waiting for godot -...

Gerald W. Lynch Theaterat John Jay College

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Waiting for Godot is made possible in part by Laura Pels International Foundation for Theater.

Major endowment support for contemporary dance and theater is provided by the Doris DukeCharitable Foundation.

Waiting for Godot is also made possible in part by endowment support from the American ExpressCultural Preservation Fund.

This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.

Pre-performance discussion with Garry Hynes and Robert Marx on Saturday,November 3 at 6:15 pm

Friday, November 2, 2018 at 7:30 pmSaturday–Sunday, November 3–4 at 2:00 and 7:30 pmMonday–Tuesday, November 5–6 at 7:30 pmThursday–Friday, November 8–9 at 7:30 pmSaturday, November 10 at 2:00 and 7:30 pmSunday, November 11 at 2:00 pmMonday–Tuesday, November 12–13 at 7:30 pm

Waiting for GodotBy Samuel Beckett

This performance is approximately two hours and 30 minutes long, including intermission.

WhiteLightFestival.org

The White Light Festival 2018 is made possible byThe Shubert Foundation, The KatzenbergerFoundation, Inc., Laura Pels InternationalFoundation for Theater, The Joelson Foundation,The Harkness Foundation for Dance, GreatPerformers Circle, Chairman’s Council, and Friendsof Lincoln Center

Public support is provided by New York StateCouncil on the Arts with the support of GovernorAndrew M. Cuomo and the New York StateLegislature

Nespresso is the Official Coffee of Lincoln Center

NewYork-Presbyterian is the Official Hospital ofLincoln Center

Waiting for Godot is presented through specialarrangement with Georges Borchardt, Inc. onbehalf of the Estate of Samuel Beckett. All rights reserved.

Druid gratefully acknowledges the support of The Arts Council of Ireland and Culture Ireland.

UPCOMING WHITE LIGHT FESTIVAL EVENTS:

Tuesday, November 13 at 7:30 pm in the Church ofSt. Mary the VirginLatvian Radio ChoirSigvards Kļava, conductorMAHLER: Die zwei blauen Augen; Ich bin der Weltabhanden gekommen; AdagiettoĒRIKS EŠENVALDS: Stars; A Drop in the OceanSANTA RATNIECE: Chu Dal (“Quiet water”)VALENTIN SILVESTROV: DiptychJURIS KARLSONS: Oremus (World premiere)

Friday–Saturday, November 16–17 at 7:30 pm inthe Gerald W. Lynch Theater, John Jay CollegeBlak Whyte Gray (U.S. premiere)Boy BlueMichael “Mikey J” Asante, creative direction andmusicKenrick “H2O” Sandy, choreographyPost-performance discussion with Michael “Mikey J” Asante and Kenrick “H2O” Sandy onFriday, November 16

Saturday, November 17 at 7:30 pm in the RoseTheater; Sunday, November 18 at 5:00 pmOnly the Sound Remains (U.S. premiere)An opera by Kaija SaariahoDirected by Peter SellarsPhilippe Jaroussky, countertenorDavóne Tines, bass-baritoneNora Kimball-Mentzos, dancer and choreographerPre-performance discussion with Kaija Saariaho,Peter Sellars, and Ara Guzelimian on Sunday,November 18 at 3:45 pm in the Agnes Varis andKarl Leichtman Studio

For tickets, call (212) 721-6500 or visitWhiteLightFestival.org. Call the Lincoln Center InfoRequest Line at (212) 875-5766 to learn about pro-gram cancellations or to request a White LightFestival brochure.

Visit WhiteLightFestival.org for full festival listings.

Join the conversation: #WhiteLightFestival

We would like to remind you that the sound of coughing and rustling paper might distract the per-formers and your fellow audience members.

In consideration of the performing artists and members of the audience, those who must leavebefore the end of the performance are asked to do so between pieces. The taking of photographsand the use of recording equipment are not allowed in the building.


Waiting for GodotBy Samuel Beckett

Directed by Garry HynesProduced by Druid

Garrett Lombard, LuckyAaron Monaghan, EstragonRory Nolan, PozzoMarty Rea, VladimirJaden Pace/Nathan Reid, Boy

Francis O’Connor, Set and Costume DesignJames F. Ingalls, Lighting DesignGregory Clarke, Sound DesignNick Winston, Movement Director

Synopsis

On a bare road in the middle of nowhere, two world-weary friends, Vladimir and Estragon,await the arrival of the mysterious Godot. While waiting, they speculate, bicker, joke, andponder life’s greater questions. As dusk begins to fall, two figures appear on the horizon.

