Digital Programme: Mary Said What She Said
Find out more about the production and the creative team behind it in our digital programme.
Welcome
We are thrilled to share this remarkable reunion with you, as we welcome back to our main stage the iconic French actress Isabelle Huppert and visionary American director Robert Wilson.
Individually, they have each been a significant part of the Barbican Theatre’s history, including Wilson’s five-hour seminal opera Einstein on the Beach (2012) and Huppert embodying multiple incarnations of the complex mythological figure in Phaedra(s) (2016). They are joined once again by the commanding playwright Darryl Pinckney, who also wrote the text for Huppert and Wilson’s first great collaboration 30 years ago, Orlando.
In Mary Said What She Said, the evocative text, Ludovico Einaudi’s atmospheric classical score, and Wilson’s trademark theatrical spell cast over every element of the environment onstage, all accompany Huppert’s breathtaking solo performance. Together they explore triumphs, sacrifices and betrayals and the treacherous relationship with power, throughout the life of Mary Queen of Scots and her closest companions (four ladies in waiting, all called Mary).
Celebrating such masterful and daring international artists on our epic stage, and partnering again with Théâtre de la Ville-Paris to do so, is exactly what we hope makes our programme so special for our audiences.
Thank you for joining us for this production.
Toni Racklin, Barbican Head of Theatre & Dance
Following Rhinoceros by Ionesco in 2013 and Six Characters in Search of an Author by Pirandello in 2015, the Théâtre de la Ville-Paris is delighted to return to the Barbican, a magnificent European arts centre with which there has been continued dialogue and a bond of friendship throughout the years.
Returning here with Mary Said What She Said, in a year which marks the historic reopening of our theatre on the Place du Châtelet after seven years of work is, in our eyes, doubly symbolic and thrilling. Firstly because this show is one of four productions that the Théâtre de la Ville has imagined over the years with Robert Wilson, an artist as incredible as he is unique, and an essential collaborator in the history of our organisation. And secondly, because this production is performed by Isabelle Huppert, an acclaimed actress of our time on stage and screen, and also one of our faithful friends, who played the title role in Romeo Castellucci’s Bérénice, which we co-produced and presented this season with incredible impact.
Thus, the links which unite our two houses of art and culture, those which unite London and Paris, endure and develop through artists and their visions, in friendly exchanges and collaborations, for the enjoyment of audiences here and beyond.
On behalf of the entire Théâtre de la Ville-Paris team, I hope you all enjoy the production.
With friendship,
Emmanuel Demarcy-Mota, Director of Théâtre de la Ville
Après Rhinoceros de Ionesco en 2013 et Six personnages en quête d’auteur de Pirandello en 2015, le Théâtre de la Ville-Paris est heureux de revenir au Barbican, magnifique maison de théâtre européen et international avec lequel le dialogue et les liens d’amitié ont toujours perduré au long de ces années.
Revenir avec Mary Said What She Said, en cette année qui est celle de la réouverture historique de notre théâtre place du Châtelet, après 7 ans de travaux, est à nos yeux doublement emblématique et réjouissant. D’abord parce que ce spectacle fait partie des 4 productions que le Théâtre de la Ville a imaginé au fil des ans avec Robert Wilson, artiste aussi inouï qu’unique et compagnon de route incontournable de notre histoire. Ensuite parce qu’Isabelle Huppert, immense actrice de notre temps, à la scène comme à l’écran, est également de nos amies fidèles, à l’image du Bérénice de Romeo Castellucci qu’elle interprète et que nous avons coproduit et présenté cette saison avec un retentissement incroyable.
Ainsi, les liens qui unissent nos deux maisons d’art et de culture, ceux qui unissent Londres et Paris, perdurent et se développent, par le biais des artistes et de leurs visions, dans des échanges fraternels et partagés, pour le plus grand plaisir des spectateurs, ici comme ailleurs.
Au nom de toute l’équipe du Théâtre de la Ville-Paris, je vous souhaite un bon voyage à toutes et à tous. Avec amitié.
