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CONTENT Conditions Set up Strenghs and Weakness Concept Overture First Act Second Act Third Act 4 6 8 10 14 14 - 16 18 20 From Concept to Performance 22 CV’s 26 3
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CONDITIONS The production of the Pearl-fishers marks a new faze in the young cooperation between the Charkov Opera and Ballet and Senf theatre-partners. After having scheduled productions of Traviata and Tosca the partners have decided to venture into creating new productions in cooperation. Senf wishes to import and program traditional productions of high quality in all departments: singing, acting, sets, costumes and lights. Charkov seeks to add newly conceived productions of high production value that will easily sell in western Europe, Asia and America and will set a new standard at home. Both in the design, staging and interpretation. The (dutch) market has lately been flooded by “cheap” eastern European productions that lack high overall value. In the case of the Tartastanopera, sets and costumes seem to be up to scratch but staging and singing are mostly the old-fashioned “park and bark” style, while others suffer from poor designs, abominable craftsmanship, outdated sets and amateurish costumes and such. Charkov and Senf seek to set a new level of quality and with this level to become the leader in (traveling) opera productions in the Netherlands. They want to overcome the afore mentioned shortcomings by coupling east European tradition in singing and workmanship with west European standards in craftsmanship, design and creativity. That this is possible prove earlier productions set up in this fashion that I directed. They were hailed exactly for that “east-west symbioses”. I quote the NRC and composer-page: This Zigeunerbaron is strong and successful indeed. Sweeping, and full of nuance in both music and acting. Great drama, intimate moments and seeming lightheartedness thanks to the excellent, for operetta exceptional, stage direction. All this thanks to the directors duo, cast, and musical ensemble (an eastern European orchestra with a western sound) It is quite clear that Charkov/Senf don’t wish for modern productions. Charkov wants the transition to a newer form of opera productions to take place gently and gradually. The audiences in Charkov are very much used to very traditional productions. To change all components of their productions at the same time would alienate their audience and make them stay away. Charkov seeks to slowly entice audiences into new realms, step by step. Senf on the other hand wants to fill the huge void in the Netherlands where traditional stagings are concerned. The DNO has with it’s modern stagings become more and more the domain of the elite art lovers. And none of the three opera companies in Holland really travel extensively. Thus Opera has lost the connection with most of the theatres around. Senf seeks to tend to these theatres and their audiences and needs therefore accessible productions with a traditional touch. 5
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SET UP So we need to create something very specific. We need opera’s with high production value. That sparkle, are opulent and rich in appearance. They need to be set in a traditional setting, or at least a easily appealing. No illogical modernisations or experimental interpretations. But they must not be stuffy, old fashioned, boring or superficial. On the contrary: exuberant, human, recognisable and first and foremost very alive. Both in Ukraine and in Holland one must get the feeling: “This is what opera was intended to be!” Exactly what we heard from audience and press when we brought operetta’s, produced in Ukraine to Holland. The NRC wrote: This is operetta as it was intended to be. Krone has the ability to present this production with the double handle on direction that contemporary opera needs. Multi cultural and international as well is the adequate instrumental and vocal cast: choir and orchestra are from the Ukraine, soloists from Germany, Austria, and The Netherlands But more important regional papers agreed as well: Dick Idema form the Steenwijker wrote: Marc Krone makes a statement with this production. No modernisation, but a timeless setting. Those who came to the Meenthe assuming to find chandeliers and flirty puff sleeves in a quaint late 19th century decor was put on a different track. Without falling into historicising or superficial comedy Krone showed unadorned human dilemmas. The minimal