sign in sign up
<<
Home , Almeida Theatre, Barbara Jefford, English Touring Theatre, Ian McDiarmid, Jonathan Kent (director), Robert David MacDonald

The Almeid Theatre Company

999 Spring Season is sponsored by PHI LIP M 0 R R I 5 COMPANIES INC. BAM 1999 Spring Season Spring Season supporters BAMfamily sponsor sponsored by The Peter Jay Sharp Foundation Metropoliton Life Foundation The Andrew W. Melion Foundation PHILIP MORRIS The Fan Fox and Leslie R. Samuels COMPANIES INC. Foundation, Inc. BAM Dance support The Norman & Rosita Winston The Harkness Foundation for Dance Foundation, Inc. The Joyce Mertz-Gilmore Foundation BAM Theater sponsors The Howard Gilman Foundation The Shubert Foundation, Inc. Les Arts Florissants TIME WARNER The SHS Foundation Corporate sponsor AT&T The John Nuveen Company The Gladys Krieble Delmas Foundation Robert W. Wilson Major support ~FleetBank Morgan Stanley, Dean Witter The Eleanor Naylor Dana Charitable Trust, GGMC Parking, LLC The America n Friends of Les Arts The Isak and Rose Weinman Florissants, Tony and Lawrie Dean, Leadership support for BAM Foundation, Inc. Credit Lyonnais, Anne H. Bass, French programs Coca-Cola Enterprise of New York Anonymous Francena T. Harrison Foundation Trust The Florence Gould Republic National Bank of New York The Image Makers Foundation Major support The Harold and Mimi Steinberg The Barbro Osher Pro Suecia Foundation Charitable Trust MetroTech Downtown Fund Additional support European American Bank The American-Scandinavian Foundation Bowne of New York Swedish Consulate Genera l /Swedish Official Broadcast sponsor Lissa Too le-Milea / Harper & Case, ltd. I nformation Service The Ann and Gordon Getty Foundation The Billy Rose Foundation Inc. L:Orfeo Wendy vanden Heuvel Corporate sponsor Brooklyn Borough President Forest City Ratner Companies Official Hotel Howard Golden Brooklyn Delegation of the New York Major support City Council E. Nakamichi Foundati on NEW YOR ~!!!~tt. New Yo rk City Depa rtment of The Elea nor Naylor Dana Cha ritable Trust Cultural Affairs New York State Council on the Arts Le Cid National Endowment for the Arts Major support Credit Lyonnais Endowment funds and gifts The French Ministry of Foreign Affai rs The Peter Jay Sharp Fund for through Associa tion Fran~aise d'Action BAM Prefers VISA I I and Theater Artistique and the Cultural Services of The Andrew W. Mellon Foundation the French Embassy in New York Michael Bancroft Goth Endowed The Laura Pels Foundation Annual Performance Fund Lila Wallace-Reader's Digest Endowment Ticket Assistance Program Your tax dollars make BAM Fund for Community, Educational, and Empire Insurance Group programs possible through Public Affairs Programs at BAM KeySpan Energy funding from The Charles and Valerie Diker Dance Michael Tuch Foundation Endowment Fund BAM New Media Partner BAMcafe music events are made possible ~ by the Mary Flagler Cary Charitable Trust. NYSCA Lucent Technologies O' '. Baldwin is the official piano of Brooklyn 8elllMlslnnollalloni Academy of Music. George Condo (American, born 1957) began showing in group exhibitions in New York City in 1981 and had his first solo exhibition in Los Angeles in 1983. Since then his paintings, drawings, and sculptures have been exhibited extensively throughout the United States and Europe. Condo received his most recent critical acclaim for Col/age Paintings, a 1998 exhibition at PaceWildenstein, the gallery where he has been represented since 1988.

In addition to designing the curtain for the Ballet de Monte Carlo's spring 1998 season, George Condo has recently engaged in other special projects and collaborations.

Condo's work and his artistic collaborations with the late William S. Burroughs and the late Allen George Condo Ginsberg are documented in Condo Painting directed by John McNaughton. Red Postcards, 1997 This October Films feature is scheduled for American release in spring 1999. oil, acrylic, pastel, colored pencil, ink, watercolor, penci l and paper on canvas George Condo's work is in the permanent collections of major museums 70' x 68' 077.8 x 172.7cm) Photograph by Gordon R. Christmas including Fonds National d'art Contemporain, Ministere de la Culture, Courtesy of PaceWildenstein Paris, France; Museu d'art Contemporani, Barcelona, Spain; The Museum of Fine Arts, Houston , Texas; The Museum of Modern Art, New York; The For 8AMart information Solomon R. Guggenheim Museum , New York; and the Whitney Museum contact Deborah Bowie at 718.636.4111 , ext. 380 of American Art, New York.

WARNING The pho- FIRE NOTICE The exit prohibited areas during BAM is a charter tographing or sound indicated by a red light the performances and member of the League recording of any per- and sign nearest to the intermissions. This of Historic American formance or the pos- seat you occu py is the violates a New York Theaters and an affiliate session of any device shortest route to the City ordinance and is member of the League for such inside this street. In the event of punishable by law. of American Theaters theater, without writ- fire or other emergency -Fire Commissioner and Producers. ten permission of the please WALK TO THAT management, is pro- EXIT, FOLLOWING THE Backstage and Front Freight Transportation hibited by law. DIRECTIVES OF THE of House Employees is provided by Schenker Violators may be pun- HOUSE STAFF. are represented by the International. ished by ejection and .Thoughtless persons International Alliance may be liable for annoy patrons and of Theatrical Stage money damages. endanger the safety of Employees others by Iighti ng (I.A.T.S.E.). , . matches or smoking in * u