Much Ado About NothingBy Drew Lichtenberg

There has perhaps never been a play so resistant to symbolic interpretations, or more invit-ing of them, than Samuel Beck ett’s Waiting for Godot. The American director AlanSchneider once asked Beckett, “Who or what does Godot mean?” referring to the mys-terious character at the center of the play. The infamously reticent playwright demurred:“If I knew, I would have said so in the play.” Speaking to the London critic HaroldHobson, Beckett was similarly cryptic:

I take no sides. I am interested in the shape of ideas. There is a wonderful sentencein Augustine: “Do not de spair; one of the thieves was saved. Do not presume; oneof the thieves was damned.” That sentence has a wonderful shape. It is the shapethat matters.

The reference is to the parable of the two thieves crucifiedalongside Christ, but Beckett seems to tease the associa-tion only to disavow it.

The play has proven similarly mystifying to performers.Peter Bull, who played Pozzo in the English premiere of1955, described rehearsals as “gloomy affairs.” Beckett

didn’t show up until late in the process and was of no use to the actors whatsoever.Moreover, his text was filled with so many repetitions and identical cues that it provedextremely difficult to memorize. On opening night, the cast made the mistake of skippingfour pages in the script—and then the even greater mistake of going back and startingthe scene over again. To add indignity to insult, Beckett burdened Pozzo with bulky propsand ticky-tack costume elements: an enormous overcoat, a giant watch, a pipe that mustbe stuffed and smoked, opera glasses, and mostimportantly, a gigantic rope that rubbed his hands raw.Worst was a skintight rubber wig (“one of my majormiseries”) that Bull was forced to wear beneath hisbowler hat, even though his bald baby-like head wasseen for just a few seconds. There seemed to be amethod to this madness, but it was one the playwrightcould not—or would not—explain.

Beckett attended the London production with Alan Schneider, who was readying theAmerican tryout. His observations are worth quoting. According to Schneider, Beckettfound it “scenically over-cluttered.” The director of the original premiere in Paris, Roger

Blin, recalled that Beckett insisted that the space for Godot be absolutely empty, unclut-tered by extraneous details.

Again and again, instead of explaining what his work “meant,” Beckett focused insteadon specifying its concrete theatrical means, such as Pozzo’s pipe and rope. Rather thanspell out his ideas, he sought instead to define their shape. And it is the shape of Waitingfor Godot that constitutes its most startling and long-lasting innovation. The play has beencalled a summing up of all dramatic art; it is also a revolution in dramatic form.

Beckett arrived at this breakthrough byway of his deceptive minimalism. At theplay’s beginning, two tramps stand on a“country road.” Save for a lone tree and apaper moon that sets toward the end ofeach act, the stage is bare. And yet, afternoticing the tree, the two tramps (named

Vladimir and Estragon, but addressing each other as Didi and Gogo, like clowns in a circus)can’t seem to agree on whether it is a tree at all, or just a bush. Maybe a shrub.

Something about the landscape of Godot, bare as it is, seems to be strangely dualistic,halfway in between reality and fiction. The closer you look at it, the more distorted itseems. In Act 1, Didi (the rational one, always in search of clues for meaning), looks“wildly about him, as though the date was inscribed in the landscape.” In Act 2, Didi asksGogo whether he recognizes the place. “Recognize!” Gogo replies, thinking only of hishunger and misery, “What is there to recognize! All my lousy life I’ve crawled about in themud! And you talk to me about scenery!”

Once you look for it, this doubleness, this theatrical irony, riddles the text, transformingplaces into non-places, things into scenery, characters into clowns. Halfway through eachact, the bizarre Pozzo and Lucky enter to perform a kind of play-within-the-play that mirrorsthe love-hate predicament of our two main tramps. Cued by Pozzo (“Think!”), Lucky deliv-ers a show-stopping monologue, a Joycean stream of consciousness that seems to offera skeleton key to the play’s meaning. Pozzo, meanwhile, delivers the play’s only lyric pas-sage (a florid apostrophe of the mysterious landscape, of course), stopping to ask Didi andGogo for a review: “How did you find me? Good? Fair? Middling? Poor? Positively bad?”

The mode of performance seems to be that ofthe popular theater: Pozzo wears Chaplin’sbowler hat. Gogo, whether wrestling with hisboots or attempting to hang himself on a tree,continuously falls into the lazzi of the comme-dia dell’arte, and his who’s-on-first argumentswith Didi recall the tag-team duets of vaude-ville and the music hall. Beckett would write1965’s Film for the slapstick master Buster Keaton after he turned down the role of Lucky,and the original American Gogo was Bert Lahr, known to millions as the Cowardly Lion inThe Wizard of Oz. Robin Williams and Steve Martin have played Didi and Gogo, and BillIrwin’s Lucky made clear the figure’s connection to centuries of clown and mime.


