present ROMEO AND JULIET - Stageplay | International ... in cities as diverse as Beijing, Jerusalem, Prague, Tokyo, Jakarta, Istanbul, San Jose’ de Costa Rica, London and Berlin

TNT BRITAIN & ADG EUROPEpresent

by William Shakespeare

Directed by Paul Stebbings Producer: Grantly MarshallMusical Director - John Kenny

ROMEO AND JULIET

Romeo+Juliet-Pr_01_09:Romeo & Julia 23.01.2009 9:54 Uhr Seite 1

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ADG Europe presents TNT theatre Britain in:

ROMEO & JULIET Directed and edited by Paul Stebbings

Original score composed or arranged by John Kenny

Cast List

Romeo Montague Natey Jones

Juliet Capulet Georgie Ashworth

Father Capulet Darius McStay

Nurse Ruth Cataroche

Mercutio Jude Owusu

Friar Laurence Damien Warren-Smith

Other roles played by the ensemble

Director: Paul Stebbings

Musical director: John Kenny

Costume design: Juliane Kasprzik

Movement director: Tom Ward

Set design: Arno Scholz

Sword fight instruction: Armin Kreuzmaier

TNT dramaturg: Phil Smith

Production assistant: Monika Verity

Art Promotion: Angelika Martin

Production assistant: Christian Werner

Programme editor: Stefani Hidajat

Producer ADGE: Grantly Marshall

ADGE website: www.adg-europe.com

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PAUL STEBBINGS is artistic director of TNT theatre Britain and the AMERICAN DRAMA GROUP EUROPE. He was born in Nottingham and studied drama at Bristol University, where he received first class honours. He trained in the Grotowski method with TRIPLE ACTION THEATRE in Britain and Poland. Paul founded TNT theatre in 1980 and received regular Arts Council funding for work in the UK. Paul has also acted for NOTTINGHAM PLAYHOUSE and TNT and di-rected and written for the SHANGHAI DRAMATIC ARTS CENTRE, TEATRO TERRUNO Costa Rica, PARAGON ENSEMBLE Glasgow, TAMS THEATER Munich, the ST PETERSBURG STATE COMEDY THEATRE and the Athens Concert Hall MEGARON. His productions have toured

to over thirty countries worldwide. Festival appearances include WIZARD OF JAZZ at the Munich Biennale (critics prize), the Off Broadway Festival in New York, the Tehran Fajr Festival, the Tokyo International Festival, and award winning performances at the Edinburgh Festival (THE MURDER OF SHERLOCK HOLMES, in which he played the title role). His numerous productions for ADGE and TNT include MACBETH, BRAVE NEW WORLD, MOON PALACE (a dance drama version of Paul Auster’s contemporary novel), DEATH OF A SALESMAN, A MIDSUMMER NIGHT’S DREAM. OTHELLO and the recent prize winning HAMLET. One of Paul’s main areas of interest is the integration of music and theatre which culminated in his large scale production MOBY DICK which will be revived by the National theatre of Greece next year. He has directed productions in Russian, Greek, German and is increasingly working in Spanish, while he recently directed OLIVER TWIST in Mandarin at the Shanghai Dramatic Arts Centre. This season sees Paul direct ROMEO & JULIET by Shakespeare, ONE LANGUAGE MANY VOICES (an exploration of Britain’s colonial legacy), BRAVE NEW WORLD (UN MUNDO FELIZ) and DON QUIJOTE (both in Spanish), FRANKENSTEIN, and three premiers which he also writes: THE WAVE, DR JEKYLL AND MR HYDE and a site specific production for the Isle of Man: THE GHOST OF ILLIAM DHONE. These varied productions tour to over thirty countries on three continents-performing in cities as diverse as Beijing, Jerusalem, Prague, Tokyo, Jakarta, Istanbul, San Jose’ de Costa Rica, London and Berlin. In June 2013 Paul was awarded an MBE (Member of the Order of the British Empire) by H.M the Queen for services to British culture.

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Director’s Notes

ROMEO AND JULIET is neither a classical tragedy nor even a traditional romance. It is a play that has become a myth, and the myth obscures the play. Great ballets, musicals and films have transformed the original beyond recognition. In approaching this most famous fiction a director must take care not to dramatise what the audience think ROMEO AND JULIET should be, but what was written on the page two hun-dred years before Romanticism changed our culture. First we might ask what the play is not. It is not a tragedy because the central characters do not suffer from “hubris”, the fatal flaw that Aristotle defined and Shakespeare elaborated. Neither Romeo nor Juliet suffer from Macbeth’s ambition or Lear’s selfish rage, let alone Othello’s jealousy or Hamlet’s moral indecision. Romeo’s kills Tybalt but only after failing to pacify him, and in revenge for the murder of his dear friend. Certainly no Elizabethan audience would call him guilty. Juliet only defies her father after she marries Romeo, when legally and morally Romeo has become her Lord. (Indeed the audience are told that she has the right to reject Paris in Act one). The play is often surprisingly unro-mantic, Romeo and Juliet have only two scenes in the entire long play when they are alive and alone. Love itself is parodied as much as worshipped, the fullest and most complex characters in the play – Mercutio and the Nurse – are both pragmatists who mock love or treat it as an adjunct of sex. The entire play might easily be a comedy, in fact it follows the pattern of classical and Shakespearian comedy right up until the death of Mercutio. If it were not for the entirely (it seems) accidental plague that prevents the Friar’s letter reaching Mantua then there is no reason why Juliet should not live happily ever after with her Romeo. Many directors have tried to make sense of this by following WEST SIDE STORY by ignoring the very first line of the text “Two houses both alike in dignity in fair Verona…”. Why should Capulet scold Tybalt for wanting to evict Romeo from his feast if the conflict was truly deep? Surely Shake-speare’s point is that the conflict is both brutal but that it is futile and irrational. We suggest that the proper answer to the problem of how to understand and therefore stage ROMEO AND JULIET lies in its poetic form. The entire play is constructed as a sonnet. The love sonnet was the publishing phenomenon of the 1590’s. Shakespeare himself made his name as the author of sonnets. This play explores the form and themes of both classical and Elizabethan sonnets (for technical details see below). The play opens with a sonnet and Romeo and Juliet first speak within a sonnet. The text uses more rhyme than any other of his plays. The form of the sonnet is also a form where endings often contradict beginnings, and this is surely influences the structure of the play – which of course ends with a famous rhyme – just as every sonnet ends with an emphatic rhyming couplet. Poetry allows us to approach the content of the play symbolically, rather than force it into a realistic mould. The plot has considerable weaknesses when viewed as realism (not just the accidental non-delivery of the letter but also the crucial failure of Juliet to simply go to Mantua to her Lord and husband rather than return to her family in Act four – she is already out of the house!).

