Périclès, Prince de Tyr - Cheek by Jowl
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Périclès,
Prince deTyr
by William Shakespeare
and George Wilkins
Cover photo: Christophe Grégoire © Patrick Baldwin.
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www.cheekbyjowl.com 1 2
Welcome Welcome
Welcome to our 2018 season with Périclès, Prince de Tyr. We are delighted to be co-producing Cheek by Jowl’s latest work,
Pericles (Périclès, Prince de Tyr) featuring the company’s stunning
It’s a pleasure to return to the UK with our French company. This marks French ensemble. Cheek by Jowl have been a Barbican Artistic
the first time Cheek by Jowl has produced Shakespeare in the French Associate since 2005 and their performances in English, Russian
language. We are extremely grateful for the support of Jeune Théâtre and French consistently draw both loyal and new audiences.
National France and the Laura Pels International Foundation for Theater. We warmly welcome back co-Artistic Directors Declan Donnellan
Thanks also to Toni Racklin, Leanne Cosby, Alex Jamieson and the and Nick Ormerod with their first Shakespeare production in the
entire team at the Barbican for their support and enthusiasm, and also French language.
to Laura Elliot and Louise Chantal at the Oxford Playhouse.
Toni Racklin
We would also like to thank our co-producers, the Barbican, London; Head of Theatre, Barbican
Les Gémeaux/Sceaux/Scène Nationale; Théâtre du Nord, CDN Lille-
Tourcoing-Hauts de France, as well as Arts Council England.
We hope you enjoy the show.
Declan Donnellan and Nick Ormerod
3 1
Périclès, Prince de Tyr
by William Shakespeare and George Wilkins André Neri Technical Director
adapted from the translation by François Guizot Vincent Gabriel Lighting
Kenan Trevien Sound
Cast in order of speaking: Marina Aguilar Wardrobe Manager
Lucile Quinton Assistant Stage Manager
Xavier Boiffier Antiochus / Léonin / Bout / Lysimaque
Edward Fortes Surtitle Creation
Christophe Grégoire Périclès / Cléon / Le Maître
Sharlit Deyzac Surtitle Operator
Valentine Catzéflis Antiochus’s Daughter / Marina
Les 2 Bureaux/Prima Donna Consultant Producer
Cécile Leterme Doctor / Simonade / Cérimon / Diane
Sharlit Deyzac Company Manager
Camille Cayol Dionysa / Thaïsa / La Maquerelle
Patrick Baldwin Rehearsal & Production Photography
Guillaume Pottier Fisherman / Knight / Gentleman
Martin Nikonoff Fisherman / Knight / Gentleman With thanks to:
Simon Bourne, Catherine Jayes, Peter Kirwan, Élise Rale, Nicolas Rolland, Simon Kennedy, Jem Talbot,
Creative team: Roger Graham, Rob Hopkin, Lilas en Scène, UnityQ (Rinouk Rider, Nicolas Peoc’h, Hugo Potin, Kenan Trevien).
Freight: Fly by Nite Haulage, Renaud Décotrans.
Declan Donnellan Director Prop making: Soux.
Nick Ormerod Designer Set building: Ateliers du Théâtre du Nord.
Pascal Noël Lighting Designer The production contains extracts from the radio programme ‘Les Matins du Samedi’
by Caroline Broué broadcast on 2 December 2017 on France Culture.
Kenan Trevien Sound Designer
Produced by Cheek by Jowl in a co-production the Barbican, London;
Angie Burns Costume Supervisor Les Gémeaux/Sceaux/Scène Nationale; Théâtre du Nord, CDN Lille-Tourcoing-Hauts de France
Valérie Bezançon Vocal Coach with support from Jeune Théâtre National France
with thanks to the Laura Pels International Foundation for Theater
Marcus Roche Assistant Director
Périclès, Prince de Tyr was first performed on 7 March 2018 at Les Gemeaux/Sceaux/Scène Nationale
Michelangelo Marchese Associate Director
5 3
This is the rarest
dream that e’er dull’d
sleep did mock sad
fools withal.
Christophe Grégoire 7 5
1 2
Cheek by Jowl in France
Following their performances of Le Cid and As You Like It at the Bouffes du Nord
theatre in Paris, Peter Brook invited Declan Donnellan and Nick Ormerod to form
a company of French actors to stage Andromaque by Racine in 2007.
The performance was subsequently invited to festivals across Europe. In 2013,
this same ensemble of actors went on to perform Ubu Roi in theatres and festivals
around the world. Joined by three new company members, this season the company
now performs Périclès, Prince de Tyr throughout Europe.
4
A brilliant French ensemble Remarkable audacity… absolute
The Independent clarity… Donnellan is one of the most
original directors in theatre today
3 Donnellan gets richly uninhibited Le Figaro on Andromaque
performances from his cast
The Guardian on Ubu Roi Hilarious, startling, unsettling
Le Monde on Ubu Roi
Outrageous, overflowing with
unbridled energy
Le Figaro on Ubu Roi
A raging force of energy
1 Camille Cayol, Christophe Grégoire in Andromaque
New York Times © Keith Pattison
2 Cécile Leterme in Ubu Roi
A crack ensemble of French actors… © Johan Persson
sweeping passion… terrifying 3 Camille Cayol, Christophe Grégoire in Ubu Roi
The Guardian on Andromaque © Johan Persson
4 Xavier Boiffier in Andromaque
© Keith Pattison
10
A Painful Adventure?
by Dr Peter Kirwan
‘A mouldy tale’, said Ben Jonson of Pericles its interval of time that gives a baby time of classical or neoclassical decorum, yet
in 1629. Only six years after Jonson had to grow to marriageable age, its continent- were among the most popular plays and
declared Shakespeare ‘not of an age, but spanning geography and its plethora of books of their time.
