Jennifer Kidwell as antigone

photo by Matt saunders

ANTIGONEBY SophoclesTRANSLATED BY Marianne McDonaldDIRECTED BY Theodoros TerzopoulosOctober 7 - November 8, 2015October 7 - November 8, 2015

ARTISTIC DIRECTORFROM THE

“Last winter in Athens I discovered the work of a major Greek director, Theodoros Terzopoulos. The piece I saw, based on the letters of Elizabeth I and Mary Queen of Scots, offered a stunning, highly physical re-creation of a mythical encounter between the two serpentine queens.... What puzzles me is our igno-rance of Terzopoulos. Feted the world over, he has created a theatre that, while it has elements of the work of Poland’s Jerzy Grotowski, seems very much his own: one that explores the cornered human animal in all its naked despera-tion. I was left both with a sharpened sense of life’s joy and of its inevitable transience.”

- Michael Billington, Theater Critic for The Guardian, on October 13th, 2011.

When Walter Bilderback (Wilma Drama-turg) passed this article on to me, I, too, had never heard of Theodoros Terzo-poulos. The review ignited my interest in his work. I found articles and YouTube excerpts from some of his productions online and was astonished. His work was unlike anything I had seen in contem-porary theater. It’s not concerned with psychology and story-telling, but reaches deep into the very raw, conflicting, and, in Terzopoulos’ view, tragic heart of human existence.

Seven months later, after contacting Terzopoulos through email, I visited Athens to watch a performance of Lakosta and rehearsals for Amor at his Attis Theatre. I was profoundly affected by the extremely physical work of the actors. Their presence in the room, physical and vocal strength and flexibility came from years of research, disciplined training, keen body imagination, and dedication to exploring and deepening the craft of theater.

As I was watching the Attis rehearsal, my immediate thought was to find a way to expose Phila-delphia actors and audiences to Terzopoulos’ methodology, philosophy, and aesthetic. The idea developed to collaborate on a co-production, directed by Terzopoulos and performed by Wilma and Attis actors. Antigone is the outcome of that initial wish I harbored in the spring of 2012, when visiting Athens for the first time. The work is extreme and abstract in its aesthetic; it delves deep into the human memory (you’ll hear some of the chorus speak in ancient Greek, as they did during Sophocles’ time); and, at least for me, it is wonderfully unique and incomparable to any other theater experience.

BLAN KA ZIZKA

Blanka Zizka

MANAGING DIRECTORFROM THE

Up next at the Wilma, Tom Stoppard’s The Hard Problem. But first, allow me to share a few lines from another Stoppard script*:

Philip Henslowe: Mr. Fennyman, allow me to explain about the theatrebusiness. The natural condition is one of insurmountable obstacles on the road to imminent disaster. Hugh Fennyman: So what do we do? Philip Henslowe: Nothing. Strangely enough, it all turns out well. Hugh Fennyman: How? Philip Henslowe: I don’t know. It’s a mystery.

The process of obtaining work visas for our international artists was indeed a series of insurmountable obstacles that were most assuredly leading us on the road to imminent disaster. Our primary challenge came from the requirement to define our project as “culturally unique.” I’ve learned that simply saying we are bringing a Greek theater company to collaborate with a company of U.S. actors in creating a new interpretation of an ancient Greek tragedy, which will incorporate a rigorous training technique developed over decades in Greece, is not enough to define an event as “culturally unique.”

The visas were denied. Disaster was indeed imminent. And yet, it all turned out well. In fact, it all turned out awesome! But I have to say that it wasn’t a mystery.

We are deeply indebted to Morgan Lewis immigration attorneys Eleanor Pelta and Dan Schaeffer who crafted a brilliant appeal that reversed the decision. We are also grateful to Sandra Garcia, Constituent Advocate in U.S. Senator Bob Casey’s office, for coordinating with the VermontImmigrations Service Center, and with various embassies across the globe, to help expedite visas for our artists.

As the immigration debate heats up on the national stage, I am so pleased that we were able to work through the bureaucratic red tape to bring you these extraordinary artists from Greece, Italy, Australia, and the U.S. in an adventurous artistic endeavor on our local stage that is truly culturally unique.

Enjoy Antigone.

*From Shakespeare in Love, co-scripted by Tom Stoppard and Marc Norman

JAMES HASKINS

James Haskins

Opening Night Sponsors

The Wilma Theater is grateful for significant support provided by:

The Horace Goldsmith Foundation

Wyncote Foundation

Create a Legacy at The Wilma Theater

Season Sponsors

palM restaurant philadelphia at the bellevue

Antigone is madepossible in part through the generous support of

DAVID HAAS

Production Sponsor

under the direction of

Blanka ZizkaArtistic Director

James HaskinsManaging Director

presents

ANTIGONEby sophoclestranslated by Marianne Mcdonald

This theater operates under an agreement between the League of Resident Theatres and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

The scenic, costume, lighting and sound designers in LORT Theatres are represented by United Scenic Artists, Local USA-829 of the IATSE.

