2016 Next Wave Festival

NOV 2016

2016 NEXT WAVE FESTIVAL

Ellen Carey, Dings and Shadows, 2012

Published by: Season Sponsor: 2016 BAM Next Wave Festival #MemoryRings

Brooklyn Academy of Music

Alan H. Fishman, Chairman of the Board

William I. Campbell, Vice Chairman of the Board

Adam E. Max, Vice Chairman of the Board

Katy Clark, President

Joseph V. Melillo, Executive Producer Memory Rings

BAM Harvey Theater Nov 17—19 at 7:30pm; Nov 20 at 3pm

Running time: approx. one hour & 20 minutes, no intermission

Phantom Limb Company Conceived by Jessica Grindstaff and Erik Sanko Choreography by Ryan Heffington

Direction and design by Jessica Grindstaff Original music and puppet design by Erik Sanko Costume design by Henrik Vibskov Lighting design by Brian H Scott Sound design by Darron L West Projection design by Keith Skretch Dramaturgy by Janice Paran Creative producer Mara Isaacs/Octopus Theatricals Season Sponsor:

Major support for theater at BAM provided by: The Francena T. Harrison Foundation Trust Donald R. Mullen Jr. The SHS Foundation The Shubert Foundation, Inc.

Additional support provided by The Jim Henson Foundation. Memory Rings

CAST Toby Billowitz Rowan Magee Marissa Brown Aaron Mattocks Emeri Fetzer Daniel Selon Takemi Kitamura Carlton Cyrus Ward

ADDITIONAL CREDITS Stage manager Randi Rivera Production manager Corps Liminis Design architect Gia Wolff Fragrance design Douglas Little Rehearsal director Aaron Mattocks Cello recording Jeffrey Ziegler Producing associate/Company manager Bryan Hunt Bramble costumes designed by Jessica Grindstaff Costumes fabricated by Henrik Vibskov Studio Bramble costumes fabricated by Daniel Selon and Kaitlyn Horpedahl, Sarah Mgeni, Ilona Muschenetz, Christine Papalexis, Lauren Shell Additional puppet costumes fabricated by Sarah Lafferty Tree fabrication by Dante Mann Voice of Little Red Riding Hood Freya Rabbit Sanko

Co-produced by Oz Arts Nashville Co-commissioned by BAM, CAP UCLA, the New York University Abu Dhabi Arts Center, and ASU Gammage at Arizona State University

ADDITIONAL TEXT/MUSIC “Who’s Afraid of the Big Bad Wolf?” Performed by Henry Hall & His Orchestra Excerpt from Thus Spoke Zarathustra Courtesy of Warner Music UK Ltd by Friedrich Nietzsche By arrangement with Warner Music Group Film Spoken by Jennifer Charles & TV licensing

“Wild World” “Teddy Bears Picnic” Written by Yusuf Islam By John W. Bratton and Jimmy Kennedy Published by BMG Gold Songs (ASCAP) o/b/o WB Music Corp. (ASCAP) and EMI Music Salafa Limited Publishing LTD (PRS) Used by permission. All rights reserved. All rights administered by WB Music Corp.

“Wild World” “Teddy Bears Picnic” Performed by Cassandra Jenkins Performed by Henry Hall & His Orchestra By arrangement with Cassandra Jenkins Courtesy of Warner Music U.K. Ltd By arrangement with Warner Music Group Film “Who’s Afraid of the Big Bad Wolf?” & TV licensing By Frank Churchill. Additional Lyric by Ann Ronell With media courtesy of ©Copyright by Bourne Co. Sierra Urich Copyright Renewed Pacific Forestry Centre, Canadian Forest Service All Rights Reserved International Copyright Prelinger Archives Secured ASCAP Photo: Yannick Grandmont

Photo: Sierra Urich Memory Rings—Note from the director

Memory Rings is the second installment of a quest to achieve eternal renown by slaying the planned trilogy of original works addressing god of the cedar forest. environmental concerns. The first piece, 69˚S, a poetic examination of Ernest Shackleton’s 1914 So how has the relationship between humans Antarctica expedition, looked at questions of and the environment changed over the last 5000 adversity, endurance, community, and hubris. years? Very little, it seems. The difference is that it is becoming unsustainable. Many say that we Our work on Memory Rings was inspired by have reached a tipping point, and that our efforts the so-called Methuselah Tree, a California to restore our planet’s health have come too late. bristlecone pine that is almost 5000 years Meanwhile, we are becoming digital avatars of old. Its longevity made us wonder, how has our very selves, changing faster than we can humankind’s relationship to the natural world collectively process, while our actual world fades changed over the course of Methuselah’s life? around us, the next mass extinction looming.

We humans pride ourselves on our evolutionary The story of Memory Rings leaves the ball in our dominance, on our separation from our animal court. Through a series of fanciful, overlapping forebears. But that severance comes at a cost. As scenarios in which Gilgamesh, woodland the waves drew back from the coast in advance creatures, fairy tale forests, fragments of the flood of the 2004 tsunami in Indonesia, curious myth, and some very 21st-century problems vie tourists walked out toward the water, though for our attention, Memory Rings asks us to stop, many animals had reportedly sought higher look, and listen. ground days earlier. The sensory abilities we once had, the deep connection to our planet’s We have created a world where human, puppet, signals, have been lost. and animal slip in and out of each other’s skins, making a tapestry of a fictional biodiversity. But even that disconnect is old news. In In childlike moments of delight, in the bits of developing Memory Rings, we looked to our laughter evoked, we hope to awaken a dormant earliest myths and stories of human interaction connection to forgotten identities and to nature with nature, and realized that one of the itself, the source of life, our very first love. After oldest—the epic tale of Gilgamesh—hinges all, we are part of a closed system—we have on a deforestation. In the Sumerian version, always been here, and we will always be here, in Gilgamesh, king of Urek, sees dead bodies one form or another. floating down the Euphrates. He realizes in that moment that he is mortal, and sets off on a —Jessica Grindstaff

THE WASTE LAND, excerpt (Come in under the shadow of this red rock), What are the roots that clutch, what branches And I will show you something different from grow either Out of this stony rubbish? Son of man, Your shadow at morning striding behind You cannot say, or guess, for you know you only Or your shadow at evening rising to meet A heap of broken images, where the sun you; beats, I will show you fear in a handful of dust. And the dead tree gives no shelter, the cricket no relief, —T.S. Eliot And the dry stone no sound of water. Only There is shadow under this red rock, Who’s Who

PHANTOM LIMB COMPANY (PLC), New York artists as Mark Z. Danielewski, Ulrike Quade, City-based, is known for its work with mario- Danny Elfman, Kronos Quartet, Ping Chong, nette-puppetry and its focus on collaborative, Geoff Sobelle, and Jim Jarmusch. In 2010 she multi-media theatrical production and design. production-designed Lemony Snicket’s The Com- Co-founded in 2007 by artist, director, and set poser Is Dead at Berkeley Repertory Theatre. designer Jessica Grindstaff and composer and 69˚S. led Grindstaff to a teaching residency in puppet maker Erik Sanko, Phantom Limb has Melbourne, Australia, a research residency with been lauded for its unconventional approach original expedition journals at Dartmouth College, to this venerable format with a particular focus residencies at BAM, MASS MoCA, EMPAC, the on combining the body, dance, and puppetry. Grand Theatre in the Netherlands, and most Phantom Limb includes a large rotating cast dramatically to the continent of Antarctica itself. of friends, collaborators, artists, dancers, and Last year she was the set designer on Peer puppeteers. For the past decade, PLC has been Gynt at Copenhagen’s République Theatre and developing a trilogy that grapples with hu- collaborated with Tiffany & Co. for its window man relationship to nature and climate change display campaign for the holiday season of 2015 through several different lenses. The first, 69˚S. (voted top 10 windows in the world by Condé opened in 2011 at BAM and toured extensively. Nast Traveler). Grindstaff continues creative Memory Rings is the second, and the final piece, engagement with interiors, set design, immersive Falling Out, is a cross-cultural collaboration with marketing, installation, and fabrication for com- Japan and is in development now. Phantom mercial clients. Limb has an active consulting, teaching, and fabricating component that compliments its live ERIK SANKO (PLC co-artistic director, composer, theater work. Phantom Limb has received gener- puppet designer) is best known as a fixture of the ous support and grants from the Jim Henson NYC downtown music scene, having recorded Foundation, The Jerome Foundation, the Lower and toured with John Cale, Yoko Ono, Gavin Manhattan Cultural Council, the National Sci- Friday, Jim Carroll, and James Chance and the ence, The New York State Composer’s Grant, Contortions, as well as being a 16-year veteran the MAP Fund, Edith Luytens and Norman Bel of The Lounge Lizards and his own band, Geddes Design Enhancement Fund, New Music Skeleton Key. In 2006, his first complete puppet USA, and the Japan Foundation as well as be- play, The Fortune Teller, debuted at HERE Arts ing Hermitage Artist Residency Fellows, Robert Center in New York City. The Kronos Quartet Rauschenberg Residency Fellows, and Recipients commissioned Sanko to create music and mari- of the Bay Area Critics Circle Award. onettes for Dear Mme. at BAM. Sanko composed phantomlimbcompany.com music for puppeteer Ulrike Quade’s The Wall and in 2007, he formed Phantom Limb Company (PLC) with Jessica Grindstaff. With Phantom CREATIVE TEAM Limb he scored and designed marionettes for Ping Chong’s The Devil You Know and designed JESSICA GRINDSTAFF (PLC co-artistic director, marionettes for the Lemony Snicket production director, set designer) is a New York City-based The Composer is Dead at the Berkeley Repertory artist who has been known as a creator of Theater in 2010. In 2011 he co-created, wrote haunting, meticulously constructed music box the score performed by the Kronos Quartet, and dioramas and paintings in wax and chalkboard made the marionettes for the PLC production as well as a jewelry line/ongoing performance 69˚S., which premiered at BAM and toured piece of prize ribbons and medals. Within the the US to great critical acclaim. In 2013 Sanko context of Phantom Limb Company she is a designed puppets for an adaptation of Peer Gynt creative director that consistently takes a fine art produced in Copenhagen by the République approach to set design and has a fierce commit- Theater and most recently he made puppets for ment to making collaborative theatrical work. the Cleveland Play House’s interpretation of Little Grindstaff has collaborated with such diverse Shop of Horrors. Together with Grindstaff he has Who’s Who

