Program: Figaro [pdf] - American Repertory Theater

Introduction 

Dear Friends, 

Welcome to the start of the 2007-08 season, and to our fourth 

collaboration with Theatre de la Jeune Lune. The performance that you'll 

see this evening is part of a double-bill, Don Juan Giovanni and Figaro, 

two “opera-plays” that blend elements from Mozart, Molière, and 

Beaumarchais to create something quite new. 

The two productions are performed by a single cast of actors and opera 

singers, most of whom will be familiar to you from our earlier projects with 

Jeune Lune, The Miser , Amerika or the Disappearance, and Carmen. 

Each of the opera-plays stands alone, but to get the full effect we hope 

that you will see both of them, since they create a fascinating dialogue 

with each other. 

I love these productions because they demonstrate the great theatrical 

invention that we have come to expect from Jeune Lune, blending seriousness and whimsy, intertwining opera 

and classical drama, switching genres and tones often without warning. But more than this, I love the games 

that both Don Juan Giovanni and Figaro play with time. Each is a meditation on the power that the past 

holds over us, both personally and historically. Each is a ghost story, in which the protagonists Don Juan, the 

Count, Figaro are haunted by their former selves and deeds. They are ghost stories in a larger sense too, for 

they invite us to notice in our own age echoes and shadows of the French Revolution, the bloody cradle of 

democracy, and they remind us that past, present and future are wonderfully and terrifyingly entangled. 

I hope these productions give you great pleasure, and that you'll join us for the other six productions of our 

2007-08 season. 

Best wishes, 

Gideon Lester 

Acting Artistic Director 

Remo Airaldi 

Christina Baldwin 

Dieter Bierbrauer 

Bryan Boyce 

Oya Campelle 

Thomas Derrah 

Professional Company • 2007–08 Season 

Steven Epp 

Jeremy Geidt 

Bradley Greenwald 

Laura Heisler 

Carrie Hennessey 

Bryan Janssen 

Paula Langton 

Will LeBow 

Karen MacDonald 

Dan McCabe 

Nazmiye Oral 

Jennifer Baldwin Peden 

Meral Polat 

Dominique Serrand 

Mara Sidmore 

Nilaja Sun 

Momoko Tanno 

TO OUR AUDIENCE 

To avoid disturbing our seated patrons, latecomers (or patrons who leave the theatre during the performance) 

will be seated at the discretion of the management at an appropriate point in the performance. 

By union regulation: 

Taking photographs and operating recording equipment is prohibited. 

All electronic devises such as pagers cellular phones, and watch alarms should be turned off during the 

performance. 

By Cambridge ordinance, there is no smoking permitted in the building.

SEASON 07/08 

Comedies and dramas, music and satire, 

plays about childhood and revolution, science 

and love – this season offers an amazing 

range of theatrical experiences. 

Donnie Darko 

October 27 – November 18 

No Child… 

January 3 – February 3 

Copenhagen 

November 24 – December 23 

Julius Caesar 

February 9 – March 22

Create your own, personalized A.R.T. theatre series 

See 3 or more plays and save up to 27% over single ticket prices 

Join us. Create your customized theatre series by choosing three 

or more productions from those listed below. Along with your 

series purchase, you'll receive a host of special privileges, including: 

Elections and Erections 

A Chronicle of Fear & Fun 

April3–May4 

Cardenio 

May 10 – June 8 

FREE ticket exchange 

Discounts on nearby 

parking, fine dining, and 

tickets to other area 

theatres 

ARTicles: a behind-thescenes 

look at each 

production and info on 

A.R.T. and other artsrelated 

happenings 

Pre- or post-performance 

discussions on selected 

dates 

Childcare at affordable 

prices for selected 

Saturday matinees 

*Special Event: 

The Veiled Monologues 

October 16 - 21 

*Due to its limited run, The Veiled Monologues 

is not available as part of a series. 

Series brochures are available 

at the box office. 

www.amrep.org 

617.547.8300

American Repertory Theatre 

Advisory Board 

Philip Burling Co-Chair 

Ted Wendell Co-Chair 

Joseph Auerbach, emeritus 

George Ballantyne 

Page Bingham 

William H. Boardman, Jr. 

Robert Brustein 

Paul Buttenwieser 

Greg Carr 

Caroline Chang 

Antonia Handler Chayes 

Clarke Coggeshall 

Kathleen Connor 

Robert Davoli 

Charles Gottesman 

Barbara W. Grossman 

Ann Gund 

Joseph W. Hammer 

Horace H. Irvine II 

Michael E. Jacobson 

Michael B. Keating 

Glenn KnicKrehm 

Myra H. Kraft 

Barbara Lemperly Grant 

Carl J. Martignetti 

Dan Mathieu 

Eileen McDonagh 

Rebecca Gold Milikowsky 

Ward Mooney 

Anthony Pangaro 

Beth Pollock 

Jeffrey Rayport 

Zero Arrow Theatre 

Our exciting second performance space! 

“Boston’s Best New Theatre” 

– Improper Bostonian 2005 

The A.R.T.’s flexible and intimate second 

performance space at the intersection of Arrow 

Street and Mass. Avenue in Cambridge is now 

two years old! This three hundred-seat theatre serves as an incubator for new work in addition to 

hosting performances by the A.R.T./MXAT. Institute for Advanced Theatre Training. Performance 

times and dates will be updated on the A.R.T.’s website (www.amrep.org). Don’t miss the 

adventure of new work, young artists, and multiple disciplines all at affordable prices—the 

signature mission of ZERO ARROW THEATRE. 

The American Repertory theatre and the Institute for Advanced Theatre Training at Harvard are 

supported in part by major grants from The Andrew W. Mellon Foundation, the Doris Duke Charitable 

Foundation, The Shubert Foundation, and the Carr Foundation. The A.R.T. also gratefully acknowledges 

the support of Harvard University, including president Drew Gilpin Faust, Provost Steven E. 

Hyman, Faculty of Arts and Sciences Dean Michael D. Smith, the Committee on Dramatics, Dean 

Michael Shinagel, and the School of Continuing Education. We also wish to give special thanks to our 

audience and to the many A.R.T. Annual Fund donors for helping us make this season possible. 

Michael Roitman 

Henry Rosovsky 

Linda U. Sanger 

John A. Shane 

Michael Shinagel 

Donald Ware 

Sam Weisman 

The A.R.T./Harvard Board of 

Directors 

Philip Burling 

Luann Godschalx 

Jonathan Hurlbert (clerk) 

Judith Kidd 

Robert James Kiely 

Jacqueline A. O'Neill (chair) 

Robert J. Orchard 

(*) Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United 

States. Actors’ Equity Association (AEA), 

founded in 1913, represents more than 45,000 actors and stage 

managers in the United States. Equity seeks to advance, promote and foster the art of live theatre as an essential 

component of our society. Equity negotiates wages and working conditions, providing a wide range of benefits, 

including health and pension plans. AEA is a member of the AFL-CIO, and is affiliated with FIA, an international 

organization of performing arts unions. The Equity emblem is our mark of excellence. www.actorsequity.org


in association with Theatre de la Jeune Lune and the Loeb Drama Center 

present 

DON JUAN GIOVANNI 

Based on the work of 

Molière and Mozart 

From the original production by 

Steven Epp, Felicity Jones, 

Dominique Serrand, and 

Paul Walsh 

Don Juan Giovanni 

Charlotte 

Peter 

Don Giovanni 

Sganarelle 

Leporello 

Girl 

Commendatore 

Elvire 

Don Juan 

Donna Anna 

Conception by Steven Epp and Dominique Serrand 

Text by Steven Epp 

Music Adapted by Bradley Greenwald 

Directed by Dominique Serrand 

Music direction and Piano by Barbara Brooks 

Scenography by Dominique Serrand 

Costume design by Sonya Berlovitz 

Lighting Design by Marcus Dilliard 

Video design by Dominique Serrand 

Surtitles by Steven Epp 

Stage Manager Glenn D. Klapperich 

Assistant Stage Manager Christopher DeCamillis 

CAST 

CHRISTINA BALDWIN* 

DIETER BIERBRAUER* 

BRYAN BOYCE* 

STEVEN EPP* 

BRADLEY GREENWALD* 

CARRIE HENNESSEY* 

BRYAN JANSSEN 

JENNIFER BALDWIN PEDEN* 

DOMINIQUE SERRAND* 

MOMOKO TANNO* 

String quartet: Daniel Stepner and Julie Leven, violins; Laura Jeppesen, viola; Guy Fishman, cello 

Running time for both productions is two hours and forty-five minutes, 

including one fifteen-minute intermission. 

Theatrical smoke, gunshots, and strobe lights are used. 

Additional Staff: 

Dan Lori, Production Manager, Theatre de la Jeune Lune; Anna Lawrence, Camera Operator; 

Paulina Jurzec, Video Operator; Katrina MacGuire, Production Sound Engineer; 

Juliana Reisinger, Assistant Set Designer; Kristen Knutson, Scenery Assistant. 

First performance August 31, 

2007. The first version of Don 

Juan Giovanni was produced in 

1994 in association with Berkeley 

Repertory Theatre. 

FIGARO 

Based on the work of 

Beaumarchais and Mozart 

Figaro 

Cherubino 

Basilio 


Fig 

Count Almaviva 

Marcellina 

Bartolo 

Countess 

Mr. Almaviva 

Susanna 

First performance September 7, 

2007. The first version of Figaro 

produced in 2003 at the Theatre 

de la Jeune Lune.


Synopsis 

Act One 

Sganarelle, Don Juan’s long-suffering servant, is tired and jealous of his master’s libertine ways. Juan 

lurches from one sexual escape to another, while Sganarelle is left to pick up the pieces and drive the 

escape car. But when Sganarelle tries to raise moral objections, Don Juan runs rhetorical circles around 

him and persuades him to continue—and so the pattern of their life together continually repeats itself 

as the two of them motor across the country in an unending road trip to nowhere. 

One day, at a drive-in movie, Don Juan and Sganarelle meet their counterparts Don Giovanni and 

Leporello. Giovanni, in disguise has attempted to seduce the wealthy Donna Anna, who runs into the 

street calling for help ( “Non sperar, se non m’uccidi” ). Her father, the Commendatore, comes to her 

aide, but is killed in the ensuing brawl. Leporello consoles Anna, who makes him vow to avenge her 

father’s death ( “Era glia alquanta” ). 

Giovanni and Leporello escape in the car with Juan and Sganarelle. Juan has misgivings about the 

newcomers, but when Giovanni reveals his true identity ( “Madamina” ) they embrace each other as 

long-lost cousins. 

The four travelers meet Peter, a simple mechanic, and con him out of a tank of gas for the car. 

Thrilled at their success they drive on ( “ Fin ch’han dal vino” ). Soon, though, they run into Juan’s 

estranged wife Elvire, who accosts her runaway husband ( “ Ah, chi mi dice mai” ). Juan attempts to 

reason with her, but Elvire curses him before heaven and storms off in a fury. 

