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by Francis Beaumont

The Knight of the Burning Pestle

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Welcome to the Barbican and our co-production of The Knight of the Burning Pestle by our Artistic Associate, Cheek by Jowl. This UK premiere is performed by Cheek by Jowl’s Russian ensemble of long-term collaborators, which includes actors from the Moscow Pushkin Drama Theatre. The Pushkin, also a co-producer, was here in February with three outstanding productions of their own. Now Cheek by Jowl’s Russian group returns after they were last seen at the Barbican with their acclaimed Measure for Measure in 2015.

Francis Beaumont’s subversive comedy was first performed in London in 1607. Declan Donnellan and Nick Ormerod turn the play into an extravagant and hilarious farce which poses darker questions about art and culture.

We hope you enjoy the show.

Toni RacklinHead of Theatre, Barbican

Welcome Welcome

Welcome to The Knight of the Burning Pestle. Our Russian company were last here in 2015 with Measure for Measure, and it’s a pleasure to be back. We are particularly grateful to Evgeny Pisarev and Artem Mazur of Moscow Pushkin Drama Theatre, without whom this production would not have been possible. Thanks also to Toni Racklin, Leanne Cosby, Cathy Astley, Bernie Whittle, Simon Bourne and the whole Barbican team for their continued enthusiasm and unwavering commitment to our work. We would also like to thank our other co-producers, Les Gémeaux/Sceaux/Scène Nationale and Centro Dramático Nacional, Madrid (INAEM), as well as the Arts Council England.

We hope you enjoy the show.

Declan Donnellan and Nick Ormerod

Bilan Valentina Wardrobe Marina Lekontceva Makeup Olga Spiridonova Stage ManagerIvan Vakulin StagehandAnna Kolesnikova Consultant Producer Surtitle Editor & OperatorJohan Persson Production Photography

For the Moscow Pushkin Drama Theatre:

Evgeny Pisarev Artistic Director Artem Mazur General Manager

With thanks to: Natalie Highwood, Simon Kennedy, Peter Kirwan, Eleanor Lang, Marcus Roche, Jem Talbot Produced by Cheek by Jowl and Moscow Pushkin Drama Theatre in a co-production with the Barbican, London; Les Gémeaux/Sceaux/Scène Nationale; Centro Dramático Nacional, Madrid (INAEM). The Knight of the Burning Pestle was first performed on 16 January 2019 at Les Gémeaux/Sceaux/Scène Nationale.

Cast in alphabetical order:

Kirill Chernyshenko JasperAlexander Feklistov GrocerAnna Karmakova Mrs MerrythoughtDanila Kazakov MichaelAndrei Kuzichev HumphreySergei Miller VenturewellAlexei Rakhmanov Mr MerrythoughtNazar Safonov RafeKirill Sbitnev TimAgrippina Steklova Grocer’s wifeAnna Vardevanian Luce

Creative team:

Declan Donnellan DirectorNick Ormerod DesignerAlexander Sivaev Lighting Designer Pavel Akimkin ComposerIrina Kashuba ChoreographerIgor Teplov Assistant Director

Alexander Solomin Technical Director Anna Koshkina Production ManagerFeliks Kuvaev Light Alexey Korenkov Sound Dmitry Martynov Video DesignAlexey Eremin Video Olesya Patratiy Props Elena Semenova Wardrobe Supervisor

The Knight of the Burning Pestle by Francis Beaumont

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Plot me no plots

4Alexander Feklistov

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Beaumont’s subversive meta-drama burst onto the stage in 1607, at a critical moment when theatre was threatened by a popular movement increasingly hostile to art and culture. A disturbing comedy centuries ahead of its time, it subtly asks questions all the more relevant today: what is art for? Who is art for?

The Knight of the Burning Pestle was first performed between 1607 –1611 at Blackfriars Theatre in London. While this was a solo effort, its author Francis Beaumont is most commonly remembered as being one half of the writing duo Beaumont & Fletcher. The two were contemporaries of William Shakespeare, and some of their major collaborative work was performed by Shakespeare’s London company the King’s Men.

6 Agrippina Steklova

The Knight of the Burning Pestle

11Anna Vardevanian, Andrei Kuzichev

No man shall ever joy me as his wife,but he that stole me hence

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The phrase ‘ahead of its time’ is much overused, but when applied to Francis Beaumont’s The Knight of the Burning Pestle, it feels entirely appropriate. In an age where film, television and literature repeatedly make self-aware reference to their own form – from Fleabag to The Lego Movie, Stranger than Fiction to House of Cards – Beaumont’s deeply metatheatrical play seems positively contemporary.

