Program: Sleep No More [pdf] - American Repertory Theater

Punchdrunk and American Repertory Theater 

present 

DIRECTED AND DEVISED BY FELIX BARRETT AND MAXINE DOYLE 

WITH THE COMPANY 

Director and Designer 

Director and Choreographer 

Sound and Graphic Designer 

Associate Designer 

Associate Designer 

Costumer 

Staff Director 

Assistant Director 

Stage Manager 

Felix Barrett 

Maxine Doyle 

Stephen Dobbie 

Livi Vaughan 

Beatrice Minns 

David Israel Reynoso 

Mikhael Tara Garver 

Paul Stacey 

Carolyn Rae Boyd 

First performance October 8, 2009 

The Old Lincoln School, Brookline 

is being made possible through a generous grant from The Andrew 

W. Mellon Foundation. 

Sleep No More is supported by the British Council. 

Diane Paulus dedicates her inaugural 2009/10 season to the memory of Gerald 

Schoenfeld, a great champion of the American theater, and a great friend of the A.R.T. 

The A.R.T. wishes to thank its institutional partners, whose support helps to make the theater’s 

programs possible:

Cast 

CAST 

Duncan 

Malcolm 

Macbeth 

Banquo 

Macduff 

Porter 

Lady Macbeth 

Lady Macduff 

Witch 

Witch 

Witch 

Hecate 

The Second Mrs. de Winter 

Mrs. Danvers 

Bellhop 

Annie Darcy 

Elsie Price 

Man in Bar 

Phil Atkins 

Hector Harkness 

Geir Hytten 

Vinicius Salles 

Robert McNeill 

Thomas Kee 

Sarah Dowling 

Alli Ross 

Conor Doyle 

Stephanie Eaton 

Fernanda Prata 

Careena Melia 

Poornima Kirby 

Tori Sparks 

Alexander LaFrance 

Annie Goodchild 

Haley Jane Soggin 

Robert Najarian 

CAST 

From November 10 

Duncan 

Malcolm 

Macbeth 

Banquo 

Macduff 

Porter 

Lady Macbeth 

Lady Macduff 

Witch 

Witch 

Witch 

Hecate 

The Second Mrs. de Winter 

Mrs. Danvers 

Bellhop 

Annie Darcy 

Elsie Price 

Speakeasy Bartender 

Phil Atkins 

Robert Najarian 

Eric Bradley 

Jeffery Lyon 

Luke Murphy 

Thomas Kee 

Tori Sparks 

Alli Ross 

Andrew Broaddus 

Stephanie Eaton 

Kelly Bartnik 

Careena Melia 

Poornima Kirby 

Hope T. Davis 

Alexander LaFrance 

Annie Goodchild 

Haley Jane Soggin 

Sogdiana Azhibenova 

THE ANNIE DARCY BAND 

Bass/Sax 

Drums 

Piano 

Timo Shanko 

Django Carranza 

Rusty Scott

Production 

PRODUCING TEAM 

Executive Director (Punchdrunk) 

Senior Producer (Punchdrunk) 

Technical Director (Punchdrunk) 

Producer (A.R.T.) 

Line Producer (A.R.T.) 

Assistant Producer 

Colin Marsh 

Colin Nightingale 

Euan Maybank 

Diane Borger 

Chris De Camillis 

Allison Kline 

PRODUCTION STAFF 

Production Manager 

Associate Production Manager 

Associate Production Manager 

Technical Director 

Assistant Technical Director 

Acting Assistant Technical Director 

Scenic Charge Artist 

Assistant Scenic Charge 

Scenic Painter 

Master Carpenter 

Scenic Carpenters 

Scenic Interns 

Paint Interns 

Scenic Staff 

Properties Manager 

Assistant Properties Manager 

Properties Carpenter 

Properties Staff 

Properties Interns 

Props Volunteer Coordinator 

Costume Shop Manager 

Assistant Costume Shop Manager 

Costume Drapers 

Stitchers 

Crafts Artisan 

Hair and Make-up 

Master Electrician 

Lighting Assistant 

Lighting Engineer 

Audio Supervisor 

Audio Engineer 

Pat Quinlan 

Chris Viklund 

Skip Curtiss 

Stephen Setterlun 

Nick Fouch 

David Buckler 

Gerard P. Vogt 

Kristin Knutson 

Katie Richmond 

Peter Doucette 

Jason Bryant, York-Andreas Paris, 

Ben Clark, Sarah Pierce, Katie Wilson, 

Rena Luczkiewicz 

Tacy Flaherty, Rebecca Keithley, 

Abigail Neuhoff 

Alan Boyer, Stephen “Dex” Woodward, 

George Kane, Tom Ibbitson, Irene Yee, 

Kayla Szumowski, Lee Czemba, Lane 

Black, Dan Black, Tim Boland, Andrew 

Remillard, Olivia Brownlee, Erin Gilligan, 

James Crosby, Karina Shorten, 

John Hardin 

Cindy Lee-Sullivan 

Tricia Green 

Stacey Horne 

Rebecca Helgeson, Brittany Burke, 

Sean Cote, Meagan Miller-McKeever 

Jeff Desautels, Brian Hoefling 

Katie Flemming 

Olivia Benowitz 

Jeannette Hawley 

Hilary Gately 

Carmel Dundon, Mary Hurd 

Tova Moreno, Jennifer Guadagno 

David Israel Reynoso 

Rachel Padula Shufelt 

Derek Wiles 

Ken Helvig 

David Oppenheimer 

David Remedios 

Katrina McGuire

Production 

Audio Staff 

Assistant Stage Manager 


Sound Intern 

Band Contractor/Bar Manager 

Stage Supervisor 

Production Assistants 

Wardrobe Supervisor 

Meghan McDonough, Jason Van Sleet 

Alexis Rodriguez-Carlson, 

Darby Smotherman 

Kyle Carlson 

Alexandra McConnell-Trivelli 

Sarah Weintraub 

Jason Waddleton 

Jeremie Lozier 

Chris Eschenbach, Kevin Klein, 

Matthew Sebastian 

Steven Drueke 

VOLUNTEERS 

Scenic 

Bryan Atterberry, John Hardin, Katie Richmond, Angela Mussacchio, Jeannette 

Vivas, Jaycee Do, Anna Oliver, Michael Berman, Evan Cole, Ariel Miller, Stephanie 

Lederman, Veronika Kruta, Larry Switzky. 

Props/Detail 

Anna Oliver, Elyssa Jakim, Zachary Baker-Salmon, Robin McGuire, Lindsay Boss, 

Juliana Beecher, Evan Cole, Marghuerite White, Maia Laperle, Melanie Garber, 

Karen Kosco, Ariel Miller, Julia Bloom, Danielle Drees, Angela Mussacchio, Scarlett 

Redmond, Ian DeLeon, Kara Stokowski, Scott Hadley, Molly Lanzarotta, Luis 

Santos, Justin Tease, Beth Fagan, Patrick Mills, Mark Collett, Sydney Robinson, 

Madeline Barr, Anna Brownsted, Samara Scott, Chelsea Barrett, Julia Rocha. 

War-room installation and special projects: Maria Magdalena Campos Pons and 

the students of her School of the Museum of Fine Arts Installation Art class: 

Susan Childress, Shannon Carroll, Olivia Becker, Alaina Gurdak, Alex Rathbun, 

Maddie Barr, Anna O’Hara, Sofia Botero, Ani Avnian, Eunice Choi, Doyle Bley, 

Esther Chung, Eusaem Choy, George Oliveira, Ivette Slaom, James Lyman, Natalia 

Vergara, C. Fisher, Katrina Neumann. 

Lighting 

Nicole Barron, Evan Cole, John Harrison, John Bechtold. 

Sound 

Bryan Atterberry, Mary Simpson, Max Lord. 

Sleep No More was originally produced by Punchdrunk at the Beaufoy Building, 

London in 2003. The producers would like to thank Raquel Meseguer for her 

contribution to the 2009 production. 

The Manderley Bar is operated by La Morra Restaurant, under the ownership 

of Josh and Jennifer Ziskin and managed by Stephanie Szabo and Jason 

Waddleton. 

Thanks to the Town of Brookline and Brookline Schools for working on this 

adventurous partnership with A.R.T. and Punchdrunk. A portion of every ticket 

purchased for Sleep No More helps support Brookline public schools. 

THERE IS NO SMOKING IN THE BUILDING

Program Notes 

Colliding Worlds: Shakespeare, Hitchcock and Punchdrunk 

Directors’ Note by Felix Barrett and Maxine Doyle 

Punchdrunk explores the space between the theatrical and cinematic. For us, this 

building offers a multitude of cinematic framings, each charged with emotion. 

