Alan H. Fishman, Chairman of the Board William I. Campbell

12 Pages·2015·0.39 MB·English

#BAMNextWave #Antigone
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
Antigone
Katy Clark,
President
Joseph V. Melillo,
Executive Producer
BAM Harvey Theater
Sep 24—26, 29, 30, Oct 1 & 2 at 7:30pm
Sep 26 & Oct 3 at 2pm; Sep 27 at 3pm
Running time: one hour and 40 minutes, no intermission
By Sophokles
In a new translation by Anne Carson
Barbican and Les Théâtres de la
Ville de Luxembourg
Directed by Ivo van Hove
Set design and lighting by Jan Versweyveld
Costume design by An d’Huys
Video design by Tal Yarden
Dramaturgy by Peter van Kraaij
Composition and sound design by Daniel Freitag
Season Sponsor:
Produced in association with Toneelgroep Amsterdam
BAM proudly dedicates this engagement to the
memory of the late Rina Anoussi—the Travel
Agent to the Stars. Rina was a beloved friend and Co-produced by Edinburgh International Festival,
loyal supporter of BAM for over three decades. Théâtre de la Ville—Paris and Ruhrfestspiele
Recklinghausen
Major support for theater at BAM provided by:
The Francena T. Harrison Foundation Trust
Donald R. Mullen Jr. World premiere—Luxembourg, Feb 25, 2015
The Morris and Alma Schapiro Fund
The SHS Foundation
The Shubert Foundation, Inc.
Antigone
CAST
Antigone Juliette Binoche
Guard/Chorus Obi Abili
Ismene/Chorus Kirsty Bushell
Haimon/Chorus Samuel Edward-Cook
Teiresias/Chorus Finbar Lynch
Kreon Patrick O’Kane
Eurydike/Chorus Kathryn Pogson
Body of Polyneikes/Boy Nathaniel Jackson
CREATIVE TEAM
Director Ivo van Hove
Set and lighting Jan Versweyveld
Dramaturg Peter van Kraaij
Video Tal Yarden
Composition and sound Daniel Freitag
Costumes An d’Huys
Assistant director Jeff James
Second assistant director Thierry Mousset
Assistant set designers Ramon Huijbrechts, James Turner
Assistant lighting designer Richard Beaton
Casting director Joyce Nettles
Voice Patsy Rodenburg
Photography assistant Sjoerd Knibbelaar
The actors are appearing with the permission of Actors’ Equity Association.
The American Stage Manager is a member of Actors’ Equity Association.
weyveld
Vers
Photo: Jan
Antigone—Director’s Note
The unanswered question
The dead were left in an open field, rotting in the
—how to get to the dark
burning sun for over a week. The whole world
soul of Antigone saw this as an act of barbarity. Once the bodies
were recovered and brought to the Netherlands
for identification, the Dutch government arranged
by Ivo van Hove a convoy of hearses in a 100km burial proces-
sion. This was a civilized and humane response,
Antigone, by Sophokles, tells the ancient story of a mark of respect to the victims.
one of Oidipous’ daughters, who refuses to follow
the orders of her uncle Kreon, the new Head of Antigone goes on a long, solitary road towards
State. death. Scene by scene she cuts herself loose:
from her sister, who won’t help with their
Kreon has ordained that Antigone’s brother Poly- brother’s burial; from Polyneikes; from the love
neikes, who, along with their brother Eteokles of her fiancé Haimon; from Kreon’s policy; and,
has just died in a cruel civil war, should not be as an inevitable consequence, from society. “I’m
allowed a burial because he is a traitor. a strange new kind of ‘inbetween thing’ aren’t I/
not at home with the dead nor with the living,”
A war of words begins with short but razor sharp she concludes.
scenes between Antigone and Kreon: an exhaus-
tive, long, bitter but also passionate discourse In a horrifying, magical scene she sees herself in
of opposing views on how to treat the dead, her brother’s tomb, which in her mind becomes
especially when they are deemed an enemy of a bridal chamber. She imagines an emotional
the state. reunion with her father, mother, and brother.
Kreon imprisons her in a cave, buried alive “with
Antigone states: “I am someone born to share in a bit of food... no doubt if she prays hard the
love not hatred.” Kreon counters: “If a man puts gods of death will save her life.” But Antigone
family or friend ahead of fatherland I count him has nothing and nobody to live for. She can’t
absolutely good for nothing.” Antigone is driven transform her grief into something positive. Her
by an emotional urge to bury her brother. Kreon journey leads to self-destruction. There is nothing
places good citizenship above all else. left other than to stage her own death, execute
the ultimate control. Her life becomes meaning-
To understand Antigone’s deeds, we need to re- ful by ending it.
