BB&B Beowulf – A Thousand Years of Baggage · Sam Kulik guitar Mario Maggio ... Lighting designer...

BB&BBeowulf –A ThousandYears ofBaggage

Mon 13 — Wed 15 May 2013,7.30pmSpiegeltentThe Famous Spiegel Garden

Brighton Festival programmes are supported by WSL (Brighton) LtdPlease ensure that all mobile phones are switched off

BF09_2013BeowulfAW3:BF1 / LSO artwork 08/05/2013 22:28

Banana Bag & Bodice

Molly Bashaw trombone

Jeremy Beck Academic 1

Rick Burkhardt King Hrothgar/piano

Lisa Clair Academic 3

Jason Craig Beowulf

Anna Ishida Warrior vocals

Jessica Jelliffe Academic 2

Sam Kulik guitar

Mario Maggio clarinet/bass clarinet

Blake Newman bass

Andy Strain trombone

Shaye Troha Warrior vocals

Pete Wise drums

Text and lyrics Jason Craig

Music Dave Malloy

Co-directors Rod Hipskind and Mallory Catlett

Lighting designer Miranda Hardy

Music director Rick Burkhardt

Sound designer Charles Shell

Choreography Shaye Troha and Anna Ishida

Costume designer Sf Buffoons and Enver Chakartash

Production stage manager Kelly Shaffer-Allen

Dramaturgy Mallory Catlett

Assistant lighting designer Eileen Goddard

Sound engineer Jason Sebastian

Beowulf –A Thousand Years of Baggage


Co-artistic directors Jason Craig and Jessica Jelliffe

Managing producer Laura Roumanos

Tour agent Menno Plukker Theatre Agent:

Menno Plukker and Sarah Rogers

Production photographs Laetitia Thomas

The performance lasts 1 hour 10 minutes

Beowulf — A Thousand Years of Baggage, created in 2008, was given its world premiereby The Shotgun Players, Berkeley, California (Patrick Dooley, artistic director; Elizabeth Lisle,managing director), and has since toured to the Abrons Arts Center in association withPS122, the NYC Parks SummerStage Festival and Joe’s Pub in New York, Berkeley Rep’sRhoda Theater, the Lion d’Or Theater as part of Les Escales Improbables in Montreal,Quebec, America Repertory Theater’s 2011 Emerging America Festival in Cambridge,Massachusetts, the 2011 Kilkenny Arts Festival, Assembly’s Dans Paleis Spiegeltent at the2011 Edinburgh Festival Fringe and the 2013 Adelaide Festival. Later this week Beowulfwill be performed in the Mayfest, Bristol, in association with the Bristol Old Vic. Beowulfwas awarded a Herald Angel and the Will Glickman Award.

Special thanks to all the artists who have previously worked on Beowulf: Jahana Azodi, Jen Baker, Gelsey Bell, Chris Broderick, Dan Bruno, Kaibrina Buck, Catherine Coffey, Sarah Engelke, Ezra Gale, Cameron Galloway, Benjamin Geller, Sig Hafstrom, Simon Hanes, John Hanes, Angela Hsu, Birgit Huppuch, Christopher Kuckenbaker, Molly McAdoo, Andre Nigoghossian, Eva Peskin, Annie Scott, Kristen Sieh, Scott Sowers,Ken Thomson, Brian Thompson, Paloma Wake, Pinky Weitzman, Brendan West, Beth Wilmurt, Hanah Zahner-Isenberg. Thanks too to all donors.


The Anglo-Saxon epic poem Beowulf opens with a call for our attention:Hwaet! We Gar-Dena in geardagum, þeodcyninga þrym gefrunon (‘Listen!We have heard tell of the Spear-Danes in days gone by, of the glory of thekings of that people’). The audience is a community of listeners who sharein the legendary past into which they are plunged. It is a time of kings andfeuds, heroes and monsters, bygone days (geardagum) in which noblemenperform courageous deeds in pursuit of fame and glory. Despite WoodyAllen’s famous quip in Annie Hall — ‘just don’t take any class where youhave to read Beowulf’ — the poem remains a firm favourite of Englishliterature courses, and in the past few decades it has enjoyed something ofa renaissance in the popular imagination. From Seamus Heaney’s award-winning translation to the film blockbuster starring Ray Winstone andAngelina Jolie, Beowulf has succeeded in capturing and holding ourattention from its first exclamatory Hwaet! over a thousand years ago.

