Wednesday, November 9, 2016 at 7:00 pm Thursday–Friday, November 10–11, 2016 at 7:00 and 9:00 pm Saturday, November 12, 2016 at 3:00, 7:00, and 9:00 pm

All That Fall By

Pan Pan Theatre Gavin Quinn , Director Aedín Cosgrove , Set and Lighting Designer Jimmy Eadie , Sound Designer

VOICES Áine Ní Mhuirí , Mrs. Rooney Phelim Drew , Christy Daniel Reardon , Mr. Tyler David Pearse , Mr. Slocum Robbie O’Connor , Tommy John Kavanagh , Mr. Barrell Judith Roddy , Miss Fitt Nell Klemen čič, Dolly Andrew Bennett , Mr. Rooney Joey O’Sullivan , Jerry

This performance is approximately 70 minutes long and will be performed without intermission.

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

The Duke on 42nd Street Please make certain all your electronic devices aNEW42ND STREET ® proje ct are switched off.

WhiteLightFestival.org MetLife is the National Sponsor of Lincoln Center. UPCOMING WHITE LIGHT FESTIVAL EVENTS:

Artist Catering provided by Zabar’s and Zabars.com Thursday–Saturday, November 10–12 at 8:00 pm at Baryshnikov Arts Center, Jerome Robbins Theater American Airlines is the Official Airline of Lincoln (T)here to (T)here (World premiere) Center Liz Gerring Dance Liz Gerring , choreographer Nespresso is the Official Coffee of Lincoln Center In collaboration with Kay Rosen Dancers: Brandon Collwes, Joseph Giordano, Pierre NewYork-Presbyterian is the Official Hospital of Guilbault, Julia Jurgilewicz, Claire Westby Lincoln Center Post-performance discussion with Liz Gerring on November 11 Co-presented by Lincoln Center’s White Light “” by Samuel Beckett is presented Festival and Baryshnikov Arts Center through special arrangement with Georges Borchardt, Inc. on behalf of The Estate of Samuel Saturday, November 12 at 7:30 pm in Alice Tully Hall Beckett. All rights reserved. Venetian Coronation Gabrieli (formerly Gabrieli Consort & Players) Paul McCreesh , conductor Works by ANDREA and GIOVANNI GABRIELI Pre-concert lecture by Raymond Erickson at 6:15 pm in the Stanley H. Kaplan Penthouse: “Prisoners in Their Own Palace: The Doges of Venice”

Monday–Wednesday, November 14–16 at 7:30 pm in the Gerald W. Lynch Theater at John Jay College The Return of Ulysses Handspring Puppet Company William Kentridge , director Ricercar Consort Philippe Pierlot , musical director MONTEVERDI: Il ritorno d’Ulisse in patria Post-performance artist discussion on November 15

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We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members. In consideration of the performing artists and members of the audience, those who must leave before the end of the performance are asked to do so between pieces. The taking of photographs and the use of recording equipment are not allowed in the building. Note on the Program With only a few technological upgrades, this century-old technology has survived By Nicolas Johnson and maintained its own market, its own loyal adherents, and its own reasons to be. The medium of radio exists on a strange Why is this? border, and Samuel Beckett continuously exploits its paradoxes in the composition of What is durable about radio as a broadcast his radio plays. A voice comes to one in the medium might be the same fundamental dark, and the voice is both intimate and principle that makes Beckett’s theater dif - ubiquitous at once, the disembodied pres - ferent: the expressive power of absence. ence of a stranger in one’s own room. The On the radio, it is precisely the invisibility history of radio has both solitary and com - of the bodies, the uncertain origins of the munal modes of listening: Although early sounds, and the resulting instability of the units required headphones, it was not long stage world that work together to activate before the wireless was a focal point for the imagination of the audience. The opti - family life and recreation in the years mal way to experience , as before television. Though its pervasiveness many listeners of the BBC Third didn’t kill audio-only media, television has Programme did habitually when these made radio seem somehow old-fashioned. were first broadcast, was to sit in darkness Digital culture in the current century has for the entire piece, turning one’s room brought clearer sounds and more control, into a private theater. Radio heard like this for both senders and receivers—the com - puts all the senses to work, because the pact disc, the laptop, and the podcast give only stage is the mind. Such active listen - the user absolute control over selecting, ing is less and less common now, how - starting, and stopping the content. The con - ever, and the pace of life seems to agitate ceptual innovation in Pan Pan’s stage pro - against it. These radio plays have already duction of All That Fall , Beckett’s first had radical adaptations each time some - for radio (written at the BBC’s suggestion in one has listened to them inattentively, has 1956 and directed by Donald McWhinnie), walked into a different room of the house is thus really a throwback to its first broad - and thereby cut them, has been distracted cast on 13 January 1957: the fact that one by a phone call, or has driven in traffic must appear at a particular time and place while listening to them. Against this drift, in order to experience it. Today’s audiences Pan Pan has carefully shaped a listening at All That Fall , like that of the original chamber that powerfully directs one’s broadcast, are no longer wholly in control, focus to the texts, Beckett’s thought, and and are listening together. the performances of the actors. Director Gavin Quinn and designer Aedín Cosgrove It may be seen as surprising that radio have shaped the visual, tactile, and even broadcasting continues to flourish in the olfactory experience of the listeners in a 21st century at all. Certainly, the reasons way that draws attention without disturb - are partly economic: Radio remains the ing the disembodiment that is so funda - cheapest and most democratic form of mental to the pieces. mass media, with low operating costs rel - ative to the number of people one antenna Pan Pan’s faithfulness here to the sense can reach. But the fact that television has of “occasion” of early broadcast media— not fully supplanted radio suggests that a feature of Beckett’s own experience lis - what audio-only broadcasting offers is sub - tening to the radio during the war, as well stantively different than video, and appar - as the experience of his first listeners— ently is even irreplaceable by internet. complicates the inevitable questions of