Emmanuel Demarcy-Mota, Directeur du Théâtre de la Ville-Paris
Details
Mary Said What She Said
Performer
Isabelle Huppert
Creative Team
Director / Set Designer / Lighting Designer Robert Wilson
Text Darryl Pinckney
Music Ludovico Einaudi
Costumes Jacques Reynaud
Associate Director Charles Chemin
Associate Set Designer Annick Lavallée-Benny
Associate Lighting Designer Xavier Baron
Associate Costume Designer Pascale Paume
Collaboration for Movement Fani Sarantari
Sound Designer Nick Sagar
Make-up Designer Sylvie Cailler
Hair Designer Jocelyne Milazzo
Translation from English Fabrice Scott
Assistant to the Associate Director Agathe Vidal
Assistant Costume Designer Alix Descieux Read
Collaboration for Music Gianluca Mancini
Video Designer Tomek Jeziorski
Mr. Wilson’s Personal Assistant Liam Krumstroh
Set and Props Maker Atelier Espace Et Compagnie
Costume Maker Atelier Caraco
Shoes made by Repetto
Technical Production Team on tour – Théâtre de la Ville-Paris
Technical Supervisors Cyril Claverie, Reinhard Bichsel
Stage Manager Fanny Valentin
Lighting Supervisor Charly Hove
Electricians / Followspots Véronique Marsy, Christophe Métereau
Heads of Stage Alban Chassaniol, Marion Pauvarel
Stage Hand Jean-Michel Marnet
Sound Engineer Benoît Goupillon, Baptiste Gauthier
Wardrobe Charline Radigois
Production Manager Simona Fremder
Production Deputy Kristine Grazioli
Production Assistant Romane Reibaut
Communications and Press Audrey Burette
Age guidance: 14+ (contains a sudden loud noise during the performance)
Performed in French with English surtitles.
Presented by the Barbican.
Images by Lucie Jansch.
The life of Mary Stuart, Queen of Scotland
1542 Mary Stuart, Queen of Scotland and of France, is born at Linlithgow Palace. She becomes Queen six days after her birth, following the death of her father, James V of Scotland.
1548 Mary Stuart, promised to the Dauphin of France, sets sail for France via Ireland, accompanied by four young companions, all named Mary.
1558 The wedding of Mary and Francis II is held. They are both fifteen years of age.
Mary I of England (Mary Tudor, ‘Bloody Mary’) dies and is succeeded by Elizabeth I even though, in the eyes of the Pope, she is considered illegitimate, being the daughter of Anne Boleyn, second wife of Henry VIII, who was divorced from Catherine of Aragon. As the senior legitimate descendant of Margaret Tudor and elder sister of Henry VIII, Mary Stuart is a rightful pretender to the English throne. Henry II of France thus proclaims Mary Stuart Queen of England, Ireland and Scotland.
1559 Henry II dies from injuries sustained in a joust. His son Francis, King consort to Mary Stuart, Queen of Scotland, becomes Francis II, King of France. Mary also becomes Queen of France.
1560 Death of Francis II, from ill health. He is succeeded by his brother Charles IX (who is associated with the controversy of the St. Bartholomew’s Day massacre 1572), then another brother Henry III in 1574, who is murdered in 1589.
1561 Mary returns to Scotland, where she faces a Protestant opposition instigated by John Knox.
1565 Mary marries Henry Stuart, Lord Darnley, her Catholic half-cousin.
Protestant opposition. Darnley conspires with rebel Protestant nobles.
1567 Henry Stuart dies in an explosion. Marie’s lover, Lord Bothwell, is suspected of being behind the attack, with Mary complicit. He forces her to marry him. Arrested by Scottish nobles, she is imprisoned in a castle on an island. She abdicates in favour of her son James, born in Edinburgh in 1566, who on Elizabeth’s death will become King of Scotland, England and Ireland and reign until 1625.
1568 Mary flees to England where she is imprisoned. She utters the phrase: ‘In my end is my beginning.’ Elizabeth has Mary confined for eighteen years under the guard of George Talbot.
