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Home , Bingo (play), Greg Hicks, Jackanory, John Woodvine, Lynn Farleigh, Margaret Tyzack

May 2000

Brooklyn Academy of Music 2000 Spring Season BAMcinematek Brooklyn Philharmonic 651 ARTS

Saint Clair Cemin, L'lntuition de L'lnstant, 1995

BAM 2000 Spring Season is sponsored by

PHiliP MORR I S ~lAGfBlll COMPANIES INC. ~A 1\/1

Brooklyn Academy of Music Bruce C. Ratner Chairman of the Board

Karen Brooks Hopkins Joseph V. Melillo President Executive Prod ucer

presents The Royal Shakespeare Company

Running time: by T.S. Eliot approximately 2 hours 45 minutes, BAM Harvey Lichtenstei n Theater including one May 10-13, 2000, at 7:30pm intermission Director Adrian Noble Designer Rob Howell Lighting Design Mark Henderson Sound Matt McKenzie for Autograph Tour Re-creation Richard Power Assistant Director Helen Raynor Company Voice Work Andrew Wade , Cicely Berry, and Lyn Oarnley Production Manager Patrick Frazer Costume Supervisor Lynette Mauro Company Stage Manager Eric Lumsden Deputy Stage Manager Pip Horobin Assistant Stage Manager Thea Jones American Stage Manager R. Michael Blanco

The play Wishwood, a country house in the North of England, home of the Monchensey family, on a day in late March 1939. Part One: After tea. Part Two : After dinner.

Presented by arrangement with The Royal Shakespeare Theatre, RIC Stratford-upon-Avon, England . ROYAL SHAKESPEARE Leadership support is provided by The Peter Jay Sharp Foundation . BAM COMPANY Theater is sponsored by Time Warner Inc. and Fleet Bank. Additional support provided by The Shubert Foundation, Inc. Official Airline: British Airways. RSC major support provided by Pfizer Inc. Opening night sup­ port provided by The British Council. This production was first produced with the assistance of a subsidy from the Arts Council of England.

17 Cast Amy Margaret Tyzack Agatha Ivy Cherry Morris Violet Bridget Turner Charles Christopher Good The actors in Family Gerald Nicholas Jones Reunion are appearing Mary Zoe Waites with the permission of Denman Alison Reid Actors' Equity Harry Greg Hicks Association. Th e Downing Derek Hutchinson American stage Dr. Warburton Richard Cordery manager is a member Sergeant Winchell Rod Arthur of Actors' Equity Eumenides James Auden , Mary Duddy, Susan Dury, Association. Graeme Eton , Jennifer McEvoy

Understudies Gerald/Downing Rod Arthur Harry James Auden Agatha/Denman Mary Duddy Amy Susan Dury Charles/Dr. Warburton/Sergeant Winchell Graeme Eton IvyNiolet Jennifer McEvoy Mary Alison Reid

First performance of this production: Swan Theatre, Stratford-upon-Avon, June 9 , 1999.

Setting The family has gathered to celebrate the birthday of Amy, Dowager Lady Monchensey. Already assembled in the drawing room with Amy are her younger sisters, Agatha , Ivy, and Violet; her deceased hus­ band's two brothers, Co lonel the Hon. Gerald Piper and the Hon. Charles Piper; and Mary, daughter of her cousin. Stil l to arrive are Amy's three sons, Arthur, John , and the eldest, Harry, now head of the family and heir to Wishwood.

This is the first time in eight years that the family has been together. The conversation is of the past and of the recent death, in mysterious circum­ stances, of Harry's wife.

Harry arrives and is clearly troubled by something. Concerned , they invite Dr. Warburton, an old friend of the family, to join the party.

A note on the In Aeschylus' trilogy The Oresteia, Orestes kills his mother Clytemnestra Eumenides to avenge the murder of his father. For this he is cursed and pursued by the Erinyes or Furies, three goddesses of vengeance who hunt down unpunished criminals. In the third play of the trilogy, the arguments on each side of Orestes' case are assessed by a council of the gods and with the intervention of Athene, goddess of wisdom , the curse is lifted. The Furies are persuaded to adopt a more merciful function , and become the Eumenides- the "Kindly Ones."

18 Production Acknowledgements

Scenery, painting, properties, costumes, wigs, and makeup by RST Workshops, Stratford-upon­ Avon. Show floor painted by Souvenir Scenic Studios. Women's costumes by Coleman James, Cherie Gilbert, Naomi Isaacs, Caroline Lanyon, and Jane Law. Additional men's costumes by William Baboo and Alan Selzer. Original program material compiled by Kathy Elgin. Production photographer Manuel Harlan. For the tour: Scenic construction by Souvenir. Freight by Anglo Pacific International Ltd. LPttpr £ro01 ,AdriAn I\lohlp

Welcome to tonight's performance by the Royal Shakespeare Company.

Two years ago the RSC played its first-ever repertoire season outside the U.K. here at BAM , giving American audiences the opportunity to see several productions from our current repertory, direct from Stratford and and with their original casts. We are delighted to be back here at what we hope will become another of our regular venues around the world . Once again, all the productions you are seeing in this season are presented exactly as they played in the Royal Shakespeare Theatre and The Other Place in Stratford-upon-Avon.