*Members of Actors Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Adaptation, Stage Design,

Costume Design, Lighting Design,& Choreography

Theodoros Terzopoulos

Assistant Director & Training CoachSavvas Stroumpos

ComposerPanayotis Velianitis

DramaturgWalter Bilderback

Production Manager Clayton Tejada

Resident Stage Manager Patreshettarlini Adams*

featuring Ross Beschler*, Sarah Gliko*, Stathis Grapsas, Justin Jain*,

Jennifer Kidwell*, Antonis Miriagos, Paolo Musio, Jered McLenigan*, Brian Ratcliffe*, Steven Rishard*, Ed Swidey*Opening Night Sponsors

Director Theodoros Terzopoulos

The Wilma Theater is a member of the following organizations: Avenue of the Arts, Inc., Greater Philadelphia Cultural Alliance, League of Resident Theatres, Midtown Village Merchants Association, and Theatre Communications Group, Inc.

Please notePhotography or sound recording inside the theater, without the written permission of the manage-ment, is prohibited by law. Violators may be asked to leave the theater and may be liable for financial charges.

Children PolicySome subject matter may be deemed objectionable for children; therefore, children under 12 will not be permitted in the theater.

Distracting Noise and LightThe noise of cellular phones and candy wrappers, and the light from electronic devices, are distracting to both audiences and actors. Please turn off all cellular phones and electronic devices. Also, please be sure that your watch alarm does not sound during the performance.

Smoking, eating, and drinking are prohibited inside the theater.

Ross Beschler..........................................................Teiresias and Chorus

Sarah Gliko .............................................................Ismene and Eurydice

Stathis Grapsas ...................................................... Teiresias and Chorus

Justin Jain ..................................................................................... Chorus

Jennifer Kidwell ......................................................................... Antigone

Antonis Miriagos ............................................................................ Creon

Paolo Musio .................................................................. Leader of Chorus

Jered McLenigan ........................................................ Guard and Chorus

Brian Ratcliffe ............................................................................. Haemon

Steven Rishard.....................................................Messenger and Chorus

Ed Swidey.................................................................................... Narrator

Cast of Characters

This production will run 80 minutes with no intermission.

Who’s WHOTHEODOROS TERZOPOuLOS (Director)was born in the village of Makrygialos. He studied and worked as assistant director at Berliner Ensemble (Berlin, 1972-1976). In 1985 he created Attis Theatre group in Delphi. Theodoros Terzopoulos and Attis Theatre have presented 2000 performances all over the world since then. He has directed tragedies by Aeschylus, Sophocles, and Euripides, contemporary plays by the most prominent European and contem-porary Greek writers. He has directed in many interna-tional theatres, participated in numerous international festivals and collaborated with important actors. Theodoros Terzopoulos’s method and approach to ancient Greek tragedy is taught in Drama Academies,

Institutes and Departments of Classical Studies all over the world. He frequently con-ducts workshops and lectures, and has been awarded many Theatre Prizes in Greece and abroad. Books on his work have been published and translated in Greek, English, German, Turkish, Russian, Chinese and Polish. As the artistic director of the Interna-tional Meetings of Ancient Drama in Delphi (1985-1988), he invited prestigious interna-tional theatre personalities and artists. He is chairman for the International Committee Theatre Olympics in Delphi (1995), Shizuoka, Japan (1999), Moscow (2001), Istanbul (2006), Seoul (2010), Beijing (2014), and Wroclaw, Poland (2016).

SAVVAS STROuMPOS (AssistAnt Director & trAining coAch) was born in 1979 in Athens. He graduated from the drama school of the National Theatre of Greece (2002). He has an MA with Merit from the Department of Theater Practice, University of Exeter, UK (2003). Since 2003 he has collaborated with Theodoros Terzopoulos and Attis Theatre as an actor and assistant director. With Zero Point Theater Group he has directed: Franz Kafka In the Penal Colony (2009), William Shakespeare As You Like It (2010), Albert Camus The Justs (2011), Franz Kafka Metamorphosis (2012),

Georg Buchner Woyzeck (2013), Franz Kafka In the Penal Colony (2nd version - 2014), Yevgeni Zamiatin We (2015).

ROSS BESCHLER (As teiresiAs AnD chorus) Previously at the Wilma: Our Class, Under the Whaleback, Bootycandy, Hamlet, and R&G Are Dead. Other shows include The Dangerous House of Pretty Mbane (Interact), The Lady from the Sea and Hell (EgoPo), Knives in Hens (Theatre Exile), Mary Stuart (PAC), Maple & Vine (City Theatre), The Lonesome West (Lantern), Kate Crackernuts (The Flea) and End Days (People’s Light & Theatre). MFA: Temple. Film: Flight of the Cardinal. Much honor and gratitude to Savvas, Mr. Terzopoulos and Attis for this journey, and love to BG for support on this ongoing voyage.

SARAH GLIKO (As ismene AnD euryDice) is pleased to be a part of this company alongside so many friends, including her new husband Jered! Favorite credits include: Hamlet, Don Juan Comes Home From Iraq (Wilma Theater), Parade, Charlotte’s Web (Arden Theatre Co.), My Dinner With Dito (Bearded Ladies Cabaret), The Screwtape Letters, The Liar (Lantern Theater), Around the World in 80 Days, Love Story, The Ugly One (Walnut St. Theatre), Pumpgirl (Inis Nua Theatre), and John & Jen (Act II Playhouse). Special thanks to Blanka, Jamie, Pat, Walter and Nell.

