Centre dramatique national orleans/loiret/centre direction Arthur Nauzyciel

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by William Shakespeare
directed by Arthur Nauzyciel
CENTRE DRAMATIQUE NATIONAL ORLEANS/LOIRET/CENTRE

Direction Arthur Nauzyciel

Carré Saint Vincent, Bd Pierre Ségelle, 45000 Orléans



Sophie Mercier

mercier@cdn-orleans.com

Tel : (+33)2 38 62 15 55



Anne Cuisset

cuisset@cdn-orleans.com
Presse:

Nathalie Gasser : (011) +33 (0)6 07 78 06 10



gasser.nathalie@wanadoo.fr


Creation at the AMERICAN REPERTORY THEATRE (Cambridge/Boston)

Loeb Drama Center, Harvard University, 13 feb-16 march 2008.



On Tour oct-nov 2009 :

Centre Dramatique National Orléans/Loiret/Centre

Maison des Arts de Créteil dans le cadre du Festival d’Automne à Paris

Scène Nationale Evreux Louviers dans le cadre du Festival Automne en Normandie

CDDB-Théâtre de Lorient, Centre Dramatique National

Comédie de Clermont-Ferrand

Comédie de Reims



Production Centre Dramatique National Orléans/Loiret/Centre in partnership with l’American Repertory Theatre, major production sponsors : Philip and Hilary Burling, Festival d’Automne à Paris, Maison des Arts de Créteil

With the support of Etant Donnés /The French-American Fund for Performing Arts, a Program of FACE

CREDIT PHOTO : Mark L. Montgomery, Jim True-Frost, Sara Kathryn Bakker, James Waterston, Thomas Derrah. Photo et montage par Burt Sun


SUMMARY

CREDITS P. 3

PROJECT HISTORY P. 4

DIRECTOR’S NOTES P. 5




ABOUT THE PLAY P. 6


MEMORIES OF THE FUTURE P. 7

BIOGRAPHICAL NOTES P. 9


Arthur Nauzyciel P. 9
Creative Staff P. 10
Actors P. 12
JULIUS CAESAR

by William Shakespeare

directed by Arthur Nauzyciel
CAST

Jim True-Frost

Sara Kathryn Bakker

Jared Craig

Thomas Derrah

Mark L. Montgomery

Remo Airaldi

Daniel Le

Neil Patrick Stewart

Gardiner Comfort

Perry Jackson

James Waterston

Thomas Kelly

Will LeBow

Jeremy Geidt

Kunal Prasad


JAZZ TRIO


Bass Blake Newman

Guitar Eric Hofbauer

Singer Marianne Solivan

CREATIVE STAFF


Scenic Design Riccardo Hernandez

Costume Design James Schuette

Lighting Design Scott Zielinski

Sound Design David Remedios

Dance Damien Jalet

Stage Manager Chris De Camillis *

Dramaturg Gideon Lester

Njal Mjos


Voice and Speech Nancy Houfek

Casting Judy Bowman Casting

Assistant Stage Manager Amy James

Production Associate Elizabeth Bouchard

Assistant Dramaturg Sean Bartley, Marshall Botvinick

Assistant Voice

and Speech Carey Dawson

Production Centre Dramatique National Orléans/Loiret/Centre in partnership with l’American Repertory Theatre, major production sponsors : Philip and Hilary Burling, Festival d’Automne à Paris, Maison des Arts de Créteil

With the support of Etant Donnés /The French-American Fund for Performing Arts, a Program of FACE

PROJECT HISTORY

Written in 1599 for the opening of The Globe Theatre and right before Hamlet, Julius Caesar is the first in a series of great tragedies. Inspired by Plutarch, he wrote it at a critical moment of the history of England : the rebellion of Essex against Elizabeth I. As in Richard II (1595), the theme is the deposition of a sovereign : Julius Caesar has become a threat to the republic . Is it fair then to murder him before Rome is held totally under his absolute power  that has no limits ?



Julius Caesar will be created for the first time at the American Repertory Theatre and presented in France at the Centre Dramatique National d’Orléans in October 2009.

