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by William Shakespeareand George Wilkins

Périclès,Prince de Tyr

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We are delighted to be co-producing Cheek by Jowl’s latest work, Pericles (Périclès, Prince de Tyr) featuring the company’s stunning French ensemble. Cheek by Jowl have been a Barbican Artistic Associate since 2005 and their performances in English, Russian and French consistently draw both loyal and new audiences. We warmly welcome back co-Artistic Directors Declan Donnellan and Nick Ormerod with their first Shakespeare production in the French language.

Toni RacklinHead of Theatre, Barbican

Welcome Welcome

Welcome to our 2018 season with Périclès, Prince de Tyr.

It’s a pleasure to return to the UK with our French company. This marks the first time Cheek by Jowl has produced Shakespeare in the French language. We are extremely grateful for the support of Jeune Théâtre National France and the Laura Pels International Foundation for Theater. Thanks also to Toni Racklin, Leanne Cosby, Alex Jamieson and the entire team at the Barbican for their support and enthusiasm, and also to Laura Elliot and Louise Chantal at the Oxford Playhouse.

We would also like to thank our co-producers, the Barbican, London; 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

André Neri Technical Director Vincent Gabriel Lighting Kenan Trevien Sound Marina Aguilar Wardrobe Manager Lucile Quinton Assistant Stage Manager Edward Fortes Surtitle Creation Sharlit Deyzac Surtitle Operator Les 2 Bureaux/Prima Donna Consultant Producer Sharlit Deyzac Company Manager Patrick Baldwin Rehearsal & Production Photography

With thanks to: Simon Bourne, Catherine Jayes, Peter Kirwan, Élise Rale, Nicolas Rolland, Simon Kennedy, Jem Talbot, Roger Graham, Rob Hopkin, Lilas en Scène, UnityQ (Rinouk Rider, Nicolas Peoc’h, Hugo Potin, Kenan Trevien).Freight: Fly by Nite Haulage, Renaud Décotrans. Prop making: Soux.Set building: Ateliers du Théâtre du Nord. The production contains extracts from the radio programme ‘Les Matins du Samedi’ by Caroline Broué broadcast on 2 December 2017 on France Culture. Produced by Cheek by Jowl in a co-production the Barbican, London;Les Gémeaux/Sceaux/Scène Nationale; Théâtre du Nord, CDN Lille-Tourcoing-Hauts de Francewith support from Jeune Théâtre National Francewith thanks to the Laura Pels International Foundation for Theater Périclès, Prince de Tyr was first performed on 7 March 2018 at Les Gemeaux/Sceaux/Scène Nationale

Cast in order of speaking:

Xavier Boiffier Antiochus / Léonin / Bout / LysimaqueChristophe Grégoire Périclès / Cléon / Le MaîtreValentine Catzéflis Antiochus’s Daughter / MarinaCécile Leterme Doctor / Simonade / Cérimon / DianeCamille Cayol Dionysa / Thaïsa / La MaquerelleGuillaume Pottier Fisherman / Knight / GentlemanMartin Nikonoff Fisherman / Knight / Gentleman Creative team:

Declan Donnellan DirectorNick Ormerod DesignerPascal Noël Lighting Designer Kenan Trevien Sound DesignerAngie Burns Costume SupervisorValérie Bezançon Vocal CoachMarcus Roche Assistant DirectorMichelangelo Marchese Associate Director

Périclès, Prince de Tyr by William Shakespeare and George Wilkins adapted from the translation by François Guizot

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This is the rarest dream that e’er dull’d sleep did mock sad fools withal.

5Christophe Grégoire

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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.

A brilliant French ensemble The Independent

Donnellan gets richly uninhibited performances from his castThe Guardian on Ubu Roi

Outrageous, overflowing with unbridled energyLe Figaro on Ubu Roi

A raging force of energyNew York Times

A crack ensemble of French actors… sweeping passion… terrifying The Guardian on Andromaque

Remarkable audacity… absolute clarity… Donnellan is one of the most original directors in theatre todayLe Figaro on Andromaque

Hilarious, startling, unsettlingLe Monde on Ubu Roi

Cheek by Jowl in France

1 Camille Cayol, Christophe Grégoire in Andromaque © Keith Pattison

2 Cécile Leterme in Ubu Roi © Johan Persson

3 Camille Cayol, Christophe Grégoire in Ubu Roi © Johan Persson

4 Xavier Boiffier in Andromaque © Keith Pattison

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‘A mouldy tale’, said Ben Jonson of Pericles in 1629. Only six years after Jonson had declared Shakespeare ‘not of an age, but for all time’, his disparagement of this play (as well as being unusually suited to such a waterlogged play) casts it already as unfashionably old. Yet Pericles, arguably one of the most innovative plays of its moment, was unabashedly old-fashioned on arrival, wearing its medieval sources (primarily Gower’s Confessio Amantis) on its sleeve and revelling in self-consciously archaic language.

