We call Public Forum the “theater of ideas” – an impulse that puts the theater world into conversation with other artists, intellectuals, and public figures. The Public Forum Drama Clubs this season feature some surprising mash-ups between theater artists and the most fascinating thinkers of our time.
Sa lm an Ru sh die Eli za be t h Str eb
This month, we’re taking our show on the road with the Mobile Shakespeare Unit, presenting Pericles for free to prisons, homeless shelters, and community centers around New York’s five boroughs as a part of The Public’s long-standing commitment to making theater accessible to all. As you will read in this issue’s main feature, the Mobile Unit is all about the journey – and so is the play! Many thanks to the incredible Young Jean Lee, playwright and director of this season’s Straight White Men, and to writer/ director Mariano Pensotti and our Under the Radar staff for contributing to our feature on their work together – past, present and future. A special thanks to you for your ongoing support, and we’ll see you downtown!
FALL
Welcome to our Fall edition of PublicLook!
We are so thrilled that our 2013 production of FUN HOME, developed in Public Lab then brought to our Newman Theater for a multiple-extension run, is heading to Broadway! The show will begin previews on April 4, 2015 at Circle in the Square Theater.
HOME
B
AY W D R OA
FUN
! Workers United, dance troupes, a stilt band, park rangers, and a special appearance by Sesame Street! The show was a wild success, and reminded us that theater is a place of possibility, where the boundaries that separate us from each other in the rest of life can fall away.
ND U O B Last month, Public Works once again brought joy to The Delacorte with an incredible, 200-person musical adaption of THE WINTER’S TALE. The cast was as rich and diverse as our city: professional actors, our community partners from Children’s Aid Society, DreamYard Project, Fortune Society, Brownsville Recreation Center, and Domestic
WINTER’S THE
M a rga ret M i tch ell
PAST
UTR SPOTLIGHT ON: MARIANO PENSOTTI
work that challenges the audience’s perception of what theater can do. Based in Buenos Aires, Mariano Pensotti has become a noted experimental director worldwide. He has been heralded as one of Latin America’s brightest theater talents, touring around the world with his company extensively throughout the year. The presence of his work at UTR, both past and future, is a testament to his ongoing growth as an artist and the boundaries he continues to push.
“this is the moment when one stops being who one thinks one is, and becomes the person they are.”
ith , w fra pe co eet ma in s sw a Of atic itter m d inem a b r fro n i e nd c Epic a tinians ogeth n t Arge
N ES U T ADO PAS PAS THE ) EL CO ( L) 2012 OTES NIMA (UTR AL GR SQUE A ANIMGROTE IS A
What makes a
artist
After kicking off our 10th edition in 2014, Under the Radar Co-Directors Meiyin Wang and Mark Russell have been keeping busy curating another festival of explosive, diverse performances (coming January 7-18, 2015). In the meantime, we’re delighted to shine a spotlight on a UTR artist we’re particularly excited about: MARIANO PENSOTTI. Pensotti is the perfect example of an Under the Radar artist — one who creates compelling, visually stunning
“Do our fictions reflect the world, or is the world a distorted projection of our fictions?”
ires. os A uen in B s’ ear cter a y chara er, of e-ov e rse n th —voic e ou e ues e c tw th t be chniq t. ar te hif tic and ma ork, w
S STA NEA ) CI 015 R2 (UT
UTR is made possible with the generous support of The Howard Gilman Foundation, the Ford Foundation, and the Robert Sterling Clark Foundation.
When Obie-award winning playwright Young Jean Lee, hailed as the “the most adventurous downtown playwright of her generation,” begins work on a new project, she asks herself,
WHAT’S THE
LAST
SHOW
New York Premiere Written & directed by Young Jean Lee Featuring Austin Pendleton, Pete Simpson, James Stanley, & Gary Wilmes November 7 – December 7, 2014
STRAIGHT WHITE MEN
What’s next for Lee? Perhaps filmmaking. With a screenplay commission for Plan B/Paramount Pictures, as well as a short film, Here Come the Girls (Locarno International Film Festival, Sundance Film Festival, and BAMcinemaFest), under her belt, Lee is already actively exploring the difference between stage and screen. “One thing that bothers me a lot about theater is that shows change from night to night. I know for most people that is the magic of theater, but I hate it. I want to make something the way I want it, and then for it to stay that way. Film allows me to do that.” If her ambitious theatermaking is any indication, we absolutely can’t wait to see her take the film world by storm.
been something of a torment to me, but every show is kind of like that since I’m always trying new things.” Moreover, as the most straightforward piece she’s ever written, she is as excited as we are to see how the play is received by her typically edgy audience.