1587 Coded letters exchanged with her partisans are intercepted. Her enemies make use of the letters, thus contributing to her death sentence. She is executed at Fotheringhay Castle on 8 February 1587. She wears a crimson gown.
She now lies at rest in Westminster Abbey, just a few steps away from the tomb of Elizabeth I.
This timeline appeared in the programme for the 2023 production of Mary Said What She Said
Mary Said What She Said
‘I am condemned to know who and what I am at all times.’
Mary Stuart in Mary Said What She Said
Mary Said What She Said is a three-part monologue of 86 paragraphs that makes clear its intent right from the outset: ‘Memory, open my heart.’ Mary, Queen of Scots and, for a while, Queen of France, reviews her life as ‘the one and only Mary in Scotland and the Isles’, a worthy pretender also to the English throne. This long study in remembrance takes place just as she has been sentenced to death by beheading by her cousin Elizabeth I, Queen of England, and stands accused of conspiring against her. But it is also a play in the course of which Mary composes a drama of her life, a life whose trajectory begins more or less with her birth and ends with a heart-rending letter of farewell written in French to her brother-in-law Henry III, King of France, on the eve of her death. The timeline unfolds as if the memory of it came to her through free associations. The journey shifts from one surprise to the next, marked by the twists and turns of an existence interspersed by all-too-short periods of happiness and unspeakable calamities. A singular wealth of details, simple and charming, mingles with an inevitable destiny. Is she searching for her true self? Who can say? After all, what she does know and keeps reminding us is that she is queen and, as such, sacred, and that she proclaims her innocence.
It is worth mentioning a few facts likely to shed light on some of Darryl Pinckney’s references in the piece. The first part retraces Mary’s adolescence in France during the reign of Henry II of France. The second, her return to Scotland, the conflicts that assailed her and her imprisonment – for eighteen years – until her death sentence. The third focuses more on the clashes – particularly those of a religious nature – that she was forced to confront, Catholics versus Protestants. And in effect she illustrates what she said at the time: ‘In my end is my beginning.’
Gradually, we observe her meeting with, and marriage to, Francis II, son of Henry II and Catherine de’ Medici. Mary was fifteen years of age at the time, as was he. Thus she became Queen of France, but only for a year. Then, her forced return to Scotland, her marriage to her half-cousin Henry Stuart, the latter’s murder, her marriage to Bothwell (following her affair with him, most probably during the reign of Henry Stuart) and the accusation of conspiring with Bothwell in her husband’s death, whom she likewise accuses in the play of plotting to bring about her own death.
Darryl Pinckney came across the fascinating figure of Mary, Queen of Scots, in the historical biography by Stefan Zweig. He also became aware of Mary’s letters, rediscovered in the 19th century and subsequently published, albeit few in number. But they did include the final letter to Henry III of France, written on the eve of her execution, which Darryl Pinckney then adapted somewhat as he wrote his play with Robert Wilson in mind. Within the skilful counterpoint with which the author intertwines the themes of his play is the striking fact that Mary recalls learning to dance at the French court thanks to Diane de Poitiers, mistress of Henry II. It is a theme that clearly resonates with the slow waltz for a queen deceased. The Queen’s destiny is characterised by her righteousness, even if the text fluctuates between a number of themes, serious or innocuous, mundane or fatal.
He may be troubled by the question of Mary’s innocence or guilt, for she stood accused, as the accomplice of her lover Bothwell, of instigating the murder of her second husband, Henry Stuart. But he does not believe she conspired against Elizabeth I, whose turbulent and tumultuous reign caused her to believe she was surrounded by enemies. In fact, despite what Schiller imagined in his play Mary Stuart, Mary Queen of Scots never met Elizabeth. Her spell – or rather spells – in prison over a period of eighteen years of captivity were never anything other than trial and tribulation. She rarely ventured out of the castles in which she led her reclusive life, preferring instead to lock herself up. In the play she does not bemoan her fate and, indeed, complains little, so as not to aggrieve, let alone sadden, the spectator. Rather, she demonstrates her pride at being Queen of both France and Scotland, as she had been, and worthy of the throne of England, had fates and fortunes been otherwise.
