no child - American Repertory Theater

Leaving No Child Behindby Sarah WallaceNo Child . . . is one teacher’s story from the trenches. Directfrom the battlefield of New York City schools, Nilaja Sun wrotethis play to expose the deterioration of public education. NoGoodbye, Mr. Chips, this production dispels the sugarcoatednotion of the teacher as a knight in shining armor.Now I know what you’re thinking: “I know what’shappening in the public schools. I watch the eyewitnessnews.” What I got to say to that? HUSH! You don’t knowunless you’ve been in the schools on a day-to-day basis.HUSH! You don’t know unless you been a teacher,administrator, student, or custodial staff. HUSH! Cuz youcould learn a little somethin’.- excerpt from No Child . . .Sun’s story strips away clichés to present a raw snapshot of oureducational system and why it’s failing.The play dramatizes Sun’s work with students over six weeksat the fictional Malcolm X High School in the Bronx. Thestudents rehearse a play about prisoners performing a play.Just as the inmates transcend their prisonthrough theatre, the young students findhope through the performing arts. Likethe convicts in the play, theatre allows thestudents to imagine a life without “twometal-detecting machines, seven metaldetectingwands, five school guards, twoNYC police officers. All armed.”Yet for Sun, the road to her students’ opening nightperformance proves far more difficult than she thought.Thwarted at every turn – by her students, by other teachers,by the administration, and by the inflexible structure of thesystem – she struggles to survive the six weeks. Within thisplay-within-a-playwithin-a-play,Suntackles more thana dozen roles, fromherself to her troubledstudents, from theschool’s janitor (the NoChild . . . narrator) to itsprincipal.PHOTO: Carol RoseggWe meet troubled students, bright but betrayed byinstability and adults who do not listen. In just sixweeks, these teenagers gain and lose three teachers,one too terrified to teach, another barely able to speakEnglish, a third whose future remains uncertain. Sunintroduces educators, optimistic but naïve, whosetraining leaves them unequipped to deal with thewar zone of an inner city classroom. Well-intentionedadministrators, caught between an ill-conceivedWashington policy and the welfare of their students,fall victim to a structure that allows for little teaching.Tangled into a convoluted knot, these elements create aworld where the students are first to suffer.No Child . . . caused a sensation when it premiered in 2005.When teenage students saw No Child . . ., they shoutedback at Sun, deeply moved by the immediacy of herperformance. Teachers clamored to see a show that spoketo their experiences with harsh compassion. Through Sun,voices long silenced echoed throughout the theatre.Through these lightning-fasttransformations and collision of voices,“Sun creates the chaos of the classroom.What sets No Child . . .apart from numerousother works aboutteachers trying to makea difference is how Sundeftly exposes everybroken cog in theschool system. The playpaints a brutal portraitof the complexitiesof public education.Sun’s skill as a performer allows her to embody eachcharacter with honesty. It is difficult enough to formone coherent personality, and Sun creates sixteen.Through a kaleidoscope of facial language, physicality,pitch, and tone, these three-dimensional charactersinteract directly with each other. Sun shifts back andforth between students, teachers, administrators, andparents in the blink of an eye. Through these lightningfasttransformations and collision of voices, Sun createsthe chaos of the classroom.During the nearly year-long run of No Child . . . in NewYork, Sun never stopped teaching. By day she performedthe show in public schools, after which she involvedstudents in theatre-based games, converting the studentsfrom spectators to active participants. The scope of NoChild . . . at the American Repertory Theatre will alsoextend beyond the stage. Sun plans to immerse herselfin classrooms throughout the Boston area. She hopes notonly to bring students and teachers to No Child . . ., but tobring the message of No Child . . . to students and teachers.Nilaja Sun may have a hit on her hands, but the work of ateacher never ends.Sarah Wallace is a second-year dramaturgy student at theA.R.T./MXAT Institute for Advanced Theatre Training.