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Poetry works through image and symbol. The key may be the third symbolic protago-nist, unseen but ever present: Death.

“Death is my son in law, Death is my heirMy daughter he hath wedded. I will dieAnd leave him all: life, living, all is Death’s.” (Capulet)

And Romeo’s last despairing jealous call:“Death has sucked the honey of they breath!” Death is Juliet’s last lover and both she and Romeo’s last word is “die”. If the plague in Mantua is not a dramatist’s easy way out but a symbolic stroke of Death the play starts to make sense. Death is present from the first bloody street fight until the last graveyard scene. We have chosen to personify Death, to explore the conflict not be-tween different clans or even races but between love and death, Eros and Thanatos. Death unites the different themes and conflicts within the play, and even Mercutio’s “gallows humour” revels in death, at his own end he will become a “grave man”. But the play is no simple melodrama where Love and Death are good and evil. Death is seductive, a lover as well as an enemy. The poetry of the play allows the symbol to expand and create an image of all-consuming commitment and even erotic pow-er. (“To die” is Elizabethan usage for orgasm – see Dowland’s song below). Juliet captures this in perhaps the play’s most startling image:“Give me my Romeo; and, when he shall die,Take him and cut him out in little stars,And he will make the face of heaven so fineThat all the world will be in love with night”

The intensity of Romeo and Juliet’s love courts death and is sealed by it. Death freezes the lover’s impossible passion in its moment of perfect commitment, as Romeo notes the last time he sees his love alive: “Come Death and welcome, Juliet wills it so”

Death’s triumph is however hollow, the lover’s deaths redeem their sinning fathers and indeed the entire city. Montague promises the lovers will rise as statues in pure gold. And here the poetic symbolism develops into the religious. Like Christ, Romeo and Juliet triumph over death by passing through it to a type of immortality, an immortality that brings forgiveness and peace. This is the symbolic greatness of the play, the culmination of its poetic form and the goal of our production:“The which, if you with patient ears attend,What here shall we miss, our toil shall strive to mend.”

Paul Stebbings 2009 - 14

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Music and poetry in the 1590’s

TNT seek to integrate music and theatre and take our cue from Shakespeare whoalways included music in his plays and indeed even wrote dialogue for musicians in

ROMEO AND JULIET. Our score includes music by Shakespeare’s exactcontemporary John Dowland.

The text of his famous song “Come again” (written two years before Romeo andJuliet) may well have even influenced Shakespeare. It’s use of death as an erotic

metaphor and a proof of commitment illuminates our understanding ofShakespeare’s love story:

Come Again

Come again, sweet love doth now invite.Thy graces that refrain, to do me due delight.

To see, to hear, to touch, to kiss, to die,with thee again in sweetest sympathy.

Come again, that I may cease to mourn.Through thy unkind disdain, for now left and forlorn.

I sit, I sigh, I weep, I faint, I die,in deadly pain and endless misery.

All the day, the sun that lends me shine,By frowns do cause me pine, and feeds me with delay.Her smiles, my springs, that makes, my joys, to grow,

her frowns the winters of my woe.

All the night, my sleeps are full of dreams,My eyes are full of streams, my heart takes no delight.

To see, the fruits, and joys, that some, do find,and mark the storms are me assigned.

Out alas, my faith is ever true.Yet will she never rue, nor yield me any grace.

Her eyes, of fire, her heart, of flint, is made,whom tears nor truth may once invade.

Gentle love, draw forth thy wounding dart.Thou canst not pierce her heart, for I that do approve.

By sighs, and tears, more hot, than are, thy shafts,did tempt while she for triumph laughs.

(John Dowland, 1597)


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Allegory of Love


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ROMEO AND JULIET as a sonnet.

The sonnet was the most popular form of Elizabethan poetry and writing this style ofpoetry was where Shakespeare made his name before he was known as playwright. Theform and content of ROMEO AND JULIET is that of a typical sonnet. The Prologue to theplay is a sonnet; the Prologue to Act 2 is a sonnet; and scholars often identify the firstfourteen lines of the first meeting of Romeo and Juliet (beginning with Romeo's "If Iprofane with my unworthiest hand") as a sonnet. In addition, Romeo's love-longing forRosaline seems to be borrowed directly from the eternally suffering lover portrayed overand over in sonnets. Consider Mercutio's greeting to Romeo:Here comes Romeo…..Without his roe, like a dried herring: O flesh, flesh, how art thou fishified! Now is he for the numbersthat Petrarch flowed in. Laura to his lady was akitchen-wench; marry, she had a better love tobe-rhyme her; Dido a dowdy; Cleopatra a gipsy;

Romeo without his "roe" is "me O," as in "O, me O, woe is me"; and a person who iswasting away looks as thin as a fish without roe (and a "dried herring" is the thinnest). Thepoint is that Romeo's forelorn love for Rosaline is killing him, body and soul. Mercutio's next point is that Romeo is about to burst into love poetry ("numbers") of thekind that Petrarch wrote about Laura. According to Mercutio, it is Romeo's opinion thatPetrarch's Laura was only a "kitchen-wench" compared to Rosaline, and that other famousbeauties were likewise nothing to Rosaline. The reference to Petrarch is in effect areference to the hundreds of sonnets which were popular in Shakespeare's time, becausePetrarch was considered to be the father of all sonnets.

The sonnet was the most popular kind love poetry of Shakespeare's time, and love poetryin general was extremely popular. The craze for sonnets began in 1557, with publicationby Richard Tottel of SONGES AND SONNETTES. Tottel sold all he printed, and issuedanother edition less than two months later,it is mentioned by a character in Shakespeare'sThe Merry Wives of Windsor, which was written at about the same time as Romeo andJuliet.

The star poet of Tottel's book, the Earl of Surrey, created the English sonnet form bymodifying Petrarch's sonnet form. The form which Surrey created (three quatrains inalternate rhyme and a concluding couplet) is easier to write in English than the Petrarchanform, which has a more complicated rhyme scheme. Surrey also borrowed his subject-matter from Petrarch. Petrarch wrote sonnets about hiseternal, helpless, hopeless love for Laura; Surrey translated some of Petrarch's sonnets andwrote his own in the same vein. Following is one of Surrey's sonnets.Romeo echoes these sentiments early on when he talks about his hopeless love for Rosalyn.


