Hamlet - The National Ballet of Canada
Hamlet - The National Ballet of Canada
Hamlet - The National Ballet of Canada
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Piotr Stanczyk and<br />
Sonia Rodriguez<br />
as <strong>Hamlet</strong> and Ophelia.<br />
Photo by Christopher Wahl.<br />
<strong>Ballet</strong> Notes<br />
<strong>Hamlet</strong><br />
June 1–10, 2012<br />
Presented by
Celia Franca, C.C., Founder<br />
George Crum, Music Director Emeritus<br />
Karen Kain, C.C. Kevin Garland<br />
Artistic Director Executive Director<br />
David Briskin Rex Harrington, O.C.<br />
Music Director and Artist-in-Residence<br />
Principal Conductor<br />
Magdalena Popa Lindsay Fischer<br />
Principal Artistic Coach Artistic Director,<br />
YOU dance / <strong>Ballet</strong> Master<br />
Peter Ottmann Mandy-Jayne<br />
Senior <strong>Ballet</strong> Master Richardson<br />
Senior <strong>Ballet</strong> Mistress<br />
Aleksandar Antonijevic, Guillaume Côté,<br />
Greta Hodgkinson, Jiˇrí Jelinek, Zdenek Konvalina*,<br />
Heather Ogden, Sonia Rodriguez, Piotr Stanczyk,<br />
Jillian Vanstone, Xiao Nan Yu, Bridgett Zehr*<br />
Kevin D. Bowles, Lorna Geddes, Tomas Schramek,<br />
Hazaros Surmeyan<br />
Keiichi Hirano, Tanya Howard + , Stephanie Hutchison,<br />
Etienne Lavigne, Patrick Lavoie, Elena Lobsanova,<br />
McGee Maddox, Stacey Shiori Minagawa,<br />
Tina Pereira, Jonathan Renna, Rebekah Rimsay,<br />
Robert Stephen, Brett van Sickle<br />
Jordana Daumec, Naoya Ebe, Chelsy Meiss,<br />
Alejandra Perez-Gomez, Jenna Savella<br />
Danyla Bezerra, Ryan Booth, Skylar Campbell, Adji Cissoko,<br />
Shaila D’On<strong>of</strong>rio, Krista Dowson, Nadine Drouin, Jackson Dwyer,<br />
Giorgio Galli, Selene Guerrero-Trujillo, Emma Hawes,<br />
Juri Hiraoka, Kathryn Hosier, Rui Huang, Lise-Marie Jourdain,<br />
James Leja, Alexandra MacDonald, Elizabeth Marrable,<br />
Ji Min Hong, Shino Mori, Tiffany Mosher, Andreea Olteanu,<br />
Brendan Saye, Christopher Stalzer, Joseph Steinauer,<br />
Dylan Tedaldi, Nan Wang, Aarik Wells, Sarah Elena Wolff<br />
RBC Apprentice Programme / YOU dance: James Applewhite,<br />
Jack Bertinshaw, Esabelle Chen, Daniel Cooke,<br />
Francesco Gabriele Frola, Larissa Khotchenkova,<br />
Miyoko Koyasu, Lisa Lanteri, Nayara Lopes, Asiel Rivero.<br />
Lorna Geddes Joysanne Sidimus<br />
Pointe Shoe Manager / Guest Balanchine<br />
Assistant <strong>Ballet</strong> Mistress Répétiteur<br />
Ernest Abugov Shelby-Jai Flick<br />
Jeff Morris Stage Manager, YOU dance<br />
Stage Managers<br />
*Guest Artist<br />
+ Maternity Leave<br />
Page 2 national.ballet.ca<br />
Orchestra<br />
Violins<br />
Benjamin Bowman<br />
Concertmaster<br />
Lynn Kuo,<br />
Assistant Concertmaster<br />
Dominique Laplante,<br />
Principal Second Violin<br />
James Aylesworth<br />
Jennie Baccante<br />
Csaba Koczó<br />
Sheldon Grabke<br />
• Xiao Grabke<br />
Nancy Kershaw<br />
Sonia Klimasko-Leheniuk<br />
Yakov Lerner<br />
Jayne Maddison<br />
Ron Mah<br />
Aya Miyagawa<br />
