Lincoln Center Festival lead support is provided by American Express

July 22-26 Gerald W. Lynch Theater

Cheek by Jowl By Alfred Jarry

Director Designer Nick Ormerod Associate Director Michelangelo Marchese Associate and Movement Director Jane Gibson Lighting Designer Pascal Noël Composer Davy Sladek , with additional music by Paddy Cunneen Video Designers Benoit Simon , Quentin Vigier

CAST Père Ubu Christophe Grégoire Mère Ubu Camille Cayol Bordure Xavier Bolffier King Wenceslas Vincent de Boüard Queen Rosemonde Cécile Leterme Bougrelas Sylvain Levitte

Approximate performance time: 1 hour 50 minutes, with no intermission

Major support for Lincoln Center Festival 2015 is provided by The Andrew W. Mellon Foundation. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Lincoln Center Festival 2015 is made possible in part with public funds from the Department of Cultural Affairs, New York State Council on the Arts, and the National Endowment for the Arts. The Lincoln Center Festival 2015 presentation of Ubu Roi is made possible in part by generous support from The Grand Marnier Foundation and Sharp Fund PLD at The New York Community Trust. Ubu Roi is produced by in a co-production with Les Gémeaux–Scène National de Sceaux, ; The Barbican, ; and La Comédie de Béthume–Centre Dramatique National du Nord-Pas-de-Calais. LINCOLN CENTER FESTIVAL 2015 UBU ROI

Synopsis

The play begins with Mère Ubu urging her husband Père Ubu, Captain of the Dragoons and confidential adviser to King Wenceslas, to wipe out the King and his family and install himself on the throne. Père Ubu readily agrees and enlists Captain Bordure, whom he promises to make Duke of Lithuania, to help execute his plot.

The King announces his plans to make Ubu Count of Sandomir in a parade the next day. Ubu nonetheless continues with his scheme, gathering a group of supporters to commit the murder and instructing them to ensure the rest of the royal family, particularly the King’s young son, Bougrelas, are also killed.

Meanwhile, Bougrelas and his mother Queen Rosemonde voice their concerns about Père Ubu and his loyalty to the King. Stubborn in his defence of Ubu, the King forbids his son to attend the parade and vows to go unarmed.

At the parade, the murder is carried out as planned and Ubu seizes the crown. Ubu’s men charge into the palace in search of Bougrelas and Queen Rosemonde. Bougrelas man - ages to fend off their attackers and escapes with his mother, who quickly sickens and dies. Bougrelas is left alone to fight Ubu and avenge his father’s death.

Ubu’s extravagance with his newly acquired wealth begins to concern his wife. She warns him that he must be careful with his finances, fulfill his promises to Bordure, and try to win over Bougrelas if he is to remain in power, but Père Ubu hastily dismisses her suggestions.

Ubu rounds up the noblemen, magistrates, and financiers and has them killed one by one, having resolved they will stand in the way of his plans to acquire vast sums of money through various questionable reforms. Ubu imprisons Bordure when he discovers that his former ally has begun to conspire against him, but Bordure manages to escape and flees to Moscow to join Emperor Alexis in the fight against Ubu. Bordure sends a letter notify - ing him of their plans to attack, and a terrified Ubu prepares for battle.

Marching in the Ukraine, Ubu and his men come across Alexander Rensky, who announces that the Poles have revolted and that little hope is left. The Russians advance and begin to attack. Without a thought for his troops, Ubu runs from the scene as soon as possible, seeking refuge in a cave in Lithuania. Mère Ubu happens to stumble upon the same cave, having fled Poland with Bougrelas and his soldiers in pursuit. The pair are arguing ferociously, when Bougrelas and his men storm the cave, ready for a final show - down. Luckily for Ubu, his own supporters are close behind, and provide a quick escape for Mère and Père Ubu. With the battle lost, Ubu announces he is glad to be rid of the crown and he, his wife, and supporters set their sights on new horizons. LINCOLN CENTER FESTIVAL 2015 UBU ROI

