

Everett Dance Theatre’s HOME MOVIES

our bodies enter a dark stage and performers’ lives. How do you make the effects.” The Village Voice declared that Rachael Rayment is a second-year move in chaos, evoking the sudden past present? Through the body. Everett Dance Theatre “weave speech, dramaturgy student at the flight of a Polish family from the Nazis Memories made tangible by home-video movement and video in witty and beguiling A.R.T./MXAT Institute for Advanced Fin 1935. Though their movements are images and the performers’ bodies ways” and “their stories are woven Theatre Training. chaotic, their bodies are responding to them together so intricately through move- always touching, refus- “An through the joy of phys- ment that their recollections begin to JANUARY 11-15 ing separation for even a ical movement. seem archetypal.” The A.R.T. and World moment. Silent home- astonishingly Home Movies was Music/CRASHarts are delighted to present video footage of an old premiered in Rhode this innovative and thoughtful company, woman is then projected seamless blend Island, September and invite you to see how riveting those against the back wall of of words, video, 2004. Artistic director old family videos hiding in the basement the stage. Performer Dorothy Jungels co- can be. Marvin Novogrodski set elements directed the piece with describes his personal and dance!” Aaron Jungels, who pilgrimage in 2004 to his also performs with the father’s childhood home — New York Times company’s four other in Poland, to the very members. Since its street he lived in before conception it has they fled. Novogrodski “Anyone toured, among others, met the old woman who to the Bates Dance had been their neighbor. (and everyone) Festival in Maine, She laughs silently into should see Dance Theatre the camera as Workshop in New York Novogrodski imitates HOME MOVIES!” and New World Theatre her voice, giving us her — Boston Phoenix in Amherst. The com- reminiscences of his pany has left behind a family. Home Movies is an interwoven trail of blazing reviews. The New York narrative of abstract memories from the Times described it as “an astonishingly seamless blend . . . more tears, laughter and poignant memory than high-tech

A.R.T./MXAT INSTITUTE’S FIRST FULL SEASON AT ZERO ARROW! Mayhem This Is How It Goes Melancholy Play Pants on Fire by Kelly Stuart directed by Jonathan Carr (workshop production) by Sarah Ruhl, directed by Scott Zigler created by Cast & KJ Sanchez Dec 8, 9 at 7:30pm Dec 10 at 2&7:30pm by Neil LaBute, directed by Sam Weisman Feb 10, 12, 16, 17 at 7:30pm directed by KJ Sanchez A play about a woman weighing her personal respon- Dec 15, 16 at 7:30pm Dec 17 at 2&7:30pm Feb 11, 18 at 2&7:30pm June 2, 4, 8, 9 at 7:30pm sibilities in the face of the tragedies in the larger world. Into his customary study about the politics of gender, Subtitled “A Contemporary Farce,” Ruhl, one of the rising June 3, 10 at 2&7:30pm LaBute now explores the politics of race. Everyone has Susan, a naïve housewife, can barely see the world stars of American stage humorously looks at the causes An ensemble-created piece built around an investiga- an agenda, at least so it appears in This Is How It Goes, beyond her stifling home life. Saddled with a new and manifestations of melancholy in our society, satiriz- tion into lying and its consequences. Neil LaBute’s unapologetic dissection of the complex and ing The American obsession with happiness. This play baby and a troubled husband, she rarely leaves her often unattractive nature of human relationships. kitchen. When her activist friend Claire tries to open Tensions arise when our “unreliable narrator,” a white features Tilly, a depressed bank teller, whose sadness her eyes to the brutal realities of the world, she sets man, returns to his hometown and involves himself in the proves attractive and enticing to those around her. For Spring Production (Title TBA) Susan’s personal baggage and global concerns on a marriage of his longtime infatuation, a white woman, and Tilly, melancholia is mysterious, seductive, and beguiling. Directed by Marcus Stern violent collision course. Torn between her loyalty to her successful black husband. Lies, adultery and manip- But when she suddenly cheers up, her companions’ Mar 30, 31 at 7:30pm her husband and ulation layer this dark comedy, proving how elusive the worlds are turned inside out, and they find themselves Apr 1 at 2&7:30pm her fascination truth can be in the tenuous world of personal percep- embarking on a surreal adventure through the depth of with Wesley, an tions. Directed by renound film and stage director and the human mind. internationally New England native, Sam Weisman. renowned jour- nalist, Susan struggles to find an acceptable way to live.

above and left: Scenes from last spring’s Zero Arrow production of Love’s Labour’s Lost. Right: Scenes from the last season’s Moscow production of The Bacchae.