If Beckett turns again and again to lowbrow delights, however, it is mainly in order toescape from highbrow despair, the nauseous waiting that constitutes the main action.The play is titled Waiting for Godot, and that is precisely, literally, what Didi and Gogo do.Killing the time with their seemingly endless supply of theatrical games and bits, the twotramps provide a sublime chronicle of boredom, their language streaked with ominoussilences, pauses, and those maddening, nearly impossible to memorize repetitions ofnon-instrumental snatches of dialogue. As each microcosmic play subsides, a sense ofthe yawning macrocosm, a universe of existential dread, creeps into the frame.

And herein lies the sweeping, simple insight of Beckett’s genius. By radically paring awaymost of the elements that had constituted a play, Beckett shifted the gaze away fromsuch stand-bys as plot, character, and thought, and onto new aesthetic virtues: the emptyspace, the present tense, scenery and props, bodies in performance. Excising the drama,Beckett replaced it with theater. Ironically, Beckett relies on these same dramatic ele-ments for much of Godot’s immensely powerful effect: we wait eagerly with the trampsfor the reversal of situation and scene of recognition we suspect will never come. All thatis left, classically speaking, is the scene of suffering.

Is this why Beckett cited Augustine’s parable of the two thieves? Did he mean Didi andGogo, enacting a latter-day Passion of the Christ? Perhaps, but asking such questions isbeside the point. After Godot, one could still write plays in the style of Sophocles orShakespeare. But Beckett created an entirely new kind of play that unfolds in circular timeand unfixed space, in which the creation of the world takes place every time it is performed,in which character is really a series of characters and life a succession of behaviors, a playthat brings the vast range of human performance into view. It is the shape that matters.

Drew Lichtenberg is the literary manager and resident dramaturg of Shakespeare TheatreCompany in Washington, D.C.

—Originally published in ASIDES magazine, the production program and publication of ShakespeareTheatre Company

—Illustrations by Amanda Hamati


About the PlaywrightBy Susannah Clark

Samuel Beckettwas born onApril 13, 1906 inDublin, Ireland.His fatherworked in con-struction andhis mother wasa nurse. In hisyouth, Beckettstudied musicand excelled in

cricket, but suffered from periods ofintense depression. He studied English,French, and Italian at Trinity College beforebeginning a brief stint as a teacher in Paris.While abroad, he published his first piecesof literary criticism and befriended JamesJoyce, who became a profound influence.Beckett even contributed research forwhat would become Finnegan’s Wake.

Beckett’s first novel, Dream of Fair toMiddling Women, was rejected by publish-ers across the board. Throughout his 20she published critical essays and reviews,taking a special interest in modernist Irishpoetry. He quietly published a book ofpoetry and a novel, Murphy, and decidedto settle permanently in Paris after fallingout with his mother. He became integratedinto the Left Bank art scene, maintaining astrong relationship with Joyce andbefriending other French and Italian writ-ers. In 1938 Beckett was stabbed in thechest and nearly killed when he refusedthe solicitations of a pimp. While recover-ing in the hospital, he met Suzanne

Déchevaux-Dumesnil, a French womanwho became his lifelong companion andeventual wife.

When World War II broke out and theNazis occupied France in 1940, Beckettand Déchevaux-Dumesnil joined theFrench resistance. After his unit wasbetrayed and they were nearly caught bythe Gestapo, the two fled to a village in thesouth of France, where they continued toaid the resistance from afar. After the war,Beckett was awarded the Croix de Guerrefor bravery.

Beckett’s major literary success came afterthe war. In quick succession, he wrote andpublished several works in French, includ-ing the novels Molloy, Malone meurt, andL’Innommable. Then came Waiting forGodot, originally written in French as Enattendant Godot. In Paris, London, and laterNew York, the play premiered to contro-versy and confusion that quickly turned intoa sensation. Godot brought Beckett fameand renown, and it was followed by thepublication of several more plays and nov-els, most of which he wrote in French andtranslated into English himself.

Beckett was awarded the Nobel Prize forLiterature. An intensely private man, he didnot accept the award in person, and hegave all of the prize money away. He diedon December 22, 1989.

Susannah Clark was the 2017–18 artisticfellow at Shakespeare Theatre Company inWashington, D.C.

—Originally published in ASIDES magazine, theproduction program and publication of Shake -speare Theatre Company

ROGER PIC

—W. S. Merwin, “Worn Words” from The Shadow of Sirius. Copyright © 2008 by W. S. Merwin. Reprinted with the permission of ThePermissions Company, Inc., on behalf of Copper Canyon Press, www.coppercanyonpress.org

For poetry comments and suggestions, please writeto [email protected].