Brooklyn Academy of Music Bruce C. Ratner Chairman of the Board

Harvey Lichtenstein President and Executi ve Producer

presents The Company

in repertory with Phedre Running time: by approximately one hour in a new version by and forty-five minutes. There will be no BAM Majestic Theater intermission. January 5-7, 9,12-14 & 16,1999 at 7:30pm January 10 & 17 at 3pm

Di recti on Design Maria Bjornson Lighting Mark Henderson Music Jonathan Dove Sound John A. Leonard Filmmaker Tony Palmer

Cast in order of appearance Hippolytus Theramene David Bradley Oenone Phedre Panope Holly de Jong Aricia Joanna Roth Ismene Avril Elgar Theseus Julian Glover Guard John Fairfoul Understudies Holly de Jong, John Fairfoul , Colin Haigh , Seana Montague

BAM Theater Sponsors TIME WARNER MF/eetBank Brita nn icus Running time: by Jean Racine approximately one hour in a new version by Robert David MacDonald and forty-five minutes. There will be no BAM Majestic Theater intermission. January 8 & 15, 1999 at 7:30pm January 9 & 16 at 2pm

Direction Jonathan Kent Design Maria Bjornson Lighting Mark Henderson Music Jonathan Dove Sound John A. Leonard

Cast in order of appearance Albina Barbara Jefford Agrippina Diana Rigg Burrus David Bradley Britannicus Kevin McKidd Narcissus Julian Glover Toby Stephens Julia Joanna Roth Guards John Fairfoul , Colin Haigh Understudies Holly de Jong, John Fairfoul , Colin Haigh , Seana Montague

American Stage Manager Kim Beringer -;;;~. ~ :,~c~ ;:' The in Phedre and Britannicus are appearing with the permission of Actors' Equity Association. The American stage manager is a member of Actors' Equity Association.

Leadership support has been provided by The Florence Gould Foundation and The Peter Jay Sharp Foundation ( I Casting Wendy Brazington Assistant Director Tom Yarwood Assistant Designers Mike Britton , Riette Hayes-Davies Production Photographer Ivan Kyncl Production Manager James Crout Company Stage Manager Rupert Carlile Deputy Stage Manger Sophie Gabszewicz Assistant Stage Manager James Shepherd Sound Operator Scott George Production Electrician Paul Skelton Production Carpenter Craig Emerson Costume Supervisors Jill Parker (Phedre), Jackie Galloway (Britannicus) Assistant Costume Supervisor Susannah Gorgeous (Britannicus) Wig Supervisor Rick Strickland Ladies' Costumes Fay Fullerton , Suzanne Parkinson , Susanna Wilson and the Workrooms of House Men's Costumes John Sheward Wigs Pam Foster Painting and Dyeing Nicola Kileen and the Dye Department of the Armor Robert Alsopp Jewellery Julie Rooks Shoes Gamba Set Building and Painting Souvenir Scenic Studios Ltd Statue Roger Creswell

The first performance of Phedre was at the Almeida's new festival for Malvern on August 6, 1998.

The first performance of this production of Britannicus was at the Albery Theatre on October 29, 1998.

The Almeida Theatre has received support for this engagement from and The Laura Pels Foundation

In 1990 the Almeida Theatre in , North The Almeida has just established an annual , became a full-time producing theater summer residency in Worcestershire, providing a under the artistic leadership of Jonathan Kent and season of international drama in a new Malvern Ian McDiarmid, offering audiences a stimulating Festival and is currently presenting a season at environment for the performance of challenging the Albery Theatre in the West End to run in seasons of classical and new plays, opera and parallel with the Almeida Islington. The Almeida's new music. The company regularly tours nation­ acclaimed production of O'Neill's The Iceman ally and internationally and visited New York in Cometh with , opens on Broadway 1994 with (Diana Rigg-Tony Award, in March. The Almeida Theatre is the recipient Best Actress) and in 1995 with (Ralph of the 1998 London Evening Standard Award Fiennes-Tony Award, Best ). for Theatrical Achievement of the Year. Phedre by J. P. Short formerly Senior Lecturer in French at the University of Sheffield

