Punchdrunk and American Repertory Theaterpresent

DIRECTED AND DEVISED BY FELIX BARRETT AND MAXINE DOYLE WITH THE COMPANY

Director and Designer Director and Choreographer Sound and Graphic Designer Associate DesignerAssociate DesignerCostumerStaff DirectorAssistant DirectorStage Manager

First performance October 8, 2009The 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:

Felix BarrettMaxine Doyle

Stephen DobbieLivi Vaughan

Beatrice MinnsDavid Israel ReynosoMikhael Tara Garver

Paul StaceyCarolyn Rae Boyd

Cast CAST

Duncan Phil AtkinsMalcolm Hector HarknessMacbeth Geir HyttenBanquo Vinicius SallesMacduff Robert McNeillPorter Thomas KeeLady Macbeth Sarah DowlingLady Macduff Alli RossWitch Conor DoyleWitch Stephanie EatonWitch Fernanda PrataHecate Careena MeliaThe Second Mrs. de Winter Poornima KirbyMrs. Danvers Tori SparksBellhop Alexander LaFranceAnnie Darcy Annie GoodchildElsie Price Haley Jane SogginMan in Bar Robert Najarian

CAST From November 10

Duncan Phil AtkinsMalcolm Robert NajarianMacbeth Eric BradleyBanquo Jeffery LyonMacduff Luke MurphyPorter Thomas KeeLady Macbeth Tori SparksLady Macduff Alli RossWitch Andrew BroaddusWitch Stephanie EatonWitch Kelly BartnikHecate Careena MeliaThe Second Mrs. de Winter Poornima KirbyMrs. Danvers Hope T. DavisBellhop Alexander LaFranceAnnie Darcy Annie GoodchildElsie Price Haley Jane SogginSpeakeasy Bartender Sogdiana Azhibenova

THE ANNIE DARCY BAND

Bass/Sax Timo ShankoDrums Django CarranzaPiano Rusty Scott

Production PRODUCING TEAM

Executive Director (Punchdrunk) Colin MarshSenior Producer (Punchdrunk) Colin NightingaleTechnical Director (Punchdrunk) Euan MaybankProducer (A.R.T.) Diane BorgerLine Producer (A.R.T.) Chris De CamillisAssistant Producer Allison Kline

PRODUCTION STAFF

Production Manager Pat QuinlanAssociate Production Manager Chris ViklundAssociate Production Manager Skip CurtissTechnical Director Stephen SetterlunAssistant Technical Director Nick FouchActing Assistant Technical Director David BucklerScenic Charge Artist Gerard P. VogtAssistant Scenic Charge Kristin KnutsonScenic Painter Katie RichmondMaster Carpenter Peter DoucetteScenic Carpenters Jason Bryant, York-Andreas Paris,Scenic Interns Ben Clark, Sarah Pierce, Katie Wilson, Rena LuczkiewiczPaint Interns Tacy Flaherty, Rebecca Keithley, Abigail NeuhoffScenic Staff 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 HardinProperties Manager Cindy Lee-SullivanAssistant Properties Manager Tricia GreenProperties Carpenter Stacey HorneProperties Staff Rebecca Helgeson, Brittany Burke, Sean Cote, Meagan Miller-McKeever Properties Interns Jeff Desautels, Brian Hoefling Katie FlemmingProps Volunteer Coordinator Olivia BenowitzCostume Shop Manager Jeannette HawleyAssistant Costume Shop Manager Hilary GatelyCostume Drapers Carmel Dundon, Mary HurdStitchers Tova Moreno, Jennifer GuadagnoCrafts Artisan David Israel ReynosoHair and Make-up Rachel Padula ShufeltMaster Electrician Derek WilesLighting Assistant Ken HelvigLighting Engineer David OppenheimerAudio Supervisor David RemediosAudio Engineer Katrina McGuire

Audio Staff Meghan McDonough, Jason Van Sleet Alexis Rodriguez-Carlson, Darby Smotherman Assistant Stage Manager Kyle CarlsonAssistant Stage Manager Alexandra McConnell-TrivelliSound Intern Sarah Weintraub Band Contractor/Bar Manager Jason WaddletonStage Supervisor Jeremie LozierProduction Assistants Chris Eschenbach, Kevin Klein, Matthew Sebastian Wardrobe Supervisor Steven Drueke

VOLUNTEERSScenicBryan 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/DetailAnna 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.

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

SoundBryan 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 owner-ship 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.