The three productions we have brought to BAM this year represent a cross-section of one of our most successful Stratford seasons ever. Michael Boyd 's witty, rude, and passionate A Midsummer Night's Dream has been compared to Peter Brook's legendary 1970 production, while Schiller's rarely performed Don Carlos emerges, in Gale Edwards' fast-paced production, as a gripping political thriller. And it's particularly apt that our third play is by IS. Eliot, an Anglo-American whose work blended the cultures of his adopted Britain and native New England just as it fused poetry and drama. The Family Reunion is an uncannily modern work, as startling now as it was for its first appearance in 1939, and a directorial challenge which I very much enjoyed.

This year's ensemble encompasses a great breadth of acting experience-newcomers like Rupert Penry-Jones and Zoe Waites alongside long-term members like , Josette Simon, and Ray Fearon, who have played several seasons with the company. This blending of youth and experience is what has always given the RSC its particular character and is the heart of a true ensemble, that creative and supportive environment out of which comes our best work.

I hope you enjoy tonight's performance, and that we'll have the pleasure of your company again, whether it's in the U.S. or in our own theaters in Stratford or London.

Adrian Noble Artistic Director

19 Production Acknowledgements

Scenery, painting, properties, costumes, wigs, and makeup by RST Workshops, Stratford-upon­ Avon. Show floor painted by Souvenir Scenic Studios. Women's costumes by Coleman James, Cherie Gilbert, Naomi Isaacs , Caroline Lanyon , and Jane Law. Additional men's costumes by William Baboo and Alan Selzer. Original program material compiled by Kathy Elgin . Production photographer Manuel Harlan. For the tour: Scenic construction by Souvenir. Freight by Anglo Pacific International Ltd . IflttAr from AdriAn I\lohlA

Welcome to tonight's performance by the Royal Shakespeare Company.

Two years ago the RSC played its first-ever repertoire season outside the U.K. here at BAM, giving American audiences the opportunity to see several productions from our current repertory, direct from Stratford and London and with their original casts. We are delighted to be back here at what we hope will become another of our regular venues around the world. Once again, all the productions you are seeing in this season are presented exactly as they played in the Royal Shakespeare Theatre and The Other Place in Stratford-upon-Avon.

The three productions we have brought to BAM this year represent a cross-section of one of our most successful Stratford seasons ever. Michael Boyd's witty, rude, and passionate A Midsummer Night's Dream has been compared to Peter Brook's legendary 1970 production, while Schiller's rarely performed Don Carlos emerges, in Gale Edwards' fast-paced production, as a gripping political thriller. And it's particularly apt that our third play is by 1S. Eliot, an Anglo-American whose work blended the cultures of his adopted Britain and native New England just as it fused poetry and drama. The Family Reunion is an uncannily modern work, as startling now as it was for its first appearance in 1939, and a directorial challenge which I very much enjoyed.

This year's ensemble encompasses a great breadth of acting experience-newcomers like Rupert Penry-Jones and Zoe Waites alongside long-term members like John Woodvine, Josette Simon, and Ray Fearon , who have played several seasons with the company. This blending of youth and experience is what has always given the RSC its particular character and is the heart of a true ensemble, that creative and supportive environment out of which comes our best work.

I hope you enjoy tonight's performance, and that we'll have the pleasure of your company again, whether it's in the U.S. or in our own theaters in Stratford or London.

Adrian Noble Artistic Director

19 l-J ictory of ibn p~c

The Royal Shakespea re Company, then and now...

The first permanent theater dedicated to the performance of Shakespeare's plays in Stratford, a Victorian gothic building seating 800 people, opened in 1879 with a week-long summer festival which soon grew into regular spring and summer seasons. In 1925 almost 50 years of excellence were recognized by the granting of a Royal Charter. A year later the old theater was almost completely destroyed by fire but, after a worldwide fund-raising campaign, the present building, designed by Elisabeth Scott, was opened by the then Prince of Wales in 1932.

During the next 30 years, under a succession of visionary and creative artistic directors, the Shakespeare Memorial Theatre company went from strength to strength, attracting such stars as Donald Wolfit, , , Anthony Quayle, Vivien Leigh , and Laurence Olivier. Tours of Europe, Russia , and the United States, and guest appearances by overseas stars including Paul Robeson and Charles Laughton, helped to establish the company on the international stage.

In 1960, under the directorship of , the company took its most exciting leap forward . A London base was established at the and the repertoire widened to include not only classics other than Shakespeare but also modern plays, which added a new contemporary awareness to the Company's experience of classical discipline and sense of language. The company's studio theaters, The Other Place in Stratford and the Warehouse in London, became home to some of the company's most exciting small-scale and experimental work, with plays by Howard Barker, , Peter Flannery, , and Willy Russell flourishing in these small spaces, while in the main theaters productions such as Peter Brook's A Midsummer Night's Dream and the Hall/Barton epic The Wars of the Roses became theatrical landmarks. A whole generation of young directors, designers, and actors, including , Ian Richardson, Ian McKellen, and came to the fore. The company (renamed the Royal Shakespeare Company in 1961) extended its pattern of regional and world tours, and established a reputation for bold experimentation and reinvention on which Hall's later successors, , Terry Hands, and , currently, Adrian Noble, have continued to build.

Like all major companies, the RSC has had to move with the times, not only reflecting changes in dramatic presentation but responding to the growing need for commercial sponsorship and, ironically, now having to compete with television and the cinema for the very people whose early talents it fostered-, , and are just a few of the major stars who enjoyed early success with the RSC.

