|The Green Cockatoo|
|by Arthur Schnitzler
translated by Carl R Mueller
directed by Marco Barricelli
|Preview: November 15 @ 7pm
Show dates: November 17, 18 & 20 @ 7:30pm, November 18 @ 2pm, November 19 @ 7pm
Mandell Weiss Forum
|About the Play
It's July 14th, 1789, Paris. The city is in an uproar and the political/social life is on the very brink of enormous changes ... changes that will effect the entire world from then on. A rag-tag theatrical group is performing their improvised show for some of the aristocracy. At a certain moment no one is sure if the frenzied performers are screaming real insults at the nobility as part of the show, or if they are finally telling them their cathartic truth about the burgeoning revolution and the overthrow of the aristocracy.
|About the Playwright
Arthur Schnitzler was an Austrian author and dramatist. Schnitzler's works were often controversial, both for their frank description of sexuality and for their strong stand against anti-Semitism, represented by works such as his play Professor Bernhardi and his novel Der Weg ins Freie. Schnitzler's works were called "Jewish filth" byAdolf Hitler and were banned and burned by the Nazis in Austria and Germany. Learn more at Wikipedia.org
|About the Director
Marco Barricelli was artistic director for Shakespeare Santa Cruz from 2008 to 2014. A graduate of The Juilliard School, he has been an actor, director and educator since 1982. He spent eight seasons with the Oregon Shakespeare Festival as an actor performing the title roles in Cyrano de Bergerac, Hamlet, Richard III, and Henry V, among many others. From 1997 to 2005, he was an Associate Artist at the American Conservatory Theatre (A.C.T.) in San Francisco, acting on the Geary stage, as well as directing and teaching in the Master of Fine Arts program. His A.C.T. performance credits include roles in A Moon for the Misbegotten, The Real Thing (Bay Area Theatre Critics’ Circle Award), American Buffalo (Bay Area Theatre Critics’ Circle Award), Enrico IV (Dean Goodman Award), Glengarry Glen Ross (Dean Goodman Award), The Invention of Love (Bay Area Theatre Critics’ Circle Award; Dean Goodman Award), A Streetcar Named Desire, Les Liaisons Dangereuses, Three Sisters, Night and Day, Buried Child, Hilda, For the Pleasure of Seeing Her Again, Beard of Avon, Celebration & The Room, Long Day’s Journey Into Night, Mary Stuart, Insurrection: Holding History, Hecuba, The Rose Tattoo (Drama-Logue Award), andVigil, among many others. He has also worked on Broadway, and with Long Wharf Theatre, Williamstown Theatre, the Guthrie Theater, the Old Globe Theatre, South Coast Repertory Theatre, Actors’ Theatre of Louisville, Milwaukee Repertory Theatre, Missouri Repertory Theatre, the Intiman Theatre, the Huntington Theatre Company, Virginia Stage Company, Center Stage Portland, Indiana Repertory Theatre, Arizona Theatre Company, Kenyon Festival Theatre, and the California, Utah, and Illinois Shakespeare Festivals, among others. Television appearances include “L.A. Law” and a recurring role on the NBC series “Book of Daniel.”
Directing credits include Hamlet at Utah Shakespeare Festival, Glengarry Glen Ross at Denver Center Theatre Company (Henry Award), Miracle Worker at Alabama Shakespeare Festival, Twelfth Night at Shakespeare Santa Cruz, Betrayal at USC, Twelfth Night at UMKC, and many productions at the A.C.T. MFA Conservatory and the OSF school visit program, among others. He has performed voice-over work on many national commercials and several computer games, including "11th Hour," "Clandestiny," and "Manhunt 2."
Teaching acting has also taken him abroad to work with Accademia Silvio D’Amico in Rome, as well as Prima del Teatro in Tuscany, where along with his teaching duties, he created an exchange program between the MFA Conservatory at ACT and Prima del Teatro. He has translated Pirandello’s The Mountain Giants and Right You Are If You Think You Are, as well as co-translating and acting in a one-man adaptation of the Pirandellian novel One, No One …
Mr. Barricelli is also a Fox Fellow, the recipient of a Cherashore Foundation grant and L.J. Skaggs grant, and has been awarded an honorary MFA from American Conservatory Theatre.