for all time’, his disparagement of this play characters and situations, Pericles marks
(as well as being unusually suited to such a a return to an earlier genre of writing – Even when Confessio Amantis was first written
waterlogged play) casts it already as romance – in a new form. around 1393, the narrator of that poem
unfashionably old. Yet Pericles, arguably acknowledged the story as antique. Gower’s
one of the most innovative plays of its One of the negative impacts of the narrator, the Chaplain of Venus, uses the story
moment, was unabashedly old-fashioned disproportionate attention paid to to lecture the poem’s protagonist about the
on arrival, wearing its medieval sources Shakespeare’s First Folio by modern dangers of unlawful lust, focusing on Antiochus’s
(primarily Gower’s Confessio Amantis) on critics is the tendency to default to that incestuous relationship with his daughter.
its sleeve and revelling in self-consciously book’s three declared genres – comedies, Wilkins and Shakespeare acknowledge at the
archaic language. histories and tragedies – when discussing start of the play the datedness of the material,
all drama from the period. But the earlier the ‘song that old was sung’. Yet Pericles was
Shakespeare had used the story of Tudor passion for romance, including in at the vanguard of a new fashion. First performed
Apollonius of Tyre as related in Confessio plays by John Lyly, Robert Greene and around 1608, it coincided with John Fletcher’s
Amantis before – in The Comedy of Errors, many anonymous playwrights, as well as in 1609 publication of The Faithful Shepherdess,
we again see a husband and wife bestselling prose fiction such as Lawrence containing his definition of tragicomedy,
separated by shipwreck and the husband Twine’s 1576 The Pattern of Painful
eventually discovering the wife, presumed Adventures (another source for Pericles), Not so called in respect of mirth and killing,
dead, living in a temple – but that was in a defied easy generic categorisation. Stories but in respect it wants deaths, which is
play that roughly obeyed the unities of featuring chivalric adventure, shepherds enough to make it no tragedy,
time, place and action. Pericles, written and kings, love and magic, resisted a yet brings some near it, which is enough
with George Wilkins, shatters them. With single mood and did not fit with principles to make it no comedy.
11 11 Christophe Grégoire 9
The new ‘tragicomedy’, popular from c.1608 to Thaisa; Shakespeare’s more reflective Dr Peter Kirwan is Associate Professor of Early
until the theatres closed in 1642 (and section covers the separation, trials and Modern Drama at the University of Nottingham.
beyond), drew heavily on the conventions of eventual reunification of the nuclear family. He is currently completing a monograph on
the older ‘romance’, developing a tonally The result was a play that, despite its very Cheek by Jowl (Bloomsbury) and a revised
complex mode of drama. Pericles may be a poor textual condition (including large edition of Pericles (Cambridge University Press).
‘late’ play in relation to Shakespeare’s career, sections of prose misaligned as verse and His other publications include Shakespeare and
but it is simultaneously a very early example vice versa), was reprinted six times by 1635, the Idea of Apocrypha (Cambridge, 2015),
of the tragicomedy that would become ever as well as being rewritten as a novella in Canonising Shakespeare (Cambridge, 2017)
more popular in the hands of John Fletcher, Wilkins’s 1608 The painful adventures of and Shakespeare and the Digital World (Cambridge,
Francis Beaumont and Philip Massinger. Pericles. 2014). He blogs at The Bardathon:
http://blogs.nottingham.ac.uk/bardathon
Pericles was left out of the First Folio, which Even though Pericles joined the main
may be because of the play’s extremely poor Shakespeare canon in 1790, having been
textual state or because of what was known grouped with other ‘apocryphal’ plays for
about its collaborative nature. Scholars are much of its publication history, its
almost unanimous on George Wilkins’s collaborative nature, generic experimentation
authorship of at least the first two acts. While and complex textual history have continued to
much of what is written about Wilkins focuses keep it on the margins of the canon. Yet its
on his brushes with the law owing to violence treatment of refugees from Syria shipwrecked
and brothel-keeping, he appears to have been in the Mediterranean, its frank discussion of
a successful freelance writer of pamphlets abuses of power, and its concern with
and plays, including the popular The Miseries reconciliation and reunion have all generated
of Enforced Marriage, performed by the fresh interest in recent years. The play deals
King’s Men. While many critics have been with both old and new, with nostalgia and
moved to comment on the stylistic disparities new life, with a literary tradition and new
between the first two and latter three acts, experiment, and, like its characters, offers
these might also be indicative of the different fresh discoveries at each new destination.
needs of the play’s two halves: Wilkins
constructs a fast-moving, pan-Mediterranean
adventure culminating in Pericles’s marriage
13 Camille Cayol 13 11
15 Xavier Boiffier, Valentine Catzéflis 15 13
The Company
Marina Aguilar Wardrobe Valentine Catzéflis Antiochus’s Daughter / Marina
Trained at Formamod (Paris) and Scaenica (Montpellier). Opera and Trained at Conservatoire National Supérieur d’Art Dramatique (Paris).