Production

THERE IS NO SMOKING IN THE BUILDING

Program Notes

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.

Colliding Worlds: Shakespeare, Hitchcock and PunchdrunkDirectors’ Note by Felix Barrett and Maxine Doyle

Conor Doyle. Photo by Stephen Dobbie and Lindsay Nolin

Program NotesVery 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.

BABIESAnything 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.

MIRRORSMirrors 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 apart-ment 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.

PEACOCKSPeacock 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

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

Program NotesHAIRIt 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 BOTTLEThe 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 KNOCKSKnocking 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.

BIRDSA 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.

CARDSThe 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.

Macbeth

Macbeth opens with thunder and lighting, as three witches are plotting their meeting with Macbeth, the Thane of Glamis. Macbeth and Banquo soon encoun-ter 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 trau-matized 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 preg-nant 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 witch-es’ third prophesy. As the forces draw closer, Macduff and Macbeth are eventually locked in confrontation.

Summary prepared by Jenna Clark Embrey

Program Notes

CompanyPhil Atkins — DuncanNative 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. DanversNative 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 MacbethPunchdrunk: 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.

Conor Doyle — WitchPunchdrunk: 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 — WitchBoston 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 — MalcolmPunchdrunk: 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 WinterCredits: 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

CompanyAlexander 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 — MacduffPunchdrunk: 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 site-specific 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.

Robert Najarian — Man in Bar/MalcolmRegional: 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 — WitchPunchdrunk: 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 MacduffChimera butoh/dance company with Jennifer Hicks, Awarded Space Grant 2006 through Green Street Studios; premiered own work Bubbasafish and 50-meter free-style, 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 — BanquoFor 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 MacbethDancer/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.

Company

Creative TeamFelix Barrett — Director and DesignerArtistic 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 film-maker 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 ManagerA.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 DesignerPunchdrunk: 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 ChoreographerBonnie 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 TeamTunnel 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 DirectorGraduate 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 DirectorTrained 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 DirectorTechnical 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 light-ing 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 ManagerPunchdrunk: 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 DesignerPunchdrunk: 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 ProducerGraduating 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

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 — CostumerA.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 Newspaper, 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 DesignerPunchdrunk: 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, ani-mations 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.

Creative Team

About PunchdrunkBritish 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 for-mat 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 audi-ences 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 DirectorMaxine Doyle - Associate Director and ChoreographerColin Marsh - Executive DirectorColin Nightingale - Senior ProducerEuan Maybank - Technical DirectorStephen Dobbie - Sound and Graphic DesignerBeatrice Minns - Design AssociateLivi Vaughan - Design AssociateJennie Hoy - AdministratorPeter Higgin - Punchdrunk Enrichment DirectorJen Thomas - Punchdrunk Enrichment Officer

Board of TrusteesPhil de MontmorencyClara Eisenberg (Chair)Hyun-Ho KhangJosephine MachonTom Morris

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

Friends of PunchdrunkWould 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

A HISTORY OF THE AMERICAN REPERTORY THEATERDiane 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.

Joseph Auerbach*Page BinghamWilliam H. Boardman, Jr.Robert BrusteinGreg CarrCaroline ChangAntonia Handler Chayes*Clarke CoggeshallKathleen ConnorRobert DavoliJoseph W. HammerHorace H. Irvine, II

Fumi MatsumotoRebecca MilikowskyWard MooneyJackie O’NeillDiane PaulusDiana SorensenLisbeth Tarlow

Michael E. JacobsonGlenn KnicKrehmBarbara Lemperly GrantDan MathieuEileen McDonaghMichael RoitmanLinda U. SangerJohn A. ShaneMichael ShinagelSam Weisman

*emeritus

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

Phil BurlingPaul Buttenwieser Michael Feinstein Lori GrossAnn GundSarah HancockProvost Steven HymanJonathan Hulbert Ex-Officio

Donald Ware, Chairman of the Board Barbara W. Grossman Co-ChairTed Wendell Co-Chair

About the A.R.T.

Brookline Village

Baja Betty’s BurritosMexican3 Harvard Square617-277-8900

Bottega di CapriItalian 41 Harvard Street617-738-5333

Brookline Family RestaurantTurkish305 Washington Street617-277-4466

Dunkin’ DonutsCoffee20 Boylston St. / 8 Harvard St.617-739-1144 / 617-232-7252

La MorraItalian48 Boylston Street617-739-0007

StarbucksCoffee 15 Harvard Street617-232-5063

Stoli Bar & RestaurantRussian213 Washington Street617-731-5070

Tashi DelekTibetan236 Washington Street617-232-4200

The Village SmokehouseTexas Barbeque6-9 Harvard Square617-566-3782

Village Pizza HousePizzeria312 Washington Street617-731-4210

YokohamaJapanese238 Washington Street617-734-6465

Zen 320Japanese320 Washington Street617-713-4320

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.