Exploring the space individually, the audience is given the opportunity to both act 

in and direct their own film; to revisit, to edit and to indulge themselves as 

voyeurs. Like a Hitchcock film, the audience is plunged into the world of the 

unknown and left to piece the puzzle together. Screen dialogues become 

intense physical duets between characters and the body becomes the site of 

debate. Spoken words rarely find their way into our world; we are excited by the 

human body as a primary source of emotive storytelling. 

We took Macbeth as a source and fused it with Hitchcock’s aesthetic because 

for us they are a perfect match. Macbeth is Shakespeare’s most fear-filled play; 

husbands fear for their wives, mothers fear for their children, and children fear for 

their lives. Hitchcock’s protagonists, like those in Macbeth, hover on the edge of 

tempestuous instability; in Sleep No More characters from Hitchcock films 

permeate the world, wandering through Macbeth’s story. The young Mrs. de 

Winter from Hitchcock’s Rebecca is searching for her lost husband – Shakespeare’s 

Duncan – and is bullied by the Macbeths’ cruel housekeeper – Hitchcock’s Mrs. 

Danvers. Shakespeare and Hitchcock collide in Punchdrunk’s world which will, we 

hope, offer a fresh perspective on these two enigmatic artists. 

Conor Doyle. Photo by Stephen Dobbie and Lindsay Nolin


Very Superstitious 

By Paul Stacey 

Every line of Shakespeare’s Macbeth is embedded in the multiple languages — 

sound, light, design, and dance — of Sleep No More. Punchdrunk has woven 

Shakespeare’s language into the fabric of the entire building, saturating each 

room with superstitions. The following superstitions have inspired scenes in Sleep 

No More. 

BABIES 

Anything that touches on the precarious health and welfare of babies is a focus for 

superstitions. The rocking of an empty cradle is considered extremely bad luck. It 

has also been thought that newborns should be wrapped in old clothes. Wrapping 

a baby in an old shirt belonging to its father would ensure the baby grew up strong. 

MIRRORS 

Mirrors are known to protect the soul and should therefore be guarded lest the soul 

be lost. Mirrors should be removed from a sickroom, as the soul is more vulnerable 

during these times, and covered after a death, to stop the souls of the living from 

being carried off by a ghost: 

The custom of covering, not looking-glasses only, but various articles in the apartment 

where the corpse is laid was a well-known custom in Scotland. Different 

individuals have different whims; for example, I have heard of persons…turn[ing] the 

face of a portrait of the deceased… Glasgow Notes and Queries, 1888 

If one looks into a mirror at night they will see the devil. 

A bowl of water with a knife inside it, placed by a doorway, is believed to keep out 

witches. Seeing its own reflection in the water and believing its soul to be pierced 

by the knife, the witch will flee. 

PEACOCKS 

Peacock feathers have long been regarded as unlucky. Many people refuse to have 

them in their house or handle anything made with them. They are particularly bad 

luck when used in theater productions. 

Peacock screaming is also considered an ill omen: 

A Devonshire friend tells me of peacock screaming being considered to forebode 

death (just the same as a dog howling), and a notable instance of the fact actually 

happened a few months ago in this house. Folk Lore Journal, 1883


HAIR 

It was once believed that witches had the power to attract any person whose hair 

had fallen into their hands. Hair was also used in spells; it could be mixed with the 

wax for an image which, melted slowly before a fire, would cause the person 

represented to waste away. 

WITCH BOTTLE 

The heart of a bewitched animal, if pierced with pins, was believed to cause a witch 

excruciating pain. In cases of bewitched humans a similar effect was achieved by 

placing items in a bottle which was then buried or put in a heap, depending on 

whether fast or slow torture was desired. Contents of bottles varied but tended to 

include nails or thorns, plus pieces of the victim’s hair, fingernails, or urine. 

DEATH KNOCKS 

Knocking is considered an omen of death. When someone is on their death bed, 

three knocks on the door signifies that they have three days until they die. 

BIRDS 

A bird appearing at a window was widely interpreted as an ill omen; if there was a 

sick person in the household it was taken as evidence that they would die. 

In Scotland it was believed that the swallow had the blood of the Devil in its veins. 

The bird carried two precious stones within its body: a red one to cure insanity and 

a black one thought to bring good luck. 

CARDS 

The nine of diamonds has become known as the ‘Curse of Scotland’: 

It was thought that before the Battle of Culloden in 1746 Charles Edward Stuart 

was playing cards with the Laird of Macintosh at his Inverness house. The Nine of 

Diamonds was dropped from the table and lost. Some time later when the Duke of 

Cumberland stayed at the house the card was found and the Duke used it to 

authorise a death warrant. Chambers: Scottish Superstitions, 1990 

SALT 

A dish of salt was placed on the breast of a corpse as soon as possible after the 

death and it remained there until the body had been placed in the coffin. In some 

cases the salt was mixed with earth on a wooden platter and then placed on the 

corpse. The earth was an emblem of the corruptible body, the salt an emblem of 

the immortal soul. 

Paul Stacey is a second-year dramaturgy student in the A.R.T./MXAT Institute for Advanced Theater 

Training at Harvard University.


Macbeth 

Macbeth opens with thunder and lighting, as three witches are plotting their 

meeting with Macbeth, the Thane of Glamis. Macbeth and Banquo soon encounter 

the witches on a heath. The first witch hails Macbeth as “Thane of Glamis,” the 

second as “Thane of Cawdor,” and the third proclaims, “All hail, Macbeth, that shalt 

be King hereafter!” The witches then prophesize that Banquo will father a line of 

kings, though he himself will never be one. As quickly as the witches vanish, a 

messenger arrives with news from King Duncan: Macbeth has been named Thane 

of Cawdor. With the witches’ prophecies starting to come true, Macbeth begins to 

harbor ambitions of becoming king. He shares the predictions with his wife, Lady 

Macbeth, who becomes consumed with her husband’s potential ascent to the 

throne. When Duncan announces that he plans to visit Macbeth at his castle, Lady 

Macbeth concocts a scheme to kill the king and secure the throne for her husband. 

Macbeth is reluctant to go along with his wife’s plan of regicide, but Lady Macbeth 

convinces him to commit the murder. 

Macbeth kills Duncan in the middle of the night and is immediately traumatized 

by his actions. Lady Macbeth is forced to assume control of their plan. 

Duncan’s son, Malcolm, discovers his father’s body and flees to hatch a plan with 

Banquo and Macduff to avenge his father’s death. With Malcolm and the rightful 

heirs gone, Macbeth, a kinsman to Duncan, assumes the throne as the new King of 

Scotland. 

Macbeth is soon consumed with the witches’ prophesies for Banquo. When 

he receives word that Banquo will be leaving that night, Macbeth murders Banquo. 

With the burden of his guilt wearing him down, Macbeth sees Banquo’s ghost at 

the royal banquet. His guests, however, see only an empty chair. As Macbeth 

screams at the apparition, Lady Macbeth forces everyone out of the banquet hall, 

desperate to keep her husband silent. 

Macbeth visits the three witches again and is warned to “beware Macduff,” 

but also told that “none of woman born shall harm Macbeth.” The witches’ last 

prophesy to Macbeth is that he “will never vanquish’d be until Great Birnam Wood 

to high Dunsinane Hill shall come against him.” With Macduff gone, Macbeth 

decides to kill all who reside in Macduff’s home, including Macduff’s heavily pregnant 

wife. The crimes that Lady Macbeth and her husband have committed rack 

her with guilt. As she sleepwalks through the castle, she futilely tries to wash 

imaginary blood off of her hands. 

When Malcom and Macduff learn that Macbeth has murdered Lady Macduff, 

they return to seek revenge. They take Macbeth by surprise by cutting down trees 

to camouflage themselves as they encroach on the castle, thus fulfilling the witches’ 

third prophesy. As the forces draw closer, Macduff and Macbeth are eventually 

locked in confrontation. 

Summary prepared by Jenna Clark Embrey

Company 

Phil Atkins — Duncan 

Native of England; graduate of Middlesex University, London. New York: The Seagull 

(Trigorin). US regional: Rhinoceros, Noises Off, The Dumb Waiter, Betrayal. UK national 

tour: The Voices. Edinburgh Fringe: The Balcony, Deathwatch. Television UK: We’ll Meet 

Again, Cymbeline, The Sweeney. Further training SITI Company Summer Institute. 

Kelly Bartnik — Witch 

Performance: Melissa Briggs Dance, the WrightNow! Performance Xperience, Carl 

Hancock Rux, Nicki Marshall & Helen Tocci, and Cora Dance. Choreography: presented 

at Brooklyn Arts Exchange/BAX, BRIC Studio, Dance Theater Workshop, Dixon Place, 

Joyce Soho, James Madison University, Long Island University, Williamsburg Arts Nexus, 

Arena Stage, The Publick Playhouse. Teaching: Sarah Lawrence College, James Madison 

University, director of BAXCo. Video Production: Founder GK1 Productions, specializing 

in dance films. 