The late poems are the onesI turn to first nowfollowing a hope that keepsbeckoning mewaiting somewhere in the linesalmost in plain sight

it is the late poemsthat are made of wordsthat have come the whole waythey have been there

Illumination

Worn WordsBy W. S. Merwin


Meet the Artists

Garry Hynes co-founded Druid TheatreCompany in 1975 and has worked as itsartistic director from 1975 to 1991 andfrom 1995 to the present. From 1991–94she was artistic director of the AbbeyTheatre, Dublin. Ms. Hynes has alsoworked with the Gate Theatre (Ireland),Royal Shakespeare Company and theRoyal Court (U.K.), Center Theatre Group,Second Stage, Signature Theatre,Manhattan Theatre Club, the KennedyCenter, Mark Taper Forum, and SpoletoFestival USA.

Ms. Hynes was the recipient of the Joe A.Callaway Award (New York) for Outstand -ing Directing for The Cripple of Inishmaanby Martin McDonagh (2009). She won aTony Award for Best Direction for TheBeauty Queen of Leenane in 1998, and isthe recipient of many other theaterawards, including the Irish Times/ESB IrishTheatre Awards for Best Director forDruidShakespeare: Richard II, Henry IV(Parts 1 & 2) and Henry V, The BeautyQueen of Leenane, Waiting for Godot anda Special Tribute Award for her contributionto Irish theater (2005). Ms. Hynes has alsoreceived honorary doctorates from theUniversity College Dublin, University ofDublin, National University of Ireland (NUI),and the National Council for EducationAwards; most recently she was made anhonorary fellow of the Royal College ofPhysicians of Ireland. She is a member ofthe Honorary Council of the RoyalHibernian Academy. In 2011 Ms. Hyneswas appointed adjunct professor of dramaand theater studies at NUI Galway.

Garrett Lombard (Lucky) trained at theSamuel Beckett Centre at Trinity College,Dublin. He is a member of the DruidEnsemble, and worked previously on DruidShakespeare: Richard III, Furniture, DruidShakespeare: Richard II, Henry IV (Parts 1 &2) and Henry V, DruidMurphy–Plays byTom Murphy, The Silver Tassie, The Wal -worth Farce, and The Year of the Hiker.

His additional theater credits includeStones in His Pockets (McCarter Theatre);Ulysses, Cavalcaders, The RecruitingOfficer (Abbey Theatre); The Dumb Waiter,A Streetcar Named Desire, BedroomFarce, An Ideal Husband, The Caretaker,All My Sons, Death of a Salesman, TheGlass Menagerie (Gate Theatre); Dusk(Red Iron Productions); The Rehearsal,Playing the Dane (Pan Pan); Alone ItStands (Lane Productions); Playing fromthe Heart (The Ark); The Field (national tourfor Scott Rellis Productions), and TheWinter’s Tale (Corcadorca).

Mr. Lombard has also appeared on film andtelevision in Looks Like Rain, Quirke,Rough Diamond, Fair City, Love is theDrug, Pure Mule, Alexander, Frontline, andStella Days. He was nominated for an IrishFilm and Television Award for his role asScobie Donoghue in Pure Mule (2005).

Garry Hynes Garrett LombardMATT

HEW THOMPSON

Aaron Monaghan (Estragon) trained at theSamuel Beckett Centre at Trinity College,Dublin. He is a member of the DruidEnsemble and artistic director of Livin’Dred Theatre Company. He has previouslyworked with Druid on DruidShakespeare:Richard III, Shelter, The Beauty Queen ofLeenane, DruidShakespeare: Richard II,Henry IV (Parts 1 & 2) and Henry V, TheColleen Bawn, DruidMurphy–Plays by TomMurphy, The Silver Tassie, Penelope, ThePlayboy of the Western World, The Crippleof Inishmaan, Empress of India, The Yearof the Hiker, The Walworth Farce, andDruidSynge.

Mr. Monaghan has additionally appeared inStones in His Pockets (McCarter Theatre);The Second Violinist (Landmark); KingLear, Translations, 16 Possible Glimpses,Arrah-na-Pogue, Christ Deliver Us, Romeo& Juliet, Drama at Inish, The Shaughraun,She Stoops to Conquer, The Burial atThebes, I Do Not Like Thee, Dr. Fell, TheWolf of Winter, and Finders Keepers (AbbeyTheatre). His film and television workincludes Maze, The Foreigner, Assassin’sCreed, Pan, Vikings, Inspector Jury, CleanBreak, Sacrifice, The Other Side of Sleep,Single-Handed, Jack Taylor, Love/Hate,Little Foxes, The Tudors, Ella Enchanted,Float Like a Butterfly, and LSD:73.