The poem survives in a single manuscript copy in the British Library, knownas Cotton Vitellius A XV. The manuscript dates from c1000 and narrowlyescaped destruction in an 18th-century library fire, its singed edges telling a tale of peril just as epic as Beowulf’s final fight with the fire-breathingdragon. The poem is written in the earliest form of English: Anglo-Saxon (orOld English, as it is often known), a Germanic language with a rich word-hoard for describing the warrior culture at its heart, from the treasuredispensed by the lord to his loyal retainers to the battle-gear donned by thehero when he faces his enemy, be they human or monster.

Although scholars can date the manuscript in which the poem was writtendown, very little can be said for certain about the identity or origins of theauthor and his subject matter. We do know that the poem was written by a Christian poet, but he was looking back into the pagan past of a storyset across the sea in Scandinavia. Just as we are looking back into historywhen we read the poem, so too was the Anglo-Saxon poet and hisaudience. Where many modern encounters with the poem take placewithin the pages of a book, the Anglo-Saxon experience of poetry was asan oral performance. Poems such as Beowulf were composed orally, oftenout of pre-existing material, and then written down at a later date. We areasked to listen by the poet, who reshapes his material for each individualperformance. In Beowulf itself the poet (or scop in Anglo-Saxon) is depicted

Beowulf and his LegendaryWorld


as a thane of the king who tells stories in the hall, the centre of Anglo-Saxon society, often with his harp for musical accompaniment, both toentertain his audience and to recall into the present the heroes andmonsters of the past. The scop is the community’s memory and it is his jobto make those memories come alive — for the audience to look out into thedarkness and wonder if there is a monster like Grendel stalking the moorsto this day.

Like most Anglo-Saxon poetry, Beowulf is untitled in the manuscript but itsmodern name draws attention to its unifying thread: the hero. The poem isstructured round his three battles with monsters: Grendel, Grendel’s Motherand the dragon. The demon Grendel has been terrorizing the hall ofHrothgar, the king of the Danes, for 12 winters, tearing his warriors limbfrom limb and feasting on their flesh in a grotesque parody of the hall feast.Beowulf, a young warrior from the kingdom of the Geats, has heard tell ofHrothgar’s troubles and he travels across the sea to rid the kingdom of itsmonster. Renouncing weapons to fight mano a mano with Grendel, Beowulffulfils his heroic boast and is victorious. In a delightfully visceral combat, herips the monster’s arm off, seonowe onsprungon / burston banlocan(‘sinews sprung apart, bone-locks burst’) and Grendel flees back to his lair,leaving a trail of blood as his life slips away.

Unfortunately the Danes’ celebrations are short lived as Grendel’s Motherarrives at the hall the following evening to exact revenge for her son’s deathby killing one of Hrothgar’s retainers, an act that when committed by amonster is an atrocity but that was a regular occurrence in a society offeuding tribes. Beowulf valiantly sets out for Grendel’s Mother’s mere and,diving down into the depths, kills her without a second thought.

Fast forward 50 years and Beowulf is the king of the Geats, an embattledpeople trapped in an endless cycle of feuding with the Swedes, and ourhero faces his final monster fight. When a thief steals a cup from a treasurehoard, the wrath of a dragon is awoken and Beowulf’s hall is burnt to theground. The aged warrior sets out to defeat the dragon, but although he isable to wound the beast, his youthful days of heroism are over and hereceives a mortal wound in return. Both hero and monster perish, leavingthe Geats without a leader, facing a future of inevitable war and death.

However, early scholars did not read the poem as a story of epic monsterfights. It was seen as a historical document or linguistic curiosity, scarcelyconsidered for its poetic quality, much less for its monsters, until in 1936 a


lecture was delivered by none other than J.R.R. Tolkien. ‘Beowulf: TheMonsters and the Critics’ revolutionized scholarly understanding of the poemand put the monsters back where they belonged: at the centre of the poem’sinterest. Of the dragon — a forerunner of Smaug, his own creation in TheHobbit — Tolkien wrote, ‘whatever may be his origins, in fact or in invention,the dragon in legend is a potent creation of men’s imagination, richer insignificance than his barrow is in gold’. Anglo-Saxon poetry was a richtreasure hoard for Tolkien’s own fantasy creations and he took inspiration fromits language, culture and story-telling throughout The Lord of the Rings. TheRiders of Rohan are indebted to Anglo-Saxon warrior culture, even down tothe names of the characters and their hall. The name of their king, Theoden,is taken from the Anglo-Saxon word for prince (þeoden, the letter ‘þ’ is our‘th’) and the Golden Hall of Meduseld is the Anglo-Saxon mead-hall (meodu-sele) re-created. The patrilineal identity of Eomer, son of Eomund, andAragorn, son of Arathorn, owes much to Beowulf’s identification of a warriorby his kin, Beowulf son of Ecgtheow, Hrothgar son of Healfdane.