Her lot was indeed an unfortunate one, hence the kind affection with which she is held in posterity. But as a figure, she is not ‘romantic’ (and Robert Wilson would not have wanted her to be). She was not particularly interested in the principles of politics, nor in the substance of those religious quarrels, even if, as a Catholic, she had to face several Protestant enemies. She is essentially a Renaissance figure, with all the culture that entails.
Recorded and written by François Regnault for the Théâtre de la Ville-Paris, 2023.
The Company
ISABELLE HUPPERT
Mary Stuart
Isabelle Huppert trained at La Rue Blanche-ENSATT and the CNSADP Conservatoire of Dramatic Art.
For the cinema, Isabelle Huppert has been directed by Claude Goretta (in The Lacemaker, winning a BAFTA for Most Promising Newcomer to Leading Film Roles), Claude Chabrol (in Violette Nozière, winning her the Best Actress Award at the Cannes Film Festival; Story of Women, winning Best Actress at the Venice Film Festival; and La Cérémonie, winning Best Actress at the Venice Film Festival and the Césars), Jean-Luc Godard, André Téchiné, Maurice Pialat, Patrice Chéreau (in Gabrielle, honoured with the Jury’s Special Golden Lion at the Venice Film Festival), Michael Haneke (in La Pianiste, Best Actress Award at the Cannes Film Festival), Benoît Jacquot, Jacques Doillon, Claire Denis, Christian Vincent, Laurence Ferreira Barbosa, Olivier Assayas, Patricia Mazuy, Diane Kurys, Caroline Huppert, François Ozon, Anne Fontaine, Joachim Lafosse, Eva Ionesco, Serge Bozon, Catherine Breillat, Mia Hansen-Løve, Pascal Bonitzer, Guillaume Nicloux, and Samuel Benchetrit. She has worked with prominent international directors including Michael Cimino, Joseph Losey, Otto Preminger, the Taviani brothers, Marco Ferreri, Hart Hartley, David O’Russell, Andrzej Wajda, Werner Schröter, Rithy Panh, Brillante Mendoza, Joachim Trier, Hong Sang Soo and Paul Verhoeven (in Elle, with a number of distinctions in the United States including the Gotham Award, the Golden Globe and the Spirit Award, as well as a Best Actress Academy Award nomination, and a Best Actress nomination at the Césars).
Isabelle Huppert was head of the jury of the 62nd Cannes Film Festival and of the Tokyo International Film Festival. In recognition of her career, the Berlin International Film Festival awarded her the Silver Bear for Outstanding Artistic Contribution.
In her stage career, in France and internationally, Isabelle Huppert has been directed by leading figures such as Robert Wilson (in Orlando and Virginia Woolf adapted by Darryl Pinckney), Heiner Müller (in Quartett by Heiner Müller), Peter Zadek (in Shakespeare’s Measure for Measure), Claude Régy (in Jeanne au bûcher by Paul Claudel and 4.48 Psychosis by Sarah Kane: for these last two performances, she was required to remain almost entirely motionless from beginning to end). Other directors include Bernard Murat (in A Month in the Country by Turgenev), Jacques Lassalle (in Medea and Euripides for the Festival d’Avignon), Éric Lacascade (in Ibsen’s Hedda Gabler), Yasmina Reza (in Le Dieu du carnage), Krzysztof Warlikowski (in A Streetcar, based on the play by Tennessee Williams and Phèdre(s) by Wajdi Mouawad, Sarah Kane and J. M. Coetzee), Benedict Andrews (on stage with Cate Blanchett in The Maids by Jean Genet for Sydney Theatre Company and in New York), and Luc Bondy (in Les Fausses confidences by Pierre de Marivaux). More recently she appeared in the New York production of Florian Zeller’s The Mother; La Ménagerie de verre by Tennessee Williams directed by Ivo van Hove; and Chekhov’s Cherry Orchard, directed by Tiago Rodrigues and premiered in the Cour d’honneur at the Festival d’Avignon. She has the French Molière lifetime achievement award, and won the 16th Europe Theater Prize in Rome.