A COMPLAINT BY NIGHT OF THE LOVER NOT BELOVED

Alas! so all things now do hold their peace!Heaven and earth disturbed in no thingThe beasts, the air, the birds their song do cease,The night’s car the stars about do bring.Calm is the sea. The waves work less and less:So am not I, whom love, alas! doth wring,Bringing before my face the great increaseOf my desires, whereat I weep and sing,In joy and woe, as in a doubtful case.For my sweet thoughts sometime do pleasure bring;But by and by, the cause of my diseaseGives me a pang, that inwardly doth sting,When that I think what grief it is again,To live and lack the thing should rid my pain.To return to the first conversation between Romeo and Juliet, the actual poetic structurefollows that of the classic English sonnet: fourteen lines and ten syllables in each line.The rhyme scheme is structured as follows;The first eight lines A-B-A-B-C-D-C-DThe following four lines E-F-E-FThe final couplet G-G.In one sense the entire play is a long sonnet – ending in a couplet that reconciles theconflicts and pain that go before.

A note on Shakespeare and Commedia dell’arte

The Italian comedy or Commedia dell’arte was a powerful influence on Shakespeare – it is easy to forget how new the English theatre was in the late 1500s. It is best compared to the cinema of the 1920’s than, for example, the English novel (which developed slowly). The young Shakespeare might only have seen amateur religious drama and local folk plays. The only professional performance style he could have seen or been told about was commedia dell’arte. His early plays such as THE TAMING OF THE SHREW or THE COMEDY OF ERRORS literally quote this Italian form (such as the naming of the foolish old lover as a “Pantalon” in SHREW – Pantalone being a stock character of Commedia). The serenading of a lover on her night time balcony was a standard scene in Commedia, where there are two stock characters simply called “The Lovers”. Mercutio is surely a type of Harlequin. The masked ball is the central event of the first half. The word “mask” is a central metaphor in the play. All Italian comedy was masked. Masks turn performers into symbols – but symbols with life - the masks in the play form a visual parallel to the heavy symbolism and overt poetry in the text. This symbolism is surely the key to ROMEO AND JULIET – the most formal of all Shakespeare’s plays. Formal because it is constructed exactly like a sonnet. We have tried to explore Commedia dell’arte within this play both to provide a sense of the Italian spirit, with its passion for pictures, statues and images and its marvellous stylised energy – a poetry in motion that is suited to this great poetic drama.

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Historical settings and Shakespeare

Shakespeare was fascinated by history and of course divided his own works into histories, tragedies and comedies on his title pages. When he wishes, he can stay close to his favourite historical sources - Plutarch’s Roman Lives and Holinshed’s British Histories. However, Shakespeare was writing theatre not dramatised documentaries, his use of history is poetic and dramatic – his best historical writing in, say, HENRY IV and MACBETH strays well away from documented fact. At the Globe this symbolic approach to the past was visually very much in evidence. Just as there was no specific scenery for any one production, so the costume store of the Globe would have been used by all productions; a piece of armour for Julius Caesar might double up as one for Hamlet’s very contemporary ghost. (Renaissance painting applies the same laxity to historical scenes). It is curious that most modern settings for Shakespeare follow a pattern set during the late 19th century and fix the visual in a precise historical frame at the expense of symbolic and poetic impact. In our own production we aim for a mix of Elizabethan, later Baroque and contemporary music, masks and costumes in order to explore the dense imagery of the original. Just as Shakespeare’s Verona is not a Verona that any traveller would recognise, (no Arena for example!) but a gorgeous chaotic symbol of a world in one city – as Romeo says:

There is no world without Verona walls,But purgatory, torture, hell itself.

This is clearly not Italy he is talking about! So our Italy, in this production, is the densest Italy we can conjure – the Italy of Casanova, Don Juan, Caravaggio, Bernini and Harlequino – but also an Italy perceived through the English imagination. (We doubt that Shakespeare ever went to Italy – but it was the USA of his day, the cultural dreamworld). Our English music sets this Italian Dream, just as that very music was rooted in Palestrina and the Italian composers who created the sound we call “classical”. As discussed above Commedia dell’arte freed Shakespeare and his contemporaries from the simplicities of the English religious drama they saw in their youth. But to return to our own production, we too cannot ignore the passing of time, our own image of classical Italy is not the “doublet and hose” of Elizabethan England but the flowing cloaks and masks of the Venetian Carnival (Venice by the way ruled Verona for three hundred years). The Baroque began in Italy, the statues and symbols that we turn to for inspiration are above all Italian –products of a Golden Age that lasted from the Florence of the Medici to French Revolution. Our Italy is an Italy of the imagination, we can only apologise to those who wish it were a real place.

Shakespeare's theatre and TNT’s cycle of his plays.

The company has been performing Shakespeare’s works almost continuously since thesummer of 2000. Over one thousand performances have taken place in more than thirtycountries on three continents.

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The sequence was: MACBETH, A MIDSUMMER NIGHT’S DREAM, HAMLET, ROMEO AND JULIET, KING LEAR and THE TAMING OF THE SHREW. Revivals of these productions developed rather than repeated the first incarnations.Shakespeare's texts remain the densest and richest theatrical texts we have been privileged to work upon. While the quality of the poetry and depth of theme and character are well known it is always a lesson in humility to discover the excellence of Shakespeare's theatrical craft. We often sense that Shakespeare is “on our side” in rehearsals. This is especially so when a company works as we do with resources similar to Shakespeare's own. We have a small troupe of multi-skilled actors who double roles and even swap genders as needed, we use live music and minimal set . We have to be able to perform without theatre lighting. We have to appeal to a wide audience and our greatest weapon is the imagination of that audience. The resources of a large modern theatre often impede these plays. For example Shakespeare never had slow or complex set changes between scenes, the plays should be fast and furious - how else can they fit “within the two hours traffic of our stage” to quote ROMEO AND JULIET. Indeed it’s almost impossible to read aloud ROMEO AND JULIET in two hours – surely this text was adapted for perform-ance? This reflects the opinion of Frank Kermode, professor of English at Cambridge, who’s excellent book on Shakespeare’s language influences our productions.We will never know if the texts printed in the famous Folio edition of Shakespeare's complete works some seven years after his death are definitive. It was thought so for many years but now the weight of scholarship suggests that the Folio may represent a literary version “written up” by Shakespeare for publication and private reading. Poetry had high status in Elizabethan and Jacobean England, theatre was low status. Indeed the theatres were to be closed within a generation of Shakespeare's death. Even in Shakespeare's lifetime poetry began to threaten popular theatre. Soon after KING LEAR was written Shakespeare's troupe moved to the Royal Court and the later, more poetic, plays lack the muscular theatricality of his earlier works. (With the honourable exception of the TEMPEST). What is interesting is that there are alternative texts to the Folio, the so called Quartos,(names that come from the smaller sheets of paper they were printed upon). Some of these alternative texts may be corrupt, pirated copies but increasingly they are being recognised as theatrical versions of the texts. They are shorter and often more dynamic. For example, in the First Quarto of HAMLET (which TNT use as the basis for our production), there are scenes that do not exist in the longer Folio. Hamlet's mother is reintroduced at a crucial moment. The position of “To be or not to be” is different and better. These feel like amendments Shakespeare made to the script after it was first performed. Many scholars believe that the MACBETH we know is a short version of a longer play. There are no “Quarto” versions of MACBETH and it is so much more focused than the other tragedies. We have taken the standard text and edited it, presuming to make our own version much as an acting company in Shakespeare's own time might have adapted and cut the original. We have tried to approach the text in the spirit of the original. We hope that Shakespeare's ghost will understand if not forgive.