Phedre is perhaps the most concentrated, most intense and most terrifying of Racine's tragedies because of the fierce, uncompromising of her behavior. light it throws on human nature Unable to control the and the human condition. The story events unleashed by her of Phedre's adulterous and incestuous love for passion she is d riven by her stepson Hippolytus as recounted by a sense of guilt and a and Seneca had all the ingredients which Racine cruel lucidity to an ultimate required for a further exploration of human hell of self-knowledge in the jealousy scene in relationships at which he excelled. He had Act IV. already shown, in the eight tragedies he had written before Phedre (which was first performed The characters created by Racine are those bearing in 1677) that he could, through the depiction of the names Phedre, Theseus and Hippolytus which violent passion, be it love, hate, jealousy or ambi­ he found in Euripides and other ancient sources. tion, expose the vulnerability of human beings These semi-mythological figures brought with them and the near impossibility of their achieving ful­ a sUbstantial mythological background. Phedre is fillment in the world which they have to inhabit. the daughter of Minos, King of Crete and later judge in the underworld. Her mother Pasiphae, Phedre is unique among Racinian heroines in daughter of the Sun, was notorious for having that she combines in herself the two kinds of loved a bull and given birth to the Minotaur. heroine which hitherto Racine had kept separate. Theseus, King of Athens, was second only to On the one hand are those endowed with inno­ Hercules as a slayer of monsters. Hippolytus was cence, purity and a high moral awareness; on the favorite of Artimes, goddess of hunting, and the other are the victims of a violent, unbridled spurns Aphrodite, goddess of love. Although passion, indifferent to moral considerations. Racine's Phedre, Theseus and Hippolytus are very Phedre, struck down by an obsessive lust for a different from their ancient namesakes, notably forbidden object, is at all times aware of the horror Hippolytus who no longer scorns Aphrodite, they 1'-1 nevertheless have ancestry and history. Their links with the supernatural world, however, are not real but rnetaphorical. What Racine does with this mythological rnaterial is to weave it into a dense background which serves as the scenery for his tragedy, compensat­ ing thus for the lack of physical scenery. The conventions of seven­ teenth-century French tragedy demanded that the action of the play should unfold in one place, quickly, and that there should be no violence on . The characters in Phedre move, live and die in a con- fined, almost abstract place but we are constantly reminded by Racine's poetry of the vast spaces behind full of activity. Seas, forests, beaches, Athens and the whole of legendary Greece, not to men­ the heavens and the underworld, re evoked making a huge backdrop against which the tragedy at Troezen is being played out. The link between the human beings, because Racine's characters are human beings and are not demi-gods, and the mythological background serves, paradoxically, to emphasize their humanity and isolation because what moti­ vates them is human passion and the supernat­ ural forces remain indifferent. The one overt supernatural incursion into the tragedy, the killing of Hippolytus by Neptune, shows that when the gods interfere in human affairs it is only to reinforce the injustices that men create. The action of the tragedy is driven purely by human means. Once Phedre reveals her guilty love to Oenone she is launched on a catastrophic path to ~estruction. For a brief moment, deceived by the false news of the death of Theseus, both Phedre and Hippolytus think that their dreams can become reality. The shattering of the illusion by the return of Theseus is thus all the more cruel and tragedy pursues its relentless course. Phedre kills herself, Hippolytus is killed by the monster from and Theseus is left to contemplate what he has done. This is a bleak tragedy, showing a world from which justice, pity and humanity are banished in a universe unmoved by human suffering.- J. P Short rS 1666 A Lettre a /'auteur des Heresies imagi­ naires, replying to a slighting remark about playwrights in a pamphlet by the Jansenist Nicole, confirmed Racine's estrangement from Jansenism and Port­ Royal.

1667 Andromaque, produced at the Hotel de Bourgogne was a brilliant success.

1668 Wrote Les Plaideurs , his only comedy. Death of the Marquise du Parc, the actress who had created the role of Andromaque. Racine appeared 'half­ dead' with grief at her funeral. She is said to have borne him a daughter who lived eight years.

1669 Britannicus produced at Hotel de Bourgogne.

1639 Born at La Ferte-Milon, near Paris, only 1670 Berenice produced at Hotel de Bourgogne. son of a tax official. 1672 Bajazet produced at Hotel de Bourgogne. 1641 Birth of his only sister and death of his Elected to the Academie Franc;aise. mother. 1673 Mithridate produced at Hotel de 1643 Death, after remarriage, of his father, Bourgogne. leaving Racine an orphan. 1674 Iphigenie produced at Versailles. 1649 Sent to his grandmother at the convent of Port-Royal-des-Champs near Paris, 1677 PMdre et Hippolyte (title changed to under strongest Jansenist influence. PMdre, 1687). Married and brought up Racine admitted gratis to the famous a family of six. Appointed as Royal "Petites Ecoles" conducted by Jansenist Historiographer to Louis XIV at Versailles. recluses living round the convent. Thereafter, ceased to write for the profes­ sional theater. 1659 Introduced by his cousin Vitart into the Duc de Luynes's household in Paris. 1689 Esther, commissioned by Madame de Maintenon (Louis XIV's mistress), per­ 1664 First play, La TMbaide ou les freres formed by girls of the school she had ennemis, produced by Moliere. First founded at Saint-Cyr. "royal gratification" of 600 livres soon raised to 800, then 1200 per year. 1691 Athalie , again written for the pupils at Saint-Cyr. 1665 Alexandre Ie Grand produced by Moliere and then a fortnight later, without warning, 1694 Four Cantiques Spirituels published with by the rival company of actors at Hotel music by Lully. de Bourgogne. Understandably, Moliere was irreconcilably offended. 1699 Died April 21st. Buried Port-Royal. JJ Britannicus For his fourth tragedy, Britannicus, first performed It might be asked why is the tragedy not called in 1669, Racine leaves the legends and history of Nero and Agrippina? The relationship between Greece and turns to Rome. Ta citus recounts the the monstrous son and his appalling mother is, killing of Britannicus, so called in honor of his after all , the main thread which runs through father Claudius' conquest of Britain, by the the tragedy and drives the action forward . emperor Nero early in his reign. The murder was Racine himself said , in one of his prefaces to probably politically motivated by Nero, being only the play, that his tragedy was as much about the stepson of Claudius through his marriage to the fall of Agrippina as the death of Britannicus. Agrippina, Nero's mother, had a less good claim Yet, although overshadowed by the two powerfully to the throne than Britannicus. It was thanks to drawn protagonists, Britannicus is undoubtedly the machinations of Agrippina that Claudius had the hero of the play that bears his name for it is disinherited his own son in favor of hers. Her aim he who, at a critical point in the relationship was to rule through her son and it was no part between mother and son , pays the price for the of her scheme that the son should want to rule hatred and distrust that has grown up between for himself. It is the moment when Nero takes a them. By inventing a love affair in which decisive step to independence that Racine has Britannicus is the favored lover and Nero the chosen to dramatize. Constrained as he was by rejected one, Racine adds jealousy to Nero's the conventions of seventeenth-century French hatred of his mother and, by fusing the two tragedy he had only one day at his disposal but passions together so that Britannicus becomes, the particular day he chose is the one when the for Nero, a symbol of Agrippina's power over events have momentous consequences. It is a him , the murder becomes inevitable. Thus the hinge between the past and the future which , as killing of Britannicus marks the beginning of frequently in Racine's tragedies, constitute the Nero's reign of terror. Once that has happened background against which the tragedy is played Nero is free to be himself with all the horror that out. Nero's reign hitherto had been promising in implies. The role of Britannicus is vital to the spite of some disturbing signs. Would it contin­ emergence of the tyrant whose name rings so ue thus or would the real Nero emerge? Racine horrendously down the corridors of time. says that his tragedy concerns a monster about

