The Knight of the Burning To keep up-to-date with , please visit cheekbyjowl.com/subscribe to join our mailing list /cheekbyjowl @wearecheekbyjowl P e s t l e @CbyJ /CheekbyJowl by Francis Beaumont cheekbyjowl.com 1 Cover photo: Nazar Safonov © Johan Persson. 2 Welcome Welcome

Welcome to The Knight of the Burning Pestle. Our Russian company Welcome to the Barbican and our co-production of The Knight of the were last here in 2015 with , and it’s a pleasure to Burning Pestle by our Artistic Associate, Cheek by Jowl. This UK premiere be back. We are particularly grateful to Evgeny Pisarev and Artem Mazur is performed by Cheek by Jowl’s Russian ensemble of long-term of Moscow Pushkin Drama Theatre, without whom this production would collaborators, which includes actors from the Moscow Pushkin Drama not have been possible. Thanks also to Toni Racklin, Leanne Cosby, Theatre. The Pushkin, also a co-producer, was here in February with Cathy Astley, Bernie Whittle, Simon Bourne and the whole Barbican team three outstanding productions of their own. Now Cheek by Jowl’s for their continued enthusiasm and unwavering commitment to our work. Russian group returns after they were last seen at the Barbican with We would also like to thank our other co-producers, Les Gémeaux/ their acclaimed Measure for Measure in 2015. Sceaux/Scène Nationale and Centro Dramático Nacional, Madrid (INAEM), as well as the Arts Council England. Francis Beaumont’s subversive comedy was first performed in London in 1607. Declan Donnellan and turn the play into an We hope you enjoy the show. extravagant and hilarious farce which poses darker questions about art and culture. Declan Donnellan and Nick Ormerod We hope you enjoy the show.

Toni Racklin Head of Theatre, Barbican

3 1 The Knight of the Burning Pestle by Francis Beaumont

Cast in alphabetical order: Creative team: For the Moscow Pushkin Drama Theatre:

Kirill Chernyshenko Jasper Declan Donnellan Director Bilan Valentina Wardrobe Evgeny Pisarev Artistic Director Alexander Feklistov Grocer Nick Ormerod Designer Marina Lekontceva Makeup Artem Mazur General Manager Anna Karmakova Mrs Merrythought Alexander Sivaev Lighting Designer Olga Spiridonova Stage Manager Danila Kazakov Michael Pavel Akimkin Composer Ivan Vakulin Stagehand Andrei Kuzichev Humphrey Irina Kashuba Choreographer Anna Kolesnikova Consultant Producer Sergei Miller Venturewell Igor Teplov Assistant Director Surtitle Editor & Operator Alexei Rakhmanov Mr Merrythought Johan Persson Production Nazar Safonov Rafe Alexander Solomin Technical Director Photography Kirill Sbitnev Tim Anna Koshkina Production Manager Agrippina Steklova Grocer’s wife Feliks Kuvaev Light Anna Vardevanian Luce Alexey Korenkov Sound With thanks to:

Dmitry Martynov Video Design Natalie Highwood, Simon Kennedy, Peter Kirwan, Eleanor Lang, Marcus Roche, Jem Talbot

Alexey Eremin Video Produced by Cheek by Jowl and Moscow Pushkin Drama Theatre in a co-production with the Barbican, London; Les Gémeaux/Sceaux/Scène Nationale; Centro Dramático Nacional, Madrid (INAEM). Olesya Patratiy Props Elena Semenova Wardrobe Supervisor The Knight of the Burning Pestle was first performed on 16 January 2019 at Les Gémeaux/Sceaux/Scène Nationale.

2 3 Plot me no plots

4Alexander Feklistov 7 The Knight of the Burning Pestle Beaumont’s subversive meta-drama burst onto the stage in 1607, at a critical moment when theatre was threatened by a popular movement increasingly hostile to art and culture. A disturbing comedy centuries ahead of its time, it subtly asks questions all the more relevant today: what is art for? Who is art for?