lectured and taught at The New School, AFUK in fashion show for their 2016 design collabora- Copenhagen, the Victorian College of the Arts in tion. The line will be available in H&M stores Melbourne, McMurdo Station in Antarctica, and worldwide in November 2016. Heffington has is presently teaching a puppetry course at Rhode been described as both “a mad Bob Fosse with Island School of Design. Sanko has just released a sewing machine,” “Martha Graham on meth,” his first solo record in 15 years under his own and “a force to be reckoned with” by The Los name titled Puppet Boy; look for it on Band- Angeles Times. camp. He holds a BFA from Cooper Union and has been a closet puppet maker since childhood. HENRIK VIBSKOV (costume design) has recently produced The Transparent Tongue, The Spa- RYAN HEFFINGTON (choreography) is a ghetti Handjob, and The Shrink Wrap Spectacu- performance artist, choreographer, designer, and lar, to name a few; each title refers to a different the owner of the Sweat Spot dance space in Los but equally mesmerising world and set of logic. Angeles. Heffington has staked his claim in both As a fashion designer Vibskov has produced over the commercial and art worlds. His exhaustive 28 men’s (and later also women’s) collections resume includes work in national art galleries, since he graduated from Central St. Martins in on fashion show runways, professional dance 2001. As a member of the Chambre Syndicale stages, numerous TV shows, and at some of the de la Mode Masculine he is the only Scandina- grittiest night clubs around the globe. Heffing- vian designer on the official show schedule of the ton’s work has been featured at Los Angeles Paris Men’s Fashion Week, which he has been County Museum of Art, Museum of Contempo- since January 2003. He has frequently partici- rary Art (Heffington Moves MOCA), the Hammer pated in festivals, contests, and talks; throughout Museum, Charlottenborg Museum (Copenha- his career his designs have won him prizes such gen), and more. He is the recipient of the 2014 as the Becks Student Future Prize 2000, New MTV VMA award and a 2015 EMA nomination Name of the Year 2003, Danish Design Council for Best Choreography for his video work with Award 2007, Brand of the Year DANSK Fashion Sia. Their collaboration on the “Chandelier” Awards 2008, an award from the Danish Arts music video has garnered more than 1.4 billion Foundation in 2009, the 2011 Söderberg prize internet views, ranking it as one of the most (the highest value design prize in the world), watched videos in history. Heffington also re- as well as the Jury Prize at the Danish Fashion ceived attention for choreographing Muse’s “Up- Awards in 2012. He has exhibitited at MoMA PS rising” performance at the 2011 Grammys, Sia’s 1 in New York, Palais de Tokyo in Paris, ICA in 2015 Grammy performance with Kristin Wiig, London, Zeeuws Museum in Holland, Kiyomizu- and Emma Stone’s performance in the “Anna” Dera Temple in Kyoto, Wilhelm Wagendfeld Haus music video by Will Butler. He has worked with in Bremen, NAI Nederlands Architectuur Insti- dozens of music artists such as Years & Years, tuut in Rotterdam, and the Textile Museum in Paul McCartney, Florence + the Machine, Billy Washington, DC, to name a few. He is currently Idol, FKA twigs, Lykke Li, Chet Faker, Arcade professor at DSKD and has published four books, Fire, Massive Attack, and many more. On the big including a 2012 monograph of his work to date screen, Heffington’s work was most recently seen (published by Gestalten). in Christopher Guest’s Mascots (official selection of the 2016 Toronto Film Festival). Upcoming BRIAN H SCOTT (lighting design) is a scenic film and television work includes Edgar Wright’s designer based in New York City, and is resident Baby Driver with Ansel Elgort and Jamie Foxx, designer for Austin, TX-based Rude Mechani- and the soon to be released Netflix series The cals, where he designed Stop Hitting Yourself at OA. Heffington has received wide acclaim for his Lincoln Center, Now Now Oh Now, Method Gun, collaboration with Spike Jonze on Kenzo’s per- I’ve Never Been So Happy, How Late It Was fume commercial released in August 2016. His How Late, Lipstick Traces, Requiem for Tesla, work with Kenzo has further evolved to include and Matchplay. For the Park Avenue Armory he their partnership with H&M, choreographing the created lighting for Laurie Anderson’s Habaes Who’s Who

Corpus, Douglas Gordon’s Tears become… JANICE PARAN (dramaturg) is a New Jersey- Streams become, Oktophonie, and Ann Hamil- based dramaturg and writer and a senior ton’s The Event of a Thread. He designed lighting program associate for the Sundance Institute for Laurie Anderson and Kronos Quartet’s Land- Theatre Program, which provides creative sup- fall (BAM, 2014), Douglas Gordon’s Neck of the port for the development of new work for the Woods, and Bound to Hurt. As a SITI Company stage. Prior to joining Sundance, she spent 14 member he designed lighting for Steel Hammer seasons as the director of play development at with Bang on a Can All-Stars (BAM, 2015), McCarter Theatre Center in Princeton, NJ. She the theater is a blank page with Ann Hamilton, has worked closely with numerous writers and The Persians and Trojan Women (Getty Villa; artists, including Annie Baker, Nilo Cruz, Chris- BAM, 2012), American Document (Martha topher Durang, Branden Jacobs-Jenkins, Emily Graham Dance Company), Cafe Variations, Mann, Dael Orlandersmith, Denis O’Hare and Under Construction, WhoDoYouThinkYouAre, Lisa Peterson, Polly Pen, Stephen Wadsworth, Hotel Cassioepeia (BAM, 2007), Death and the Tracey Scott Wilson, and Doug Wright. She is the Ploughman, bobrauschenbergamerica (BAM, recipient of a Bly Creative Capacity Fellowship for 2003; Henry Hewes Design Award 2004), her work on Memory Rings. Recent projects in- Radio Macbeth, and War of the Worlds—Radio clude The Figaro Plays at McCarter Theatre and Play (BAM, 2000). Bel Canto at Lyric Opera of Chicago. She is a Ci- vilians Associate Artist, an artistic advisor to the DARRON L WEST (sound design) is a Tony and Weston Playhouse Theatre Company in Weston, OBIE award-winning sound designer whose work VT, and she was recently named to the roster of for theater and dance has been heard in over Fulbright specialists. She has taught at Princeton 550 productions nationally and internationally University, Drew University, and NYU, and she on Broadway and off. Previously at the BAM Next holds MFA degrees from Catholic University and Wave Festival: War of the Worlds, The Hanging the Yale School of Drama. Man, bobrauchenbergamerica, and Hotel Cas- siopeia. His many accolades for sound design in- MARA ISAACS (creative producer) is execu- clude the San Francisco Bay Area Theater Critics tive/creative producer and founder of Octopus Award, the Lucille Lortel, the AUDELCO, and he Theatricals, a theatrical producing and consulting is a two-time Henry Hewes Design Award win- company dedicated to fostering an expansive ner and a proud recipient of the 2012 Princess range of compelling theatrical works for local, Grace Award Statue. national and international audiences. Current projects include Hadestown by Anais Mitchell; KEITH SKRETCH (video design) designs video Theatre for One’s In This Moment; Our Secrets for performance and installation. Recent projects by Béla Pintér and Company (Budapest, Poland); include DECODER 2017 (at La MaMa, Dec Fiasco Theater’s production of Into the Woods 3), Sonnets to Orpheus (Live Arts Exchange/ (national tour 2016-2017); Songs of Lear by LAX), Fantômas (CalArts CNP), Sleepless (Music Song of the Goat Theatre (Wroclaw, Poland); Center, Dorothy Chandler Pavilion), House Music and An Iliad by Denis O’Hare and Lisa Peter- (Grand Lady Dance House), Women Laughing son. She is project director for the Springboard Alone with Salad (Center Theatre Group), Brave Project, a new initiative of the Jerome Robbins New World (Royal and Derngate). He has worked Foundation designed to support the development with artists including Big Dance Theater, Palis- of dance musicals. Consulting clients include simo, Jay Scheib, Christen Clifford, Daniel Fish, Baryshnikov Arts Center, Fiasco Theater, The Mothership LA, and WNYC’s Radiolab. Skretch Civilians, Tectonic Theatre Project, and The received 2014 Bessie and Henry Hewes awards Wilma Theatre (Philadelphia). She has produced for his work on Mallory Catlett’s This Was the over 100 productions that have been seen on End (Chocolate Factory), and he holds degrees Broadway (Vanya and Sonia and Masha and from the University of Chicago and CalArts. Spike, Translations, Anna in the Tropics, Electra), Photo: Sierra Urich