After two plays by Bernard-Marie Koltes, Black Battles With Dogs (Combat de nègre et de chiens) at the 7 Stages Theater in Atlanta (2001), reprised in Chicago (2004), and Roberto Zucco at the Emory Theater in Atlanta (2004), Arthur Nauzyciel staged Mike Leigh’s Abigail’s Party at the American Repertory Theatre in Boston (2007). Shakespeare’s Julius Caesar at the A.R.T. is his fourth show in the United States.

Linked to the prestigious Harvard University, The American Repertory Theatre is considered since its creation in 1979 as one of the most important and innovative theatres in the country. The A.R.T. was founded by Robert Brustein and has been resident for twenty-seven years at Harvard University’s Loeb Drama Center. In August 2002 Robert Woodruff became the A.R.T.’s Artistic Director, the second in the theatre’s history. In December 2002, the A.R.T. was the recipient of the National Theatre Conference’s Outstanding Achievement Award, and in May of 2003 it was named one of the top three theatres in the country by Time magazine. Here are a few names among those who worked and took part in the life of the A.R.T. : Peter Sellars, Lee Breuer, Martha Clarke, Bob Wilson, Anne Bogart, Dario Fo, Andrei Serban, David Mamet, Krystian Lupa, Joseph Chaikin, Susan Sontag, Milan Kundera, Jan Kott, Philip Glass, Don DeLillo, Robert Woodruff, Naomi Wallace, Frederick Wiseman.

The A.R.T. is known for its commitment to the contemporary American theatre as well as repertory. It is also a residence for authors, directors and actors.

A.R.T. productions tour all over the world : Alceste  by Bob Wilson at the Festival d’Automne (Fall festival) in 1986 in Paris. In 1998 it was the first American company to open the Tchekhov festival In Moscow with Sam Shepard’s play, When the world was green. Recently the A.R.T. presented The three sisters staged by Krystian Lupa at the Edinburgh International Festival.




DIRECTOR’S NOTES

Though rarely seen in France, Julius Caesar is in the United States one of the best-known plays by Shakespeare. Its premiere at ART in 2008 (a presidential election year, whereas the play depicts a moment when democracy would teeter if the republic was to give away to an empire), is thus eventful.


It contains in itself all the subsequent plays. It is a political play, in which language and rhetoric play a prominent part ; the power of discourse can change the course of History; the flow of words both reveals and hides their extraordinary presence.

And if the world pictured in the play still resembles ours (what has changed in politics?), one nonetheless feels throughout the text a will to encompass both the visible and the invisible, the real and dream life, the living and the dead in a one-and-only unit, a singular cosmography.

We are connected to the Greeks, the Romans, to Shakespeare, by a long chain which, from the beginning of time and for many centuries to come, contains, like a DNA loop, the collective memory of human fears and illusions. As Eric Hobsbawm wrote in The Age of Extremes: “ The short twentieth century ended in problems, for which nobody had, or even claimed to have, solutions. As the citizens of the fin de siècle tapped their way through the global fog that surrounded them, into the third millennium, all they knew for certain was that an era of history had ended. They knew very little else.” We have yet to come to terms with the dark side of this century.

Whenever I confront myself with a classical text, I have the feeling I ought to direct a “memory for the future”. The classics are like the Statue of Liberty at the end of Planet of the Apes. The characters project themselves into the future, in which they will be the spectators of their own past, in which their acts will be a spectacle for others to see.

Like a testimony for the future of what we are and were.

We are in Boston. The theatre was built in 1964. Pop culture in the United States then had never been so dominant, the world so loud, there were images everywhere and all was appearance: that is why I want to place the play in the sixties, during the years when one wanted to believe that Kennedy would open onto a new era, when a crowd became a mass, when the image won over the word, when the most innovative and significant artistic trends were born in this country (architects, performers, performance art, photography, collage, reproduction).

