BAM 2013 Next Wave Festival #RimeoftheAncientMariner
Brooklyn Academy of Music
Alan H. Fishman, Chairman of the Board
William I. Campbell, Vice Chairman of the Board
Adam E. Max, Vice Chairman of the Board
Karen Brooks Hopkins, President
Joseph V. Melillo, Executive Producer The Rime of the Ancient Mariner
By Samuel Taylor Coleridge Directed by Phyllida Lloyd
BAM Harvey Theater Dec 10—12, 17—19 at 7:30pm Dec 13, 14, 20, 21 at 7pm & 9pm Dec 15, 22 at 3pm Approximate running time: 45 minutes, no intermission BAM 2013 Next Wave Festival sponsor Performers Fiona Shaw Daniel Hay-Gordon
Diverse Voices at BAM sponsored by Composition and sound design by Mel Mercier Time Warner Inc. Lighting design by Jean Kalman and Mike Gunning
Additional support provided by Set design by Chloé Obolensky Jon & NoraLee Sedmak Choreography by Kim Brandstrup
Major support for theater at BAM provided by: The Morris and Alma Schapiro Fund The SHS Foundation The Shubert Foundation, Inc. The Rime of the Ancient Mariner
Additional production credits
Sound engineers Veronique Haddelsey and Danve Sanderson Assistant designer Matt Deely Assistant designer Malika Chauveau Stage manager Emma Cameron Producer Claire Béjanin Producer Taylor Thomson
SYNOPSIS In Samuel Taylor Coleridge’s 1798 poem in seven sections, a mariner who had just returned from sea tells a wedding guest the tale of his strange voyage of hardship and curious events. His ship encounters a savage storm and is stuck in ice. He shoots an albatross that had trailed the ship. The wind stills and the ship becomes stranded, immobile. Its parched crew hangs the dead bird around the mariner’s neck, a symbol of lost salvation and guilt. A ghost ship appears and its two ghostly passengers win the souls of his crew on a gamble. After a series of more mysterious events, including a renewal in faith, the mariner eventually returns to shore, where he is compelled to wander and recount his story again and again.
ABOUT SAMUEL TAYLOR COLERIDGE Samuel Taylor Coleridge (1772—1834) was born in Devonshire, England, the youngest of a vicar’s 13 children. He studied at Jesus College, Cambridge University, and pursued politics with an idealistic fervor, espousing the ideals of the French Revolution. He became friends with poet Robert Southey; they envisioned forming a type of commune based on egalitarian principles. It never came to fruition, but the tenets would help shape his ensuing philosophy, including a renewed appreciation of nature. With fellow poet William Wordsworth, Coleridge started the English Romantic movement; they published Lyrical Ballads (1798), which began with Coleridge’s Rime of the Ancient Mariner and closed with Wordsworth’s Tintern Abbey. He immersed himself in the writings of German thinkers, such as Kant and Schlegel, and absorbed influences from German Romanticism. Coleridge, Wordsworth, and Southey wound up living near one another in the northern British Lake District, earning them a moniker, the Lake Poets. In addition to his poetry, he was a revered literary critic and lecturer. Considered a great intellectual as well as a magnetic personality, Coleridge also suffered from weaknesses that influenced his oeuvre: drowsing from the effects of opium prescribed for rheumatism and ill health, he imagined one of his renowned poems, Kubla Khan, only to have much of it recede from memory while his transcription of it was interrupted. Nonetheless, it emerged as one of his great achievements, alongside Rime. The Rime of the Ancient Mariner Fiona Shaw and Daniel Hay-Gordon. Hubert Photo: Robert Fiona Smith Who’s Who