The publisher Walter Burre informed the dedicatee of the 1613 quarto that the play, allegedly written in only eight days, was ‘utterly rejected’ by its early audiences ‘for want of judgement, or not understanding the privy mark of irony about it’. There is something doubly ironic in Burre’s critique of the audience’s failure to appropriately

appreciate the play, given that the play is in many senses about the failure of audiences to appropriately appreciate a play.

From the moment that the Grocer and his wife first interrupt the Prologue of The London Merchant to demand the Players tell a different story, the stage becomes a site for the negotiation of meaning. The Grocer’s Wife attaches her colours to the wrong romantic hero (if she went to see Romeo and Juliet, she’d be rooting for Paris). The Grocers demand extra scenes – a fight, the mustering of an army, a death – all of which threaten to derail the bourgeois romantic comedy at the play’s centre. That the playing company manage to complete both their own play and that demanded by the Grocers is testament to the skill of actors.

Was this conflation and confusion of narratives behind the apparent poor reception of the play on stage? It may not have helped that the play that the Grocers demand is a parody of Cervantes’ Don Quixote, itself a parody of the chivalric romance tradition, in which an old man reads too many books about courtly knights and decides that he is one himself. Beaumont’s work is thus a parody of a parody, in which the Grocer’s apprentice Rafe plays a version of Don Quixote whose heraldic device, the burning pestle, is a syphilitic phallus. But if the play was first staged in 1607, this was some five years before the Spanish book was first translated into English. Tracing these connections and allusions requires a lot of work on the part of an audience, especially if Don Quixote is unfamiliar.

However, this is also a play that celebrates amateurism and the joy of discovery. The subplot, in which Mrs Merrythought leaves her merry husband, only to return with head hung, stages a similar negotiation of power to that happening between the Grocers and the playing company. In order to return into her own house, Mr Merrythought requires his wife – and everyone else – to sing. The singing is a levelling ritual, in which everyone from the romantic lead to the angry father is required to participate. While this may have showed off the virtuoso skills of the boy

10 Kirill Chernyshenko

Listening to the Audience in The Knight of the Burning Pestle by Dr Peter Kirwan

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actors who originally performed the play, it also serves as a way to restore equality and good faith among the play’s competing characters.

Likewise, the Grocers are constantly negotiating with the Players to get the entertainment they have paid for. It may be tempting or easy to sneer at their inability to distinguish real from fictional characters, or to interpret the conventional codes of a stock play, but sneering at our fellow audience members is hardly good form. It is also not clear that the Grocers are wrong. While the subplot of the Merrythoughts is amusing, and the romance of Jasper and Luce has plenty of dramatic interest with its pitfalls, conflicts, and dramatic resolution featuring a fake ghost, it is the ‘improvised’ scenes of Don Quixote requested by the Grocers that are the play’s most entertaining feature and that showcase Beaumont’s daring theatrical innovation.

The play also, underneath the jokes, asks some serious questions of complicity and agency. When Cheek by Jowl’s Russian ensemble last visited the UK, we saw Anna Vardevanian’s Isabella reach out to the audiences of Measure for Measure, asking ‘Who would believe me?’ after the attempt

of the deputy, Andrei Kuzichev’s Angelo, to coerce her into sleeping with him. Obeying the standard etiquette of western theatre, no audience members intervened to offer their support. Yet when the Grocers see injustice or conflict in The Knight of the Burning Pestle, they speak up, interrupt, stop the show, demand justice. In foregrounding the experience, reactions, and active responses of its in-world audience, Beaumont’s play asks important questions about the role of the spectator – to passively consume what is offered, or to actively participate in the creation of something new?

Dr Peter Kirwan is Associate Professor of Early Modern Drama at the University of Nottingham. His book Shakespeare in the Theatre: Cheek by Jowl (Bloomsbury, 2019) is out now. His other books include Shakespeare and the Idea of Apocrypha (Cambridge, 2015) and the edited collections Canonising Shakespeare (Cambridge, 2017) and Shakespeare and the Digital World (Cambridge, 2014). He blogs at The Bardathon: http://blogs.nottingham.ac.uk/bardathon

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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 for which Cheek by Jowl’s Measure for Measure was nominated in 2015.