turn to Sophokles’ Oidipous at Kolonos, in which
Antigone and her sister Ismene take care of their And what about Kreon? The play starts the day
aging father, who has been exiled from Thebes. after a cruel civil war with many casualties, pro-
His sons are to alternately rule Thebes every voked by Polyneikes and Eteokles. Also, Kreon’s
other year but after his inaugural year Eteokles eldest son has just died. It is clear that the old
refuses to relinquish the throne to Polyneikes. city of Thebes, a society based on blood ties, has
been disastrous and destabilizing. But instead
A brutal war between the brothers ensues. For of mourning, Kreon does something positive to
the sisters the situation is desperate: their mother stop the atrocities; he tries to create structure, a
killed herself, their father is dying and their broth- society based on clear laws, on citizenship. He
ers kill each other. Antigone is in deep mourning. wants the citizens of Thebes to live in safety.
Caught in this cruel tragedy, she can’t see or
enjoy beauty and has no sense of a future. She
follows her impulse to take care of her brother’s Before becoming king, Kreon was involved in the
body. For her, all human beings are equal and, military operations of Thebes. Now he wants to
even if Polyneikes was wrong, the dead should run the city as if it is an army. His strategic plan
be respected. is based on the rule, “you are with us or against
us.” Those who disobey should be punished. He
The dilemma of dealing with Polyneikes’ body thinks purely in logical and hierarchical terms. As
became a terrifying reality recently when Ma- a politician he has a new vision but old methods,
laysia Airlines Flight 17 was shot down over a successful in an army but which fall short in
Ukrainian war zone. governing a society.
Antigone
Kreon is his own worst enemy. He sees the value Thebes. She is “too extreme.” They turn their
of citizenship but not of individual citizens. He back on her. But, as they are only human, unrest
wants to be the enlightened king of Thebes but lingers. They remind Kreon that he too is only
ends a broken man, alone in the world with no human and the gods could turn against him.
public position and no family.
When Teiresias, the prophet of Thebes, enters,
Both Antigone and Kreon are unable to develop they stay silent. They know he only comes
meaningful leadership. A leader must value when there is a real problem and that he always
the wellbeing of his city or country as well as speaks the truth. And, what the Chorus daren’t
religious laws. A real democracy should allow its say or even think, he says to Kreon: “The cause
citizens to fulfill religious duties towards family is you.” After the imprisonment of Antigone,
without colliding with the laws of society. and Teiresias’s warning, they come to a new
conclusion: “take advice... set the girl free bury
What makes Antigone a drama of epic scale the boy.”
is the Chorus, who comprise senior advisers
to the king, while also representing the people But the catastrophes are unstoppable and
of Thebes. They cover the whole intellectual Kreon’s efforts to turn around his punishments
and emotional scope of the main characters come too late. By the end of the play his wife,
in the play. The Chorus listens to what Kreon, Eurydike, and two sons are dead. Like Antigone,
Antigone, and others tell them and adapt their Kreon is “alone on his insides.” He has been
point of view accordingly. They are empathic, driven by a sincere ambition to turn Thebes, his
they don’t hide when they are moved or horrified. beloved city, into a better place and has failed.
They are the way people should be. They can In every scene he is given the chance to adjust
be critical, neutral, mad, or sad. But one thing his law but he can’t. His inflexibility leads to his
they are not: hypocrites. Their journey starts with downfall.
complete support for the new political views of
Kreon. When Antigone enters, they immediately Antigone develops from a play about a brutal
empathize, “o you poor awful child of poor war into a play about politics and public policies
awful Oidipous.” After the intense discourse and ends as a play about the helplessness of
between Antigone and Kreon, and later Ismene, humans, lost in the cosmos. It is a play about
the Chorus starts to broaden their picture and survival: not the survival of an individual or a
awareness. family, but of a whole society, perhaps even the
world. The play is ambivalent and dark, modern
They tell Kreon the gods are responsible for this and mythical, leaving one with more questions
carnage. They judge Antigone harshly, claim- than answers.
ing she disrespected the gods and the laws of
MUSIC
“Durations II” by Morton Feldman used by permission of C.F. Peters Corporation.

“Heroin” by Lou Reed. Used by Permission of EMI Entertainment World o/b/o Oakfield Avenue Music Ltd.
All rights reserved.

“My Heart’s in the Highlands” by Arvo Pärt, used by arrangement with European American Music Distributors
Company, U.S. and Canadian agent for Universal Edition Vienna, publisher and copyright owner.

“Quasi una Fantasia, Quartet No. 2, Op. 64 (1990-1): I. Largo” by Henryk Gorecki, by arrangement with
Boosey & Hawkes, Inc., publisher and copyright owner.

“String Quartet 15 II. Elegie” by Dmitri Shostakovich, by arrangement with G. Schirmer, INC. publisher and
copyright owner.