The last two decades have seen major changes. In London the company moved its base in 1981 from the Aldwych to the Barbican, while the company acquired two new theaters in Stratford-the Jacobean-style Swan Theatre, built through the generosity of Frederick Koch, and, in 1991, a new Other Place, built on the site of the original. Despite all this, the RSC has retained its essential character, functioning as an ensemble of actors whose skills continue to give a distinctive and unmistakable approach to theater. Of course, not everything happens on the stage. Each season's repertoire is supported by a lively program of work by the RSC 's Education Department in schools and colleges at home and abroad, helping to form the audiences of tomorrow by introducing young people of all ages to the excitement of Shakespeare in performance.

Although Shakespeare is still very much the company's central focus, the varied repertoire includes European classics, contemporary drama, and plays from Shakespeare's neglected contemporaries, some of which have not been seen for 400 years. Most productions that start life in Stratford can be seen in London in the following winter season, and many go out on tour around the United Kingdom and abroad. In recent years the RSC has taken Shakespeare to enthusiastic audiences in Europe, South America, Australia , India, Japan, and the United States.

No doubt the regular members of the RSC 's audience know all this already, but, for those of you seeing your first production, we hope this description gives you a clearer picture. And to all of you, we hope you'll feel as we do, that the play you are seei ng tonight is at once a li nk in a great tradition and a unique event.

The Royal Shakespeare Company

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T.S. Eliot (1888-1965), born in St. Louis, Missouri, Chickens, RSC Fringe Festival). RSC: Volpone. was the youngest of six children. While at the Smith Television: Who Learns Wins. Film: Love on the Une, Academy, St. Louis, his first poems were published in The Invitation, Rachel's Confidence . the school magazine. During his undergraduate studies at Harvard University, he was influenced by Dante and Richard Cordery (Dr. Warburton) Theater: Regional French Symbolism; after earning his master's degree, he work includes Man and Superman , You Never Can Tell, spent a year at the Sorbonne (Paris) and additional time One Flew over the Cuckoo's Nest , A Thousand Clowns, at Harvard before accepting a scholarship at Oxford, The Rivals, Judgement, , On the Razzle . Work after which he would remain in England. He married in London includes The Normal Heart, The Boys Next Vivienne Haigh-Wood in 1915, met a number of other Door, Hilda Murrell, Desire under the Elms, The L.A. writers (including the Bloomsbury group), and took a Plays, The Winter's Tale , King Arthur, 'Tis Pity She's a position at Lloyd's Bank, where he was employed for Whore . RSC: Richard II, , The nine years. His notable poem, The Love Song of J. Alfred Maid's Tragedy, , , The Love Prufrock, was published in Poetry magazine, and he Girl and the Innocent, In the Company of Men, Romeo became assistant editor at The Egoist, a journal of and Juliet, Volpone, . Television: Will English and European literature which would publish a Shakespeare, Goodbye Mr. Chips, Love Hurts , Stick number of his pieces. Eliot established a name as a critic with Me Kid, The Knock, Shine on Harvey Moon, with the publication of The Sacred Wood. He assumed Backup, a.u.G.s., Young Indiana Jones, Chef, Just editorial direction of the poetry list at the publishing William, Plotlands, Trials of Jasper Carrott, Casualty, house Faber and Gwyer. The Anglican Church played an Kavanagh QC, Some Mother's Son, Unfinished increasingly important role in Eliot's life, evident