About Ubu Roi “There are often duels after these perfor - mances,” and he explains to me what is As a species, we prefer to talk of the inno - happening on the stage. The players are cence of our childhoods than to remember supposed to be dolls, toys, marionettes, our potential cruelty. The selfishness and and now they are all hopping like wooden easy brutality of this period we regard as frogs, and I can see for myself that the infantile, as easily consigned to the past chief personage, who is some kind of King, once we are older, once we have become carries for a scepter a brush of the kind “civilized.” Some commentators have even that we use to clean a toilet. Feeling bound attributed our lack of early memories as a to support the most spirited party, we have defense against the memory of our own shouted for the play, but that night at the overwhelming feelings—feelings so nega - Hotel Corneille I am very sad…I say: “After tive that we are ashamed to own them. Stéphané Mallarmé, after Paul Verlaine, after Gustave Moreau, after Puvis de What do we do with our feelings that are Chavannes, after our own verse, after all not civilized? Civilization often demands our subtle color and nervous rhythm, after that we ignore or deny them. We all want the faint mixed tints of Conder, what more to be civilized—but there is a price to be is possible? After us the Savage God.” paid for civilization. And the price, on occa - sion, is madness. Excerpted from Autobiographies by W.B. Yeats (1865-1939), London: Macmillan, 1955. Mère and Père Ubu—excessive, antisocial, thunderously dynamic with no other goal ‘Merdre!’ beyond the acquisition of power itself, After creator Alfred Jarry finished his intro - frighten as much they amuse us. Do they ductory speech at the first performance of hark back to the selfishness and violence Ubu Roi , which he delivered in front of the of our own childhoods? The play enacts, footlights, the next word the audience above all, a vicious, menacing infantilism— heard, as Firmin Gémier (the actor playing as violent as it is childlike. Ubu articulates Père Ubu) took center stage was the the potential violence that lies within us all. eagerly awaited “ merdre! ” Nonetheless, it was a fiction invented by Rachilde (novelist Whether the work of a genius or a school - and wife of Alfred Valette, editor of the boy scribble, this product of a fin-de-siècle Mercure de France, both of whom were hungry for new forms, displays an lifelong friends of Jarry’s) that “the Word” unprecedented simplicity, reconnecting us sparked off a riot among the audience. Ubu with perhaps our most basic instincts. Roi had been in print for six months and the audience knew what to expect. According to the journalist Georges After Us: The Savage God Rémond, Jarry’s plan had been to provoke The Irish poet W.B. Yeats attended the first a more dramatic theatrical scandal than performance of Ubu Roi on December 8, those of Phèdre and Hernani . His personal 1896. Following is an extract from his diaries. was made up, not of his literary friends, but of drinking companions from The audience shakes their fists at one his local restaurant, Chez Ernest. They had another, and the Rhymer whispers to me, been briefed to start a disturbance, what - LINCOLN CENTER FESTIVAL 2015 UBU ROI ever happened. On the one hand they About Alfred Jarry were to counter with furious Alfred Jarry was born in 1873 in Laval, shouts, but in the case of boos and whis - Mayenne, France. He was a brilliant and tles, to utter ecstatic cries of delight. original young man: independent, curious, According to Rémond, Jarry did not intend passionate, fierce, sarcastic, and shy. In the play to reach its conclusion. The audi - 1883 he entered the Lycée at Rennes ence itself was to provide the theatrical where he proved to be an exceptional stu - event. This is borne out by the fact that he dent; but, showing a trait he would have did not preserve any of the favorable for the rest of his life, would take orders reviews of Ubu Roi , but carefully compiled from no one. He only took to his books a scrap book of adverse criticisms. Jarry’s when he felt like it and, with his intelli - disdain for flattery and praise may have gence and wit, could sabotage a class and been the reason why he had to be destroy the confidence of any person of prompted to write to thank the eminent authority he felt inadequate. journalist, Catulle Mendès, for his wise analysis of Jarry’s achievement in creating A physics teacher, Félix-Frédéric Hébert, the Ubu phenomenon: “A new type has also known to students as “Père Ebé,” been put before us, created by the extrav - among other names, possessed of a large agant and brutal imagination of a man who stomach, short legs, and an air of buffoon - is a sort of child. Père Ubu exists…You will ish pomposity, had been the butt of school - not be able to get rid of him; he will haunt boy jokes for years before Jarry’s arrival at you and perpetually force you to remember Rennes. In fact, two of Jarry’s school not only that he passed this way, but that friends had been writing a series of satiri - he has arrived and is here…” cal sketches about “Père Ebé” consisting of poems, plays, and fantasy adventures. Jarry had received a similar accolade from Joining in the fun, the 15-year-old Jarry Mallarmé, thanking him for his presenta - converted a brief farcical sketch by the tion copy of Ubu Roi , earlier that year: boys, Les Polonais (depicting their teacher “With the skill of a sure and sober dra - as the king of an imaginary Poland), into a matic sculptor, my dear friend, and with a play for marionettes that they performed in rare and durable clay upon your fingers, various homes. There has always been you have set a prodigious figure on his some controversy as to how much of Les feet, together with his troop. He enters the Polonais , and subsequently Ubu Roi , was repertoire of high taste and haunts me; actually written by Jarry, but he never pre - thank you.” tended otherwise. What he did do is take

An edited extract drawn from Alfred Jarry by Jill what had been described after his death as Fell, Associate Research Fellow at the Depart - a “worthless skit written by children” and ment of European Cultures and Languages, polish it into a highly charged political Birkbeck, University of London, reproduced by statement about a type of person he kind permission of Reaktion Books. despised— a bourgeois nationalist who is submissive to, and unquestioning of, authority. LINCOLN CENTER FESTIVAL 2015 UBU ROI