“Trois Danses: Deuils” by Jehan Alain, by arrangement with G. Schirmer, INC. publisher and copyright owner.

Music clearance: BZ/Rights and Permissions, Inc.
Antigone
ANTIGONE PRODUCTION TEAM EXECUTIVE PRODUCERS
FOR THE BARBICAN FOR THE BARBICAN
Technical Director Simon Bourne Producers Toni Racklin, Jill Shelley
Tour Production Manager Will Knapp Tour Producers Trevor Carlson, Marie Curtin
Production Administrator Anna Paschali Theatre Administrator Alex Jamieson
Costume Supervisor Jane Dickerson Media Relations Manager Angela Dias
Lighting Programmer Marcus Krömer Media Relations Consultant Bridget Thornborrow
Company Manager Tim Speechley Media Relations Officer Freddie Todd Fordham
Deputy Stage Manager Emily Porter Senior Marketing Manager Ben Jefferies
Assistant Stage Manager Alexandra Isaacs Marketing Executive Izzy Madgwick
Lighting Operator Stevie Porter Marketing Assistant Martha Quigley
Sound Operator Neil Sowerby
Video Operator Gilbert Roper FOR LES THÉÂTRES DE LA VILLE DE
Audio/Video Technician Angela Di Tomaso LUXEMBOURG
Stage Technicians Tony Crawford, Producers Frank Feitler, Tom Leick-Burns
Jamie Massey, Martin Morgan Administrator Daphne Seale
Wardrobe Supervisor Rebecca Rees
Hair and Make-up Artist Martina Luisetti CO-PRODUCERS
FOR TONEELGROEP AMSTERDAM FOR THÉÂTRE DE LA VILLE–PARIS
Technical Director Götz Schwörer Director Emmanuel Demarcy-Mota
Production Manager Edith den Hamer Administrator Michael Chase
First Technician Daan van Oene
Sound Technician Timo Merkies FOR RUHRFESTSPIELE, RECKLINGHAUSEN
Video Technician Karl Klomp Artistic Director Dr. Frank Hoffman
FOR LES THÉÂTRES DE LA VILLE DE FOR EDINBURGH INTERNATIONAL FESTIVAL
LUXEMBOURG Festival Director Fergus Linehan
Technical Director Max Kohl Planning Director Roy Luxford
Wardrobe, Make-up & Props Coordinator
Michelle Bevilacqua IN ASSOCIATION WITH TONEELGROEP
Props Fred D’Angelo AMSTERDAM
General Director Ivo van Hove
American Stage Manager R. Michael Blanco Associate Artistic Director Wouter van Ransbeek
WITH THANKS TO
Susan Hegarty for speech and dialect coach,
Wende Snijders, Ayumi Paul for viola playing,
Stephen Claypole, MAC Cosmetics, and BBC Arts
MAKE-UPP ROVIDED B
Workshop for scenography by Kloosterboer-decor,
Timmerwerkplaats, Eddy van Gelder, and Levtec
7
Who’s Who
JULIETTE BINOCHE (Antigone) David Cronenberg’s Cosmopolis; a painter in
French actress Juliette Binoche was born in Words and Pictures, in which she co-starred
Paris. The daughter of a sculptor/theater director with Clive Owen; a war photographer in A
and an actress/director, she studied acting at the Thousand Times Goodnight; and most recently,
National School of Dramatic Art of Paris. an actress in Clouds of Sils Maria, directed by
Binoche first earned recognition in 1984 for Olivier Assayas, with whom she also worked on
her performance in Jean-Luc Godard’s Je Vous Summer Hours in 2008. Her two most recent
Salue, Marie. Her reputation was consolidated films, Isabel Coixet’s Nobody Wants the Night,
with an acclaimed appearance in André which opened the 2015 Berlin Film Festival,
Téchiné’s Rendez-Vous and she went on to and Piero Messina’s The Wait, are about to be
gain international recognition when she played released. Binoche’s first theater appearance
Tereza in Philip Kaufman’s The Unbearable was in 1984 when she played Nina in The
Lightness of Being in 1988. She was cast in Seagull, directed by Andrei Konchalowski at the
a lead role in Leos Carax’s Mauvais Sang and Odéon in Paris. She made her London theater
subsequently appeared in his Les Amants du debut in Pirandello’s Naked, at the Almeida
Pont-Neuf. In 1992 Binoche played opposite Theatre in 1997, directed by Jonathan Kent. In
Jeremy Irons in Louis Malle’s Damage and the 2000 she made her Broadway debut in Pinter’s
following year appeared in Krzysztof Kieslowski’s Betrayal, directed by David Leveaux. In 2008
Three Colours: Blue, for which she won Best she collaborated with choreographer Akram
Actress at the Venice Film Festival. In 1996 she Khan on in-i at the National Theatre and BAM
earned further international recognition for her (2009) and in 2012 appeared in Strindberg’s
role in Anthony Minghella’s The English Patient, Mademoiselle Julie, directed by Frédéric Fisbach,
winning the Oscar for Best Supporting Actress. at the Barbican.