Mr. Monaghan has received Obie, LucilleLortel, and Manchester Evening NewsBest Actor Awards for his performance asCripple Billy in The Cripple of Inishmaan(2008). He also won the Irish Times IrishTheatre Award for Best Supporting Actorfor his performance as Liam (Conversationson a Homecoming) in DruidMurphy–Playsby Tom Murphy (2012).

Rory Nolan (Pozzo) is a member of theDruid Ensemble and graduated from theGaiety School of Acting in 2003. For Druidhe has appeared in DruidShakespeare:Richard III, Shelter, DruidShakespeare:Richard II, Henry IV (Parts 1 & 2) and Henry V, The Colleen Bawn, and DruidMurphy–Plays by Tom Murphy.

Mr. Nolan’s other theater credits includeNorthern Star, The Critic, Peer Gynt, TheImportance of Being Earnest, Don Carlos,The Taming of the Shrew, ImprobableFrequency, Is This About Sex? (RoughMagic); Chekhov’s First Play (Dead Centre);Postcards from the Ledge, Breaking Dad,Between Foxrock and a Hard Place, TheLast Days of the Celtic Tiger, SleepingBeauty (Landmark); The Importance ofBeing Earnest, Bedroom Farce, A Christ -mas Carol, Death of a Salesman (GateTheatre); She Stoops to Conquer, Aristo -crats, The Government Inspector, Trans -lations, Arrah-na-Pogue, Macbeth, TheRivals, Last Days of a Reluctant Tyrant, TheComedy of Errors, Heavenly Bodies, BigLove (Abbey Theatre); Observe the Sons ofUlster Marching Towards the Somme(Livin’ Dred/Nomad); Cat on a Hot Tin Roof(Corn Exchange); and The Evils of Tobacco(Mangiare Theatre).

For film and television, Mr. Nolan hasappeared in Acceptable Risk, The Delin -quent Season, WILD, Charlie, Fair City, AThousand Times Goodnight, The BakerStreet Irregulars, Trouble in Paradise, andNothing Personal.

Mr. Nolan won the Irish Times Irish TheatreAward for Best Supporting Actor for his roleas Pozzo in Waiting for Godot (2016).

AaronMonaghan Rory Nolan


Marty Rea (Vladimir) is a member of theDruid Ensemble and graduated from theRoyal Academy of Dramatic Arts, Londonin 2002. Mr. Rea’s collaborations with Druidinclude DruidShakespeare: Richard III, Kingof the Castle, The Beauty Queen of Lee -nane, DruidShakespeare: Richard II, HenryIV (Parts 1 & 2) and Henry V, Brigit, BeInfants in Evil, The Colleen Bawn, andDruidMurphy–Plays by Tom Murphy.

Additional theater work includes The GreatGatsby, Juno and the Paycock, The Impor -tance of Being Earnest, The Caretaker, AnIdeal Husband, My Cousin Rachel, LittleWomen, Hay Fever, Arcadia, Salomé, TheGlass Menagerie (Gate Theatre); Othello,She Stoops to Conquer, The Hanging Gar -dens, Major Barbara, John Gabriel Bork -man, The Rivals, Only an Apple, An IdealHusband, The Big House, Saved, TheImportance of Being Earnest (AbbeyTheatre); Improbable Frequency (59E59);Pentecost, Spokesong (Lyric Theatre/RoughMagic); Philadelphia, Here I Come!, Hamlet(Sec ond Age); Observe the Sons of UlsterMarching Towards the Somme (Livin’Dred/Nomad); Philadelphia, Here I Come!(ART NI). He has also appeared in film andtelevision in Citizen Lane, Barbarians Rising!,The Devils Pool, and The Man Inside.

Mr. Rea has received the Irish Times IrishTheatre Award for Best Actor for the titlerole in Hamlet (2010) and again for his por-trayal of Richard II in DruidShakespeare:Richard II, Henry IV (Parts 1 & 2) and Henry V (2015). He won the Irish TimesIrish Theatre Award for Best SupportingActor for his role as Jemmy Maguire inKing of the Castle and for his role as NickCarra way in The Great Gatsby (2017).

Jaden Pace (Boy) is thrilled to be makinghis second appearance at Lincoln Center’sWhite Light Festival. Last season he per-formed with Meredith Monk as part of theYoung People’s Chorus of New York City inDancing Voices. Mr. Pace has been amember of YPC since 2014 and has sungwith the group in many of New York City’sleading venues including Carnegie Hall,Jazz at Lincoln Center, and St. John theDivine. Outside his work with YPC, Mr.Pace has performed the roles of The Wolfand Pugsley in Broadway Workshop’s pro-ductions of Into the Woods and TheAddams Family. He also performed “Let ItBe” at a sold-out New York Knicks game atMadison Square Garden where he was theKidz Bop contest winner. He can be heardas the voice of the mischievous bunniesCasper and Jasper in Jam Media andNickelodeon’s Becca’s Bunch, and can beseen on Sesame Street in the “New Year’sEve on Sesame Street” episode. He is alsoa featured performer in the Go Cra-Z! Lovemy Cra-Z-Art commercial. He would like tothank Take 3 Talent and Jody Prusan fortheir support.