in Ash Business. Film: Lorenzo's Oil. Wednesday, a long poem on explicit religious faith, fol­ lowed by The Rock, a religious pageant (and his first Mary Duddy (Eumenides) Theater: Work includes drama), and the critically acclaimed Murder in the Sleeping Beauty, Arms and the Man, The Plough and Cathedral, which would be adapted for television and the Stars, Passion Play, Irish Nights, Hedda Gabler, years later performed at the Vatican for the Fbpe. The Translations, It's a Madhouse, The Ikon Maker, Irike Family Reunion opened in 1939 at the Westminster Meinhoff. Work in London: Pygmalion, Once a Theatre, after extensive revisions, and met with mixed Catholic, Madame de Sade (Almeida), Dancing at cri tical opinions; it would later be revived by Peter Brook Lughnasa (Phoenix), Loyal Willie (King's Head), Great at the Phoenix Theatre. The same year, he wrote Old and Small (Vaudeville), A Midsummer Night's Dream Possum's Book of Practical Cats, recently staged as the (Regent's Pa rk). RSC: , Macbeth, A Broadway musical Cats. Following his wife's death in Midsummer Night's Dream, A Warwickshire 1947, Eliot won the Nobel Prize for Literature in 1948, Testimony. Television: Plant, Sloggers, Blare, March and was made an Honorary Fellow at Merton College, on Europe, Uving Ufe Lately, Memories, The Playboy Oxford, in 1949, the year that The Cocktail Party of the Western World. opened at the Lyceum Theatre. Among his later note­ worthy work is The Confidential Clerk, which premiered Susan Dury (Eumenides) Theater: Regiona l work at the Edinburgh Festival. He remarried in 1957 and, includes Huis Clos, What Is Love?, Dark Lady of the after his death in 1965, was honored with a memorial Sonnets, Noel Coward Revue, The Recruiting Officer, stone placed in Westminster Abbey. All's Well that Ends Well, The Master Builder, A Voyage Round My Father, Suddenly at Home, The Rod Arthur (Sergeant Winchell) Theater: Work at Owl and the Pussycat Went to See. Work in London: Bolton, Newcastle, Leeds, York, Birmingham, She Would If She Could, The Grub Street Opera, Five Nottingham, Lancaster, Manchester, Derby, including A Times, I Am Yours, The Ladies, Love Story, Dolls, Midsummer Night's Dream, She Stoops to Conquer, High in Vietnam, Hot Damn l RSC: , Volpone, Macbeth, . RSC: Much Ado The Comedy of Errors, Macbeth, Once in a Ufetime, about Nothing, The Merry Wives of Windsor, The Winter's Tale, The Greeks, Children of the Sun, Cymbeline, A Midsummer Night's Dream, Oroonoko. Bingo, The Merchant of Venice, A Warwickshire Television: Includes Hetty Wainthropp, Preston Front, Testimony. Television: Rogues Rock , Macbeth, Just Kavanagh QC, Heartbeat, Brookside, Prime Suspect, Uz, Jamaica Inn, Heartattack Hotel. Jackanory Bergerac, Auf Wiedersehen Pet, Silent Witness . Radio: Playhouse: The Knighties, Dr. Finlay's Casebook, More than 50 plays for BBC Radio, including Morning Softly Softly, The Expert, Killer with Two Faces, Good Story, Afternoon Story, The Jew of Malta, The Woman Salary with Prospects , For Richer for Poorer, The in Black , Hair in the Gate, Boy, The Dwelling Place. Cedar Tree, The Comedy of Errors , A Uttle Bit of Wisdom . Film: The Assistant, The White Whore and James Auden (Eumenides) Theater: Work at Worthing the Bit Player, Return of a Man Called Horse. Connaught and Oxford Playhouse, including A Warning to the Curious , A Month in the Country. Graeme Eton (Eumenides) Theater: Regional work Work in London: (Garrick) , Hamlet includes The Beaux Stratagem , Eden End, It Could Be (Brixton Shaw) , Troilus and Cressida (London Theatre Any One of Us , Saturday Sunday Monday, Twelfth Base and tour). Adapted and performed Heart of Night, Season's Greetings, Absent Friends, Suburban Darkness (Schools tour, Jermyn Street, Hen and Strains , Just Between Ourselves, Charley's Aunt, Not