decor could be literally transformed in an instant. Many young talent on the stage of this Gipsy Baron. Marc Krone has succeeded thanks to smooth choreography and costumes to create a bridge between then and now. A great achievement! I therefore believe in the setup we worked out earlier on. You have to bring together the best of all worlds. See where the strengths and weaknesses lie of all involved and act upon that. I believe you shouldn’t compromise -certainly not the first time- in forming the creative team. For Charkov it is important that both audiences and the theatre will embrace this new direction. For it will involve a lot of change in how they work and what is needed. But it seems inevitable if they want to keep selling their productions abroad. There is a call for upgrade from the the clients. Thus Charkov will profit greatly by this “step into the future” 7
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STRENGTHS AND WEAKNESSES Very simply said, the power of Charkov and Ukraine lies in a couple of very important departments. First of all it is cheaper to produce in Ukraine than in other parts of Europe. Personal costs are lower. There are very well trained musicians. There are very well trained dancers. People are very committed and hardworking. These are massive assets and make it very attractive to produce in Charkov. Weaker aspects include: There is a very conservative and stuffy way of creating sets and costumes. Regie is very often not geared towards telling a story and human interaction; but “regulating traffic” and old fashioned “stand and sing” technique. There seems to be a very one dimensional way of presenting the stories. Lighting technique and design lack impact, insight, and dramatic effect. It seems therefore very logic to build upon the strengths of Charkov and bring to the production those ingredients that will lift the present qualities to a higher level. But at the same time I seek to import new insights and impulses in the Charkov theatre so a real change for the better can be made. There must be an quality boost in the regie, design and lights department. For Charkov AND for Senf. For the first to develop a higher internationally acclaimed standard in having more value in productions. For the latter to have enough quality on board to become the most important player in the opera-field in Holland. In order to reach this goal I propose to bring a team of internationally renowned artist to Charkov. All members have worked the world over in good houses. But moreover they have worked together before in eastern Europe and Ukraine so they know the pro and con’s of this “meeting of cultures”. I seek to bring together east and west to bring out the best of both worlds. The members of this -small- team have worked together before and are therefore very agile to ply the waters and confront problems on the way. And since their co-operation is time tested they can work fast, they understand each others goals and way of thinking. These people seek moreover to work together with the people in Charkov. This way we hope that in Charkov people will also get inspired by these new impulses and thus create a new élan from within. 9
BIZET’s Ceylon 10
CONCEPT The pearl fishers is a story of love versus friendship. It poses very modern and contemporary dilemma’s in a rather enigmatic setting. Bizet situates his work in Ceylon (nowadays Sri Lanka) but it is very certain that he himself had never been there. So we can safely assume that the choice of Ceylon was made for the sheer mystical and mysterious aura that surrounded the place in the mid 19th century. Mysterious Ceylon stood for everything that was “en vogue” in that time. There was a renewed colonialism which sparked a enormous wave of exoticism in the western world. One of the trends was the passion for far away and forgotten cultures. Bizet proved very modern in choosing his theme and place. Just then photography had become a means of really looking into other worlds and the west was flooded with photographs. If we look at pictures from around that time from Ceylon we see a almost fairy tale like environment with both ornate clad rich people and tons of pictures of very scarcely clad women. This leads us to believe that Ceylon was in the eyes of the Parisian elite not only mysterious, but also a very sexy place. No wonder that the young Bizet chose this enchanted island as decor for his work packed with passion, esoteric wonder, and fiery emotion. Paris, with it’s blooming arts and free morals, was exactly the