Who’s Who

off-Broadway (The Brother/Sister Plays, Miss Community-Based Architecture of Parade Floats. Witherspoon, Crowns, The Laramie Project), at She is presently an adjunct assistant professor theaters around the country (Goodman Theatre, at Pratt Institute, School of Architecture and an Center Theatre Group, La Jolla Playhouse, Berke- assistant professor at the Irwin S. Chanin School ley Rep, and others) and internationally (London, of Architecture at the Cooper Union, both in South Africa). She served as producing director New York. Her work has been featured in recent at McCarter Theater in Princeton, NJ from exhibitions including Canopy, an installation 1995—2013 and she produced new play devel- in the Tate Modern’s turbine hall for the show opment programs and productions for the Mark Up Hill Down Hall: An indoor carnival (London, Taper Forum in Los Angeles from 1990—95. England, 2014); Cataviary in collaboration with octopustheatricals.com Freecell Architecture (Real Art Ways, Hartford, 2014; 356 Mission, Los Angeles, 2015), Tubes RANDI RIVERA (stage manager) is a native New Over Tubes Under Tubes, in collaboration with Yorker. She holds a BA in theater from Hamilton Freecell Architecture (White Columns Gallery, College, studied technical theater at the Royal NY, 2013), Jambalaya (Storefront for Art and Welsh College of Music & Drama, and produc- Architecture, NY, 2013), and What to Maintain tion management at Universidad San Pablo (Peter Fingesten Gallery, Pace University, NY, CEU in Madrid. Rivera is the stage manager and 2014). Wolff is also a collaborator with the lighting director for Brooklyn-based Half Straddle Phantom Limb Company on marionette set theater company, traveling internationally and designs including The Devil You Know (La MaMa domestically with its work since 2012. Rivera Experimental Theater, NY, 2010), The Composer also works as a touring and NYC-based stage Is Dead (Berkeley Repertory Theater, Berkeley, manager/lighting director for contemporary dance 2010), and 69°S. (BAM Next Wave Festival, companies such as Keigwin + Company, Faye Brooklyn, 2011). Driscoll Group, Sidra Bell Dance NY, and Doug Elkins Choreography. She has been working with Phantom Limb since 2011 and is thrilled to to PERFORMERS return to the Harvey with this team. All of her work is for her family. TOBY BILLOWITZ has danced with many choreographers and companies, including Jordan CORPS LIMINIS (production management) Fuchs, Artichoke Dance, Freefall, Jill Sigman/ Recent projects include: Broadway Asia’s China thinkdance, and Ben Munisteri. He has puppe- Goes Pop (Chinese Tour), Tony Oursler’s Impon- teered at drag shows, NYC Halloween parades, derable (MoMA), Lisa Dwan’s Beckett Trilogy and on Broadway in the National Theatre’s (US Tour), Anri Sala’s Ravel Ravel Unravel (New production of War Horse at Lincoln Center. In Museum), Peter Sellars’ FLEXN (International addition to dance, he has taught gymnastics and Tour), Sankai Juku’s Umusuna (US Tour), Bryce trampoline to children and adults, social dance Dessner’s Black Mountain Songs (Barbican), to teens, movement to senior citizens, and pup- Robert Wilson’s Zinnias: The Life of Clementine petry to children in the Dominican Republic in Hunter at (Montclair State University), and Karen an area so rural they were neither familiar with O’s Stop The Virgens (Sydney Opera House). the Spanish word for puppet, nor the concept. He also works as a personal trainer. GIA WOLFF (design architect) is an architectural designer interested in architecture that embod- EMERI FETZER is a Utah native turned New ies a reciprocal relationship between the user York-based performer. Fetzer graduated magna and the built environment, and questions the cum laude in dance choreography and English performative aspects of the discipline. In 2013, from Goucher College in Baltimore where she Wolff was winner of the Wheelwright Prize performed in works by Seán Curran, Heidi (Harvard GSD) for her project Floating City: The Henderson, and Larry Keigwin. While studying Who’s Who

abroad at Accademia dell’Arte in Italy, Fetzer cul- ROWAN MAGEE is a performer, teacher, and di- tivated a passion for narrative performance that rector and has been collaborating with Phantom led to two years of multiple roles in Punchdrunk’s Limb since 2011. Magee has multiple credits at Sleep No More (NYC). While in New York, she La MaMa, St. Ann’s Warehouse, Bard Sum- has also performed in full-evening original work merscape, and is currently developing new work produced by GreenSpace in LIC and at WestFest with Robin Frohardt, Dan Hurlin, Nindy Lejuk, at WestBeth, and in collaborative solos with and Spencer Lott. Previous BAM performances choreographer Grace Courvoisier at CPR and as include Hagoromo featuring Wendy Whelan and part of the CRAWL Series. As managing editor Jock Soto (BAM, 2015) and Phantom Limb for DancePulp.com in collaboration with Drew Company’s 69ºS (BAM, 2011). His original pup- Jacoby, she interviews enlightened artists on pet work No 1 Chinese premiered at St. Ann’s process and lifestyle. Fetzer continues to dig en- Puppet Lab in January 2016. In December, he thusiastically for connections between language, is puppeteering in Demolishing Everything at storytelling and motion in Phantom Limb’s Amazing Speed, at the American Dance Institute Memory Rings. in Maryland, and teaching puppetry at the Brooklyn New School. Magee was raised in Troy, TAKEMI KITAMURA is a choreographer, dancer, NY, and graduated from Sarah Lawrence College. puppeteer, Japanese sword fighter, and actor. The native of Osaka, Japan graduated Phi Beta DANIEL SELON is thrilled to be collaborating Kappa with a BA in dance education from Hunt- with Phantom Limb Company on Memory Rings. er College, where she received the Choreographic Selon is a multi-disciplinary artist living and Award from the dance program. Her latest perfor- working in Los Angeles. Originally hailing from mance credits include The Oldest Boy (pup- the midwest, he discovered the joys of perfor- peteer/dancer) at Lincoln Center Theater; and mance and puppetry at a young age while at The Indian Queen (dancer), an opera directed by the Children’s Theatre Company in Minneapolis, Peter Sellars; Shank’s Mare (puppeteer) by Tom MN. He holds a bachelor’s degree in theater Lee and Koryu Nishikawa V; and Demolishing and music from Occidental College where he fell Everything with Amazing Speed (puppeteer) by in love with directing and design. Selon works Dan Hurlin. As a dancer, she has worked with regularly as a costume designer and fabricator numerous choreographers and companies such for television, film, and commercials. His com- as Nami Yamamoto, Sondra Loring, Sally Silvers, mercial and print work is featured internationally. Christopher Williams, and The BodyCartography danielselon.com Project, to name a few. She performed as a lead in Samurai Sword Soul, a Japanese sword fight- AARON MATTOCKS (rehearsal director/ ing theater group, for eight years. performer), “one of the finest young actor- dancers in New York” (The New York Times), is MARISSA BROWN is originally from the San a Pennsylvania native, Sarah Lawrence College Francisco Bay Area. She graduated from the Uni- alumnus, and two-time Bessie Award nominee versity of California/Irvine with a BFA in dance for Outstanding Performer (2016, 2013). He has performance and BFA in dance choreography. worked with Annie-B Parson and Paul Lazar/Big As a performer she has had the pleasure to work Dance Theater since 2009, appearing in Goats with choreographers and companies such as (OtherShore/Ringling Museum), Supernatural Donald McKayle, Benjamin Levy, Brice Mousset, Wife (BAM Next Wave 2011), Comme Toujours Randy James, Sharp&Fine, The People Movers, Here I Stand (2012 NYLA revival), Man in a and at the Park Avenue Armory. She also creates Case with Mikhail Baryshnikov (Hartford Stage/ her own work, which has been shown in various national tour), Alan Smithee...Triple Feature venues throughout California and New York (2014 BAM Next Wave), and Short Form (The under the name Lone King. Kitchen/national tour); and with Phantom Limb Company since 2011, in 69°S. (2011 BAM Wh

Who’s Who

Next Wave/national tour), and Memory Rings currently produces projects for choreographers (world premiere, 2015 OZ Arts Nashville). Beth Gill and Pam Tanowitz, and is the executive He has also created roles in premieres by director of Big Dance Theater. Ursula Eagly, Doug Elkins, David Gordon, John Heginbotham, Jodi Melnick, Stephen Petronio, CARLTON CYRUS WARD is a dancer, circus Steven Reker, Christopher Williams, and Kathy performer, and actor from the woods of northern Westwater. He has appeared as a guest artist Vermont. He came to NYC to study theater with Yoshiko Chuma, Faye Driscoll, John Kelly, at NYU’s Tisch School of the Arts. Ward has Dean Moss, David Parker, Karen Sherman, and recently been very busy. He has worked with the Bessie Award-winning production Then Third Rail Projects on Learning Curve, Sweet & She Fell, and has performed in projects by 600 Lucky, The Grand Paradise, and Then She Fell. HIGHWAYMEN, Joanna Furnans, Shaun Irons/ He played Shackleton in 69ºS., and is excited to Lauren Petty, Courtney Krantz, Abigail Levine, be performing once again with Phantom Limb in and Amanda Villalobos. He was the associate Memory Rings. He has also worked with Becky choreographer for Jonathan Demme’s feature Radway Dance Projects, The Artigiani Troupe, film Ricki and the Flash, choreographed by and Circus Amok. He recently created and per- Annie-B Parson and starring Meryl Streep, Kevin formed his first one-man show, Bomont: A Clown Kline, and Audra McDonald (TriStar, summer Story, a solo version of Footloose. Ward, along 2015), and assisted Parson on a new solo for with Becky Radway and Joel Marsh Garland, ballerina Wendy Whelan which premiered at made a dance film, 219 Gates, viewable on the Royal Opera House/London in 2015. He Youtube.com. Memory Rings