“PHOTO : Carol RoseggEducation Aftern o c h i l dl e f t b e h i n dWhat Can Be Done?While some students are improving, clear achievementgaps exist within the school system. The NationalEducation Association suggests the following strategiesto close such gaps. These strategies move beyondsimply training students for test taking. Many of thesesuggestions would require an increase in spending forpublic schools and emphasize personal attention forstudents, parents, and educators:Consider students’ diversity to be an asset and increasefaculty’s cultural competence.Screen children early for medical or social services andidentify those who need additional instructional support.Engage and reach out to families by establishing familycenters at schools and other community locations, hiringstaff from the community who speak families’ homelanguages, providing transportation to and fromschool events, and conducting adult educationand parenting courses at local schools.Institute full-day kindergarten and prekindergarten,reorganize the instructionalday to maximize time for learning, andextend learning to before- and afterschoolprograms and summer programs.Improve teacher educationprograms. Recruit, develop,and retain qualified teachersand paraeducators.Provide time for faculty tomeet and plan, andcompensate those teacherswho take on extraresponsibilities.Provide additionalresources and supportfor studentsexperiencingachievement gaps.Engage teachers instrengthening curriculumand student assessments.Decrease class sizes.Data compiled from The Boston Globe,Mass Advocates for Children, Children’sData Bank, the National Center forEducation Statistics, National EducationAssociation, and Boston Partners inEducation.NO CHILD...You can make a difference too!Both Boston and Cambridge have organizations that placevolunteers directly within schools:Boston Partners in EducationGo to bostonpartners.org for more information.Cambridge School VolunteersGo to csvinc.org for more information.4 American Repertory Theatre ARTicles 617.547.8300 www.amrep.org 5

at a glanceSYNOPSISTHE COMPANYINFOCOPENHAGENby Michael Frayndirected by Scott Ziglerset and costume design by David Reynosolighting design by Kenneth Helvigsound design by David RemediosOn an autumn evening in 1941, two old friends, physicists Niels Bohr andWerner Heisenberg, met for the first time since Nazi Germany invaded Denmarkthe previous year. Both men knew the secrets of nuclear fission, but wouldthey use that information to build an atomic bomb? Would Heisenberg builda bomb for Hitler to protect Germany from another defeat? Would Bohr riskwhat he fears most – a nuclear war – to stop an even greater evil? All thesequestions confront the ghosts of Heisenberg, Bohr, and his wife, Margrethe,who have gathered to determine what they never managed to agree about inlife: Why did Heisenberg come to Copenhagen that night? Relationships splitlike atoms and memories become as uncertain as Heisenberg’s famous principleas the three reconstruct the evening.JOHN KUNTZ — Werner HeisenbergFounding company member of the Actors Shakespeare Project. He appearedin New York in his own work Jump/Rope and his one-person shows Starfuckers(Elliot Norton Award and New York International Fringe Festival Award) andFreaks! Recent Boston credits include the title role in Mr. Marmalade, numerousproductions of The SantaLand Diaries (IRNE Award Best Solo Performance), theNew England premiere of The Pillowman (Katurian), Waiting for