Matt Murphy’s Irish Pub14 Harvard Street617-232-0188

New England Soup FactoryHearty American 2 Brookline Place617-739-1899

Oriental PearlVietnamese, Chinese220 Washington Street617-739-0008

Orinoco: A Latin KitchenVenezuelan22 Harvard Street617-232-9505

PomodoroItalian24 Harvard Square617-566-4455

Sichuan GardenChinese295 Washington Street617-734-1870

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MBTA Green “D” Line

ToRiverside

ToKenmore

Boylston Street (Route 9)

Old Lincoln

School

Harvard Square

Brookline Village MBTA Station

EventParking

W

alnut Street

Pearl Street

L

Washington Street Kent Street

Davis Avenue

Kent

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Station Street

Washington Street

Harvard Street

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Brookline Place

Visit americanrepertorytheater.org/restaurants for a taste of our other partner discounts — more restaurants, parking, books, and more!

AmericAnrepertorytheAter.org

10% off Lunch and Dinner

Henrietta’s tableThe Charles Hotel

One Bennett Str. • Cambridge, MA(617) 661-5005 • www.henriettastable.com

legal sea FoodsCharles 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.

Upstairs on tHe sqUare91 Winthrop St. • Cambridge, MA

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

$35 three course meal. Does not include tax or gratuity.

sandrine’s8 Holyoke St. • Cambridge, MA

(617) 497-5300 • www.sandrines.com

20% off food only (exclud-ing any special menus,

including prix fixe menu).

JOIN US FOR A BITE AT OUR FEATURED RESTAURANT PARTNER

LaMorra48 Boylston St Brookline, Ma(617) 739-0007

www.lamorra.com

$30 3-course meal$35 4-course mealThree- and four-

course wine pairing for $12

and $15

OM92 Winthrop St. • Cambridge, MA

(617) 576-2800 • www.omrestaurant.com

$30 pre-fixe menu available during dinner

5 p.m.-10 p.m. with ticket stub.

OUR SEASON RESTAURANT PARTNERS

Ted and Joan CutlerÉtant DonnésMichael G. Feinstein and Denise Waldron*Google, Inc.+Merrill and Charles GottesmanBarbara W. HostetterThe Roy A. Hunt FoundationMichael and Wanda Jacobson*The Robert & Myra Kraft Family Foundation, Inc.Kako and Fumi Matsumoto*Ward and Lucy MooneyNational Corporate Theatre FundOffice of the Provost, Harvard University*Cokie and Lee PerryBeth Pollock*Michael Roitman and Emily KarstetterEd ScheinLisbeth Tarlow and Stephen Kay*The Wallace Foundation

$5,000–$9,999Anonymous*Joel and Lisa AlvordHoward and Leslie ApplebyBoston Beer Company+Clarke and Ethel D. CoggeshallEvent Illuminations+Genevieve C. Fisher°Patricia Romeo-Gilbert and Paul B. GilbertBarbara Lemperly Grant and Frederic D. Grant*Joseph W. HammerGlenn A. KnicKrehmThe Lawrence & Lillian Solomon Fund, Inc.Audrey Love Charitable FoundationDr. Henry and Mrs. Carole MankinCarl MartignettiJackie O’Neill*Robert J. OrchardOffice of the Provost, Harvard University*Anthony PangaroThe Bessie E. Pappas Charitable Foundation, Inc.Polaris Capital Management, Inc.*Ricochet Group, LLC.*/Ric WanetikAlan Savenor Cathleen Douglas Stone and James Stone*Tony Shalhoub and Brooke Adams

$1,000–$4,999AnonymousElizabeth M. AdamsSheldon Appel

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 aboveAnonymousThe Andrew W. Mellon FoundationThe Carr FoundationThe Doris Duke Charitable FundThe President and Fellows of Harvard CollegeThe Shubert Foundation, Inc.