spot where a new modern and sexy opera would go over well. Other productions Strangely enough we find very little of that in the contemporary stagings of today. The opera is either staged as an overly Indian costume drama with lots of dark tones and overbearing formless textiles (Venice, Brno) or as a modern dress production (Met, Reisopera, Vienna). The moment we see some attempts bring reality to the stage it often is rather cheaply and ill conceived and modern to boot (Mexico Bella Artes). Almost nowhere we see the creatives look through Bizet’s eyes: A young vibrant man in his powers years surrounded by art by Monet, Rodin and Degas. The Eiffel tower on the verge of being build, Le Moulin Rouge, Le chat noir in short: he was living in the capital of the world. Not calvinistic but exuberant. Real Fairy Tale I believe we should look at the Pearl-fishers as “stuff that dreams are made off”. 11
Flying divers Toppeled statue 12
We want to be taken to “dream places”. That’s why Lord of the rings and Harry Potter are such HUGE successes. Even in these digital days. It is therefore foolish to take away the very core of what makes this story magical: the fairy tale. Only the Fort Worth production comes close to this idea: here we see the style that I emulate: rich but not gaudy, intense and seductive As I pointed out real fairy tales are not what Walt Disney made of them. Most of the time they are dark tales, full of mysteries and dangers. They appeal to our deepest fears and hold up a mirror to our innermost desires. And yes, they are also driven by a sensual force. No wonder children love them: there is somewhat secret and scary in those stories. Pearl-fishers is just as mysterious and dark at times, I therefore believe it can be a blockbuster of a production. Given it is as overwhelming as its music! This Peal-fishers I seek to pull in the audience with an great theatrical effect in the beginning of the show. An invitation to join us on this magical trip. The stage setting should then develop from rather simple (fishermen in a shamble village) through rich and opulent (with the arrival of the princess) to dramatic and grand (third act with fire and execution). This way the beginning is stunning and the end as well. But the production will not suffer this way from overkill of effects. The story is after all a very intimate tale of love and friendship. So as soon as we tell this story the grandeur of the stage setting should be isolated by means of lighting and staging. But moreover this deeply human story should be acted and directed in the intimate and realistic style that befits the time of Bizet. Verismo is not yet en vogue during Bizet’s writing of the opera but the first signs of it are very present in his work. Bizet writes people of flesh and blood. Not icons like in the early work of Verdi. His characters have a very “Puccinian” feel: flesh and blood with real pain and passion. 13
Colors of inauguration 14
OVERTURE The show should start with an overwhelming and breathtaking underwater-effect. Something that will immediately spell: enchantment. I had that with the production of Orfeo (https://www.youtube.com/watch?v=thPeXbK26kY) by Trisha Brown. The sight of people floating does something to you. I therefore want “actual divers” underwater dive up pearls from the bottom of the sea. Seeing the pearl-fishers actually under water brings you straight into the realm of theatrical magic. This should be done with the use of rigged dancer-acrobats. I have in Holland a group (company NEWA) that can teach dancers in Charkov to perform these skills. I envisage an sandy beach setting with a view in the distance of the sea. On the stage itself that is to be slightly higher than the ocean, so that Leïla can moor without being seen and has to walk up to come upon the stage-beach. On the beach a platfom with a large tree and two boats. These boats can be turned around between act 1 and 2 to become a huge lying statue of either Ganesha, Shiva or Grishna. (to be deceided). An statue that will be toppeled over in the 3rd act. when the village is on fire and when Zunga deceides to let love and friendship prevail over law order and dogma. FIRST ACT The build up of richness in design shoud start with very coulorful but simple means. Very intense but simple effects. Body-painted male dancers that celebrate the inauguration of Zurga, clad in clashing coulors. Zurga being installed by the means of facial paints -as was and is the custom in India and Ceylon. Although the main religion of Ceylon was Buddist, Bizet mentions the god Bramah several times, indicating that we should not situate this play in a Bhuddist but in a Hindi envioronment. This allows for Zurga to be “made up” as a Leader, complete with facial make up. The entrance of his old friend Nadir is the more beautiful, since he comes totally differently clad in the midst of a ceremony. This allows a very clear contrast in style. 15