The language of Beowulf is often seen to be as alien as the monsters thatstalk its pages, but its core vocabulary is still the foundation modern English— modor and faeder (mother and father), cyning and cwen (king andqueen), sweord and scyld (sword and shield). For the Irish poet SeamusHeaney it was the word þolian (‘to suffer’ or ‘to endure’) that was his key tothe poem. In the introduction to his 1999 translation, Heaney speaks of thepoem as ‘part of my voice-right’, a conclusion that he came to when herecognized the fossilized remains of þolian in the word ‘thole’ in theIrish–English dialect of his own family. ‘They’ll just have to learn to thole[suffer]’, he reports his aunt saying. ‘þolian opened up my right of way as atranslator’, Heaney declared, and subsequent readers have found their ownright of way into the poem, reinterpreting it through art, film and performance.From graphic novels to illustrated children’s books, blockbuster movies to stopmotion Lego animation on YouTube, the poem’s monsters and heroes are stillbeing reimagined and rewritten for the contemporary world, just as they werefor Anglo-Saxon England.

The motion-capture animated movie of Beowulf (2007), starring RayWinstone (Beowulf), Antony Hopkins (Hrothgar) and Angelina Jolie (Grendel’sMother), does more than most to recast the narrative for the present day. Inthe poem Beowulf defeats Grendel’s monstrous mother and the dragonappears out of the mists of time as his final nemesis; but in the film Winstone’sEast End ‘tough guy’ Beowulf kills the ‘monsta’ Grendel but cannot resist thesexual temptation of the mother. No longer a monstrous hag but instead a


seductive shapeshifter, Jolie emerges out of the mere, dripping with gold likean Anglo-Saxon Bond Girl; rather than kill her, Beowulf is tempted by heroffer of everlasting fame and the crown if he will give her another son toreplace the one he has taken. Jolie tells him that ‘a man like you could ownthe greatest tale ever sung. Your story would live on when everything nowalive is dust’. Beowulf cannot resist and, fantastically, the dragon is born oftheir union and Beowulf’s ‘son’ then revisits his father’s sins upon the wholecommunity.

In the film Beowulf’s hunger for celebrity status leads to sexual indiscretion andtragedy, but in the poem fame is the motivation and reward for ellendaedum(‘courageous deeds’). The Anglo-Saxon poem ends with Beowulf’s peoplemourning at his funeral pyre and its final word on the eponymous hero is thathe was lofgeornost (‘most eager for fame’). That the poem continues to beread, sung and rewritten to this day is testimony to that fame and to ourenduring fascination with Beowulf’s legendary world of heroes, kings anddragons.

© Laura VarnamLaura Varnam is a lecturer in Old and Middle English literature at University College, Oxford

Tweet us a rapid review for your chance to win Festival tickets.Simply @brightfest for us to see your review. If we like it we’ll retweet it. Can you get it all in one tweet? Here’s the challenge. You can even throw in a hashtag for good measure – #BF2013

If your review is retweeted by @brightfest you will win a pair of tickets.Happy tweeting!

brightfest


Biographies

Banana Bag & BodiceFounded in 1999, Banana Bag & Bodice is a Brooklyn-based collaborative that creates showsbased on original writing, musical composition and collective design. Its objective is to entertainand provoke through dysphorian humour, its elastic approach having one common goal: tocelebrate and expose the inspiring awkwardness of being human. Its shows vary in style andscope from large-scale spectacles (Sandwich, a musical about killing animals) to intimateeveryday portraits (Space//Space, a sci-fi study of claustrophobia), yet each mixes music andtext with titillating irreverence and whimsy. The company is known for an intricate and complexdesign formed from discarded materials found in off-Broadway dumpsters (skips). In New York itswork has been presented at PS122, the Ontological-Hysteric Theatre, the OHIO, the CollapsableHole and the Abrons Arts Center and has toured nationally and internationally to San Francisco,Boston, Montreal, Kilkenny, Dublin, Edinburgh and Adelaide.