MORE FROM WORLD MUSIC/CRASHarts AT ZERO ARROW THEATRE KEIGWIN + COMPANY Friday, February 3, 7pm Saturday, February 4, 8pm $30 Reserved seating

“It was terrific entertainment, but it was also an urban microcosm full of small important truths.” — Jennifer Dunning, The New York Times

KEIGWIN + COMPANY creates provocative, witty and engag- ing dances. Larry Keigwin and his company of dancers combine physicality with theatricality and art with entertainment to both tease and investigate our identity in the context of contemporary pop culture. THE CIVILIANS presents the Boston premiere of NOBODY’S LUNCH ONE WEEK ONLY! APRIL 24-30 DANCE STRAIGHT UP! Tickets on sale later in the fall. Featuring: Collage Dance Ensemble; Lorraine Chapman, The Company; Debra Bluth. $30 Reserved seating May 11 & 12at 7:30pm, May 13 at 8pm, May 14 at 2pm $30 Reserved seating “The Civilians, downtown’s peerless purveyors of comic docu-theatre, explore truth and belief.” — Time Out Dance Straight Up! honors Boston’s remarkably talented dance community by commissioning “A startling, funny and disturbing view of what Americans hold to be self-evident these days.” new works. This year’s fourth annual celebration features three innovative companies: — the New Yorker Collage Dance Ensemble, Lorraine Chapman, The Company and Debra Bluth, performing world-premiere works. New York City’s Obie award-winning theatre company, The Civilians delve into the politics of information with Nobody’s Lunch, an insightful, musical look at our national identity. With extensive interviews ranging from the Head of Policy at Homeland Security to every Jessica Lynch in the phone book (who was willing to talk), Nobody’s Lunch looks at the problematic 617.876.4275 subject of how we gain knowledge and form beliefs in the current political climate. Featuring original songs by Michael Friedman, Nobody’s Lunch is a darkly comedic ride through the www.worldmusic.org landscape of American public culture.

Sartre and the Theatre of Questionsby Mark Poklemba

hat inspired the most famous actions fueled murder. Had they all philosopher of his day to write for become guilty? Could they continue fight- the stage? ing and bear the blood they saw on their WSartre’s first venture into theatre own hands? The situation shocked Sartre occurred while he was a French prisoner into a lifelong conviction that man must of war, captured by the Nazis. Given per- negate the moral emptiness of the uni- mission to write and verse by filling it with produce a actions that have Christmas play for moral value. the soldiers in his Sartre next took POW camp, Sartre up arms in the the- penned a quasi-reli- atre. In his first gious drama with mature plays, The subtle anti-Nazi Flies and No Exit, themes. It escaped the playwright- the censorship of philosopher drama- his captors. Sartre tized that one must quickly realized the assume responsibili- potential of theatre ty for one’s life; our in giving hope and a choices influence the political message. world we live in. As a tential hero. In his essays on theatre, This year marks the 100th anniver- After a year of political activist writ- Sartre expresses bold ideas about what an sary of Jean-Paul Sartre’s birth. The imprisonment in ing for the theatre, actor transmits to the spectator. An actor French playwright represents “un ecrivain Germany, Sartre Sartre had discov- on stage risks everything to embody the engagé” — a writer negotiated his own ered a way to bridge precarious human con- committed to political release, and return- the gap between dition, letting us reflect In NO EXIT, the action. Sartre’s theatre ing to occupied ivory-tower philoso- on how we build our still moves us because France he began working for the resist- phy and everyday life. These early plays lives through choices. playwright-philosopher the playwright reached ance. Initially his philosophy followed in were produced almost simultaneously with For Sartre, the actor, beyond the confines of the footsteps of Husserl and Heidegger — the publication of his philosophical break- much like the philoso- dramatized the stage. Sartre asks two forerunners of existentialism — but through, Being and Nothingness, in 1943. pher, demonstrates that us to look at ourselves. the desperate circumstances of the resist- Sartre was clearly convinced that philoso- the unexamined life is how our choices What have we made of ance forced Sartre to understand the phizing was not enough; the theatre could not life. our lives? Have we urgency of making moral choices every be a force in changing the world. In Sartre’s master- influence the accepted the gift of free- day. When Nazi occupation forces began Sartre admired the ancient Greek piece No Exit, the life- dom? We must hold executing three innocent French civilians model of a mythological theatre that line between the actor world we live in. ourselves accountable. for each German soldier always addressed contem- and spectator is fused We must have an killed by the resistance, porary politics and could with the stage. Three impact on the world we live in. Sartre Sartre and his friends in the move men to action. In con- characters in hell stand in judgment of one demands bravery from his audience: the resistance movement trast to George Stevens, another. They pace like tigers in a cage, courage to choose your own life in your found themselves on a who thought that WWII had each unfolding the dirty laundry of the past, own time. moral tightrope. Their foreclosed the possibility of defending innumerable sins. They watch tragedy, he saw that his own each other with the Mark Poklemba times reflected the tragic intensity of specta- is a second- vision, “…the very severity tors at a theatre. year dramaturg at the of these plays”, he said, “is The pacifist Garcin, A.R.T./MXAT Institute in keeping with the severity condemned to the for Advanced Theatre of life.” Could theatre firing squad after Training. become a vehicle of free- fleeing a war rather dom? In defense of French than speaking out playwright Jean Anouilh’s against it, cries out anti-Nazi adaptation of Sophocles’ that history will Antigone, Sartre proclaimed that a new remember him as a top left: A 1946 photo by activist theatre was arising: Anouilh’s coward. While Cartier Bresson with Jean version of Antigone was not merely a these characters Pouillon. character who rises against the state, seem paralyzed by bottom far left: Protesting in front of the Renault fac- “She represents a naked will, a pure, the choices they’ve tory with his friend, the free choice; in her there is no distin- made, Sartre was writer Georges Michel. A collage by Jean Harold in guishing between passion and action.” quick to affirm that 1946, during Sartre’s stay Sartre participated in rehearsals for this play is about in Zurich for the performances of No Exit. his plays, and during these rehearsals freedom; “. . . the he received an education in what the- importance of freedom to us, the impor- top right: No exit — Sartre with De Beauvoir behind bars, arrested by the police during a street demon- atre could accomplish. His focus was on tance of changing acts by other acts. No stration in 1970. the actor, and what he shows us about matter what circle of hell we are living in, I above: Sartre with De Beauvoir in Saint-Germain- ourselves. Sartre saw the actor as an exis- think we are free to break out of it.” des-Prés. 8 ARTicles

