UMS Concert Program, April 5, 2019 - Julius Caesar
A production of
Théâtre National de Bretagne Arthur Nauzyciel
Friday Evening, April 5, 2019 at 8:00 Saturday Evening, April 6, 2019 at 8:00 Power Center
43rd and 44th Performances of the 140th Annual Season Theater Series
This weekend’s performances are supported by Michigan Medicine, the James and Barbara Garavaglia Theater Endowment Fund, the Ilene H. Forsyth Theater Endowment Fund, and the Herbert S. and Carol L. Amster Endowment Fund.
Special thanks to Linda Gregerson and Peter Holland for their participation in events surrounding this weekend’s performances.
Julius Caesar appears by arrangement with Maia Arts.
In consideration of the artists and the audience, please refrain from the use of electronic devices during
The photography, sound recording, or videotaping of this performance is prohibited.
Portia/Calpurnia / Sara Kathryn Bakker
Soothsayer / Luca Carboni
Lucius / Jared Craig
Casca/Lepidus / Roy Faudree Cinna/Lucillius/Clitus/Marrullus/Trebonius / Ismail Ibn Conner Octavius/Carpenter/Popilius/Octavius’ Servant / Isaac Josephthal Julius Caesar / Dylan Kussman
Cassius / Mark Montgomery
Runner/Metellus / Rudy Mungaray
Mark Anthony / Daniel Pettrow
Runner/Cato/Young Cato/Dardanius / Timothy Sekk Decius Brutus / Neil Patrick Stewart
Brutus / James Waterson
Double Bass / Dmitry Ishenko Guitars / Leandro Pelligrino Vocals / Marianne Solivan
CREATIVE AND PRODUCTION TEAM
Author / William Shakespeare
Director / Arthur Nauzyciel
Set Designer / Riccardo Hernandez Lighting Designer / Scott Zielinski Costume Designer / James Schuette Sound Designer / David Remedios Choreographer / Damien Jalet
Assistant / Bertille Kapela
General Manager / Sylvain Saysana
Light Technician / Christophe Delarue Sound Technician / Florent Dalmas Props and Wardrobe / Myriam Rault Stage Technician / Antoine Giraud-Roger
Julius Caesar runs approximately three hours and 20 minutes in duration and is performed with one intermission.
Following Friday evening’s performance, please feel free to remain in your seats and join us for a post-performance Q&A with members of the company.
Written in 1599 for the opening of The Globe Theatre and right before Hamlet, Julius Caesar is the rst in a series of great tragedies. It contains in itself all the subsequent plays of Shakespeare. It is a political play,
in which language and rhetoric
play a prominent part; the power of discourse can change the course
of history; the ow of words both reveals and hides their extraordinary presence.
And if the world pictured in the
play still resembles ours (what
has changed in politics?), one nonetheless feels throughout the text a will to encompass both the visible and the invisible, the real and dream life, the living and the dead in a one- and-only unit, a singular cosmography.
We are connected to the Greeks, the Romans, and to Shakespeare by a long chain which, from the beginning of time and for many centuries to come, contains, like a DNA loop, the collective memory of human fears and illusions. As Eric Hobsbawm wrote in The Age of Extremes: “The short 20th century ended in problems, for which nobody had, or even claimed to have, solutions. As the citizens of the n de si cle tapped their way through the global fog that surrounded them, into the third millennium, all they knew for certain was that an era of history had ended. They knew very little else.”
We have yet to come to terms with the dark side of this century. Whenever I confront myself with a classical text, I have the feeling I ought to direct a “memory for the future.” The classics are like the Statue of Liberty at the end of Planet
of the Apes. The characters project themselves into the future, in which they will be the spectators of their own past, in which their acts will be a spectacle for others to see. Like a testimony for the future of what we are and were.