In December 1896 Ubu Roi got its first per - days alone in his room on a floor called the formance at the Théâtre de l’Oeuvre. “second-and-a-half” (where the ceiling had Critics compared it to the works of been lowered and the room was best Rabelais and Shakespeare, or dismissed it described as a cardboard-lined cupboard entirely as insipid nonsense. Whatever between the second and third floors). It people thought of it, the outcome was that was there he was found incapacitated and after that night, Jarry, age 23, had become unresponsive by his friends who had not famous. seen him for several days. They took him to the hospital where he died of tuberculosis The character of Père Ubu had clearly on November 1, 1907, at the age of 34. haunted Jarry for some time. He called him “the cause of all his sorrows and all his Jarry’s collected works consist of more revolts.” As time went by he began to than 2,000 pages of plays, prose, and absorb aspects of his creation and adopted poems. He also wrote theater criticism and a peculiar way of speaking—referring to his ideas on production were still consid - himself as Père Ubu and freely using the ered to be innovations when they were royal “we.” It is difficult to see anything in practiced years later by others. “Jarry’s life common between the real Alfred Jarry and seems to have been directed by a philo - Père Ubu. The fictional chacter was physi - sophical concept,” wrote the critic Gabriel cally hideous and the embodiment of stu - Brunet. “He offered himself as a victim of pidity and brutality. The intelligent and the derision and absurdity in the world. His handsome Jarry was described by the life is a sort of humorous and ironic epic French writer André Salmon in 1903 as which is carried to the point of the volun - having “a pure oval face, a well-modeled tary, farcical, and thorough destruction of nose and black eyes that were honest and the self. Jarry’s teaching could be summa - ardent…a rebel who liked to show off but rized thus: every man is capable of show - was fundamentally mild and good-tem - ing his contempt for the cruelty and stupid - pered.” After Jarry’s metamorphosis into ity of the universe by making his own life a Ubu, Nobel Prize winning writer André poem of incoherence and absurdity.” Gide described him as “a strange kind of —Charles Sheek clown, with a befloured face, a black beady eye, and hair plastered down on his head like a skull-cap.” By transforming himself About the Creative Team into the clown-king of the Bohemians he Declan Donnellan (Director) is joint became a cult figure and those in his circle Artistic Director of Cheek by Jowl. As began to dress and act in a manner they Associate Director at the National Theatre termed “Ubuesque.” his productions include Fuenteovejuna , Sweeney Todd , The Mandate , and both Jarry conspicuously ignored the conven - parts of . Other produc - tions of life, and after the death of his par - tions include Le Cid for the Avignon ents, he lost his inheritance and lived in Festival and The Winter’s Tale, for St. deepening poverty in Paris until the end of Petersburg’s Maly Theatre. He produced his short life. Turning first to alcohol and Verdi’s Falstaff at the Salzburg Festival in then to ether, he lived in squalor and spent 2002; in 2003 and LINCOLN CENTER FESTIVAL 2015 UBU ROI

Hamlet in 2015 with the Bolshoi Ballet; and on the TV programs Mr Selfridge, the Bel Ami in 2012. In 2009 he shared Persuasion , Mansfield Park , Cranford and the Charlemagne Prize with Craig Ventner the mini-series Elizabeth I . In 1996 Jane and Archbishop Tutu. His book The Actor was nominated for an Emmy Award for and the Target , was first published in Outstanding Individual Achievement in Russian in 2000 and has subsequently Choreography for her work on the BBC’s appeared in fifteen languages. Pride and Prejudice .

