Saturday, April 27, 2019, 8pm Sunday, April 28, 2019, 3pm Zellerbach Hall théâtre national de bretagne Julius Caesar by william Shakespeare Directed by Arthur nauzyciel
CASt Portia/Calpurnia Sara Kathryn Bakker Soothsayer Luca Carboni Lucius Jared Craig Casca/Lepidus Roy Faudree Cinna/Lucilius/Clitus/Marullus/Trebonius Ismail Ibn Conner Octavius/Carpenter/Popilius/Octavius’ Servant Isaac Josephthal Julius Caesar Dylan Kussman Cassius Mark Montgomery Runner/Metellus Rudy Mungaray Mark Antony Daniel Pettrow Runner/Cato/Young Cato/Dardanius Timothy Sekk Decius Brutus Neil Patrick Stewart Brutus James Waterson
Jazz trio Dmitry Ishenko, double bass Leandro Pelligrino, guitar Marianne Solivan, vocals
With the support of the Cultural Services of the French Embassy in the United States.
is performance and will last approximately three hours and 20 minutes and will include an intermission between Acts 2 and 3.
Cal Performances’ 2018 –19 season is sponsored by Wells Fargo.
Opposite: Julius Caesar . Photo by Frédéric Nauczyciel. 17
Director Arthur Nauzyciel Set Designer Riccardo Hernandez Lighting Designer Scott Zielinski Costume Designer James Schuette Sound Designer David Remedios Choreographer Damien Jalet Assistant Bertille Kapela General Manager Sylvain Saysana Lighting Technician Christophe Delarue Sound Technician Florent Dalmas Props/Wardrobe Myriam Rault Stage Technician Antoine Giraud-Roger
Premiere: American Repertory eater, Loeb Drama Center (Cambridge, Boston), February 13 – March 16, 2008
éâtre National de Bretagne, executive producer A co-production of Centre Dramatique National Orléans/Loiret/Centre in partnership with the American Repertory eater (major production sponsors Philip and Hilary Burling), Festival d’Automne à Paris, Maison des Arts de Créteil, and TGP-CDN de Saint-Denis. With the support of Etant Donnés/e French-American Fund for the Performing Arts, a program of FACE.
ProgrAM noteS
Director’s note short 20th century ended in problems for which Written in 1599 for the opening of the Globe nobody had, or even claimed to have, solutions. eatre and just before Hamlet , Julius Caesar is As the citizens of the fin de siècle tapped their the first in a series of great tragedies. It contains way through the global fog that surrounded in itself all the subsequent plays of Shakespeare. them, into the third millennium, all they knew It is a political play, in which language and for certain was that an era of history had ended. rhetoric play a prominent part; the power of ey knew very little else.” discourse can change the course of history; and We have yet to come to terms with the dark the flow of words both reveals and hides their side of this century. Whenever I confront my - extraordinary presence. self with a classical text, I have the feeling I And if the world pictured in the play still ought to direct a “memory for the future.” e resembles ours (what has changed in politics?), classics are like the Statue of Liberty at the one nonetheless feels throughout the text a end of Planet of the Apes . e characters project will to encompass both the visible and the in - themselves into the future, in which they will visible, the real and dream life, the living and be the spectators of their own past, in which the dead in a one-and-only unit, a singular cos - their acts will be a spectacle for others to see. mography. Like a testimony for the future of what we are We are connected to the Greeks, the Romans, and were. to Shakespeare, by a long chain that, from the America, more than 50 years ago. Pop cul - beginning of time and for many centuries to ture in the United States then had never been come, contains, like a DNA loop, the collective so dominant. e world so loud. ere were memory of human fears and illusions. As Eric images everywhere and all was appearance: that Hobsbawm wrote in e Age of Extremes : “e is why I wanted to place the play in the 1960s,
Opposite: Julius Caesar . Photo by Yann Peucat. 18 About tHe ArtIStS