Shakespeare had used the story of Apollonius of Tyre as related in Confessio Amantis before – in The Comedy of Errors, we again see a husband and wife separated by shipwreck and the husband eventually discovering the wife, presumed dead, living in a temple – but that was in a play that roughly obeyed the unities of time, place and action. Pericles, written with George Wilkins, shatters them. With

its interval of time that gives a baby time to grow to marriageable age, its continent-spanning geography and its plethora of characters and situations, Pericles marks a return to an earlier genre of writing – romance – in a new form.

One of the negative impacts of the disproportionate attention paid to Shakespeare’s First Folio by modern critics is the tendency to default to that book’s three declared genres – comedies, histories and tragedies – when discussing all drama from the period. But the earlier Tudor passion for romance, including in plays by John Lyly, Robert Greene and many anonymous playwrights, as well as in bestselling prose fiction such as Lawrence Twine’s 1576 The Pattern of Painful Adventures (another source for Pericles), defied easy generic categorisation. Stories featuring chivalric adventure, shepherds and kings, love and magic, resisted a single mood and did not fit with principles

of classical or neoclassical decorum, yet were among the most popular plays and books of their time.

Even when Confessio Amantis was first written around 1393, the narrator of that poem acknowledged the story as antique. Gower’s narrator, the Chaplain of Venus, uses the story to lecture the poem’s protagonist about the dangers of unlawful lust, focusing on Antiochus’s incestuous relationship with his daughter. Wilkins and Shakespeare acknowledge at the start of the play the datedness of the material, the ‘song that old was sung’. Yet Pericles was at the vanguard of a new fashion. First performed around 1608, it coincided with John Fletcher’s 1609 publication of The Faithful Shepherdess, containing his definition of tragicomedy,

Not so called in respect of mirth and killing, but in respect it wants deaths, which is enough to make it no tragedy, yet brings some near it, which is enough to make it no comedy.

A Painful Adventure?by Dr Peter Kirwan

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The new ‘tragicomedy’, popular from c.1608 until the theatres closed in 1642 (and beyond), drew heavily on the conventions of the older ‘romance’, developing a tonally complex mode of drama. Pericles may be a ‘late’ play in relation to Shakespeare’s career, but it is simultaneously a very early example of the tragicomedy that would become ever more popular in the hands of John Fletcher, Francis Beaumont and Philip Massinger.

Pericles was left out of the First Folio, which may be because of the play’s extremely poor textual state or because of what was known about its collaborative nature. Scholars are almost unanimous on George Wilkins’s authorship of at least the first two acts. While much of what is written about Wilkins focuses on his brushes with the law owing to violence and brothel-keeping, he appears to have been a successful freelance writer of pamphlets and plays, including the popular The Miseries of Enforced Marriage, performed by the King’s Men. While many critics have been moved to comment on the stylistic disparities between the first two and latter three acts, these might also be indicative of the different needs of the play’s two halves: Wilkins constructs a fast-moving, pan-Mediterranean adventure culminating in Pericles’s marriage

to Thaisa; Shakespeare’s more reflective section covers the separation, trials and eventual reunification of the nuclear family. The result was a play that, despite its very poor textual condition (including large sections of prose misaligned as verse and vice versa), was reprinted six times by 1635, as well as being rewritten as a novella in Wilkins’s 1608 The painful adventures of Pericles.

Even though Pericles joined the main Shakespeare canon in 1790, having been grouped with other ‘apocryphal’ plays for much of its publication history, its collaborative nature, generic experimentation and complex textual history have continued to keep it on the margins of the canon. Yet its treatment of refugees from Syria shipwrecked in the Mediterranean, its frank discussion of abuses of power, and its concern with reconciliation and reunion have all generated fresh interest in recent years. The play deals with both old and new, with nostalgia and new life, with a literary tradition and new experiment, and, like its characters, offers fresh discoveries at each new destination.

Dr Peter Kirwan is Associate Professor of Early Modern Drama at the University of Nottingham. He is currently completing a monograph on Cheek by Jowl (Bloomsbury) and a revised edition of Pericles (Cambridge University Press). His other publications include Shakespeare and the Idea of Apocrypha (Cambridge, 2015), Canonising Shakespeare (Cambridge, 2017) and Shakespeare and the Digital World (Cambridge, 2014). He blogs at The Bardathon: http://blogs.nottingham.ac.uk/bardathon

11Camille Cayol

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The CompanyMarina Aguilar WardrobeTrained at Formamod (Paris) and Scaenica (Montpellier). Opera and dance includes: Giselle, Don Quichotte, Forsythe, Fokine/Nijinski, La Veuve Joyeuse, La Bohème, Faust, Nilly Budd, Rigoletto, La Damnation de Faust, Notre Dame de Paris, La Belle au Bois Dormant (Opéra de Paris); Ram Dam (Maguy Marin); Cirque Eloize. Theatre includes: Andromaque by Racine, Ubu Roi by Jarry (Cheek by Jowl); Les Bonnes by Genet, La Nuit des Rois by Shakespeare (Jacques Vincey); La Comédie des Erreurs, L’Amour des Trois Oranges (Dan Jemmett); Calderón/Pasolini (Laurent Fréchuret); Le Songe d’une Nuit d’Eté and Othello by Shakespeare (Laurent Laffargue); L’Ultime Chant de Troie (Simon Abkarian); Le Marchand de Venise (Garcia Fogel); Electre by Sophocles and Médée by Euripides (Daniel Mesguich).