$75,000 - $99,999Anonymous

$50,000 - $74,999AnonymousEdgerton Foundation New American Plays AwardThe Harold and Mimi Steinberg Charitable TrustHershey Family FoundationMassachusetts Cultural CouncilTed and Mary Wendell*

$25,000–$49,999AnonymousBoston 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 ArtsTheatre Communications GroupTrust for Mutual UnderstandingDonald and Susan Ware*

$10,000–$24,999Anonymous*Bank of America Philanthropic ManagementPage Bingham and Jim Anathan*The Boston FoundationBoston Investor Services*

Donors

Sharyn BahnBarbara Lee Family FoundationEnid BealJohn A. BoydLinda Cabot BlackDr. Jeffrey Borenstein and Lilly PelzmanMartha Bradford and Alfred AjamiRonnie BretholtzSara and Tim Cabot*Caroline ChangStanley and Peggy CharrenAntonia H. ChayesStephen CoitKathleen Connor Jane and Marvin CorletteCorning Incorporated FoundationCrystal Capital*Jean-Francois DucrestDraper LaboratoryAlan and Suzanne DworskyPhilip and Debbie EdmundsonRachael and Andrew GoldfarbMerle and Marshall GoldmanHannelore and Jeremy GranthamNicholas GrevilleBarbara and Steve GrossmanJonathan HarrisJerry and Margaretta HausmanThe Harvard CoopPriscilla and Richard HuntNancy P. KingDouglas and Judith KruppJim and Lisa La TorreStacey LeeMary Pfeifer Lentz and Tom Lentz*John D.C. LittleLars FoundationEsther Maletz-StoneJames C. MarlasJudy and Paul MarshallWladzia and Paul McCarthyRobert and Jane MorseBob and Alison MurchisonThe Netherland-America Foundation, Inc.Finley and Patricia PerryLeslie and David Puth Jan SaragoniThe Shane FoundationLaura Pels FoundationThe Ramsey McCluskey Family FoundationAndres RodriguezHenry and Nitza Rosovsky*Linda SangerKay and Jack Shelemay

Michael Shinagel and Marjorie NorthThe Abbot and Dorothy H. Stevens FoundationCaroline Taggart and Robert SachsThe Sholley FoundationMarshall SirvetzMay K. TakayanagiJulie TaymorTheatre Communications GroupTheatricalProjections.comWagamama Inc.William WeberJohn WeltmanVita Weir and Edward BriceSam Weisman and Constance McCashin*Francis H. WilliamsAlfred WojciechowskiJudith and Stephen WolfbergZipcar+

$500 - $999AnonymousVirgil J. AielloReed AugliereSarah Baker and Tim AlbrightWilliam M. BazzyDaniel BermanLeonard and Jane BernsteinRobert and Maria BradleyJean and Arthur Brooks Jr.'s kidsDeborah CarrollNader DarehshoriErica DeRosa Helen GlikmanNorman GoldbergJames GrayLenore and Eric GustafsonHelen GlikmanDena and Felda HardymonJudith Kidd Gillian and Bill KohliDudley H. LaddMelody LibonatiNick LittlefieldCarolyn MeadeMichael and Annette MillerPatricia Cleary Miller Ph.D.Carol and Steve PieperWendy Shattuck and Samuel PlimptonNatalie ReedSally C. Reid and John D. SigelKim and Fernando SalazarValya and Robert ShapiroJacqueline A. Simon

Donors

DonorsRobert SkenderianThomas TarpeyRuth and Harry WechslerPeter and Dyann WirthLinda Chin WorkmanIBM CorporationSomerled Charitable FoundationHurlbut Family Charitable Lead Trust

$250–$499AnonymousRena and Walter AbelmannJanet and Arthur BanksSue Beebee and Joe GagnéHelene B. Black Charitable FoundationJoseph Blatt and Leda ZimmermanThomas B. BrackenArthur H. BrooksJacqueline BrownFred and Edith ByronRonni and Ronald CastyCorporate Ink Public RelationsRichard and Dorothy ColeLiz Coxe and Dave ForneyPamela Coravos and Garrett StuckFrederica CushmanBeatrice and Anirudh DhebarLinda and William FaiellaKen and Linda FelterCharles FlowersRobert and Kathleen GarnerGE FoundationArthur and Younghee GeltzerDavid Golan and Laura GreenDr. Jeffrey and Laurie GoldbargRandy and Stephen GoldbergerRichard GreeneDianne HaasJanice HarveyJohn R. HauserRoger and Jane HaynesDr. Earl HellersteinStefaan HeyvaertJeanne and Allen KriegerMark KruegerBill and Lisa LaskinGreg and Mary Beth LesherDrs. Mortimer and Charlotte LittStephen and Jane LorchLorraine LymanGregory MaguireShelley and Ofer NemiorvskyRoderick and Joan NordellAbigail Norman

