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and articulation can be powerfully theatrical.Lupa’s characters often live in silencebecause words fail them,and these silent scenesare among the mostextraordinary sequencesin his productions. Twoyears ago I saw hisadaptation of Bulgakov’sallegorical masterpieceThe Master andMargarita, in which theDevil visits Moscow inthe guise of the magicianWoland, who begins hisreign of chaos by occupyinga theatre and staginga macabre cabaret.The evening before theperformance the theatre manager is athome, and finds himself seized with aninchoate, prescient terror of what is to follow.Lupa staged the scene by placing the managerat one end of a dining table, in a roomenclosed by his signature walls, windows,and doors, beyond which Woland and hissupernatural retinue crouched and watched,silent and unnoticed. The manager’s wifeentered with a tureen of soup, which sheserved her husband. For five minutes wewatched him eat, and although man andwife never spoke, it was as if we occupiedspace inside their minds, so clearly could weread their thoughts. The effect was unforgettablytheatrical, and the performances sopresent and alive that all of us in the audiencewere collectively holding our breath.The stage for Lupa occupies a borderlandbetween the conscious and unconsciousworlds. The simple elements of hisset designs enhance this effect; at first sightthey may seem realistic, but as the productionunfolds, the scenic environmentbecomes increasingly poetic. “Sometimesin life we are in a room, but our mind wanders,and soon we’re somewhere quite different,”Lupa told the Three Sisters cast. “Ican be in a hotel room, but suddenly I feel asthough I’m at a train station. The reality ofspace is questioned. I’m always trying toreveal different, hidden spaces containedwithin the set. The more a design pretendsto be true to life, the more I’m aware of its falsity.”Lupa’s design for Three Sisters is afine example; the Prozorovs’ house at firstseems “true to life,” but grows more andmore unrealistic toreflect the sisters’interior state. Alongwith many of Lupas’srooms, the Prozorovdwelling also containsshadows of its formeroccupants. “A housealways retains elementsof its own history,remnants of thelife of its previousowners,” he says.Lupa cites anothermajor influence, theAustrian poet RainerMaria Rilke, whonoted that while walking through a city,traces of former buildings and livesremained visible — a bricked-in window, thefootprint of a house destroyed by fire, theshape of a staircase on a half-demolishedwall.More thansix years afters e e i n gSleepwalkers,it’s extraordinaryto thinkthat KrystianLupa is about toopen a productionat theA.R.T. Thejourney haspresented bothhim and us withgreat challenges— inPoland, forexample, Krystian can effectively rehearse aproduction indefinitely, opening it only whenhe feels ready. In the case of his majoradaptations, this often takes more than ayear. We’ve managed to provide Krystianwith ten weeks in which to rehearse ThreeSisters — double the time we usually give aproduction and a great financial investmentfor an American theatre, but a very shortperiod indeed for a Polish director. Likewise,in Poland Krystian always creates his setdesign during the rehearsal period, but thecompression of our production calendarmeant that he needed to complete his scenicplans far earlier than usual. Theseadjustments seem insignificant, though,compared with the pleasure of bringingKrystian’s magnificent theatre to this countryfor the first time. I hope that you are asstunned by his Three Sisters as I was bySleepwalkers in Edinburgh. Now, indeed,the wheel has come full circle; Lupa, theA.R.T., and Three Sisters have been invitedto perform the closing production of the 2007Edinburgh International Festival.Gideon Lester is the A.R.T.’sAssociate Artistic Director.THREE SISTERS at a glanceby Anton Chekhovtranslated by Paul Schmidtdirected byset designassistant director andcostume designlighting designoriginal musicsound designKrystian LupaKrystian LupaPiotr SkibaScott ZielinskiJacek OstaszewskiDavid RemediosCASTAndrei Prozorov Sean Dugan*Olga Kelly McAndrews*his sisters Masha Molly Ward*[Irina Sarah Grace Wilson*Natasha, his fiancée, later his wife Julienne Hanzelka Kim*Kulygin, Mashas’ husband,a high school teacher Will LeBow*Vershinin, colonel battery commander Frank Wood*Baron Tuzenbach, first lieutenant Jeff Biehl*Solyony, captain Chris McKinney*Chebutykin, army doctor Thomas Derrah*Fedotik, second lieutenant Patrick MapelRohde, second lieutenant Sean SimbroFerapont, janitor at the county Counsel Jeremy Geidt*Anfisa, the nurse TBASYNOPSIS“Let’s pack our bags and go to Moscow; there’s no place like Moscow,” pleads Irina, the youngest sister. Her cryechoes throughout Anton Chekhov’s play, a mantra for the entire Prozorov family. Stuck in a small town in provincialRussia, spinster schoolmistress Olga, unhappily married Masha, idealistic Irina, and Andrei, the failedscientist, yearn for better days. The Prozorovs long for love and happiness, their only companions the soldiersstationed in the local garrison, a group of would-be poets and philosophers. The family, forever aware of a betterfuture just beyond reach, faces marriage, birth, and death alike, constantly searching for answers to why we keepon living.*member of Actors’ EquityWho is Krystian Lupa?Allen Kuharski introducesthe director of Three Sistersand puts him in the context ofcontemporary Polish theatre.Visit amrep.orgfor the complete articleOpposite page: Detail of Lupa’s set design for A.R.T.’s Three Sisters.Both pages: Krystian Lupa in rehearsal and scenes from Lupa’s production of Master and Margarita, whichtraveled throughout Europe.ARTicles 3

What’s Happeningat Zero Arrow TheatreTILTING AT WINDMILLS — IN THE AIR!the UnPOSSESSED — Double Edge Theatre’s imagistic fantasy on Don Quixotethe UnPOSSESSED, Double EdgeTheatre’s adaptation of Don Quixote, is astory of hope bound within fantasticalimagery. From the moment that CarlosUriona’s Knight of the WoefulCountenance rises out of a pile of books,the audience“Poetic,punning, andperverse . . .a roughjumble ofWONDERMENT!”