We created this piece in Boston 10 years ago at the American Repertory Theater, which was built in 1964. Pop culture in the US then had never been so dominant, the world so loud; there were images everywhere and all was appearance. That is why I wanted to place the play in the 1960s, during
the years when one wanted to believe that Kennedy would open onto a new era, when a crowd became a mass, when the image won over the word, and when the most innovative and signi cant artistic trends were born in this country: architects, performers, performance art, photography, collage, and reproduction.
— Arthur Nauzyciel
Shakespeare’s Julius Caesar is generally believed to have been rst performed in 1599 at the new Globe Theatre. It is one of several plays written by Shakespeare based on Roman history — a popular topic in 16th-century England — which also include Coriolanus and Antony and Cleopatra. The assassination of Julius Caesar in Rome on March 15 (the “Ides of March”) in 44 BC was a central event of the pre-Christian ancient world, but any justi cation for Caesar’s killing always remained elusive.1 This ambiguity persisted into the early modern period, and Shakespeare incorporated it into his play in complex depictions of the main characters such as Caesar and Brutus.
The play begins with Caesar’s triumphant return after war. Some tribunes berate common citizens for celebrating his win. Public games are held to mark this victory, and as Caesar is headed there, a soothsayer warns him to beware the “Ides of March.”
We then see the evolving conspiracy against Caesar, led by Caius Cassius, who discusses the threat of Caesar’s increasing power and god-like role with Marcus Brutus, a fellow senator. Another conspirator, Casca, enters to tell them that Mark Antony, Caesar’s protege, at the behest of the plebeians, offered Caesar a crown three times at the games. While he refused it every time, Cassius and Brutus are suspicious of his aspirations and potentially dictatorial tendencies.
Brutus has a keen sense of honor and patriotism toward Rome, but mixed feelings about joining the conspiracy.
However, Cassius and the conspirators plant forged letters, supposedly from angry citizens, to in uence him on joining their cause. He is troubled
by his decision, which he refuses to share with his wife Portia. Despite the portents invoked by his wife Calpurnia, Julius Caesar goes to the Capitol, where his assassination takes place
in a spectacle of violence on stage,
as the group of conspirators stab
him multiple times. After the murder, when Brutus addresses the crowd
to explain their supposedly patriotic motives, the people initially seem to support his cause. But following him, Mark Antony delivers a funeral oration (against Cassius’s objections), in which he reads Caesar’s will, bequeathing money and use of public land to each Roman citizen. His oration transforms the audience into a frenzied, murderous mob. The conspirators ee and Rome breaks into civil con ict.
Brutus and Cassius gather an army to ght Mark Antony, who is joined by Octavius, Caesar’s grandnephew, and Lepidus, another ally. The conspirators are defeated, following their internal divisions and suspicion of betrayal. Brutus commits suicide, but Mark Antony and Octavius acknowledge his nobility and want to give him a burial with honor. The nal vision of the play is both complex and tragic.
Synopsis written by Jyotsna G. Singh, professor of Renaissance studies in the department of English at Michigan State University.
1 For a background to the play, see David Daniell, “Introduction,” Julius Caesar. London: The Arden Shakespeare, 1-4.
Like Hamlet, Julius Caesar is a puzzle. It doesn’t conform to the idea of Aristotelian tragedy in presenting
a noble man with a conspicuous
aw, nor to Elizabethan melodrama
in presenting a conspicuous villain. Julius Caesar has great relevance
to our time, though it is gloomier, because it is about a society that is doomed. Our society is not doomed, but in such immense danger that the relevance is great. It was a society doomed not by the evil passions of sel sh individuals, because such passions always exist, but by an intellectual and spiritual failure of nerve that made the society incapable of coping with its situation.
— W. H. Auden, Lectures on Shakespeare
It is no coincidence that the world
of Julius Caesar is constructed almost entirely from language. The play contains little physical action: there are few shifts in location, in contrast to As You Like It, the play
that preceded it, nor are there any special stage effects, apart from
the appearance of Caesar’s ghost
to Brutus. Except for Caesar’s assassination at the Capitol and the suicides in the nal act, the play shows us very few events; almost everything that happens takes place offstage and is then retold through rumor or report. This gives Julius Caesar an oddly subjective quality; so little is enacted directly in front of us that we must rely on other people’s characterization of events, and we are never quite sure whom or what
to believe. Words, not deeds, are
the primary agents in the play, and they are endowed with extraordinary powers of creation, transformation, and destruction. Words can create a reality, or destroy a life.
