Théâtre National De Bretagne Julius Caesar by William Shakespeare Directed by Arthur Nauzyciel
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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).