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Titas Edition 1 | 2018-2019 WHAT’S INSIDE Dear Patrons | 5 Camille A. Brown & Dancers | 10 DIAVOLO | Architecture in Motion | 17 TITAS Presents: TEXAS Donors | 24 Board of Trustees/ ONCOLOGY Staff | 26 ATTPAC Staff | 29 Cover photo Beijing Dance Theater - Li Huimin ADVERTISING Onstage Publications 937-424-0529 | 866-503-1966 e-mail: [email protected] www.onstagepublications.com This program is published in association with Onstage Publications, 1612 Prosser Avenue, Kettering, OH 45409. This program may not be reproduced in whole or in part without written permission from the publisher. JBI Publishing is a division of Onstage Publications, Inc. Contents © 2018. All rights reserved. Printed in the U.S.A. DEAR PATRONS © Carter Rose DIVERSE | CAPTIVATING | GROUNDBREAKING – Words that speak to what sets TITAS Presents apart. Forward-thinking, surprising, intriguing and relevant are all precepts that guide the curation of the annual seasons we put together. Dance is such a special art form. Athletic, difficult, luscious, inspiring and surprising— Time and time again, these are the descriptions I hear from audience members. For more than 35 years, TITAS Presents continues to present the coolest, the most innovative, the most remarkable dance artists touring the world today. First-time audience members say they had no idea dance was so cool, something our longtime subscribers have always known. The 2018/2019 season won’t disappoint. Creative, soulful, gymnastic and breathtaking imagery makes this a very special set of international companies. Funny, stunning, inspiring and exciting, we proudly present a season of ten extraordinary companies from the United States and China. It is a season rich in creativity and soul-stirring performances. Success is rooted in collaboration. Together, TITAS Presents and the AT&T Performing Arts Center are dedicated to cultivating talent, new work, and advancing the Arts in our ever-expanding cultural landscape. We are committed, both individually and jointly, to supporting a collaborative community that fosters the creative process. Tonight’s presentation exemplifies our commitment to that process, and to innovative programming. We bring the world to Dallas. Thank you for actively engaging in the Arts, and for being a part of the TITAS Presents and AT&T Performing Arts Center families. What we do together, truly does make a difference. Sincerely, Charles Santos Executive Director/Artistic Director TITAS TITAS PRESENTS IN ASSOCIATION WITH AT&T PERFORMING ARTS CENTER 5 6 TITAS PRESENTS IN ASSOCIATION WITH AT&T PERFORMING ARTS CENTER 8 TITAS PRESENTS IN ASSOCIATION WITH AT&T PERFORMING ARTS CENTER FRIDAY . SATURDAY | AUGUST 24 . 25 2018 | MOODY PERFORMANCE HALL Director/Choreographer Camille A. Brown Dancers CHLOE DAVIS CATHERINE FOSTER ALIA KACHE YUSHA-MARIE SORZANO CAMILLE A. BROWN Musicians JUSTIN ELLINGTON (PIANIST) ROBIN BRAMLETT (BASSIST) Managing Director Indira Goodwine Company Manager Michelle Fletcher Agent Pamela Green, PMG Arts Management Commercial Agent Michael Moore, Michael Moore Agency TITAS Presents Season Sponsors: Cameras and other recording devices are not permitted during the performance. Please silence your phone and do not text during performances. 10 TITAS PRESENTS IN ASSOCIATION WITH AT&T PERFORMING ARTS CENTER FRIDAY . SATURDAY | AUGUST 24 . 25 2018 | MOODY PERFORMANCE HALL Program BLACK GIRL: Linguistic Play (2015) Direction and Choreography: Camille A. Brown in collaboration with the women of CABD Performers: Chloe Davis, Catherine Foster, Alia Kache, Yusha-Marie Sorzano and Camille A. Brown Pianist: Justin Ellington Electric Bassist: Robin Bramlett Music: Original compositions Back in the day, All Grownt Up, Beautiful Memories by Scott Patterson, Jump!, She Fast, Tender by Tracy Wormworth, Everything in Its Right Place by Radiohead, Rendition by Scott Patterson and Tracy Wormworth, Handclap/Nursery Rhymes: Miss Mary Mack, Miss Susie Had a Steamboat, and Green Sally Production Stage Manager: Robert McIntyre Dramaturgs: Daniel Banks, Kamilah Forbes and Talvin Wilks Lighting Design: Burke Wilmore Lighting Supervisor: Jane Chan Sound Design: Sam Crawford Set Design: Elizabeth C. Nelson Costume Design Contributors: Zulema Griffin, Carolyn Meckha Cherry, Mayte Natalio and Catherine Foster Tap Coaches: Shaune Johnson and Marshall Davis Company Manager: Michelle Fletcher The creation and presentation of BLACK GIRL: Linguistic Play is supported by the New England Foundation for the Arts’ National Dance Project with lead funding provided by The Doris Duke Charitable Foundation and the Andrew W. Mellon Foundation, with additional support from the Community Connections Fund of the MetLife Foundation and the National Endowment for the Arts. Major support