In This Issue

NOVEMBER 2018

IN THIS ISSUE

TAIWAN PHILHARMONIC BROOKLYN RIDER November 3 November 13

COMPAGNIE KÄFIG KURBASY November 8-10 November 16 October 2018 Volume 15, No. 2

FALL 2018

Paul Heppner President

Mike Hathaway Contents Vice President Feature Kajsa Puckett 3 The Future is Female Vice President, Marketing & Business Development Dialogue Genay Genereux 9 Courtney Sale on Accounting & Office Manager The Velveteen Rabbit Production at Seattle Children's Susan Peterson Theatre Design & Production Director 13 Geoff Larson on Jennifer Sugden Assistant Production Manager illuminating literature with music Ana Alvira, Stevie VanBronkhorst Production Artists and Graphic Designers Intermission Brain Transmission

Sales 15 Test yourself with our Amelia Heppner, Marilyn Kallins, Terri Reed trivia quiz! San Francisco/Bay Area Account Executives Encore Stages is an Encore Arts Joey Chapman, Brieanna Hansen, Program that features stories about Ann Manning, Wendy Pedersen Seattle Area Account Executives our local arts community alongside information about performances. Carol Yip Encore Arts Programs are publications Sales Coordinator of Encore Media Group. We also publish Marketing City Arts, a monthly arts & culture Shaun Swick magazine, and specialty publications, Senior Designer & Digital Lead including the Offical Seattle Pride Guide and the SIFF Guide and Catalog. Learn Ciara Caya Marketing Coordinator more at encoremediagroup.com

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2 ENCORE STAGES The Future (of Seattle Theatre) is Female

(from left) Haysam Kadri as Rasheed, Arden Pala as Zalmai, Nadine Malouf as Laila, Nikita Tewani as Aziza and Denmo Ibrahim as Mariam in A Thousand Splendid Suns, A.C.T. San Francisco. Photo by Jim Cox.

Female playwright- According to a nationwide study by genderqueer and non-binary conducted by Theatre Communications folks, which only make up 0.004% director teams are still Group, during the 2016–17 theatre of produced plays nationwide. a rarity nationwide, season, only 26% of produced plays were written by female playwrights. This But theatre companies across Seattle but this fall is full of statistic is personal to me. I’m a female- are doing their part to balance the women-led projects. identifying playwright working nation- scales and bring gender parity to ally. I’m a speck on that scale, but I do their stages. I had the opportunity to Danielle Mohlman count. Which is why I’m a little ashamed speak with women championing other explores four plays to say I was actually excited to see this women—artists from Seattle Repertory number. For several years, I’d been Theatre, ArtsWest, Washington coming to Seattle telling folks that female playwrights Ensemble Theatre and Seattle Public that showcase the make up only 20% of produced plays. Theatre. These theatres are not only That six percent jump—that’s huge! producing plays by female playwrights, talent, wit and power they’re also enlisting female directors of women. I don’t have to tell you that 26% to take the reins. Females are strong as is an abysmal statistic. And this hell, y’all. number doesn’t even include plays

encoremediagroup.com/programs 3 Nadine Malouf as Laila and Antoine Yared as Tariq in A Thousand Splendid Suns, The cast, musician and composer, David Coulter, in A Thousand Splendid Suns, A.C.T. A.C.T. San Francisco. Photo by Jim Cox. San Francisco. Photo by Jim Cox.

Carey Perloff, director ofA Thousand playwright for the job. She was familiar The play just finished a run at A.C.T. Splendid Suns at Seattle Repertory with Ursula Rani Sarma’s writing in San Francisco, part of a planned Theatre, fell in love with Khaled through a play produced at A.C.T.’s collaboration between A.C.T. and Hosseini’s novel—of the same name— Young Conservatory. Perloff was drawn Seattle Repertory Theatre. as soon as she read it. She was directing to the poetry of Sarma’s playwriting. Scorched by Wajdi Mouawad, a play “I have always found Seattle audi- set in the Middle East, at the time and ences to be adventurous, engaged turned to Hosseini’s novel as a piece of and generous,” Perloff said. “I also research and inspiration. She found the “The fact that I, a know that Seattle audiences are novel so richly drawn, so captivating, young woman of excited about work from diverse that she wanted to see the story on cultures and multiple points of stage—as soon as possible. Perloff, then color, get to direct view. This is such an unusual piece the artistic director of A.C.T. in San in every way, both in terms of form Francisco, met with Hosseini, who lives this piece . . . means and content, so it’s exciting to think in the Bay Area, and asked if he would that the seats at the of it playing in a city with such a consider allowing A.C.T. to adapt his strong theatre tradition and a really novel for the stage. table are shifting . . .” committed public.”

“For the most part, when we read news Perloff was quick to add that this isn’t a about Afghanistan it focuses on war “She has a stunning visual sense and literal adaptation of Khaled Hosseini’s and destruction,” Perloff said. “ButA an ability to convey extreme emotion novel. Rather, it’s a reimagining— Thousand Splendid Suns is a gorgeous without excess,” Perloff said. Sarma had utilizing all the tools of theatre at its story of three generations of women experience writing adaptations, which disposal, including live scoring using over a twenty-five-year period, forging was important to Perloff. But more found instruments like saws and bed a very unlikely friendship and finding importantly, she had a connection springs to create the music of this love—and even joy—in a whole new to Afghanistan and the characters world. future, amidst political chaos.” Hosseini had created. “She knew the part of the world that Khaled was “Seattle is in for a treat!” Perloff said. Once Hosseini agreed to the adapta- writing about, so her lens was personal, tion, Perloff set out to find the perfect intimate and true.”

4 ENCORE STAGES A Thousand Splendid Sunsruns October 5 to November 10 at Seattle Repertory Theatre.

Dominique Morisseau’s Skeleton Crew, the final play in her three-play cycle “The Detroit Projects,” was the third most produced play in the United States last season. It’s also the play that ArtsWest has chosen to open their 2018–19 season—an ensemble drama about one of the last auto stamping plants in Detroit and the people who work there.

Jay O’Leary, the play’s director, describes Skeleton Crew as a play about survival Jason Bowen, Caroline Stefanie Clay and Shannon Dorsey in Skeleton Crew, Studio and having power over your own soul. Theatre. Photo by Teresa Wood.

“Skeleton Crew explores how we persevere,” O’Leary said. “The humans within this play are very good at what they do. They are funny. They are smart. They are passionate. The key to surviving and thriving in life in general is how we fight. Do we fight with the soul in mind or do we fight with bitterness and ugliness within our hearts? These questions directly apply to our socio-political climate right now. The more ugliness we give, the more ugliness we receive.”

O’Leary added that not only are these characters dealing with how to survive a potential job loss, they’re also navigating morality and whether their definition of right and wrong can change when their hopes, dreams, even their next meal, are all in jeopardy. Caroline Stefanie Clay and Tyee Tilghman in Skeleton Crew, Studio Theatre. Photo by Teresa Wood.

O’Leary discovered Morisseau’s plays at a point of frustration. their rhythms into the marrow of your stage and screen as fully fleshed out “I was screaming about how desper- bones. That’s how she builds up the human beings, rather than grotesque ately we need playwrights who are humans of her scripted worlds—from stereotypes. female-identifying artists of color,” the universal dust that creates the sack O’Leary said. “My friend tossed over of blood and water which cradle our “The fact that I, a young woman of “The Detroit Projects” and I was imme- souls.” color, get to direct this piece out here in diately in awe of this woman’s power very white Seattle means that the seats and poetry. Dominique Morisseau’s She added that the people in Morisseau’s at the table are shifting,” O’Leary said. words sing and pulsate and thump plays are so rarely seen depicted on And she’s determined not only to take

encoremediagroup.com/programs 5 that seat, but to make the table bigger and producers dedicated to achieving than it’s ever been. “Because who the gender parity on stage. hell wants to eat the same bland meal with the same exact people over and “The Kilroys have exposed a messed-up over again? I don’t, and neither do you.” system that was essentially created to keep marginalized voices and identities Skeleton Crew runs September 20 to out of the conversation,” Detzer said. October 14 at ArtsWest Playhouse and “They took the idea that there are no Gallery. great women or trans playwrights and completely struck it down. What an amazing gift they have given us, the ability to move on to the next impor- Maggie Rogers discovered Sheila tant question: Why the f— aren’t these Callaghan’s playwriting her senior year plays being produced?” of high school. She was auditioning for college acting programs and fell in love Everything You Touch runs September 21 with a monologue from Tumor. to October 8 at 12th Avenue Arts.

“Sheila Callaghan’s work keeps popping up in my life as a constant reminder to take risks,” Rogers said. “Her work Washington Ensemble Theatre isn’t the is exciting to me because she doesn’t only company in town working with a apologize or write ‘pretty’ people. Her Kevin Kelly as Victor, Cheyenne Barton Kilroys founder. Tanya Saracho, perhaps characters are raw, visceral and in as Esme and Kiki Abba as Jess; the cast best known as the showrunner of Vida, of Everything You Touch, Washington your face.” is also fighting for nationwide gender Ensemble Theatre. Photo by Kendall Lauren. parity on stage. Her play Fade opens at Years later, Rogers is directing the Seattle Public Theatre this month. Northwest premiere of Everything You Touch at Washington Ensemble on public transit, by drunk dudes on “The Kilroys are such a valuable Theatre, her directing debut with the Capitol Hill—and have investigated resource for me,” said Director Pilar company. why it hurts so badly, even though I O’Connell. “The celebration of female know a stranger’s opinion should not and female-identifying playwrights and “What I love so much about this play hold any weight.” folks of color is incredibly important.” is that it is a love letter to every person who thought they were not enough,” Samie Smith Detzer, Washington O’Connell first encountered Saracho’s Rogers said. “It bluntly tackles body Ensemble Theatre’s artistic director, work when she was in college. She was image, food shaming, anxiety and the agrees that now is the perfect time to researching Latinx artists working horrors of going home, in a way that produce this play. nationally and stumbled upon Teatro deeply resonates with my dark sense Luna in Chicago, a theatre company of humor.” “This play is particularly potent when Saracho co-founded with collaborator you consider that we have only begun Coya Paz. O’Connell dug deeper, read- And she knows it’s a play that Seattle to scratch the surface of understanding ing every Saracho play she could find. needs right now. the degree to which our society believes that our bodies do not personally “I was drawn to Fade because I was “Seattle loves to pride itself on being belong to us,” Detzer said. “This play looking for a smart show that gave me politically correct, but I feel like fat explores how we can own our bodies. a different perspective of the Latinx shaming is the only widely accepted Plus, it’s funny! And witty! And experience,” O’Connell said. “This play prejudice in the city, and the country raunchy! And sweet!” addresses the idea of classism within for that matter,” Rogers said. “When your own culture, and although it is I moved to Seattle I found that I was In addition to being a prolific playwright a Latinx story, I think it’s universally often the fattest person in the room and writer and executive producer on relatable.” and a hot commodity on the Tinder Shameless, Sheila Callaghan is also a dating scene. Over the past three years founding member of The Kilroys, a O’Connell added that she loves I have grappled with being called fat— group of female-identifying playwrights Saracho’s style—witty and realistic

6 ENCORE STAGES My legacy. My partner.

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EAP full-page template.indd 1 7/25/18 1:30 PM Annie Dow in Fade, Primary Annie Dow and Eddie Martinez in Fade, Primary Stages. Photo credit unknown. Stages. Photo credit unknown.

with just a hint of film magic. It’s forward to sharing this play with price of ambition many women and a combination that’s incredibly Seattle audiences. women of color face in white and male appealing to actors. dominated professions,” Lareau said. “We were drawn to Fade because of “Through this microcosm of a play, we Seattle Public Theatre’s co-artistic the intersectional conversation it see the larger struggles faced by women director, Annie Lareau, is looking presents around class, culture and the in the workplace—all while calling into question the world of television and how it perpetuates dangerous stereotypes and the responsibility we have for shifting them.”

Fade runs October 12 to November 4 at Seattle Public Theatre.

This fall—and throughout the entire 2018–19 theatre season—make a commitment to see more plays by female and non-binary playwrights. Dig into The Kilroys list, reward theatres that demonstrate gender parity on their stages. Because who knows? You may be part of a national shift, one that will make today’s 26% feel like ancient history. ■

Danielle Mohlman is a nationally produced feminist playwright based in Seattle. Her play Nexus is among the 2015 Honorable Mentions on The Kilroys list. She is an alumnus of the inaugural class of Playwrights’ Arena at Arena Stage and a member of the 2018 Umbrella Project Writers Group.

8 ENCORE STAGES IN THIS ISSUE

UPCOMING PERFORMANCES

Alexander String Quartet with Joyce Yang | May 22

The University of Washington acknowledges the Coast Salish people of this land, the land that touches the shared waters of all tribes and bands within the Suquamish, Tulalip and Muckleshoot nations. Welcome to Meany Center

Dear Friends: This month, Meany Center is pleased to Foundation, a Taiwanese violin collection present Kurbasy, Compagnie Käfig, Brooklyn representing over 1,750 of the world’s Rider and our only special event of the season: most valuable violins. The collection was the Taiwan Philharmonic in its Seattle debut. established by Wen-Long Shi, founder of the Chi Mei Corporation and uncle of our Meany The Taiwan Philharmonic has a global Advisory Board member Cathy Hughes. reputation as one of Asia’s finest orchestras. This is their first visit to the Pacific Northwest I hope you enjoy these very unique and only their second international tour. performances. The orchestra will perform the Northwest premiere of “Dancing Song” from Three Aboriginal Songs for Orchestra, by Gordon Chin, a leading Taiwanese composer.

This performance also features two rare Michelle Witt instruments on loan from the Chi Mei Executive and Artistic Director

ADVISORY BOARD

Craig Miller, President Seema Pareek EMERITUS BOARD Joel Baldwin Darcy Paschino Linda Linford Allen / Linda Armstrong / Ross Boozikee John Robinson Cynthia Bayley / Thomas Bayley / Cathryn Luis Fernando Esteban Donald Rupchock Booth-LaForce / JC Cannon / Elizabeth Cooper / Davis B. Fox Marcie Stone Gail Erickson / Ruth Gerberding / Randy Kerr / Brian Grant Donald Swisher Susan Knox / Matt Krashan, Emeritus Artistic Aya Hamilton Rick Szeliski Director / Sheila Edwards Lange / Frank Lau / Becky Harris David Vaskevitch Lois Rathvon / Dick Roth / Eric Rothchild / Jeff Seely / K. Freya Skarin / Rich Stillman / Kyra Hokanson Gray Gregory Wallace David Stone / Lee Talner / Thomas Taylor / Cathy Hughes Mark Worthington Ellen Wallach Yumi Iwasaki Kathleen Wright O. David Jackson Ellsworth C. “Buster” Alvord, In memoriam EX-OFFICIO MEMBERS Dr. Susan Joslyn Betty Balcom, In memoriam Sally Kincaid Ana Mari Cauce, UW President Ernest Henley, In memoriam Kurt Kolb Robert C. Stacey, Dean, College of Arts & Sciences Mina Person, In memoriam Jeff Lehman Catherine Cole, Divisional Dean of the Arts Jerome Sanford, Sr. In memoriam Chelsey Owen

A-2 MEANY CENTER FOR THE PERFORMING ARTS Special Event TAIWAN PHILHARMONIC SUPPORT COMES FROM SHAO-CHIA LÜ, CONDUCTOR STEPHEN HOUGH, PIANO November 3 | 7:30 p.m.

GORDON CHIN “Dancing Song” from Three Aboriginal Songs for Orchestra (b. 1957)

MEDIA PARTNER LISZT Piano Concerto No. 1 in E-ﬂ at Major, S. 124 (1811-1886) Allegro maestoso Quasi adagio Allegretto vivace Allegro marziale animato MEANY CENTER THANKS THE FOLLOWING SIGNATURE SPONSORS Cathy and David Hughes Sue Hou INTERMISSION

ADDITIONAL SUPPORT COMES FROM

BRAHMS Symphony No. 2, Op. 73 Estate of Ellsworth C. Alvord † Nancy D. Alvord † (1833-1897) Allegro non troppo Katharyn Alvord Gerlich Adagio non troppo Estate of Mina Person † Eric & Margaret Rothchild Allegretto grazioso (quasi andantino) — Presto ma non assai Donald & Gloria Swisher Allegro con spirito Estate of Barbara Weinstein † Ana Mari Cauce & Susan Joslyn

Estate of Carmel Hennessy Pope † Sally Schaake Kincaid Craig Miller & Rebecca Norton Chelsey Owen & Robert Harris Ariel Fund M. Elizabeth Halloran Seema Pareek & Gurdeep Pall Don & Toni Rupchock

Thanks to the Chi Mei Foundation for the generous loan of two rare instruments from their collection for this performance.

Stephen Hough appears by arrangement with CM Artists. Mr. Hough’s recordings are available on the Hyperion, BIS, Chandos and Warner Classics labels.