— the New York Timesexperiences theworld through hiseyes. Shadowpuppets transforminto humansengaged in anever endingdance betweenthe elusive dreamand the searchingdreamer. DonQuixote’s battletowards his enigmaticDulcineaechoes the questfor meaning and beauty in a chaotic world.The UnPOSSESSED is enhanced by anevocative original score by Justin Handley.The events of 9/11 prompted Klein toexplore the question of how art can interactwith today’s world. “In the aftermath ofSeptember 11 th , 2001, despair overtookme,” writes Stacy Klein, the founding directorof Double Edge Theatre. “I began tofind my work empty and ineffectual, incapableof changing the world or even touchingjust one person.”theUnPOSSESSED,Klein writes,“exists in the juxtapositionbetweenthe external nightmarethat we havecreated, and theimpossible dreamthat we must riskcreating.” Facedwith the questionof how to respondto the chaos of theworld, Klein andher artistic partner Carlos Uriona turned toMiguel de Cervantes’s Adventures of DonQuixote. Although the novel was writtenfour hundred years ago, Klein observesthat it explores “similar dilemmas and ominouslyparallel questions about idealismand fanaticism, cultural wars and socialdecay, and individual honor and the natureof patriotic rebellion.” When we want toask questions and look for answers whichare beyond the ream of words, where canwe turn? Where can we turn to ask questionsand seek expression beyond therealm of words?Double Edge Theatre, founded in1982, is an ideal site for examining thepursuit of an impossible dream. As anartistic community, DET develops originaltheatrical performances based on longtermcollaboration between artists andtheir community. International artists/performersgather at DET’s rural Ashfield, MAhome,farm to participate in training, practice,performance, research, and culturalexchange. While there, they live and worktogether, growing their own food and tendingto the business of the farm. Founderand director Stacey Klein melds adaptedtexts with with physical training derivedfrom Polish director Jerzy Grotowski’sTeatret Laboratorium. Working together,over time, the company devises sweepingtheatrical events which explore what liesbeyond the reach of words. Their resultingproductions combine vivid, visceralimagery with intense physicality, spectacle,and circus. Over the past twenty years,DET’s devised performancecycles have beenpresented and laudedinternationally.Shari Perkins is asecond-year dramaturgystudent in theA.R.T./MXAT Institutefor AdvancedTheatre Training.NOVEMBER16-20ARTicles5

Everett Dance Theatre’sHOME MOVIESFour bodies enter a dark stage andmove in chaos, evoking the suddenflight of a Polish family from the Nazisin 1935. Though their movements arechaotic, their bodies arealways touching, refusingseparation for even amoment. Silent homevideofootage of an oldwoman is then projectedagainst the back wall ofthe stage. PerformerMarvin Novogrodskidescribes his personalpilgrimage in 2004 to hisfather’s childhood homein Poland, to the verystreet he lived in beforethey fled. Novogrodskimet the old woman whohad been their neighbor.She laughs silently intothe camera asNovogrodski imitatesher voice, giving us herreminiscences of hisfamily. Home Movies is an interwovennarrative of abstract memories from the“Anastonishinglyseamless blendof words, video,set elementsand dance!”— New York Times“Anyone(and everyone)should seeHOME MOVIES!”— Boston Phoenixperformers’ lives. How do you make thepast present? Through the body.Memories made tangible by home-videoimages and the performers’ bodiesresponding to themthrough the joy of physicalmovement.Home Movies waspremiered in RhodeIsland, September2004. Artistic directorDorothy Jungels codirectedthe piece withAaron Jungels, whoalso performs with thecompany’s four othermembers. Since itsconception it hastoured, among others,to the Bates DanceFestival in Maine,Dance TheatreWorkshop in New Yorkand New World Theatrein Amherst. The companyhas left behind atrail of blazing reviews. The New YorkTimes described it as “an astonishinglyseamless blend . . . more tears, laughterand poignant memory than high-techeffects.” The Village Voice declared thatEverett Dance Theatre “weave speech,movement and video in witty and beguilingways” and “their stories are woventogether so intricately through movementthat their recollections begin toseem archetypal.” The A.R.T. and WorldMusic/CRASHarts are delighted to presentthis innovative and thoughtful company,and invite you to see how riveting thoseold family videos hiding in the basementcan be.Rachael Rayment is a second-yeardramaturgy student at theA.R.T./MXAT Institute for AdvancedTheatre Training.JANUARY 11-15

A.R.T./MXAT INSTITUTE’S FIRST FULL SEASON AT ZERO ARROW!Mayhemby Kelly Stuart directed by Jonathan CarrDec 8, 9 at 7:30pm Dec 10 at 2&7:30pmA play about a woman weighing her personal responsibilitiesin the face of the tragedies in the larger world.Susan, a naïve housewife, can barely see the worldbeyond her stifling home life. Saddled with a newbaby and a troubled husband, she rarely leaves herkitchen. When her activist friend Claire tries to openher eyes to the brutal realities of the world, she setsSusan’s personal baggage and global concerns on aviolent collision course. Torn between her loyalty toher husband andher fascinationwith Wesley, aninternationallyrenowned journalist,Susanstruggles to findan acceptableway to live.This Is How It Goes(workshop production)by Neil LaBute, directed by Sam WeismanDec 15, 16 at 7:30pm Dec 17 at 2&7:30pmInto his customary study about the politics of gender,LaBute now explores the politics of race. Everyone hasan agenda, at least so it appears in This Is How It Goes,Neil LaBute’s unapologetic dissection of the complex andoften unattractive nature of human relationships.Tensions arise when our “unreliable narrator,” a whiteman, returns to his hometown and involves himself in themarriage of his longtime infatuation, a white woman, andher successful black husband. Lies, adultery and manipulationlayer this dark comedy, proving how elusive thetruth can be in the tenuous world of personal perceptions.Directed by renound film and stage director andNew England native, Sam Weisman.Melancholy Playby Sarah Ruhl, directed by Scott ZiglerFeb 10, 12, 16, 17 at 7:30pmFeb 11, 18 at 2&7:30pmSubtitled “A Contemporary Farce,” Ruhl, one of the risingstars of American stage humorously looks at the causesand manifestations of melancholy in our society, satirizingThe American obsession with happiness. This playfeatures Tilly, a depressed bank teller, whose sadnessproves attractive and enticing to those around her. ForTilly, melancholia is mysterious, seductive, and beguiling.But when she suddenly cheers up, her companions’worlds are turned inside out, and they find themselvesembarking on a surreal adventure through the depth ofthe human mind.Pants on Firecreated by Cast & KJ Sanchezdirected by KJ SanchezJune 2, 4, 8, 9 at 7:30pmJune 3, 10 at 2&7:30pmAn ensemble-created piece built around an investigationinto lying and its consequences.Spring Production (Title TBA)Directed by Marcus SternMar 30, 31 at 7:30pmApr 1 at 2&7:30pmabove and left: Scenes from last spring’s ZeroArrow production of Love’s Labour’s Lost.Right: Scenes from the last season’sMoscow production of The Bacchae.MORE FROM WORLD MUSIC/CRASHarts AT ZERO ARROW THEATREKEIGWIN + COMPANYFriday, February 3, 7pmSaturday, February 4, 8pm$30 Reserved seating“It was terrific entertainment, but it was also an urbanmicrocosm full of small important truths.”