Nick Ormerod (Designer) is joint Artistic Pascal Nöel (Lighting Designer) has Director of Cheek by Jowl. For the National worked in theater on Tartarin by Tarascon, Theatre he designed Fuenteovejuna, Peer La fille à marins by Savary, À la recherche Gynt, Sweeney Todd, The Mandate, and de Joséphine by Savary (Jérôme Savary); both parts of Angels in America ; and for the Le barbier de Séville by Beaumarchais, La Royal Shakespeare Company: The School place royale by Corneille, Guantanamo by for Scandal, (RSC Academy) and Frank Smith (Eric Vigner); Antigone by , which he also co- Oedipus (Sotigui Kouyaté). Dance: Giselle, adapted. Other work includes The Rise and Noureev Diverts (for Sylvie Guillem) at Fall of the City of Mahagonny (English London’s Covent Garden. National ), Martin Guerre (Prince Edward Theatre), Hayfever (Savoy Theatre), Davy Sladek (Composer) trained at the Antigone (The Old Vic), Falstaff (Salzburg CNR, Boulogne Billancourt, and the ENM, Festival). Romeo and Juliet , 2003, and Villeurbanne Theater, where she was cred - , 2015, Bolshoi. He co-directed the ited in The Threepenny Opera by film Bel Ami with Declan Donnellan. Brecht/Weill (Laurent Frechuret/Samuel JEAN). She has also played saxophone, Jane Gibson (Associate and Movement flute, and clarinet in Brintzig , PG PROJECT ; Director) has amassed an extensive list of Mere Grand and The Sound Avengers ; film, television and theater credits and is an MP3YAPA ; Shake Up ; Mojo Brass Band ; Associate Director of Cheek by Jowl. She Paris/Sladek Duo; Vento Brazil . She plays was Head of Movement at the National on the albums M usiques Tziganes Theatre for 10 years and works frequently (BrinTzig); Bleu Outre Mémoire (PG with the Royal Shakespeare Company. Her Project); Guru ( Fab Foundation; Mon recent theater credits include ‘Tis Pity Coeur/Signore FDG (Quartet Maulus). She’s A Whore (Cheek by Jowl), (in association with The Wooster Benoit Simon (Video Design) has worked Group) and A Tender Thing . Opera includes: in theater on Richard II by Shakespeare La Traviata and Gawain (Royal Opera (Jean-Baptiste Sastre); Readings by House). She has been in the The Deborah Warner (Deborah Warner); De Amazing Spiderman, A Little Chaos , Girl l’omme by Jacques Rebotier (Jacques With a Pearl Earring , Nanny McPhee , Pride Rebotier); La Estupidez by Spregelburd and Prejudice , Atonement , Julian Jarrold’s (Martial Di Fonzo Bo); S’envoler by Bailly Becoming Jane and Brideshead Revisited . (Gilberte Tsai); Plage Ultime by Chavrier Her other credits include Bel-Ami , My (Séverine Chavrier); Ghost in the Back Seat Week With Marilyn, Oz: The Great And by Lainé (Marc Lainé); La maladie de la Powerful and Mr Selfridge . She has been mort by Duras (Jeanne Champagne); LINCOLN CENTER FESTIVAL 2015 UBU ROI

Transits by Confino (Catherine Schaub). He Felix Krull , Nabokov’s Laughter in the Dark , has danced in Octopus (Philippe Decouflé); Neil Simon’s Biloxi Blues , Goncharov’s A Désirs (Philippe Decouflé/The Crazy Horse Common Story , Zamyatin’s We , Alexandre Saloon). Exhibition: Life on Mars Revisited Minchin’s Le Névrosé , Gladilin’s Reve (Barney Clay/David Bowie/The Creators Premonitoire , Fernando Arrabal’s Prayer , Project); Opticon (Philippe Decouflé); La Bonnaventura’s Veilles , and Galin’s The Chambre (Jeanne Champagne). Music: Roof . As for film, she can be seen in Rosa la rouge (Claire Diterzi/Martial Di Mélanie Gérin and Franck Henry’s Le Reve Fonzo Bo); Interzone (Limousine/Bertrand de Frederique , Valérie Donzelli’s Planes). Declaration of War , Sandrine Rinaldi’s Cap Nord , Mario Fanfani’s Sibelius Way , Axelle Quentin Vigier (Video Design) holds a Ropert’s Étoile Violette , Sandrine Rinaldi’s national diploma in sound and moving Image Mystification ou l’histoire des portraits , and from Toulouse and a degree in cinema, from Djibril Glissant’s L’Eclaireur . Paris’ Sorbonne. Theater : Kiss Me Quick by Ishem Bailey from interviews by Susan Vincent de Boüard (King Wenceslas) stud - Meiselas (Bruno Geslin); La paranoia by ied with Robert Kimminch at the Municipal Spregelburd–(Marcial Di Fonzo Bo, Elise Conservatoire of Dramatic Art at Meudon. Vigier); La loi du marcheur from interviews by His theater credits include Racine’s Serge Daney (Nicolas Bouchaud, Eric Didry); Andromaque (directed by Declan Dark Spring by Zürn (Bruno Geslin). Donnellan), Martin Crimp’s Dealing with Claire , Roger Gernier’s Three Years after Chekov , Laurent Terzieff’s The Look , About the Cast Hamlet , Shaffer’s Amadeus , Lessing’s Xavier Boiffier (Bordure) trained at the Nathan the Wise , Eric-Emmanuel Schmitt’s Conservatoire National Supérieur d’Art The Libertin , Jean Audureau’s Hélène , Dramatique. His stage credits include Sarrabezolles’ Like A Dream , Harwood’s Racine’s Andromaque , directed by Declan Time Against Time, Maeterlinck’s The Blue Donnellan; Strindberg’s A Dream Play ; Bird , Mrosek’s On Foot , Jean Cocteau’s Albee’s The Goat, or Who Is Sylvia? ; The Liar , and Étienne Rebaudengo’s Song ; and Botho Strauss’s Ithaca . for a Planet . On television, he can be seen In 2012 he played Jocelyn on the French on Yann Piat, chronique d’un assassinat ; television show Ainsi soient-ils and has Jeanne Devère , PJ , Tout va bien dans le appeared in the films Brice of Nice and service , Équipe médicale d’urgence , La Manon on the Asphalt . Crim’ , Faites comme chez vous!, Lucas Ferré , La Fortune de Gaspard , Le Champs Camille Cayol (Mère Ubu) trained at the Dolent , Les Cordier Juge et Flic , Les Moscow National Conservatoire of Vagabonds de la Bastille , and Un Comedien Dramatic Art. Her theater credits include dans un Jeu de Quilles . He is featured in Chekov’s (Russian version) the films L’Homme qui Rit , Irene , Tout va and Racine’s Andromaque , both directed Mâle , Les Caprices d’un Fleuve , Fortune by Declan Donnellan; Isabelle Catalan’s Extress , Chouans! , Oppressions , Baignade Fantômes ; Ostrovsky’s The Storm . In Interdite , and La Canne . He has worked Russia, she was featured in Dostoevsky’s extensively with director and screenwriter The Idiot , Thomas Mann’s Confessions of Sarah Sarrabezolles. LINCOLN CENTER FESTIVAL 2015 UBU ROI

