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See the Programme from Cheek by Jowl's 2018 Production of Périclès, Prince De Périclès, Prince de Tyr by William Shakespeare and George Wilkins To keep up-to-date with Cheek by Jowl, please visit cheekbyjowl.com/subscribe.php to join our mailing list /cheekbyjowl @wearecheekbyjowl @CbyJ /CheekbyJowl www.cheekbyjowl.com 1 Baldwin. Cover photo: Christophe Grégoire © Patrick 2 Welcome Welcome Welcome to our 2018 season with Périclès, Prince de Tyr. We are delighted to be co-producing Cheek by Jowl’s latest work, Pericles (Périclès, Prince de Tyr) featuring the company’s stunning It’s a pleasure to return to the UK with our French company. This marks French ensemble. Cheek by Jowl have been a Barbican Artistic the first time Cheek by Jowl has produced Shakespeare in the French Associate since 2005 and their performances in English, Russian language. We are extremely grateful for the support of Jeune Théâtre and French consistently draw both loyal and new audiences. National France and the Laura Pels International Foundation for Theater. We warmly welcome back co-Artistic Directors Declan Donnellan Thanks also to Toni Racklin, Leanne Cosby, Alex Jamieson and the and Nick Ormerod with their first Shakespeare production in the entire team at the Barbican for their support and enthusiasm, and also French language. to Laura Elliot and Louise Chantal at the Oxford Playhouse. Toni Racklin We would also like to thank our co-producers, the Barbican, London; Head of Theatre, Barbican Les Gémeaux/Sceaux/Scène Nationale; Théâtre du Nord, CDN Lille- Tourcoing-Hauts de France, as well as Arts Council England. We hope you enjoy the show. Declan Donnellan and Nick Ormerod 3 1 Périclès, Prince de Tyr by William Shakespeare and George Wilkins André Neri Technical Director adapted from the translation by François Guizot Vincent Gabriel Lighting Kenan Trevien Sound Cast in order of speaking: Marina Aguilar Wardrobe Manager Lucile Quinton Assistant Stage Manager Xavier Boiffier Antiochus / Léonin / Bout / Lysimaque Edward Fortes Surtitle Creation Christophe Grégoire Périclès / Cléon / Le Maître Sharlit Deyzac Surtitle Operator Valentine Catzéflis Antiochus’s Daughter / Marina Les 2 Bureaux/Prima Donna Consultant Producer Cécile Leterme Doctor / Simonade / Cérimon / Diane Sharlit Deyzac Company Manager Camille Cayol Dionysa / Thaïsa / La Maquerelle Patrick Baldwin Rehearsal & Production Photography Guillaume Pottier Fisherman / Knight / Gentleman Martin Nikonoff Fisherman / Knight / Gentleman With thanks to: Simon Bourne, Catherine Jayes, Peter Kirwan, Élise Rale, Nicolas Rolland, Simon Kennedy, Jem Talbot, Creative team: Roger Graham, Rob Hopkin, Lilas en Scène, UnityQ (Rinouk Rider, Nicolas Peoc’h, Hugo Potin, Kenan Trevien). Freight: Fly by Nite Haulage, Renaud Décotrans. Declan Donnellan Director Prop making: Soux. Nick Ormerod Designer Set building: Ateliers du Théâtre du Nord. Pascal Noël Lighting Designer The production contains extracts from the radio programme ‘Les Matins du Samedi’ by Caroline Broué broadcast on 2 December 2017 on France Culture. Kenan Trevien Sound Designer Produced by Cheek by Jowl in a co-production the Barbican, London; Angie Burns Costume Supervisor Les Gémeaux/Sceaux/Scène Nationale; Théâtre du Nord, CDN Lille-Tourcoing-Hauts de France Valérie Bezançon Vocal Coach with support from Jeune Théâtre National France with thanks to the Laura Pels International Foundation for Theater Marcus Roche Assistant Director Périclès, Prince de Tyr was first performed on 7 March 2018 at Les Gemeaux/Sceaux/Scène Nationale Michelangelo Marchese Associate Director 5 3 This is the rarest dream that e’er dull’d sleep did mock sad fools withal. Christophe Grégoire 7 5 1 2 Cheek by Jowl in France Following their performances of Le Cid and As You Like It at the Bouffes du Nord theatre in Paris, Peter Brook invited Declan Donnellan and Nick Ormerod to form a company of French actors to stage Andromaque by Racine in 2007. The performance was subsequently invited to festivals across Europe. In 2013, this same ensemble of actors went on to perform Ubu Roi in theatres and festivals around the world. Joined by three new company members, this season the company now performs Périclès, Prince de Tyr throughout Europe. 4 A brilliant French ensemble Remarkable audacity… absolute The Independent clarity… Donnellan is one of the most original directors in theatre today 3 Donnellan gets richly uninhibited Le Figaro on Andromaque performances from his cast The Guardian on Ubu Roi Hilarious, startling, unsettling Le Monde on Ubu Roi Outrageous, overflowing with unbridled energy Le Figaro on Ubu Roi A raging force of energy 1 Camille Cayol, Christophe Grégoire in Andromaque New York Times © Keith Pattison 2 Cécile Leterme in Ubu Roi A crack ensemble of French actors… © Johan Persson sweeping passion… terrifying 3 Camille Cayol, Christophe Grégoire in Ubu Roi The Guardian on Andromaque © Johan Persson 4 Xavier Boiffier in Andromaque © Keith Pattison 10 A Painful Adventure? by Dr Peter Kirwan ‘A mouldy tale’, said Ben Jonson of