The mechanic Peter, meanwhile, is having difficulties with his fiancèe Charlotte, who appears not to 

love him. The car reappears, and Juan and Giovanni manage to steal Charlotte from Peter and seduce 

her ( “ La ci darem la mano” ), Peter is left alone to mourn another loss ( “ Dalla sua pace” ). 

The tangled love plots converge as Elvire, Anna, and Charlotte all meet, and chaos and confusion 

ensue ( “ Non ti fidar” ). The men slip away, and Anna renews her vow to avenge herself on Giovanni 

and Juan ( “ Or sai chi l’onore” ). The women steal clothes from the car and disguise themselves. 

Juan and Sganarelle, briefly alone, reminisce about their childhood together. As they drive on they 

encounter the three women, now disguised as men, who beg Juan and Sganarelle to help them 

( “ Protegga il giusto cielo” ). Giovanni and Leporello reappear ( “ Viva la liberta” ), Peter soon joins them, 

and general mayhem ensues ( “ Tutto gia si sa!” ). 

Act Two 

Don Giovanni, alone with Leporello, rebukes his servant for his part in the pandemonium ( “ Eh via, 

buffone” ). They leave and Sganarelle and Don Juan arrive in disguise—Sganarelle as a nurse, Juan as 

her patient. When Peter enters they continue to abuse him, then abandon him once more, alone and 

bruised. Charlotte appears and comforts him ( “ Vedrai, Carino” ). 

Both Juan and Giovanni begin to reflect on the nature of life and love ( “ Deh vieni alla finestra” ). 

Juan contemplates the start of his love affair with Elvire, who mysteriously appears. Juan dresses 

Sganarelle up as himself, and using him as a stand-in, watches himself seducing Elvire all over again 

( “ A taci, inguisto core” ) and is surprised to discover that he still harbors feelings for her. 

Meanwhile Anna, Charlotte, Peter rage about their mistreatment at the hands of Juan and Giovanni 

( “ Sola, sola in buio loco” ).


Sganarelle is driving, but blinded by his fury at Juan’s callousness he crashes the car, which starts to 

bleed. A supernatural air begins to overwhelm the protagonists, as a mechanic appears, singing the 

fate music of the Commendatore ( “ Di rider finirai” ). Juan orders Sganarelle to prepare for a great 

banquet, the time has come for him to have dinner with the ghost of his dead father. Charlotte and 

Peter arrive, reconciled—and the feast becomes their wedding banquet ( “ Il mio tesoro” ). Anna appears 

as an avenging spirit ( “ Mi tradi” ) followed by Elvire ( “ I quali ecesso” ), Juan seems to beg her forgiveness, 

but Elvire refuses ( “ Non mi dir” ). 

At last the ghostly Commendatore arrives, demanding his dinner ( “ Don Juan Giovanni, a cenar 

teco” ), and the story is brought to its fateful conclusion ( “ Questo e il fin” ). 

The Thief of Hearts: The Potency of Don Juan 

by Sarah Ollove 

Men want to emulate him, women want him and want to change him. Not a bad reputation for a guy 

born five hundred years ago. From his first appearance, Don Juan, the Latin lover of a thousand conquests, 

seduced his way into the lexicon as shorthand for a man whose superhuman virility wins one 

woman after another. 

Don Juan made his debut in Tirso de Molina’s 

play, El Burlador de Sevilla in 1630, identified by 

the title as a rogue or trickster. Though this marks 

the first time Don Juan appears by name, the 

archetype predates it. Almost every culture from 

Greece to Africa to North America features a 

mythological male irresistible to the opposite sex 

and some sort of trickster figure. Tirso’s play, 

however, combines these two characters with a 

third feature: Don Juan’s damnation. Whereas 

other cultures discourage these traits with a wink, 

Spanish Catholicism takes a harder line. In the 

end, Don Juan’s deceit, lust, and cruelty are 

punished with an eternal roasting. 

Molière’s Don Juan introduces another important 

part of the myth. This addition is named 

Elvire, Don Juan’s recently abandoned wife, one 

among a string of marriages Don Juan accumulates 

in his hedonistic foray through Europe. 

Though Tirso’s seducer is far from harmless, 

Molière, while maintaining a comic tone, introduces 

a cruel Don Juan, careless of the repercussions 

of his actions. Where Tirso’s Don Juan has 

Don Juan meets the statue... Etching by Cars for the 

too much love to confine himself to one woman, 1734 edition of Molière’s Don Juan


Molière’s courts only lust, not attachment. There 

are few acts more despicable than seducing a nun 

and abandoning her without an instant of regret. 

Don Juan’s passions cool as quickly as they 

ignite. 

In the hundred years between Molière’s play 

and Mozart’s opera, the legend continued to grow. 

Mozart most likely saw an earlier operatic adaptation 

by Giuseppe Gazzaniga (composer) and 

Giovanni Bertati (librettist) in Vienna called Don 

Giovanni Tenorio, o sia il convitato di pietra. 

Gazzaniga (and therefore Mozart) used episodes 

from Tirso excised from Don Juan, 

including the 

beginning from El Burlador de Sevilla. 

In the 

opera’s opening, Donna Anna chases Don 

Giovanni from her bedchamber. Outside her door 

he encounters her father. They fight, the father 

falls, Don Giovanni runs, now branded a lover and 

a killer. Though this plot point drives much of the 

action in Molière, the actual event happens before 

the curtain rises, and the wronged woman never 

appears onstage. Mozart recognized the dramatic 

value of the skirmish. Thus the operatic Don 

Giovanni has two sopranos to dodge—while Mozart, a posthumous portrait. 

pursuing a third. 

Unlike Molière’s play with its comic tone, the opera complicates genres, Mozart went so far as to 

give it a new name, dramma giocoso. 

Moments of low comedy intrude upon high tragedy, blurring the 

Don Juan archetype. When the statue of Donna Anna’s dead father drags Don Juan to hell in Molière, 

we want to cheer. When the Statue appears in Don Giovanni, 

the music seduces us into putting ourselves 

into the Don’s place, and we quake in fear. 

Like Don Quixote and Count Almaviva, Don Juan wouldn’t be complete without a servant as his 

constant companion. The servant appeared at the same time as Don Juan and has been through as 

many names: Catalinón in Tirso, Sganarelle in Molière, Leporello in Mozart. 

Catalinón/Sganarelle/Leporello 

serves as both a moralizing figure and a comic foil for Don Juan. Even 

while begging him to quit his evil ways, the servant can’t help but envy his master. 

Don Juan appeared around the same time as several other archetypes who seized the imagination of 

the world: Don Quixote, Hamlet, Doctor Faustus, and Falstaff. The dreamer, the melancholy intellectual, 

the damned scholar, the jolly fat man form a modern mythology whose legends are still move us. 

Don Juan is as potent as ever. 

– Sarah Ollove is a second-year dramaturgy student 

at the A.R.T./MXAT Institute for Advanced Theatre Training


Program Notes 

by Steven Epp & Dominique Serrand 

We call it Don Juan Giovanni, 

placing the titles 

side by side like the authors from whom we’ve 

borrowed—Molière and Mozart, but also da 

Ponte, Tirso de Molina, Lord Byron, and others, 

including a great deal of ourselves. Our show is a 

river, but without banks. It is neither a reflection 

nor an essay, but an event made of opera and 

theatre. It contains scenes of seduction, separation, 

hatred, idiocy, intuition, and love. It is not 

recommended for people who fear the sense of 

vertigo that comes from staring into the chasm 

between life and death. Here there is sensuality 

and abandonment, passion, beauty, and vulgarity 

too, like greens in a bouquet—all of it resounding 

in the present moment for today. 

The myth of Don Juan is that of the great 

seducer. For Mozart he was a libertine, and a 

brutal one. For Molière a heretic, but philosophical. 

For us he goes beyond comprehension. He is 

at once the angst and the thirst for life. His 

Molière 

eternity resides in the moment and his profound 

despair in the absence of the moment. This is the gap he inhabits and defines and it is how he seduces 

and loves and is loved and destroys; why he un-does so passionately, cruel, and relentless. 

Don Juan is an insurrection—his life a rejection of all the fathers, all forms of male dominance, all 

the accepted norms of class and society. Mozart’s Don Giovanni literally kills the Commendatore—the 

father of one of his conquests. Molière’s Don Juan refutes his own biological father and the acceptance 

of a patriarchal god. He seduces peasants as well as noble women. He marries his wife, stealing her 

away from the convent where she has taken refuge. In the end, both incarnations of the myth deny the 

notions of heaven and hell and face their own death with open arms, ready for the embrace. 

As for the women, each pursue their own path, strong in their individuality, but changed irrevocably 

through their encounters with Don Juan. They are set free into the world and allowed to see it for what 

it is and is not, but also for all that it could be. The unimagined possibilities become palpable. Each of 

them in their own way is thrown into the shallow pool of love, only to find themselves at sea. 

As for the rest of us, we are invited to see with a new and profound enormity—hate is blind, though 

politically profitable—love is nonsensical, flabbergasted, bloodshot, and like a river, it always finds its 

course. 

“If it were sufficient to love, things would be too easy. The more one loves, the stronger the absurd 

grows. It is not through lack of love that Don Juan goes from woman to woman. . . . But it is indeed 

because he loves them with the same passion and each time with his whole self that he must repeat 

his gift and his profound quest.” – Albert Camus, The Myth of Sisyphus, 

1955


Synopsis 

Act 1 

We are in Paris in the year 1792, and the French Revolution is raging. Count Almaviva and his long-time 

servant, the barber Figaro, have taken refuge in a deserted mansion across the street from the Bastille. 

The Count spends most of his days hiding in a closet, with Figaro still tending to him, more or less. 

They bicker and insult each other, and remember their past life together in Seville. Figaro recalls the 

day of his wedding to Susanna, who suddenly appears, as if in his memory 

( “ Cinque…dieci…venti…trenta” ). 

The Count emerges from his closet, and Figaro shaves him. As they continue to reminisce, images of 

their younger selves appear. Young Figaro is in bed with his beloved Susanna ( “ Se a caso madama la 

notte ti chiama” ). 

The Old Count reminds Old Figaro that his real intention had always been to seduce Susanna for 

himself. They watch their younger selves taunting each other ( “ Se vuol ballare” ) and Old Figaro begins 

to set the table for dinner. 

Old Figaro now remembers Cherubino, the Countess’ young page, who was in love with her. 

Cherubino appears and professes his love for the Countess to Susanna ( “ Non so piu cosa son, cosa 

faccio” ) The Young Count appears, and Susanna hides Cherubino. The Young Count has come to 

seduce Susanna, but he hears a noise and he too hides. In the confusion he discovers Cherubino 

( “ Cosa sento! Tosto andate” ) and orders Young Figaro to send the page off to war. 

The Old Count now remembers his wife, the Countess Rosina, who suffered a broken heart. The 

Countess appears, disconsolate ( “ Porgi Amor” ). 

The Old Count hypocritically berates Old Figaro for allowing Cherubino to die on the battlefield. 

Young Figaro appears, and gives Cherubino his military commission ( “ Non piu andrai” ). 