Throughout the 1990s the Chekhov International Theatre Festival regularly invited Cheek by Jowl to present their work. This relationship with Russia intensified in 1999, when Valery Shadrin, of the Chekhov International Theatre Festival commissioned Donnellan and Ormerod to form their own company of Russian actors in Moscow. This sister company performs both in Russia and

internationally and its 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 Pushkin Drama Theatre; a relationship which continues with this 2019 production of The Knight of the Burning Pestle.

In 2018, co-Artistic Director Declan Donnellan was awarded the Stanislavski Prize for ‘Outstanding Contribution to the Development of World Theatre’, and earlier this year was the laureate of the ‘Special Golden Mask Award for Outstanding Contribution to the Development of Theatre’.

1 Alexander Feklistov in Boris Godunov © Chi Wai

2 Andrei Kuzichev 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 Vardevanian in Measure for Measure ©Johan Persson

6 Igor Yasulovich in The Tempest © Johan Persson

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2118 Kirill Chernyshenko, Anna Vardevanian

Do not fly me fair; I am no spirit:Look better on me, do you know me yet?

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The CompanyPavel Akimkin ComposerPavel graduated from music school as an accordionist. In 1998, he started at the Gnesin Academy of Music as the folk choir master and in 2006 he graduated from the Russian Academy of Theatre Arts as an actor. In 2001, Pavel met Vladimir Pankov while working at the Soglasie Center, and in 2006 he became a regular collaborator of SounDrama – where Pankov is Artistic Director. His theatre works include Gogol, Evenings, Swedish Match, Romeo and Juliet, Grooms, Shukshin’s Short Stories (at the Theatre of Nations), Morphine (for the Et Cetera Theatre), Hot Heart (Theatre on Malaya Bronnaya). As a music director for the Pushkin Theatre, he has worked on The Lady of the Camellias, Mother Earth and Measure for Measure.

Kirill Chernyshenko Jasper Kirill joined the Pushkin Theatre company after graduating from Moscow Art Theatre School. He is currently playing the part of William Shakespeare in Shakespeare in Love.

Declan Donnellan DirectorDeclan Donnellan is joint Artistic Director of Cheek by Jowl. Aside from Cheek by Jowl his productions include: Fuenteovejuna, Sweeney Todd, The Mandate, both parts of Angels in America (National Theatre); Le Cid (Avignon Festival); The Winter’s Tale (Maly Drama Theatre of St.Petersburg); Shakespeare in Love (West End). Opera, ballet and film work includes: Falstaff (Salzburg Festival), Romeo and Juliet; Hamlet (Bolshoi), Bel Ami.

For lifetime achievement he has received the Stanislavksi Award, the Golden Mask, and the Golden Lion of Venice. His book, The Actor and the Target, was first published in Russian in 2000 and has subsequently appeared in fifteen languages.

Alexander Feklistov Grocer Alexander graduated from Moscow Art Theatre School in 1982. Alexander has worked with major Moscow theatre companies: Moscow Art Theatre, Stanislavsky Drama Theatre, Pushkin Theatre and on many independent projects. He continues his relationship with Moscow Art Theatre by playing the part of Samuel Pickwick in The Pickwick Papers. Alexander has been cast in all of Declan Donnellan’s Moscow-based productions. He has played Boris Godunov in Boris Godunov, Sir Toby in Twelfth Night, Vershinin in Three Sisters, Caliban in The Tempest and Lucio in Measure for Measure. Alexander has been presented with the Seagull Award for Best Actor twice: for the part of Claudio in Peter Stein’s Hamlet and for Sir Toby in Declan Donnellan’s Twelfth Night. In film, where Alexander has had an extensive career, he has worked with distinguished Russian directors including Pavel Lungin and Vladimir Menshov.

Anna Karmakova Mrs MerrythoughtBorn in a closed military town, Tomsk-7, Anna started studying classical singing in music school. Whilst still in high school she got into the Novosibirsk Theater Academy and from 2009 became an actress of the Novosibirsk Academy Theatre “Globe”. There she has performed in, amongst others, Scarlet Flower, Trees Die Standing Tall, Life is Beautiful. Anna played Maria in the first Russian production of West Side Story. She played Maria in Evgeny Pisarev’s production of The Sound of Music. Anna joined the Pushkin company in 2012 and has since been nominated for the The Golden Mask Award for ‘Best Actress in a Musical’ for O’Henry’s Christmas.