Xavier Boiffier Antiochus / Léonin / Bout / Lysimaque Trained at Conservatoire National Supérieur d’Art Dramatique (Paris). Theatre includes: Andromaque by Racine, Ubu Roi by Jarry (Cheek by Jowl); Twelfth Night by Shakespeare (Comédie Française); The Goat, or Who is Sylvia? by Albee (Frédéric Bélier-Garcia); A Dream Play by Strindberg (Jacques Osinski); Ithaca by Botho Strauss (Jean-Louis Martinelli); Anna Karénine by Tolstoi (Théâtre de la Tempête). Television includes: Ainsi Soient-ils (Rodolphe Tissot). Film includes: Brice de Nice (James Huth); Terre Battue (Stéphane Demoustier); Sun (Jonathan Desoindre). Short film: Manon sur le Bitume (Elizabeth Marre/Olivier Pont).

Angie Burns Costume SupervisorAngie has worked with Cheek by Jowl since 1986 and has worked with Declan and Nick at the National Theatre and Royal Shakespeare Company Stratford. She has also supervised many West End shows since the late 1970s and was Costume Supervisor at Regents Park Open Air Theatre for 45 years.

Valentine Catzéflis Antiochus’s Daughter / Marina Trained at Conservatoire National Supérieur d’Art Dramatique (Paris). Theatre includes: Histoires de Famille by Srbljanovic (T. de Montalembert); La Nuit de Valognes by Schmitt (A. Catzéflis); Ma Solange, Comment t’Écrire mon Désastre by Renaude (J. L. Jacopin); Politique, Documentaire Théâtral (F. Sitbon); L’Opéra du Gueux by Gay, Le Duc de Gothland by Grabbe (B. Sobel); Hypnos Rex by MacDonald (Ben Sadia-Lavant); Après, Mais Juste Avant by Mentens, Roméo et Juliette by Shakespeare (N. Bekhtaoui). Film includes: Nos Dix-huit Ans (F. Berthe); La Guerre est Déclarée (V. Donzelli); Indésirables (P. Barassat); Mes Provinciales (J.-P. Civeyrac). Television includes: Des Intégrations Ordinaires (J. Sicard); Simple, Éléonore l’Intrépide (Y. Calbérac). Short films: Le Scooter à Deux Vitesses (J. Sicard), Nocturnes (B. Thouin); Zzz (M.-E. Chouraqui); Voir le Jour (F. Le Gouic). Music: Valentine collaborates with the Latin music band Carabanchel.

Camille Cayol Dionysa / Thaïsa / La MaquerelleTrained at MKHAT (Moscow). Theatre includes: Between 1994 – 2002, Camille was a member of the repertory company at The Tabakov Theatre (Moscow), performing in the following plays in the repertoire, in Russian: The Idiot by Dostoevsky (A. Marin); Confessions of Felix Krull by Mann (A. Gitinkin); Camera Obscura by Nabokov (A. Kouzntssov); Biloxi Blues by Simon (O. Tabakov); An Ordinary Story by Gontcharov (O. Tabakov); We by Zamyatin (A. Marin); Neurosis by Minchin (A. Gitinkin); Premonition Dream by Gladilin (P. Gladilin); The Prayer by Arrabal (L. Rochkavan); The Night Watches by Bonnaventura (L. Rochkavan); The Roof by Galin (O. Tabakov). Other theatre includes: Ubu Roi by Jarry, Andromaque by Racine, Three Sisters by Chekhov (Cheek by Jowl); Phantom (Azard Dance Company – I. Catalan); The Storm by Ostrovski (M. Makéïev). Film includes: Le Rêve de Frédérique (Le Rêve de Frédérique (F. Henry/M. Gerin); La Guerre est Déclarée (V. Donzelli); 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

Sharlit Deyzac Company Manager and Surtitles OperatorTrained at Guilford School of Acting (UK). Theatre includes: As Actor: Boys Club, DIY Horror Play, Folie à Deux (Two Tongue Theatre); Home is Where… (Hyphenated); Ionesco – Dinner at The Smiths (Marianne Badrichani); The Lonely Soldier Monologues by Helen Benedict (PMJ Productions); Trois Putes (BodArt/Gaspard Legendre); The Eyes Have it (Marianne Badrichani/Bread & Goose); The Great Gatsby, L’Etranger, Rhinocéros (ADG/Tour de Force). Radio includes: As Actor: The Arabian Nights and Hair of the Dog (BBC Radio 4). Film includes: As Actor: Picnic in Gaza (PVK Pictures); Art Ache (Sea Urchin Prod); Mr Bean’s Holiday (Working Title Films); Chop Chop (4D Pictures); The Dreamer (Steve Smith). Since 2013, Sharlit is the curator of London’s annual European theatre festival Voila! Europe and co-artistic director of Two Tongue Theatre.