Veiled Leïla 16
Left alone the two men now change the opera from large to small: the next scene allows for very human and realistic interaction. So should the lighting. Throughout the opera we switch form grand to small, and back. This way you can see the individual be confronted by the larger group and feel his or hers struggle so much better. It also allows for very human emotions and theatre that goes right to the heart. Great opera should touch you not only by the music and singing but by the human dilemma’s that speak to our hearts. FIRST ACT (PART TWO) With the entrance of Leïla we can bring on a complete differnt set of costumes: here the plot switches from rural to ecclesiastical. We bring in richly adorned women that accompangy the priestess. We see this way a devide between male and famale energy in the play: men are connected with the earth and work, women are associated with the devine and the spirit. The dances that in the beginning were virile and earthy should now become airy and very female. The entrance of Leïla must be a highpoint in the first act: she must in het mysteriousness be both holy, sensual, and ritual. We must sense that her presence evokes respect among the tribe. Rich colors, gold and embroidery. Open staging and evening light. 17
Projected moon & 2nd act atmosphere 18
SECOND ACT In order to bring about the power and tension that is needed in the second act, I propose an evening scene for the second act where the beach is transformed into the huge altar of an old Hindu temple. This temple is not on the beach but overlooks the coast where the village lies. Coastline in now only sky where the massive statue dominates the pinnacle. Leïla is brought to the place by Nourabad and these scenes intimacy is vital. We should evoke a star studded night and a warm and almost oppressive atmosphere of tropical nights in summer. There should also in the lighting be a feeling of imminent danger.. I envisage a moving almost full projected moon. So it can during the act actually move from high up to almost disappearing. Different intimate scenes follow each other in fast paced rhythm. This calls for a totally different “feel” than the first act. Where in the first act exuberance is needed, in the second act we seek Claire obscure. A Rembrandt-like idea of moonbeams and shadows in which the characters can appear and disappear at will. This will support the music in it’s mystical and threatening mood of impending doom. Very exiting and full of atmosphere... In this it would be very appropriate to have Leïla in light colors rather than in red. We should also become very aware that she is a very sensual attractive woman. From the formless and neuter attire in the first act: very rich but all covering gold and reds, to very revealing light and sheer clothing in the second act. She should be an asian Venus, a double with the moon. Also it gives Zurga the possibility to soil Leïla’s garments in his wrath and by doing so he desecrates her and she becomes a woman of flesh and blood. 19
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THIRD ACT The third act contains the unfolding of the drama. Here Zurga realizes the inevitability of fate. First of all he sees his folly, secondly he has realized that Leïla is his former savior and thus a second mother. She is the one that gave him hope and life when all was lost and thus she can never belong to him. And having been granted life by her, he can’t do anything else but repay the deed. He sets fire to the village. With this he sacrifices not only his life, but places love and friendship above all else, even above the will of the gods. He oversteps all boundaries set forth by religion and society and steps as it were in the shoes of the gods. This must be revenged. While the smoke of the village fills the air Zurga is taken to the top of the cliff and stabbed to death by Nurabad. He falls into the ocean. The lights turn blue again, and we see the first image of a deep-sea and form up-high we see the body of Zurga slowly sink to the bottom. While in the distance we hear the fled couple sing the song of friendship and love. 21
Leïla’s 2nd and 3rd act 22
