Wednesday, November 9, 2016 at 7:00 pm
Thursday–Friday, November 10–11, 2016 at 7:00 and 9:00 pm
Saturday, November 12, 2016 at 3:00, 7:00, and 9:00 pm
All That Fall
By Samuel Beckett
Pan Pan Theatre
Gavin Quinn, Director
Aedín Cosgrove, Set and Lighting Designer
Jimmy Eadie, Sound Designer
VOICES
Áine Ní Mhuirí, Mrs. Rooney
Phelim Drew, Christy
Daniel Reardon, Mr. Tyler
David Pearse, Mr. Slocum
Robbie O’Connor, Tommy
John Kavanagh, Mr. Barrell
Judith Roddy, Miss Fitt
Nell Klemenčič, Dolly
Andrew Bennett, Mr. Rooney
Joey O’Sullivan, Jerry
This performance is approximately 70 minutes long and will be performed without
intermission.
These performances are made possible in part by the Josie Robertson Fund for Lincoln Center.
The Duke on 42nd Street
a NEW 42ND STREET ® project
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Please make certain all your electronic devices
are switched off.
MetLife is the National Sponsor of Lincoln Center.
UPCOMING WHITE LIGHT FESTIVAL EVENTS:
Artist Catering provided by Zabar’s and Zabars.com
Thursday–Saturday, November 10–12 at 8:00 pm at
Baryshnikov Arts Center, Jerome Robbins Theater
(T)here to (T)here (World premiere)
Liz Gerring Dance Company
Liz Gerring, choreographer
In collaboration with Kay Rosen
Dancers: Brandon Collwes, Joseph Giordano, Pierre
Guilbault, Julia Jurgilewicz, Claire Westby
Post-performance discussion with Liz Gerring on
November 11
Co-presented by Lincoln Center’s White Light
Festival and Baryshnikov Arts Center
American Airlines is the Official Airline of Lincoln
Center
Nespresso is the Official Coffee of Lincoln Center
NewYork-Presbyterian is the Official Hospital of
Lincoln Center
“All That Fall” by Samuel Beckett is presented
through special arrangement with Georges
Borchardt, Inc. on behalf of The Estate of Samuel
Beckett. All rights reserved.
Saturday, November 12 at 7:30 pm in Alice Tully Hall
Venetian Coronation
Gabrieli (formerly Gabrieli Consort & Players)
Paul McCreesh, conductor
Works by ANDREA and GIOVANNI GABRIELI
Pre-concert lecture by Raymond Erickson at
6:15 pm in the Stanley H. Kaplan Penthouse:
“Prisoners in Their Own Palace: The Doges of
Venice”
Monday–Wednesday, November 14–16 at 7:30 pm
in the Gerald W. Lynch Theater at John Jay College
The Return of Ulysses
Handspring Puppet Company
William Kentridge, director
Ricercar Consort
Philippe Pierlot, musical director
MONTEVERDI: Il ritorno d’Ulisse in patria
Post-performance artist discussion on November 15
For tickets, call (212) 721-6500 or visit
WhiteLightFestival.org. Call the Lincoln Center Info
Request Line at (212) 875-5766 to learn about program cancellations or to request a White Light
Festival brochure.
Visit WhiteLightFestival.org for full festival
listings.
Join the conversation: #LCWhiteLight
We would like to remind you that the sound of coughing and rustling paper might distract the
performers and your fellow audience members.
In consideration of the performing artists and members of the audience, those who must leave
before the end of the performance are asked to do so between pieces. The taking of photographs
and the use of recording equipment are not allowed in the building.
Note on the Program
By Nicolas Johnson
The medium of radio exists on a strange
border, and Samuel Beckett continuously
exploits its paradoxes in the composition of
his radio plays. A voice comes to one in the
dark, and the voice is both intimate and
ubiquitous at once, the disembodied presence of a stranger in one’s own room. The
history of radio has both solitary and communal modes of listening: Although early
units required headphones, it was not long
before the wireless was a focal point for
family life and recreation in the years
before television. Though its pervasiveness
didn’t kill audio-only media, television has
made radio seem somehow old-fashioned.