Godot, andthe title role of Scapin. His plays Sing Me to Sleep and Freaks! both receivedElliot Norton Awards for “Outstanding Fringe Production.” Jasper Lake receivedboth the Michael Kanin and Paula Vogel National Playwrighting Awards, withproductions at the Kennedy Center and the New York Fringe Festival.WILL LeBOW — Niels BohrA.R.T.: forty-nine productions, including Donnie Darko, A MarvelousParty!, Oliver Twist, Three Sisters, No Exit, The Miser (Valére), TheBirthday Party (Goldberg), and Uncle Vanya. Other: The CherryOrchard, Love’s Labor’s Lost, The Rivals and Melinda Lopez’s Sonia Flew(Huntington Theatre), Twelfth Night (Commonwealth ShakespeareCompany), Brian Friel’s Faith Healer (Gloucester Stage Company), theBoston Pops premiere of “How the Grinch Stole Christmas”(narrator).Television: the Cable Ace Award-winning animated series Dr. Katz,Professional Therapist (voice of Stanley).KAREN MacDONALD — Margrethe BohrA.R.T.: founding member, sixty-two productions, including DonnieDarko, Oliver Twist, The Onion Cellar, Island of Slaves, No Exit (ElliotNorton Award), Olly’s Prison (Elliot Norton Award). She directedDressed Up! Wigged Out! for Boston Playwrights Theatre. New York:Roundabout Theatre, Second Stage, Playwright’s Horizons. Regional:Berkshire Theatre Festival; Boston Playwrights Theatre; CommonwealthShakespeare Company; Vineyard Playhouse; Merrimack Repertory Theatre;Charles Playhouse. Other: Alley Theatre (Company member), the GoodmanTheatre, Long Wharf Theatre, Syracuse Stage, Buffalo Studio Arena, CincinnatiPlayhouse, Hartford Stage, Philadelphia Festival of New Plays.January 5 – February 3, 2008Loeb Drama Center, 64 Brattle Street, CambridgePre-play discussions: January 17, 20, 23Playback post-show discussions after all Saturday matinees.Info and Tix: 617.547.8300 amrep.orgMichael Frayn:Renaissance Man of the Wordby Heidi NelsonThose who know Noises Off may think they know MichaelFrayn. Copenhagen, however, is worlds away from Frayn’searly farces. To understand the depth of Copenhagen,one must understand the progression of its author fromnewspaper satirist to Tony Award–winning dramatist.Writing for the Manchester Guardian in the 1950s, Fraynearned the reputation of a wit. He was drawn into the 1960ssatire boom that attacked the hypocrisy of the old regimein England and the decline of liberalism. Frayn lampoonedeverything from the obsession with class distinctions tothe stupidity of London theatre. Since Frayn disliked themalicious tone used by other satirists, he ridiculed satireitself, writing: “How . . . powerful is our appeal to men’smalice, resentment, destructiveness, and envy.’”Like his satirical columns, Frayn’s first stage play, The Two ofUs, throws the lives of ordinary couples into a farcical spinwhen day-to-day communication misfires. Frayn’s earlyplays provoke laughter by focusing on human mayhem.The backstage world of The Two of Us inspired Frayn towrite his best-known play: Noises Off. As he watched fromthe wings one evening, Frayn decided to write a farce seenfrom behind. He felt that the anarchy of actors rushing“Frayn takes one short moment– a meeting between twoscientists – and refracts itthrough the lenses of individualperspective, misinterpretation,and memory.“madly about to get on stage in time reflected the lives we alllead. In 1982 Frayn’s farce about the performance of a farcescored his biggest hit, but beneath the merriment, Fraynwas dealing with serious concerns. His farces explore themisunderstandings that color all human perceptions of reality— a theme that has intrigued Frayn throughout his career.Frayn has used different genres to explore hisconcern. A Very Private Life, a dystopian novel, showsFrayn’s penchant for philosophy. The characters inthe novel never leave their homes, experiencing theoutside world through the 3-D manifestations of“holovision.” The protagonist argues with anothercharacter about his secondhand experiences:UNCUMBER: “You got all those ideas out ofbooks and . . .