The Knight of the Burning Pestle was first performed between 1607 –1611 at Blackfriars Theatre in London. While this was a solo effort, its author Francis Beaumont is most commonly remembered as being one half of the writing duo Beaumont & Fletcher. The two were contemporaries of , and some of their major collaborative work was performed by Shakespeare’s London company the King’s Men.

6 9 Agrippina Steklova No man shall ever joy me as his wife, but he that stole me hence

Anna Vardevanian, Andrei Kuzichev 11 9 Was this conflation and confusion of narratives Listening to the Audience behind the apparent poor reception of the play on stage? It may not have helped that the play that the Grocers demand is a parody of Cervantes’ in The Knight of the Don Quixote, itself a parody of the chivalric romance tradition, in which an old man reads too many books about courtly knights and decides Burning Pestle that he is one himself. Beaumont’s work is thus a parody of a parody, in which the Grocer’s by Dr Peter Kirwan apprentice Rafe plays a version of Don Quixote whose heraldic device, the burning pestle, is a syphilitic phallus. But if the play was first staged in The phrase ‘ahead of its time’ is much appreciate the play, given that the play is in 1607, this was some five years before the Spanish overused, but when applied to Francis many senses about the failure of audiences book was first translated into English. Tracing Beaumont’s The Knight of the Burning to appropriately appreciate a play. these connections and allusions requires a lot Pestle, it feels entirely appropriate. In an From the moment that the Grocer and his of work on the part of an audience, especially age where film, television and literature wife first interrupt the Prologue of The if Don Quixote is unfamiliar. repeatedly make self-aware reference to London Merchant to demand the Players tell their own form – from Fleabag to The Lego However, this is also a play that celebrates a different story, the stage becomes a site Movie, Stranger than Fiction to House of amateurism and the joy of discovery. The subplot, for the negotiation of meaning. The Grocer’s Cards – Beaumont’s deeply metatheatrical in which Mrs Merrythought leaves her merry Wife attaches her colours to the wrong play seems positively contemporary. husband, only to return with head hung, stages romantic hero (if she went to see Romeo a similar negotiation of power to that happening The publisher Walter Burre informed the and Juliet, she’d be rooting for Paris). The between the Grocers and the playing company. dedicatee of the 1613 quarto that the play, Grocers demand extra scenes – a fight, the In order to return into her own house, Mr allegedly written in only eight days, was mustering of an army, a death – all of which Merrythought requires his wife – and everyone else ‘utterly rejected’ by its early audiences ‘for threaten to derail the bourgeois romantic – to sing. The singing is a levelling ritual, in which want of judgement, or not understanding comedy at the play’s centre. That the everyone from the romantic lead to the angry the privy mark of irony about it’. There is playing company manage to complete both father is required to participate. While this may something doubly ironic in Burre’s critique their own play and that demanded by the have showed off the virtuoso skills of the boy of the audience’s failure to appropriately Grocers is testament to the skill of actors.

10 13 Kirill Chernyshenko actors who originally performed the play, of the deputy, Andrei Kuzichev’s Angelo, to Explore Cheek by Jowl’s ground-breaking it also serves as a way to restore equality coerce her into sleeping with him. Obeying and good faith among the play’s competing the standard etiquette of western theatre, approach to performing Shakespeare characters. no audience members intervened to offer their support. Yet when the Grocers see Likewise, the Grocers are constantly injustice or conflict in The Knight of the negotiating with the Players to get the Burning Pestle, they speak up, interrupt, entertainment they have paid for. It may be stop the show, demand justice. In features tempting or easy to sneer at their inability “Takes the foregrounding the experience, reactions, interviews with to distinguish real from fictional characters, and active responses of its in-world or to interpret the conventional codes of reader on company audience, Beaumont’s play asks important a stock play, but sneering at our fellow members questions about the role of the spectator – an evocative audience members is hardly good form. to passively consume what is offered, It is also not clear that the Grocers are wrong. journey through or to actively participate in the creation While the subplot of the Merrythoughts is of something new? some of the most exciting amusing, and the romance of Jasper and Luce has plenty of dramatic interest with its European Shakespeare pitfalls, conflicts, and dramatic resolution Dr Peter Kirwan is Associate Professor of Early featuring a fake ghost, it is the ‘improvised’ productions of the past Modern Drama at the University of Nottingham. His scenes of Don Quixote requested by the book Shakespeare in the Theatre: Cheek by Jowl quarter-century.” Grocers that are the play’s most entertaining (Bloomsbury, 2019) is out now. His other books feature and that showcase Beaumont’s include Shakespeare and the Idea of Apocrypha – Pascale Aebischer, daring theatrical innovation. (Cambridge, 2015) and the edited collections University of Exeter, UK The play also, underneath the jokes, asks Canonising Shakespeare (Cambridge, 2017) and some serious questions of complicity and Shakespeare and the Digital World (Cambridge, agency. When Cheek by Jowl’s Russian 2014). He blogs at The Bardathon: http://blogs. Find out more ensemble last visited the UK, we saw Anna nottingham.ac.uk/bardathon www.bloomsbury.com/arden Vardevanian’s Isabella reach out to the audiences of Measure for Measure, asking @ArdenPublisher ‘Who would believe me?’ after the attempt

