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Zero Arrow Theatre Montero from Bogotá (The Keening), Krystian Lupa from Krakow Our Exciting New Second (Three Sisters), and Dominique Serrand from Paris (Carmen)

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Zero Arrow Theatre Montero from Bogotá (The Keening), Krystian Lupa from Krakow Our Exciting New Second (Three Sisters), and Dominique Serrand from Paris (Carmen) Dear Friends, This season we have brought you the work of directors Nicolás Zero Arrow Theatre Montero from Bogotá (The Keening), Krystian Lupa from Krakow Our exciting new second (Three Sisters), and Dominique Serrand from Paris (Carmen). performance space! Now with Romeo and Juliet we welcome Gadi Roll, one of Israel’s “Boston’s Best New Theatre (2005)” preeminent directors, to our stage. I first met Gadi when he was – Improper Bostonian. Artistic Director of the Beersheba Theatre, an hour south of Tel Aviv. The A.R.T.’s flexible and intimate second performance His programming as a producer was similar to his aesthetic as a space at the intersection of Arrow Street and Mass. director: tough, demanding, and risk- taking. I saw his production of Avenue in Cambridge is now a year old! This 300-seat Bernard-Marie Koltès’ West Pier, and am still haunted by its theatre serves as an incubator for new work in addition to hosting performances by the A.R.T. Institute for urgency and spectacle. Later we directed productions in a festival Advanced Theatre Training and collaborations with World Music/CRASHarts. This season will see the of plays at Habima, the Israeli National Theatre, where we both staged the work of the German premieres of, among others, the A.R.T. productions of The Keening and Orpheus X, four productions by playwright Carl Sternheim. Gadi used language like a knife, and found a savage fierceness in the Institute for Advanced Theatre Training, four joint projects with WORLD MUSIC, and at least three dance Sternheim’s archaic dramas. No surprise that Gadi and I share a love for the plays of Edward presentations. Performance times and dates will be updated on the A.R.T. (www.amrep.org) and World Bond; I directed Olly’s Prison in our Zero Arrow Theatre last year, and Gadi staged a legendary Music/CRASHarts (www.worldmusic.org) web sites. Don’t miss the adventure of new work, young artists, production of Saved at the Stary Theatre in Krakow. and multiple disciplines all at affordable prices – the signature mission of ZERO ARROW THEATRE. I first encountered Gadi’s visceral, personal interpretations of Shakespeare with his Measure for Measure in Jerusalem, then with other productions that he directed while on the faculty of LAMDA and RADA, London’s finest theatre schools. When I invited Gadi to come to Print sponsor for Zero Arrow Theatre. the A.R.T. to stage the theatre’s first production of Romeo and Juliet, I knew that the brooding American Repe rt o r y The at r e Adv i s o r y Board violence that haunts his work would be a fine match for the power of Shakespeare’s shattered Philip Burling Co-Chair Ted Wendell Co-Chair Mrs. Ralph P. Rudnick Vice-Chair romance. I hope that you agree, and that you’ll join me in welcoming Gadi to the American stage. Ann Gund Rebecca Milikowsky Joel Alvord Joseph W. Hammer Ward Mooney Joseph Auerbach, emeritus Priscilla S. Hunt Anthony Pangaro Best wishes, George Ballantyne Horace H. Irvine II Joan H. Parker Carol V. Berman Michael Jacobson Beth Pollock Paul Buttenwieser Michael B. Keating Suzanne Priebatsch Greg Carr Nancy P. King Jeffrey Rayport Caroline J. Chang Glenn KnicKrehm Michael Roitman Antonia H. Chayes Myra H. Kraft Henry Rosovsky Robert Woodruff Clarke Coggeshall Lizbeth Krupp Linda Sanger Artistic Director Gwenn Cohen Barbara Cole Lee John Shane Kathy Connor Barbara Lemperly Grant Michael Shinagel Robert Davoli Carl Martignetti Donald Ware David Edwards Dan Mathieu Sam Weisman Barbara W. Grossman Professional Company — 2005-06 Season Eileen McDonagh Remo Airaldi Sean Dugan Kelly McAndrew Che Ayende Jeremy Geidt Chris McKinney The A. R . T. / H a r var d Board of Di re c t o r s Christina Baldwin Marc Aden Gray Bill Murray Philip Burling Judith Kidd Robert J. Orchard Jeff Biehl Bradley Greenwald Jennifer Baldwin Peden Luann Godschalx Robert James Kiely Robert Woo d r u f f Jonathan Hurlbert (clerk) Jacqueline A. O’Neill (chair) Dieter Bierbrauer Elizabeth Hess Paula Plum Annika Boras Suzan Hanson Mickey Solis T O O U R A U D I E N C E John Campion John Kelly Momoko Tanno To avoid disturbing our seated patrons, latecomers (or patrons who leave the theatre during the performance) will be seated at Kelvin Chan Julienne Hanzalka Kim Molly Ward the discretion of the management at an appropriate point in the performance. Marissa Chibas Will LeBow Corissa White By union regulation: •Taking photographs and operating recording equipment is prohibited. Madeline