— Jennifer Dunning, The New York TimesKEIGWIN + COMPANY creates provocative, witty and engagingdances. Larry Keigwin and his company of dancers combinephysicality with theatricality and art with entertainmentto both tease and investigate our identity in the context of contemporary pop culture.DANCE STRAIGHT UP!Featuring: Collage Dance Ensemble; Lorraine Chapman, The Company; Debra Bluth.May 11 & 12at 7:30pm, May 13 at 8pm, May 14 at 2pm$30 Reserved seatingDance Straight Up! honors Boston’s remarkably talented dance community by commissioningnew works. This year’s fourth annual celebration features three innovative companies:Collage Dance Ensemble, Lorraine Chapman, The Company and Debra Bluth, performingworld-premiere works.617.876.4275www.worldmusic.orgTHE CIVILIANS presents the Boston premiere ofNOBODY’S LUNCHONE WEEK ONLY! APRIL 24-30Tickets on sale later in the fall.$30 Reserved seating“The Civilians, downtown’s peerless purveyors of comic docu-theatre, explore truth andbelief.” — Time Out“A startling, funny and disturbing view of what Americans hold to be self-evident these days.”— the New YorkerNew York City’s Obie award-winning theatre company, The Civilians delve into the politics ofinformation with Nobody’s Lunch, an insightful, musical look at our national identity. Withextensive interviews ranging from the Head of Policy at Homeland Security to every JessicaLynch in the phone book (who was willing to talk), Nobody’s Lunch looks at the problematicsubject of how we gain knowledge and form beliefs in the current political climate. Featuringoriginal songs by Michael Friedman, Nobody’s Lunch is a darkly comedic ride through thelandscape of American public culture.

Sartre and the Theatre of Questionsby Mark PoklembaWhat inspired the most famousphilosopher of his day to write forthe stage?Sartre’s first venture into theatreoccurred while he was a French prisonerof war, captured by the Nazis. Given permissionto write andproduce aChristmas play forthe soldiers in hisPOW camp, Sartrepenned a quasi-religiousdrama withsubtle anti-Nazithemes. It escapedthe censorship ofhis captors. Sartrequickly realized thepotential of theatrein giving hope and apolitical message.After a year ofimprisonment inGermany, Sartrenegotiated his ownrelease, and returningto occupiedFrance he began working for the resistance.Initially his philosophy followed inthe footsteps of Husserl and Heidegger —two forerunners of existentialism — butthe desperate circumstances of the resistanceforced Sartre to understand theurgency of making moral choices everyday. When Nazi occupation forces beganexecuting three innocent French civiliansfor each German soldierkilled by the resistance,Sartre and his friends in theresistance movementfound themselves on amoral tightrope. Their8ARTiclesactions fueled murder. Had they allbecome guilty? Could they continue fightingand bear the blood they saw on theirown hands? The situation shocked Sartreinto a lifelong conviction that man mustnegate the moral emptiness of the universeby filling it withactions that havemoral value.Sartre next tookup arms in the theatre.In his firstmature plays, TheFlies and No Exit,the playwrightphilosopherdramatizedthat one mustassume responsibilityfor one’s life; ourchoices influence theworld we live in. As apolitical activist writingfor the theatre,Sartre had discovereda way to bridgethe gap betweenivory-tower philosophyand everyday life. These early playswere produced almost simultaneously withthe publication of his philosophical breakthrough,Being and Nothingness, in 1943.Sartre was clearly convinced that philosophizingwas not enough; the theatre couldbe a force in changing the world.Sartre admired the ancient Greekmodel of a mythological theatre thatalways addressed contemporarypolitics and couldmove men to action. In contrastto George Stevens,who thought that WWII hadforeclosed the possibility oftragedy, he saw that his owntimes reflected the tragicvision, “…the very severityof these plays”, he said, “isin keeping with the severityof life.” Could theatrebecome a vehicle of freedom?In defense of Frenchplaywright Jean Anouilh’santi-Nazi adaptation of Sophocles’Antigone, Sartre proclaimed that a newactivist theatre was arising: Anouilh’sversion of Antigone was not merely acharacter who rises against the state,“She represents a naked will, a pure,free choice; in her there is no distinguishingbetween passion and action.”Sartre participated in rehearsals forhis plays, and during these rehearsalshe received an education in what theatrecould accomplish. His focus was onthe actor, and what he shows us aboutourselves. Sartre saw the actor as an exis-tential hero. In his essays on theatre,Sartre expresses bold ideas about what anactor transmits to the spectator. An actoron stage risks everything to embody theprecarious human condition,letting us reflecton how we build ourlives through choices.For Sartre, the actor,much like the philosopher,demonstrates thatthe unexamined life isnot life.In Sartre’s masterpieceNo Exit, the lifelinebetween the actorand spectator is fusedwith the stage. Threecharacters in hell stand in judgment of oneanother. They pace like tigers in a cage,each unfolding the dirty laundry of the past,defending innumerable sins. They watcheach other with theintensity of spectatorsat a theatre.The pacifist Garcin,condemned to thefiring squad afterfleeing a war ratherthan speaking outagainst it, cries outthat history willremember him as acoward. Whilethese charactersseem paralyzed bythe choices they’vemade, Sartre wasquick to affirm thatthis play is aboutfreedom; “. . . theimportance of freedom to us, the importanceof changing acts by other acts. Nomatter what circle of hell we are living in, Ithink we are free to break out of it.”In NO EXIT, theplaywright-philosopherdramatizedhow our choicesinfluence theworld we live in.This year marks the 100 th anniversaryof Jean-Paul Sartre’s birth. TheFrench playwright represents “un ecrivainengagé” — a writercommitted to politicalaction. Sartre’s theatrestill moves us becausethe playwright reachedbeyond the confines ofthe stage. Sartre asksus to look at ourselves.What have we made ofour lives? Have weaccepted the gift of freedom?We must holdourselves accountable.We must have animpact on the world we live in. Sartredemands bravery from his audience: thecourage to choose your own life in yourown time.Mark Poklembais a secondyeardramaturg at theA.R.T./MXAT Institutefor Advanced TheatreTraining.top left: A 1946 photo byCartier Bresson with JeanPouillon.bottom far left: Protestingin front of the Renault factorywith his friend, thewriter Georges Michel.A collage by Jean Harold in1946, during Sartre’s stayin Zurich for the performancesof No Exit.top right: No exit — Sartre with De Beauvoir behindbars, arrested by the police during a street demonstrationin 1970.above: Sartre with De Beauvoir in Saint-Germaindes-Prés.