WhiteLightFestival.org authorial fidelity. Beckett’s opposition to company’s 1991 founding—is nothing if staging his radio plays is well known, and not representative of the porous bound - in the 55 years since the original broadcast, aries between visual art, sound art, theater there have been a number of controversies design, installation, live art, and perfor - over performances of All That Fall in Great mance. In this sense, Pan Pan’s experi - Britain and worldwide. Writing to his ments with Beckett point toward a new American publisher Barney Rosset on 27 horizon of the many possible future August 1957, Beckett was adamant that Becketts, a living legacy that is open to the All That Fall is written “for voices not bod - imagination of alternatives while still being ies,” and noted that his work for radio conscious of what is integral to his radical depends on “the whole thing’s coming creations. Pan Pan is more alert than many out of the dark.” The same letter contains other companies to the increasingly obvi - a widely quoted dictum taken by some to ous fact that the choice between pure be his last word on adaptations: “If we experimentation and keeping “faith” with can’t keep our genres more or less dis - authorial intention is, like all binaries, a tinct, or extricate them from the confusion Faustian bargain. It is not either/or, but that has them where they are, we may as both/and: Pan Pan’s productions are still well go home and lie down.” Nonethe - partly “coming out of the dark,” and we less, there have been numerous stage are also asked to “listen to the light.” presentations of All That Fall since its composition. There is also good evidence Nicholas Johnson is a director, performer, that Beckett could not extricate his own and teacher who works internationally with works from the confusion of genre as the practice-based research on Samuel century wore on, and that for all his hyper- Beckett. He is director of Painted Filly awareness of form, Beckett’s thought Theatre and a co-founder of the Samuel oscillated across many different media in Beckett Summer School, both in . his own drafting process. He is an assistant professor of drama at Trinity College Dublin. Pan Pan’s work—some of the most innov - ative and original in Ireland since the —Copyright © by Nicholas Johnson Meet the Artists and most recently, Samuel Beckett’s at Samuel Beckett Theatre. Pan Pan Theatre Pan Pan Theatre is a contemporary theater Mr. Quinn has also been prolific in directing company in Ireland, founded in 1991 by co- opera, with award-winning credits that artistic directors Aedín Cosgrove and Gavin include The 4 Note Opera by Tom Quinn. Throughout their career they have Johnson, The Magic , Hamelin by Ian created 28 theater and performance Wilson, Die Entführung aus dem Serail , pieces, toured their work worldwide, and Così fan tutte , and Carmen . received multiple national and international awards, including the Herald Angel Award Áine Ní Mhuirí at Edinburgh International Festival 2013. Áine Ní Mhuirí (Mrs. Rooney) began her career at Abbey Theatre in Dublin, where Since its inception, Pan Pan has constantly she appeared in The Loves of Cass examined and challenged the nature of its Maguire , The Plough and the Stars (with work and has resisted settling into well- which she toured the U.S.), and The Field . tried formulas. Developing new perfor - Her most recent credits include the role of mance ideas is at the center of the com - Hermia in Abbey Theatre’s production of A pany’s raison d’être, which is born from a Midsummer Night’s Dream , directed by desire to be individual and provide innova - Gavin Quinn, Ada in , also directed tion in the development of theater art. All by Quinn, Maggie in Quirke: Christine the works created are original, either Falls , and Mrs. Byrne opposite Saoirse through the writing (original plays) or Ronan in the film Brooklyn . Other recent through an idiosyncratic response to estab - credits include the role of May alongside lished writings. Pan Pan is committed to Dawn Bradfield in Charlie McCarthy’s A presenting performances nationally and Swing for Jelly , directed by Aidan internationally and developing links for co- Mathews, Ma in the RTÉ radio drama productions and collaborations. The com - Serenity , directed by Kevin Brew, and pany has toured in Ireland, the U.K., Miranda in Oscar Night written by Alan Europe, the U.S., Canada, Korea, Australia, McMonagle and produced by Goretti New Zealand, and China. Pan Pan Theatre Slavin, all with RTÉ Radio Drama on One. is supported by the Arts Council of Ireland, Culture Ireland, and Dublin City Council. Phelim Drew Phelim Drew (Christy) was born in Dublin Gavin Quinn and studied at Gaiety School. His numer - Gavin Quinn is co-founder and co-artistic ous stage appearances in Dublin include director of Pan Pan Theatre. Highlights of The Rivals , The Shaughran , The Seafarer , his directorial career include A Bronze Twist Bookworms , and Drum Belly at Abbey of Your Serpent Muscles , which was Theatre; Pride and Prejudice at Gate named Best Overall Production at the first Theatre; The Plough and the Stars at Dublin Fringe Festival in 1995; Mac-Beth 7, Gaiety Theatre; and recent national tours which was nominated for the 2004 Irish of Port Authority for Decadent Theatre and Times Theatre Award for Best Production; Abbey Theatre’s production of King Lear , The Rehearsal, Playing the Dane , which directed by Selina Cartmell. He has worked won the 2010 Irish Times Theatre Award for with many of Ireland’s leading directors, Best Production and Best Set Design; All including Garry Hynes, Alan Stanford, and That Fall by Samuel Beckett, which won the Lynne Parker. Since making his film debut 2011 Irish Times Theatre Awards for Best in Jim Sheridan’s award-winning My Left Sound Design and Best Lighting Design; Foot (1989), his films have included Alan

