PETER BROOK / C.I.C.T. (Paris)
www.bouffesdunord.com

FRAGMENTS
Based on texts by Samuel Beckett
Directed by Peter Brook

Ground-breaking director Peter Brook returns to the U.S. with two intimate works representing the very essence of his singular vision for the stage - examples of Brook’s career-spanning experiments in purifying the theatrical act to its essential form. The renowned director here stages a quintet of works by Samuel Beckett—Rough for Theatre I, Rockaby, Act Without Words II, Neither, and Come and Go - featuring renowned international artists and co-founders of Théâtre de Complicité Jos Huben, Kathryn Hunter and Marcello Magni. Brook and his actors plumb the depths of Beckett’s sparse, dynamic texts, revealing humor and humanity.

THE MAGIC FLUTE
Directed by Peter Brook

Following on his historic staging of Bizet’s CARMEN, Brook’s final masterpiece visits Mozart for the first time.

THE GRAND INQUISITOR
Adapted from The Brothers Karamazov By Dostoyevski
Starring Bruce Myers
Adapted by Marie-Hélène Estienne

Returning to North America following its highly acclaimed off-Broadway run in Fall 2008, ‘The Grand Inquisitor’ adapted from The Brother Karamazov returns. Developed over a decade with longtime collaborating actor Bruce Myers, the action takes place in Seville during the Inquisition. In his infinite mercy, Christ returns to the world of man in the human form he wore during his 33 years on earth and enters the burning streets of the city, where, the previous day, the Grand Inquisitor had sent a hundred heretics into the flames. The Cardinal Grand Inquisitor sees Him and his face darkens. He orders the guards to seize Christ and shut Him in a narrow vaulted cell. In the darkness, suddenly, the iron door opens and the Grand Inquisitor quietly enters. For a long moment, he stays in the doorway, studying the Holy face. Then he draws nearer, saying: ‘Is it You? You?’

"A longtime master of stage minimalism…in allowing the production to unfold in accord with the rhythms of the prose work it was drawn from, with no attempt to decorate it with visual or aural effects, Mr. Brook kept a tight hold on its power to move us to think and to feel.” "
- The New York Times

"Peter Brook coined the term Holy Theatre. And, for all its anti-clerical nature, evenings don't come much holier than this …Brook's production and Bruce Myers's performance have an austere grandeur."
- The Guardian

"Don’t miss out. You may never get another chance to see something with this combined pedigree in physical theatre."
- The British Theatre Guide (UK)

"A revelatory evening."
- The Daily Telegraph (UK)