during the years when one wanted to believe (2015); and Kim Youg-ha’s Empire Of Light that Kennedy would open up a new era, when (2016) for the National eater Company of a crowd became a mass, when the image won Korea, in Seoul. over the word, when the most innovative and He has also worked in dance and opera. In significant artistic trends were born in this 2011, he staged the opera Red Waters by Keren country (architecture, performance, perform - Ann and Bardi Johannsson (Lady and Bird) ance art, photography, collage, reproduction). and contributed to the creation of Play by Sidi —Arthur Nauzyciel Larbi Cherkaoui and Shantala Shivalingappa. In 2018, he staged Papillon Noir, a contempo - Arthur nauzyciel, director rary opera by Yannick Haenel and Yann Robin. Aer studying visual arts and cinema, Arthur Nauzyciel regularly works with other artists on Nauzyciel trained as an actor in the school of his projects, including Miroslaw Balka, Étienne the éâtre National de Chaillot (Paris) run by Daho, Matt Elliot, Sidi Larbi Cher kaoui, José Antoine Vitez (1978). He began his career as Lévy, Damien Jalet, and Gaspard Yurkievich. an actor and then turned to stage directing. Arthur Nauzyciel has been the director of Nauzy ciel’s first production as a director was the éâtre National de Bretagne since January Le malade imaginaire ou le silence de Molière , 2017, where he staged Alexandre Dumas Fils’ aer Molière and Giovanni Macchia (1999), Camille in September 2018. followed by Samuel Beckett’s Happy Days (2003). Since then, he has created numerous riccardo Hernandez, set designer productions in France and abroad, includ - Born in Cuba and raised in Buenos Aires, ing omas Bernhard’s Heldenplatz at the Riccardo Hernandez studied at the Yale School Comédie-Française (2004); Kaj Munk’s Ordet of Drama in New Haven (CT). He works regu - (e Word), staged at the Avignon Festival larly on Broadway, where he has won numer - (2008); Jan Kar ski (My Name is a Fiction) , ous awards for productions including adapted from the novel by Yannick Haenel Topdog/Underdog and Porgy and Bess (Tony and staged at the Avignon Festival (2011); Award 2012). He has also worked in opera, Hunger , based on Knut Ham sun’s novel (2011); designing sets for Philip Glass ( Appomattox ) Chekov’s e Seagull, staged in the Cour and Diane Paulus ( Lost Highway, based on the d’Hon neur of the Papal Palace at the Avignon David Lynch film). In theater, he has worked for Festival (2012); Kaddish by Allen Ginsberg stage directors including George C. Wolfe, Ron (2013), a reading created at the Avignon Festi - Daniels, Rebecca Taichman, Robert Wood ruff, val (2013); and Jean Genet’s Splendid’s (2015) Ethan Coen, Janos Szasz, John Tur turro, Steven with Jeanne Moreau’s voice and the American Soderbergh, and Julie Taymor ( Grounded , with actors from Julius Caesar . Nauzyciel works Anne Hathaway). Hernandez teaches stage de - regularly in the United States, where produc - sign at Yale University. For Arthur Nauzyciel, tions include Mike Leigh’s Abi gail’s Party (2007) he has created the sets for Jan Karski (My Name and Shakespeare’s Julius Caesar (2008). In is a Fiction), Red Waters, Abigail’s Party, e Atlanta, he has directed two works by the Seagull, Splendid’s, e Bitter Tears of Petra von French playwright Bernard-Marie Koltès— Kant, e Empire of Lights, and La Dame aux Black Battles With Dogs and Roberto Zucco . camélias (Camille). Nauzyciel has created a number of produc - tions abroad that were then revived in France Scott Zielinski, lighting designer or at international theater festivals: Samuel Scott Zielinski lives in New York and works in Beckett’s e Image in Dublin (2006); Marie theater, dance, and opera. He has collaborated Darrieussecq’s e Sea Museum , performed on projects created throughout the world, with at the National eater of Iceland (2009); R.W. American and international directors including Fass binder’s e Bitter Tears of Petra von Kant, Richard Foreman, Robert Wilson, Tony Kush - staged for the Mini-teater in Ljubljana, Slovenia ner, Hal Hartley, and Krys tian Lupa. In New
18b PLAYBILL About tHe ArtIStS l e i c y z c u a N c i r é d é r F
York, he works regularly on Broad way, includ - ing with other media, including the visual arts, ing Topdog/Underdog by Suzan-Lori Parks, and music, cinema, theater, and fashion; his works for Lincoln Center and the Public eatre. He are oen collaborative. Jalet worked as a chore - also creates the lighting for productions in ographer and dancer for companies including many other North American cities, with direc - Ballet C. de la B., Sasha Waltz and Guests, tors and choreographers such as Neil Bartlett, Chunky Move, Eastman, NYDC, Hessiches Chase Brock, Chen Shi-Zheng, Karin Coonrod, Staatballet, Paris Opera Ballet, Scottish Dance Ron Daniels, David Esbjornson, Daniel Fish, Sir eatre, and Iceland Dance Company. His lat - Peter Hall, Tina Landau, Jonathan Mos