STATHIS GRAPSAS (As teiresiAs AnD chorus) has trained as an actor in Australia, England and Greece. With various independent companies he has performed in Twelfth Night (Duke Orsino), King Lear, A Servant of Two Masters, Bash – Latterday Plays (Iphigenia in Orem), Iphigenia (Kreon) and in Timberlake Wertenmbaker’s Ajax, as Ajax. With the National Theatre of Greece he performed in Love’s Labour’s Lost as the Duke of Navarre, Mar-quis d’Orsigny in Bulgakov’s Molliere, The Dreamplay, Medea, The Depths, The Idiot by Dostoyevsky as Gania Ivolgin, and the father in

The Gaze of The Dark Man by Ignacio Del Moral. With Attis Theatre he has performed in Hercules Enraged, Prometheus Bound and Maouzer. Since 2010, Stathis has conducted theatre workshops in juvenile and adult prisons in Greece and Australia.

JuSTIN JAIN (As seconD messenger) is a founding mem-ber of the Barrymore nominated alt-comedy theatre company, The Berserker Residents (www.berserkerresidents.com). Regional: Arden Theatre Company, People’s Light and Theatre Company, Theatre Ho-rizon, Shakespeare in Clark Park, McCarter Theatre, Milwaukee Rep, and Teatro Delle Due, among others. Justin has also created several independent original theatre projects including shiFt/transFer, his solo-fantasia Neverboy, and Bedtime Stories For Special Boys created in residence at Philadelphia FringeArts in 2011-12. Justin is a gradu-

ate of UArts and was a 2012 finalist for the F. Otto Haas emerging artist Barrymore award. Next up at the Wilma: An Octoroon. Thanks to Blanka, Mr. T, Savvas and this amazing ensemble of artists.

JENNIFER KIDWELL (As Antigone) has most recently performed with Pig Iron in I Promised Myself to Live Faster, David Neumann/advanced beginner group in the Bessie award nominated I Understand Everything Better as well as in Robert Wilson/Dr. Ber-nice Johnson Reagon/Toshi Reagon’s Zinnias The Life of Clementine Hunter. In 2014– as the controversial artist Donelle Woolford– she toured the U.S. as part of the Whitney Biennial performing the stand-up piece Dick’s Last Stand. She has worked with Obie award winning companies Hoi Polloi and 600 Highwaymen, as well as at The Public

Theater, New York City Opera, The Bearded Ladies Cabaret, and Flashpoint Theater. She is a proud co-Artistic Director of Lightning Rod Special and co-founder of JACK (Brook-lyn). Her writing has been published by movement research Performance Journal and hyperallergic.com.

JERED MCLENIGAN (As guArD AnD chorus) was last seen at the Wilma as Guildenstern in Rosencrantz & Guildenstern Are Dead, which earned him a Barrymore nomination for Leading Actor/Play. He’s worked locally with Lantern, InterAct, Inis Nua, Theatre Exile, Act II, Walnut Street, Delaware Theatre Co., 1812, Bris-tol Riverside and Iron Age Theatre, among others. Jered is a multiple Barrymore Award nominee and has received the Supporting Actor/Play award twice, most recently for his Mark Antony in the Lantern’s Julius Caeser. Sincere thanks to you, as always, for your support.

ANTONIS MIRIAGOS (As creon) was born on October 31 1973 on the island of Chios, he was brought up in both Montreal and Athens. He studied painting at the Athens School of Fine Arts, under the guidance of Dimosthenis Kokkinidis and Dimitris Mytaras. He also studied acting at the Theatre Laboratory Embros Drama School, under the tutelage of Anna Makraki, Dimitris Katalifos and Tasos Bantis. Since 2005, he has been collaborating with Attis Theatre and its founder, Theodoros Terzopoulos, taking part in performances staged by that theatre in both Greece and abroad. He has also collab-

orated with the Athens Festival as well as other theatres. He has participated in various group art exhibitions and also worked as a painter, costume designer and make-up artist on the Klepsydra segment of the Opening Ceremony of the Athens 2004 Olympic Games.

PAOLO MuSIO (As LeADer of chorus) is a graduate of the National Academy of Theatre Arts in Rome. He has collaborated, and played major roles, with major directors including Terzopoulos, Trionfo, Castri, Testori, Nekrosius, and Ronconi. As author, he adapt-ed and wrote original text for Renata, Eremos, Voce & The Invisible Man. Since 2002 he has created multidisciplinary projects involving visual artists and musicians, with a particular attention to modern dramaturgy. He has collaborated with Daniel Bacalov on the project Oracolo’s Juke-box, adapted from Heraclitus. In 2012 he opened the

Idiot Laboratory in Turin, in the Porta Palazzo neighborhood, joining social realism with artistic research. There he has created the stage worksVoce in collaboration with Thorsten Kirchhoff, The Grapes of Wrath by Steinbeck and Invisible Man by H.G. Wells and E. Cioran.