Molly Bashaw tromboneMolly Bashaw was born in 1978 in Malone, New York, and grew up on small farms inMassachusetts and upstate New York. After receiving degrees in trombone performance andEnglish from the University of Rochester, she continued her studies under Abbie Conant at theStaatliche Hochschule für Musik in Trossingen, Germany. She has performed professionally in a variety of ensembles and is also currently the poet-in-residence at Phillips Exeter Academy inExeter, New Hampshire.

Jeremy Beck Academic 1Jeremy Beck was last in the UK ten years ago with Joe Calarco’s four-man Shakespeare’s R&J,which was presented in Bath and Coventry, and at The Arts Theatre, London. He is an alumnus of the British American Drama Academy’s ‘Midsummer In Oxford’ programme; a graduate ofJames Madison University, Virginia; and a member of The Actor’s Company Theatre, New York.His regional stage credits include Quartermaine’s Terms at the Williamstown Theatre Festival. Hisnumerous New York productions include adaptations of Hamlet, Lope de Vega’s The Dog in theManger, and Wagner’s Ring cycle (in which the characters wrestled, WWE-style, instead ofsinging) with Dave Dalton; and collaborations with Mallory Catlett (a deconstruction of Richard IIin J.P. Morgan’s Wall Street penthouse), Jessica Jelliffe and Jason Craig.

Rick Burkhardt King Hrothgar, piano, music directorRick Burkhardt is an Obie Award-winning playwright, performer, composer and songwriter whoseoriginal chamber music, theatre and text pieces have been performed in over 40 cities in theUSA, as well as in Europe, Mexico, Canada, Taiwan, Australia and New Zealand. He is afounding member of the Nonsense Company, a touring experimental music and theatre trio, andthe songwriter and accordionist for the Prince Myshkins, a political cabaret–folk duo whoseoriginal songs have been performed and recorded by musicians worldwide. He lives in Brooklyn.

Mallory Catlett co-director, dramaturgMallory Catlett is a cross-discipline director of performance who has been working with BananaBag & Bodice since 2005. In the past year she directed Dread Scott’s performance installationDread Scott: Decision at the Brooklyn Academy of Music and City Council Meeting, a pieceperformed by its audience, made locally in Houston, Arizona, New York and San Francisco. Herforthcoming opera projects include Tarik O’Regan’s The Wanton Sublime for American OperaProjects; Stefan Weissman’s Scarlet Ibis for HERE/Prototype; and James Maxwell’s Little Crimes forRestless and Vancouver New Music. This Was The End, her adaptation of Uncle Vanya, will haveits premiere at the Chocolate Factory Theater, New York, next year.


Enver Chakartash co-costume designerEnver Chakartash is a costume designer and performer based in New York. He began workingwith Banana Bag & Bodice last year, designing Space//Space. He is a company member ofThe Wooster Group, for which he co-ordinated costumes for North Atlantic, Vieux Carré andHamlet. In other Group productions, he was costume designer and performer in Early Plays,directed by Richard Maxwell, and Assistant for Costumes for Troilus and Cressida. His othertheatre credits include designing costumes for and performing in Big Rob’s Barbecue, directedby Stiven Luka; and designing the costumes for Git for TheatreState, The Little Chaos, directedby Stiven Luka, Three Sisters, adapted and directed by Rosie Goldensohn, and Seagull(Thinking of You) for Half Straddle, directed by Tina Satter. His film work includes the costumesfor Fish Will Bite, directed by Stiven Luka.

Lisa Clair Academic 3Lisa Rafaela Clair is a New York-based performer whose credits include Evelyn at the BushwickStarr, New York; AutoMotive at Performance Space 122, New York; and The Material Worldat Dixon Place, New York. This year she is an artist-in-residence at The University SettlementHouse, New York, with her play Yeh, I’ve Been Searchin’. Her other plays have been presentedat the IRT Theater and Dixon Place, New York. She performed for several seasons with theThéâtre de la Jeune Lune in Minneapolis, has appeared in several films and commercials, and isa graduate of Bard College, New York.

Jason Craig Beowulf, lyricsJason Craig is a co-founder and the Co-Artistic Director of Banana Bag & Bodice (BB&B), forwhich he is a writer, performer, set designer and technical director. His work with BB&B haswon him national and international awards, and has kept him busy for the last 13 years. Hiscommissions elsewhere include Beardo with Shotgun Players in Berkeley, California; Oh WhatWar with Mallory Catlett for Juggernaut Theatre, which was presented at Here Arts Space,New York; and Gogol: A Clown Opera for the inauguration of The Exit on Taylor at the ExitTheatre, San Francisco.