Nathan Reid (Boy) is ecstatic to be makinghis Lincoln Center debut. His credits includeYoung Daniel in the upcoming feature filmDaniel Isn’t Real, the television showAmerica’s Got Talent, the Amazon originalseries Creative Galaxy, and as a series regular on #1 Dad. Mr. Reid would like to

Marty Rea Jaden Pace

Nathan Reid

thank his mom and dad, Marissa, Take 3Talent, his teachers at PS 84, everyone at OnBroadway PATP, and his family and friendswho have supported him the whole way.

Francis O’Connor Francis O’Connor (set and costume design)is a regular collaborator with Garry Hynesand Druid. His designs for plays, musicals,and opera have been seen in Ireland, theU.K., throughout the U.S., Europe, andAsia; and his work with Gate Theatre(Ireland) has frequently been seen at theSpoleto Festival USA.

Mr. O’Connor has worked on dozens of pieceswith Druid, including DruidShakespeare:Richard III, Shelter, Furniture, Sive, King ofthe Castle, Big Maggie, DruidShakespeare:Richard II, Henry IV (Parts 1 & 2) and HenryV, Brigit, Bailegangaire, The Colleen Bawn,DruidMurphy–Plays by Tom Murphy, TheSilver Tassie, The Gigli Concert, The Crippleof Inishmaan, Long Day’s Journey IntoNight, Leaves, Empress of India, The Year ofthe Hiker, DruidSynge, The Well of theSaints, The Tinker’s Wedding, Sharon’sGrave, The Good Father, My BrilliantDivorce, The Beauty Queen of Leenane, TheLonesome West, A Skull in Connemara, TheLeenane Trilogy, The Country Boy, The WayYou Look Tonight, Shadow and Substance,and Wild Harvest.

In addition, Mr. O’Connor has receivedthree Irish Times Irish Theatre Awards, twofor Best Design and one for Best CostumeDesign (with Doreen McKenna); a BostonCritics Circle Award; a Dora Mavor MooreAward; and, most recently, a nominationfor Germany’s Faust Prize.

James F. IngallsJames F. Ingalls’s (lighting design) workwith Druid includes DruidShakespeare:Richard III, Sive, King of the Castle, TheBeauty Queen of Leenane, and DruidShakespeare: Richard II, Henry IV (Parts 1 & 2)and Henry V. Additional credits include

Manahatta and Julius Caesar at OregonShakespeare Festival and the U.S. tour ofCarmen de Lavallade’s As I Remember It.

His designs for opera include La Clemenzadi Tito (Dutch National Opera, SalzburgFestival), John Adams’s Nixon in China, TheDeath of Klinghoffer, El Niño, The GospelAccording to the Other Mary; KaijaSaariaho’s L’Amour de Loin, Adriana Mater,La Passion de Simone, and Only the SoundRemains, all directed by Peter Sellars; and IlFarnace and Kat’a Kabanova, both directedby Garry Hynes at Spoleto Festival USA.

His designs for dance include Unbound(San Francisco Ballet’s New WorksFestival); several pieces for Paul TaylorAmerican Modern Dance including Con -certiana, The Beauty of Gray, and Half Life;many pieces for Mark Morris Dance Groupincluding Layla and Majnun, Mozart Dances,The Hard Nut, and L’Allegro, il Penseroso edil Moderato; and Twyla Tharp’s 50thAnniversary U.S. tour. Mr. Ingalls often col-laborates with the Wooden Floor dancersbased in Santa Ana, California.

Gregory ClarkeGregory Clarke (sound design) works interna-tionally in drama and musical theater. He hasworked with Druid since 2000. His work withthe company includes DruidShakespeare:Richard III, Shelter, Furniture, Sive, King ofthe Castle, The Beauty Queen of Leenane,DruidShakespeare: Richard II, Henry IV(Parts 1 & 2) and Henry V, Brigit, Bailegan -gaire, Penelope, The New Electric Ballroom,The Hackney Office.

Additionally, Mr. Clarke has designed forThe Twits and The Ritual Slaughter ofGorge Mastromas (Royal Court); Mister -man (Galway International Arts Festival &Landmark Productions); Medea, TheDoctor’s Dilemma, Twelfth Night, NoMan’s Land, Tristan & Yseult, The EmperorJones, and Earthquakes in London(National Theatre, London); The Merchant


of Venice and Cloud Nine (Almeida); All’sWell That Ends Well, The Heart of RobinHood, Great Expectations, Coriolanus, TheMerry Wives of Windsor, Tantalus,Cymbeline, and A Midsummer Night’sDream (Royal Shakespeare Company). Hiswork has also been seen on the West Endin My Night with Reg, Goodnight Mr. Tom,The Vortex, A Voyage Around My Father,And Then There Were None, Some Girls,Waiting for Godot, What the Butler Saw,Journey’s End, and Equus.