I first came across this play in 1978 while a student at the Juilliard school. I was mesmerized by the performance and from then on knew it was one I had to be involved in at some point in my career. The cast, however, is quite large and therefore, in these decades of cutbacks for the theatre, has been almost impossible to produce ... unless at a university or training program where the actors are not paid! Also, the play is basically a long one-act rather than a full length piece.
The opportunity to put actors from all 3 years of the UCSD theatre program in the same play - to learn from & support each other - seemed a good idea as we were looking for plays. And the performing of the play itself requires a size and scope and style that is not necessarily naturalism and would be pedagogically useful. Playing with the juxtaposition of what is "real" and what is "acting" in the play is terribly exciting and continually plays with the audience's expectations. Schnitzler is a master playwright; his work truly under appreciated in the cannon of western theatre. His writing explores the deepest and most dangerous psychological aspects of his characters, while at the same time playing with the very form of theatre itself.
Scaevola – Xavier Clark
Prospere – Hannah Finn
Rollin – Andrew Gallop
Francois – Yonatan Gebeyehu
Michette – Amara Granderson
Flipotte – Assata Hefner
Maurice – Sidney Hill
Grain – Volen Iliev
Henri – Enrico Nassi
Grasset – Brandon O'Sullivan
Georgette – Christine Penn
Marquis de Lansac – David Price
Police Sergeant – Michael Rishawn
Severine – Claire Roberson
Duke de Cadignan – Garrett Schulte
Albin – Max Singer
Leocadie – Danielle Wineman
Lebrêt – Hayden Albert Emmerson
Balthasar – Brennen Mahon
Jules – Ryan Martinez
Guillaume – Andrew Olson
Ensemble – Isabella Calabrese,
|The Creative Team
Director – Marco Barricelli
Scenic Designer – Yi-Chien Lee
Costume Designer – Annie Le
Lighting Designer – Min Joo Kim
Sound Designer – Justin Livengood
Dramaturg – Kristen Tregar
Assistant Director – Nicholas Rapp
Assistant Scenic Designer – Samuel Keamy-Minor
Assistant Costume Designer – Dorottya Vincze
Assistant Lighting Designer – Justin Beets
Assistant Sound Designer – Stephen Jensen
Production Stage Manager – Jacqueline Mullen
Stage Manager – Bryan Runion
Assistant Stage Manager – Nicholas Lambros Smith
Production Assistants – Maggie Allen, Sam Bedford
|Performances||Parking & Location
Located at: Mandell Weiss Forum
Parking Passes Required: Monday through Friday. Weeknight passes are $2 per vehicle from the vending machines located in the UC San Diego Theatre District/La Jolla Playhouse parking lots and entry display case. Please remember your parking space number. You will need it to purchase your parking pass.
Note: Machines take all major credit cards except Discover and when paying with cash you must use exact change, NO CHANGE GIVEN.
Parking Passes Not Required: Saturdays and Sundays
Cars without permits are subject to ticketing by UCSD Campus Police. The Theatre & Dance Department does not have the authority to waive and cannot pay parking tickets.
|7:00 pm PREVIEW
7:30 pm OPENING
7:30 pm CLOSING
Advance tickets for this production are available Tuesday-Friday, noon to 6 pm by calling the Box Office at 858.534.4574 or in person at the Theatre District’s Central Box Office at the Sheila & Hughes Potiker Theatre.
At-the-Door tickets, if available, can be purchased one hour before show time at the performing theatre’s box office at Mandell Weiss Theatre.
General Admission: $20
UCSD Faculty/Staff/Alumni Association, and Seniors (over 62): $15
UCSD Students/UCSD Alumni Association (with ID): $10
Please note: No late seating; no refunds.
Theatre & Dance Faculty, Staff & Majors Only >>
UC San Diego 9500 Gilman Dr. MC0344, La Jolla, CA 92093
Tel: (858) 534-3791 Fax: (858) 534-1080