NO EXIT ACTING COMPANYOur production of No Exit gives us a wonderful opportunity to showcase four regularmembers of our acting Company, who between them have appeared in over 250roles at the A.R.T., and are some of the most beloved and awarded actors in thegreater Boston area. Jerry Mouawad's production gives the Company the extrachallenge of moving on a stage floor suspended on one central point, so that theplayers must counteract other other's every move in order to keep the floor balancedand without tipping.NO EXITat a glanceby Jean-Paul Sartretranslated by Stuart Gilbertdirector/set designercostume designlighting designsound designJerry MouawadRafael JeanJeff ForbesDavid RemediosREMO AIRALDI* — ValetA.R.T.: forty-six productions, includingAmerika (Captain, Green, Head Porter),Dido Queen of Carthage (Nurse), TheProvok’d Wife (Constable), The Miser(Master Jacques), The Birthday Party(McCann), A Midsummer Night’s Dream(Francis Flute), Pericles (Fisherman), LaDispute (Mesrou), Uncle Vanya (Telegin),Marat/Sade (Cucurucu), Enrico IV (Bertoldo), The Winter’s Tale(Clown), The Wild Duck (Molvik), Buried Child (Father Dewis), Tartuffe(Monsieur Loyal), Henry IV and V (Mistress Quickly), Waiting for Godot(Pozzo), Shlemiel the First (Mottel/Moishe Pippik/Chaim Rascal), TheKing Stag (Cigolotti), Six Characters in Search of an Author (EmilioPaz). Other: Camino Real and Eight by Tennessee (Hartford Stage),1940s Radio Jive (Club Cabaret), The 1940s Radio Hour, and LittleShop of Horrors (Nickerson Theatre).WILL LeBOW* — GarcinA.R.T.: forty-two productions, includingAmerika (Uncle Jacob, Innkeeperess,Head Waiter), Dido, Queen of Carthage(Jupiter), The Miser (Valére), TheBirthday Party (Goldberg), A MidsummerNight’s Dream (Egeus/Peter Quince),Pericles (Cleon/Pandar), HighwayUlysses (ensemble), Uncle Vanya(Serebriakov), Lysistrata (Magistrate), Marat/Sade (Marat), TheDoctor’s Dilemma (Sir Ralph), Nocturne (Father — Drama Desk nomination),Full Circle (Heiner Müller - Elliot Norton Award for best actor),The Merchant of Venice (Shylock), The Marriage of Bette and Boo(Karl), The Imaginary Invalid (title role), Shlemiel the First(Shlemiel/Zalman Tippish — also on tours of the West Coast), The WildDuck (Hjalmar Ekdal), Picasso at the Lapin Agile (Sagot), The KingStag (Brighella — a role he also performed in Taiwan), Six Charactersin Search of an Author (The Father). Other: The Rivals and MelindaLopez’s Sonia Flew (Huntington Theatre), Twelfth Night (Feste,Commonwealth Shakespeare Company), Brian Friel’s Faith Healer(Gloucester Stage Company), Shear Madness (all male roles), theBoston Pops premiere of “How the Grinch Stole Christmas”(narrator).Film: Next Stop Wonderland. Television: the Cable Ace Award-winninganimated series Dr. Katz, Professional Therapist (voice of Stanley).KAREN MacDONALD* — EstelleA.R.T.: founding member, fifty-five productions.Recent seasons: Dido, Queen ofCarthage (Anna), The Provok’d Wife(Madamoiselle), The Miser (Frosine), TheBirthday Party (Meg), A MidsummerNight’s Dream (Hypolita/Titania), Pericles(Dionyza), Highway Ulysses (ensemble),Uncle Vanya (Marina), Lysistrata(Kalonika), Mother Courage and Her Children (Mother Courage),Marat/Sade (Simone), Othello (Emilia, IRNE Award). Most recent work:Director of Dressed Up! Wigged Out!, Boston Playwrights Theatre.New York: Roundabout Theatre, Second Stage, Playwright’s Horizons,and Actors’ Playhouse. Regional: The Misanthrope (Arsinöe) BerkshireTheatre Festival; Infestation (Mother), Boston Playwrights Theatre;Hamlet (Gertrude) and Twelfth Night (Maria), CommonwealthShakespeare Company; The Beauty Queen of Leenane (Maureen) andThe Last Night of Ballyhoo (Boo) Vineyard Playhouse; Who’s Afraidof Virginia Woolf (Martha, Elliot Norton Award) and Frankie andJohnny in the Clair de Lune (Frankie) Merrimack Repertory Theatre;As You Like It (Rosalind), Shakespeare & Co; Shirley Valentine(Shirley) Charles Playhouse. Other: Alley Theatre (Company member),the Goodman Theatre, the Wilma Theatre, Long Wharf Theatre, GevaTheatre, Syracuse Stage, Buffalo Studio Arena, Cincinnati Playhouse,Philadelphia Festival of New Plays.CASTValet Remo AiraldiGarcin Will LeBowInez Paula PlumEstelle Karen MacDonaldSYNOPSISSartre's witty, philosophical thriller revolves around three recently deceased strangers who find themselveslocked together in a drawing room. All three have led extravagant, quasi-criminal lives: Estelle is a nymphomaniacwho drove her lover to suicide when she killed their illegitimate child; Inez is a lesbian who droveher cousin's wife to suicide; Garcin is a militant pacifist who betrayed his own cause and was shot whileattempting to escape. Now all three are trapped together for eternity, prisoners in an endless love trianglethat forms their own private hell.PAULA PLUM— InezA.R.T: Ivanov (Babakina), MotherCourage (Yvette), Lysistrata (Belphragia),The Marriage of Bette and Boo (Soot),and Picasso at the Lapin Agile(Germaine. Other: Julius Caesar (Portia)and The Tempest (Trinculo)Commonwealth Shakespeare Company;Richard III (Margaret), Measure forMeasure (Mistress Overdone), Actors’ Shakespeare Project; Wit (VivianBearing), Lyric West; Faith Healer (Grace), Molly Sweeney (Molly),Happy Days (Winnie) and Not I (Mouth) Gloucester Stage Company;Private Lives (Amanda), Entertaining Mr. Sloane (Kath), Sideman(Terry), The Heiress (Catherine), John Kuntz’s plays Sing Me to Sleepand Miss Price (directed by Eric Engel), Lyric Stage Company. Filmcredits include: Mermaids, Malice, and Next Stop Wonderland.Television: Science Court and The Dick & Paula Celebrity Special. Ms.Plum is also a writer and teacher; in January 2005, she premiered hernew work