A.R.T. Guide: Winter 2013

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As days get shorter and nights get colder, come in from the dark—and bring your family—to two new electrifying productions at the A.R.T., The Heart of Robin Hood and The Light Princess.

The Heart of Robin Hood comes to the Loeb mainstage from the Royal Shakespeare Company, where David Farr’s adaptation of the English legend had its world premiere in 2011. This newly staged, highly athletic production, led by Icelandic actor and director Gisli Örn Gardarsson, reinvents Robin Hood's leading lady, Marion. Far from the damsel in distress of prior tellings of the legend, here Marion urges Robin Hood to be a hero to England’s suffering poor. Read on in this Guide for more information on this legend's transformation over the centuries and for a profile of the production’s multi-talented director.

Wintertime also means the return of the annual A.R.T. holiday family show, staged by Allegra Libonati, the director who brought us Hansel and Gretel and The Snow Queen. The Light Princess follows the journey of a young princess cursed to live without gravity. Based on the nineteenth-century Scottish fairy tale, this new musical adaptation by Lila Rose Kaplan and Mike Pettry teaches a lesson of love and growing up that the whole family can enjoy.

From merry men to flying princesses, these shows provide families with plenty of reasons to enjoy live performance together this holiday season.

Thank you for joining the experience at the A.R.T.!

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guide staffManaging editor Ryan McKittrick senior editors Grace GellerBrendan Shea graphic designer Tak Toyoshima

Contributing editors Jared Fine Kati MitchellGeorgia YoungJoel ZayacContributors Leslie GehringAlexandra JucknoLila Rose KaplanBrenna Nicely

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the heaRt of Robin hoodDecember 11, 2013 – January 19, 2014 By David Farr | Directed by Gisli Örn Gardarsson

Original Music by Stu Barker

In this spectacular rendition of the English legend,

Robin Hood and his band of merry men steal from the

rich, but refuse to share with the oppressed peasantry.

As the wicked Prince John threatens all of England, it

is up to Marion to boldly protect the poor and convert

Robin Hood from outlaw to hero. First seen at the Royal

Shakespeare Company in 2011, this new production

is filled with high adventure, epic romance, amazing

fight choreography, and an original score inspired by

contemporary British folk music.

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Gisli Örn Gardarsson warns you to look out for the shark. The creature just might be his favorite part of The Heart of Robin Hood, playwright David Farr’s new adaptation of the mythic outlaw’s origins. The Icelandic director helmed the premiere for Farr at Stratford-upon-Avon’s Royal Shakespeare Company and is now bringing his production to the American Repertory Theater with the shark of Sherwood Forest in tow.

Spend a few minutes with Gardarsson and the fact that he has added a shark to a typically landlocked story comes as no surprise. Often hailed as a young genius and one of the most exciting theater artists working today, this Icelandic director has become known for thrilling, space-inventive productions whose unique visual worlds manage to capture the heart of a story

without seeming gimmicky. In a Gardarsson production, it makes sense that Romeo and Juliet would bound into the air on the wings of their love; that the disorientation of George Büchner’s eponymous Woyzeck is expressed by repeated immersions in a large tank of water; that the insectified Gregor Samsa of Kafka’s Metamorphosis skitters up the walls and ceilings of a house literally turned upside-down by his transformation. Gardarsson’s enthusiasm for his work shows through immediately; he has an energetic manner of discussing his creative process—often throwing out the words “exciting” or “thrilling”—and this inspires a sense of infinite possibilities in the listener. And watching Gardarsson’s work makes one feel as though the story is exploding off the stage, that mere walls cannot contain the play.

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gisli Örn gardarsson for vesturPort's ProduCtion of MetaMorphosis, seen in Boston at artsemerson last year

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tuRning the WoRld uPside doWn: gisli ÖRn gaRdaRssonBy Alexandra Juckno

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Gardarsson’s explanation of how he came to a career in theater is slightly tongue-in-cheek for a man whose work has won countless accolades around the world. He spent thirteen years as a gymnast and even represented Iceland as part of the country’s National Gymnastics Team, but found that there was no career in gymnastics past a certain age. A self-described “nerdy type,” Gardarsson entered university in Norway to study Western European Knowledge and Philosophy. One of his classmates signed him up for a student production of a Brecht play as a practical joke, and, to better the jest, Gardarsson showed up for the first rehearsal. He became hooked, not on the acting, but on the social life. “They would have these parties running late into the night all the time, and I would tag along and discover the social animal inside myself,” Gardarsson says. He continued to act in student theater and eventually enrolled in the Iceland Academy of the Arts in Reykjavik, where he formed a theater company with some of his classmates in 2001. Housed in an electrical shed at the end of a port on Vesturgata Street, they dubbed the new company Vesturport.