12 15 11

Cheek_by_Jowl_Ad.indd 1 14/03/2019 15:28 The Knight of the Burning Pestle company 17 15 1 2 Cheek by Jowl in

In 1986, Russian theatre director Lev Dodin internationally and its repertoire includes invited Declan Donnellan and Nick Ormerod by Pushkin, and to visit his company in Leningrad. Ten years by Shakespeare, and Three later, they directed and designed The Winter’s Sisters by . Tale for the Maly Drama Theatre of Saint Measure for Measure in 2013 was Cheek Petersburg, a production which went on to by Jowl’s first co-production with Moscow win Russia’s prestigious Golden Mask Pushkin Drama Theatre; a relationship Award – an award for which Cheek by Jowl’s which continues with this 2019 production Measure for Measure was nominated in 2015. of The Knight of the Burning Pestle. Throughout the 1990s the Chekhov In 2018, co-Artistic Director Declan International Theatre Festival regularly 3 4 5 Donnellan was awarded the Stanislavski invited Cheek by Jowl to present their work. Prize for ‘Outstanding Contribution to This relationship with Russia intensified in the Development of World Theatre’, 1999, when Valery Shadrin, of the Chekhov and earlier this year was the laureate International Theatre Festival commissioned of the ‘Special Golden Mask Award Donnellan and Ormerod to form their own for Outstanding Contribution to the company of Russian actors in Moscow. This Development of Theatre’. sister company performs both in Russia and