North American representation for the Taiwan Philharmonic: MKI Artists www.mkiartists.com

encoremediagroup.com/programs A-3 TAIWAN PHILHARMONIC | About the Artists

Photo Credit: Sim Canetty-Clarke

HAO-CHIA LÜ, CONDUCTOR Lü has worked frequently with many be awarded a MacArthur Fellowship S leading European orchestras, such and was made a Commander of the Taiwan-born conductor Shao-Chia Lü as the Oslo Philharmonic, Orchestra Order of the British Empire (CBE) in studied music in Taipei, later at the dell’Accademia Nazionale di Santa the 2014 New Year’s Honors. Indiana University in Bloomington, IN, Cecilia, Norwegian and Swedish Radio and also at Vienna’s College of Music. Orchestras, Helsinki Philharmonic Since taking fi rst prize at the 1983 His training resulted in important Orchestra, Royal Liverpool Naumburg Competition in New fi rst prizes at three renowned Philharmonic, Orchestre National York, Hough has performed with international conductor competitions: de France, SWR Stuttgart, Rundfunk- the world’s major orchestras and Besançon (France), Pedrotti (Italy) and sinfonieorchster Berlin, the Göteborgs given recitals at the most prestigious Kondrashin (the Netherlands). Symfoniker, Staatskapelle Weimar, concert halls. He is a regular guest Frankfurter Museumsorchester and at festivals such as Salzburg, Aspen, Shao-Chia Lü accepted positions Royal Concertgebouw Orchestra in Blossom, Tanglewood, Edinburgh, La as general music director of the Amsterdam. In Asia, Lü has worked Roque-d’Anthéron and BBC Proms, Koblenz Theatre (1998-2001), with the Hong Kong Philharmonic, where he has made more than the Staatsorchester Rheinische NHK, New Japan Philharmonic, twenty-fi ve appearances. Philharmonie Koblenz (1998-2004), Seoul Philharmonic, KBS Symphony and the Staatsoper Hannover (2001- Orchestra and leading orchestras in Highlights of Mr. Hough’s 2018- 2006). China. 19 season include performances at Lincoln Center’s Mostly Mozart Shao-Chia Lü appears regularly as Shao-Chia Lü has been Music Festival, with The Cleveland and guest conductor at several world- Director of the Taiwan Philharmonic Minnesota orchestras, the Vienna renowned opera houses, including (the National Symphony Orchestra) Symphony, London Philharmonic, the Opera Australia in Sydney and since August 2010. City of Birmingham Symphony Melbourne, the English National Orchestra, Finnish Radio Symphony Opera, Théâtre de la Monnaie in PIANO Orchestra, Orchestre Philharmonique Brussels, Den Norske Opera in Oslo, STEPHEN HOUGH, de Monte-Carlo, Orchestra Sinfonica Gothenburg Opera, Oper Frankfurt, One of the most distinctive artists Nazionale della Rai, Tokyo Symphony Staatsoper Hamburg and Stuttgart, of his generation, Stephen Hough Orchestra, and a West Coast tour Deutsche Oper and Komische Oper combines a distinguished career as with the Taiwan Philharmonic Berlin. a pianist with those of composer and with performances in Seattle, San writer. Named by The Economist as one Diego and Orange County. Recent Alongside his opera activities, Lü is of Twenty Living Polymaths, Hough highlights include appearances with equally at home on concert podiums. was the fi rst classical performer to the New York Philharmonic, and the

A-4 MEANY CENTER FOR THE PERFORMING ARTS Photo Credit: Yung Nìen Wang

San Francisco, Montreal, Pittsburgh, The Taiwan Philharmonic, with 99 The NSO has extended its artistic Detroit, St. Louis, Dallas and Sydney members, presents a 40-week musical reach to include theater and opera symphonies. In 2018 he was Artist- season of approximately 75 concerts/ productions, such as working with in-Residence at the Royal Liverpool chamber recitals and one opera Lin Hwai-min, the world-renowned Philharmonic Orchestra, performing production each year. It also launches choreographer and founder of a cycle of all five Beethoven educational programs and outreach Cloud Gate Dance Theatre of concertos. Recent recitals include projects constantly. Tour performances Taiwan, Austrian digital artist Klaus performances at New York’s Carnegie are regularly offered throughout Obermaier, and opera stage directors Hall and London’s Royal Festival Hall Taiwan and overseas. It has toured to Tobias Richter, Moffatt Oxenbould, (International Piano Series), and in San Vienna, Paris, Berlin, Geneva, Milan, and Hans-Peter Lehmann, Andreas Francisco, Los Angeles, Toronto and Singapore, Kuala Lumpur, Sapporo, Homoki and James Robinson. In Paris among others. Tokyo, Yokohama, Seoul, Hong Kong addition to its record-breaking and major cities in China. semi-stage concert operas Der THE TAIWAN PHILHARMONIC Ring des Nibelungen, and Elektra, The Taiwan Philharmonic works with the NSO has collaborated with Founded in 1986, the Taiwan internationally acclaimed conductors, world-class opera houses for its Philharmonic, also known as the such as Lorin Maazel, Sir Neville multinational productions, such as National Symphony Orchestra at Marriner, Krzysztof Penderecki, Rudolf Der Rosenkavalier (Deutsche Oper home, is hailed as one of the best Barshai, Leonard Slatkin, Christopher am Rhein, 2007), Carmen (Royal orchestras in the Asian Region and is Hogwood, Oleg Caetani, Gennady Opera House Covent Garden, the resident orchestra of the National Rozhdestvensky, Michael Sanderling, Norwegian National Opera and Opera Chiang Kai-Shek Cultural Center in Vassily Sinaisky, Osmo Vänskä, Hans Australia, 2009), Madama Butterfly 2005. Starting in April 2014, the Taiwan Graf and soloists, including Midori, (Opera Australia, 2012), and Fidelio Philharmonic became an affiliate Vadim Repin, Hilary Hahn, Ray Chen, (Opernhaus Zurich, 2015), as well as orchestra to the National Performing Yo-Yo Ma, Gautier Capuçon, Alban in-house productions Die Walküre Arts Center. Led by renowned Gerhardt, Mischa Maisky, Sol Gabetta, (2013), Salome (2014), Otello (2016), conductor Shao-Chia Lü as its fifth Martin Grubinger, Louis Lortie, Kun- Il Trittico (2017) and Parsifal (2018). music director starting August 2010, Woo Paik, Stephen Hough, Stephen the Taiwan Philharmonic has increased Kovacevich, Sabine Meyer, Reinhold the country’s cultural richness and Friedrich, Leonidas Kavakos, Yuja music educational strength throughout Wang and many others. Taiwan.

encoremediagroup.com/programs A-5 TAIWAN PHILHARMONIC | About the Program

“Dancing Song” from Three Piano Concerto No. 1 in E-ﬂ at RARE Aboriginal Songs for Orchestra Major, S. 124 (1849) INSTRUMENTS (2016) FRANZ LISZT GORDON CHIN ON TOUR To Liszt goes the honor of creating We are honored to present the Taiwan I chose traditional folksongs from the symphonic tone poem, Philharmonic in their Pacifi c Northwest three aboriginal tribes for the that generally one-movement subjects they depict and how composition whose genesis derives debut. This is the fi rst time Meany they inspire me musically when from a connection to a literary work, Center has ever presented an ensemble I hum those melodies quietly to painting, historical or legendary of this size and it would not have myself. Thanks to the generally event and any of a number of been possible without the support of less complicated pitch content extra-musical associations. The the Asian Programming Endowment and rhythmic patterns of these Hungarian-born composer had established by David and Cathy Hughes. aboriginal songs, I was given lots of a dual musical personality that freedom to develop my own ideas. veered between crass vulgarity and All three songs I based my work visionary prescience. If some of his Cathy’s father and uncle were co- on are characteristic in their own piano works smack of ostentatious founders of the Chi Mei Corporation in way, which gave me a good sense display, there are ample the 1950s. In 1992, her uncle, a self- of direction. I can elaborate with compensations in his audacious taught painter and violinist, established variations of the original materials and far-reaching harmonies — the Foundation for the express purpose while maintaining a unifying musical especially in his late works, which style. point unmistakably to Debussy. of collecting art from all around the Even the most famous 19th century world so that the people of Taiwan Tonight, the orchestra is performing sequence of chords, the all-but-non- would have access to it. The Foundation the third and fi nal movement, Uyas tonal “Tristan” motif from Wagner’s also owns approximately 1,000 of the Mgeli (Dancing Song) of the Sediq Tristan und Isolde, can be found in world’s rarest instruments—including tribe. an earlier song of Liszt, a friend and one of the three oldest cellos still in fellow “futurist” with Wagner. The fi rst two movements deal existence, and what is believed to be the mostly with diatonic materials. As a Once considered to be the greatest last violin made by Guarneri del Gesù. result, by the time I started working pianist in history (the claim was on the third movement, I had made in the 1840s), Franz Liszt’s The Foundation loans these instruments, developed a longing for a chromatic reputation as a composer suff ered free of charge, to any qualifi ed theme. precipitously after his death and Taiwanese musician. They are frequently began to regain its former éclat only While the musical material used in in the past several decades. Though borrowed by young musicians heading the beginning of this movement is he wrote more than 1,400 works, to international competitions—in fact, my own creation, I manage to give most are for either solo piano or the winner of the 2017 Tchaikovsky it a dance-like quality, as Uyas Mgeli orchestra. Only seven pieces are for Violin competition was playing an suggests, a song for dance. The piano and orchestra, including his instrument from the Chi Mei collection. true Uyas Mgeli appears later at the Piano Concerto No. 1. second segment of this movement. The old and the new themes take He studied piano with Carl Czerny, At their Meany Center debut, two Taiwan place one after the other, and the who studied with Beethoven, and Philharmonic members will also be Uyas Mgeli eventually prevails as Johann Hummel. The unfairly playing violins from the collection: one the movement develops, depicting maligned Antonio Salieri served as made in 1705 by Giuseppe Guarneri a vivid picture of people dancing in his composition teacher. In 1830, fi lius Andrea; and a 1734 instrument by the winds, leaping onto the treetop, the piano was still undergoing fairly Sanctus Seraphin. through the bluest sky, stomping pronounced changes from the soft- their feet with the heartiest rhythm, spoken, fi ve-octave instrument of joyfully anticipating the coming of a Mozart and early Beethoven to the Thanks to Cathy and David Hughes new life. steel-framed pianos of the mid-19th and to the Chi Mei Foundation for their century, with their greater compass support of this program. © Gordon Chin and dynamic range. Liszt was keen to explore the timbral possibilities of the latest pianos. That same

A-6 MEANY CENTER FOR THE PERFORMING ARTS TAIWAN PHILHARMONIC | About the Program

year, he hatched the idea for a music he was working on, he often essentially lyrical respite with hints piano concerto, waited until 1839 misled his correspondents with of the folk music he dearly loved; to prepare an initial sketch before humorous descriptions that steered it has the feel of a minuet, rather completing it ten years later, and far clear of truth. If many a truth is than a burlier scherzo. produced the final version in 1853. said in jest, in Brahms’ case, many a truth is hidden through jest. If the slow movement plumbs the The Concerto is laid out in one And so it is with his Symphony No. greatest depths, the exhilarating extended movement with four 2, a comparatively sunny, pastoral energy of the finale establishes clearly discernible sections. The work for this melancholic composer, its claim as a true symphonic Allegro maestoso opens without especially in direct comparison climax. Beginning with a softly a “classical” exposition, unison with the dramatic, even stormy uttered, quicksilver theme, the strings launching the piece with first symphony, which had pre- music rapidly grows in intensity, an emphatic fortissimo theme occupied him full-time for years volume and insistence, its that is soon joined by winds and until its completion in 1876. No. 2 prevailing mood boisterous, brass. The piano enters shortly came far more quickly, its gestation optimistic and confident. Echoes and leads to a grand cadenza. In roughly one year. He wrote about of the symphony’s opening three- striking contrast, the keyboard his emerging symphony to his note motif add to the structural posits a lyrical theme that reprises musically discerning close friend integrity of this masterly creation. the opening salvo. After another (and composer) Elisabeth von As with its three brethren, this dynamic cadenza populated Herzogenberg, describing it as Second Symphony has been a by bounding scales, Liszt tones elegiac. He warned his publisher, staple in the repertory since its matters down before muted cellos Simrock, of the music’s presumed first appearance. and basses enter in a section melancholy: “You won’t be able to marked Quasi adagio with a clear bear it.” © 2018 Steven Lowe variant on the opening motive. Of the four Brahms symphonies, Functioning as a scherzo, it is this expansive essay in the the Allegretto vivace revels in traditionally bright key of D major Halloween-like sonorities that where Brahms’ warmth is most suggest a skittish “dance of readily expressed. After a brief three- death” that presages Mahler and note motif that recurs frequently even the “night music” of Bartók. disguised throughout the entire The use of a triangle apparently first movement, the horns present offended Viennese critic Eduard a primary theme that includes the Hanslick. After quietly reprising the three first-heard notes. A sweet concerto’s theme, Liszt unleashes contrasting second theme shared by a powerful crescendo before cellos and violas counterpoises the the concluding Allegro marziale main tune. Brahms’ unerring sense animato establishes an increasingly of rhythmic variety keeps things festive mood boasting big-limbed moving, occasionally suggesting pyrotechnics and great verve. darker meanings, until the peaceful recapitulation restores calm. Symphony No. 2 in D Major, Bischofberger Op. 73 (1877) The emotional core of the Second JOHANNES BRAHMS Symphony is undoubtedly the slow Violins est. 1955 movement, which is more varied in Brahms was highly secretive mood and color, more internalized Professional in many aspects of his life. He and ruminative than its radiant Repairs destroyed many early works opening Allegro. The form (A-B-A) is Appraisals that failed to measure up to his simplicity itself, but the rich tapestry & Sales obsessive standards. Drafts of of feeling is Brahms at his most works in progress befell a similar profoundly moving. Brahms does not 1314 E. John St. fate. He even demanded that resort to a big and energetic scherzo, Seattle, WA friends return letters he had sent the model established by Beethoven them, much to their dismay. When and furthered by Bruckner, but 206-324-3119 he did disclose information about instead offers a moderately paced, www.bviolins.combviolinsltd.com

BV encoremediagroup.com/programs071811 repair 1_12.pdf A-7 TAIWAN PHILHARMONIC | Roster

MUSIC DIRECTOR | Shao-Chia Lü

CONDUCTOR VIOLA OBOE TUBA LAUREATE  Grace Huang  I-Ching Wang  Keisuke Fujita Günther Herbig ✮ Chi-Chuan Teng ✮ Tung Nguyen Hoang ▲ Chao-Ying Lu Shu-Ting Yang TIMPANI RESIDENT Yea-Chyi Hwang  Sebastian Eﬂ er ✮ CONDUCTOR Jing-Yi Lee ENGLISH HORN Ting-Chuan Chen Juin-Ling Shieh Ming-I Lee Yin-Fang Chang Meng-San Lu PERCUSSION Szu-Chi Li CLARINET  Jer-Huei Chen FIRST VIOLIN Jubel Chen  May-Lin Ju Chen-Hsing Chen  Ting-Yu Wu Ping-Chang Tsai ✮ Kai-Ting Chang ✦ Pi-Tzu Yang  I-Ching Li Yen-Ting Wu Wei-I Chu  Hao-Tun Teng Ya-Han Huang Cheng-Jung Sun HARP ▲ Yi-Chun Chen  Shuen Chieh Yu-Lin Kuo CELLO BASSOON Ji-Hung Lin  Lana Hsiung  Kai-Yu Jian KEYBOARD Kun-Hao Liang ✮ Yi-Shien Lien ✮ I-Hsiu Chen  Yu-Ting Hsu Yee-Nong Chen ▲ Chih-Yin Wei Ling-Feng Kao Hsiao-Ching Cho You-Wen Chou Cecilia Fang I-Ting Chen CONTRABASSOON Jiachi Huang Yi-Hsien Lin En-Yi Chien Ting-Fang Lee Jih-Sheng Huang * SPECIAL THANKS Chia-Chi Lai Pinwei Su HORN to Ti Huang as the clarinet Meng-Ying Lin Ying-Chi Tang  Yi-Hsin Cindy Liu associate principal of this Chia-Hao Lee Yu-Wen Wang ✮ Pin-Chun Liu concert. Chih-Hong Tseng ▲ Jen-Hsien Huang Chu-Chun Tsai DOUBLE BASS Wan-Ju Wang  Yung-Ho Fu Yu-Mien Tsao SECOND VIOLIN ✮ Yi-Jung Su Yi-Ting Chung  Yi-Ju Chen ▲ Chun-Shiang Chou ✮ Cheng-Mei Sun Su-Yu Wang TRUMPET ▲ Wen-Tso Chen Hsiao-Ching Huang  Nicolas Rusillon I-Hui Wu Shu-Yi Wang ✮ Chang-Po Chen Ching-Hsi Lee Pei-Chih Lien Ching-Min Chang Yen-Yi Huang Hsin-Chieh Tsai Loo-Kit Chong Tsu-Mei Ku Hsin-Jung Kang FLUTE TROMBONE Mei-Jain Li  Anders Norell  Kun-Ying Lee Jen-Fu Chung ✮ Chika Miyazaki ✮ Hang-Fat Shiu Meng-Fong Tsai Chuin Lee Chung-Sheng Chen Chang-Wen Hung Ya-Hsin Hsiao Wei-Hong Chen BASS TROMBONE Chih-Hsiang Wang PICCOLO Hsiao-Yun Peng

Mei-Chuan Chung

A-8 MEANY CENTER FOR THE PERFORMING ARTS EXECUTIVE DIRECTOR MARKETING & DEVELOPMENT LEGAL CONSULTANT Lydia Wenchen Kuo Hsin-Ho Lin Project Manager,

Marketing & Development Manager, Marketing & Development CONCERT DRAMATURGIST Gloria Lo Paul Wang Yuan-Pu Chiao Project Manager, International Aﬀ airs Manager, Administration & Nancy Lu RECORDING PARTNERSHIP Secretary of Music Director Marketing Coordinator Yun-Yuh Wang Michelle Liu Zoe Kao Pei-Xuan Lian PLANNING & PRODUCTION NSO-ON-CAMPUS LECTURE SERIES Vivian Chen Project Manager Ying-Fan Lai ADMINISTRATION Coordinator/MD Assistant FOR MKI ARTISTS Koay Yee Fei Assistant Manager, Personnel Managing Director Bibi Lin Programme Coordinator John Zion Linglin Shih Legal Aﬀ airs Director of Operations Yu-Fen Huang Cary Liu Brooke Quiggins Saulnier Yu-Ching Yang Administrator Producer & Company Manager Librarian Eileen Lin John C. Gilliland III Brittney Kao Ching I Chen Stage Manager Stage Manager Administration Assistant Tom Eirman Kuan-Hsun Kao Yuny Chang Yi-Ci Chen FOR 8VA MUSIC CONSULTANCY Production Coordinator Managing Directors Ching-Han Su Patricia Price Assistant Stage Manager Matt Herman Yen-Lin Li

THE TAIWAN PHILHARMONIC THANKS ITS SPONSORS AND FRIENDS WITHOUT WHOM THIS TOUR WOULD NOT BE POSSIBLE.