– Arthur Nauzyciel, October 2007
After studying visual arts and cinema, Arthur Nauzyciel (director) trained as an actor in the school of the Théâtre National de Chaillot (Paris) run by Antoine Vitez (1978). He began his career as an actor and then turned to stage directing. His rst production as a director was Le Malade imaginaire ou le Silence de Moli re, after Molière and Giovanni Macchia (1999), followed by Samuel Beckett’s Happy
Days (2003). Since then, he has directed numerous productions in France and abroad, including Thomas Bernhard’s Heldenplatz at the Comédie-Française (2004); Kaj Munk’s Ordet (The Word) staged at the Avignon Festival (2008);
Jan Karski (My Name is a Fiction), adapted from the novel by Yannick Haenel, staged at the Avignon Festival (2011); Hunger, based on Knut Hamsun’s novel (2011); Anton Chekov’s The Seagull staged in the Cour d’honneur of the Papal Palace at the Avignon Festival (2012); KADDISH by Allen Ginsberg (2013), reading created at the Avignon Festival (2013); and Jean Genet’s Splendid’s (2015) with Jeanne Moreau’s voice and the American actors from Julius Caesar. Mr. Nauzyciel works regularly in the US. In Atlanta he staged two plays
by the French playwright Bernard-Marie Koltès: Black Battles With Dogs (2001) and Roberto Zucco (2004), along with Mike Leigh’s Abigail’s Party (2007), and William Shakespeare’s Julius Caesar (2008).
Mr. Nauzyciel has created a number of shows abroad that were then revived in France or at international theater festivals, including Samuel Beckett’s The Image
in Dublin (2006); Marie Darrieussecq’s
The Sea Museum, performed at the National Theater of Iceland (2009); R. W. Fassbinder’s The Bitter Tears of Petra von Kant staged for the Mini-teater in Ljubljana,
Slovenia (2015); and Kim Youg-ha’s Empire of Light (2016) at the National Theater Company of Korea (NTCK) in Seoul.
He has also worked for dance and opera. In 2011 he staged the opera Red Waters by Keren Ann and Bardi Johannsson (Lady and Bird) and contributed to the creation of Play by Sidi Larbi Cherkaoui and Shantala Shivalingappa. In 2018, he staged Papillon Noir, a contemporary opera by Yannick Haenel and Yann Robin. He regularly works with other artists on his projects, such
as Miroslaw Balka, Étienne Daho, Matt Elliot, José Lévy, Sidi Larbi Cherkaoui, Damien Jalet, and Gaspard Yurkievich. Since January 1, 2017, Mr. Nauzyciel has been the director of the Théâtre National de Bretagne, where he created Alexandre Dumas Fils’s Camille in September 2018.
The Théâtre National de Bretagne
(TNB) traces its history back to the very creation of the Centre Dramatique de l’Ouest in 1949, part of the CDN (National Centers for the Dramatic Arts) network. It cooperated with the Maison de la Culture in Rennes after the latter was founded
in 1968. The TNB was born in 1990 as both organizations merged. Today, the TNB is preeminent in the French cultural landscape. The TNB organizes an annual festival, has a cinema, and runs l’École Supérieure d’Art Dramatique, a leading drama school. The TNB welcomes some 200,000 spectators each season across its many programs of live performances, cinema, special events, and workshops. Since January 1, 2017, actor and stage director Arthur Nauzyciel has led the TNB in Rennes.
