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March – May 2012 CONTENTS In the Albert 1 Why Camino Real? 2 Tennessee Williams: Playwright, Poet, Dreamer 7 Tennessee in Chicago 8 A Journey into “Bieitoland”: Introducing the Unconventional World of Director Calixto Bieito In the Owen 12 A Conversation with Cándido Tirado 15 For Love or Money: The World of Chess Hustling At the Goodman 16 Insider Access Series In the Wings 17 Imparting Culture and Communication: A Conversation with Ira Abrams Scene at the Goodman 19 Race Opening Night Celebrating Race and Diversity Off Stage 20 A Legacy of Great Theater For Subscribers 21 Calendar VOLUME 27 #3 Co-Editors | Lesley Gibson, Lori Kleinerman, Tanya Palmer Graphic Designer | Tyler Engman Production Manager | Lesley Gibson Contributing Writers/Editors | Neena Arndt, Jeff Ciaramita, Jeffrey Fauver, Lisa Feingold, Katie Frient, Lesley Gibson, Lori Kleinerman, Caitlin Kunkel, Dorlisa Martin, Julie Massey, Tanya Palmer, Teresa Rende, Victoria Rodriguez, Denise Schneider, Steve Scott, Jenny Seidelman, Willa J. Taylor, Kate Welham. OnStage is published in conjunction with Goodman Theatre productions. It is designed to serve as an information source for Goodman Theatre Subscribers. For ticket and subscription information call 312.443.3810. Cover: Image design and direction by Kelly Rickert. Goodman productions are made possible in part by the National Endowment for the Arts; the Illinois Arts Council, a state agency; and a CityArts grant from the City of Chicago Department of Cultural Affairs and Special Events; and the Leading National Theatres Program, a joint initiative of the Doris Duke Charitable Foundation and the Andrew W. Mellon Foundation. Written comments and inquiries should be sent to: The Editor, OnStage Goodman Theatre 170 North Dearborn Street Chicago, IL 60601 or email us at: OnStage@GoodmanTheatre.org
IN THE ALBERT FROM THE ARTISTIC DIRECTOR Photo by Brian Kuhlmann. Why Camino Real? During my tenure as artistic director I have had the privilege of bringing some of the most notable directors now working on the world stage to the Goodman, including Peter Sellars, JoAnne Akalaitis, Ivo van Hove, Elizabeth LeCompte, Flora Lauten (from the esteemed Cuban company Teatro Buendía) and our own Mary Zimmerman. Although vastly different in style and approach, these directors share a passion for exploring new ways of theatrical storytelling, an uncompromising singularity of vision and a radical (and often controversial) way of reimagining classical texts. To this group I am extremely proud to add Calixto Bieito, a Barcelona-based director whose soaring, radical interpretations of everything from classic operas to Shakespeare have astonished, inflamed and challenged audiences throughout Europe and South America. My first experience with Calixto’s work came in 2004, with his sexually charged interpretation of Mozart’s The Abduction from the Seraglio in Berlin. I found that production to be both fascinating and disturbing; Calixto’s investigation of the dark subtext that lay beneath the “classical” exterior of the piece displayed a courage and sophistication that was, to me, profound and unsettling. Soon after the performance I met with him, and was immediately impressed by his warmth, intelligence and infectious passion for his work. When we began to discuss possible projects that might be of interest to him, he revealed his love for the works of one of my favorite writers, Tennessee Williams. Though our conversation began with a discussion of Williams’ better-known works, in talking to Calixto it occurred to me that his bold artistry might be better used to explore one of Williams’ less often performed plays, Camino Real. First produced in 1953, Camino remains one of the author’s most poetic works, and one of his most ambitious: it is an impressionistic musing on the nature of love, loss, humanity and the encroachment of time, peopled largely by iconic figures of romance who are coming to terms with their own mortality. Because of its nonrealistic milieu and aching lyricism, I felt that this seldom-produced work, long considered one of Williams’ most personal, would inspire Calixto to do what he does best: to create a world in which the playwright’s images and ideas could take flight and soar. After reading the play, Calixto agreed, and the result is a full-bodied, extraordinarily theatrical piece which fuses Williams’ poetry, music and evocative imagery to create, in Williams’ words, “the continually dissolving and transforming images of a dream.” Although Camino Real is notably based less in realism than its author’s more familiar works, it shares with those plays a highly charged blend of disparate elements: beauty and brutality; moments of romance punctuated by shocking dissolution. As interpreted by one of today’s most courageous and uncompromising directors, I guarantee that its vivid images and haunting, sometimes squalid beauty will live with you for a long, long time. Robert Falls Artistic Director 1
Page 1: March - May 2012 TENNESSEE WILLIAMS
Page 5 and 6: Tennessee Williams: Playwright, Poe
Page 7 and 8: OPPOSITE: Vivien Leigh and Marlon B
Page 9 and 10: LEFT: Peg Murray and Scott Jaeck in
Page 11 and 12: Rather than simply laying on a conc
Page 13 and 14: major American playwright: Tennesse
Page 15 and 16: OPPOSITE: Cándido Tirado. RIGHT: S
Page 17 and 18: For Love or Money: The World of Che
Page 19 and 20: IN THE WINGS Imparting Culture and
Page 21 and 22: SCENE AT THE GOODMAN Race Opening N
Page 23 and 24: CENTER STAGE Subscriber and annual

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