dance includes: Giselle, Don Quichotte, Forsythe, Fokine/Nijinski, Theatre includes: Histoires de Famille by Srbljanović (T. de
La Veuve Joyeuse, La Bohème, Faust, Nilly Budd, Rigoletto, Montalembert); La Nuit de Valognes by Schmitt (A. Catzéflis); Ma
La Damnation de Faust, Notre Dame de Paris, La Belle au Bois Solange, Comment t’Écrire mon Désastre by Renaude (J. L. Jacopin);
Dormant (Opéra de Paris); Ram Dam (Maguy Marin); Cirque Eloize. Politique, Documentaire Théâtral (F. Sitbon); L’Opéra du Gueux by Gay,
Theatre includes: Andromaque by Racine, Ubu Roi by Jarry (Cheek Le Duc de Gothland by Grabbe (B. Sobel); Hypnos Rex by MacDonald
by Jowl); Les Bonnes by Genet, La Nuit des Rois by Shakespeare (Ben Sadia-Lavant); Après, Mais Juste Avant by Mentens, Roméo et
(Jacques Vincey); La Comédie des Erreurs, L’Amour des Trois Juliette by Shakespeare (N. Bekhtaoui). Film includes: Nos Dix-huit
Oranges (Dan Jemmett); Calderón/Pasolini (Laurent Fréchuret); Ans (F. Berthe); La Guerre est Déclarée (V. Donzelli); Indésirables
Le Songe d’une Nuit d’Eté and Othello by Shakespeare (Laurent (P. Barassat); Mes Provinciales (J.-P. Civeyrac). Television includes:
Laffargue); L’Ultime Chant de Troie (Simon Abkarian); Le Marchand Des Intégrations Ordinaires (J. Sicard); Simple, Éléonore l’Intrépide
de Venise (Garcia Fogel); Electre by Sophocles and Médée by (Y. Calbérac). Short films: Le Scooter à Deux Vitesses (J. Sicard),
Euripides (Daniel Mesguich). Nocturnes (B. Thouin); Zzz (M.-E. Chouraqui); Voir le Jour (F. Le Gouic).
Music: Valentine collaborates with the Latin music band Carabanchel.
Xavier Boiffier Antiochus / Léonin / Bout / Lysimaque
Trained at Conservatoire National Supérieur d’Art Dramatique Camille Cayol Dionysa / Thaïsa / La Maquerelle
(Paris). Theatre includes: Andromaque by Racine, Ubu Roi by Trained at MKHAT (Moscow). Theatre includes: Between 1994 –
Jarry (Cheek by Jowl); Twelfth Night by Shakespeare (Comédie 2002, Camille was a member of the repertory company at The
Française); The Goat, or Who is Sylvia? by Albee (Frédéric Tabakov Theatre (Moscow), performing in the following plays in
Bélier-Garcia); A Dream Play by Strindberg (Jacques Osinski); the repertoire, in Russian: The Idiot by Dostoevsky (A. Marin);
Ithaca by Botho Strauss (Jean-Louis Martinelli); Anna Karénine by Confessions of Felix Krull by Mann (A. Gitinkin); Camera Obscura
Tolstoi (Théâtre de la Tempête). Television includes: Ainsi Soient-ils by Nabokov (A. Kouzntssov); Biloxi Blues by Simon (O. Tabakov);
(Rodolphe Tissot). Film includes: Brice de Nice (James Huth); An Ordinary Story by Gontcharov (O. Tabakov); We by Zamyatin
Terre Battue (Stéphane Demoustier); Sun (Jonathan Desoindre). (A. Marin); Neurosis by Minchin (A. Gitinkin); Premonition Dream by
Short film: Manon sur le Bitume (Elizabeth Marre/Olivier Pont). Gladilin (P. Gladilin); The Prayer by Arrabal (L. Rochkavan); The Night
Watches by Bonnaventura (L. Rochkavan); The Roof by Galin
Angie Burns Costume Supervisor (O. Tabakov). Other theatre includes: Ubu Roi by Jarry, Andromaque
Angie has worked with Cheek by Jowl since 1986 and has worked with by Racine, Three Sisters by Chekhov (Cheek by Jowl); Phantom
Declan and Nick at the National Theatre and Royal Shakespeare (Azard Dance Company – I. Catalan); The Storm by Ostrovski
Company Stratford. She has also supervised many West End shows (M. Makéïev). Film includes: Le Rêve de Frédérique (Le Rêve de
since the late 1970s and was Costume Supervisor at Regents Park Frédérique (F. Henry/M. Gerin); La Guerre est Déclarée (V. Donzelli);
Open Air Theatre for 45 years. Cap Nord (S. Rinaldi); Longtemps Après la Dernière Note
(M. Fanfani); Étoile Violette, Tirez la Langue Mademoiselle,
La Prunelle de mes Yeux (A. Ropert); Mystification (S. Rinaldi);
L’Éclaireur (D. Glissant); Nos Vies Formidables (F. Godet).
17 Camille Cayol, Christophe Grégoire 18
Sharlit Deyzac Company Manager Christophe Grégoire Périclès / Cléon / Le Maître André Néri Technical Director
and Surtitles Operator Trained with Radu Pensciulescu, and at the Roy Hart Theatre. Theatre Technical Director since 1992, André works with, amongst
Trained at Guilford School of Acting (UK). Theatre includes: As Actor: includes: Andromaque by Racine, Ubu Roi by Jarry (Cheek by Jowl); others, the Centre Dramatique National (Sartrouville), the
Boys Club, DIY Horror Play, Folie à Deux (Two Tongue Theatre); Home Liliom by Ferenc Molnar (G. Stoev); Tartuffe by Molière, Summerfolk Théâtre de La Criée (Marseilles), the Théâtre de la Ville and the
is Where… (Hyphenated); Ionesco – Dinner at The Smiths (Marianne by Gorky, Barbarians by Gorky, Hedda Gabler by Ibsen, Platonov Théâtre des Bouffes du Nord (Paris). He collaborates with the
Badrichani); The Lonely Soldier Monologues by Helen Benedict and The Seagull by Chekhov (É. Lacascade); The Cherry Orchard following directors: Joël Jouanneau, Gildas Bourdet, Olivier Py,
(PMJ Productions); Trois Putes (BodArt/Gaspard Legendre); The Eyes by Chekhov, Real Blonde and Others… after Kérouac (P. Desveaux); Laurent Gutmann, Jacques Vincey, Macha Makeïeff and Jean
Have it (Marianne Badrichani/Bread & Goose); The Great Gatsby, Méphisto by Bertholet (A. Bisang); La Maladie d’Être Mouche by Bellorini. André joined Cheek by Jowl in 2009 for the creation
L’Etranger, Rhinocéros (ADG/Tour de Force). Radio includes: Steininger (C. Grégoire); Invisible Cities by Calvino (H. Lelardoux); of Andromaque and was Technical Director of Ubu Roi in
As Actor: The Arabian Nights and Hair of the Dog (BBC Radio 4). Polyeucte by Corneille (D.Terrier); Sallinger by Koltès (K. Abdelli); 2013-15.