Born in Cuba and raised in Buenos Aires, Riccardo Hernandez (set designer) studied at the Yale School of Drama
in New Haven, Connecticut. He works regularly on Broadway, where he has won many awards for productions including Topdog/Underdog and Porgy and Bess (2012 Tony Awards). He has also worked for the opera, designing sets for Philip Glass (Appomattox) and Diane Paulus (Lost Highway based on the David Lynch lm). In the theater he has worked for many stage directors, such as George C. Wolfe, Ron Daniels, Rebecca Taichman, Robert Woodruff, Ethan Coen, Janos Szasz, John Turturro, Steven Soderbergh, and for Julie Taymor in Grounded with Anne Hathaway. Mr. Hernandez teaches stage design at Yale University. For Arthur Nauzyciel, he created the sets of Jan Karski (My Name
is a Fiction), Red Waters, Abigail’s Party, The Seagull, Splendid’s, The Bitter Tears of Petra von Kant, The Empire of Lights, and La Dame aux cam lias (Camille).
Scott Zielinski (lighting designer) lives in New York. For theater, dance, and opera, he has worked on projects created throughout the world, with American and international directors including Richard Foreman, Robert Wilson, Tony Kushner, Hal Hartley, and Krystian Lupa. In New York, he works regularly on Broadway for the production of Topdog/Underdog by Suzan-Lori Parks, and for Lincoln Center and The Public Theater. He also creates the lighting for productions in many other North American cities,
with directors and choreographers such as Neil Bartlett, Chase Brock, Chen Shi- Zheng, Karin Coonrod, Ron Daniels, David Esbjornson, Daniel Fish, Sir Peter Hall, Tina Landau, Jonathan Moscone, Diane Paulus, Lisa Peterson, James Robinson, Anna Deavere Smith, Twyla Tharp, George C. Wolfe, Mary Zimmerman, and recently
for Miss Fortune by Judith Weir at the Royal Opera in London. He holds a master’s in theater design from the Yale University School of Drama. For Arthur Nauzyciel, he created the lighting design for The Sea Museum, Jan Karski (My Name is a Fiction), Red Waters, Abigail’s Party, The Seagull, Splendid’s, The Bitter Tears of Petra von Kant, and La Dame aux cam lias (Camille).
Damien Jalet (choreographer) is an independent Belgian and French choreographer and dancer. Interested in the capacity of dance constantly reinventing itself by conversing with other media such as visual art, music, cinema, theater, and fashion, his works are often collaborative. He has worked as a choreographer and dancer for companies such as Ballet C. de la B., Sasha Waltz and Guests, Chunky Move, Eastman, NYDC, Hessiches Staatballet, Paris Opera Ballet, Scottish Dance Theatre, and Iceland Dance Company. His latest works as choreographer include Babel(words) with Sidi Larbi Cherkaoui with a set by Antony Gormley (two Olivier Awards), presented
in 2016 at the Cour d’Honneur du Palais
des Papes in Avignon; Les m dus s, a choreographic installation for 30 performers in some of the main rooms of the Louvre in Paris; YAMA for the Scottish Dance Theatre with a set design by American artist Jim Hodges; Bolero, which he directed together with Cherkaoui and the performance
artist Marina Abramović for the Paris
Opera Ballet with costumes by Riccardo Tisci; Inked for the British Kathak dancer Aakash Odedra; and Obsidian Pieces for the Iceland Dance Company in collaboration with Erna Omarsdottir. In October 2015 he choreographed Gravity Fatigue, devised
by fashion designer Hussein Chalayan at Sadler’s Wells in London.
Sara Kathryn Bakker (Portia/Calpurnia) performed the original roles of Portia and Calpurnia in Julius Caesar in Boston in 2008 and on tour with the production three times in France and once in Bogota, Colombia. She has appeared regionally at the Denver Center Theatre, American Repertory Theater, Utah Shakespearean Festival, Contemporary American Theater Festival, Pioneer Theater, Williamstown Theatre Festival, Chautauqua Theater, Pennsylvania Shakespeare Festival, and Delaware Theater Company. Off-Broadway, she has worked at the Roundabout Theater and collaborated on the original show As Far As We Know for the NYC Fringe and Fringe Encores. Work
in New York has also included workshops and readings with Primary Stages, the Drama Department, Adobe, Rattlestick,
and director Austin Pendleton. Film and TV work has included Law & Order, Conviction, Ghost Stories, and the feature lm End of the Spear. She also appeared in the web series The Accidental Wolf with Kelli O’Hara, directed by Arian Moayed. Ms. Bakker graduated from Yale University and received her MFA from the American Conservatory Theater in San Francisco. She has two children, lives in Connecticut, and is a public speaking coach.