Upon graduation, Gardarsson became an ensemble member with the City Theatre, which granted Vesturport use of one of its small stages. He began work on his version of Romeo and Juliet, drawing upon his gymnastic training. Taking the part of both director and Romeo, he conceived of a high-flying, high-energy production, in which Shakespeare’s lovers could leap and soar across the stage with the aid of trapezes, catwalks, and circus hoops.

Romeo and Juliet’s gravity-defying staging became a trademark of Vesturport’s aesthetic. Reflecting on the founding of the company, Gardarsson recalls that he and his co-founders were “part of a movement that thought theater was boring and monotone and didn’t take any risks or play with the form.” His solution was typically action-based. “Rather than keep whining about it,” he describes, “we decided to have something on the side we could play around with. So Vesturport was thought of as an alternative place to work. If you had any ideas, you could explore them with your friends in a safe environment. We never had a manifesto other than trying to be true to our own dreams. I try to be versatile and try new things. Like doing a family production of Robin Hood.”

Which brings us back to the shark. Gardarsson was initially hesitant to direct a family show, but he was convinced by David Farr’s adaptation, which returns the hero to his pre-Tudor roots as a thuggish forester who robs, and sometimes kills, his victims with no thought of gifting the spoils to the less fortunate. In Farr’s redramatization of the tale, it is Marion who teaches Robin Hood to be a better man—after she disguises herself as a boy to join the Merry Men and proves her mettle in several swordfights. The romance, darkness, and female hero at the center of the story all drew Gardarsson to the adaptation.

The script already included some fantastical, action-movie effects, but Gardarsson has added more. With the stage transformed into a giant greensward, Gardarsson’s Sherwood Forest reflects the dangerous life of an outlaw. Actors crash into the action at a break-neck pace by sliding down a ramp nearly forty-five feet high, weapons in hand and ready for a fight against the evil agents of King John. Large branches, from which actors leap and musicians hide, shoot out from the top of the ramp and canopy the theater, and a pool of water invites splashing.

This dynamic Sherwood illustrates Gardarsson’s approach to the shows he directs. “A theater production that surprises you,” says the director, “will live with you for a long time.” In returning the story to its darker roots and allowing the emotional arc of the characters to play out against an extreme physical world, Gisli Gardarsson has located the heart of Robin Hood—and his continued allure—in the exhilaration of pure theater.

Alexandra Juckno is a second-year dramaturgy student at the A.R.T./Moscow Art Theater School Institute for Advanced Theater Training at Harvard University.

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James mCardle (roBin) and iris roBerts (marion) in the royal shakesPeare ComPany's 2011 ProduCtion of the heart of robin hood

gisli Örn gardarsson in vesturPort's ProduCtion of MetaMorphosis

"Watching Gardarsson’s work makes one feel as though the story is exploding off the stage."

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Unlike other outlaws from the Middle Ages, Robin Hood has proved extraordinarily difficult to kill. The pages devoted to his adventures might equal a Sherwood Forest’s worth of trees, and he has appeared in all manner of guises, from a Saxon freedom fighter to a singing gangster and even a cartoon fox. The character possesses a protean quality that has allowed his legend to survive over five centuries of vigorous rebranding, finally producing the Robin Hood we know and love

today—an outlaw, but a charming one, whose band of Merry Men rob from the rich to give to the poor, nobly defending the common man from injustices with a wit as quick as his arrow.