Wigged OUT! with Leslie Dillen’s Dressed UP!, directed byKaren MacDonald, Boston Playwrights Theatre. Recipient of two IRNEAwards, the 1995 Eliot Norton Award for Best Actress, the 2004 EliotNorton Award for Sustained Excellence, and the 2003 DistinguishedAlumni Award from Boston University.THREE SISTERS PROFESSIONAL ACTING COMPANYJEFF BIEHL* — TuzenbachNew York: The Master Builder, BoneSongs (both with Andre Gregory); NakedAngels Lab; Ensemble Studio Theatre; TheOhio; La Mama; Apartment 929.Workshops for Soho Rep and New YorkTheatre Workshop. Resident: GuthrieTheatre Lab and The Seagulll, LakeLucille. Television: Law and Order:Criminal Intent. Training: Juilliard School for the Performing Arts.THOMAS DERRAH* — ChebutykinA.R.T.: Carmen (Zuniga), Amerika (ChiefCashier, Pollunder, Robinson), Olly’sPrison (Barry), The Birthday Party(Stanley), A Midsummer Night’s Dream(Nick Bottom), Highway Ulysses(Ulysses), Uncle Vanya (Vanya),Marat/Sade (Marquis de Sade), Richard II(Richard), Mother Courage (Chaplain),Charlie in the House of Rue (Charlie Chaplin), Woyzeck (Woyzeck),The Oresteia (Orestes). Broadway: Jackie: An American Life (twentythreeroles). Off-Broadway: Johan Padan and the Discovery of theAmericas (Johan), Big Time (Ted). Tours with the Company across theU.S., with residencies in New York, Chicago, San Francisco, and LosAngeles, and throughout Europe, Canada, Israel, Taiwan, Japan, andMoscow. Other: Approaching Moomtaj (New Repertory Theatre);Twelfth Night and The Tempest (Commonwealth Shakespeare Co.);London’s Battersea Arts Center; five productions at Houston’s AlleyTheatre, including Our Town (Dr. Gibbs, directed by José Quintero); andmany theatres throughout the U.S. Awards: 1994 Elliot Norton Prize forSustained Excellence, 2000 and 2004 IRNE Awards for Best Actor, 1997Los Angeles DramaLogue Award (for title role of Shlemiel the First).Television: Julie Taymor’s film Fool’s Fire (PBS American Playhouse),Unsolved Mysteries, Del and Alex (Alex, A&E Network). Film: MysticRiver (directed by Clint Eastwood). He is a graduate of the Yale School ofDrama.SEAN DUGAN* — AndreyA.R.T. Enrico IV (Carlo), Antigone(Haemon), The Doctor’s Dilemma(Dubedat), Loot (Dennis), Richard II(Aumerle), The Idiots Karamazov(Alyosha), The Cripple of Inishmaan (titlerole). Off Broadway: Valhalla (JamesAvery), Corpus Christi (James), Fleshand Blood (Ben), R & J (Mercutio, FriarLawence, Lady Capulet), Swiss Family Robinson (Karl). Resident:Rags, Hope Summer Rep; Cloud 9, Assassins, Inherit the Wind,Brandeis University; Masterpieces, Marymount College, London DramaProgram. Films and television: Trust the Man, Company Man, OvernightSensation. Oz (recurring), The Beat, Law & Order: CI, Law and Order,SVU. BA in Theatre Arts, Brandeis University.JEREMY GEIDT* — FerapontSenior Actor, founding member of the YaleRepertory Theatre and the A.R.T . Yale:over forty productions. A.R.T. : ninety-threeproductions, including The Provok’d Wife(Lovewell/Justice of the Peace), TheBirthday Party (Petey), A MidsummerNight’s Dream (Snug), Pericles(Helicanus/Fisherman), Lysistrata(Chorus) Marat/Sade (Coulmier), The Doctor’s Dilemma (Sir Patrick),Three Farces and a Funeral (Chubukov), Loot (Truscott), Ivanov(Lebedev), Man and Superman (Mendoza), Buried Child (Dodge), TheThreepenny Opera (Peachum), Waiting for Godot (Vladimir), Henry IV(Falstaff), The Caretaker (Davies), Heartbreak House (Shotover).Teaches at Harvard College, its Summer and Extension Schools, and theA.R.T./MXAT Institute. Trained at the Old Vic Theatre School and subsequentlytaught there. Acted at the Old Vic, the Royal Court, in the WestEnd, in films and television, hosting his own BBC show for five years;came to this country with the satirical cabaret The Establishment, actedon and off Broadway and television. Other: Robert Wilson’s Death andDestruction III at the Lincoln Center Festival. Lectured on Shakespearein India, and taught at The Netherlands Theatre School. Received the1992 Elliot Norton Award for Outstanding Boston Actor and a JasonRobards Award for Dedication to the Theatre.JULIENNE HANZELKA KIM* — NatashaBroadway: Metamorphoses, Circle in theSquare; Golden Child, Longacre Theatre(also Kennedy Center, ACT, SingaporeRepertory). New York and Resident:Intelligent Design of Jenny Chow,Atlantic Theatre; Notebooks of Leonardoda Vinci, Second Stage, The House ofBernarda Alba, NAATCO; True and SolidGround, Soho Rep; Richard III, Oncological-Hysteric Theatre; TwelfthNight, Gallery Players; Hamlet, Mid-Atlantic Theatre Co; Savage inParadise, Trinity Rep Workshop; B.F.E., Cape Cod Theatre Project.2005 graduate of NYU Graduate Acting Program.WILL LEBOW* — KulyginA.R.T.: forty-two productions, includingAmerika (Uncle Jacob, Innkeeperess,Head Waiter), Dido, Queen of Carthage(Jupiter), The Miser (Valére), TheBirthday Party (Goldberg), A MidsummerNight’s Dream (Egeus/Peter Quince),Pericles (Cleon/Pandar), HighwayUlysses (ensemble), Uncle Vanya(Serebriakov), Lysistrata (Magistrate), Marat/Sade (Marat), TheDoctor’s Dilemma (Sir Ralph), Nocturne (Father — Drama Desk nomination),Full Circle (Heiner Müller - Elliot Norton Award for best actor),The Merchant of Venice (Shylock), The Marriage of Bette and Boo(Karl), The Imaginary Invalid (title role), Shlemiel the First(Shlemiel/Zalman Tippish — also on tours of the West Coast), The WildDuck (Hjalmar Ekdal), Picasso at the Lapin Agile (Sagot), The KingStag (Brighella — a role he also performed in Taiwan), Six Charactersin Search of an Author (The Father). Other: The Rivals and MelindaLopez’s Sonia Flew (Huntington Theatre), Twelfth Night (Feste,Commonwealth Shakespeare Company), Brian Friel’s Faith Healer(Gloucester Stage