Danila Kazakov, Anna Karmakova

Kirill Chernyshenko, Alexey Rakhmanov

Kirill Sbitnev Sergei Miller

Irina Kashuba ChoreographerIrina graduated from Moscow State University of Culture and Art as a choreographer in 2003. As a performer she has participated in many musicals, some of which include: Twelve Chairs, Chicago, Beauty and the Beast, and Zorro. Since 2008 Irina has worked for Stage Entertainment Russia as a resident choreographer, where she was an assistant choreographer on The Sound of Music. Irina also works as a choreographer for major Moscow drama theatre companies. Some of her credits include A Warsaw Melody, Government Inspector, The Trial, Treasure Island, Zoika’s Flat, 1914 Cabaret and Declan Donnellan’s The Tempest and Measure for Measure. Irina works as a choreographer in film and has four projects in production at the moment.

Danila Kazakov MichaelDanila is currently studying at Moscow Art Theatre School under the direction of Evgeny Pisarev.

Andrei Kuzichev HumphreyAndrei trained at the Russian Academy of Theatre Arts and has since worked with major Moscow theatre companies. He has been collaborating with the Centre of Drama and Directing of A. Kazantsev and M. Roschin since 1999, where he has played such parts as Gary in Shopping and F***ing, and Maksim in Plastiscine, for which he received the Seagull Award for Best Actor. He has recently joined the Pushkin company to perform the part of Christopher Marlowe in Shakespeare in Love. Andrei has starred in most of Declan Donnellan’s Russian-language productions; as Viola in Twelfth Night, Tuzenbach in Three Sisters, Ariel in The Tempest and Angelo in Measure for Measure. Andrei is working in cinema with Russian directors such as Roman Balayan and Vladimir Mashkov. Andrei teaches acting at the Moscow Art Theatre School.

Sergei Miller VenturewellSergei joined the Pushkin Theatre company after graduating from the Russian Academy of Theatre Arts in 2000. His shows include Cherry Orchard, Shakespeare in Love, The Lady of the Camellias, The Marriage of Figaro, Much Ado About Nothing, Mother Field, Treasure Island, House Built by Swift, Three Ivans. His film and television works include Star, Antikiller-2, And Quiet Flows the Don.

Nick Ormerod DesignerNick Ormerod is joint Artistic Director of Cheek by Jowl. Aside from Cheek by Jowl his productions include: Fuenteovejuna, Peer Gynt, Sweeney Todd, The Mandate, both parts of Angels in America (National Theatre); The School for Scandal, King Lear (RSC Academy) and Great Expectations which he also co-adapted (Royal Shakespeare Company); 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). Ballet: Romeo and Juliet; Hamlet (Bolshoï). Film includes: Bel Ami. In 2017, he was awarded an OBE for Services to Theatre Design in the Queen’s Birthday Honours.

Alexey Rakhmanov Mr MerrythoughtAlexey studied acting at the Russian Academy of Theatre Arts under Mark Zakharov, before training at Moscow Art Theatre School, and joining the Pushkin Theatre company. His shows include Shakespare in Love, Grand Magia, The Good Person of Szechwan, The Marriage of Figaro, Much Ado About Nothing and Measure for Measure.

Nazar Safonov RafeNazar joined the Pushkin Theatre company after graduating from Moscow Art Theatre School. He is currently playing in Shakespeare in Love.

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Kirill Sbitnev TimIn 2007, Kirill graduated from the Saint Petersburg Academy of Theatre Arts. As an actor, he participated in the productions of ‘APTO’ Theatre in Moscow - performing the parts of Vladimir Mayakovsky in Mistery-Bouffe, and Vladimir in Waiting for Godot. There he also staged The Merry Wives of Windsor. In 2008 he directed his first show at the Theatre of Nations, with Letters to Felice. He went on to work with the theatre as an Assistant Director to Thomas Ostermeier on his production of Miss Julie. In 2010 he became Assistant Director on Declan Donnellan’s production of The Tempest. He went on to collaborate with Declan Donnellan again, as Assistant Director of Measure for Measure and performing the parts of Malvolio and Antonio in Twelfth Night. Kirill has worked as a Director at the Pushkin Theatre in Moscow since 2011. He also works as a teacher on Igor Yasulovich’s acting course in the State Film Academy of Russia.