WhiteLightFestival.org Parker’s The Commitments and Angela’s Mr. Pearse’s film credits include Pursuit , Ashes , Disney’s King Arthur , and Rupert Zonad , 50 Dead Men Walking , Laws of Wyatt’s The Escapist . His television credits Attraction , Bloody Sunday, and Six Shooter include Sharpe and Rough Diamond for the (Oscar winner for Best Live Action Short in BBC; The Clinic for RTÉ; and Val Falvey and 2006). His television credits include Vikings , TD for Grand Pictures. Rebel Heart , Little White Lie , Bachelor’s Walk , Trivia , and more. Mr. Pearse studied Daniel Reardon drama at Trinity College Dublin. Daniel Reardon’s (Mr. Tyler) previous work with Pan Pan includes The Rehearsal, Robbie O’Connor Playing the Dane, A Doll House, and The Robbie O’Connor (Tommy) received his Seagull and Other Birds . His work with bachelor’s degree in acting from the Lir Abbey Theatre includes Sive and A Academy, Trinity College Dublin. His the - Midsummer Night’s Dream . His other the - ater credits include PALS: The Irish at ater credits include The Mask of Moriarty Gallipoli , Boys of Foley Street , Laundry (The Gate), One Flew Over the Cuckoo’s (Best Production, 2011 Irish Times Theatre Nest , Philadelphia Here I Come , and many Awards), World’s End Lane , and Down The more. He worked in the RTÉ Radio Drama Valley . His other theater credits include Department as a member of the RTÉ Rebel Rebel (national and international tour Players as well as producer/director and 2016), Hamlet (Second Age), End of the author of many radio plays including the Road (Fishamble), Come Forward to Meet daily serial Riverrun . His stage plays include You (Upstate Theatre), and Tumble - Spenser’s Laye (Project Arts Centre, Cork downtown (Dublin Fringe Festival 2005, Opera House, and Edinburgh Festival), The Spirit of the Fringe Award). Mr. O’Connor’s OK Thing To Do (Abbey/Peacock), All film, TV, and radio credits include Around My Head , Fun With Bamboo TinderFace , (The Lir) All Is By My Side (Bewley’s Café Theatre), and Bleeding (Watchtower Productions), Civic Life/ Poets (New Theatre), which was nomi - Leisure Centre (Desperate Optimists), nated for the Irish Times Theatre Award for Homecoming (RTÉ Radio), Hidden (BBC), Best New Play. His poetry has been pub - and Fair City (RTÉ). lished in magazines and periodicals in Ireland, the U.K., and the U.S. Mr. Rear - John Kavanagh don’s book, In the Lion House , was pub - John Kavanagh (Mr. Barrell) currently plays lished by Gallery Press. the roles of the Ancient Seer and Pope Leo X in the History Channel’s Vikings . Other David Pearse recent screen credits include the role of David Pearse (Mr. Slocum) played Egeus Arturo Toscanini in Florence Foster and Peter Quince in the Abbey Theatre pro - Jenkins , directed by Stephen Frears, duction of A Midsummer Night’s Dream , Grandad in Ciarán Dooley’s short film The directed by Gavin Quinn. His previous work Great Wide Open , Derry Quinn in John with Abbey Theatre includes She Stoops to Butler’s The Stag , and the role of Inspector Conquer , Monsters Dinosaurs Ghosts , The Michaud in Charlie Stratton’s In Secret . Hunt for Red Willie , and more. His other Further screen credits include The Invisible theater work includes Woyzeck , How Woman , directed by Ralph Fiennes, These Desperate Men Talk (Corcadorca), Braveheart , directed by Mel Gibson, and The Life of Galileo (Rough Magic Theatre more. Mr. Kavanagh’s recent theater cred - Company), Mud , Carshow and The Seagull its include the role of Lysander in A (The Corn Exchange), and The Cripple of Midsummer Night’s Dream at Abbey Inishmaan (Outer Critics Circle Award win - Theatre, directed by Gavin Quinn, Father in ner for Outstanding Featured Actor 2009). Aristocrats , directed by Patrick Mason at Abbey Theatre, the Duke of Albany in King Theater Bonn . Mr. Bennett’s film and tele - Lear , directed by Selina Cartmell, also at vision credits include Angela’s Ashes, Abbey, and Drumm in Hugh Leonard’s Da Paths to Freedom, Pure Mule, Prosperity, at Gate Theatre. Foyle’s War, Noble , and The Stag.