Eric Bradley — Macbeth 

Dance credits: Bill T. Jones /Arnie Zane Dance Company, Molissa Fenley, Johannes 

Wieland, Sarah Skaggs, Creach/Koester, Compania de Danza de Lisboa, Rebecca Stenn, 

Alexandra Beller, Zvi Gotheiner. Special projects with Sean Curran, David Dorfman, 

Susan Marshall. Choreography: Dance (nominated best choreography ACDFA national 

concert 2008). Theater: The Tempest. Teaches technique, improvisation and repertory 

in NYC at The New School. Born in Plainwell, Michigan; graduated from The Juilliard 

School; MFA in progress at University of Wisconsin. 

Andrew Broaddus — Witch 

Raised in Teaneck, NJ, graduate of Oberlin College. Ringmaster, clown, and juggler 

with Ocircus from 2005-2009. Performed in the 2008 New York Fringe Festival in There 

Will Come Soft Rains, Sinking Ship Productions. Performed in Mark of the Sun by 

Takuya Muramatsu of Dairakudakan at the 2006 American Dance Festival. Studied with 

Diane McIntyre, Nancy Stark Smith, Chris Aiken, KT Niehoff, and others. Worked with 

Megan Sipe and Dancing Fish Productions, showing collaborative works in Manhattan. 

Hope T. Davis — Mrs. Danvers 

Native of Madison, Wisconsin; attended North Carolina School of the Arts. Has worked 

with Dendy Dance Theater, Douglas Dunn and Dancers and The Yard. 

Sarah Dowling — Lady Macbeth 

Punchdrunk: Sleep No More, The Firebird Ball, The Masque of the Red Death. Dance/ 

Theater: Hungry Ghosts, Lost Dog; Every Good Boy Deserves Favour, National Theatre; 

Ella G, Carlson Dance, Welsh Independent Dance with Peter Greenway; Red Countess, 

Praxis Theatre Lab; Argentinian Moment, Old Vic. Movement direction: Waiting for 

Godot with Ian McKellen and Patrick Stewart, Theater Royal Haymarket; Julius Caesar, 

Royal Shakespeare Company. Dublin born, Sarah trained and worked in theater before 

training in dance at the Laban Centre, London. She is currently an Associate Artist of 

the Royal Opera House London.

Company 

Conor Doyle — Witch 

Punchdrunk: Faust, The Masque of the Red Death.Young Vic: Pictures from an 

Exhibition, War Horse, Every Good Boy Deserves Favour, The Revengers Tragedy, 

The National Theatre. Dance: Jammy Dodgers, Frauke Requardt, Damned Beautiful, 

Helix Dance; Park, Jasmin Vardimon Dance Company; Such Sweet Thunder, Sarah 

Fahie; Rusalka, Glyndebourne Opera Festival 2009. Trained at the London School of 

Contemporary Dance. 

Stephanie Eaton — Witch 

Boston native, received her early training at the Boston Ballet School and Boston 

Conservatory. She has danced professionally in Boston and New York with various 

companies. 

Hector Harkness — Malcolm 

Punchdrunk: Sleep No More, The Firebird Ball, The Yellow Wallpaper, Faust, The 

Masque of the Red Death, Clod & Pebble, Tunnel 228. Theatre: Kerching, tour; The Hairy 

Ape, Cork Festival; Enemies, Almeida; Grope Box, Tristan Bates; Swing Night, Clod 

Ensemble; 4:48 Psychosis and Ariel in The Tempest, Midlands Arts Centre; A Frail Light 

in the Desert, Clear and Up The Feeder, Bristol Old Vic; Berkoff’s Darling You Were 

Marvellous, Edinburgh & Tour. Film: Batcave, Ten Directors, A Gladiator. 

Geir Hytten — Macbeth 

Punchdrunk: Sleep No More, Forest, Faust, Tunnel 228 and The House that Jack Built. 

Theatre/Dance: The Cholmondeleys and The Featherstonehaughs, Vincent Dance 

Theatre, Welsh Independent Dance, National Theatre of Scotland/Frantic Assembly, 

Coisceim (Knots, Dodgems), and Complicite. Trained at LCDS, Oslo and the Laban 

Centre, London. 

Thomas Kee — Porter 

Regional: The Goatwoman of Corvis County, Shakespeare & Co.; Hunter Gatherer, 

Pugilist Specialist, and Dog Problem, Wellfleet Harbor Actors Theatre; The Blowin of 

Balle Gal, Dinner With Friends, The Vineyard Playhouse; Of Mice and Men, Stoneham 

Theatre; A Few Good Men, Dracula, Syracuse Stage; God’s Man in Texas, Mill Mountain 

Theatre. Film: The Company Men, Children of the Struggle, The Reawakening, School 

Ties. Television: All My Children, As The World Turns, and Days of Our Lives. 

Poornima Kirby — The Second Mrs. de Winter 

Credits: Measure for Measure (Mariana), Twelfth Night (U/S Viola), Wordplay (Kate/ 

Dromio), Shakespeare & Co.; Romeo and Juliet (Juliet), Midsummer (Hermia/ 

Snug), Macbeth (Ross/Witch), Shakespeare Now; Ariadne Mythweaver (Ariadne 

Crowned), One Year Lease; The Winter’s Tale (Leontes), Importance of Being Earnest 

(Gwendolyn), Macbeth (Macduff/Witch), Richard II (Duchess of York/ Scroop), Vassar; 

Women Beware Women (Isabella), LAMDA. Training: B.A. in Drama from Vassar 

College.

Company 

Alexander LaFrance — Concierge 

Graduate of Marymount Manhattan College BFA Acting Program. Further training: 

Michael Howard Studios Conservatory, NYC. Recent projects include Coriolanus, with 

the Actors’ Shakespeare Project. Regional productions: Hello, Dolly, The Producers, A 

Christmas Carol. Educational productions: The Mystery of Edwin Drood, Assassins, The 

Inspector General, Cymbeline, Baby: The Musical. Film: Edge of Darkness. Television: 

See Kate Run, James Dean: Kleiner Prinz, Little Bastard, Life Without Green. 

Jeffery Lyon — Banquo 

Raised in northern California, graduated from Interlochen Arts Academy and the 

Conservatory of Dance at Purchase College. Has performed with the Erick Hawkins 

Dance Company, Syren Modern Dance, Sens Productions, and AMDaT; Dance Theater 

Workshop, Jacob’s Pillow, Judson Church, St. Marks Church, and Alvin Ailey’s Joan 

Weill Theater. Has also performed in or on abandoned swimming pools, escalators, 

parking garages, Fort Adams [R.I.], museums, and a Frank Gehry building. 

Robert McNeill — Macduff 

Punchdrunk: Sleep No More, Woyzeck, The Firebird Ball, Marat/Sade, Faust, The 

Masque of the Red Death. Theatre: Rusalka, Glyndebourne Opera Festival 2009; 

Pictures from an Exhibition, Young Vic Theatre; Every Good Boy Deserves Favour, 

The Revengers Tragedy, National Theatre. Dance: Wayne McGregor, Lisa Torin, Sheron 

Wray, Andreas Constantinou & Rosemary Butcher. Film: Nottingham, Sweeney Todd, 28 

Weeks Later. Robert has been producing his own work since 1998 with a focus on sitespecific 

installation and performance. Graduated from Laban Centre, London in 2003, 

winning the award for choreological studies. 

Careena Melia — Hecate 

A.R.T.: Trojan Barbie (Helen). New York: Macbeth, Theatre for a New Audience; Anne 

Frank and Me, American Jewish Theatre; Sunnyside & Sunday Mornings, Irish Repertory 

Theatre; The Playboy of the Western World, Alpha Omega Theatre Company. Regional: 

Romeo and Juliet, L.A. Shakespeare Festival; Ah, Wilderness, Huntington Theatre; All 

the Rage, Pittsburgh Public Theatre; Moby Dick Rehearsed, Berkshire Theatre Festival; 

Much Ado About Nothing, La Dispute, NJSF; All My Sons, Players Theatre, Dublin. TV/ 

Film: Moonlight Mile, Songs in Ordinary Time, JAG, Shakespeare in America, 18 Wheels 

of Justice, Touched by an Angel, Under Hellgate Bridge. BA Sarah Lawrence College/ 

Trinity College Dublin, Ireland: MFA A.R.T./MXAT Institute. 

Luke Murphy —Macduff 

Native of Cork, Ireland; graduate of Point Park University. Recipient of the Bank or 

Ireland Millenium Scholars Trust Scholarship for Study in the Arts and two Travel and 

Training grants from The Arts Council of Ireland. Further training: apprenticeshp with 

Bill T Jones/Arnie Zane Dance Company and The American Dance Festival in 2007 

and 2008. Has worked with Heidi Latsky Dance, Sean Curran Company, Erick Hawkins 

Dance Company, Daniel Gwirtzman Dance Company, and Kazuko Hirabayashi Dance 

Theatre.

