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Customer Service Vikki Kramer Cathy Robison CLOWES MEMORIAL HALL Cover Photography R. Brent Smith The r^iflC A

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4600 Sunset Avenue, Indianapolis, Indiana 46208-3485 (888) 940-8100 • www.butler.edu SIXTEENTH SEASON FIFTH CONCERT INDIANAPOLIS CHAMBER ORCHESTRA Kirk Trevor, Conductor Bodies in Motion Presented in collaboration with Dance Kaleidoscope and Indiana Repertory Theatre January 22, 2001 at 7:30 p.m.

PROGRAM

Dead Elvis Michael Daugherty Jeffrey Lange, Bassoon Soloist Davis Brooks, Violin Daniel Gosling Trumpet X David Murray, Double Bass Daniel Golando, Trumpet u Eli Eban, Clarinet Jared Rodin, Trombone Kevin Kaiser, Percussion < Facade: An Entertainment | William Walton Q Priscilla Lindsay and Mark Goetzinger, Reciters Marjorie Lange Hanna, Cello Robert Broemel, Bass Clarinet Nancy Smith, Cello Randy Salman, Alto Saxophone Anne Reynolds, Flute and Piccolo Daniel Gosling Trumpet Eli Eban, Clarinet Daniel Golando, Trumpet o Kevin Kaiser, Percussion Fanfare Hornpipe En Famille Mariner Man Long Steel Grass Through Gilded Trellises Tango - Pasodoble Lullaby for Jumbo Black Mrs. Behemoth Tarantella A Man From a Far Countree By the Lake Country Dance Polka Four in the Morning Something Lies Beyond the Scene Valse Jodelling Song Scotch Rhapsody Popular Song Old Sir Faulk Sir Beelzebub SIXTEENTH SEASON FIFTH CONCERT Intermission

L'Histoire du Soldat ("The Soldier's Tale") Igor Stravinsky

David Hochoy, Choreographer Laura E. Glover, Lighting Designer/Production Manager Michele Hankins, Costume Designer Kelly Hamilton, Rehearsal Assistant Dancers Actors The Soldier: Andre Megerdichian The Narrator: Priscilla Lindsay The Devil: Kenoth Shane Patton The Soldier: Mark Goetzinger The Princess: Rebecca Jones The Devil: Bernard Wurger Musicians Davis Brooks, Violin Daniel Gosling Trumpet David Murray, Double Bass Daniel Golando, Trumpet Eli Eban, Clarinet Jared Rodin, Trombone Jeffrey Lange, Bassoon Kevin Kaiser, Percussion

ACT I Introduction: Marcbe du Soldat Petits Airs au Bord du Ruisseaux Pastorale Petits Airs au Bord du Ruisseaux (Reprise)

ACT II Marche du Soldat (Reprise) Marche Royale Petit Concert Trois Danses: Tango - Valse - Ragtime Danse du Diable Petit Choral Couplets du Diable Grand Choral Marche Triomphale du Diable

Maestro Trevor's music and conducting assistant for this concert is Mr. Beat Santschi.

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www.pacers.com www.con5ecofieldhouse.con www.wnba.com/fever PERSONNEL INDIANAPOLIS CHAMBER ORCHESTRA Kirk Trevor, Music Director and Principal Conductor The Christel DeHaan Family Foundation Podium Stanley DeRusha, Resident Conductor

VIOLIN I CLARINET Larry Shapiro, Concertmaster Eli Eban, Principal The Mary Ann and Robert Tucker Chair BASSOON Davis Brooks, Associate Concertmaster Jeffrey Lange, Principal Deborah Rodin Robert Broemel Noelle Gosling Thomas Watkins HORNS Pamela Close Fred Ehnes, Principal Kent Leslie VIOLIN II Lisa Brooks, Principal TRUMPET Alfred Abel, Co-Principal Daniel Gosling, Principal Ginny Womack Daniel Golando Li-Yuan Ho TROMBONE VIOLA Jared Rodin Csaba Erdelyi, Co-Principal Donna Lively Clark, Co-Principal PERCUSSION Colette Abel Kevin Kaiser Byron Plexico HARP CELLO Wendy Muston Marjorie Lange Hanna, Principal Nancy Smith PERSONNEL MANAGER Dennis McCafferty Daniel Gosling

DOUBLE BASS LIBRARIAN David Murray, Principal Marsha Krantz Thomas Reynolds STAGE MANAGER FLUTE Paul K. Gloger Anne Reynolds, Principal Suzanne Farley

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Dead Elvis Michael Daugherty, born April 28, 1954, at Cedar Rapids, Iowa.

Michael Daugherty has created his own niche in the music world by bringing contemporary American popular culture into the symphony halls across this land.Today's audiences have no more difficulty embracing the music of our time than those of earlier generations, and Daugherty has tapped that affinity with such pieces as, among others, Red Cape Tango (a tribute to the Superman char­ acter), Desijackie O, Le Tombeau de Liberace, Sing, Sing:J. Edgar Hoover, and A Elvis Everywhere. As one New York music critic recently opined, "Daugherty may just provide the link to pop culture that classical music so desperately needs." Daugherty indeed has done just that, and more orchestral works from this com­ poser are certainly in store as a result of his recent four-year appointment as Composer-in-Residence with the Detroit Symphony He was also tapped by the Philadelphia Orchestra to compose a work for its centennial celebration in 2000. v

Dead Elvis, to use a familiar reference, is a miniature concerto for bassoon. It was the result of a shared commission by Chuck Ullery, principal bassoonist with the St. Paul Chamber Orchestra, and by Richard Pittman, conductor of the Boston < Musica Viva. It was premiered in July 1993 at the Grand Teton Music Festival in Jackson Hole, Wyoming, with Chuck Ullery as bassoon soloist and the Festival Orchestra conducted by the composer. The second performance of the piece took place in October, 1993, at Ann Arbor, in the University of Michigan's 9 Rackham Auditorium, with George Sakakeeny as soloist and Richard Pittman con­ ducting the Boston Musica Viva. Numerous other performances have followed, z and Dead Elvis was recorded in 1996 on the Argo label with Ullery as soloist 0 and the London Sinfonietta, conducted by David Zinman. 5 vx Both the published score and the recent Argo recording of Dead Elvis each come -with a similar, yet discretely different, program note by the composer, -which can be amalgamated into the following:

"No rock-and-roll personality seems to have inspired as much speculation, adulation, and impersonation as Elvis Presley (1935-77). In Dead Elvis, the bassoon soloist is Elvis, perhaps an Elvis impersonator, accompanied by a chamber ensemble. It is more than a coincidence that Dead Elvis is scored for the same instrumentation as Igor Stravinsky's L'Histoire du soldat, in which a soldier sells his violin and his soul to the devil for a magic book.

"I offer a new spin on this Faustian scenario: a rock star sells out to Hollywood, Colonel Parker, and Las Vegas for wealth and fame. [But] Dead Elvis goes far beyond this romantic [notion]. For me, the two clashing Elvis images - the hip, beautiful, thin, genius, rock-and-roll Elvis versus the vulgar, cheesy, fat, stoned, Las Vegas Elvis - serve as a sturm und drang ["storm and stress"] compositional algorithm. I use the Dies irae - a medieval Latin chant for the Day of Judgment - as the principal musical theme in my composition to pose the question: is Elvis dead, or is he alive and well in Kalamazoo? In Dead Elvis we hear fast and slow fifties rock-and-roll ostinatos in the double NOTES ON THE PROGRAM

bass, violin, and bongos, while the bassoonist gyrates, double tongues, and croons his way through variations of the Dies irae.

"Perhaps the question is not whether Elvis is alive or dead, but why the phe­ nomenon of Elvis endures beyond the grave of Graceland. Elvis is a part of American culture, history, and mythology, for better or for worse. If you want to understand America and all its riddles, sooner or later you will have to deal < r, with (Dead) Elvis."

^ In the preface to the Dead Elvis score, the publisher notes that the bassoon solo & is accompanied by clarinet, trumpet, trombone, violin, double bass, and percus­ sion (brake drum, bongos, bells, and cymbals); and, "Elvis sunglasses and/or Elvis ™ Las Vegas 1970s jumpsuits are optional." S < X r Facade: An Entertainment Z William Walton, born March 29, 1902, at Oldham; died March 8, 1983, at 2. Lschia (England).

< • z The son of a choirmaster, this giant of 20th-century English music studied violin ^ and piano as a child, but, as a composer he was largely self-taught. At the age of ten, he became a chorister of Christ Church Cathedral at Oxford, and, later, an -|Q undergraduate student at Oxford University for about two years (1918-20), although he did not take a degree. ? One lasting friendship Walton formed at Oxford was with fellow student and poet Sacheverall Sitwell. When Walton terminated his university studies, Sitwell invited the composer to move in at the residence Sitwell shared with his brother, Osbert, and sister, Edith, as, in Walton's words, an "adopted, or elected, brother." It was a living arrangement that remained until about early 1935 and, as a result of the circle in which the Sitwells moved, Walton met virtually every major musical figure then working in London, including Ernest Ansermet, Ralph Vaughan Williams, Peter Warlock, Frederick Delius, and Constant Lambert.The Ballets russes was then resident in London, so Walton knew the music associated with Sergy Diaghilev and his company, including Igor Stravinsky's L'Histoire du soldat, which is the concluding work on this program by the Indianapolis Chamber Orchestra.

Walton contentedly spent most of his time in an upstairs room at the Sitwell home composing, and soon turned to the project that evolved, by the time of its publication in 1951, into his most famous and popular conception, Fagade:An Entertainment.The. composer himself attributed the idea for the work to Edith and Sacheverall Sitwell: "She began writing things like the Hornpipe as a deliber­ ate kind of exercise. Then when she read it to us, Sachie said:'This would be much better if you had music with it.'"Walton explained further:"If you do a kind of whistle at the Hornpipe, than you see it fits in. It developed from that," and the idea of a complete musical score "just grew," eventually reaching about forty pieces of poetry set to music, although the 1951 published score contained NOTES ON THE PROGRAM twenty-one.The 1951 version is the one most frequently performed today, as on the present occasion, although Walton published eight of the other pieces as Facade 2: A Further Entertainment in 1979.