CHEN-HSIANG LIU 劉振祥 JULIANA TZENG SILICON VALLEY BALLET ACADEMY SUE FAN LING LEE, 李玲

DAVID L. WEN 溫隆信

DR. YE-MING WU SAN FRANCISCO TAIPEI SISTER CITY COMMITTEE

encoremediagroup.com/programs A-9 MARGARITA BALI

G A R T H K N O X DANIEL ALEXANDER JONES CREATIVE FELLOWSHIP INITIATIVE

Every season an average of 25 For the artists who participate in new role of supporting open- artists and ensembles arrive at this project, the experience has ended processes, as opposed to Meany Center to perform on our been life changing. For musician functioning only as a presenter, mainstage. They are here for an and composer Garth Knox, the has given us the opportunity for evening (or in the case of dance chance to experiment with the deeper relationships with artists companies, three), during which university’s collection of rare whose residencies vary from a few they perform a finished work, instruments developed by Harry weeks to several months. and then they are off to the next Partch “challenged my sense of More important, the Creative engagement. form and musical intention, and Fellowships Initiative has inspired me to explore my own Over the past two years, however, fundamentally altered the instrument in a way I had never Meany Center has hosted a small conversation around public done before.” Choreographer sub-set of artists who are not here engagement with artists and and videographer Margarita Bali to perform. They’re not here to their work. By focusing on pure commented on the luxury of teach or produce a finished work research rather than simply being able to create away from either (though some do). Instead, product, the Initiative creates the pressures of daily life. She these artists are here simply to opportunities for the public to also noted that though producing dream — to tinker, invent, discuss, engage in the actual process of a finished word was not a experiment and to seriously creating — an experience that can prerequisite for the Fellowship, play, all in the name of creative only lend greater appreciation “I could not help myself; it was research. of the artistry of the finished important to me to come home to works they see on our stage and Funded by a generous grant from Argentina with material that could elsewhere. the Andrew W. Mellon Foundation, have the potential of a finished Meany Center, in collaboration creative work.” Indeed, Bali We are grateful to the Andrew W. with the Schools of Music and produced a 22-minute videodance Mellon Foundation for making this Drama, the Department of filmed on various stairways across important work possible. Dance and DXArts, has produced Seattle, which she plans to show something truly radical: an artist at several international festivals. residency where the focus is not For Meany Center, the project has on the finished work, but rather been equally life-altering. This the creative process.

A-10 MEANY CENTER FOR THE PERFORMING ARTS World Dance World Dance Series generously sponsored by COMPAGNIE KÄFIG GLENN KAWASAKI PIXEL SUPPORT COMES FROM November 8–10 | 8 p.m.

Premiered on November 15, 2014 at Maison des Arts de Créteil, during the Kalypso Festival

Duration 1h 10m / There is no intermission in this performance

Centre chorégraphique national de Créteil et du Val-de-Marne Compagnie Käfi g — directed by Mourad Merzouki

Artistic Direction and Choreography Mourad Merzouki Concept Mourad Merzouki and Adrien M / Claire B Digital Production Adrien Mondot and Claire Bardainne Music Design Armand Amar MEANY CENTER THANKS THE FOLLOWING SIGNATURE SPONSOR Anonymous Additional Music Credits Violin Sarah Nemtanu | Piano Julien Carton | Vocals Nuria Rovira Salat | Additional Music, Viola Anne- ADDITIONAL SUPPORT COMES FROM Sophie Versnaeyen | Drum Programming “Les Plocks,” Artback Society Stéphane Lavallée and Julien Estate of Ellsworth C. Alvord † Delaune | Recording, Mixing, Sound Design Vincent Joinville | Modular Synthesizer Martin Fouilleul Nancy D. Alvord † Katharyn Alvord Gerlich Assistant to the Choreographer Marjorie Hannoteaux Glenn Kawasaki, Ph. D. Marcella D. McCaff ray Estate of Mina Person † Artists Eric & Margaret Rothchild Stephen & Sylvia Burges Marc Brillant | Antonin Tonbee Cattaruzza | Elodie Chan | Aurélien Chareyron Ana Mari Cauce & Susan Joslyn Yvener Guillaume | Amélie Jousseaume | Ludovic Lacroix | Ibrahima Mboup Delaney & Justin Dechant Britt East & Scott VanGerpen Paul Thao | Soﬁ ane Tiet | Médésséganvi Yetongnon (known as Swing) Gail Erickson & Phil Lanum Estate of Carmel Hennessy Pope † Ira & Courtney Gerlich Lighting Design Yoann Tivoli, assisted by Nicolas Faucheux Lynn & Brian Grant Family Stage Design Benjamin Lebreton Jeff rey Lehman & Katrina Russell Craig Miller & Rebecca Norton Costume Design Pascale Robin, assisted by Marie Grammatico Chelsey Owen & Robert Harris Cecilia Paul & Harry Reinert Paintings Camille Courier de Mèré and Benjamin Lebreton Ariel Fund Light Control Stéphane Loirat Estate of Fern Rogow † William Calvin & Katherine Granbard Video Management Eve Liot M. Elizabeth Halloran Matthew & Christina Krashan Sound Control Alexis Lazar Lois Rathvon Stage Management François Michaudel Joseph Saitta Richard Szeliski & Lyn McCoy Ellen Wallach & Thomas Darden Executive Producer CCN de Créteil et du Val-de-Marne / Compagnie Käﬁ g

Co-producers, Maison des Arts de Créteil, Espace Albert Camus, Bron With the Support of Compagnie Adrien M / Claire B

encoremediagroup.com/programs A-11 COMPAGNIE KÄFIG | About the Artist

Photo Credit: Patrick Berger

ABOUT PIXEL Mourad Merzouki presents city of tomorrow will be: large made up of illusions on a 3D-set, a show at the crossroads of exposure to images which are now where video both accompanies art, where bodies and images a part of our everyday life. motion as well as hinders it? combine to create a universe of The Pixel project was born when How do dance and abstract poetry and dreams, and where I first met Adrien Mondot and representations answer each reality and illusion merge. Claire Bardainne, and from the other without one getting the Thanks to the 3D effects of fascination I felt at that moment: upper hand? I search for these digital artists Adrien M / Claire the real and the virtual world answers as I continue to develop B, the movement of hip-hop became indistinguishable. I and improve each of my creations, dance mixed with circus arts decided to try using these new with new constraints and new find a new playground. In technologies for dance. performance partners. this improbable universe of perpetual motion, the exalted The first experience mixing Along with the video projections, gesture is constantly challenged dance and interactive video was I wanted Armand Amar’s music to to better find itself. Armand breathtaking for the performers fit closely with the choreography Amar’s musical creation who were part of the project. With and images, like a warm invitation reinforces the show’s lyricism, the same curiosity and open mind to travel. His music accompanies like a warm invitation on this that inspires me, I explored an the performers, bringing out the journey. impalpable world created by the energy as well as the poetry lying light projections developed by the in the dancers’ bodies. Adrien M / Claire B Company. ARTIST STATEMENT Those new discovery paths allow We are constantly exposed The challenge of making two me to work on this extension to images, videos and digital worlds interact with each other, of reality and to consider a media. Screens are everywhere. while striking a subtle balance synthetic world, which is odd for One only need walk down the between both techniques, changes a choreographer who feeds off streets of big cities in some my approach to gesture: how does bodies and material. Inhabiting countries to imagine what the the dancer perform in a space dance in a space where the

A-12 MEANY CENTER FOR THE PERFORMING ARTS body faces dreams, I developed Compagnie Käfig’s style. For this, geometric objects moved around gestures in moving landscapes Merzouki hung several violins the set by the dancers in a lively created by Adrien M and Claire over the stage and choreographed game of forms and energies, B. I wanted to open up the way an unusual orchestra. An confirmed Merzouki’s aesthetics. in which the synthetic world of international tour through 40 In 2002, Merzouki choreographed digital projection interacts with countries brought worldwide one of La Fontaine’s famous the dancers’ reality. fame to Compagnie Käfig. fables, Le Chêne et le Roseau, Each artist is playfully immersed Teaming up with South African as part of the project led by La in an unknown world, with a choreographer Jay Pather in 2000, Petite Fabrique. For the Year curious mind, relying on hip-hop Merzouki created Pas à Pas, an of Algeria in France in 2003, virtuosity and energy, mixing up explosive mix of traditional Zulu he worked with Kader Attou to poetry and dreams, to create a dances and hip-hop. In 2001, create Mekech Mouchkin — Y’a show at the crossroads of arts. Dix Versions, created at Maison pas de problème with dancers Mourad Merzouki — November 2014 de la Danse in Lyon, outlined from Algiers. With Corps est the hip-hop singularity of seven Graphique in 2004, Merzouki performers and was performed balanced the cast with an equal ABOUT COMPAGNIE KÄFIG at the prestigious Jacob’s Pillow number of male and female A major figure on the hip-hop Festival in Berkshire, NY. Dix artists. Mixing calligraphy, video scene since the early 1990s, Versions highlighted hip-hop and dance with a hint of humor, Compagnie Käfig’s Artistic writing and acrobatics with circles this performance redefined Director Mourad Merzouki works of light that isolate each dancer perceptions of seduction games. at the junction of many different in his artistic originality, whether In January 2006, Merzouki disciplines. To his exploration of inspired by acrobatics or martial told his own story in Terrain all hip-hop styles, he adds circus, arts. The show, embedded in an Vague, a piece that looked into martial arts, fine arts, video and off-beat plastic environment, with live music. Without losing sight of the hip-hop movement’s social and geographical origins, this multidisciplinary approach opens up new horizons and reveals new outlooks. Merzouki’s first fully independent work, Käfig, was performed in 1996 at Rencontres Urbaines de la Villette in Paris. On a deck surrounded by a net, a hip-hop dancer and a contemporary performer challenged each other to improve their dialogue. The message was clear: hip-hop was extending its territory without losing sight of its history. Naming the company after his inaugural piece, Käfig (which means “cage” in Arabic and German), he set a symbolic tone that represents his openness and refusal to become locked into a single style. In 1998, Récital — an unusual dialogue between six dancers, one musician and the image of a classical concert — launched

encoremediagroup.com/programs A-13 COMPAGNIE KÄFIG | About the Artist his childhood and personal and Brazilian choreographers to saw the power of dance to background. In a fun, colorful collaborate in an atmosphere of communicate and express space, open to all possibilities, shared artistic friendship. emotion. the dancers, actors and circus In 2014, Merzouki created Pixel in In 1996, Merzouki established performers challenge each other collaboration with Adrien Mondot Compagnie Käfig. From 1996 with audacity and virtuosity, in and Claire Bardainne. This show to 2006, Merzouki created 14 an eclectic show for a visual, focuses on digital light projections pieces that explored the world sensory, choreographic and that accompany dancers’ motions to of dance through a multitude musical journey, bursting with strike a subtle balance between the of styles. Additionally, he was energy. real and the virtual world, between instrumental in the creation of With Tricôté in 2008, Merzouki energy and poetry, and fiction and the Pôle Pik choreography center took the audience behind the technical achievement. in Bron as well as the Karavel scenes. Set to the music of the festival. In June 2009, Merzouki In 2016, Compagnie Käfig troupe’s faithful collaborator was appointed director of the celebrated its 20th anniversary AS’N, this piece gave a look at the national choreography center of at Maison des Arts in Créteil and creative process of a new work, Créteil and Val-de-Marne, where Maison de la Danse in Lyon. This from auditions to performance. he developed Dance: A Window anniversary highlighted Käfig’s From January 2006 to June 2009, on the World with a focus on work with the new production Espace Albert Camus in Bron openness. Merzouki was a guest Cartes Blanches, celebrating 20 hosted Compagnie Käfig in artist at the 2008 Dance Biennial years of dances from Käfig to Pixel. residence. The theater became in Lyon, where he directed the In 2017, Espace Albert Camus in the venue of the Karavel Festival, parade, a major event of the Bron hosted Boxe Boxe Brasil, a created in 2007 under the Dance Biennial, Les Pointillés. In revival of Boxe Boxe honoring the leadership of Merzouki, with 15 2013, he created the Kalypso accomplishments of the company: hip-hop companies setting up festival, bringing the mainstream 20 years on stage, with international various performances in the city. promotion of hip-hop dance tours, artistic collaborations and companies to Paris. In 2010, Merzouki created creative effervescence, a singular Correria, presented jointly and collective history that has been In March 2016, he was appointed with 2008’s Agwa, featuring enriched over time by its dynamic artistic advisor for “Pôle en Brazilian dancers. For the opening to the world. Scènes” in Bron, where he 14th Dance Biennial in Lyon, brings together the Pôle Pik the choreographer presented ARTISTIC STAFF choreography center, the theater Boxe Boxe, a work reconnecting Mourad Merzouki (Artistic Direction Espace Albert Camus and the Merzouki with his initial training and Choreography) began training Fort, leading to one common in martial arts. This piece at the age of 7 in the circus school goal of training, creating was also an opportunity to of St. Priest, in Lyon’s eastern and promoting performing explore new outlooks through suburbs, while also practicing arts. Merzouki is a member collaboration with the Debussy martial arts. At 15, he gravitated of the support committee to String Quartet. In March 2011, towards dance through inspiration choreographic art of the French under the prestigious Friday drawn from hip-hop culture. ministry of culture (DRAC Île- Evening Events at the Louvre From there, he began working on de-France) and the sponsorship museum, Compagnie Käfig choreography and created his first committee for dance of Caisse created events using a fight dance company, Accrorap, in 1989, des Dépôts. He was recently theme, with choreographic works with Kader Attou, Eric Mezino and included in Petit Larousse Illustré based on Boxe Boxe, echoing the Chaouki Saïd. Accrorap performed 2019. sculptures of the museum. Athina during the 1994 Dance Adrien Mondot and Claire Biennial in Lyon and gained acclaim Käfig Brasil premiered at Bardainne (Digital Production) for bringing hip-hop from the street the 2012 Montpellier Dance carry out projects in the fields of to the stage, enabling the troupe Festival and marked the return digital and performing arts with to perform internationally. It was of the Brazilian dancers from their company Adrien M / Claire during a performance in Croatia at Correria/Agwa. For this creation, B. They create many forms of a refugee camp where Merzouki Merzouki invited several French art, from stage performances