Company 

Robert Najarian — Man in Bar/Malcolm 

Regional: Don Giovanni, Washington National Opera; Shear Madness, Charles St. 

Playhouse; The Life of Galileo, Central Square Theatre; Einstein’s Dreams, Underground 

Railway Theatre; Coriolanus, Actors’ Shakespeare Project; Take Me Out, Speakeasy 

Stage Company; The Complete Works of William Shakespeare abridged, A Streetcar 

Named Desire, The Underpants, Foothills Theatre. Fight Direction: As You Like 

It, Commonwealth Shakespeare Company; Don Quixote, Boston Ballet; The Lieutenant 

of Inishmore, New Repertory Theatre. Faculty member in Theatre Departments of 

Boston University, College of the Holy Cross, and EMS Department at Northeastern 

University. MFA: The Shakespeare Theatre’s Academy for Classical Acting at the 

George Washington University. 

Fernanda Prata — Witch 

Punchdrunk: Forest, Faust, The Masque of Red Death, Tunnel 228 and The House that 

Jack Built. Theatre: Timon Of Athens, Shakespeare’s Globe; Every Good Boy Deserves 

Favour, National Theatre. Dance: Jasmin Vardimon, Stan Won’t Dance, Sarah Crow, 

Quasar, Carlota Portella, Nos Da Danca, Dani Lima. Film: For All, O tranpoilin da Vitoria; 

Trained at Laranjeiras Arts Center and Angel Vianna University, Brazil. 

Alli Ross — Lady Macduff 

Chimera butoh/dance company with Jennifer Hicks, Awarded Space Grant 2006 

through Green Street Studios; premiered own work Bubbasafish and 50-meter freestyle, 

L’Anima (with Marjorie Morgan), Influx Dance; This Fairytale is not Working Out. 

Collaboration with Jimena Bermejo: Vex, Foam, Then..Again, Deborah Hay’s Solo 

Commissioning Project 2000, “Boom Boom Boom”. Action Theater with Ruth Zaporah 

and Billie Jo Joy. Other influential artists Olivier Besson, Debra Bluth, Tere O’Connor, 

Martin Keough, Karen Nelson and Body-Cartography Project. Contact Improvisation 

and movement research both locally and internationally. She holds a B.A. from 

Skidmore College in Anthropology and Dance and is an M. Ed. candidate for Arts in 

Education at HGSE. 

Vinicius Salles — Banquo 

For Punchdrunk: Faust, Picnic, The Masque of the Red Death. Theatre/Dance: Dani 

Lima, Intrepida Troupe, Jasmin Vardimon Dance Company, Stan Won’t Dance; Timon 

of Athens, Shakespeare’s Globe; Every Good Boy Deserves Favour, National Theatre. 

Choreography: Sobre Todas as Esquinas do Mundo, Xristos, Cabeças Trocadas, BR, 

NOcontact, Copycat, The Place. Graduated from Escola de Teatro Martins Pena. 

Tori Sparks – Mrs. Danvers/Lady Macbeth 

Dancer/artist living in New York City. Dance: Noemie LaFrance, Johannes Wieland, 

Andrea Hgenggi/AMDaT, New York; Beppie Blankert, Netherlands; Magnar Aam/ 

Einy Aam, Norway. Music video: Chisako Mikami (Sakido). Directiorial: J Mandle 

Performance, Third Rail Projects. Founder of Sharpelbow, producing dance-integrated 

videos and installations. BFA Florida State University.

Creative Team 

Felix Barrett — Director and Designer 

Artistic Director of Punchdrunk and a graduate and Honorary Fellow in Drama, 

University of Exeter. Felix has conceived, designed, and directed all of Punchdrunk’s 

productions since founding the company in 2000. He is a Critics’ Circle Drama Award 

winner (Best Design, Faust, 2006) and one of the first recipients of a Paul Hamlyn 

Foundation Breakthrough Fund Award (2008-2011), which supports exceptional arts 

practitioners in the development of their vision. Most recently, he directed (with Tom 

Morris) the Stoppard/Previn Every Good Boy Deserves Favour at the National Theatre, 

London, and It Felt Like A Kiss, a collaboration between Punchdrunk, documentary filmmaker 

Adam Curtis, and rock musician Damon Albarn for the Manchester International 

Festival (2009). 

Diane Borger — Producer (A.R.T.) 

Diane has worked in London for the past 30 years, mostly recently as General Manager 

of the Royal Court Theatre where she produced over one hundred and fifty shows. 

Transfers to New York include The Seagull, Rock’n’Roll, and The Weir. Before that, she 

was Deputy Head of the National Theatre Studio for thirteen years. 

Carolyn Rae Boyd — Stage Manager 

A.R.T.: Let Me Down Easy and Aloha, Say the Pretty Girls. Other credits: Cinderella, The 

Nutcracker, and Ballet Russes, Boston Ballet; Joe Turner’s Come and Gone, Lincoln 

Center Theatre, Streamers, Huntington Theatre Company; productions at Williamstown 

Theatre Festival, Hangar Theatre, and Boston Midsummer Opera. Native of Jacksonville, 

Florida; alumna of Boston University’s College of Fine Arts. 

Kyle Carlson — Assistant Stage Manager 

Native of Shakopee, Minnesota; graduate of St. Olaf College. Has interned with the 

American Repertory Theater. Has worked with the American Repertory Theater, 

Northfield Arts Guild, and Workhaus Collective. 

Stephen Dobbie — Sound and Graphic Designer 

Punchdrunk: sound and graphic designer since 2002, working in England on the 

award winning Faust, The Masque of The Red Death, and most recently collaborating 

on Tunnel 228 and Punchdrunk’s collaboration with Adam Curtis and Damon Albarn 

on It Felt Like A Kiss for the Manchester International Festival. He has also worked as 

a sound designer on two Greenwich & Docklands Festivals (UK) as well as producing 

original graphic design artwork for CD cover, short films and music videos. 

Maxine Doyle — Director and Choreographer 

Bonnie Bird Choreography Award winner and Year of the Artist commission recipient. 

Trained in London where she received her MA, she was artistic director of First Person. 

Her full-length works include Plastic Chill (1999/2000) and It’s Only a Game Show 

(2002). Other choreographic commissions include Rough and Tumble, Who Dunnit?, 

Picnic, and The House that Jack Built. She was a semi-finalist, with Felix Barrett, for 

The Place Prize in 2006. Maxine’s association with Punchdrunk began with Sleep No 

More (2003) and she has co-directed Woyzeck (2004), The Firebird Ball, Marat/Sade, 

The Yellow Wallpaper (2005), Faust (2006), The Masque of the Red Death (2007), and

Creative Team 

Tunnel 228 (2009). Maxine’s recent work as choreographer for theater includes Timon 

of Athens (Shakespeare’s Globe, 2008) and Every Good Boy Deserves Favour (National 

Theatre, 2009). 

Mikhael Tara Garver — Staff Director 

Graduate of Northwestern University and Columbia University M.F.A. 2010 where she 

is a recipient of the Heyward Fellowship. Chicago Directing Credits: Moment: Three 

Days of Rain & The Author’s Voice; The Lover; why they invented dancing; The Pool 

of Bethesda (After Dark Award); Enter Alice; Recent Tragic Events (Top 10 Time Out/ 

Tribune); The Violet Hour; Tintypes; Faith Healer (Jeff Award); and Orange Lemon 

Egg Canary. New York Directing Credits: For Homeostasis; The Legislative Process; 

Checkpoint; Mourning; Three Sisters; and was the writer and director of nonplay: 

shadows of a dream. Artistic Director/Co-founder of Uma Productions at the Chopin 

Theater, Chicago, IL 2001-2007. Current Artistic Director of the The New Ensemble, 

New York. 

Colin Marsh — Executive Director 

Trained in drama and dance at Dartington College of Arts and at Exeter University 

(Rolle College, Exmouth). He worked as a professional actor for over twenty years, in 

fringe, repertory, for the RSC and in the West End, on TV and radio, appearing in over 

70 productions, including the original London cast of Les Misérables (1985-86). He 

moved into arts management in 1997 and has produced all of Punchdrunk’s work since 

the original version of Sleep No More in 2003. Colin is one of the first recipients, with 

Felix Barrett, of a Paul Hamlyn Foundation Breakthrough Fund Award (2008-2011). 