Eileen Goddard assistant lighting designerEileen Goddard is a lighting designer and technician who has been based in New York for thepast seven years. Banana Bag & Bodice is the first company she worked with in New York.She also works as a writer, artist and jewellery designer.

Miranda Hardy lighting designerMiranda Hardy is a visual artist and lighting designer based in Portland, Oregon. Her workwith light has been for theatre, opera, dance, live music, museums and corporate events. She isa member of the performance-by-design collective TENT and has affiliations with Banana Bag & Bodice and Latitude 14, as well as being a co-founder of tinyelephant, a studio dedicated tothe performing object.

Rod Hipskind co-directorRob Hipskind is a freelance photo stylist, art director, actor and director. His work with BananaBag & Bodice includes The Young War, The Sewers and The Fall and Rise of the Rising Fallen.As a company member of foolsFURY, he directed The Turn of the Screw and Twelfth Night andperformed in Don Delillo’s Valparaiso and the American premiere of The Devil on All Sides. AsArtistic Director of the underground ensemble Wit’s End, he directed Eric Overmeyer’s On theVerge and adapted Georg Büchner’s Woyzeck. He completed the scenic design for the WestCoast premiere of Charles Mee’s Gone for Crowded Fire Theater Company and forMugwumpin’s premiere of And I Need That. This is All I Need.


Anna Ishida Warrior vocalsBorn in Tokyo and raised in the San Francisco Bay Area, Anna Ishida is the star of H.P. Mendoza’sarthouse horror film I Am a Ghost, which won numerous awards last year and is currently up fordistribution. She was an original cast member of Beowulf and has also worked with Dave Malloyand Jason Craig on Beardo, loosely based on the life of Rasputin. She is a graduate of thePacific Conservatory of the Performing Arts, California, and Mills College in Oakland, California,and completed the 30th Annual Shakespeare & Company month-long training programme inLenox, Massachusetts. Last year she won the San Francisco Bay Guardian Outstanding LocalDiscovery Award for Theater.

Jessica Jelliffe Academic 2Jessica Jelliffe is the Co-Founder and Co-Artistic Director of Banana Bag & Bodice. She has beencollaborating on and performing in each of its shows since 1999; her additional roles for thecompany include design, direction, company management and production management. Herperforming credits elsewhere include Shadows for Hoi Polloi, New York; Oh What War and As You Like It for Restless Productions, New York; Valparaiso, Attempts On Her Life and Jacquesand His Master for foolsFURY, San Francisco; History of the World Part IV for gALE gATES et al,New York; and Gogol: A Clown Opera at the Exit Theater, San Francisco.

Sam Kulik guitarBorn in Worthington, Massachusetts, Sam Kulik works as a trombonist, bassist and guitarist withan exciting throng of bands in New York. His own project, Escape From Society, is an album ofsong-poems based on lyrics he was sent by strangers on Craigslist. He also co-wrote andperformed the psychedelic opera Talibam! & Sam Kulik Discover AtlantASS, which was releasedon CD with a 30-page comic book and staged last year at the Ontological-Hysteric Theater,New York. He plays bass in the prog band Starring and the Iranian funk band Mitra Sumara,and plays trombone with David First’s The Western Enisphere, Skeletons Big Band, Johnny Societyand in recent theatre works by Cynthia Hopkins and The Talking Band. He has also performedand recorded with John Zorn, Amanda Palmer and Anthony Braxton.

Mario Maggio clarinet, bass clarinetMario J. Maggio is a multi-instrumentalist and composer who currently lives in the Catskill mountainsof New York. Most of his time is spent performing and touring with various bands and projects; heplays hot clarinet with the traditional jazzers Jessy Carolina & The Hot Mess and Old Fish JazzBand. He plays lap steel, a home made chair-guitar and tenor sax with the mutant soul band PC Worship. He is a singer, guitarist and composer for the weirdo dark folk group Ommie Wise.

Dave Malloy composerDave Malloy has written music for seven musicals, most recently Natasha, Pierre and the GreatComet of 1812, an electro-pop opera based on War and Peace that won the Richard RodgersAward and was on the Best of 2012 lists of the New York Times, Time Out, New York magazineand the New York Post. His other musicals include Beardo, Sandwich and Clown Bible. He isalso one of the co-creators and performers of Three Pianos, a drunken romp through Schubert’sWinterreise which won an OBIE Award, and the winner of a Jonathan Larson Grant and theNEA/TCG Career Development Program for Theatre Designers. He was the 2011 composer-in-residence at Ars Nova; has been a Guest Professor in devised music theatre at Princeton andVassar; and has been the composer for Banana Bag & Bodice since 2002.