Facade was conceived as an amusing diversion for the Sit-well drawing room: originally four musicians (cello, clarinet, trumpet, and percussion) with Walton conducting, accompanying Edith Sitwell calling out her "experimental" poems through a megaphone.The poems are great fun to us, but, some (if not all), being biographical of certain close friends, must have been simply riotous for Walton, the Sitwells and friends.The first performance occurred Sunday, January 24, 1922, at the Sitwell's London home in Chelsea, on 2 Carlyle Square, before about twenty people. They "were naturally enthusiastic in their reception of Fa fade" Osbert Sitwell wrote in his 1949 autobiography, Laughter in the Next Room, "for it was essentially an entertainment for artists and people of imagination" and, obviously, of self-effacement. One in this original audience, Mrs. Robert Mathias, asked that the performance be repeated at her home in Montagu Square, and this was done a fortnight later on February 6 with the same performers. At the time, eighteen pieces comprised the entertainment, but only six of these found their way into the 1951 published version.

All London society was immediately abuzz about Facade, and Walton and Edith Sitwell obligingly unveiled it publicly on June 12, 1923, at London's Aeolian Hall, this time with six musicians (adding a flute and saxophone to the original ensemble).The first performances outside London occurred on September 14, 1928, at Siena (Italy), when it was presented twice that day at the International Society for Contemporary Music Festival.

The Fagade version as later published was first performed more than twenty years after its intimate beginning, again at Aeolian Hall, on May 29, 1942. Composer and friend Constant Lambert, to whom the 1951 published score was dedicated, was the reciter and Walton conducted.The instmmentation had evolved as flute (doubling piccolo), clarinet (doubling bass clarinet), alto saxo­ phone, trumpet, percussion (a busy fellow, playing side drum, cymbal, triangle, Chinese block, castanets, tambourine and jingles), and cello.

For some sixty years after Fagade,Walton plied his craft to much acclaim at home and abroad, producing a varied body of work in both large and chamber forms for instrumental and vocal forces; but the world has always seemed smit­ ten with an insatiable appetite for this entertaining musical divertisement. Thus, Walton twice returned to his Facade music to arrange two orchestral suites, once in 1936 and again in 1938; and, he produced no fewer than three chamber pieces from this ever-popular and malleable material. DAVID YURMAN

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Krissy Warrenburg, Sales Coordinator Phone: (317) 940-9987 • Fax: (317) 940-8456 [email protected] NOTES ON THE PROGRAM L'Histoire du soldat ("The Soldier's Tale") Lgor Stravinsky, bornfune 17, 1882, at Oranienbaum; died April 6, 1971, at New York.

In a manner of speaking, all of the preceding music on this playbill has prepared you for this piece. With respect to the two specific works previously heard, both of the composers openly conceded their debt to Stravinsky's L'Histoire du soldat. Its instrumentation parallels the two prior works: clarinet, bassoon, cornet (or trumpet), trombone, percussion (side drums, bass drum, cymbals, tambourine, and triangle), violin, and double bass.This tale, however, is to be read and danced, as well as played; so, Stravinsky introduces a narrator, two actors, and three dancers.Also, in Michael Daugherty's above note for Dead Elvis, it is revealed the Z tale we are about: "a soldier sells his violin and his soul to the devil for a magic book."

Just prior to World War I, in four seasons of collaboration from 1910 to 1913 2 with impresario Sergy Diaghilev's Paris-based Ballets russes, largely a company of dancers on leave from Russia's Imperial Ballet at St. Petersburg, Stravinsky burst upon the international music scene by composing masterpieces for three visually 0 dazzling critical successes by the Russian troupe: The Firebird (1910), Petrushka (1911), and The Rite of Spring (1913). During the war, Stravinsky remained in < Switzerland.There, in 1915, the composer met the novelist Charles Ramuz, and j a the two of them collaborated to conceive a new work that could be easily mounted in any type of hall or theatre, even out-of-doors. As American biographer Eric Walter White wrote in his 1979 biography, Stravinsky: The Composer and 13 his Works (2nd ed.), Stravinsky and Ramuz "would have a kind of mobile theatre unit that could tour Switzerland; and in their innocence they imagined that a small company of players and a small band of instrumentalists would be easy to o recruit and inexpensive to maintain." By 1917, Stravinsky was feeding Ramuz a collection of Russian tales published by Alexander Atanasiev, a number of which involved "the Soldier and the Devil," and for concision Ramuz also determined to utilize a narrator.

In the composer's 1936 Chronicles of My Life, he explained his choice of instru­ ments:"! knew only too well that I should have to make do with a very small number of instrumentalists.The easiest solution would have been to use a poly­ phonic instrument like the piano or harmonium. The latter was out of the ques­ tion, chiefly because to its dynamic poverty.. .1 had to avoid [the piano] for two reasons: either my score would seem like a piano arrangement.. .or I should have had to use it as a solo instrument, exploiting every possibility of its technique [ed., as Stravinsky did do in the score for Les Noces ("The Wedding"), completed in 1923 when, not one, but four, piano virtuosos were available to him].. .So there was nothing for it but to decide on a group of instruments, which could include the most representative types, in treble and bass, of the different instru­ mental families: for the strings, violin and double bass; for the woodwinds, clar­ inet (because it has the biggest compass) and bassoon; for the brass, cornet and trombone; finally, the percussion, to be played by a single musician..." Given the subject matter of the production, the violin plays a particularly brilliant concer­ tante role in the music making. We Ve made providing excellent €>fm.

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The first performance of L'Histoire du soldat occurred at the Theatre Municipal de Lausanne in that Swiss city on September 28,1918.Three students from Lausanne University were cast as the Narrator, the Soldier, and the Devil; and, for the dancers Stravinsky prevailed on two friends from the Ballets russes, Georges Pitoff and his wife Ludmilla, then waiting out the war in Geneva.The musicians were all locally recruited, and Ernest Ansermet conducted.The performance came off quite well. "The true note was struck then," Stravinsky wrote many years later, "but unfortunately I have never since seen a performance that has sat­ isfied me to the same degree."

The "nomadic" wartime tour of the work never materialized because of the influenza epidemic that began to rage throughout Switzerland and, indeed, across the whole of war-ravaged Europe. Not until 1924 was Stravinsky again able to mount a production of L'Histoire du soldat, when three performances were staged in April of that year in Paris'Theatre des Champs-Elys'es. Since, L'Histoire du soldat has come to be accepted, in the words of Eric White, "as a masterpiece in a unique form." At war's end, the composer prepared a concert suite of this music, retaining the original seven-instrument scoring, which was also unveiled by Ernest Ansermet conducting a performance at London's Wigmore Hall on July 20,1920.

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800-852-0232 317 WWW. F R A N Kl INfCO; iW-TRANki !\C ULL. MEET THE ARTISTS Maestro Kirk Trevor was appointed Music Director and Principal Conductor of the Indianapolis Chamber Orchestra in 1988, and is the current occupant of the Christel DeHaan Family Foundation Conductor's Podium. Regarded as one of the most exciting conduc­ tors of his generation, Mr. Trevor also serves as Music Director of the Knoxville Symphony Orchestra, and is Chief Conductor of the Bohuslav Martinu Philharmonic of Zlin, in the Czech Republic.

By 1982 Mr. Trevor had emerged as one of America's most promising young conductors. In that year he was selected to serve as Exxon/Arts Endowment Conductor of the Dallas Symphony, where he continued as resident conductor through the 1987-88 season. In June 1990 he received another prestigious national award as winner of the American Symphony Orchestra League's Bernstein Conducting Competition. He was one of only three American conductors chosen to conduct the National Symphony Orchestra at the Kennedy Center for the Performing Arts in a special concert for the League's national conference in Washington, D.C.

Maestro Trevor is now becoming widely recognized as one of the leading teachers of conducting in the world. He is a Master Teacher for both the American Symphony Orchestra League and the Conductor's Guild, conducting workshops and serving as visiting lecturer at numerous universities in the U.S. and abroad. Since 1991, he has been Artistic Director of the International Conductors Workshop in Zlin, the Czech Republic, the world's largest conducting school, with over 100 students from at least 20 countries.

Born in England, Mr. Trevor graduated with distinction from London's Guildhall School of Music. He was awarded a British Council Scholarship to study in France with the renowned cellist, Paul Tortelier. He came to the United States in 1975 on a Fulbright Exchange Grant to study and teach at the North Carolina School of the Arts, and was subsequently named Associate Conductor of the Charlotte Symphony.

As a guest conductor, Mr. Trevor has appeared with many of America's leading orchestras. He has also conducted the Orquesta Sinfonia Municipal in Caracas, Venezuela; the Latvian Philharmonic Society; the Basel Chamber Orchestra (Switzerland); and numerous orchestras in the Czech Republic. Recent appear­ ances have included concerts with the Prague Symphony, the Polish National Radio Orchestra, the Bucharest Philharmonic, and the Janacek Philharmonic. Recently Mr.Trevor guest-conducted the Estonian National Symphony Orchestra and the Filharmonie Hradec Kralove.

Maestro Kirk Trevor's consummate musicianship, inciteful interpretation, and comprehensive approach to repertoire programming have brought the Indianapolis Chamber Orchestra to a unique level of artistry and versatility among American chamber orchestras. MEET THE ARTISTS

Jeffrey Lange, bassoon soloist in Dead Elvis, is principal bassoonist of the Indianapolis Chamber Orchestra and also performs frequently with the Indianapolis Symphony Orchestra. A native of Muscatine, Iowa, he received his Bachelor of Music degree in bassoon performance from the University of Iowa, and while there played regularly with the Des Moines, Quad Cities, and Cedar Rapids orchestras, and at the Center for New Music. Mr. Lange pursued further musical studies at Temple University and was a free-lance musician in the Philadelphia area. More recently, he has played with the Ronen Ensemble and Suzuki and Friends, and performed the Hummel Bassoon Concerto with the Indianapolis Chamber Orchestra. His teachers have included Bernard Garfield, William Winstead, Burl Lane, and Ronald Tyree. In addition to his career in music, Mr. Lange is also a computer systems analyst.