Wendy Rogers<br />
Filip Tomov<br />
Joanna Zabrowarna<br />
Paul Zevenhuizen<br />
Violas<br />
Angela Rudden, Principal<br />
• <strong>The</strong>resa Rudolph Koczó,<br />
Assistant Principal<br />
Valerie Kuinka<br />
Johann Lotter<br />
Beverley Spotton<br />
Larry Toman<br />
Cellos<br />
Maurizio Baccante,<br />
Principal<br />
Olga Laktionova<br />
Andrew McIntosh<br />
Marianne Pack<br />
Elaine Thompson<br />
Paul Widner<br />
Basses<br />
Hans J.F. Preuss, Principal<br />
• Paul Langley<br />
Robert Speer<br />
Cary Takagaki<br />
Flutes<br />
Leslie J. Allt, Principal<br />
Maria Pelletier<br />
• Shelley Brown, Piccolo<br />
Oboes<br />
Mark Rogers, Principal<br />
Karen Rotenberg<br />
Lesley Young,<br />
English Horn<br />
Clarinets<br />
Max Christie, Principal<br />
• Emily Marlow<br />
• Gary Kidd, Bass Clarinet<br />
Bassoons<br />
Stephen Mosher, Principal<br />
Jerry Robinson<br />
Elizabeth Gowen,<br />
Contra Bassoon<br />
Horns<br />
Gary Pattison, Principal<br />
Vincent Barbee<br />
• Derek Conrod<br />
Scott Wevers<br />
Trumpets<br />
Richard Sandals, Principal<br />
Mark Dharmaratnam<br />
Robert Weymouth<br />
Trombones<br />
David Archer, Principal<br />
Robert Ferguson<br />
• David Pell,<br />
Bass Trombone<br />
Tuba<br />
Sasha Johnson, Principal<br />
Harp<br />
Lucie Parent, Principal<br />
Timpany<br />
Michael Perry, Principal<br />
Percussion<br />
Mark Mazur, Acting<br />
Principal<br />
Krist<strong>of</strong>er Maddigan<br />
Orchestra Personnel<br />
Manager and Music<br />
Administrator<br />
Jean Verch<br />
Assistant Orchestra<br />
Personnel Manager<br />
Raymond Tizzard<br />
Librarian<br />
Lucie Parent<br />
Extra Players<br />
Hiroko Kagawa, Violin<br />
Rory McLeod, Acting<br />
Assistant Principal Viola<br />
Tom Hazlitt, Bass<br />
Colleen Cook, Bass<br />
Clarinet<br />
Michele Gagnon, Horn<br />
Andrew Chappell, Bass<br />
Trombone<br />
Andrei Streliaev, Piano<br />
Edward Connell,<br />
Keyboard<br />
• On Leave <strong>of</strong> Absence
<strong>The</strong> 2011/12 season is presented by<br />
Friday, June 1 at 7:30 pm<br />
Saturday, June 2 at 2:00 pm and 7:30 pm<br />
Sunday, June 3 at 2:00 pm<br />
Wednesday, June 6 at 7:30 pm<br />
Presented by<br />
<strong>Hamlet</strong><br />
A ballet by Kevin O’Day after William Shakespeare<br />
Choreography: Kevin O’Day<br />
Staged by: Rolando D’Alesio<br />
Music: John King<br />
Set and Costume Design: Tatyana van Walsum<br />
Lighting Design: Mark Stanley<br />
Dramaturgy: Vivien Arnold<br />
Répétiteurs: Lindsay Fischer and Mandy-Jayne Richardson<br />
Conductor: David Briskin, Music Director and Principal Conductor<br />
Thursday, June 7 at 2:00 pm and 7:30 pm<br />
Friday, June 8 at 7:30 pm<br />
Saturday, June 9 at 7:30 pm<br />
Sunday, June 10 at 2:00 pm<br />
Premiere: Stuttgart <strong>Ballet</strong>, October 3, 2008, Stuttgart, Germany<br />
<strong>The</strong> <strong>National</strong> <strong>Ballet</strong> <strong>of</strong> <strong>Canada</strong> Premiere: June 1, 2012, Four Seasons Centre for the Performing Arts.<br />