NO EXIT ACTING COMPANY NO EXIT Our production of No Exit gives us a wonderful opportunity to showcase four regu- at a glance lar members of our acting Company, who between them have appeared in over 250 by Jean-Paul Sartre roles at the A.R.T., and are some of the most beloved and awarded actors in the translated by Stuart Gilbert greater Boston area. Jerry Mouawad's production gives the Company the extra director/set designer Jerry Mouawad challenge of moving on a stage floor suspended on one central point, so that the costume design Rafael Jean players must counteract other other's every move in order to keep the floor balanced lighting design Jeff Forbes and without tipping. sound design David Remedios

REMO AIRALDI* — Valet in Search of an Author (The Father). Other: The Rivals and Melinda CAST A.R.T.: forty-six productions, including Lopez’s Sonia Flew (Huntington Theatre), Twelfth Night (Feste, Valet Remo Airaldi Amerika (Captain, Green, Head Porter), Commonwealth Shakespeare Company), Brian Friel’s Faith Healer Garcin Will LeBow Dido Queen of Carthage (Nurse), The (Gloucester Stage Company), Shear Madness (all male roles), the Inez Paula Plum Provok’d Wife (Constable), The Miser Boston Pops premiere of “How the Grinch Stole Christmas”(narrator). (Master Jacques), The Birthday Party Film: Next Stop Wonderland. Television: the Cable Ace Award-winning Estelle Karen MacDonald (McCann), A Midsummer Night’s Dream animated series Dr. Katz, Professional Therapist (voice of Stanley). (Francis Flute), Pericles (Fisherman), La SYNOPSIS Dispute (Mesrou), Uncle Vanya (Telegin), KAREN MacDONALD* — Estelle Sartre's witty, philosophical thriller revolves around three recently deceased strangers who find themselves Marat/Sade (Cucurucu), Enrico IV (Bertoldo), The Winter’s Tale A.R.T.: founding member, fifty-five produc- locked together in a drawing room. All three have led extravagant, quasi-criminal lives: Estelle is a nympho- (Clown), The Wild Duck (Molvik), Buried Child (Father Dewis), Tartuffe tions. Recent seasons: Dido, Queen of (Monsieur Loyal), Henry IV and V (Mistress Quickly), Waiting for Godot Carthage (Anna), The Provok’d Wife maniac who drove her lover to suicide when she killed their illegitimate child; Inez is a lesbian who drove (Pozzo), Shlemiel the First (Mottel/Moishe Pippik/Chaim Rascal), The (Madamoiselle), The Miser (Frosine), The her cousin's wife to suicide; Garcin is a militant pacifist who betrayed his own cause and was shot while King Stag (Cigolotti), Six Characters in Search of an Author (Emilio Birthday Party (Meg), A Midsummer attempting to escape. Now all three are trapped together for eternity, prisoners in an endless love triangle Paz). Other: Camino Real and Eight by Tennessee (Hartford Stage), Night’s Dream (Hypolita/Titania), Pericles that forms their own private hell. 1940s Radio Jive (Club Cabaret), The 1940s Radio Hour, and Little (Dionyza), Highway Ulysses (ensemble), Shop of Horrors (Nickerson Theatre). Uncle Vanya (Marina), Lysistrata (Kalonika), Mother Courage and Her Children (Mother Courage), WILL LeBOW* — Garcin Marat/Sade (Simone), Othello (Emilia, IRNE Award). Most recent work: A.R.T.: forty-two productions, including Director of Dressed Up! Wigged Out!, Boston Playwrights Theatre. Amerika (Uncle Jacob, Innkeeperess, New York: Roundabout Theatre, Second Stage, Playwright’s Horizons, PAULA PLUM— Inez and Miss Price (directed by Eric Engel), Lyric Stage Company. Film Head Waiter), Dido, Queen of Carthage and Actors’ Playhouse. Regional: The Misanthrope (Arsinöe) Berkshire A.R.T: Ivanov (Babakina), Mother credits include: Mermaids, Malice, and Next Stop Wonderland. (Jupiter), The Miser (Valére), The Theatre Festival; Infestation (Mother), Boston Playwrights Theatre; Courage (Yvette), Lysistrata (Belphragia), Television: Science Court and The Dick & Paula Celebrity Special. Ms. Birthday Party (Goldberg), A Midsummer Hamlet (Gertrude) and Twelfth Night (Maria), Commonwealth The Marriage of Bette and Boo (Soot), Plum is also a writer and teacher; in January 2005, she premiered her Night’s Dream (Egeus/Peter Quince), Shakespeare Company; The Beauty Queen of Leenane (Maureen) and and Picasso at the Lapin Agile new work Wigged OUT! with Leslie Dillen’s Dressed UP!, directed by Pericles (Cleon/Pandar), Highway The Last Night of Ballyhoo (Boo) Vineyard Playhouse; Who’s Afraid (Germaine. Other: Julius Caesar (Portia) Karen MacDonald, Boston Playwrights Theatre. Recipient of two IRNE Ulysses (ensemble), Uncle Vanya of Virginia Woolf (Martha, Elliot Norton Award) and Frankie and and The Tempest (Trinculo) Awards, the 1995 Eliot Norton Award for Best Actress, the 2004 Eliot (Serebriakov), Lysistrata (Magistrate), Marat/Sade (Marat), The Johnny in the Clair de Lune (Frankie) Merrimack Repertory Theatre; Commonwealth Shakespeare Company; Norton Award for Sustained Excellence, and the 2003 Distinguished Doctor’s Dilemma (Sir Ralph), Nocturne (Father — Drama Desk nom- As You Like It (Rosalind), Shakespeare & Co; Shirley Valentine Richard III (Margaret), Measure for Alumni Award from Boston University. ination), Full Circle (Heiner Müller - Elliot Norton Award for best actor), (Shirley) Charles Playhouse. Other: Alley Theatre (Company member), Measure (Mistress Overdone), Actors’ Shakespeare Project; Wit (Vivian The Merchant of Venice (Shylock), The Marriage of Bette and Boo the Goodman Theatre, the Wilma Theatre, Long Wharf Theatre, Geva Bearing), Lyric West; Faith Healer (Grace), Molly Sweeney (Molly), (Karl), The Imaginary Invalid (title role), Shlemiel the First Theatre, Syracuse Stage, Buffalo Studio Arena, Cincinnati Playhouse, Happy Days (Winnie) and Not I (Mouth) Gloucester Stage Company; (Shlemiel/Zalman Tippish — also on tours of the West Coast), The Wild Philadelphia Festival of New Plays. Private Lives (Amanda), Entertaining Mr. Sloane (Kath), Sideman Duck (Hjalmar Ekdal), Picasso at the Lapin Agile (Sagot), The King (Terry), The Heiress (Catherine), John Kuntz’s plays Sing Me to Sleep Stag (Brighella — a role he also performed in Taiwan), Six Characters