Arthur Nauzyciel, octobre 2007

ABOUT THE PLAY

Like Hamlet, [Julius Caesar] is a puzzle. It doesn’t conform to the idea of Aristotelian tragedy in presenting a noble man with a conspicuous flaw, nor to Elizabethan melodrama in presenting a conspicuous villain.


Julius Caesar has great relevance to our time, though it is gloomier, because it is about a society that is doomed.  Our society is not doomed, but in such immense danger that the relevance is great. It was a society doomed not by the evil passions of selfish individuals, because such passions always exist, but by an intellectual and spiritual failure of nerve that made the society incapable of coping with its situation.
W. H. Auden, Lectures on Shakespeare

THE POWER OF SPEECH by Gideon Lester


It is no coincidence that the world of Julius Caesar is constructed almost entirely from language. The play contains little physical action: there are few shifts in location, in contrast to As You Like It, the play that preceded it, nor are there any special stage effects, apart from the appearance of Caesar’s ghost to Brutus. Except for Caesar’s assassination at the Capitol and the suicides in the final act, the play shows us very few events; almost everything that happens takes place off-stage and is then retold through rumor or report. This gives Julius Caesar an oddly subjective quality; so little is enacted directly in front of us that we must rely on other people’s characterization of events, and we’re never quite sure whom or what to believe. Words, not deeds, are the primary agents in the play, and they are endowed with extraordinary powers of creation, transformation, and destruction. Words can create a reality, or destroy a life.

MEMORIES OF THE FUTURE

Gideon Lester talks to Arthur Nauzyciel, director of Julius Caesar.


Gideon Lester : How are you approaching Julius Caesar?

Arthur Nauzyciel : Whenever I direct a play, the context in which it’s produced is very important. Why are we doing the play here, now, for this audience? Julius Caesar is almost never produced in my own country, France, so when you asked me to read it I was coming to it for the first time. Of course I immediately saw connections between the play and the fact that this is an election year in the United States. I don’t want that to be obvious in the production, but it provides a strong context. For me, classical plays are a memory of the future. They’re time capsules – they come from long ago, but they’re with us now and they’ll be here for centuries. They contain a collective memory of human behavior – aspirations, expectations, illusions. As time capsules, it’s interesting to catch them and open them. They are like holograms or like stars, whose light arrives far after their death. In a sense the play is a user’s manual for the next generation, written by Shakespeare for the future, a guide to politics and humanity.


GL : What about the play resonates in the twenty-first century?

AN : There’s something “contemporary” about Julius Caesar, which sounds ridiculous, because it was written in the sixteenth century; it cannot literally be speaking about our own age. It’s not that Shakespeare’s observations are still accurate, it’s more than that. It’s as if nothing has happened in politics since the story that he writes about took place. It’s as if we’re stuck, like a scratched record; we’re still in the final scenes when Octavius arrives. Nothing has evolved in terms of democracy or politics. Like Cassius and Brutus we believe that democracy is the best system, but it’s still a compromise. So many so-called democracies are still really empires, like Rome in the play. What has changed is our experience of tragedy. We come from a century that invented Auschwitz and Hiroshima, after which we can never stage tragedy the same way again.

GL : Your production will include many quotations from the 1960s. Can you explain why?

AN : The production isn’t set in the Sixties – I believe that all theatre takes place here and now, so it’s not really a question of being in the past, whether that’s Caesar’s Rome or Shakespeare’s London or 1960s America. But we will be quoting from the Sixties, for many reasons. There’s the obvious link between Kennedy’s and Caesar’s, assassinations and political contexts, but more than that, I’m intrigued by the way the Sixties represent both past and future for us. It was a decade of great invention and innovation, obsessed with the future. The best Sci-Fi movies were made in the Sixties. And the aesthetic is still inspiring; if you look at furniture or clothes from the Sixties, they could belong in today’s design magazines. Julius Caesar is a play about the invention of the future, a dream of a new world, so the resonances are strong.
GL : What else interests you about the Sixties?