[holovision] manifestations . . .”SULPICE: “That doesn’t make theexperience any the less valid . . .”UNCUMBER: “It’s all just inside your head.”SULPICE: “Of course! That’s where theworld is centered.”With the 1974 publication of Constructions, his firstbook of philosophy, Frayn expanded his theorieson how humans distort reality: Frayn continuesthis investigation in his newest book, The HumanTouch: Our Part in the Creation of a Universe. HereFrayn questions how much reality depends on ourperceptions versus how much reality informs ourperceptions.In Copenhagen the misunderstandings of farcegrow into philosophical inquiry. Frayn takes oneshort moment — a meeting between two scientists— and refracts it through the lenses of individualperspective, misinterpretation, and memory. In theblink of an eye, the situation alters, depending onwhich character is narrating the story. Thus, Frayn’sfascination with human foibles and subjectiverealities culminates in the hunt for a true account ofan event that shaped history.Heidi Nelson is a first-year dramaturgy student at theA.R.T./MXAT Institute for Advanced Theatre Training.PHOTO: Niels Bohr ArchiveREDESIGNING THE ATOMBy Sean BartleyDavid Reynoso knows that the set for Copenhagen willruffle feathers. Dominated by an immense metallicsculpture, the design evokes the fear of the atomicbomb’s development and the whimsical designs ofAlexander Calder. Surfing YouTube one afternoon,Reynoso hit upon his design’s impetus: footage of Poi,a form of juggling from New Zealand where balls onstrings represent atomic particles in motion. Becausethe sculpture is formed from phosphorescent tubing,lighting designer Ken Helvig can fill it with small LEDlights. The result is an overhead cyclorama: color andlight float across Reynoso’s atomic framework, glowingdownward on actors and audience alike.Beneath the giant atom, the world of the play isequally nebulous. On a spare stage, the movementof actors divides the open space. The black tiling onthe floor creates a chessboard, infinite in possibilitiesfor movement. Upstage, walls made of mirrors reflectour attention back on the actors and their fluid spatialrelationships.“The design evokes the fear ofthe atomic bomb’s developmentand the whimsical designsof Alexander Calder.Reynoso has given Helvig a daunting challenge: howto light a vast, ambiguous space with the obstructionof an enormous atomic sculpture. Since Frayn’s playshifts seamlessly from large outdoor settings to intimateinterior scenes, Helvig will set light boundaries along thefloor’s gridwork, subdividing the larger space for indoormoments. The size and placement of Reynoso’s sculpturemean that it will refract and warp any lights placed aboveit. Helvig has tackled this complication head-on: burstsof fragmentary lights will create a cascading unity fromthe splintered rays.Though both Helvig and Reynoso have had prioropportunities to design at the A.R.T. (notably last season’sNo Man’s Land), Copenhagen showcases their work on agrand scale. Acting Artistic Director Gideon Lester seesthe production as a chance to highlight the A.R.T.’s youngdesign talent: “Copenhagen was the perfect opportunityto let David and Ken work on a larger canvas.” Using trialand error, both designers have risen to the challenge, oras Reynoso put it, “Throwing ten ideas into the air to seewhat will fly.” The resulting designs have given directorScott Zigler an elegant, evocative, and haunting visualplayground.Sean Bartley is a first-year dramaturgy student at theA.R.T./MXAT Institute for Advanced Theatre Training.“6 American Repertory Theatre ARTicles 617.547.8300 www.amrep.org 7