20A \ALho'c:. \ALho

Margaret Tyzack and Greg Hicks. Photo: Manuel Harlan.

Now Darling, Absurd Person Singular, Gaslight, Boston Mansfield Park , A Flea in Her Ear, The Voysey Story. Work in London: The Deceived, The Primary Inheritance, The Winter's Tale, The Cherry Orchard, English Class, Funeral Games. Tours U.K.: The The Park, The Lady from the Sea, Oedipus, , Pack of Lies, How the Other Half Loves. Relapse, Joking Apart, The Beaux Stratagem, Tours Abroad: Educating Rita, Time and Time Again , Philocetes , Heartbreak House, Travesties, Tarantara, Way Upstream. RSC: Volpone, Othello. Television: Jeeves, Journey's End. Work in London: The Seagull, Katherine Mansfield, Warship, Colditz, Special Branch , Racing Demon , Lady from the Sea, The Lady from Dr. Who, The Professionals, The Saint, Professional Maxims, The Government Inspector, Alice in Foul, , Tale of Two Cities, Shoestring, Wonderland, Habeas Corpus, , All's Well That EastEnders , London's Burning, Bergerac , The Bretts, Ends Well, A Phoenix Too Frequent. RSC: Volpone. Gone to the Dogs, Backup. Radio: The Cruel Sea. Television: Pie in the Sky, Kavanagh QC, The Prince and the Pauper, The Famous Five, The Choir, The lynn Farleigh (Agatha) Theater: The Deep Blue Sea , Wimbledon Poisoner, -The Mirror All Credit to the Lads, A Difficult Age, The Daughter-in­ Crack'd, Lovejoy, The Girl from Ipanema, A Very Law , A Voyage Round My Father, The Price, Tempest, Peculiar Practice, Murder at the Vicarage, Saigon the Macbeth, , The Winter's Tale , Macbeth , All Last Day, The Misanthrope, Oxbridge Blues , An My Sons, Bartholomew Fair, A Midsummer Night's Affinity with Dr Still, The Astors, Danger UXB, Secret Dream. Work in London: , Jack and the Army. Film: The Fool, Bullshot, Victor/Victoria, Gandhi, Beanstalk, The Lodger, Medea , The Man Who Fell in A Bridge Too Far. Opera: John Dee in Angel Magick. Love with His Wife, Black Angel, Forget Me Not Lane, Exiles , Doctor's Dilemma, Ashes , Sex and Kinship in a Mark Henderson (lighting designer) Theater: Mark Savage Society, The Ascent of Mount Fuji , The was the recipient of the 1992 and 1994 Laurence Workshop, The Friends, M Butterfly, Harvest, A Room Olivier Awards for Lighting, a nominee in 1995 and with a View, The Mysteries, The Crucible, , 1997, and nominated in the 1996 Tony Awards. He Inadmissable Evidence , Close of Play, Brand, The Way is lighting consultant to the and was South, Inventing a New Colour. RSC: Includes The head of lighting for the 1997 Peter Hail Season at the Revenger's Tragedy , , All's Well That Old Vic. Work in the West End includes Rowan Ends Well , The Relapse, Julius Caesar, Macbeth, Shout Atkinson in Revue Steve Coogan (U.K. tour), Follies, across the River, Hang of the Gaol, The Winter's Tale, Carmen Jones, Neville 's Island, Indian Ink, Passion, The Crucible. Television: Includes Trial by Fire , Out of Amy's View, Which Witch, Girlfriends , Budgie , The the Past , The Ice House , Inspector Morse, Wycliffe, Rink, Mutiny, Kiss Me Kate, Pump Boys and Castles, , Finney , Wish Me Luck, Dinettes, Spin of the Wheel , Sherlock Holmes, Heartland, Lost Belongings , Coming Through, Waving Gasping, Mr. Cinders, Not in Front of the Audience, to a Train , The Hard Word , A Walk in the Forest, Sweet Sophisticated Ladies, Oklahoma, Grease Is the Word , Nothings, Out, Bill Brand, Fall of Eagles , Cakes & Ale, West Side Story. For the Almeida: Hamlet, The Judas Steptoe and Son, Eyeless in Gaza. Film: Includes Fairy Kiss, No Man's Land, The Deep Blue Sea, Naked , Tale: A True Story, The Word, Watership Down, Voices, Heartbreak House, Ivanov, The Government Three into Two Won't Go . Inspector. and The Iceman Cometh. Work at the RNT includes Cat on a Hot Tin Roof (also Broadway) , The Christopher Good (Charles) Theater: Regional work Shaughraun, Hamlet, Sunday in the Park with includes Picasso at the Lapin Agile, , The George, Long Day's Journey into Night, Pygmalion, Deep Blue Sea, Virtuoso, Party Tricks, Twelfth Night, Racing Demon, Sweet Bird of Youth, A Little Night 20B \I\/ho'c:. \/\/ho