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Venus & Mars


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TragediesAntony and CleopatraCoriolanusHamletJulius CaesarKing LearMacbethOthelloRomeo and JulietTimon of AthensTitus Andronicus

HistoriesKing Henry IV Part 1King Henry IV Part 2King Henry VKing Henry VI Part 1King Henry VI Part 2

King Henry VI Part 3King Henry VIIIKing JohnRichard IIRichard III

ComediesAll's Well That Ends Well As You Like ItThe Comedy of Errors CymbelineLove's Labour's Lost Measure for Measure The Merchant of Venice Merry Wives of Windsor A Midsummer Night's Dream Much Ado About Nothing Pericles, Prince of Tyre

The Taming of the Shrew The TempestTroilus and Cressida Twelfth NightTwo Gentlemen of Verona Winter's Tale

PoetryA Lover's ComplaintSonnets 1-30Sonnets 121-154Sonnets 31-60Sonnets 61-90Sonnets 91-120The Passionate PilgrimThe Phoenix and the TurtleThe Rape of LucreceVenus and Adonis

William Shakespeare (1564-1616) was born to John Shakespeare and mother Mary Arden sometime in late April 1564 in Stratford-upon-Avon. There is no record of his birth, but his baptismwas recorded by the church, thus his birthday is assumed to be the 23 of April. His father was aprominent and prosperous alderman in the town of Stratford-upon-Avon, and was later granteda coat of arms by the College of Heralds. All that is known of Shakespeare's youth is that hepresumably attended the Stratford Grammar School, and did not proceed to Oxford orCambridge. The next record we have of him is his marriage to Anne Hathaway in 1582. The nextyear she bore a daughter for him, Susanna, followed by the twins Judith and Hamnet two yearslater.

Seven years later Shakespeare was recognized as an actor, poet, and playwright, when a rivalplaywright, Robert Greene, referred to him as "an upstart crow" in "A Groatsworth of Wit." Afew years later he joined up with one of the most successful acting troupes in London: "The LordChamberlain's Men." When, in 1599, the troupe lost the lease of the theatre where theyperformed (appropriately called "The Theatre"), they were wealthy enough to build their owntheatre across the Thames, south of London, which they called "The Globe." The new theatreopened in July of 1599, built from the timbers of "The Theatre", with the motto "Totus mundusagit histrionem" (A whole world of players). When James I came to the throne (1603) the troupewas designated by the new king as the "King's Men" (or "King's Company"). The Letters Patentof the company specifically charged Shakespeare and eight others "freely to use and exercise theart and faculty of playing Comedies, Tragedies, Histories, Interludes, Morals, Pastorals, stageplays ... as well for recreation of our loving subjects as for our solace and pleasure."

Shakespeare entertained the King and the people for another ten years until June 19, 1613, when a cannon fired from the roof of the theatre for a gala performance of Henry VIII set fire to the thatch roof and burned the theatre to the ground. The audience ignored the smoke from the roof at first, being too absorbed in the play, until the flames caught the walls and the fabric of the curtains. Amazingly there were no casualties, and the next spring the company had the theatre "new builded in a far fairer manner than before." Although Shakespeare invested in the rebuilding, he retired from the stage to the Great House of New Place in Statford that he had purchased in 1597, and some considerable land holdings, where he continued to write until his death in 1616 on the day of his 52nd birthday.


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PHIL SMITH was born in Coventry, England and studied Drama at Bristol University. He is a co-founder of TNT THEATRE with Paul Stebbings and their work has been per-formed from New York to Tokyo, from village halls to opera houses. He has written or co-written over 100 professionally produced plays and libretti. Since 1993 TNT have collabora-ted on numerous productions with the AMERICAN DRAMA GROUP EUROPE, Phil working on these as co-writer and/or dramaturg, including FAHRENHEIT 451 and THE TAMING OF THE SHREW. Phil Smith is the author of: MYTHOGEO-GRAPHY: A GUIDE TO WALKING SIDEWAYS (an artistic form of exploring familiar places). See: www.mythogeography.com and www.mis-guide.com

JOHN KENNY (musical director) has been writing music for and performing with TNT Theatre since 1983. His first collaboration with playwright Paul Stebbings, Cabaret Faust, toured the UK for three years. Since then they have collaborated on productions which have toured worldwide: TEMPEST NOW, THE WIZARD OF JAZZ, MOBY DICK, MOON PALACE, THE TAMING OF THE SHREW, ROMEO & JULIET, and THE MYSTERY OF EDGAR ALLAN POE. In 2013 Kenny & Stebbings will collaborate on two new music theatre productions: THE GHOST OF ILLIAM DHONE, an historical drama to be premièred on the Isle of Man, and THE WAVE, set in 1960’s America. As a trombonist, John is internationally recognised as a leading interpreter of contemporary music, having given solo recitals and broadcast in 46 nations to date. He is professor of sackbut, specialising in early music, at the Royal Scottish Conservatoire, and professor of trombone and the interpretation of contemporary music at the Guildhall School of Music and Drama, London. His work embraces an unusually wide variety of styles, including backing leading entertainers such as Frank Sinatra and Gladys Night, jazz artists including Chick Corea and Steve Lacey, classical performance with ensembles such as the London Symphony Orchestra and Ensemble Modern, and world music ensembles including La Banda Europa and Kathryn Tickell’s Ensemble Mystical. He composes music for the concert hall, stage, and film. In 2010 he undertook a month long toursolo of the USA. John is also deeply involved in musical archaeology: as a memberof a team from the National Museum of Scotland he became the first person for 2000 years to play the carnyx, a Celtic war horn which stands 4 meters high when played. In 2003 he played the carnyx solo to an audience of 65.000 people in the Stade de France, Paris!