cone, est works as choreographer include Babel Diane Paulus, Lisa Peterson, James Robinson, (words) with Sidi Larbi Cherkaoui, with a set by Anna Deavere Smith, Twyla arp, George C. Antony Gormley (two Olivier Awards), pre - Wolfe, Mary Zimmerman, and recently for Miss sented in 2016 at the Cour d’Hon neur du Palais Fortune by Judith Weir at the Royal Opera in des Papes in Avignon; Les médusés , a choreo - London. Zielinski holds a master’s degree in graphic installation for 30 performers in some theater design from the Yale Uni versity School of the main rooms of the Louvre in Paris; of Drama. For Arthur Nauzyciel, he has created YAMA for the Scottish Dance eatre with a set the lighting for e Sea Museum, Jan Karski design by American artist Jim Hodges; Bolero (My Name is a Fiction), Red Waters, Abigail’s which he directed together with Cherkaoui and Party, e Seagull, Splen did’s, e Bitter Tears of the performance artist Marina Abramovic for Petra von Kant, and La Dame aux camélias the Paris Opera Ballet, with costumes by (Camille). Riccardo Tisci; Inked for the British kathak dancer Aakash Odedra; and Obsidian Pieces for Damien Jalet, choreographer the Iceland Dance Company in collaboration Damien Jalet is an independent Belgian and with Erna Omarsdottir (2015 Icelandic French choreographer and dancer working in - National Per forming Arts Award for Best ternationally. He is interested in the capacity of Choreographer). In October 2015, he choreo - dance to constantly reinvent itself by convers - graphed Gravity Fatigue , devised by fashion de -
1 gideon lester talks to Arthur nauzyciel (2008)
How are you approaching Julius Caesar ? your production includes many quotations Whenever I direct a play, the context in which it’s from the 1960s. Can you explain why? produced is very important. Why are we doing the I believe that all theater takes place here and now, play here, now, for this audience? Julius Caesar so it’s not really a question of being in the past, is almost never produced in my own country, whether that’s Caesar’s Rome or Shakespeare’s France, so when you asked me to read it I was London or 1960s America. But we will be quot - coming to it for the first time. Of course I imme - ing from the Sixties for many reasons. ere’s the diately saw connections between the play and the obvious link between Kennedy’s and Caesar’s as - fact that this is an election year in the United sassinations and their political contexts, but more States. I don’t want that to be obvious in the pro - than that, I’m intrigued by the way the Sixties duction, but it provides a strong context. For me, represent both past and future for us. It was a classical plays are a memory of the future. ey’re decade of great invention and innovation, ob - time capsules; they come from long ago, but sessed with the future. e best science fiction they’re with us now and they’ll be here for movies were made in the 1960s. And the aes - centuries. ey contain a collective memory of thetic is still inspiring; if you look at furniture or human behavior, aspirations, expectations, illu - clothes from the Sixties, they could belong in sions. As time capsules, it’s interesting to catch today’s design magazines. Julius Caesar is a play them and open them. ey are like holograms about the invention of the future, a dream of a new or like stars, whose light arrives long aer their death. world, so the resonances are strong. In a sense the play is a user’s manual for the next generation, written by Shakespeare for the future, what else interests you about the 1960s? a guide to politics and humanity. It was a period in which the image triumphed over the word. ere’s a wonderful story about the what about the play resonates in the 21st debate between Nixon and Kennedy: I don’t know century? if it’s true, but apparently people who listened to ere’s something “contemporary” about Julius it on the radio voted for Nixon, and people who Caesar , which sounds ridiculous, because it was watched it on television voted for Kennedy. JFK written in the 16th century; it cannot literally was the first president whose image was more be speaking about our own age. It’s not that important than the content of his words. Suddenly Shakespeare’s observations are still accurate, it’s more visual icons and illusions were more powerful than than that. It’s as if nothing has happened in poli - speech. Julius Caesar is so much a play about lan - tics since the story that