This was followed by a second collaboration
with Téchiné on the romantic drama Alice et OBI ABILI (Guard/Chorus)
Martin; an appearance opposite Daniel Auteuil Obi Abili graduated from RADA. His theater
in Patrice Leconte’s The Widow of Saint-Pierre credits include leading roles in Taking Part
and a collaboration with filmmaker Michael (Criterion Theatre); Play House (The Orange
Haneke, Code Unknown. In 2000 Binoche gave Tree); Sixty-Six Books (Bush Theatre); Six
a captivating performance in the art-house film Degrees of Separation (Old Vic); Dido, Queen
Chocolat, which was an international runaway of Carthage (NT); The Brothers Size (Young Vic/
hit, and for which she was nominated for best ATC); Angels in America (Lyric Hammersmith/
actress awards around the globe. Following a Headlong Theatre); Fabulation and Darfur: How
lighthearted performance opposite French icon Long is Never (Tricycle); and Titus Andronicus
Jean Reno in the romantic comedy Jet Lag she (Shakespeare’s Globe). Abilii’s film credits
appeared with American star Samuel L. Jackson include Matthew Cullen’s London Fields; Ed
in John Boorman’s political drama In My McGown’s The Rules of the Game; Jeroen
Country. This was followed by Bee Season with Leinders’ Tula, The Revolt; Marc Forster’s World
Richard Gere, Anthony Minghella’s Breaking and War Z; and Michael Hoffman’s Gambit. His
Entering opposite Jude Law, Michael Haneke’s television credits include Quirke, Strikeback II,
Cache, Abel Ferrara’s Mary opposite Matthew Injustice, Nativity, Foyle’s War, The Take, Moses
Modine and Forest Whitaker, and A Few Days Jones, Kingdom, Ten Days to War, Life is Wild,
in September opposite John Turturro. She has and Afterlife.
recently worked with many talented directors
from around the world including Hou Hsiao- KIRSTY BUSHELL (Ismene/Chorus)
Hsien, Le Voyage du Ballon Rouge in 2007; Kirsty Bushell’s theater credits include The White
Amos Gitaï, Désengagement, also in 2007; Devil, The Comedy of Errors, Twelfth Night and
Abbas Kiarostami, Certified Copy in 2010; The Tempest (Royal Shakespeare Company);
and Malgoska Szumowska, Elles in 2011. Edward II, 13, Edgar and Annabel, There is a
Binoche continued her French film career with War, Danton’s Death, Voysey Inheritance, and
Cédric Klapish’s Paris; Sylvie Testud’s acclaimed Two Gentleman of Verona (NT); The Big Meal
comedy, La Vie d’une Autre; Marion Laine’s (High Tide, Bath), Disgraced, and Two Thousand
romantic drama Á Coeur Ouvert, and the much Feet Away (Bush Theatre); I Know How I
applauded Camille Claudel 1915, directed by Feel About Eve and Belongings (Hampstead
Bruno Dumont. She played an art dealer in Theatre); A Thousand Stars Explode in the Sky
Who’s Who
and Don Juan (Lyric Hammersmith); Angels appeared in television shows including Foyle’s
in America (Headlong); Twelfth Night (Filter); War, The Musketeers, Silk, Breathless, Game
Plenty, A Comedy of Errors, Girl in a Goldfish of Thrones, D.C.I. Banks, and Waking the
Bowl, Fen, and Far Away (Sheffield Theatres); Dead. Lynch’s film credits include Suffragette,
Serious Money (Birmingham Rep); Pornography Departure, Child 44, Richard the Second, The
(Tricycle); Testing the Echo, Blue Heart (Out Numbers Station, Matilde, To Kill a King, The
of Joint); The Seagull (Northampton, Royal & Lost Battalion, King Lear, and A Midsummer
Derngate); The Importance of Being Earnest Night’s Dream.