Music, The Cripple of Inishmaan , The Oedipus Plays , Warwickshire Testimony. Television: Crimewatch Amy's View. RSC : The General from America; The File, Waiting , The Bill, The Life and Death of Philip Lion, the Witch and the Wardrobe . Opera: Includes Knight, The Cormorant, Trainer, Chef, 1996. Radio: work for ENO, Royal Opera House, WNO, Scottish Arcadia, Napoli Millionaria. Opera, Glyndebourne Festival Opera. Dance: Includes productions for Royal Ballet, LCDT, Rambert Dance Nicholas Jones (Gerald) Theater: Includes Company, Scottish Ballet, and Northern Ballet. Stagestruck, The Recruiting Officer. Work in London includes Flight, The Second Mrs. Tanqueray , Major Greg Hicks (Harry) Theater: Includes work for Barbara , Wild Honey, She Stoops to Conquer , Hated Manchester Royal Exchange, Citizens Theatre, Nightfall, The Deep Blue Sea , Hallelujah Boys. RSC: Glasgow, Chichester, Birmingham Rep, Queens A Midsummer Night's Dream. Television: The Beggar Theatre, Derby Playhouse. Theater in London: Piaf, Bride , Gobble, A Dance to the Music of Time , A Murder by Misadventure , Les Liaisons Dangereuses, Touch of Frost, Bramwell, Circle of Deceit, Kavanagh The Homecoming , Vanilla . For the Peter Hall Company QC, Sharpe's Company , Unnatural Causes , Anglo at : , Waiting for Godot, The Saxon Attitudes, For the Greater Good, Not a Penny Seagull, Waste, Salome , Macbeth. For the RNT: More, Not a Penny Less, Vote for Them , After the Oedipus Plays, Absolute Hell , The Cherry Orchard, War, A Penny for Your Dreams , The Price , Trelawnyof The Duchess of Malfi, Coriolanus , Animal Farm , You the Wells , Glory Hole, Our Mutual Friend. Film: This Can't Take It with You, Lorenzaccio , The Oresteia, The Year 's Love, Black Beauty, The Velvet House, Spanish Tragedy , Art and Eros , Donne: A Self Portrait, Cromwell , Daisy Miller, The Block House, When the The Romans in Britain , Sisterly Feelings, Macbeth, Whales Came , Gare au Male. The Caucasian Chalk Circle , Man and Superman , Amadeus, The Double Dealer, As You Like It, Jennifer McEvoy (Eumenides) Theater: Work in Undiscovered Country , The Fruits of Enlightenment. Richmond, Northcott Exeter, Manor Pavilion Theatre RSC: , Macbeth , Dingo , Days of the Sidmouth, Liverpool Playhouse, Thorndike Commune, Destiny , , Romeo Leatherhead , including Wait until Dark, Absent and Juliet. Television : Includes Wing and a Prayer , Friends , Pack of Lies, Strangers on a Terrace , Point of Heartbeat, The Knock, Peak Practice , Bugs, In Death . Work in London: The Queen and I, Napoli Suspicious Circumstances , Families , You Me and It, Millionaria. Tours U.K.: Romeo and Juliet, Macbeth, Maigret, Moon and Son , Deadline , Bingo, Seeing in Julius Caesar. RSC: Volpone . Television: No Hiding the Dark, Nightmare Years , Northanger Abbey, Place, Upstairs Downstairs, London's Burning. Other: Fortunes of War, The Bill, Boon, Bergerac, Rockcliffe's Founder member and director with The Globe Players-­ Babies , Hazel, Churchill's People. Radio: Bleak House , taking Shakespeare into schools. The Wide Brimmed Hat, All's Well That Ends Well, Fuente Ovejuna, Caritas. Matt McKenzie (sound) came to the United Kingdom from New Zealand in 1978. He toured the United Rob Howell (designer) trained in theater design at Kingdom with Paines Plough before joining the staff at Birmingham Polytechnic. From 1989- 92 he was resi­ the Lyric Theatre Hammersmith in 1979. He designed dent design assistant at the RSC. Design credits include: the sound for several productions, including Favourite Snow Orchid, Salvation, Relative Values, Oliveri, Private Nights, Rents , Britannicus, Noises Off, The White Lives , EuroVision, Julius Caesar, The Loves of Cass Glove, The Provok'd Wife , Private Dick, Miss Julie, Maguire, Simpatico, True West, Peter Pan (nominated Hobson's Choice, Mass Appeal, Crime and Punishment , Best Designer TMA), , The Glass Menagerie Lent, The Man Who Fell in Love with His Wife. In 1984 (nominated Best Set Designer, Olivier Awards), Habeas he joined Autograph Sound Recording and has designed Corpus, The Fix, How I Learned to Drive, Tom and the sound on Macbeth, Love off the Shelf, The Clem, Entertaining Mr. Sloane , Eddie Izzard's Glorious Hypochondriac, Faith Hope and Charity, Loot, Lady Tour, The Government Inspector, Real Classy Affair, Audley's Secret, The Madras House, The Way of the Little Malcolm and His Struggle Against the Eunuchs, World, Ghost Train, Greasepaint, In the Summer House , Vassa. For the RNT: Chips with Everything (nominated Exact Change, Talk of the Steamie. In the West End: Best Set Designer, Olivier Awards) , Troilus and Cressida . Made in Bangkok, The House of Bernada Alba, Blues RSC: The Shakespeare Revue, The Painter of in the Night, Journey's End, A Madhouse in Goa , Dishonour, Little Eyolf, Richard III. Forbidden Broadway, Irma Vep, Gasping, Map of the Heart, Tango Argentino, When She Danced, Misery, Derek Hutchinson (Downing) Theater: For the Murder Is Easy, The Odd Couple, Pygmalion , Things We Crucible Sheffield: Villette , Way Upstream , Leonce Do for Love. For the Peter Hall Company: Lysistrata , The and Lena, Rebecca , Jekyll and Hyde, Coriolanus, Master Builder, The School for Wives, Mind Millie for King Lear, Much Ado about Nothing. For the RNT: Me , A Streetcar Named Desire, Three of a Kind, Under Milkwood, Arcadia, Napoli Millionaria, Waste , Cloud 9, The Seagull, The Provok'd Wife , King Richard III, King Lear, Pericles, The Story of an Lear, Amadeus , The Misanthrope, Major Barbara , African Farm, Ion (RNT Studio). RSC: The Churchill Filumena, Kafka 's Dick. His most recent projects have Play , Electra , , Taming of/he been Amadeus in New York and co-designing the Shrew, Measure for Measure , Julius Caesar, A sound for the new musical Tess. 20C \ALho'c:. \ALho