ROBERT WILSON
Director, Designer and Lighting Designer
‘[Robert Wilson is] a towering figure in the world of experimental theater and an explorer in the uses of time and space on stage.’ The New York Times
Born in Waco, Texas, Wilson is among the world’s foremost theatre and visual artists. His works for the stage unconventionally integrate a wide variety of artistic media, including dance, movement, lighting, sculpture, music and text. His images are aesthetically striking and emotionally charged, and his productions have earned the acclaim of audiences and critics worldwide.
After being educated at the University of Texas and Brooklyn’s Pratt Institute, Wilson founded the New York-based performance collective The Byrd Hoffman School of Byrds in the mid-1960s, and developed his first signature works, including Deafman Glance (1970) and A Letter for Queen Victoria (1974-75). With Philip Glass he wrote the seminal opera Einstein on the Beach (1976). Wilson’s artistic collaborators include many writers and musicians such as Heiner Müller, Tom Waits, Susan Sontag, Laurie Anderson, William Burroughs, Lou Reed, Jessye Norman and Anna Calvi. He has also left his imprint on masterworks such as Beckett’s Krapp’s Last Tape, Brecht/Weill’s The Threepenny Opera, Debussy’s Pelléas et Melisande, Goethe’s Faust, Homer’s Odyssey, Jean de la Fontaine’s Fables, Puccini’s Madama Butterfly, Verdi’s La Traviata and several of Shakespeare’s.
Wilson’s drawings, paintings and sculptures have been presented around the world in hundreds of solo and group showings, and his works are held in private collections and museums throughout the world.
Wilson has been honoured with numerous awards for excellence, including a Pulitzer Prize nomination, two Premio Ubu awards, the Golden Lion of the Venice Biennale, and an Olivier Award. He was elected to the American Academy of Arts and Letters, as well as the German Academy of the Arts, and holds 8 Honorary Doctorate degrees. France pronounced him Commander of the Order of Arts and Letters (2003) and Officer of the Legion of Honor (2014); Germany awarded him the Officer’s Cross of the Order of Merit (2014).
Wilson is the founder and Artistic Director of The Watermill Center, a laboratory for the Arts in Water Mill, New York.
DARRYL PINCKNEY
Text
Darryl Pinckney is the author of two novels, High Cotton (1992), Black Deutschland (2016), three collections of essays, Out There: Mavericks of Black Literature (2002), Blackballed: The Black Vote and U.S. Democracy (2012), Busted in New York and Other Essays (2019), and a memoir, Come Back in September: A Literary Education on West 67th Street, Manhattan (2022). He has written and adapted texts for Robert Wilson’s productions of The Forest, Orlando, Time Rocker, The Old Woman, Letter to A Man, Garrincha: A Musical of the Street, and Dorian, as well as Mary Said What She Said.
LUDOVICO EINAUDI
Composer
Ludovico Einaudi first studied at the Music Conservatory in Turin, and then at the Milan Conservatory with Azio Corghi, gaining a diploma in composition. Further training saw him working as assistant to Luciano Berio, and then to Karlheinz Stockhausen. In the following years, he composed music for ballet, cinema and theatre, while also writing works for orchestra and ensembles. His first solo album, Le Onde (1996), based on the novel The Waves by Virginia Woolf attracted great interest in the world of the piano. He developed further with the next album Eden Roc (1999), featuring a string quintet with duduk player Djivan Gasparyan, then I giorni (2001), a ballad cycle for piano inspired by a trip through Mali.
His soundtracks, which have drawn recognition and prestige, include: Fuori dal mondo (2000), Luce dei miei occhi (2001), Le Prix du désir (2004), This is England (film, 2004 and series, 2010), The Intouchables (2011), Samba (2014), La Promesse d’une vie (2015) and The Third Murder (2017).
