"Romeo & Juliet" [Programa de mano]

programademanor&jfinalCMYK.indd 1 20/05/11 20:09


Since Romeo and Juliet was first penned in 1596, there have been many versions of Shakespeare’s original. But the play set in Lima, Peru in the 1960’s has to be a first. Feuds and grudges causing tragic events, murder and exile show sharp parallels to Peru at that time. The teenage lovers, Romeo and Juliet, are caught between two worlds, as their families feud to the death. The 16th century text remains but the focus for this version is not just on a love story but on the way in which adolescents fight for their rights and stand up for what they believe in.

Congratulations to the cast and crew for their dedication and hard work in making this play happen. Our inquiring students have become knowledgeable not only in Shakespearean plays but in their reflection of recent Peruvian history. They have been open

minded, risk takers who care that their audience will have an evening to remember. For now, Mr. Galarcep is folding up his Director Chair for FDR’s plays, as he is leaving us to continue his studies and pursue his love of the Theatre. As one of our most charismatic teachers and an alum, Mr. Galarcep may return one day to FDR and so we say THANK YOU for everything that you have given to FDR thus far and indeed: “Good Night, Good night! Parting is such sweet sorrow, that ‘we’ shall say good night till it be morrow.” William Shakespeare, Romeo and Juliet, 2.2 As ever, sit up, open your minds and enjoy.

Oli Tooher - Hancock High School Principal

“These violent delights have violent endsAnd in their triumph die, like fire and powder,Which as they kiss consume.”- William Shakespeare, Romeo and Juliet, 2.3


// DIRECTOR’’'S NOTE

I have been blessed by the opportunity to tell stories through the amazing talent of my students. Ultimately, this is their story and it is thanks to them that I have become the director (or the person, if you may) that I am today.

I am saying goodbye on the very same stage where I stood for the first time. I can safely say that, today, almost fifteen years after that crazy first adventure (when I was still a student), every single dream has been reached, every single goal has been met, every single challenge has been achieved, and every single obstacle has been overcome.

However, Theater is an ethereal art. Once the lights go off and the curtain falls, it’s over. It doesn’t stay behind in a painting, in a disc, in a movie, or in a photograph. Because of that, Theater geeks like me are forced to practice it constantly. I’ve always felt

that Theater not only helps us stay alive, but for some instant magical moments, it makes us feel alive.

I thank Melody Hopkins, Jacek Dubiel, and Allison Fahey, my co-directors. It’s not easy to say yes to a project like this and I thank you for being here with me. I thank my crew, especially Carlos Alonso, for turning my ideas and my dreams into magic. I’m forever in debt with all of you for keeping up with my madness. I thank my cast, this one and the ones from the past. Hours seem like minutes, months seem like weeks, and years seem like seconds with people like you. I thank the giant white wings that I see on your backs and I thank your amazing capability to make things look so simple. That is, I think, what I will miss the most from working with you.

I thank Diana, because it would not make sense for me to be here, anywhere, if she wasn’t next to me.


She makes all of this make sense.

And so it’s over. It’s been a ride; quite a ride. Tonight, as I finish writing these lines, I feel the unexplainable consciousness of a moment of happiness. Thank you to everyone who made this happen and I wish the best to those who will continue this in the future. We’ll find each other again, in some corner of an old theater and, for an instant, we’ll remember this and, hopefully, we’ll laugh. Let’s wait for that.

Have a great journey, until out paths meet again.

AD.

This production is dedicated to my students, every single one of them,for the times in which we laughed so hard, we could hardly breathe.


// LIMA IN THE TIME OF VELAZCO

At the end of the sixties, while the hippie movement prospered in Europe and North America and questioning the establishment was the norm for every teenager, Peruvian youths were going through the obscure days of a socialist military dictatorship that viewed rock and roll as alienating music and expelled guitar player Carlos Santana because he was “a bad example for young people”. And it was exactly the opposite in Chile ruled by general Pinochet, where wearing a beard and long hair made you a suspect of being a communist and therefore worth of execution.

New political winds were blowing in our homeland and it was the end of the old families and the hacienda system that had predominated since colonial times. The police did not stop transit anymore to allow the Prado or Miró Quesada families pass with their cars on their way to Plaza de Acho (the bullfighting ring). Every night TV channels ended their transmissions with messages in quechua and the English language was repudiated because it was imperialist. Nothing would be the same for the old aristocracy, which besides losing their haciendas, now had to deal


// LIMA IN THE TIME OF VELAZCO

with disrespectful employees that talked to them as equals, encouraged by slogans such as: “Peasant, the boss will not eat from your poverty anymore” (words said by General Velazco).

Lima city was also changing its looks and becoming unrecognizable for the traditional limeños. It was not the city sung in Chabuca Granda´s waltzes, where gallant horse riders picked flowers from Amancaes pampa (“José Antonio”). It was a Lima filled with pink and phosphorescent green posters announcing the music of Chacalón and his New

Cream, a provincial and Andean Lima that scared the descendants of the aristocracy and “good families”.

And for many youths who had lost the huge country properties they were to inherit, confiscated by the military regime, there wasn´t much hope and the only way out seemed to be either abandoning Perú or seeking refuge in drugs and alcohol.