A-14 MEANY CENTER FOR THE PERFORMING ARTS to exhibitions combining real Lattuada, Russell Maliphant Distance for traditional, world and virtual worlds. Placing etc. Amar has collaborated and classical music, he created the human body at the heart with various film directors. He his first oratorio mundi named of technological and artistic received the Amanda Award Best Leyla & Majnun at Salle Pleyel, challenges, they develop and Soundtrack of the Year 2014 Paris, in 2014. customize their own IT tools, for the music of Erik Poppe’s creating a visual language movie Thousand Times Goodnight. that entertains the audience’s Collecting musical instruments Marjorie Hannoteaux (Assitant imagination. The company from everywhere in the world, to the Choreographer) is a self- operates as a research and founder of the record label Long taught woman who thrives on creativity workshop based in Lyon, searching for a live digital world: mobile, organic, ephemeral, random, sensory. BELLA GAIA Thursday, January 17 | 7:30 pm | $19–$44 Adrien Mondot is a multi- Experience an unprecedented NASA-powered disciplinary artist, computer immersive experience, inspired by astronauts scientist, IT specialist and who spoke of the life-changing power of seeing the Earth from space. Illuminating the beauty juggler who investigates and of the planet both natural and cultural and inquires about movement. He the interconnectedness of all things on Earth, operates at the intersection this live concert blends music, dance, and between the art of juggling and NASA-immersive imagery to turn the stage planetary. This event will include a pre-show talk technological inventions. 6:00–6:40 pm in the theatre. Claire Bardainne is a visual artist, graphic and stage NAI-NI CHEN DANCE designer who holds degrees COMPANY & AHN TRIO, from the École Estienne and “A QUEST FOR FREEDOM” Arts Déco in Paris. Her research Saturday, February 23 | 7:30 pm | $34–$59 focuses on the link between Inspired by the personal stories of Nai-Ni Chen, graphic designs, images and a Taiwanese choreographer-dancer who space, exploring back-and-forth emigrated to America, and the Ahn Trio, three shifts between the imaginary sisters born in Seoul, Korea, who moved to New York, this production examines leaving one’s and the real worlds. home, family and friends to embrace new dreams and freedom. This event will include a pre-show Armand Amar (Music) is French, talk 6:00–6:40 pm in the theatre. of Moroccan origin, born in Jerusalem, and is fascinated by extra-European music. An collectif9 Wednesday, March 27 autodidact, he learned to play 7:30 pm | $19–$44 tablas, zarb and congas, and Montreal’s cutting- studied under various masters edge classical string of traditional and classical band collectif9 heralds music. Through the discovery a new age in genre- of dance in the 1970s, he found bending performance through their energized, a direct relationship to music, innovative arrangements the power to improvise freely, of classical repertoire. the advantages of authentic, on-the-spot exchanges. Since 10% discount for Seniors 62+ & Military on events presented by ECA! then he has worked with various choreographers from the different branches of ec4arts.org | 425.275.9595 contemporary dance, such 410FOURTHAVENUENORTH as Marie-Claude Pietragalla, EDMONDSWA98020 Carolyn Carlson, Francesca

encoremediagroup.com/programs A-15 COMPAGNIE KÄFIG | About the Artist

NOV varied professional experiences such as Jackie Taffanel, Régine 11 in fields such as fashion, cinema, Chopinot, Anne Teresa De theatre, musical, entertainment, Keersmaeker, Barbara Blanchet magazine edition, contemporary and Odile Azagury. She and neo-ballet dance. She also designed costumes for worked for major retailers such automatons, circus artists, brass as Yves Saint Laurent, Cartier, bands, street performances, Swarovski and Jean-Paul Gaultier. operas and cabarets. She has performed as a dancer Yoann Tivoli (Lighting Design) Woodwind Faculty Concert for many choreographers: With Donna Shin (flute), Mary Lynch (oboe), Montalvo Hervieu, Blanca Li, was born in 1974 in Angers. Ben Lulich (clarinet), Seth Krimsky (bassoon), Marie-Claude Pietragalla, Marie After a two-year degree in and Michael Brockman (saxophone). lighting and sound systems 4:30 pm Brechemin Auditorium Agnès Gillot, Kader Belarbi, David Drouard, Kamel Ouali, Franco and a four-year experience as Dragone, Benjamin Millepied, a stage manager in two Lyon etc., in addition to assisting theatres, he achieved his first lighting creation in 1994 and NOV in the process of creating and 29 touring their performances. has worked in performing arts She has been involved with throughout the world. He has Compagnie Käfig since 2011, worked with Inbal Pinto Dance assisting Mourad Merzouki for Yo Company, Frank II Louise, Bob Gee Ti and Pixel. H Ekoto, Question, Pilobolus, and Entre Nosotros, the Lyon Benjamin Lebreton (Stage National Orchestra, and the Tel- Design), studied landscape Aviv Opera. Tivoli is co-founding architecture in Paris, then member of the Groupe Moi, and Chamber Singers & University Chorale: earned his degree in 2005 in he has created lighting design Songs of the Americas a stage design program at for all of Merzouki’s pieces since Geoffrey Boers and Giselle Wyers direct a program of music celebrating the varied the Lyon National School of 1996. cultures of the American continents. Arts and Theatre Techniques. 7:30 pm Gerlich Theater (formerly Meany Theater) He has worked in France and THE COMPANY abroad as a stage designer with Marc Brillant joined the Malabar Maguy Marin, Philippe Awat, Company and discovered the Cyr Catherine Heargreave, Thomas DEC wheel, after a ten-year-period Poulard, David Mambouch, of practicing capoeira, street 6 Les Transformateurs, Valérie acrobatics and Parkour. His Marinèse, and Scènes à Lyon. unusual career led him to join Lebreton has worked as a stage prestigious street performance designer for all of Merzouki’s companies, circus and dance pieces since 2006 and has companies. Not only does he created the graphic visual use the Cyr wheel in an acrobatic identity for most of Company way, but he also uses his capoeira Käfig’s shows. skills to create a unique language Wind Ensemble and Symphonic Band Pascale Robin (Costume in and out of the wheel. His with Donna Shin, flute Music by Joseph Schwantner, Gustav Holst, Design), after pursuing classical particular style allowed him to join and UW faculty composer Huck Hodge. drawing, graphic arts and the Czech company La Putyka and With faculty artist Donna Shin, flute. dance, improved her costume the Pietragalla Company, before 7:30 pm Gerlich Theater (formerly Meany Theater) techniques at the fashion school joining Compagnie Käfi g. At the Esmod. Captivated by the magic same time, he is developing an effect of the body on stage and artistic project with his company by textile, she has been creating Le Quatrième Corollaire. and designing costumes since MORE AT: WWW.MUSIC.WASHINGTON.EDU Antonin Cattaruzza, known as 1986. In the dance industry, she ArtsUW TICKET OFFICE: 206.543.4880 Tonbee, was trained at the well- has worked with choreographers

A-16 MEANY CENTER FOR THE PERFORMING ARTS COMPAGNIE KÄFIG | About the Artist

known Académie Internationale at the Académie Internationale She joined the ranks of the de la Danse in Paris in de la Danse. He has worked Canadian French team of Ayong contemporary dance, ballet and with choreographers such as in 2012, within the Moral Soul modern jazz. He then learned Maurice Béjart, Kamel Ouali, Company. At the same time, she hip-hop dance at Centre de Nasser Martin Gousset, Hiroaki choreographed and performed Danse du Galion. He danced on Umeda, Fouad Boussouf, as a soloist in the children’s tour in musicals and shows for Simhamed Benhalima and play L’Arbre des Découvertes by various singers such as Slimane Mourad Merzouki. He has Karine Thomas. She joined the and TAL. Tonbee has worked as acted in advertisements, films, 6ème Dimension Company on a choreographer for M Pokora, X series and TV films. In addition, the shows Je Me Sens Bien (2010 Factor Liban, the videogame Just he has won dance contests Beaumarchais-SACD Award) Dance, among others. Recently and has been a dance contest and Satisfaite before joining he has worked for hip-hop dance judge. He has developed a Compagnie Käfig. companies: Trafic de Style, significant pedagogical work Dyptik, Massala and Compagnie providing internships, classes Ludovic Lacroix has traveled Käfig. and workshops in France and across France for many years abroad. He joined Compagnie to participate in dance battles. Elodie Chan became interested Käfig in 2013. In 2011, he performed in the very early in the culture and musical Ali Baba, and has arts of the Chinese circus. She Amélie Jousseaume built her developed his skills working was trained in contortion art fundamentals in jazz and hip- with companies such as by Liu Wei in Paris. Since 2013 hop dance before turning to Fradness, Alexandra N’Possee, she has trained in workshops break dance and working with Us Latino and Daskik. Lacroix with the acrobatic Troupe of the Echos-liés (winners of the has conducted workshops for Tianjin, at the national school 2009 TV Show Incroyable Talent). several years in schools and of the Beijing Circus, with Canadian performers, and classes in contemporary dance in Paris. She participated in several events, cabarets, TV shows and musicals, designing contortion shows of fluidity and ETHNOMUSICOLOGY endless movement. She joined VISITING ARTIST CONCERT Compagnie Käfig in 2014.

Aurélien Chareyron has participated in several contests in France and abroad: winning the Express Yourself contest in Paris; reaching second place at the XXL Championship of GANESH London; placing third at the UDO European Street Dance Championship, and the quarter- finals in the TV Show La Meilleure RAJAGOPALAN Danse. In 2010, he joined the Metamorphoz Company, directed by Mohamed Rouabah, TraditionalVIOLIN and Compagnie Käfig in 2014. and New Music Yvener Guillaume started SAT. DECEMBER 8, 2018 of South India dancing hip-hop when he was JONES PLAYHOUSE, 7:30 PM TICKETS: $25 ($10 STUDENTS/SENIORS) 12. He took lessons in ballet, jazz and contemporary dance, WWW.MUSIC.WASHINGTON.EDU - 206.543.4880 plus singing and comedy lessons

encoremediagroup.com/programs A-17 COMPAGNIE KÄFIG | About the Artist sociocultural structures. He joined Médésséganvi Yetongnon, known Compagnie Käfig in 2013. as Swing, was trained in hip-hop dance with the Bordeaux team La Ibrahima Mboup known as Ibou Smala. Traveling from street shows to Sene, started rollerblading in battles, he won the France National Senegal at the age of 17. He rapidly Championship and reached third became a role model in the African place at the Battle of the Year 2010. and international rollerblading He joined the Rick Odums Center and Meany Hall lower lobby field. He trains in slalom, acrobatic took lessons in jazz, ballet, modern jump, speed and dance and won and contemporary dance. As he his first championship in 2007. continues to participate in contests, SCHOOL OF ART He has created shows with the he has become a professional with + ART HISTORY + company Roller Dance Africa, is several companies: Les Echos-liés, invited regularly to the festival Malka, RV6K and Funky Feet in DESIGN ETNOSUR in Spain, and teaches Belgium. He joined Compagnie Käfig STUDENT ART WORK school workshops. Ibrahima in 2014. settled in France in 2012 and THE ARTISTS joined Compagnie Käfig in 2016 as dancer on rollerblades. Exclusive North American Tour Representation GRANITE CALIMPONG XIAOYI GAO Rena Shagan Associates, Inc. LUCY COPPER YUZI LI Paul Thao was born in 1984 in ANNE BRYSON DOYLE JASON LIANG Nîmes. He started breakdance at The National choreography center of Créteil ABIGAIL DRAPKIN TODD MCKINNEY the age of 14 with his family. He and Val-de-Marne / Käfig Company — directed RYANN FUNK YABSIRA WOLDE by Mourad Merzouki is funded by the Ile- discovered other hip-hop styles de-France Regional Cultural Affairs Office CURATION: by training beside Storm, Poppin — Ministry of Culture and Communication, EMILY ZIMMERMAN & GLORIA DE LIBERALI Taco, Junior Almeida, Ronnie from the Val-de-Marne Department and the City of Full Force Crew, and others. After Créteil. It receives the assistance of Institut these experiences, he started Français for its international tours. teaching in 2003. In 2006 he joined the companies MIX and Groove, and the following year, the company Evasion, with tours through France until 2011. The ALONZO KING LINES BALLET same year, he was cast as a dancer Thurs-Sat, Jan 10-12, 8 p.m. in the movie Planet Bboy. He joined Compagnie Käfig in 2015. Choreographer Alonzo King examines the power of lost languages with Figures of Speech, a poignant journey through the sound, meaning and Sofiane Tiet was born in Belfort shape of indigenous languages on the verge of extinction. in 1986, and left his hometown in 2003 to move to Paris, where he learned jazz, ballet and contemporary dance at the Académie Internationale de la Danse. In 2009, he joined the Japanese company S20, created by Hiroaki Umeda, and toured for two years. In 2013, he was cast on the team street dance team for Puma The Quest. This event enabled him to train and gain experience in various capital cities around the world. He joined Compagnie Käfig in 2015.

A-18 MEANY CENTER FOR THE PERFORMING ARTS International Chamber Music SUPPORT COMES FROM BROOKLYN RIDER November 13 | 7:30 p.m.

Johnny Gandelsman, violin Colin Jacobsen, violin Nicholas Cords, viola Michael Nicolas, cello

MEDIA PARTNER

PROGRAM | HEALING MODES The power of music to heal body, mind and spirit was a belief held from the ancient Greeks up through the ages. The topic is just as relevant today, where the synergy between music and healing is being passionately explored in the fi eld of MEANY CENTER THANKS THE modern brain science. FOLLOWING SIGNATURE SPONSOR John C. Robinson and Maya Sonenberg

ADDITIONAL SUPPORT COMES FROM

Estate of Ellsworth C. Alvord † CAROLINE SHAW Schisma Nancy D. Alvord † (b. 1982) Katharyn Alvord Gerlich Estate of Mina Person † Eric & Margaret Rothchild GABRIELA LENA FRANK Kanto Kechua #2 Donald & Gloria Swisher (b. 1972) Estate of Barbara Weinstein † Warren & Anne Anderson Stephen & Sylvia Burges Ana Mari Cauce & Susan Joslyn REENA ESMAIL Zeher (Poison) Delaney & Justin Dechant (b. 1983) Britt East & Scott VanGerpen Gail Erickson & Phil Lanum Estate of Carmel Hennessy Pope † Ira & Courtney Gerlich MATANA ROBERTS borderlands… Lynn & Brian Grant Family (b. 1975) Jeff rey Lehman & Katrina Russell Hans & Kristin Mandt Craig Miller & Rebecca Norton INTERMISSION Chelsey Owen & Robert Harris Cecilia Paul & Harry Reinert Ariel Fund M. Elizabeth Halloran BEETHOVEN Quartet No. 15 in A minor, Op. 132 Matthew & Christina Krashan Don & Toni Rupchock (1770-1827) Assai sostenuto — Allegro David and Marcie Stone Allegro ma non tanto Adagio molto — Andante Alla Marcia, assai vivace — Più allegro — Presto Allegro appassionato

Exclusive Management: Opus 3 Artists 470 Park Avenue South - 9th ﬂ oor North, New York, NY 10016 | www.opus3artists.com

encoremediagroup.com/programs A-19 BROOKLYN RIDER | About the Artist

Photo Credit: Erin Baiano

ailed as “the future of chamber for which it recorded and toured Other recent recording projects music” H (Strings), Brooklyn Rider 15 specially commissioned works, include Spontaneous Symbols in off ers eclectic repertoire in gripping each inspired by a diff erent artistic the fall of 2017, 2016’s The Fiction performances that continue to muse. Last season, Brooklyn Rider Issue with music by Gabriel Kahane, attract legions of fans and draw released an album with Anne Sofi e 2013’s A Walking Fire on Mercury rave reviews from classical, world von Otter entitled So Many Things Classics and The Impostor with Béla and rock critics alike. on Naïve Records, including music Fleck on Deutsche Grammophon/ by Colin Jacobsen, Caroline Shaw, Mercury Classics, plus 2011’s much- In fall 2018, Brooklyn Rider John Adams, Nico Muhly, Björk, praised Brooklyn Rider Plays Philip released Dreamers on Sony Music Sting, Kate Bush and Elvis Costello, Glass on the composer’s Orange Masterworks with Mexican jazz among others. Together they toured Mountain Music label. Violinist vocalist Magos Herrera. The material from the album and more Johnny Gandelsman launched In recording includes gems of the in the U.S. and Europe, including A Circle Records in 2008 with the Ibero-American songbook as well stops at Carnegie Hall and the release of Brooklyn Rider’s eclectic as pieces written to texts by Octavio Opernhaus Zurich. debut recording, Passport, followed Paz, Rubén Darí, and Federico by Dominant Curve in 2010, and García Lorca. They will tour to After performances together at Seven Steps in 2012. A long-standing support the album beginning in the Jacob’s Pillow Dance Festival, relationship between Brooklyn New York City. Brooklyn Rider will the quartet toured the U.S. with Rider and Iranian kamancheh also debut their Healing Modes choreographer Brian Brooks and player Kayhan Kalhor resulted in project this season which presents former New York City Ballet prima the much-praised 2008 recording, Beethoven’s Opus 132 alongside ballerina Wendy Whelan, performing Silent City. four new commissions by Reena Some of a Thousand Words. The Esmail, Gabriela Lena Frank, Matana intimate series of duets and solos Roberts and Caroline Shaw. featuring Brooks and Whelan foregrounds the live onstage music Brooklyn Rider celebrated its of the quartet as a dynamic and tenth anniversary in 2015 with the central creative component. groundbreaking multi-disciplinary project Brooklyn Rider Almanac,