The studio album Una mattina (2004) is more introspective and meditative, and was followed by Divenire with the Royal Liverpool Philharmonic, a wide-ranging, ambitious album. These two recordings became the first best-sellers in the classical record category to be also listed for the best popular music sales. Ludovico Einaudi was the only classical musician who performed at the first iTunes festival. He embarked on a long international tour while continuing to compose. In 2013 he released In a Time Lapse, a contemplation of time that was recorded in a monastery and designed as a suite or rather as chapters in a novel for piano accompanied by strings, percussion and electronics. The world tour included memorable concerts including at the Sydney Opera House and the Verona Arena. The album Elements, released in 2015, became ‘a map of thoughts and feelings, of points, lines, shapes and fragments of an inner stream flowing across myth, Euclid, the periodic table of elements, and the writings of Kandinsky.’
On tour, performances of Elements at both pop and classical venues were sold out for the next three years. In 2016, Elegy for the Arctic, commissioned by Greenpeace, was performed on a platform floating in the Arctic Ocean.
In 2019, he undertook a long-term venture with Seven Days Walking, an imaginary journey over seven days and seven episodes producing seven albums, all released in 2019. In 2021, a large part of his music composed for film and television was compiled in a double album named Cinema. 2022 saw the release of Underwater, a solo piano album inspired by the calm, quiet suspension of time during the pandemic.
Théâtre de la Ville de Paris
The history of the Théâtre de la Ville de Paris is a fantastic epic. Built in 1862 by Davioud, renamed many times and notably run by the legendary Sarah Bernhardt from 1899 to 1923, it became the Théâtre de la Ville in 1968 under the direction of Jean Mercure. Since then, its vocation has been to be open to the cultures of the world and to the diversity of its artistic achievements in the three arts: theatre, dance and music. From 1985 onwards, under the direction of Gérard Violette, the theatre worked with artists who would go on to become the great names of the world choreographic scene, making it a beacon for contemporary dance. The historic 1000-seat theatre in the heart of Paris, on Place du Châtelet, was joined by the 400-seat Théâtre des Abbesses in the 18th arrondissement in 1996. The Théâtre de la Ville is now dedicated to creating and staging modern and contemporary works, developing young artists, supporting the production of benchmark artists and works, pursuing the spirit of creation for all audiences and promoting a wide range of French and international works. Maguy Marin, Robert Wilson, Jérôme Bel, Romeo Castellucci, Israel Galván, Hofesh Shechter, Ivo van Hove, Anne Teresa De Keersmaeker, Boris Charmatz, Tanztheater Wuppertal-Pina Bausch and so many others have a theatre that welcomes them, that offers them hospitality.
Director Emmanuel Demarcy-Mota has been at the helm since 2008, adding two troupes and a repertoire. He has opened up the programme to foreign-language theatre and envisioned original events including: the Danse élargie international competition, the Parcours Enfance and Jeunesse and Chantiers d'Europe, and initiated a number of bridge-building projects: the 18-XXI project and the drafting of the 18-XXI Charter, which takes as its starting point the coming of age of the first children of the century; the Arts and Sciences project, which brings together artists and scientists to reflect on and take joint action on the major issues of our time; and the Consultations poétiques, led by the troupe de l'Imaginaire, which brings together more than 300 artists from around the world.
Conceiving the idea of a great popular theatre of today and tomorrow through its founding multi-artistic ethos - live performance in all its forms - and its international ethos, and by creating alliances with the major areas of our society, makes the Théâtre de la Ville a place of art, reflection and commitment. a place we love. It is also an idea, a way of thinking: the idea of art that breathes, the idea of encounters that inspire. Theatre is also the moment when we recognise others, because it is their home, a place of welcome. It's a place for the future; a bridge between the 19th, 20th and 21st centuries.
The Watermill Center
Founded in 1992 by avant-garde visionary Robert Wilson, The Watermill Center is an interdisciplinary laboratory for the arts and humanities situated on ten acres of Shinnecock ancestral territory on Long Island’s East End. With an emphasis on creativity and collaboration, The Center offers year-round artist residencies and education programs, providing a global community with the time, space, and freedom to create and inspire.