Declan Donnellan DirectorDeclan Donnellan is joint Artistic Director of Cheek by Jowl. As Associate Director at the National Theatre his productions include: Fuenteovejuna; Sweeney Todd; The Mandate; both parts of Angels in America. Other productions include: Le Cid (Avignon Festival); The Winter’s Tale (Maly Drama Theatre of St.Petersburg); Shakespeare in Love (West End). Opera includes: Falstaff (Salzburg Festival). Ballet includes: Romeo and Juliet; Hamlet (Bolshoi). Film includes: Bel Ami. In 2009, Declan shared the Carlemany Prize with Craig Venter and Archbishop Tutu. He was awarded the Golden Lion of Venice for Lifetime Achievement in 2016 and an OBE for services to Theatre in the Queen’s Birthday Honours in 2017. His book, The Actor and the Target, was first published in Russian in 2000 and has subsequently appeared in fifteen languages.

Vincent Gabriel LightingTrained in Lighting Direction (Nantes). Theatre includes: Andromaque by Racine, Ubu Roi by Jarry (Cheek by Jowl); Zaïdè, Mon Grand-père et Moi (Félix Pruvost); Nothing, la Tragédie du Roi Lear after Shakespeare (Sylvain Levitte); Belkheïr ou une Carte ne vous Sauve pas la Vie pour Rien by Papin (Anne Artigau); Connexions 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.

Christophe Grégoire Périclès / Cléon / Le Maître Trained with Radu Pensciulescu, and at the Roy Hart Theatre. Theatre includes: Andromaque by Racine, Ubu Roi by Jarry (Cheek by Jowl); Liliom by Ferenc Molnar (G. Stoev); Tartuffe by Molière, Summerfolk by Gorky, Barbarians by Gorky, Hedda Gabler by Ibsen, Platonov and The Seagull by Chekhov (É. Lacascade); The Cherry Orchard by Chekhov, Real Blonde and Others… after Kérouac (P. Desveaux); Méphisto by Bertholet (A. Bisang); La Maladie d’Être Mouche by Steininger (C. Grégoire); Invisible Cities by Calvino (H. Lelardoux); Polyeucte by Corneille (D.Terrier); Sallinger by Koltès (K. Abdelli); A Midsummer Night’s Dream by Shakespeare (M. Pierre); Balkan Triptych 3 plays by Kis, Plevnes, Kovac, Compétition by Lenoir (P. Verschueren); The Magnificent Cuckold by Crommelynck and Dramen after Kaiser (P. Bigel). Television includes: Ainsi Soient-ils (R. Tissot); Interpol – Samia (J. Navarro); Les Tocqués – Un Nouveau Départ (L. Katrian); Guy Môquet, Un Amour Fusillé (P. Berenger); La Cour des Grands - 1 (C. Barraud); P.J. (C. Barbier). Film includes: La Mer à Boire (J. Maillot); Hopecity (L. Jamet); Jean-Jean after Uncle Vanya by Chekhov (R. Renucci); L’Esclave de Magellan (T. Wallon); Tram 83 by Mujila (J. Kretzschmar); Victor ou les Enfants au Pouvoir by Vitrac (F. Poinceau).

Cécile Leterme Doctor / Simonade / Cérimon / Diane Trained in Modern Languages, Music and Theatre. Theatre includes: Andromaque by Racine, Ubu Roi by Jarry (Cheek by Jowl); Il Campiello by Goldoni, Le Chaperon Rouge and Le Dragon by Schwartz, La Cagnotte by Labiche, Broadway en Brie by Paré (Laurent Serrano). Music/opera includes: La Fille du Diable (Jean-Marie Machado and Jean-Jaques Fdida); La Périchole de Barbarie after Offenbach (Bafduska Company); Le Roi qui n’Avait pas d’Oreilles by Paré and Urbain; L’Arbre sans Lumière by Urbain and Prou (musical audio-book); Zwei Akte by Mauricio Kagel (with the 2E2M ensemble); Cabaret du Crime (cabaret with Véronique Briel). Television includes: Groland (Canal +). Cécile has worked with, amongst others, Didier Ruiz, Anouch Paré, Bruno Cochet, Cendre Chassanne, Thomas Gaubiac and Gérard Chabanier at Les Tréteaux de France.

André Néri Technical DirectorTechnical Director since 1992, André works with, amongst others, the Centre Dramatique National (Sartrouville), the Théâtre de La Criée (Marseilles), the Théâtre de la Ville and the Théâtre des Bouffes du Nord (Paris). He collaborates with the following directors: Joël Jouanneau, Gildas Bourdet, Olivier Py, Laurent Gutmann, Jacques Vincey, Macha Makeïeff and Jean Bellorini. André joined Cheek by Jowl in 2009 for the creation of Andromaque and was Technical Director of Ubu Roi in 2013-15.

Martin Nikonoff Fisherman / Knight / Gentleman Trained at Cours Florent (Paris), Conservatoire National Supérieur d’Art Dramatique (Paris) and L’Atelier (Théâtre National de Toulouse). Theatre includes: Le Songe d’une Nuit d’Été by Shakespeare (Guy-Pierre Couleau); La Mécanique du Cœur by Malzieu (Coralie Jayne); Un Dieu un Animal by Ferrari (Julien Fisv era). Martin has worked with, amongst others, Julien Gosselin, Jean Bellorini, Xavier Gallais, Florient Azoulay, Michel Fau and Catherine Marnas.