<strong>The</strong> <strong>National</strong> <strong>Ballet</strong> <strong>of</strong> <strong>Canada</strong> is grateful to Mona & Harvey Levenstein for their generous support<br />
<strong>of</strong> <strong>Hamlet</strong>.<br />
Guillaume Côté<br />
as <strong>Hamlet</strong>.<br />
Photo by Christopher Wahl.<br />
Page 3
<strong>The</strong> Cast<br />
<strong>Hamlet</strong>,<br />
<strong>The</strong> Prince<br />
Guillaume Côté (June 1, 3, 6, 8)<br />
Naoya Ebe (June 2 mat, 7 mat, 9)<br />
Piotr Stanczyk (June 2 eve, 7 eve, 10)<br />
Claudius,<br />
<strong>The</strong> King, <strong>Hamlet</strong>'s Uncle<br />
Jiˇrí Jelinek (June 1, 3, 6, 8)<br />
McGee Maddox (June 2 mat, 7 mat, 9)<br />
Keiichi Hirano (June 2 eve, 7 eve, 10)<br />
Gertrude,<br />
<strong>The</strong> Queen, <strong>Hamlet</strong>’s Mother<br />
Stephanie Hutchison (June 1, 3, 6, 8)<br />
Alejandra Perez-Gomez (June 2 mat, 7 mat, 9)<br />
Lise-Marie Jourdain (June 2 eve, 7 eve, 10)<br />
Ophelia,<br />
Polonius’ Daughter<br />
Heather Ogden (June 1, 3, 6, 8)<br />
Elena Lobsanova (June 2 mat, 7 mat, 9)<br />
Sonia Rodriguez (June 2 eve, 7 eve, 10)<br />
Laertes,<br />
Polonius’ Son<br />
McGee Maddox (June 1, 3, 6, 8)<br />
Brett van Sickle (June 2 mat, 7 mat, 9)<br />
Giorgio Galli (June 2 eve, 7 eve, 10)<br />
Polonius,<br />
<strong>The</strong> King’s Councillor<br />
Jonathan Renna (June 1, 3, 6, 8)<br />
Patrick Lavoie (June 2 mat, 7 mat, 9)<br />
Brett van Sickle (June 2 eve, 7 eve, 10)<br />
Horatio,<br />
<strong>Hamlet</strong>'s Friend<br />
Brendan Saye (June 1, 3, 6, 8)<br />
Giorgio Galli (June 2 mat, 7 mat, 9)<br />
Robert Stephen (June 2 eve, 7 eve, 10)<br />
Rosencrantz,<br />
<strong>Hamlet</strong>'s boyhood Friend<br />
Robert Stephen or Jonathan Renna or<br />
Skylar Campbell<br />
Page 4 national.ballet.ca<br />
Guildenstern,<br />
<strong>Hamlet</strong>’s boyhood Friend<br />
Christopher Stalzer or Dylan Tedaldi<br />
Two Travelling Dancers<br />
Elena Lobsanova and Naoya Ebe (June 1, 6, 10)<br />
Jillian Vanstone and Robert Stephen (June 2<br />
mat, 8, 9)<br />
Jordana Daumec and Dylan Tedaldi (June 2<br />
eve, 7 eve)<br />
Jenna Savella and Skylar Campbell (June 3,<br />
7 mat)<br />
A Gravedigger<br />
Kevin D. Bowles or Etienne Lavigne<br />
Osric,<br />
A Courtier<br />
Peter Ottmann or Kevin D. Bowles<br />
Ladies and Gentlemen <strong>of</strong> the Court<br />
Kathryn Hosier or Sarah Elena Wolff,<br />
Alexandra MacDonald or Juri Hiraoka,<br />
Shino Mori or Shaila D’On<strong>of</strong>rio,<br />
Ji Min Hong or Tiffany Mosher<br />
Ryan Booth or James Leja,<br />
Nan Wang or Aarik Wells,<br />
Giorgio Galli or Christopher Stalzer or<br />
Jackson Dwyer, Dylan Tedaldi or<br />
Skylar Campbell or Joseph Steinauer<br />
Running Time<br />
ACT I – 44 minutes<br />
Intermission – 20 minutes<br />
ACT II – 1 hour 2 minutes<br />
<strong>The</strong> performance will run approximately 2 hours<br />
6 minutes.