Cherry Morris (Ivy) Theater: Includes seasons at Neverwhere. Radio: Includes Ufe's a Dream. Measure Guildford . Sheffield. Bromley. Northcott Exeter. Coventry. for Measure . Humphry Clinker. Hayfever. The School Edinburgh. and York; Trilogy, Runaway. Catsplay, The for Scandal. Les Uaisons Dangereuses. Fatal Inversion. Jeweller's Shop. The Winter's Tale. The Trojan Women. Rebel Angel. Still Ufe . Domby and Son . Buddenbrooks. The Happy Apple, The Rainmaker, A Woman of No Antigua Penny Puce. Dear George. Delicate Matters. Importance. RSC: Recent work includes A Woman of Audio: King John . The Merchant of Venice . Other: No Importance. Murder in the Cathedral. The Country Co-editor-European Classic Monologues . Wife. Transit of Venus . La Nuit de Valognes . Love's Labour's Lost. A Christmas Carol. Richard /II. Henry Bridget Turner (Violet) Theater: Regiona l work V/Il. The Merry Wives of Windsor. Camino Real. Uncle includes Romeo and Juliet. The Playboy of the Vanya. Tales from Ovid. A Warwickshire Testimony. Western World. The Seagull. Hobson's Choice. Television: Includes Mapp and Lucia. Lovejoy. The Othello. The Cherry Orchard. Zack. Hindle Wakes. Prime of Miss Jean Brodie. Uttle Lord Fauntleroy. Bedroom Farce . All My Sons. Work in London: The Worzel Gummidge. Poldark. Aggie. Softly Softly. Fool. Roots. Star Gazy Pie and Sauerkraut. Time and Suspicion. Ghosts. Strife. Owen MD. Looking for Clancy. Time Again. Absurd Person Singular. The Norman Tales of the Unexpected. Public Eye. The Cherry Conquests. Season's Greetings. Last of the Red Hot Orchard. The Bastard King. Six Days of Justice . The Bill. Lovers. Curtains. Ghost from a Perfect Place. The True Crimes. Film: The Winter's Tale, The Pursuers. Corn Is Green. You Can't Take It with You. For the Radio: Electra. Kate and Cindy. Old Dog and Partridge. RNT: Small Family Business . Tis Pity She's a Whore. The Crucible. Hedda Gabler. The Shaughran. Adrian Noble (director) Theater: Worked for two years Trelawny of the Wells. Macbeth. RSC: Twelfth Night. in Birmingham Community Theatre and young Three Sisters. Little Eyolf. Camino Real. Television: people's theater. Associate di rector of the Bristol Old The Forsythe Saga. Resurrection. Sutherland's Law. Vic. where productions include Ubu Rex. Man is Man. Love Lies Bleeding. Home Is the Sailor. Two People. A View from the Bridge. Love for Love. Timon of Get Lost. Cats Eyes. Time and Time Again. Season's Athens. Comedians and The Recruiting Officer. The Greetings. Pride and Prejudice . Just William. The Bill. Duchess of Malfi. Three Sisters. RSC: Appointed artis­ Cuts. Bliss. Life after Life. Film: Under Milkwood. The tic director in 1991. As associate director he directed Walking Stick. Runners. Radio: Mrs. Bodnar. Hindle The Forest. A Doll's House. King Lear. Antony and Wakes. The Comedy of Errors. Cleopatra. A New Way to Pay Old Debts. The Comedy of Errors. Measure for Measure . Henry V. The Desert Margaret Tyzack (Amy) Theater: Includes Talking Air. The Winter's Tale. As You Uke It. Mephisto . The Heads- Soldiering On. Give Me Your Answer Do. Art of Success (also New York). Macbeth . Kiss Me Indian Ink. The Importance of Being Earnest . Lettice Kate (also West End). The Plantagenets . The Master and Lovage (Variety Club Actress of the Year Award . Builder. As artistic director he has directed Henry IV Gielgud. and. in New York . Tony Award) . Who's Afraid Parts 1 and 2. The Thebans. The Winter's Tale. of Virginia Woolf? (Olivier Best Actress Award . RNT). Hamlet. King Lear. Travesties (also West End). Vivat! Vivat! Regina. Mornings at Seven . Tom and Viv Macbeth. A Midsummer Night's Dream (and on (also New York. Drama Desk nomination). Progress to Broadway). Romeo and Juliet. The Cherry Orchard the Park. The Ginger Man. At the Festival Theatre (also West End). Cymbeline. Uttle Eyolf. Twelfth Stratford Ontario: Ghosts. Richard /II. Ali's Well That Night. . The Uon . The Witch and The Ends Well. RSC: The Lower Depths . Coriolanus. Julius Wardrobe . The Seagull. Opera : Don Giovanni (Kent Caesar, Titus Andronicus. (also BAM), Opera). The Fairy Queen (Aix-en-Provence Festival). Ali's Well That Ends Well (also New York. Tony nomi­ Film: A Midsummer Night's Dream. nation). Television : Includes Dalziel and Pascoe . Our Mutual Friend. Family Money . The Chronicles of Helen Raynor (assistant director) Theater: Assistant Young Indiana Jones. Thacker. Miss Marple-Nemes. director credits include: St. Nicholas. Love and The Flowering Cherry. Amelia Edwards. Dear Understanding. Wishbones. Mackeral Sky. Caravan . Octopus. Waters of the Moon . Another Man's Life. The Dramatist. The Garrick Fever. Sir Martin Mar-All. The Reason of Things . I Claudius . The Winter's Tale . The Norman Conquests. As director: Kissing Bingo. Cousin Bette (Emmy Award nomination). The First RSC: A Midsummer Night's Dream. Don Carlos . Opera : Churchills (BAFTA Best Actress Award) . The Forsythe As assistant director: II matrimonio segreto. Orpheus in Saga . Film : Includes Mrs. Dalloway. Prick Up Your the Underworld (Opera North). Capriccio (Garsington). Ears , 2001: A Space Odyssey. A Clockwork Orange , The Pearl Fishers . Rigoletto (English Touring Opera). II A Touch of Love . The Whisperers, Ring of Spies . The barbiere di Siviglia (Royal Opera House). Legacy. The Wars . Mr. Love. The Corsican Brothers . On the Other Side. The King's Whore. Awarded OBE Alison Reid (Denman) Theater: Work in London: A in 1970. Midsummer Night's Dream. The Provoked Husband. Ufe's a Dream. Gulliver's Travels. Jo-Jo the Melon Zoe Waites (Mary) Theater: Includes The Play about Donkey. RSC: The Park . The Two Gentlemen of Verona. the Baby. Hamlet. Goblin Market. Crows . The Green Tales from Ovid. A Warwickshire Testimony. Television: Door. RSC: Romeo and Juliet. Othello. Television: The Ruth Rendell: The Double. Dalziel and Pascoe . New Adventures of Robin Hood. The Unknown Soldier. 20D Scb i II Ar' c::: SbockAr