Judith Roddy Joey O’Sullivan Judith Roddy (Miss Fitt) trained at the Joey O’Sullivan’s (Jerry) first feature film Samuel Beckett Centre at Trinity College was Stella Days with Martin Sheen and Dublin, and at British American Drama Stephen Rea. He has played principal roles Academy, Oxford. Her previous work with in the short films Cops and Robbers and Pan Pan includes Everyone Is King Lear in Coming Home , which was directed by Lisa His Own Home , A Doll House , and The Mulcahy. He also played Jerry in All That Rehearsal, Playing the Dane . Recent the - Fall at Project Arts Centre in Dublin. ater work includes A Particle of Dread (Derry Playhouse, New York’s Signature Aedín Cosgrove Theatre), Pentecost (Lyric Theatre), The In addition to her work with Pan Pan Silver Tassie (National Theatre), Big Love Theatre, Aedín Cosgrove (set and lighting and The Dandy Dolls Trilogy at the Dublin’s designer) has worked with Corcadorca Peacock Theatre; and Blackbird at the designing all aspects of the original produc - Galway Arts Centre. Ms. Roddy’s appear - tions of Disco Pigs and Misterman by Enda ances at Abbey Theatre include Hedvig Walsh. More recently she has worked with Helmar in The Wild Duck , for which she Corcadorca on The Big Yum Yum by Pat won the Irish Times Theatre Award for McCabe. She has also designed for the Best Supporting Actress, The Wolf of Abbey Theatre productions of A Mid - Winter , A Doll’s House , and Drama at Inish . summer Night’s Dream (2015), Perve by Her film and television credits include Love Stacey Gregg (2012), Sucking Dublin by is the Drug (RTÉ), Over the Wall , The Fall Enda Walsh (1997), and The Mai by Marina (BBC), and Out of Innocence (Telegael/ Carr (1994). Ms. Cosgrove’s other produc - Defiant Productions). tions for theater, dance, and opera include Man of Valour (Corn Exchange, 2011, Best Andrew Bennett Overall Design Absolut Fringe 2011 and Andrew Bennett’s (Mr. Rooney) previous Best Lighting Design, Irish Times Theatre work with Pan Pan includes The Seagull Awards 2012), No Worst There Is None and Other Birds, Embers, Everyone Is King (The Stomach Box, 2010, Best Production Lear in His Own Home, All That Fall, Mac- Irish Times Theatre Awards), Five Ways to Beth 7, Oedipus Loves You , and The Drown, Falling Song (Junk Ensemble, Rehearsal, Playing the Dane. More recently 2010, 2012), Don Pasquale, Carmen (Opera he played Nick Bottom in the Abbey Theatre Company, 2012, 2013), and The Theatre production of A Midsummer Rise and Fall of the City of Mahagonny Night’s Dream , directed by Gavin Quinn. (Rough Magic Theatre Company, 2014). His other Abbey appearances include The Ms. Cosgrove also works as designer with Passing , Fool for Love, A Month in the Crash Ensemble. Country, Homeland, The Importance of Being Earnest, and The Playboy of the Jimmy Eadie Western World (Ireland and U.S. tours). He Jimmy Eadie (sound designer) is an audio played Le Fou in Le Roi Lear for Théâtre engineer and producer whose work covers National Populaire in Lyon and , and recording, sound design, and installation. most recently played Mustapha Mond in a His sound design work for Pan Pan Theatre German version of Brave New World at includes Embers (Herald Angel Award,