COPENHAGENWho’s WhOBy Lynde RosarioThreeCharactersin Search of an Endingby Katie Rasor“In 1940, the Germans invade Denmark, claiming thatthey need to occupy the country to protect it froma British invasion. On an autumn night in 1941, twophysicists meet in Copenhagen and — stop me ifyou know what happens. But no one knows, whichis why everyone is still talking about it, even MichaelFrayn. Why would the playwright of such farces asNoises Off undertake the impossible task of guessingwhat happened that night? Why would anyone? Themystery is compelling because these two physicistsheld the fate of the world in their hands.What if Bohr hadn’t stormed off that evening,could nuclear war have been prevented?If Heisenberg had come to pump Bohr forinformation, what if he had obtained what heneeded? Would atomic power have fallen intoHitler’s hands?“Few facts are known: In 1941 Werner Heisenberg,the head of the Nazi atomic bomb project, arrived inGerman-occupied Copenhagen to visit his mentor,physicist Niels Bohr. They dined with Bohr’s wife,Margrethe, and then took a walk alone. The walk endedbadly. Bohr’s son reported that his father returnedfrom the walk with this conclusion: “Either Heisenbergis lying, or he is being used by the Nazis.” Bohr’s closefriends feared that Heisenberg had come to pump Bohrfor information about the Allies’ progress on creating abomb and fish for clues that would help the Germansbuild one. In a 1945 letter, Lise Mietner, an Austrianphysicist essential in the discovery of nuclear fission,called Heisenberg’s visit to Denmark “unforgivable.”Two years after the meeting, Bohr escaped to theUnited States, where he worked on the ManhattanProject, America’s atomic bomb operation. In MayPHOTO: Niels Bohr Archive1945, the United States Army arrested Heisenberg asa war criminal. Two months later, the U.S. droppedthe world’s first atomic bomb on Hiroshima.The nature of the Bohr-Heisenberg meeting remainsthe topic of heated debate. The encounter mighthave gone unnoticed if not for a 1956 book, Brighterthan a Thousand Suns by Robert Jungk. In a letterto Jungk, Heisenberg implied that he had seriousmoral qualms about building a bomb. But manyGerman physicists had emigrated when Hitler tookpower, and Bohr helped Jewish peers find jobs.Heisenberg, however, chose to stay in Germany. Asa strong German patriot and national hero for hisNobel Prize–winning work, he held high hopes forhis country’s future.Even after the war, heand his colleagues onthe Nazi bomb projectdid not want to beseen either as traitorsto their Fatherlandor as war criminalsby the Allies. Theirambiguous statementswalked a vague lineto preserve theirreputations on bothsides.From compilationsof carefully worded statements by Germanscientists, an argument has arisen that Heisenbergwas morally opposed to the idea of creating anatomic bomb. Some have even suggested that hewanted Bohr to persuade Allied scientists to agreewith German scientists not to build a bomb, bywithholding information from their governments.Nuclear fission had been discovered only two yearsearlier, and only a handful of scientists understoodit. In Heisenberg’s War, Thomas Powers claims thatHeisenberg sabotaged German efforts at nuclearweapons. Others insist that the only reasonHeisenberg did not build an atomic bomb was thathe did not know how.Heisenberg remains a villain in the eyes of many.Historian Paul Lawrence Rose cites repeatedinconsistencies in Heisenberg’s statementsafter the war. He also notes a widespreadcondemnation of Heisenberg’s refusal torecognize the moral difference betweenHitler’s cause and that of the Allies in suchstatements as “I certainly thought it a crimeto make atomic bombs for Hitler; but I find italso not good to give them to other holdersof power.” This attack on the morals of Alliedphysicists offended many, still spinning fromthe atrocities of the Third Reich.As for the fateful meeting in Copenhagen,Thomas Powers hypothesizes that regardlessof what Heisenberg was trying to do thatevening, there was something he mostcertainly did do: he confirmed Bohr’s fears ofa Nazi atomic bomb project. Powers explainsthat “Heisenberg, in talking with Bohr, betrayedat a stroke the