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Théâtre Des Bouffes Du Nord: the Suit LOS ANGELES PREMIERE

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Théâtre Des Bouffes Du Nord: the Suit LOS ANGELES PREMIERE Théâtre des Bouffes du Nord: The Suit LOS ANGELES PREMIERE Wed, Apr 9 at 8pm Based on The Suit by Can Themba, Mothobi Mutloatse and Barney Simon. Thu, Apr 10 at 8pm Direction, adaptation and musical direction by Fri, Apr 11 at 8pm Peter Brook, Marie-Hélène Estienne and Franck Krawczyk Sat, Apr 12 at 2pm & 8pm Sun, Apr 13 at 2pm Lighting by Philippe Vialatte Thu, Apr 17 at 8pm Costumes by Oria Puppo Assistant director: Rikki Henry Fri, Apr 18 at 8pm Sat, Apr 19 at 8pm With Jordan Barbour, Ivanno Jeremiah, Nonhlanhla Kheswa Freud Playhouse at Macgowan Hall Musicians Arthur Astier (guitar), Mark Christine (piano), Mark Kavuma (trumpet) PERFORMANCE DURATION: 75 minutes; No intermission Production Manager/Lighting Manager Pascal Baxter Company Manager/Stage Manager: Thomas Becelewski Supported in part by the Merle & Peter Mullin Endowment for the Performing Première in Paris at Théâtre des Bouffes du Nord on 3rd April 2012 Arts, the Shirley & Ralph Shapiro Director’s On tour during the 2012/2013 and 2013/2014 seasons Discretionary Fund with additional support by Diane Levine and Robert Wass and the Production : C.I.C.T. / Théâtre des Bouffes du Nord Center for Global Management at the UCLA Coproduction: Fondazione Campania dei Festival / Napoli Teatro Festival Italia, Les Théâtres Anderson School of Management de la Ville de Luxembourg, Young Vic Theatre, Théâtre de la Place – Liège With the support of the C.I.R.T. MEDIA SPONSOR: MESSAGE FROM THE CENTER: Stories are important. Storytelling is a driving force in the ethos of the art of performance. Artists tell stories through myriad mediums--body movement, theater productions, writing, visual arts, photography--opening up windows to worlds and thoughts and ideas. It’s a fascinating prospect to consider all the whys and hows of the stories we tell, the stories we absorb, the stories that resonate within us most strongly. And it’s fascinating to think about our obvious need to re-tell stories, to revisit worlds and thoughts and ideas in both new and traditional ways. The Suit is a story within a story within a story. The plot itself tells one tale, how the fury and frustration of a husband to a wife plays out against a backdrop of the fury and frustration of an entire community. The fact that this tale has survived to be seen at all is yet another story, the author of this work having been posthumously revived from obscurity. And the fact that this production reflects the second time Peter Brook and his collaborators have come to this piece of work, presenting it in its original language, tells another story. The makers and performers of this production are writing yet another landscape, opening another window into the soul of a story and its original teller. It’s a mighty and worthy undertaking and a powerfully compelling thing to witness. How do we uncover, decipher, decide which stories should and can be told and re-told? Perhaps the only way to know is to tell them, to witness them, to experience them for ourselves. And so, here we gather, for a precious moment in time, to experience this particular story, with all its color and texture and palpable gravity through the lens of one of the greatest theater makers of our time. It is a great privilege to present The Suit and a great pleasure to ABOUT THE SUIT welcome you here to experience it with us. What was it that pushed us to return to le Costume – a play that had Thank you and enjoy. already toured the world in French for many years? The answer is quite simple – nothing in the theatre stands still, some themes just wear out, while others long to live again. It all began in South Africa in the 50s when a brilliant black author, Can Themba, wrote a short story called The Suit. “This will change our life and make our fortune,” he told his wife, but fate decided otherwise. Apartheid decided otherwise. Like all black authors dead or alive his books were banned, and Can Themba was exiled to Swaziland where he quickly died of poverty sadness and drink. Many years went by before it was possible to turn it into a play. The first version came into being in Johannesburg at the Market Theatre, it went to London and became, later, in a new adaptation le Costume. It was quite natural for the trio of A Magic Flute to come together again to present The Suit in its original language – English. Letting music from different sources to be heard – from Franz Schubert to Miriam Makeba – plaid and sang by a small group of actors and musicians. So a new adventure begins. Peter Brook – Marie Hélène Estienne – Franck Krawczyk SYNOPSIS Giovanni for the Aix en