FROM CONCEPT TO PERFORMANCE Casting This concept will only work when the audience will be pulled into the story. And this is first and foremost done by very direct and interactive acting. The staging of the piece should therefore be very dynamic. This will require very able and willing singers and dancers that are open to a complete different approach to the acting and staging. The piece has to be bold and full of vigor. So a young cast would be preferable. After all we are at a village of pearl-fishers, and those men are top-fit, sturdy and muscular. This is a real challenge for the casting. Great voices are a must, but great actors with great bodies as well. Leïla is to be a virgin. And a attractive one to boot. It should be a woman that men fight over and... it should be a real sacrifice to keep her a virgen. Otherwise her office diminishes in importance. We should find a -preferably dark-skinned- young woman that can fill the part... AND sing it! Set and Costumes Since the decor must seem simple but involves intricate designing and the stage setting and costumes must evoke a heightened realism akin to what Game of Thrones, Lord of the rings and Harry Potter create: a complete world of its own it needs all to be of very high quality. This version should be rich. Rich in color and texture, no synthetic textiles but exuberantly colored natural fabrics and designs rooted in the dreamlike realm of 19th century exoticism. That’s why I propose Marrit van der Burgt and Karel Spanhak as designers for set and costumes. Marrit has extensively worked with Peter Greenaway with whom she created non existent dreamworlds. She also was the creator of the great productions at the Appel-theater where she proved to be able to heighten style and make it bigger than life. An impression of her work you’ll find at: http://marrit.nl Karel Spanhak is a highly celebrated designer that works all over Europe and has executed more than 300 sets over his lifetime. He is used to deal with enormous projects like the Thunerseespiele, productions for the Volksoper Wien, and the opera Zürich and Sank Gallen. But he has also great knowledge of designing and building sets for smaller traveling productions. It is a real honor that he has pledged to cooperate, since he is a rather much sought after designer. Please visit his site at: http://spanhak.de 23
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Lighting But mostly to create a magical enchanting atmosphere it is very important to engage a good modern light-designer. For this production should not be just “lit”. I want to create really magical situations on stage and for this we will need someone who understands the importance and possibilities of modern instruments and their use. Up to now the majority of the productions of Charkov’s Ballet and Opera have been lit in a very traditionally basic way. This doesn’t allow for the creation of really dreamlike sequences. Moreover I would like to start and end the the opera with a really overwhelming image akin to that used in productions in New York and London (see: https://www.youtube.com/watch?v=V7GxQTgxoKM) For this a seasoned designer is needed. It would moreover be a wonderful opportunity for the lighting technicians in Charkov to come in contact with a designer from a complete different school and background. I foresee great advantages for future productions. Alex Brok, my proposed designer has -despite his tender age- worked with many leading stage directors in great houses, creating award winning productions. He worked for The San Francisco Opera on several productions. His Cosi an Tutte at the БолЬшой театр (Bolshoi theater) received golden masks nominations in Moskow. Visit his site at: http://alexbroklichtontwerp.com 25
CREATIVES
Marc Krone Stage Director Is a versatile director of opera, operetta, and musical-theatre. His credits include: : Die Stumme Serenade, An evening with Kurt Weill, Kafka Fragments, Der Zigeunerbaron, Der Freischütz, Jerusalem, Fingal, Dialogues des Carmelites, West Side Story, Le Tragedie de Carmen, Pagliacci, Die Lustige Witwe, Fingal, and Bonifatius. He is director in residence for the Dutch baroque ensemble Camerata Trajectina where he made the productions Ceres, Bacchus en Venus, Lijsje Flepkous, Murat Reis: Moslimkaper, Cats’ Klagende Maegthen and De triomferende min. As a long standing member of the (in)famous ‘Werkteater’ he was -both actor and directorresponsible for the creation of more than thirty productions. His work as director was proceeded by an extensive acting career that started in New York, at Stella Adler’s and worked for five years as an actor. After returning to Holland he appeared a myriad of parts for television, theatre and opera. From the mid 90’s on he focused mainly on musicals and starred in productions as: Hoera we zijn normaal, Titanic, Company, Merrily We Roll Along and the three Musketeers. As a director he is known best for his work in lyric and musical theatre and has worked with companies such as the Rotterdam Philharmonic, Brisk recorder quartett, The Charkov State ballet, Drama teater of Cherkassy, Varna State opera, Carré and Camerata Trajectina,