Film includes: As Actor: Picnic in Gaza (PVK Pictures); Art Ache A Midsummer Night’s Dream by Shakespeare (M. Pierre); Balkan
(Sea Urchin Prod); Mr Bean’s Holiday (Working Title Films); Chop Triptych 3 plays by Kis, Plevnes, Kovac, Compétition by Lenoir Martin Nikonoff Fisherman / Knight / Gentleman
Chop (4D Pictures); The Dreamer (Steve Smith). Since 2013, Sharlit (P. Verschueren); The Magnificent Cuckold by Crommelynck and Trained at Cours Florent (Paris), Conservatoire National
is the curator of London’s annual European theatre festival Voila! Dramen after Kaiser (P. Bigel). Television includes: Ainsi Soient-ils Supérieur d’Art Dramatique (Paris) and L’Atelier (Théâtre
Europe and co-artistic director of Two Tongue Theatre. (R. Tissot); Interpol – Samia (J. Navarro); Les Tocqués – Un Nouveau National de Toulouse). Theatre includes: Le Songe d’une Nuit
Départ (L. Katrian); Guy Môquet, Un Amour Fusillé (P. Berenger); d’Été by Shakespeare (Guy-Pierre Couleau); La Mécanique
Declan Donnellan Director La Cour des Grands - 1 (C. Barraud); P.J. (C. Barbier). Film includes: du Cœur by Malzieu (Coralie Jayne); Un Dieu un Animal
Declan Donnellan is joint Artistic Director of Cheek by Jowl. As La Mer à Boire (J. Maillot); Hopecity (L. Jamet); Jean-Jean after Uncle by Ferrari (Julien Fisv era). Martin has worked with, amongst
Associate Director at the National Theatre his productions include: Vanya by Chekhov (R. Renucci); L’Esclave de Magellan (T. Wallon); others, Julien Gosselin, Jean Bellorini, Xavier Gallais,
Fuenteovejuna; Sweeney Todd; The Mandate; both parts of Angels in Tram 83 by Mujila (J. Kretzschmar); Victor ou les Enfants au Pouvoir Florient Azoulay, Michel Fau and Catherine Marnas.
America. Other productions include: Le Cid (Avignon Festival); The by Vitrac (F. Poinceau).
Winter’s Tale (Maly Drama Theatre of St.Petersburg); Shakespeare in Pascal Noël Lighting Designer
Love (West End). Opera includes: Falstaff (Salzburg Festival). Ballet Cécile Leterme Doctor / Simonade / Cérimon / Diane Theatre includes: Ubu Roi by Jarry (Cheek by Jowl); D.I.V.A
includes: Romeo and Juliet; Hamlet (Bolshoi). Film includes: Bel Ami. Trained in Modern Languages, Music and Theatre. Theatre includes: (Manon Savary); Bled Runner by Fellag and Petits Crimes
In 2009, Declan shared the Carlemany Prize with Craig Venter and Andromaque by Racine, Ubu Roi by Jarry (Cheek by Jowl); Conjugaux by Éric-Emmanuel Schmitt (Marianne Epin); La
Archbishop Tutu. He was awarded the Golden Lion of Venice for Il Campiello by Goldoni, Le Chaperon Rouge and Le Dragon by Princesse de Clèves by Lafayette (Magali Montoya); The Iliad
Lifetime Achievement in 2016 and an OBE for services to Theatre in Schwartz, La Cagnotte by Labiche, Broadway en Brie by Paré by Homer (Pauline Bayle); Tartarin by Tarascon, La Fille à Marins
the Queen’s Birthday Honours in 2017. His book, The Actor and the (Laurent Serrano). Music/opera includes: La Fille du Diable and À la Recherche de Joséphine (Jérôme Savary); Le Barbier
Target, was first published in Russian in 2000 and has subsequently (Jean-Marie Machado and Jean-Jaques Fdida); La Périchole de de Séville by Beaumarchais, La Place Royale by Corneille,
appeared in fifteen languages. Barbarie after Offenbach (Bafduska Company); Le Roi qui n’Avait Guantanamo by Frank Smith (Eric Vigner); Antigone by
pas d’Oreilles by Paré and Urbain; L’Arbre sans Lumière by Urbain Sophocles, Oedipus-Rex after Sophocles, Anouilh and
Vincent Gabriel Lighting and Prou (musical audio-book); Zwei Akte by Mauricio Kagel (with Chartreux, Le Pont by Van Wetter (Sotigui Kouyaté);
Trained in Lighting Direction (Nantes). Theatre includes: Andromaque the 2E2M ensemble); Cabaret du Crime (cabaret with Véronique A Midsummer Night’s Dream (M. Mayette-Holtz). Dance
by Racine, Ubu Roi by Jarry (Cheek by Jowl); Zaïdè, Mon Grand-père Briel). Television includes: Groland (Canal +). Cécile has worked includes: Giselle and Noureev Diverts (Sylvie Guillem).
et Moi (Félix Pruvost); Nothing, la Tragédie du Roi Lear after with, amongst others, Didier Ruiz, Anouch Paré, Bruno Cochet, Opera includes: Nabucco by Verdi (Jean-Christophe Mast);
Shakespeare (Sylvain Levitte); Belkheïr ou une Carte ne vous Sauve Cendre Chassanne, Thomas Gaubiac and Gérard Chabanier at Le Médecin Malgré Lui by Gounod (Alain Terrat).
pas la Vie pour Rien by Papin (Anne Artigau); Connexions Les Tréteaux de France.