BRIAN RATCLIFFE (As hAemon) is a Philadelphia-based actor, musician, and teaching artist who originally hails from Salt Lake City, Utah. Brian is a graduate of Swarthmore College, where he studied Chemistry, Chinese, and Theater. He is honored to return to the Wilma stage after appearing in Rosencrantz & Guildenstern Are Dead, Hamlet, The Real Thing, Don Juan Comes Home From Iraq, and Under the Whaleback. Recently, Brian has also worked with Theatre Exile (Red Speedo), Team Sunshine Performance Corporation(The Sincerity Project, Henry IV), and Philadelphia Artists’ Collective

(Sea Plays). Brian is a founding member of Murmuration Theater, and is a keyboardist for ComedySportz Philadelphia. Enormous gratitude to Blanka and this incredible ensemble.

STEVEN RISHARD (As messenger AnD chorus) most recently was at the Wilma as Claudius in Hamlet and Rosencrantz & Guilderstern. Other theatrical credits include Dan in Detroit at Philadelphia Theatre Company, Useless at IRT, Luz at La Mama, The Bacchae for Public Theater’s Shakespeare in the Park, A Heartbeat to Baghdad at The Flea Theater, In the Penal Colony at Classic Stage Company. With Division 13 Productions; Act Without Words 1, Cascado, and Journeys Among the Dead. Regional credits include Quartet at Court Theatre, The Rainmaker at Triad Stage, and The

Beautiful Dark at Premiere Stages. TV credits: Law & Order, Law & Order: SVU, The Ameri-cans, Kings, and Treme. Film: Shelter (6 Souls) and Hal Hartley’s latest film Meanwhile.

ED SWIDEY (As nArrAtor) is thrilled to be back at the Wilma, where he previously played The Player in both Rosencrantz & Guildenstern Are Dead (Barrymore nomination) and Hamlet, Roc in Under The Whaleback, Ellis in Curse of the Starving Class, Wladek in Our Class, and Angus in Macbeth. Other recent shows: Death of a Salesman, Gint, and The Lady from the Sea (Egoppo), Bathtub Moby Dick (Renegade Company), Aladdin: A Musical Panto (People’s Light). Upcoming shows: Hans Brinker and the Silver Skates (Arden Theatre) and An Octoroon (Wilma). Ed is a Lunt-Fontanne Acting Fel-low, and received his MFA from the University of Delaware. For Alfie, Winky, and Cindy most of all.

PANAYIOTIS VELIANITIS (composer) was born in Athens in 1963. He is a member of the Hellenic Electroacoustic Music Composers Association and of the Centre of Contemporary Music Research, where he specialized in the computerized composi-tion system UPIC developed by I. Xenakis as well as in computer music, sound synthesis and composition. Since 1986 he has participated in concerts of contemporary music. He has composed music for experimental movies, animation and performances of ancient Greek drama and contemporary theater. His music extends from acoustic to electroacous-tic and mixed media compositions. He develops interactive applications using software platforms such the MAX/MSP. One of them is the Opticoacoustic Reactor (OAR) that transforms movement captured by a camera into sound controller’s data. Since 1991 he has worked with the director Theodoros Terzopoulos and Attis Theatre. He composed music for: Aeschylus, Persians (Athens, 1991), Euripides’ Heracles Enraged (Athens, 1999), Euripides’ Bacchae (Düsseldorf Schauspielhaus, 2001), Sophocles’ Oedipus Rex (Alexandrinsky Theatre, St. Petersburg, 2006), Persians (Athens – Istanbul, 2006), M. Pontikas’ Cassandra (Athens, 2007), H. Müller’s Mauser (Athens, 2009), Th. Terzopoulos Alarme (Athens, 2010), Aeschylus’ Prometheus Bound (Athens - Istanbul – Essen 2010), Th. Alevras’ Amor (Athens 2013), S. Beckett’s Endgame (Alexandrinsky Theatre, St. Petersburg, 2014), Euripides’ Bacchae (Stanislavsky Theatre, Moscow, 2015).

PATRESHETTARLINI ADAMS (ResiDent stAge mAnAger/AeA) has been the stage manager at The Wilma Theater since the theater made its home on the Avenue of the Arts in 1996. “Pat” is celebrating her TWENTIETH SEASON at the fabulous Wilma! Her career has included 7 seasons as stage manager at the Tony Award winning Crossroads Theatre in New Brunswick, NJ; and, in past years, Pat has worked the National Black Arts Festival in At-lanta, GA and the National Black Theater Festival in Winston-Salem, NC. She has also found herself traveling the world with critically-acclaimed dance company Noche Flamenca! Most recently, she is using all her free time to spoil her grandsons, Isaiah and Elijah.

God Is Good!