(Watermill); The Suppliants (The Gate); and An
Inspector Calls in the West End. On television, PATRICK O’KANE (Kreon)
she has appeared in Silk, Frankie, True Love, O’Kane’s theater work includes: War Horse,
Silent Witness, Injustice, FM, Law and Order, Scenes from the Big Picture, Closing Time,
EastEnders, Pornography, Pulling, Talk to Me, The Playboy of the Western World, Peer Gynt,
Midsomer Murders, Family Man, Life Isn’t All Ha Romeo and Juliet (NT); Macbeth (RSC), 16
Ha Hee Hee, and Roger Roger. She has been Possible Glimpses, Medea, The House; Observe
in the films Women and Children and Really. the Sons of Ulster Marching Towards the
Bushell trained at LAMDA. Somme, The Plough and the Stars, Hamlet,
As the Beast Sleeps (Irish Times Award, Best
SAMUEL EDWARD-COOK (Haimon/Chorus) Supporting Actor), and Quietly (UK Theatre
Samuel Edward-Cook trained at RADA. His Award, Best Actor; Off West End Award, Best
theater credits include Pitcairn (Chichester Actor; Stage Award, Best Actor—Edinburgh
Festival Theatre/Shakespeare’s Globe/Out of Festival/ Abbey Theatre); The Strip, Trust (Royal
Joint), Titus Andronicus (Shakespeare’s Globe), Court); Dr. Faustus, A Whistle in the Dark, Shoot
Our Big Land (Romany Theatre Company/UK the Crow, Unidentified Human Remains, The
Tour), King Lear (Theatre Royal Bath), Glory True Nature of Love, Julius Caesar, Miss Julie,
Dazed (Edinburgh Festival/Adelaide Festival/Soho Donny Boy (Royal Exchange Theatre); Sweet
Theatre), and Boys (Headlong/HighTide/Nuffield). Bird of Youth, Edward II, Lulu, 1953 (Citizens
He has appeared in the television shows Beowulf, Theatre, Glasgow); Popcorn (Nottingham
Peaky Blinders, Land Girls, and Doctors and in Playhouse, West Yorkshire Playhouse, West
films including Passenger and Magwitch. End); The Grapes of Wrath, The Three
Musketeers, Insignificance (CrucibleTheatre,
FINBAR LYNCH (Teiresias/Chorus) Sheffield); The Postman Always Rings Twice
Finbar Lynch’s theater credits include The (West Yorkshire Playhouse); The Crucible, Cat
Silence of the Sea (Trafalgar Studios); Desire on a Hot Tin Roof (Lyric Theatre, Belfast); Ashes
Under the Elms, The Big Fellah (Lyric to Ashes, Cold Comfort (Prime Cut Productions);
Hammersmith); The Fairy Queen (Opéra Titanic (MAC, Belfast); The Crucible (Regent’s
Comique Paris, BAM, Glyndebourne); The Park Open Air Theatre); and Volunteers (Gate
Duchess of Malfi, Dancing at Lughnasa (The Theatre). Films: Prometheus, Perkins 14,
Old Vic); The Fastest Clock in the Universe, Exorcist–The Beginnings, Charlotte’s Red,
Three Sisters on Hope Street (Hampstead Stealing Rembrandt, Octane, and Brilliance.
Theatre); A Doll’s House, Love’s Labour’s Lost, Television: Jamaica Inn, Strike Back, Game
Portrait of a Lady (The Peter Hall Company); of Thrones, The Borgias, The Fall, Vera, New
The Hothouse, Antony and Cleopatra, King Lear Tricks, Holby Blue, Five Days, Waking the Dead,
(NT); Not About Nightingales (NT/Broadway); Holby City, Holy Cross, A Rap at the Door, As
The Tempest, Measure for Measure, Coriolanus, the Beast Sleeps, Any Time Now, Gunpowder
The Alchemist, The Virtuoso, Amphibians, Treason, Plot, and Wire in the Blood. O’Kane
A Woman Killed with Kindness, The Two is a NESTA Fellow and his book Actors’ Voices
Gentlemen of Verona, and two productions of is published by Oberon Books. He has been an
Julius Caesar (RSC); A Midsummer Night’s associate artist with Nottingham Playhouse and
Dream (RSC/Broadway); As You Desire Me Prime Cut Productions, for whom he directed The
(Playhouse, London); The Birthday Party Trestle at Pope Lick Creek.