A-20 MEANY CENTER FOR THE PERFORMING ARTS BROOKLYN RIDER | About the Program

Schisma (2018) wrote bilingual poetry and a fantasy increasingly diffi cult to swallow, to CAROLINE SHAW novel of time-travel back to my breathe and especially, to speak. During Schisma is a reference to the phrase ancestral homeland of pre-Conquest this time of intense, painful silence, I “in the cleft of the rock,” which Perú, knitted and sewed, mastered thought about what this loss of voice appears in many scriptures including the tarot and intricate origami, dove represented for me: of how many times the Song of Solomon and Isaiah. In into the alchemy of homemade soaps in my life I had been rendered voiceless the Book of Exodus (33:22), there is a and face creams, interned in bee- — either by others or by my own doing. beautiful line which reads: “I will put keeping, cultivated sourdoughs, and Healing, in this case, was not about you in a cleft of the rock, and I will learned to make cheese. enduring the pain, but about releasing the poison I have always swallowed — cover you with my hand until I have This was quite the prelude, bright that didn’t belong to me. It was only passed by.” It is essentially a promise and desperate both, to several when I felt myself begin to release that of safety, of a makeshift refuge within years of treatment when most of poisonous energy that I felt the physical a crack in something as hard and my creative endeavors were muted. infection begin to subside. unforgiving as mountain rock, until Now, a number of years later, scarred the danger has passed. It is a kind but healthy and working actively This piece was conceived during of nest, a home. I have always felt as a composer, I still carry around those dark weeks, and is simply about that Beethoven’s Heiliger Dankgesang melodies born from that time; and in that release. It uses two incredibly (third movement of Opus 132) uses 2017, fashioned a quartet from this beautiful Hindustani raags: the dark a nest-like architecture in a unique oddly luminescent wellspring into and mysterious Todi and the mournful and profound way. The return of the fi rst movement of Walkabout: Bhimpalas. While working on this the dance-like Neue Kraft fühlend Concerto for Orchestra, somewhat piece, I was also working on a setting section always feels like a warm simplifi ed for its symphonic weight. of a beautiful Hafi z poem which ends homecoming, a place of hope and When I was approached by the “When the violin can forgive / every shelter and deep comfort. The choice brilliant string quartet Brooklyn Rider hurt caused by others / the heart starts to title this piece with the modern for a work on the theme of healing, singing.” That is very much the spirit of Greek word schisma (a translation I found my chance to hear these this piece, too. or “cleft”) is a ideas for the nimbler string quartet, — Reena Esmail ,תַרְקִנ of the Hebrew reference to the islands in today’s my original conception. The result Greece which have become harsh is Kanto Kechua #2 (“Quechua Song” borderlands… refugee camps for Syrians seeking with Quechua being the dominant MANTANA ROBERTS asylum from the war. It also points language of post-Inca Perú) now borderlands... is built around historical to the nature of war, of the break with all of its ornamental intricacies data about the U.S.-Mexico border crisis between peoples, and of the search and string-crossing whirls under and the problems that have ensued for hope and new growth within the an achingly high if brief violin line. with the more recent archaic American breaks and crevices. Throughout, motifs from native immigration policies. I decided to focus — Caroline Shaw Andean folk music proliferate. on a type healing that is about healing cultural rifts, healing ideas of diff erence, I’m exceedingly grateful to be able to, Schisma was commissioned for healing through remembering history, at long last, bring this music to life as Brooklyn Rider by Madeline Island healing by highlighting the protection of I step now in wellness and creative Chamber Music in honor of Caroline rights that should be aff orded to every abundance. Marshall. First performance, June 29, human, regardless of where they may — Gabriela Lena Frank 2018, Madeline Island, WI. come from. This used to be in the spirit of what it means to be American (to Kanto Kechua #2 (2018) Kanto Kechua #2 commissioned me). What is going on right now is not GABRIELA LENA FRANK by the Vail Dance Festival, Damian American. It’s a sham and a shame. Woetzel, Artistic Director, for In my early thirties, after receiving We can do better... Brooklyn Rider and Ballet Hispáncio, a devastating diagnosis of a life- — Matana Roberts threatening autoimmune disease, choreographed by Claudia Schreier. First performance, August 6, 2018, I paradoxically entered the most borderlands... was commissioned for Vail, CO. uniquely creative period of my life. Brooklyn Rider by The Visiting Quartet Looking back, I believe I might have Zeher (Poison) (2018) Residency Program at Arizona State been grasping at what was most REENA ESMAIL University. life-affi rming to me, terrifi ed of impending surgeries, radiation, drugs In September 2018, I developed an and pain. Over several months, I infection in my throat that wouldn’t composed hours of chamber music, subside. For two weeks, it became

encoremediagroup.com/programs A-21 BROOKLYN RIDER | About the Program

Quartet No. 15 in A minor, unity permeates this quartet. A pair of (Neue Kraft fühlend) break these Op. 132 (1825) semitones separated by an expressive reveries with joyous expressions of LUDWIG VAN BEETHOVEN leap is introduced in the opening bars new strength and convalescence. And it came to pass, when the evil spirit of the fi rst movement, these tones My beloved chamber music coach from God was upon Saul, that David took (in a great multitude of pitch values, while in school, Felix Galamir (then a harp, and played with his hand; so Saul inversions, and durations) serving as approaching 90) vividly demonstrated was refreshed and was well, and the evil fodder for all that follows across the this by stepping from his chair one spirit departed from him. fi ve-movement structure. Even with the leg at a time and standing tall. In (I Samuel 16:23) sweetness of the memorable second his case, he was not much taller theme, the opening movement is standing than seated, but the point The power of music to heal body, mind generally characterized by a brooding was nevertheless well received! But and spirit was a belief held from the and highly combustible tendency. In the Heiliger Dankgesang is not only a ancient Greeks up through the ages. contrast, Beethoven often relied on celebration of feeling new physical The topic is just as relevant today, pastoral settings across his output to strength, but it is essentially an where the synergy between music explore a sense of repose and spiritual expression on the renewal of the and healing is being passionately renewal, here refl ected in the amiable soul. For Beethoven, the return of his explored in the fi eld of modern second movement. Flowing over a physical health likely ran of secondary brain science (with some astounding gentle topography, the material is still importance to a return of his creative fi ndings). Whether the music itself is informed here by the general motif, powers. Touchingly written in the directly restorative or if it serves as a though with stormy tendencies much margin of a sketch for this movement powerful and guiding metaphor has subdued. Notable is the hurdy-gurdy is a note surely not meant for his been long debated, but nevertheless, trio section on an A drone, fi lling the doctor: “Thank you for giving me back Beethoven’s inherent belief in music’s listener with the restorative powers of the strength to enjoy life.” healing power is well illustrated by the fresh air. a visit he paid in 1804 to his former Beethoven seems to scorn those of student, pianist Dorothea von Ertmann, In the early spring of 1825, Beethoven us moved to tears by the sublime following the death of her three-year- found himself in the throes of an conclusion of the third movement old son. Off ering music, he prefaced infected bowel — far more serious with the interjection a raucous march, an hour-long improvisation with an affl iction in the day — pausing bringing us back to earth with bold the sparsely chosen words: “We will his ability to continue work on the force. This very brief movement now speak to each other in tones.” quartet. This episode is refl ected in the leads into a heroic violin recitativo Beethoven’s intimate friend Antonie sublime center of this fi ve-movement recalling the choral fi nale of his ninth Brentano also recalled that “...he visited quartet, the Heiliger Dankgesang symphony (Op 125), catapulting me often, almost daily, and then he eines Genesesen an die Gottheit, in der us into the highly turbulent world plays spontaneously because he has lidischen Tonart (Song of Thanksgiving of the fi nale. Searching in various an urgent need to alleviate suff ering, from a Convalescent to the Deity, in guises for resolution amidst strains and he feels he is able to do so with the Lydian Mode). Beethoven at this found across all of the preceding his heavenly sounds...” The Quartet time in his life often looked back in the movements, the virtuosic writing in A minor, Opus 132 is the second musical tradition for inspiration and as shows Beethoven very much writing in a series of fi ve quartets written a way to imagine the future. Borrowing for the future; how foreign the at the request the Russian Prince from the ancient church modes with interlocking rhythms and gnarly Galitzin. These so-called late quartets his use of the Lydian scale (F major with contrapuntal fi gurations must have represent an exquisite culmination of a raised 4th scale degree), Beethoven’s felt at the time (they still do)! And at Beethoven’s output as a composer. choice was most certainly not random; the end of this monumental musical Evidence of the deaf composer’s sixteenth century Italian theorist journey, one which invites the listener own suff ering and search for higher Gioseff e Zarlino observed that “the to confront and transcend his/her meaning is found scattered throughout Lydian mode is a remedy for fatigue own fragilities, the music is drawn to his notebooks during his fi nal years of the soul, and similarly for that of conclusion with an eff ervescent coda, and Opus 132 powerfully embodies the the body.” Three serene and prayerful almost Mozart-like in its exuberance. musical essence of late Beethoven; an Lydian chorale prelude episodes, each Here is Beethoven once again playing autobiographical world that wrestles occurrence increasingly intermingling with our emotions; it’s either a joyful with questions surrounding life, death, the pure tones of the half note chorale summation of our human ability and spirituality. with embellished prelude material, to rise above life’s challenges or gradually create a sense of heavenly a rebuke for taking ourselves too A harbinger of music to come, an ascension across the movement. seriously. Or perhaps both? almost obsessive drive towards Modulating with the simple hinge overarching motivic and thematic of a C-sharp, two D major sections — Nicholas Cords

A-22 MEANY CENTER FOR THE PERFORMING ARTS World Music & Theater SUPPORT COMES FROM KURBASY CHARMED OF A MID-SUMMER’S NIGHT November 16 | 8 p.m. YOUTH MATINEE SUPPORT COMES FROM

Devised, arranged and performed by: Vocalist-Actors Maria Oneshchak Myroslava Rachynska Natalia Rybka-Parkhomenko

with Vsevolod Sadovyj, Multi-instrumentalist MEDIA PARTNER Artem Kamenkov, Double Bass Markiian Turkanyk, Violin

Volodymyr Stetskovych, Video and Lighting Designer, VJ

Ruslan Kharchenko, Sound Engineer ADDITIONAL SUPPORT COMES FROM

Estate of Ellsworth C. Alvord † Nancy D. Alvord † Katharyn Alvord Gerlich Song List Estate of Mina Person † Eric & Margaret Rothchild 1. Blagoslovy Bozhe / Your Blessings, oh Lord! 10. Da bulo v tioshchi / Mother-in-law Ana Mari Cauce & Susan Joslyn Delaney & Justin Dechant 2. Oy hodyla Olenka / Olenka 11. Soromitky / Soromitky Britt East & Scott VanGerpen Gail Erickson & Phil Lanum 3. Posluhayte podruzhechky / Girlfriends, 12. Kolomyiky / Pear Estate of Carmel Hennessy Pope † listen to where the doves coo 13. Konyky / Horses Ira & Courtney Gerlich Lynn & Brian Grant Family 4. Oy otse zh tobi / Oh This is for You My 14. Oy borovaya / Nightingale Jeff rey Lehman & Katrina Russell Dear Mother Craig Miller & Rebecca Norton 15. Oy ne hody Hrytsiu / Oh Hyrts, Don’t Go Chelsey Owen & Robert Harris 5. Oy hodyla da moloda / The Bride is walking Ariel Fund 16. Oy ne stiy verbo / Oh Willow, Don’t Go 6. Nenko moya / My Mother Matthew & Christina Krashan 17. Na nashiy yuloytsi / On our Road Joseph Rothberg & Susan Corwin 7. Chuite koni / Hear the Horses Richard Szeliski & Lyn McCoy 18. Shyrokaya nyvka / In the wide Fields 8. Zasiyalo sriblo-zloto / Gold and Silver Glitter 19. Na vysokiy polonyni / In the Mountain Meadows 9. Zpoza gory / Beyond the Mountain the Moon Arose

Kurbasy is a presentation of Center Stage, a public diplomacy initiative of the U.S. Department of State’s Bureau of Educational and Cultural Aff airs, administered by the New England Foundation for the Arts in cooperation with the U.S. Regional Arts Organizations, with support from the Doris Duke Foundation for Islamic Art, and the Trust for Mutual Understanding. General management is provided by Lisa Booth Management, Inc.

encoremediagroup.com/programs A-23 KURBASY | About the Artist

Photo Credit: Marta Syrko

ultimately earned degrees in music and principal double bass player of the Lviv urbasy is an avant-garde choreography. She has served on the Symphony Orchestra, and is involved musicalK project of the renowned faculty of Les Kurbas Theatre for 18 with many other music projects in- progressive Les Kurbas Theatre in years. She is a co-founder and director cluding Kurbasy, the Lemko Bluegrass Lviv, Ukraine. Started in 2008 as an of Kurbasy and also takes part in many Band, and Marija Kopytchak ta Orches- informal vocal gathering of singer- independent international projects. tra Pochuvanj (Marija Kopytchak and actresses during rehearsals for other the Orchestra of Feelings), which has theater productions, over the last Natalia Rybka-Parkhomenko is a taken him on tour all over Ukraine, two years Kurbasy has performed native of Kharkiv, a city in eastern Poland, Germany, France, Italy, and across Europe — from the front Ukraine. A conservatory graduate, she Canada. lines of occupied eastern Ukraine to majored in drama and fi lm acting. She concert halls in Western Europe. The has worked with various theaters and Markiian Turkanyk (violin) was born ambient approach of Kurbasy gives participated in a number of acting and in Ternopil, Ukraine and graduated life to the indigenous polyphonic musical projects across Ukraine and from Lviv National Music Conservatory sounds of Ukraine’s rich traditional abroad. A resident actor at Lviv’s Les where he is now a lecturer of orchestral music heritage. Founded as a female Kurbas Theatre for last 12 years, she string instruments. He is a member of a capella vocal trio, Kurbasy is now also teaches acting and is a vocal coach. the Lviv Symphony Orchestra, chamber experimenting with the sounds of She co-founded and directs Kurbasy. ensembles, and a solo concert perform- Ukrainian instruments — zither, er. Since 2008, he has also performed cymbals, tambourine, drums, with Vsevolod Sadovyj (multi-instrumen- with Liudy dobri (folk), Gych Orchestra violin and contrabass. The theatrical talist) a native of Lviv, graduated from (ethno fusion), Lemko Bluegrass Band background of the group is a core Lviv National Music Conservatory with (folk, country bluegrass), and began component of Kurbasy's aesthetic. a master’s degree in music. He is a collaborating with Kurbasy in 2012. The music they perform is tied to, concert performer and conductor in celebrates, and renews the rituals, the the division of wind and percussion Volodymyr Stetskovych (projections memories, the cycles of Ukraine and instruments at the Conservatory. In and lighting designer, VJ) lives and her people. addition to his academic work, he is works in Lviv, Ukraine. He is the art interested and engaged in researching director and scenic designer, respon- Maria Oneshchak was born in the and performing historically-informed sible for the overall visual designs of historic city of Ivano-Frankivsk in music and instruments, singing folklore, Les Kurbas theatre. He also creates 3D southwest Ukraine and moved to Lviv and instrumental dance music, includ- mapping projections (art shows) on to study drama and psychology at Ivan ing modern genres of electronic music. buildings (exterior and interior). Franco National University. In 2004 she Since 2010, he has performed with joined the Les Kurbas Theatre as an Liudy dobri (folk), Gych Orchestra (eth- Ruslan Kharchenko (sound engineer) actress. She co-founded and directs no fusion), and Lemko Bluegrass Band is a native of Kyiv and graduated from Kurbasy. (folk, country bluegrass). He joined Kyiv Natural Science Lyceum # 145. He Kurbasy as a collaborator in 2012. works as a sound engineer for several Myroslava Rachynska is a fi lm and the- Ukrainian bands and rental compa- ater actress, singer and a native of Lviv. Artem Kamenkov (double bass) is nies. He is also a PhD student at Taras She studied studio art and computer a Lviv native who studied at the Lviv Shevchenko National University of Kyiv science at Lviv’s National University but National Music Conservatory. He is the with a physics specialty.

A-24 MEANY CENTER FOR THE PERFORMING ARTS KURBASY | About the Program

Lviv, the eons-old Carpathian hub, as she will leave them to become a Boys make and guide fi re wheels to holds Ukraine’s cultural core. Around wife. She plants fl owers as a grateful the water. The spirits of these young this nucleus, spheres of tradition and keepsake of living beauty in her people become purifi ed by the fi re’s innovation spin, collide and reform. mother’s garden as a means to ask fl ame. A couple will jump through The idea of culture as a cosmic living forgiveness and help overcome the fi re holding hands in testimony organism is central to Kurbasy, whose the sorrow of leaving her family for to the honesty of their feelings folk-based multimedia performances good. These songs can be heavy, with for one another. If they land still vibrate in polyphonic vocal harmonies, the burden of parents losing their holding hands, their love is revealed resonant lyrics, culturally unique beloved daughter. At other times they to be eternal. A gigantic fi gure of instruments and phantasmagoric can be a jovial means to overcome Morena made of willow branches visual imagery. the fear of all the new and unknown is burned; the river transcends into things to come. On the horses she her willowed body from which bright Conceived and directed by the band’s will ride, to the steep mountain, to burning fl ames emerge. A fl owered three actress-singers, Kurbasy’s sonic- the sacred temple shining in her silver fi gure made of straw, Kupalo, the theatrical explorations of Ukraine’s and gold where she will bow before embodiment of sunlight, is taken to rich trove of calendar song cycles, all the saints, whispering her prayers his union with the river. There he lullabies, and legends, conjure the of promise. Her tears will fl ow as bathes, succumbs to the Water, and natural world, beliefs and rituals, rivers as she steps into a rebirth and sinks to its depth. tracing contemporary connections to enters her new life. an archaic past. John/Ivan went to bathe, so should In the middle of summer, at the we! Hundreds will take part in this With the blessings of God, of Father zenith of the sun, a celebration is fi re and water dance — a dance and Mother, Begin the Wedding! From performed. The Sun is at “his” peak everyone should join! With our living beginning to end, may this union bring and announces his intention to unite presence we celebrate the Marriage Joy to this Family and its Ancestors. with Water — he has found his bride and unite the energy of its life force Ukrainian wedding songs are ancient with whom to start life anew. On the which derives from beyond all time beings, linking past to present to night before this summer solstice — and space: Lineage, the Charmed celebrate and support the rituals known as St. Johns Day/St. Ivan’s Day Miracle of Creation, and the driving of marriage. The main character (and also Kupala Day) great bonfi res force of Love. is the Bride, surrounded by the burn along the rivers to reenact this voices of her parents, relatives and Marriage of Elements. Young people friends. Formerly a girl, she is now join to circle around the fi res. Living — Special thanks to Julie-Anne Franko for Moloda — preparing to become a streams of dancers fl ow from circle to her song text translations, and assistance young woman. It is a time when she circle. Girls take off their wreaths of in preparing these notes. gathers her friends to say goodbye fl owers and place them upon the river.