The Watermill Center’s rural campus combines multifunctional studios with ten acres of manicured grounds and gardens, housing a carefully curated art collection, expansive research library, and archives illustrating the life and work of Artistic Director, Robert Wilson. The Center’s facilities enable Artists-in-Residence to integrate resources from the humanities and research from the sciences into contemporary artistic practice.
Through year-round public programs annually serving over 1,000 community members, The Watermill Center demystifies the artistic process by facilitating unique insight into the creative process of a rotating roster of national and international artists.
The Byrd Hoffman Watermill Foundation wishes to thank:
Arison Arts Foundation, Maria Bacardi, Thierry Barbier-Mueller, Jeff Beauchamp, Kelly Behun & Jay Sugarman, Karin & Jörg Bittel, Carrie & Julien Bizot, Karolina Blåberg, Inna Blavatnik, Virginie & Nicolas Bos, Countess Cristiana Brandolini & Antoine Lafont, Brown Foundation, Teresa Bulgheroni, Paula Cooper & Jack Macrae, Cowles Charitable Trust, Cox Foundations, Marina & Guy De Brantes, Rose Anne De Pampelonne, Dr. Lee MacCormick Edwards Charitable Foundation, Lisa & Sandy Ehrenkranz, Beatrice & Pepe Esteve, Fondazione Carla Fendi, Wendy & Roger Ferris, Drew Fine, Anke & Jurgen Friedrich, The Jaf Foundation, Lady Gaga, Berta & Frank Gehry, Marian Goodman, Peter & Jamee Gregory, Audrey & Martin D. Gruss, Susan Gullia, David Hockney, Wolfgang Hoenniger, Barbara Hoffman, Rose Hofmann, Jenny Holzer, Stephanie Joyce, Marie-Rose Kahane & David Landau, Joyce & Philip Kan, Rei Kawakubo, Jan Kengelbach, Wendy Keys, Lummi & Martin Kieren, The Calvin Klein Family Foundation, Eileen O’Kane Kornreich, Dorothy Lichtenstein, Earle I. Mack Foundation, Henry Mcneil, Mediathe Foundation, Mme. Léone-Noëlle Meyer, Raphael Meyer, Tanya Minhas-Nahem & Edward Tyler Nahem, Alexandra Munroe & Robert Rosenkranz, Philip And Tammy Murphy, National Endowment for the Arts, New York State Council on the Arts, New York Council for the Humanities, Christl & Michael Otto, Dorit & Alexander Otto, Inga Maren Otto, Katharina Otto-Bernstein & Nathan Bernstein, Donald A. Pels Charitable Trust, Lisa & Richard Perry, Dominique Piermay, Judith Pisar, Miuccia Prada, Eleanor Propp, Katharine Rayner, Laurence Rickels, Jerome Robbins Foundation, John Rockwell, Rolex, Hilary Geary & Wilbur Ross, May & Samuel Rudin Family Foundation, Margery Arent Safir, Andrea Krantz & Harvey Sawikin, Elizabeth Segerstrom, Roberta Sherman, Juliet Lea Hillman Simonds Foundation, Barbara Slifka, Joseph & Sylvia Slifka Foundation, Annaliese Soros, Suffolk County Office of Cultural Affairs, Coniie Tilton, Van Cleef & Arpels, Annemarie & Gianfranco Verna, Baroness Nina Von Maltzahn, Christine Wächter-Campbell & William I. Campbell, Helen Lee & David Warren, Franz Wassmer, The Robert W. Wilson Charitable Trust, Bettina & Raoul Witteveen, LLWW Foundation, RW Work Ltd., Jacob Yahiayan, Neda Young, National Youngarts Foundation, Nina & Michael Zilkha, Antje & Klaus Zumwinkel and many other esteemed donors.
The Byrd Hoffman Water Mill Foundation owns and operates The Watermill Center (founder and Artistic Director, Robert Wilson), and is supported by the donors listed above.