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NATEY JONES is very excited to be involved in his second tour with TNT Theatre and THE AMERICAN DRAMA GROUP EUROPE. Natey, who holds a degree in Law, was born and lives in London, England. Having given up a career in law he trained for two years at Identity Drama School. Upon leaving the school in 2012 he took part in the first RADA Festival, appearing as Steven in SLEEPWALK, and performed at the Rose Theatre, Bankside playing the role of Lotario in CARDENIO. In 2013 Natey toured Germany with TNT Theatre for the first time in the production of ONE LANGUAGE MANY VOICES. On returning to London Natey played Oberon in Whistlestop Theatre Company’s production of A MIDSUMMER NIGHT’S DREAM at the Courtyard Theatre and the role of Zachary in

Daniel Rusteau’s THE TRUSTING PRINCESS. Outside of acting Natey is a lover of music, fitness and all things football being an avid Manchester United supporter!

GEOrGIE ASHwOrTH graduated from the University of Leeds in 2011 with a first class BA (Hons) degree in Theatre and Performance before training at Arts Educational Schools London, where she attained an MA in Acting. Whilst at drama school her roles included Desdemona in OTHELLO, Julia in TWO GENTLEMEN OF VERONA and Jenny in WOMEN, POWER AND POLITICS NOW, a series of short plays performed at The Tabard Theatre, London. Georgie also perfomed at the Arts Educational Schools industry showcase at The Criterion Theatre, London to conclude her training. Since graduating she has been cast in a number of short films and site specific theatre projects but is delighted to be making her professional theatre debut as Juliet in TNT’s international tour of ROMEO AND JULIET.

DArIUS MCSTAY is very excited to be part of TNT’s ROMEO AND JULIET, his first experience of both Shake-speare and performing outside the UK. He trained at the Drama Studio London. Since graduating some of his more memorable performances include: playing an irate Texan in Alan Ayckbourn’s TONS OF MONEY, playing the lead last minute in THE BEAUX STRATEGEM and regularly appearing in Agatha’s Christie’s THE MOUSETRAP as an understudy when making his London West End debut. He is also the proud father of a beautiful daughter, an occasional playwright and is the sort of man you could take home to meet your mother.

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rUTH CATArOCHE was born in Leeds, West Yorkshire and started her career with the National Youth Music Theatre training at East 15 Acting School. Since grauduating in 2005, Ruth has worked for a variety of theatre and television companies including Starveling in A MIDSUMMER NIGHT’S DREAM, British Touring Shakespeare Company, Azdak in CAUCASIAN CHALK CIRCLE, Blackeyed Theatre Company, Mrs Bennet in PRIDE AND PREJUDICE, Illyria Theare Compa-ny and Nurse Gemma Scales in EMMERDALE, ITV. Ruth is also an accomplished actor/musician and has worked on a number of projects incorporating music, masks and puppetry. When not on tour, Ruth enjoys spending time on her narrowboat, where she lives with her husband.

JUDE OwUSU was born in Ghana and emigrated with his family to the United Kingdom at the age of 7. Though challenging, the first years of his arrival to the UK became the foundation for his passion as an actor. Lacking the cultural comprehensions of a new country and unable to grasp the language, acting became an outlet of self expression for Jude; the ability to tell stories and the need to communicate, has been a constant source of inspiration. After leaving school, he attended the Oxford School of Drama where he honed his craft. Since graduating in 2010 Jude has been seen in theatre plays like JULIUS CAESAR as Cinna the Poet at the Royal Shakespeare Company, THE COMEDY OF ERRORS as Merchant at The National Theatre and WAYNE ROONEY as Wayne Rooney at The Etcetera The-atre. His TV appearances include The Bill: WITNESS WALL OF SILENCE and INNOCENT BLOOD as Marlon Reed.

DAMIEN wArrEN-SMITH was born in Scotland but grew up in rural Australia. He graduated from Actors Centre Australia before moving back to the UK where he worked with theatre companies such as Hull Truck, Nottingham Playhouse, Catherine Wheels, Tall Stories, among others. Television work includes LAW & ORDER: UK, THE PER-SUASIONISTS, and LOVE MY WAY. He recently trained as a clown at École Philippe Gaulier in France. This is his first production with TNT.

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JULIANE KASPrZIK was born in north Germany. She studied design in Hamburg. She has worked extensively in German theatre, designing or assisting for the Hamburg Schau-spielhaus and the c ity theatres in Kassel, Darmstadt as well as the Residenz theatre in Munich and many theatres on the “Free” or alternative scene in Germany’s theatre capital such as ETA and Theaterzelt. She has designed costumes for the all recent TNT and ADGE productions including FRANKENSTEIN, HAMLET , THE WAVE, A CHRISTMAS CAROL, MACBETH, DR JEKYLL & MR HYDE and THE TAMING OF THE SHREW.

ArNO SCHOLZ (set design) was born in Berlin and has lived in Munich for many years. He studied at the Muench-ner Kunstakademie. After two years at the Theater der Ju-gend he started creating and building stage sets. Since then he has created many sets for independent theatres: Vaganten Buehne Berlin, Theater in der Garage Erlangen, TamS Theatre, Theater 44 and Modernes Theater in Munich and also for THE AMERICAN DRAMA GROUP EUROPE. He has also worked on TV productions for example Tatort Detective series but is now focusing on set building for touring theatre. He has designed and constructed sets for all of TNT’s recent productions including ROMEO AND JULIET, DON QUIJOTE, HAROLD AND MAUDE, OTHELLO and DEATH OF A SALESMAN, THE WAVE, DR JEKYLL AND MR HYDE, BRAVE NEW WORLD, etc.

TOM wArD trained in dance and choreography at London Contemporary Dance School in 1986. Since leaving he has danced with London Contemporary Dance Theatre, Rambert Dance Company, DV8, Adventures In Motion Pictures and many others. He has worked with TNT and ADG Europe, Complicite, Royal National Theatre London and appeared in several musical theatre productions including Hair at The Old Vic, Cabaret at The Lyric Theatre in London’s West End and most recently has been playing the role of Frank Sinatra in The Rat Pack Live From Las Vegas Tour around the UK, Europe and America. He is pleased to be back working on the creative team with TNT and ADG Europe.

ROMEO AND JULIET

by William Shakespeare

adapted and edited for TNT theatre by Paul Stebbings

ROMEO AND JULIET 2008 draft Oct TNT

A public place in Verona - GREGORY and SAMPSON are sharpening their weapons as the audience enters – the scraping is harsh – blending with music cue 1 M1Note: This is an experimental scene – it was not in the first production – so flexibility will be needed. There may well be some cuts I have included nearly all the scene in order to have raw material – this will affect the music of course – maybe a loop is in order that we can trim – since the theme is an endless cycle/circle of violence.