CENTER STAGE Kurbasy makes its U.S debut tour Oct. 2– to-artist exchanges, master classes and Center Stage Staff Nov.18, 2018 as part of Center Stage. community gatherings. Center Stage artists engage with audiences onstage, Center Stage invites performing artists off stage and online sharing their work Producer, New England Foundation for from select countries to the United with audiences in the U.S. and friends the Arts States to perform, meet and share their and fans at home to build mutual Adrienne Petrillo, Kelsey Spitalny experiences with communities around understanding through shared cultures the country. Now in its fourth season, and values. General Manager by the end of 2018, 29 ensembles from Lisa Booth Management, Inc. Algeria, Egypt, Haiti, Indonesia, Morocco, For more information and the complete Deirdre Valente, Lisa Booth Pakistan, Tanzania, Ukraine and schedule, visit www.centerstageUS.org Vietnam will have made independent Production Manager month-long tours from coast to coast, Robert W. Henderson, Jr. hosted by colleges and universities, festivals, music clubs and cultural Company Manager centers. Each tour includes residencies Theresa L. Teague in large cities and small towns, and a range of activities from performances, workshops, and discussions, to artist-

encoremediagroup.com/programs A-25 KURBASY | Translations of Selected Songs 2. Oy hodyla Olenka / Olenka Nightingale Nightingale Oh, Olenka went through the oak grove My dark browed beauty that nature has brought her! To collect her maids, her beloved trove Oh you cuckoo of the forest woods And in the while of their pursuit Oh don’t coo so early in the oak grove A dew dust glazed in absolute Oh don’t coo so early in the oak grove Ah, it glazed the braid around her face Don’t awaken my stirring my youth Its whiteness framed by beautiful grace For I am still young, but dutiful I have taken my father-in-law’s orders Yes my father-in-law has given orders 4. Oy otse zh tobi / Oh This is for You My Dear Mother And with banging buckets I’ve made order! And I have given my mother-in-law a drink Oh, this is for you my dear mother as I leave, with pardon To stop her complaining in a wink! I planted a rose bush to grow in your garden Grow and grow, grow roses without ever bending Live and live, live oh mother without worries never ending 17. Na nashiy yuloytsi / On our Road Oh, how can I not bend when the whimpering winds whirl as ever Oh, how can I not worry—my child is gone forever On our road the girls gathered around, Children once ran all around, here and there everywhere hey the girls gathered around Now my poor bare child has been given to a marriage pair The oldest girl was young Marynka, hey young Marynka Young Marynka sowed her rue seeds, 9. Zpoza gory / Beyond the Mountain the Moon Arose sowed her rue seeds Sowed her rue, waited for the bloom, Beyond the mountain the moon arose then a wreath she made. And on through the gates a bachelor strode A wreath she made and placing it upon the Dunai River it laid. Round and round the garden he walks Upon the Dunai she placed it with this All alone to himself he talks intention on her lips: His beloved so far-off , he balks “He who chooses this wreath is the one who will take my hand.” I can’t now write her a letter Oh it was young Vasylko who answered her call, No, it’s too far to go get her “I will choose the wreath, I will take Marynka’s hand” He fell into the river bed, head over heels, and drowned. First I will write her a letter Fell into the river and his cap ﬂ oated away, never again So people will know me better to crown. Young Marynka’s life was drowned in sorrow There are no people like neighbors Who will spread the word, like favors 19. Na vysokiy polonyni / In the Mountain Meadows You, oh moon, light the way clearly You, oh horse, tread the way dearly In grassy meadows yon, on high Grass Cutters cut the grass As they got to her garden doors To them some girls would come stop by The golden beloved, she came towards Waterbearing lasses

She took the horse away by reign Hey I cut the grass, the grass And her beloved she took by hand And still will cut its aftermath Hey I’d like a girlfriend She led the horse to the stable A young appealing sass And her beloved to the table Hey I cut the grass the grass High or low its end 14. Oy borovaya / Nightingale Hey I’d like a girlfriend Who is tall and slender Nightingale Nightingale! The green rye has bent! Nightingale Hey how can I let this musing go Nightingale Nightingale On about my sweetheart “Petrivka’s” soberness is near its end! When I don’t know how to mow Nightingale Nightingale Grass at its greenest part “Petrivka” fasting will soon be over! Nightingale Nightingale Make a match for Halochka, my daughter! Nightingale Nightingale A curled horned cow to the one who sought her!

A-26 MEANY CENTER FOR THE PERFORMING ARTS YOUR GUIDE TO MEANY CENTER KURBASY | Translations of Selected Songs

2. Oy hodyla Olenka / Olenka Nightingale Nightingale FOOD & BEVERAGE IN MEANY HALL FRAGRANCES TAPESTRIES DISPLAYED ON STAGE Oh, Olenka went through the oak grove My dark browed beauty that nature has brought her! Food and beverage stations are located in In consideration of patrons with scent The artwork on display on stage during Piano To collect her maids, her beloved trove Oh you cuckoo of the forest woods the main lobby and downstairs at the Gallery allergies, please refrain from wearing and Chamber Music events are tapestries And in the while of their pursuit Oh don’t coo so early in the oak grove Café on the east side of the lower lobby. perfume, cologne or scented lotions woven by Danish artist Charlotte Schrøder. The stations are open one hour prior to the to a performance. A dew dust glazed in absolute Oh don’t coo so early in the oak grove Don’t awaken my stirring my youth performances and at intermission. ADDRESS & CONTACT INFORMATION Ah, it glazed the braid around her face CANCELLATIONS For I am still young, but dutiful Meany Center for the Performing Arts Its whiteness framed by beautiful grace RESTROOMS Due to unforeseen circumstances, we University of Washington, I have taken my father-in-law’s orders Restrooms are located on the lower sometimes have to cancel or postpone Box 351150 Yes my father-in-law has given orders and upper lobby levels. performances. All programs, dates and artists Seattle, WA 98195-1150 And with banging buckets I’ve made order! are subject to change. 4. Oy otse zh tobi / Oh This is for You My Dear Mother Phone: 206-543-4882 / Fax: 206-685-2759 And I have given my mother-in-law a drink LATE ARRIVAL Oh, this is for you my dear mother as I leave, with pardon meanycenter.org To stop her complaining in a wink! Unless noted otherwise, all World Dance SMOKING POLICY I planted a rose bush to grow in your garden and World Music evening performances Smoking is not permitted on the University ArtsUW Ticket Offi ce Grow and grow, grow roses without ever bending begin at 8 p.m. Special Event, Piano, and of Washington campus. 1313 NE 41st Street Chamber Music Series events begin at Live and live, live oh mother without worries never ending 17. Na nashiy yuloytsi / On our Road Seattle, WA 98105 7:30 p.m. Out of respect for the artists Oh, how can I not bend when the whimpering winds whirl as ever PARKING OPTIONS Ph: 206-543-4880 | Toll-free: 800-859-5342 On our road the girls gathered around, and seated patrons, late seating may Oh, how can I not worry—my child is gone forever Limited, underground paid parking is Fax: 206-685-4141 be limited. Late arrivals will be escorted Children once ran all around, here and there everywhere hey the girls gathered around available in the Central Plaza Parking Garage, Email: [email protected] into the theater at appropriate intervals, The oldest girl was young Marynka, located underneath Meany Hall. There Offi ce Hours: Mon-Fri, 11 A.M. – 6 P.M. Now my poor bare child has been given to a marriage pair to be determined by the artists and hey young Marynka are also several surface lots and on-street theater personnel. Young Marynka sowed her rue seeds, parking within walking distance of Meany. Meany Hall Box Offi ce sowed her rue seeds The Meany Hall Box Offi ce opens one hour 9. Zpoza gory / Beyond the Mountain the Moon Arose CELL PHONES, CAMERAS & OTHER before the performance and is located in Sowed her rue, waited for the bloom, MEANY HALL ART EXHIBIT Beyond the mountain the moon arose ELECTRONIC DEVICES Meany Hall's main entrance. then a wreath she made. Please turn off these devices before Visit the Meany Center Art Exhibit in the And on through the gates a bachelor strode A wreath she made and placing it upon performances. Because of contractual Lower Lobby for an installation of work the Dunai River it laid. obligations with our artists, the use of by students in the UW School of Art + Art Round and round the garden he walks History + Design. Upon the Dunai she placed it with this photographic recording equipment is All alone to himself he talks prohibited. Flash cameras can be disruptive intention on her lips: His beloved so far-off , he balks and dangerous to some artists. “He who chooses this wreath is the one who will take my hand.” I can’t now write her a letter LOST AND FOUND Oh it was young Vasylko who answered her call, Contact the House Manager immediately No, it’s too far to go get her “I will choose the wreath, I will take Marynka’s hand” following the performance or contact the He fell into the river bed, head over heels, and drowned. Meany Hall House Manager's offi ce at First I will write her a letter Fell into the river and his cap fl oated away, never again [email protected] or 206-543-2010. So people will know me better to crown. EVACUATION Young Marynka’s life was drowned in sorrow There are no people like neighbors In case of fi re or other emergency, please follow the instructions of our ushers, who Who will spread the word, like favors are trained to assist you. To ensure your 19. Na vysokiy polonyni / In the Mountain Meadows safety, please familiarize yourself with You, oh moon, light the way clearly the exit routes nearest your seat. In grassy meadows yon, on high THANK YOU You, oh horse, tread the way dearly Grass Cutters cut the grass ADMISSION OF CHILDREN KATHY GERLICH! As they got to her garden doors To them some girls would come stop by Children fi ve years of age or older The golden beloved, she came towards Waterbearing lasses are welcome at all Meany Center performances. A ticket is required Meany Center was honored this world class artists on our stage for for admission. She took the horse away by reign Hey I cut the grass, the grass year to receive a leadership gift from many years to come. In recognition of And still will cut its aftermath And her beloved she took by hand WHEELCHAIR SEATING Katharyn Alvord Gerlich. An inspiring Kathy’s long and generous support, Hey I’d like a girlfriend Wheelchair locations and seating for philanthropist, artist and arts lover the Meany Mainstage Theater will be A young appealing sass She led the horse to the stable patrons with disabilities are available. and supporter, Kathy started coming renamed the Katharyn Alvord Gerlich And her beloved to the table Requests for accommodation should Hey I cut the grass the grass be made when purchasing tickets. to Meany with her late parents Nancy Theater starting this fall. High or low its end and Buster Alvord when she was in Hey I’d like a girlfriend FIREARM POLICY 14. Oy borovaya / Nightingale high school. Today she has tickets to We hope that in addition to honoring Who is tall and slender Possession or use of fi rearms, without Nightingale Nightingale! special written permission from UW Police, every Meany performance! this remarkable woman, it will also The green rye has bent! Nightingale is prohibited on the UW Campus. Find the Hey how can I let this musing go Nightingale Nightingale complete policy at washington.edu. serve as an example to other women On about my sweetheart “Petrivka’s” soberness is near its end! The Katharyn Alvord Gerlich philanthropists who might one day When I don’t know how to mow INFRARED HEARING DEVICES Nightingale Nightingale Grass at its greenest part Meany Hall (main stage) is equipped with Endowment for Artistic Excellence walk into the Katharyn Alvord Gerlich “Petrivka” fasting will soon be over! an infrared hearing system. Headsets are will help support the commissioning Theater and think that maybe they Nightingale Nightingale available at no charge. Please speak with Make a match for Halochka, my daughter! an usher. A driver's license or credit card of new works and artist residencies could make a lasting diff erence for Nightingale Nightingale is required as collateral. as well as ensure the continuation of something they believe in, too. A curled horned cow to the one who sought her!

encoremediagroup.com/programs A-27 FRIENDS OF MEANY CENTER Many thanks to the following donors whose generous support make our programs possible:

PRODUCER’S CIRCLE Darcy & Enzo Paschino Bob & Robin Stacey Joy Rogers & Robert Parker ($25,000+) John C. Robinson & Maya Sonenberg Ethel & Bob Story Werner & Joan Samson Donna & Joshua Taylor Bonnie Swailes Cathy Sarkowsky Estate of Ellsworth C. Alvord† Gregory Wallace & Craig Sheppard Dale Sylvain & Thomas Conlon Michael Scupine & Kim Gittere Abson † Nancy D. Alvord Michelle Witt & Hans Hoff meister Lee & Judith Talner Carol Swayne & Guy Hollingbury Katharyn Alvord Gerlich Lorraine Toly Patricia Tall-Takacs & Gary Takacs Glenn Kawasaki, Ph.D. DISTINGUISHED PATRON Nancy Tosta & Bob Ewing Mark & Liza Taylor Marcella D. McCaff ray (between $1,000 and $2,499) Barbara Trenary Kris & Epaminondas Trimis Craig Miller & Rebecca Norton Manijeh Vail Pieter & Tjitske Van der Meulen † Joan Affl eck-Smith & Nepier Smith Estate of Mina Person Josephus Van Schagen & Marjon Floris Shu-Chin & Wenshyan Wang Kenneth & Marleen Alhadeff Eric & Margaret Rothchild Ernest Vogel & Barbara Billings Joella Werlin Stephen Alley & Amy Scott Donald & Gloria Swisher Rachel Warren Stephen & Debra Wescott Maryanne Tagney & David Jones Jillian Barron & Jonas Simonis Robert & Andrea Watson Drs. Crispin S. Wilhelm & Sundee L. Morris † Cynthia & Christopher Bayley Estate of Barbara Weinstein Marsha Wright Mel Belding & Kathy Brostoff PATRON Cristi Benefi eld DIRECTOR’S CIRCLE (between $500 and $999) GREAT PERFORMER Luther Black & Christina Wright (between $10,000 and $24,999) (between $250 and $499) Sharon Gantz Bloome Anonymous Anonymous William D. Bollig Charles Alpers & Ingrid Peterson Sharon Armstrong Warren & Anne Anderson Cathryn Booth-LaForce Louisa Barash & Scott David Robert Babs Sven & Melinda Bitners & W. Kenneth LaForce Jonas Barklund Trudy Baldwin Stephen & Sylvia Burges Kalman Brauner & Amy Carlson Ross Boozikee Lisa Baldwin & John Cragoe Ana Mari Cauce & Susan Joslyn Lawrence & Kathleen Brennan Pat Braus & Holly Boone Mike & Marie Bender Delaney & Justin Dechant Virginia Burdette & Gary Wieder Heida Brenneke Robert Bergman Britt East & Scott VanGerpen Mariann Carle & Thomas Manley Natalie Brown Joseph Bosco Gail Erickson & Phil Lanum Cashpot Shabu Shabu LLC David & Deborah Buck John Brasino Ariel Fund Leo Butzel & Roberta Reaber † David B. Chow Gene Brenowitz & Karen Domino Estate of Carmel Hennessy Pope Thomas Clement Timothy Cliff ord Nathaniel Brown Ira & Courtney Gerlich Consuelo & Gary Corbett Ken Cogen Paul Brown & Amy Harris Lynn & Brian Grant Family Margaret Crastnopol & Charles Purcell R. Bruce & Mary-Louise Colwell Dianne Calkins Sally Schaake Kincaid Richard Cuthbert & Cheryl Redd-Cuthbert Jill Conner Inez Caspi Jeff rey Lehman & Katrina Russell Anita & Jack Dingrani Suzanne Dewitt & Ari Steinberg Jan & Bill Corriston Hans & Kristin Mandt John† & Kathy Ehrenberg Margaret Dunn Judith Cushman & Robert Quick Chelsey Owen & Robert Harris Ruth Gerberding Luis Fernam & Isabelle Marie Esteban Leroy & Marybeth Dart Cecilia Paul & Harry Reinert Carolyn & Gerald Grinstein Thomas Faber & Laura Townsend Faber Cynthia L. Doll & Greg C. Nelson Arthur & Leah Grossman Robin & Douglas Ferguson Arlene Ehrlich SERIES BENEFACTOR Terri Hamilton Albert Fisk & Judith Harris Pamela Fink & Michael Bevan (between $5,000 and $9,999) Wolfram & Linda Hansis Stuart Fountain & Thomas Highsmith Susan Fischer Linda & Tom Allen Hylton & Lawrence Hard Sergey Genkin & Nelli Tkach Janet Geier & Peter Seitel Estate of Fern Rogow† Kara D. Hefl ey Richard Groomer & Betsy Lieberman Susan & Russell Goedde William Calvin & Katherine Graubard Michael Heltsley Susan & Richard Hall Tim Groggel & Annette Strand M. Elizabeth Halloran Timmy Hendrickson Steven Haney Emile F. Haddad & Terryll Bailey Yumi Iwasaki & Anoop Gupta Susan Herring Katherine Hanson & Michael Schick Rebekah Harris Karen Koon Ryan & Steve Hess Stephen & Sarah Hauschka Shelley Hartnett Matthew & Christina Krashan Peter Hiatt & Ronald Huden Susan Hert & William Levering III Kara Hefl ey Bill & Meg Morgan Peter Hoff meister & Meghan Barry Paul & Alice Hill Michael & Nancy Kappelman Seema Pareek & Gurdeep Pall Kyra Hokanson Gray Tuck Hoo Paul Kassen Lois Rathvon Mary & Michael Hudspeth Randy & Gwen Houser Marcia G. Killien, Ph.D. Joseph Rothberg & Susan Corwin O. David Jackson Brian Hulse & Julia Paden Arni Hope Litt Don & Toni Rupchock Ilga Jansons & Michael Dryfoos Robert C. Jenkins Eli Livne, Ph.D. & Dr. Esther Karson Joseph Saitta Mary E. & Giff ord Jones Julia Kalmus & John Lillard Dr. E. Ludman & Mr. D. Birch Dave & Marcie Stone Beverly & Otis Kelly Aaron Katz & Kate Dougherty Barbara Mack Richard Szeliski & Lyn McCoy Randy & Kimberly Kerr Deborah Katz William & Holly Marklyn Ellen Wallach & Thomas Darden Leslie Kincaid & Nicholas Lawrence David Kimelman & Karen Butner Michael Mathieu George Wilson & Claire McClenny Kelly Kleemeier & Dave Dickson Joseph & Anne-Marie Knight Robin McCabe Susan Knox & Weldon Ihrig Frank & Joanna Lau Christine Meinhold EVENT SPONSOR Karen Lane Teresa Lawson Ms. Mary M. Mikkelsen (between $2,500 and $4,999) Leander Lauff er & Patricia Oquendo Michael Linenberger & Sallie Dacey Eric & Trisha Muller Chris Laws Dennis Lund & Martha Taylor Caroline Normann Anonymous David Levy Jeff rey & Barbara Mandula James Phelps & Ena Urbach Anne-Lise & Scott Bean David Skar & Kathleen Lindberg Michael & Nancy Matesky Chet Robachinski Heidi Charleson Melodie Martin & Kenneth Dayton Ramona Memmer & Lester Goldstein Barbara & Mark Roller Toby Diamond Barbara Martyn John & Gail Mensher Bette Round Janet Boguch & Kelby Fletcher Tomilynn & Dean McManus Linda & Peter Milgrom Jennifer Salk & David Ehrich Davis Fox & Rosemary Coleman Robin Mendelson & Joss Delage Mary Monfort & Kevin Coulombe Eric Schlegel & Mary Stout Dr. Melvin & Nanette Freeman Jane Miyamoto-Dell’isola & Lawrence M. Lynn Morgan Mark & Patti Seklemian Walter Gray Dell’Isola Kevin Murphy & Karen Freeman Mark Teitelbaum Elizabeth Hebert Sayantani Mukherjee Eugene & Martha Nester Robin Thomas The Hokanson Family James & Pamela Murray Margarete Noe Gayle & Jack Thompson Hugues Hoppe & Sashi Raghupathy Richard & Sally Parks Anne Stevens Nolan & William Nolan Michelle & Stephen Turnovsky Catherine & David Hughes Gerald Parks Nenita Odesa Valeri & Eugenia Vinyar Bernita W. Jackson Kenneth & Monica Payson Amanda Overly Dr. James B. & Judith B. Wagonfeld Kurt Kolb Dick & Jill Rice Barbara Lycett & John Parchem Greg Wetzel Leonard Costello & Patricia McKenzie Douglas & Claudia Ross Geoff Prentiss Osamu Yamamoto Yoshi & Naomi Minegishi Evelyn Simpson Jason Reuer Lee & Barbara Yates John O’Connell & Joyce Latino Sigmund & Ann Snelson Carrie Rhodes Igor Zverev & Yana Solovyeva Carrie Ann Sparlin John Rochford & Nick Utzinger