Fiona Shaw, one of the UK’s most celebrated stage actresses, trained at RADA where she was awarded the Bancroft Gold Medal. Her work in New York includes Medea at BAM for which she won an Obie; it transferred to Broadway where she was nominated for a Tony Award. Additional productions include The Waste Land (New York Critics Award); Death, Destruction and Detroit; My Life is a Fairy Tale (Lincoln Center Festival); and Happy Days and John Gabriel Borkman at BAM. Last spring she performed in The Testament of Mary on Broadway which received three Tony nominations. In London she recently performed in London Assurance, Mother Courage, and Scenes from an Execution at the National Theatre, and The Rime of the Ancient Mariner (dir. Phyllida Lloyd) which toured to Greece. Other major stage productions include, at the National Theatre: The Prime of Miss Jean Brodie and The Way of the World both directed by Phyllida Lloyd; Richard II; Hedda Gabler (London Critics Award); The Good Person of Szechuan (Laurence Olivier Award and Evening Standard Drama Award for Best Actress); and Stephen Daldry’s Machinal (Olivier Award). Shaw performed in a world tour of The Waste Land; Mother Courage (dir. Deborah Warner); The Rivals; Bloody Poetry and Philistines; Les Liaisons Dangereuses; Mephisto; Much Ado About Nothing; The Mer- chant of Venice; Hyde Park; and The Taming of the Shrew for the Royal Shakespeare Company, and The Seagull (dir. Peter Stein). She received the Laurence Olivier Award for Best Actress for her portrayal of Rosalind, and received an Olivier Award and a London Critics Award for the role of Electra. Film credits include: My Left Foot, Mountains of the Moon, The Butcher Boy, Three Men and a Little Lady, The Last September, Terrence Malick’s The Tree of Life, The Black Dahlia, and the Harry Potter films. On television, her many roles include Hedda Gabler, The Waste Land, Richard II, Persuasion, Gormenghast, and True Blood for HBO. She has directed four operas including, recently, The Rape of Lucretia (Glyndbourne). Shaw was awarded doctorates from the National University of Ireland and Trinity College Dublin. The French government has awarded her an Officier de l’ordre des Artes et des Lettres, and she has received a CBE from the Brit- ish government.
Daniel Hay-Gordon, born in London, trained in ballet and contempo- rary dance at Rambert, graduating in 2009. He has worked as a freelance dancer and performer throughout Europe and the US, working with compa- nies including English National Ballet, Rambert, Tanztheater Wuppertal Pina Bausch, National Dance Company Wales, Royal Opera House Covent Garden, and English National Opera. Hay-Gordon has performed for and with many different artists including choreographers, directors, writers, musicians, and actors: Deborah Warner, Fiona Shaw, Darshan Singh Bhuller, Itzik Galili, Kim Brandstrup, Nigel Charnock, Aletta Collins, Joanna Fong, Jonathan Lunn, Garry Clarke, Andonis Foniadakis, Wayne McGregor, Scott Walker, Simon Rattle, and the Berlin Philharmonic, Phyllida Lloyd, Sophie Bevan, Tom Dixon, Bill T. Jones, Tobias Picker, and Oliver Sachs. He also creates his own work for stage and film. He recently co-established Impermanence Dance Theatre, makes short dance films for YouTube and is currently curating and performing in cabaret evenings in London and Berlin. Who’s Who
Phyllida Lloyd (director) has directed the Mercier has performed and recorded with pianist films The Iron Lady (Pathe/DJ Films/ Film Four), and composer Mícheál Ó Súilleabháin and with Mamma Mia! (Universal Pictures), and Gloriana many other leading Irish traditional musicians for a Film (TV) (Illuminations Films). London theater more than 30 years. Throughout the 1980s he includes: Josephine and I (Bush Theatre), Six performed in Europe and the US with John Cage Degrees of Separation, Hysteria, Wild East and the Merce Cunningham Dance Company (Royal Court), The Threepenny Opera, Boston (Roaratorio, Inlets, Duets). Recent composition Marriage (Donmar Warehouse), Mary Stuart in theater includes Sétanta (Irish Times Theatre (Donmar Warehouse, Apollo, and Broadway Award nom., Fibín/Abbey Theatre); Happy in 2009), Julius Caesar (Donmar Warehouse Days (NT; European tour; Washington, DC; and and St Ann’s Warehouse, NY), The Rime of the BAM); Julius Caesar (Barbican, Paris, Madrid, Ancient Mariner (Old Vic Tunnels), The Way of Luxembourg); Fewer Emergencies (Royal Court the World, Pericles, What the Butler Saw, The Theatre); Medea (Drama Desk nom., Abbey, Prime of Miss Jean Brodie, The Duchess of Malfi West End, Broadway, Paris). (Royal National Theatre), Artists and Admirers, The Virtuoso (RSC), and Mamma Mia! (London, Jean Kalman (lighting designer), born in Paris Broadway, and worldwide). Opera: La Bohème, in 1945, has worked extensively as a designer, Medea, Carmen, L’Etoile, Gloriana, Albert lighting designer, and visual artist for dance, the- Herring, Peter Grimes (Opera North), Macbeth ater, and opera since 1979. He has collaborated (Paris/ROH), The Handmaid’s Tale (Copenhagen, for stage productions with directors Peter Brook, ENO, and Toronto), and The Carmelites, Verdi’s Lev Dodin, Deborah Warner, Richard Eyre, Rob- Requiem, Rhinegold, Valkyrie, Siegfried, and ert Carsen, Adrian Noble, and Pierre Audi; danc- Twilight of the Gods (ENO). For Gloriana a Film, ers and choreographers such as Kazuo Ohno, she received an International Emmy, a FIPA d’Or, Min Tanaka, and Kim Brandstrup; visual artists and the Royal Philharmonic Society Award. She Karel Appel, Richard Serra, Georg Baselitz, Ian- won the South Bank Show Award for both Mary nis Kounellis, and Anish Kapoor; and composers Stuart (2005) and Peter Grimes (2006), and including Mauricio Kagel, Heiner Goebbels, and was awarded a CBE in 2012. Misato Mochizuki. With Christian Boltanski he co-created a number of memorable installations, Mel Mercier (composer) is a composer, per- some of them with composer Franck Krawczyk. former, academic, and teacher. He is head of the Recently, he created a major work for the Aichi School of Music and Theatre, University College Art Triennale (Japan) in collaboration with com- Cork, where he teaches Irish, African, Indian, poser and visual artist Tomoko Mukaiyama. In and Indonesian music. Recent projects: original 1991 he received the Lawrence Olivier Award for music for Fiona Shaw/Phyllida Lloyd’s The Rime best lighting designer; Drama Desk Awards for of the Ancient Mariner (Epidaurus, Greece/Old outstanding lighting design in 1997 and 2011; Vic Tunnels, London); soundscape for Peace 2004 Evening Standard Award for best lighting Camp, a coastal installation created by Deborah design; and a 2009 Green Room Award for best Warner in collaboration with Fiona Shaw (Lon- lighting design (Australia). Since 2012, he has don 2012 Festival); and performances of John been associated artist at the Royal Shakespeare Cage’s Roaratorio: An Irish Circus on Finnegans Company. Wake (Cologne/Amsterdam—Cage Centenary). The Richard B. Fisher Next Wave Award
Behind every great arts presenter there are great supporters, and few of BAM’s friends have exemplified that better than Richard B. Fisher (1936—2004). A rare visionary in both professional and philanthropic endeavors, Dick Fisher understood and championed the creation of a strong endowment which enabled BAM to continue presenting its signature groundbreaking programming, even in difficult times. As Chairman of the BAM Endowment Trust from 1992—2004, Dick shared financial expertise from years as president, chairman, and chairman emeritus of Morgan Stanley, and he guided investments as the pledges reached $50 million. BAM’s newest facility, the BAM Richard B. Fisher Building, is named in lasting tribute to this great BAM supporter.
Dick Fisher’s generosity throughout his life continued, even with his passing, in the form of a landmark bequest. To honor Dick’s friendship to BAM and recognize the legacy of progressive arts presentations he helped ensure in Brooklyn, BAM is proudly presenting an annual Richard B. Fisher Next Wave Award. Each year, members of the Fisher family work with BAM to select the artist or company that best exemplifies Dick’s forward-thinking ethos and passion for the arts, using this opportunity to celebrate Richard B. Fisher in perpetuity. Past recipients have included Pina Bausch, Charles Mee, Bill T. Jones, Robert Wilson, Mark Morris, and Kronos Quartet.