single most important secret ofthe German bomb program — its existence.”This knowledge, if relayed to the scientists atLos Alamos, would have heightened the senseof urgency in their nuclear research.In a recent interview, Dr. Peter Galison, Harvardprofessor of the History of Physics, presentsanother perspective: “I think that as a historianlooking at these power relations, you can’tsimply say: Heisenberg had one interpretation,Bohr another. This was a discussion betweenthe conqueror and the conquered. That’s nota discussion between friends. Bohr knew himvery well and respected him greatly and washorrified by what he thought Heisenberg wassaying. Will we ever know the details of whatwas said? No.”Michael Frayn distills this debate into anintense evening of theatre. He conjuresHeisenberg and Dr. and Mrs. Bohr to examinewhat might have happened. As they searchtheir consciences, the three specters employthe logic of physics. They apply Heisenberg’sNobel Prize–winning Uncertainty Principleto their own memories. Dr. Galison calls it “afascinating exploration of the unknown andthe unknowable.” This January, the A.R.T. willwelcome the New Year by investigating thepast — real and imagined — with two of thegreatest minds of modern history.Katie Rasor is a second-year dramaturgy student at theA.R.T./MXAT Institute for Advanced Theatre Training.Special thanks to Dr. Peter Galison, JosephPellegrino University Professor, Harvard University.PHOTO: Niels Bohr ArchivePHOTO: Niels Bohr ArchivePHOTO: Niels Bohr ArchiveNiels Bohr(1885–1962)A professor at the University ofCopenhagen, Bohr receives theNobel Prize in Physics in 1922 for hisinvestigation of the structure of atomsand takes Werner Heisenberg as astudent. During WWII, Bohr offersrefuge and jobs to Jewish physicists.During the German occupation, Bohrescapes Denmark. After the war, Bohrpromotes the peaceful uses of atomicenergy and denounces the transferof any secret information from onenation to another, hoping to endinternational aggression.Margrethe Norlund Bohr(1890–1984)Margrethe marries Niels Bohr in 1909.Between 1916 and 1928 she givesbirth to six sons, the oldest beingChristian Bohr. At 18, Christian fallsoverboard and drowns. After theGerman invasion, the Bohrs flee toEngland, where Niels leaves his wifeto go to Los Alamos, New Mexico,for the Manhattan Project. After twoyears apart, the couple reunites. Ayear after Niels’ death, Margrethe seesHeisenberg at a conference and callshis 1941 visit to Copenhagen “hostile.”Werner Heisenberg(1901–1976)At 22 Heisenberg earns his PhD atthe University of Munich. He worksunder Bohr in Copenhagen, where hedevelops his Uncertainty Principle,the primary principle of quantummechanics, suggesting that the exactposition and velocity of an electroncannot be determined at the sametime. In 1932 Heisenberg wins theNobel Prize in Physics. As WWII starts,Heisenberg is conscripted to join theGerman War Office’s Nuclear PhysicsResearch Group. In 1945, Heisenbergis captured by the United States Army.He is allowed to return to Germanyone year later.Lynde Rosario is a first -year dramaturgy student at theA.R.T./MXAT Institute for Advanced Theatre Training.8 American Repertory Theatre ARTicles 617.547.8300 www.amrep.org 9

A.R.T./MXATSYNOPSISINFOExpatsby Heather Lynn MacDonald,directed by Jonathan CarrMoscow. 1996. Boris Yeltsin seeks hissecond presidential term, runningagainst the hugely popular head ofthe Russian Communist Party. Thecountry is again on the brink of majorpolitical and economical upheaval. Aspolitical tension rises and corruptionreaches its peak, four American expatssearch Moscow for love, fame, and analternative to US greed. Each descendsinto the double-dealing and vice ofthe New Russian Democracy, learningfirsthand of their own country’s role inthe fraud and bribery.Expats comes to Cambridge witha cast of real-life expats—studentsfrom the A.R.T/ Moscow Art TheatreSchool Institute for Advanced TheatreTraining, who spent last spring livingand studying in Moscow. Jonathan Carrreturns to the Institute to direct.Zero Arrow Theatre, corner of Arrow andMass. Ave., Harvard SquareNov. 