Blake Newman bassBlake Newman’s engagements include Oedipus, Orpheus X and Julius Caesar for the AmercianRepertory Theater; John Kelly’s Paved Paradise: The Music of Joni Mitchell for Theater Offensive,Hammer Museum, Real Artways and Bard College, New York; a tour of Senegal with IbrahimaCamara and Safal; and appearances at the Edinburgh International Festival, the Hong KongInternational Festival of the Arts, the Festival d’Automne (Paris), Festival Iberoamericano (Bogotá)and Theatre For a New Audience. He plays and records with Gamelan Galak Tika and hasperformed at Carnegie Hall and Alice Tully Hall, New York. He composed the score for the playAs If We Live To Bear No Scars for As If Theater and is the bassist with the Jeff Robinson Trio, theRevolutionary Snake Ensemble, MusAner, the Daniel Bennett Group and Agachiko.

Jason Sebastian sound engineerJason Sebastian has been working freelance in film, theatre and music for the last 14 years. Hiscredits include The Select (The Sun Also Rises) and Gatz for Elevator Repair Service; designingand composing with Tara O’Con and Red Metal Mailbox; and composing the music for Rodsand Cables for 3-Legged Dog. He engineered and mixed slow/dynamite’s the mountains are ourpeople, released on a limited-edition double vinyl disc, and he designed the sound for Within Usat Performance Space 122 for MVWorks. He is currently working on a new project with TaraO’Con and MVWorks at the Chocolate Factory Theater, New York.

Charles Shell sound designerCharles Shell is a designer, and recording and mixing engineer based in New York. His sounddesign credits include The Two Noble Kinsman and King John for The Guerrilla ShakespeareCompany; Parts Are Extra and Tinder for Christina Campanella and Peter Norrman; BOTCH andHypatia with Joe Diebes; and Hoi Polloi for All Hands. This year he became Head of Audio atthe Lincoln Center Theater’s new Claire Tow Theater. He also plays bass and guitar for variousbands and theatre projects.

Andy Strain tromboneAndy Strain was a classical musician in various orchestras and chamber ensembles throughoutGermany, Mexico and the USA before discovering his passion for Young Audience Performances.He writes and performs shows for young people of all ages, centred on storytelling andimprovisation. He leads two after-school SHOUT! brass bands for middle-schoolers in Oakland,California, and is a brass instructor in schools and at his studio. He has toured with Banana Bag& Bodice and the musician Johanna Newsom since 2010.

Shaye Troha Warrior vocalsShaye Troha has co-choreographed and been an original cast member in Banana Bag & Bodice’sBeowulf — A Thousand Years of Baggage since its premiere in 2008. She is an acting, directingand producing alumnus member of San Francisco’s acclaimed comedy troupe Killing My Lobster,having performed at the New York, San Francisco and Vancouver Sketch Comedy Festivals and theAmerican Conservatory Theater, among others. Her other theatre credits include appearances at the2007 and 2009 NYC Fringe; and In the Wake at the Berkeley Repertory Theater, the San FranciscoPlayhouse and PCPA Theatrefest at the Pacific Conservatory of the Performing Arts, of which she is agraduate. Her films include Holiday Road (selected for the 2011 Slamdance Film Festival).

Pete Wise drumsPeter Wise grew up playing music in Stockbridge, Massachusetts, and studied percussion at theEastman School of Music and the State University of New York at Stony Brook. Currently based inHudson, New York, and the Berkshires, he plays with an eclectic variety of ensembles, includingNewspeak, Oliphant, J.G. Thirlwell’s Manorexia and Banana Bag & Bodice. He is one of the co-founding artistic directors of the Berkshire Fringe, a theatre, dance and music festival in GreatBarrington, Massachusetts. He is also a founding member of Kickwheel Ensemble Theater, mostrecently composing music and designing the sound for Dark: An End of the World Play withMusic and an Exercise Bike.


Brighton Dome & Brighton Festival

Brighton Dome & Brighton Festival is a registered charity that runs the year-round programme at BrightonDome (Concert Hall, Corn Exchange and Studio Theatre) as well as the three-week Brighton Festival thattakes place in venues across the city.