The 2012 Richard B. Fisher Next Wave Award honors Anne Bogart and the SITI Company production of Trojan Women (After Euripides). Since its founding by directors Anne Bogart and Tadashio Suzuki in 1992, SITI Company has redefined contemporary theater in the United States through an innovative approach to collaboration, cultural exchange, and actor training. An ensemble theater based in New York that tours extensively throughout the United States and internationally, SITI serves as a creative home for a core group of artists: ten actors, four designers, Bogart, and an extraordinary list of collaborators. Working together, SITI has not only reimagined what is possible both on and off the stage, but, more broadly, what it means to be a global artist in the new millennium.
SITI is dedicated to the creation of new work, the training of young theater artists, and to international collaboration. Through the company’s performances, educational programs and collaborations with other artists and thinkers, SITI continues to challenge the status quo, to train to achieve artistic excellence in every aspect of its work, and to offer new ways of seeing and of being as both Next Wave Award artists and as global citizens. SITI Company made its Next Wave Festival debut in the 2000 Next Wave Festival with its production of War of the Worlds, directed by Anne Bogart. The company returned to the Festival with bobrauschenbergamerica (in 2003), and Hotel Cassiopeia (in 2007)—both directed by Anne Bogart.
In order to pay tribute to Dick Fisher, who was afflicted with childhood polio and subsequently required the assistance of canes throughout his lifetime, the Fisher Award is a beautifully designed walking stick commissioned by Brooklyn visual artist Chris Gullian, who drew his inspiration from Dick’s interests and the architecture of BAM’s Peter Jay Sharp Building.
The Fisher Next Wave Award presentation will take place on Wednesday, November 28 on the stage of the BAM Harvey Theater prior to the opening night performance of Trojan Women (After Euripides). BAM President Karen Brooks Hopkins will present the Fisher Award to Anne Bogart. And be sure to visit BAM’s newest facility, the BAM Richard B. Fisher Building, located at 321 Ashland Place around the corner from BAM’s flagship Peter Jay Sharp Building. The BAM Fisher is an intimate and versatile venue for emerging performers in dance, theater, and music, as well as the new home for BAM’s education and community programs. Highlights of the expanded programming include the launch of the BAM Professional Development Program, an initiative designed to help Brooklyn artists increase institutional capacity, and new and expanded education programs, expected to result in a 50% increase in the total number of students served. Who’s Who
Chloé Obolensky (costume and set design- phers celebrating the final evening of dance com- er) designs sets and costumes for theater, opera, missioned by Monica Mason as artistic director and film. Educated in England and France, she of the Royal Ballet; Eidolon, Ghosts (Royal Dan- began her career in the theater as assistant to ish Ballet); Invitus Invitam and Rushes (Royal Lila de Nobili and Yannis Tsarouchis before de- Ballet); and Goldberg (ROH2). Choreography for signing for the stage. She began a long-standing opera includes Medée (Théâtres des Champs collaboration with Peter Brook in 1980 with The Elysees, Paris) and Guillaume Tell (Netherlands Cherry Orchard, followed by Carmen and The Opera with Metropolitan Opera, New York), dir. Mahabharata (stage and film), which continues Pierre Audi; English National Opera: Death in to the present day. Other notable collaborations Venice, Messiah, Eugene Onegin, dir. Deborah include projects with Deborah Warner and Er- Warner (ENO, 2013 Met Opera Gala, New York); mano