Digital culture in the current century has
brought clearer sounds and more control,
for both senders and receivers—the compact disc, the laptop, and the podcast give
the user absolute control over selecting,
starting, and stopping the content. The conceptual innovation in Pan Pan’s stage production of All That Fall, Beckett’s first play
for radio (written at the BBC’s suggestion in
1956 and directed by Donald McWhinnie),
is thus really a throwback to its first broadcast on 13 January 1957: the fact that one
must appear at a particular time and place
in order to experience it. Today’s audiences
at All That Fall, like that of the original
broadcast, are no longer wholly in control,
and are listening together.
It may be seen as surprising that radio
broadcasting continues to flourish in the
21st century at all. Certainly, the reasons
are partly economic: Radio remains the
cheapest and most democratic form of
mass media, with low operating costs relative to the number of people one antenna
can reach. But the fact that television has
not fully supplanted radio suggests that
what audio-only broadcasting offers is substantively different than video, and apparently is even irreplaceable by internet.
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With only a few technological upgrades,
this century-old technology has survived
and maintained its own market, its own
loyal adherents, and its own reasons to be.
Why is this?
What is durable about radio as a broadcast
medium might be the same fundamental
principle that makes Beckett’s theater different: the expressive power of absence.
On the radio, it is precisely the invisibility
of the bodies, the uncertain origins of the
sounds, and the resulting instability of the
stage world that work together to activate
the imagination of the audience. The optimal way to experience radio drama, as
many listeners of the BBC Third
Programme did habitually when these
were first broadcast, was to sit in darkness
for the entire piece, turning one’s room
into a private theater. Radio heard like this
puts all the senses to work, because the
only stage is the mind. Such active listening is less and less common now, however, and the pace of life seems to agitate
against it. These radio plays have already
had radical adaptations each time someone has listened to them inattentively, has
walked into a different room of the house
and thereby cut them, has been distracted
by a phone call, or has driven in traffic
while listening to them. Against this drift,
Pan Pan has carefully shaped a listening
chamber that powerfully directs one’s
focus to the texts, Beckett’s thought, and
the performances of the actors. Director
Gavin Quinn and designer Aedín Cosgrove
have shaped the visual, tactile, and even
olfactory experience of the listeners in a
way that draws attention without disturbing the disembodiment that is so fundamental to the pieces.
Pan Pan’s faithfulness here to the sense
of “occasion” of early broadcast media—
a feature of Beckett’s own experience listening to the radio during the war, as well
as the experience of his first listeners—
complicates the inevitable questions of
authorial fidelity. Beckett’s opposition to
staging his radio plays is well known, and
in the 55 years since the original broadcast,
there have been a number of controversies
over performances of All That Fall in Great
Britain and worldwide. Writing to his
American publisher Barney Rosset on 27
August 1957, Beckett was adamant that
All That Fall is written “for voices not bodies,” and noted that his work for radio
depends on “the whole thing’s coming
out of the dark.” The same letter contains
a widely quoted dictum taken by some to
be his last word on adaptations: “If we
can’t keep our genres more or less distinct, or extricate them from the confusion
that has them where they are, we may as
well go home and lie down.” Nonetheless, there have been numerous stage
presentations of All That Fall since its
composition. There is also good evidence
that Beckett could not extricate his own
works from the confusion of genre as the
century wore on, and that for all his hyperawareness of form, Beckett’s thought
oscillated across many different media in
his own drafting process.