David Hochoy, choreographer for this evening's presen- <- tation of Stravinsky's L'Histoire du soldat, is celebrating ^ his tenth anniversary season as Artistic Director of Dance J ! Kaleidoscope.Truly an international ambassador, Mr. cu Hochoy was born in Trinidad, West Indies. He attended ? McGill University in Montreal, where he began studying - for a career as a doctor, but during his senior year he dis- z covered an affinity for theatre. He did go on and receive his B.Sc. degree from McGill, and then continued his the- jg atrical interest with an M.A. degree in Directing from Penn State. At age 20, Mr. Hochoy took his first dance class and discovered his true love of dance.

After studying in New York at the Alvin Ailey and Martha Graham schools, Mr. Hochoy danced with numerous national companies, and in 1980 was invited to join the Martha Graham Dance Company. Appointed soloist in 1982 and rehears­ al director in 1986, he toured the world with Graham until 1989. He has given master classes in Graham technique throughout the United States and Europe, and in 1990 was invited to Guangzhou, China where, for ten weeks, he taught the experimental troupe of the Guangdong Dance Academy.

David Hochoy has been on the faculty of the Martha Graham School since 1982, and returns regularly for intensive workshops. In addition he has taught at the American Dance Festival (ADF) held at Duke University, as well as ADF West in Salt Lake City and the ADF Seoul in Korea. In 1991 Mr. Hochoy was invited to teach and choreograph at the Vienna International Dance Festival. Recently he presented workshops in Quebec City, Dublin, and Tokyo.

Mr. Hochoy spent two years as a faculty member at Texas Christian University. Since his appointment as Artistic Director oi Dance Kaleidoscope in 1991, he has choreographed First Light, Stomping Ground, Puccini People, fammin', Scheherazade, Seasons, Carnival of the Animals, Nutcracker Dances, Girl at the Piano: Recording Sound, In Taberna, Love Songs, Connlaoi's Tale, Carmina Burana, A Piece of Ellington, fimson Weed, Toulouse-Lautrec, Mother Goose, America the Beautiful, The Healing Cup, COLE, Ceremony of Carols, MEET THE ARTISTS An Elvis Christmas, iconoGlass, Ashland Dances, The Shakespeare Project, Play Mas', Stephen by Steven, Skin Walkers, G&S.Com, Renaissance Noel, El Salon Mexico, Fascinatin' Rhythm, The Food of Love, Concierto de Aranjuez, and Holiday Swing for the company. In addition he has choreographed numerous productions at the Indiana Repertory Theatre, where he is Associate Artist, the Civic Theatre, Phoenix Theatre, and the Edyvean Repertory Theatre. Mr. Hochoy has also choreographed Salome for the Arizona Opera and Miss Evers Boys for Cincinnati's Playhouse in the Park, and for Santa Fe Stages.

Most recently Mr. Hochoy choreographed the dances in Twelfth Night for the Oregon Shakespeare Festival (OSF), where he is also Artistic Director of The Green Shows. This past summer marked Dance Kaleidoscope's third season in residence at OSF, where the company performed Mr. Hochoy's choreography in Poison, Mars vs. Venus, and The Food of Love. Mr. Hochoy is a two-time recipient of the Master Fellowship in Choreography from the Indiana Arts Commission and the Creative Renewal Fellowship from the Arts Council of Indianapolis.

Rebecca Jones (The Princess) joined Dance Kaleidoscope after receiving her BFA degree in dance performance from Butler University. She began her training at the Princeton Ballet School in New Jersey. She has performed with American Repertory Ballet Company, Princeton Ballet II, and as a soloist with the Butler Ballet.This season is Ms. Jones' third with Dance Kaleidoscope.

Andre Megerdichian (The Soldier) has danced with the Mary Anthony Dance Theatre, Soundance Repertory Company, Benevolks Folk Dance Company, and the New Jersey Performing Arts Ensemble, as well as with independent artists Kun Yung Lin, Mary Ford, Sean Curran, Jimena Paz, and Nixon Beltran. His choreography has been produced by Dance Kaleidoscope, the Oregon Shakespeare Festival, the Daedalus Project and the Painted Lights Dance Project (Salzburg, Austria). Mr. Mergerdichian received his BFA degree in dance performance from Butler University. This is his fourth season -with Dance Kaleidoscope.

Kenoth Shane Patton (The Devil) danced with the Oklahoma University Modern Repertory Dance Theatre from 1991 through 1997, where he studied with Ko Yukihiro, Denise Vale, George White, Jr., Denise Jefferson, and Maxine Sherman. He graduated with a BFA in dance/performance from Oklahoma in 1997. In the summer of 1988, he performed and taught in Singapore and appeared in the leading role in Temptations of the Moon with the Martha Graham Ensemble.This is Mr. Patton's fourth season with Dance Kaleidoscope. Because you seek the best in everything.

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.1 complete copy of the firm's current Form ADV. filed with the Securities & Exchange Commission under the Investment Act of 1940, is available at no charge upon written request. MEET THE ARTISTS An Illinois native, Mark Goetzinger (The Soldier) earned a Bachelor of Science degree from Illinois State University in Music Education and a Master of Music degree in Vocal Performance from Illinois Wesleyan University. He became a professional actor/singer in 1976 and has performed in over one hundred stage produc­ tions from New York to San Francisco in his 24 years pounding the boards. Locally he has worked extensively at the Indiana Repertory Theatre, Phoenix Theatre, and Beef 'N' Boards Dinner Theatre. Most recently he appeared as Sam Parrish in IRT's production oi State of the Union, Scrooge in Beef 'N' Boards production of A Christmas Carol, and in the Phoenix Theatre's production of Uh, Oh - Here Comes Christmas. In February Mark will perform the role of the Duke of Plaza Toro in Anderson University's production of The Gondoliers, and April/May he will play Horace Vandergelder in Hello Dolly at Beef 'N' Boards Dinner Theatre. In addition to performing on stage, he also directs and has done extensive work in commercials and industrial films. Mr. Goetzinger cur­ rently makes his home in Indianapolis where, in his free time, he enjoys wood­ working and gardening.

A favorite at the Indiana Repertory Theatre for 24 of its 29 seasons, Priscilla Lindsay (The Narrator) is currently playing Mrs.Alving in Ibsen's The Ghosts. She directed The Miracle Worker to open IRT's 2000-2001 season, and directed A Christmas Carol again this year on IRT's Mainstage. Miss Lindsay appeared last season as Madame Arcati in Blithe Spirit, and as Mrs. Pearce in Pygmalion. Among her favorite roles are the title roles in Shirley Valentine and Molly Sweeney,Amanda in The Glass Menagerie, Maggie in Dancing at Lughnasa, andTitania in A Midsummer Night's Dream.

Miss Lindsay appeared with the Indianapolis Symphony Orchestra's Family Series concert of Aesop's Fables, the Indianapolis Opera's production oi Daughter of the Regiment, the Meridian Song Project's 2000 Spring Concert with Steven Stolen, and will appear this spring in concert with her good friend, Zeyda Ruga Suzuki, in Tennyson's Enoch Arden. Miss Lindsay is the Associate Artistic Director of the Indiana Repertory Theatre. She is proud to be a part of the vibrant and growing arts community of Indianapolis.

This is the second time L'Histoire du Soldat has marched into the life of Bernard Wurger (The Devil), and his second "official" encounter with the Devil. Mr. Wurger has performed with the Indianapolis Symphony Orchestra, the Butler Symphony Orchestra, the Chamber Orchestra of the University of Cincinnati's College Conservatory of Music, the Chamber Orchestra of the Lakes (Bridgeton, Maine), and is delighted now to be associated with the Indianapolis Chamber Orchestra. IN 2001 Mr. Wurger will celebrate his 43rd year as a profes­ sional actor. He currently resides in Indianapolis. 2000-2001 CONTRIBUTORS INDIVIDUAL CONTRIBUTORS The Indianapolis Chamber Orchestra expresses sincere appreciation to the following individuals whose contributions help ensure the continuity and growth of the Orchestra. MOZART CIRCLE Allen W. Clowes Mr. and Mrs. Robert Muessig Diantha V. DeGraw Mr. and Mrs. Wayne Patrick Robert Edwards Vin and Cindy Rampey Mr. and Mrs. G. David Glover Donna L. Reynolds Robin A. Grimes Amy and Clay Robbins Ann Hinson Dr. and Mrs. R.C. Tucker, Jr. Lucina B. Moxley Dave and Kelcy Whitman

BEETHOVEN CIRCLE Dr. and Mrs. Louis F. Chenette Dr. James and Cathleen Nevin Mr. and Mrs. James Davlin Ron Reader Elaine and Brent Eckhart Gail Swanstrom Bob Edwards Mark C. Webb Ifeanyi Osili, II HANDEL CIRCLE Norris and Carole Allen Mr. and Mrs. Chip Muston 22 Karla H. Blum Amy and Thad Perry Mr. and Mrs. John Carr, Jr. Patricia Quinn and Phillip Price Ann and Charles Conrad J. Daniel and Elizabeth Philpott Mary P. Gosling Mrs. Pat Garrett Rooney Barbara Kiffmeyer Jane and Fred Schlegel Richard Lieber Marta Spence Dennis and Anne McCafferty Mr. Frank C. Springer, Jr. Dan and Kay Millar Phyllis and Stephen West Judith B. Murphy VIVALDI CIRCLE Anonymous Jeanne Hicks Mr. and Mrs. Bradford H. Arthur Susan G. Hudnut Chris and Bill Barton Mr. and Mrs. Gordon Hughes Mr. and Mrs. James F. Bash Carolyn W. Kincannon John and Susan Bowers Beth Kissling Jeff Conrad Betty E. Landis Suzanne S. Dettwiler Mr. and Mrs. Richard Ledman Walter and Anita Farrell Rob MacPherson and Steven Stolen Mr. and Mrs. William F. Fechtman Mr. and Mrs. Robert McNamara Richard Ford Chad Miller Mr. and Mrs. David Foutty Dr. and Mrs. Philip M. Morton Gwen A. Fountain Susan and Don Orr Earl W. Furlow Andy M. Palm Karen and Bruce Galbraith Dr. and Mrs. William Z. Potter Mary and Paul Gloger Valerie Purvin Gail and Bob Hall Mr. and Mrs. John Reddington Russell and Nancy Harrison Anne and Thomas Reynolds 2000-2001 CONTRIBUTORS Joyce L. Ribble Charles S. Shoup, Jr. Corbin and Judy Roudebush J. Patrick Tatum Roger Roe and Kent Cook Julio C. Tierno Dr. and Mrs. James Ruckle Tracey Til lis Mrs. Paul Scheuring Patricia Tretick Mr. and Mrs. John A. Schmid Eva and David Yount Jane G. Shackelford HAYDN CIRCLE Elizabeth and Victor Amend Mr. and Mrs. Wayne Moss Molly Anderson Anna Mullen Chistina N. Baich Jim and Mary Oss Jeff Baker Karen and Keith Phelps Mr. and Mrs. Tom A. Bither, Jr. John Pickett Donald P. Bogard Mr. and Mrs. Glenn D. Pratt Mr. and Mrs. Don Buckley Mr. and Mrs. Thomas J. Rafferty Ruth Cary Daren and Dave Redman Ann Dettwiler Peter and Janet Robash Marianne Eckhart Mr. and Mrs. Thomas W. Roberts Mr. and Mrs. William F. Eckhart Esther Rosen Dorothy Gitlin Rozann and Neal Rothman Daniel and Noelle Gosling Jeanne Ryan David Hochoy Mrs. Farrell M. Scott Dr. and Mrs. M.E. Hodes Leonard H. Smith Leona M. Hopper Vernon N. Tramontini Terry Kirts Brent J. Troy Sharon and Jeffrey Lange Alice B. Weest Ruth Lee Nancee Weigel Joan and David Lewis Mr. and Mrs. Richard Weiner Louise Lieberman Mr. And Mrs. James P. White Mr. and Mrs. Charles R. McDaniel Mr. and Mrs. George Yensco lla and Stephen Miller Mabel C. Young