30, Dec. 1, 2, 6, 7, 8 7:30 pmTix: $10; $5 for A.R.T. subscribers,students, seniors.617.547.8300 or amrep.org.HRDCUpcoming in the Loeb Ex:Harvard RadcliffeDramatic Club11.29 – 12.01 Manuscript - Paul Grellong12.07 – 12.15 Titus Andronicus - Shakespeare01.10 – 01.12 Shahrazad - Tawfiq El-HakimHRDCtheater.comDid you know...Institute for AdvancedTheatre Trainingas a member of the A.R.T. community,you are invited to attend any of theproductions presented on ourstages . . . including studentproductions? In years past thesefeatured such names as Peter Sellars,Matt Damon, and Steve Zahn. Whocan predict what the future will bring?We look forward to welcomingyou to the A.R.T. this winter!25NC 2pmNC 7:30pm2NC 2pmEX 7:30pm9NC 2pmNC 7:30pm16NC 2pmNC 7:30pm23NC 2pm6COP 2pm13COP 2pmCOP 7:30p20COP 2pmCOP 7:30p27COP 2pmCOP 7:30p3COP 7:30pmA.R.T. PROFILESFrom time to time, ARTicles will featureprofiles of individuals and organizationsthat have made significant contributions tothe A.R.T. through financial support, in-kindcontributions, or time. In this issue we introduceyou to two members of our Advisory Board.Meet Charles Gottesman and PageBingham, A.R.T. Advisory Board members.If you’ve attended one of A.R.T.’s pARTyevents in the past few years, you’ve witnessedthe efforts of Advisory Board member PageBingham. For the past two years, Page haschaired the auction component of the event,lending her imagination and enthusiasm toall aspects of the auction. Already workingon our 2008 spring pARTy, Page has assumedthe role of co-chair of the event, overseeingdecor, food, and design with the same energy– and all for the benefit of the theatre.CALENDAR26 273 410 1117 187 814 1521 2228 29NC 7:30pmNC 7:30pmNC 7:30pmNC 7:30pmCOP 7:30pmCOP 7:30pmCOP 7:30pmCOP 7:30pm28NC 7:30pm5NC 7:30pm12NC 7:30pm19NC 7:30pm9COP 7:30pm16COP 7:30pm23COP 7:30pm30COP 7:30pmWith an interest in theatre, Page becameacquainted with the A.R.T. through her nextdoorneighbors, longtime A.R.T. companymembers Jeremy Geidt (Senior Actor) andhis wife, Jan (Coordinator of Special Projects).Conversations with Jan and Jeremy of coursegravitated to theatre, which naturally ledPage and her husband, Jim Anathan, tobecome involved here. As Page’s interestgrew, so did her involvement. Page joinedA.R.T.’s Advisory Board in the spring of 2006.Charles Gottesman also joined the AdvisoryBoard in 2006, and he became activelyinvolved providing support, direction, andincreased community awareness aboutthe magic of theatre. Charles serves on theA.R.T.’s Committee on the Board.Theatre was not a new arena to Charles, whoattended the American Academy of DramaticArts in New York and spent time pursuing hiscareer in theatre in Los Angeles. Eventuallyhis path led to Saucony, Inc., where Charleswas Vice Chairman of the Board, ExecutiveVice President.Charles and his wife, Merrill FisherGottesman, live in Chestnut Hill. In additionto his work on A.R.T.’s Board, Charles alsoserves as a Trustee of the Boston Lyric Opera.29NC 7:30pm6EX 7:30NC 7:3013NC 7:30pm20NC 7:30pm10COP 7:30pm17COP 7:30pm24COP 10am31COP 7:30pm23NC 8pm30EX 7:30pmNC 8pm7EX 7:30pmNC 8pm14NC 8pm21NC 8pm11COP 8pm18COP 8pm25COP 10am1COP 8pmNOV.FEB.24NC 8pm1NC 2pmEX 7:30pmNC 8pm8EX 7:30pmNC 8pm15NC 2pm22NC 2pmNC 8pm5COP 8pm12COP 2pmCOP 8pm19COP 2pmCOP 8pm26COP 2pmCOP 8pm2COP 2pmCOP 8pmDEC.JAN.COP = Copenhagen EX = Expats NC = No Child . . .SUBSCRIBE & SAVESEE ANY THREE PLAYS FOR less than $100!Choose three or more of our 07/08 seasonproductions, and you’ll also receive:Free and easy ticket exchangeDiscounts on additional tickets to A.R.T.and other area theatres$5 tickets to all A.R.T./MXAT InstituteperformancesDiscounts on parking and fine diningFirst notice of special eventsPreferential renewal seatingOur season continues