WhiteLightFestival.org BAM New York and Edinburgh multidisciplinary festival offers a broad International Festival 2013), All That Fall spectrum of the world’s leading instrumen - (2011 Irish Times Theatre Award for Best talists, vocalists, ensembles, choreogra - Sound Design), , Everyone Is King phers, dance companies, and directors Lear in His Own Home , The Crumb Trail , complemented by conversations with Oedipus Loves You , The Idiots , and more. artists and scholars and post-performance He has also worked with Abbey Theatre, White Light Lounges. Dead Centre Theatre, Cois Ceim, Rough Magic, RTÉ, Project Arts Centre, and Lincoln Center for the Performing National Concert Hall. Mr. Eadie’s sound Arts, Inc. installation work Wow & Flutter (2014) Lincoln Center for the Performing Arts was presented at Dublin’s National (LCPA) serves three primary roles: presen - Concert Hall, Irish Museum of Modern Art, ter of artistic programming, national leader Dock Gallery, and Sligo. In 2015 he pre - in arts and education and community rela - sented a site-specific work, Collision , at tions, and manager of the Lincoln Center HearSay International Audio Arts Festival. campus. A presenter of more than 3,000 He is a founding member of Crash free and ticketed events, performances, Ensemble and worked as its audio engi - tours, and educational activities annually, neer and technical manager from 1997 to LCPA offers 15 programs, series, and festi - 2015. In 2015 he was made the ensem - vals including American Songbook, Great ble’s first creative partner. Performers, Lincoln Center Festival, Lincoln Center Out of Doors, Midsummer White Light Festival Night Swing, the Mostly Mozart Festival, I could compare my music to white light, and the White Light Festival, as well as the which contains all colors. Only a prism can Emmy Award–winning Live From Lincoln divide the colors and make them appear; Center , which airs nationally on PBS. As this prism could be the spirit of the listener. manager of the Lincoln Center campus, —Arvo Pärt. Now in its seventh year, the LCPA provides support and services for the White Light Festival is Lincoln Center’s Lincoln Center complex and the 11 resident annual exploration of music and art’s organizations. In addition, LCPA led a $1.2 power to reveal the many dimensions of billion campus renovation, completed in our interior lives. International in scope, the October 2012. Lincoln Center Programming Department Jane Moss, Ehrenkranz Artistic Director Hanako Yamaguchi, Director, Music Programming Jon Nakagawa, Director, Contemporary Programming Jill Sternheimer, Director, Public Programming Lisa Takemoto, Production Manager Charles Cermele, Producer, Contemporary Programming Mauricio Lomelin, Producer, Contemporary Programming Andrew C. Elsesser, Associate Director, Programming Regina Grande Rivera, Associate Producer Nana Asase, Assistant to the Artistic Director Luna Shyr, Senior Editor Olivia Fortunato, House Seat Coordinator Gabe Mizrachi, Program Content Coordinator

For the White Light Festival Neil Creedon, Production Manager Andrew Hill, Production Electrician Janet Rucker, Company Manager

For All That Fall Thomas Conway, Dramaturg Grace O’Hara, Design Assistant Rob Usher, Production Manager Vincent Doherty, Sound Engineer Simon Burke, Chief Electrician Aoife White, Producer

WhiteLightFestival.org

WhiteLightFestival.org