<strong>Hamlet</strong> Synopsis<br />
Guillaume Côté<br />
Piotr Stanczyk<br />
Naoya Ebe<br />
Act I<br />
<strong>Hamlet</strong>’s father King <strong>Hamlet</strong> is dead, murdered<br />
by his own brother – <strong>Hamlet</strong>’s treacherous<br />
uncle Claudius – in <strong>Hamlet</strong>’s absence.<br />
Claudius has claimed the throne and married<br />
Queen Gertrude, <strong>Hamlet</strong>’s mother.<br />
<strong>Hamlet</strong> mourns at his father’s grave;<br />
memories <strong>of</strong> his father return to him. He<br />
knows that his father would expect him to<br />
avenge his death. <strong>Hamlet</strong>’s friend Horatio and<br />
the sentinels seek <strong>Hamlet</strong> out; they believe<br />
to have seen <strong>Hamlet</strong>’s dead father.<br />
At court, Claudius is celebrating his<br />
marriage to Gertrude. <strong>Hamlet</strong>’s boyhood<br />
friends Rosencrantz and Guildenstern<br />
welcome him back. Claudius’ councillor<br />
Polonius is also present, with his son Laertes<br />
and his daughter Ophelia, <strong>Hamlet</strong>’s secret<br />
love. <strong>Hamlet</strong> observes the court and is<br />
disgusted by their behaviour and the entire<br />
situation.<br />
Laertes receives permission from the King<br />
and Queen to travel abroad. Ophelia is warned<br />
by her father Polonius and her brother Laertes<br />
not to respond to <strong>Hamlet</strong>’s wooing; being a<br />
prince, he is destined to marry someone else.<br />
Laertes bids farewell to his father and his<br />
beloved sister Ophelia and departs.<br />
<strong>Hamlet</strong> seeks Ophelia out in order to give<br />
her a love letter. Although she knows that she<br />
should avoid <strong>Hamlet</strong>, Ophelia gives in and<br />
accepts the letter. <strong>Hamlet</strong> seeks comfort in<br />
Ophelia’s arms but Ophelia knows she is being<br />
watched by her father.<br />
To discover what <strong>Hamlet</strong>’s intentions are,<br />
Claudius sends Polonius as well as<br />
Rosencrantz and Guildenstern to feel him out.<br />
Getting no results, Claudius tries to provoke<br />
<strong>Hamlet</strong> by openly flaunting his new relationship<br />
with <strong>Hamlet</strong>’s mother.<br />
<strong>Hamlet</strong> finds himself more and more<br />
isolated. His thoughts circle continuously<br />
around his father and whether he can – or even<br />
wants to – avenge his death. Exhausted, he<br />
meets Ophelia who has been sent by Claudius<br />
and her father to spy on <strong>Hamlet</strong>. <strong>Hamlet</strong>, who<br />
Page 5
feels betrayed by all around him, brutally<br />
rejects Ophelia.<br />
<strong>Hamlet</strong> knows that he must make a<br />
decision: to act or not to act. He returns to his<br />
father’s grave.<br />
Act II<br />
Wishing to expose Claudius, <strong>Hamlet</strong> invites<br />
the court to a party which Claudius and<br />
Gertrude also attend. Rosencrantz and<br />
Guildenstern have supplied <strong>Hamlet</strong> with two<br />
travelling dancers whom <strong>Hamlet</strong> instructs to<br />
imitate the murder <strong>of</strong> his father by Claudius.<br />
Claudius realizes that <strong>Hamlet</strong> is accusing him,<br />
abruptly ends the party and dismisses the court.<br />
Claudius wrestles with his guilt. <strong>Hamlet</strong>,<br />
finding Claudius alone, intends to use the<br />
moment to avenge his father but is interrupted<br />
by Rosencrantz and Guildenstern.<br />
In the meantime, Polonius has convinced<br />