Euan Maybank — Technical Director 

Technical Director for Punchdrunk since 2000 for all productions including It Felt LIke 

A Kiss, Tunnel 228, The Masque of the Red Death and Faust. Other work includes lighting 

design and technical production, most recently a British Council international tour 

of An Evening with Adrienne. Euan has also worked on the development of Mscape 

with Hewlett Packard Labs and the The Infrasound Project for Punchdrunk. 

Alexandra McConnell-Trivelli — Assistant Stage Manager 

Punchdrunk: Masque of the Red Death, London. Other: We Won’t Pay, We Won’t Pay, 

Nora Theatre Company. Props master for the 2007 season of Greenbrier Valley Theatre. 

Native of Morgantown, West Virginia; graduate of Emerson College. 

Beatrice Minns — Associate Designer 

Punchdrunk: Faust, The Masque of the Red Death, Tunnel 228, It Felt Like A Kiss, 

Trained as a Fine Artist, specialising in painting at Winchester College of Art. Currently 

lives and works in London as a freelance designer-maker, illustrator and animator. Other 

freelance work includes Kneehigh Theatre, BAC, Future Cinema, Shunt, Sussex Wit 

Productions and Annex. 

Colin Nightingale — Senior Producer 

Graduating with a 1st Class (Hons) management degree, Colin started working in 

the events industry but through his passion for music was drawn to the fringes of

Creative Team 

London’s art scene. Meeting Felix Barrett in 2002, he has become an integral part of 

Punchdrunk, helping to create all major productions since Woyzeck (2004). Between 

2004 and 2007, Colin was senior project manager at London’s leading outdoor arts 

festival Greenwich & Docklands International Festival and is also a director of Gideon 

Reeling, which co-founded the Hide & Seek social gaming festival. 

David Israel Reynoso — Costumer 

A.R.T. :Trojan Barbie, Copenhagen, No Man’s Land, The Keening. 

A.R.T. Institute: Ajax in Iraq, Shakespeare Slams, Abigail’s Party, Other: Dead Man’s Cell 

Phone, Lyric Stage Company; The Comedy of Errors, Commonwealth Shakespeare 

Company; The Woman in Black, Gloucester Stage; The Fabulous Invalid, Emerson 

College; Training Wisteria, Boston Playwright’s Theatre, Kennedy Center; This is a Ne 

wspaper, CollaborationTown; Little Wing, NYC Fringe Festival; Britten’s A Midsummer 

Night’s Dream, B.U. Opera Institute; The Country Wife, As You Like It, Twelfth Night, 

Boston University; Film/TV: Juan Son’s Mermaid Sashimi (music video art direction), 

Universal Music; Porter’s Host of a Ghost (music video art direction), Tercer Piso 

Records. David is A.R.T.’s Resident Crafts Artisan. 

Paul Stacey — Assistant Director 

A.R.T.: Director of Sexual Perversity in Chicago. Assistant Dramaturg on The Seagull. 

A.R.T. Institute: Dramaturg on Little Tragedies. Other: Kangaroo Court Theatre 

Company: Assistant Director on The Pillowman, Bent, Blasted, Lady Chatterley’s Lover, 

Edinburgh Fringe & Bush Theatre, London; The Picture of Dorian Grey, Tabard Theatre, 

London. BA University of Nottingham. Second year Dramaturg at the ART/MXAT 

Institute. 

Livi Vaughan — Associate Designer 

Punchdrunk: The Firebird Ball, Faust, The Masque of the Red Death, Tunnel 228, It felt 

like A Kiss, and Punchdrunk Enrichment project, Under the Eiderdown. Graduated in 

theater design at Central St Martins. Her freelance work includes events, promos, animations 

and short films. 

SPECIAL THANKS: Janet Messineo’s Island Taxidermy; Steve Puopolo, E. Puopolo 

& Son Plumbing; Peter Quigley and Chris Dicarlo, Weidlinger Associates, Inc; Rob 

Orchard; Sean Egan Bates, Wells & Braithwaite, LLP; Ruth Shepherd, UK Rehearsals; 

Mike Garrett, National Theatre; Laura Bateman; Amer Chadha-Patel; Rachael Smith, 

Masks; Giselle Ty; John Doerschuk, Terry Hanley Audio Systems; John Lay & The 

Faculty of the New England Institute of Art; Nita Sturiale; Magda Campos Pons; Moly 

Lanzarotta; Rob Daves; Amy Clark, Brookline High School; Erin Drury, Bertucci’s; Kara 

Brewton; Denise Marika; Brian Harvey, City Year; Kelley Clark, Boston Cares; Scott 

Pinkney; Matt Murphy’s Pub; Orinoco; Tashi Delek; Kookoo’s Cafe; The Wine Gallery; 

Upper Crust; Village Pizza; Alyson Abramson and Anthony Wigmore from Skipton Pet 

Centre for providing the Eel and advice.

About Punchdrunk 

British theatre company Punchdrunk is the acknowledged pioneer of a new form of 

immersive theatre, in which roaming audiences experience epic storytelling inside 

intensely atmospheric theatrical worlds. Blending classic texts, physical performance, 

award-winning design installation, and unexpected sites, the company’s infectious format 

transports the viewer from the passive familiarity of conventional theatre to a state 

of activated imagination. 

Since 2000, the company has developed a phenomenal reputation for transformative 

productions that focus as much on the audience and the performance space as on the 

performers and narrative. Inspired designers occupy deserted buildings and apply a 

cinematic level of detail to immerse the audience in the world of the play. Punchdrunk 

rejects the passive obedience expected of audiences in conventional theatre. Its audiences 

rediscover the childlike excitement and anticipation of exploring the unknown, 

and experience a real sense of adventure. Free to roam the installed environment in an 

individual sensory journey, they choose what to watch and where to go. This is a unique 

theatrical experience where the line between performer and spectator is extraordinarily 

blurred. Audiences experience the essence of participation, shedding their customary 

identity to more deeply follow and enjoy their own imaginations. 

Punchdrunk 

Felix Barrett - Artistic Director 

Maxine Doyle - Associate Director and Choreographer 

Colin Marsh - Executive Director 

Colin Nightingale - Senior Producer 

Euan Maybank - Technical Director 

Stephen Dobbie - Sound and Graphic Designer 

Beatrice Minns - Design Associate 

Livi Vaughan - Design Associate 

Jennie Hoy - Administrator 

Peter Higgin - Punchdrunk Enrichment Director 

Jen Thomas - Punchdrunk Enrichment Officer 

Board of Trustees 

Phil de Montmorency 

Clara Eisenberg (Chair) 

Hyun-Ho Khang 

Josephine Machon 

Tom Morris 

A Company limited by guarantee No 4547069. A Registered Charity No 1113741. 

Friends of Punchdrunk 

Would you like to keep in touch and help Punchdrunk to continue to innovate and 

break new theatrical ground? Visit the company’s website for more information about 

becoming a Friend of Punchdrunk. www.punchdrunk.org.uk

About the A.R.T. 

A HISTORY OF THE AMERICAN REPERTORY THEATER 

Diane Paulus Artistic Director/CEO 

The AMERICAN REPERTORY THEATER (A.R.T.) is one of the country’s most celebrated 

resident theaters and the winner of numerous awards — including the Tony Award, the 

Pulitzer Prize, and numerous local Elliot Norton and I.R.N.E. Awards. In 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 theaters in the country by Time 

magazine. 

Founded by Robert Brustein in 1980, during its twenty-nine year history the A.R.T. has 

welcomed major American and international theater artists, presenting a diverse 

repertoire that includes new American plays, bold reinterpretations of classical texts, 

and provocative new music theater productions. The A.R.T. has performed throughout 

the U.S. and worldwide in twenty-one cities in sixteen countries on four continents. It 

has presented over two hundred productions, over half of which were premieres of new 

plays, translations, and adaptations. 

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

undergraduate classes in acting, directing, dramatic literature, dramaturgy, design, 

and playwriting at Harvard University, and in 1987 the A.R.T. founded the Institute for 

Advanced Theater Training at Harvard University. In conjunction with the Moscow Art 

Theater School, the Institute provides world-class graduate level training in acting, 

dramaturgy, and voice. 

Last fall the A.R.T. welcomed its new Artistic Director, Diane Paulus. Under her 

leadership, the Theater has developed a new initiative, EXPERIENCE THE A.R.T., which 

seeks to revolutionize the theater experience through a sustained commitment to 

empowering the audience. This initiative recognizes that theater is not just a play on 

the stage, but also a social occasion for people to come together and experience 

community. This audience-driven vision speaks directly to the A.R.T.’s core mission — 

“to expand the boundaries of theater.” By expanding its focus to include the 

audience’s total theater experience, the A.R.T. seeks to give audiences a voice, a sense 

of ownership, and a feeling of importance in the theatrical event. 