Spectrales (Bouley-Franchitti); Minetti by Bernhard (Gerold
Schumann). Vincent has worked with, amongst others, the Avignon
Festival, the Centre Dramatique National Sartrouville and the Théâtre
Nanterre-Amandiers, as Head of Lighting.
19 Cécile Leterme 20Nick Ormerod Designer Marcus Roche Assistant Director
Nick Ormerod is joint Artistic Director of Cheek by Jowl. For the Trained at Royal Scottish Academy of Music and Drama, and École
National Theatre: Fuenteovejuna; Peer Gynt; Sweeney Todd; The Philippe Gaulier. Theatre (Assistant) credits include: The Winter’s
Mandate; both parts of Angels in America. For the Royal Shakespeare Tale (Cheek by Jowl); The Odd Couple, Macbeth, Cinderella (Perth);
Company: The School for Scandal; King Lear (RSC Academy) and Fleeto (Tumult in the Clouds). Directing credits include: The Agony
Great Expectations, which he also co-adapted. Other work includes: and Ecstasy of Steve Jobs (Gilded Balloon); Vote for Me (Arches);
The Rise and Fall of the City of Mahagonny (English National Opera); The Night Before the Trial (Tron Theatre); Romeo and Juliet (Taganrog
Martin Guerre (Prince Edward Theatre); Hayfever (Savoy Theatre); Opera Drama Theatre); and King Ubu (A Play, A Pie and A Pint).
Antigone (The Old Vic); Falstaff (Salzburg Festival); Shakespeare
in Love (West End). Nick co-directed the film Bel Ami with Declan
Donnellan. In 2017, he was awarded an OBE for services to Theatre Kenan Trevien Sound Designer and Sound
Design in the Queen’s Birthday Honours. Since 1996, Kenan has worked as musician, sound engineer and
designer with, amongst others, the Théâtre de la Ville (Paris), the
Guillaume Pottier Fisherman / Knight / Gentleman Centre National de Création Musicale La Muse en Circuit (Alfortville),
Trained at Studio Théâtre (Asnières) and Conservatoire National Bernardo Montet, Susan Buirge, Gisèle Vienne, Pierre Guillois,
Supérieur d’Art Dramatique (Paris). Theatre includes: Le Mariage Erwan Keravec, the Collectif AOC and the Ensemble Itinéraire.
de Figaro by Beaumarchais (Vélo Volé); Les Trois Mousquetaires Kenan joined Cheek by Jowl for the creation of Ubu Roi in 2013.
Guillaume Pottier Martin Nikonoff
– La Série (Clara Hédouin and Jade Herbulot). Series: Loulou (ARTE
France and La Onda Productions). Guillaume has worked with,
amongst others, Gerard Desarthes, Laurent Natrella, Anne Alvaro,
Thierry Thieû Niang, Collectif 49 701 and La Comète Films.
Lucile Quinton Assistant Stage Manager
Lucile trained at Cinécréatis (Nantes) and CFPTS (Bagnolet). Theatre
includes: As ASM: Le Faiseur by Balzac (Demarcy-Mota). Lucile has
worked with Chez Louis and Reepost studios (Paris), the Théâtre des
Abbesses (Paris), Théâtre de Sénart (Sénart), Domaine Do
(Montpellier), Théâtre Molière (Sète), Printemps des Comédiens
(Montpellier) on productions including Und by Barker (Jacques
Vincey); Polyeucte by Corneille (Brigitte Jacques); Une Chambre en
Inde (Ariane Mouchkine); Plexus (Aurélien Bory); Vera by Zelenka
(Marcial Di Fonzo Bo and Elise Vigier) and Les Rustres by Goldoni
(Jean-Louis Benoit).
Martin Nikonoff, Guillaume Pottier,
21 Camille Cayol, Cécile Leterme. 22Périclès, Prince de Tyr Périclès, Prince de Tyr
Performances Live Stream
7 – 25 March 2018 3 – 4 May 2018
Paris, Les Gémeaux, Sceaux, Perpignan, Théâtre de l’Archipel,
France France
28 – 30 March 2018 15 – 19 May 2018
Créteil, Maison des Arts de Lille, Théâtre du Nord, France
Créteil, France
30 May – 3 June 2018
6 – 21 April 2018 Madrid, Centro Dramático
London, Barbican, UK Nacional, Spain
24 – 28 April 2018 11 – 12 June 2018
Oxford, Oxford Playhouse, UK Naples, Napoli Teatro Festival,
Italy
7:30pm Thursday 19 April 2018
Live from the Barbican, London.
The show will be screened via
www.cheekbyjowl.com/livestream
and also available on Facebook Live.
23 23 24 24Did you not name, a tempest, a birth and death? 25 Guillaume Pottier, Christophe Grégoire, Martin Nikonoff 25 26
Education Workshops
Cheek by Jowl are a listed theatre practitioner on A-Level Drama
specifications. We currently offer Practitioner Workshops to Drama
Cheek by Jowl is committed to developing the and Theatre students aged 14+. In addition, we also offer practical
theatregoers and theatre practitioners of tomorrow. Shakespeare in Performance workshops for English A-Level students.
Some of our strongest audience base is drawn from school groups, academics and ‘The workshop was a great introduction to Declan and Nick’s practice and The Winter’s
teachers. We want to grow this interest and give students across the country the Tale. It took students through elements of The Actor and The Target whilst weaving
opportunity to see a Cheek by Jowl show, to support their existing Theatre and études and scenes from the text seamlessly. The practitioner’s sensibility connected
English studies, and broaden their contextual knowledge across other subject areas. the theory, text and young people with ease, seriousness and joy!’
Head of Drama, Compass School, Bermondsey
Live-Capture Recordings & Education Packs ‘The workshop gives you your own understanding of the play.’
Live-capture recordings of Measure for Measure and The Winter’s Tale are freely Workshop participant, Wrexham
available to schools, colleges and universities throughout the UK and are complemented
‘It was Shakespeare in a different and innovative style…’
by a free digital education pack that integrates with key scenes.