Christophe Gregoire (Père Ubu) trained Cécile Leterme (Queen Rosemonde) has with Radu Pensciulescu at the European studied modern languages, music, and the - Institute of Acting and with Sylvie Chenus ater. She has appeared in Declan at Roy Hart Theatre, and has further studied Donnellan’s production of Racine’s with Sylvain Maurice, Francine Berge, Andromaque , and in Goldoni’s The Little Maud Rayer, and Galin Stoev. His theater Square , Schartz’s Red Riding Hood , credits include Molière’s Le Tartuffe , Urbain’s La Fille du Diable , Paré and Chekov’s The Cherry Orchard , Gorky’s Urbain’s Le Roi Qui N’avait pas d’Oreiles , Summerfolk and Barbarians ; Racine’s and Moliére’s Le Bourgeois Gentilomme . Andromaque , directed by Declan She has worked with theater directors Donnellan; Ibsen’s Hedda Gabler , including Didier Ruiz, François Havan, Kerouac’s Good Blonde & Others , Anouch Paré, Bruno Cochet, and Cendre Steininger’s The Infliction of Being a Fly , Chassanne. Calvino’s Invisible Cities , Corneille’s Polyeucte , Koltès Sallinger , A Midsummer Sylvain Levitte (Bougrelas) trained at the Night’s Dream ; Kis, Plevnes, and Kovac’s Studio Theatre Asnières-sur-Seine and the Balkan Triptych: Three Pieces , Lenoir’s National Conservatoire of Dramatic Art in Competition , Crommelynck’s Le Cocu Paris. His theater credits include Declan magnifique , and works by Georg Kaiser. On Donnellan’s production of Racine’s television, he too has been on Ainsi-soilent Adndromaque , Tolstoy’s The Living Corpse , ils and PJ , and has appeared on Interpol , Nothomb’s Hygiene and the Assassin , Les Tocques , Guy Môquet, un amour Perec’s L’Augmentation , Mayorga’s The Boy fusillé ; La Cour des Grands . He has in the Last Row , Paquet’s Cérémonies , and appeard in the films La Mer a Boire , Hope Shakespeare’s Twelfth Night . He has City , Jean-Jean , and L’esclave de Magellan . appeared on television in episodes of Les Faux Monnayeurs and Alice Nevers: Le juge est une femme . LINCOLN CENTER FESTIVAL 2015 UBU ROI

About Cheek by Jowl In addition to their work in English and Cheek by Jowl was established in 1981 by Russian, the company also works in its co-Artistic Directors Declan Donnellan French. In 2007 Peter Brook invited and Nick Ormerod. The company is dedi - Donnellan and Ormerod to form a group of cated to producing fresh and vivid produc - French actors. The result was a French lan - tions that focus on the actor’s art. Cheek by guage production of Racine’s Andromaque , Jowl produces work in English, French, and co-produced with Paris’ Bouffes du Nord. Russian. To date, the company has per - The show toured throughout the UK and formed in 380 cities in over 50 countries Europe in 2008 and 2009. Ubu Roi is the spanning six continents. company’s latest production.