Then she makes it.
I WOULD EVER WANT TO MAKE?
IN THE WORLD
“Going out of my comfort zone compels me to challenge my assumptions and find value in unexpected places.” Lee’s body of work, from a variety show tackling black stereotypes to a feminist movement piece exploring gender fluidity (the cast performs entirely nude), is just that: unexpected (and provocative, and compelling, and good). Coming from a background in academia with a focus on Shakespeare, both as an undergrad and in the English PhD program at UC Berkeley, Lee dove headfirst into playwriting and moved to NYC in 2002. Her process is unique: using the idea of discomfort as a catalyst, she writes shows as she’s directing them, works collaboratively with her performers and artistic team, and uses feedback from workshop audiences. The goal is to push past an audience’s defenses against uncomfortable subjects and ask them to confront difficult questions. Her rise in the experimental theater scene has been swift and celebrated, and The Public was lucky enough to host her wonderful, bizarre cabaret piece We’re Gonna Die at Joe’s Pub in 2011.
Next month, Lee’s newest play Straight White Men will have its New York premiere at The Public. The heart of the play confronts the intersection of identity, self-worth, and privilege in the context of being, well, straight white men. Challenging and unexpected? Yes. Necessary? Definitely. In deep contrast to her previous work, the show is traditionally structured, and is framed as a classic American fatherson drama. During the show’s last stretch of rehearsals in August, Lee struggled with a crucial scene for an entire week before she finally broke through and pointed herself in the right direction. “Learning how to write a naturalistic three-act drama has
Pictured: (left) A scene from EL PASADO ES UN ANIMAL GROTESCO, photo by Almudena Crespo; A scene from CINEASTAS, photo by Carlos Furman; (right) Young Jean Lee, photo by Blaine Davis.
014
FALL 2
a gm slow e ly n ge d p tary revol M c h hr ving o on tre togra onicl stage E e al l oung ev phs le of a de Pasado… tr olv acks the lives of four y y pieced cade f t beh es ( 1 stor 9 99-2009 ind into ). What began as a in a p roup a fa hoto la rock g st-p e i d b n i a y n b d aced the anthem record nary. of the past, both true and imagi
RE FUTU
lmic drama” threads to sotti’s “fi gethe o Pen r the n a i r rtrait of a city and its inh lives Ma abita icate po r t n i of f n is ts, a h n o a t n s elaborate film r i e In h t han our fi d s n p a l i t s dfu l scr live takes—Pensotti cr l o mma afts a een se real s-fades, long n ep t. B f acto kers cros ic ta y r le o adap s flu ove r f lo i t ve, ing c dly s mo ine ne y,
Cy nth i a Nix on
New York Shakespeare Festival 425 Lafayette Street New York, NY 10003 212.539.8500 | publictheater.org
Wa llac e Sh aw n
SHATHE M UNKI ESPEOBILE T SE AR TS S E AIL
TALE
PAID
NEW YORK, N.Y. PERMIT NO. 2377
De ni s O ’Ha re
in 2) oes rher OW-Nov e p u N ( s hese itude out t s of Sol k c e s Ch Fortre The
FIRST CLASS PRESORT U.S. POSTAGE The LuEsther T. Mertz Charitable Trust provides leadership support for The Public Theater’s year-round activities.
Pictured: (cover) The cast of PERICLES, photo by Tammy Shell. (this spread) Adam Chanler-Berat and Kyle Beltran, photo by Tammy Shell; the cast of THE WINTER’S TALE, photo by Joan Marcus; Noah Hinsdale, Griffin Birney and Sydney Lucas in FUN HOME, photo by Joan Marcus
Mi tch ell
De nis O’H are
Ma rga ret
N ES U T ADO PAS PAS THE ) EL CO ( L) 2012 OTES NIMA (UTR AL GR SQUE A ANIMGROTE IS A
PAST
Wa llac e Sh aw n
Sa lm an Ru sh die Str eb
Cy nth ia N ixo n
Eli za be th
014
When Obie-award winning playwright Young Jean Lee, hailed as the “the most adventurous downtown playwright of her generation,” begins work on a new project, she asks herself,
LAST WHAT’S THE
SHOW I WOULD EVER WANT TO MAKE?