Company), Shear Madness (all male roles), theBoston Pops premiere of “How the Grinch Stole Christmas”(narrator).Film: Next Stop Wonderland. Television: the Cable Ace Award-winninganimated series Dr. Katz, Professional Therapist (voice of Stanley).KELLY McANDREW* — OlgaBroadway: Cat on a Hot Tin Roof (withNed Beatty and Jason Patric). Off-Broadway: Book of Days (SignatureTheatre); Down the Garden Paths(Minetta Lane). Regional: The MiracleWorker and The Great White Hope,Arena Stage; Talley’s Folly, RepertoryTheatre of St. Louis/Cincinnati Playhouse;Proof, George Street Playhouse; Ghosts, Arizona Theatre Company;Eugene’s Home, Berkshire Theatre Festival; and Holiday, OlneyTheatre Center (Helen Hayes nomination for Best Actress). Films: Outof the Darkness, Company K, New Guy, and the upcoming feature SuperHeroes. Training: University of Missouri, Kansas City.CHRIS MCKINNEY* — SolyonyNew York: The Changeling, Theatre for aNew Audience; The Resistable Rise OfArtuo Ui (with Al Pacino, directed bySimon McBurney), National ActorsTheatre, Kia Cathron’s Light Raise TheRoof, New York Theatre Workshop, andMedea (with Fiona Shaw directed byDeborah Warner). Resident: Angels inAmerica Seattle; Macbeth (MacDuff, with Stacey Keach), TheShakespeare Theatre, Washington; King Lear, The Public Theatre,Boston; Films: The Cradle Will Rock, directed by Tim Robbins; Beirut,directed by Amos Kollec; Acts of Worship, directed by RosemaryRodgriguez, and The Interpreter with Sidney Pollack. Television: Lawand Order, SVU, New York News (featuring Mary Tyler Moore), New YorkUndercover and The Dana Carvey Show. Graduated from the JuilliardSchool of Performing Arts in 1994.MOLLY WARD* — MashaResident: Othello, Hartford Stage; Armsand the Man, Barrington Stage; New York:As You Like It and Don't Blink (EricaSchmidt, director); The Stronger, ThePicture, Chashama Productions;Possessed, H.E.R.E.; Richard Foreman'sParadise Hotel, Ontological HystericTheater/ Europe Tours; Iris K.O., New YorkFringe Festival. B.A., Vassar College; M.F.A., A.R.T. Institute, 2004.SARAH GRACE WILSON* — IrinaTheatre: Othello, California ShakespeareTheatre; The Story, The Public and LongWharf Theatres; Voyage of the Carcass,Greenwich Street Theatre; Six Degrees ofSeparation, The Guthrie Theatre; ThreeMore Sleepless Nights, Drama League;Wintertime, ACT, Seattle; Far Away (u/s),New York Theatre Workshop. Numerousplay development workshops with NY Stage and Film, Guthrie Lab,McCarter Theatre, New Georges, Director’s Theatre of NY, MCCPlaywright’s Coalition, and Rising Phoenix Rep. Films: The Girl on theTrain, Leadcatcher, Dark September Rain. Training: Juilliard (JohnHouseman Award).FRANK WOOD* — VershininBroadway: Sideman (Tony Award & theDrama League Award), also London’sWest End and Australia. Off-Broadway:Hollywood Arms, also The GoodmanTheatre; Resident: Sam Shepard’s TheGod of Hell; The Wax, PlaywrightsHorizons; Edward Albee’s Peter andJerry, Hartford Stage; Waiting For Godot,ACT; Rosencrantz and Guildenstern are Dead, The Long WharfTheatre; Light Up The Sky, Williamstown Theatre; Our Town, BayStreet Theatre; Hamlet, The McCarter Theatre. Films: In America; PeopleI Know; Thirteen Days; Pollock; Down To You; The Royal Tennenbaums;and Small Time Crooks. Television: Medium; Line of Fire; Third Watch;Ed; The Sopranos, Law and Order and Law and Order: Criminal Intent.Education: BA, Wesleyan University; MFA, New York University GraduateActing Program.ARTicles 9

CARMEN OPENING BASH!On September 7,artists and friends ofthe A.R.T. gatheredfor the festivitiesbefore the openingnightperformance ofCarmen.Top: Jim Anathan,Page Bingham,Mary Wendell,Ted Wendell,Ann GundA.R.T. and the Harvard Square Business AssociationThe A.R.T. is fortunate to reside in historic Harvard Square, surrounded by quaint shops, world-classrestaurants, and fine galleries that give our neighborhood its unique flair and offer us all a world of possibilitiesfor exciting business and cultural partnerships. In collaboration with the Harvard Square BusinessAssociation (HSBA), the A.R.T. is focusing its efforts on enhancing its relationships with neighboringbusinesses.As you know, we currently partner with a variety of distinguished restaurants — Harvest, UpStairs onthe Square, Craigie Street Bistro, Finale, Zoe’s Kitchen, and Grafton Street Pub and Grill — and the listkeeps growing. These partnerships provide a wonderful opportunity for our audiences to sample fine cuisinebefore or after a performance, and they give us the chance to support other businesses that contributeto the unique experience that is Harvard Square.We also have a number of new initiatives underway. For instance, we’re working with LumenEclipse, a local company building a bridge between media artists and local commerce in the form of a visualshowcase — the first of its kind anywhere in the world — on the information kiosk in the center ofHarvard Square.On October 25, the A.R.T. and the HSBA co-hosted an open house in the lobby of Zero ArrowTheatre, giving us an opportunity to welcome business owners and community leaders to our exciting newperformance. Zoe’s Kitchen caered the affair. Many friends and neighbors visited Zero Arrow Theatre forthe first time, and the HSBA had a chance to showcase its services to current and potential clients. ZeroArrow also served as a great display for the architectural renderings of the Harvard Square StreetscapeImprovement project set to begin construction now.As members of the Harvard Square community, we’d like to expand our relationships with other businessesand bring the unique establishments that exist in Harvard Square to the attention of our audiences.We’d like to engage