Alexander Sivaev Lighting DesignerAlexander graduated in 2008 as a Lighting Designer from Moscow Art Theatre School. From 2007 to 2011, he worked at the Bolshoi Theatre in the lighting design department. As a lighting designer he has worked with many theatres across Russia including: Bolshoi Theatre, Mariinsky Theatre, Pushkin Theatre, Moscow Art Theatre, Theatre of Nations, Novosibirsk Opera and Ballet Theatre, Boris Eifman Theatre. For Stage Entertainment he has designed Zorro, The Sound of Music and Cinderella. Since 2014 Alexander is an in-house Lighting Designer for the Operetta Theatre in Moscow. He has been nominated for a Golden Mask as the best Lighting Designer three times and has received an award for Flight at the Vakhtangov Theatre.

Agrippina Steklova Grocer’s WifeAgrippina graduated from the Russian Academy of Theatre Arts in 1996. She has been part of Satirikon Theatre company since 1995. She has received the Seagull award for her role as Regan in Yuri Butusov’s King Lear and the Stanislavsky Award for best actress for her role as Nina in The Seagull. Her other performances at Satirikon included The Taming of the Shrew, Macbeth, Richard III, Don Juan.

Igor Teplov Assistant Director Igor joined the Pushkin Theatre company after graduating from Moscow Art Theatre School in 2007. He has performed in Shakespeare in Love, Puss in Boots, Treasure Island, Madame Bovary, The Robbers, Much Ado About Nothing, Grand Magia and Testosterone. His works for Moscow Art Theatre include Carmen and Ghosts. Igor plays the part of Aguecheek in Declan Donnellan’s Twelfth Night and Barnardine in Measure for Measure. Igor has participated in many TV series for major Russian channels. In 2017 he directed Three Ivans, a children’s show at the Pushkin Theatre.

Anna Vardevanian Luce Anna graduated from the Schepkin Theatre School in 2009, where she was awarded a Golden Leaf award for Best Actress. She played Marina Mnishek in Declan Donnellan’s Boris Godunov, Miranda in The Tempest and Isabella in Measure for Measure. Anna played the lead in the feature film To Hear The Sea, and regularly acts in Russian TV shows.

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Performances

16 January – 2 February 2019Paris, Les Gémeaux, Sceaux, France

13 – 15 & 30 March; 21 – 22 May; 27 June 2019Moscow, Pushkin Theatre, Russia

24 – 28 April 2019 Madrid, Centro Dramático Nacional, Spain

5 – 8 June 2019London, Barbican, UK

4 August 2019Gdansk, Gdański Teatr Szekspirowski, Poland

24 – 26 September 2019Toulouse, ThéâtredelaCité – CDN Toulouse Occitanie, France

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The Knight of the Burning Pestle

Nazar Safonov

The Revenger’s TragedyFor their first Italian-language production, Cheek by Jowl’s co-Artistic Directors Declan Donnellan and Nick Ormerod stage Middleton’s The Revenger’s Tragedy with the Piccolo Theatre in Milan.

A Piccolo Teatro di Milano – Teatro d’Europa | ERT – Emilia Romagna Teatro Fondazione co-production in association with Cheek by Jowl.

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‘Fluidity and ferocious grace’ La Repubblica

Masiar Pasquali © Piccolo Teatro di Milano – Teatro d’Europa.28

Performances

29 – 30 June 2019Saint Petersburg, Theatre Olympics, Russia

22 – 28 February 2020Milan, Piccolo Teatro, Italy

Learning 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.

New Learning PortalDelve deeper into the world of Cheek by Jowl with our brand new website; featuring a redesigned learning portal and extensive media library. Students and audiences can access interviews, production photography, programmes, rehearsal notes, prompt scripts, digitised designs, talks and films, as well as curriculum-specific works and themed content.

Live-Capture Recordings & Education Packs Live-capture recordings of Measure for Measure, The Winter’s Tale and Périclès, Prince de Tyr are freely available to schools, colleges and universities throughout the UK and are complemented by a free digital education pack that integrates an entire professionally recorded production with classroom activities and exercises from the Cheek by Jowl rehearsal room.