in February with . . .JULIUS CAESARby William Shakespearedirected by Arthur NauzycielFebruary 9–March 16 Loeb StageOne of the greatest theatrical studies of tyranny, revolution,and civil war, Julius Caesar is also a highly personal play – abreathless, gripping portrayal of friendships and alliancestorn apart by political ambition and the intoxicating effectsof power. This is the first production of Julius Caesar in theA.R.T.’s history.ELECTIONS & ERECTIONS:A Chronicle of Fear & Funby Pieter-Dirk UysApril 2–May 4 Zero Arrow TheatreWe invite you to spend a second evening in the companyof Nelson and Winnie Mandela, Desmond Tutu, Mrs. EvitaBezuidenhout (“the most famous white woman in SouthAfrica”) and, of course, their alter ego, Pieter-Dirk Uyswhose latest, most outrageous attack on political outrageunderlines the “mock” in democracy and exposes the “con”in reconciliation.Presented in association with the Loeb Drama Center.CARDENIOby Stephen Greenblatt & Charles L. Meedirected by Les WatersMay 10–June 8 Loeb StageShakespeare scholar Stephen Greenblatt (Will in the World)and playwright Charles Mee have joined forces to producea midsummer comedy of love based on Cardenio, a play byShakespeare that was lost soon after its first performance.Fragments survive, which Greenblatt and Mee have woveninto a contemporary reconstruction of the story, now set at awedding party on the terrace of a villa in the Umbrian hills.Presented in association with The Public Theatre, New York.To order, call 617.547.8300or visit amrep.org today!ARTifactscurtain timesTue/Wed/Thu/Sun eves 7:30pmFri/Sat eves 8pmSat/Sun matinees 2pmsingle ticket pricesLOEB STAGE A BFri/Sat evenings $79 $56All other perfs $68 $39ZERO ARROW THEATREFri/Sat evenings $52All other perfs $39discount tixStudent PassFor full-time students,$60 buys five tickets goodfor any combination ofplays. That’s only $12 a seat!Student Single Tix$25 in advance with ID.$15 on day of show with ID.Based on availability.50 @ $15 @ noon$15 tickets on sale at noonon the day of performance.In-person only, based onavailability.box office hoursLOEB STAGETue–Sun, noon–5pmMonday closedPerformance days open untilcurtain.ZERO ARROW THEATREBox Office opens one hourbefore curtain.exchangesTicket exchanges are FREE forseries ticket holders.Single ticket buyers canexchange for a fee of $10.preplay discussionsHeld one hour before 7:30curtain, led by the LiteraryDepartment.No Child . . .: December 9, 12, 20Copenhagen: January 17, 20, 23playbackPost-show discussions after allSaturday matinees. Free andopen to the public.discount parkingLOEB STAGEHave your ticket stub stampedat the Loeb reception deskand receive discounts at theUniversity Place Garage or TheCharles Hotel Garage.ZERO ARROW THEATRE$5 parking with permit at theHarvard University lot at 1033Mass. Ave. (entrance on ElleryStreet.) For permits, visit amrep.org/venues/zarrow/#harvard.Grafton Street Pub & Grill:Free Valet Parking with a $50purchase. 1230 Mass. Ave.(corner of Bow Street), 6pm–1am, Wed–Sat. 617.497.0400Inn at Harvard: Free ValetParking with $35 Prix Fixedinner. 1201 Mass. Ave.617.520.3715for subscribers only:dining discountsCall for reservations and presentyour ticket stub. Offers change—please call to verify. Info atwww.amrep.org/restaurants.Chez Henri1 Shepard StreetOne complimentary dessertfor each one purchased.617.354.8980Craigie Street Bistro5 Craigie Circle“Curtain for Certain” 3-CoursePre-Show Prix Fixe Dinner–$38.617.497.5511Grafton Street Pub & GrillSee Parking, above.Inn at Harvard:See Parking, above.Sandrine’s8 Holyoke St.20% off on the day of aperformance (exclusiveof alcohol and prix fixe.)617.497.5300Upstairs on the Square91 Winthrop StreetDinner in the Monday Club ($35with glass of house red or whitewine) or Soiree Room (Tue–Sat,$45, with a glass of bubbly,or house red or white wine)Reservations @ 617.864.193310 American Repertory Theatre ARTicles 617.547.8300 www.amrep.org 11