Workshop participant, Ilkley
The packs include:
If you are interested in finding out more about our education
• Interviews with the cast and directors Visit cheekbyjowl.com/education.php
offers, please contact our Marketing & Education Manager:
• Analysis of scenes, characters and design to sign up and receive the digital packs
dominic@cheekbyjowl.com
• Discussion of themes for free.
+44 (0) 207 382 6176
• Contextual essays by leading academics
• Exercises and activities ‘The Winter’s Tale pack is honestly
• Cheek by Jowl practitioner technique the best and most informative I have
• History and notes on the first performances ever come across. It will be a fantastic
• Background on Cheek by Jowl resource in preparing students for
• External links and further reading their written exams in the summer.’
Head of Drama, Tuxford Academy, Nottingham
Joy Richardson, Orlando James:
The Winter’s Tale Rehearsal (2015)
27 © Johan PerssonHelp support Cheek
by Jowl’s work
Cheek by Jowl runs three fundraising Patron Scheme Production Patrons
schemes, to support our productions and
As a Patron of Cheek by Jowl we ask you to join We also offer bespoke packages
education work. We want to continue to do
us on a journey for each production, following for individuals or businesses to
what we do best, at the highest level... always
it from conception, through to an evening become a patron of a production.
taking risks with our work and ensuring that,
watching the performance.
in whatever language, we can produce Production Patrons start at £10,000
world-class theatre. We rely on the generous As a Patron you will get: and we curate a bespoke package
support of our donors to do this. to accompany this.
• All benefits of Friends
• Named credit on our website and For more information please contact
Friends’ Scheme production programme Eleanor at eleanor@cheekbyjowl.com
As a Friend you will get: • A complimentary programme signed or on +44 (0)20 7382 2353
by the cast
• Priority booking for UK performances
• An invitation to three events around
• Access to pre-show talks
the production:
• Regular updates and news via our
– Our Artistic Directors talking about
newsletter
their vision for the production
• The opportunity to support and sustain
– A rehearsal of the production
one of the United Kingdom’s finest
– Drinks with the cast and team after
companies
a performance
To become a Friend of Cheek by Jowl
To become a Patron of Cheek by Jowl
costs just £35 per year
costs just £750 per year
29 Simon Coates and Adrian Lester, As You Like It (1994) © John Haynes 30From the archive:
Pericles 1984 – 1985
Cheek by Jowl first produced an English language version of Pericles in 1984. The first
performance was at Theatre Royal, Bury St Edmunds on 1 February that year.
1
Having been formed in 1981, the company was still relatively young, however, even at
this stage a commitment to presenting work internationally was evident. Interspersed with
dates around the UK, Pericles was invited to festivals and theatres in Israel, Spain, and
Germany, before playing in rep with two other Cheek by Jowl productions at London’s
Donmar Warehouse in January 1985.
Following a legacy gift left to us by Sophie Hamilton, a former Chair of the company, we
were able to digitise our entire physical archive and give free access to the company’s
37 year history online.
This archive is a continuous ‘living’ celebration of Cheek by Jowl’s work both past
and present and hosts interesting materials such as prompt books, photographs,
designs, video interviews, tour information and rehearsal notes.
You can find more about our previous production of Pericles and over 30 others at:
archive.cheekbyjowl.com
31 Pericles company, Pericles (1984) © Peter Mares 32Cheek by Jowl has performed in… Aberdeen, Accrington, Adelaide, Aldeburgh, Aldershot, Ales, Alexandria, Alkmaar, Almada, Almagro, Liverpool, Ljubljana, Llantwit Major, Lochgelly, London, Los Angeles, Loth, Loughborough, Louviers, Ambleside, Amersfoort, Amiens, Amstelveen, Amsterdam, Ankara, Ann Arbor, Antwerp, Apeldoorn, Lowestoft, Ludwigshafen, Luton, Luxembourg, Lyon, Maastricht, Madras, Madrid, Maidstone, Armagh, Arnhem, Assen, Athens, Aversham, Avignon, Avilés, Aylesbury, Bacup, Banbury, Bangalore, Mallorca, Manchester, Market Drayton, Marseilles, Melbourne, Meppel, Mexico City, Meylan, Meyrin, Bangor, Barcelona, Barrow, Barton-upon-Humber, Basildon, Basingstoke, Bath, Beauvais, Bedford, Middelburg, Milan, Milton Keynes, Moffat, Mold, Montevideo, Moscow, Mulhouse, Mumbai, Munich, Beijing, Belfast, Belgorod, Belo