WALTER BILDERBACK (DrAmAturg/LiterAry mAnAger) is thrilled to see Antigone come to fruition, a process that started four years ago. Walter is in his twelfth season at the Wilma. During that time he’s helped select seasons and has worked on the vast majority of the plays produced in that time. Particular recent favorites include Our Class, Don Juan Comes Home From Iraq, and Hamlet. He’s also been fortunate to participate in or observe nearly all the workshops that have led to the formation of the HotHouse company. He is currently writing several articles chroni-cling recent Wilma productions.

MARIANNE mCDONALD (trAnsLAtor) is a distinguished Professor of The-atre and Classics at UCSD, a member of the Royal Irish Academy, and a pioneer in the field of modern versions of the classics. With over 250 publications, her prizewinning plays include: (translations) Aeschylus’s Prometheus Bound; Sophocles’ Antigone; Ajax; Oedipus Tyrannus and Oedipus at Colonus; Euripides’ Hecuba, Trojan Women; Iphigenia at Aulis; Bacchae; Phoenician Women; Children of Heracles; Seneca’s Thyestes; Aristo-phanes’s Lysistrata; versions and originals: The Trojan Women; Medea, Queen of Col-chester; The Ally Way; …and then he met a woodcutter; The Last Class; Fires in Heaven; A Taste for Blood, and Peace. http://mariannemcdonald.net

CLAYTON TEJADA (proDuction mAnAger) is celebrating his twelfth season at the Wilma, serving the first seven as Technical Director. Clayton started his profession-al career as an Apprentice at Arden Theatre, and then worked there for several years as Stage Supervisor. Before coming to the Wilma, he worked as a freelance Technical Direc-tor or Production Manager for 1812 Productions, Mum Puppettheatre, Lantern Theater, and Azuka Theatre. Clayton is a graduate of the Theater Arts program at The University of Puget Sound. He is proud to make Philadelphia his professional and artistic home. Thanks and love to his sweet Kate, and his boys Alex and Gabriel.

Jered McLenigan and Brian Ratcliffe share their experiences while training in Athens, Greece. Photo by Jered McLenigan. More at WILMATHEATER.ORG/BLOG

Email: tickets@wilmatheater.org | Box Office: 215.546.7824 | Admin: 215.893.9456 | Fax: 215.893.0895

BLANKA ZIZKA (founDing Artistic Director) has been Founding Artistic Director of The Wilma Theater since 1981.In the fall of 2011, Blanka received the Zelda Fichandler Award from the Stage Directors and Choreographers Foundation, which recognizes an outstanding director or choreographer transform-ing the regional arts landscape. For the past three years, she has been developing practices and programs for local theater artists to create working conditions that support creativity through continuity and experimentation. She has organized nine com-pensated advanced training workshops for dozens of Philadel-

phia artists with the goal of creating an ensemble of actors surrounding the Wilma. Most recently, Blanka directed Rosencrantz & Guildenstern Are Dead, Hamlet, Paula Vogel’s World Premiere Don Juan Comes Home from Iraq, Richard Bean’s Under the Whaleback, Tony Kushner’s Angels in America, Tadeusz Słobodzianek’s Our Class, Sarah Ruhl’s In the Next Room, and Macbeth, which included an original score by Czech composer and percussionist Pavel Fajt. Blanka has directed over 60 plays and musicals at the Wilma. Her recent favorite productions are Wajdi Mouawad’s Scorched, Tom Stoppard’s The Invention of Love and Rock ’n’ Roll, Sarah Ruhl’s Eurydice (which featured an original score by composer Toby Twining, now available from Cantaloupe Records), Brecht’s The Life of Galileo, Athol Fugard’s Coming Home and My Children! My Africa!, and Caryl Churchill’s Cloud 9. She collaborated closely with Dael Orlandersmith on her plays Raw Boys and Yellowman, which was co-produced by McCarter Theatre and the Wilma and also performed at ACT Seattle, Long Wharf, and Manhattan Theatre Club. Blanka was also privileged to direct Rosemary Harris and John Cullum in Ariel Dorfman’s The Other Side at MTC. For the Academy of Vocal Arts, she directed the opera Kát’a Kabanová by Leoš Janácek. She has collaborated with many playwrights including Paula Vogel, Rich-ard Bean, Yussef El Guindi, Doug Wright, Sarah Ruhl, Tom Stoppard, Linda Griffiths, Polly Pen, Dael Orlandersmith, Laurence Klavan, Lillian Groag, Jason Sherman, Amy Freed, Robert Sherwood, and Chay Yew.

JAMES HASKINS (MAnAging Director) is now in his tenth season in partnership with Blanka Zizka, the Board of Directors, and staff to advance the mission of The Wilma The-ater. James began his work in theater administration at Circle Repertory Company, where he learned early on the value and resonance of an artist-centered approach to running a theater company. He went on to work with a variety of theaters in New York and Seattle as an actor, director, and administrator. Upon moving to Philadelphia, James worked as Managing Director of InterAct Theatre Company and then Executive Director of the

Theatre Alliance of Greater Philadelphia before coming to the Wilma. As a theater artist, he is most proud of his directorial and dramaturgical work on the plays of his husband Michael Whistler. James holds an MFA from the University of Washington and a BA from The College of Wooster (Ohio), where he currently serves as President of his alumni class.