Pan Pan’s work—some of the most innovative and original in Ireland since the
company’s 1991 founding—is nothing if
not representative of the porous boundaries between visual art, sound art, theater
design, installation, live art, and performance. In this sense, Pan Pan’s experiments with Beckett point toward a new
horizon of the many possible future
Becketts, a living legacy that is open to the
imagination of alternatives while still being
conscious of what is integral to his radical
creations. Pan Pan is more alert than many
other companies to the increasingly obvious fact that the choice between pure
experimentation and keeping “faith” with
authorial intention is, like all binaries, a
Faustian bargain. It is not either/or, but
both/and: Pan Pan’s productions are still
partly “coming out of the dark,” and we
are also asked to “listen to the light.”
Nicholas Johnson is a director, performer,
and teacher who works internationally with
practice-based research on Samuel
Beckett. He is director of Painted Filly
Theatre and a co-founder of the Samuel
Beckett Summer School, both in Dublin.
He is an assistant professor of drama at
Trinity College Dublin.
—Copyright © by Nicholas Johnson
Meet the Artists
and most recently, Samuel Beckett’s
Cascando at Samuel Beckett Theatre.
Pan Pan Theatre
Pan Pan Theatre is a contemporary theater
company in Ireland, founded in 1991 by coartistic directors Aedín Cosgrove and Gavin
Quinn. Throughout their career they have
created 28 theater and performance
pieces, toured their work worldwide, and
received multiple national and international
awards, including the Herald Angel Award
at Edinburgh International Festival 2013.
Since its inception, Pan Pan has constantly
examined and challenged the nature of its
work and has resisted settling into welltried formulas. Developing new performance ideas is at the center of the company’s raison d’être, which is born from a
desire to be individual and provide innovation in the development of theater art. All
the works created are original, either
through the writing (original plays) or
through an idiosyncratic response to established writings. Pan Pan is committed to
presenting performances nationally and
internationally and developing links for coproductions and collaborations. The company has toured in Ireland, the U.K.,
Europe, the U.S., Canada, Korea, Australia,
New Zealand, and China. Pan Pan Theatre
is supported by the Arts Council of Ireland,
Culture Ireland, and Dublin City Council.
Gavin Quinn
Gavin Quinn is co-founder and co-artistic
director of Pan Pan Theatre. Highlights of
his directorial career include A Bronze Twist
of Your Serpent Muscles, which was
named Best Overall Production at the first
Dublin Fringe Festival in 1995; Mac-Beth 7,
which was nominated for the 2004 Irish
Times Theatre Award for Best Production;
The Rehearsal, Playing the Dane, which
won the 2010 Irish Times Theatre Award for
Best Production and Best Set Design; All
That Fall by Samuel Beckett, which won the
2011 Irish Times Theatre Awards for Best
Sound Design and Best Lighting Design;
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Mr. Quinn has also been prolific in directing
opera, with award-winning credits that
include The 4 Note Opera by Tom
Johnson, The Magic Flute, Hamelin by Ian
Wilson, Die Entführung aus dem Serail,
Così fan tutte, and Carmen.
Áine Ní Mhuirí
Áine Ní Mhuirí (Mrs. Rooney) began her
career at Abbey Theatre in Dublin, where
she appeared in The Loves of Cass
Maguire, The Plough and the Stars (with
which she toured the U.S.), and The Field.
Her most recent credits include the role of
Hermia in Abbey Theatre’s production of A
Midsummer Night’s Dream, directed by
Gavin Quinn, Ada in Embers, also directed
by Quinn, Maggie in Quirke: Christine
Falls, and Mrs. Byrne opposite Saoirse
Ronan in the film Brooklyn. Other recent
credits include the role of May alongside
Dawn Bradfield in Charlie McCarthy’s A
Swing for Jelly, directed by Aidan
Mathews, Ma in the RTÉ radio drama
Serenity, directed by Kevin Brew, and
Miranda in Oscar Night written by Alan
McMonagle and produced by Goretti
Slavin, all with RTÉ Radio Drama on One.