Pascal Noël Lighting DesignerTheatre includes: Ubu Roi by Jarry (Cheek by Jowl); D.I.V.A (Manon Savary); Bled Runner by Fellag and Petits Crimes Conjugaux by Éric-Emmanuel Schmitt (Marianne Epin); La Princesse de Clèves by Lafayette (Magali Montoya); The Iliad by Homer (Pauline Bayle); Tartarin by Tarascon, La Fille à Marins and À la Recherche de Joséphine (Jérôme Savary); Le Barbier de Séville by Beaumarchais, La Place Royale by Corneille, Guantanamo by Frank Smith (Eric Vigner); Antigone by Sophocles, Oedipus-Rex after Sophocles, Anouilh and Chartreux, Le Pont by Van Wetter (Sotigui Kouyaté); A Midsummer Night’s Dream (M. Mayette-Holtz). Dance includes: Giselle and Noureev Diverts (Sylvie Guillem). Opera includes: Nabucco by Verdi (Jean-Christophe Mast); Le Médecin Malgré Lui by Gounod (Alain Terrat).

2019 Cécile Leterme

Nick Ormerod DesignerNick Ormerod is joint Artistic Director of Cheek by Jowl. For the National Theatre: Fuenteovejuna; Peer Gynt; Sweeney Todd; The Mandate; both parts of Angels in America. For the Royal Shakespeare Company: The School for Scandal; King Lear (RSC Academy) and Great Expectations, which he also co-adapted. Other work includes: The Rise and Fall of the City of Mahagonny (English National Opera); Martin Guerre (Prince Edward Theatre); Hayfever (Savoy Theatre); 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 Design in the Queen’s Birthday Honours.

Guillaume Pottier Fisherman / Knight / GentlemanTrained at Studio Théâtre (Asnières) and Conservatoire National Supérieur d’Art Dramatique (Paris). Theatre includes: Le Mariage de Figaro by Beaumarchais (Vélo Volé); Les Trois Mousquetaires – 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 ManagerLucile 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).

Marcus Roche Assistant DirectorTrained at Royal Scottish Academy of Music and Drama, and École Philippe Gaulier. Theatre (Assistant) credits include: The Winter’s Tale (Cheek by Jowl); The Odd Couple, Macbeth, Cinderella (Perth); Fleeto (Tumult in the Clouds). Directing credits include: The Agony and Ecstasy of Steve Jobs (Gilded Balloon); Vote for Me (Arches); The Night Before the Trial (Tron Theatre); Romeo and Juliet (Taganrog Opera Drama Theatre); and King Ubu (A Play, A Pie and A Pint).

Kenan Trevien Sound Designer and SoundSince 1996, Kenan has worked as musician, sound engineer and designer with, amongst others, the Théâtre de la Ville (Paris), the Centre National de Création Musicale La Muse en Circuit (Alfortville), Bernardo Montet, Susan Buirge, Gisèle Vienne, Pierre Guillois, Erwan Keravec, the Collectif AOC and the Ensemble Itinéraire. Kenan joined Cheek by Jowl for the creation of Ubu Roi in 2013.

21 22Martin Nikonoff, Guillaume Pottier, Camille Cayol, Cécile Leterme.

Guillaume Pottier Martin Nikonoff

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7 – 25 March 2018Paris, Les Gémeaux, Sceaux, France

28 – 30 March 2018Créteil, Maison des Arts de Créteil, France

6 – 21 April 2018London, Barbican, UK

24 – 28 April 2018Oxford, Oxford Playhouse, UK

3 – 4 May 2018Perpignan, Théâtre de l’Archipel, France

15 – 19 May 2018Lille, Théâtre du Nord, France

30 May – 3 June 2018Madrid, Centro Dramático Nacional, Spain

11 – 12 June 2018Naples, Napoli Teatro Festival, Italy

Périclès, Prince de Tyr Performances

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Périclès, Prince de Tyr Live Stream

7:30pm Thursday 19 April 2018Live from the Barbican, London. The show will be screened via www.cheekbyjowl.com/livestreamand also available on Facebook Live.

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25Guillaume Pottier, Christophe Grégoire, Martin Nikonoff25

Did you not name, a tempest, a birth and death?

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Education Cheek by Jowl is committed to developing the theatregoers and theatre practitioners of tomorrow. Some of our strongest audience base is drawn from school groups, academics and teachers. We want to grow this interest and give students across the country the opportunity to see a Cheek by Jowl show, to support their existing Theatre and English studies, and broaden their contextual knowledge across other subject areas.

Live-Capture Recordings & Education Packs Live-capture recordings of Measure for Measure and The Winter’s Tale are freely available to schools, colleges and universities throughout the UK and are complemented by a free digital education pack that integrates with key scenes.

The packs include:

• Interviews with the cast and directors• Analysis of scenes, characters and design• Discussion of themes• Contextual essays by leading academics• Exercises and activities• Cheek by Jowl practitioner technique• History and notes on the first performances• Background on Cheek by Jowl• External links and further reading

WorkshopsCheek by Jowl are a listed theatre practitioner on A-Level Drama specifications. We currently offer Practitioner Workshops to Drama and Theatre students aged 14+. In addition, we also offer practical Shakespeare in Performance workshops for English A-Level students.