HOW TO REACH uSw w w . w i l m a t h e a t e r . o r g

Lighting Coordinator ASHLEY W. MILLS

Assistant Master Electrician NICOLE ROLO

Sound Operator JOE SAMALA

Costume Supervisor BECCA AUSTIN

Running Crew KRISTIN LINDSAY, ANNELIESE KING

Carpenters SHIPLEY

Electricians ALI BLAIR BARWICK, MICHAEL HAMLET, JOHN

ALLERHEILIGEN, JACKSON KATZ, LIZ NUGENT,

NICOLE ROLO, SYDNEY JUSTICE

Sound Technician JOHN KOLBINSKI

Scenery Construction BRITT PLUNKETT

PRODuCTION CREW

STAFF

SPECIAL THANKSMaria Vogiatzi, Nell Bang-Jensen, Krista Apple-Hodge, Blair Baker, Mary Lee Bednarek, Taysha Canales, Keith Conallen, Kate Czajkowski , JanisDardaris, Darryl Daughtry, Khris Davis, Karen Van Dyck, Melanye Finister, FringeArts and Nick Stuccio Yvette Ganier, Sandra Garcia, Hannah Gold, Joe Guzman, Leonard Haas, Dan Hodge, Independence Foundation New Theatre Works Initiative, Aimé Kelly, Emilie Krause, Mary McCool, Marianne McDonald, Kevin Meehan, Morgan, Lewis & Bockius LLP and attorneys Emmeline Babb Campbell Meaghan O’Hare, Jaylene Clark Owens, Karen Peakes, Eleanor Pelta, and Daniel D. Schaeffer, Matteo Scammell, Lindsay Smiling, U.S. Senator Robert P. Casey Jr.’s Office and Constituent Advocate Molly Ward, Lance Coadie Williams, and The University of the Arts.

ARTISTIC DIRECTOR BLANKA ZIZKA

MANAGING DIRECTOR JAMES HASKINS

ARTISTICDramaturg/Literary Manager WALTER BILDERBACKArtistic Assistant NELL BANG-JENSENLiterary Interns AAQILAH LEWIS, TORI MITTELMAN MELISSA RODIER, JENNY RUYMANN EDuCATIONEducation Director ANNE K. HOLMES Education Assistant LIZZY PECORA Teaching Artists JESS CONDA KATE CZAJKOWSKI, MIKE DEES, K.O. DELMARCELLE, JUSTIN JAIN, JOHN JARBOE, KEVIN MEEHAN, LEE MINORA, BRIAN RATCLIFFE, DAVID STRADLEY, JOSH TOTORA DEVELOPMENT and MARKETINGDevelopment Director IAIN CAMPBELL Events and Development Associate DEBBY LAUMarketing and Community Relations Manager SARA MADDENWriting and Research Specialist JULIA BUMKEDigital Communications Manager PHILIPPE J JEANGroup Sales Manager ALEXA SMITHMarketing Intern ANGELA VALECCE Development Intern ALEXANDRA SERRA FRONT OF HOuSEBox Office Manager JAMES SPECHTAssistant Box Office Manager CATHERINE PEREZ Box Office Staff SARAH BLASK, RICHARD RUBIN, ALEXA SMITH TWOEY TROUNG House Manager JAVIER MOJICA Assistant House Manager HILARY ASARE BuSINESSGeneral Manager MAGGIE ARBOGASTAdministrative Coordinator MEGAN O’DONNELLTessitura Consortium Manager CASSANDRA D. GREENBERG Tessitura Application Systems Analyst CATHERINE LACHANCE-DUFFY Tessitura Training & Support Specialist ANDY WERTNER Tessitura Services & Support Specialist MATTHEW LAZORWITZ PRODuCTIONProduction Manager CLAYTON TEJADA Assistant Production Manager/Master Electrician ASHLEY W. MILLSTechnical Director ETHAN M. MIMMResident Stage Manager PATRESHETTARLINI ADAMSSound Engineer JOE SAMALA Costume Supervisor BECCA AUSTINProduction Fellow ANNELIESE KINGStage Management Fellow KRISTIN LINDSAY Custodian FETTEROFF F. COLEN

Officers David E. Loder, ChairKathryn Doyle, Vice Chair Donald F. Parman, Vice ChairClare D’Agostino, Esq., SecretaryThomas Mahoney, TreasurerLewis H. Johnston, Assistant Treasurer, Former Chair Board MembersDaniel Berger, Esq. Mark S. Dichter, Esq., Former ChairHerman C. Fala, Esq., Former ChairLinda Glickstein

Board MembersJerry GoldbergPeggy Greenawalt, Former ChairJane HollingsworthKenneth KlothenRobert E. LinckSissie LiptonJames F. McGillinTim SabolEllen B. SolmsDavid U’Prichard, PhD, Former ChairA.E. (Ted) Wolf, Former ChairFlorence Zeller

Ex-OfficioJames HaskinsBlanka Zizka

EmeritusJeff Harbison, Former ChairHarvey KimmelJohn D. Rollins, Former ChairDianne SemingsonEvelyn G. SpritzDr. R. J. WallnerJeanne P. Wrobleski, Esq.