Gertrude to speak to <strong>Hamlet</strong> while he<br />
eavesdrops on the conversation. <strong>Hamlet</strong><br />
comes to his mother; they argue and<br />
Polonius, who has hidden himself, believes<br />
<strong>Hamlet</strong> will hurt the Queen. He intervenes<br />
and is killed by <strong>Hamlet</strong> who has mistaken him<br />
for Claudius. Over his dead body, <strong>Hamlet</strong><br />
confronts his mother about her behaviour.<br />
Gertrude realizes that it is impossible to be<br />
loyal to <strong>Hamlet</strong> and Claudius at the same time;<br />
mother and son reconcile.<br />
Rosencrantz and Guildenstern, sent by<br />
Claudius, discover Polonius’ body and try to<br />
detain <strong>Hamlet</strong>. He eliminates them both. Horatio<br />
removes <strong>Hamlet</strong> from the scene <strong>of</strong> the crime.<br />
Due to <strong>Hamlet</strong>’s rejection and his murder<br />
<strong>of</strong> her father, Ophelia has lost her mind.<br />
Gertrude and Claudius attempt to help her,<br />
but she is beyond their reach. Gertrude<br />
cannot bear the sight <strong>of</strong> the deranged girl.<br />
Left alone, Ophelia commits suicide.<br />
Page 6 national.ballet.ca<br />
Unsuspecting, Laertes returns home from<br />
his travels. He finds first Ophelia’s, then his<br />
father’s body. Claudius informs him that<br />
<strong>Hamlet</strong> is responsible for their deaths and<br />
conspires with Laertes to avenge them.<br />
<strong>Hamlet</strong> and Horatio, on their way back<br />
to court, meet a gravedigger who is digging<br />
a grave. A funeral procession interrupts their<br />
conversation; <strong>Hamlet</strong> realizes that the corpse<br />
is Ophelia’s. Laertes wants to avenge his<br />
father’s and sister’s deaths immediately, but<br />
Claudius holds him back. <strong>Hamlet</strong> mourns<br />
Ophelia.<br />
Claudius calls for a duel between <strong>Hamlet</strong><br />
and Laertes. He has prepared Laertes’ foil<br />
with poison so that even a slight wound will kill<br />
<strong>Hamlet</strong>. Horatio attempts to dissuade <strong>Hamlet</strong><br />
from fighting.<br />
Claudius <strong>of</strong>fers the winner <strong>of</strong> the duel a<br />
pearl <strong>of</strong> great value. <strong>Hamlet</strong> makes the first<br />
hit. Claudius urges him to drink from a goblet<br />
<strong>of</strong> poisoned wine, which <strong>Hamlet</strong> declines.<br />
When <strong>Hamlet</strong> makes the second hit, Claudius<br />
again <strong>of</strong>fers him the wine. Gertrude, who has<br />
become suspicious, drinks the wine while<br />
toasting <strong>Hamlet</strong>. Horrified, Claudius attempts<br />
to stop her. Laertes, knowing that Claudius’<br />
treachery will soon be uncovered, attacks<br />
<strong>Hamlet</strong> from behind and wounds him with<br />
the poisoned sword. Enraged, <strong>Hamlet</strong> fights<br />
back and in the thick <strong>of</strong> the fight, Laertes<br />
drops his sword and picks up <strong>Hamlet</strong>’s.<br />
<strong>Hamlet</strong> notices Gertrude’s distress and tries<br />
to go to her but is forced by Laertes to keep<br />
fighting. Grabbing Laertes’ poisoned sword,<br />
he stabs him with it. Gertrude dies and<br />
Laertes accuses Claudius. <strong>Hamlet</strong> kills<br />
Claudius. As he dies, Laertes absolves <strong>Hamlet</strong><br />
<strong>of</strong> Ophelia’s and Polonius’ death. <strong>Hamlet</strong> begs<br />
Horatio to remember his story for posterity<br />
and dies.