But Old Figaro reveals that he in fact saved Cherubino from battle, and instead hatched a plan with 

Susanna and the Countess, which involved disguising Cherubino in Susanna’s clothes. Suddenly we 

see the two women dressing the young page ( “ Voi che sapete” ). The Countess discovers that 

Cherubino has stolen a ribbon from her, which he has kept as a memento. 

Suddenly the Young Count appears at the door, and Cherubino hides in the closet. The Count, 

thinking that Susanna is hiding, tries to force her out ( “ Susanna, or via, sortite!” ). He leaves to fetch a 

crowbar, and Susanna helps Cherubino to escape ( “ Aprite, presto, aprite” ). But as he leaves, 

Cherubino accidentally drops his commission on the floor. The Young Count returns and discovers it, 

and mayhem ensues as the Old Count and Old Figaro get involved ( “ Finale” ). 

Act 2 

The Old Count is once again hiding in his closet, and the revolutionary soldiers are besieging the house. 

Old Figaro returns, having delivered roses to the estranged Countess. He tells the Old Count that he caught 

sight of Leon, young son of the Count and Countess, whom the Old Count has disowned. 

Old Figaro is again remembering the day of his wedding to Susanna. The characters from the past 

reappear ( “ Riconosci in questo amplesso.” ) Since the Young Count discovered that Cherubino has not 

left for battle, the Countess and Susanna are forced to amend their plan. The Countess dictates a love 

letter that Susanna is to send to the Young Count ( “ Sull’aria” ) and which she gives to him ( “ Crudel! 

Perch finora.” 

)


Back in the present, Old Figaro remembers that letter. He has found another old letter which he 

reads, horrified, to the Old Count. It is from the Countess to Cherubino, revealing that he, not the 

Count, is Leon’s father. The Old Count asks Figaro for a gun, and shoots himself. 

With the gunshot reality becomes distorted, and past and present seem to merge. The Young Count 

suddenly appears, furious that he might lose Susanna to Young Figaro ( “ Hai gia vinta la causa.” ) 

Meanwhile Old Figaro has discovered Cherubino’s reply to the Countess, in which he reveals that he 

did, after all, go to battle, where he was mortally wounded. Cherubino was dying as he wrote that 

letter ( “ L’ho perduta, me meschina.” ) The Countess mourns him ( “ Dove sono” ) and the ghostly 

characters from the past are brought together for the last time ( “ Finale.” ) 

A scene from Act II of Beaumarchais’ The Marriage of Figaro 

by Saint-Quentin for the 1785 edition 

You Say You Want a Revolution? 

by Sarah Ollove 

It is 1792. The French Revolution is in full bloody swing. Mozart is dead. Beaumarchais’s life is in 

danger. But wily Figaro vaults over yet another obstacle. While Mozart lay in his grave, and 

Beaumarchais ran for his life, their masterpieces, Beaumarchais’s Figaro Trilogy and Mozart’s Le Nozze 

di Figaro, birthed a hero whom the French Revolution would baptize as the spirit of rebellion. 

Figaro’s battle with Count Almaviva, his master, over Figaro’s fiancèe, Susanna, echoes the struggle 

of the bourgeoisie with the nobility. Figaro’s famous speech, “Nobility, wealth, rank, high position, such 

things make a man proud. But what did you ever do to earn them? Chose your parents carefully, that’s 

all. Take that away and what have you got? A very average man,” sums up the feelings of the French 

revolutionaries as well as “Liberty, Equality, Fraternity.” 

The relationship between the Revolution and Figaro doesn’t begin and end with The Marriage of 

Figaro. In the first play of the Figaro trilogy, The Barber of Seville, 

Count Almaviva relies on Figaro, 

his social inferior, to woo Rosina, the love of his life. Figaro devises a clever scheme to win the girl,


dryly noting: “Marvelous, isn’t it. When I’m useful, social distinctions just vanish.” After he marries 

Rosina the Count quickly puts those boundaries back into place in the events that make up The 

Marriage of Figaro; 

the Count’s sense of entitlement returns as soon as he wants something Figaro 

has— Susanna. 

By the time Beaumarchais wrote The Guilty Mother, the last of the trilogy, the Revolution makes its way 

directly into the text. Beaumarchais brings his characters from the Eden of Spain into the Terror of France, 

where the Count insists that no one call him ‘Lordship.’ In this turbulent atmosphere, the bitterness of the 

Count corrodes the household, as he hides behind his scheming secretary; Figaro has finally met his match 

in this Machiavellian manservant. The two fight for the loyalty of their employer. Though he maintains the 

comic atmosphere of the previous two plays, the stakes are higher, the transgressions deeper, the intrigue 

nastier. Even so, in the last act of The Guilty Mother, 

Figaro bests his rival, saves the Count yet again, and 

everyone reconciles. Unfortunately, in the French Revolution, such a satisfactory end remained elusive. 

Not coincidentally, 1792 is also the year that Theatre de la Jeune Lune set their version of the story. 

In the sixteen-year interval between the end of The Marriage of Figaro and the beginning of Jeune 

Lune’s Figaro, 

the fairy-tale reconciliation has melted into permanent disillusionment. Figaro and 

Susanna finally face an obstacle they cannot overcome: the Revolution. Figaro sends Susanna across 

the ocean to America for safety. Meanwhile, the Countess, after winning her husband back, loses him 

again to anger, jealousy, and other women. Though drawing heavily on the plot of The Guilty Mother, 

Figaro does not retell that story. 

The Count and Figaro are all that’s left of a once teeming world, doomed to spend eternity together. A 

Figaro without Susanna is heartbreaking, but a Figaro without the Count is impossible. They made their 

first appearance together in The Barber of Seville, and they remain together throughout the twenty-five 

year span of the Figaro trilogy. Like Don Quixote without Sancho Panza, without Figaro, the Count loses the 

anchor tethering him to the world, ensuring that he won’t give up the will to live. 

As sometimes happens with aging companions, their conversation focuses on the past, in particular, 

on that last day of promise, the day that offered so much but delivered so little. As they dwell on their 

youth, their memories come dramatically to life so that Figaro and the Count lose themselves in each 

jab and parry, momentarily forgetting that all they have to eat are potatoes. 

To this end, Jeune Lune introduces a device unknown to Beaumarchais and Mozart but a staple of 

film: the flashback. The flashback allows the introduction of the other major source of the production: 

Mozart’s opera, Le Nozze di Figaro. 

Premiering in 1784, the opera sets Beaumarchais’s story to some 

of the most sublime music ever written. The libretto by Lorenzo Da Ponte, although not taken directly 

from the play, follows the original closely. Because the events in Le Nozze di Figaro happened long 

ago, quotes from the opera appear only in flashback form. Therefore, the past takes on a beautiful 

quality that contrasts with the bleak present. The music of Mozart makes us yearn for the past as 

much as Figaro and the Count do. 

Both the Figaro Trilogy and Le Nozze di Figaro invite us into a world governed by iron-clad rules just as 

this order is being torn apart. In Jeune Lune’s production, however, order has re-established itself. The 

servant has already won when Figaro opens. Revolution only means the death of the aristocracy, not the 

demise of responsibility. Jeune Lune traces Figaro’s realization that perhaps mutiny was for naught; 

equality bears as many traps as servitude. Gradually, Figaro and the Count deal with what happens after 

the revolution ends, when the young radicals turn into old melancholics, living for the past. 

– Sarah Ollove is a second-year dramaturgy student 

at the A.R.T./MXAT Institute for Advanced Theatre Training


Program Notes 

by Steven Epp & Dominique Serrand 

Paris. 1792. Or by the calendar of the revolution—Year One. 

The heady days of liberty have deteriorated into chaos. The rascals of the regime flee Paris in droves. 

Louis XVI and his Queen make a run for the border. Violence and terror reign. 

But . . . on the Avenue de la Republique, across the boulevard from the ruins of the Bastille . . . 

here, in the refuge of this mansion . . . one lone family remains . . . 

We call this one simply Figaro, for it is through Figaro that we come to brush shoulders with the 

explosive events surrounding the French Revolution. Over the course of his life in service to Count 

Almaviva and through his tumultuous marriage to Suzanne, Figaro witnesses the world cracking open; 

society is upended and the human story irrevocably changed. We’ve chosen a vantage point late in 

Figaro’s life, after so much turbulent water has flowed under the bridge—from this precipice Figaro 

looks back to try to comprehend how we come to be of this world, how the world we inherit makes us 

who we are, and how anyone, against all odds, can change the outcome of that world. 

A revolutionary perspective on The Marriage of Figaro 

If it is controversial today for a country-rock band to protest its government, one can only imagine the 

plight of an artist who dared to be critical of the monarchy in prerevolutionary France. In The Marriage 

of Figaro, 

Beaumarchais’ criticism comes in his creation of a lustful, depraved Count and servants who 

are the intellectual equals of their masters. For 

years the king and playwright sparred over the 

right to perform the play. In 1782 Beaumarchais 

was at the peak of his popularity and responded to 

the king’s objections with what was a public 

relations coup; he organized an intense schedule of 

private readings and word-of-mouth soon took hold. 

On April 27, 1784, three years after The 

Marriage of Figaro was first submitted to the 

Comèdie Française, the king finally permitted a 

public performance in Paris. Thousands of people 

began crowding the Odèon Theatre early that 

morning. That evening, the audience applauded 

nearly every line; the show was a raving success. 

Many aristocrats joined in the applause, unaware 

that they were witnessing the prologue to their 

own demise. Five years later it was the people of 

Beaumarchais 

France who would challenge the monarchy. Many 

of those wealthy aristocrats—applauding at the premiere of Figaro—would 

pay with their heads! 

Two years later, with an Italian libretto rushed to the page by da Ponte in less than six weeks, 

Mozart premiered his operatic telling of Figaro’s marriage in Vienna. Hugely popular, the demand for 

encores sometimes pushed the four-hour length of the opera to eight, with audiences on their feet late 

into the night. This revolutionary work remains a cornerstone of the standard repertoire.

Company 

CHRISTINA BALDWIN – Charlotte/Cherubino 

A.R.T.: Carmen (Carmen). Theatre de la Jeune Lune: Mefistofele 

(Lilith), Maria de Buenos Aires (Maria), the title role of Carmen, 

Circus of Tales (Princess/Parmatella), The Man Who Laughs 

(Dea/Joslana), Cosi fan tutte (Dorabella) and The Magic Flute (3rd 

Lady). The Guthrie Theater: The Great Gatsby , She Loves Me , The 

Pirates of Penzance , A Christmas Carol, and The Comedy of Errors. 

Other: The Minnesota Opera; Skylark Opera; Kansas City Repertory 

Theater; Ex-Machina; Great American History Theater; Nautilus 

Music-Theatre; and New Breath Productions. She has appeared as a 

featured soloist with the Minnesota Orchestra, and most recently 

took part in their world premiere of Steven Paulus’ To Be Certain of the Dawn, 

and performed again as 

Hansel in their staging of Hansel and Gretel this season. Ms. Baldwin has appeared as a guest on 

Garrison Keillor’s “A Prairie Home Companion,” and has lent her voice to animated short films by the 

Dutch filmmaker Rosto AD. She holds a Bachelor of Music degree from Lawrence University 

Conservatory of Music and a Master of Music degree from the University of Minnesota. 

