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May 2000 Brooklyn Academy of Music 2000 Spring Season BAMcinematek Brooklyn Philharmonic 651 ARTS Saint Clair Cemin, L'lntuition de L'lnstant, 1995 BAM 2000 Spring Season is sponsored by PHiliP MORR I S ~lAGfBlll COMPANIES INC. ~81\L1 ,nri ng ~A~~On Brooklyn Academy of Music Bruce C. Ratner Chairman of the Board Karen Brooks Hopkins Joseph V. Melillo President Executive Producer presents The Royal Shakespeare Company Don Carlos Running time: by Friedrich Schiller approximately Translated by Robert David MacDonald 3 hours 15 minutes, BAM Harvey Lichtenstein Theater including one May 16-20, 2000, at 7:30pm intermission Director Gale Edwards Set design Peter J. Davison Costume design Sue Willmington Lighting design Mark McCullough Music Gary Yershon Fights Malcolm Ranson Sound Charles Horne Music direction Tony Stenson Assistant director Helen Raynor Company voice work Andrew Wade and Lyn Darnley Production manager Patrick Frazer Costume supervisor Jenny Alden Company stage manager Eric Lumsden Deputy stage manager Pip Horobin/Gabrielle Saunders Assistant stage manager Thea Jones American stage manager R. Michael Blanco The play Setting: Spain, the spring of 1568. Act One takes place at the Queen's court in Aranjuez; the remainder of the play is set in the Royal Palace , Madrid. Presented by arrangement with the Royal Shakespeare Theatre, Stratford-upon-Avon, England. RIC Leadership support is provided by The Peter Jay Sharp Foundation. ROYAL SHAKESPEARE BAM Theater is sponsored by Time Warner Inc. and Fleet Bank. COMPANY Additional support provided by The Shubert Foundation, Inc. Official Airline: British Airways. RSC major support provided by Pfizer Inc. This production was first produced with the assistance of a subsidy from the Arts Council of England. 17 Cast, in order of Domingo, the King's confessor Geoffrey Whitehead appearance Don Carlos, the Crown Prince Rupert Penry-Jones Marquis of Posa , a Knight of Malta Ray Fearon Elizabeth of Valois, the Queen Josette Simon Princess Eboli Claire Price Marchioness of Mondecar, lady-in-waiting Michele Moran Duchess of Olivarez, chief lady-in-waiting to the Queen Jo Martin Page Joseph England King Ph ilip II of Spa in John Woodvine Duke of Alba Ewen Cummins Count Lerma, commander of the King's Guard David Collings Taxis, officer of the King's Guard Joseph England The Grand Inqu isitor John Rogan Other parts played by members of the company. Musicians Guitar Ben Grove Cello Janet Crouch Timpani/pe rcussion Tony McVey Keyboard Tony Stenson Production Scenery, painting, properties, costumes, wigs, and makeup by RST Acknowledgements Workshops, Stratford-upon-Avon. Steelwork manufactured by Bristol Designs of Stratford-upon-Avon. Metalwork by John We ll s of Binton Hill Forge . Additional costumes by Dennis Bruno and Michael Kennedy. Pens supplied by the Parker Pen Co. Production photographer Jonathan Dockar-Drysdale. For the tour: Scenic construction by Souvenir. Freight by Anglo Pacific International Ltd. First performance of this production : The Other Place, Stratford-upon­ Avon , June 9, 1999. Robert David MacDonald's translation of Don Carlos is published by Oberon Books. The actors in Don Carlos are appearing with the permission of Actors' Equity Association. The American stage manager is a member of Actors' Equity Association. 18 Welcome to tonight's performance by the Royal Shakespeare Company. Two years ago the RSC played its first-ever repertoire season outside the U.K. here at BAM, giving American audiences the opportunity to see several productions from our current repertory, direct from Stratford and London and with their original casts. We are delighted to be back here at what we hope will become another of our regular venues around the world. Once again, all the productions you are seeing in this season are presented exactly as they played in the Royal Shakespeare Theatre and The Other Place in Stratford-upon-Avon, and with their original casts. The three productions we have brought to BAM this year represent a cross-section of one of our most successful Stratford seasons ever. Michael Boyd's witty, rude, and passionate A Midsummer Night's Dream has been compared to Peter Brook's legendary 1970 production, while Schiller's rarely performed Don Carlos emerges, in Gale Edwards' fast-paced production, as a gripping political thriller. And it's particularly apt that our third play is by IS. Eliot, an Anglo-American whose work blended the cultures of his adopted Britain and native New England just as it fused poetry and drama. The Family Reunion is an uncannily modern work , as startling now as it was for its first appearance in 1939, and a directorial challenge which I very much enjoyed . This year's ensemble encompasses a great breadth of acting experience-newcomers like Rupert Penry-Jones and Zoe Waites alongside long-term members like