businesses to propose creative partnerships with the A.R.T. We can offer our partnerssubstantial visibility to the nearly 200,000 people who visit the A.R.T. annually.If you’re aware of other opportunities for us to collaborate with our neighbors, please call (617) 496-2000 and speak with Jeremy Allen Thompson, Director of Audience Development (ext. 8844) or Jan Geidt,Coordinator of Special Events (ext. 8837).For more information about the 375 businesses in Harvard Square, including 82 restaurants, alongwith a calendar of daily and seasonal events throughout the square, maps, and parking information pleasevisit www.harvardsquare.comMiddle: ArtisticDirector RobertWoodruff withDominique Serrand,director of Carmen.left: Valerie Wilder,Executive Director ofBoston Ballet, AnnaLevitan, and boardmember Dan Mathieu,whose MAX UltimateFood catered theevent.Thanks to Joel and Lisa Alvordfor Sponsoring THE KEENINGA.R.T. proudly salutesAdvisory Board member JoelAlvord and his wife Lisa fortheir generous sponsorship ofHumberto Dorado’s TheKeening, the production currentlybeing performed at ZeroArrow Street Theatre throughNovember 12. The Alvordsmade their sponsorship commitmentafter they read thepowerful script. They feelstrongly about supporting artists who present political issues through their art—and theimportance of the reflection and dialogue that springs from the work.Robert Woodruff discovered this play when it was originally performed at a Festival inBogota, Colombia, in 2002. He was so moved by the piece that he decided to bring it to theUnited States and A.R.T.Joel Alvord is President and Managing Director of Shawmut Capital Partners, a venturecapital firm in Boston. He joined the A.R.T. Board in 1998, the same year he and Lisa married.Lisa is a producer of television documentaries and is the founder and president ofUrban Improv, a non-profit organization in Boston that uses improvisational theatre to teachself-esteem to poor children. Residents of Cambridge, the Alvords have been loyal and generousfriends of the A.R.T.10ARTiclesLOVE IS HELL!A .R.T. . GALAMarch 6, 2006A sublime evening of cocktails,dinner, and performanceA benefit to support American Repertory Theatreand its Institute for Advanced Theatre TrainingCall Jessica Obara at 617-495-2668for a pre-invitation reservationSAVE THE DATE!

We recently asked our subscriberswhy they give to the A.R.T.Here’s what a few of them had to say:“I give to the A.R.T. out of self interest —I want it to endure!”“I feel a connection to the A.R.T.since I’ve attended for many years.”“My money makes a difference at the A.R.T.”“I prefer to give to smaller institutionswhere the money is needed more.”“It’s easy to add a little more to my subscription.”Did you know?That the cost of your subscription only covers roughly half of what it costs to mount productionsat the A.R.T.?That gifts from individuals make up nearly half of all contributed support each season?That currently, only 10% of A.R.T. subscribers make a gift to the Annual Fund?Please help!Your tax-deductible contribution to the A.R.T. Annual Fund directly supports:• five groundbreaking prductions on the Loeb Stage• a wide variety of productions, presentations, and civic events in the A.R.T.’snew Zero Arrow Theatre• the operation of the A.R.T./Moscow Art Theatre Institute for Advanced TheatreTraining, a two-year M.F.A. program for young theatre professionals• a variety of student programs; the “Pay-What-You-Can” ticket program;“Playback” — a series of post-play discussions; and “Theatre for the Cost ofa Movie”Please consider making a gift to theA.R.T. 2005-2006 Annual Fund On-Line!It’s easy — just go to www.amrep.org and select “Support the A.R.T.” from the“Where To” tab in the upper right-hand corner. You can make a gift on a securesite and help the A.R.T. this season. Thank you!THANK YOU, CITY SCHEMES!The A.R.T. is extremely grateful to City Schemes, a locally-owned furniture store for itsgenerous contribution of a new bar at Zero Arrow Theatre. It’s a beauty.Since its inception in 1987, City Schemes has thrived by offering its customers an excitingselection of contemporary furnishing with timeless functionality and design. We alsothank George Mousallem, the owner and his wife, Mary Schipa, for their interest in theatre,specifically the A.R.T. Perhaps it’s no coincidence that the couple’s ticket-buying historyat A.R.T. goes back to 1987, the year City Schemes was established in Cambridge.The bar unit is a paradigm of contemporary design (photo below) — sleek, black, with aglass shelf for serving, designed by Dario Cesar Antonioni. As the saying goes, a thingof beauty is a joy forever! A.R.T. initially approached Mr. Moussallem to consider donatinga less expensive unit; his reaction was that A.R.T. should have only the finest. As afrequent A.R.T. theatre-goer, he was well-acquainted with the quality and discernment ofour audiences. Who could deny a gentleman of such taste? A.R.T. agreed to accept hiskind offering with much gratitude.In addition to the Cambridge store at Putnam Square (1050 Mass. Ave), there is theSomerville Outlet, as well as stores in Natick and Saugus. Visit www.cityschemes.comfor more information.ENJOY FINE CUISINE WITH OUR RESTAURANT PARTNERS.One restaurant offers exclusive A.R.T. discounts for each production of the season. Call for reservations & present your ticket stub or subscriber/member card.3 SISTERS & NO EXIToffer valid Nov 26 – Jan 29(some dates may be excluded)NO EXIToffer valid January 7-29ONE OF THE TOP TEN NEWBISTROTS IN THE USA!— FOOD & WINE MAGAZINETicket (section A seating) to the A.R.T. and pre-theatre dinner — $70.Call Craigie Street Bistro to make reservations and arrange for tickets. (limited availability)If you already have tickets, take advantage of the $30 prix-fixe Curtain for Certain menu!!5 Craigie Circle 617.497.5511www.craigiestreetbistrot.comCONTEMPORARY CUISINE INSPIREDBY AMERICAN CLASSICS.Join us at Harvest before or after the show! Present your ticket for and receive 15% off your meal.Harvest focuses on the bounty of the season, offering contemporary cuisine inspired by Americanclassics. This offer is only available on the same day of your attendance. Discount cannot beoffered on alcohol. Limit one discount per party. Advance reservations requested.44 Brattle Street (on the walkway) 617.868.2255www.harvestcambridge.comARTicles11