Development residencies provided by OZ Arts table Trust, New York State Council on the Arts, Nashville, the Robert Rauschenberg Foundation/ New York City Department of Cultural Affairs, Rauschenberg Residency, MASS MoCA, North Andrew W. Mellon Foundation, Baisley Powell Adams, MA, The Hermitage, Harvard University Elebash Fund, Gladys Krieble Delmas Center for the Environment and CalArts School Foundation; The Jim Henson Foundation. of Theatre. Memory Rings is made possible with the Additional support provided by New Music USA, generous assistance of New York Live Arts. made possible by annual program support and/or endowment gifts from Mary Flagler Cary Chari-

Special thanks from Phantom Limb Company: Emma Judkins Gary Kechely Joe Melillo and the staff at BAM John Kilgore Kristy Edmunds and the staff at CAP UCLA Daniel Leeb Lauren Snelling and the staff at OZ Arts Nashville Sal Mannino CalArts School of Theater Renee Mellman Western Kentucky University Theater Department Seth Mellman Princeton University’s Lewis Center for the Arts Jordan Morley Ronee Penoi Lucie Baker Paula Perlis Ella Belenky Ruben Polendo Tommy Bertelsen Travis Preston Oren Bloedow J Ralph Blue Ribbon Julie Robine Bill Bragin John Rosko Chris Caiazza Freya Sanko Jenny Campbell Professor Daniel Schrag Ching I Chang Geoff Sobelle Rachel Chanoff Lisi Stoessel Danny Elfman Steve Taylor Daniel Fey Sierra Urich Steve Gaeto Johan Vorsters Colin Gee Elizabeth Zhang Sophie Hunter Pavel Zustiak Marcia and Herb Isaacs ©2015 Viacom Inc. All rights reserved. rights All Inc. ©2015 Viacom

Final Size: 5.25" x 8.375" • Ratio: 1' = 1' • Resolution: 300 DPI • Color: CMYK 24781 BAM Salute Ad 4C Viacom_2015 A cropped photographA cropped of Merce photographA croppedCunningham’s of Merce photograph Cunningham’s How Toof How MercePass, To Pass, Kick, Cunningham’s Kick, Fall Fall and Run Run How To Pass, Kick, Fall and Run omitting John Cage omittingsitting John stage Cageomitting left. sitting Merce Johnstage left.CunninghamCage Merce sitting Cunningham stageDance Dance left. Company Company Merce 1970 Cunningham1970 Dance Company 1970 Photo: JamesPhoto: Klosty, James courtesy Klosty, courtesy Photo:BAM BAM Hamm James Hamm Archives Klosty, courtesy BAM Hamm Archives A cropped photograph of Merce Cunningham’s How To Pass, Kick, Fall and Run omitting John Cage sitting stage left. Merce Cunningham Dance Company 1970 Photo: James Klosty, courtesy BAM Hamm Archives

A cropped photograph of Merce Cunningham’s How To Pass, Kick, Fall and Run omitting John Cage sitting stage left. Merce Cunningham Dance Company 1970 Photo: James Klosty, courtesy BAM Hamm Archives Nov 2016

Contents

Brent Green & Sam Green: Live Cinema Reggie Wilson/Fist & Heel—CITIZEN

Photo courtesy the artists Raja Kelly. Photo courtesy Reggie Wilson/Fist & Heel Brent Green and Sam Green collaborate on Live Reggie Wilson/Fist & Heel explores the nebulous zone Cinema, vidvidly uniting animation, documentary, between being and belonging. and live music. by Christian Barclay by Adriana Leshko

Mark Morris Dance Group—The Hard Nut

Backstage and onstage memories from participants over The Hard Nut’s 25 years.

BAMbill Cover

Ellen Carey is the 2016 Next Wave Festival BAMbill Cover Artist, part of BAM’s tradition of visual art on the cover of BAMbill. Since 1983, dozens of artists have participated, including Roy Lichtenstein, Andy Warhol, Chuck Close, and Rosemarie Trockel. The works are for sale; proceeds benefit BAM’s artistic programming. For more information, contact BAM’s visual art department at [email protected] or 718.636.4101.

Ellen Carey (b. 1952 USA) is an educator, independent scholar, guest curator, photographer, and lens-based artist whose unique experimental work spans several decades. Four works from Carey’s ongoing series Dings & Shadows—photograms created by the artist through a performative process in the dark room—are featured on the BAMbill and are on view in the Dorothy Levitt Lobby of the Peter Jay Sharp Building. Carey describes these works as “fresh interpretations partnered with freewheel- ing experiments untethered by rules, formal structures, or conventional procedures.” Carey received an MFA from SUNY Buffalo, and has had solo exhibitions at the Wadsworth Atheneum (Hartford, CT), Cleveland Center for Contemporary Art (OH), International Center for Photography (NYC), Ellen Carey and has been included in numerous group exhibitions including MIT, the Dings and Shadows, 2012 Smithsonian (DC), and the Albright Knox (Buffalo). Her work was shown Color photogram, 40” x 30” in The Unbearable Lightness, a spring 2016 group exhibition at the Courtesy of the artist and JHB Gallery Centre Pompidou in Paris. She is represented by JHB Gallery in New York, and M+B Gallery in Los Angeles. @BAM_Brooklyn #BrentGreenSamGreen Photo: Gayle Laird

Two Greens, by Adriana Leshko Unrelated Known separately for singular performances Brent is one of those artists who is channeling combining cinema with live musical something: his work isn’t calculated or accompaniment and narration, self-taught premeditated. He’s tapping into some weird rural animator Brent Green and Academy Award- Pennsylvania thing that goes back to his family. nominated filmmaker Sam Green (unrelated) Brent and I take turns narrating short films in make their Next Wave debuts with a collaborative this piece, and I’m both intimidated and proud to program, Brent Green and Sam Green: Live follow him. Cinema, at the BAM Fisher, Dec 7—10. Foley Brent Green: One thing I really love about Sam’s sound artist Kate Ryan and a band comprising work is his insatiable curiosity. His journalistic Brendan Canty (Fugazi), James Canty (Nation background [Sam has a master’s degree in of Ulysses), and Becky Foon (Silver Mt. journalism from University of California Berkeley, Zion) perform live alongside the cinematic where he studied documentary with acclaimed proceedings: flickering stop-motion forays into filmmaker Marlon Riggs] drives him deep down the Southern Gothic from Brent, engrossing rabbit holes, where he encounters... new rabbit documentaries about provincial dreamers and holes. And dives into those. I was at his studio a doers from Sam. The result is a unique live art couple weeks ago, and he showed me an entire experience that fuses the energy and immediacy file of watermarked pictures—he was enamored of a rock show with cinema’s immersive with the watermark. He cares about things no storytelling capabilities. one else cares about. Until he tells you about them and makes you care about them, too. Adriana Leshko: Could you each briefly describe the work of the other? AL: How did you meet and how long after that Sam Green: I always come back to the word did you decide to work together? “protean” in describing Brent’s work. His live SG: We met at a Creative Capital retreat probably cinema work is so powerful and odd. He in around 2006. Brent was a puppy. We came narrates but he’s really just singing his pieces. up with the idea to work together much more cont. Brent Green and Sam Green: Live Cinema Dec 7—10 recently. In my memory Brent suggested it, and performance world through her. Although the I thought it was a good idea to put together a film and performance worlds are contiguous, I’ve program of our short work. That may not be how always been struck by how radically separate it came about, but that’s my memory of it. they are. They are truly separate worlds. It’s BG: We first discussed working together last year, been fascinating to learn about performance and but nobody thought it was a good idea until after especially the history of downtown dance and our first show. performance in NYC. I do go see a lot of shows. BG: I don’t see many things, but I do love AL: Did you have a model/inspiration for what hanging out with interesting people and what became Live Cinema? makes this show really great is the whole room— SG: This program that we are doing is pretty audience and band—all feel like they’re just unique. I’ve never seen anything like it. But my hanging out. own live cinema work has lots of inspirations, including a top ten cinematic experience at an R. AL: Who is your ideal viewer for this engagement? Kelly Trapped in the Closet viewing and sing-a-long. SG: I literally would be thrilled to see any kind BG: Sam and I have both been touring our films of person at this show. And I’d be especially live for years. I came out of the music world and thrilled to have a wide range of folks, from teens starting touring with the band Califone the day to 90-year-olds. I guess whoever it is, I would I finished my second short, Francis in 2002. In hope they would be able to give themselves over the music world, when you finish a record, you completely to the experience since we worked tour with it; I figured that’s the same thing you really hard to deconstruct the conventional did with a film. I have no idea why Sam started cinematic experience and make something much doing live cinema. He likes to travel? more engaging from its parts. BG: Obviously, people who read a lot and are AL: What is your relationship to performance as slightly tipsy (enough that they think it’s okay to an audience member? Do you see a lot of music talk to us in the middle of a film). shows, dance, theater? SG: My partner is the choreographer Catherine Adriana Leshko is senior publicity manager at BAM. Galasso and I’ve gotten a sense of the Sam Green. Photo: Gayle Laird TIME TO TELL THE WORLD YOU’RE COMING FOR IT. Official Airline of the Brooklyn Academy of Music. @BAM_Brooklyn #ReggieWilson