THREE SISTERS PROFESSIONAL ACTING COMPANY

JEFF BIEHL* — Tuzenbach JEREMY GEIDT* — Ferapont (Shlemiel/Zalman Tippish — also on tours of the West Coast), The Wild MOLLY WARD* — Masha New York: The Master Builder, Bone Senior Actor, founding member of the Yale Duck (Hjalmar Ekdal), Picasso at the Lapin Agile (Sagot), The King Resident: Othello, Hartford Stage; Arms Songs (both with Andre Gregory); Naked Repertory Theatre and the A.R.T . Yale: Stag (Brighella — a role he also performed in Taiwan), Six Characters and the Man, Barrington Stage; New York: Angels Lab; Ensemble Studio Theatre; The over forty productions. A.R.T. : ninety-three in Search of an Author (The Father). Other: The Rivals and Melinda As You Like It and Don't Blink (Erica Ohio; La Mama; Apartment 929. productions, including The Provok’d Wife Lopez’s Sonia Flew (Huntington Theatre), Twelfth Night (Feste, Schmidt, director); The Stronger, The Workshops for Soho Rep and New York (Lovewell/Justice of the Peace), The Commonwealth Shakespeare Company), Brian Friel’s Faith Healer Picture, Chashama Productions; Theatre Workshop. Resident: Guthrie Birthday Party (Petey), A Midsummer (Gloucester Stage Company), Shear Madness (all male roles), the Possessed, H.E.R.E.; Richard Foreman's Theatre Lab and The Seagulll, Lake Night’s Dream (Snug), Pericles Boston Pops premiere of “How the Grinch Stole Christmas”(narrator). Paradise Hotel, Ontological Hysteric Lucille. Television: Law and Order: (Helicanus/Fisherman), Lysistrata Film: Next Stop Wonderland. Television: the Cable Ace Award-winning Theater/ Europe Tours; Iris K.O., New York Criminal Intent. Training: Juilliard School for the Performing Arts. (Chorus) Marat/Sade (Coulmier), The Doctor’s Dilemma (Sir Patrick), animated series Dr. Katz, Professional Therapist (voice of Stanley). Fringe Festival. B.A., Vassar College; M.F.A., A.R.T. Institute, 2004. Three Farces and a Funeral (Chubukov), Loot (Truscott), Ivanov THOMAS DERRAH* — Chebutykin (Lebedev), Man and Superman (Mendoza), Buried Child (Dodge), The SARAH GRACE WILSON* — Irina A.R.T.: Carmen (Zuniga), Amerika (Chief Threepenny Opera (Peachum), Waiting for Godot (Vladimir), Henry IV KELLY McANDREW* — Olga Theatre: Othello, California Shakespeare Cashier, Pollunder, Robinson), Olly’s (Falstaff), The Caretaker (Davies), Heartbreak House (Shotover). Broadway: Cat on a Hot Tin Roof (with Theatre; The Story, The Public and Long Prison (Barry), The Birthday Party Teaches at Harvard College, its Summer and Extension Schools, and the Ned Beatty and Jason Patric). Off- Wharf Theatres; Voyage of the Carcass, (Stanley), A Midsummer Night’s Dream A.R.T./MXAT Institute. Trained at the Old Vic Theatre School and subse- Broadway: Book of Days (Signature Greenwich Street Theatre; Six Degrees of (Nick Bottom), Highway Ulysses quently taught there. Acted at the Old Vic, the Royal Court, in the West Theatre); Down the Garden Paths Separation, The Guthrie Theatre; Three (Ulysses), Uncle Vanya (Vanya), End, in films and television, hosting his own BBC show for five years; (Minetta Lane). Regional: The Miracle More Sleepless Nights, Drama League; Marat/Sade (Marquis de Sade), Richard II came to this country with the satirical cabaret The Establishment, acted Worker and The Great White Hope, Wintertime, ACT, Seattle; Far Away (u/s), (Richard), Mother Courage (Chaplain), on and off Broadway and television. Other: Robert Wilson’s Death and Arena Stage; Talley’s Folly, Repertory New York Theatre Workshop. Numerous Charlie in the House of Rue (Charlie Chaplin), Woyzeck (Woyzeck), Destruction III at the Lincoln Center Festival. Lectured on Shakespeare Theatre of St. Louis/Cincinnati Playhouse; play development workshops with NY Stage and Film, Guthrie Lab, The Oresteia (Orestes). Broadway: Jackie: An American Life (twenty- in India, and taught at The Netherlands Theatre School. Received the Proof, George Street Playhouse; Ghosts, Arizona Theatre Company; McCarter Theatre, New Georges, Director’s Theatre of NY, MCC three roles). Off-Broadway: Johan Padan and the Discovery of the 1992 Elliot Norton Award for Outstanding Boston Actor and a Jason Eugene’s Home, Berkshire Theatre Festival; and Holiday, Olney Playwright’s Coalition, and Rising Phoenix Rep. Films: The Girl on the Americas (Johan), Big Time (Ted). Tours with the Company across the Robards Award for Dedication to the Theatre. Theatre Center (Helen Hayes nomination for Best Actress). Films: Out Train, Leadcatcher, Dark September Rain. Training: Juilliard (John U.S., with residencies in New York, Chicago, San Francisco, and Los of the Darkness, Company K, New Guy, and the upcoming feature Super Houseman Award). Angeles, and throughout Europe, Canada, Israel, Taiwan, Japan, and JULIENNE HANZELKA KIM* — Natasha Heroes. Training: University of Missouri, Kansas City. Moscow. Other: Approaching Moomtaj (New Repertory Theatre); Broadway: Metamorphoses, Circle in the FRANK WOOD* — Vershinin Twelfth Night and The Tempest (Commonwealth Shakespeare Co.); Square; Golden Child, Longacre Theatre CHRIS MCKINNEY* — Solyony Broadway: Sideman (Tony Award & the London’s Battersea Arts Center; five productions at Houston’s Alley (also Kennedy Center, ACT, Singapore New York: The Changeling, Theatre for a Drama League Award), also London’s Theatre, including Our Town (Dr. Gibbs, directed by José Quintero); and Repertory). New York and Resident: New Audience; The Resistable Rise Of West End and Australia. Off-Broadway: many theatres throughout the U.S. Awards: 1994 Elliot Norton Prize for Intelligent Design of Jenny Chow, Artuo Ui (with Al Pacino, directed by Hollywood Arms, also The Goodman Sustained Excellence, 2000 and 2004 IRNE Awards for Best Actor, 1997 Atlantic Theatre; Notebooks of Leonardo Simon McBurney), National Actors Theatre; Resident: Sam Shepard’s The Los Angeles DramaLogue Award (for title role of Shlemiel the First). da Vinci, Second Stage, The House of Theatre, Kia Cathron’s Light Raise The God of Hell; The Wax, Playwrights Television: Julie Taymor’s film Fool’s Fire (PBS American Playhouse), Bernarda Alba, NAATCO; True and Solid Roof, New York Theatre Workshop, and Horizons; Edward Albee’s Peter and Unsolved Mysteries, Del and Alex (Alex, A&E Network). Film: Mystic Ground, Soho Rep; Richard III, Oncological-Hysteric Theatre; Twelfth Medea (with Fiona Shaw directed by Jerry, Hartford Stage; Waiting For Godot, River (directed by Clint Eastwood). He is a graduate of the Yale School of Night, Gallery Players; Hamlet, Mid-Atlantic Theatre Co; Savage in Deborah Warner). Resident: Angels in ACT; Rosencrantz and Guildenstern are Dead, The Long Wharf Drama. Paradise, Trinity Rep Workshop; B.F.E., Cape Cod Theatre Project. America Seattle; Macbeth (MacDuff, with Stacey Keach), The Theatre; Light Up The Sky, Williamstown Theatre; Our Town, Bay 2005 graduate of NYU Graduate Acting Program. Shakespeare Theatre, Washington; King Lear, The Public Theatre, Street Theatre; Hamlet, The McCarter Theatre. Films: In America; People SEAN DUGAN* — Andrey Boston; Films: The Cradle Will Rock, directed by Tim Robbins; Beirut, I Know; Thirteen Days; Pollock; Down To You; The Royal Tennenbaums; A.R.T. Enrico IV (Carlo), Antigone WILL LEBOW* — Kulygin directed by Amos Kollec; Acts of Worship, directed by Rosemary and Small Time Crooks. Television: Medium; Line of Fire; Third Watch; (Haemon), The Doctor’s Dilemma A.R.T.: forty-two productions, including Rodgriguez, and The Interpreter with Sidney Pollack. Television: Law Ed; The Sopranos, Law and Order and Law and Order: Criminal Intent. (Dubedat), Loot (Dennis), Richard II Amerika (Uncle Jacob, Innkeeperess, and Order, SVU, New York News (featuring Mary Tyler Moore), New York Education: BA, Wesleyan University; MFA, New York University Graduate (Aumerle), The Idiots Karamazov Head Waiter), Dido, Queen of Carthage Undercover and The Dana Carvey Show. Graduated from the Juilliard Acting Program. (Alyosha), The Cripple of Inishmaan (title (Jupiter), The Miser (Valére), The School of Performing Arts in 1994. role). Off Broadway: Valhalla (James Birthday Party (Goldberg), A Midsummer Avery), Corpus Christi (James), Flesh Night’s Dream (Egeus/Peter Quince), and Blood (Ben), R & J (Mercutio, Friar Pericles (Cleon/Pandar), Highway Lawence, Lady Capulet), Swiss Family Robinson (Karl). Resident: Ulysses (ensemble), Uncle Vanya Rags, Hope Summer Rep; Cloud 9, Assassins, Inherit the Wind, (Serebriakov), Lysistrata (Magistrate), Marat/Sade (Marat), The Brandeis University; Masterpieces, Marymount College, London Drama Doctor’s Dilemma (Sir Ralph), Nocturne (Father — Drama Desk nom- Program. Films and television: Trust the Man, Company Man, Overnight ination), Full Circle (Heiner Müller - Elliot Norton Award for best actor), Sensation. Oz (recurring), The Beat, Law & Order: CI, Law and Order, The Merchant of Venice (Shylock), The Marriage of Bette and Boo SVU. BA in Theatre Arts, Brandeis University. (Karl), The Imaginary Invalid (title role), Shlemiel the First ARTicles 9