AN : It was a period in which the image triumphed over the word. There’s a wonderful story about the debate between Nixon and Kennedy: I don’t know if it’s true, but apparently people who listened to it on the radio voted for Nixon, and people who watched it on television voted for Kennedy. JFK was the first president whose image was more important than the content of his words. Suddenly visual icons and illusions were more powerful than speech. Julius Caesar is so much a play about language and rhetoric, and I think it’ll be interesting to create this double layer by using elements from a time in which language and rhetoric failed. And at the same time there was a revolution in American art history, with the advent of Pop Art, installations, and performance art. The art and photography of that period was a strong influence in the design for our Julius Caesar, particularly Andy Warhol’s repeated images and the installations of the Ant Farm. All this seemed appropriate for a production at the Loeb Drama Center, with its 1960s architecture. I like it when the theatrical design and the architecture of the building come together and the distinctions between the two spaces are blurred.

GL : The set design incorporates huge repeated photographs of the auditorium. Can you explain why?

AN : In part we wanted to remind the audience that the theatre in which they’re sitting is essentially the same shape as the theatres of ancient Greece and Rome. If you stand on stage and look out at the seats, you see that the configuration is exactly the same, two thousand years later. It’s also good to remember with this play that theatre and democracy were invented at the same time, and that the theatre was, in its origins, a political space as much as a place of entertainment. In this election year, the images of those theatre seats may remind us of public assemblies, or the Senate. And I also want to create an uncertainty for the audience: Are we onstage or offstage? Who are the watchers and who the actors? Are we part of the performance? What is illusion and what is reality? On which sides are the dead and the living?
GL: How do those questions of illusion and reality relate to Julius Caesar?

AN : The play is full of dreams and supernatural events, of ghosts and burning men and lions roaming the streets of Rome. The world that it describes doesn’t literally exist – it’s an imaginary dreamscape, a distortion of reality, and we can’t stage it realistically. The production has to feel truthful, but not realistic. I hope that the audience will feel connected to an invisible world, seeing things they can’t usually see, listening to things they can’t hear.
Gideon Lester is the A.R.T.’s Acting Artistic Director.

BIOGRAPHICAL NOTES

 

ARTHUR NAUZYCIEL - Director

Born in Paris in 1967. Studied visual arts, film, and acting (School of the Théâtre National de Chaillot, with the director Antoine Vitez). Worked as an actor in more than thirty productions, joined the CDDB-Théâtre de Lorient in 1996 as an associate artist.

Founded his own company, Compagnie 41751/Arthur Nauzyciel, in Lorient in 1999, where he directed his first production, Le Malade imaginaire ou le silence de Molière, after Molière’s Imaginary Invalid and Giovanni Macchia. Selected as part of the European program AFAA/Générations 2001, the production was performed in France, at the Hermitage Theatre in Saint Petersburg in 2000, and has been reprised regularly since, including the National Theatre of Iceland in Reykjavik this year.

He directed Happy Days at the Théâtre National de l’Odeon (Paris) in 2003, reprised for two months at the Teatro San Martin in Buenos Aires in 2004 (awarded the Critics’ Prize for best foreign play, best actress, nominated for best director), and performed in Madrid in 2007. He directed Place Of The Heroes (Heldenplatz), by the leading Austrian playwright Thomas Bernhard, premiered at the Comédie-Française in Paris in 2004.

His work in the US includes the English language premiere of B.M. Koltès’ Black Battle With Dogs (Combat de nègre et de chiens) at the 7 Stages Theatre in Atlanta in 2001, also presented in France in 2002, Chicago in 2004, Avignon and Athens Festivals in 2006, Orléans in 2007; Koltès’ Roberto Zucco at the Emory Theatre in Atlanta in 2004, Mike Leigh’s Abigail’s Party at the A.R.T. Institute in 2007 and Julius Caesar (Shakespeare) staged at the A.R.T. in 2008 and that will be presented in Europe in 2009.

He collaborated with actress Maria de Medeiros on A Little More Blue, a recital based on the Brazilian repertoire of Chico Buarque.

He premiered Samuel Beckett’s The Image in Dublin with dancer Damien Jalet and French movie actress Anne Brochet as part of the 2006 Centenary Beckett Festival, then reprised in Iceland (march 07), in France (oct 07) and in New York (sept. 08) with actress Lou Doillon.