Provence Festival and Une Flûte Enchantée at the Théâtre des Bouffes du Nord (2010). The story of The Suit centres on Philomen, a middle-class lawyer, and his wife, Matilda. The suit of the title belongs to Matilda’s lover and is Peter Brook received many rewards, such as the “Prix du Brigadier“ for left behind when Philemon catches the illicit couple in flagrante. As Timon of Athens (1975), the “Molière” for the direction of The Tempest punishment, Philemon makes Matilda treat the suit as an honoured (1991), the “Grand Prix SACD” in 2003 or the “Molière d’honneur“ guest. She has to feed it, entertain it and take it out for walks as a in 2011. Other productions were more recently rewarded, such as constant reminder of her adultery. But the set- ting of Sophiatown, a Fragments (“Prix Premio Ubu“ for the best foreign production in Italy/ teeming township that was erased shortly after Themba wrote his novel, Milano, 2008), Une Flûte enchantée (“Molière“ of musical theater, Paris is as much a character in the play as the unfortunate couple, and this 2011; Moroccan Federation of Theater’s professionals, Marrakech 2013). production lends it life and energy even with a minimal cast. Peter Brook’s autobiography, Threads of Time, was published in 1998 and joins other titles including The Empty Space (1968) – translated into ABOUT THE ARTISTS over 15 languages, The Shifting Point (1987), There are no Secrets (1993), Evoking (and Forgetting) Shakespeare (1999) and With Grotowski Peter Brook (2009). His films include Moderato Cantabile (1959), Lord of the Peter Brook was born in London in 1925. Throughout his career, he Flies (1963), Marat/Sade (1967), Tell me lies (1967), King Lear (1969), distinguished himself in various genres: theater, opera, cinema and Meetings with Remarkable Men (1976), The Mahabharata (1989) and writing. He directed his first play there in 1943. He then went on to The Tragedy Of Hamlet (2002). direct over 70 productions in London, Paris and New York. His work with the Royal Shakespeare Company includes Love’s Labour’s Lost Marie-Hélène Estienne (1946), Measure for Measure (1950), Titus Andronicus (1955), King Lear In 1974, she worked with Peter Brook on the casting for Timon of (1962), Marat/Sade (1964), US (1966), A Midsummer Night’s Dream Athens, and consequently joined the Centre International de Créations (1970) and Antony and Cleopatra (1978). Théâtrales (CICT) for the creation of Ubu aux Bouffes in 1977. She was Peter Brook’s assistant on La tragédie de Carmen, Le In 1971, he founded with Micheline Rozan the International Centre for Mahabharata and collaborated to the staging of The Tempest, Theatre Research in Paris and in 1974, opened its permanent base in the Impressions de Pelléas, Woza Albert !, La tragédie d’Hamlet (2000). Bouffes du Nord Theatre. There, he directed Timon of Athens, The Iks, She worked on the dramaturgy of Qui est là. With Peter Brook, she Ubu aux Bouffes, Conference of the Birds, L’Os, The Cherry Orchard, co-authored L’homme qui and Je suis un phénomène shown at the The Mahabharata, Woza Albert!, The Tempest, The Man Who, Théâtre des Bouffes du Nord. She wrote the French adaptation of the Quiest là, Happy Days, Je suis un Phénomène, Le Costume, The Tragedy Can Themba’s play Le costume, and Sizwe Bansi est mort, by authors of Hamlet, Far Away, La Mort de Krishna, Ta Main dans la Mienne, Athol Fugard, John Kani, and Winston Ntshona. In 2003 she wrote the The Grand Inquisitor, Tierno Bokar, Sizwe Banzi, Fragments, Warum French and English adaptations of Le Grand inquisiteur – The Grand Warum, Love is my Sin, 11 and 12 and lately The Suit – many of these Inquisitor based on Dostoievsky’s Brothers Karamazov. She was the performing both in French and English. author of Tierno Bokar in 2005, and of the English adaptation of Eleven and Twelve by Amadou Hampaté Ba in 2009. With Peter Brook, she co- In opera, he directed La Bohème, Boris Godounov, The Olympians, directed Fragments, five short pieces by Beckett, and again with Peter Salomé and Le Nozze de Figaro at Covent Garden; Faust and Eugene Brook and composer Franck Krawczyk, she freely adapted Mozart and Onegin at the Metropolitan Opera House, New York, La Tragédie de Schikaneder’s Die Zauberflöte into Une flûte enchantée. Carmen and Impressions of Pelleas, at the Bouffes du Nord, Paris, Don Franck Krawczyk Jordan Barbour Composer, born in 1968, Franck Krawczyk started his musical training Jordan Barbour is an actor and singer based out of New York City. in Paris (piano, analysis, harmonization) then in Lyon (composition) Born in Willingboro, New Jersey in 1983, Jordan began working where he currently teaches chamber music at the Conservatory professionally while still in high school before moving to New York, (CNSMD).
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