Luca Carboni (Soothsayer) was born
in Bologna and now lives in Brussels.
He received his diploma at the Piccolo Teatro in Milan, and has acted for Luca Ronconi, Arthur Nauzyciel, Massimo Castri, Matthew Lenton, and Tatjana Pessoa. He has performed for Italian and European audiences for the last 15 years, working
for public theaters and private companies. He was president, an active member, and actor at the theater company Gli Incauti
from 2009–2015. He became a member of Saveria Project, a collective founded in Bologna which promotes and produces contemporary artistic works in Italy and abroad.
Jared Craig (Lucius) performed in Julius Caesar and Splendid’s for Arthur Nauzyciel. He graduated with a BFA in acting from the School of Theatre at Boston University, and also studied at the London Academy of Music and Dramatic Art. He has performed in Be.The.Dog. at New York International Fringe Festival (2009) and in The Starving Class, a reading directed by Jim True-Frost. In Boston, he performed in The Island of Slaves, The History Boys, Romeo and Juliet, A Midsummer Night’s Dream, First Blush, The Red Lion, and Lilly’s Purple Plastic Purse.
Roy Faudree (Casca/Lepidus) created the No Theater with Sheena See in 1974 in Northampton, Massachusetts. His creations have been performed in Paris, London, Manchester, Rotterdam, Ghent, Linz, Munich, Berlin, Tokyo, and Melbourne. More recently, No Theater has played Let Go at Lang/ Bocanegra in Soho, Caveman by Richard Maxwell at the Performing Garage in New York, and End of the Road with the Young@ Heart Chorus. No Theater’s major shows are Dupe, Last Resort..., and its rst creation, The Elephant Man, by Mr. Faudree. He has regularly performed with the Wooster
Group in The Hairy Ape, House/Lights, To you the birdie (Phedre), and Fish Story, and in Samara by Richard Maxwell at Soho Rep.
Ismail Ibn Conner (Cinna/Lucillius/Clitus/ Marrullus/Trebonius) has performed in Black Battles With Dogs, Julius Caesar, and Splendid’s for Arthur Nauzyciel. He
Photo (next spread): Julius Caesar; photographer: Frederic Nauczyciel.
is the founder of the US Koltès Project, working in conjunction with François Koltès on American English translations and international performances, which have produced performances in the US and France including Dans la solitude des champs de coton, Le Jour des meurtres dans l’histoire d’Hamlet, and La Nuit juste avant les forêts.
Raised in North Carolina, Isaac Josephthal (Octavius/Carpenter/Popilius/Octavius’ servant) is a Brooklyn-based artist. Recent stage credits include The Lion in Winter (Cape May Stage, dir., John Gulley), Public Enemy (The Pearl Theatre Co., dir. Hal Brooks), The Ugly One (A.R.T./New York, dir. Miles Mandwelle), and the American premiere of Lars von Trier’s Dogville (Tisch, dir. Robert O’Hara). He previously worked with TNB on Jean Genet’s Splendid’s, and joined the cast of Julius Caesar in 2017. Television and lm credits include Divorce, Big Dogs, and Read Aloud. He received his BFA from NYU/Tisch.
Dylan Kussman (Julius Caesar) makes
his debut with the Théâtre National de Bretagne with this production. He has appeared on numerous stages throughout the US, including the Berkeley Repertory Theater, the Magic Theater, the Oregon Shakespeare Festival, the Victory Theater
in Los Angeles, and the Ensemble Theater
of Chattanooga (ETC). Some of his favorite Shakespearean roles include Romeo with the San Francisco Shakespeare Festival, Henry V with Shotgun Players, and Macbeth with ETC. His lm credits include Dead Poets Society (in which he appeared with James Waterston), The Way of the Gun, X2, Jack Reacher, and The Mummy (2017), along with numerous American television appearances. He currently lives in Chattanooga, Tennessee, with his wife and son.