(Duchess, London); Hecuba, To the Green Fields
Beyond, Translations, Fool For Love (Donmar KATHRYN POGSON (Eurydike/Chorus)
Warehouse) and A Moon for the Misbegotten Kathryn Pogson has played leading roles at the
(Royal Exchange); among many others. He has Royal Court, in the West End, and at many of
Who’s Who
London and the country’s major theaters. Pogson and the US. Carson has recently translated The
was the first British actress to win an OBIE Bakkhai, which will be produced in London in
(Public Theatre, New York) for her creation of the summer of 2015. Classic Stage Company
the character Lemon in Aunt Dan and Lemon, has produced three of Carson’s translations—
and the original performer in many classic pieces Aeschylus’s Agamemnon, Sophocles’ Electra,
of English theater including Masterpieces, The and An Oresteia (from Euripides’ Orestes)—in
Lucky Chance (Aphra Behn revival) and the repertory. Carson’s works include Autobiography
groundbreaking Arbor, all at the Royal Court. She of Red; Red Doc>; Antigonick; If Not, Winter:
played Ophelia for Jonathan Miller and leading Fragments of Sappho (translation); The Beauty
roles for the RSC. On television she has appeared of the Husband; Men in the Off Hours; Economy
in Midsomer Murders, Foyle’s War, The Last of the Unlost; Plainwater: Essays and Poetry;
of the Blonde Bombshells, The Bill, Eskimo Glass, Irony and God; Eros the Bittersweet:
Day, Family Money, Reckless, and Heartbeat. an Essay; Decreation: Poetry, Essays Opera;
Pogson has appeared in the films The Company and Grief Lessons: Four Plays by Euripides
of Wolves, The Arbor, The Life Class, The Last (translation). She is a MacArthur Fellow; she has
Hangman, Breakfast on Pluto, A Hartley Story, received the Lannan Prize, the T.S. Eliot Prize,
Millions, Pure, and Brazil. Pogson trained at the Pushcart Prize, the Griffin Poetry Prize (twice-
Drama Centre and is the director of the London awarded), and was an Anna-Maria Kellen Fellow
Dramatic Academy of Fordham University. at the American Academy in Berlin, Germany.
NATHANIEL JACKSON (Body of Polyneikes/Boy) IVO VAN HOVE (Director)
Nathaniel Jackson is a New York City based Ivo van Hove has been general director of the
actor originally from Port Huron, MI. He earned Toneelgroep Amsterdam since 2001. His credits
his BFA from Western Michigan University, for Toneelgroep Amsterdam include Kings of
studied Lecoq technique at Arts University War, The Fountainhead, Long Day’s Journey
Bournemouth, and has studied improv at the into Night, Scenes from a Marriage, The Miser,
Uprights Citizens Brigade Theatre. Previous Children of the Sun, Othello, Teorama, Summer
credits include Whatever Happened to Gloomy Trilogy, Antonioni Project, Cries and Whispers
Gus (Meyer) at the Victory Gardens Theatre, (2011 Next Wave), The Human Voice, Rocco
Small Wars (Aiden) in the Communal Spaces and His Brothers, Angels in America (2014 Next
Festival, and Spats (Smith/Zealot) in the Samuel Wave), and Roman Tragedies (2012 Next Wave).
French Off-Off Broadway Festival. You can also Other theater credits include Strange Interlude
see him in such indie films as Young, Landing and Ludwig II (Münchner Kammerspiele);
Up, and The Day Job. He would like to thank his Edward II and The Misanthrope (Schaubühne,
lovely family for all of their support. Berlin); The Little Foxes, Hedda Gabler, and
A Streetcar Named Desire (New York Theatre
CREATIVE TEAM Workshop); The Lady of Camellias and The Miser
(Schauspielhaus, Hamburg); and the Young Vic,
ANNE CARSON (Translation) West End, and Broadway production of A View
Anne Carson is a poet, essayist, translator, from the Bridge, for which he was awarded the
playwright, and classicist. With her background 2015 Olivier Award for Best Director. Among
in classical languages, comparative literature, the operas he has directed are Brokeback
anthropology, history, and commercial art, Mountain (Teatro Real, Madrid); The Clemency
Carson blends ideas and themes from many of Titus and Idomeneo (La Monnaie Opera,
fields. She frequently references, modernizes, Brussels); Mazeppa (Komische Oper, Berlin);
and translates Greek mythology, and has Verdi’s Macbeth (L’Opera de Lyon); Iolanta and
published more than a dozen books, all of The Makropulos Case (De Nederlandse Opera);
which blend the forms of poetry, essay, prose, and Lulu and Wagner’s The Ring Cycle (Flemish
criticism, translation, dramatic dialogue, Opera). In film and television, Van Hove has
fiction, and non-fiction. Carson’s translation of worked on Amsterdam and Home Front, among
Sophokles’ Antigone received its world premiere others. From 1998–2004, Van Hove was artistic
at Les Théâtres de la Ville de Luxembourg, in director of the Holland Festival. He was made
collaboration with the Barbican in London, Chevalier dans l’Ordre des Arts et des Lettres in
starring Juliette Binoche and directed by Ivo van France in 2004.