Jeroen Weijerink Musical Director s a versatile director of opera, operetta, and musical-theatre. His credits include: : Die Stumme Serenade, An evening with Kurt Weill, Kafka Fragments, Der Zigeunerbaron, Der Freischütz, Jerusalem, Fingal, Dialogues des Carmelites, West Side Story, Le Tragedie de Carmen, Pagliacci, Die Lustige Witwe, Fingal, and Bonifatius. He is director in residence for the Dutch baroque ensemble Camerata Trajectina where he made the productions Ceres, Bacchus en Venus, Lijsje Flepkous, Murat Reis: Moslimkaper, Cats’ Klagende Maegthen and De triomferende min. As a long standing member of the (in)famous ‘Werkteater’ he was -both actor and directorresponsible for the creation of more than thirty productions. His work as director was proceeded by an extensive acting career that started in New York, at Stella Adler’s and worked for five years as an actor. After returning to Holland he appeared a myriad of parts for television, theatre and opera. From the mid 90’s on he focused mainly on musicals and starred in productions as: Hoera we zijn normaal, Titanic, Company, Merrily We Roll Along and the three Musketeers. As a director he is known best for his work in lyric and musical theatre and has worked with companies such as the Rotterdam Philharmonic, Brisk recorder quartett, The Charkov State ballet, Drama teater of Cherkassy, Varna State opera, errily We Roll Along and the three Musketeers. As a director he is known best for his work in lyric and musical theatre and has worked with companies such as the Rotterdam Philharmonic, Brisk recorder quartett, The Charkov State ballet, Drama teater of Cherkassy, Varna State opera, Carré and Camerata Trajectina,
Karel Spanhak studies at the Art Academy of Amsterdam and Eschede. During his studies he already worked for the Holland Festival, the Opera Forum and the Nederlands Danstheater, followed by engagements as stage- and costume-designer in Wilhelmshaven, Baden-Baden and Osnabrück as well as engagements as the director of design in Trier, St. Gallen and Freiburg. Since 2002 he is guest designer at the State’s Theaters of Saarbrücken and Wiesbaden and the theatres of Bielefeld, Osnabrück, Münster and Rotterdam. In 2004 he won the first prize in category “scenography” in an opinion poll of the nordrheinwestfalian magazine “Theater Pur”. He had handed in the stage setting for the opera “The Neverending Story (by Siegfried Matthus) at the theatre of Hagen. Cooerations with: Karoline Gruber, Stefan Huber, Andreas Baesler, Anette Leistenschneider, Frank-Bernd Gottschalk, Reto Nickler, Katja Wolff, Anette Wolf, Werner Hahn, Richard Wherlock, Frank Matthus, Helmuth Fuschel, Peter Lotschalk, Werner Tritzschler, Jens Schmidl, Martin Driessen, Marja-Leena Junker, Anatol Preissler, Saskia Kuhlmann, Gabriele Köstler, Eike Gramms (Reg.-Int. Bern), Iris Gerath-Prein, Carsten Fuhrmann, Anatol Preissler, Teodros Adewale Adebisi, Wolfgang Maria Bauer, Michael Temme, Alexander Warmbrun, Marko Kathol, Myriam Muller, Jules Werner, Krzysztof Zanussi. Karel Spanhak Setdesigner. 27
Graduated at the Royal Academy of Art in The Hague. She has been designing costumes all over Europe for numerous theatre, opera, musical and film-productions. In musical and opera her credits include: De Jantjes (Stageentertainment), Lohengrin (Landestheater Tirol), Rusalka and Tsar Saltan (Opera Zuid). Much acclaimed is het work with the 'Dreamteam' of the International Opera Productions together with Karel Spanhak en Marc Krone. They produced several unique international traveling opera productions. For the theatre she designed more than 60 shows including Midsummernightsdream, Peyton Place, Anne Frank and Troyan Women. Marrit van der Burgt Costume designer She designed for numerous films and installations of Peter Greenaway, like his openings show GOLD in Frankfurter Stattteater and for World EXPO 2008 'Blue Planet' (in Zaragossa, Rome, Milan, Tokio). This was