SONYA BERLOVITZ – Costume Designer 

A.R.T.: The Miser , Amerika , Carmen. 

Sonya Berlovitz has been designing costumes since 1980, 

primarily for Theatre de la Jeune Lune. She has designed over forty-five productions including Hamlet, 

Cosi fan tutte , The Magic Flute , Tartuffe, and Medea. 

She has also designed several productions at 

Berkeley Repertory Theatre including Salman Rushdie’s Haroun and the Sea of Stories, 

three seasons 

at the Children’s Theatre Company, and Triumph of Love at the Guthrie Theater. She is a graduate of 

both La Chambre Syndicale de la Couture Parisienne and The School of the Art Institute in Chicago. She 

has worked as a textile designer for YohJi Yamamoto and also has been the recipient of many grants 

and awards including The Bay Area Theatre Critics Circle Best Costume Design award, McKnight 

Theatre Artists Fellowship and participation in World Stage Design in Toronto in 2005. This year, Ms. 

Berlovitz will be exhibiting in the Prague Quadrennial. 

DIETER BIERBRAUER – Peter/Basilio 

A.R.T. and Theatre de la Jeune Lune: Carmen (Morales). Other: The 

Guthrie Theater, The Children’s Theater Company, Chanhassen 

Dinner Theater, Theater Latte Da, Ordway Center for the Performing 

Arts, Nautilus Music-Theater, Jon Hassler Theater, and Illusion 

Theater. Mr. Bierbrauer has also been a featured soloist with The 

Minnesota Orchestra.

Company 

BRYAN BOYCE – Don Giovanni/Figaro 

Bryan Boyce is originally from Beaver Dam, WI. This past summer 

he participated for a third time in the Central City Opera’s young 

artist program, covering Leporello in Mozart’s Don Giovanni. 

Other 

past engagements include Olin Blitch in Susannah with Theatre Latte 

Da, Colline in La Bohëme with Theatre Latte Da and with Opera 

Freca in Mendocino, CA, Littore in The Coronation of Poppea and the 

Denver Politician in The Ballad of Baby Doe with the Central City 

Opera. Boyce has also sung supporting roles in University of 

Minnesota Opera Theatre productions, and comprimario roles for the 

Minnesota Opera and Minnesota Orchestra. 

BARBARA BROOKS – Music Director/Conductor/Piano 

A.R.T.: Carmen. 

Barbara Brooks is an active vocal coach and music director in the Twin Cities area. She 

has worked with various opera companies including Canadian Opera, Minnesota Opera, New Orleans 

Opera, Opera Banff, Berkshire Opera, Des Moines Metro Opera, Kentucky Opera, as well as the 

University of Minnesota Opera and University of North Texas Opera programs. Ms. Brooks also served as 

a vocal coach for the Minnesota Opera’s Resident Artist Program and currently is on the music staff of 

the Wesley Balk Institute. She currently teaches piano at Macalester College and is the pianist for the 

Minnesota Chorale, the official chorus of the Minnesota Orchestra. 

MARCUS DILLIARD – Lighting Designer 

A.R.T. : The Miser, Amerika, Carmen. Jeune Lune: Don Juan Giovanni, The Hunchback of Notre 

Dame, Tartuffe, The Magic Flute, The Green Bird, Description of the World, Hamlet, Cosi fan tutte, 

The Seagull, Carmen, The Ballroom, The Miser, The Little Prince, Maria de Buenos Aires, Antigone, 

Amerika, and Mefistofele. 

He has designed for theatre and opera companies across North America 

and Europe, including the Spoleto Festival (Italy), The Athens Festival (Greece), the Flanders Opera, 

L’Opera De Montreal, Canadian Opera Company, Vancouver Opera, Portland Opera, San Diego Opera, 

Opera Company of Philadelphia, American Repertory Theatre, The Shakespeare Theatre, Arena 

Stage, Actors Theatre of Louisville, Dallas Theater Center, Berkeley Repertory Theatre and The 

Shakespeare Festival in Ashland, Oregon. Locally he has designed for the Guthrie Theater, Minnesota 

Opera, The Children’s Theatre Company, and The Ordway Center for the Performing Arts, The History 

Theatre and The Minnesota Orchestra. Marcus received a BA from Lehigh University and an MFA 

from Boston University’s School of the Arts. He has received a 2005 Ivey Award and a 2006 

McKnight Theatre Artist Fellowship.

Company 

STEVEN EPP – Sganarelle/Fig 

A.R.T.: The Miser (Harpagon), Amerika, or the Disappearance 

(Stoker, Delamarche, Head Cook). Steven Epp began working with 

Jeune Lune in 1983, and has played the titles roles in Crusoe, 

Tartuffe , Hamlet , Gulliver, and The Miser. 

He was the Head Waiter 

in The Magic Flute, Malvolio in Twelfth Night, Trigorln in The 

Seagull, The Poet in Maria de Buenos Aires, 

and St. Exupery in 

The Little Prince. He adapted and directed Medea and has 

collaborated on scripts for Children of Paradise: Shooting a Dream, 

3 Musketeers , The Hunchback of Notre Dame , The Magic Flute, 

Don Juan Giovanni , Figaro , Amerika, and Mefistofele. 

He holds a 

degree in Theatre and History from Gustavus Adolphus College and is the recipient of a 1999 Fox 

Fellowship. He has performed with Jeune Lune at The La Jolla Playhouse, New Victory Theatre, The 

Alley Theatre, Actors Theatre of Louisville, Yale, Trinity, and Berkley Repertory Theatres. 

GUY FISHMAN – Cello 

Handel & Haydn Society Principal cellist since 2002; performances with Boston Baroque since 2002. 

Appearances across the US and England, Holland, Poland, and Switzerland. Concerts with Apollo’s 

Fire, Emmanuel Music, Boston Museum Trio, Orchestra of St. Luke’s, Mark Morris Dance Group. 

Chamber music at Jordan Hall, Sanders Theater, Carnegie’s Weill Hall, Merkin Concert Hall. 

Participant at the Tanglewood, Kneisel Hall, Chautauqua, and Musicorda festivals. Member, New 

Fromm Players at Tanglewood. Principal cellist, New York String Orchestra at Carnegie Hall. Studies 

with David Soyer, Peter Wiley, Julia Lichten. Doctoral work with Laurence Lesser at the New England 

Conservatory. 2005 Fulbright Scholar in The Netherlands; studies with Anner Bylsma. Director, Alpine 

Chamber Music Festival at the Leysin American School, Leysin, Switzerland. Recordings on the 

Centaur, Telarc, Titanic, and Newport Classics labels. Performs on a rare cello made in Rome in 1704 

by David Tecchler. 

BRADLEY GREENWALD – Music Adaptor/Leporello/Count 

Almaviva 

A.R.T.: Carmen (Don Jose). Bradley Greenwald has collaborated 

with Jeune Lune over the past twelve years as performer and music 

adaptor for Mefistofele , Maria de Buenos Aires , Carmen , Magic 

Flute, 

and others. He performs opera, theatre, music-theatre, 

concert and recital repertoire with Guthrie Theater, Nautilus 

MusicTheater, Children’s Theatre Company, Jungle Theater, 

Minnesota Dance Theatre, Lyra Baroque Orchestra, 10,000 Things, 

Ballet of the Dolls and others. Bradley is the recipient of a 

Minnesota State Arts Board Fellowship in music, the McKnight 

Fellowship for Theater Artists, and an Ivey Award.

Company 

CARRIE HENNESSEY – Girl/Marcellina 

Carrie Hennessey is a graduate of the University of MN Morris, 

where she received her BA in Vocal Performance. She is a native of 

the Twin Cities and has been actively doing recital work independently 

and with organizations such as Thursday Musical. Working 

almost exclusively with local composer Hiram Titus since 2003, she 

has been developing, premiering and performing his original art 

songs and theatrical works. Their latest collaboration is the release of 

Ms. Hennessey’s debut CD A Prelude to Summer, 

premiering 

performances of song cycles featuring off-beat Mother Goose rhymes 

and the poetry of the Carmelite Monk, St. John of the Cross. 

BRYAN JANSSEN – Commendatore/Bartolo 

Bryan Janssen has performed in Minnesota with the SPCO, 

Minnesota Orchestra, North Star Opera, Lyra Concert, Minnesota 

Chorale, Hamline Oratorio and Bach Society Choruses, and performed 

the title role in Ragamala Dance Theater’s dance/opera 

production of Asoka. 

He has also worked with the Lyric Opera of 

Kansas City, the Missouri Repertory Theater, and the Kansas City 

Symphony and Chorus. 

LAURA JEPPESEN – Viola 

A.R.T.: Dido Queen of Carthage (Music Director, IRNE Award nomination). 

Prominent member of the Boston early music scene, plays with the Boston Museum Trio, Handel and 

Haydn Society, Boston Baroque, and the Boston Early Music Festival Orchestra. She has been a 

Fulbright Scholar, a Woodrow Wilson designate and a fellow at Radcliffe’s Bunting Institute. he currently 

teaches at Boston University and Wellesley College. 

GLENN D. KLAPPERICH – Stage Manager 

Glenn Klapperich has stage managed at Theatre de la Jeune Lune for the past four years. Previous 

Jeune Lune productions include: Mefistofele , Amerika , The Little Prince , Maria de Buenos Aires, 

Carmen, and The Miser at Jeune Lune and on tour. For the past fifteen years, Mr. Klapperich has stage 

managed for a variety of companies, including Three Days of Rain and Love! Valour! Compassion! at 

Park Square Theatre, Cloud Nine and The Most Fabulous Story Ever Told at Outward Spiral Theatre 

Company, and Tally’s Folly at Theatre L’Homme Dieu.

Company 

JULIE LEVEN – Violin 

Principal player in the Handel and Haydn Society and Boston Baroque; concertmaster of the Bach and 

Beyond Festival of Fredonia NY, and has participated in the Aston Magna Festival, the BBC Proms, 

Krakow/Warsaw Easter Festival, the Edinburgh Festival, the Boston Early Music Festival, Spoleto Festival, 

Colorado Music Festival, and the Tanglewood Music Center. Ms. Leven has performed throughout the US, 

Japan, and Korea with the Boston Pops. She has been a member of the Jerusalem Symphony, and the Aarhus 

Symfonieorkester in Denmark. She can be heard as a soloist on Telarc recordings of Boston Baroque, 

including the “Handel Opus 6 Concerti Grossi,” and the 1999 Grammy nominated performance of the 

Monteverdi Vespers. 

JENNIFER BALDWIN PEDEN – Elvire/Countess 

A.R.T.: Carmen (Michaela). Over the last seven years her work with 

Theatre de la Jeune Lune has included productions of The Magic 

Flute , Cosi fan tutte , Carmen , The Ballroom , Carmina Burana (with 

MDT), Maria de Buenos Aires, and Mefistofele. 