Cheek by Jowl’s first production was Ubu Roi Staff ’s The Country Wife for Voice Coach Valérie Bezançon the 1981 Edinburgh Festival. Soon after, its Fight Director François Rostain productions of Vanity Fair and Pericles Technical Director André Néri were seen at the 1984 Almagro, Valladolid, Lighting and Video Operator and Jerusalem festivals followed by perfor - Vincent Gabriel mances in London at the Donmar Sound Clémentine Bergel Warehouse. The company grew rapidly Wardrobe Manager Marina Aguilar throughout the 1980s, toured extensively Assistant Stage Manager/Props and giving more than 1,500 performances. Jeanne Birckel Company Manager and Operator In 1997 Donnellan and Ormerod directed Edward Fortes and designed The Winter’s Tale for St Consultant Producer Béatrice Catry Petersburg’s Maly Drama Theatre, a pro - (Théâtres et Cie) duction which went on to win Russia’s Golden Mask Award. Throughout the 1990s Cheek by Jowl Staff the Russian Theatre Confederation invited Executive Director Beth Byrne Cheek by Jowl to Moscow as a part of the General Manager Caroline Begalla Chekhov International Theatre Festival. In Development and Marketing Manager 1999 the Chekhov International Theatre Sarah Fortescue Festival, under the leadership of Valery Office Assistant and PA to the Directors Shadrin, commissioned Donnellan and Simone Ibbett-Brown Ormerod to form their own company of Archivist and Education Officer Russian actors. This company performs Dominic Kennedy both in Russia and around the world with a repertoire including Pushkin’s Boris Cheek by Jowl is proud to be an Artistic Godunov (which was seen at Lincoln Associate at the Barbican Centre, London, Center Festival in 2009), Shakespeare’s and of its longstanding partnership with Twelfth Night and , and Les Gémeaux–Scène National de Sceaux, Chekhov’s Three Sisters . 2013 saw Cheek Paris. by Jowl’s first full co-production in Russia with co-produced by Moscow’s Pushkin Theatre. LINCOLN CENTER FESTIVAL 2015 UBU ROI

Lincoln Center Festival campus. A presenter of more than 3,000 Now in its 20th season, Lincoln Center free and ticketed events, performances, Festival has received worldwide attention tours, and educational activities annually, for presenting some of the broadest and LCPA offers 15 series, festivals, and pro - most original performing arts programs in grams including American Songbook , Lincoln Center’s history. The Festival has Avery Fisher Artist Program, Great presented over 1,300 performances of Performers , Lincoln Center Books, Lincoln opera, music, dance, theater, and interdis - Center Festival , Lincoln Center Out of ciplinary forms by internationally acclaimed Doors , Lincoln Center Vera List Art Project, artists from more than 50 countries. To Midsummer Night Swing , Martin E. Segal date, the Festival has commissioned more Awards, Meet the Artist, Mostly Mozart than 42 new works and offered some 142 Festival , and the White Light Festival , as world, U.S., and New York premieres. It well as the Emmy Award-winning Live places particular emphasis on showcasing From Lincoln Center , which airs nationally contemporary artistic viewpoints and multi - on PBS. As manager of the Lincoln Center disciplinary works that challenge the campus, LCPA provides support and ser - boundaries of traditional performance. vices for the Lincoln Center complex and the 11 resident organizations. In addition, Lincoln Center for the Performing Arts LCPA led a $1.2 billion campus renovation, Lincoln Center for the Performing Arts completed in October 2012. (LCPA) serves three primary roles: presen - ter of artistic programming, national leader Acknowledgements in arts and education and community rela - Lighting Equipment PRG Lighting tions, and manager of the Lincoln Center Sound Equipment PRG Audio Looking At Festival h p l o d u R

s u a l K

Harry Partch’s Delusion of the Fury

incoln Center Festival isn’t only vocalist David Moss. Or at the Druid L about the nearly 60 exciting Theatre Company symposium, ask performances by companies from one of the creative geniuses behind around the world, it also offers DruidShakespeare: The History Plays opportunities for audiences and that nagging question about The Bard families to peek behind the curtain you’ve always wanted to pose. And with a variety of ancillary events—artist most importantly, help create the talks, lectures, a symposium, and next generation of great musicians! special programs for children. Introduce aspiring young virtuosos to instruments in the symphonic Care to learn more about the stunning orchestra, and help them discover puppetry in Rezo Gabriadze’s Ramona? their inner musician, when Cleveland In conjunction with the performances Orchestra members, horn player Hans of the show, LC Kids offers a hands- Clebsch and keyboardist Joela Jones, on puppet-building workshop led by lead . Who award-winning puppeteer Erin Orr. If Fantastic French Horn knows? It could be your young one’s Delusion of the Fury doesn’t completely first step toward taking the stage at satisfy your cravings for the daring Avery Fisher Hall one day! and original music of maverick composer Harry Partch, then come to For more information, and complete New York City Center to experience schedule of Lincoln Center Festival a hybrid lecture-performance of his and corresponding ancillary events, personal journal, Bitter Music, by visit LincolnCenterFestival.org.