by Christian Barclay

Being & Belonging & Heel Wilson/Fist Photo courtesy Reggi Raja Kelly. In 1936 Josephine Baker, then already a major Wilson traces the genesis of CITIZEN to an star in Europe, returned to America to star in ongoing interest in the work and life of Zora the Ziegfield Follies. The production featured Neale Hurston, who unlike many of her Harlem choreography by George Balanchine, music Renaissance contemporaries, never carved a by Vernon Duke, and lyrics by Ira Gershwin. path to Paris. A 2014 trip to the city raised a In spite of the marquee names, the show myriad of questions for Wilson: Were African- was a flop. Many critics specifically attacked Americans “immigrants” in their own country? Baker’s performance, labeling her “a Negro How did they fight for their right to participate? wench,” incapable of portraying a woman What did they find in Paris that was so different, of sophistication and power. Disgusted and and how did this difference affect their art? disheartened, Baker renounced her American Paris had long been a haven for African- citizenship and moved to France. She wouldn’t Americans. From the first mass migration perform in the US again for over a decade. in 1803, after the Louisiana Purchase, the CITIZEN, the newest work from Reggie city remained an escape from slavery and Wilson and the Fist & Heel Performance Group, segregation. Its embrace of black culture was inspired by the challenges that Baker provided African-Americans a uniquely visible and other black artists and activists faced in opportunity to explore and celebrate their America––and the reasons why some ultimately heritage. W.E.B. Du Bois’ groundbreaking chose to leave. The piece is predicated on the American Negro exhibit at the 1900 Paris concept of belonging, and asks the questions Exposition showcased hundreds of photographs “What does it mean to belong?” and “What does of African-Americans, seeking to belie the it mean to not want to belong?” theory that they were a biologically inferior LEAVE YOUR LEGACY TO PIONEERING ART.

R R R R W K. Leave it to Photo: courtesy of BAM Hamm Archives For more information on how to include BAM in your estate plans, contact WilliamBAM Lynch at [email protected] or 718.636.4186. BAM.ORG/PLANNEDGIVING #ReggieWilson Dec 14—17 and monolithic people. The exhibit, which was 24. In addition to escaping American prejudice, largely shunned by the American press, won an Baldwin was in search of a place where he unprecedented seventeen awards, including a could explore himself and his writing beyond Gold Medal. an imposed racial context. He wanted to avoid James Reese Europe, a ragtime and early “becoming merely a Negro; or, even, merely a jazz bandleader and musician, had a similarly Negro writer.” formative experience in France during World What does it mean to belong? What does War I. After fighting with his all-black regiment, it mean to not want to belong? How is a sense known as the Harlem Hellfighters, Europe of belonging related to being an individual? and his military band toured all over the For these historic figures, and many more, country, performing for sold-out crowds. His their time abroad offered them an opportunity compositions, a syncopated blend of spirituals to explore these questions personally, publicly, and plantation melodies, helped spur the early and politically. CITIZEN is grounded by such growth of jazz. On his return to America in experiences, promising to illuminate the complex 1919, Europe said, “We won France by playing ways in which we strive to define ourselves–– music which was ours and not a pale imitation both within a group and outside of it. of others, and if we are to develop in America we must develop along our own lines.” CITIZEN will be performed by Reggie Wilson/Fist While some African-Americans returned from & Heel Performance Group at the BAM Harvey Paris with a renewed will, others sought a more Theater from December 14 to 17. permanent escape. Writer James Baldwin settled into a self-imposed exile in Paris when he was Christian Barclay is a publicist at BAM. Anna Schon. Photo courtesy Reggie Wilson/Fist & Heel Wilson/Fist Anna Schon. Photo courtesy Reggie BAM Directory

STAY CONNECTED BAM Box Office Patron Services BAM.org Peter Jay Sharp Building For donors who make an annual Mon–Sat: 12–6pm; closed holidays contribution of $1,500 or more: #BAMNextWave Sun: 90 minutes prior to first 718.636.4182 BAMwifi_forBK curtain on performance days [email protected] @BAMstage BAM Harvey Theater and BAM Lost & Found @BAM_Brooklyn Fisher box offices open 90 minutes 718.636.4150, Mon—Fri: 9am—5pm prior to curtain on performance YouTube.com/BAMorg days (same-date ticket sales and Restrooms BAM.org/blog pick-up only). BAM Howard Gilman Opera House: LOCATIONS mezzanine and balcony level BAM Rose Cinemas (handicapped accessible: PETER JAY SHARP BUILDING Advance Ticket Sales: orchestra level and BAMcafé) 30 Lafayette Ave 877.789.MOVIE BAM Howard Gilman Opera House BAM.org/#Film BAM Harvey Theater: Lepercq Space/BAMcafé Info: 718.636.4100 lobby and gallery level BAM Rose Cinemas Hillman Attic Studio Box office opens 30 minutes before BAM Fisher: the first screening of the day. lower lobby, 4th floor, and 7th floor BAM HARVEY THEATER 651 Fulton St BAM Rose Cinemas is wheelchair Headphones accessible. Infra-red headsets for BAM offers infra-red listening devices BAM FISHER the hearing impaired are available; for the hearing impaired; please 321 Ashland Pl inquire at the box office. inquire at the coat check. Fishman Space Hillman Studio Student Rush Info OTHER Rooftop Terrace and Stutz Gardens www.BAM.org/student-rush Administrative Offices Leavitt Workshop 718.636.4111 Late Seating Brooklyn, NY 11217 Late seating is solely at the discre- Rental Information [email protected] tion of management. Ticketed seats 718.636.4198 | [email protected] are not guaranteed past curtain time. BAM.org/rentals TICKETS SERVICES BAM Visual Art BAM Ticket Services Membership 718.636.4101 | [email protected] Performance tickets and info BAM.org/BAMVisualArt 718.636.4100 718.636.4194 [email protected] [email protected] Questions and Comments Level 5 special access to orchestra seats, [email protected] call Ticket Services at 718.636.4100 Group Sales BAM.org/contactus For ticket orders of 10 or more BAMcafé 718.623.7885 | [email protected] Reservations/info: 718.623.7811

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B000611_Aug2015_CRA_CommADBAM.indd 1 8/25/15 10:09 AM @BAM_Brooklyn @BAM_Brooklyn #TheHardNut Photo: Julieta Cervantes

Sweet on the Hard Nut The Hard Nut, Mark Morris’ hilarious yet SARA BEUKERS (hair & makeup supervisor) reverent interpretation of Tchaikovsky’s I first did John Heginbotham’s makeup years ago Nutcracker, premiered in 1991 and celebrates when he was playing a soldier. He was thrilled 25 years this season. The span of time since each time I would make his lips look a bit fuller. then has permitted a generation to participate Fast forward several years and John gets cast in myriad ways, either onstage or behind the in the role of Mrs. Stahlbaum. I started doing scenes. Several of them share remembrances his makeup and wig for that role. I really have and anecdotes from this glorious spectacle that fun painting his face, and we always have a has become a modern holiday tradition; it returns great time chatting during the process. He gets to the Howard Gilman Opera House Dec 10—18. amazing, big, bold lips and a tall red beehive wig. When I finish, he ends up looking like Eve JOHN HEGINBOTHAM (dancer) Arden. The biggest compliment I get is when I saw The Hard Nut for the first time in 1992— people see John and really believe he’s a woman. at BAM. During the climax of the Waltz of the Snowflakes, 14 dancers exploded across center THEADORA PAULUCCI (singer) stage. The audience members surrounding I’ve had a relationship with The Hard Nut for me erupted into delighted applause and I most of my life. My dad [stage crew chief Tommy burst into tears. Although I was entranced by Paulucci] has worked at BAM since the show the work throughout, something about this arrived in the 90s, when I was five. I have moment struck me as particularly generous memories of playing board games on set with and beautiful. Years later and now playing the stagehands and dancers, conducting “quality role of Mrs. Stahlbaum, I don’t usually have an control” on the electric rats, and cleaning up opportunity to watch the Snow Scene (I’m in a snow during intermission (it’s really a big mess; make-up chair during that portion of the show). they need all hands on deck, and my six-year-old The genius make-up artist Sara Beukers and I self was more than happy to oblige). Nine years compress our Act 1 schedule (we speed through later I performed in The Hard Nut as a member the spackling and drywall repairs) during one of Brooklyn Youth Chorus, which was ultra performance of each Hard Nut run. We dash to special. But I think the cake-topper is the fact the wings and watch the snow fall. that one of my closest friends, Aaron Loux (who #TheHardNut Dec 10—18

MATTHEW ROSE (dancer and rehearsal director) Having re-staged and performed in The Hard Nut for many years, my fondest memory, and the part of the rehearsal process I enjoy most, is the first run of the Waltz of the Snowflakes, using what we call “real snow”—the hundreds of handfuls of confetti that are the trademark of that section. It is always the final stage rehearsal before we join forces with the orchestra. There really isn’t anything more fun than running, leaping, and tossing tiny bits of paper all over the stage. As the storm passes and the snowflakes

dances the role of Nutcracker/Drosselmeier), wound up dancing for Mark Morris in 2010, so he has kept me close to the piece. It’s really something special to see people you know creating such magic, and it makes everything all the more hilarious.