Hove; this production tours throughout Europe
Who’s Who
JAN VERSWEYVELD (Set and Lighting) TAL YARDEN (Video)
Jan Versweyveld has been head of scenography Tal Yarden is currently designing video for
and regular designer for Toneelgroep Amsterdam Indecent (Yale; La Jolla) and Lazarus (New York
since 2001. Credits for Toneelgroep Amsterdam Theater Workshop). Recent designs include
include Kings of War, The Fountainhead, Kings of War, The Fountainhead (Toneelgroep
Long Day’s Journey into Night, Scenes from Amsterdam); Between Worlds (ENO); La
a Marriage, Husbands, Children of the Sun, Clemenza de Tito (La Monnaie); and Brokeback
Theorem, Summer Trilogy, Antonioni Project, Mountain (Teatro Real). Previous projects
Cries and Whispers, The Human Voice, include Der Schatzgräber (De Nederlandse
Rocco and His Brothers, Angels in America, Opera); Mazeppa (Komische Oper, Berlin);
and Roman Tragedies. Other theater includes Macbeth (Opéra de Lyon); Ludwig II (Münchner
Strange Interlude and Ludwig II (Münchner Kammerspiele); Edward II, The Misanthrope
Kammerspiele); Edward II and The Misanthrope (Schaubühne, Berlin); Idomeneo (La Monnaie);
(Schaubühne, Berlin); The Little Foxes, Hedda POP! (Yale); Husbands, The Russians, Children
Gabler, and A Streetcar Named Desire (New of the Sun, Cries and Whispers, Antonioni
York Theater Workshop); The Lady of Camellias Project, Angels in America, Mourning Becomes
and The Miser (Schauspielhaus, Hamburg); Electra, Roman Tragedies (Toneelgroep
and for the Young Vic, West End, and Broadway, Amsterdam); and Wagner’s Ring Cycle (Vlaamse
A View from the Bridge. Versweyveld has worked Opera). He has also worked in theaters in
on operas including Brokeback Mountain America, and created many projects for corporate
and Boris Godunov (Teatro Real, Madrid); La clients and famous pop music stars. Yarden is
Clemenza di Tito and Idomeneo (La Monnaie also directing Kaycee Project, a documentary
Opera, Brussels); Mazeppa (Komische Oper, about sheep ranchers in Wyoming, and is a
Berlin); Verdi’s Macbeth (Opéra de Lyon); Iolanta technical consultant for the new Performing Arts
and The Makropulos Case (De Nederlandse Center at the World Trade Center.
Opera); and Lulu and Wagner’s The Ring Cycle
(Flemish Opera). Dance credits include Rain, DANIEL FREITAG (Composition and Sound)
Love Supreme, Small Hands, Just Before, and Musician and composer Daniel Freitag started
Drumming (Rosas, Brussels). writing and playing music at a young age,
and studied musicology, media studies, and
PETER VAN KRAAIJ (Dramaturg) the history of art in Marburg and Berlin. His
Peter van Kraaij joined Ivo van Hove’s first theater credits include Miss Julie for Thomas
theater company Akt while still in drama school Ostermeier (Theatre of Nations, Moscow), where
in Brussels during the early 1980s. He has he produced the music with Nils Ostendorf, and
worked as a director at Kaaitheater in Brussels, then An Enemy of the People (Schaubühne,
where he staged 20th-century plays by James Berlin), producing with Malte Beckenbach.
Joyce, T.S. Eliot, Heiner Müller, and Bernard- In France, Freitag created the music and
Marie Koltès, and made Vinaya, his first feature multichannel sound design for the award-
film collaborating with Josse De Pauw. He has winning production Little Eyolf, directed by
also worked as a screenwriter for Dorothée Jonathan Châtel, and Trafic (Theatre d’Amiens,
Van den Berghe (Girl and My Queen Karo) Theatre La Colline Paris, directed by Daniel
and written and directed his own plays The Jeanneteau and Marie-Christine Soma). He also
Blacksmith’s Son, Sittings, and Trinity Trip. In collaborates regularly with the directors Christoph
2007 he joined Toneelgroep Amsterdam as the Mehler and Juliane Kann. Freitag first worked
company’s dramaturge working on several of Van with Ivo van Hove in 2010 on The Misanthrope
Hove’s most acclaimed productions, including at the Schaubühne, Berlin, followed by Never
Angels in America, Cries and Whispers, and Apart, Husbands, and Strange Interlude, in
After the Rehearsal/Persona, Children of the which he also appeared on stage. In 2014 he
Sun, and recently Ayn Rand’s The Fountainhead. created the soundtrack for Van Hove’s Maria
Apart from his work with Van Hove, he also Stuart at the Toneelgroep Amsterdam, arranging
collaborated with directors such as Luk Perceval music written by Susato, Bach, and Schubert for
and Simon Stone. In 2013 Van Kraaij published analogue synthesizers. He is currently working
his first novel Wat Rest (What Remains). on a solo album, which will be released in
2015.
AN D’HUYS (Costumes) His credits include Opening Night, Angels in
An D’Huys has worked as a costume America, Roman Tragedies, Cries and Whispers,
designer since 1988 and is part of the Ann Antigone, After the Rehearsals, Persona, The
Demeulemeester design team. Her theater credits Fountainhead, and many others. Huijbrechts
include Three Sisters, Poquelin, Summerfolk, also guest lectures on set design at the Art
Nora, and The Marx Sisters (TG Stan, Antwerp); Academy in Amsterdam.