Phelim Drew
Phelim Drew (Christy) was born in Dublin
and studied at Gaiety School. His numerous stage appearances in Dublin include
The Rivals, The Shaughran, The Seafarer,
Bookworms, and Drum Belly at Abbey
Theatre; Pride and Prejudice at Gate
Theatre; The Plough and the Stars at
Gaiety Theatre; and recent national tours
of Port Authority for Decadent Theatre and
Abbey Theatre’s production of King Lear,
directed by Selina Cartmell. He has worked
with many of Ireland’s leading directors,
including Garry Hynes, Alan Stanford, and
Lynne Parker. Since making his film debut
in Jim Sheridan’s award-winning My Left
Foot (1989), his films have included Alan
Parker’s The Commitments and Angela’s
Ashes, Disney’s King Arthur, and Rupert
Wyatt’s The Escapist. His television credits
include Sharpe and Rough Diamond for the
BBC; The Clinic for RTÉ; and Val Falvey and
TD for Grand Pictures.
Daniel Reardon
Daniel Reardon’s (Mr. Tyler) previous work
with Pan Pan includes The Rehearsal,
Playing the Dane, A Doll House, and The
Seagull and Other Birds. His work with
Abbey Theatre includes Sive and A
Midsummer Night’s Dream. His other theater credits include The Mask of Moriarty
(The Gate), One Flew Over the Cuckoo’s
Nest, Philadelphia Here I Come, and many
more. He worked in the RTÉ Radio Drama
Department as a member of the RTÉ
Players as well as producer/director and
author of many radio plays including the
daily serial Riverrun. His stage plays include
Spenser’s Laye (Project Arts Centre, Cork
Opera House, and Edinburgh Festival), The
OK Thing To Do (Abbey/Peacock), All
Around My Head, Fun With Bamboo
(Bewley’s Café Theatre), and Bleeding
Poets (New Theatre), which was nominated for the Irish Times Theatre Award for
Best New Play. His poetry has been published in magazines and periodicals in
Ireland, the U.K., and the U.S. Mr. Reardon’s book, In the Lion House, was published by Gallery Press.
David Pearse
David Pearse (Mr. Slocum) played Egeus
and Peter Quince in the Abbey Theatre production of A Midsummer Night’s Dream,
directed by Gavin Quinn. His previous work
with Abbey Theatre includes She Stoops to
Conquer, Monsters Dinosaurs Ghosts, The
Hunt for Red Willie, and more. His other
theater work includes Woyzeck, How
These Desperate Men Talk (Corcadorca),
The Life of Galileo (Rough Magic Theatre
Company), Mud, Carshow and The Seagull
(The Corn Exchange), and The Cripple of
Inishmaan (Outer Critics Circle Award winner for Outstanding Featured Actor 2009).
Mr. Pearse’s film credits include Pursuit,
Zonad, 50 Dead Men Walking, Laws of
Attraction, Bloody Sunday, and Six Shooter
(Oscar winner for Best Live Action Short in
2006). His television credits include Vikings,
Rebel Heart, Little White Lie, Bachelor’s
Walk, Trivia, and more. Mr. Pearse studied
drama at Trinity College Dublin.
Robbie O’Connor
Robbie O’Connor (Tommy) received his
bachelor’s degree in acting from the Lir
Academy, Trinity College Dublin. His theater credits include PALS: The Irish at
Gallipoli, Boys of Foley Street, Laundry
(Best Production, 2011 Irish Times Theatre
Awards), World’s End Lane, and Down The
Valley. His other theater credits include
Rebel Rebel (national and international tour
2016), Hamlet (Second Age), End of the
Road (Fishamble), Come Forward to Meet
You (Upstate Theatre), and Tumbledowntown (Dublin Fringe Festival 2005,
Spirit of the Fringe Award). Mr. O’Connor’s
film, TV, and radio credits include
TinderFace, (The Lir) All Is By My Side
(Watchtower Productions), Civic Life/
Leisure Centre (Desperate Optimists),
Homecoming (RTÉ Radio), Hidden (BBC),
and Fair City (RTÉ).