A.R.T. and the Harvard Square Business Association CARMEN OPENING BASH! The A.R.T. is fortunate to reside in historic Harvard Square, surrounded by quaint shops, world-class restaurants, and fine galleries that give our neighborhood its unique flair and offer us all a world of possi- bilities for exciting business and cultural partnerships. In collaboration with the Harvard Square Business Association (HSBA), the A.R.T. is focusing its efforts on enhancing its relationships with neighboring businesses. As you know, we currently partner with a variety of distinguished restaurants — Harvest, UpStairs on the Square, Craigie Street Bistro, Finale, Zoe’s Kitchen, and Grafton Street Pub and Grill — and the list keeps growing. These partnerships provide a wonderful opportunity for our audiences to sample fine cuisine before or after a performance, and they give us the chance to support other businesses that contribute to the unique experience that is Harvard Square. We also have a number of new initiatives underway. For instance, we’re working with Lumen Eclipse, a local company building a bridge between media artists and local commerce in the form of a visu- al showcase — the first of its kind anywhere in the world — on the information kiosk in the center of Harvard Square. On October 25, the A.R.T. and the HSBA co-hosted an open house in the lobby of Zero Arrow Theatre, giving us an opportunity to welcome business owners and community leaders to our exciting new performance. Zoe’s Kitchen caered the affair. Many friends and neighbors visited Zero Arrow Theatre for the first time, and the HSBA had a chance to showcase its services to current and potential clients. Zero On September 7, Arrow also served as a great display for the architectural renderings of the Harvard Square Streetscape artists and friends of Improvement project set to begin construction now. the A.R.T. gathered As members of the Harvard Square community, we’d like to expand our relationships with other busi- for the festivities nesses and bring the unique establishments that exist in Harvard Square to the attention of our audiences. before the opening- We’d like to engage businesses to propose creative partnerships with the A.R.T. We can offer our partners night performance of substantial visibility to the nearly 200,000 people who visit the A.R.T. annually. Carmen. If you’re aware of other opportunities for us to collaborate with our neighbors, please call (617) 496- 2000 and speak with Jeremy Allen Thompson, Director of Audience Development (ext. 8844) or Jan Geidt, Top: Jim Anathan, Coordinator of Special Events (ext. 8837). Page Bingham, For more information about the 375 businesses in Harvard Square, including 82 restaurants, along Mary Wendell, with a calendar of daily and seasonal events throughout the square, maps, and parking information please Ted Wendell, visit www.harvardsquare.com Ann Gund Middle: Artistic Director Robert Woodruff with Dominique Serrand, director of Carmen. left: Valerie Wilder, Executive Director of Boston Ballet, Anna Levitan, and board member Dan Mathieu, whose MAX Ultimate Food catered the event.