Kevin O’Day’s <strong>Hamlet</strong> –<br />
<strong>The</strong> Imprint <strong>of</strong> the Father on the Son<br />
In his production <strong>of</strong> <strong>Hamlet</strong>, choreographer<br />
Kevin O’Day used as his starting point the<br />
idea that sons have, for better or worse, a<br />
"genetic imprint" from their fathers from which<br />
they can’t free themselves, and that a father’s<br />
influence and his expectations shape the<br />
thoughts and actions <strong>of</strong> the son.<br />
It is no coincidence that Shakespeare<br />
names <strong>Hamlet</strong> after his father. <strong>The</strong> ghost <strong>of</strong><br />
<strong>Hamlet</strong> Senior commands <strong>Hamlet</strong> to avenge<br />
his death but Shakespeare makes it very clear<br />
that, if left to himself, <strong>Hamlet</strong> would do no<br />
such thing. Shakespeare also makes very<br />
clear that <strong>Hamlet</strong> and his father had very little<br />
in common: King <strong>Hamlet</strong> was a warrior king,<br />
forever <strong>of</strong>f fighting battles, a man <strong>of</strong> action.<br />
<strong>Hamlet</strong> is the exact opposite: a thinker, an<br />
observer, a wit, an intellectual whose mental<br />
capacity is so enormous that he is an isolated,<br />
lonely figure towering above the other<br />
characters. <strong>Hamlet</strong> may have admired his<br />
father; he certainly didn’t love him.<br />
And so <strong>Hamlet</strong> faces a dilemma: to act or<br />
not to act; to avenge his father’s death or not.<br />
In confronting his father’s mortality, he<br />
confronts his own; in trying to fulfill his father’s<br />
expectations <strong>of</strong> him, he must ultimately ask<br />
himself who he is and what he believes in. In<br />
the end, he goes into the duel knowing it has<br />
been rigged and that he will die. By doing this<br />
he defies his father’s expectations because he<br />
(Top photo) Kevin O’Day in rehearsal.<br />
(Bottom left photo) Guillaume Côté and<br />
Kevin O’Day.<br />
(Bottom right photo) Piotr Stanczyk and<br />
Kevin O’Day.<br />
Photos by Bruce Zinger.<br />
will not live to kill Claudius and take back the<br />
throne. Ironically, <strong>Hamlet</strong> does end up killing<br />
Claudius, but in a fit <strong>of</strong> rage because Claudius,<br />
in trying to kill <strong>Hamlet</strong>, has brought about the<br />
deaths <strong>of</strong> Gertrude and Laertes. In this way,<br />
<strong>Hamlet</strong> does fulfill his father’s expectations<br />
but through impulse rather than premeditated<br />
action. No matter how much a son tries to free<br />
himself <strong>of</strong> his father or believes that he is free<br />
<strong>of</strong> his influence, the father will always appear<br />
in some part <strong>of</strong> the son’s actions or thoughts.<br />
Page 7
<strong>Hamlet</strong> in Rehearsal<br />
Photos by Bruce Zinger.<br />
Page 8 national.ballet.ca<br />
Guillaume Côté and<br />
Heather Ogden.<br />
Piotr Stanczyk, Kevin O’Day<br />
and Guillaume Côté.
Heather Ogden<br />
<strong>Hamlet</strong><br />
Act III, scene 1<br />
by William Shakespeare<br />
To be or not to be – that is the question:<br />
Whether ’tis nobler in the mind to suffer<br />
<strong>The</strong> slings and arrows <strong>of</strong> outrageous fortune,<br />
Or to take arms against a sea <strong>of</strong> troubles<br />
And, by opposing, end them. To die, to sleep –<br />
No more – and by a sleep to say we end<br />
<strong>The</strong> heartache and the thousand natural shocks<br />
That flesh is heir to – ’tis a consummation<br />
Devoutly to be wished. To die, to sleep –<br />
To sleep, perchance to dream. Ay, there’s the rub,<br />
For in that sleep <strong>of</strong> death what dreams may come,<br />
When we have shuffled <strong>of</strong>f this mortal coil,<br />
Must give us pause. <strong>The</strong>re’s the respect<br />
That makes calamity <strong>of</strong> so long life.<br />
For who would bear the whips and scorns <strong>of</strong> time,<br />
Th’ oppressor’s wrong, the proud man’s contumely,<br />
<strong>The</strong> pangs <strong>of</strong> despised love, the law’s delay,<br />
<strong>The</strong> insolence <strong>of</strong> <strong>of</strong>fice, and the spurns<br />
That patient merit <strong>of</strong> th’ unworthy takes,<br />
When he himself might his quietus make<br />
With a bare bodkin? Who would fardels bear,<br />
To grunt and sweat under a weary life,<br />
But that the dread <strong>of</strong> something after death,<br />
<strong>The</strong> undiscovered country from whose bourn<br />
No traveler returns, puzzles the will<br />
And makes us rather bear those ills we have<br />
Than fly to others that we know not <strong>of</strong>?<br />
Thus conscience does make cowards <strong>of</strong> us all,<br />
And thus the native hue <strong>of</strong> resolution<br />
Is sicklied o’er with the pale cast <strong>of</strong> thought,<br />
And enterprises <strong>of</strong> great pitch and moment<br />
With this regard their currents turn awry<br />
And lose the name <strong>of</strong> action.<br />
Piotr Stanczyk and<br />
Sonia Rodriguez<br />
Page 9