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Texts&Beheadings/Elizabethr Brooklyn Academy of Music Alan H. Fishman, NY Premiere Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, texts&beheadings/ElizabethR Vice Chairman of the Board Katy Clark, President Joseph V. Melillo, Compagnia de’ Colombari Executive Producer Karin Coonrod DATES: OCT 21—24 at 7:30pm LOCATION: BAM Fisher (Fishman Space) RUN TIME: Approx 1hr Season Sponsor: Leadership support for programming by New York City artists in the BAM Fisher provided by Rockefeller Brothers Fund. Major support for theater at BAM provided by: The Francena T. Harrison Foundation Trust Donald R. Mullen Jr. The Morris and Alma Schapiro Fund #texts&beheadings The SHS Foundation #BAMNextWave The Shubert Foundation, Inc. BAM Fisher texts&beheadings/ElizabethR CREATED AND DIRECTED BY In Four Movements with Four Games Karin Coonrod Movement 1 Strategy WITH Movement 2 Survival Monique Barbee Movement 3 Prayers Ayeje Feamster Movement 4 Sovereignty Juliana Francis-Kelly Cristina Spina Music Gina Leishman Dramaturgy and Scenic Design John Conklin Lighting Design Peter Ksander Costume Design Oana Botez Voice and Text Coach Gigi Buffington Movement Adrian Silver Hair and Make Up Jon Carter Production Manager Nick Ryckert Stage Manager C. A. Clark This production premiered at Folger Theatre, Producer Janet Alexander Griffin, Artistic Producer, Alyce Dissette Washington, DC, in September 2015. ABOUT texts&beheadings/ElizabethR texts&beheadings/ElizabethR Director’s Note With one swift stroke of the sword There have been many fine bio- on Anne Boleyn’s neck, the Princess dramas of Queen Elizabeth I, played Elizabeth becomes a royal bastard. by compelling actresses, but here I Elizabeth, age 3: “How hath it wanted to depart from that approach yesterday ‘Lady Princess’ and today but and see what happens when four ‘Elizabeth’?” actresses take on the role….so that we shake free from a certain kind We “know” her by her iconography, of seeing. Our fractured portrait is proliferated in her own time to the like that caught for a moment by a present day, yet she remains as kaleidoscope, not a camera, more inscrutable as the Mona Lisa. in common with Picasso’s portraits than of any kind of naturalism, What happens if we bring her words inspired by Steinesque and Joycesque to the stage (from her poems, letters, observations. Can we catch the prayers, and speeches) so that we conscience of the Queen? can HEAR her words in the mouths of four different actresses, coinciding, In the making of texts&beheadings/ contradicting, overlapping, interrupting, ElizabethR, four stunningly different in collage-like confidence? actresses play the queen separately or together, depending on what the How do we create a piece in which moment requires. With my close the form uses her words ordered creative collaborators, I am struck with into various themes and just lets her good fortune: John’s deep simplicity speak her mind, with clamorous game of a set and astute dramaturgy, Gina’s interruptions, hence harking back to witty spot-on music, Oana’s gorgeous the “game” theater or “ludi” of the costumes, Peter’s fierce illumination, medieval mystery period just previous and Adrian’s sensitivity to movement. to Shakespeare? What happens? The readiness is all. texts&beheadings/ElizabethR is a —Karin Coonrod fractured portrait in the words of the Queen herself. Using four movements, interrupted by games, and concluding in silences, the piece creates a theatrical portrait of a theatrical queen. Media, and the Classic Stage Compa- ny. Regionally, her work has been seen at the Wilma Theater (Philadelphia, PA), Jacob’s Pillow Dance Festival Who’s (MA), Hartford Stage Company (CT), Long Wharf Theater (New Haven, CT), Shakespeare Theater (Washington, DC), Berkeley Rep (CA), ArtsEmerson Who (Boston), Broad Stage (Santa Monica, CA), MCA (Chicago), Shakespeare Theatre Company (Washington, DC), MONIQUE BARBEE Oberlin Dance Collective (San Francis- Elizabeth I co), Walker Arts Center (Minneapolis, MN), Peak Performances (Montclair, Monique Barbee’s theater credits NJ), ADI (Rockville, MD), Academy of include The Liar (Westport Country Music (Philadelphia), Curtis Institute Playhouse), Tribes (Actors Theatre of Music (Philadelphia, PA), and Cutler of Louisville), A Little Night Music Majestic Theater (Boston). Internation- and Lover’s Tale (Berkshire Theatre ally she has designed for Bucharest Festival), and The World is Round National Theater (Romania), Arad is Round is Round (Compagnia National Theater (Romania), Bulandra de’ Colombari). She appeared off- Theater (Bucharest), Théâtre National Broadway in the New York Theatre de Chaillot (Paris), Les Subsistances Workshop productions of Mrs. Hughes (Lyon, France), Budapest National The- (reading) and Hadestown as well