Thanks to Joel and Lisa Alvord for Sponsoring THE KEENING A.R.T. proudly salutes LOVE IS HELL! Advisory Board member Joel Alvord and his wife Lisa for their generous sponsorship of Humberto Dorado’s The Keening, the production currently being performed at Zero Arrow Street Theatre through November 12. The Alvords made their sponsorship com- mitment after they read the AA.R.T.R.T.. GALGALAA powerful script. They feel strongly about supporting artists who present political issues through their art—and the MarchMarch 6,6, 20062006 importance of the reflection and dialogue that springs from the work. Robert Woodruff discovered this play when it was originally performed at a Festival in A sublime evening of cocktails, Bogota, Colombia, in 2002. He was so moved by the piece that he decided to bring it to the dinner, and performance United States and A.R.T. Joel Alvord is President and Managing Director of Shawmut Capital Partners, a venture A benefit to support American Repertory Theatre capital firm in Boston. He joined the A.R.T. Board in 1998, the same year he and Lisa mar- and its Institute for Advanced Theatre Training ried. Lisa is a producer of television documentaries and is the founder and president of Call Jessica Obara at 617-495-2668 Urban Improv, a non-profit organization in Boston that uses improvisational theatre to teach for a pre-invitation reservation self-esteem to poor children. Residents of Cambridge, the Alvords have been loyal and generous friends of the A.R.T. SAVE THE DATE! 10 ARTicles

We recently asked our subscribers THANK YOU, CITY SCHEMES! The A.R.T. is extremely grateful to City Schemes, a locally-owned furniture store for its why they give to the A.R.T. generous contribution of a new bar at Zero Arrow Theatre. It’s a beauty.

Here’s what a few of them had to say: Since its inception in 1987, City Schemes has thrived by offering its customers an exciting selection of contemporary furnishing with timeless functionality and design. We also “I give to the A.R.T. out of self interest — thank George Mousallem, the owner and his wife, Mary Schipa, for their interest in the- I want it to endure!” atre, specifically the A.R.T. Perhaps it’s no coincidence that the couple’s ticket-buying his- “I feel a connection to the A.R.T. tory at A.R.T. goes back to 1987, the year City Schemes was established in Cambridge. since I’ve attended for many years.” The bar unit is a paradigm of contemporary design (photo below) — sleek, black, with a “My money makes a difference at the A.R.T.” glass shelf for serving, designed by Dario Cesar Antonioni. As the saying goes, a thing of beauty is a joy forever! A.R.T. initially approached Mr. Moussallem to consider donat- “I prefer to give to smaller institutions ing a less expensive unit; his reaction was that A.R.T. should have only the finest. As a where the money is needed more.” frequent A.R.T. theatre-goer, he was well-acquainted with the quality and discernment of our audiences. Who could deny a gentleman of such taste? A.R.T. agreed to accept his “It’s easy to add a little more to my subscription.” kind offering with much gratitude. Did you know? In addition to the Cambridge store at Putnam Square (1050 Mass. Ave), there is the That the cost of your subscription only covers roughly half of what it costs to mount pro- Somerville Outlet, as well as stores in Natick and Saugus. Visit www.cityschemes.com ductions at the A.R.T.? for more information. That gifts from individuals make up nearly half of all contributed support each season? That currently, only 10% of A.R.T. subscribers make a gift to the Annual Fund? Please help! Your tax-deductible contribution to the A.R.T. Annual Fund directly supports: • five groundbreaking prductions on the Loeb Stage • a wide variety of productions, presentations, and civic events in the A.R.T.’s new Zero Arrow Theatre • the operation of the A.R.T./Moscow Art Theatre Institute for Advanced Theatre Training, a two-year M.F.A. program for young theatre professionals • a variety of student programs; the “Pay-What-You-Can” ticket program; “Playback” — a series of post-play discussions; and “Theatre for the Cost of a Movie” Please consider making a gift to the A.R.T. 2005-2006 Annual Fund On-Line! It’s easy — just go to www.amrep.org and select “Support the A.R.T.” from the “Where To” tab in the upper right-hand corner. You can make a gift on a secure site and help the A.R.T. this season. Thank you!

OneENJOY restaurant offers FINE exclusive A.R.TCUISINE. discounts for each productionWITH of the season.OUR Call forRESTAURANT reservations & present your ticket stub PARTNERS. or subscriber/member card.

3 SISTERS & NO EXIT NO EXIT offer valid Nov 26 – Jan 29 offer valid January 7-29 (some dates may be excluded)

ONE OF THE TOP TEN NEW BISTROTS IN THE USA! CONTEMPORARY CUISINE INSPIRED — FOOD & WINE MAGAZINE BY AMERICAN CLASSICS. Ticket (section A seating) to the A.R.T. and pre-theatre dinner — $70. Call Craigie Street Bistro to make reservations and arrange for tickets. (limited availability) Join us at Harvest before or after the show! Present your ticket for and receive 15% off your meal. If you already have tickets, take advantage of the $30 prix-fixe Curtain for Certain menu!! Harvest focuses on the bounty of the season, offering contemporary cuisine inspired by American classics. This offer is only available on the same day of your attendance. Discount cannot be 5 Craigie Circle 617.497.5511 offered on alcohol. Limit one discount per party. Advance reservations requested. www.craigiestreetbistrot.com 44 Brattle Street (on the walkway) 617.868.2255 www.harvestcambridge.com ARTicles 11