BOARD OF DIRECTORS

OPENSTAGESby Walter Bilderback, Dramaturg

A journey to the landscape of memoryOne day in 2011, during previews for Our Class, I read a brief review in The Guardian about a director I’d never heard of, whom the critic wrote had “created a theatre that, while it has elements of the work of Jerzy Grotowski, seems very much his own: one that explores the cornered human animal in all its naked desperation.” I immediately shared the article with Blanka, whose interest was piqued. “I got on the internet to find more,” she remembers, and was struck to see acting that “came across as very strong, with a power and presence that I didn’t see that often.” This was our introduction to Theodoros Terzopoulos, and the beginning of the path to Antigone.

After first-hand observation of his work in Athens, Blanka invited Terzopoulos to bring his production of Ajax, the madness to the 2013 Fringe Festival and lead a workshop for Philadelphia actors. This visit convinced Terzopoulos that he wanted to direct a tragedy here.

Earlier that year, I’d read a New Yorker article by Daniel Mendelsohn comparing the furor over the body of Boston Marathon bomber Tamerlan Tsarnaev to Sophocles’ Antigone. The article convinced Blanka and Terzopoulos that Antigone was the play they wanted to produce, and a second, ten-day training session took place last January, from which the local cast was chosen.

OPEN

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In retrospect, it would seem that Theodoros Terzopoulos was destined to find his fame resurrecting the theatrical power of the great Greek tragedies. Born to a left-wing family in northern Greece, he grew up near Mt. Olympus, near where Euripides wrote The Bacchae. “When we played as children, we nearly always found remains of ancient vases and statues in the ground. The whole of Greek mythology was lying around in little bits.”

His family were “Pontic” Greeks, meaning that they lived on the shore of the Black Sea, having returned to Greece in the early twentieth century. After World War II, his home village was near the center of the Greek civil war. “This conflict was a disaster for the village. It was divided into two factions and my family belonged to the defeated side. That was the family tradition. Whether at the Black Sea, in Russia or in Turkey, they were always on the weaker side and were chased away. . . And yet they were optimistic people who sang and danced a lot and enjoyed life to the full.” Because of the village’s history, the culture was quite diverse, and Mr. Terzopoulos felt he could “always see in two directions at the same time – East and West, Asia and Europe. Both cultural environments are fundamental parts of me.”

In his early twenties, Terzopoulos left Greece to study at the Berliner Ensemble, the famous theater founded by Bertolt Brecht. These four years left strong influences on him, particularly the conversations with playwright Heiner Müller, who became his friend and mentor, which often centered on tragedy and mythology. On his return to Greece, he furthered his study of ancient Greek ritual, and founded the Attis Theatre in 1985.

continued >The Persians by Aeschylus, directed by Theodoros Terzopoulos, 2006. Photograph by Johanna Weber.

A journey to the landscape of memory continued

“In Terzopoulos’ theatre myth is not a fairytale, it is condensed experience,” Müller wrote. “The process of rehearsal is not the performance of a dramatic concept, it is an adventure on a journey to the landscape of memory, a search for the lost keys of unity between body and speech, the word as a natural entity. “ Etel Adnan, a poet who has collaborated with Terzopoulos, feels that he “gets closer than others to the original vision of the ancient authors. He does not look for symbolism or metaphors, but rather to that ancient Greek realism, which also encompasses the gods. Everything is clear, like a theorem in geometry, and has to be taken at face value. The ‘body’ is itself caught between two worlds: the conflict between humans, and the confrontation between humans and gods. Humans are therefore living under the double pressure of the natural and supernatural worlds.”

Antigone throughout history

Antigone has frequently been adapted and staged as a re-sponse to government injustice. In the 1940s, Jean Anouilh and Bertolt Brecht each adapted the play as a commentary on Nazism. In the 1960s, the radical Living Theater revived Brecht’s version. Athol Fugard, Winston Ntshona, and John Kani used the play as inspiration for The Island, where two im-prisoned anti-Apartheid activists perform Antigone on Robben Island. Several Irish playwrights adapted the play with a set-ting in The Troubles in the 1980s and 90s (Marianne McDon-ald’s translation was originally produced in Ireland, directed by Athol Fugard). In recent years, the play is again seeing multiple revivals in response to political turmoil, including a production by female Syrian refugees in Beirut, Lebanon. Joydeep Roy-Bhattacharya uses the myth as inspiration for his novel The Watch, where an Afghan woman stands guard over the body of her brother, killed attacking a U.S. combat outpost.