BOARD OF DIRECTORS Donna L. Reynolds President Kay Millar Vice President for Marketing and Audience Development Cathleen Nevin Vice President for Education and Outreach Morna Patrick Vice President for Volunteer Development and Special Events J. Daniel Philpott Vice President for Board Development and President-Elect Andrew Taylor Vice President for Financial Development Tracey Til I is Vice President for Strategic Planning Pat Garrett Rooney Secretary David P. Whitman Treasurer Jim Davlin David S. Katz Barbara Rafferty Mark C. Webb Elaine F. Eckhart Alan Mills Daren Redman Peg Glover Ray "Chip" Muston Gail Swanstrom Robin A. Grimes Ifeanyi Osili II Brent J. Troy

ADMINISTRATIVE STAFF^ Chad Miller Charles L. Manning Executive Director Director of Operations

Christina N. Baich Daniel Gosling Development Assistant Personnel Manager

Marsha Krantz Paul K. Gloger Librarian Stage Manager Kimball Reengineered processes. Office Group Reengineered attitudes.

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workforces accomplish more

varied and complex tasks.

The environment becomes CONTINENTAL O F F I C E FURNITURE a tool to aid in creativity, 36 S. PENNSYLVANIA ST. INDIANAPOLIS, IN 46204 (317) 630-2315 productivity and communication. Fax: (317) 630-2337 2 0 00 2 0 01 CONTRIB UTORS CORPORATE AND FOUNDATION CONTRIBUTORS CONCERT BENEFACTOR CIRCLE Arts Council of Indianapolis Central Indiana Community Foundation Christel DeHaan Family Foundation The Clowes Fund, Inc. Clowes Memorial Hall of Butler University Indiana Arts Commission Indianapolis Foundation MAESTRO CIRCLE Banta - Rafferty Public Relations Lilly Endowment, Inc. Merrill Lynch, Inc. National City Bank of Indiana Nicholas H. Noyes, Jr. Memorial Foundation SAFECO Corporation Wright & Company Jewelers GUEST ARTIST CIRCLE Alliance Graphics Indiana Energy Arthur Jordan Foundation Inland Foundation Casa del Sol Violins Luther Graphics Cinergy Foundation PSI Foundation, Inc. Empire Development, LLC Shoup and Associates General Hotels, Inc. Target Stores CONCERTMASTER CIRCLE Caito Foods The Penrod Society Fifth Third Bank PricewaterhouseCoopers LLP Meridian Music Company Professional Data Dimensions Park Tudor School

PRINCIPAL CIRCLE Bank One, Indianapolis, NA Olive LLP Eckhart & Company, Inc. Phico Insurance Company Ernst & Young, LLP Yount & Company, P.C. PLAYER CIRCLE Grain Dealers Mutual Insurance Co. O'Malia Food Markets National Bank of Indianapolis Simon Property Group

Matching gifts received from: Ameritech Eli Lilly and Company Foundation Bank One, Indianapolis, NA Inland Paperboard and Packaging Cendant Lilly Endowment, Inc. If your company matches gifts, please include that information with your donation and double your gift! 2000-2001 CONTRIBUTORS INDIANAPOLIS CHAMBER ORCHESTRA ENDOWMENT CONTRIBUTORS FOUNDER Christel DeHaan Family Ball Brothers Foundation Foundation Nicholas H. Noyes, Jr. Memorial Dr. and Mrs. R.C. Tucker, Jr. Foundation TRUSTEE Mr. and Mrs. John Carr, Jr. Dr. Charles S. Shoup, Sr. J^RESIDENT'S CLUB Sarah DiCarlo Donna L. Reynolds Elaine and Brent Eckhart Amy and Clay Robbins Mary P. Gosling Dr. Charles S. Shoup, Jr. Ann Hinson Dave and Kelcy Whitman Lucina B. Moxley W.C. Griffith Foundation DIRECTOR Lauren Christopher Dan and Kay Millar Mr. and Mrs. Andrew Taylor Mr. and Mrs. James Davlin Mr. and Mrs. Robert Kirk Trevor Eugene and Marilyn Glick Muessig Alliance Graphics Foundation Corporation Ifeanyi Osili, II Brad Luther Designs Peg and David Glover Mr. and Mrs. Wayne Patrick Merrill Lynch, Inc. RE. MacAllister Dave and Daren Redman National City Bank of Sheila and Monroe Little Mrs. Pat Garrett Rooney Indiana PATRON Emily and Louis Chenette Anne and Dennis McCafferty Joan Shonske James Gillespie Chad Miller Nancy Smith Mr. and Mrs. Dan Golando Judith B. Murphy Marta Spence Dan and Noelle Gosling Mr. and Mrs. Chip Muston Gail Swanstrom Carolyn W. Kincannon Dr. and Mrs. James Nevin J. Patrick Tatum Joie and Ross Kipka Vin and Cindy Rampey Tracey Til I is Richard Lieber Mr. and Mrs. Larry Shapiro FRIEND Olimpia Barbera Sharon Gamble Mr. and Mrs. J. Daniel Philpott Chris and Bill Barton Dale and Charlotte Gwin Brent J. Troy Robert A. Charpie Marjie Hanna Eva and David Yount Allen W. Clowes Dr. and Mrs. William F. Fechtman Eckhart & Company Hugh Cochran Susan G. Hudnut Ryan Associates Diantha V. DeGraw Dr. and Mrs. David S. Katz World Media Group Mr. and Mrs. Bruce Galbraith Barbara Kiffmeyer SUPPORTER Anonymous Gwen A. Fountain Michael and Sharon Pepe Colette Abel Ann Freije Karen and Keith Phelps Christina N. Baich Robin A. Grimes Valerie A. Purvin Jim and Julie Beck Russell and Nancy Harrison Roger Roe and Kent Cook Mr. and Mrs. Craig H. Bradley Vicki Mech Hester Mr. and Mrs. Thomas Rafferty Lisa and Davis Brooks Dr. and Mrs. Ed Hodes Anne and Tom Reynolds Scott and Marilyn Bruins Sara Anne Hook Saliy and Mark Riddles Donna Lively Clark Jeffrey and Sandra Jensen Pamela B. Robertson Aileen Cloonan Dr. and Mrs. Donald H. Jolly Dorothy M. Scott Mr. and Mrs. Steven Coopersmith Frank and Janet Kafoure Holly Hearon and Lorna Shoemaker Sara Jo Denkmann Mr. and Mrs. Paul Karel Margo Shoup and Michael Meyer Eli Eban Mary and Kent Leslie Leonard H. Smith Mr. and Mrs. William F. Eckhart Elly and Bob McNamara Vernon N. Tramontini Rudy Ennis Stephen and lla Miller Thomas and Donna Watkins Suzanne E. Farley Wayne and Mary Jo Moss Scott and Sue Webber Rosalie Ferguson David Murray Ginny and Mark Womack

Matching gifts received from: Ameritech Inland Paperboard and Packaging Eli Lilly and Company Foundation Lilly Endowment, Inc. If your company matches gifts, please include that information with your donation and double your gift! ON SALE JAN 8 ^ February 6-11 f317v P3q_1GGG Clowes Memorial Hall •^1/' <50y-lUUU Groups of 20 or more; 818-396G x4 event S assfllB broaclvfayserles. com #adulfc themes an