he writes about took place. guage and rhetoric, and I think it’ll be interesting It’s as if we’re stuck, like a scratched record; we’re to create this double layer by using elements from a still in the final scenes when Octavius arrives. time in which language and rhetoric failed. And at Nothing has evolved in terms of democracy or poli - the same time, there was a revolution in American tics. Like Cassius and Brutus, we believe that democ - art history, with the advent of Pop Art, installa - racy is the best system, but it’s still a compromise. So tions, and performance art. e art and photog - many so-called democracies are still really empires, raphy of that period was a strong influence like Rome in the play. What has changed is our ex - in the design for our Julius Caesar, particularly perience of tragedy. We come from a century that Andy Warhol’s repeated images and the instal - invented Auschwitz and Hiroshima, aer which we lations of the Ant Farm. All this seemed ap - can never stage tragedy the same way again. propriate for a production at the Loeb Drama —continued on page 22
PLAYBILL About tHe ArtIStS signer Hussein Chalayan, at Sadler’s Wells in End of the Spear . She also appeared in the web London. THR(O)UGH , a choreography for series e Accidental Wolf with Kelli O’Hara, Hessisches Ballett, saw Jalet collaborating again directed by Arian Moayed. Bakker graduated with Jim Hodges, Austrian composer Christian from Yale University and received a master’s Fennesz, and designer Jean Paul Lespagnard, degree from the American Conservatory ea- and was nominated for Best Choreography at ter in San Fran cisco. She has two children, lives the German “Der Faust” theater awards. He cre - in Connecticut, and also enjoys her career as a ated e Ferryman with the director Gilles public speaking coach. Delmas, highlighting the relation between his works and existing rituals practiced in Bali and luca Carboni (Soothsayer ) was born in Japan, with the participation of Marina Bologna and lives today in Brussels. He received Abramovic and composer Ryuichi Sakamoto. It his diploma at the Piccolo Teatro in Milan. was presented during the Venice Biennial at Car boni has acted for, among others, Luca Palazzo Fortuny in May 2017. Jalet directed Ron coni, Arthur Nauzyciel, Massimo Castri, Vessel together with Japanese visual artist Matthew Lenton, and Tatjana Pessoa. He has Kohei Nawa, a collaboration initiated during a been performing for Italian and European au - four-month residency at Villa Kujoyama (the diences for the last 15 years, working for public Japanese Medicis villa in Kyoto). e perform - theaters and private companies. Carboni was ance for seven dancers has been presented president, an active member, and an actor at the in many important venues in Japan, including Gli Incauti theater company from 2009 to 2015. Rhom eater Kyoto and Naoshima’s Art Site He is also a member of Saveria Project, a col - and will also be seen at the Perth International lective founded in Bologna that promotes and Festival in Aus tralia. For Arthur Nauzyciel, Jalet produces contemporary artistic works in Italy collaborated on e Image, e Sea Museum, and abroad. He has trained in video art, pho - Ordet (e Word), Red Waters, e Seagull, Jan tography, special effects, editing, and digital Karski (My Name is a Fiction), Splendid’s, and management of visual streams for the stage, La Dame aux camélias (Camille). and is the author of video creation for the show La Baraque directed by Tatjana Pessoa (ion - Sara kathryn bakker (Portia/Calpurnia ) is ville – Saarbrucken, 2015), e Blink Experi - happy to perform Portia and Calpurnia again ment (2016), and Dreaming State (éâtre de aer originally appearing in the roles in Boston Liège, Belgium). in 2008 and touring with the production three times in France and once in Bogota, Colombia. Jared Craig (Lucius ). For Arthur Nauzyciel, Bakker has appeared regionally at the Denver Craig played in Julius Caesar and Splendid’s . He Center eatre, Amer ican Repertory eater, graduated with a BFA in acting from the School Utah Shakespeare Festival (three seasons), of eatre at Boston University, and has also Contemporary Amer ican eater Festival, studied at the London Academy of Music and Pioneer eater, Wil liams town eatre Festival, Dramatic Art. Craig played in Be.e.Dog. at Chautauqua ea ter, Pennsylvania Shakespeare the New York Interna tional Fringe Festival Festival, and Dela ware eater