“Sophocles is the playwright of heroism, and Antigone is the first female character in drama to be a hero in the full sense of the word. She is the first conscientious objector.” - Marianne McDonald

A note from the translatorTheodoros Terzopoulos’ works are heart-wrenching dramas. He uses the body with the human soul as the main performer. Pain, and its memory, is engraved on the human body as the Czech author Franz Kafka describes in his nightmarish vision of The Penal Colony. For instance, this pain is translated into the movements of people in agony when they mourn the deaths of those they loved and lost in WWII, and which Terzopoulos witnessed in Northern Greece. In the temples of the ancient Greek physician/god Asclepius at Epidaurus, patients walked until exhausted, and then some more, toexpress their agonies and experience a cathartic cure through bodily expression. What Terzopoulos will do with Antigone is show the agony of loss in a version which will never be forgotten. He did this with Sophocles’s Ajax (shown at The Wilma Theater), and his ver-sions of Euripides’ Medea and Dionysus/Bacchae. Both Antigone and Creon mourn the loss of those they love: one defends the unwritten laws of the gods, and Creon the laws of the state. Both are valid, but compromise is needed for a successful resolution. Antigone and Creon, as so many world leaders today, will not compromise. This is their tragedy on one hand, and supposed triumph on the other. This play offers a lesson for our time. Audiences of these stagings will leave the theatre utterly trans-formed, understanding more than ever before how loss affects us, and how sometimes ritual is the only way to cope with loss, and the greatest ritual of all is that experienced by the theatre audiences, who take part in the unique experience created by this skilled director and his gifted actors.

- Marianne McDonald, translator of Antigone and Distinguished Professor of Theatre and Classics, University of California San Diego

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OPENING NIGHT DONORSBarefoot Wine & BubblyThe Palm Restaurant Philadelphia at The BellvueVictorian Savories BakeryYards Brewing Company

IN-KIND DONORSThe Bearded LadiesChef’s MarketCozen O’ConnorDavid B. DevanDoubleTree by Hilton, Philadelphia Center CityMike and Nancy Evans

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Ch

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BalletX 10th AnniversAryseAson

“An evening of explosive,

athletic dAnce that leaves the

audience speechless”THE DANCE JOURNAL

Nov 18-22Fall series 2015

TICKETS visit ≥ BalletX.org call ≥ 215-546-7824

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INFO/TICKETS: chestercharterschoolforthearts.org/concert or 610.859.2988Friends $75 • Partners $150

Partners receive reserved seating and are invited to a reception with Ms. Graves following the performance

The region’s fi rst K–12 arts-integrated public school, Chester Charter School for the Arts (CCSA) was founded on the principle that arts education is vital to each child’s learning and development.

performs a program of classical, jazz, and opera standards

Christ Church Philadelphia | December 1, 2015 | 7:30 pm20 N. American Street, Philadelphia (2nd Street Above Market)

Renowned Mezzo Soprano

DENYCE GRAVES

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A benefi t concert for Chester Charter School for the Arts (CCSA)

“ She is almost too good to be true…a vital artist, a beautiful woman, a regal presence.”

— The Washington Post

The Wilma Theater is seeking community members of all ethnicities, ages 18 and up, regardless of faith, to appear on stage alongside professional actors in The Christians by Lucas Hnath.

Auditions will be held December 5th & 6th.

For more information contact Nell Bang-Jensen at 215.893.9456 x111 or email: casting@wilmatheater.org.

Volunteers will be part of a praise/gospel choir that will sing throughout the show.

DeLance Minefee as Joshua

Photo by Matt Saunders

The Best Seats in the House are at The Palm

Before and After the Show

The Palm is the perfect way to begin an evening to remember. Our philosophy is simple: Treat guests like

family, serve great food, and always exceed expectations.

200 South Broad Street at The Bellevue215-546-7256 | thepalm.com/Philadelphia

by Sophoclestranslated by Marianne McDonalddirected by Theodoros TerzopoulosOctober 7 – November 8, 2015

by Tom Stopparddirected by Blanka ZizkaJanuary 6 – February 6, 2016

by Branden Jacobs-Jenkinsdirected by Joanna SettleMarch 16 – April 10, 2016

by Lucas Hnathdirected by Timothy Bondco-produced with Syracuse StageMay 4 – May 29, 2016

ANTIGONE

HARD PROBLEM

AN OCTOROON

CHRISTIANS

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PMS 5415 / PMS 261GOTHEM BOLD & MEDIUM

SEASON SPON SORSWILMATHEATER.ORG(215) 546-7824

SUBSCRIPTION S AN D TICKETS:

2015/16 Season

Jennifer Kidwell as Antigone

Photo by Matt Saunders

Sarah Gliko as Hilary

Photo by Matt Saunders

Justin Jain, James Ijames, Ed Swidey

Photo by Matt Saunders

DeLance Minefee as Joshua

Photo by Matt Saunders

SUBSCRIPTIONS FOR ONLY

$100 $40 $25 $10

SINGLE TICKETS FOR ONLY

STUDENTS AND THEATER ARTISTS WITH VALID ID

GENERAL PUBLIC

GENERAL PUBLIC STUDENTS AND THEATER ARTISTS WITH VALID ID

WILMATHEATER.ORG(215) 546 -7824

SuBSCRIPTIONS AND TICKETS:

2015/16 Season3 PLAY SUBSCRIPTIONS FOR ONLY

$75 $30 $25 $10

SINGLE TICKETS FOR ONLY

STUDENTS AND THEATER ARTISTS WITH VALID ID

GENERAL PUBLIC

GENERAL PUBLIC STUDENTS AND THEATER ARTISTS WITH VALID ID