The Royal Shakespeare Company When Nazi German theaters mounted 's magisterial drama Don Carlos, the fol­ comes to BAM with Gale Edwards' lowing phrases uttered by the freedom-loving production of Friedrich Schiller's Marquis of Posa often drew show-stopping applause in anonymous protest against the Don Carlos, a riveting Oedipal Hitler regime: "Give back dignity to humankind i Your people must again be what they were .... drama of prickly political intrigues. The citizen you lose for his religion/Is your best By Steven R. Cerf man .... An institution / Built upon fear will not survive its founder."

While the play comforted humanists, it retained the power to outrage authoritarians. One religious group was so offended by Don Carlos' picture of the Spanish Inquisition that in 1951 , when Verd i's opera (based on the play) returned to the Metro­ politan Opera after a long absence, 30 pickets appeared before the theater carrying signs: "Mock­ ery of religion"; "Moscow termites invade the Met"; "Planned deficit financing is Anti-American."

New Yorkers will again have the chance to form strong opinions about Schiller's classic when the A scene from Don Carlos Photo by Jonathan Dockar-Drysda/e

22 Royal S.hakespeare Company performs it at BAM Inquisitor himself has been stalking Posa for this May. years. Thi s secret slaying has robbed the Inqui­ sition of the chance to execute a prominent Schiller (1759-1805) had a gift for sustaining heretic in a grand public spectacle: histrionic excitement while discussing grown-up ideas. Consider one famous scene in Don Car­ ... His blood los where two men embody the conflict between should have poured to glorify us all.. church and state. Schiller begins it with a visual This man was ours .... tableau whose jaw-breaking power jolts even The ceremony of his soul's disgrace unsophisticated theatergoers. As King Philip II Was given to us for a divine parade. of Spain sits in his chamber, a door opens upstage to reveal the Grand Inquisitor, a desic­ Well aware that Philip indeed ordered the killing cated wraith of a man, 90 years old and as a preemptive strike to preserve royal power vis­ blind-both literally and symbolically. Led by a-vis the Church, the Inquisitor is obliquely acolytes, he oozes forward, extending a pall of warning the monarch not to try it again. Seldom decay and fanaticism with every advancing has anyone created so chilling a pcrtrait of politi­ step. Now follows an argument of exquisite sub­ cal versus theocratic calculation, and the scene tlety. The Inquisitor excoriates the King for rings true to this day. The Inquisition's "divine having the heretical Posa assassinated-not parade" is still uncomfortable to contemplate because killing is wrong, but because the shortly after the close of a century that knew the

Rupert Penry·Jones as Oon Carlos

24 his first play, the iconoclastic Robbers (1781) to his last complete drama, Wilhelm Tell (1804).

As he planned Don Carlos in 1784, Schiller envi­ sioned a "domestic drama in a royal house." Emperor Charles V is dead; his world-girdling empire is fracturing under the rule of his son King Philip II , who tries to put down a Protestant uprising in Flanders by brutal repression. Philip's own son Don Carlos, expected to live up to his grandfather's name as the prospective Charles VI , quails at the challenge, and now a quasi-Oedipal love for his father's wife has reduced him to paralysis. The court is a hotbed of intrigue: Car­ los correctly assumes that everyone who speaks to him is a spy for the King.

Into these suffocating surroundings, Schiller inserted a spokesman for his own progressive views: the Marquis of Posa , a wildly anachronistic Age-of-Enlightenment idealist from a world ready for the French Revolution. Posa/Schiller confesses:

... This cen tury is far from ripe for my designs. I live Among the citizens that are to come.

Imploring the king-at the risk of his own liberty -to exercise religious tolerance, he pleads in Rousseau-like tones: Don Carlos by Alonso Sanchez Moscow show trials of the 1930s, the McCarthy­ Look all around at nature's mastery­ era HUAC hearings, and the theological executions Founded on freedom. And how rich it grows, in Iran during the Ayatollah Khomeini regime. Feeding on freedom .... Can there be any Holier duty than equality? .. Such wheels-with in-wheels moves and counter­ Make your citizens a million kings .. . moves-always accompanied by eye-catching Grant freedom of thought! dramatic action-occur repeatedly in Don Carlos (1787), Schiller's first verse play and the first Posa is but one of a phalanx of grand-scale work that shows the full scope of his genius. It characters that offer endless cha llenges to the is a drama that boasts the psychological acuity most gifted classical actors. Note, for example, of Hamlet, the political sophistication of War the twists and turns of Princess Eboli , pursuing and Peace, and the theological complexity of ruthless sexual schemes to obtain a throne, yet Saint Joan. willing to destroy her own prospects to preserve her genuine patriotic scruples. This is, of course , the same Schiller whose 1785 "Ode to Joy" would climax Beethoven's Ninth Then , there is Philip himself, politically belea­ Symphony with the credo "Aile Menschen werden guered and mired in family dysfunction. BrOder" ("All people will become brothers"). Free­ Tormented by sexual suspicions, he surrounds dom was his obsessive theme in the theater, from his wife with spies , whom he abuses without

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hesitation. Yet, his expressions of loneliness are unfailing frankness-and capable of enormously so honest that our sympathy is aroused, and we clear insights-Carlos exasperates us but never admire the surprising intellectual detachment he alienates us so far that we cease to root for him. musters when hearing pleas for tolerance that Posa , dying, says: represent a significant threat to his power. His affection for Posa grows almost to idolatry, and Save yourself, when he realizes that he must execute the Mar­ For Flanders' sake. To rule is your vocation, quis , Ph ilip is too shaken to hide his tears. To die for you was mine Schiller himself observed, "If th is tragedy is to move people, it must do so through the situa­ In accepting Posa's charge, Carlos rises to the tion and character of King Philip. " Far more greatness that was always his family heritage--a elusive is the exact mind-set of this complex, greatness, ironically, that spells his doom . With the enigmatic man as he delivers his own son to ultimate arrest of the hero, Schiller produces the the Grand Inquisitor with the drama's last line: rarest kind of shock: the shock of the inevitable. "Cardinal, I have done my part, now do you rs." Steven R. Cert is Sko/field Professor of German Amid such epic figures , Carlos holds his own­ at Bowdoin College in Brunswick, Maine. animated, Schiller believed , with "the soul of Hamlet ... and my own pulse." Neurotic, epileptic, The RSC performs Don Carlos at the BAM hopelessly undiplomatic, yet attractive in his Harvey Theater, May 16-20.

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