Then she makes it.
“this is the moment when one stops being who one thinks one is, and becomes the person they are.”
SPOTLIGHT ON: MARIANO PENSOTTI
Pensotti is the perfect example of an Under the Radar artist — one who creates compelling, visually stunning
work that challenges the audience’s perception of what theater can do. Based in Buenos Aires, Mariano Pensotti has become a noted experimental director worldwide. He has been heralded as one of Latin America’s brightest theater talents, touring around the world with his company extensively throughout the year. The presence of his work at UTR, both past and future, is a testament to his ongoing growth as an artist and the boundaries he continues to push.
“Do our fictions reflect the world, or is the world a distorted projection of our fictions?”
ires. os A uen in B s’ ear cter a y chara er, of e-ov e rse n th —voic e ou e ues e c tw th t be chniq t. ar te hif tic and ma ork, w
New York Shakespeare Festival 425 Lafayette Street New York, NY 10003 212.539.8500 | publictheater.org
RE FUTU
SHATHE M UNKI ESPEOBILE T S AR E T S SAILE
IN THE WORLD
ith , w fra pe co eet ma in s sw a Of atic itter m d inem a b r fro n i e nd c Epic a tinians ogeth n t Arge
UTR
What makes a
artist
After kicking off our 10th edition in 2014, Under the Radar Co-Directors Meiyin Wang and Mark Russell have been keeping busy curating another festival of explosive, diverse performances (coming January 7-18, 2015). In the meantime, we’re delighted to shine a spotlight on a UTR artist we’re particularly excited about: MARIANO PENSOTTI.
FALL 2
PAID
NEW YORK, N.Y. PERMIT NO. 2377
FIRST CLASS PRESORT U.S. POSTAGE
TALE
THE
tti’s “filmic drama” threads toget Penso her t he l iano ortrait of a city and it s i i v n Mar h e a ricate p bitan s of f is int ts, a our ir films on an elaborate s In th ha p and the f n l i i t d l s m f c lives u r takes—Pensotti c e l e of a mak n r a real s-fades, long f t s s e an e er ct pic t. By cros ad ors f s ov tal e o f lo aptin luid er ve g c ly s , m on ine ey ,
S STA NEA ) CI 015 R2 (UT
“Going out of my comfort zone compels me to challenge my assumptions and find value in unexpected places.” Lee’s body of work, from a variety show tackling black stereotypes to a feminist movement piece exploring gender fluidity (the cast performs entirely nude), is just that: unexpected (and provocative, and compelling, and good). Coming from a background in academia with a focus on Shakespeare, both as an undergrad and in the English PhD program at UC Berkeley, Lee dove headfirst into playwriting and moved to NYC in 2002. Her process is unique: using the idea of discomfort as a catalyst, she writes shows as she’s directing them, works collaboratively with her performers and artistic team, and uses feedback from workshop audiences. The goal is to push past an audience’s defenses against uncomfortable subjects and ask them to confront difficult questions. Her rise in the experimental theater scene has been swift and celebrated, and The Public was lucky enough to host her wonderful, bizarre cabaret piece We’re Gonna Die at Joe’s Pub in 2011. Next month, Lee’s newest play Straight White Men will have its New York premiere at The Public. The heart of the play confronts the intersection of identity, self-worth, and privilege in the context of being, well, straight white men. Challenging and unexpected? Yes. Necessary? Definitely. In deep contrast to her previous work, the show is traditionally structured, and is framed as a classic American fatherson drama. During the show’s last stretch of rehearsals in August, Lee struggled with a crucial scene for an entire week before she finally broke through and pointed herself in the right direction. “Learning how to write a naturalistic three-act drama has
Pictured: (left) A scene from EL PASADO ES UN ANIMAL GROTESCO, photo by Almudena Crespo; A scene from CINEASTAS, photo by Carlos Furman; (right) Young Jean Lee, photo by Blaine Davis.
