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
2
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
Guitar
Singer
CREATIVE STAFF
Scenic Design
Costume Design
Lighting Design
Sound Design
Dance
Stage Manager
Dramaturg
Voice and Speech
Casting
Assistant Stage Manager
Production Associate
Assistant Dramaturg
Assistant Voice
and Speech
Blake Newman
Eric Hofbauer
Marianne Solivan
Riccardo Hernandez
James Schuette
Scott Zielinski
David Remedios
Damien Jalet
Chris De Camillis *
Gideon Lester
Njal Mjos
Nancy Houfek
Judy Bowman Casting
Amy James 
Elizabeth Bouchard
Sean Bartley, Marshall Botvinick
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
 (*) 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
3
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.
4
DIRECTOR’S NOTES
Though rarely seen in France, Julius Caesar is in the United States one of the bestknown 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-andonly 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
5
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.
6
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.
7
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.
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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.
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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).
10
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.
11
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.
12
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.
13