ChairMs Polly Toynbee

Board of Trustees Ms Pam Alexander, Cllr Geoffrey Bowden, Mr Donald Clark, Prof. Julian Crampton, Mr Simon Fanshawe, Mr Nelson Fernandez, Prof. David Gann, Mr David Jordan, Mr Alan McCarthy, Cllr Mo Marsh, Mr Dermot Scully, Ms Sue Stapely

Producing Brighton Festival each year is an enormous task involving hundreds of people. The directors would like tothank all the staff of Brighton Dome and Festival, the staff team at our catering partners Peyton & Byrne, the staff atall the venues, the volunteers and everyone else involved in making this great Festival happen.

Chief Executive Andrew CombenPA to Chief Executive Heather Jones

Senior Producer Tanya Peters

Brighton Dome & Brighton Festival Artistic PlanningMusic Producer Laura DucceschiTheatre Producer Orla FlanaganProgramming Coordinator Martin Atkinson, Rosie CraneProgramme Manager Jody YebgaVenue Diary Manager Lara Hockman

Brighton Festival Artistic Planning and ProductionProduction Manager, External Venues Ian BairdProduction Manager, Outdoor Events Polly BarkerProducing Assistant Charlotte BlandfordAssociate Producer Sally CowlingFestival Classical Producer Gill KayLiterature and Spoken Word Producer Mathew ClaytonArtistic Planning Volunteers Maddie Smart, Martha Bloom, Grace Brannigan, Chloe Hunter Volunteer Coordinator Melissa PerkinsPeacock Poetry Prize Volunteer Annie Tomlinson

Learning Access and ParticipationHead of Learning Access and Participation Pippa SmithCreative Producer/26 Letters Programmer Hilary CookeLearning Access and Participation Manager Rebecca FidlerLearning Access and Participation Assistant Alex EppsLearning Access and Participation Volunteer Coordinator Kelly Turnbull

Director of Development Barbara MacPherson

Development and MembershipTrusts and Foundations Associate Carla PannettDevelopment Manager (maternity leave) Sarah ShepherdDevelopment Officer Ceri EldinMembership Officer Kelly DaviesDevelopment Administrator Dona CrisfieldDevelopment Communications Volunteer Patricia Nathan

Director of Finance and Deputy Chief Executive Amanda Jones

FinanceManagement Accountant Jo DavisSenior Finance Officer Lizzy FulkerFinance Officers Lyndsey Malic, Carys Griffith, Donna Joyce

Human ResourcesHuman Resources Officer Kate TelferAdministrative Assistant (HR) Emma CollierHuman Resources Volunteer Melissa Baechler

Contracts and Information TechnologyHead of Management Information Systems Tim MetcalfeContracts Manager Gwen AveryICT Support Officer Paul SmithAdministrative Assistant (Contracts) Cathy Leadley

Director of Marketing Carole Britten

Marketing and PressPress and PR Manager Nicola JeffsHead of Press (maternity leave) Shelley BennetMarketing Manager Marilena ReinaSenior Marketing Officer (maternity leave) Georgina HarrisActing Senior Marketing Officer Carly BennettMarketing Officer James BartonFreelance Marketing Officer Rasheed RahmanSenior Press Officer Chris ChallisDesign and Print Production Officer Louise RichardsonDigital and Administrative Officer Annie WhelanBroadcast PR Anna ChristoforouFestival Photographer Victor FrankowskiMarketing Volunteers Muna Amor, Alice GarsideDesign Volunteer Jason WilkinsonPR Volunteer Elizabeth Hughes

Ticket OfficeTicket Services Manager Steve CottonDeputy Ticket Services Manager Steve BennettTicket Services Supervisor Phil NewtonSenior Ticket Services Assistant Dom PlucknettTicket Services Assistants Laura Edmans, Emily Adams, Marie-Claire De Boer, Jacqueline Hadlow, Josh Krawczyk, Bev Parke, Florence Puddifoot, Jamie Smith, Caroline Sutcliffe

Brighton Dome & Brighton Festival Staff


ProgrammesEditor Alison Latham | Biographies editor Oliver Tims | Design Heather Kenmure 020 7931 7639 | All articles are copyright of the author

Director of Operations Maxine Hort

ProductionHead of Production Rich GarfieldEvent Production Manager Olly OlsenOperations Production Manager Kevin TaylorProduction Coordinator Erica DellnerConcert Hall Senior Technician Nick Pitcher, Sam WellardCorn Exchange Senior Technician Andy FurneauxStudio Theatre Senior Technician Beth O’LearyTechnicians Jamie Barker, Sam Burgess, Bartosz Dylewski, Scott McQuaide, Jem Noble, Adam Vincent, Seth Wagstaff, Csaba Mach,Mike Bignell, Al Robinson, John Saxby, Jon Anrep, Chris Tibbles, Dan Goddard, Nick Goodwin, Nick Hill, Philip Oliver, Peter Steinbacher, Christos Takas, Youssef El-Kirate, Daniel Harvey, Marc Beatty, Rebecca Perkins, Owen Ridley, Graham Rees, Eliot Hughes, Matt Jones, James Christie, Robert Bullock