We are so thrilled that our 2013 production of FUN HOME, developed in Public Lab then brought to our Newman Theater for a multiple-extension run, is heading to Broadway! The show will begin previews on April 4, 2015 at Circle in the Square Theater.
HOME B
AY W D R OA
FUN
!
Workers United, dance troupes, a stilt band, park rangers, and a special appearance by Sesame Street! The show was a wild success, and reminded us that theater is a place of possibility, where the boundaries that separate us from each other in the rest of life can fall away.
Pictured: (cover) The cast of PERICLES, photo by Tammy Shell. (this spread) Adam Chanler-Berat and Kyle Beltran, photo by Tammy Shell; the cast of THE WINTER’S TALE, photo by Joan Marcus; Noah Hinsdale, Griffin Birney and Sydney Lucas in FUN HOME, photo by Joan Marcus
FALL
a gm slo w ge enta ly re vol dp ry v M on hot chron ing st a t i rea ogra c le o ge El P g ph le asado fa r youn eced v u d … o f t e f r olv s left a o c s k i cade e s v i t l h e b es (1999tory p into ehind i 2009). What began as a s n oup a a p fast hoto la ck gr b and the anthem by indie ro p a ced r nary. ecord of the past, both true and imagi
We call Public Forum the “theater of ideas” – an impulse that puts the theater world into conversation with other artists, intellectuals, and public figures. The Public Forum Drama Clubs this season feature some surprising mash-ups between theater artists and the most fascinating thinkers of our time.
ND U O B
Last month, Public Works once again brought joy to The Delacorte with an incredible, 200-person musical adaption of THE WINTER’S TALE. The cast was as rich and diverse as our city: professional actors, our community partners from Children’s Aid Society, DreamYard Project, Fortune Society, Brownsville Recreation Center, and Domestic
This month, we’re taking our show on the road with the Mobile Shakespeare Unit, presenting Pericles for free to prisons, homeless shelters, and community centers around New York’s five boroughs as a part of The Public’s long-standing commitment to making theater accessible to all. As you will read in this issue’s main feature, the Mobile Unit is all about the journey – and so is the play! Many thanks to the incredible Young Jean Lee, playwright and director of this season’s Straight White Men, and to writer/ director Mariano Pensotti and our Under the Radar staff for contributing to our feature on their work together – past, present and future. A special thanks to you for your ongoing support, and we’ll see you downtown!
Welcome to our Fall edition of PublicLook!
WINTER’S
in 2) oes rher OW-Nov e p u N ( s hese itude out t s of Sol k c e s Ch Fortre The
been something of a torment to me, but every show is kind of like that since I’m always trying new things.” Moreover, as the most straightforward piece she’s ever written, she is as excited as we are to see how the play is received by her typically edgy audience.
What’s next for Lee? Perhaps filmmaking. With a screenplay commission for Plan B/Paramount Pictures, as well as a short film, Here Come the Girls (Locarno International Film Festival, Sundance Film Festival, and BAMcinemaFest), under her belt, Lee is already actively exploring the difference between stage and screen. “One thing that bothers me a lot about theater is that shows change from night to night. I know for most people that is the magic of theater, but I hate it. I want to make something the way I want it, and then for it to stay that way. Film allows me to do that.” If her ambitious theatermaking is any indication, we absolutely can’t wait to see her take the film world by storm.
STRAIGHT WHITE MEN
New York Premiere Written & directed by Young Jean Lee Featuring Austin Pendleton, Pete Simpson, James Stanley, & Gary Wilmes November 7 – December 7, 2014
UTR is made possible with the generous support of The Howard Gilman Foundation, the Ford Foundation, and the Robert Sterling Clark Foundation.
The LuEsther T. Mertz Charitable Trust provides leadership support for The Public Theater’s year-round activities.