6 1 Alexander Feklistov in Boris Godunov © Chi Wai

2 Andrei Kuzichev in The Tempest © Johan Persson

3 Vitaly Egorov and Irina Grineva in © Igor Zakharkin

4 Igor Yasulolvich and Ilya Illin in Twelfth Night © Keith Pattison

5 Anna Vardevanian in Measure for Measure ©Johan Persson

6 Igor Yasulovich in The Tempest © Johan Persson

17 Do not fly me fair; I am no spirit: Look better on me, do you know me yet?

18 21 Kirill Chernyshenko, Anna Vardevanian The Company

Pavel Akimkin Composer Alexander Feklistov Grocer Pavel graduated from music school as an accordionist. In Alexander graduated from School in 1998, he started at the Gnesin Academy of Music as the folk 1982. Alexander has worked with major Moscow theatre choir master and in 2006 he graduated from the Russian companies: Moscow Art Theatre, Stanislavsky Drama Academy of Theatre Arts as an actor. In 2001, Pavel met Theatre, Pushkin Theatre and on many independent projects. Vladimir Pankov while working at the Soglasie Center, and He continues his relationship with Moscow Art Theatre by in 2006 he became a regular collaborator of SounDrama – playing the part of Samuel Pickwick in The Pickwick Papers. where Pankov is Artistic Director. His theatre works include Alexander has been cast in all of Declan Donnellan’s Gogol, Evenings, Swedish Match, Romeo and Juliet, Grooms, Moscow-based productions. He has played Boris Godunov Shukshin’s Short Stories (at the Theatre of Nations), Morphine in Boris Godunov, Sir Toby in Twelfth Night, Vershinin in Three (for the Et Cetera Theatre), Hot Heart (Theatre on Malaya Sisters, Caliban in The Tempest and Lucio in Measure for Bronnaya). As a music director for the Pushkin Theatre, Measure. Alexander has been presented with the Seagull he has worked on The Lady of the Camellias, Mother Earth Award for Best Actor twice: for the part of Claudio in Peter and Measure for Measure. Stein’s and for Sir Toby in Declan Donnellan’s Twelfth Night. In film, where Alexander has had an extensive career, Kirill Chernyshenko Jasper he has worked with distinguished Russian directors including Kirill joined the Pushkin Theatre company after graduating Pavel Lungin and Vladimir Menshov. from Moscow Art Theatre School. He is currently playing the part of William Shakespeare in . Anna Karmakova Mrs Merrythought Born in a closed military town, Tomsk-7, Anna started studying Declan Donnellan Director classical singing in music school. Whilst still in high school she Declan Donnellan is joint Artistic Director of Cheek by Jowl. got into the Novosibirsk Theater Academy and from 2009 Aside from Cheek by Jowl his productions include: became an actress of the Novosibirsk Academy Theatre Fuenteovejuna, Sweeney Todd, The Mandate, both parts “Globe”. There she has performed in, amongst others, Scarlet of (National Theatre); Le Cid (Avignon Flower, Trees Die Standing Tall, Life is Beautiful. Anna played Festival); The Winter’s Tale (Maly Drama Theatre of St. Maria in the first Russian production of West Side Story. She Petersburg); Shakespeare in Love (West End). Opera, played Maria in Evgeny Pisarev’s production of The Sound ballet and film work includes: Falstaff (Salzburg Festival), of Music. Anna joined the Pushkin company in 2012 and has Romeo and Juliet; Hamlet (Bolshoi), Bel Ami. since been nominated for the The Golden Mask Award for For lifetime achievement he has received the Stanislavksi ‘Best Actress in a Musical’ for O’Henry’s Christmas. Award, the Golden Mask, and the Golden Lion of Venice. His book, The Actor and the Target, was first published in Russian in 2000 and has subsequently appeared in fifteen languages.

Danila Kazakov, Anna Karmakova 21 Irina Kashuba Choreographer Sergei Miller Venturewell Irina graduated from Moscow State University of Culture and Sergei joined the Pushkin Theatre company after graduating Art as a choreographer in 2003. As a performer she has from the Russian Academy of Theatre Arts in 2000. His shows participated in many musicals, some of which include: Twelve include Cherry Orchard, Shakespeare in Love, The Lady of the Chairs, Chicago, Beauty and the Beast, and Zorro. Since 2008 Camellias, The Marriage of Figaro, , Irina has worked for Stage Entertainment Russia as a resident Mother Field, Treasure Island, House Built by Swift, Three Ivans. choreographer, where she was an assistant choreographer on His film and television works include Star, Antikiller-2, And The Sound of Music. Irina also works as a choreographer for Quiet Flows the Don. major Moscow drama theatre companies. Some of her credits include A Warsaw Melody, Government Inspector, The Trial, Nick Ormerod Designer Treasure Island, Zoika’s Flat, 1914 Cabaret and Declan Nick Ormerod is joint Artistic Director of Cheek by Jowl. Aside Donnellan’s The Tempest and Measure for Measure. Irina from Cheek by Jowl his productions include: Fuenteovejuna, works as a choreographer in film and has four projects , Sweeney Todd, The Mandate, both parts of Angels in production at the moment. in America (National Theatre); The School for Scandal, (RSC Academy) and which he also Danila Kazakov Michael co-adapted (Royal Shakespeare Company); The Rise and Fall Danila is currently studying at Moscow Art Theatre School of the City of Mahagonny (); Martin Kirill Sbitnev Sergei Miller under the direction of Evgeny Pisarev. Guerre (Prince Edward Theatre); Hayfever (); Antigone (); Falstaff (Salzburg Festival); Andrei Kuzichev Humphrey Shakespeare in Love (West End). Ballet: Romeo and Juliet; Andrei trained at the Russian Academy of Theatre Arts and has Hamlet (Bolshoï). Film includes: Bel Ami. In 2017, he was since worked with major Moscow theatre companies. He has awarded an OBE for Services to Theatre Design in the been collaborating with the Centre of Drama and Directing of Queen’s Birthday Honours. A. Kazantsev and M. Roschin since 1999, where he has played such parts as Gary in Shopping and F***ing, and Maksim in Alexey Rakhmanov Mr Merrythought Plastiscine, for which he received the Seagull Award for Best Alexey studied acting at the Russian Academy of Theatre Arts Actor. He has recently joined the Pushkin company to perform under Mark Zakharov, before training at Moscow Art Theatre the part of in Shakespeare in Love. School, and joining the Pushkin Theatre company. His shows Andrei has starred in most of Declan Donnellan’s Russian- include Shakespare in Love, Grand Magia, The Good Person of language productions; as Viola in Twelfth Night, Tuzenbach in Szechwan, The Marriage of Figaro, Much Ado About Nothing Three Sisters, Ariel in The Tempest and Angelo in Measure for and Measure for Measure. Measure. Andrei is working in cinema with Russian directors such as Roman Balayan and Vladimir Mashkov. Andrei teaches Nazar Safonov Rafe acting at the Moscow Art Theatre School. Nazar joined the Pushkin Theatre company after graduating from Moscow Art Theatre School. He is currently playing in Shakespeare in Love.