Mr. Clarke won the Tony Award for BestSound Design for Equus (2009) and theDrama Desk Award for Outstanding SoundDesign for Journey’s End (2007).

Nick WinstonNick Winston (movement director) is an inter-national director and choreographer workingin theater, opera, and television. His chore-ography credits include Annie (PiccadillyTheatre; Mirvish Productions, Toronto);Kiss Me, Kate (Théâtre du Châtelet);Sweeney Todd (Royal Exchange Theatre);Loserville (Garrick Theatre); Horrid Henry(Trafalgar Studios); and The Adventures ofPinocchio (Opera North, Minnesota Opera).

As director and choreographer, his creditsinclude the Royal Variety Performance(London Palladium/ITV), An American inParis (Landestheater Linz), Fame (30thanniversary tour), Guys & Dolls (KilworthHouse Theatre), Bugsy Malone and A Mid -summer Night’s Dream (Curve Theatre),The Wedding Singer, Rock Of Ages (U.K.tour), and Flashmob (Sadler’s Wells). Mr.Winston’s work has also been seen ontelevision with Sondheim at 80 (BBCProms) and Shakespeare Live from theRSC (BBC, BAFTA nomination: LiveEntertainment).

Mr. Winston received Broadway WorldAward nominations for his work on BugsyMalone, Annie, Calamity Jane, Little Shopof Horrors, White Christmas, and Loserville,

and an Olivier nomination for Best NewMusical for his work on Loserville.

DruidDruid began as a bold idea: to createIreland’s first professional theater companyoutside of Dublin. There were fewresources with which to build a theatercompany in the west of Ireland in 1975, but,through sheer dedication, and with the sup-port of the Galway community, foundersGarry Hynes, Marie Mullen, and Mick Lallymade this bold idea a reality. That reality hasbecome an international success story ofextraordinary dimensions. The companyhas won international acclaim and numer-ous awards, including four Tony awards forMartin McDonagh’s The Beauty Queen ofLeenane on Broadway.

Druid continues to pursue bold ideas, frompresenting the entire canon of Synge playsin one day (DruidSynge), to professionallydebuting new work such as The BeautyQueen of Leenane by Martin McDonaghand The Walworth Farce by Enda Walsh, toadapting and staging four Shakespeare playsin one production (DruidShakespeare:Richard II, Henry IV (Parts 1 & 2) and Henry V)and taking them across Ireland and theAtlantic, to New York and beyond. Druid pas-sionately believes in audiences havingopportunities to see first-class professionaltheater in their own communities. Since1975, the company has performed in over100 Irish communities, often returning tolocations dozens of times, developing endur-ing connections with audiences. Druid haspresented work at international arts festi-vals, in municipal theaters, community halls,yards, bars, and Iron Age forts, always look-ing for new ways to present its work.

The Druid Ensemble is a core group ofactors who work closely with Druid toshape the future direction of the company’swork: Derbhle Crotty, Garrett Lombard,Aaron Monaghan, Marie Mullen, RoryNolan, Aisling O’Sullivan, and Marty Rea.

Robert MarxRobert Marx (discussion moderator,November 3) is president of the Fan Fox &Leslie R. Samuels Foundation, whose pro-grams support the performing arts in NewYork City. Previously, he was executivedirector of Lincoln Center’s New YorkPublic Library for the Performing Arts anddirector of the theater programs at both theNew York State Council on the Arts and theNational Endowment for the Arts. A formerconsulting editor of Opera News magazine,since 1995 he has appeared regularly as apanelist and commentator on the intermis-sion features of the Metropolitan Opera’sinternational radio broadcasts. His numer-ous Met interviews ranged from SupremeCourt Justice Ruth Bader Ginsburg tostage director Robert Wilson and conduc-tor Valery Gergiev. As a theatrical producer,consultant, and essayist, he has workedwith major theaters, opera companies, andfestivals across the U.S. and abroad.

Gerald W. Lynch Theater atJohn Jay CollegeJohn Jay College of Criminal Justice of theCity University of New York, an interna-tional leader in educating for justice, offersa rich liberal arts and professional studiescurriculum to upwards of 15,000 under-graduate and graduate students from morethan 135 nations. In teaching, scholarship,and research, the college approaches jus-tice as an applied art and science in serviceto society and as an ongoing conversationabout fundamental human desires for fair-ness, equality, and the rule of law.