In 2008, he directed and premiered Kaj Munk’s Ordet (The Word) for the opening of the Avignon Festival .

He will stage Marie Darrieussecq’s first play at the National Theatre of Iceland in Reykjavik in march 09.

In June 2007 Nauzyciel was appointed Artistic Director of the Centre Dramatique National Orléans/Loiret/Centre (National Theatre in Orleans, France) by the French Ministry of Culture.

CREATIVE STAFF 


RICCARDO HERNANDEZ - Set Designer

A.R.T.: Britannicus, Romeo and Juliet, Desire Under the Elms, The Miser, Uncle Vanya, Marat/Sade, Full Circle (directed by Robert Woodruff), Enrico IV, Phaedra, Othello, The Doctor’s Dilemma, Three Farces and a Funeral, and Dream of the Red Spider.

Broadway: Tony Kushner’s Caroline, or Change; Topdog/Underdog (also Royal Court, London); Elaine Stritch at Liberty (also West End’s Old Vic, London and National Tour); Parade (Tony and Drama Desk Nominations) directed by Hal Prince; Bells Are Ringing (directed by Tina Landau); Noise/Funk (also National Tours and Japan); The Tempest.

New York: Over a dozen productions at New York Shakespeare Festival/Public Theater where he has collaborated with George C. Wolfe, Brian Kulik, Mary Zimmerman, Ron Daniels, Liz Diamond, Graciela Daniele, Peter du Bois, among others; Santa Fe Opera, Lincoln Center, Second Stage, New York Theater Workshop, MTC, MCC, Playwrights Horizons, Cherry Lane, BAM, etc.

Regional: ACT, Alliance, Arena Stage, Center Stage, Geffen Playhouse, Goodman, Hartford Stage, Kennedy Center, La Jolla, Long Wharf, McCarter, Mark Taper Forum, Old Globe, Seattle Rep, South Coast Rep, The Shakespeare Theater, DC, Yale Rep, etc.

Opera: Lyric Opera of Chicago, Houston Grand Opera, New York City Opera, Los Angeles Opera, Pittsburgh Opera, Michigan Opera, Opera Pacific, Berkshire Opera and Hong Kong.

Cuban born, raised and educated in Buenos Aires, Argentina.

Ed.: Yale School of Drama.


SCOTT ZIELINSKI - Lighting Designer

A.R.T.: Donnie Darko, Oliver Twist, Three Sisters (Krystian Lupa) , Dido Queen of Carthage, Black Snow, Woyzeck, Peter Pan and Wendy.

New York and regional highlights: Topdog/Underdog (Broadway), Classic Stage Company, Lincoln Center, Manhattan Theater Club, New York Theater Workshop, Playwrights Horizons, Public Theater, Signature Theater, Theater for a New Audience, and numerous regional theaters throughout the U.S.

International: productions in Adelaide, Berlin, Edinburgh, Fukuoka, Goteborg, Hamburg, Hong Kong, London, Luang Prabang, Oslo, Ottawa, Paris, Rotterdam, Singapore, Stockholm, Stuttgart, Tokyo, Toronto, Vienna, and Zurich.

Dance: American Dance Festival, Joyce Theater, Kennedy Center (all with Twyla Tharp), American Ballet Theatre, Boston Ballet, Centre National de la Danse, National Ballet of Canada, and San Francisco Ballet.

Opera highlights: Brooklyn Academy of Music, English National Opera, Houston Grand Opera, New York City Opera, Minnesota Opera, Opera Colorado, Pittsburgh Opera, Spoleto USA, and Toronto Opera. Upcoming: Houston Ballet, La Commedia (Netherlands Opera) directed by Hal Hartley, and The Bonesetter’s Daughter (San Francisco Opera).