Conference and Event SalesBusiness Development Manager Donna MillerConference and Event Sales Manager Delphine CassaraMarketing Assistant Helen Rouncivell

MaintenanceMaintenance Manager John RogersMaintenance Supervisor Chris ParsonsMaintenance Plumber Colin BurtMaintenance Apprentice Matthew Ashby

Visitor ServicesHead of Visitor Services Zoe CurtisVisitor Services Manager Sarah WilkinsonEvent Managers Morgan Robinson, Tim Ebbs, Simon Cowan, Josh WilliamsDuty Event Managers Jamie Smith, Adam SelfVisitor Services Officer Emily CrossSenior Visitor Services Assistant Kara Boustead-HinksVisitor Services Assistants Peter Bann, Graham Cameron, Melissa Cox, Anja Gibbs, Valerie Furnham, David Earl, Andrea Hoban-Todd, Tony Lee, Jules Pearce, Joe Pryor, Alex Pummell, Josh Rowley, Thomas Sloan, Adam Self, Claire Swift, Carly West, Nicky Conlan, Matt Freeland, Matthew Mulcahy, Richard Thorp, Emily CrossVisitor Services Volunteer Coordinator Lizzy Leach

Front of HouseFront of House Manager Ralph CorkeFront of House Supervisors Bernard Brown, Kara Boustead-Hinks, Bill Clements, Gabi Hergert, John Morfett, Jeff Pearce, Betty Raggett,Michael Raynor, Adam Self

Stewards and SecurityPaul Andrews, David Azzaro, Peter Bann, Janey Beswick, Hannah Bishop, Jim Bishop, Penny Bishop, Andy Black, Sarah Bond, Sara Bowring, Alice Bridges, Frank Brown, Andy Buchanan, Johanna Burley, Carole Chisem, Julian Clapp, John Clarke, Tricia Clements,Joyce Colivet, NIcky Conlan, Mary Cooter, Fraser Crosbie, Darren Cross, John Davidson, Marie-Clare De Boer, Lawry Defreitas, Paddy Delaney, Emma Dell, Kathy Dent, Judi Dettmar, Alan Diplock, Melanie Dumelo, Maureen East, Jan Eccleston, Abigail Edwards,Daniel FlowerDay, Maria Foy, Valerie Furnham, Betty Gascoigne, Anja Gibbs, Vivien Glaskin, Matt Goorney, Debbie Greenfield,Louise Gregory, Ellie Griffiths- Moore, Paul Gunn, Gillian Hall, Kezia Hanson, Thomas Haywood, Martin Henwood, Al Hodgson, Mike Hollway, Peter Holmes, Frances Holt, Tony Jackson, Emily James-Farley, Mick Jessop, Julie Jones, Mark Jones, Julia Jupp, Jim Killick, Kev Koya, Jon Lee, Emma Levick, Ady Limmer, Samatha Lucus, Vicki Lywood-Last, Carol Maddock, Ivica Manic, Tania Marsh,Carole Moorhouse, Nick Morgan, Lisa Murray, Richard Nast, Mlinh Nguyen, Paley O’Connor, Brendan O’Meara, Lucy Paget, Simon Pattenden, Jules Pearce, Noele Picot, Rachel Potter, Will Rathbone, Grant Richie, Jenny Ridland, Ruth Rogers, Joshua Rowley, Eve Saunders, Rossana Schaffa, Laura Scobie, Samantha Sharman, Joe Simmons-Issler, Caroline Smith, Graham Smith, Jamie Smith, Alex Sparham, Sheila Stockbridge, Richard Thorp, Brigitt Turner, Carly West, Geraldine White, Cicely Whitehead, Geoff Wicks, Linda Williams.

Brighton Dome & Brighton Festival


BB&B Beowulf – A Thousand Years of Baggage · Sam Kulik guitar Mario Maggio ... Lighting designer...

Documents

Transcript of BB&B Beowulf – A Thousand Years of Baggage · Sam Kulik guitar Mario Maggio ... Lighting designer...