Cieslak Karen MacDonald Sarah Grace Wilson • All electronic devices such as pagers, cellular phones, and watch alarms should be turned off during the performance. Thomas Derrah Justin Madel Frank Wood By Cambridge ordinance, there is no smoking permitted in the building. ACT NOW! Support A.R.T.’s 2005-06 Annual Fund. ACT NOW! American Repertory Theatre / Moscow Art Theatre School Institute for Advanced Theatre Training at Harvard University You know the American La Dispute (2003) Repertory Theatre as an in s t i t u - A.R.T. Institute and A.R.T. Company actors ti o n , a strong and steady pres- ence among the finest theatres in the country. But, do you know about its training In s t i t u t e ? In addition to its mission to February 2006 expand the boundaries of the- Dear Friends of A.R.T., atre and to explore texts from It is a pleasure to welcome you to Romeo and Juliet. As sponsors of this production across cultures and ages, the we are partnering with American Repertory Theatre to offer this great play, uniquely American Repertory Theatre is presented as only the A.R.T. can. We rely on A.R.T. to challenge our preconceptions, equally dedicated to the education and training of new talent. This commitment stems from and this production of Romeo and Juliet promises to do just that. One of the pleasures of sponsoring a play at the A.R.T. is the chance to watch the belief that the A. R . T. ’ s philosophy, history, reputation and resources provide the best the production develop from an idea, to a concept, to a design, and then into training opportunities for young artists. Moreover, the A. R . T . has a responsibility not only to rehearsals. Romeo and Juliet is particularly interesting, because it involves a train young artists, but also to empower new generations of theatre patrons, supporters and director from Israel, Gadi Roll. In addition to crossing the boundaries of interpreta- tion, the A.R.T. also crosses international boundaries. By bringing a director from ad v o c a t e s . another culture and tradition, the A.R.T. gives its audience a chance to see this play through new eyes and to get a glimpse of how a different theatre tradition interprets The Institute For Advanced Theatre Training at Harvard University, founded in 1987, Shakespeare. To us, the opportunity to gain insight into other cultures and practices of fers an intensive program for forty-five carefully selected students, who are admitted for a through a medium as powerful as theater is enormously valuable. Think how much the A.R.T. community learned from the South African Festival last year! full-time, two-year sequence of study in acting, dramaturgy, and special studies. In 1998 the Unlike many other parts of the world, there is only token governmental support Institute began an exclusive collaboration with the Moscow Art Theatre (MXAT) School. Th e for theater or the arts in the United States. This means that the A.R.T. must live on union of the two schools created an historic program that provides unparalleled opportuni- its ticket revenues and the support of individuals and institutions in the community. You will not be surprised to know that ticket revenues cover less than half the cost the ties for training and growth. groundbreaking and progressive productions that the A.R.T. brings to us – hence the Students are offered a wide range of courses and unique prepara- importance of production sponsorships and audience support. Only through tion for the multi-faceted demands of the professional theatre, super- generous contributions from its friends can the A.R.T. keep alive its tradition of presenting the newest and most classic works of drama in productions that illuminate vised by master teachers and examine the meaning and value of theatre. from Russian and Am e r i c a n We hope that you enjoy this rendition of Romeo and Juliet and that you will join cultures. The Institute us in supporting the A.R.T. through a contribution to its 2005-06 Annual Fund. respects the great traditions Thank you, of the past and encourages the development of new ideas and forms of expression. Phil and Hilary Burling Katie and Paul Buttenwieser Unique to the Institute’s Production Sponsors, Production Sponsors, program is the four-month Romeo and Juliet Romeo and Juliet residency in Russia at the ACT NOW! Support A.R.T.’s 2005-06 Annual Fund. The Moscow Art Theatre and its logo famed Moscow Art Theatre School, where students ACT NOW! Support A.R.T.’s 2005-06 Annual Fund. ACT NOW! continue classes and workshops with members of the Russian and Cambridge faculties. While there, they per- form for the public at the American Studio of the Moscow Mickey Solis & Amelia Campbell in ACT NOW Desire Under the Elms (2005). Art Th e a t r e . Upon graduation, students receive a Certificate of Achievement from the A.
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