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

WorkshopsCheek by Jowl runs school workshops for English or Drama students (14+) and workshops for teachers in Continuing Professional Development. Our practitioners bring the manner and energy of the Cheek by Jowl rehearsal room to the classroom as tools to approach Shakespeare and classic texts in a dynamic way.

Through exercises, discussions and activities, they explore key elements of the English and Drama curriculum: text, verse, plot, movement, scene work, études, acting techniques, rehearsal exercises, character motivation, using ‘the space’, language in performance.

‘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 office:info@cheekbyjowl.com+44 (0)20 7382 2391

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

• Cheek by Jowl practitioner technique• History and notes on the first performances• Background on Cheek by Jowl• External links and further reading

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

Support Cheek by Jowl’s work

Danila Kazakov

Cheek by Jowl runs three fundraising schemes to support our productions and education work. It is your generosity that helps us to continue our work, doing what we do best: taking creative risks, nurturing new talent, providing educational resources of the highest quality and ensuring that, in whatever language, we produce world-class theatre.

Become a Friend 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 world’s finest theatre companies Become a Friend of Cheek by Jowl for just £35 per year

Become a Patron As a Patron of Cheek by Jowl we invite you to join us on a journey for each production, following it from creation, through to its 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 a series of events: – Our Artistic Directors talking about their vision for the production – Attending a rehearsal – Drinks with the cast and team after a performance Become a Patron of Cheek by Jowl for £750 per year

Become a Production Patron We also offer bespoke packages for individuals or businesses to become a patron of a production. For more information please contact Niamh at niamh@cheekbyjowl.com or on +44 (0)20 7382 2353

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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,

3736

SIST RS

T H R E E

Anton Chekhov’s

DIRECTED BY

lev Dodin

the

critically

acclaimed

maly drama

theatre returns

to london

TIME OUT · NEW YORKHHHHH

Oliver King & Ekaterina Kashyntseva

for Belka Productions

present

10 PERFORMANCES ONLY · 19 - 29 JUNE

VAUDEVILLE THEATRE

maly2019.com

Following a critically acclaimed West End Season

at the Theatre Royal Haymarket last year, with their

productions of Uncle Vanya and Life & Fate (Critics

Choice The Guardian, Financial Times, Telegraph,

Sunday Times), the Maly Drama Theatre of

St. Petersburg returns with this luminous retelling

of Chekhov’s masterpiece, Three Sisters.

Rediscover the tragicomic story of the Prozorov

sisters as they contend with their disillusioned lives

in provincial Russia. Renowned director Lev Dodin

directs this radiant, complex play with rich insight

into Chekhov’s eloquent understanding of

resignation, longing, and love.

HHHHH

‘St. Petersburg’s Maly Drama Theatre,

led by the superstar director Lev Dodin,

simply has no peer in interpreting Chekhov’

TIME OUT, NEW YORK

PRAISE FOR 3 SISTERS

PRAISE FOR 2018 SEASON HHHHH MORNING STAR

HHHHH FINANCIAL TIMES

(CRITICS CHOICE)

HHHHH THE GUARDIAN

(CRITICS CHOICE)

Maly_Cheeky by Jowl _163mmx326mm_v2.indd 1 16/05/2019 11:51

7–12 Oct

Theatre of NationsTwo unmissable shows by Moscow’s prestigious company

IvanovBy Anton Chekhov Directed by Timofey Kulyabin

Shukshin’s StoriesBy Vasily Shukshin Directed by Alvis Hermanis

Theatre of Nations would like to acknowledge the generous support of Roman Abramovich Im

ages

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Cheek by Jowl 163x163 programme ads.indd 4-5 05/04/2019 11:31

Imag

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Jan

Ver

swey

veld

19–25 Jun Comédie-Française

The Damned (Les Damnés)Ivo van Hove adapts Luchino Visconti’s screenplay to investigate a family’s deepening ties with a corrupted society

★★★★★ Guardian

★★★★ New York Stage Review

Cheek by Jowl 163x163 programme ads.indd 6 05/04/2019 11:32

Barbican Centre BoardChairman Dr Giles ShilsonDeputy Chairman Tom SleighBoard Members Stephen Bediako, Russ Carr, Simon Duckworth, David Graves, Gerard Grech, Wendy Hyde, Emma Kane, Vivienne Littlechild, Wendy Mead, Lucy Musgrave, Graham Packham, Trevor Phillips, Judith Pleasance, John Tomlinson, Jenny Waldman Clerk to the Board Leanne Murphy