John Kavanagh
John Kavanagh (Mr. Barrell) currently plays
the roles of the Ancient Seer and Pope Leo
X in the History Channel’s Vikings. Other
recent screen credits include the role of
Arturo Toscanini in Florence Foster
Jenkins, directed by Stephen Frears,
Grandad in Ciarán Dooley’s short film The
Great Wide Open, Derry Quinn in John
Butler’s The Stag, and the role of Inspector
Michaud in Charlie Stratton’s In Secret.
Further screen credits include The Invisible
Woman, directed by Ralph Fiennes,
Braveheart, directed by Mel Gibson, and
more. Mr. Kavanagh’s recent theater credits include the role of Lysander in A
Midsummer Night’s Dream at Abbey
Theatre, directed by Gavin Quinn, Father in
Aristocrats, directed by Patrick Mason at
Abbey Theatre, the Duke of Albany in King
Lear, directed by Selina Cartmell, also at
Abbey, and Drumm in Hugh Leonard’s Da
at Gate Theatre.
Theater Bonn. Mr. Bennett’s film and television credits include Angela’s Ashes,
Paths to Freedom, Pure Mule, Prosperity,
Foyle’s War, Noble, and The Stag.
Judith Roddy
Joey O’Sullivan
Judith Roddy (Miss Fitt) trained at the
Samuel Beckett Centre at Trinity College
Dublin, and at British American Drama
Academy, Oxford. Her previous work with
Pan Pan includes Everyone Is King Lear in
His Own Home, A Doll House, and The
Rehearsal, Playing the Dane. Recent theater work includes A Particle of Dread
(Derry Playhouse, New York’s Signature
Theatre), Pentecost (Lyric Theatre), The
Silver Tassie (National Theatre), Big Love
and The Dandy Dolls Trilogy at the Dublin’s
Peacock Theatre; and Blackbird at the
Galway Arts Centre. Ms. Roddy’s appearances at Abbey Theatre include Hedvig
Helmar in The Wild Duck, for which she
won the Irish Times Theatre Award for
Best Supporting Actress, The Wolf of
Winter, A Doll’s House, and Drama at Inish.
Her film and television credits include Love
is the Drug (RTÉ), Over the Wall, The Fall
(BBC), and Out of Innocence (Telegael/
Defiant Productions).
Joey O’Sullivan’s (Jerry) first feature film
was Stella Days with Martin Sheen and
Stephen Rea. He has played principal roles
in the short films Cops and Robbers and
Coming Home, which was directed by Lisa
Mulcahy. He also played Jerry in All That
Fall at Project Arts Centre in Dublin.
Andrew Bennett
Andrew Bennett’s (Mr. Rooney) previous
work with Pan Pan includes The Seagull
and Other Birds, Embers, Everyone Is King
Lear in His Own Home, All That Fall, MacBeth 7, Oedipus Loves You, and The
Rehearsal, Playing the Dane. More recently
he played Nick Bottom in the Abbey
Theatre production of A Midsummer
Night’s Dream, directed by Gavin Quinn.
His other Abbey appearances include The
Passing, Fool for Love, A Month in the
Country, Homeland, The Importance of
Being Earnest, and The Playboy of the
Western World (Ireland and U.S. tours). He
played Le Fou in Le Roi Lear for Théâtre
National Populaire in Lyon and Paris, and
most recently played Mustapha Mond in a
German version of Brave New World at
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Aedín Cosgrove
In addition to her work with Pan Pan
Theatre, Aedín Cosgrove (set and lighting
designer) has worked with Corcadorca
designing all aspects of the original productions of Disco Pigs and Misterman by Enda
Walsh. More recently she has worked with
Corcadorca on The Big Yum Yum by Pat
McCabe. She has also designed for the
Abbey Theatre productions of A Midsummer Night’s Dream (2015), Perve by
Stacey Gregg (2012), Sucking Dublin by
Enda Walsh (1997), and The Mai by Marina
Carr (1994). Ms. Cosgrove’s other productions for theater, dance, and opera include
Man of Valour (Corn Exchange, 2011, Best
Overall Design Absolut Fringe 2011 and
Best Lighting Design, Irish Times Theatre
Awards 2012), No Worst There Is None
(The Stomach Box, 2010, Best Production
Irish Times Theatre Awards), Five Ways to
Drown, Falling Song (Junk Ensemble,
2010, 2012), Don Pasquale, Carmen (Opera
Theatre Company, 2012, 2013), and The
Rise and Fall of the City of Mahagonny
(Rough Magic Theatre Company, 2014).