The AT&T Foundation AT&T and the arts Irwin and Mary Ackerman Mr. & Mrs. Marvin Barrett AT&T is the world's networking leader, bringing Kenneth David Burrows people together and giving them easy access to Mr. & Mrs. A.B. Chace each other, and to the information and services The Columbia Foundation they want and need-anytime, anywhere. It is only David & Catherine Graham fitting that a company with such a mission would Gale Hayman bring the arts to people and people to the arts. Bruce Kovner For more than fifty years , AT&T has demonstrated The J.M. Kaplan Fund an ongoing commitment to the arts, aiming its Ken Lipper support at projects that are innovative and focus Samuel I. Newhouse Foundation not on the achievements of the past, but rather Gene O'Donovan on creating a legacy for the future. AT&T has Mrs. Wilson F Nolen represented innovation, diversity and access to Laura Pels communication for the wider public, so its support Mr. & Mrs. James Scheuer to the arts has focused on new work, on Richard J. Schwartz encouraging diverse voices and on mobilizing new technologies to increase access to the arts .. to be born. The killing of Britannicus is the to achieve their ends. Power is, however, not moment when the monster is born. always enough and Racine explores this with great subtlety. Nero is just beginning to feel the Yet Britannicus is not and should not be consid­ intoxication of being able to do exactly what he ered a representation of Roman history. It is not wants but he finds that power is not enough to there that the interest lies. For one thing Racine win the love of Junia. Agrippina who has plays fast and loose with the facts of the case. unscrupulously pursued a path leading to power He makes Britannicus older than he actually was now sees it slipping from her grasp. It is ironic when he died. He invents the character of Junia that at the very moment when she thinks she who plays such an important role in the action by has re-established her ascendancy over Nero in bringing another motive, not political, for the the confrontation scene in Act IV she is, in fact, murder. Narcissus dies before the death of making her downfall even more certain. The Britannicus and had no part in it. All this is of contrast between what is and what seems to be no importance. What matters is the devastating is nowhere brought out more clearly than in the accuracy with which Racine depicts and twists way Racine portrays power in the tragedy. Nero, and turns the complicated relationships between away from Agrippina, seems powerful and self­ the four main characters. For some the division confident but the reality is that he is not. Agrippina between black and white may be too stark. On the thinks she can direct events but the reality is that one hand the vicious Nero and Agrippina , on the she cannot. Power can destroy but it cannot nec­ other the noble-minded Britannicus and Junia. essarily succeed . While Agrippina and Nero create The former could seem too bad , the latter too good a cruel world around them where virtue is not to be true. This is not so. The forces at work here enough to su rvive they themselves are also are those which are at work all the time in human destroyed. Racine is not making a shallow moral beings. Selfishness, hatred , jealousy, indifference point here. He is simply showing what human to the suffering of others are shown here in a pre­ nature is like when it has power to do what it likes. cise and chilling manner. In Britannicus these are The message is not a comfortable one for if the shown at work in individuals who have absolute power is not enough and virtue is not enough power and are not able to exercise it in an attempt there is no hope left.-J. P. Short