A.R.T. 2009-10 Board of Trustees 

Donald Ware, Chairman of the Board 

Phil Burling 

Paul Buttenwieser 

Michael Feinstein 

Lori Gross 

Ann Gund 

Sarah Hancock 

Provost Steven Hyman 

Jonathan Hulbert 

Ex-Officio 

Fumi Matsumoto 

Rebecca Milikowsky 

Ward Mooney 

Jackie O’Neill 

Diane Paulus 

Diana Sorensen 

Lisbeth Tarlow 

A.R.T. 2009-10 Board of Advisors 

Barbara W. Grossman Co-Chair 

Ted Wendell Co-Chair 

Joseph Auerbach* 

Page Bingham 

William H. Boardman, Jr. 

Robert Brustein 

Greg Carr 

Caroline Chang 

Antonia Handler Chayes* 

Clarke Coggeshall 

Kathleen Connor 

Robert Davoli 

Joseph W. Hammer 

Horace H. Irvine, II 

Michael E. Jacobson 

Glenn KnicKrehm 

Barbara Lemperly Grant 

Dan Mathieu 

Eileen McDonagh 

Michael Roitman 

Linda U. Sanger 

John A. Shane 

Michael Shinagel 

Sam Weisman 

*emeritus

Brookline Village 

Welcome to Brookline Village! 

Enjoy the local restaurants before or after the show, or come back another time just for the 

food! Below is a map and listing of Brookline Village restaurants likely to be open during 

theatre hours. 

Washington Street 

Harvard Street 

Kent Street 

Brookline Village 

MBTA Station 

Kent Street 

To 

Kenmore 

To 

Riverside 

Old Lincoln 

School 

MBTA Green “D” Line 

Boylston Street (Route 9) 

Davis Avenue 

Walnut Street 

L 

Harvard 

Square 

Washington Street 

Station Street 

High Street 

Matt Murphy’s 

Irish Pub 

14 Harvard Street 

617-232-0188 

Event 

Parking 

Pearl Street 

Brookline Place 

Brookline Avenue 

Starbucks 

Coffee 


617-232-5063 

Stoli Bar & Restaurant 

Russian 

213 Washington Street 

617-731-5070 

Baja Betty’s Burritos 

Mexican 

3 Harvard Square 

617-277-8900 

Bottega di Capri 

Italian 


617-738-5333 

Brookline Family Restaurant 

Turkish 


617-277-4466 

Dunkin’ Donuts 

Coffee 

20 Boylston St. / 8 Harvard St. 

617-739-1144 / 617-232-7252 

La Morra 

Italian 

L 

48 Boylston Street 

617-739-0007 

New England Soup Factory 

Hearty American 

2 Brookline Place 

617-739-1899 

Oriental Pearl 

Vietnamese, Chinese 


617-739-0008 

Orinoco: A Latin Kitchen 

Venezuelan 


617-232-9505 

Pomodoro 

Italian 

24 Harvard Square 

617-566-4455 

Sichuan Garden 

Chinese 


617-734-1870 

Tashi Delek 

Tibetan 


617-232-4200 

The Village Smokehouse 

Texas Barbeque 

6-9 Harvard Square 

617-566-3782 

Village Pizza House 

Pizzeria 


617-731-4210 

Yokohama 

Japanese 


617-734-6465 

Zen 320 

Japanese 


617-713-4320

Join us for a bite at our 

featured restaurant partner 

$30 3-course meal 

$35 4-course meal 

Three- and fourcourse 

wine 

pairing for $12 

and $15 

LaMorra 

48 Boylston St 

Brookline, MA 

(617) 739-0007 

www.lamorra.com 

our season restaurant partners 

Henrietta’s Table 

The Charles Hotel 

One Bennett Str. • Cambridge, MA 

(617) 661-5005 • www.henriettastable.com 

10% off Lunch 

and Dinner 

Legal Sea Foods 

Charles Square 

20 University Rd • Cambridge, MA 

(617) 491-9400 • www.legalseafoods.com 

Complimentary cup of clam 

chowder with entrée purchase. 

Must show Season Ticket ID 

card. Only at Charles Square 

location through 5/29/10. 

OM 

92 Winthrop St. • Cambridge, MA 

(617) 576-2800 • www.omrestaurant.com 

Sandrine’s 

8 Holyoke St. • Cambridge, MA 

(617) 497-5300 • www.sandrines.com 

$30 pre-fixe menu 

available during dinner 

5 p.m.-10 p.m. with 

ticket stub. 

20% off food only (excluding 

any special menus, 

including prix fixe menu). 

UpStairs on the square 

91 Winthrop St. • Cambridge, MA 

(617) 864-1933 • www.upstairsonthesquare.com 

Visit americanrepertorytheater.org/restaurants 

for a taste of our other partner discounts — 

more restaurants, parking, books, and more! 

$35 three course meal. Does 

not include tax or gratuity. 

American 

repertory 

theater.org

Donors 

The American Repertory Theater is deeply 

grateful for the generous support of the 

individuals, foundations, corporations, and 

government agencies whose contributions to 

our Annual Fund and pARTy make our work 

possible. The list below reflects gifts between 

September 1, 2008 and July 31, 2009. 

$100,000 and above 

Anonymous 

The Andrew W. Mellon Foundation 

The Carr Foundation 

The Doris Duke Charitable Fund 

The President and Fellows of Harvard College 

The Shubert Foundation, Inc. 

$75,000 - $99,999 

Anonymous 

$50,000 - $74,999 

Anonymous 

Edgerton Foundation New American Plays 

Award 

The Harold and Mimi Steinberg Charitable 

Trust 

Hershey Family Foundation 

Massachusetts Cultural Council 

Ted and Mary Wendell* 

$25,000–$49,999 

Anonymous 

Boston Metro+ 

Philip and Hilary Burling* 

Paul and Katie Buttenwieser* 

Robert E. Davoli and Eileen L. McDonagh* 

The E.H.A. Foundation, Inc. 

Ann and Graham Gund* 

Sarah Hancock* 

Horace Irvine* 

Dan Mathieu/Neal Balkowitsch/MAX 

Ultimate Food+* 

Rebecca and Nathan Milikowsky* 

Minelli, Inc. 

National Endowment for the Arts 

Theatre Communications Group 

Trust for Mutual Understanding 

Donald and Susan Ware* 

$10,000–$24,999 

Anonymous* 

Bank of America Philanthropic Management 

Page Bingham and Jim Anathan* 

The Boston Foundation 

Boston Investor Services* 

Ted and Joan Cutler 

Étant Donnés 

Michael G. Feinstein and Denise Waldron* 

Google, Inc.+ 

Merrill and Charles Gottesman 

Barbara W. Hostetter 

The Roy A. Hunt Foundation 

Michael and Wanda Jacobson* 

The Robert & Myra Kraft Family 

Foundation, Inc. 

Kako and Fumi Matsumoto* 

Ward and Lucy Mooney 

National Corporate Theatre Fund 

Office of the Provost, Harvard University* 

Cokie and Lee Perry 

Beth Pollock* 

Michael Roitman and Emily Karstetter 

Ed Schein 

Lisbeth Tarlow and Stephen Kay* 

The Wallace Foundation 

$5,000–$9,999 

Anonymous* 

Joel and Lisa Alvord 

Howard and Leslie Appleby 

Boston Beer Company+ 

Clarke and Ethel D. Coggeshall 

Event Illuminations+ 

Genevieve C. Fisher° 

Patricia Romeo-Gilbert and Paul B. Gilbert 

Barbara Lemperly Grant and 

Frederic D. Grant* 

Joseph W. Hammer 

Glenn A. KnicKrehm 

The Lawrence & Lillian Solomon Fund, Inc. 

Audrey Love Charitable Foundation 

Dr. Henry and Mrs. Carole Mankin 

Carl Martignetti 

Jackie O’Neill* 

Robert J. Orchard 

Office of the Provost, Harvard University* 

Anthony Pangaro 

The Bessie E. Pappas Charitable 

Foundation, Inc. 

Polaris Capital Management, Inc.* 

Ricochet Group, LLC.*/Ric Wanetik 

Alan Savenor 

Cathleen Douglas Stone and James Stone* 

Tony Shalhoub and Brooke Adams 

$1,000–$4,999 

Anonymous 

Elizabeth M. Adams 

Sheldon Appel

Donors 

Sharyn Bahn 

Barbara Lee Family Foundation 

Enid Beal 

John A. Boyd 

Linda Cabot Black 

Dr. Jeffrey Borenstein and Lilly Pelzman 

Martha Bradford and Alfred Ajami 

Ronnie Bretholtz 

Sara and Tim Cabot* 

Caroline Chang 

Stanley and Peggy Charren 

Antonia H. Chayes 

Stephen Coit 

Kathleen Connor 

Jane and Marvin Corlette 

Corning Incorporated Foundation 

Crystal Capital* 

Jean-Francois Ducrest 

Draper Laboratory 

Alan and Suzanne Dworsky 

Philip and Debbie Edmundson 

Rachael and Andrew Goldfarb 

Merle and Marshall Goldman 

Hannelore and Jeremy Grantham 

Nicholas Greville 

Barbara and Steve Grossman 

Jonathan Harris 

Jerry and Margaretta Hausman 

The Harvard Coop 

Priscilla and Richard Hunt 

Nancy P. King 

Douglas and Judith Krupp 

Jim and Lisa La Torre 

Stacey Lee 

Mary Pfeifer Lentz and Tom Lentz* 

John D.C. Little 

Lars Foundation 

Esther Maletz-Stone 

James C. Marlas 

Judy and Paul Marshall 

Wladzia and Paul McCarthy 

Robert and Jane Morse 

Bob and Alison Murchison 

The Netherland-America Foundation, Inc. 