Olmi (Salzburg Festival), Lev Dodin (Opéra The Marriage of Figaro, dir. Fiona Shaw; The National, Bastille, and Maly Theatre, St. Peters- Fairy Queen (Glyndebourne, Paris, New York), burg), and Alfredo Arias, Giancarlo Menotti, and dir. Jonathan Kent; Fall of the House of Usher, Mauro Bolognini (La Scala). Recent productions incorporating L’après midi and Jeux (Bregenz), in 2012 include Eugene Onegin (ENO, 2012; dir. Phyllida Lloyd; Pulcinella (Birmingham Royal Met Opera, 2013); Dido and Aeneas (set and Ballet); White Lead (Royal Swedish Ballet); Two costumes, Opèra Comique), Julius Caesar (Paris, Footnotes for Ashton (ROH2, Russia, New York, Barbican), and Death in Venice (ENO, Brussels, Bucharest); a film with the Brothers Quay to Milan), all directed by Deborah Warner, and Anti- celebrate the 400th anniversary of Monteverdi’s gone at Epidaurus (Greek Festival). In produc- Orfeo; Theme and Inversion (White Christmas); tion: Fidelio (La Scala, Milan, 2014). She was Songs of a Wayfarer (Rambert, UK tours); Piano awarded the Molière Prize for costumes in 2000, Tuner of Earthquakes (Brothers Quay film); and her book The Russian Empire: A Portrait in Afsked (Out of Denmark, also Dance Umbrella Photographs has been published by Random Gala, London, Bucharest). Among many new House in the US, UK, and Europe. pieces are Queen of Spades (Montreal); In Place of Stone (Norwegian Ballet); and The Sleeping Kim Brandstrup (choreographer) studied Beauty (Royal New Zealand Ballet). filmmaking in Denmark and dance at the London Contemporary Dance School, and won the Veronique Haddelsey’s (sound engineer) 2010 Olivier Award for best new dance piece for theater credits include: Les Misérables, Miss Goldberg—The Brandstrup-Rojo Project, Royal Saigon, Secret Garden, Into the Woods, The Opera Covent Garden. Current and recent work Baker’s Wife, Lord of the Rings, Brief Encounter, includes Ceremony of Innocence (Royal Ballet Mother Courage, The Umbrellas of Cherbourg, in co-production with Aldeburgh Festival 2013 and Old Vic Tunnels. Live Events: Nelson Man- and DanceEast, as part of an evening of work dela Birthday Celebrations, Hyde Park; Royal by Benjamin Britten to commemorate the Britten Gala Opening of St. Pancras International; and Centenary); Metamorphosis—Titian, co-cho- the opening and closing ceremonies for the Van- reographed with Wayne McGregor as part of an couver Olympic Games, 2012 London Olympics, evening of three new ballets by seven choreogra- and the 2012 London Para Olympics Games. Who’s Who
Mike Gunning (lighting designer) has Celtic Woman, Dublin. He was also designer designed lighting for The Drowned Man (Punch for Full Moon in March (LFO Warehouse); the Drunk); Dangerous Lady (Theatre Royal Stratford Southwark Splash projects, Royal Festival Hall; East); The Second Mrs. Tanqueray, The Snow and Sun & Heir and Voices of the Future (ROH Queen, Here (Rose Theatre Kingston); The Education). He collaborated with designer Kimie Resistible Rise of Arturo Ui, The Alchemist Nakano on 2 Graves (Arts Theatre); Pas, Pas (Everyman, Liverpool); The Wizard of Oz (Royal moi and Va et vient (Beckett, Lyon); Petra von Festival Hall); The Jew of Malta and Aunt Dan Kant (Southwark Playhouse); and Ali to Karim and Lemon (Almeida); Julius Caesar and School (US tour). As a video artist: La nuit du train de for Scandal (Barbican Theatre and international la voie lactée (Paris) and The Little Prince (Le venues); Medea (Broadway); Tales from the Grandes Ballets, Montreal). Art director: the Tor Vienna Woods (Olivier Theatre, RNT); Asylum Hill 2012 Olympics opening ceremony. Associate and Hansel & Gretel (Kneehigh); Shakespeare: set designer: The Master and Margarita (Com- The Man from Stratford (Ambassador Theatre); plicite) and Le Troyens (Royal Opera House). He Kafka’s Monkey, Joe Turner’s