AT&T has supported the Almeida Theatre in of the field . Its primary mission is to encourage London since 1990, including its international the production of classic plays, including the tour of and A Midsummer Night's Dream great works of the twentieth-centu ry; foster the in 1996/97 . AT&T is the principal sponsor of creation, growth and production of new work by the Almeida's 1998/ 99 season, and continues recognized contemporary playwrights; and this partnership with support to this visit to develop an arena for theater to flourish so th at it Brooklyn Academy of Music. The Almeida's bold is accessible to the general public. new versions of two masterpieces of world theater -PMdre and Britannicus- reflect a shared The Laura Pels International Foundation, also commitment to innovation in the arts. based in New York, was a co-presenter of the Almeida 's productions of PhEdre and Britannicus The Laura Pels Foundation / The Laura Pels in London. Its mission is to foster, sponsor and International Foundation promote theater and its development in Europe and America by encouraging the exchange and The Laura Pels Foundation, based in New York , production of plays from different cultures, either is committed to the support of outstanding in translation or the original language. theatrical productions and theater organizations that make a significant contribution to the vitality David Bradley Theater includes: for the Royal Barbarians (also ) , The Innocents National Theatre, , Mother Courage (), For Services Rendered and Her Children, King (Olivier Award for Best (Salisbury Playhouse), Blithe Spirit, Supporting Actor), Richard III, , (Bristol Old Vic) and The Ghost Train (Lyric Theatre , The Cherry Orchard, , Tis Pity She 's a Hammersmith). TV: Goodnight Mister Tom, The Whore and The Front Page; for the Royal Shakespeare Midsomer Murders, Casualty, The Glass Virgin , Rides, Company: , , , The Bill, The Late Show, Poirot, Campion, A Taste Hamlet, Henry IV Part /I (Cla ren ce Derwent for Best for Death, The Oldest Goose in the Business, Supporting Actor), The Alchemist, Doctor Faustus , Children of Dynemouth , Paying Guests, Thirteen for Epicene, , Three Sisters, Temptation, Dinner, Us and Them , The Citadel, Winnie , Under Twelfth Night, Custom of the Country, The Winter's the Skin, Shoestring, Tales of the Unexpected, Rosie , Tale , Arden of Faversham, Captain Swing, The Crown Court and George and Mildred. Film : Wilde, Merchant of Venice, Funny Peculiar (West End ) Sakharov, , The Medusa Touch, Ladies Who and Mystery Plays (York). TV includes: Vanity Fair, Do and Room at the Top. Radio includes: No One Where the Heart Is, Our Mutual Friend, Bramwell, Writes to the Colonel, Little Dorritt, Our Mutual Reckless, The Moth, Wycliffe, Band of Gold, Our Friend , The Daughter-in-Law and Dombey and Son. Friends in the North, Measure for Measure, Martin Chuzzlewit, Buddha of Suburbia, Between the John Fa irfoul Theater includes: Armstrong's Last Lines, A Family at War, Another Sunday and Sweet Goodnight, (Royal Lyceum FA. Film: Tom's Midnight Garden, Left Luggage, Theatre, Edinburgh), Halliwell's Hell, Waiting for Gadot Kangaroo Palace, Prick Up Your Ears and The Star. (Edinburgh Fringe) . Radio: work includes Excerpts from The White Devil . Film : Love From Above Holly de Jong Theater includes: A Month in the (winner of the British Short Film Festival 1996). Country, Don Juan , In Boxes-Platform (), Godspell (Wyndham's Theatre), Julian Glover is on the Artistic Directorate of A Flea in Her Ear, Hiccups (Thorndike Theatre, Shakespeare's Globe Theatre , Southwark. He has Leatherhead), Stags and Hens, Billy Liar (Newcastle worked extensively for theater, television, film and Playhouse), And a Nightingale Sang (Oxford radio. Theater includes: six seasons of leading roles Playhouse), Blithe Spirit (Everyman Theatre , with the Royal Shakespeare Company, Stratford Cheltenham) , Seascape with Sharks and Dancer Upon Avon and six in London. Work includes: (), Harpo the Fourth (Mickery Henry VI plays, , Julius Caesar, Romeo Theatre, Amsterdam), Hard Times (Croydon and Juliet, and Henry IV Parts I & /I (for which he Warehouse), After You With the Milk, Relative received an Olivier Award). His work with Prospect, Values (Salisbury Playhouse), Wild Things (Paines Bristol Old Vic and Old Vic companies has included: Pl ough), California Suite (Gateway Theatre, Chester), , Macbeth (title rol e), Villette ( , Sheffield). TV: Casualty, Atahuallpa in The Royal Hunt of the Sun, Boswell's The Bill, Poirot, Van der Valke, The Brief, Secrets, Life of Johnson , and Venice Preserv'd. Work for the The Chief, Goodbye and I Hope We'll Meet Again, Royal National Theatre includes: Chips With The Weather in the Streets, Mountain Men , The Everything and Archie in Jumpers. Beowulf (one man Racing Game, Send in the Girls, Brushstrokes , The show, Lyric Hammersmith and world tour), Vladimir Detectives, Just Wisdom, Blackadder /I, The Duchess in 's Waiting for Godot () . of Duke Street, Penmaric , The Assassination Run, TV: An Age of Kings, Spy trap , Dombey and Son, Matilda's England , The File on Jill Hatch, The By the Sword Divided, Brother Cadfael, Bergerac , Consultant, Love for Lydia , Titmus Regained and The Avengers , Mandela, Invasion (in the role of Lytton's Diary. Film : Aliens and Electric Dreams . Alexander Dubcek). Film: over thirty including: Tom Radio: Definitely the Bahamas , Letters From a Jones , I Was Happy Here, Quatermass and the Pit , Second Home in Picardy, What Happened With Nicholas and Alexandra , Cry Freedom, Heat and Saint George, Bedrock and Wild Things. Dust, For Your Eyes Only, and Indiana Jones and the Last Crusade . Radio: Avril Elgar Theater includes: for the Royal National work for radio includes numerous plays , recitals, Theatre, Half Life (West End), Inner Voices (national poetry readings, Shakespeare recordings and audio­ tour) , Stanley; for the Royal Exchange , books. Mr. Glover has adapted his Beowulf for The Corn is Green , Hope Against Hope, Great radio, audiobook and videotape . Expectations, Admirable Crichton, Death of a Salesman , The Glass Menagerie, Pride and Prejudice , Colin Haigh Theater includes: Serious Money , Art The Importance of Being Earnest , A Family Reunion (cover Yvan & Serge, Wyndham's Theatre), The (West End) , Caught in the Act (West End), Amongst Seagull (English Touring Theatre) , , '";>7 Bodies , (Attic Theatre, Wimbledon), 2nd From Last Barbara Jefford Theater includes: since 1949, in the Sack Race (Gateway Theatre, Chester) , Crimes leading roles in thirty-two Shakespeare plays with of Passion (Nottingham Playhouse), All My Sons companies including: Shakespeare Memorial Theatre, (Salisbury Playhouse), For Services Rendered Old Vic, Royal Shakespeare Company, Royal National (Salisbury Theatre, ), Macbeth (Northcott Theatre , Bristol Old Vic, Prospect, Oxford Playhouse. Theatre , Exeter) , The Lover (English Theatre of Other work includes: , st. Joan , Hamburg) , Time and The Can ways (The Old Vic Arkadina in , Medea , Clecpatra in Antony Theatre, Canadian tour) , House Guest (Far East tour) , and Cleopatra and All for