2000-2001 CONTRIBUTORS IN MEMORY OF FRAN SHOUP Alice Akins Anne Elizabeth Harrigan Mrs. Pat Garrett Rooney Mr. and Mrs. Walt Bogdanowicz James R. Hebden Mr. and Mrs. Arthur Sanford Mr. and Mrs. Robert Book Susan G. Hudnut Mr. and Mrs. Blake Schlabach Delano Bryant and Fay Henning Mr. and Mrs. Richard Huelster Mr. and Mrs. Philip Schnell Mr. and Mrs. Roy Cage Hon. Z. Mae Jimison Mr. and Mrs. Alan Seville Mr. and Mrs. Bob Campbell Mr. and Mrs. Pat Kehoe Karen Sheely Mr. and Mrs. John Carr, Jr. Mr. and Mrs. Patric Kehoe Joan R. Shonske Robert A. Charpie 5haron Kehoe Charles S. Shoup, Jr. Donna Lively Clark Beth Kissling Dr. Charles S. Shoup, Sr. Mr. and Mrs. Lucas Coggins Mr. and Mrs. Pieter Kollen Margo Shoup and Michael Hans Collins Mr.and Mrs. John Leppert Meyer Christel DeHaan Mr. and Mrs. John Lund Mr. and Mrs. Richard Smyser Dr. and Mrs. Roy L. DeHart William Manly Doreen Squire Ficara Deborah DiCarlo Renee Martin Rich Charles B. Staff, Jr. Sarah DiCarlo Elizabeth Mathis Mr. and Mrs. James P. White Patricia Duerksen Alicia McMahon Dave and Kelcy Whitman Elaine and Brent Eckhart Phyllis Morrissey Ginny and Mark Womack Rosalie Ferguson Lucina B. Moxley Eva and David Yount Mrs. M.J. Fortenberry Mr. and Mrs. Robert Muessig Dance Kaleidoscope Carolyn P. Foust Mr. and Mrs. Tom Olsen Gradex, Inc. Dr. and Mrs. Richard Gamelli Mr. and Mrs. Wayne Patrick Indiana Orchestra Consortium Mr. and Mrs. Craig Gigax Mr. and Mrs. George Plews Indianapolis Children's Choir Josifina Godinez Mr. and Mrs. John Proffitt Loyola University Mr. and Mrs. Dan Golando Vin and Cindy Rampey Sunnyside Guild Mary P. Gosling Chris Rheinheimer Young Audiences of Indiana Mr. and Mrs. Robert E. Haesloop Amy and Clay Robbins IN MEMORY OF IVAN LIVELY Lory O. Barker Dan and Noelle Gosling Mr. and Mrs. William M. Mr. and Mrs. Benjamin Briscoe Mr. and Mrs. Elwood Maris Sheppard Helen W. Campbell Anne and Dennis McCafferty Dr. and Mrs. Samuel W. Siurua Donna Lively Clark Mr. and Mrs. Roger Neal Alice B. Weest Diantha V. DeGraw Mr. and Mrs. Charles Phillipy Ginny and Mark Womack Thelma L. Deckard Jean M. Richmond Marie and Lewellyn Flory Mr. and Mrs. Jared Rodin IN HONOR OF ALLEN W. CLOWES William H. Ball, Jr. Ann Hinson Jane W. Myers Olimpia Barbera Carolyn W. Kincannon J. Daniel Philpott Mr. and Mrs. John Carr, Jr. Charles Latham, Jr. Donna L. Reynolds Dr. and Mrs. Louis F. Chenette Mr. and Mrs. David Lewis Mr. and Mrs. William S. Richards Elaine and Brent Eckhart Rob MacPherson and Joan R. Shonske Richard Ford Steven Stolen Dr. Charles S. Shoup, Sr. Mr. and Mrs. Russell Fortune, Jr. Mr. and Mrs. Charles L. Manning Frank C. Springer, Jr. Karen and Bruce Galbraith Mr. and Mrs. Robert McNamara Edna VanRiper Frances Girdwood Kay and Dan Millar Mr. and Mrs. Bret Waller Mary P. Gosling Lucina B. Moxley Dave and Kelcy Whitman Lisa Hamilton Mr. and Mrs. Robert Muessig

Contributions received as of October 1, 2000. COMING EVENTS Rent Indianapolis Broadway Series February 6 - February 11

Indianapolis Chamber Orchestra Heart to Heart CD Friday, February 12 • 7:30 pm

An Evening with George Carlin Monday, February 16 • 7:00 pm & p:45 pm

Butler Symphonic Band & Wind Ensemble Premiere Performances! Jordan College of Fine Arts Saturday, February 17 • 7:30 pm

Butler Symphony Orchestra Music of the 20th Century Jordan College of Fine Arts Sunday, February 18 • 7:30 pm

Butler Ballet's Midwinter Dance Festival Jordan College of Fine Arts Friday, February 23 • 8:00 pm Aeros Saturday, February 24 • 8:00 pm Clowes Memorial Hall Performing Arts Series Sunday, March 4 • 4:00 pm

Don Giovanni Indianapolis Opera Friday, March 9 • 8:00 pm Sunday March 11 • 2:30 pm

The Best Little Whorehouse in Texas Indianapolis Broadway Series March 13-18

Ed Lark America's Favorite Places Kiwanis Travel & Adventure Series u Wednesday, March 21 • 7:30 pm Butler Symphony Orchestra Espressivo! Jordan College of Fine Arts Sunday, March 25 • 7:30 pm

Non-Violence and Human Rights Seminar On Religion and World Civilization Butler University Tuesday, March 27 • 7:00 pm Krannert Room, Clowes Memorial Hall Visit www.ClowesHall.org more information. Aeros omanian Gymnasts horeographed by

4:00 p.m.

Harlem >J >

April 2 8:00 p.m. i

$32, $27, $22 Adults • $27, $22, $18 Students/Seniors Tickets available at the Clowes Memorial Hall Box Office and all «fe*»«wM*«y Ticket Centers. Charge by phone (317} 239-1000. For Group Sales call Krissy at (317) 940-9987. For information only call (317) 940-6444 or (800) 732-0804. i TDD/TTY for hearing impaired (317) 940-6479. www.ClowesHall.org

ARTSHlN DIANA gjA tiii BANK = ONE CLOWES MEMORIAL HAL 2000/2001 Performing Arts Series

Paswn• / From Buenos Aires

Wednesday January 24, 2001 8:00 p.m.

BANK = ONE

ARTSKINDIANA #

^&W wad. .«»« of... _fc J_ ARTS COUNCIL OF INDIANJIANAIX.'|AN ; VK«fc7V lnd,anoA,ts Commoner, TANGO PAS ION Tango Pasion an A15 production

Choreography Hector Zaraspe

Orchestration, Arrangement and Musical Direction Jose Libertella & Luis Stazo

Conceived and Created bv Mel Howard

Artistic Direction Jose Libertella, Hector Zaraspe, Mel howard

The Sexteto Mayor Orchestra: Jose Libertella, Luis Stazo, Mario Abramovich, Eduardo Walczak, Oscar Palermo, Osvaldo Aulicino, Jorge Orlando & Anibal Gluzmann Becker

The Dancers Omar Ocampo & Monica Romero, Osvaldo Ciliento & Graciela Garcia, Claudia Diaz & Alberto Morra, Viviana Fortino and Omar Mazzei, Juan Corvalan & Viviana Laguzzi, Graciela Calo & Claudio Orso

The Singer Guillermo Galve

Technical Director & Lighting Fran Rodriguez Sound MARC FOURNEAU Wardrobe Supervision & Design EMMYLOU LATOUR Company Manager DON ARRINGTON STAGE MANAGER & COMPANY PHOTOGRAPHER DAMIAN SERAS Assistant to Choreographer & Administration OSVALDO CILIENTO DRAMATIC COACH BARBARA MARCHANT DIGITAL CREATIONSHELLY ESHKAR AUDIOVISUAL COLLABORATION RUTH SCHELL SETS BASED ON PAINTINGS BY RICARDO CARPANI TANGO PASION IS INSURED BY ASSIST - CARD

Booking Contact - AIS Productions, Inc. 143 East 27th Street New York, NY 10016 Tel 212 889 6000 Fax 212 889 7052 TANGO PAS! ON

Act1

OVERTURE Ml BUENOS AIRES QUERIDO (Tango: Guardel & Lupera) Sexteto Mayor Orchestra

PAYADORA (Milonga: Julian Plaza) Company: Juan C. & Viviana L., Osvoldo C & Graciela G., Omar O. & Monica R., Claudia D. & Alberto M., Graciela C & Claudio O.

DON JUAN* (Tango: Ernesto Poncio) Monica Romero & Omar Ocampo

MILONGA DE MIS AMORES (Pedro Laurenz) Graciela Calo & Claudio Orso

EL PORTENITO ( Tango: Angel Villoldo) Omar O. & Monica R., Claudia D. & Alberto I Graciela C & Claudio O.

EL ESCONDITE DE HERNANDO* (Tango: Tribute to Rudolph Valentino) Viviana Fortino & Omar Mazzei

CAFETIN DE BUENOS AIRES (Mores, Discepolo) Q Guillermo Galve

MILONGA DEL 900 (Milonga: Manzi & Piana) 34. JuanC,Osvaldo C.,Omar O.Alberto M.,Claudio O.

HOTEL VICTORIA (Tango: Latasa) Graciela Garcia, Juan C.,Omar O, Alberto M.,Omar M. Osvaldo C.

RECUERDO* (Tango: Osvaldo Pugliese) Osvaldo Ciliento & Graciela Garcia

OJOS NEGROS (Anon) Graciela Garcia, Osvaldo Ciliento, Guillermo Galve Solo Violin: Eduardo Walczak

LA ULTIMA CURDA (Tango:C. Castillo & A.Troilo) Guillermo Galve

A LOS AMIGOS* (Pontier) Claudia Diaz & Alberto Morra

LA CUMPARSITA* (Rodriguez) Viviana Laguzzi & Juan Corvalan

CANARO EN PARIS (Tango: Scarpina & Caldarella) Sexteto Mayor Orchestra

EL CHOCLO (Villoldo, Discepolo) Company: Juan C. & Viviana L., Osvaldo C. & Graciela G. Omar O. & Monica R., Claudia D. & Alberto M. Viviana F. & Omar M., Graciela C. & Claudio O. TANGO PASION Act2

LO QUE VENDRA (Tango: A. Piazzolla) Company: Juan C. & Viviana L, Osvaldo C. & Graciela G. Omar O. & Monica R., Claudia D. & Alberto M, Viviana F. & Omar M., Graciela C. & Claudio O. NOCTURNA MILONGA* (J.PIaza) Claudia Diaz & Alberto Morra MELANCOLICO (J. Plaza) Omar 0. & Monica R., Osvaldo C. & Graciela G. MILONGA PICARESCA* (A. Piazzolla) Viviana Fortino & Omar Mazzei MALA JUNTA (Lorenz) Graciela Calo & Claudio Orso SELECCION DE MILONGAS (Millongas: Castellanos, Villoldo, Laurenz) Juan O, Omar M., Alberto M., Claudio O. UNIVERSO* (Tango: J. Libertella) Monica Romero & Omar Ocampo BALADA PARA UN LOCO (Piazzolla, Ferrer) Guillermo Galve CELOS ( Gade) Sexteto Mayor Orchestra Solo Violin: Mario Abramovich PASION Y TANGO* (J. Libertella) Osvaldo Ciliento & Graciela Garcia TANGATA (A. Piazzolla) Company JEAN & PAUL (A.Piazzolla) Company VERANO PORTENO* (A. Piazzolla) Juan Corvalan & Omar Ocampo FUGAY MISTERIO (A. Piazzolla) Viviana Laguzzi, Omar O., Alberto M., Omar M. TANGATA (Piazzolla) Solo: Juan Covalan & Viviana Laguzzi.. Monica R, & Omar O., Claudia D. & Alberto M., Viviana F. & Omar M., Graciela C. & Claudio O., Graciela G. & Osvaldo C. Solo Piano: Anibal Gluzmann Becker ADIOS NONINO (A. Piazzolla) Sexteto Mayor Orchestra CANARO EN PARIS (Scarpino, & Caldarella) Company ONDA 9 (A. Piazzolla) Company