Company. Off- (2009). He also performed in e Starving Broadway she has worked at the Roundabout Class , a reading directed by Jim True-Frost. In eater and collaborated on the original pro - Boston, he has appeared in e Island of Slaves , duction of As Far As We Know for the NYC e History Boys , Romeo and Juliet, A Midsum - Fringe and Fringe Encores. Work in New York mer Night’s Dream, First Blush, e Red Lion, has also included workshops and readings with and Lilly’s Purple Plastic Purse. Primary Stages, the Drama Department, Adobe, Rattlestick, and director Austin Pendleton. Film roy Faudree (Casca/Lepidus ) founded the No and television work has included Law & Order, eater with Sheena See in 1974 in North amp - Convic tion, Ghost Stories, and the feature film ton, Massachusetts. His creations have been
1 About tHe ArtIStS
performed in Paris, London, Manchester, Rot - Dans la solitude des champs de coton, Le Jour des ter dam, Ghent, Linz, Munich, Berlin, Tokyo, meurtres dans l’histoire d’Hamlet, and La Nuit and Melbourne. More recently, No eater has juste avant les forêts. played Let Go at Lang/Bocanegra in Soho, Cave - man by Richard Maxwell at the Performing Isaac Josephthal (Octavius/Carpenter/Popilius/ Garage in New York, and End of the Road Octavius ’ Servant ) was raised in North Carolina with the Young@Heart Chorus. No ea ter’s and is now a Brooklyn-based artist. Recent major productions are Dupe , Last Resort…, and stage credits include e Lion in Winter (Cape its first creation, e Elephant Man (with May Stage, directed by John Gulley), Public Faudree). He has regularly appeared with the Enemy (e Pearl eatre Co., Hal Brooks), e Wooster Group, including roles in e Hairy Ugly One (A.R.T./New York, Miles Mandwelle), Ape , House/Lights , To You the Birdie (Phèdre) , and the American premiere of Lars Von Trier’s Fish Story, and in Samara by Richard Maxwell Dogville (Tisch, Robert O’Hara). Josephthal at Soho Rep. previously worked with Arthur Nauzyciel and company on Jean Genet’s Splendid’s, and joined Ismail Ibn Conner (Cinna/Lucilius/Clitus / the cast of Julius Caesar in 2017. Tele vi sion/ Marul lus/Trebonius ). For Arthur Nauzyciel, Film: Divorce , Big Dogs , Read Aloud . BFA: Conner played in Black Battles With Dogs , Julius NYU/Tisch. Caesar, and Splendid’s . He is the founder of the United States Koltès Project, working in con - Dylan kussman (Julius Caesar ). Julius Caesar junction with François Koltès on American marks Kussman’s debut with the éâtre Natio- English translations and international per - nal de Bretagne. He has appeared on numerous formances produced in the US and France: stages throughout the US, including at Berkeley
(continued from page 20) And I also wanted to create an uncertainty for the Cen ter, with its 1960s architecture. I like it audience: Are we onstage or offstage? Who are when the theatrical design and the architecture the watchers and who are the actors? Are we part of the building come together and the distinctions of the performance? What is illusion and what is between the two spaces are blurred. reality? On which sides are the dead and the living? How do those questions of illusion and e set design incorporates huge repeated reality relate to Julius Caesar ? e play is full of photographs of the auditorium. Can you dreams and supernatural events, of ghosts and explain why? burning men and lions roaming the streets of In part, we wanted to remind the audience that Rome. e world that it describes doesn’t liter - the theater in which they’re sitting is essentially ally exist. It’s an imaginary dreamscape, a distor - the same shape as the theaters of ancient Greece and tion of reality, and we can’t stage it realistically. Rome. If you stand on stage and look out at the e production has to feel truthful, but not seats, you see that the configuration is exactly realistic. I hope that the audience will feel the same, two thousand years later. It’s also good to connected to an invisible world, seeing things remember with this play that theater and democ - they can’t usually see, listening to things they racy were invented at the same time, and that can’t hear. the theater was, in its origins, a political space as —Boston, January 2008 much as a place of entertainment. In this election year, the images of those theater seats may Gideon Lester was the American Repertory eater’s remind us of public assemblies, or the Senate. acting artistic director from 2007 to 2009.