John Woodvine, Josette Simon, and Ray Fearon, who have played several seasons with the company. This blending of youth and experience is what has always given the RSC its particular character and is the heart of a true ensemble, that creative and supportive environment out of which comes our best work. I hope you enjoy tonight's performance, and that we'll have the pleasure of your company again, whether it's in the U.S. or in our own theaters in Stratford or London. Adrian Noble Artistic Director 19 Don Carlos, heir to King Philip II of Spain, must conceal his passion for his stepmother, Elizabeth of Valois, who was originally intended to be his bride but was instead married to his father. When his childhood friend Rodrigo, Marquis of Posa , arrives back at court, Carlos confesses his anguish and Posa arranges a brief meeting for him with the Queen. She, however, makes clear the impos­ sibility of the situation and appeals to his sense of honor and patriotism. The King is alarmed at the brewing discontent in the Spanish Netherlands and plans to send forces to put down the rebellion . He is also concerned at the unstable behavior of his son, who, spies tell him, is ambitious and perhaps a threat. Inspired by the Queen, Carlos determines to espouse the cause of the Spanish Netherlands, in which Posa is already active. Attempting a reconciliation with his father, he begs to be put in charge of the Netherlands expedition but Philip refuses and instead appoints the ruthless Duke of Alba. Nevertheless, Philip is encouraged by his son's improved behavior. Carlos receives a summons which he believes to be from the Queen but, arriving at the rendezvous, discovers that it was actually from Princess Eboli , who confesses her love for him. She also admits that she has been propositioned by the King and gives him a letter. Touched by her plight, Carlos expresses affection but she misunderstands his sympathy and realizes only too late that what she had taken for Carlos' attentions to herself were actually directed at the Queen . Rejected , she takes revenge by denouncing Carlos and the Queen to the Duke of Alba and Domingo, the King's confessor. Already suspicious of Carlos, they plot with Eboli to arouse the King's suspicions. Posa warns Carlos of the danger from Princess Eboli , but he refuses to acknowledge the threat. Philip has learned of the Queen's supposed betrayal through letters and a locket stolen from her chamber: Alba and Domingo play on his fears. In his isolation, Philip casts about for someone he can trust and remembers the Marquis of Posa , whom he knows by reputation. Summoned to the King, Posa dares to speak out passionately of honor, democracy, and freedom . Impressed with his courage and idealism, Philip makes him his confidant and asks him to discover the truth about the rumors abroad in the court. Posa plans for Carlos to escape to the Netherlands and, from his position in the King's favor, embarks on a daring plan to protect Carlos by deflecting suspicion onto himself. However, Carlos joins in the general distrust of Posa's new position of power. Treacherous letters are discovered as intrigue follows intrigue. Having obtained a signed arrest warrant from the King, Posa has Carlos arrested and, as the net closes around them, visits him in prison to explain his subterfuge and effect Carlos' escape. As he does so, he is shot by the king's guard. With riots threatening Madrid, Carlos plans to bid farewell to the queen before making his escape to the Netherlands. Philip, torn between kingship and his feelings for his son, summons the Grand Inquisitor, who reminds him of his duty. The King makes his decision. 20 bI i~tory of tho The Royal Shakespeare Company, then and now ... The first permanent theater dedicated to the performance of Shakespeare's plays in Stratford, a Victorian gothic building seating 800 people, opened in 1879 with a week-long summer festival which soon grew into regular spring and summer seasons. In 1925 almost 50 years of excellence were recognized by the granting of a Royal Charter. A year later the old theater was almost completely destroyed by fire but, after a worldwide fund-raising campaign, the present building, designed by Elisabeth Scott, was opened by the then Prince of Wales in 1932. During the next 30 years, under a succession of visionary and creative artistic directors, the Shakespeare Memorial Theatre company went from strength to strength, attracting such stars as Donald Wolfit, John Gielgud, Peggy Ashcroft, Anthony Quayle, Vivien Leigh, and Laurence Olivier. Tours of Europe, Russia, and the United States, as well as guest appearances by overseas stars, including Paul Robeson and Charles Laughton, helped to establish the company on the international stage. In 1960, under the directorship of Peter Hall, the company took its most exciting leap forward.
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