Eli za be t h Str eb
Cy nth i a Nix on
B HOME R OA D
FUN
WAY
BOU
Last month, Public Works once again brought joy to The Delacorte with an incredible, 200-person musical adaption of THE WINTER’S TALE. The cast was as rich and diverse as our city: professional actors, our community partners from Children’s Aid Society, DreamYard Project, Fortune Society, Brownsville Recreation Center, and Domestic
ND! Workers United, dance troupes, a stilt band, park rangers, and a special appearance by Sesame Street! The show was a wild success, and reminded us that theater is a place of possibility, where the boundaries that separate us from each other in the rest of life can fall away.
FALL
This month, we’re taking our show on the road with the Mobile Shakespeare Unit, presenting Pericles for free to prisons, homeless shelters, and community centers around New York’s five boroughs as a part of The Public’s long-standing commitment to making theater accessible to all. As you will read in this issue’s main feature, the Mobile Unit is all about the journey – and so is the play! Many thanks to the incredible Young Jean Lee, playwright and director of this season’s Straight White Men, and to writer/ director Mariano Pensotti and our Under the Radar staff for contributing to our feature on their work together – past, present and future. A special thanks to you for your ongoing support, and we’ll see you downtown!
Welcome to our Fall edition of PublicLook!
THE
PAID
NEW YORK, N.Y. PERMIT NO. 2377
TALE
WINTER’S
FIRST CLASS PRESORT U.S. POSTAGE
in oes Nov 2) rher supe de (NOW ese u ut th of Solit ck o s Che Fortres The
2014
ith , w fra e p co eet a in s rsw dam f c i t e O t a t m i m o cine in a b er fr d n Epic a tinians ogeth n t Arge
What makes a
UTR
FALL
a gm slow e ly n ge d p tary revol M c h hr ving o on tre togra onicl stage E e al l oung ev phs le of a de Pasado… tr olv acks the lives of four y y pieced cade f t beh es ( 1 stor 9 99-2009 ind into ). What began as a in a p roup a fa hoto la rock g st-p e i d b n i a y n b d aced the anthem record nary. of the past, both true and imagi
We are so thrilled that our 2013 production of FUN HOME, developed in Public Lab then brought to our Newman Theater for a multiple-extension run, is heading to Broadway! The show will begin previews on April 4, 2015 at Circle in the Square Theater. Sa lm an Ru sh die
Wa llac e Sh aw n
Pictured: (cover) The cast of PERICLES, photo by Tammy Shell. (this spread) Adam Chanler-Berat and Kyle Beltran, photo by Tammy Shell; the cast of THE WINTER’S TALE, photo by Joan Marcus; Noah Hinsdale, Griffin Birney and Sydney Lucas in FUN HOME, photo by Joan Marcus
We call Public Forum the “theater of ideas” – an impulse that puts the theater world into conversation with other artists, intellectuals, and public figures. The Public Forum Drama Clubs this season feature some surprising mash-ups between theater artists and the most fascinating thinkers of our time.
T S PA
artist
Pensotti is the perfect example of an Under the Radar artist — one who creates compelling, visually stunning
work that challenges the audience’s perception of what theater can do. Based in Buenos Aires, Mariano Pensotti has become a noted experimental director worldwide. He has been heralded as one of Latin America’s brightest theater talents, touring around the world with his company extensively throughout the year. The presence of his work at UTR, both past and future, is a testament to his ongoing growth as an artist and the boundaries he continues to push.
“Do our fictions reflect the world, or is the world a distorted projection of our fictions?”
lmic drama” threads to sotti’s “fi gethe o Pen r the n a i r rtrait of a city and its inh lives Ma abita icate po r t n i of f n is ts, a h n o a t n s elaborate film r i e In h t han our fi d s n p a l i t s dfu l scr live takes—Pensotti cr l o mma afts a een se real s-fades, long n ep t. B f acto kers cros ic ta y r le o adap s flu ove r f lo i t ve, ing c dly s mo ine ne y,
SHATHE M UNKI ESPEOBILE T SE AR TS S E AIL
New York Shakespeare Festival 425 Lafayette Street New York, NY 10003 212.539.8500 | publictheater.org
ires. os A uen B r in rs’ yea aracte , fa h over c o icese n the o r v — ou ee ues e c tw th t be chniq t. hif ic te nd ar t a ma ork, w
The LuEsther T. Mertz Charitable Trust provides leadership support for The Public Theater’s year-round activities.