Barbican Centre TrustChairman Emma KaneTrusteesRichard BernsteinDr Geraldine BrodieSir Roger GiffordSir Nicholas KenyonKendall LangfordProfessor Dame Henrietta MooreJohn MurrayAlasdair NisbetJohn PorterDr Giles ShilsonRegistered charity no. 294282

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

Theatre DepartmentHead of Theatre and Dance Toni RacklinSenior Production ManagerSimon Bourne

Producers Leanne Cosby, Jill Shelley, Angie SmithProduction ManagersJamie Maisey, Lee TaskerTechnical Managers Tony Brand, Steve Daly, Jane Dickerson, Martin Morgan, Stevie PorterStage Managers Lorna Earl,Lucinda Hamlin, Charlotte Oliver Technical Supervisors Kevin Atkins,Martin Coates, John Gilroy,Nik Kennedy, Jamie Massey, Tom Salmon, John Seston, Chris WilbyPA to Head of Theatre David GreenAssistant Producers Cathy Astley, Alex Jamieson, Bernie WhittleTheatre Administration Trainee Hannah LordProduction AdministratorCaroline HallTechnicians Kendell Foster, Burcham Johnson,Christian Lyons, Josh Massey,Lawrence Sills, Neil Sowerby, Charlie MannSystems and Maintenance TechniciansAdam ParrottTheatre Production ApprenticesRobert Arnall, Paige HolmesStage Door Julian Fox,aLbi Gravener

Creative LearningHead of Creative Learning, Barbican / Guildhall School of Music & DramaJenny MollicaAssistant Producer Lauren Brown

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

Communications DepartmentHead of CommunicationsLorna GemmellSenior Communications ManagerAngela DiasPR Consultant Bridget ThornborrowCommunications OfficerFreddie Todd FordhamCommunications InternRuth Comerford

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)Anneka Blake, James Carruthers, Robert Norris, Mo ReidemanCentre Manager (Planning)Pheona KiddAudience Event & Planning ManagerFreda PouflisVenue Managers Fiona Badgery,Gary Hunt, Nyah Farier, Robbie Powell, Elizabeth WilksAssistant Venue ManagersHelen Jorgensen, Helen Knights, Nicola Lake, Richard LongCrew Management Dave Magwood, Rob Magwood, James Towell Access and Licensing ManagerRebecca Oliver

DevelopmentHead of DevelopmentLynette Brooks

Programme editor Emma GosdenProgramme designerStephen Brown

Barbican Centre

Cheek by Jowl 163x163 programme ads.indd 2 05/04/2019 11:31

The CompanyBack row: Alexander Sivaev, Alexei Rakhmanov, Igor Teplov, Nazar Safonov, Danila Kazakov, Andrei Kuzichev Middle row: Olga Spiridonova, Liubov Fedkovich, Lilia Kazakova, Sergei Miller, Kirill Sbitnev, Anna Karmakova, Anna Vardevanian, Anna Kolesnikova, Kirill Chernyshenko Front row: Alexander Feklistov, Declan Donnellan, Agrippina Steklova, Nick Ormerod

44

Artistic Directors Declan Donnellan, Nick OrmerodExecutive Director Niamh O’FlahertyGeneral Manager & Teya LanzonPA to the Artistic Directors Administrator Marie Couvert-CasteraBookkeeper Katherine de HalpertConsultant Producer Anna Kolesnikova Intern Naomi ObengPress & PR Kate Morley PRMarketing Consultant Robbie KingsProgramme Editor Dominic KennedyGraphic Design Eureka! Design Consultants LtdWebsite Bullet Creative

Cheek by Jowl gratefully acknowledges support from Arts Council England.

Cheek by Jowl is proud to be an Artistic Associate at the Barbican.

For Cheek by Jowl

Patrons Olga BasirovEsmé CookTom HayhoeNicola KerrJudith PatricksonRichard and Elizabeth PhilippsLade SmithPhilip Stoltzfus

Board of DirectorsRichard Philipps (Chair) Beth Byrne Hugh NinehamClare O’BrienSameer PabariJudith PatricksonPhilip Stoltzfus

Cheek by Jowl Stage Door, Barbican CentreSilk StreetLondon EC2Y 8DS

Scottish Charity No: SC013544Registered in Scotland: SC078954