DAMIEN JALET - Dance

Damien Jalet is French and Belgian. After his first studies in theatre at the I.N.S.A.S. (National Institute of the Performing Arts, Brussels) he shifted to contemporary dance studying in Belgium and in New York. He started his dance career with Wim Vandekeybus on the show The Day of Heaven and Hell in 1998 and danced with the choreographers Ted Stoffer and Christine De Smedt. In 2000 he began an intense collaboration with Sidi Larbi Cherkaoui as his artistic partner within the company Les Ballets C. de la B. They co-created Rien de rien (2000), Foi (2003), Tempus Fugit (2004), and Myth (2006). In 2002 he created the piece D'avant in collaboration with Cherkaoui, Luc Dunberry and Juan Kruz Diaz de Garaio Esnaola. In 2005 he did the short movie The Unclear Age, co-directed with Erna Ómarsdóttir and the movie makers Dumspiro. Together with Ómarsdóttir, Gabriela Fridriksdóttir and Raven he created the piece Ofaett (Unborn) for the Theatre National de Bretagne.

In 2006 he created the short duet Aleko for the Museum of Contemporary Art of Aomori, Japan, in collaboration with Sidi Larbi Cherkaoui and Alexandra Gilbert. He has been collaborating with the French director Arthur Nauzyciel and the actress Anne Brochet for the creation of L'image by Samuel Beckett for the celebration of his centenary in Dublin.

Damien Jalet just co-directed a video with famous photographer Nick Knight and designer Bernhard Willhelm for the presentation of his men collection.

He assisted Sidi Larbi Cherkaoui for the creation of the piece In Memoriam for Les Ballets de Monte-Carlo and Loin for the Ballet of the Grand Theatre of Geneva.

Damien Jalet studied Ethnomusicology and polyphonic singing with Giovanna Marini, Christine Leboutte, Nando Acquaviva, and Nicole Casalonga.


ACTORS
SARA KATHRYN BAKKER - Portia/Calpurnia

A.R.T.: Debut.

Trained in Yale.

New York: A Flea in Her Ear, Roundabout Theatre; As Far As We Know, Drama League New Directors/New Works, Fringe NYC & Fringe Encores; A Winter's Tale (Hermione), New York Classical Theater.

Founding member of Rude Mechanicals Theatre: A Mouthful of Birds, Largo Desolato, Samuel Beckett's Company.

Workshops and readings with Primary Stages, Rattlestick Productions, Drama Department, and Adobe; including Loose Ends (Maraya) directed by Austion Pendleton.

Regional (partial list): The Servant of Two Masters (Beatrice), As You Like It (Rosalind), The Merchant of Venice (Portia), Peg O’ My Heart (Mrs. Chichester), Utah Shakespearean Festival; Mr. Marmalade (Sookie, Emily), Jazzland (Rhiannon), Contemporary American Theatre Festival; Metamorphoses (Aphrodite & others), Pioneer Theater; Hamlet (Gertrude), time/piece (ensemble), Williamstown Theatre Festival; A Midsummer Night’s Dream (Helena), Pennsylvania Shakespeare Festival.

TV: Law & Order, Conviction, Ghost Stories.

Film: End of the Spear.

B.A./Yale University, M.F.A. /American Conservatory Theater.

JIM TRUE-FROST - Brutus

A.R.T.: Debut.

New York: The Rivals, Lincoln Center; Philadelphia, Here I Come!, Roundabout Theatre Company; Buried Child, Grapes of Wrath, Broadway (with Steppenwolf Theatre Company).

Member of the Steppenwolf Theatre Company in Chicago: The Pillowman, I Just Stopped By to See the Man, David Copperfield, The Playboy of the Western World, and The Grapes of Wrath.

Films: Diminished Capacity, Off the Map, Affliction, Singles, The Hudsucker Proxy, Normal Life, and Far Harbor.

Television: The Wire (Prez), HBO; Medium, CSI: Miami, Karen Sisco, Early Edition,


Crime Story, Law & Order, and Law & Order: CI.
MARK L. MONTGOMERY - Cassius

A.R.T.: Debut.

New York: Mamma Mia! (Bill Austin), Broadway; Macbeth, Shakespeare in the Park; The Madras House, The Mint; The Runner Stumbles, TACT.