It might come as a surprise then that Robin Hood started life happily robbing the rich…and keeping the spoils for himself. The first written account to appear was in the late fifteenth century as a Middle English ballad-poem: A Little Gest of Robin Hood. The Gest

the legend of Robin hoodBy Alexandra Juckno

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"the merry friar Carrieth roBin aCross the water"—illustration By howard Pyle from THe MeRRy AdvenTuReS of Robin Hood, 1883

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packs Robin’s adventures with plenty of thieving, double-crossing, and murdering—committed by both stock bad guys like the Sheriff of Nottingham and the Merry Men. In these tales, Robin is a simple yeoman who always returns to the greenwood richer and triumphant, preferring the dark and mysterious wood to the society of the King and court.

Robin Hood received a makeover in the late sixteenth century, as a character who preferred forest life to a king’s beneficence made those in power uneasy. Thus, Robin changed from thuggish thief to dispossessed earl when Anthony Munday published The Downfall of Robert, Earl of Huntingdon and The Death of Robert, Earl of Huntingdon in 1598. In these plays, Munday backdated Robin Hood to the twelfth century: Sir Robert is outlawed by Prince John, ruling while the rightful king, Richard I, fights in the Crusades. Robert flees into the forest with his beloved Maid Marion and loyal followers, rechristens himself Robin Hood, and picks up a bow to fight for the king’s justice. Munday pillaged a 1521 history book for the most enduring detail—that Robin began robbing from the rich to give to the poor.

Despite the political subtext, theater audiences loved this new Robin Hood. The Admiral’s Men, who produced Munday’s plays, soon did a roaring trade in Robin Hood entertainments. William Shakespeare, who worked for a rival theater company, never wrote a Robin Hood play; but he did get in a subtle jab at the Admiral’s Men in As You Like It, his take on the outlawed aristocrat theme, when a character dismisses the banished Duke Senior, saying that he and his men “fleet the time carelessly,” living like “old Robin Hood of England.”

Although the Puritan government closed English theaters in 1642, broadside printers kept the legend of Robin alive. These single sheets of paper, sold for a penny, told a story of Robin Hood and printed an accompanying tune to which it was sung. The broadsides kept the innovation of the dispossessed earl, but borrowed older plots from the Gest to keep Robin’s adventures fresh.

Robin Hood again became a stage favorite when theaters re-opened in 1661, but most writers didn’t know what to do with the hero. On one hand, the Robin Hood from medieval tales, who would stick an enemy’s decapitated head on a pike, was too raw for Restoration audiences, who preferred light operas and pantomimes. On the other, there were only so many ways to retell the story of an aristocratic Robin Hood’s banishment before the story got stale. Thus, Restoration dramatists of the 1700s trod a middle ground, presenting a gentleman Robin whose chief problem was winning Marion’s love from rivals. This Robin, though living in the forest, rarely picked up a bow or displayed any of the derring-do he had possessed in previous incarnations.

Robin conquered the novel in the nineteenth century appearing as a Saxon freedom fighter in Sir Walter Scott’s historical novel,

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It might come as a surprise then that Robin Hoodstarted life happily robbing the rich … and keeping thespoils for himself.

1820: Sir Walter Scott makes Robin Hood a generous crusader in his wildly successful novel, Ivanhoe.

1922: Robin Hood, a silent film starring Douglas Fairbanks, is one of the most expensive movies made in the 1920s.

fifteenth Century: Gest, one of the

earliest surviving tales of the Robin

Hood myth, is written. It features outlaws who steal

from the wealthy—but keep the money

for themselves.

1938: The Adventures of Robin Hood,

a swashbuckling Hollywood blockbuster

starring Errol Flynn, breaks ticket records

and wins three Academy Awards, ushering in

an era of big-budget adventure epics.

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Ivanhoe. Following Scott, Thomas Love Peacock published Maid Marian in 1822. Peacock’s luminous Marian, entering the forest armed in pursuit of Robin, possessed the combination of chastity and sublimated eroticism beloved by Victorians, and the novella became a smash hit. It was immediately turned into an opera, sparking a craze so great that when Alfred, Lord Tennyson and Arthur Sullivan musicalized their version of Robin Hood in 1892, they called it The Foresters because the original title, Maid Marian, was already taken by three other operas.