She has also worked 

with other companies around the Twin Cities including Nautilus 

MuslcTheater, Guthrie Theater, History Theatre, Skylark Opera, 

Minnesota Dance Theatre, the Minnesota Orchestra, and Minnesota 

Opera. She has appeared at Berkeley Repertory Theatre with Haroun 

and the Sea of Stories, 

has been a guest on “A Prairie Home 

Companion,” and she appeared in the film Drop Dead Gorgeous 

where she portrays a singing pageant contestant. Her voice is used for a character in a Dutch animated 

film Jona/Tomberry, 

which won the Grand Prix Canal at the Cannes Film Festival in May 2005. 

DOMINIQUE SERRAND – Director/Don Juan/Mr. Almaviva 

A.R.T.: The Miser, Amerika, Carmen. 

Paris native Dominique 

Serrand is the Artistic Director and co-founder of Theatre de la 

Jeune Lune. He studied at the National Circus School and the 

École Jacques Lecoq in Paris. Mr. Serrand has acted, conceived, 

directed and designed for most Jeune Lune productions for over 

twenty-seven years, concentrating primarily on directing. His 

directing credits include The Kitchen, Lulu, The Bourgeois 

Gentleman, Romeo and Juliet, Red Noses, 1789, Children of 

Paradise: Shooting a Dream, 3 Musketeers, The Pursuit of 

Happiness, Queen Elizabeth, Tartuffe, Gulliver, The Seagull, 

The Little Prince. He staged several operas including The Magic Flute, Cosi fan tutte, Don Juan 

Giovanni, Figaro, Carmen, Maria de Buenos Aires, and Mefistofele. 

Mr. Serrand’s directing stages 

include Berkeley Repertory Theatre, The La Jolla Playhouse, Yale Repertory Theatre, Actors 

Theater of Louisville, The Guthrie Theater, The Children Theatre, amongst others. Mr. Serrand is a 

USA Ford Fellow. He has been knighted by the French Government in the order of Arts and Letters

Company 

DANIEL STEPNER – Violin 

A.R.T.: A Midsummer Night’s Dream (A.R.T.’s first Cambridge production in 1979), Musical Director. 

First violinist of the Lydian String Quartet, in residence at Brandeis University. He is also a member of 

the Boston Museum Trio, resident at the MFA, and the concertmaster of the Handel and Haydn Society. 

For the past 16 summers, he has been the Artistic Director of the Aston Magna Festival, a period 

instrument concert series which gives regular concerts in Great Barrington, Williamstown, and at Bard 

College. Mr. Stepner is also a Preceptor in Music at Harvard, where he team-teaches a performanceintensive 

course in chamber music with Professor Robert Levin. 

MOMOKO TANNO – Donna Anna/Susanna 

A.R.T.: Carmen (Frasquita). Jeune Lune: Figaro and Carmen. 

Recently, she performed as soloist in Bach’s “Christmas Oratorio” in 

Hellbronn, Germany, Mozart’s “B-minor Mass” with Bach Society of 

Minnesota, and “St John’s Passion” in Tokyo. Theatre: The Walleye 

Kid (Omani, Theater Mu), Pacific Overtures (Tamate/Shogun’s 

Mother, Park Square/Theater Mu), and Guys and Dolls (Sarah 

Brown, Lake Pepin Players). She has also performed with 

Chanhassen Dinner Theatre, Dale Warland Singers, Dorian Opera 

Theatre, Mixed Blood Theater, and North Star Opera. She holds a 

BA from Nihon University and MM from University of Minnesota, 

studied in Paris with Camille Maurane, and works with Elizabeth Mannion. Ms. Tanno is a faculty 

member at St. Paul Conservatory for Performing Artists. 

THEATRE DE LA JEUNE LUNE 

Founded by Barbra Berlovitz, Vincent Gracieux, Robert Rosen, and Dominique Serrand, and later joined 

by Steven Epp—Jeune Lune’s ensemble is a continually evolving collaboration of artists currently led by 

Dominique Serrand. Awarded the 2005 Tony Award for Outstanding Regional Theatre, this extraordinary 

partnership has produced a body of work remarkable for its strong and consistent artistic vision. It 

is a shared vision of theatrical creation in which an ensemble of theatre artists come together not just 

as performers, but as creators-approaching our work with the mind of a director, the eye of a designer, 

the vision of a writer, and the heart of an actor. 

The founders’ training at the renowned École Jacques Lecoq in Paris is evident in the strong 

physicality of the performing style and the sensitivity to the space in which each piece is performed. In 

addition, each piece of Jeune Lune’s work is infused with a sense of play, an emotional directness, and 

a desire to engage an audience. Their work ranges from Molière and Shakespeare to the contemporary 

Czech playwright Pavel Kohout and the operatic fantasy of The Magic Flute. 

We constantly seek new 

ways of knowing the world and new techniques to use in our desire to speak to our audience. In 

addition to classical techniques like commedia and circus, we have explored opera, modern dance, 

Japanese theatre, and even cinema.

Company 

This unique way of creating theatre has garnered national and international attention for the work of 

the Company. In addition to the A.R.T., Jeune Lune has toured in recent years to such venues as Yale 

Repertory Theater, La Jolla Playhouse, Trinity Repertory Theatre, Actors Theatre of Louisville, and 

Berkeley Repertory Theatre. It has also expanded its national and international reputation with such 

productions as Children of Paradise: Shooting a Dream— which won the 1993 American Theatre 

Critic’s Association New Play Award, an adaptation of Carlo Gozzi’s The Green Bird, 

the play/opera 

Don Juan Giovanni, Zola’s epic Germinal, and The Hunchback of Notre-Dame, recipient of an AT&T: 

OnStage award. Jeune Lune’s acclaimed 3 Musketeers was the hit of the 1997 Spoleto USA Festival 

in Charleston, South Carolina, and toured in 1999 to Philadelphia’s Wilma Theater. Closer to home, 

the Company was honored in 1997 with a First Bank Sally Ordway Irvine Award for Artistic Vision. 

Hamlet enjoyed a short run off Broadway at New York City’s New Victory Theater. Six of the 

Company’s productions have been selected for Inclusion in the Theatre on Film and Tape Archive at 

Lincoln Center. 

Theatre de la Jeune Lune settled permanently in Minneapolis in 1985, after seven years of splitting 

seasons between France and the United States. In the fall of 1992, after fourteen years of peripatetic 

performance, the company moved into a permanent home in the renovated Allied Van Lines building in 

the Warehouse District of downtown Minneapolis. This flexible, 6,000 square foot performance space 

has won numerous architectural awards and serves as the home base for Jeune Lune’s work. Jeune 

Lune’s name—“Theatre of the New Moon”—reflects the company’s commitment to finding theatrical 

sustenance by looking for the new in the old and is shown in Jeune Lune’s credo: “We are a theatre of 

directness, a theatre that speaks to its audience, that listens and needs a response. We believe that 

theatre is an event. We are a theatre of emotions-an immediate theatre-a theatre that excites and uses 

a direct language—a theatre of the imagination.” 

ART/MXAT Institute for Advanced Theatre Training presents: 

Two New American Plays at Zero Arrow Theatre 

Gray City 

by Keith Huff 

Two college students try to find each other and themselves in the face of 

debilitating personal histories and under the intense pressure of trying to 

survive at an elite university. 

October 11, 12, and 13 at 7:30PM; October 13 at 2:00PM 

Expats 

by Heather Lynn MacDonald 

Inspired by stories of the thousands of Americans living in Moscow just after 

the fall of the Soviet Union. 

December 7, 8, 9, 13, 14 and 15 at 7:30 PM; December 8 and 15 at 2:00 PM 

For more information call 617-547-8300 or visit www.amrep.org

About the A.R.T. 

A HISTORY OF THE AMERICAN REPERTORY THEATRE 

Robert J. Orchard Gideon Lester 

Executive Director Acting Artistic Director 


Founding Director/Creative Consultant 

The American Repertory Theatre (A.R.T.) occupies a unique place in the American theatre. It is the 

only professional not-for-profit theatre in the country that maintains a resident acting company and an 

international training conservatory, and that operates in association with a major university. Over its 

twenty-seven year history the A.R.T. has welcomed American and international theatre artists who have 

enriched the theatrical life of the nation. The theatre has garnered many of the nation’s most distinguished 

awards, including a Pulitzer Prize, a Tony Award, and a Jujamcyn Award. In December 2002, 

the A.R.T. was the recipient of the National Theatre Conference’s Outstanding Achievement Award, and 

in May of 2003 it was named one of the top three theatres in the country by Time magazine. 

Since 1980 the A.R.T. has performed in eighty-three cities in twenty-two states around the country, 

and worldwide in twenty-one cities in sixteen countries on four continents. It has presented one 

hundred and eighty-seven productions, over half of which were premieres of new plays, translations, 

and adaptations. 

The A.R.T. was founded in 1980 by Robert Brustein and has been resident for twenty-seven years at 

Harvard University’s Loeb Drama Center. In August 2002 Robert Woodruff became the A.R.T.’s Artistic 

Director, the second in the theatre’s history. Gideon Lester became Acting Artistic Director in July 

2007, joining Executive Director Robert J. Orchard as the theatre’s management team. Mr. Brustein 

remains with the A.R.T. as Founding Director and Creative Consultant. 

The A.R.T. is known for its commitment to new American plays and music/theatre explorations; to 

neglected works of the past; and to established classical texts reinterpreted in refreshing new ways. 

The A.R.T. is also a training ground for young artists. The theatre’s artistic staff teaches undergraduate 

classes in acting, directing, dramatic literature, design, and playwriting at Harvard, and in 1987 the 

A.R.T. founded the Institute for Advanced Theatre Training. In conjunction with the Moscow Art Theatre 

School, the Institute provides world-class graduate level training in acting, dramaturgy, and special 

studies. 

The A.R.T. attempts to establish historical continuity as contemporary artists reinterpret the past, 

and classical work helps to inform the present. The Company prides itself on being an artistic home for 

top-level playwrights, actors, directors, designers, technicians and administrators. A full list of participating 

artists can be found on the A.R.T. web site—www.amrep.org 

NEW WORKS 

The A.R.T.’s American and world premieres include among others, works by Robert Auletta, Edward 

Bond, Robert Brustein, Don DeLillo, Keith Dewhurst, Humberto Dorado, Christopher Durang, Rinde 

Eckert, Elizabeth Egloff, Jules Feiffer, Dario Fo, Carlos Fuentes, Larry Gelbart, Philip Glass, Stuart 

Greenman, William Hauptman, David Henry Hwang, Milan Kundera, Mark Leib, David Lodge, Carol K. 

Mack, David Mamet, Charles L. Mee, Roger Miller, John Moran, Robert Moran, Heiner Müller, Marsha 

Norman, Han Ong, David Rabe, Franca Rame, Adam Rapp, Keith Reddin, Ronald Ribman, Paula 

Vogel, Derek Walcott, Naomi Wallace, and Robert Wilson.