Kirill Chernyshenko, Alexey Rakhmanov 23 Kirill Sbitnev Tim Agrippina Steklova Grocer’s Wife In 2007, Kirill graduated from the Academy Agrippina graduated from the Russian Academy of Theatre of Theatre Arts. As an actor, he participated in the productions Arts in 1996. She has been part of Satirikon Theatre company of ‘APTO’ Theatre in Moscow - performing the parts of Vladimir since 1995. She has received the Seagull award for her role as Mayakovsky in Mistery-Bouffe, and Vladimir in Waiting for Regan in Yuri Butusov’s King Lear and the Stanislavsky Award Godot. There he also staged The Merry Wives of Windsor. for best actress for her role as Nina in The Seagull. Her other In 2008 he directed his first show at the Theatre of Nations, performances at Satirikon included The Taming of the Shrew, with Letters to Felice. He went on to work with the theatre as , Richard III, Don Juan. an Assistant Director to Thomas Ostermeier on his production of Miss Julie. In 2010 he became Assistant Director on Declan Igor Teplov Assistant Director Donnellan’s production of The Tempest. He went on to Igor joined the Pushkin Theatre company after graduating collaborate with Declan Donnellan again, as Assistant Director from Moscow Art Theatre School in 2007. He has performed of Measure for Measure and performing the parts of Malvolio in Shakespeare in Love, Puss in Boots, Treasure Island, and Antonio in Twelfth Night. Kirill has worked as a Director at Madame Bovary, The Robbers, Much Ado About Nothing, the Pushkin Theatre in Moscow since 2011. He also works as Grand Magia and Testosterone. His works for Moscow Art a teacher on Igor Yasulovich’s acting course in the State Film Theatre include Carmen and Ghosts. Igor plays the part of Academy of Russia. Aguecheek in Declan Donnellan’s Twelfth Night and Barnardine in Measure for Measure. Igor has participated Alexander Sivaev Lighting Designer in many TV series for major Russian channels. In 2017 he Alexander graduated in 2008 as a Lighting Designer from directed Three Ivans, a children’s show at the Pushkin Theatre. Moscow Art Theatre School. From 2007 to 2011, he worked at the in the lighting design department. Anna Vardevanian Luce As a lighting designer he has worked with many theatres Anna graduated from the Schepkin Theatre School in 2009, across Russia including: Bolshoi Theatre, Mariinsky Theatre, where she was awarded a Golden Leaf award for Best Actress. Pushkin Theatre, Moscow Art Theatre, Theatre of Nations, She played Marina Mnishek in Declan Donnellan’s Boris Novosibirsk Opera and Ballet Theatre, Boris Eifman Theatre. Godunov, Miranda in The Tempest and Isabella in Measure For Stage Entertainment he has designed Zorro, The Sound for Measure. Anna played the lead in the feature film To Hear of Music and Cinderella. Since 2014 Alexander is an in-house The Sea, and regularly acts in Russian TV shows. Lighting Designer for the Operetta Theatre in Moscow. He has been nominated for a Golden Mask as the best Lighting Designer three times and has received an award for Flight at the Vakhtangov Theatre.