SAMPSON I strike quickly, being moved.GREGORY But thou art not quickly moved to strike.SAMPSON A dog of the house of Montague moves me.GREGORY To move is to stir; and to be valiant is to stand:therefore, if thou art moved, thou runn'st away.SAMPSON A dog of that house shall move me to stand: I willtake the wall of any man or maid of Montague's.GREGORY That shows thee a weak slave; for the weakest goesto the wall.SAMPSON True; and therefore women, being the weaker vessels,are ever thrust to the wall: therefore I will pushMontague's men from the wall, and thrust his maidsto the wall.GREGORY The quarrel is between our masters and us their men.SAMPSON 'Tis all one, I will show myself a tyrant: when Ihave fought with the men, I will be cruel with themaids, and cut off their heads.

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GREGORY The heads of the maids?SAMPSON Ay, the heads of the maids, or their maidenheads; take it in what sense thou wilt.GREGORY They must take it in sense that feel it. SAMPSON Me they shall feel while I am able to stand: and'tis known I am a pretty piece of flesh. GREGORY 'Tis well thou draw thy tool! here comestwo of the house of the Montagues.SAMPSON My naked weapon is out: quarrel, I will back thee. GREGORY How! turn thy back and run?SAMPSON Fear me not.GREGORY No, marry; I fear thee!SAMPSON Let us take the law of our sides; let them begin. GREGORY I will frown as I pass by, and let them take it as they list.SAMPSON Nay, as they dare. I will bite my thumb at him; which is a disgrace to them, if they bear it. TYBALT and other (enters) Do you bite your thumb at us, sir?SAMPSON

TYBALTDo you bite your thumb at us, sir?SAMPSON [Aside to GREGORY] Is the law of our side, if I say ay?GREGORY No.SAMPSON No, sir, I do not bite my thumb at you, sir, but I bite my thumb, sir.

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GREGORY Do you quarrel, sir?TYBALTQuarrel sir! no, sir.SAMPSON If you do, sir, I am for you: I serve as good a man as you.TYBALTNo better.SAMPSON Well, sir.GREGORY Say 'better:' here comes one of my master's kinsmen.SAMPSON Yes, better, sir.TYBALTYou lie.SAMPSON Draw, if you be men. Gregory, remember thy swashing blow.They fightEnter BENVOLIOBENVOLIO Part, fools!Put up your swords; you know not what you do.Beats down their swordsEnter TYBALTTYBALT What, art thou drawn among these heartless hinds?Turn thee, Benvolio, look upon thy death.BENVOLIO I do but keep the peace: put up thy sword,Or manage it to part these men with me.TYBALT What, drawn, and talk of peace! I hate the word,As I hate hell, all Montagues, and thee:Have at thee, coward!They fight(Note there is a natural break or change here when t he actual fighting starts andBENVOLIO tries to stop it – overall the scene can all have music but it might bethat as BENVOLIO stops the fighting the music also stops? – making the musictheir testosterone – their threat which builds from potential to actual violence).

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They fight M.2 – frozen music and action for DeathPROLOGUE – masked DEATH:Two households, both alike in dignity,In fair Verona, where we lay our scene,From ancient grudge break to new mutiny,Where civil blood makes civil hands unclean.From forth the fatal loins of these two foesA pair of star-cross'd lovers take their life;Whole misadventured piteous overthrowsDo with their death bury their parents' strife.The fearful passage of their death-mark'd love,And the continuance of their parents' rage,Which, but their children's end, nought could remove,Is now the two hours' traffic of our stage;The which if you with patient ears attend,What here shall miss, our toil shall strive to mend.(He passes his hand over the frozen fighters – one falls -Note: I think previous section is clear – Death freezes life and music - although hecould have a sound like a wind or something that accompanies him ???

They fight – return to music M2/bEnter, several of both houses, who join the fray; CAPULET What noise is this? Give me my long sword, ho!My sword, I say! Old Montague is come,And flourishes his blade in spite of me.Enter MONTAGUEMONTAGUE Thou villain Capulet,--They fightEnter PRINCE, with Attendants FANFARE/Drums M3

PRINCE Rebellious subjects, enemies to peace,Profaners of this neighbour-stained steel,--Will they not hear? What, ho! you men, you beasts,That quench the fire of your pernicious rageWith purple fountains issuing from your veins,On pain of torture, from those bloody handsThrow your mistemper'd weapons to the ground,And hear the sentence of your moved prince.

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Three civil brawls, bred of an airy word,By thee, old Capulet, and Montague,Have thrice disturb'd the quiet of our streets, And made Verona's ancient citizensCast by their grave beseeming ornaments,To wield old partisans, in hands as old, Canker'd with peace, to part your canker'd hate: If ever you disturb our streets again,Your lives shall pay the forfeit of the peace. Once more, on pain of death, all men depart. Exeunt all but MONTAGUE, BENVOLIO

MONTAGUE Who set this ancient quarrel new abroach?Speak, nephew, were you by when it began?

BENVOLIO Here were the servants of your adversary,And yours, close fighting ere I did approach:I drew to part them: in the instant cameThe fiery Tybalt, with his sword prepared,While we were interchanging thrusts and blows,Came more and more and fought on part and part,Till the prince came, who parted either part.

LADY MONTAGUE O, where is Romeo? saw you him to-day?Right glad I am he was not at this fray.

BENVOLIO Many a morning hath he there been seen,With tears augmenting the fresh morning dew.Adding to clouds more clouds with his deep sighs;

Black and portentous must this humour prove,Unless good counsel may the cause remove.My noble uncle, do you know the cause?

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Death and the Maiden


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ROMEO:The time and my intents are savage-wild,More fierce and more inexorable farThan empty tigers or the roaring sea.Thou detestable maw, thou womb of death,Gorged with the dearest morsel of the earth,Thus I enforce thy rotten jaws to open,And, in despite, I'll cram thee with more food!A grave? O no! a lantern,For here lies Juliet, and her beauty makesThis vault a feasting presence full of light.Death, lie thou there, by a dead man interr'd. How oft when men are at the point of deathHave they been merry! which their keepers callA lightning before death: O, how may ICall this a lightning? O my love! my wife!Death, that hath suck'd the honey of thy breath,Hath had no power yet upon thy beauty:Thou art not conquer'd; beauty's ensign yetIs crimson in thy lips and in thy cheeks,And death's pale flag is not advanced there.Tybalt, liest thou there in thy bloody sheet?O, what more favour can I do to thee,Than with that hand that cut thy youth in twainTo sunder his that was thine enemy?Forgive me, cousin! Ah, dear Juliet, Why art thou yet so fair? shall I believeThat unsubstantial death is amorous,And that the lean abhorred monster keepsThee here in dark to be his paramour?For fear of that, I still will stay with thee;And never from this palace of dim nightDepart again: here, here will I remainWith worms that are thy chamber-maids; O, hereWill I set up my everlasting rest,And shake the yoke of inauspicious starsFrom this world-wearied flesh. Eyes, look your last!Arms, take your last embrace! and, lips, O youThe doors of breath, seal with a righteous kissA dateless bargain to engrossing death!Come, bitter conduct, come, unsavoury guide!Thou desperate pilot, now at once run onThe dashing rocks thy sea-sick weary bark!Here's to my love!Drinks