DIRECTORS 

Many of the world’s most gifted directors have staged productions at the A.R.T., including JoAnne 

Akalaitis, Neil Bartlett, Andrei Belgrader, Anne Bogart, Lee Breuer, Robert Brustein, Chen Shi-Zheng, 

Liviu Ciulei, Martha Clarke, Ron Daniels, Liz Diamond, Joe Dowling, Michael Engler, Alvin Epstein, 

Dario Fo, Richard Foreman, Kama Ginkas, David Gordon, Adrian Hall, Richard Jones, Michael Kahn, 

Jerome Kilty, Krystian Lupa, John Madden, Ola Mafaalani, David Mamet, Des McAnuff, Jonathan 

Miller, Nicolas Montero, Jerry Mouawad, Tom Moore, François Rochaix, Robert Scanlan, Dominque 

Serrand, János Szász, Peter Sellars, Andrei Serban, Susan Sontag, Marcus Stern, Slobodan Unkovski, 

Les Waters, David Wheeler, Frederick Wiseman, Robert Wilson, Mark Wing-Davey, Robert Woodruff, 

Yuri Yeremin, Francesca Zambello, and Scott Zigler. 

TOURING 

A.R.T. productions were included in the First New York International Festival of the Arts, the 1984 

Olympic Arts Festival in Los Angeles, the Serious Fun! Festival at Lincoln Center’s Alice Tully Hall, the 

Next Wave Festival at the Brooklyn Academy of Music, the International Fortnight of Theatre in 

Quebec; the international festivals in Asti, Avignon, Belgrade, Edinburgh, Haifa, Jerusalem, Ljubljana, 

Singapore, Taipei, Tel Aviv, and Venice; and at theatres in Amsterdam, Perugia, Rotterdam, and London 

(where its presentation of Sganarelle was filmed and broadcast by Britain’s Channel 4). In 1986 the 

A.R.T. presented Robert Wilson’s adaptation of Alcestis at the Festival d’Automne in Paris, where it 

won the award for Best Foreign Production of the Year, and in 1991 Robert Wilson’s production of 

When We Dead Awaken was presented at the 21st International Biennale of São Paulo, Brazil. In 

March 1998, the A.R.T. opened the Chekhov International Theatre Festival in Moscow the first 

American company to perform at the Chekhov Moscow Art Theatre with The King Stag , Six Characters 

in Search of an Author, and Joseph Chaikin and Sam Shepard’s When The World Was Green (A 

Chef’s Fable) . In October 2000 the A.R.T. embarked on a year-long national and international tour of 

The King Stag, 

with stops in twenty-seven American cities in fifteen states, ending with a three-week 

residency at London’s Barbican Centre in the summer of 2001. Most recently, productions of 

Lysistrata , The Sound of a Voice , The Miser , Lady with a Lapdog , Amerika , No Exit, and Oliver Twist 

have been presented at theatres throughout the US; the A.R.T. returned to the Edinburgh International 

Festival two years in a row, with Krystian Lupa’s Three Sisters in 2006, and Robert Woodruff’s 

Orpheus X in 2007. In February, 2008, Orpheus X will perform at the Hong Kong International Festival 

of the Arts. 

FROM THE PRESS 

“…the nation’s most prestigious resident theatre. One of the top three theatres in the country." 

– Time Magazine 

“Theatre that cries out to be seen.” – Boston Globe 

“Stretching the limits of artistic possibility with an imaginative daring the has few parallels on the 

contemporary scene.” – Washington Post 

“One of the most vital influences on the U.S. stage in the last twenty years.” 

– International Herald Tribune 

“more concentrated, provocative quality than New York City has delivered all year.” – USA Today


GIDEON LESTER – Acting Artistic Director 

Recent translations: Marivaux’s Island of Slaves and La Dispute 

(published by Ivan Dee, directed by Anne Bogart at the A.R.T.), 

Bertolt Brecht’s Mother Courage (directed by János Szász), Georg 

Büchner’s Woyzeck (directed by Marcus Stern), and two texts by 

the French playwright Michel Vinaver, King and Overboard 

(published by Methuen and staged at the Orange Tree Theatre in 

London.) Adaptations: Wings of Desire by Wim Wenders, Peter 

Handtke, and Richard Reitinger, directed by Ola Mafaalani; Kafka’s 

Amerika, or the Disappearance (directed at the A.R.T. by 

Dominique Serrand), Anne Frank for the Carr Center for Human 

Rights at Harvard, and Enter the Actress, 

a one-woman show that he devised for Claire Bloom. Born 

in London in 1972, Mr. Lester studied English Literature at Oxford University. In 1995 he came to the 

US on a Fulbright grant and Frank Knox Memorial Scholarship to study dramaturgy at the A.R.T. 

Institute for Advanced Theatre Training at Harvard. When he graduated from the Institute, Mr. Lester 

was appointed Resident Dramaturg. He became the A.R.T.’s Associate Artistic Director in 2002, and 

Acting Artistic Director in 2007. He teaches dramaturgy at the A.R.T./MXAT Institute and playwriting at 

Harvard. 

ROBERT J. ORCHARD – Executive Director 

Mr. Orchard served as the A.R.T’s founding Managing Director for 

twenty-one years. He currently serves as Executive Director of the 

A.R.T. and the Institute for Advanced Theatre Training, and Director 

of the Loeb Drama Center at Harvard University. Prior to 1979, he 

was Managing Director of the Yale Repertory Theatre and School of 

Drama where he also served as Associate Professor and Co- 

Chairman of the Theatre Administration Program. For nearly twenty 

years, Mr. Orchard has been active facilitating exchanges, leading 

seminars, and advising on public policy with theatre professionals 

and government officials in Russia. At the A.R.T. he has produced 

nearly 186 productions over half of which were new works. In 

addition, he has overseen tours of A.R.T. productions to major festivals in Edinburgh, Avignon, 

Belgrade, Paris, Madrid, Jerusalem, Venice, Sao Paulo, Tokyo, Taipei, Singapore, and Moscow, among 

others. Under his leadership, A.R.T. has performed in eighty-one cities in twenty-two states and 

worldwide in twenty-one cities in sixteen countries on four continents. Mr. Orchard has served as 

Chairman of both the Theatre and the Opera/Musical Theatre Panels at the National Endowment for 

the Arts, on the Board and Executive Committee of the American Arts Alliance, the national advocacy 

association for the performing and visual arts, and as a trustee of Theatre Communications Group 

(TCG), the national service organization for the American professional theatre and publisher of 

American Theatre magazine. In addition he has served on the Board of the Cambridge Multi-Cultural 

Arts Center and as President of the Massachusetts Cultural Education Collaborative. In 2000, Mr. 

Orchard received the Elliot Norton Award for Sustained Excellence.

Almost There! 

We are racing to finish a challenge grant! 

There is only $18,000 left to raise and just one month 

remaining. 

A $700,000 challenge grant from the Doris Duke Charitable 

Foundation for endowment requires a dollar for dollar match. 

Success with this challenge will safeguard A.R.T.'s mission and 

commitment to adventurous programming. 

We have 97% of the funds we need—please help us with the 

final 3%! 

Contact Sharyn Bahn, Director of Development at 

sharyn_bahn@harvard.edu or 617-496-2000 x8838 

or send a check made out to A.R.T. Endowment to 

Sharyn Bahn, A.R.T., 64 Brattle Street, Cambridge, MA 02138.

theater 

dance 

film 

music 

spoken 

word 

life is a stage. find your passion at encoremag.com

Donors 

American Repertory 

Theatre is deeply grateful 

for the generous support of 

the individuals, foundations, 

corporations, and 

government agencies 

whose contributions make 

our work possible. The list 

below reflects gifts 

between August 1, 2006 

and July 31, 2007 to the 

Annual Fund and special 

events. 

Guardian Angel 

$100,000 and above 

The Carr Foundation 

Doris Duke Charitable 

Foundation 

The Andrew W. Mellon 

Foundation 

The President and Fellows 

of Harvard College 

The Shubert Foundation, Inc. 

Archangel 

$50,000–$99,999 

The Boston Globe+ 

Educational Foundation of 

America 

The Hershey Family 

Foundation 

The Harold and Mimi 

Steinberg Charitable Trust 

Angel 

$25,000–$49,999 

Philip and Hilary Burling* 

The E.H.A. Foundation, Inc. 

Ann and Graham Gund* 

Cassandra and Horace 

Irvine 

Massachusetts Cultural 

Council 

National Endowment for 

the Arts 

National Corporate Theatre 

Fund 

Theatre Communications 

Group 

Trust for Mutual 

Understanding 

Ted and Mary Wendell* 

Mr. and Mrs. Byron R. Wien 

Benefactor 

$10,000–$24,999 

Altria Group, Inc. 

Joel and Lisa Alvord* 

Bank of America 

Philanthropic 

Management 

Page Bingham and Jim 

Anathan* 

Boston Investor Services* 

Paul and Katie 

Buttenwieser* 

Ted and Joan Cutler 

Étant Donnés 

Barbara W. Hostetter 

The Roy A. Hunt 

Foundation 

Merrill and Charles 

Gottesman 

Michael E. Jacobson* 

Lizbeth and George Krupp 

Dan Mathieu/Neal 

Balkowitsch/MAX 

Ultimate Food*+ 

Rebecca and Nathan 

Milikowsky 

New England Foundation 

for the Arts 

Cokie and Lee Perry 

Michael Roitman and Emily 

Karstetter 

The Lawrence & Lillian 

Solomon Fund, Inc. 

Visionary 

$5,000–$9,999 

George C. and Hillery 

Ballantyne 

Carol and Harvey Berman 

Citizens Bank 

Clarke and Ethel D. 

Coggeshall 

Crystal Capital* 

Robert E. Davoli and Eileen 

L. McDonagh * 

Alan and Suzanne Dworsky 

Michael G. Feinstein and 

Denise Waldron 

Barbara and Steve 

Grossman* 



The Robert & Myra Kraft 

Family Foundation, Inc. 

Mary and Tom Lentz* 

Audrey Love Charitable 

Foundation 

Dr. Henry and Mrs. Carole 

Mankin 

Carl Martignetti 

Kako and Fumi Matsumoto 

Millennium Partners- 

Boston* 

Jackie O’Neill 



The Bessie E. Pappas 

Charitable Foundation, 

Inc. 

Polaris Capital 

Management, Inc. 

Beth Pollock* 

Provost’s Fund for Arts and 

Culture 

Jeffrey F. Rayport 

Henry and Nitza Rosovsky 

Mrs. Ralph P. Rudnickº 

Mary and Edgar Schein 

Tony Shalhoub and Brooke 

Adams 

The Shane Foundation 

Donald and Susan Ware* 

Anonymous 

Associate 

$2,500–$4,999 

Enid Beal 

John A. Boyd 

Terry and Catherine 

Catchpole 

Stanley and Peggy Charren 

Philip and Debbie 

Edmundson 

Hannelore and Jeremy 

Grantham 

Wladzia and Paul McCarthy 

Robert and Jane Morse 

The Netherland-America 

Foundation, Inc. 

The Ramsey McCluskey 

Family Foundation 

The Abbot and Dorothy H. 