for this new work also comes from the MAP Fund, primarily supported by the Doris Duke Charitable Foundation with additional funds from The Andrew W. Mellon Foundation; Engaging Dance Audiences administered by Dance/USA and made possible with generous funding from the Doris Duke Charitable Foundation; a Jerome Foundation 50th Anniversary Grant; New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; Harkness Foundation for Dance; and a 2014 New York City Center Choreography Fellowship. This work was commissioned by DANCECleveland through a 2014 Joyce Award from the Joyce Foundation, The Clarice Smith Performing Arts Center at The University of Maryland, Juniata Presents and Juniata College. It was developed, in part, during a residency at Baryshnikov Arts Center, New York, NY awarded through the Princess Grace Foundation–USA Works in Progress residency program; a creative residency at The Yard, The Flynn Center, and the Wesleyan Center for the Arts; a technical residency at Juniata College in Huntington, PA; a residency at New York City Center; and a residency at Newcomb Dance Program, Tulane University Department of Theatre and Dance. TITAS PRESENTS IN ASSOCIATION WITH AT&T PERFORMING ARTS CENTER 11 ABOUT THE COMPANY CAMILLE A. BROWN & DANCERS the media that showcased Black girls being just that: girls. This instantly resonated and became personal. Founded in 2006, Camille A. Brown & Dancers Who was I before the world defined me? What are is a Bessie Award-winning, NYC-based dance the unspoken languages within Black girl culture that company that soars through history like a whirlwind. are multi-dimensional and have been appropriated Recognized for an introspective approach to cultural and compartmentalized by others? What are the themes through visceral movement and socio-political dimensions of Black girl joy that cannot be boxed dialogues, the work contains high theatricality, into a smile or a grimace, but demonstrated in a gutsy moves, and virtuosic musicality, connecting head tilt, lip smack, hand gesture, and more? excavations of ancestral stories and history with contemporary culture. www.camilleabrown.org BLACK GIRL: Linguistic Play showcases and elevates the rhythms and gestures of childhood play, highlights CHOREOGRAPHER’S NOTE the musical complexity and composition, and claims them as art. It shows the power of sisterhood and BLACK GIRL: Linguistic Play celebrates the unspoken the fact that, as we mature, Black girls still play. It rhythm and language that Black girls have through is remembering, conjuring, honoring, and healing. Double Dutch, social dances, and hand-clapping It’s a Black girl’s story through her gaze. This work games that are contemporary and ancestral. As I began is a gift to myself and Black girls everywhere. to create the work, I realized that I was exhausted by stereotypes and tropes because, as a Black female If our audiences see parts of themselves in our director, I battle with them daily. work—their struggles and their joys—regardless of their color, gender, or socioeconomic background, Kyra Gaunt’s book, The Games Black Girls Play, then I know we have done our job. inspired the concept for the work. The word “play” immediately shot out. I started thinking about my Let’s play! childhood and the many games I used to play— Double Dutch, Red light, Green light, Marco Polo— Camille A. Brown and how it was hard for me to find narratives within PERFORMERS CAMILLE A. BROWN is a prolific choreographer Ms. Brown’s work has been commissioned by making a personal claim on history through the Alvin Ailey American Dance Theater, Philadanco!, lens of a modern Black female perspective. She Complexions, and Urban Bush Women, among leads her dancers through excavations of ancestral others. Ms. Brown is the Choreographer for stories, both timeless and traditional, that illustrate The Tony Award Winning Revival of Once On stories which connect history with contemporary This Island on Broadway. For her work on this culture. She is a 2017 Ford Foundation Art of show, she also received Outer Critics Circle, Drama Change Fellow, four time Princess Grace Award Desk, and Chita Rivera award nominations. For her winner (2016 Statue Award, 2016 Choreographic choreography on BELLA: An American Tall Tale, Mentorship Co-Commission Award, 2013 Works Ms. Brown received an AUDELCO award and in Progress Residency Award, 2006 Choreography Lucille Lortel nomination. Award), 2016 Jacob’s Pillow Dance Award recipient, 2016 Guggenheim Fellowship recipient, 2015 USA Her other theater credits include Broadway’s Jay Franke & David Herro Fellow, 2015 TED Fellow, A Streetcar Named Desire, Fortress of Solitude, Stagger 2015 Doris Duke Artist Award recipient, and was Lee, Cabin in the Sky, Jonathan
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