"Based on the original choreography of the dancers. This program may be subject to changes. fir \&lf FRESH PRODUCE

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TANGO PASION, the exhilarating renowned SEXTETO MAYOR ORCHES­ Argentine dance musical that has been TRA, under the direction of Jose thrilling audiences world wide since Libertella and Luis Stazo, is exhilarat­ 1994, will be coming to tour the US start­ ing. The musicians have been playing ing December 2000. together for twenty-seven years and their The company of 25 singers, dancers virtuosity is matched only by their com­ and musicians comprises the best Tango plicity. The SEXTETO MAYOR, alone, is Orchestra in the world, and many of the worth the price of admission as they per­ world's greatest tango dancers according form compositions by Mores, Discepolo, to the prestigious Paris newspaper "Le Scarpino, Carlos Gardel, Jose Libertella Figaro". With dazzling choreography by and Astor Piazzolla. Hector Zaraspe, alluring costumes by The dancers in TANGO PASION Lucio Galano and the lush lighting of include many married couples who have Richard Pilbrow, TANGO PASION offers been dancing together for years, "until two hours of virtuosity and refined sen­ they can breathe as one" explained Mr. suality where Argentina's native dance Zaraspe. The tango is their lives and becomes a metaphor for all emotions. when not performing, they are usually The tango was born one hundred years rehearsing new steps and perfecting and ago in the brothels of Buenos Aires and improving old ones. "The only limit to the only became a socially acceptable ball­ vocabulary of the tango, aside from cer­ room dance at the turn of the century. It tain rules of style and form, is the limits is a mythical dance, tied to love and of your imagination and passion. The seduction. The tango swept the world in tango is the eternal battleground the 1920s with the songs of the legendary between a man and a woman, it is the Carlos Gardel, and with Rudolph definitive act of love...in stylized form, of Valentino's smoldering tango scene in the course" Mr. Howard added. film "The Four Horseman of the TANGO PASION has played to stand­ Apocalypse". ing ovations on such world famous stages Producer-director Mel Howard has cre­ as: The Deutsches Oper in Berlin, The ated an evening peopled with characters Theatre des Champs-Elysees in Paris, from the different strata of Argentine The Kremlin Theatre in Moscow, The society. Their interaction puts the danc­ Sistina in Rome, The Musikhalle in ing in context, builds drama and provides Hamburg, The Herodian at the Acropolis the subtext of the show's worldly humor. in Athens, The Longacre Theatre on The music and dance on stage are of Broadway, and in front of an audience of authentic tango, while the ferocious emo­ 15,000 people in honor of the 700th tions on display are clearly contemporary. anniversary of the Grimaldi dynasty at TANGO PASION demonstrates the the Stade Louis II in Monaco. They power of the tango to move audiences to a played the Palladium and at the Lyric near frenzy (New York Times). Theatre in London's West End and they The tango dancing in TANGO PASION recently returned for the third time to the has come a long way since Valentino's day UK for a highly acclaimed tour. (eat your heart out, Rudolph!). Today's TANGO PASION has also enthralled handsome young couples display intrica­ audiences in the Far East in Hong-Kong, cies of split-second timing where legs Singapore, Tokyo and Taiwan. In dart in and around each other with the Australia the troupe spent two months in flashing threat of so many snakes' Melbourne and Sydney. tongue. They burn up the floor with their The future holds more world travel for flawless variations of the tango; the members of the TANGO PASION supremely elegant tango, passionate troupe, including a major tour of China tango, tango to whip the blood. for the first time this coming June and The powerful on-stage presence of the July We'll work hard to help build St. Richard's School your wealth... "Knowledge and values for a lifetime" An independent school in the Episcopal tradition High Academic Standards Rich in Diversity Socio-economic ~ Racial - Cultural ~ Religious Shaping our Students Intellectually ~ Emotionally - Spiritually with Religious values ~ Respect ~ Service ~ Discipline

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JUAN CORVALAN & VIVIANA LAGUZZI: Juan, of MONICA ROMERO & OMAR OCAMPO: Omar folkloric training, started his artistic has been first dancer of the Ballet career with "Maestro Santiago Ayala" Folcklorico Nacional de Santiago Ayala (El Chucaro). Classically trained and £/ Chucaro y Norma Viola where Viviana began her career as a dancer he was also dance captain and ballet with the "Teatro Colon" in Buenos Aires. Master. He is one of the judges of the They first became dance partners in Danzas Argentinas competition. 1989 when, for 6 years, they toured Monica is the daughter of artists (Los 5 throughout Latin America and Europe Latinos) and began her own artistic with the Company of Mariano Mores "El career studying Jazz in various schools. Tango". They have since been repre­ The two were married in 1985 and sentatives of Argentina at both the began dancing together performing in World Expo '92 in Seville and at the The Ballet of J.C. Copes for a number of Concert of the Americas, produced by years. They toured throughout Europe, Quincy Jones, in Miami 1994. Israel, Japan and the US with the Throughout 1994, they choreographed Orquesta de Mariano Mores. In 1990, Argentine Television Dance Specials for they won the prize of the Torneo an important channel. They have been Latinoamericano de Danza in Chile. an integral part of the original cast of They have been touring with Tango TANGO PASION since its creation in Pasion since 1994 and when not on 1992, and with which they have toured stage, they enjoy teaching the tango around the world alongside the Sexteto and the sentiments that go with it. Mayor. They are two hearts that beat as one to the rhythm of one melody- CLAUDIA DIAZ & ALBERTO MQRRA: The two "The Tango". began dancing as a soloist couple in 1986 in the Viejo Almacen in Buenos OSVALDO CILIENTO & GRACIELA GARCIA: Aires and performed in the most impor­ Osvaldo and Graciela began dancing tant "Casas de Tango" of Argentina. together in 1985; when they combined They were part of Mariano Mores and their many years of individual experi­ Jose Coldngelo's show and toured ence as professional dancers and were throughout the United States, Europe incorporated into the best Argentine and Japan. They performed in Sun Tango and Folklore companies. City, South Africa in the show Movin for Constantly refining their art, they have one year. In Argentina, they have continued to study with Los Dinzels. danced in television programs includ­ They have been principal performers ing Grandes Valores del Tango. They with The Orchestra of Mariano Mores, were the main attraction in the Costa Leopoldo Federico y Jose Colangelo Crocier cruise theatre events through­ and in Australia and Asia with The out the Mediterranean. Among other Orchestra of Osvaldo Requena. They highlights of their career was a special toured the United States with the show appearance on the American Soap El Tango de Mariano Mores. With the Opera One Life to Live. They are the Sexteto Mayor they created and cho­ choreographers of La Veda currently reographed the show Tangomania that being performed in Buenos Aires. performed in Italy, Turkey, Chile, and Argentina. They have performed as OMAR MAZZEI & VIVIANA FQRTINQ: Viviana principals on all of the Argentine televi­ studied classical ballet at the Escuela sion stations. Osvaldo and Graciela Nacional de Danzas and Tango with have been with Tango Pasion since its Los Dinzel (Gloria and Eduardo). She creation. Osvaldo is assistant to Hector danced with the Argentine Ballet El Zaraspe and responsible for maintain­ Chucaro y Norma Viola. Omar studied ing the show on tour. tango with Los Milongueros "Nelly y Miguel" and Los Dinzel. He danced with Santiago Ayala "El Chucaro" and was a soloist dancer In Tango BANK HOME AGAIN

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) The National Bank of Indianapolis Member FDIC Equal Opportunity Lender. TANGO PASION Argenfino. He has a special appear­ tra in a tango revue where they ance and solo in the movie Tango Bar, debuted as choreographers of the starring Raul Julia. Omar and Viviana show; Lima, Peru with "La Ventana have been dancing together since Tango Show", Punta del Este with J.C. 1984. They toured alongside the Copes; and Japan with the orchestra Sexteto Mayor throughout Brazil in the of Juan Darienzo. They created chore­ show Una Noite en Buenos Aires. ography for "Tango 2000" which toured Together they have assisted in choreo­ Malaysia, Singapore, Taiwan and Hong graphing the Ballets of Mariano Mores, Kong. touring Mexico, Brazil, Colombia and Spain. In 1994, they formed the ballet GUILLERMO GALVE: Protege of legendary Temperamentos. Omar and Viviana singer Roberto Goyeneche, Guillermo have been touring with Tango Pasion began his career in 1976 with the Jose since 1996. Omar's talent as a tango Colangelo Quarteto at the Teatro San singer is an added delight in the current Martin in Buenos Aires. That same year version of Tango Pasion. he appeared at the Marlena al Sur and, with Edmundo Rivero (the most GRACIELA CALQ & CLAUDIO ORSQ: Graciela important singer of the time), at El has studied ballet and jazz; Claudio Viejo Almazen in Buenos Aires. Since was with El Ballet Folklorico Nacional de then he has performed at, among Argentina under the direction of other venues, the Troittoirs de Buenos Santiago Ayala, El Bhucazo and Norma Aires in Paris; at the Memorial de Viola. He studied tango with Ernesto America Latino Festival in San Paolo, Carmona, Carlos Rivarola, Roberto and Brazil; and at the Michalangelo, Luna Vanina, Ricky Barrios. Argentinian per­ Park and the Gran Rex in Buenos Aires. formances include: 1997-1999 La His recordings include "Vamos Todavia" Ventana Tango Show; 1998 Recova and "Aparfir de Hoy" with the Osvaldo Plaza with the show "Tango Magia y Tarantino Orchestra. He has been seen 41 Seduccion" (J.C.Copes); 1999 Teatro on numerous television programs in Astral with the show "Sentimento de Buenos Aires, including "La Historia Viva Tango" (J.C.Copes). They toured de Guillermo Galve" on "Argentisima" Miami, Florida, at the Jackie Gleason and a special on the life of undisputed Theatre with the Armando Calo orches­ tango singers, Carlos Gardel.