A-28 MEANY CENTER FOR THE PERFORMING ARTS Wang & Gregory Carter / Jerry Watt & Vreni Arx / Larry Cynthia Hirst / Keri Holmboe / Mary Anne Howard / Heidi KEY PLAYER & Lucy Weinberg / Ann & Richard Weiner / Merle Weiss Hummel / David Johnson / Duane & Erica Jonlin / Margot (between $100 and $249) & Diane Pien / Bruce & Christine White / Karin Williams / Kadesch / Phyllis Kaiden / Linda Kent & James Corson / John & Margaret Williams / Phillip & Constance Winberry Forest & Cristina Key / Gur Kimchi / Lee Klastorin & Ralph Anonymous / Laila Adams / James Adcock & Anne Otten / / Carolyn Wood / Nancy Worden & William Reed / Ying Walden / Jennifer Kraft & Chris Pesce / Daniel & Sandra Mary Alberg / Kathryn Alexandra & Steven Rubey / Frank Gi Yong / Ryan & Heidi York / Carol Young / Evgueni & Kraus / Carla & David Lawrence / Arlene Levy / James & Nola Allen / Julie Anderson / Timothy & Susan Anderson Tatiana Zabokritski / Nancy & Robert Zager / Shirley Zaic & & June Lindsey / Larry Macmillan & Billie Young / Linda / Samia Ashraf & Lewis Davidson / Ruth & Mark Balter / Eric Johnson / Lawrence Zeidman & Linda Tatta / Maxine Maki / William & Judith Matchett / Sean McCain / Brian Dana & Rena Behar / Robin Bentley / Wendy Besse / Marcia Zemko McHenry / Ted Mears / Barbara Mericle / Sharon Metcalf & David Binney / David Bird / James & Edith Bloomfi eld / & Randall Smith / Eric Michelman & Patricia Shanley Beverly Bodansky / Daniel Branstetter & Barbara Kesler / FRIEND / Marilyn Milberger / Sheree Miller & Benjamin Greer Shannon Bruce / Robin Calderon / Carol & Henry Cannon (between $50 and $99) / Stephen Miller / Jocelyn & Michael Miller / Harold & / Frances Carr / Robert Catton / Pamela & Robert Center / Susan Mozer / Susan Mulvihill & James Liverman / Ellen Leroy Chadwick / Robert & Molly Cleland / Leslie & Libby Suzanne & Marvin Anderson / Anonymous / Jill Bader & George Naden / Christopher Newell / Linda Oshins / Cohen / Richard & Dorothy Cole / Marjolyn Conrad / / Elisabeth Beaber / John & Terry Berg / Thomas Bird Barbara O’Steen & R. Howard Mitchell / Tracy & Todd Elizabeth Cooper / Kathy Cowles & Bradford Chamberlain / / Helen Bodkin / Lee Anne Bowie / Richard Brandon / Ostrem / Raymond Pendergast / Douglas Perry / Michael Jean Crill / Gavin Cullen & David Jamieson / Janice DeCosmo Elaine Brighton / Shannon Bryan & William Molloy / James & Susan Peskura / Philip Porach & Ronald Niemeyer / & David Butterfi eld / Barbara DeCoster / Celeste & Eduardo Burkman / Zbigniew Butor / Susan Buttram & David Frost Colette Posse / Nicole Quinones / Meryl Retallack / Ellen Delostrinos / Kathleen Dickeman / Theodore Dietz / Susan / Scott & Jayme Canfi eld / Connie Case / Phyllis & Alan & Dan Roach / David & Joanne Rudo / William Sandal / & David Dolacky / Nancy Dorn / Jeanne Dryfoos / Laurie Caswell / Sing Chao / Merrilee Conway & James Young / Mary Jo Schreifels & Ronald Jones / Stephen & Loretta Ann & C. Bert Dudley / Elizabeth C. Duff ell & Brad Wilke / Anne & George Counts / Barbara Courtney / Christopher Schuler / Charles Smith & Olga Smith / Christopher & JoLynn Edwards & Hal Opperman / Joan & Brian Edwards Curry / Suzanne Di Lanzo / Daphne Dilley / Janice Dilworth Ann Smith / Jeff rey & Alice Snyder / H. Anne Solomon / / Richard Eide / Lynne & Hollie Ellis / Patricia Emmons & & Gregory Denton / William & Laura Downing / Kathleen Donna Sunkel / W. Michael Thompson / Peter Thurlow Shmuel El-Ad / David Doody & Michael Erickson / Gary & Edward Dunn / Sally & Jeff Eagan / Robert & Ingrid / Mary Vanveen & Charles Carosella / Silvia Vega / Fuller & Randy Everett / Susan Ewens / Alan & Jane Fantel Eisenman / William Elwell / Susan Fisher / Daniel Gamelin / Carol Wallace & Durlin Hickok / Liz Wallace / Kymberly / Polly & Eric Feigl / Jane Fellner & Neal Friedman / Judith David & Anne Gilbert / Elizabeth Gilchrist & John Clarkson & Jeremy Waltmunson / Grace Wang / Greta & Joseph Gillum Fihn & Stephan D. Fihn / Laura Finn / Gerald Folland / Linda Gorton & Ken Bounds / Earl & Nancy Grout / Ward / Gail & John Wasberg / Becky Woodworth / John V. / Brenda Fong / Jacqueline Forbes & Douglas Bleckner / Stephen Haeck / Denise Hastings / Ellen & Jerry Hendin / Worthington Susanne Foster / William Friedman / Susan & Albert Fuchs Judith Herrigel / Anne Herrmann & Albert Ortiz / Alistair & / Kai Fujita / Stanley & Marion Gartler / Jennifer Gaus & David Lion / Gene & Evelyn Gershen / Brian Giddens & Steve Rovig / George Gilman / Katya Giritsky / Sara Glerum / J. David Godwin & Virginia Reeves / Peter Goldman & Martha Kongsgaard / Frances H. Goldman Fund of the Greater Cincinnati Foundation / Anne Good / Jennifer & Henry Gordon / Catherine Gorman / Gene Graham / Chris Gross / Lynn Hagerman & James Hummer / Eric Hansen & Jody LaBissoniere / Shuko Hashimoto / John & Geraldine Hay / Dandan He / Kathryn Heafi eld & Guy Sattler / Helen Henley / Lori Hess & Benjamin Miller / Janet Hesslein & Murl Sanders / David Hewitt & Marcia Wagoner / Jonathan & Deborah Himmelfarb / Norman Hollingshead/ Roy Hughes / Margaret Hunt / Patricia Hynes / Melanie Ito & Charles Wilkinson / Joshua Jacobs / Sibyl James / Linda & Christopher Johnson / Robert Johnson & Heather Erdmann / Ronit Katz & Hank Levy / James & Elaine Klansnic / Adam Kline & Genie Middaugh / Nancy & John Kloster / Joan Klyn / Lillian Koblenz / Glen Kriekenbeck & Quentin King / Phyllis Lamphere / Rosalie Lang / Deborah & David Larson / Lauren & David Lawson / Peter LeVeque / Kathryn Lew & Dennis Apland / James & Marianne LoGerfo / Gwendolyn Lundberg & David Aggerholm / Lisa & Ross Macfarlane / Sara Magee / John & Katharina Maloof / Wendy Marlowe / Tessa Matthey & Peter Durkee / Lila May / Mary V. McGuire / Robert & Catherine McKee / Michael & Noor McMann / Susan L. McNabb / Richard Mesher & Cynthia Lee / Charles & Lynn Meyer / Michael & Sarajane Milder / Eleanor Miller & Lucas Butler / Reza & Carol Moinpour / Steve Moody / David Morris / Anne Morrison / Christine Moss / Richard & Dora Moxon / Joseph & Kay Neal / John Nemanich & Ellendee Pepper / Betty Ngan & Tom Mailhot / Marianne Nijenhuis / Mark Novak & Katrin Pustilnik / Martin Oiye & Susan Nakagawa / Bruce & Linda Olson / Angela Owens / Cathryn Palmer / Elizabeth Park / Margaret Paternek / Jeanne Peterson / Karen Peterson / Gregory & Margaret Petrie / Sandra Piscitello / Susan Porterfi eld / T. David & Gloria Prins / James & Ruth Raisis / Wendy & Murray Raskind / Dennis Reichenbach / Matt Reichert / Carrie Richard / Carla Rickerson / Paula Riggert / Rachel & David Robert / Sam & Josie Roskin / John & Janet Rusin / Jesse Salomon / Norman & Elisabeth Sandler / Laura Sargent / Robert & Doris Schaefer / Charles Schooler / Janet Schweiger / Jean Schweitzer / Noah Scooler / Charyl & Earl Sedlik / Julie & Reza Sharif / Roberta Sherman & Charles Meconis / John Sindorf & Mary Ann Bolte / Hazel Singer & John Griffi ths / Douglas Smith / Mani & Karen Soma / Harold & Ruth Spalter / Derek Storm & Cynthia Gossett / Pamela Stromberg / Stella Suzara / Rachel Swerdlow / Virginia Sybert & Peter Byers / Sarah Temple / David & Barbara Thomas / Mary Anne Thorbeck / Myrna & Donald Torrie / Dorene & Dennis Tully / Frits van Oppen / Phyllis Van Orden / Yvonne & Bruno Vogele / Kaoru Wada / Patricia Wahl & Dean Wingfi eld / Debora & David Wakeley / Michele

encoremediagroup.com/programs A-29 ENDOWMENT AND PLANNED GIFTS Many thanks to the following individuals for supporting the future of Meany Center through planned gifts and contributions to our endowment:

Planned Gifts Live Music for World Dance Series Anonymous Endowed Fund Linda & Tom Allen Kai Fujita Ellsworth C. & Nancy D. Alvord† Dandan He Wimsey J.N. Cherrington Bernita W. Jackson Consuelo & Gary Corbett Gwendolyn Lundberg Bill† & Ruth Gerberding & David Aggerholm Matthew & Christina Krashan Sayantani Mukherjee Margaret Dora Morrison Cecilia Paul & Harry Reinert* Cecilia Paul & Harry Reinert Gregory Petrie & Margaret Petrie Mina B. Person† Lois Rathvon Meany Center Education Endowment Dave & Marcie Stone Kalman Brauner & Amy Carlson Donald & Gloria Swisher Jackie Forbes & Douglas W. Bleckner Lee & Judy Talner Jill S. Hanley Conner Ellen J. Wallach Meany Center Programming “If I have seen a Ellsworth C. and Nancy D. Alvord Endowment Fund Endowed Fund William A. Friedman little further, it is Estate of Ellsworth C. Alvord* Eric & Margaret Rothchild Windsor R. Utley*† only by standing Arts Al!ve Student Fund for Exploring Estate of Barbara L. Weinstein† on the shoulders the Performing Arts Phillip & Constance Winberry Susan Knox & Weldon Ihrig* of Giants." Mina Brechemin Person —BERNARD OF CHARTRES Nancy and Eddie Cooper Endowed Fund Endowed Fund for Music in Schools Estate of Mina B. Person*† Dave & Marcie Stone* From Haydn to Mozart to Gloria Wilson Swisher Music Education Beethoven to the Beatles, Katharyn Alvord Gerlich Endowment for and Outreach Endowment Artistic Excellence Bernita W. Jackson each generation owes its Katharyn Alvord Gerlich* Donald & Gloria Swisher* progress to the ones that George Wilson & Claire McClenny came before. Elaine and Ernest Henley Endowment for Classical Music * Endowment Founder You, too, can be a giant. Dr. Joseph Bosco, III † Deceased Dr. Jane B. Fellner & Neal S. Friedman Helen Henley Matching Corporate Gifts CONSIDER A GIFT to the Elaine & Ernest Henley*† Adobe Systems, Inc. Meany Center through your Katherine Jane Hanson, Ph.D. AT&T Foundation will, trust or retirement plan, & Prof. Michael Schick Chevron Corporation and help future generations Dr. Joshua J. Jacobs City of Seattle Dr. Richard A. Mesher & Cynthia S. Lee East West Bank of artists and arts lovers see Frits W. Van Oppen Google, Inc. a little further by standing on Prof. T. David & Gloria Prins IBM Corporation your shoulders. Intel Corporation Catherine and David Hughes Asian Merck Company Foundation Contact: Programming Endowment Microsoft Corporation Catherine & David Hughes* Puget Sound Energy Cristi Benefi eld, Director of Shell Oil Company Philanthropy, Meany Center Matt Krashan Endowed Fund for Artistic State of Washington 206-616-6296 and Educational Excellence in the The Boeing Company [email protected] Performing Arts The K Foundation meanycenter.org/donate Matthew & Christina Krashan T-Mobile USA, Inc. Lee & Judy Talner U.S. Bank (*Multiple Founders) United Way of Greater Los Angeles United Way of King County United Way of Snohomish County Wells Fargo, LLC

This listing includes endowment founders and endowment donors from July 1, 2017 to June 30, 2018. For more information on how to make a gift through your will or trust, or to name Meany Center for the Performing Arts as a benefi ciary of your retirement plan or insurance policy, please call 206-685-1001 or 800-284-3679 or visit www.uwfoundation.org/giftplanning.