Carmel and Peter O’ReillyJoan H. Parker and Robert ParkerMark and Pauline PetersJoseph RaposoKatharine and William ReardonDiane ReminJudy and David RosenthalChristopher SchalickWendell SykesArnold and Gloria TofiasJohn TravisMark Thurber and Susan GalliDonna WainwrightElizabeth WestMary Winslow

+denotes gift-in-kind*includes gala sponsorship°denotes individual is deceased

2009 pARTy ContributorsThe 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 CommitteeA. Quinn Hair StudioAlan SavenorAmerican Repertory TheaterBarbara Lynch GruppoBauer Wine & SpiritsBoston Public LibraryBoston Red SoxCabot Design Ltd.Carlos FalchiCasablanca RestaurantChild’s GalleryClaire MessudCommonwealth Shakespeare CompanyCraigie on MainDarwin’s Ltd.DeLuca’s MarketsDiane PaulusDreamWorksGalatea Fine JewelryGalt MacDermotGreen Street Studios/Paula SpinaHallie’s GardenHarvard Book StoreIggy’s Bread of the WorldJames Joseph SalonJames WoodJessica Kagan Cushman StudioLe Pli Day Spa

Little Lettice/Sara CabotLoro PianaMargaret Lampert PhotographyMary Pfeifer LentzMichael McDonaldRialto RestaurantRocca Kitchen and BarSavenor’s MarketSissy Yates DesignsSkinCare Physicians/Dr. Jeffrey DoverSofra BakerySorellinaSuzanne ShepardTess & CarlosThe Harvard Art MuseumThe Penninsula New YorkThe Public TheaterThe Sherry-NetherlandTremont 647/Andy HusbandsUpStairs on the SquareVictoria Munroe Fine ArtYuriko and Brace YoungAnonymous

Corporate PartnersThe 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 CompanyThe Bay State BannerThe Boston GlobeThe Boston PhoenixGoogle Inc.The Harvard CoopThe Harvest RestaurantMAX Ultimate FoodNewbury ComicsSandrine’s RestaurantTheatricalProjections.comWagamama Inc.The Weekly DigZipcar

National Corporate Theatre FundNational Corporate Theatre Fund is a nonprofit corporation created to increase and strengthen support from the business community for ten of this country’s most

distinguished professional theatres. The fol-lowing foundations, individuals, and corpora-tions support these theatres through their contributions of $5,000 or more to National Corporate Theatre Fund:

Altria Group, Inc.AT&TBingham McCutchenBloombergBristol Myers SquibbJames BuckleySteven BunsonRobert CagnazziChristopher CampbellJason and Marla ChandlerClear ChannelCisco Systems, Inc.Citi Private BankColgate-Palmolive CompanyCredit Suisse Dorsey & Whitney FoundationDramatists Play Service, Inc.Ernst & YoungGoldman, Sachs & CompanyHIRECounselIMGJP Morgan ChaseKPMGLehman BrothersMarsh & McLennan Companies, Inc.McCarter & English LLPMerrill Lynch & Co.MetLifeMorgan StanleyNational Endowment for the ArtsNewsweek New York State Council on the ArtsOgilvy & Mather New YorkPfizer, Inc.Thomas QuickSeinfeld Family FoundationSharp Electronics*George SmithTheatermaniaJames S. TurleyUBSVerizon CommunicationsWillkie Farr & Gallagher LLP

Donors

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 by Stephen Dobbie and Lindsay Nolin

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 credit: Stephen Dobbie, Liindsay Nolin

MAKE ADVENTURE HAPPEN!

Productions like SLEEP NO MORE are only made possible

with YOUR support.