Ms. Cosgrove also works as designer with
Crash Ensemble.
Jimmy Eadie
Jimmy Eadie (sound designer) is an audio
engineer and producer whose work covers
recording, sound design, and installation.
His sound design work for Pan Pan Theatre
includes Embers (Herald Angel Award,
BAM
New
York
and
Edinburgh
International Festival 2013), All That Fall
(2011 Irish Times Theatre Award for Best
Sound Design), Quad, Everyone Is King
Lear in His Own Home, The Crumb Trail,
Oedipus Loves You, The Idiots, and more.
He has also worked with Abbey Theatre,
Dead Centre Theatre, Cois Ceim, Rough
Magic, RTÉ, Project Arts Centre, and
National Concert Hall. Mr. Eadie’s sound
installation work Wow & Flutter (2014)
was presented at Dublin’s National
Concert Hall, Irish Museum of Modern Art,
Dock Gallery, and Sligo. In 2015 he presented a site-specific work, Collision, at
HearSay International Audio Arts Festival.
He is a founding member of Crash
Ensemble and worked as its audio engineer and technical manager from 1997 to
2015. In 2015 he was made the ensemble’s first creative partner.
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I could compare my music to white light,
which contains all colors. Only a prism can
divide the colors and make them appear;
this prism could be the spirit of the listener.
—Arvo Pärt. Now in its seventh year, the
White Light Festival is Lincoln Center’s
annual exploration of music and art’s
power to reveal the many dimensions of
our interior lives. International in scope, the
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spectrum of the world’s leading instrumentalists, vocalists, ensembles, choreographers, dance companies, and directors
complemented by conversations with
artists and scholars and post-performance
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Lincoln Center for the Performing Arts
(LCPA) serves three primary roles: presenter of artistic programming, national leader
in arts and education and community relations, and manager of the Lincoln Center
campus. A presenter of more than 3,000
free and ticketed events, performances,
tours, and educational activities annually,
LCPA offers 15 programs, series, and festivals including American Songbook, Great
Performers, Lincoln Center Festival,
Lincoln Center Out of Doors, Midsummer
Night Swing, the Mostly Mozart Festival,
and the White Light Festival, as well as the
Emmy Award–winning Live From Lincoln
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manager of the Lincoln Center campus,
LCPA provides support and services for the
Lincoln Center complex and the 11 resident
organizations. In addition, LCPA led a $1.2
billion campus renovation, completed in
October 2012.
Lincoln Center Programming Department
Jane Moss, Ehrenkranz Artistic Director
Hanako Yamaguchi, Director, Music Programming
Jon Nakagawa, Director, Contemporary Programming
Jill Sternheimer, Director, Public Programming
Lisa Takemoto, Production Manager
Charles Cermele, Producer, Contemporary Programming
Mauricio Lomelin, Producer, Contemporary Programming
Andrew C. Elsesser, Associate Director, Programming
Regina Grande Rivera, Associate Producer
Nana Asase, Assistant to the Artistic Director
Luna Shyr, Senior Editor
Olivia Fortunato, House Seat Coordinator
Gabe Mizrachi, Program Content Coordinator
For the White Light Festival
Neil Creedon, Production Manager
Andrew Hill, Production Electrician
Janet Rucker, Company Manager
For All That Fall
Thomas Conway, Dramaturg
Grace O’Hara, Design Assistant
Rob Usher, Production Manager
Vincent Doherty, Sound Engineer
Simon Burke, Chief Electrician
Aoife White, Producer
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