Stevens Foundation 

Francis H. Williams 

Partner $1,200–$2,499 

Elizabeth M. Adams 

Howard and Leslie Appleby 

Sharyn Bahn 

Barbara E. Bierer and 

Steven E. Hyman 

Linda Cabot Black 

Martha Jane Bradford and 

Alfred Ajami 

Clark and Gloria Chandler 

Draper Laboratory 

Diane and Joel Feldman 

Nicholas Greville 

Sarah Hancock 

The Harvest + 


Nancy P. King 

Barbara Lemperly Grant 

and Frederic D. Grant 

James C. Marlas 

Judy and Paul Marshall 

Robert and Janine Penfield 

Finley and Patricia Perry 

William A. Serovy 

Valya and Robert Shapiro 

Kay and Jack Shelemay 

Michael Shinagel and 

Marjorie North 

Sholley Foundation 

Marshall Sirvetz 

The Joseph W. and Faith K. 

Tiberio Charitable 

Foundation 

Leading Player 

$500–$1,199 

Sheldon Appel 

The Bay State Federal 

Savings Charitable 

Foundation 

William Bazzy 

Leonard and Jane Bernstein 

Sheldon and Dorothea 

Buckler 

Donald Butterfield 


Antonia H. Chayes 

Jane and Marvin Corlette 

Edmond duPont 

The Friends of Rob 

Merle and Marshall 

Goldman 

Charlotte Hall 

Dena and Felda Hardymon 

Margaretta Hausman 

Stefaan Heyvaert 

Robert P. Hubbard 

Karen Johansen and 

Gardner Hendrie 

Judith Kidd 

Gillian and Bill Kohli 

Pam and Nick Lazares 

Ann Lenard 

John D.C. Little 

Joy Lucas and Andrew 

Schulert 

Gregory Maguire 

Arthur and Merle Nacht 

Susan and Joe Paresky 

Parker Family Fund 

Marty Rabinowitz 

Renee Rapaporte 

Carolyn G. Robins 

Arthur P. Sakellaris 

Cathy and George Sakellaris 

Lisbeth Tarlow 

Julie Taymor 

David Tobin 

Jean Walsh and Graham 

Davies 

Ruth and Harry Wechsler 

G. Mead and Ann Wyman 

Christopher R. Yens and 

Temple V. Gill 

Anonymous 

Featured Player 

$250–$499 

Christina Anderson 

Dorothy and John Aram 

Ronald and Marie Arky 

Janeen Ault 

Marjorie Bakken 

Janet and Arthur Banks 

Sue Beebee and Joe Gagné 

Clark and Susana Bernard 

Betsy and Bob Bingham 

Catherine Bird 

Helene B. Black Charitable 

Foundation 

Jeffrey Borenstein 

Thomas B. Bracken 

Fred and Edith Byron 

William E. Cain and 

Barbara Harman 

Katrina Carye 

Iris Chandler 

Richard and Dorothy Cole 

Donald and Linda Comb 

John Comings and Rima 

Rudd 

Frederica Cushman 

Warren Cutler 

Julianne Dow 

Christine Doyle 

Timothy E. Driscoll 

Eric Drouart

Donors 

Dorothy Z. Eister 

Fabrizio Ferri 

Charles Flowers 

Donald and Marjorie Forté 

Helen and Stephen 

Freidberg 

Margalit Gai 

Christine and Michael 

Garrity 

Arthur and Younghee 

Geltzer 

Susan Glassman 

Helen Glikman 

David Golan and Laura 

Green 

Laurie and Jeffrey Goldbarg 

Randy and Stephen 

Goldberger 

Richard Grubman and 

Caroline Mortimer 

Homer Hagedorn 

Saundra Haley 

Robert Hardman 

Drs. Earl & Marjorie 

Hellerstein 

Petie Hilsinger Fund 

Alison Hodges and Thomas 

Clarke 

Arthur and Susan 

Holcombe 

Judith S. Howe 

Laurie and Cecil Howell 

Charles Justice 

Nada and Steven Kane 

David and Meredith Kantor 

Karen Kelly 

Michael and Jeannine 

Kerwin 

Anna Kitzis 

Allen S. and Jeanne Krieger 

Bill and Lisa Laskin 

Judith and Stephen Lippard 

Drs. Mortimer and 

Charlotte Litt 

Stephen and Jane Lorch 

Lucy Lynch 

Barbara Manzolillo 

Jane and Thomas Martin 

Douglas Bruce McHenry 

Jane N. Morningstar 

Bob and Alison Murchison 

Roderick and Joan Nordell 

Suzanne Ogden and Peter 

Rogers 

Nicholas Patterson 

Mark and Pauline Peters 

Steve and Carol Pieper 

Paul and Anna Maria 

Radvany 

Katharine and William 

Reardon 

Alan M. Rich 

Peter Romano 

Civia and Irwin Rosenberg 

Judy and David Rosenthal 

Bonnie Rosse 

Kim and Fernando Salazar 

Alan and Michelle Savenor 

Mark Selig 

Wendy Shattuck and 

Samuel Plimpton 

Sarah Slaughter 

Tom Slavin 

George Smith 

Ronald Smyth 

Rina Spence and Gary 

Countryman 

Wendy Stern 

Robert and Nicola Swift 

Wendell Sykes 

Scott D. Taylor 

Betty Taymor 

Linda Thorsen and Mark 

Bernstein 

Adele Viguera 

Donna Wainwright 

Dr. Linda Warren 

Mindee Wasserman, Esq. 

Jennie Weiner and 

Jeremiah Jordan 

Wendy Wheeler 

Susan and Bruce Wheltle 

George Whitehouse 

Susan Worst and Laurence 

Cohen 

Nikki and Warren Zapol 

William and Nancy Zinn 

Anonymous 

Endowment Support 

As of July 31, 2007, the 

following individuals and 

foundations made 

generous contributions to 

A.R.T.’s endowment in 

response to a $700,000 

challenge grant from The 

Doris Duke Charitable 

Foundation. The funds 

contributed thus far 

represent 95% of the 

dollar-for-dollar goal. The 

endowment will safeguard 

A.R.T.’s mission and 

commitment to adventurous 

programming.The 

challenge must conclude 

on September 30, 2007. 

$75,000 and above 

Philip and Hilary Burling 

Robert Davoli and Eileen 

McDonagh 

Ted and Mary Wendell 

Anonymous 

$25,000–$74,999 

Paul and Katie 

Buttenwieser 

Sarah Hancock 

The Hershey Family 

Foundation 

Priscilla and Richard Hunt 

Michael E. Jacobson 

Donald and Susan Ware 

$10,000–$24,999 

Ann and Graham Gund 

Lizbeth and George Krupp 

The Arthur Loeb 

Foundation 

Rebecca and Nathan 

Milikowsky 

Linda U. Sanger 

$5,000–$9,999 

Page Bingham and Jim 

Anathan 

Clarke and Ethel D. 

Coggeshall 

Merrill and Charles 

Gottesman 

Barbara and Steve 

Grossman 


The Robert & Myra Kraft 

Family Foundation, Inc. 

Ward K. and Lucy Mooney 


Cokie and Lee Perry 

Beth Pollock 

$2,500–$4,999 

Carol and Harvey Berman 

Mary and Edgar Schein 

Anonymous 

$1,000–$2,499 

Joel and Lisa Alvord 

George C. and Hillery 

Ballantyne 


Kathy Connor 



Barbara and Jon Lee 

Joan H. Parker 

Suzanne Priebatsch 

Michael Roitman and Emily 

Karstetter 

Henry and Nitza Rosovsky 

Mrs. Ralph P. Rudnickº 

John A. Shane 

Sam Weisman and 

Constance McCashin 

Weisman 

$500–$999 

Michael Shinagel 

* 

+ 

º 

includes contributions 

to special events 

denotes gift-in-kind 

deceased 

National Corporate 

Theatre Fund 


Fund is a nonprofit 

corporation created to 

increase and strengthen 

support from the business 

community for ten of this 

country’s most distinguished 

professional 

theatres. The following 

foundations, individuals, 

and corporations support 

these theatres through 

their contributions of 

$5,000 or more to 


Fund: 

Altria Group, Inc. 

AT&T 

Bingham McCutchen 

Bloomberg 

Bristol Myers Squibb 

James Buckley 

Steven Bunson 

Robert Cagnazzi 

Christopher Campbell 

Jason and Marla Chandler 

Clear Channel 

Cisco Systems, Inc. 

Citi 

Citi Private Bank 

Colgate-Palmolive Company 

Credit Suisse Dorsey & 

Whitney Foundation 

Dramatists Play Service, 

Inc. 

Ernst & Young 

Goldman, Sachs & 

Company 

HIRECounsel 

IMG 

JP Morgan Chase 

KPMG 

Lehman Brothers 

Marsh & McLennan 

Companies, Inc. 

McCarter & English LLP 

Merrill Lynch & Co. 

MetLife 

Morgan Stanley 

National Endowment for 

the Arts 

Newsweek New York State 

Council on the Arts 

Ogilvy & Mather New York 

Pfizer, Inc. 