Finley and Patricia Perry 

Leslie and David Puth 

Jan Saragoni 

The Shane Foundation 

Laura Pels Foundation 

The Ramsey McCluskey Family Foundation 

Andres Rodriguez 

Henry and Nitza Rosovsky* 

Linda Sanger 

Kay and Jack Shelemay 

Michael Shinagel and Marjorie North 

The Abbot and Dorothy H. Stevens 

Foundation 

Caroline Taggart and Robert Sachs 

The Sholley Foundation 

Marshall Sirvetz 

May K. Takayanagi 

Julie Taymor 

Theatre Communications Group 

TheatricalProjections.com 

Wagamama Inc. 

William Weber 

John Weltman 

Vita Weir and Edward Brice 

Sam Weisman and Constance McCashin* 

Francis H. Williams 

Alfred Wojciechowski 

Judith and Stephen Wolfberg 

Zipcar+ 

$500 - $999 

Anonymous 

Virgil J. Aiello 

Reed Augliere 

Sarah Baker and Tim Albright 

William M. Bazzy 

Daniel Berman 

Leonard and Jane Bernstein 

Robert and Maria Bradley 

Jean and Arthur Brooks Jr.'s kids 

Deborah Carroll 

Nader Darehshori 

Erica DeRosa 

Helen Glikman 

Norman Goldberg 

James Gray 

Lenore and Eric Gustafson 

Helen Glikman 

Dena and Felda Hardymon 

Judith Kidd 

Gillian and Bill Kohli 

Dudley H. Ladd 

Melody Libonati 

Nick Littlefield 

Carolyn Meade 

Michael and Annette Miller 

Patricia Cleary Miller Ph.D. 

Carol and Steve Pieper 

Wendy Shattuck and Samuel Plimpton 

Natalie Reed 

Sally C. Reid and John D. Sigel 

Kim and Fernando Salazar 

Valya and Robert Shapiro 

Jacqueline A. Simon

Donors 

Robert Skenderian 

Thomas Tarpey 

Ruth and Harry Wechsler 

Peter and Dyann Wirth 

Linda Chin Workman 

IBM Corporation 

Somerled Charitable Foundation 

Hurlbut Family Charitable Lead Trust 

$250–$499 

Anonymous 

Rena and Walter Abelmann 

Janet and Arthur Banks 

Sue Beebee and Joe Gagné 

Helene B. Black Charitable Foundation 

Joseph Blatt and Leda Zimmerman 

Thomas B. Bracken 

Arthur H. Brooks 

Jacqueline Brown 

Fred and Edith Byron 

Ronni and Ronald Casty 

Corporate Ink Public Relations 

Richard and Dorothy Cole 

Liz Coxe and Dave Forney 

Pamela Coravos and Garrett Stuck 

Frederica Cushman 

Beatrice and Anirudh Dhebar 

Linda and William Faiella 

Ken and Linda Felter 

Charles Flowers 

Robert and Kathleen Garner 

GE Foundation 

Arthur and Younghee Geltzer 

David Golan and Laura Green 

Dr. Jeffrey and Laurie Goldbarg 

Randy and Stephen Goldberger 

Richard Greene 

Dianne Haas 

Janice Harvey 

John R. Hauser 

Roger and Jane Haynes 

Dr. Earl Hellerstein 

Stefaan Heyvaert 

Jeanne and Allen Krieger 

Mark Krueger 

Bill and Lisa Laskin 

Greg and Mary Beth Lesher 

Drs. Mortimer and Charlotte Litt 

Stephen and Jane Lorch 

Lorraine Lyman 

Gregory Maguire 

Shelley and Ofer Nemiorvsky 

Roderick and Joan Nordell 

Abigail Norman 

Carmel and Peter O’Reilly 

Joan H. Parker and Robert Parker 

Mark and Pauline Peters 

Joseph Raposo 

Katharine and William Reardon 

Diane Remin 

Judy and David Rosenthal 

Christopher Schalick 

Wendell Sykes 

Arnold and Gloria Tofias 

John Travis 

Mark Thurber and Susan Galli 

Donna Wainwright 

Elizabeth West 

Mary Winslow 

+denotes gift-in-kind 

*includes gala sponsorship 

°denotes individual is deceased 

2009 pARTy Contributors 

The A.R.T. is deeply grateful for the following 

contributors for their kind donations to our 

2009 pARTy raffle and auctions. 

A member of A.R.T.’s Artistic Committee 

A. Quinn Hair Studio 

Alan Savenor 

American Repertory Theater 

Barbara Lynch Gruppo 

Bauer Wine & Spirits 

Boston Public Library 

Boston Red Sox 

Cabot Design Ltd. 

Carlos Falchi 

Casablanca Restaurant 

Child’s Gallery 

Claire Messud 

Commonwealth Shakespeare Company 

Craigie on Main 

Darwin’s Ltd. 

DeLuca’s Markets 

Diane Paulus 

DreamWorks 

Galatea Fine Jewelry 

Galt MacDermot 

Green Street Studios/Paula Spina 

Hallie’s Garden 

Harvard Book Store 

Iggy’s Bread of the World 

James Joseph Salon 

James Wood 

Jessica Kagan Cushman Studio 

Le Pli Day Spa

Donors 

Little Lettice/Sara Cabot 

Loro Piana 

Margaret Lampert Photography 

Mary Pfeifer Lentz 

Michael McDonald 

Rialto Restaurant 

Rocca Kitchen and Bar 

Savenor’s Market 

Sissy Yates Designs 

SkinCare Physicians/Dr. Jeffrey Dover 

Sofra Bakery 

Sorellina 

Suzanne Shepard 

Tess & Carlos 

The Harvard Art Museum 

The Penninsula New York 

The Public Theater 

The Sherry-Netherland 

Tremont 647/Andy Husbands 

UpStairs on the Square 

Victoria Munroe Fine Art 

Yuriko and Brace Young 

Anonymous 

Corporate Partners 

The A.R.T. would like to thank the following 

Corporate Partners for their support during 

the current season. Corporate partners 

provide invaluable in-kind and monetary 

support for the programs of the A.R.T. For 

more information please call Joan Moynagh, 

Director of Institutional Giving and Strategic 

Partnerships @ 617-496-2000x8842. 

Boston Beer Company 

The Bay State Banner 

The Boston Globe 

The Boston Phoenix 

Google Inc. 

The Harvard Coop 

The Harvest Restaurant 

MAX Ultimate Food 

Newbury Comics 

Sandrine’s Restaurant 

TheatricalProjections.com 

Wagamama Inc. 

The Weekly Dig 

Zipcar 

distinguished professional theatres. The following 

foundations, individuals, and corporations 

support these theatres through their 

contributions of $5,000 or more to National 

Corporate Theatre 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 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 

National Corporate Theatre Fund 

National Corporate Theatre Fund is a 

nonprofit corporation created to increase 

and strengthen support from the business 

community for ten of this country’s most

Make ADVENTURE Happen! 

Productions like SLEEP NO MORE are only made possible 

with YOUR support. 

MAKE GREAT THEATER HAPPEN. 