The Members of The Sexteto Mayor: Julio De Caro and the musical direction The Sexteto Mayor of the orchestras that accompanied Jose Libertella - Arrangements and Angel Vargas, Argentino Ledesma, Bandoneon Roberto Goyeneche, Guillermo Luis Stazo - Arrangements and Fernandez, Gloria Diaz, Rosana Falasca, Bandoneon etc. His exceptional participation as Mario Abramovich - Violin Soloist arranger and Musical Director of the Eduardo Walczak - Violin Soloist Sexteto Mayor and his performance as Osvaldo Aulicino - Contra Bass an instrumentalist have been an integral And invited to join the Sexteto Mayor in part of Tango Pasion since its creation. Tango Pasion Jorge Orlando - Percussion's Jose Libertella: Bandoneon player and Anibal Gluzmann Becker- Keyboards arranger, he is author of the tangos Rapsodia de Arrabal incluido en "Tango Luis Stazo: Bandoneon player and Pasion", Paris Otonal, y Bajo romantico arranger, he is author of such famous with Omar Murtagh, and Organito pieces as Orgullo Tanguero, No nos vere- Arrabalero with Ernesto Baffa. He has mos mas..., Amor de verano, from 1973 directed the Sexteto Mayor since its with Armando Cupo, A Don Julio De beginnings in 1973 and organized the Caro, with Ernesto Baffa, and Un Tono de Sexteto's tour to Japan. He was Musical Azul, with De Caro himself. His outstand­ Director of the Broadway Show TANGO ing works include the album Los 14 de ARGENTINO, which featured the Sexteto rt HOLDER Mattresses made for dreaming., MTTRESS in rooms where dreams come true. Discover the CARMEL delights of our accessories 117-N4X-2939 THE CENTRE and furniture. CASTLETON 317-MI-3165 UXEVSAW THINGS PIAZA

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You have a style and rhythm all your own. Now there's a bank that's just like you. TANGO PASION Mayor Orchestra and received acclaim Nacional de Musica in 1994 with a spe­ from Broadway to Europe. He is in cialty in piano. He has studied harmony, charge of the musical direction of the counterpoint and fugue with the com­ world wide success, TANGO PASION, and poser Virtu Meregno, With Uballet was a fundamental part of its creation. Argentino (Ballet Folklorico de la Universidad de Buenos Aires] he per­ Mario Abramovich: First Violin in formed folkloric and tango music at the Argentina's principal orchestras, Mario Festivales Mundiales de Folklore in Abramovich has performed with Osvaldo Canada and at the International Folklore Fresedo, Argentino Galvan, Anibal Troilo Festivals of France and Italy. He is part of to site just a few. He was also a member Stable Duo, a duet of flute and piano of the Ensemble Musical of Buenos Aires since 1995. He has been part of the and since 1963, has been in a principal Sexteto Mayor since 1999. violin in the Orquesta Filarmonica del Teatro Colon. He took part in the record­ Jorge Orlando: Drummer and percus­ ing of Los 14 de Julio De Caro and is sionist of an extensive range of music, he author of Preludio Francini and De Mono, studied under the Maestro Alberto Alcald tangos that he composed with Luis Stazo. and Oscar D'Auria in the Conservatorio Performing with the Sexteto Mayor, his Municipal "Manuel de Falla" and in the interpretation is noted in Celos, Melodia "Collegium Musicum" of Buenos Aires. Oriental, and La Peregrinacion. He has He has performed in groups ranging from been an integral member of the Sexteto Rock and Jazz to Folklore and Tango. Mayor Orchestra since its foundation. Since 1992, he has been touring the world with the Sexteto Mayor in Tango Eduardo Walczak: A violinist of recom- Pasion. mendable history, Eduardo Walczak has performed with important orchestras. His The Sexteto has recorded more than 15 work stands out in his collaboration with albums of which following are some of Pedro Laurenz and Atilio Stampone as a the titles: member of La Orquesta de Camera de la Cuidad de Buenos Aires and the Discography: Ensemble Musical of Buenos Aires. He is 1973 - Preludio Nochero now an integral member of the Sexteto 1974 - Sabor a Buenos Aires Mayor and shows his virtuosity in La 1975-Ala Orden Seleccion de Temas de Gardel y Uno de 1976- Nostalgias Mariano Mores. 1977 - Romance de Tango 1979 - Melancolico Buenos Aires Oscar Palermo: A pianist of well reputed 1981 -Silbando technique, he is recognized for interpre­ 1983 - Del Cafe de los Angelitos al Trotoirs tation of tangos. As an initial member of de Buenos Aires the Orchestra of Osvaldo Piro, he 1984 - Greatest Hits (edited in France) accompanied Susana Rinaldi in live per­ 1985 - Tango Argentino (Varios) formances and recordings. With the 1986 - Tango Argentino (2 disk set from Sexteto Mayor, his virtuosity is heard in the Broadway Musical) interpretation of Osmar Maderna's Uuvia 1990 — Argentina de Estrelfas revealing his grand merit. 1991 - Quejas de Bandoneon (edited in Germany) Osvaldo Aulicino: A contra base player 1992 - Paris Otohal (edited in France) of vast experience in classical and tango 1993 - 20 ahos con el Exito 1973 - 1 993 music admired in his performances (Compilation) alongside Alfredo Gobbi, Osvaldo Piro 1994 - Trottoires de Buenos Aires and Susana Renaldi. Asa soloist in the 1999-A Los Amigos Sexteto Mayor Orchestra, he has toured 2000 - Tango Pasion - (The Dance with the group throughout the world. Musical Recorded Live)

Anibal Gluzmann Becker: studied with the Argentine pianist Aldo Anognazzi at the Conservatorio nacional Superior de Musica "CL. Bucherdo" in Buenos Aires from which he graduated as Profesor CLOWES MEMORIAL HAIL SOCIETY Benefactor ($1000+) David Barnes Ifitl CLOWES Arts Council of Indianapolis Janet Bates MEMORIAL Bank One Mr. & Mrs. E.W. Bayliff HALL < Pocietij Christel DeHaan Family Betty Bayliff Foundation Stephanie Brater Clowes Hall Women's Gordon Butts Sara Compton Joseph G. Conway Committee Mr. & Mrs. Don P. Campbell Indiana Arts Commission Diana L. Doty Janet M. Davis Russell & Elise Kushigian Mr. & Mrs. French L. Eason Patricia A. Deyhle Robert J. Sparks Rafael Fernandez Derek Divine Target Stores Mr. & Mrs. Joe Fischer George & Catherine Hahn Broadway League Mr. & Mrs. Steve Garrett Lowell & Virginia Harbison Mr. & Mrs. Thomas J. Gawlik Vicki Harding Steven E. Hayes Patron ($500-$999) James E. Geissler & Timothy Dr. Mary Kristine Beckwith McGinley Eugene Heinbaugh Dr. James & Dr. Gwen Fountain Thomas Graves Derk L. Hippelsteel Sharon Jackson Mr. & Mrs. Philip J. Gibson* Mr. & Mrs. Robert Haddad Julia Kellum Leland's Dr. & Mrs. Mark & Jan Bill & Jacky Templeton Hatfield Mr. & Mrs. Jack A. Kesler Dr. & Mrs. A. D. Hauersperger Judith E. King Angel ($250-499) Kay M. Jolly Laura Lewis Amy Lewis Eric L. Gillespie Robert P. Kassing V. Joan Logan Dr. & Mrs. Joseph F. Heidelman Steve & Nancy Kellam Mr. & Mrs. Dick Rollin Robin L. Kirschner Ann Lynam Scooter Schildknecht Mr. & Mrs. Joseph C. Ann Manet Jean M. Smith Lanning, Jr. James May Mr. & Mrs. Albert Spurlock William Lapworth Robert Michaeloff Anne Quade The Kennedy Center Gary & Judy Mitchell Felicia E. Morris Michael Sanders Associate ($100-249) Mr. & Mrs. Richard Mullholand Sharon Sharck 44 Oscar & Laura Smith Mr. & Mrs. Taylor L. Baker, Jr Brian McDermott Kurt Stahl Jeff & Nancy Burris. Mrs. Lloyd H. Richter Marilyn Stamm 2 Dennis & Ellen Clark Cinday Schaefer Susan Stanhope 0 Dr. & Mrs. Martin Garfield Manie L. Shaver Bob & Susan Jonhnstone Penny M. Siml Gordon Starr < James Sterr Darrin S. Lafferty Gretchen K. Sullivan E Marcy Strawmyer o John G. Leininger Mr. & Mrs. Glenn M. Swisher o Carol S. Loggins Mr. & Mrs. Earl G. Syfert Mr. & Mrs. Kenneth Swain Udyan Trivedi o Dr. & Mrs. Victor H. Muller Rita Uchida o Vickie Wann Pam Turner o Dr. & Mrs. Kenneth L. Cynthia Van Bree " - Renkens, Jr. John J. Zachary III Mrs. Terry Sharp Lynda D. Van Kirk Richard & Ellen Shevitz Contributor (to $49) Joe & Shirley Vargas Dr. & Mrs. Robert M. Weetman Daniel & Rebecca Skaggs Betty Atwood Joann Wehlage Janine J. Smulyan Dr. Ronald Baker Mr. & Mrs. John A. Henderson Harley Barnard Mr. & Mrs. Charles C. Whitaker Lisa A. Wightman Mr. David & Dr. Betty Lou Kathryn Bowman Walsman PeterT Brady Bret Williams Rev. R. Donald Weaver Lillian Brodey Betty Wilson Susan Writt Dennis Wetzel Joy Bump David M. Wyciskalla Peter Chen Patricia Ziegelbauer Dr. & Mrs. Donald L. Cline *lndicates a corporate matched gift. Friend ($50-99) Patricia Chasteen** **lndicates an in memoriam gift. Joseph M. Adams Mary Mullins** Mrs. Joanne L. Alcorn* Dorothy Dickerson** Erin Baas Dora Ogden Cherrington** Debra Baker Beryl Strickland**