A-30 MEANY CENTER FOR THE PERFORMING ARTS MEANY CENTER SEASON SPONSORS We are deeply grateful to the following corporations, foundations and government agencies whose generous support make our programs possible:

$100,000 AND ABOVE

The Andrew W. Mellon Foundation

$25,000 AND ABOVE

Classical KING FM 98.1* / National Endowment for the Arts / Nesholm Family Foundation

$10,000 - $24,999

4Culture / ArtsFund / Microsoft / Seattle Offi ce of Arts & Culture / U.S. Bank

UP TO $9,999

Banner Bank / East West Bank / Horizons Foundation / KEXP 90.3 FM* / Ladies Musical Club / Peg and Rick Young Foundation Washington State Arts Commission / Western States Arts Federation

BUSINESS CIRCLE SPONSORS

Agua Verde Cafe Catering / Classical Wines from Spain / College Inn Pub / Hotel Deca* / Fran's Chocolates* / Macrina Bakery* Madres Kitchen* / Pagliacci* / University Inn* / Watertown Hotel*

CAMPUS + COMMUNITY PARTNERS

Arts Impact / ArtsUW / Burke Museum / Cornish College of the Arts / Department of Near Eastern Languages and Civilization / Henry Art Gallery / Ladies Musical Club / Langston Hughes Performing Arts Institute / Live Music Project / Nordic Heritage Museum / Seattle Art Museum / Seattle Music Partners Seattle Public Schools / Second Inversion / Scan Design / UW Alumni Association / UW American Indian Studies / UW Canadian Studies / UW Dance Department / UW Intellectual House / UW First year programs / UW Graduate School / UW Libraries / UW Residential Life Program / UW School of Drama / UW School of Music / Velocity Dance Center

* Denotes full or partial gift in kind.

Join an impressive roster of companies of all sizes that support Meany Center, its mission, and its performances. Sponsors receive signifi cant recognition throughout the season and an array of benefi ts catered to your organization's goals. For more information, please contact the Meany Center Philanthropy Department at (206) 685-2819.

encoremediagroup.com/programs A-31 MEANY CENTER AND ARTSUW TICKET OFFICE STAFF

Michelle Witt, Executive and Artistic Director Rosa Alvarez, Director of Patron Services Liz Wong, Assistant Director of Patron Services Scott Coil, Director of Finance and Administration Colette Moss, Patron Services Associate Yevgeniy Gofman, Accountant Keeli Erb, Patron Services Associate Patrick Walrath, Patron Services Associate Elizabeth C. Duff ell, Director of Artistic Engagement Cathy Wright, Patron Services Associate Kaeline Kine, Artist Engagement Coordinator Kristen Kosmas, Creative Fellowships Coordinator Patron Services Assistants Charlotte Schoen, Student Engagement Intern Danielle Blevens Jinnie Yi, UW Student Engagement Assistant Elaine Currie Lily Dittrich, Education Offi ce Assistant Kelli Hong Julia Loyd Cristi Beneﬁ eld, Director of Philanthropy Merewyn Lynn Alix Wilber, Grants and Communications Manager Kendall Massey Erin Candee, Philanthropy Coordinator Mariama Sidibe Juliette Romano-Olsen, Development Student Assistant Lauren Widman

Teri Mumme, Director of Marketing and Communications Lead Ushers Rob Noland, Graphic Designer Raine Myrvold Cynthia Mullis, Interim Marketing Manager Levi Sy Son Bui, Marketing Assistant Griﬃ n Withington Dan Neifert, Graphic Design Intern Arthur Grossman, Phil Lanum, Photographers Ushers Altaire Anderson Laura McKee, Tessitura Administrator Frances Bueno Gretchen Shantz, IT Administrator Ana Constantin Ryan Farris Tom Burke, Technical Director Laura Freeman Brian Engel, Lighting Supervisor Abbi Helms Juniper Shuey, Stage/Video Supervisor Jared Kawasawa Matt Starritt, Audio Supervisor Laura Keil Doug Meier, Studio Theatre Stage Technician Daniel Matheson C.J. Pier Nancy Hautala, Audience Services Manager Abby Ryiter Tom Highsmith, Lead House Manager Owen Stevens Noah Duff y, House Manager Joslyn Thomas Duncan Greeley, House Manager Emma Turner Natalie Harrington, House Manager

Catering by

A-32 MEANY CENTER FOR THE PERFORMING ARTS Dialogue Encore Stages in conversation

Ashley Byam as Boy, Christian Roe as Rabbit and Stephen Kennedy as Narrator in The Velveteen Rabbit, Unicorn Theatre. Photo by Manuel Harlan.

Courtney Sale describes herself as a director who’s passionate about new work and devised theatre. As the artistic director of Seattle Children’s Theatre, Sale has directed adaptations of Black Beauty and The Little Prince. But her work isn’t just limited to theatre for young audiences. Sale proudly collaborates with a number of nationally produced playwrights, including Steven Dietz, Kirk Lynn and Allison Gregory. Encore Stages had a chance to speak with her about the upcoming production of The Velveteen Rabbit at Seattle Children’s Theatre, a co-production with the Unicorn Theatre in London. The play runs November 1 to December 30 at Seattle Children’s Theatre.

What drew you to The Velveteen compassion takes time, action and Rabbit? Why this play now? evolving understanding. Once we truly Courtney Sale, artistic director of Seattle know those civilizing emotions, we can Children’s Theatre. Photo by Eva The Velveteen Rabbit is a story for overcome anything—even if it means Blanchard. multi-generational audiences always we experience loss. worth revisiting. For me, the play I was at a funeral a few years ago reminds us that love is a verb. The where a religious scholar said the only work of deepening kindness and way to take loss out of life is to take

encoremediagroup.com/programs 9 Christian Roe as Rabbit and Ashley Byam as Boy in The Velveteen Rabbit, Unicorn Theatre. Photo by Manuel Harlan.

love out of life. That idea has stuck indelible responsibility to make sure with me. As our world becomes more each of them knew how much I loved complicated and frightening, taking them! time to meditate on how to love one To me, what is exciting about Margery another is a radical act. The opportunity Williams’ language is that it takes the to gather in community and practice shape of the patience and generosity that idea across generations is wholly exhibited in the way my mom read compelling. to me as a child. The story holds a particular quality and slower time When did you become familiar signature—something I find lacking in with Margery Williams’ work? some of children’s entertainment today. What is it about her writing that excites you? The Velveteen Rabbit is directed by Purni Morell, former artistic director of My mom read the story many times to the Unicorn Theatre in London. What me. Not only a fabulous parent, she is drew you to Purni as a director? What wonderful with children—one of her was it about Unicorn that promoted you many gifts. My mom taught me how to partner with them on this play? to treat young people. She was patient Khanh Doan as Prince and Sydney between each page, comforting in her We are delighted to have Purni’s work Andrews as Fox in The Little Prince, voice and indulgent to every question on our stages at SCT. This is the first Seattle Children’s Theatre. Photo by I asked. The Velveteen Rabbit was one time we’ve worked together. What I Elise Bakketun. of the first books I read as a child that love about Purni is her fierce intellect made me see my toys anew. I owned and uncanny sense of humor. We a few Care Bears and the night after share a paramount value in that the I read the story I had to sleep with all work we make for children should of them tucked into my bed. I felt an flatter their intellect and imagination.

10 ENCORE STAGES JEWELERS & GALLERY When Only the Best Will Do

Family Owned Celebrating 40 Years

3500 Factoria Blvd. S.E., Bellevue, WA . 425.643.2610 . www.dacels.com

Untitled-1 1 7/5/18 11:29 AM This iteration of the play has received successful runs in both New York and London. We were thrilled we are able to bring the physical production from the UK to Seattle, as well as cast two local Seattle actors in the show. Those actors will rehearse in London in October. Like SCT, Unicorn Theatre holds a commitment to producing the highest quality work for children. We are like- minded in our dedication to new work. It’s a natural fit.

What are you most looking forward to about this production?

This iteration of the story activates all the things I want in a theatre experience—rough magic, beautiful language, playful physicality, live music—all built upon a story with real meaning and substance. The ability to invite the audience in through Khanh Doan as Prince and Sydney Andrews as Geographer in The Little Prince, Seattle multiple sensory experiences is always Children’s Theatre. Photo by Elise Bakketun. something I want to create in the theatre.

Are there any female playwrights, directors, choreographers or musical theatre writers—working in Seattle or VISIT CORNISH nationwide—that you’d like to shout out?

Learn More About BFA in Absolutely! Seattle enjoys one of the Performance Production most dynamic concentration of amaz- or Theater ing female directors and playwrights in the nation. I am so inspired by the artistry around me. To name a few: Allison Gregory, Cheryl West, Karen OPEN HOUSE & Hartman, Desdemona Chiang, Rosa AUDITIONS Joshi, Anita Montgomery, Valerie Curtis Newton, Elizabeth Heffron, Sheila Oct 12 Daniels, Jane Jones and the list goes on! Nov 17—18 Dec 2 Is there anything else you’d like to share about The Velveteen Rabbit? Feb 23—24 Whether you are young, recently young or previously young, this is a story for you. In the darkest time of the year as the days get shorter, it is such a great story to warm critical aspects of our humanity— cornish.edu namely, unconditional love. ■ Danielle Mohlman

12 ENCORE STAGES Dialogue Encore Stages in conversation

Nick Droz, musician of Bushwick Book Club. Photo by Libby Lewis.

Ever been inspired to write a song based on Moby-Dick or Ready Player One; The Outsiders or Delta of Venus? The Bushwick Book Club is a group of musicians who create original compositions inspired by books they read. These compositions are then presented to a live audience and their fellow songwriters. Encore Stages recently sat down with Geoff Larson, Bushwick’s executive director, to discuss playing bass, Commander Toad and how music can help illuminate literature.

What’s your background? executive director role at Bushwick and producing events, education programs I’m the executive director of Bushwick and recorded music in the Seattle area. Northwest, the parent organization to The Bushwick Book Club Seattle and What is Bushwick Book Club and how Geoff Larson, executive director of STYLE: Songwriting Through Youth did you get involved in it? Bushwick Northwest. Photo by Wade Trenbeath. Literature Education. I graduated from Western Washington University with a Our goal is to ignite passion for degree in Classical Performance on the literature and support musicians in upright bass while studying Jazz and their creative endeavors. More than I moved to NYC in 2009 with my jazz Composition. I’ve spent 20 years work- anything, Bushwick is a community quartet, Das Vibenbass. While living ing as a professional musician in a for artists to gather and share their in the city I ended up performing with variety of styles, having the opportunity compositions while supporting those a variety of groups and seeing some to tour the world. I now focus on my around them. amazing performances, including The

encoremediagroup.com/programs 13 Bushwick Book Club right there in writers. I have to note that Mary Doria Bushwick, Brooklyn. It was one of the Russell’s The Sparrowhas become one most electric songwriting showcases I of my top reads. It feels so real to me. had ever seen. When I made the move back to Seattle, I knew I would need to How does one become involved in start up a Bushwick chapter. I gathered Bushwick? Are you seeking out singers? a crew and we performed our first event in 2010. Bushwick is always looking for more musicians to perform in our How can music help illuminate programs. All you need to do is share literature? How can literature help one song inspired by the written word illuminate music? with us, and provide us with your Read and Destroy, musicians of Bushwick online presence. We love meeting Book Club. Photo by Marc La Pierre. Music is something that can bring out new performers and bringing more emotions in an unexpected way. The artists together to foster support and way a performer choses to represent collaboration. their inspiration certainly challenges We also love volunteers! It’s a Rollins, is a fantastic experience, and I each listener with their own experience wonderful way to help our organization cannot wait for this second performance with the same text. Each reader has a charge forward and get the chance (we did Parable of the Sower last season). unique take on a single passage and to support local artists and see our Octavia Butler is one of the best science will represent their experience accord- performances. You can volunteer by fiction writers I’ve read, and the musi- ingly. And then a listener will even have contacting us through our web page. cians found so much to create. a different inspiration from the music. It’s a beautiful cycle of ideas and Favorite Bushwick memories? If you could perform in front of any creation. Attaching a story to music author, living or dead, who would you can help bring a listener on a journey. Bushwick has too many to count—from pick? What sort of tune would you play? This is something I always love to do our multiple performances at Benaroya with my instrumental music. I love Hall and McCaw Hall, to performing This answer could change on any given hearing what journey a listener created with a full orchestra at Town Hall day, but I’ll pick one for today. I’m going while listening to my music. It’s actually Seattle. My favorite moment is picking with Mary Doria Russell. I know that the a game I like to play inside the classroom up a guitar and performing that first song I would write would be inspired by with our education program, STYLE. song back in 2010. It was my first The Sparrowand would be performed performance on guitar and vocals and with my upright bass with my dropped What books growing up touched my goal was to make sure everyone was D. There would be a solid drone with you? What books have you gravitated comfortable to bring their own songs to that low note and throughout the rest towards as an adult? this audience. of the bass giving sense of urgency and waiting (I know it’s weird). I think In my youth, I loved adventure and What are you looking forward to most I might focus on the loneliness our exploration. These have been found in next season? characters might feel while on a long the simplicity of Beverly Cleary or in journey through . . . Ok I won’t give Commander Toad, although I could I am ecstatic that we will have a place anything away. Read the book! not deny the beautiful poetry of Shel to call home next season. Thank you Silverstein or Dr. Seuss. I have fond to the Hugo House for providing us How can someone help Bushwick? memories of my parents reading me with a location for most of our events. those stories. As I grew into high school Our partnerships are a big deal to us. Come to a show. Bring your friends! age, I found Kurt Vonnegut, still one of This also includes Town Hall Seattle, You won’t be disappointed, and you’ll my favorite writers, and John Steinbeck. Seattle Arts & Lectures, The Vera be supporting local musicians. ■ As an adult, I’ve counted heavily on Project, Jack Straw Cultural Center and those around me to guide me towards Seattle7Writers. Jonathan Shipley is a freelance writer living what they love. Science fiction is some- As for our events, I’m looking forward in West Seattle. He’s been published in the thing I love beyond all. The creativity to our Parable of the Talents event on Los Angeles Times, Fine Books & Collections and thought towards the future cannot April 20, 2019 at Town Hall Seattle. Magazine, and Seattle Magazine, among be matched with these incredible Working with our curator, KEXP’s Riz others.

14 ENCORE STAGES Intermission Brain Transmission Are you waiting for the curtain to rise? Or, perhaps, you’ve just returned to your seat before the second act and have a few minutes to spare? Treat your brain to this scintillating trivia quiz! Email us the answer to the last question and have a chance to win tickets to a show!

1) Coming to Meany Hall on October 17, Marc-André Hamelin will showcase his prodigious talent on the piano. Who invented the piano?

a) Jean-Pian Forté b) Bartolomeo Cristofori c) Giovanni Battista Guadagnini d) Sébastien Érard Steinway grand piano with the fan 2) A People’s History will be performed by Mike Daisey at shaped strings disposition Seattle Repertory Theatre October 17–November 25. In this series of monologues, Daisey contrasts what he was taught in history class with Howard Zinn’s book A People’s 4) Arms and the Man by George Bernard Shaw will play History of the United States. Howard Zinn collaborated on October 23–November 18 at Seattle Shakespeare an extensive comic book adaptation entitled A People’s Company. From what Shavian play was the Broadway History of American Empire, published in 2008. Who was musical My Fair Lady adapted? the cartoonist who co-authored and drew this hefty tome? a) Major Barbara a) Mike Dawson b) Pygmalion b) Mike Allred c) Mrs. Warren’s Profession c) Mike Konopacki d) You Never Can Tell d) Mike Grell 5) At Meany Center on November 13, string quartet Brooklyn 3) On October 12–November 11, ACT Theatre will present Rider will perform. This young group recorded music by Oslo, a new play dramatizing the signing of the very the composer Phillip Glass in 2011. For what movie did real 1993 Oslo Accords between the Israelis and the Phillip Glass win a Golden Globe for his original score? Palestinians, as agreed by leaders Yitzhak Rabin, the prime minister of Israel, and Yasser Arafat, chairman of a) The Truman Show the Palestine Liberation Organization. Who was prime b) The Hours minister of Israel directly after Rabin? c) Kundun d) Notes on a Scandal a) Benjamin Netanyahu b) Ehud Olmert Bonus Question c) Ariel Sharon What was the last arts performance you attended that you d) Shimon Peres liked best and why? Email your response to [email protected]

with “Trivia Quiz” in the subject line.

for the same award. same the for for 2003 in and for 1998 in nominated also was Glass Dallwitz. von The Hours Hours The Kundun

. Glass won the Golden Globe for best original score in 1999 for this film, which he shared with Burkhard Burkhard with shared he which film, this for 1999 in score original best for Globe Golden the won Glass . – a 5.) Loewe. Frederick by music and Lerner Jay Alan by lyrics The Truman Show Truman The

debuted on Broadway in 1956 with book and and book with 1956 in Broadway on debuted musical The . – b 4.) 1984. in and 1977 in beginning served previously having minister, prime as term third his was It My Fair Lady Lady Fair My Pygmalion

collection of New York University’s Tamiment Institute Library & Robert F. Wagner Labor Archives. 3.) d – Shimon Peres. Peres became prime minister in 1995 after Rabin’s assassination. assassination. Rabin’s after 1995 in minister prime became Peres Peres. Shimon – d 3.) Archives. Labor Wagner F. Robert & Library Institute Tamiment University’s York New of collection

artist has enjoyed a long career as a political cartoonist and has published six books of labor cartoons with his business partner Gary Huck. Their original artworks are in the permanent permanent the in are artworks original Their Huck. Gary partner business his with cartoons labor of books six published has and cartoonist political a as career long a enjoyed has artist 1.) b – Bartolomeo Cristofori. The Italian master craftsman (b. 1655–d. 1731) created the first pianos around the turn of the 18th century. 2.) c – Mike Konopacki. The Wisconsin-based Wisconsin-based The Konopacki. Mike – c 2.) century. 18th the of turn the around pianos first the created 1731) 1655–d. (b. craftsman master Italian The Cristofori. Bartolomeo – b 1.)

encoremediagroup.com/programs 15