From the Barbican
Barbican Centre Board
Chair
Tom Sleigh
Deputy Chair
Sir William Russell
Deputy Chair
Tobi Ruth Adebekun
Board Members
Randall Anderson, Munsur Ali, Michael Asante MBE, Stephen Bediako OBE, Farmida Bi CBE, Tijs Broeke, Zulum Elumogo, Wendy Mead OBE, Mark Page, Alpa Raja, Jens Riegelsberger, Jane Roscoe, Despina Tsatsas, Irem Yerdelen
Clerk to the Board
John Cater and Kate Doidge
Barbican Centre Trust
Chair
Farmida Bi CBE
Vice Chair
Robert Glick OBE
Trustees
Tom Bloxham MBE, Stephanie Camu, Tony Chambers, Cas Donald, David Kapur, Ann Kenrick, Kendall Langford, Sir William Russell, Tom Sleigh, Claire Spencer AM, Sian Westerman
Directors
Chief Executive Officer
Claire Spencer
Director of Development
Natasha Harris
Director of People, Inclusion and Culture
Ali Mirza
Head of Finance & Business Administration
Sarah Wall
Acting Director for Buildings and Renewal
Cornell Farrell
Director of Commercial
Jackie Boughton
Director for Audiences
Beau Vigushin
Executive Assistant to Claire Spencer
Hannah Hoban
Theatre Department
Head of Theatre and Dance
Toni Racklin
Senior Production Manager
Simon Bourne
Producers
Liz Eddy, Jill Shelley, Fiona Stewart
Assistant Producers
Mali Siloko, Bridget Thornborrow
Production Managers
Jamie Maisey, Lee Tasker
Technical Managers
Steve Daly, Jane Dickerson, Nik Kennedy, Martin Morgan, Stevie Porter
Stage Managers
Lucinda Hamlin, Charlotte Oliver
Technical Supervisors
James Breedon, Charlie Mann, Jamie Massey, Matt Nelson, Adam Parrott, Lawrence Sills, Chris Wilby
Technicians
Kendell Foster, David Kennard, Burcham Johnson, Bart Kuta, Christian Lyons, Josh Massey, Kieran Poynter, Fred Riding, Fede Spada, Matt Turnbull
PA to Head of Theatre
David Green
Production Administrator
Caroline Hall
Production Assistant
Ashley Panton
Stage Door
Julian Fox, Albi Gravener
Creative Collaboration
Head of Creative Collaboration
Karena Johnson
Senior Manager
Sarah Mangan
Producer
Josie Dick
Assistant Producer
Carmen Okome
Marketing Department
Head of Marketing
Jackie Ellis
Deputy Head of Marketing
Ben Jefferies
Senior Marketing Manager
Kyle Bradshaw
Marketing Assistants
Olivia Brissett and Rebecca Moore
Communications Department
Head of Communications
James Tringham
Senior Communications Manager
Ariane Oiticica
Communications Manager
HBL
Communications Assistant
Sumayyah Sheikh
Audience Experience
Deputy Head of Audience Experience & Operations
Sheree Miller
Ticket Sales Managers
Lucy Allen, Oliver Robinson, Ben Skinner, Jane Thomas
Operations Managers
Ben Raynor, Elizabeth Davies-Sadd, Samantha Teatheredge, Hayley Zwolinsk
Operations Manager (Health & Safety)
Mo Reideman
Audience Event & Planning Manager
Freda Pouflis
Venue Managers
Scott Davies, Tabitha Goble, Nicola Lake, Maria Pateli
Assistant Venue Managers
Jess Caute, Sam Hind, Bronagh Leneghan, Melissa Olcese, Daniel Young
Crew Management
Dave Magwood, Rob Magwood, James Towell
Access and Licensing Manager
Rebecca Oliver
Security Operations Manager
Naqash Sheikh
Audience Experience Coordinator
Ayelen Fananas
With thanks
The staff of Théâtre de la Ville-Paris.