Find out how YOU can make a difference: 

Contact Julia Propp at 617.496.2000 x8832 or donate now at 

www.americanrepertorytheater.org 

Photo: Vinicius Salles. Photo Photo credit: by Stephen Dobbie, Liindsay and Lindsay Nolin Nolin

Staff 

Artistic Director/CEO Diane Paulus 

ARTISTIC 

Artistic Coordinator Chris De Camillis 

Acting Associate Producer Diane Borger 

Director of Special Projects Ariane Barbanell 

Dramaturg Ryan McKittrick 

Assistant to Artistic Director/CEO Julia Renaud 

Artistic Fellow Allegra Libonati 

Producing Fellow Allison Kline 

Artistic/Producing Fellow Mikhael Tara Garver 

Artistic Interns Eve Bryggman, Rheeqrhreeq 

Chainey, Vanda Gyuris, Emily Hyman, Megan 

Savage 

Dramaturgy Intern Jenna Embrey 

INSTITUTE 

Director Scott Zigler 

Administrative Director Julia Smelianksy 

Associate Director Marcus Stern 

Co-head of Dramaturgy Anatoly Smeliansky 

Literary Director Ryan McKittrick 

Resident Literary Advisor Arthur Holmberg 

Voice and Speech Coach Nancy Houfek 

Institute Intern Chelsey Keating 

INTERNAL AFFAIRS 

General Manager Jonathan Seth Miller 

Comptroller Nancy M. Simons 

Assistant General Manager Steven Leon 

Assistant Comptroller Angela Paquin 

Financial Administrator Stacie Hurst 

Company/Front of House Manager Tracy Keene 

Receptionists Sarah Leon, Maria Medeiros 

House Managers Gretjen Hargesheimer, 

Michael Haviland, Heather Quick, 

Matthew Spano, Cheryl Turski, Matt Wood 

Volunteer Usher Coordinator Barbara Lindstrom 

EXTERNAL AFFAIRS 

DEVELOPMENT 

Director of Development Erica DeRosa 

Assistant Director of Development Sue Beebee 

Director of Institutional Giving and Strategic 

Partnerships Joan Moynagh 

Development Officer Julia Propp 

MARKETING 

Director of Communications and Marketing 

Ruth Davidson 

Director of Press and Public Relations 

Katalin Mitchell 

Audience Development Manager Kerry Israel 

Communications Manager Amanda Gutowski 

Marketing Associate Jared Fine 

Advertising Consultant Blitz Media 

Social Media Consultant David Ginsburg 

Creative Consultant Minelli, Inc. 

Marketing Interns Emily Hecht 

Public Relations Intern Christine Miller 

BOX OFFICE 

Box Office Managers Derek Mueller, Ryan Walsh 

Box Office Representative Karen Snyder 

PRODUCTION 

Production Manager Patricia Quinlan 

Associate Production Managers 

Christopher Viklund, Skip Curtiss 

Loeb Technical Director J. Michael Griggs 

COSTUMES 

Costume Shop Manager Jeannette Hawley 

Assistant Costume Shop Manager Hilary Gately 

Draper Carmel Dundon 

Stitcher Tova Moreno 

Crafts Artisan David Israel Reynoso 

Wardrobe Supervisor Stephen Drueke 

Costume Stock Manager Suzanne Kadiff 

LIGHTS 

Master Electrician Derek L. Wiles 

Lighting Assistant Kenneth Helvig 

Light Board Operator David Oppenheimer 

Lighting Intern Sarah Weintraub 

PROPERTIES 

Properties Manager Cynthia Lee-Sullivan 

Assistant Properties Manager Tricia Green 

Properties Carpenter Stacey Horne 

SCENERY 

Technical Director Stephen Setterlun 

Assistant Technical Directors Emily W. Leue, 

Nick Fouch 

Scenic Charge Artist Gerard P. Vogt 

Master Carpenter Peter Doucette, 

Carpenters York-Andreas Paris, Jason Bryant, 

David Buckler 

SOUND 

Resident Sound Designer/Engineer 

David Remedios 

Production Sound Engineer Katrina McGuire 

STAGE 

Stage Supervisor Jeremie Lozier 

Production Assistants Christopher Eschenbach, 

Kevin Klein, Matthew Sebastian 

STAGE MANAGEMENT 

Resident Stage Manager Chris De Camillis 

Stage Manager Katherine Shea 


Amanda Robbins-Butcher 

Institute Stage Manager Elizabeth Bouchard 

OBERON 

Producer Randy Weiner 

Bar Director Erin Wood 

Program Associate Daniel Pecci 

House Technician Garrett Herzig

Institute 

A.R.T./MXAT INSTITUTE FOR ADVANCED THEATER TRAINING 

Scott Zigler, Director Julia Smeliansky, Administrative Director 

Marcus Stern, Associate Director 

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

Anatoly Smeliansky, Co-Head Dramaturgy Ryan McKittrick, Co-Head Dramaturgy 

AMERICAN REPERTORY THEATER 

Diane Paulus, Artistic Director/CEO 

MOSCOW ART THEATER SCHOOL 

Anatoly Smeliansky, Head 

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

(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 Theater (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 Theater 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 

Elizabeth Bergmann Movement 

Robert Brustein Criticism and Dramaturgy 

Erin Cooney Yoga 

Thomas Derrah Acting 

Holly Derr 

Viewpoints 

Elena Doujnikova Movement 

Andrei Droznin Movement 

Tatyana Gassel Russian Language 

and Culture 

Jeremy Geidt Acting 

Arthur Holmberg Theater History, Dramaturgy 

Nancy Houfek Voice and Speech 

Roman Kozak Acting and Directing 

Alla Kruglova Movement 

Will LeBow Acting 

Ryan McKittrick Dramaturgy 

Pamela Murray Singing 

Robert Narajan Combat 

Diane Paulus Acting, Dramaturgy 

Robert Scanlan Dramatic Literature 

Andrei Shchukin Movement 

Anatoly Smeliansky Theater History, Dramaturgy 

Julia Smeliansky History of Set Design 

Marcus Stern Acting 

Jim True-Frost Acting for the Cinema 

Cheryl Turski Dance 

Tommy Thompson Alexander Technique 

Catherine Ulissey Ballet 

Robert Walsh Stage Combat 

Scott Zigler Acting, Dramaturgy 

Staff 

Christopher Viklund Production Manager 

Angela Paquin Financial Aid 

Acting 

Jason Beaubien 

Renee-Marie Brewster 

Megan Brotherton 

Zach Bubolo 

Nick Crandall 

Jared Eaton 

Tim Eliot 

Annika Franklin 

Steven Good 

Heather Gordon 

Kelly Green 

Christian Grunnah 

Angela Gulner 

Michala Hansen 

Susannah Hoffman 

Faith Imfadion 

Sarah Jadin 

Ian Kerch 

Derek Lettman 

Jordan Lievers 

Scott Lyman 

Jacob Martin 

Cameron Oro 

Laura Elizabeth Parker 

Therese Plaehn 

Richard Scott 

Charles Settles Jr. 

Vincent Selhorst-Jones 

Jennifer Soo 

Christopher Staley 

Ed Walsh 

Erikka Walsh 

Rebecca Whitehurst 

Dramaturgy 

Sara Bookin-Weiner 

Whitney Eggers 

Beck Holden 

Laura Henry 

Rachael Huttl 

Joe Pindelsky 

Brendan Shea 

Paul Stacey 

Voice 

Jane Guyer 

May Nazarino

Endnote 

Thank you for taking Punchdrunk¹s magical journey this evening! 

I am so thrilled that my first season at the A.R.T. introduces London¹s theatrical phenomenon 

Punchdrunk to America. By transporting the viewer from the passive familiarity of 

conventional theater to a state of activated imagination, Punchdrunk¹s immersive 

experiences speak directly to the mission of the A.R.T. — to “expand the boundaries of 

theater.” Since 2000, Punchdrunk has garnered international recognition and praise for their 

extraordinary work, and with this partnership with the A.R.T., they are transforming the scope 

and definition of theater here in America. 

SLEEP NO MORE is one of several theatrical events in our Shakespeare Exploded! Festival 

that transform audience experience. Dance over to our new club theater venue OBERON 

for The Donkey Show, a retelling of A Midsummer Night¹s Dream through the great disco 

anthems of the 1970s. Join the revival at the Best of Both Worlds, a new R&B/gospel musical 

inspired by The Winter’s Tale playing at our Loeb stage. To learn more about the Festival and 

its accompanying shows, panels, and readings, please visit www.amrep.org. 

Most importantly, I¹d like to thank you, our audience, for demonstrating your adventurous 

spirit and willingness to engage in theater in new ways! 

Warmly, 

ARTifacts 

SINGLE ticket prices 

Day Zo n e Loeb Oberon Li n c o l n School 

Fri /Sat A $75 

eves B $45 

Sat/Sun C $25 

mats Table $49 

Dance Floor $25 

General $39 

Sun - A $69 

Thu B $39 

eves C $25 

Table $39 

Dance Floor $25 

General $25 

PASSES 

Type of 

pass 

# admissions 

Valid for... 

5 8 

$99 n/a 

Sleep No More, 

The Donkey Show 

$175 

Any 09/10 season 

$340 

event 

Adventure! 

Allaround 

Student 

(fulltime) 

$60 n/a 


event 

Harvard 

(Faculty/ 

Staff) 

Diane Paulus, Artistic Director 

$150 $200 


event 

American Repertory Theater | americanrepertorytheater.org | 617.547.8300 

64 Brattle Street, Cambridge, MA 02138

Program: Sleep No More [pdf] - American Repertory Theater

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