STEPHANIE SLEEPER (costume coordinator) With over 100 different costumes and 32 dancers who have between two and six costume changes, the scene backstage during The Hard Nut rivals that of a Broadway show. In order to help the settle, the lonely Drosselmeier trudges his way through the snow, leaving a trail in his wake. It is a truly beautiful image, and still brings tears to my eyes.

Photos, top to bottom: Aaron Loux, Laurel Lynch, Brandon Randolph, and John Heginbotham and Sara Beukers, courtesy Mark Morris Dance Group.

show run smoothly, most of the costume, hair, and make-up changes happen near the stage. I think of the organization of these changes as an extension of the choreography. Each costume has tiny details that may never be fully appreciated by the audience, but help the dancers embody each character they perform. The synchronized efforts of the cast and crew—combined with brilliantly designed costumes (by Martin Pakledinaz) that have held their original beauty for so many years—make for an exciting 90 minutes. Securing BAM’s Future

BAM Endowment A great institution is built upon on a secure future. At BAM, a growing endowment is the foundation for expansive programming that continues to set new standards for artistic daring and excellence. The BAM Endowment provides the financial underpinning to launch new artistic initiatives, plan for future years, seize opportunities for institutional advancement, and confront unanticipated challenges. BAM sincerely thanks those listed below for their generous support in securing BAM’s future.

$5,000,000 and above Charles J. & Irene F. Hamm Ide & David Dangoor Richard B. Fisher & Jeanne Stephanie & Tim Ingrassia Thérèse M. Esperdy & Robert G. Donovan Fisher Maribelle & Stephen Leavitt Neborak The Howard Gilman Foundation Mary & Jim Ottaway Jr. in honor of Madison S. Finlay The Peter Jay Sharp Foundation Ruth Blackburne Ottaway Forest City Ratner Companies Lila Wallace-Reader’s Digest Rockefeller Brothers Fund Francena T. Harrison Endowment Fund for Community, Jonathan F.P. & Diana V.C. Rose Performance Fund Educational, & Martha A. & Robert S. Rubin Rita K. Hillman Public Affairs Programs Nora Ann Wallace & Jack Nusbaum HSBC Bank USA, N.A. Goldman Sachs Gives at the $1,000,000 and above $250,000 and above recommendation of Anne Hubbard Altria Group, Inc./Next Wave The Bohen Foundation & Harvey Schwartz Forward Fund The Charles & Valerie Diker Dance Richard Hulbert BAM Fund to Support Emerging Endowment Fund Independence Community Bank and Local Musicians The Horace W. Goldsmith Foundation Miriam Katowitz & Arthur Radin Brooklyn Community Foundation Michael Bancroft Goth Endowed Mr. & Mrs. Edgar A. Lampert The Campbell Family Foundation Annual Performance Fund Annie Leibovitz & Studio The Irene Diamond Fund William Randolph Hearst Leo Burnett, USA Doris Duke Charitable Foundation Endowment for Education and James McLaren & Lawton Fitt Emily H. Fisher Humanities Programs Sarah G. Miller & Frank L. Coulson Judith R. & Alan H. Fishman The Rita & Alex Hillman Foundation The Morgan Stanley Community The Ford Foundation Fund to Carole & Irwin Lainoff and Educational Fund Support Collaborative Creativity Maxwell Family Fund in Community J.P. Morgan & Co. Incorporated Among U.S. Artists Funds, Inc. Nash Family Foundation Diane & Adam E. Max The Jessica E. Smith and Kevin R. The Jerome Robbins Foundation, Inc. The Andrew W. Mellon Foundation Brine Charitable Trust May & Samuel Rudin Family Fund For Opera & Music-Theater The Geraldine Stutz Trust, Inc. Foundation Bruce C. Ratner Anonymous Edward Spilka William Boss Sandberg $100,000 and above Axel Stawski & Galia Meiri The Peter Jay Sharp Fund for Opera Michael Bailkin, Marvin Levine, Mr. & Mrs. Ame Vennema and Theater Jesse Masyr, David Stadtmauer Verizon Communications The SHS Foundation Robert & Joan Catell Fund for The Isak and Rose Weinman The Starr Foundation Education Programs Foundation in honor of Madame $500,000 and above Charina Endowment Fund Lilliana Teruzzi The Devitre Fund Neil D. & Kathleen M. Chrisman The Winston Foundation Mr. & Mrs. Henry Christensen III Anonymous For more information on the BAM Endowment please contact As of August 1, 2016 William Lynch at 718.636.4186 or [email protected].

Photo: Peter Jay Sharp Building, by Ben Cohen Securing BAM’s Future

Planned Giving Another way to help BAM prepare for the future is by making a provision in your estate plans. You create a legacy for many generations to come and ensure BAM’s excellence continues for the next 150 years. Existing options for planned giving include making a bequest in your will, and naming BAM as a beneficiary in your retirement plan or insurance policy, among others. Unless otherwise specified by a donor, it is BAM’s policy to apply planned gifts toward its endowment. Individuals who have made such gifts are recognized in the select group of patrons known as BAM Angels.

Our special thanks to the foresight of the charitable BAM Angels listed below.

BAM Angels Denis Azaro Karen Brooks Hopkins William Winthrop Parsons Bettina Bancroft William Josephson Marie D. Powers Robert & Joan Catell Charlotte & Stanley Kriegel David L. Ramsay, MD Neil D. Chrisman Edgar A. Lampert William Boss Sandberg Mr. & Mrs. Henry Christensen III Harvey Lichtenstein Louis Sanders Mallory Factor Phyllis Holbrook Lichtenstein Harriet L. Senz Madison S. Finlay William Lynch Toni Mendez Shapiro Richard B. Fisher Georgene M. Maxwell Bella F. Stoll Judith R. & Alan H. Fishman Scott C. McDonald Lynn M. Stirrup Barry M. Fox Joseph V. Melillo PaulaMarie Susi Rita Hillman Evelyn & Everett Ortner Judge Franklin R. Weissberg Barbara T. Hoffman Frank J. & Adeline Pannizzo Carol Yorke & Gerard Conn

For more information on Planned Giving opportunities please contact William Lynch at 718.636.4186 or [email protected]. All inquiries will remain confidential. BAM

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Salutes Upcoming Events @BAM_Brooklyn Cheek By Jowl in The Winter’s . Photo: Johan Persson Tale

BAM wishes to thank our patrons for all the operating, capital, and endowment support you’ve given us over the past year. (List represents gifts between July 27, 2015—July 27, 2016)