ARTifactsorder by phone or online617.547.8300 www.amrep.orgcurtain timesTue/Wed/Thu/Sun evenings — 7:30pmFriday/Saturday evenings — 8:00pmSaturday/Sunday matinees — 2:00pmticket pricesLOEB STAGE A BFri/Sat evenings $74 $51All other perfs $64 $37Subscribers, Members, Seniors, Students deduct $10Student Tickets, day of performance — $15Groups of 10 or more save up to 60%!Call Jeremy Thompson at 617-496-2000 x8844box office hoursLOEB STAGETuesday — Sunday noon — 5pmMondayclosedPerformance days open until curtainZERO ARROW open 1 hour before curtainSUBSCRIBE TODAYAND SAVE!• It’s easy flexible and affordable!Choose any 3 or more plays.• All subscriptions are discounted— save up to 30% off single tickeprices• Free ticket exchange!• and more!A.R.T. student pass$60 gets you 5 tickets good for any play.That’s only $12 a seat! (Full-time students only.)need flexibility?become a member!• for only $35, members can buy tickets at$10 offthe regular prices!• and you’ll receive the benefits of subscribing(including ticket exchange) withouthaving to plan your dates in advance.preplayPreshow discussions one hour beforecurtain led by the Literary Department.Loeb Stage plays only.THREE SISTERS preplaysSunday, December 11 before 2pmThursday, December 15 before 7:30pmWednesday, December 21 before 7:30pmNO EXIT preplaysSunday, January 22 before 2pmWednesday, January 25 before 7:30pmThursday, January 26 before 7:30pmplaybackPost-show discussions after each Saturdaymatinee.All ticket holders welcome.discount parkingLOEB STAGEHave your ticket stub stamped at thereception desk when you attend aperformace and receive discounts at theUniversity Place Garage or The CharlesHotel Garage.ZERO ARROW THEATRE(corner of Mass. Ave. and Arrow Street)Discount parking is available at twoHarvard University lots, with limited additionalparking at the Inn at Harvard and atthe Zero Arrow Theatre. Go to amrep.orgfor more information.World Music/CRASHartsevents at Zero Arrow Theatresee pages 5-7617.876.4275www.worldmusic.orgHarvard Film Archive presentsThe Film Experience:Existentialist AdaptationsJanuary 6-18Existentialism attempts to describe the nature of human experience in an unfathomableworld, a theme that has long provided inspiration for countless filmmakers.To name a few, Truffaut, Bergman, Antonioni, and Allen have investigated the idea,articulated by Jean-Paul Sartre in his 1943 treatise Being and Nothingness, that"man can will nothing unless he has first understood that he must count no one buthimself; that he is alone, abandoned on earth in the midst of his infinite responsibilities,without help, with no other aim than the one he sets himself, with no other destinythan the one he forges for himself on this earth." The films in this series look tokey texts that either inspired (Dostoevsky, Kierkegaard) or expanded (Sartre,Camus) this philosophy, adapting its ideas for the screen, where free will, enactedwithout any certain knowledge of what is right or wrong, good or bad, resonates withparticular force. Films to be screened include Robert Bresson's Pickpocket, VittorioDe Sica's The Condemned of Altona and Zeki Demirkubuz's Fate. For a completeschedule, visit www.harvardfilmarchive.org.THREE SISTERSby Anton Chekhovtranslated by Paul Schmidtdirected by Krystian LupaNovember 26 — January 1 Loeb StageNO EXITin association with Imago Theatre.by Jean-Paul Sartredirected by Jerry MouawadJanuary 7-29 Loeb StageROMEO AND JULIETby William Shakespearedirected by János SzászFebruary 4 — March 25 Loeb StageORPHEUS X World Premieremusic and text by Rinde Eckertdirected by Robert Woodruffdesigned by Denise MarikaMarch 25 — April 22 Zero ArrowTheatreISLAND OF SLAVESby Pierre Marivauxin a new translation by Gideon Lesterdirected by Robert WoodruffMay 13 —June 4, 2006 Loeb Stage7 LOVESTORIESW / 2 TRIPSTO HELLDiscovering Justiceand A.R.T. Hosta Playwriting CompetitionThe A.R.T. has entered an exciting new partnership with Discovering Justice. Together the two willinitiate a playwriting competition, the winner of which will have his/her play read at a staged readingat Zero Arrow Theatre next year. The play will focus on a specific case, as suggested by DiscoveringJustice. Founded in 1999, their Arts and the Law Program brings professional actors out of the theatreand into the courtroom to participate in historical dramas relating to justice and our legal systemwith Massachusetts students.A.R.T. Co-Founder and Executive Director Rob Orchard said of the partnership, "Theatre can play acompelling role in activating a greater understanding and appreciation of justice among young people.The A.R.T. is pleased to begin this partnership with a call for writers to join us in developing a bodyof work designed to dramatize significant moments in our judicial history. And, through the power oflive performance to make these moments relevant to contemporary audiences."Harvard Film Archive • 24 Quincy Street • Cambridge MA 02138 • 617.495.4700