LAST WHAT’S THE
SHOW IN THE WORLD I WOULD EVER WANT TO MAKE?
Then she makes it.
“this is the moment when one stops being who one thinks one is, and becomes the person they are.”
SPOTLIGHT ON: MARIANO PENSOTTI
After kicking off our 10th edition in 2014, Under the Radar Co-Directors Meiyin Wang and Mark Russell have been keeping busy curating another festival of explosive, diverse performances (coming January 7-18, 2015). In the meantime, we’re delighted to shine a spotlight on a UTR artist we’re particularly excited about: MARIANO PENSOTTI.
When Obie-award winning playwright Young Jean Lee, hailed as the “the most adventurous downtown playwright of her generation,” begins work on a new project, she asks herself,
E R U T FU R (UT
AS AST E N I 5) C 201
UTR is made possible with the generous support of The Howard Gilman Foundation, the Ford Foundation, and the Robert Sterling Clark Foundation.
“Going out of my comfort zone compels me to challenge my assumptions and find value in unexpected places.” Lee’s body of work, from a variety show tackling black stereotypes to a feminist movement piece exploring gender fluidity (the cast performs entirely nude), is just that: unexpected (and provocative, and compelling, and good). Coming from a background in academia with a focus on Shakespeare, both as an undergrad and in the English PhD program at UC Berkeley, Lee dove headfirst into playwriting and moved to NYC in 2002. Her process is unique: using the idea of discomfort as a catalyst, she writes shows as she’s directing them, works collaboratively with her performers and artistic team, and uses feedback from workshop audiences. The goal is to push past an audience’s defenses against uncomfortable subjects and ask them to confront difficult questions. Her rise in the experimental theater scene has been swift and celebrated, and The Public was lucky enough to host her wonderful, bizarre cabaret piece We’re Gonna Die at Joe’s Pub in 2011. Next month, Lee’s newest play Straight White Men will have its New York premiere at The Public. The heart of the play confronts the intersection of identity, self-worth, and privilege in the context of being, well, straight white men. Challenging and unexpected? Yes. Necessary? Definitely. In deep contrast to her previous work, the show is traditionally structured, and is framed as a classic American fatherson drama. During the show’s last stretch of rehearsals in August, Lee struggled with a crucial scene for an entire week before she finally broke through and pointed herself in the right direction. “Learning how to write a naturalistic three-act drama has
been something of a torment to me, but every show is kind of like that since I’m always trying new things.” Moreover, as the most straightforward piece she’s ever written, she is as excited as we are to see how the play is received by her typically edgy audience.
What’s next for Lee? Perhaps filmmaking. With a screenplay commission for Plan B/Paramount Pictures, as well as a short film, Here Come the Girls (Locarno International Film Festival, Sundance Film Festival, and BAMcinemaFest), under her belt, Lee is already actively exploring the difference between stage and screen. “One thing that bothers me a lot about theater is that shows change from night to night. I know for most people that is the magic of theater, but I hate it. I want to make something the way I want it, and then for it to stay that way. Film allows me to do that.” If her ambitious theatermaking is any indication, we absolutely can’t wait to see her take the film world by storm.
STRAIGHT WHITE MEN
New York Premiere Written & directed by Young Jean Lee Featuring Austin Pendleton, Pete Simpson, James Stanley, & Gary Wilmes November 7 – December 7, 2014
Pictured: (left) A scene from EL PASADO ES UN ANIMAL GROTESCO, photo by Almudena Crespo; A scene from CINEASTAS, photo by Carlos Furman; (right) Young Jean Lee, photo by Blaine Davis.
M a rga ret M i tch ell
De ni s O ’Ha re
S UN DO E E PAST A S (TH L PA 12) E TESCO IMAL) 0 2 O N (UTRMAL GR SQUE A ANI GROTE IS A
SELECTING VENUES Next we work on booking our community venues! We want a balance of new stops and continuing partnerships, as well as a diversity of the populations served.
SCHEDULING Scheduling the tour is a big puzzle. The team must consider each venue’s needs, logistical parameters, holidays, and most agonizing of all: traffic!
HITTING THE ROAD Each morning, coffee in hand, the team loads into the legendary tour van. They often journey to remote areas of each borough, so they quickly become versed in road-trip games.