$500,000 and above May and Samuel Rudin Davis Polk & Wardwell FACE Amy Sherman-Palladino brigitte nyc Family Foundation, Inc. DeWitt Stern Mallory & Elizabeth Factor Sills Family Foundation Brooklyn Borough The Fan Fox & Leslie R. Mark Diker & Deborah Colson Linda & Martin Fell Susan & Larry Sills President’s Office— Samuels Foundation, Inc. The Dutch Performing Arts Estate of Richard B. Fisher Simon Sinek Eric Adams Santander Fund NL Fribourg Family Foundation Jean Stein JPMorgan Chase & Co. Bernard Selz Epstein Teicher MaryAnne Gilmartin William & Anne M. Tatlock The City of New York— The Shubert Foundation, Inc. Philanthropies Parisa Golestaneh Thomson Reuters Bill de Blasio, Mayor The Joseph S. and Diane H. Steven & Susan Felsher Elaine Golin Thomas & Christine Tormey Jeanne Donovan Fisher Steinberg Charitable Trust Fleurs Bella Good Candle Trust for Mutual Judith R. & Alan H. Fishman Joseph A. Stern The Grand Marnier Foundation Marian Goodman Gallery Understanding Ford Foundation John L. & Eva Usdan Jerome L. Greene Goodwin Procter LLP Wendy vanden Heuvel Howard Gilman Foundation Viacom Foundation Pamela Grace White & Case LLP Diane & Adam E. Max Nora Ann Wallace & Jack Hasty Pudding Institute The Green Fund Inc. Wilmer, Cutler, Pickering, The Andrew W. Mellon Nusbaum of 1770 Robert M. Greenberg & Hale & Dorr Foundation Yamaha Pianos Penn & Diane Holsenbeck Corvova Choy Lee Carol Yorke & Gerard Conn The New York City Council— Daniel Clay Houghton The William and Mary Barbara & David Zalaznick Brooklyn Delegation $50,000 and above Grant Johnson Greve Foundation Pia & Jimmy Zankel The New York City Council Jody & John Arnhold Miriam Katowitz & Arthur Henry B. & Karoly S. Anonymous (2) —Laurie A. Cumbo Bank of America Radin Gutman The New York City Linda & Adam Chinn Dan & Abbe Klores The Marc Haas Foundation, $5,000 and above Council—Melissa Mark Mr. & Mrs. Henry Christensen III Philippe & Posey Krakowsky Inc. Linda & Max Addison Viverito, Speaker Con Edison The Frederick Loewe Mr. & Mrs. Burton K. Takis C. Anoussis New York City Department Ide & David Dangoor Foundation, Inc. Haimes Gina Argento & John Ciafone of Cultural Affairs Della Rosa Family Foundation Martellus Cheryl Henson & Ed Finn David Bank & Jason R. New York City Economic The Dermot Company, Inc. McKinsey & Company, Inc. The DuBose and Dorothy Stone Development Corporation Barry M. Fox Mertz Gilmore Foundation Heyward Memorial Nathaniel Beck & Karen The SHS Foundation Gotham Organization, Inc. Moet Hennessy USA Foundation Hackett Jessica E. Smith & Kevin Agnes Gund National Grid Sophie Hughes Alan & Leslie Beller R. Brine Barbara Haws & William New York State Office of David & Debra Humphreys JJ & Michelle Berney Ronald P. Stanton Josephson Parks, Recreation and Will & Prattana Kennedy Elaine S. Bernstein United States Department Frederick Iseman Historic Preservation Alexander E. Kipka & The Bloomingdale’s Fund of of State, Bureau of Alan Jones & Ashley Garrett Paul, Weiss, Rifkind, Katherine Nintzel the Macy’s Foundation Educational and Cultural The Emily Davie & Joseph Wharton & Garrison David L. Klein, Jr. Foundation Barbara & Christopher Brody Affairs S. Kornfeld Foundation The Pinkerton Foundation Kameron M. Kordestani Brooklyn Gin The Robert W. Wilson The Lepercq Charitable Gabriel & Lindsay Pizzi Joan Kreiss Steven & Alexandra Cohen Charitable Trust Foundation Renova Eileen M. Lach Foundation Anonymous (2) Gary Lynch & Kate Hall Rubin Fortunato & Harbison Solange Landau Timothy & Carol Cole Pierre and Tana Matisse P.C. The Levine Foundation Crunch $250,000 and above Foundation Bette & Richard Saltzman Daniel Lewis Cory Cruser Bloomberg Philanthropies MetLife Foundation Savoy Trading Limited The Bertha and Isaac Pam Daley & Randy Phelps William I. Campbell & The Ambrose Monell The Scherman Foundation, Liberman Foundation Joan K. Davidson (The J.M. Christine Wächter- Foundation Inc. Robert & Teresa Lindsay Kaplan Fund) Campbell Henry and Lucy Moses Shearman & Sterling LLP John Lipsky & Zsuzsanna Peter Davidson & Drew Goldman Sachs Gives at Fund, Inc. Bartholomew A. Sheehan & S. Karasz McGhee (The J.M. the recommendation National Endowment for Sheila A. Cain The Lupin Foundation Kaplan Fund) of Anne Hubbard & the Arts The Sidley Austin M&T Bank Emme & Jonathan Deland Harvey Schwartz Samuel I. Newhouse Foundation Magnolia Pictures and Phyllis Levin Leon Levy Foundation Foundation, Inc. Skadden, Arps, Slate, David & Susan Marcinek Charles & Valerie Diker Donald R. Mullen Jr. Onassis Cultural Center NY Meagher & Flom LLP Donna Marshall & Lee The Max and Victoria The Wall Street Journal The Barbro Osher Pro In Memory of Robert Sklar Marshall Dreyfus Foundation, Inc. Suecia Foundation Sam & Ellen Sporn Scott C. McDonald Andre & Stephanie Dua $100,000 and above Norman & Liliane Peck Taipei Cultural Center of William Patrick McMullan & Lisabeth During & Ross Altman Foundation Poetry Foundation TECO in New York Rachel McPherson Poole American Express Katharine J. Rayner Fund of Toll Brothers City Living Medgar Evers College Gifts Violet & Christopher Eagan Frances Bermanzohn & the Anne Cox Chambers Robert L. Turner and Grants Henry & Kathy Elsesser Alan Roseman Foundation Williams & Connolly LLP Edward S. Moore Nathaniel Felsher Booth Ferris Foundation R/GA Anonymous Foundation Britton & Melina Fisher Carnegie Corporation of Sarah & Spencer Robertson Barbara & Richard Moore Mr. & Mrs. Austin T. 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Scott & Viktoriia Irwin for Dance Picon R. Ramos Lyon & Hilary Polk Mark Jackson & Karen The Francena T. Harrison Virginia B. Toulmin Norman S. Benzaquen Cynthia & Leon Polsky Hagberg Foundation Trust Foundation Brook & Roger Berlind Maya Polsky Japan Foundation The Rita and Alex Hillman Joseph LeRoy & Ann C. Paula & Earl Black Daniel Porter & Melanie Christoph & Flora Kimmich Foundation Warner Fund Mr. & Mrs. Tony Bowe Judd Kusmi Tea Stephanie & Timothy The Winston Foundation, Broadway Stages Marcel Przymusinski Nancy N. Lassalle Ingrassia Inc. Brooklyn Daily Eagle The Reed Foundation Marion Leydier The Kovner Foundation Anonymous The Brooklyn Brewery Frances A. Resheske Christopher Li Greci & Robin & Edgar Lampert Cahill, Gordon & Reindel LLP Richenthal Foundation Robert Ohlerking Toby Devan Lewis $25,000 and above Calvin Klein Inc. William D. & Susan Kahan The Liman Foundation Grace Lyu-Volckhausen Roger Alcaly & Helen Bodian Donald A. Capoccia Rifkin Anne Maltz James I. 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Brooklyn Academy of Music Cheryl Della Rosa Bartholomew A. Sheehan III John Lipsky Dinyar S. Devitre Jessica Smith Laurie Mallet Chairman of the Board Mark Diker Brian Stafford Cathy-Ann Martine-Dolecki Alan H. Fishman Andre Dua Axel Stawski David L. Ramsay, M.D., M.Ed. Brendan J. Dugan Joseph A. Stern Elaine Weinstein Vice Chairmen of the Board Thérèse Esperdy Pedro J. Torres Hon. Franklin R. Weissberg William I. Campbell Mallory Factor John L. Usdan Adam E. Max Richard E. Feldman, Esq. Brigitte Vosse BAM Endowment Trust Chair Steven G. Felsher Nora Ann Wallace Timothy J. Ingrassia President Jeanne Donovan Fisher Veronica Westberg Katy Clark Barry M. Fox Adam Wolfensohn Vice Chair MaryAnne Gilmartin Claire Wood Gabriel Pizzi Secretary Robert M. Greenberg Andrew Zolli Joseph V. Melillo Anoushka Healy Treasurer G. Penn Holsenbeck Ex Officio Keith Stubblefield Treasurer Anne Hubbard Gina Argento James I. McLaren Grant S. Johnson Lori Luis Members Daniel A. Klores Laura Popa William A. Douglass III Presidents Emeriti Philippe Krakowsky Steven G. Felsher Karen Brooks Hopkins Edgar A. Lampert Chairmen Emeriti Elizabeth Holtzman Harvey Lichtenstein Gary Lynch Neil D. Chrisman James I. McLaren Patricia E. Michels Seth S. Faison Alberto Sanchez Members Ahrin Mishan Bruce C. Ratner Timothy Sebunya Jonathan S. Auerbach William A. Perlmuth R. Edward Spilka Tony Bechara David L. Picket Honorary Trustees Nora Ann Wallace Fran Bermanzohn Frances A. Resheske Beth Rudin DeWoody Henry Christensen III, Ex Officio Gordon Bowen Sarah C. Robertson Robert L. Forbes Thérèse Esperdy, Ex Officio Linda Chinn Jonathan F.P. Rose Charles J. Hamm Alan H. Fishman, Ex Officio Henry Christensen III Anna Kuzmik Sampas Barbara B. Haws, C.A. Pamela A. Codispoti Alberto Sanchez William Josephson Dr. Rudolph F. Crew Timothy Sebunya Mary Kantor