The Knight of the Burning Pestle company 25 The Knight of the Burning Pestle

Performances 16 January – 2 February 2019 Paris, Les Gémeaux, Sceaux, France 13 – 15 & 30 March; 21 – 22 May; 27 June 2019 Moscow, Pushkin Theatre, Russia 24 – 28 April 2019 Madrid, Centro Dramático Nacional, Spain 5 – 8 June 2019 London, Barbican, UK 4 August 2019 Gdansk, Gdański Teatr Szekspirowski, Poland 24 – 26 September 2019 Toulouse, ThéâtredelaCité – CDN Toulouse Occitanie, France

26 29 Nazar Safonov The Revenger’s Tragedy

For their first Italian-language production, A Piccolo Teatro di Milano – Teatro d’Europa | Cheek by Jowl’s co-Artistic Directors ERT – Emilia Romagna Teatro Fondazione ‘Fluidity and Declan Donnellan and Nick Ormerod co-production in association with Cheek stage Middleton’s The Revenger’s Tragedy by Jowl. with the Piccolo Theatre in . ferocious grace’ La Repubblica Performances 29 – 30 June 2019 Saint Petersburg, Theatre Olympics, Russia 22 – 28 February 2020 Milan, Piccolo Teatro, Italy

28 Masiar Pasquali © Piccolo Teatro di Milano – Teatro d’Europa. 29 Learning Workshops Cheek by Jowl runs school workshops for English or Drama students (14+) and workshops for teachers in Continuing Professional Development. Cheek by Jowl is committed to developing the Our practitioners bring the manner and energy of the Cheek by Jowl rehearsal room theatregoers and theatre practitioners of tomorrow. to the classroom as tools to approach Shakespeare and classic texts in a dynamic way. Some of our strongest audience base is drawn from school groups, academics and teachers. Through exercises, discussions and activities, they explore key elements of the English We want to grow this interest and give students across the country the opportunity to see and Drama curriculum: text, verse, plot, movement, scene work, études, acting techniques, a Cheek by Jowl show, to support their existing Theatre and English studies, and broaden rehearsal exercises, character motivation, using ‘the space’, language in performance. their contextual knowledge across other subject areas. ‘The workshop was a great introduction to Declan and Nick’s practice and The Winter’s Tale. It took students through elements of The Actor and The Target whilst weaving New Learning Portal études and scenes from the text seamlessly. The practitioner’s sensibility connected Delve deeper into the world of Cheek by Jowl with our brand new website; featuring a redesigned the theory, text and young people with ease, seriousness and joy!’ learning portal and extensive media library. Students and audiences can access interviews, Head of Drama, Compass School, Bermondsey production photography, programmes, rehearsal notes, prompt scripts, digitised designs, talks and films, as well as curriculum-specific works and themed content. ‘The workshop gives you your own understanding of the play.’ Workshop participant, Wrexham Live-Capture Recordings & Education Packs ‘It was Shakespeare in a different and innovative style…’ Live-capture recordings of Measure for Measure, The Winter’s Tale and Périclès, Prince de Tyr are Workshop participant, Ilkley freely available to schools, colleges and universities throughout the UK and are complemented by a free digital education pack that integrates an entire professionally recorded production If you are interested in finding out with classroom activities and exercises from the Cheek by Jowl rehearsal room. more about our education offers, please contact our office: The packs include: [email protected] • Interviews with the cast and directors • Cheek by Jowl practitioner technique +44 (0)20 7382 2391 • Analysis of scenes, characters and design • History and notes on the first performances • Discussion of themes • Background on Cheek by Jowl • Contextual essays by leading academics • External links and further reading • Exercises and activities Visit cheekbyjowl.com/learning to sign up and receive the digital packs for free. Joy Richardson, Orlando James: The Winter’s Tale Rehearsal (2015) 30 © Johan Persson Support Cheek by Jowl’s work