Since opening its doors in 1988, the GeraldW. Lynch Theater has been an invaluablecultural resource. The theater is a memberof CUNY Stages, a consortium of 16 per-forming arts centers located on CUNY cam-puses across New York City, and the CUNYDance Initiative.

The theater has hosted events in LincolnCenter’s Mostly Mozart and White LightFestivals, as well as the New York City

Opera, Mummenschanz, and the WorldScience Festival. It has also been the site oflive and recorded events including Inside theActor’s Studio, Carnegie Hall Neigh borhoodConcerts, Comedy Central Presents, theAmerican Justice Summit, and the NYCMayoral Democratic Debates. The theaterhosts premiere galas, conferences, interna-tional competitions, and graduations.

White Light Festival I could compare my music to white light,which contains all colors. Only a prism candivide the colors and make them appear;this prism could be the spirit of the listener.—Arvo Pärt. Now in its ninth year, the WhiteLight Festival is Lincoln Center’s annualexploration of music and art’s power toreveal the many dimensions of our interiorlives. International in scope, the multidisci-plinary festival offers a broad spectrum ofthe world’s leading instrumentalists, vocal-ists, ensembles, choreographers, dancecompanies, and directors complemented byconversations with artists and scholars andpost-performance White Light Lounges.

Lincoln Center for the PerformingArts, Inc.Lincoln Center for the Performing Arts(LCPA) serves three primary roles: presen-ter of artistic programming, national leaderin arts and education and community rela-tions, and manager of the Lincoln Centercampus. A presenter of more than 3,000free and ticketed events, performances,tours, and educational activities annually,LCPA offers 15 programs, series, and festi-vals including American Songbook, GreatPerformers, Lincoln Center Out of Doors,Midsummer Night Swing, the MostlyMozart Festival, and the White LightFestival, as well as the Emmy Award–win-ning Live From Lincoln Center, which airsnationally on PBS. As manager of theLincoln Center campus, LCPA providessupport and services for the Lincoln Centercomplex and the 11 resident organizations.In addition, LCPA led a $1.2 billion campusrenovation, completed in October 2012.


Lincoln Center Programming DepartmentJane Moss, Ehrenkranz Artistic DirectorHanako Yamaguchi, Director, Music ProgrammingJon Nakagawa, Director, Contemporary ProgrammingJill Sternheimer, Director, Public ProgrammingJordana Leigh, Director, David Rubenstein AtriumLisa Takemoto, Production ManagerCharles Cermele, Producer, Contemporary ProgrammingMauricio Lomelin, Producer, Contemporary ProgrammingAndrew C. Elsesser, Associate Director, ProgrammingLuna Shyr, Senior EditorRegina Grande Rivera, Associate ProducerViviana Benitez, Associate Producer, David Rubenstein AtriumWalker Beard, Production CoordinatorMeera Dugal, Programming Manager, David Rubenstein AtriumOlivia Fortunato, Programming AssistantJames Fry, Technical Manager, Contemporary ProgrammingJessica Braham, House Seat CoordinatorElizabeth Lee, Company Manager, Contemporary ProgrammingLucy Powis, House Program Coordinator

For the White Light FestivalNeil Creedon, Production Manager

For Druid Jean Hally, Deputy Stage ManagerDoreen McKenna, Costume SupervisorVal Sherlock, Wigs and Make-UpGus Dewar and Pete Nelson, Master CarpentersShannon Light, Chief ElectricianRachel Towey, Scenic ArtistGill Christie and Bill Wright, Prop MakersFrancis O’Connor, Publicity ImageMatthew Thompson and Valerie O’Sullivan, Production Photography

Druid StaffNiamh Bent, Office ManagerFrank Commins, Warehouse Manager*Brian Duffy, Financial Controller*Brian Fenton, Associate ProducerAlison Greene, Marketing and Communications LeadFeargal Hynes, Head of Operations and Development Garry Hynes, Artistic DirectorJohn McEvoy, Development and MarketingSíomha Nee, Venue Manager*Lisa Nolan, Financial Administrator*Barry O’Brien, Production ManagerRichie O’Sullivan, Company Manager

* Part-time position

John Jay College AdministrationKarol V. Mason, PresidentSteve Titan, Vice President of Office of Finance and AdministrationJeffrey Brown, Director of Theater and Event Support ServicesAlyssa Stone, General ManagerRubina Shafi, Assistant General ManagerRosie Cruz, Technical ManagerStuart Burgess, House ElectricianWilliam Grady, House Audio EngineerDavid Nelson, Head CarpenterJeffrey Marsey, StagehandLarissa DiCosmo, Patron Services CoordinatorNardia Drummond, Office ManagerAlyshia Burke, Custodian

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