Horizonte, Bergen Op Zoom, Berkeley, Berlin, Béthune, Béziers, Murcia, Namur, Nancy, Nantes, Naples, Neerpelt, Nelson, Neuchatel, New York, Newcastle, Biggar, Bilbao, Billericay, Birmingham, Blackpool, Blois, Bogotá, Bordeaux, Boston, Bourges, Newtown, Nice, Nijmegen, Norwich, Nottingham, Oldham, Omagh, Omsk, Ormskirk, Oslo, Oswestry, Bourne End, Bracknell, Brasília, Bratislava, Breda, Brétigny-sur-Orge, Bridgnorth, Bridgwater, Oundle, Oxford, Paris, Pendley, Perth, Peshawar, Petit-Quevilly, Phoenix, Pilsen, Plovdiv, Plymouth, Brighton, Brisbane, Bristol, Brno, Broadstairs, Bronte, Brussels, Bucharest, Buckingham, Budapest, Porto, Porto Alegre, Portsmouth, Prague, Preston, Princes Risborough, Princeton, Pushkinskie Gory, Buenos Aires, Builth Wells, Burton-Upon-Trent, Bury St Edmunds, Buxton, Caen, Cairo, Calcutta, Quimper, Recife, Recklinghausen, Redhill, Reims, Rennes, Reykjavic, Ribadavia, Richmond, Riga, Cambridge, Canterbury, Caracas, Carlisle, Cergy, Châlons-en-Champagne, Chartres, Chateauroux, Rio de Janeiro, Roermond, Rome, Roosendaal, Rotterdam, Rugby, Runcorn, Ryazan, St Andrews, Cheltenham, Chelyabinsk, Chertsey, Chicago, Chichester, Chipping Norton, Cleethorpes, Cluj, St Austell, St. Petersburg, Sainte-Maxime, Saint-Quentin-en-Yvelines, Salford, Salt, Santiago de Chile, Colchester, Coleraine, Cologne, Colombo, Copenhagen, Coventry, Craiova, Crawley, Créteil, San Sebastián, Samara, São Paulo, Sceaux, Scunthorpe, Seoul, Shanghai, Sheffield, Shizuoka, Crewe, Croydon, Cuyk, Darlington, Delhi, Den Bosch, Den Haag, Derry, Dhaka, Dilbeek, Doetinchem, Shrewsbury, Sibiu, Singapore, Sittard, Skegness, Sochi, Sofia, Southampton, Southport, Stadskanaal, Drachten, Dublin, Dudley, Dumfries, Dundee, Durham, Düsseldorf, Eastbourne, Edinburgh, Stafford, Stamford, Stevenage, Stirling, Stockholm, Stoke-on-Trent, Stony Brook, Stranraer, Ekaterinburg, Ellesmore, Elsinore, Epsom, Erlangen, Evesham, Evreux-Louviers, Exeter, Fareham, Strasbourg, Stratford-upon-Avon, Stratton-on-Fosse, Strombeek-Bever, Sudbury, Sutton, Sydney, Farnham, Frankfurt, Fribourg, Frome, Gainsborough, Gap, Gatehouse, Gdansk, Geneva, Girona, Taipei, Tallin, Tampere, Tamworth, Taormina, Tartu, Taunton, Tel Aviv, Telford, Tempe, Tewkesbury, Glasgow, Gorinchem, Grenoble, Grimsby, Groningen, Great Yarmouth, Guanajuato, Guildford, Thame, Thessaloniki, Thornhill, Tokyo, Tolworth, Torrington, Tours, Tunbridge Wells, Turin, Gutersloh, Haaksbergen, Haarlem, Haifa, Halesowen, Harderwijk, Harlow, Hasselt, Helmond, Turnhout, Tyumen, Uppingham, Utrecht, Valence, Valladolid, Valletta, Varna, Venice, Venlo, Helsinki, Hemel Hempstead, Hereford, Heusden-Zolder, Hexham, High Wycombe, Hilversum, Vienna, Vitoria-Gasteiz, Voronezh, Wakefield, Wallingford, Warminster, Warsaw, Warwick, Hong Kong, Hoogeveen, Hoorn, Horsham, Hounslow, Huddersfield, Hull, Ipswich, Irvine, Islamabad, Washington, Wellington, Wells, Whitehaven, Winchester, Windsor, Withernsea, Wolverhampton, Istanbul, Jerusalem, Kandy, Karachi, Katowice, Keswick, Kathmandu, Kidderminster, King’s Lynn, Worthing, Wuerzburg, Yalta, Yerevan, York, Zagreb, Zaragoza, Zürich, Zutphen and Zwolle. Kirkcudbright, Kortrijk, Krakow, Krasnoyarsk, Kuala Lumpur, Kyoto, Lagos, Lille, Lipetsk, Lisbon, 33 34
1 2
Cheek by Jowl in Russia
In 1986, Russian theatre director Lev Dodin Festival, under the leadership of Director
invited Declan Donnellan and Nick Ormerod Valery Shadrin, commissioned Donnellan
to visit his company in Leningrad. Ten years and Ormerod to form their own company
later, they directed and designed The Winter’s of Russian actors in Moscow.
Tale for the Maly Drama Theatre of Saint-
This sister company performs in Russia and
Petersburg, a production which went on to
internationally and its current repertoire
win Russia’s prestigious Golden Mask Award
includes Boris Godunov by Pushkin, Twelfth
– an award that Cheek by Jowl’s Measure for
Night and The Tempest by Shakespeare, and
Measure was nominated for in 2015.
Three Sisters by Anton Chekhov. Measure
Throughout the 1990s the Russian Theatre for Measure in 2013 was Cheek by Jowl’s
3 4 5 Confederation had regularly invited Cheek first co-production with Moscow’s Pushkin
by Jowl to Moscow as a part of the Chekhov Theatre. This relationship will continue
International Theatre Festival, and this with our new production of Beaumont’s
relationship with Russia intensified in 1999, outrageous satire The Knight of the Burning
when the Chekhov International Theatre Pestle first showing in 2019.