Thomas Quick 

Seinfeld Family Foundation 

Sharp Electronics* 

George Smith 

Theatermania 

James S. Turley 

UBS 

Verizon Communications 

Willkie Farr & Gallagher 

LLP

Staff 

Robert J. Orchard Executive Director 

Gideon Lester Acting Artistic Director 

Robert Brustein Founding Director / Creative Consultant 

Artistic 

Scott Zigler Director, A.R.T. Institute 

Jeremy Geidt Senior Actor 

Marcus Stern Associate Director 

Christopher De Camillis Artistic Coordinator 

Arthur Holmberg Literary Director 

Nancy Houfek Voice and Speech Coach 

Ryan McKittrick Associate Dramaturg 

David Wheeler Associate Artist 

Administration and Finance 

Jonathan Seth Miller General Manager 

Nancy M. Simons Comptroller 

Angela Paquin Assistant Comptroller 

Julia Smeliansky Administrative Director, Institute 

Steven Leon Assistant General Manager 

Tracy Keene Company / Front of House Manager 

Stacie Hurst Financial Administrator 

Tali Gai Artistic Associate / Executive Assistant 

Alexander Popov Moscow Program Consultant 

Development 

Sharyn Bahn Director of Development 

Sue Beebee Assistant Director of Development 

Jan Graham Geidt Coordinator of Special Projects 

Joan Moynagh 

Jessica Obara 

Director of Institutional Giving 

Development Officer 

Publicity, Marketing, Publications 

Ruth Davidson Director of Communications and Marketing 

Katalin Mitchell Director of Press and Public Relations 

Nicholas Peterson Marketing Associate 

Douglas F. Kirshen Web Manager 

Burt Sun Director of Graphic/Media Design 

Ariane Barbanell Audience Development Assistant 

Stevens Advertising Associates Advertising Consultant 

Box Office 

Derek Mueller Box Office Manager 

Ryan Walsh Box Office Manager 

Lilian Belknap Box Office Representative 

Public Services 

Erin Wood Theatre Operations Coordinator 

Maria Medeiros Receptionist 

Sarah Leon Receptionist 

Killian Clarke House Manager 

Doug Fallon House Manager 

Shannon Matathia House Manager 

Heather Quick House Manager 

Matthew Spano House Manager 

Production 

Patricia Quinlan Production Manager 

Christopher Viklund Associate Production Manager 

Skip Curtiss Associate Production Manager 

Amy James Assistant Stage Manager 

Amanda Robbins Institute Stage Manager 

J. Michael Griggs Loeb Technical Director 

Lauren Audette Zero Arrow House Technician 

Scenery 

Stephen Setterlun Technical Director 

Emily W. Leue Assistant Technical Director 

Alexia Muhlsteff Assistant Technical Director 

Gerard P. Vogt Scenic Charge Artist 

Evan Wilkinson Scene Shop Supervisor 

Peter Doucette Master Carpenter 

Chris Tedford Scenic Carpenter 

York-Andreas Paris Scenic Carpenter 

Jason Bryant Scenic Carpenter 

Properties 

Cynthia Lee 

Tricia Green 

Stacey Horne 

Program 

Loeb Drama Center 

64 Brattle Street, Cambridge, MA 02138 

Editors: Katalin Mitchell, Ryan McKittrick 

Properties Manager 

Assistant Properties Manager 

Properties Carpenter 

Costumes 

Jeannette Hawley Costume Shop Manager 

Hilary Hacker Assistant Costume Shop Manager 

Karen Eister Head Draper 

Carmel Dundon Draper 

David Reynoso Crafts Artisan 

Stephen Drueke Wardrobe Supervisor 

Suzanne Kadiff Costume Stock Manager 

Lights 

Derek L. Wiles Master Electrician 

Kenneth Helvig Lighting Assistant 

David Oppenheimer Light Board Operator 

Sound 

David Remedios Resident Sound Designer / Engineer 

Darby Smotherman Production Sound Engineer 

Stage 

Joe Stoltman Stage Supervisor 

Jeremie Lozier Assistant Stage Supervisor 

Christopher Eschenbach Production Assistant 

Kevin Klein Production Assistant 

Internships 

Elizabeth Bouchard Stage Management 

Molly Yarn Administration 

Richard Andrew Yeskoo Scenery 

Megan Deeley Dramaturgy

Special Events 

@ZERO ARROW 

Sxip’s Hour of Charm 

A hybrid of circus, music, cabaret, 

sideshow and burlesque, an exhilarating 

sampling of the most exciting performing 

artists in the country today. 

Weekends, Sept. 14-30 (Friday and Sunday 

at 8 p.m., Saturday at 7&10p.m.) 

Featured acts change each weekend. 

After acting in a production of Eve 

Ensler’s The Vagina Monologues, 

Dutch actress Adelheid Roosen 

approached Muslim women living in 

the Netherlands to ask them similar 

questions about their sexuality. The 

result is a vital, surprising, and poetic 

portrait of love and relationships 

under Islam. 

Each monologue is imbued with deep 

feeling and delicate detail, allowing us 

more than a glimpse into each 

woman’s soul. 

October 16 – 21 

written and directed by Adelheid Roosen 

Zero Arrow Theatre 

corner of Mass.Ave and Arrow St., Cambridge 

www.amrep.org (617) 547-8300 

Committees 


National Advisory Committee 

Dr. Stephen Aaron 

Donald and Lucy 

Beldock 

Alexandra Loeb Driscoll 

Ronald Dworkin 

Wendy Gimbel 

Stephen and Kathy 

Graham 

Kay Kendall 

Robert and Rona Kiley 

Rocco Landesman 

Wilee Lewis 

William and Wendy 

Luers 

Joanne Lyman 

James Marlas 

JoAnne Akalaitis 

Laurie Anderson 

Rubèn Blades 

Claire Bloom 

William Bolcom 

Carmen de Lavallade 

Brian Dennehy 

Christopher Durang 

Carlos Fuentes 

Philip Glass 

Andrè Gregory 

Mrs. John Hersey 

Geoffrey Holder 

Arliss Howard 

Albert Innaurato 

John Irving 

Anne Jackson and Eli 

Wallach 

Stockard Channing 

Anthony E. Malkin 

James C. Marlas 

Jeffrey D. Melvoin 

Thomas H. Parry 

Stuart Ostrow 

Dr. David Pearce 

Steven Rattner 

Nancy Ellison Rollnick 

and Bill Rollnick 

Daniel and Joanna S. 

Rose 

Mark Rosenthal 

Miriam Schwartz 

Daniel Selznick 

Rose Styron 

Mike and Mary Wallace 

Seth Weingarten 

Byron Wien 

William Zabel 

American Repertory Theatre Honorary Board 

Robert R. Kiley 

James Lapine 

Linda Lavin 

Jonathan Miller 

Kate Nelligan 

Andrei Serban 

John Shea 

Talia Shire 

Meryl Streep 

Rose Styron 

Lily Tomlin 

Christopher Walken 

Mike and Mary Wallace 

Sam Waterston 

Robert Wilson 

Debra Winger 

Frederick Wiseman 

Visiting Committee for the Loeb Drama Center 

Daniel Selznick 

Winifred White Neisser 

Byron R. Wien

Institute 

A.R.T./MXAT INSTITUTE 

FOR ADVANCED THEATRE TRAINING 

Scott Zigler, Director Julia Smeliansky, Administrative Director 

Marcus Stern, Associate Director 

Nancy Houfek, Head of Voice and Speech Andrei Droznin, Head of Movement 

AMERICAN REPERTORY THEATRE 

Robert J. Orchard, Executive Director Gideon Lester, Acting Artistic Director 

MOSCOW ART THEATRE MOSCOW ART THEATRE SCHOOL 

Oleg Tabakov, Artistic Director Anatoly Smeliansky, Head 

The Institute for Advanced Theatre Training at Harvard was established in 1987 by the American 

Repertory Theatre (A.R.T.) as a training ground for the American theatre. Its programs are fully integrated 

with the activities of the A.R.T. In the summer of 1998 the Institute commenced a historic joint program 

with the Moscow Art Theatre (MXAT) School. Students engage with two invaluable resources: the work of 

the A.R.T. and that of the MXAT, as well as their affiliated schools. Together, this exclusive partnership 

offers students opportunities for training and growth unmatched by any program in the country. 

The core program features a rigorous two-year, five-semester period of training in acting, dramaturgy, 

and special studies, during which students work closely with the professionals at the A.R.T. and the MXAT 

as well as with the best master teachers from the United States and Russia. At the end of the program, 

students receive a Certificate of Achievement from the faculty of the American Repertory Theatre and an 

M.F.A. Degree from the faculty of the Moscow Art Theatre School. 

Further information about this new program can be obtained by calling the Institute for a free catalog at 

(617) 496-2000 or going to our web site at www.amrep.org. 

Faculty 


Erin Cooney 

Thomas Derrah 

Elena Doujnikova 

Andrei Droznin 

Tanya Gassel 

Jeremy Geidt 

Arther Holmberg 

Nancy Houfek 

Roman Kozak 

Will LeBow 

Gideon Lester 

Stathis Livathinos 

Karen MacDonald 

Alexandre Marin 

Ryan McKittrick 

Jeff Morrison 

Pamela Murray 

Lori O'Doherty 


Robert Scanlan 

Andrei Shchukin 

Anatoly Smeliansky 

Julia Smeliansky 

Marcus Stern 

Oleg Tabakov 

Tommy Thompson 

Robert Walsh 

Scott Zigler 

Criticism and Dramaturgy 

Yoga 

Acting 

Movment 

Movement 

Russian Language 

Acting 

Theatre History and Dramaturgy 

Voice and Speech 

Acting and Directing 

Acting 

Dramaturgy 


Acting 


Dramatic Literature and Dramaturgy 

Voice 

Singing 

Yoga 

Theatre Management 

Dramatic Literature 

Movement 

Theatre History and Dramaturgy 

History and Practice of Set Design 


Acting 

Alexander Technique 

Combat 

Acting, Directing, and Dramaturgy 

Staff 

Christopher Viklund Production Manager 

Acting 

Elizabeth Allen 

Joseph Almanza 

Emily Alpren 

Renzo Ampuero 

Sarah Baskin 

Skye Noel Basu 

Kaaron Briscoe 

Sheila Carrasco 

Doug Chapman 

Gardiner Comfort 

Shawn Cody 

Emmy Lou Diaz 

Jia Doughman 

Carl Foreman 

Megan Hill 

Manoel Hudec 

Perry Jackson 

Nina Kassa 

Thomas Kelley 

Adam Kern 

Roger Kuch 

Rocco LaPenna 

Daniel Le 

Sarah Jorge Leon 

Careena Melia 

DeLance Minefee 

Paul Murillo 

Angela Nahigian 

Yelba Osorio 

Kunal Prasad 

Anna Rahn 

James Senti 

Lisette Silva 

Josh Stamell 

Chudney Sykes 

Elizabeth Wilson 

Dramaturgy 

Sean Bartley 

Marshall Botvinick 

Njal Mjos 

Heidi Nelson 

Sarah Ollove 

Katheryn Rasor 

Lynde Rosario 

Sarah Wallace 

Voice 

Carey Dawson 

Julie Foh

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preplay 

Preshow discussions one hour before 7:30 curtain 

led by the Literary Department. 

Loeb Stage plays only. 


Sun, Sept 2; Wed, Sept 12; Thu, Sept 20 


Sun, Sept 9, Thu, Sept 13, Wed, Sept 26 

playback 

Post-show discussions after all Saturday matinees. 

All ticket holders welcome. 

curtain times 

Tue/Wed/Thu/Sun evenings – 7:30pm 

Friday/Saturday evenings – 8:00pm 

Saturday/Sunday matinees – 2:00pm 

individual ticket prices 

LOEB STAGE A B 

Fri/Sat evenings $79 $56 

All other perfs $68 $39 

ZERO ARROW 

Donnie Darko/The Veiled Monologues 

Fri/Sat evenings $52 

All other perfs $39 

Sxip’s Hour of Charm all seats $25 

box office hours 

LOEB DRAMA CENTER 

Tuesday–Sunday noon– 5 PM 

Monday closed 

Performance days open until curtain 

ZERO ARROW THEATRE 

box office opens one hour before curtain 

exchanges 

SUBSCRIBERS 

can change to any other performance free of 

charge 

SINGLE TICKET BUYERS 

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$60 gets you 5 tickets good for any combination of 

plays.That's only $12 a seat! 

(Full-time students only.) 

discount parking 

LOEB STAGE 

Have your ticket stub stamped at the reception 

desk when you attend a performance and receive 

discounts at the University Place Garage or The 

Charles Hotel Garage. 

ZERO ARROW THEATRE 

Discount parking is available at the Harvard 

University lot at 1033 Mass. Ave. (entrance on 

Ellery Street). 

Go to www.amrep.org/venues/zarrow/ 

for more information. 

617.547.8300 www.amrep.org 

64 Brattle Street, Cambridge, MA 02138 

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