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Directors of Finance Ben Katz, Video Producer Corporate Relations Manager Brian Gee, Accounting Manager EDUCATION Joseph Barglowski, Kaitlyn Rebecca Carew, Corporate Tyler Cleveland, Staff Accountant EDUCATION OPERATIONS Chandler, Video Editors Sponsorship Manager Iman Bance, AP Administrator Shana Parker, Director of Jenny Choi, Publications Manager Mari Ogino, Intern Douglas Fischer, Budget Analyst Operations for Education Seán McKeithan, Copywriter Yusuf Siddiquee, Fiscal Jennifer Leeson, Operations Shu Chun Xie, Creative Services NEW BUSINESS DEVELOPMENT Coordinator Manager for Education Project Manager Terrance Knox, Director of New Meaghan McLaughlin, Finance Victoria Collado, Education Kati Rehbeck, Creative Services Asst. Business Development Asst. Coordinator Dorothea Trufelman, Video Intern Elizabeth Sarkady, Business Nora Tjossem, Education & Development Manager GOVERNMENT & COMMUNITY Humanities Assoc. DIGITAL MEDIA AFFAIRS Aaron Weibel, Director of Digital MAJOR GIFTS Dewonnie Frederick, Community EDUCATION & FAMILY Production Barbara Cummings, Director of Affairs & Bazaar Manager PROGRAMS Josephine Llorente, Digital Development Steven McIntosh, Director of Media Coordinator William Lynch, Director of INFORMATION TECHNOLOGY Education & Family Programs Sarah Hayes, Digital Media Leadership Gifts William Allen Lee III, Director of John P. Tighe, Asst. Director of Coordinator Information Technology Education Alison Kozol, Digital Media Asst. INSTITUTIONAL GIVING Ira Sibulkin, Assoc. Director of IT Eveline Chang, Mikal Lee, Verushka Clemente Luna, Director of Thomas Brown, Business Wray, Program Managers MARKETING Institutional Giving Analytics Manager Lorraine DeCasto, Kory Shannon Lacek, Director of Kailin Husayko, Senior Manager Svetlana Mikhalevskaya, Longsworth, Interns Marketing of Institutional Giving Database Developer Raphaele de Boisblanc, Senior Semra Ercin, Institutional Giving Jason Q. Minnis, IT Project LEAD INSTRUCTORS Marketing Manager Manager Manager Jen Armas, Samara Gaev, Arts Rhea Daniels, Julie Fallin, Allison Stephanie Caragliano, Institutional Matthew Taylor, Andrei Iliescu, & Justice Kadin, Marketing Managers Giving Coordinator Web Developers Jenny Rocha, Dancing into the Laura Scholl, Marketing Jersy Rodriguez, Technical Future Operations Manager MEMBERSHIP Support Manager Michael LoMonico, Shakespeare Britt Aronovich, Marketing Claire Charlesworth, Director of Tamar Audate, Tim Chawaga, Teaches Teachers Revenue Manager Membership Technical Support Techs Anna Troester, Marketing Asst. Sarah Mischner, Senior Manager, Susan Bishop, Admin. TEACHING ARTISTS Carmela Dormani, Toni Greenidge- Membership & Development Coordinator Raquel Almazan, Jennifer Aigle, Marketing Interns Analytics Lucas Austin, Junior Desktop Armas, Brigitte Barnett-Loftis, Cheryl-Lyn Miller, Manager, Analyst Gideon Bautista, Rebecca Bliss, AUDIENCE DEVELOPMENT & Member Services & Onsite Stacey Bone Gleason, Mahogany STRATEGIC PLANNING Campaign STRATEGIC PLANNING & Brown, Melissa Brown, Chia-Ti Molly Meloy, Director of Audience Bruce Smolanoff, Telefundraising PROJECTS Chiu, Darian Dauchan, Harris Development & Strategic Manager Jeremy Dewey, Director, Project Eisenstadt, Imani Faye, Kimani Planning Management & Strategic Fowlin, Mtume Gant, Ingrid Sharlene Chiu, Customer Loyalty PATRON PROGRAMS & DONOR Planning Gordon, Pat Hall, Mel House, & Strategy Manager COMMUNICATIONS Ellen Leszynski, Project Albert Iturregui-Elias, Gwendolyn Joaquin Esteva, Advertising Gwendolyn Dunaif, Director Manager Kelso, Nicole Kempskie, Abigail Manager of Patron Programs & Levine, Spencer Lott, Gladys Claire Frisbie, Content Marketing Communications Audience Research & Analysis Maldonado, Farai Malianga, Manager Richard Serrano, Research Manager George A. Wachtel WT McRae, Elia Monte Brown, Nathan Gould, Marketing Travis Calvert, Project Manager Michael Mullen, Kwesi Nkroma, Manager, Development Maayan Dauber, Patron Program Bookseller Devin Norik, Pamela Patrick, Chris Tyler, Content Marketing Coordinator Greenlight Bookstore Drew Petersen, Korey Phillips, Coordinator Mike Ramsey, Gwenyth Reitz, PATRON SERVICES European Production Billy Schultz, Jen Shirley, Marcus TICKET SERVICES Ramzi Awn, Director of Patron Representative Smalls, Sara Stranovsky, Keomi G. Scott Kubovsak, Director of Services On Tour Ltd., Roger Chapman Tarver, Karen Thornton Daniels, Ticket Services Michael Kendrick, Manager of Jono Waldman, Sarah Wansley, Kevin McLoughlin, Head Patron Services & Donor Relations Film Buyer Adia Whitaker, Todd Woodard Treasurer Jessica Hindle, Patron Services Adam Birnbaum Russell Grier, First Asst. Treasurer Coordinator MARKETING & Victor Jouvert, Charlie Dolce, Kyle Annie Steingold, Patron Services Immigration Counsel COMMUNICATIONS Williams, Asst. Treasurers Asst. Jonathan Ginsburg, Fettman, COMMUNICATIONS Royda C. Venture, Ticket Services Olivia Jacobs, Intern Tolchin and Majors, PC Sandy Sawotka, Director of Manager Communications Georgina Richardson, Customer SPECIAL EVENTS Insurance Broker Sarah Garvey, Assoc. Director Care Manager Margaret Breed, Director of Dewitt Stern of Publicity Latasha McNeil, Asst. Manager Special Events Susan Yung, Senior Editorial Ryan Mauldin, Ticket Services Grace Eubank, James Vause, Medical Consultants Manager Coordinator Special Events Managers Ahmar Butt, MD Adriana Leshko, Senior Publicity Saul Almiachev, Kiana Bilal Mack, Kimberly Howard, Special Events Anders Cohen, MD Manager Anaïs Blin, Lucca Damilano, & Major Gifts Assoc. David Hsieh, Maureen Masters, Justin Dash, Evan Dice, Robert Catherine Charnov, Special Events Restaurateur Publicity Managers Ebanks, Miranda Gauvin, Coordinator Great Performances Christian Barclay, Christina Greg Garner, Edgar Mendoza, Norris, Publicists Warren Ng, Elsie Pacella, Angela FINANCE & ADMINISTRATION Melina Gills, Publicity Asst.— Romualdez, Allyson Steele, CAPITAL PROJECTS Oct 1, 2016 Cinématek Noel Vega, Ticket Services Jonathan Jones, Director, Capital Representatives Projects @BAM_Brooklyn #MemoryRings Photo: Sierra Urich

by Robert Wood A Giving Tree The world’s oldest tree is a 5,062-year-old humanity’s increasingly alienated relationship Bristlecone Pine located somewhere—only with the natural world. Part of Phantom Limb’s scientists know exactly where—in California’s environmental trilogy—which included 69º S., White Mountains. The world’s oldest account a series of tableaux vivants inspired by Ernest of deforestation is perhaps in the Epic of Shackleton’s 1914 Antarctic voyage—it uses Gilgamesh, a 4,100-year-old tale of a man who, the forest as a frame for our species’ solipsism, among other things, levels acres of cedar trees creating a space where, in the words of the on his quest for fame. creators, we can “sit with our apprehension, our grief, our foolishness, and our hope.” It would seem, then, as though the threat posed by man to the natural world is nothing new, The name refers to the growth rings used to date and that our alienation from the environment trees—cryptic traces of time reminding us that has been a long, slow slide. So what exactly is nature has always been there, bearing witness. different now? “The tree is a living record of everything that has transpired during its history, standing in mute It’s just one of the questions obliquely posed by testimony of civilization’s encroachment,” Sanko Memory Rings (Harvey Theater, Nov 17—20), and Grindstaff write. the newest work from Phantom Limb Company, led by Erik Sanko and Jessica Grindstaff. Throughout Memory Rings, the world’s oldest tree quietly observes from center stage—the fixed A nearly wordless cautionary tale marrying point around which the millenia revolve. As the puppets, fairy tales, and literary references piece opens, all is well in the forest. A man-deer (including Gilgamesh) with Google searches wakes from its pine needle bed in a bucolic and selfie sticks, Memory Rings plots a eden, where plants and animals seem as one. surreal course through what it proposes to be A menagerie of other creatures dance around #MemoryRings Nov 17—20 the tree, evoking the cyclical time of nature and realize it’s his ringtone. To be alienated from the memory rings themselves. Symbiosis seems to natural world is to be alienated from some part rule the day as the humans wait in the wings. of ourselves, it seems to say. We, mere wolves in human clothing. But then things get more complicated. A fox scratches its back on the trunk, and tree Devoid of detailed features, Sanko’s puppets becomes tool. He poses for a group selfie with help to mediate between beast and human his animal friends, and tree becomes scenery. while also serving as theatrical tabula rasa. “The The tree begins to give. thing about a puppet that distinguishes it from an actor,” Sanko has said, “is that it has no In another series of vignettes, culture itself history, no background and arguably, no inherent seems to do the distancing. As a flash flood personality and no ego to get in the way. threatens, three men Google for advice before Thereby, it is simply a blank canvas for whatever distracting themselves with a cloying rendition the puppeteer’s intention is and for whatever of “Who’s Afraid of the Big Bad Wolf.” From their emotion the onlooker is willing to project on it.” presumable house of bricks, pattycake cuteness disarms both predator and storm. A clue to what that intention is becomes clearer later on, when the bird finally answers its phone Later on, when a puppet reenactment of “Little and it turns out to be Nietzsche. As the voice Red Riding Hood” presents the wolf in another muses over the notion of eternal recurrence, guise, we’re reminded that there, too, culture itself a kind of memory ring, we are reminded can distance even as it comforts; nature is a of something else Nietzsche says: that “man is threat only insofar as it can stand up to valiant a rope tied between beast and overman [...] a woodsmen. As the slain wolf is dragged off stage bridge and not an end” by a group of animated pine trees, we pity it. Puppets as übermenschen? Perhaps. As And yet ultimately, Memory Rings is more dream blank canvases for our projections, they allow than didacticism, owing largely to the wordless us to imagine the other side of Nietzsche’s way these vignettes play out. If there are bridge, where future humans see tree and suggestions of a simple man vs. nature narrative, wolf as kindred spirits along a compassionate they are quickly complicated. Human actors continuum. slip into and out of their bestial guises, blurring the line between animal and man. A bird flits Robert Wood is a freelance writer based in around chasing the sound of a cricket, only to Brooklyn. Photo: Sierra Urich