ater, Cluj Hungarian National Theater as with the Metropolitan Opera in (Romania), Bucharest Operetta Theater Die Fledermaus (understudy). Her (Romania), International Festival of television work includes Mysteries of Contemporary Theater (Adana, Turkey), Laura (NBC). Barbee is a graduate of Le Quartz (Brest, France), La Filature Yale University. (Mulhouse, France), Exit Festival/ Maison des Arts Créteil (Paris, France), Tanz im August Festival Hebbel am Ufer—HAU1 (Berlin, Germany), Centro OANA BOTEZ Cultural Universidad del Pacífico (Lima, Costume Design Peru), Centro Cultural (Lima, Peru), Oana Botez has designed to critical ac- Palazzo Simoncelli (Orvieto, Italy), claim for theater productions in many Edinburgh International Festival (UK), New York venues including BAM Next and Singapore Arts Festival. Botez is a Wave, Bard SummerScape/Richard B. Princess Grace Recipient, NEA/TCG Ca- Fisher Center, Baryshnikov Arts Center, reer Development Program Recipient, David H. Koch Theater/Lincoln Center, and has received the Barrymore and Soho Rep, LCT3, The Public Theater, Drammy awards. 59East59, La MaMa, The Kitchen, PS 122, HERE Arts Center, Joyce Theater, Ontological-Hysteric Theater, BRIC Arts Rep), When the Rain Stops Falling GIGI BUFFINGTON (Lincoln Center), The Heart Is a Voice and Text Coach Lonely Hunter (NYTW), So Help Me God (Mint Theater), The Good Negro Gigi Buffington is a member of AEA, (Public Theater), Chair (TFNA), and SAG/AFTRA, and VASTA, and her Endgame (BAM). Regionally his production credits include East of Eden designs have been seen in productions (directed byTerry Kinney, Steppenwolf at Bard SummerScape, Arena Stage, Theatre Company); Hamlet (starring Kennedy Center, Centerstage, Dallas David Tennant and Patrick Stewart), Theater Center, Kansas City Rep, Love’s Labour’s Lost, A Midsummer Wilma, Philadelphia Theatre Co., Night’s Dream, and Tim Carroll’s Walnut Street Theater, Prince Music Merchant of Venice for its New Castle Theater, and Arden Theater Company. tour (Royal Shakespeare Company). Other work includes operas with Previous works with Karin Coonrod Bard SummerScape, Opera Boston, include The Tempest (Reg E. Cathey), Gotham Chamber Opera, the Curtis Love’s Labour’s Lost, I Killed My Institute, and Juilliard, and the film Mother, Lovers and Other Strangers, works, Untitled Josh Marston Project, A Small Family Business, Ernie’s A Woman, A Part, and Thank You for Incredible Illucinations, and The Sea Being Honest. and the Mirror. Other works include Othello (Chike Johnson); An Iliad, The Seagull, Richard III, Hamlet, Antony C.A. CLARK and Cleopatra, and Romeo and Juliet Stage Manager (APT); The Blonde Hurricane (Nemzeti Theatre, Budapest); and with Johnny C.A. Clark’s many theater credits Flynn and Company (Shunt, London). include the Broadway productions Currently an arts professor at Tisch Clybourne Park, Take Me Out, Lynn School of the Arts (NYU), she has also Redgrave’s Shakespeare for My directed Vinegar Tom, The Crucible, Father, and the Royal Shakespeare Unity, and Top Girl. Company’s A Midsummer Night’s Dream. Off-Broadway productions include Fit to Be Tied (Playwright’s Horizons); Helen and One Flea JON CARTER Spare (Public Theater/NYSF); Lynn Hair and Makeup Design Redgrave’s Nightingale (Manhattan Jon Carter’s Broadway credits include Theatre Club); Bach at Leipzig (New The King And I, Gigi, Act One, Golden York Theatre Workshop); Peter & Jerry Boy, Joe Turner’s Come and Gone, (Second Stage); King John, Richard In the Next Room, A Tale of Two II, and Richard III (Theater for a New Cities, and Xanadu. Off-Broadway, Audience); and works with Labyrinth he has created designs for The City Theater Company and Primary Stages. of Conversation (Lincoln Center), 3C Regionally, his works include The (Rattlestick), Blood & Gifts (Lincoln Cherry Orchard, Much Ado About Center), Orange, Hat & Grace (Soho Nothing, and Twelfth Night (La Jolla Playhouse); Agamemnon, Misalliance, Angeles), Actor’s Theater of Louisville, Hamlet, and The Tempest (American and Center Stage (Baltimore). He has Repertory Theater); A Raisin in the Sun also designed for dance with such (Williamstown Theatre Festival); and companies as Joffrey Ballet, Boston five summer seasons at the Berkshire Ballet, and Royal Ballet (London). He Theater Festival, as well as works has worked with many other directors with CTG-Mark Taper Forum, Hartford including Joanne Akalitits, Simon Stage, Long Wharf Theatre, Two River Callow, Martha Clarke, Karin Coonrod, Theater, Dallas Shakespeare Festival, Oskar Eustis, Robert Falls, Mark and Actors Theatre of Louisville. Lamos, Diane Paulus, Keith Warner, and Francesca Zambello. He teaches at the Tisch School of Arts (NYU), and is currently acting as artisic advisor JOHN CONKLIN for the
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