PLAYBILL About tHe ArtIStS
Repertory eater, Magic eater, the Oregon the United States and abroad. Pettrow also Shakespeare Festival, Victory eater in Los works in film and television and was the assis - Angeles, and the Ensemble eater of Chatta - tant director and a performer in e Principles of nooga. Some favorite Shakespearean roles Uncertainty, a collaboration between the artist include Romeo with the San Francisco Shakes - Maira Kalman and the choreographer John peare Festival, Henry V with Shotgun Players, Heginbotham (Jacob’s Pillow, Guggenheim, and and Macbeth with ETC. Kussman’s film credits BAM). His next project will be a production include Dead Poets Society , e Way of the Gun , with Mikhail Baryshnikov. X2 , Jack Reacher , and e Mummy (2017), and he has made numerous American television timothy Sekk (Runner/Cato/Young Cato/Dar - appearances. He currently lives in Chatta nooga da nius ). In New York: A Clockwork Orange, (TN) with his wife and son. He would like to Avow, Dreyfus in Rehearsal . International: Splen- thank Arthur Nauzyciel for the opportunity to did’s (directed by Arthur Nauzyciel). Regional: work with such a talented cast and crew. Portland Center Stage, Cincinnati Playhouse, Repertory eatre of St. Louis, Baltimore Cen - Mark Montgomery (Cassius ). On Broadway, ter Stage, Northern Stage, e Acting Com - Montgomery performed in Mamma Mia! and pany, Shakespeare eatre Com pany. Film: Macbeth and then, in 2008, in e Seagull with Alice Fades Away (upcoming). Television: e Kristin Scott omas, directed by Christopher Blacklist, Odd Mom Out, e Affair, e Good Hampton. He has been involved in many proj - Wife, Elementary, Person of Interest, Boardwalk ects with the Shakespeare in the Park festival Empire . BA: Vassar College, MFA: NYU Gradu- in New York City. A member of the Chicago ate Acting Program. Shakespeare eatre, Montgomery appeared in Rose Rage , performed at the Duke eatre in neil Patrick Stewart (Decius Brutus ). For New York, and in As You Like It , King Lear, Arthur Nauzyciel: Julius Caesar , Abigail’s Party, Antony and Cleopatra, Henry IV, Much Ado and Splendid’s . Stewart is also a stage director About Nothing , and e Comedy of Errors . On and teaches master classes and multi-day per - television, he has appeared on Law & Order and formance workshops. He is the director of the e Guiding Light. musical Volleygirls , which won several awards, and a production of e Elephant Man for the rudy Mungaray (Runner/Metellus ) graduated nonprofit Mechanicals eatre Group (Ovation from the New World School of the Arts and Awards nominations). went on to receive a BFA from the Acting Con - ser vatory at the State University of New York at James waterson (Brutus ). New York Broadway Purchase. His theater credits include Blood & theater credits include Enemy of the People Gis (Lincoln Center), Lush Valley, Sounding (MTC). Off-Broadway: Love and Information (HERE Arts Center), Sunken Living Room (NYTW), e Importance of Being Earnest (Southern Rep, world premiere), and Paradise (Brooklyn Academy of Music, directed by Sir (New eatre, Miami). On film and television, Peter Hall), As You Like It (e Public ea - he has appeared on Boardwalk Empire, Blue ter/NYSF), Parents’ Evening (e Flea eater), Bloods, Elementary, Power, Law & Order, and and Buffalo Gal (Primary Stages). His favorite Unforgetta ble. For Arthur Nauzyciel, Mungaray regional and his international credits include appeared in Splendid’s by Jean Genet (2017). Ching lish (Goodman eatre), Othello (Com - mon wealth Shakespeare Company), Private Daniel Pettrow (Mark Antony ). For Arthur Lives (Huntington eater), Twelh Night (e Nauzyciel, Pettrow has appeared in Black Battles Old Globe), e Seagull (George Street Play - With Dogs , Roberto Zucco , Julius Caesar, and house), and Children (Williamstown eatre Splendid’s . As an actor and stage director, he Festival). Waterson has spent five seasons at the has appeared in more than 60 productions in Williamstown eatre Festival, three seasons at