PRODUCTIONProduction Manager Patricia Quinlan Associate Production Managers Christopher Viklund, Skip Curtiss Loeb Technical Director J. Michael Griggs COSTUMESCostume 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

LIGHTSMaster Electrician Derek L. WilesLighting Assistant Kenneth Helvig Light Board Operator David Oppenheimer Lighting Intern Sarah Weintraub

PROPERTIESProperties Manager Cynthia Lee-Sullivan Assistant Properties Manager Tricia Green Properties Carpenter Stacey Horne

SCENERYTechnical 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

SOUNDResident Sound Designer/Engineer David Remedios Production Sound Engineer Katrina McGuire

STAGEStage Supervisor Jeremie Lozier Production Assistants Christopher Eschenbach,Kevin Klein, Matthew Sebastian

STAGE MANAGEMENTResident Stage Manager Chris De CamillisStage Manager Katherine Shea Assistant Stage Manager Amanda Robbins-Butcher Institute Stage Manager Elizabeth Bouchard

OBERON Producer Randy Weiner Bar Director Erin Wood Program Associate Daniel Pecci House Technician Garrett Herzig

StaffARTISTIC

Artistic Coordinator Chris De Camillis Acting Associate Producer Diane BorgerDirector 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 SavageDramaturgy Intern Jenna Embrey

INSTITUTEDirector 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 AFFAIRSGeneral 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 WoodVolunteer Usher Coordinator Barbara Lindstrom

EXTERNAL AFFAIRSDEVELOPMENTDirector of Development Erica DeRosa Assistant Director of Development Sue Beebee Director of Institutional Giving and Strategic Partnerships Joan MoynaghDevelopment Officer Julia Propp

MARKETINGDirector 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 FineAdvertising Consultant Blitz Media Social Media Consultant David Ginsburg Creative Consultant Minelli, Inc. Marketing Interns Emily Hecht Public Relations Intern Christine Miller

BOX OFFICEBox Office Managers Derek Mueller, Ryan Walsh Box Office Representative Karen Snyder

Artistic Director/CEO Diane Paulus

InstituteA.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 MovementAnatoly Smeliansky, Co-Head Dramaturgy Ryan McKittrick, Co-Head Dramaturgy

AMERICAN REPERTORY THEATERDiane 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.

FacultyElizabeth Bergmann MovementRobert Brustein Criticism and DramaturgyErin Cooney YogaThomas Derrah ActingHolly Derr ViewpointsElena Doujnikova MovementAndrei Droznin MovementTatyana Gassel Russian Language and CultureJeremy Geidt ActingArthur Holmberg Theater History, Dramaturgy Nancy Houfek Voice and SpeechRoman Kozak Acting and DirectingAlla Kruglova MovementWill LeBow ActingRyan McKittrick DramaturgyPamela Murray SingingRobert Narajan CombatDiane Paulus Acting, DramaturgyRobert Scanlan Dramatic LiteratureAndrei Shchukin MovementAnatoly Smeliansky Theater History, DramaturgyJulia Smeliansky History of Set DesignMarcus Stern Acting Jim True-Frost Acting for the CinemaCheryl Turski DanceTommy Thompson Alexander TechniqueCatherine Ulissey BalletRobert Walsh Stage CombatScott Zigler Acting, Dramaturgy

StaffChristopher Viklund Production ManagerAngela Paquin Financial Aid

Acting Jason Beaubien Renee-Marie BrewsterMegan Brotherton Zach Bubolo Nick Crandall Jared EatonTim EliotAnnika FranklinSteven GoodHeather GordonKelly GreenChristian GrunnahAngela GulnerMichala HansenSusannah HoffmanFaith ImfadionSarah JadinIan KerchDerek LettmanJordan LieversScott LymanJacob MartinCameron OroLaura Elizabeth Parker Therese PlaehnRichard ScottCharles Settles Jr.Vincent Selhorst-Jones Jennifer SooChristopher StaleyEd WalshErikka WalshRebecca Whitehurst

DramaturgySara Bookin-WeinerWhitney EggersBeck HoldenLaura HenryRachael HuttlJoe PindelskyBrendan SheaPaul Stacey

VoiceJane Guyer May Nazarino

ARTifacts

American Repertory Theater | americanrepertorytheater.org | 617.547.830064 Brattle Street, Cambridge, MA 02138

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 immersiveexperiences 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,

Diane Paulus, Artistic Director

SINGLE tIckEt prIcESDay Zone Loeb oberon LincoLn SchooL

Fri /Sat A $75 eves B $45Sat/Sun C $25 mats Table $49 Dance Floor $25 General $39

Sun - A $69 Thu B $39eves C $25 Table $39 Dance Floor $25 General $25

pASSES

Type ofpass

# admis-sions Valid for...

5 8Adven-ture!

$99 n/aSleep No More, The Donkey Show

All-around

$175 $340Any 09/10 sea-son event

Student (full-time)

$60 n/aAny 09/10 sea-son event

Harvard (Fac-ulty/Staff)

$150 $200Any 09/10 sea-son event

Endnote