Cheek by Jowl runs three fundraising Become a Patron Become a Production Patron schemes to support our productions and As a Patron of Cheek by Jowl we invite We also offer bespoke packages education work. you to join us on a journey for each for individuals or businesses to It is your generosity that helps us to continue production, following it from creation, become a patron of a production. our work, doing what we do best: taking through to its performance. For more information please contact creative risks, nurturing new talent, providing As a Patron you will get: Niamh at [email protected] educational resources of the highest quality or on +44 (0)20 7382 2353 and ensuring that, in whatever language, • All benefits of Friends we produce world-class theatre. • Named credit on our website and production programme • A complimentary programme signed Become a Friend by the cast As a Friend you will get: • An invitation to a series of events: • Priority booking for UK performances – Our Artistic Directors talking about • Access to pre-show talks their vision for the production • Regular updates and news via our – Attending a rehearsal newsletter – Drinks with the cast and team after • The opportunity to support and sustain a performance

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32 Danila Kazakov 33 The Knight of the Burning Pestle company 37 35 Cheek by Jowl has performed in…

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10 PERFORMANCESVAUDEVILLE ONLYmaly2019.com · 19 THEATRE - 29 JUNE

Maly_Cheeky by Jowl _163mmx326mm_v2.indd 1 16/05/2019 11:51

7–12 Oct Theatre of Nations Two unmissable shows by Moscow’s prestigious company Ivanov By Anton Chekhov Directed by Timofey Kulyabin Shukshin’s Stories By Vasily Shukshin Directed by Alvis Hermanis

Theatre of Nations would like to acknowledge

the generous support of Roman Abramovich Images © Sergey Pertov

Cheek by Jowl 163x163 programme ads.indd 4-5 05/04/2019 11:31 Cheek byJowl163x163 programme ads.indd 6 Image © Jan Versweyveld Comédie-Française to investigate afamily’s deepeningtieswithacorrupted society adapts (Les Damnés) The Damned 19–25 Jun

Luchino Visconti’sscreenplay

★★★★ ★★★★ ★★★★★ Guardian New York Stage Review

05/04/2019 11:32 Cheek byJowl163x163 programme ads.indd 2 Russ Carr Stephen Bediako, Members Board ChairmanDeputy Tom Sleigh Gerard Grech Graves Emma Kane Chairman Barbican Board Centre Centre Barbican Simon Bourne Senior Production Manager Toni Racklin Dance and Theatre of Head Theatre Department Daly Jo Kenyon Nicholas Sir to Assistant Executive Jonathon Poyner ofDirector and Operations Buildings Sean Gregory Director of Learning and Engagement Jeffreys Louise Director Artistic Dwesar Sandeep Chief Operating and Financial Officer Sir Kenyon Nicholas Director Managing Directors 294282 no. charity Registered Dr Giles Shilson John Porter Alasdair Nisbet John Murray Professor Dame Moore Henrietta Kendall Langford Sir Kenyon Nicholas Sir Roger Gifford Dr Geraldine Brodie Bernstein Richard Trustees Chairman Barbican Trust Centre Leanne Murphy Board the to Clerk John Tomlinson Trevor Phillips Graham Packham Mead Wendy , Dr Emma Kane , Simon Duckworth

Giles Shilson , Vivienne Littlechild Vivienne , , , Lucy Musgrave Wendy Hyde Judith Pleasance, Judith Pleasance, , Jenny Waldman ,