Love, Phedre (Racine, 1'1/ Be Back Before Midnight (English Theatre of Euripides), Tiger at the Gates (London, New York) , Hamburg) and Not Quite Jerusalem (Royal Court Misalliance (), Six Characters in Theatre). For The , : The Search of an Author (Mayfair Theatre), Ride a Cock Representative , Taste of Honey , Twelfth Night, Horse (Piccadilly Theatre), Filumena (LyriC Theatre), Madman and the Nun, She Stoops to Conquer, The Dark Horse (Comedy Theatre), Fathers and Sons , Venice Preserv'd, The Maid's Tragedy, Architect and , Ting Tang Mine (Royal National Emperor of Assyria , Three Sisters and Wisechild. Theatre), Little Murders, Misha's Party, Wallenstein For The Royal National Theatre: Rosencrantz and (Royal Shakespeare Company). TV includes: Walter , Guildenstern are Dead, La Grande Magia , What The Edna the Inebriate Woman, Lady Windermere's Fan , Butler Saw, Animal Farm, The , Danton's Porterhouse Blue, The House of Elliot, Return to Death , Don Juan, Inner Voices and Lorenzaccio . Blood River and A Village Affair. Film includes: TV includes: The Broker 's Man, Next of Kin, The Bill, Ulysses, The Shoes of the Fisherman , Fellini's And True Crimes, Thriller, By The Sword Divided, Anno the Ship Sails On, Where Angels Fear to Tread, Domini and It Ain't Half Hot Mum . Film includes: Reunion and Polanski's The Ninth Gate. Los Valientes, Monsignor Quixote, Elizabeth I and Tales From the Tower. Robert David MacDonald has had an extensive and varied career, origina lly training as a musician, Ted Hughes was born in 1930. He is the author of working as a translator for UNESCO, before becoming numerous collections of poems and books for adults assistant director at Glyndebourne and The Royal and children. His adaptation of Seneca's Oedipus was Opera House. He has directed plays both nationally first performed at the Old Vic Theatre , London, in and internationally. In 1971 he became co-director 1968. In 1971-72 he worked with at of the Citizen's Theatre Company, for whom he has his International Centre for Theatre Research in written fifteen plays including: Dracula, De Sade Paris . In 1984, Ted Hughes was appointed Poet Show, No Orchids For Miss Blandish, Don Juan, Laureate. Hughes' short story The Iron Man was and Conundrum. He has acted in, premiered at The in 1993, with music and directed plays for, the company including British by Pete Townsend. Other work includes the 1995 and world premieres of Ba lzac's Vauirin and Musset's Royal Shakespeare Company production of Frank Hidden Fires. He has translated and adapted over Wedekind's Spring Awakening and his version of seventy and plays from ten different languages. Blood Wedding which also premiered at the Young The plays include: Beaumarchais' Figaro, Cocteau's Vic. His critically acclaimed work Birthday Letters Orpheus and The Human Voice, Durenmatl's is his most recent published collection . This follows Conversation at Night , Fassbinder's Shadow of Angels, the international success of Hughes' Tales From Ovid. Genet's , The Blacks and The Screens, In August 1998, Ted Hughes was appointed a Gogol's The Government Inspector, Goethe's Tasso member of the Order of Merit. Ted Hughes' poetry and Faust 1&11 , twelve of Goldoni's plays, Ibsen's includes: The Hawk in the Rain, Lupercal, Wodwo, Brand and Hedda Gabler, Lermontov's Maskerade , Crow, Gaudete, Flowers and Insects, Moortown , Lorca 's The House of Bernada Alba , Moliere's The Moortown Diary, Wolfwatching , Rain-Charm for School for Wives and Don Juan , Pirandello's Enrico the Duchy, Elmet , New Selected Poems 1957- Four, Racine's Phedre, Schiller's , Joan 1994, Three Books: Remains of Elmet, Cave Birds, of Arc and Don Carlos, Chekhov's The Seagull, Verne's River. He has adapted and edited works including: Round the World in Eighty Days and Wedekind's Seneca's Oedipus, Selected Poems of Emily Dickinson, Lulu. His adaptation of Piscator's production of War Selected Verse of Shakespeare, A Choice of Coleridge's and Peace played on Broadway and received an Verse, Th e Rattle Bag and The School Bag (edited Emmy Award when shown on American television. with Seamus Heaney), By Heart: 101 Poems to Remember. His work for children includes: How the Kevin McKidd Theater: The Silver Darlings (Wildcat Whale Became, The Iron Man, The Iron Woman, Theatre Company) Gulliver Award and Richard III Tales of the Early World, The Dreamfighter and many (Royal Shakespeare Company). TV: Fa' T., Only the other titles. Ted Hughes died on October 28th, 1998. Lonely, Kavanagh QC and Father Ted's Christmas Special. Film: Bedrooms and Hallways, Soft Touch , (Haymarket Theatre) and (Playhouse Dad Savage , Small Faces, Trainspotting , The Leading Theatre) . TV: The Tenant of Wildfell Hall and Man and Regeneration. Camomile Lawn. Film : , Sunset Heights, Photographing Fairies, Cousin Bette , Seana Montague Theater: A Doll's House miskel Twelfth Night and Orlando. Arts Centre, Cork) and Shakers (New Granary, Cork). Jonathan Kent (Director) is jOint artistic director of Diana Rigg Theater includes: work for the Almeida the Almeida Theatre where he has directed Ibsen's Theatre: Who's Afraid of Virginia Woolf? (also Aldwych When We Dead Waken , Dryden's All for Love, Theatre) , Evening Standard Award, South Bank Show Euripides' Medea (also West End & Broadway) , Award and Variety Club Award ; Medea (also New Anthony Burgess' new version of Griboyedov's York), Variety Club Award , Evening Standard Award Chatsky, Bernhard's The Showman, Moliere's The and Tony Award for Best Actress and All For Love. School for Wives, Louis Mellis and David Scinto's For the Royal National Theatre: Mother Courage and Gangster No.1 , Moliere's Tartuffe as well as David Her Children , Phaedra Brittanica , Macbeth , The Hare's versions of Brecht's The Ufe of Galileo, Misanthrope and Jumpers. Berlin Bertie (Royal Pirandello's The Rules ofthe Game , Chekhov's Court Theatre) , Follies () , Antony Ivanov, Joh n Byrne's version of Gogol's The and Cleopatra (Chichester Festival Theatre), Utile Government Inspector and most recently Nicholas Eyolf (Lyric Hammersmith) , Heartbreak House Wright's version of Pirandello's Naked (which trans­ (Haymarket Theatre), Night and Day (Phoenix ferred to The ). Other theater Theatre), (Albery Theatre), Abelard and credits include Corneille's Le Cid, Brecht's Mother Heloise (Wyndham's Theatre and New York). Courage and Her Children (Royal National Theatre) For the Royal Shakespeare Company: Twelfth Night, and the Almeida Theatre production of Hamlet, King Lear, The Comedy of Errors , , which opened at the before trans­ A Midsummer Night's Dream, The Taming of the ferri ng to Broadway. Shrew, The Physicists , Macbeth and The Devils . TV includes: Rebecca (Emmy Award for Best Maria Bjornson (Design) has designed extensively Supporting Actress), Moll Flanders, Mother Love for theater, opera and ballet. In 1990 she was (BAFTA Award for Best Actress) , Bleak House , awarded the Observer's Experts' Expert: The Witness for the Prosecution , King Lear, Hedda Designers' Designer, in recognition of her contribu­ Gabler, Utile Eyolf, The House of Brede and The tion to theatre design, and the