Given a new robustness in novels, Robin Hood’s popularity exploded. He enjoyed increasing publicity in children’s literature. Writers of the Georgian age, obsessed with the intrinsic value of English culture, placed his exploits in countless textbooks. Publishers marketed Howard Pyle’s sumptuously illustrated The Merry Adventures of Robin Hood to young boys. Mark Twain’s boy hero Tom Sawyer gave Hood a ringing endorsement as a “proper robber” and “the greatest man that ever was.” The entertainment

market boasted a Robin Hood for every occasion and every type of audience.

The birth of cinema in the early twentieth century ensured that Robin’s legend would never die. On screen, Robin’s world could be experienced as never before with the aid of lavish sets and editing techniques that allowed seamless action sequences. In 1922, Hollywood power player Douglas Fairbanks initially refused to play a “heavy-footed Englishman trampling about in the woods,” but he was convinced of the filmability of the story when producers converted the backlot of his studio into a huge Sherwood Forest.

The rate at which celluloid Robin Hoods have accumulated suggests an insatiable taste for outlaw

stories. In bold Technicolor, Robin Hood’s adventures became even more grandiose and compelling. On television, The Adventures of Robin Hood made Richard Greene synonymous with the outlaw in the 1950s, but those born after 1970 are likely to remember Michael Praed from 1984’s Robin Hood. The numerous iterations illustrate the tale’s capacity for reinvention—when Praed tired of the role, the show-runners simply cast a new Robin. As recently as 2006, the BBC updated Robin Hood with a band of attractive young stars constantly engaged in slow-motion fight sequences.

Centuries of reinvention have allowed for a grab bag of Robin Hoods. Some versions emphasize Robin’s swashbuckling adventures,

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1964: Robin and the 7 Hoods, a movie musical starring Frank Sinatra as “Robbo,” sets Robin’s story in 1930s gangster Chicago.

1973: Disney enters the game with its animated

musical Robin Hood, which depicts Robin and Marian as foxes.

1993: Mel Brooks’s Robin Hood: Men in Tights, starring Cary Elwes, shamelessly spoofs earlier Robin Hood films and becomes a cult hit.

1887 illustration of "lytell John" and a traveling knight

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others his historical value as a freedom fighter, still others the element of breaking the law for the greater good. Disney animated Robin Hood for children in 1973, telling the tale of Robin’s fight against Prince John with the characters rendered as animals. Outlaw Robin becomes a sly fox, the Sheriff a wolf, and Richard I and John lions. Frank Sinatra and his Rat Pack turned the story into the gangsterland musical Robin and the 7 Hoods in 1964. Funnyman Mel Brooks sent up the inherent silliness of the canon, creating the sight-gag-rich serial “When Things Were Rotten” for television in 1975, and, in 1993, the parody Robin Hood: Men In Tights, in which a chorus line of Merry Men dance a can-can, and Marian is oppressed just as much by her chastity belt as by the Sheriff.

Newer adaptations have foregrounded Marion. "The New Adventures of Robin Hood" in 1997 included a mini-skirted, whip-wielding Marion, and "Maid Marian and Her Merry Men" cast her as primary hero. When playwright David Farr began writing The Heart of Robin Hood, he kept his young daughters in mind when fashioning a tale about Robin Hood meeting his match in a capable, sword-wielding Marion and looked to the earliest tales for inspiration, feeling Robin’s journey from thug to good thief lent the character a more compelling arc. The recent emphasis on Marion proves that the legend of Robin Hood has gone far beyond the character attached to the name—after centuries of refashioning, the name Robin Hood has come to evoke the spirit of a hero dedicated to justice, freedom, and putting up a good fight.

Alexandra Juckno is a second-year dramaturgy student at the A.R.T./Moscow Art Theater School Institute for Advanced Theater Training at Harvard University.

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"Paw Prints of thieves," wishBone PBs Children's series, 1995

1997–1998: French and American television networks co-produce "The New Adventures of Robin Hood," which turns Robin and Marion into black-leather-clad punk heroes straight out of Xena: Warrior Princess.