, , David David , ,

Steve Daly Steve Technical Tony Managers Brand Jamie Maisey Production Managers Jill Shelley Producers Lucinda Hamlin Stage Managers Lorna Earl, Morgan, Martin Lani Strange (Theatre) Assistant Marketing Niharika Jain (Theatre) Manager Marketing Saull Matt Senior Marketing Manager Ben Jefferies Marketing of Head Deputy Phil Newby Marketing of Head Marketing Department Lauren Brown Producer Assistant Jenny Mollica &Drama Music of School Guildhall Head of Creative Learning, Barbican / Learning Creative aLbi Gravener Julian Fox Door Stage Robert Arnall, Paige Holmes Theatre Production Apprentices Adam Parrott Systems and Maintenance Technicians Charlie Mann Sills Lawrence Christian LyonsChristian Johnson Burcham Tom Salmon Nik Kennedy Coates Martin Technical Supervisors Kevin Atkins Technicians Caroline Hall Production Administrator Hannah Lord Theatre Administration Trainee Alex Jamieson Astley Cathy Producers Assistant David Green Theatre of PA Head to Chris Wilby Leanne Cosby Kendell Foster, , , Angie Smith Jane Dickerson , , John Seston , Jamie Massey , , Lee Tasker , John Gilroy Neil Sowerby , , Bernie Whittle

Josh Massey Stevie Porter Charlotte Oliver Oliver Charlotte , , , ,

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, Stephen Brown Programme designer Gosden Emma Programme editor Lynette Brooks Head of Development Development Rebecca Oliver andAccess Licensing Manager Towell James Magwood, Rob Crew Management Dave Magwood Nicola Lake Helen Jorgensen, Helen Knights Assistant Venue Managers Robbie Powell Hunt Gary Venue Managers Fiona Badgery Freda Pouflis Audience Event & Planning Manager Pheona Kidd Centre Manager (Planning) Robert Norris Anneka Blake, James Carruthers, Centre Managers (Delivery) Andy Williamson Jane Thomas Oliver Robinson Allen Lucy Managers Sales Ticket Mark Fleming Managers Audience Experience Duncan David &Sales Operations Head of Audience Experience, Audience Experience Ruth Comerford Communications Intern Freddie Todd Fordham Communications Officer Bridget Thornborrow Consultant PR Angela Dias Senior Communications Manager Lorna Gemmell ofHead Communications Department Communications , Nyah Farier , Richard Long Richard , , , Will Warnock , Mo Reideman Sheree Miller Elizabeth Wilks Elizabeth , Ben Skinner , , , , , , ,

05/04/2019 11:31

The Company For Cheek by Jowl

Back row: Alexander Sivaev, Alexei Rakhmanov, Igor Teplov, Nazar Safonov, Danila Kazakov, Andrei Kuzichev Artistic Directors Declan Donnellan, Nick Ormerod

Middle row: Olga Spiridonova, Liubov Fedkovich, Lilia Kazakova, Sergei Miller, Kirill Sbitnev, Anna Karmakova, Executive Director Niamh O’Flaherty Anna Vardevanian, Anna Kolesnikova, Kirill Chernyshenko General Manager & Teya Lanzon

Front row: Alexander Feklistov, Declan Donnellan, Agrippina Steklova, Nick Ormerod PA to the Artistic Directors Administrator Marie Couvert-Castera Bookkeeper Katherine de Halpert Consultant Producer Anna Kolesnikova Intern Naomi Obeng Press & PR Kate Morley PR Marketing Consultant Robbie Kings Programme Editor Dominic Kennedy Graphic Design Eureka! Design Consultants Ltd Website Bullet Creative

Board of Directors Patrons Cheek by Jowl Richard Philipps (Chair) Olga Basirov Stage Door, Beth Byrne Esmé Cook Silk Street Hugh Nineham Tom Hayhoe London EC2Y 8DS Clare O’Brien Nicola Kerr Sameer Pabari Judith Patrickson Scottish Charity No: SC013544 Registered in Scotland: SC078954 Judith Patrickson Richard and Elizabeth Philipps Philip Stoltzfus Lade Smith Philip Stoltzfus

Cheek by Jowl gratefully acknowledges support from Arts Council England. Cheek by Jowl is proud to be an 44 Artistic Associate at the Barbican.