On Broadway, Mark Montgomery (Cassius) performed in Mamma Mia! (Bill Austin), Macbeth, and The Seagull directed by Christopher Hampton with Kristin Scott Thomas in 2008. He is involved in many projects with the Shakespeare in the Park festival in New York. A member of the Chicago Shakespeare Theatre, he performed in Rose Rage (Joseph Jefferson Award for “Best Production,” performed at the Duke Theatre in New York) and performed in As You Like it, King Lear, Antony and Cleopatra, Henry IV, Much Ado About Nothing, and The Comedy of Errors. On television, he has appeared in Law & Order and Guiding Light.
Rudy Mungaray (Runner/Metellus) graduated from New World School of the Arts and went on to receive a BFA from the Acting Conservatory at the State University of New York at Purchase. His theater credits include Blood & Gifts (Lincoln Center),
Lush Valley and Sounding (HERE Arts Center), Sunken Living Room (Southern Rep, world premiere), and Paradise (New Theatre, Miami). For lm and television,
he performed in Boardwalk Empire, Blue Bloods, Elementary, Power, Law & Order, and Unforgettable. For Arthur Nauzyciel, Mr. Mungaray performed in Splendid’s by Jean Genet (2017).
Daniel Pettrow (Mark Anthony) has performed in Black Battles With Dogs, Roberto Zucco, Julius Caesar, and Splendid’s for Arthur Nauzyciel. As an actor and stage director, he has appeared in more than
60 productions in the US and abroad. He also works for lm and television. He is the assistant director and performer of The Principles of Uncertainty, a collaboration between the artist Maira Kalman and
the choreographer John Heginbotham, presented in 2017 at Jacob’s Pillow, the Guggenheim, and BAM.
Timothy Sekk’s (Runner/Cato/Young Cato/ Dardanius) New York credits include
A Clockwork Orange, Avow, and Dreyfus
in Rehearsal. International credits include Splendid’s, directed by Arthur Nauzyciel. Regional credits include Portland Center Stage, Cincinnati Playhouse, Repertory Theatre of St. Louis, Baltimore Center Stage, Northern Stage, The Acting Company, and Shakespeare Theatre Company. On lm and television, he has appeared in Alice Fades Away, The Blacklist, Odd Mom Out, The Affair, The Good Wife, Elementary, Person of Interest, and Boardwalk Empire. He received his BA from Vassar College and MFA from NYU’s Graduate Acting Program.
For Arthur Nauzyciel, Neil Patrick Stewart (Decius Brutus) has appeared in Julius Caesar, Abigail’s Party, and Splendid’s. He is an actor and stage director, and he teaches master classes and multi-day performance workshops. He is the director of the musical Volleygirls, which won several awards, and
a production of The Elephant Man for the nonpro t Mechanicals Theatre Group, which was nominated for Ovation Awards.
James Waterson’s (Brutus) Broadway theater credits include Enemy of
the People (MTC). Off-Broadway, he performed in Love and Information (New York Theatre Workshop), The Importance of Being Earnest (Brooklyn Academy
of Music, directed by Sir Peter Hall), As You Like It (The Public Theater/NYSF), Parents’ Evening (The Flea Theater), and Buffalo Gal (Primary Stages). Regional and international credits include Chinglish (Goodman Theatre), Othello (Commonwealth Shakespeare Company), Private Lives (Huntington Theater), Twelfth Night (The Old Globe), The Seagull (George Street Playhouse), and Children (Williamstown Theatre Festival). He has
spent ve seasons at the Williamstown Theatre Festival, three seasons at The Old Globe, and three seasons at the Sundance Institute. His lm and television credits include Certainty, Visiting, Dead Poets Society, Little Sweetheart, Treme, The Good Wife, a recurring role on Six Feet Under, Live from Baghdad, Wedding Daze, and Christy: The Movie. For Arthur Nauzyciel, he performed in Jan Karski (My Name is a Fiction) in 2011.