1 Irina Grineva and Andrei Kuzichev in Boris Godunov
© Chi Wai
2 Anna Khalilulina and Yan Ilves in The Tempest
© Johan Persson
3 Vitaly Egorov and Irina Grineva in Three Sisters
6 © Igor Zakharkin
4 Igor Yasulolvich and Ilya Illin in Twelfth Night
© Keith Pattison
5 Anna Khalilulina, Igor Teplov, Alexander Arsentyev in Measure for Measure
©Johan Persson
6 Igor Yasulovich in The Tempest
© Johan Persson
36LIFT
at the Barbican
June 2018
Back to Back Theatre
Lady Eats Apple
A large-scale, experiential production,
featuring ingenious binaural sound
Taylor Mac
A 24-Decade History
of Popular Music:
The First Act
A no-holds-barred extravaganza
of music, art and activism
Taylor Mac © Sarah Walker
37 Xavier Boiffier 37 5Complicité/ Young
Simon McBurney Barbican
The Encounter
14 Apr–5 May 14–25
‘Hear the world through
new ears’ The Times
★★★★★
Independent
★★★★★
Daily Telegraph
★★★★★
Evening Standard
★★★★★ Be there when
Financial Times
it happens
Get discounted tickets to unmissable
art and entertainment
The Encounter © Robbie Jack
Make it happen
Cultivate your creativity and join a
growing network of young creatives
39 39Barbican Centre
Barbican Centre Board Producers Marie Curtin, Communications Department
Chairman Giles Shilson Jill Shelley, Angie Smith Head of Communications
Deputy Chairman John Tomlinson Production Managers Lorna Gemmell
Board Members John Bennett, Jamie Maisey, Lee Tasker Senior Communications Manager
Russ Carr, Gerard Grech, Technical Managers Richard Beaton, Angela Dias
Tom Hoffman, Wendy Hyde, Tony Brand, Steve Daly, PR Consultant Bridget Thornborrow
Emma Kane, Vivienne Littlechild, Jane Dickerson, Martin Morgan Communications Officer
Edward Lord, Stage Managers Lucinda Hamlin, Freddie Todd Fordham
Catherine McGuinness, Rachel Hogg Communications Intern
Wendy Mead, Lucy Musgrave, Technical Supervisors Kevin Atkins, Alicia Gelassakis
Graham Packham, Martin Coates, Nik Kennedy,
Trevor Phillips, Jamie Massey, Stevie Porter, Audience Experience
Judith Pleasance, Tom Sleigh Tom Salmon, John Seston, Head of Audience Experience,
Clerk to the Board Gregory Moore Chris Wilby Operations & Sales David Duncan
PA to Head of Theatre David Green Audience Experience Managers
Barbican Centre Trust Assistant Producers Anna Dominian, Mark Fleming, Sheree Miller
Chairman Emma Kane Alex Jamieson, Bernie Whittle Ticket Sales Managers Lucy Allen,
Trustees Theatre Administration Trainee Oliver Robinson, Ben Skinner,
Richard Bernstein Olivia Nwabali Jane Thomas, Will Warnock,
Sir Roger Gifford Production Administrator Andy Williamson
Sir Nicholas Kenyon Caroline Hall Centre Managers (Delivery)
Professor Dame Henrietta Moore Production Assistant Lauren Hamilton James Carruthers, Robert Norris,
John Murray Technicians John Gilroy, Mo Reideman
Alasdair Nisbet Burcham Johnson, Centre Manager (Planning)
John Porter Christian Lyons, Josh Massey, Pheona Kidd
Dr Giles Shilson Lawrence Sills, Neil Sowerby Audience Event & Planning Manager
Torsten Thiele Systems and Maintenance Technicians Freda Pouflis
Steven Tredget Adam Parrott, Charlie Arnold Venue Managers Fiona Badgery,
Registered charity no. 294282 Theatre Production Apprentices Lucy Dunn, Gary Hunt,
Robert Arnall, Paige Holmes Nyah Farier, Elizabeth Wilks
Directors Stage Door Julian Fox, Assistant Venue Managers
Managing Director aLbi Gravener Helen Knights, Richard Long
Sir Nicholas Kenyon Crew Management Drew Burke,
Chief Operating and Financial Officer Creative Learning Dave Magwood, James Towell
Sandeep Dwesar Head of Learning and Participation Access and Licensing Manager
Director of Arts Jenny Mollica Rebecca Oliver
Louise Jeffreys Theatre and Cross Arts Producer IT Business Systems Manager
Director of Learning and Engagement Lauren Monaghan-Pisano Nicholas Triantafyllou
Sean Gregory Safety and Security Manager
Director of Operations and Buildings Marketing Department Nigel Walker
Jonathon Poyner Head of Marketing Phil Newby
Executive Assistant to Deputy Head of Marketing Development
Sir Nicholas Kenyon Jo Daly Ben Jefferies Head of Development
Senior Marketing Manager Lynette Brooks
Theatre Department Matt Saull
Head of Theatre Toni Racklin Marketing Manager (Theatre)
Senior Production Manager Niharika Jain
Simon Bourne Marketing Campaigns Assistant
(Theatre) Lani Strange 41 Valentine Catzéflis 39Périclès, Prince de Tyr Company For Cheek by Jowl
Back row: Teya Lanzon, Élise Rale, Martin Nikonoff, Vincent Gabriel, Lucile Quinton, Michelangelo Marchese, Kenan Trevien Artistic Directors Declan Donnellan, Nick Ormerod
Third Row: Marcus Roche, Declan Donnellan, Nick Ormerod, André Neri, Valérie Bezançon, Valentine Catzéflis, Pascal Noël, Executive Director Eleanor Lang
Christophe Grégoire, Marina Aguilar General Manager & PA to the Artistic Directors Teya Lanzon
Second Row: Xavier Boiffier, Cécile Leterme, Guillaume Pottier, Camille Cayol, Angie Burns Marketing & Education Manager Dominic Kennedy
Front Row: Eleanor Lang, Dominic Kennedy, Sharlit Deyzac, Marie Couvert-Castera Administrator Marie Couvert-Castera
Photo: Patrick Baldwin Bookkeeper Kate Grosvenor
Anna Kolesnikova Producer, Russia
Press & PR Kate Morley PR
Graphic Design Eureka! Design Consultants Ltd
Website and e-marketing Hans de Kretser Associates
Directors of Cheek by Jowl
Richard Philipps (Chair)
Beth Byrne
Clare O’Brien
Sameer Pabari
Judith Patrickson
Emma Stenning
Philip Stoltzfus
Cheek by Jowl
Stage Door, Barbican Centre
Silk Street
London EC2Y 8DS
Scottish Charity No: SCO13544
Registered in Scotland No. 78954
Cheek by Jowl gratefully acknowledges support from Arts Council England.
Cheek by Jowl is proud to be an Artistic Associate at the Barbican.
43 Photo: Vanessa Kennedy Igor Yasulovich in The Tempest (2011) © Johan Persson 44You can also read