Armando HermozaSocial Studies Teacher


// WHY SHAKESPEARE?

Presenting Romeo and Juliet as a simple love story of passionate teenagers is to lessen it.

The contrast between this unmeasured love at times, adolescent in its extreme willingness to play with death as the uniting element, with the “sewers” of Verona where Capulet negotiates the marriage of his daughter to Paris, among other details, transforms this play into the masterpiece that it is.

This is a story that could very well be set in the here and now, as is found with all (or most) of William Shakespeare’s pieces.

The thematic universality that Shakespeare sets forth allows us to always find points of reference in his plays that immediately take us to the present,

given that he conveys the human essence, as in the case of Romeo and Juliet, far beyond time and space.

Therefore, it no longer matters if it is Verona or Lima or New York or Rome. These are beings – trapped in an oppressive or oppressed society, tangled by social threads that do not belong to them – those who move according to their circumstances and who, tragically, find a way to overcome that oppression.

There is nothing more Latin American that that.

Laura SilvaTheater Director

Shakesperean Expert(Argentina)


// WHY SHAKESPEARE?


Adding the element of music to a theater production adds so much depth, not only for the production itself, but also for the experience that the performers have cultivating it. Making Romeo and Juliet an original musical production was an amazing experience for everyone involved. As a cast, we spent time working on the skills and techniques involved in vocal production as well as expression and dynamics. Having the opportunity to take music from various styles and time periods and put them together into one show really represented the wide range of talent we have at FDR. All of these pieces of music have been refined with the goal of reinforcing the message that the story of Romeo and Juliet strives to convey. We hope that by adding this element of music, we have moved you to understand that message more deeply.

Jacek Dubiel & Allison FaheyMusical Director and Vocal Director


The Music

PianoStacey ArmstrongChoo Eun Kim

BassDaniel Gavidia

GuitarJosé Ignacio OdiagaRodolfo Stornfelt

DrumsTato Pastor


// THE CAST Romeo Christopher Garayua Juliet Fiorella García

Mercutio Felipe Ossio Benvolio Gonzalo Arango

Nurse Sarah Stoddard

Mr. Capulet David Levy Mrs. Capulet Katie Sanders Lady Capulet Florencia Lechín

Mr. Montesquieu Matías Breuer Mrs. Montesquieu Camila Medina Lady Montesquieu Marisol Barba

Shaman Lawreana Tamara Breuer Shaman Wayra Eloa Pérez-Luna Shaman Yaku Marisa Cordón

Tybalt Sebastian Pope Gregory Alejandro Sarmiento

Sampson Rodolfo Stornfelt Paris Luis Álvarez del Villar

Juliet’s Friends Isabella Paino Andrea Claux Georgia Lawton Fernanda Barhumi Stacey Armstrong Laura Frías Camille Jackson Shalini Raman

Mistress Ford Michelle Flohr Mistress Page Hanna Dandanell

Prince Stephen M. Maday



// PRODUCTION CREWDirector Adrián Galarcep VidalMusic Director Jacek DubielVocal Director Allison FaheyProducer Melody HopkinsAssistant Director Eloa Pérez-LunaTechnical Director Carlos AlonsoHouse Manager Andrea ForeroSound Technitian Sergio López

Danilo Tuesta Mario TrevejoAudiovisual Crew Alejandra Checa Soledad Rengiffo Rubén GradosAssistants Daniel Mengedoht Mary StoddardVideo Camille Jackson

Lighting Design Jesús ReyesMake-Up Design Samantha FrancoGraphic Design Jaqueline Prado Verónica Malpica Photography Carla Saavedra Ernesto De LosadaPrinting Martha ÁlvarezStage Construction Alejandro Espinoza

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Danilo Tuesta Mario TrevejoAudiovisual Crew Alejandra Checa Soledad Rengiffo Rubén GradosAssistants Daniel Mengedoht Mary StoddardVideo Camille Jackson

Russell Jones, Oli Tooher-Hancock,

Alonso Pérez-Luna, Amy Exah, Ana María Paz, Andrew Nicholson, Armando Hermoza, Chari Vidal, Diana Roig,

Eduardo Wichtel, Ernesto Peña, Guido Laramie-Impossible, Guillermo Garrido-Lecca, Jaime Raygada,

John Horsington, Karla Kaplan,Laura Cannon, Laura Silva, Lucia Polverini, María Isabel Payet,

Mary Nakada, Melissa Stoddard, Mr. and Mrs. Flohr, Mr. Maday’s Advisory Class, Pati Moritani,

Sandra Burranca, Sergio García, Spencer Flohr,Spencer Coe, Susan Boyer, Tabata Molina,

Teatro La Plaza ISIL, Vanina Cámere, Vera Pérez-Luna, Yulemi Tapia

// THANK YOUTrailer Sebastián Díaz Alfonso BustamanteTechnitian Reynaldo Alarcón

Cleaning & Santiago Ayala Maintenance José Luis Huánuco

Janitorial Ernesto PeñaCoordination

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LIMA, MAY2011


Documents

"Romeo & Juliet" [Programa de mano]