Dmitry Ishenko (double bass) is a versatile and in-demand bass player based in New York. He has performed and/or recorded with such jazz greats as Steve Lacy, John Tchicai, Eric Harland, Dave Liebman, Kenny Werner, Terri Lynn Carrington, Myron Walden, Roy Campbell, Jr., Sam Yahel,
and Kenny Wollesen. A graduate of both the Berklee College of Music and New England Conservatory, he is also a busy session player and arranger, having worked in the studio and on the road with Paul Banks of Interpol. Mr. Ishenko has toured all over North America, Western Europe, Russia, and Japan, appearing at the NYC CareFusion Jazz Festival, Vision Festival, Blue Note Jazz Festival, Toronto Jazz Festival, Boston Beantown Jazz Festival, Carnegie Hall, Kennedy Center, Lincoln Center, The Blue Note, and countless other venues around the world.
Leandro Pelligrino (guitars) is an internationally acclaimed guitarist who has been steadily developing his reputation as one of the nest guitarists of his generation. Born in São Paulo, Brazil, Mr. Pelligrino studied music composition and jazz improvisation as a teenager. After earning his bachelor’s degree, he auditioned for the prestigious Berklee College of Music and was awarded a full scholarship to pursue
his studies in jazz and improvised music. In
2011, he moved to the US to live his dream of being immersed in the country’s fertile musical environment. Since then, he has gained an impressive reputation among
his peers and had the chance to work
with many of the greatest jazz musicians
in activity. He has performed with artists including Dave Liebman, Danilo Pérez, Manu Katché, John Pattittuci, Bob Cranshaw, Terri Lyne Carrington, Romero Lubambo, Eric Harland, Donny McCaslin, Gerald Clayton, and Erik Truffaz. He is also part of the Grammy Award-winning album Beautiful Life by the exceptional jazz singer Dianne Reeves. In 2013, he entered the Montreux Jazz Guitar Competition and was awarded rst prize by the legendary Lee Ritenour as the rst South American guitarist to ever win the competition.
Marianne Solivan (vocals) is an internationally touring jazz vocalist, composer, bandleader, and educator. She
has worked with luminaries including Christian McBride, Roy Hargrove, Peter Bernstein, Jeremy Pelt, Lewis Nash, Johnathan Blake, and Bruce Barth. She went to school at Berklee College of Music and the New England Conservatory, where she earned her master’s degree and honed her skills as a bandleader, amassing a huge repertoire that can challenge any song hound. Ms. Solivan has taught all grade levels for over 18 years and currently runs her own jazz vocal workshop series in New York. Her rst CD, Prisoner of Love, received critical acclaim and a four-star review
from DownBeat magazine in 2012, and her second CD, SPARK, was released in 2015 to critical acclaim.
UMS welcomes Th âtre National de Bretagne as the company makes its UMS debut this weekend.
Premiere / American Repertory Theater, Loeb Drama Center (Cambridge, Massachusetts), February 13–March 16, 2008
Executive production / Théâtre National de Bretagne
Coproduction / Centre Dramatique National Orléans/Loiret/Centre in partnership with the American
Repertory Theater (major production sponsor: Philip and Hilary Burling), Festival d’Automne à Paris,
Maison des Arts de Créteil, TGP-CDN de Saint-Denis.
With the support of / Etant Donnés/The French-American Fund for the Performing Arts, a Program of FACE;
and the Cultural Services of the French Embassy in the United States.
THIS WEEKEND'S VICTORS FOR UMS:
—James and Barbara Garavaglia Theater Endowment Fund
—Ilene H. Forsyth Theater Endowment Fund
—Herbert S. and Carol L. Amster Endowment Fund
Supporters of this weekend’s performances of Julius Caesar.
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