silver medal for Avengers . Film includes: A Good Man in Africa, Janacek Design Prague Biennale 1983. Theater: Evil Under the Sun (Variety Club Award for Best for the Royal Shakespeare Company, Measure for Actress), A Uttle Night Music, A Midsummer Night's Measure (The Other Place , The Young Vic), The Dream, On Her Majesty's Secret Service and The Blue Angel (The Other Place, West End ), Camille Hospital . Diana Rigg was made a DBE in 1994. (The Other Place, Comedy Theatre) , Hamlet, The Tempest, A Midsummer Night's Dream , The Way Joanna Roth Theater: The Devil is an Ass (RSC), of the World (). The LuLu Plays , The Seagull (English Touring Theatre Company), (Almeida Theatre) , The Lonely Road (The (Lyric , Hammersmith) , A Bright Old Vic) , The Cherry Orchard (Chichester Festival Ught Shining () , All Things Nice Theatre) , Vieux Carre (Piccadilly Theatre) , Hedda () , When We Were Women Gabler (Duke of York's Theatre), Antony and (Edinburgh Festival , Royal National Theatre Studio). Cleopatra (Bankside Globe Theatre) . Musical : TV: See You Friday , Bramwell, Blue Boy, The Plant, Phantom of the Opera (Her Majesty's Theatre , Strathblair, The Last Laugh , Jackanory- , nationally and internationally). For her Flawed Glass , Jute City, Omnibus: Vincent van Gogh design for Phantom of the Opera , Maria Bjornson and The Real Charlotte . Film: Sliding Doors, Snow has received several awards, among them: Tony White in the Black Forest, Frankenstein , Stalin and awards for Best Costume and Set, Outer Critics' Rosencrantz and Guildenstern are Dead. Radio: Circle awards for Best Costume and Set, Drama First Steps in Drama. Critics' awards for Best Costume and Set. Aspects of Love ( , Broadway), Follies Toby Stephens Theater: for the Royal Shakespeare (Shaftesbury Theatre) . Opera: Macbeth (La Scala Company, Measure for Measure , A Midsummer Milan) , The Rise and Fall of the City of Mahagonny Night's Dream, Coriolanus (Sir Award (Bastille Opera , Teatro Verdi Maggio, Musicale for Best Actor, Ian Charleson Award), Unfinished Florence), Le Nozze de Figaro (Geneva), Don Business, Wallenstein , All's Well That Ends Well , Giovanni (Batignano), Sleeping Beauty, Donnerstag , aus Ucht (British premiere) , Les Conte d'Hoffman, 3f Der Rosenkavalier, Katya Kabanova (Royal Opera Jonathan Dove (Music) is music advisor to the House) , Die Walkure, Carmen (English National Almeida Theatre. Theater: for the Almeida, Naked, Opera), The Queen of Spades, The Gambler The Government Inspector, Ivanov, Tartuffe, (Netherlands Opera), Cosi fan Tutti, Die Zauberfl6te, Hamlet (Hackney Empire, Broadway) , The School Die Entfuhrurig aus dem Serial, The Bartered for Wives , The Rules of the Game , A Hard Heart, Bride, Hansel and Gretel (Scottish Opera), Janacek Hippolytos and All For Love . For the Royal National Cycle (Welsh National Opera, Scottish Opera). Theatre , Mother Courage and Her Children, Wild Oates , Trelawney of the Wells and Le Bourgeois Mark Henderson (Lighting) is lighting consultant to Gentilhomme. All's Well That Ends Well (New the Almeida Theatre and is currently specialist York) , Zenobia (RSC) . Film includes: Venus Peter, lighting consultant for the Royal Court Theatre rede­ Prague. Opera includes: Siren Song (Almeida velopment. He was the recipient of the 1992 and Opera) , L'Augellino Belverde (Music del Chiostro) , 1995 Award for Lighting and was Flight, Hastings Spring, Dream Dragons, In Search a nominee in the 1996 and 1997 Olivier Awards of Angels (Glyndebourne) and Pig (ENO and the 1995 Tony Awards. Theater: Over 400 Contemporary Opera Studio). Re-orchestrated productions including Rowan Atkinson (West End, Wagner's Ring for City of Birmingham Touring Opera. national and world tours) , The Dresser, Follies, , Gasping, Carmen Jones, The John A Leonard (Sound) Theater: credits for the Rose Tattoo, Beckett, Heartbreak House , Home, St Almeida include, Scenes from an Execution, When Joan , Neville's Island, Indian Ink, Grease and We Dead Awaken, , Bajazet, Lulu, All for Passion (all West End). Productions for the RSC, Love, Hippolytos, The Gigli Concert, The Rules of Hampstead Theatre, The Peter Hall Company, and the Game , The Showman, The L.A. Plays, The Life all the major repertory companies. Over twenty-five of Galileo, Butterfly Kiss, The Bed Before productions for the Royal National Theatre includ­ Yesterday , The Playboy of the Western World, The ing Cat on a Hot Tin Roof (also on Broadway), The Dance of Death , The Silver Tassie , Venice Shaughraun , Hamlet, Long Day's Journey Into Preserv'd, The Tower, "1953", The Rehearsal (also Night, Napoli Millionaria, Pygmalion, Sunday in the Garrick), Medea (also national tour, Wyndham's Park with George , Racing Demon (also Lincoln and on Broadway-New York Critics' Drama Desk Center, New York) , Murmuring Judges, The Award for Best Original Sound Design), No Man's Absence of War, Sweet Bird of Youth, The Birthday Land (also Comedy Theatre), Party, Le Cid, The Children's Hour, Les Parents (also Apollo), Chatsky (also national tour) , Terribles (also on Broadway), Le Grande Magia , A Moonlight (also Comedy Theatre), Hamlet (Almeida Little Night Music, John Gabriel Barkman, Oedipus at the Hackney Empire and on Broadway), Tartuffe, Plays, The Cripple of Inishmaan and Copenhagen. Who 's Afraid of Virginia Woolf? (a lso Aldwych For the Almeida: The Rules of the Game, The Theatre), A Midsummer Night's Dream, Ivanov, Showman, No Man's Land (also West End), The Heartbreak House, Tongue of a Bird, The Govemment Deep Blue Sea (also West End) , Chatsky (also Inspector, Naked (also The Playhouse), The Judas national tour), The Bed Before Yesterday, Hamlet Kiss (The Playhouse) and The Iceman Cometh (Almeida at the Hackney Empire and on (also the Old Vic) , The Doctor's Dilemma, Mr Broadway), The Tower, "1953", Tartuffe, Puntila and his man Matti and The Play about the A Midsummer Night's Dream, Ivanov, The CenCi, Baby. Other credits include: Assassins, Cabaret Dokumentation 1, Heartbreak House, (), Heartbreak House, Talking The Government Inspector, Naked (also The Heads, The Ginger Man (Deutsches Schauspielhaus), Playhouse), (The Playhouse), Macbeth, Faust (RSC), Dead Funny (Hampstead The Iceman Cometh and The Play about the Baby . Theatre and Vaudeville), Neville's Island (Apollo), TV: Rowan Atkinson in Boston and Under Milk Design for Living (Gielgud) , The Clandestine Marriage , Wood. Film: The Tall Guy. Opera: productions for Passion (Queen's) , Cellmates (Albery), Break of Day , National Opera Studio, (Out of Joint! Royal Court Theatre) , The Pretenders Welsh National Opera, Scottish Opera , Opera (National Theatre of Norway), North , Opera de Nancy, Hong Kong Festival, Royal (Chichester Festival Theatre, national tour, and West Opera House and Glyndebourne Festival Opera. End) , Hedda Gabler (Chichester Festival Theatre). Dance: productions for the Royal Ballet, Sadler's Opera includes: The Magic Flute , Mark Antony Wells Royal Ballet, Ballet Rambert, London Turnage's Greek and The Baylis Project production Contemporary Dance Theatre, Scottish Ballet and of A Small Green Space (English National Opera). Northern Ballet.