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O true apothecary!Thy drugs are quick. Thus with a kiss I die.Dies (Music can now rise to crescendo as he dies and Juliet dreamily awakes,

JULIET (reviving during Romeo's death – the kiss waking her).What's here? a cup, closed in my true love's hand?Poison, I see, hath been his timeless end:O churl! drunk all, and left no friendly dropTo help me after? I will kiss thy lips;Haply some poison yet doth hang on them,To make die with a restorative.Kisses himThy lips are warm. (Perhaps his death agony or rattle is also a song?).FIRST WATCHMAN[Within] Lead, boy: which way?JULIET Yea, noise? then I'll be brief. O happy dagger!Snatching ROMEO's daggerThis is thy sheath;Stabs herselfthere rust, and let me die.Falls on ROMEO's body, and diesEnter, at the other end of the churchyard, FRIAR LAURENCE – music now ends – FRIAR LAURENCE (note the FRIAR might keep the, here cut, dialogue with JULIET– to be decided in rehearsal).Saint Francis be my speed! how oft to-nightHave my old feet stumbled at graves! Who's there?Fear comes upon me:O, much I fear some ill unlucky thing.Romeo! Advances Enters the tombRomeo! O, pale! Who else? Ah, what an unkind hourIs guilty of this lamentable chance!

VOICE:This is the place; there, where the torch doth burn. (Death emerges from shadows on tomb).FRIAR: I dare no longer stay. (Pulls curtains and covers dead - flees).FIRST WATCHMANPitiful sight! here lies Romeo slain,And Juliet bleeding, warm, and newly dead,Who here hath lain these two days buried.Go, tell the prince: run to the Capulets:Raise up the Montagues:.


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Enter the PRINCE and AttendantsPRINCE What misadventure is so early up,That calls our person from our morning's rest?Enter CAPULET, and others (Silence now – prosaic – still perhaps cold and wet but acontrast to the ecstatic resurrection to come).CAPULET The people in the street cry Romeo,Some Juliet, and all run,With open outcry toward our monument.PRINCE What fear is this which startles in our ears?FIRST WATCHMANSovereign, here lies Romeo dead; and Juliet, dead before,Warm and new kill'd.PRINCE Search, seek, and know how this foul murder comes.FIRST WATCHMANHere is a friar, With instruments upon him, fit to openThese dead men's tombs.CAPULET O heavens! look how my daughter bleeds!O me! this sight of death is as a bell,That warns my old age to a sepulchre.Enter MONTAGUE and othersPRINCE Come, Montague; for thou art early up,To see thy son and heir more early down.MONTAGUE What further woe conspires against mine age?PRINCE Look, and thou shalt see.MONTAGUE O Romeo! what manners is in this?To go before thy father to a grave?PRINCE Seal up the mouth of outrage for a while,Till we can clear these ambiguities,Bring forth the parties of suspicion.FRIAR LAURENCE I am the greatest, able to do least,Yet most suspected of this direful murder;And here I stand, both to impeach and purgeMyself condemned and myself excused.


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PRINCE Then say at once what thou dost know in this.FRIAR LAURENCE Romeo, there dead, was husband to that Juliet;And she, there dead, that Romeo's faithful wife:I married them; All this I know; and to the marriageHer nurse is privy: and, if aught in thisMiscarried by my fault, let my old lifeBe sacrificed, some hour before his time,Unto the rigour of severest law. PRINCE

We still have known thee for a holy man.

Where be these enemies? Capulet! Montague!See, what a scourge is laid upon your hate,That heaven finds means to kill your joys with love.

CAPULET O brother Montague, give me thy hand:This is my daughter's jointure, for no moreCan I demand.MONTAGUE But I can give thee more:For I will raise her statue in pure gold;That while Verona by that name is known,There shall no figure at such rate be setAs that of true and faithful Juliet.CAPULET As rich shall Romeo's by his lady's lie;Poor sacrifices of our enmity!PRINCE A glooming peace this morning with it brings;The sun, for sorrow, will not show his head:Go hence, to have more talk of these sad things;Some shall be pardon'd, and some punished:For never was a story of more woeThan this of Juliet and her Romeo.

(Exeunt -M27 All sing as a Golden Romeo and Juliet rise on high above the tomb andfreeze as statues). This might be the lyrics of Heart’s Ease??

THE END


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TNT THEATrE

The company was founded in 1980 by Paul Stebbings and other actors trained in the Grotows-ki method in Britain and Poland. While valuing the imaginative and physical techniques of the Polish director they wanted to extend their work into comic and popular forms with great-er contemporary relevance. Their first production, HARLEQUIN, was a commedia dell’arte based on the life of the Russian artist Meyerhold and his struggles with Stalin. (The play was revived in 1989 and became the first play about Stalinism to be performed throughout Eastern Europe after the fall of the Berlin Wall). Other productions took popular forms and explored serious themes; such as finance and fairy tales in FUNNY MONEY, vaudeville and war in ENGLISH TEA PARTY and the detective thriller and violence in THE MURDER OF SHERLOCK HOLMES. Since its foundation all TNT productions have been written or edited by Paul Stebbings and Phil Smith. The company’s approach to the classics is to critically examine the themes of the original rather than slavishly present a hallowed text. Since 2000 the company has extended this approach to interpretations of Shakespeare with considerable international success.Music plays an important role in the company’s work, and most productions include a newly commissioned score. Notable music theatre productions include CABARET FAUST (inspired by Klaus Mann’s MEPHISTO) and the WIZARD OF JAZZ (prize winner at the Munich Bien-nale) both scored by composer John Kenny. TNT’s most ambitious production was the inte-grated drama, dance and music version of Melville’s MOBY DICK, with a score by John Kenny and Paul Flush. Other long term members of TNT are the choreographer Eric Tessier Lavigne and composer Thomas Johnson.TNT began its collaboration with The American Drama Group Europe and producer Grantly Marshall in 1993. Notable productions include BRAVE NEW WORLD, LORD OF THE FLIES, FAHRENHEIT 451, DEATH OF A SALESMAN, OLIVER TWIST and many of Shake-speare’s greatest plays including our recent award winning HAMLET, KING LEAR and THE TAMING OF THE SHREW. TNT has received regular funding from the British Council and the UK Arts Council and collaborated or co-produced with organisations such as Athens Con-cert Hall (Megaron), The St Petersburg State Comedy Theatre (Akimov), Tams Theatre Mu-nich and St Donats Arts Centre (Wales) and the current long term collaborations with Costa Rica’s Teatro Espressivo and ongoing work in Mandarin and English with the one of China’s leading theatres: the Shanghai Dramatic Arts Centre. Paul Stebbings new play THE GHOST OF ILLIAM DHONE was recently staged by TNT for Manx Heritage in Britain. TNT has toured from the London to Jerusalem, from Guatemala to Tokyo, from Atlanta to St Petersburg and Jakarta to Berlin in venues that range from opera houses to village halls and from Royal palaces to National theatres. We borrow our motto from the great Soviet theatre director Meyerhold: “Tragedy with a smile on its lips”.