Member of Chicago Shakespeare Theatre, credits include: Rose Rage (Joseph Jefferson Award for best ensemble/production, also presented at Duke Theatre in New York), As You Like It, King Lear, School for ScandalAnthony and Cleopatra, Henry IV parts 1&2, Much Ado About Nothing, Comedy of Errors, Richard III, Merry Wives of Windsor, Macbeth.

Other: The Time of Your Life, A Tale of Two Cities, Steppenwolf Theatre; A Christmas Carol, Goodman Theatre; As Bees in Honey Drown, An Experiment with an Airpump, Northlight Theatre; Cat on a Hot Tin Roof, Apple Tree Theatre; and a number of other Chicago theatres.

Television: Law and Order, Guiding Light.


JAMES WATERSTON - Mark Antony

A.R.T.: Debut.

New York: The Importance of Being Earnest (Jack, dir. Sir Peter Hall), BAM; As You Like It (Orlando, dir. Mark Lamos), New York Shakespeare Festival; The Jew of Malta (Lodovico, dir. Brian Kulick), Arden of Faversham (Michael, dir, Erica Schmidt), Classic Stage Co; Ashley Montana…(Ensemble, dir. Jim Simpson), The Flea. Regional: Ah, Wilderness! (Richard), Huntington Theatre; Long Day’s Journey Into Night (Edmund), Syracuse Stage; Julius Caesar (Lucius), Twelfth Night (Sir Andrew), An Infinite Ache (Charles), Old Globe Theatre; Proof (Hal), South Coast Repertory; The Seagull (Konstantin), George Street Playhouse; Greylock Project (three seasons, Music Director), Williamstown Theatre Festival.

Films: Dead Poets Society, Little Sweetheart, Oscar, The Debutantes.



Television: Live From Baghdad, Six Feet Under (recurring), HBO; 13 Bourbon Street, Fox; CBS; Wedding Daze, Christy, Hallmark; Oppenheimer, BBC.


THOMAS DERRAH - Julius Caesar

A.R.T.: 110th production. Donnie Darko (Jim Cunningham), A Marvelous Party!, Oliver Twist (also at Theatre for A New Audience and Berkeley Repertory Theatre), The Onion Cellar, Olly’s Prison (Barry), The Birthday Party (Stanley), A Midsummer Night’s Dream (Nick Bottom), Highway Ulysses (Ulysses), Uncle Vanya (Vanya), Marat/Sade (Marquis de Sade), Richard II (Richard), Mother Courage (Chaplain). Broadway: Jackie: An American Life (twenty-three roles).

Off-Broadway: Johan Padan and the Discovery of the Americas (Johan), Big Time (Ted).

Tours with the Company across the U.S., with residencies in New York, Chicago, San Francisco, and Los Angeles, and throughout Europe, Canada, Israel, Taiwan, Japan, and Moscow.

Other: I Am My Own Wife, Boston TheatreWorks; Approaching Moomtaj, New Repertory Theatre; Twelfth Night and The Tempest, Commonwealth Shakespeare Co.; London’s Battersea Arts Center; five productions at Houston’s Alley Theatre, including Our Town (Dr. Gibbs, directed by José Quintero); and many theatres throughout the U.S.

Awards: 1994 Elliot Norton Prize for Sustained Excellence, 2000 and 2004 IRNE Awards for Best Actor, 1997 Los Angeles DramaLogue Award (for title role of Shlemiel the First).

Television: Julie Taymor’s film Fool’s Fire (PBS American Playhouse), Unsolved Mysteries, Del and Alex (Alex, A&E Network).

Film: Mystic River (directed by Clint Eastwood).

He is a graduate of the Yale School of Drama.




 (*) Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. Actors’ Equity Association (AEA), founded in 1913, represents more than 45,000 actors and stage managers in the United States. Equity seeks to advance, promote and foster the art of live theatre as an essential component of our society. Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. AEA is a member of the AFL-CIO, and is affiliated with FIA, an international organization of performing arts unions. The Equity emblem is our mark of excellence. www.actorsequity.org




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