PLAYING IN PRISON The first prison performance really brings the company together in a deep way, because the audience is truly unlike any other.
THE SIT-DOWN The final stop on the tour is back at The Public, where the show stays for a three week run. We invite community groups to these shows as well – the audiences we couldn’t get to; we bring them to us.
CLOSING The intense bond of the cast breaks at closing – it’s the end of a voyage; like disembarkation. Knowing you’ll see each other around but never in the same unique circumstances. It’s akin to everyone coming into port together and going their separate ways.
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Follow the journey
#mobileshakes
2. TYRE Pericles returns home, where he is immediately advised to leave the city, as Antiochus is on his trail.
3. TARSUS Our hero sails to Tarsus, a city suffering from famine, and gifts the city grain from his ship to save their people.
/SEA/ SHIPWRECK! Pericles lucks out: he’s rescued by fishermen AND his suit of armor is saved from the storm.
e it g t c p o an oo re cl kn it ex tour, dien es wi ks, w ma eri nge, x14 f and ty of P e n u s ve 14 as, nsi U t on n a pac wee s ar f ni i tio ss, re be a eter inte ey o at ou twee nal s ple esult c f y u s e u l o th o r e b diti g co he rod e of l t on s, ca all th odys res ! t p a n h u t l r m i e m t t el bu bil ic ta mig f gy livers on an ven Tea o e gru ves, o e d p l M e tag rs e t d ing e a obi r’s ’s o dri to ea eare he s e flo Uni bark of th e M ce y gs to T e h s an l n p e h i t . i m t s h o f h n b l e m e c e T ak tio on Mo ile so d o r un e be re cultu et th its r Sh emp own the y wh k at s an u t l g g s u n red ed d but ysse a loo ricle t c ing er ri he ha it br e nev w du tap nters s’ od ake of Pe t tT e a o n T s ce ricle n! ths un liev e U wi sh ll r be obil ther e the i Pe ir ow he pa e w M t o se w re the ss t lic, The migh s to Ty b f o r u o d u c ce e P an ho in rin Th one, ies w it. Jo P t A ery nit ce s, icle . ev mmu rien ic! r e co expe Publ r, P 30 ou r 11 – t to The s e g it emb at n i v w llo No Fo blic Pu
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1. ANTIOCH Pericles solves a riddle put forth by the incestuous King Antiochus, revealing royal scandal, and must flee for fear of his life.
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The Mobile Shakespeare Unit is made possible with the support of the Ford Foundation and The Stavros Niarchos Foundation. Additional generous support is provided by Bloomberg and Robins, Kaplan, Miller & Ciresi, LLP. Special thanks to The Philip and Janice Levin Foundation’s lead support for The Public’s access and engagement programming.
AUDIENCE REACTIONS The Mobile Team loves seeing the first time an audience member speaks up or responds to Shakespeare’s characters, then watching the actors learn how to communicate with the audience in a way they aren’t used to doing.
4. PENTAPOLIS The fishermen inform Pericles of a tournament whose winner will win the Princess Thaisa’s hand in marriage. Rusty armor and all, Pericles wins the tournament and marries Thaisa.
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/SEA/ Pericles receives a letter causing him to return to Tyre with the pregnant Thaisa. A storm arises while at sea, and Thaisa “dies” giving birth to their child, Marina. The sailors insist that Thaisa’s body be set overboard in order to calm the storm.
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5. TARSUS Pericles is devastated and, fearing Marina may not survive the storm, brings her to Tarsus, thinking she’ll be safe there. Unfortunately she is eventually captured by pirates.
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6. TYRE A depressed Pericles vows to stop speaking and stop cutting his hair. Fifteen years pass.
7. MYTILENE While out at sea, Pericles is serendipitously reunited with Marina, whose moral fortitude and intelligence has saved her from her evil captors.
ANCIENT MEDITERRANEAN
NEW YORK CITY
CHOOSING THE PLAY Our artistic staff considers which of Shakespeare’s plays might best serve the Mobile Unit audiences. We gravitate to dynamic characters and plots/themes that speak to our Mobile community.
8. EPHESUS The whole family – including Thaisa, who as it turns out is still alive – are reunited!