BAM Box Office Hours BAM Ticket Services BAM bus Restrooms M-F: 9am-8pm 718.636.4100 718.636.4100 BAM Opera House: Sat: 12noon-8pm General information, Make your reserva tion Mezzanine and balcony Sun: 12noon-6pm single ticket and sub- up to twenty-four hours level-Handicapped scription sales, Friends prior to curtain-time accessible: Orchestra Advance ticket sales of BAM ticket sales level and in the stop one hour prior to and customer service Group Sales BAMcafe curtain. For ticket orders of Fa x Orders twenty or more BAM Majestic Theater: BAM Majestic Theater 718.636.4106 In New York City lobby and gallery level box office opens ninety 212.398.8383 minutes prior to curtain Student / Senior Outside New York City No food or drinks are on performance days Rush Information 800.223.7565 permitted inside the only. 718.636.4100 BAM Opera House or For availability, please BAM offers infra-red BAM Majestic Theater. call on the day of the listening devices for performance. the hearing impaired; please inquire at the coat check room.

Box Office opens thirty For movie times and BAM Rose Cinemas is Infra-red head-sets are minutes prior to first advance ticket sales, fully wheelchair acce­ available for the hear­ screening. call 718.623.2770 sible. ing impaired; please inquire at the cinema box office.

Administrative Offices BAM Special Events BAM Rentals Lost & Found 718.636.4111 718.636.4174 718.636.4198 M-F: 9am-5pm BAM stages and public 718.636.4133 Brooklyn Philharmonic BAM Homepage spaces are available Other times 718.622.5555 www.bam .org for rent when not in 718.636.4150 use for presentations. 651: An Arts Center BAM e-mail Past renters have BAM Publications 718.636.4181 [email protected] included MTV, HBO 718.636.4113 and American Public To purchase advertis- BAM Archives BAMart Radio . ing, please contact 718.638.6559 718.636.4111 x380 Robert Boyd.

BAM Membership BAM Education 718.636. 4194 718.636.4130 xl