orderARTifacts by phone or online 617.547.8300 www.amrep.org 7LOVE curtain times preplay STORIES Tue/Wed/Thu/Sun evenings — 7:30pm Preshow discussions one hour before THREE SISTERS Friday/Saturday evenings — 8:00pm curtain led by the Literary Department. by Anton Chekhov W / 2 TRIPS Saturday/Sunday matinees — 2:00pm Loeb Stage plays only. translated by Paul Schmidt directed by Krystian Lupa ticket prices THREE SISTERS preplays TO HELL Sunday, December 11 before 2pm November 26 — January 1 Loeb Stage A B LOEB STAGE Thursday, December 15 before 7:30pm Fri/Sat evenings $74 $51 Wednesday, December 21 before 7:30pm All other perfs $64 $37 Subscribers, Members, Seniors, Students deduct $10 NO EXIT Student Tickets, day of performance — $15 NO EXIT preplays in association with Imago Theatre. Groups of 10 or more save up to 60%! Sunday, January 22 before 2pm by Jean-Paul Sartre Call Jeremy Thompson at 617-496-2000 x8844 Wednesday, January 25 before 7:30pm directed by Jerry Mouawad Thursday, January 26 before 7:30pm box office hours January 7-29 Loeb Stage LOEB STAGE Tuesday — Sunday noon — 5pm playback Post-show discussions after each Saturday Monday closed ROMEO AND JULIET matinee. Performance days open until curtain by William Shakespeare All ticket holders welcome. ZERO ARROW open 1 hour before curtain directed by János Szász February 4 — March 25 Loeb Stage SUBSCRIBE TODAY discount parking LOEB STAGE AND SAVE! Have your ticket stub stamped at the ORPHEUS X World Premiere • It’s easy flexible and affordable! reception desk when you attend a music and text by Rinde Eckert Choose any 3 or more plays. performace and receive discounts at the directed by Robert Woodruff University Place Garage or The Charles designed by Denise Marika • All subscriptions are discounted Hotel Garage. March 25 — April 22 Zero Arrow — save up to 30% off single ticke ZERO ARROW THEATRE Theatre prices (corner of Mass. Ave. and Arrow Street) Discount parking is available at two • Free ticket exchange! Harvard University lots, with limited addi- ISLAND OF SLAVES • and more! tional parking at the Inn at Harvard and at by Pierre Marivaux the Zero Arrow Theatre. Go to amrep.org in a new translation by Gideon Lester for more information. A.R.T. student pass directed by Robert Woodruff $60 gets you 5 tickets good for any play. May 13 —June 4, 2006 Loeb Stage That’s only $12 a seat! (Full-time students only.) World Music/CRASHarts events at Zero Arrow Theatre need flexibility? see pages 5-7 become a member! • for only $35, members can buy tickets at $10 off the regular prices! • and you’ll receive the benefits of subscrib- ing (including ticket exchange) without having to plan your dates in advance. 617.876.4275 www.worldmusic.org Discovering Justice Harvard Film Archive presents and A.R.T. Host The Film Experience: a Playwriting Competition Existentialist Adaptations The A.R.T. has entered an exciting new partnership with Discovering Justice. Together the two will January 6-18 initiate a playwriting competition, the winner of which will have his/her play read at a staged reading Existentialism attempts to describe the nature of human experience in an unfath- at Zero Arrow Theatre next year. The play will focus on a specific case, as suggested by Discovering omable world, a theme that has long provided inspiration for countless filmmakers. Justice. Founded in 1999, their Arts and the Law Program brings professional actors out of the theatre and into the courtroom to participate in historical dramas relating to justice and our legal system To name a few, Truffaut, Bergman, Antonioni, and Allen have investigated the idea, with Massachusetts students. articulated by Jean-Paul Sartre in his 1943 treatise Being and Nothingness, that "man can will nothing unless he has first understood that he must count no one but A.R.T. Co-Founder and Executive Director Rob Orchard said of the partnership, "Theatre can play a himself; that he is alone, abandoned on earth in the midst of his infinite responsibili- compelling role in activating a greater understanding and appreciation of justice among young peo- ties, without help, with no other aim than the one he sets himself, with no other des- ple. The A.R.T. is pleased to begin this partnership with a call for writers to join us in developing a body tiny than the one he forges for himself on this earth." The films in this series look to of work designed to dramatize significant moments in our judicial history. And, through the power of live performance to make these moments relevant to contemporary audiences." key texts that either inspired (Dostoevsky, Kierkegaard) or expanded (Sartre, Camus) this philosophy, adapting its ideas for the screen, where free will, enacted without any certain knowledge of what is right or wrong, good or bad, resonates with particular force. Films to be screened include Robert Bresson's Pickpocket, Vittorio De Sica's The Condemned of Altona and Zeki Demirkubuz's Fate. For a complete schedule, visit www.harvardfilmarchive.org.

Harvard Film Archive • 24 Quincy Street • Cambridge MA 02138 • 617.495.4700