‘The workshop was a great introduction to Declan and Nick’s practice and The Winter’s Tale. It took students through elements of The Actor and The Target whilst weaving études and scenes from the text seamlessly. The practitioner’s sensibility connected the theory, text and young people with ease, seriousness and joy!’ Head of Drama, Compass School, Bermondsey

‘The workshop gives you your own understanding of the play.’ Workshop participant, Wrexham

‘It was Shakespeare in a different and innovative style…’ Workshop participant, Ilkley

If you are interested in finding out more about our education offers, please contact our Marketing & Education Manager:dominic@cheekbyjowl.com+44 (0) 207 382 6176

‘The Winter’s Tale pack is honestly the best and most informative I have ever come across. It will be a fantastic resource in preparing students for their written exams in the summer.’Head of Drama, Tuxford Academy, Nottingham

Visit cheekbyjowl.com/education.php to sign up and receive the digital packs for free.

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Joy Richardson, Orlando James: The Winter’s Tale Rehearsal (2015) © Johan Persson

Help support Cheek by Jowl’s work

Simon Coates and Adrian Lester, As You Like It (1994) © John Haynes

Cheek by Jowl runs three fundraising schemes, to support our productions and education work. We want to continue to do what we do best, at the highest level... always taking risks with our work and ensuring that, in whatever language, we can produce world-class theatre. We rely on the generous support of our donors to do this.

Friends’ Scheme As a Friend you will get: • Priority booking for UK performances• Access to pre-show talks• Regular updates and news via our newsletter• The opportunity to support and sustain one of the United Kingdom’s finest companies To become a Friend of Cheek by Jowl costs just £35 per year

Patron Scheme As a Patron of Cheek by Jowl we ask you to join us on a journey for each production, following it from conception, through to an evening watching the performance. As a Patron you will get: • All benefits of Friends• Named credit on our website and production programme• A complimentary programme signed by the cast• An invitation to three events around the production: – Our Artistic Directors talking about their vision for the production – A rehearsal of the production – Drinks with the cast and team after a performance To become a Patron of Cheek by Jowl costs just £750 per year

Production Patrons We also offer bespoke packages for individuals or businesses to become a patron of a production. Production Patrons start at £10,000 and we curate a bespoke package to accompany this. For more information please contact Eleanor at eleanor@cheekbyjowl.com or on +44 (0)20 7382 2353

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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.

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

From the archive: Pericles 1984 – 1985

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31 32Pericles company, Pericles (1984) © Peter Mares

Liverpool, Ljubljana, Llantwit Major, Lochgelly, London, Los Angeles, Loth, Loughborough, Louviers,

Lowestoft, Ludwigshafen, Luton, Luxembourg, Lyon, Maastricht, Madras, Madrid, Maidstone,

Mallorca, Manchester, Market Drayton, Marseilles, Melbourne, Meppel, Mexico City, Meylan, Meyrin,

Middelburg, Milan, Milton Keynes, Moffat, Mold, Montevideo, Moscow, Mulhouse, Mumbai, Munich,

Murcia, Namur, Nancy, Nantes, Naples, Neerpelt, Nelson, Neuchatel, New York, Newcastle,

Newtown, Nice, Nijmegen, Norwich, Nottingham, Oldham, Omagh, Omsk, Ormskirk, Oslo, Oswestry,

Oundle, Oxford, Paris, Pendley, Perth, Peshawar, Petit-Quevilly, Phoenix, Pilsen, Plovdiv, Plymouth,

Porto, Porto Alegre, Portsmouth, Prague, Preston, Princes Risborough, Princeton, Pushkinskie Gory,

Quimper, Recife, Recklinghausen, Redhill, Reims, Rennes, Reykjavic, Ribadavia, Richmond, Riga,

Rio de Janeiro, Roermond, Rome, Roosendaal, Rotterdam, Rugby, Runcorn, Ryazan, St Andrews,

St Austell, St. Petersburg, Sainte-Maxime, Saint-Quentin-en-Yvelines, Salford, Salt, Santiago de Chile,

San Sebastián, Samara, São Paulo, Sceaux, Scunthorpe, Seoul, Shanghai, Sheffield, Shizuoka,

Shrewsbury, Sibiu, Singapore, Sittard, Skegness, Sochi, Sofia, Southampton, Southport, Stadskanaal,

Stafford, Stamford, Stevenage, Stirling, Stockholm, Stoke-on-Trent, Stony Brook, Stranraer,

Strasbourg, Stratford-upon-Avon, Stratton-on-Fosse, Strombeek-Bever, Sudbury, Sutton, Sydney,

Taipei, Tallin, Tampere, Tamworth, Taormina, Tartu, Taunton, Tel Aviv, Telford, Tempe, Tewkesbury,

Thame, Thessaloniki, Thornhill, Tokyo, Tolworth, Torrington, Tours, Tunbridge Wells, Turin,

Turnhout, Tyumen, Uppingham, Utrecht, Valence, Valladolid, Valletta, Varna, Venice, Venlo,

Vienna, Vitoria-Gasteiz, Voronezh, Wakefield, Wallingford, Warminster, Warsaw, Warwick,

Washington, Wellington, Wells, Whitehaven, Winchester, Windsor, Withernsea, Wolverhampton,

Worthing, Wuerzburg, Yalta, Yerevan, York, Zagreb, Zaragoza, Zürich, Zutphen and Zwolle.