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I’ve loved the story of “The Light Princess” for as long as I can remember. My Mom gave it to me when I was a little girl. It’s a novella, so it comes as a stand-alone little book, which was perfect for a little girl who loved to read. The illustrations in my edition are by the beloved children's book writer Maurice Sendak. It’s about a girl who can fly. It’s funny, romantic and moving. What more can you ask? It was and still is one of my favorite stories. At the beginning of the story, the Princess has no gravity, which means she is free from sorrow, fear, and suffering, but she is also free from love. At the end of the story, she finds her gravity, saves her prince from death, and discovers love. Even at a young age, I was struck by the Princess’ discovery that one needs gravity to find love. How marvelous, a romantic fairy tale about a young woman who learns to connect to the ground and be strong and passionate!

Scottish author, poet, and minister George MacDonald wrote this delightful tale in 1864. MacDonald was a prolific writer and a mentor to Lewis Carroll and other Victorian writers. He said, “I write not

the light PRinCessDecember 21, 2013 – January 5, 2014 Book by Lila Rose Kaplan | Music and Lyrics by Mike Pettry | Directed by Allegra Libonati

A whimsical tale based on George MacDonald’s short story of a princess who is cursed to live

without gravity. The King and Queen must find the Princess’s gravity before her sixteenth

birthday, else the kingdom will fall into the hands of the witch who cursed her. This world

premiere is written for all ages.

an uPlifting tale: THe LiGHT PRinceSSBy adapter Lila Rose Kaplan

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for children, but for the childlike whether they be 5, or 50, or 75.” His prose is light in tone, but it delves deep in meaning. More than a century before Pixar, MacDonald envisioned magical, funny, and touching stories for both adults and children. We used MacDonald’s vision as an inspiration for our musical adaptation. We like to say that our show is for young people and for people who remember being young.

I grew up on musicals. Shows like A Chorus Line, City of Angels, Guys and Dolls, and Anything Goes were my introduction to the theater. I was from the suburbs and there was nothing I loved more than going to the city and seeing a world burst to life onstage full of song, dance, and story. You could go anywhere and be anything in a musical. I listened to endless soundtracks. As a teenager, I memorized Pippin, Chess, Rent, Godspell, and Ragtime, just to name a few. I had musical posters on my walls. At the end of high school, I wrote my first play. It was produced and I found that I loved writing for the stage. For years I pursued playwriting and the summer after my Off-Broadway debut, I had this sudden pang. How I missed musicals! It was time to write one.

I have always thought The Light Princess would make a wonderful musical. The characters are lively and the story is dramatic and theatrical. There’s romance, magic, adventure, and humor. I approached my friend, the fabulous composer Mike Pettry, whose songs capture both the fantastical and everyday aspects of life. He’s funny and honest in his songwriting. He’s not afraid to be silly. He can write in many different musical styles. I know I’ll laugh and also feel something deeper if I listen to a song by Mike. I tend to write bittersweet comedies that explore the mysteries of human relationships, so our voices balance each other well. In short, we were a great fit.

Mike and I have had a generous and organic collaboration. Our first meeting was at a Scandinavian café a few days before Christmas in 2009. Over hot chocolate and smoked fish, we adapted the literary story into a dramatic one. We focused on the Princess. Her transformation is the heart of our show. She

discovers love, pain, and uncertainty. She gives up her innocence (her ability to fly) in exchange for real connection with another person (her gravity). Her journey is such a beautiful encapsulation of the experience of growing up. We made the dueling Wisemen into narrators as a humorous way into the

story. It was important to both of us to preserve the witty tone of the novella. We used the King and Queen’s marriage to provide a more mature foil for the young love of the Prince and Princess. We wanted a fabulous villain in the Witch, but we didn’t want her to be evil for no reason. So, we gave the Witch a romantic history with the

King. It gives the Witch some humanity and makes her vulnerable, while still being deliciously evil. Also, it creates a love triangle, and those are always fun on stage. Finally, we made the Prince into a musician in search of a song. His journey mirrors the Princess’s. He finally writes a love song at the end when he’s willing to give something up for the Princess.

One of my favorite things about the show is how each character has his or her own musical style. Mike has created wonderful songs that will make you laugh and cry alongside the characters. We are so thrilled to be staging The Light Princess at A.R.T. this holiday season and share it with you and your family!

Lila Rose Kaplan is the adapter of the light Princess.

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“We like to say that our show is for young people and for people who remember being young.”

william Pène du Bois Julie Barnson william Pène du BoismauriCe sendak katie thamer treherne

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