Accessibility at Lincoln Center

eflecting a quote by Lincoln Center venues. Another major R Center’s first president John D. component of Accessibility is its Rockefeller III that “the arts are not for longstanding “Passport to the Arts.” the privileged few, but for the many,” The program annually distributes to Lincoln Center has had as a central children with disabilities thousands mission from its start making the of free tickets to a variety of Lincoln arts available to the widest possible Center performances, including audiences. In 1985, that led to the New York City Ballet and the New establishment of the Department of York Philharmonic—a welcoming Programs and Services for People with introduction to the arts. A parent who Disabilities to ensure full participation participated in a recent “Passport” in the thousands of events presented event commented “It allowed my annually across the Lincoln Center family and I to enjoy and learn along campus. It was the first such program with everyone else. The accessibility… at any major performing arts center made it easier for our family to “relax” in the U.S. and has long- and truly enjoy the served as a model for experience.” other arts institutions Accessibility is around the country. expanding the Celebrating its 30th ways it serves anniversary with a new adults with name, Accessibility disabilities. It at Lincoln Center, introduced and the program oversees American continues to provide Sign Language- exceptional guest led official tours care to all visitors, of Lincoln Center, as well as training and offers live in accessibility to audio description colleagues at Lincoln for select Lincoln Center’s resident Center Festival organizations, including performances. the Film Society of Accessibility Lincoln Center, the looks forward to growing its inclusive New York Philharmonic, and Jazz programs in the years to come. at Lincoln Center. Accessibility oversees the production To learn more about Accessibility of large-print and Braille programs at Lincoln Center, please contact for hundreds of performances taking [email protected] or call place each year at various Lincoln 212.875.5375.

The Table is Set

merican Table Café and Bar by AMarcus Samuelsson in Alice Tully Hall is a great dining option available to Lincoln Center patrons, along with Lincoln Ristorante on Hearst Plaza, indie food & wine in the Elinor Bunin Munroe Film Center, ‘wichcraft in the David Rubenstein Atrium, The Grand Tier in the Metropolitan , the new Lincoln Center Kitchen in Avery Fisher Hall, and the Espresso Bar, also in Avery Fisher.

Marcus Samuelsson, the youngest chef ever to be awarded a three-star review by The New York Times and the winner Marcus Samuelsson of the James Beard Award for both as well as top honors on Chopped All “Rising Star Chef” (1999) and “Best Stars: Judges Remix. His current New Chef: New York City” (2003), crafted York restaurant, the wildly successful the menu along with long-time associate Red Rooster, is located in his home Nils Noren, MSG’s Vice President of base of Harlem. Restaurant Operations. American Table Cafe and Bar by Marcus Samuelsson American Table Cafe and Bar seats 73 serves food that celebrates the diversity inside, plus more space outside on the of American cuisine, drawing on influ- Alice Tully Hall Plaza. Diller Scofidio + ences and regions from across the Renfro, the designers of the critically country. Dishes on the menu, which is acclaimed Alice Tully Hall, have trans- offered for both lunch and dinner, formed the glass-walled space with include Smoked Caesar Salad, Shrimp lounge-like furniture in warm, rich colors, Roll, and Chocolate Cardamom Panna a long communal couch, tree-trunk Cotta. The bar features a cocktail menu tables, and lighting that can be dimmed designed by consulting master mixolo- to adjust the mood. The design—an gist, Eben Klemm, as well as a selection eclectic reinterpretation of Americana— of reasonably-priced wines. draws its inspiration from the cafe’s culinary focus. Call 212.671.4200 for Marcus Samuelsson’s recently pub- hours of operation. lished memoir, Yes, Chef, chronicles his remarkable journey from being orphaned at age three in his native Ethiopia to his adoption by a family in Göteborg, Sweden, where he first learned to cook by helping his grandmother prepare roast chicken. He went on to train in top kitchens in Europe before arriving in New York, first taking the reins at Aquavit. He has won the television competition Top Chef Masters on Bravo

Learn More, Take the Tour

N LINCOLN CENTER, THE WORLD’S O T

N LEADING PERFORMING ARTS A T

S CENTER, is a premiere New York

N

A destination for visitors from around I R

B the globe. Did you know that tours of its iconic campus have made the Top Ten Tour list of NYC&CO, the official guide to New York City, for two year’s running? All tour options offer an inside look at what happens on and off its stages, led by guides with an encyclopedic knowledge of Visitors get a concert preview at rehearsal Lincoln Center, great anecdotes, and a passion for the arts. The daily one-hour Spotlight Tour covers the Center’s history along with current activities, and visits at least three of its famous theaters. Visitors can now also explore broadcast operations inside the Tisch WNET-TV satellite studio on Broadway, and see Lincoln Center’s newest venue, the Elinor Bunin Munroe Film Center, home to the largest Plasma screen in the nation on public display. Want more? A number of specialty tours are available: RADIO CITY MUSIC HALL & LINCOLN CENTER COMBO TOUR Experience two of New York City’s “must-see” attractions with one ticket. This package combines the Music Hall’s Stage Door tour of its Art Deco interior—which might include meeting a world-famous Radio City Rockette—with Lincoln Center’s Spotlight Tour, where a sneak peak at a rehearsal happens whenever possible. ART & ARCHITECTURE TOUR Lincoln Center’s 16-acre campus has one of New York City’s greatest modern art collections, with paintings and sculpture by such internationally acclaimed artists as Marc Chagall, Henry Moore, and Jasper Johns. The tour not only examines these fine art masterworks, it also explores the buildings and public spaces of visionary architects like Philip Johnson, as well as the innovative concepts of architects Diller Scofidio+ Renfro with FXFOWLE, Beyer Blinder Belle, and Tod Williams Bille Tsien, designers of the campus’ $1.2 billion renovation. Inside the David H. Koch Theater