Cheek by Jowl has performed in…Aberdeen, Accrington, Adelaide, Aldeburgh, Aldershot, Ales, Alexandria, Alkmaar, Almada, Almagro,

Ambleside, Amersfoort, Amiens, Amstelveen, Amsterdam, Ankara, Ann Arbor, Antwerp, Apeldoorn,

Armagh, Arnhem, Assen, Athens, Aversham, Avignon, Avilés, Aylesbury, Bacup, Banbury, Bangalore,

Bangor, Barcelona, Barrow, Barton-upon-Humber, Basildon, Basingstoke, Bath, Beauvais, Bedford,

Beijing, Belfast, Belgorod, Belo Horizonte, Bergen Op Zoom, Berkeley, Berlin, Béthune, Béziers,

Biggar, Bilbao, Billericay, Birmingham, Blackpool, Blois, Bogotá, Bordeaux, Boston, Bourges,

Bourne End, Bracknell, Brasília, Bratislava, Breda, Brétigny-sur-Orge, Bridgnorth, Bridgwater,

Brighton, Brisbane, Bristol, Brno, Broadstairs, Bronte, Brussels, Bucharest, Buckingham, Budapest,

Buenos Aires, Builth Wells, Burton-Upon-Trent, Bury St Edmunds, Buxton, Caen, Cairo, Calcutta,

Cambridge, Canterbury, Caracas, Carlisle, Cergy, Châlons-en-Champagne, Chartres, Chateauroux,

Cheltenham, Chelyabinsk, Chertsey, Chicago, Chichester, Chipping Norton, Cleethorpes, Cluj,

Colchester, Coleraine, Cologne, Colombo, Copenhagen, Coventry, Craiova, Crawley, Créteil,

Crewe, Croydon, Cuyk, Darlington, Delhi, Den Bosch, Den Haag, Derry, Dhaka, Dilbeek, Doetinchem,

Drachten, Dublin, Dudley, Dumfries, Dundee, Durham, Düsseldorf, Eastbourne, Edinburgh,

Ekaterinburg, Ellesmore, Elsinore, Epsom, Erlangen, Evesham, Evreux-Louviers, Exeter, Fareham,

Farnham, Frankfurt, Fribourg, Frome, Gainsborough, Gap, Gatehouse, Gdansk, Geneva, Girona,

Glasgow, Gorinchem, Grenoble, Grimsby, Groningen, Great Yarmouth, Guanajuato, Guildford,

Gutersloh, Haaksbergen, Haarlem, Haifa, Halesowen, Harderwijk, Harlow, Hasselt, Helmond,

Helsinki, Hemel Hempstead, Hereford, Heusden-Zolder, Hexham, High Wycombe, Hilversum,

Hong Kong, Hoogeveen, Hoorn, Horsham, Hounslow, Huddersfield, Hull, Ipswich, Irvine, Islamabad,

Istanbul, Jerusalem, Kandy, Karachi, Katowice, Keswick, Kathmandu, Kidderminster, King’s Lynn,

Kirkcudbright, Kortrijk, Krakow, Krasnoyarsk, Kuala Lumpur, Kyoto, Lagos, Lille, Lipetsk, Lisbon,

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Cheek by Jowl in RussiaIn 1986, Russian theatre director Lev Dodin invited Declan Donnellan and Nick Ormerod to visit his company in Leningrad. Ten years later, they directed and designed The Winter’s Tale for the Maly Drama Theatre of Saint-Petersburg, a production which went on to win Russia’s prestigious Golden Mask Award – an award that Cheek by Jowl’s Measure for Measure was nominated for in 2015.

Throughout the 1990s the Russian Theatre Confederation had regularly invited Cheek by Jowl to Moscow as a part of the Chekhov International Theatre Festival, and this relationship with Russia intensified in 1999, when the Chekhov International Theatre

Festival, under the leadership of Director Valery Shadrin, commissioned Donnellan and Ormerod to form their own company of Russian actors in Moscow.

This sister company performs in Russia and internationally and its current repertoire includes Boris Godunov by Pushkin, Twelfth Night and The Tempest by Shakespeare, and Three Sisters by Anton Chekhov. Measure for Measure in 2013 was Cheek by Jowl’s first co-production with Moscow’s Pushkin Theatre. This relationship will continue with our new production of Beaumont’s outrageous satire The Knight of the Burning 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 © 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

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LIFT at the BarbicanJune 2018Back to Back TheatreLady Eats AppleA large-scale, experiential production, featuring ingenious binaural sound

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Barbican Centre BoardChairman Giles ShilsonDeputy Chairman John TomlinsonBoard Members John Bennett,Russ Carr, Gerard Grech,Tom Hoffman, Wendy Hyde, Emma Kane, Vivienne Littlechild, Edward Lord, Catherine McGuinness, Wendy Mead, Lucy Musgrave, Graham Packham, Trevor Phillips, Judith Pleasance, Tom Sleigh Clerk to the Board Gregory Moore