Come and Gone, recently worked with the Punchdrunk set design The Brothers Size, and Eurydice (Young Vic); team on The Drowned Man (Paddington) and is Richard III, Twelfth Night, Henry V, and The currently designing a set for a TV adaptation of Blue Angel (RSC). Opera includes: Il Trovatore the play Guaranteed by Colin Murphy (Dublin) (Royal Opera House), Dido & Aeneas (Deborah and a set for the US tour of Celtic Woman. Warner); Il Trovatore, Ernani, Rigoletto, St. John Passion, Tristan and Isolde, and La Bohème Malika Chauveau (assistant designer) has (ENO); and Manon Lescaut, Fedora, Madame been set designer for J.P. Rossfelder (Le Partage Butterfly, and L’elisir d’amore (Holland Park de midi, Les Ascensions de Cyrano), S.Douret Opera). Dance includes: Boy Blue (Barbican). (Le Mandat), P.E. Heymann (Rabelais à Table), Marion Maret (Le Fil Invisible, Botan Dhôrô), Ab- Matt Deely (assistant designer) studied bas Kiarostami (Così fan tutti, English National at Motley and was associate set designer for Theatre, London), Alfredo Arias (Truismes and Stefanos Lazaridis on over 20 operas including Buenos Arias), Philippe Decouflé (Opticon—DCA Lohengrin, Bayreuth, Faust (Munich); Macbeth exhibition, Paris). Since 2003, she has assisted (Zurich); A Midsummer Night’s Dream (Venice); Chloé Obolensky on Dido et Enée (dir. Deborah Greek Passion, Wozzeck, and Wagner’s Ring Cy- Warner), Berenice (Lambert Wilson), Antigone cle (Royal Opera House); and The Italian Season and Bella Venezia (L. Voyatzis), and Les Rev- (ENO). He was set designer for iTMOi, Akram enants (Stein Winge). Khan Dance Company; Symphony no. 9 and Ro- meo & Juliet (costumes by Yolanda Sonnabend), K-Ballet, Tokyo; and the Christmas TV special, Who’s Who
Emma Cameron (stage manager) trained the MC93 at Bobigny she produced many varied at Rose Bruford College. Her work in stage productions by Deborah Warner, Robert Wilson, management includes: Shunkin, A Disappearing Steve Reich, Peter Greenaway, Peter Sellars, Number, Measure for Measure, and A Minute Philip Glass, Lev Dodin, to name a few. Her first too Late (Complicite); Peacecamp (Cultural collaboration with BAM was on Sarah Kane’s Olympiad 2012); The Wasteland (Wilton’s Music 4.48 Psychose, staged by Claude Régy and Hall and International Tour); Mother Courage, starring Isabelle Huppert in 2005, and James Happy Days (National Theatre and international Thiérrée on both Bright Abyss in 2005 and Au tour); The Rose Tattoo, Connections (National Revoir Parapluie in 2007. She was the interna- Theatre); Ark-Ive and Babel (Wildworks); Drunk tional producer for the Bridge Project (produced Enough To Say I Love You?, Aunt Dan and by BAM, the Old Vic & Neal Street and directed Lemon, Motortown, and Woman and Scarecrow by Sam Mendes) for three years, culminating (Royal Court Theatre). Cameron runs the theater with Richard III starring Kevin Spacey in March company Transport with Douglas Rintoul and has 2012. Since 2009, she has been the interna- produced Invisible (UK and International Tour), tional producer of Zimmermann & de Perrot, Elegy (Edinburgh, London, Luxembourg), As You touring Chouf Ouchouf with the Groupe acroba- Like It (UK and International Tour), and a forth- tique de Tanger, and the current production of coming new devised piece entitled The Edge. Hans was Heiri, which was seen in the 2013 Next Wave Festival. Claire Béjanin (producer) has produced theater and opera throughout the world. She has Taylor Thomsen (producer), a patron of the been privileged to work as executive producer for arts, has been immersed in the world of art and Peter Brook’s Bouffes du Nord and the Aix-en- architecture for many years. She is grateful and Provence Festival. As administrative director of honored to be associated with Fiona Shaw and Phyllida Lloyd in this production.