Othello, Opening Night, Children of the Sun,
The Fountainhead, and Medea (Toneelgroep JAMES TURNER (Assistant Set Designer)
Amsterdam); The Misanthrope (Schaubühne, James Turner trained on the Motley Theatre
Berlin); Die Walküre, Siegfried, and Design Course. He won the 2013 Off-West-
Götterdämmerung (Flanders Opera, Antwerp); End Award for best set designer for Mercury
and for the Young Vic and West End, A View Fur. His credits include Cuddles (59E59, New
from the Bridge. Dance credits include Quartet, York/Ovalhouse/UK Tour); The Father (Trafalgar
Bitches Brew, and Kassandra (Rosas, Brussels). Studios 2); Donkey Heart (Trafalgar Studios 2/
D’Huys has worked on films including Toto the Old Red Lion); State Red (Hampstead Theatre);
Hero directed by Jaco van Dormael and Rosie The Cherry Orchard Parallel Production (Young
directed by Patrice Toye. Vic); Honest (Salisbury Playhouse/UK Tour);
Toast (Park Theatre); John Ferguson, A Life, The
JEFF JAMES (Assistant Director) Sluts of Sutton Drive (Finborough); Mercury Fur
Jeff James’ credits as director include Stink (Trafalgar Studios 2/Old Red Lion); The Armour,
Foot (The Yard), One for the Road, and Victoria The Hotel Plays (Langham Hotel); Our Ajax, I
Station (Young Vic and Print Room). His credits Am a Camera, Execution of Justice (Southwark
as associate director include A View from the Playhouse); MilkMilkLemonade (Oval House);
Bridge (Young Vic and West End) and The Goodnight Children Everywhere (Drama Centre
Changeling (Young Vic). As assistant/staff London); Cause Célèbre (Central School of
director, James has worked on productions Speech and Drama); Strong Arm, That Moment
including Blurred Lines, Edward II (NT), (Underbelly, Edinburgh); Thrill Me (Tristan Bates/
Stiller (Residenztheater Munich), Uncle Vanya Charing Cross Theatre/C Venues, Edinburgh);
(Chichester Festival Theatre), Fabrication (Print Plain Jane (Royal Exchange Studio); No Wonder
Room), and Macbeth (Globe). (Library Theatre); and A Man of No Importance
(Union Theatre/Arts Theatre). Recent work as
THIERRY MOUSSET (Second Assistant Director) associate designer includes: A View from the
While studying at the University of Cambridge Bridge (West End/Young Vic), An Intervention
and Sciences Po Paris, Thierry Mousset worked (Watford Palace/Paines Plough), and Jumpers for
for several years as assistant director at Les Goalposts (Bush Theatre/Paines Plough).
Théâtres de la Ville de Luxembourg. He directed
Frank Wedekind’s Spring Awakening in 2013 R. MICHAEL BLANCO (American Stage
and Così fan tutte in San Marino in the same Manager) has been the stage manager at BAM
year. He was a trainee director working under for Karole Armitage’s The Predator’s Ball;
Dmitri Tcherniakov at the Festival d’Aix-en- Jonathan Miller’s St. Matthew Passion and Così
Provence, and an intern for the world premiere fan tutte; Playing Shakespeare USA with John
of Toshio Hosokawa’s The Raven. In 2014, Barton; Sydney Theater Company’s White Devil
Mousset worked as an assistant dramaturg at and Hedda Gabler; Donmar Warehouse’s Uncle
La Monnaie opera house in Brussels. His most Vanya/Twelfth Night; the RSC’s Don Carlos,
recent project is Another Winter, a new opera A Midsummer Night’s Dream, and Hecuba;
directed by Denis Marleau for LOD muziektheater Watermill/Propeller’s Merchant of Venice;
in Ghent, which opened in May 2015. Vesturport Theatre’s Metamorphosis and Faust:
A Love Story; the Young Vic’s A Doll’s House;
RAMON HUIJBRECHTS (Assistant Set Designer) Chichester Festival Theatre’s King Lear; Pan
Ramon Huijbrechts studied sculpture and then Pan Theatre’s Embers; Théâtre de la Ville’s Six
theater design at the Maastricht Academy of Fine Characters in Search of an Author; Royal
Arts and Wimbledon School of Arts. He joined Court Theatre’s Not I/Footfalls/Rockaby; Almeida
Toneelgroep Amsterdam in 2005 as an assistant Theatre’s Ghosts; and Fugard Theatre/Eric
designer, working mainly for Jan Versweyveld Abraham’s A Human Being Died That Night. At
and also Katrin Brack and Jan Pappelbaum. the Metropolitan Opera: Kirov Ballet, Bolshoi