EVEN MORE TOUR OPTIONS Lincoln Center offers Foreign N O

Language Tours in five languages: French, German, Italian, T N A

Japanese, and Spanish, in addition to American Sign T S

Language tours. Visitors with a special interest in jazz can take N A I the Jazz at Lincoln Center Tour of the organization’s gorgeous R B venues at the Times Warner Center, the only facilities created specifically for the performance of jazz music. And Group Tours of more than 15 people get a discount. For more information, click on LincolnCenter.org/Tours.To book a tour, call (212) 875.5350, email [email protected], or visit the Tour and Information Desk in the David Rubenstein Atrium at Lincoln Center, located on Broadway between 62nd and 63rd Streets. –Joy Chutz 

Young Patrons of Lincoln Center

WHO SAYS THE NIGHTLIFE FOR YOUNG PROFESSIONALS IS DOWNTOWN? Young Patrons of Lincoln Center (YPLC) is a dynamic network of urban professionals in their 20s to early 40s making a splash way above 14th Street. With an annual contribu- tion of $250, YPLC members enjoy year-round opportunities to experience the finest performing arts up-close-and-personal. The core of YPLC’s programming is the popular 101 Series, which brings members together for bi-monthly cocktail parties with live performances where they meet like- minded arts enthusiasts and interact with the artists. Recent 101 events have included Ballet 101: The Nutcracker with dancers from the New York City Ballet; Mixology 101 at Lincoln Ristorante; and Lincoln Center 101 with Harvard Business School professor Allen Grossman. Beyond events produced especially for YPLC, members also receive email updates and invitations to Lincoln Center’s broader programming, including reserved seating at American Songbook, Great Performers, and Lincoln Center Festival. In July 2011, eighty young professionals went to see performed by the Royal Shakespeare Company at the Park Avenue Armory, and were joined by the cast at an exclusive cham- pagne after-party at the Nespresso Boutique on Madison Members Walter Hack and Katherine Carey smile for Avenue. the camera at a YPLC mixer To support this flourish of activity, YPLC hosts an annual black tie gala. The event attracts more than 600 young philanthropists who raise a glass to celebrate and support the spectacular redevelopment of Lincoln Center’s campus with hors d’oeuvres, open bar, and dancing into the night. And it doesn’t stop there. By flashing their purple membership card, YPLC members receive discounts at restaurants and retailers in the Lincoln Center neighbor- hood. For those who are volunteer-oriented, YPLC offers an opportunity to participate on committees focused on outreach, education, and fundraising. Funds raised through YPLC events, along with annual membership contributions, support projects that bring new audiences to Lincoln Center. With four hundred members and counting, YPLC is committed to cel- ebrating and supporting the world’s leading performing arts center, and has a lot of fun in the process.

For more information on YPLC membership and events, visit www.lincolncenter.org/yplc, email [email protected] or call 212.875.5236. YPLC is sponsored by Nespresso. presents The“A” L i s t

Mimosas by Donald Sultan

THE LIST OF WORLD-CLASS PERFORMING ARTISTS who have appeared at Lincoln Center would easily fill up several pages of this book. There is, however, an entirely differ- ent list of high-profile artists whose works have been commissioned by and created espe- cially for Lincoln Center: the visual artists of Lincoln Center’s Vera List Art Project. The program’s catalogue of major contemporary artists includes the likes of Helen Frankenthaler, Robert Rauschenberg, Gerhard Richter, Jennifer Bartlett, and Chuck Close, to mention just afewofitscelebratednames.Infact,withmorethan200commissionedworks,thecol- lection has been aptly described as a history of the graphic arts in America. The List program was made possible by Albert and Vera List, who wanted a visual arts component to promote the new performing arts complex of Lincoln Center. Beginning in 1962 with the first limited edition serigraph poster by Ben Shahn announcing the opening of Philharmonic Hall, the collection has since become one of the longest continually publishing print programs in the country. And, the outstanding production quality and stature of the participating artists have made these artworks highly collectable and affordable investments. For instance, an early Andy Warhol poster that cost $30 at its release is now priced at more than $1,000. Selections from the List catalogue have been exhibited throughout the U.S. and Europe—including an annual show during Art Basel/Miami—and are included in the Library of Congress and notable public and private collections as well. For more information and to purchase artworks from the List catalogue, call at 212.875.5061. The List collection can also be viewed online at the Posters & Prints E-store at www.Art.LincolnCenter.org. Joy Chutz