Pericles its interval of time that gives a baby time of classical or neoclassical decorum, yet in 1629. Only six years after Jonson had to grow to marriageable age, its continent- were among the most popular plays and declared Shakespeare ‘not of an age, but spanning geography and its plethora of books of their time. for all time’, his disparagement of this play characters and situations, Pericles marks (as well as being unusually suited to such a a return to an earlier genre of writing – Even when Confessio Amantis was first written waterlogged play) casts it already as romance – in a new form. around 1393, the narrator of that poem unfashionably old. Yet Pericles, arguably acknowledged the story as antique. Gower’s one of the most innovative plays of its One of the negative impacts of the narrator, the Chaplain of Venus, uses the story moment, was unabashedly old-fashioned disproportionate attention paid to to lecture the poem’s protagonist about the on arrival, wearing its medieval sources Shakespeare’s First Folio by modern dangers of unlawful lust, focusing on Antiochus’s (primarily Gower’s Confessio Amantis) on critics is the tendency to default to that incestuous relationship with his daughter. its sleeve and revelling in self-consciously book’s three declared genres – comedies, Wilkins and Shakespeare acknowledge at the archaic language. histories and tragedies – when discussing start of the play the datedness of the material, all drama from the period. But the earlier the ‘song that old was sung’. Yet Pericles was Shakespeare had used the story of Tudor passion for romance, including in at the vanguard of a new fashion. First performed Apollonius of Tyre as related in Confessio plays by John Lyly, Robert Greene and around 1608, it coincided with John Fletcher’s Amantis before – in The Comedy of Errors, many anonymous playwrights, as well as in 1609 publication of The Faithful Shepherdess, we again see a husband and wife bestselling prose fiction such as Lawrence containing his definition of tragicomedy, separated by shipwreck and the husband Twine’s 1576 The Pattern of Painful eventually discovering the wife, presumed Adventures (another source for Pericles), Not so called in respect of mirth and killing, dead, living in a temple – but that was in a defied easy generic categorisation. Stories but in respect it wants deaths, which is play that roughly obeyed the unities of featuring chivalric adventure, shepherds enough to make it no tragedy, time, place and action. Pericles, written and kings, love and magic, resisted a yet brings some near it, which is enough with George Wilkins, shatters them. With single mood and did not fit with principles to make it no comedy. 11 11 Christophe Grégoire 9 The new ‘tragicomedy’, popular from c.1608 to Thaisa; Shakespeare’s more reflective Dr Peter Kirwan is Associate Professor of Early until the theatres closed in 1642 (and section covers the separation, trials and Modern Drama at the University of Nottingham. beyond), drew heavily on the conventions of eventual reunification of the nuclear family. He is currently completing a monograph on the older ‘romance’, developing a tonally The result was a play that, despite its very Cheek by Jowl (Bloomsbury) and a revised complex mode of drama. Pericles may be a poor textual condition (including large edition of Pericles (Cambridge University Press). ‘late’ play in relation to Shakespeare’s career, sections of prose misaligned as verse and His other publications include Shakespeare and but it is simultaneously a very early example vice versa), was reprinted six times by 1635, the Idea of Apocrypha (Cambridge, 2015), of the tragicomedy that would become ever as well as being rewritten as a novella in Canonising Shakespeare (Cambridge, 2017) more popular in the hands of John Fletcher, Wilkins’s 1608 The painful adventures of and Shakespeare and the Digital World (Cambridge, Francis Beaumont and Philip Massinger. Pericles. 2014). He blogs at The Bardathon: http://blogs.nottingham.ac.uk/bardathon Pericles was left out of the First Folio, which Even though Pericles joined the main may be because of the play’s extremely poor Shakespeare canon in 1790, having been textual state or because of what was known grouped with other ‘apocryphal’ plays for about its collaborative nature. Scholars are much of its publication history, its almost unanimous on George Wilkins’s collaborative nature, generic experimentation authorship of at least the first two acts. While and complex textual history have continued to much of what is written about Wilkins focuses keep it on the margins of the canon. Yet its on his brushes with the law owing to violence treatment of refugees from Syria shipwrecked and brothel-keeping, he appears to have been in the Mediterranean, its frank discussion of a successful freelance writer of pamphlets abuses of power, and its concern with and plays, including the popular The Miseries reconciliation and reunion have all generated of Enforced Marriage, performed by the fresh interest in recent years.
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