repertoire 2013/14: ROMEO AND JULIET and HAMLET by William Shakespeare, FRANKENSTEIN – THE MONSTER & THE MYTH, A CHRISTMAS CAROL by Charles Dickens (in Spanish and English) , DON QUIJOTE (in Spanish), THE WAVE (an exploration of the roots of fascism), OLIVER TWIST (in Mandarin) DR JEKYLL & MR HYDE by Robert L Stevenson and a multi-cultural project ONE LANGUAGE MANY VOICES based on Britain’s colonial experience.

Further details: [email protected] TNT, Koduke, Taddyforde Court, Exeter EX4 4AR, Britain.

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GrANTLY MArSHALLActor, producer, founder of THE

AMERICAN DRAMA GROUP EUROPE, begins his 36th season.

This is his 269th production.

CHrISTIAN wErNErAfter a successful career as a

computer engineer he begins his second profession with ADGE. A true meeting of the minds.

GUNNAr FrED KUEHNCanadian actor, director, and produ-cer has been with the company for 32

years. He is currently producing in The Netherlands, Slovenia, Hungary,

Italy and Austria.

ANGELIKA MArTINhas been involved in cultural manage-ment since the 1980’s. After comple-

ting assignments with various city governments in Germany, she became freelance and has worked with ADGE

for the past 18 seasons.

STEFANI HIDAJAT, author and student, is now completing her Masters Degree at the University of Münster. She joined ADGE in the spring of 2013 and hopes to help organize tours in her native Indonesia.

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THE AMErICAN DrAMA GrOUP EUrOPE - HISTOrY

THE AMERICAN DRAMA GROUP EUROPE was formed by Ohio native Grantly Marshall in 1978 in the city of Munich. It was linked in the beginning to the University of Munich where the first performances were held. It expanded quickly to other theatres in Munich and also began to give guest performances in other German cities. The expansion was continued to include many countries in Europe and Asia.

The actors come from New York, London, and Paris (in 1985 French theatre performan-ces were added to our repertoire) where the productions are cast and directed. The plays performed include American, British, and French classic and modern dramas such as DEATH OF A SALESMAN, A STREETCAR NAMED DESIRE, OUR TOWN, WHO’S AFRAID OF VIR-GINIA WOOLF?, ARSENIC AND OLD LACE, HAROLD AND MAUDE, OF MICE AND MEN, EDUCATING RITA, KING LEAR, THE CANTERVILLE GHOST, AMADEUS, SLEUTH, A CHRISTMAS CAROL, ANIMAL FARM, THE PICTURE OF DORIAN GRAY, OLIVER TWIST, THE BEGGAR’S OPERA, THE IMPORTANCE OF BEING EARNEST, THE GLASS MENAGE-RIE, LE PETIT PRINCE, RHINOCEROS, HUIS CLOS, LE BOURGEOIS GENTILHOMME, ANTIGONE, FABLES, EXERCICES DE STYLE, CAT ON A HOT TIN ROOF, DAVID COP-PERFIELD, THE GREAT GATSBY, MOBY DICK, PYGMALION, THE GRAPES OF WRATH, MAUPASSANT, DR JEKYLL AND MR HYDE, MACBETH, THE GHOSTS OF POE, DINNER FOR ONE, CANDIDE.

The goal of THE AMERICAN DRAMA GROUP EUROPE is to perform high quality theatre in as many countries in the world as possible. Our 2013-2014 schedule includes the following productions: THE GHOST OF ILLIAM DHONE, THE WAVE, DR JEKYLL AND MR HYDE, PETER PAN, A CHRISTMAS CAROL, MACBETH, LES BOURGEOIS GENTILHOMME, DIN-NER FOR ONE, ONE LANGUAGE MANY VOICES, DON QUIXOTE, ROMEO AND JULIET

In 1994 THE AMERICAN DRAMA GROUP EUROPE began touring European Castles. CASTLE TOUR 2013 THE TAMING OF THE SHREW - features many illustrious places and surprises. We are hoping to make it a pan-European tour. Wish us luck with the weather.

We hope that you will be able to attend and enjoy our performances and wish you all the best for the coming theatre season.

Grantly Marshall Munich, January 2014

PresentsTHEATrE SEASON 2013/2014

THE GHOST OF ILLIAM DHONE - Paul Stebbings / Phil Smith THE WAVE - Morton Rhue

DR JEKYLL AND MR HYDE - Robert Louis Stevenson

PETER PAN - JM Barrie

A CHRISTMAS CAROL - Charles Dickens (2 versions)

MACBETH - William Shakespeare

LES BOURGEOIS GENTILHOMME - Moliere (French language)

DINNER FOR ONE - Laurie Wylie

ONE LANGUAGE MANY VOICES - Conrad, Achebe, Maugham, Rushdie

DON QUIXOTE - Miguel de Cervantes (Spanish language)

CASTLE TOUr 2014

ROMEO AND JULIET - William Shakespeare

T H E A M E R I C A N D R A M A G R O U P E U R O P E

TNT THEATrE KodukeTaddyforde Court Exeter EX4 4AR E mail: [email protected]

ArT PrOMOTION Feldstr. 21 D-85445 Oberding Tel. 08122 / 4 26 66 Fax 08122 / 4 26 67 [email protected]

Grantly Marshall Karolinenplatz 3

D-80333 München Tel: (49) 89 / 34 38 03

Fax: (49) 89 / 189 09 68 28 [email protected] www.adg-europe.com

THEATrE EN ANGLAISTel et fax: 33(0)1 55 02 37 87http://theatre.anglais.free.fr

4 bis rue de Strasbourg, 92600Asnières-Sur-Seine, France

TOUr DE FOrCE THEATrE87A High Street

Tring, Herts HP 23 4 ABTel: 0044-1442-827934

[email protected] www.tdf.theatre.com

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