The individuals, corporations and foundations listed above represent the generosity of a larger community who have contributed to the Clowes Memorial Hall Society through January 12, 2001. Their gifts enable us to maintain the high standards of programming excellence that you have come to expect. To join this group of contributors, pledge cards are available at the Reception Desk. FFICERS' HOMESfc? & HARRISON HOUSE

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IADIES OF NOTE CLOWES MEMORIAL HALL 2000/2001 Performing Arts Series presents

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Band Members Lew Scott Eddie Caccavale Bass Drums Bob Kaye Levi Barcourt Piano for Lanie Kazan Piano for Melba Moore Takano Miyamoto Piano for Nnenna Freelon

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Nnenna heart. SOULCALL is the essence of the Freelon artist, the woman, the soul. Current Grammy nominee for Best Jazz Vocal Album of the Year, Nnenna Lainie Freelon's new Concord Recording, Kazan SOULCALL, beckons to the soul within Lainie Kazan is the embodiment of each of us — a call of hope and action the world entertainer - an artist who that Nnenna has found in her connec­ has reached the pinnacle in virtually tion with the people she loves - her every area of performance. She has family and friends, her audience, and come a long way since she was Barbra the children with whom she shares Streisand's Broadway understudy for meaningful moments through educa­ "Funny Girl." Once she was able to dis­ tion and music. play her electrifying talent in two Nnenna has had three previous shows she became the chanteuse of Grammy nominations and twice for the her native New York, with nightclub Soul Train Awards. Winner of the "Billie stints and guest appearances on virtual­ Holiday Award "from the prestigious ly every top variety and talk show on Academie du Jazz in France and the network television, including an unpar­ Euble Blake Award, Nnenna has alleled 26 appearances on "The Dean appeared on "CBS Sunday Morning," Martin Show." She even hosted her "Melrose Place," Fox TV's "The Essence own variety special for NBC and Awards," two ABC specials "Celebration opened the popular "Lainie's Room" of America's Music" hosted by Bill and "Lainie's Room East" the Los Cosby, and other national programs. Angeles and New York Playboy Clubs. Aretha Franklin named her one of her The sensual magnetism Lainie exud­ favorite and most inventive singers say­ ed in her variety shows and nightclubs ing "be sure to check out Nnenna attracted film directors and producers, Freelon...very hip music." leading her quickly into acting on both With her first feature film and sound­ the Gold and Silver screens. After track appearance in "What Women watching her coo through ballads and Want" (starring Mel Gibson and Helen belt like a sassy blues woman at San Hunt), Nnenna's SOULCALL gets to the Francisco's Fairmont Hotel, an aston­ heart of what we all want - a heartfelt ished Francis Ford Coppola offered her connection to each other. "There's no a plum role in "One From The Heart." greater meaning," Nneena says simply. The rest, as they say, is history. In On SOULCALL, Nnenna collaborates 1983, Lainie received a Golden Globe with such artists as Kirk Whalum.Take nomination for her performance in 6 and Sounds of Blackness. Richard Benjamin's "My Favorite Year" Nnenna believes in the power of starring Peter O Toole. Other films soul - from her work as the National included "Lust in The Dust" with Tab Spokesperson of Partners in Education Hunter and Divine,"Delta Force" with to her many fundraising appearances Chuck Norris, "Beaches" with Bette including DIVAS Simply Singing' (the Midler, Steven Speilberg's "Harry and annual event for AIDS charities in Los The Hendersons," the Disney film "The Angeles) and Babysong (her workshop Cemetery Club" and "29th Street" with for infants and new mothers), she Danny Aiello. shares her passion through her music. Lainie, however, never forgot her Nnenna spreads her jazz wings at a roots as a live performer. She reprised beginning of a new ear with soul and her role in the Broadway musical ver- Fitness at home is a touch away. Factoryfitness.com.

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888-858-FIT1 The Fashion Mall 317.586.8831 Carmel 8660 Purdue Road 317.870.2169 Indianapolis 9530 East 126th Street 317.849.4462 Fishers 1551 East Stop 12 Road 317.884.0523 Greenwood 7001 Hawthorne Park Road 317.913.1250 Warehouse Sales & Service LADIES OF NOTE sion of "My Favorite Year" which won Melba's show-stopping performance her a Tony Award nomination for Best in "PURLIE" won her Broadway's covet­ Featured Actress. ed Antoinette Perry (Tony) Award as Lainie is always a supporter of vari­ Best Supporting Actress in a Musical. ous charities. She recently received She was also honored with the presti­ the "Woman of the Year" Award from gious Drama Desk and New York B'nai Brith. She has graced the stage Drama Critics awards. Theatrical suc­ for many AIDS benefits, telethons and cess led to appearances on television non-profit organizations throughout and in feature films. In addition to fre­ the United States. She serves on the quent appearances on a number of tel­ board for the Young Musicians evision series, special and variety Foundation,AIDS Project LA and B'nai shows, her television credits include Brith to name few. In 1990, she was "The Melba Moore-Clifton Davis Show," presented "The Israeli Peace Award." "Ellis Island" and her own sitcom, Her voice has never sounded better "Melba." either. Lainie admits that her voice has Melba s four-octave voice has been changed over the years, but critics and featured on the recordings of many jazz lovers praise the maturity and musical artists in all genres and she's depth of feeling that grew from years also enjoyed a highly successful solo of experience. recording career. Some of her many Lainie Kazan's latest album,"Body pop/R&B hits that make up her roster and Soul," a collection of graceful, of over a dozen albums include, "This feline sentiment that smolders with Is It,""You Stepped Into My Life" and what Rex Reed called "more talent in her Grammy-nominated signature song her little finger than most singers have "Lean On Me." Her 1990 recording of in their dreams." "Lift Every Voice and Sing" was hon­ ored by having the song entered into Melba the Congressional Record as the offi­ Moore cial African-American National Anthem. Melba Moore began her career in Melba has also appeared in concert at the ground-breaking rock musical some of the nation's top venues "HAIR" where she originated the role including headline engagements at of Diotine. During her 18 months New York Philharmonic Hall and the with the show, she played a variety of Metropolitan Opera House at Lincoln roles and eventually, as one critic Center. described it, "changed the color of In 1996, history repeated itself when HALEY" by becoming the first black Melba took over the role of Fantine in actress to play the female lead. From the Broadway musical "LES MISER­ "HAIR" came the role of Lutiebelle, the ABLE." For the second time in her innocent southern girl who falls in career, she was the first black actress love with a fast talking preacher, in the to step into the leading role in a mile­ long-running musical "PURLIE." stone Broadway musical.

Booking Contact for Ladies of Note : Ed Keane Ed Keane Associates 32 Saint Edward Road Boston, MA 02128 Ph: 617-567-6300 • Fax: 617-569-5949 FACILITY GUIDE

TICKETS RESTROOMS ELECTRONIC DEVICES Main Lobby and all Terrace levels All cameras, communication and BOX OFFICE Men: Main lobby left recording devices in the auditori­ Monday-Friday 10 am - 5 pm Terrace 1 right um are strictly prohibited. Saturday 10 am - 2 pm Terrace 2 left, Please deactivates electronic Sunday Two hours prior to curtain Terrace 3 right watch alarms. For more information: Women: Main lobby right (317) 940.6444 • (800) 732.0804 Terrace 1 left FACILITY EVACUATION TDD/TTY 940.6479 Terrace 2 right In the event of an emergency, To charge by phone: Terrace 3 left please remain seated for further Ticketmaster; (317) 239.1000 or instructions. Exits marked with (317) 239.5151 A wheelchair-accessible red emergency lights indicate the restroom is located in the shortest route to exit. A staff of CHILDREN east (right} side lobby. trained ushers and volunteers is All children must possess a ticket on duty to assist you. for admission to Clowes Memorial Hall. Please contact PATRON SERVICES LOST and FOUND (317) 940.6444 for questions Items may be claimed at the regarding program content. ACCESSIBILITY Reception Desk after performanc­ Seating on the ground level is es and the following business day, We recommend that children barrier-free with ramping for easy 8:30am-5:00 pm. two and under do not attend access to the lobby, restrooms and performances. parking. Wheelchairs may be HOUSE MANAGER borrowed at the Reception Desk. A House Manger is on duty for all The following services are performances to assist you. Notify INISIDE the THEATRE available by calling 940.9697: Customer Service at the main ASL Interpreters lobby Reception Desk. COAT CHECK Audio Description Coat Check Service is located in Braille Programs SMOKING the front lobby, opposite the Large Print Programs Clowes Memorial Hall is a smoke reception desk. Sound Enhancement free facility.

CONCESSIONS BOOSTER SEATS TOURS Soft drinks and confections are Booster seats are available for To schedule call (317) 940.9697. sold on both sides of the Main your convenience. Contact an Lobby and Terrace 1. Bar service is usher for assistance. CUSTOMER SERVICE available at major events. Food For suggestions on how we may and beverages are not allowed in EMERGENCY NUMBER improve customer service, contact the auditorium. If you are expecting an emer­ Lisa Whitaker at (317) 940.9697. gency call, leave your seat loca­ DOORS tion with the Reception Desk. POLICE ft VEHICLE EMERGENCY Lobby doors open one hour Inform the caller of your seat Contact the Reception Desk or before curtain. location and number to call: call from the Emergency Call (317)940-9699. Tower, at the front, southeast ELEVATORS corner of the building. Butler Call stations are located on all MEDICAL ASSISTANCE University Police will assist with levels adjacent to main An EMT is on duty at major vehicle access and emergency staircases. events. Contact an usher if you starts. need assistance. KRANNERT ROOM WORLD WIDE WEB For banquets, receptions and pre- LATE ARRIVAL POLICY Click on the many services performance discussions, access Performances begin at the available to you on the the Krannert Room by the east announced time. Video monitors Clowes Hall web site: stair or elevator. are positioned for viewing until www.cloweshall.org seating is permitted. Please be TELEPHONES considerate of fellow audience EMAIL ADDRESS Public telephone are found in the members. Email you concerns to us: Ticket Office foyer and the elowes(S>butler.edu Krannert Room lobby. ESIGNS, INC.

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