considered to be the best production of the expo. In Lille (Cultural Capital of Europe) she did "Wash and travel". In Genova and Napels grand installation ‘The children of uranium" And Greenaway's films Nightwatching (nominated for best costume-design) and Goltzius and the Pelican company. Other film-credits include Isabelle Costantini’s Les lettres de Julia, Koning van Katoren by Ben Sombogaart, Bennie Stout by Johan Nijenhuis and Shock head soul by Simon Pummel. Marrit van der Burgt's speciality is working with unusual materials, and the use of beautiful colours used in both extreme and subtile ways. She has a special talent for, after extensive research and preparation being able to improvise on the spot in close cooperation with the director. 28
Having completed his training in Theatre Design at the Amsterdam School of the Arts, Alex Brok left for Stanford University in California, United States. There, he taught Lighting Design and designed various productions within the theater department of the university, including; A Midsummer Nights Dream, End Game and Die Dreigroschenoper. Alex went on to work for The San Francisco Opera on several productions. During his time in the US, one of his designs was selected for exhibit at the Prague Quadrennial of Design & Space, Czech Republic in 2003. Upon his return to Europe Alex worked as a lighting designer for numerous opera, theater and dance productions with leading directors and choreographers and given form to: Le nozze di Figaro, Don Giovanni, L'elisir d'amore, Zauberflöte, L'Incoronazione di Poppea, La pietra del paragone, Where the wild things are, A Midsummer Night’s Dream, Albert Herring, Death in Venice, Greek, Les mamelles de Tirésias, La voix humaine, Dialogues des carmélites, Gianni Schicchi, Dido and Aeneas, Hänsel und Gretel, Die Dreigroschenoper, Il Matrimonio Segreto, Bastien und Bastienne, Háry János, Dvĕ vdovy (The Two Widows), Příhody lišky Bystroušky (Cunning Little Vixen), Clemenza di Tito, Il signor Bruschino, Carmen, Owen Wingrave, La bohème, Agrippina, Les pêcheurs de perles, and Jenufa. Alex recently designed the critically acclaimed Così fan tutte for The Bolshoi Theater in Moscow which was nominated for 5 golden masks and designed the price winning Orphée et Eurydice for the Nederlandse Reisopera. Upcoming projects include two new compositions for De Nederlands Opera, La traviata for The Nederlandse Reisopera, Zauberflöte for Theater an der Wien, Mosè in Egitto for the Bregenzer Festspiele, and Il Trittico for the Bayerische Staatsoper in München. 29 Alex Brox Light designer
André de Jong Choreographer His choreographer’s credits include Verdi's Les Vêpres siciliennes at the Royal Opera House London, "Yevgeny Onegin" at the Dutch Opera (Holland Festival) and "The Merry Widow" for International Opera Productions. He also did the choreography for RENT, City of Angels, Tick, tick, boom, The Secret Garden & The Ghost Train for Fontys Music, World Press Photo gala in 1997 and two television specials of Herman's Hermits and 'Fame' & 'The Lion King 'at New Art School. Andre studied at the Rotterdam Dance Academy and the Mountview Academy in London, the directors training in Rotterdam, and the yoga teacher training in Tilburg. He attended several workshops and projects in New York, Lausanne, Seville, Montreal and London. He was a long standing dancer at the International Dance Theatre, the Meekers, 'T MUZtheater,' T Dancing Heart "," Voortman / Young 'and Herman's Hermits. Besides this he appeared in several musicals, including Anatevka, Oliver, 42nd Street, Peter Pan, Saturday Night Fever, Musicals in Ahoy 2002, the Wizard of OZ, Sunday in the Park with George, Crazy for You, My Dad the Magician, The Wild Party, JOSEPH, once upon a mattress & Jekyll & Hyde. Andre teaches jazz dance, yoga and musical at Fontys Academy of Music, and directed numerous plays. 30
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Beach by night: Sketch for Pealfishers production. Karel Spanhak
PRODUCTIONS The following pages contain a collection of pictures of productions on which the members of the team have worked on, giving a general idea of the styles, quality en craftmanship of the team members.
Set : Karel Spanhak Costumes: Marrit van der Burgt
Costumes: Marrit van der Burgt
Set : Karel Spanhak Costumes: Marrit van der Burgt
Costumes: Marrit van der Burgt
Set : Karel Spanhak
Costumes: Marrit van der Burgt
DREAMTEAM Binnenkant 39 G 1011BM Amsterdam Holland dreamteam@marckrone.com
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