About tHe ArtIStS
the Old Globe, and three seasons at the Sun - mersed himself in this country’s fertile musical dance Institute. His film and television credits environment. Since then he has gained an im - include Certainty, Visiting, Dead Poets Society, pressive reputation among his peers and has Little Sweetheart, Treme, e Good Wife , a re - had the chance to work with many of the great - curring role on Six Feet Under , Live from Bagh - est jazz musicians performing today, including dad, Wedding Daze, and Christy: e Movie . Dave Liebman, Danilo Perez, Manu Katché, For Arthur Nauzyciel, he appeared in Jan Karski John Pattittuci, Bob Cranshaw, Terri Lyne Car - (My Name is a Fiction) in 2011. ring ton, Romero Lubambo, Eric Harland, Don - ny McCaslin, Gerald Clayton, and Erik Truffaz. Dmitry Ishenko (double bass ) is a versatile and Pelligrino can also be heard on Dianne Reeves’ in-demand New York City bass player. He has Gram my Award-winning album Beautiful Life . performed and/or recorded with such jazz In 2013, he entered the Montreux Jazz Guitar greats as Steve Lacy, John Tchicai, Eric Harland, Competition, receiving First Prize from the leg - Dave Liebman, Kenny Werner, Terri Lynn Car - endary Lee Ritenour. Pelligrino was also the rington, Myron Walden, Roy Campbell, Jr., Sam first South American guitarist to win this com - Yahel, Kenny Wollesen, and many others. A petition. e following year, he performed at graduate of both the Berklee College of Music the Montreux Jazz Festival as the opening act and the New England Conservatory of Music for Ritenour. Since then, Pelligrino has been in Boston, he is also a busy session player and performing and teaching all over the world. He arranger, having worked in the studio and on is endorsed by Benedetto Guitars and currently the road with Paul Banks of Interpol, among performs on his Bravo model. others. Ishenko has toured all over Northern America, Western Europe, Russia, and Japan, Marianne Solivan ( vocals ) tours internationally appearing at the NYC CareFusion Jazz Festival, as a jazz vocalist, composer, bandleader, and Vision Festival, Blue Note Jazz Festival, Toronto educator. She has worked with artists in cluding Jazz Festival, Boston Beantown Jazz Festival, Christian McBride, Roy Hargrove, Peter Bern - Carnegie Hall, Kennedy Center, Lincoln Cen - stein, Jeremy Pelt, Lewis Nash, Johnathan Blake, ter, and e Blue Note, as well as at many other and Bruce Barth. Solivan spent her school days venues around the world. gigging constantly, while at the Berklee College of Music and then the New England Conserva- leandro Pelligrino ( guitar ) is an internation - tory, where she earned her master’s degree. ally acclaimed artist who has been steadily de - ose early years helped her to hone her skills veloping his reputation as one of the finest as a bandleader. Solivan has taught all grade lev - guitarists of his generation. Born in São Paulo, els for over 18 years and currently runs her own Brazil, Pelligrino studied music composition jazz vocal workshop series in New York City. and jazz improvisation during his teenage years. Her first CD, Prisoner of Love, received critical Aer earning his bachelor’s degree, he audi - acclaim and a four-star review from Downbeat tioned for the prestigious Berklee College of magazine in 2012 and her second CD, SPARK , Music and was awarded a full scholarship to was released in 2015 to critical acclaim. Solivan pursue his studies in jazz and improvised regularly tours the US and abroad. music. In 2011, Pelligrino moved to US and im -
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