Barbican Centre TrustChairman Emma KaneTrusteesRichard BernsteinSir Roger GiffordSir Nicholas KenyonProfessor Dame Henrietta MooreJohn MurrayAlasdair NisbetJohn PorterDr Giles ShilsonTorsten ThieleSteven TredgetRegistered charity no. 294282

DirectorsManaging DirectorSir Nicholas KenyonChief Operating and Financial OfficerSandeep DwesarDirector of Arts Louise JeffreysDirector of Learning and EngagementSean GregoryDirector of Operations and BuildingsJonathon PoynerExecutive Assistant toSir Nicholas Kenyon Jo Daly

Theatre DepartmentHead of Theatre Toni RacklinSenior Production ManagerSimon Bourne

Producers Marie Curtin, Jill Shelley, Angie SmithProduction ManagersJamie Maisey, Lee TaskerTechnical Managers Richard Beaton,Tony Brand, Steve Daly, Jane Dickerson, Martin MorganStage Managers Lucinda Hamlin,Rachel HoggTechnical Supervisors Kevin Atkins,Martin Coates, Nik Kennedy,Jamie Massey, Stevie Porter,Tom Salmon, John Seston,Chris WilbyPA to Head of Theatre David GreenAssistant Producers Anna Dominian,Alex Jamieson, Bernie WhittleTheatre Administration Trainee Olivia NwabaliProduction AdministratorCaroline HallProduction Assistant Lauren HamiltonTechnicians John Gilroy,Burcham Johnson,Christian Lyons, Josh Massey,Lawrence Sills, Neil SowerbySystems and Maintenance TechniciansAdam Parrott, Charlie ArnoldTheatre Production ApprenticesRobert Arnall, Paige HolmesStage Door Julian Fox,aLbi Gravener

Creative LearningHead of Learning and ParticipationJenny MollicaTheatre and Cross Arts ProducerLauren Monaghan-Pisano

Marketing DepartmentHead of Marketing Phil NewbyDeputy Head of Marketing Ben JefferiesSenior Marketing ManagerMatt SaullMarketing Manager (Theatre) Niharika JainMarketing Campaigns Assistant (Theatre) Lani Strange

Communications DepartmentHead of CommunicationsLorna GemmellSenior Communications ManagerAngela DiasPR Consultant Bridget ThornborrowCommunications OfficerFreddie Todd FordhamCommunications InternAlicia Gelassakis

Audience ExperienceHead of Audience Experience,Operations & Sales David DuncanAudience Experience ManagersMark Fleming, Sheree MillerTicket Sales Managers Lucy Allen,Oliver Robinson, Ben Skinner,Jane Thomas, Will Warnock,Andy WilliamsonCentre Managers (Delivery)James Carruthers, Robert Norris, Mo ReidemanCentre Manager (Planning)Pheona KiddAudience Event & Planning ManagerFreda PouflisVenue Managers Fiona Badgery,Lucy Dunn, Gary Hunt,Nyah Farier, Elizabeth WilksAssistant Venue ManagersHelen Knights, Richard Long Crew Management Drew Burke,Dave Magwood, James Towell Access and Licensing ManagerRebecca OliverIT Business Systems ManagerNicholas TriantafyllouSafety and Security ManagerNigel Walker

DevelopmentHead of DevelopmentLynette Brooks

Barbican Centre

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Valentine Catzéflis 39

44Photo: Vanessa Kennedy

Périclès, Prince de Tyr CompanyBack row: Teya Lanzon, Élise Rale, Martin Nikonoff, Vincent Gabriel, Lucile Quinton, Michelangelo Marchese, Kenan Trevien Third Row: Marcus Roche, Declan Donnellan, Nick Ormerod, André Neri, Valérie Bezançon, Valentine Catzéflis, Pascal Noël, Christophe Grégoire, Marina Aguilar Second Row: Xavier Boiffier, Cécile Leterme, Guillaume Pottier, Camille Cayol, Angie Burns Front Row: Eleanor Lang, Dominic Kennedy, Sharlit Deyzac, Marie Couvert-Castera Photo: Patrick Baldwin

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Artistic Directors Declan Donnellan, Nick OrmerodExecutive Director Eleanor LangGeneral Manager & PA to the Artistic Directors Teya LanzonMarketing & Education Manager Dominic Kennedy Administrator Marie Couvert-CasteraBookkeeper Kate GrosvenorAnna Kolesnikova Producer, Russia Press & PR Kate Morley PRGraphic Design Eureka! Design Consultants LtdWebsite and e-marketing Hans de Kretser Associates

Directors of Cheek by JowlRichard Philipps (Chair)Beth ByrneClare O’BrienSameer PabariJudith PatricksonEmma StenningPhilip Stoltzfus

Cheek by Jowl Stage Door, Barbican CentreSilk StreetLondon EC2Y 8DSScottish Charity No: SCO13544Registered 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.

Igor Yasulovich in The Tempest (2011) © Johan Persson

For Cheek by Jowl