The Producers Council, and Fisher Award, Celebrations

The night of December 10th was an evening of recognition at BAM, celebrating both the opening night of The Rime of the Ancient Mariner, and the great patrons who make such a show possible.

Producers Council patrons sit down to dinner after the show. Photo by Beowulf Sheehan

The Producers Council Celebration is an annual event in which BAM gives something back to the members of one of our most important patron programs. In an attempt to combat the snow outside, the night began with hot cocktails in the lobby of the Harvey Theater before the doors opened. Then came the show: The Rime of the Ancient Mariner, a stage adaptation of Samuel Taylor Coleridge’s poem. Leaving no line left un-rhymed, the great film and stage actress—and BAM vet—Fiona Shaw stars as the suffering mariner, lost at sea, and without a crew.

The Producers Council members weren’t the only ones being honored that night. Minutes after Shaw took her final bow, she climbed onstage once again, this time in a slightly different capacity. BAM President Karen Hopkins presented Shaw with the 2013 Richard B. Fisher Next Wave Award, represented by an artist-designed walking stick, for her artistic accomplishments, continued excellence, and commitment to the institution. 

Fiona Shaw accepts the Fisher Award. Photo by Elena Olivo.

After the awards ceremony, it was off to dinner at the Leperq Space, where all sat at tables awash with shells and sea-themed centerpieces. Among the crowd were a few notable names, including Shaw herself, show co-star Daniel Hay-Gordon, and set designer Chloe Obolensky, who received shout-outs throughout the night for her design not only of Rime, but of BAM’s first show in the Harvey: iconic BAM artist Peter Brook's legendary staging of The Mahabharata. Obolensky literally set the stage for the high quality of theater that has taken place in the Harvey’s brief but dense history. 

Daniel Hay-Gordon at dinner after the show. Photo by Elena Olivo.

From the first Hot Toddy in the Harvey, to last plate laid in front of a patron, the night was a huge success. BAM would like to thank Fleurs Bella for the décor, Elena Olivo and Beowolf Sheehan for their photography, and, most importantly, the members of the Producers Council for their continued support of the institution.

Take a look at the full gallery of photos from the night here and here.

Rime—Casting Nets and Spells

by Stan Schwartz

 Daniel Hay-Gordon and Fiona Shaw. Photo: Robert Hubert Smith

“I’ve found in the last 20 years of performing poems, audiences still love the direct connection of the unmediated human voice. I’m not sure if anything actually will ever match that as being the primary theatrical experience.”

The speaker is famed Irish actor/director Fiona Shaw, and although her voice was indeed mediated by the trans-Atlantic phone system, it still came through loud, clear, and with charm in a recent conversation from London where she was busy directing Benjamin Britten’s opera The Rape of Lucretia. True, Shaw has recently been directing opera, but she is still mostly known as the superb film and stage actor who, in addition to playing in classical theater (BAM audiences will recall her in the 2011 John Gabriel Borkman), has also made a side business of performing epic poems on stage. In 1996, Shaw wowed New Yorkers with her mesmerizing interpretation of TS Eliot’s The Waste Land, and she returns to the BAM Harvey December 10—22 with her performance of Samuel Taylor Coleridge’s classic 18th-century poem, The Rime of the Ancient Mariner. The production is directed by Phyllida Lloyd.

Coleridge’s poem concerns the tale of the titular and tortured mariner who kills an albatross which has guided his ship lost at sea, and the strange, supernatural events which ensue as a result: Death claims his entire crew but the mariner is condemned to continue living a life of haunted guilt, hence the proverbial albatross around his neck. The poem features a curious framework in which the mariner has stopped a guest on the way to a wedding and has forced him to listen to his tale. But that is only one of the poem’s many oddities, all open to multiple interpretations. One thing is indisputable however, and that is the poem’s visceral and hallucinatory qualities, rendering it ripe for theatrical adaptation. And there’s no doubt that Coleridge’s rhythms of repeated rhymes give the work an incantatory quality.