Aspen Santa Fe Ballet at Wolf Trap in Vienna, Virginia

ONSTAGE AT PENN STATE PENN AT ARTS PERFORMING THE FOR CENTER

Community Advisory Council The Community Advisory Council is dedicated to strengthening the relationship between the Center for the Performing Arts and the community. Council members participate in a range of activities in support of this objective.

Nancy VanLandingham, chair Mary Ellen Litzinger Lam Hood, vice chair Bonnie Marshall Pieter Ouwehand William Asbury Melinda Stearns Patricia Best Susan Steinberg Lynn Sidehamer Brown Lillian Upcraft Philip Burlingame Pat Williams Alfred Jones Jr. Nina Woskob Deb Latta Eileen Leibowitz student representative Ellie Lewis Jesse Scott Christine Lichtig CENTER FOR THE PERFORMING ARTS AT PENN STATE

presents

Founder: Bebe Schweppe

Artistic Director: Tom Mossbrucker Executive Director: Jean-Philippe Malaty

Artists: Corwin Barnette, Craig Black, Katherine Bolaños, Sadie Brown, Paul Busch, Samantha Klanac Campanile, Peter Franc, Nolan DeMarco McGahan, Emily Proctor, Seia Rassenti, Joseph Watson

Production Stage Manager: Danny Bacheldor Lighting Supervisor: Seah Johnson

Representation North America: Cathy Pruzan 4709 Paradise Drive Tiburon, CA 94920 415-789-5051 [email protected]

International: Margaret Selby, CAMI Spectrum 1790 Broadway, 16th Floor New York, NY 10019-1412 212-841-9554 [email protected]

7:30 p.m. Tuesday, October 14, 2014 Eisenhower Auditorium

This performance includes two intermissions.

sponsor A.W. & Sons

The Center for the Performing Arts at Penn State receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania, and the National Endowment for the Arts, a federal agency. PROGRAM

Over Glow ASFB-Commissioned Work

Choreography: Jorma Elo Music: Felix Mendelssohn and Ludwig van Beethoven Costume Design: Nete Joseph Lighting Design: Jordan Tuinman Assistant to the Choreographer: Nancy Euverink

Craig Black, Katherine Bolaños, Samantha Klanac Campanile, Peter Franc, Nolan DeMarco McGahan, Emily Proctor

Premiere: July 12, 2011, Aspen Santa Fe Ballet at Wolf Trap in Vienna, Virginia.

Aspen Santa Fe Ballet’s production of Over Glow was commissioned by the Wolf Trap Foundation for the Performing Arts, with additional support by Kelli and Allen Questrom.

INTERMISSION

Beautiful Mistake ASFB-Commissioned Work

Choreography: Cayetano Soto Music: Ólafur Arnalds and Charles Wilson Costume Design: Nete Joseph Lighting Design: Seah Johnson

Katherine Bolaños, Craig Black, Paul Busch, Samantha Klanac Campanile, Peter Franc, Nolan DeMarco McGahan, Emily Proctor, Seia Rassenti, Joseph Watson

Premiere: July 6, 2013, Aspen Santa Fe Ballet in Aspen, Colorado.

Aspen Santa Fe Ballet’s production of Beautiful Mistake is made possible through the generosity of Toby Devan Lewis.

INTERMISSION Square None ASFB-Commissioned Work

Choreography: Norbert De La Cruz III Music: Alva Noto and Ryuichi Sakamoto, Michelle Ross, George Frederic Handel and Aphex Twin Costume Design: Austin Scarlett Lighting Design: Seah Johnson

Corwin Barnette, Sadie Brown, Paul Busch, Peter Franc, Emily Proctor, Seia Rassenti, Joseph Watson

Premiere: April 13, 2012, Aspen Santa Fe Ballet in St. Louis, Missouri.

Aspen Santa Fe Ballet’s production of Square None was made possible by the Jerome Robbins Foundation’s New Essential Works Program with additional support by Dr. Dan Luedke, in honor of his wife Dr Susan Luedke.

ASPEN SANTA FE BALLET

Ballet’s dynamic story in the American West In 1996, Aspen Santa Fe Ballet Founder Bebe Schweppe invited Tom Mossbrucker and Jean-Philippe Malaty to create a ballet company in Aspen, Colorado. A unique multidimensional arts organization developed rapidly from the ballet school Schweppe had established in the Rocky Mountains. “Bebe’s vision for Aspen to have its own ballet company was the project of a lifetime,” says Malaty, ASFB’s executive director. “We embarked together on a serendipitous adventure. Eighteen years later, the connec- tion between the dancers and our two communities is deep and inextri- cable.”

Forging a new frontier The company began modestly with six dancers. Growth was organic. Friends in the field—Gerald Arpino, Trey McIntyre, Septime Webre, Dwight Rhoden—offered start-up repertoire. Moses Pendleton’s highly popular Noir Blanc was a seminal event for the young ASFB. It launched a tradi- tion of commissioning new works. An open, exploratory style emerged as Mossbrucker and Malaty tapped the creative scene in Europe where classical ballet was breaking from its boundaries. The athletic and adventurous American dancers found themselves at a crossroads of dance history. The divide between ballet and modern dance was beginning to dissolve. Innovative business model In 2000, the Aspen-based ballet company forged a dual-city relatioship with Santa Fe, New Mexico, broadening its scope and lending crucial rev- enue diversification. Under this hybrid business model, a roster of arts activities took wing year-round in both cities. Performance, education, presentation, and community outreach all joined in the mix. Within this innovative structure, ASFB anticipates its twentieth anniversary season in 2015–2016.

New commissions ASFB’s mission places highest priority on developing new choreography and nurturing relationships with emerging choreographers. The company fostered the early careers of now in-demand global dance makers—Nicolo Fonte (nine commissioned Fonte works in the ASFB repertoire), Jorma Elo (three commissioned Elo works), Edwaard Liang, Jacopo Godani, Helen Pickett, Cayetano Soto, Alejandro Cerrudo, and others. Works by late twentieth-century masters—William Forsythe, Jiří Kylián, Twyla Tharp— round out the repertoire. “We value building relationships with choreographers who become integral to the company. The natural beauty of our surroundings has a profound impact on creativity and our choreographers find it inspiring to create here,” says Mossbrucker, ASFB’s artistic director.

National reputation Based for eighteen years in the American West, ASFB now sits at the vanguard of its field, brandishing a strong national reputation. Repeat engagements at the American Dance Festival, Harris Theater for Music and Dance, Jacob’s Pillow Dance Festival, Joyce Theater, The Kennedy Center, Saratoga Performing Arts Center, and Wolf Trap testify to the company’s popularity and ability to please audiences. Overseas invitations arrived and ASFB embarked on international tours to Brazil, Canada, France, Greece, Guatemala, Israel, Italy, and Russia. Premier funders—National Endowment for the Arts, Joyce Foundation, Wolf Trap Foundation, Dance St. Louis, Jerome Robbins Foundation, and Princess Grace Foundation—have supported ASFB’s growth.

Flamenco joins the fold In January 2014, ASFB announced with pride the addition of Juan Siddi Flamenco Santa Fe under its arts management umbrella. The collaboration with the seven-year-old flamenco company provides the benefits of econ- omies of scale and other business synergies, as well as a simpatico artistic alliance. The addition of Juan Siddi Flamenco Santa Fe is a further expression of ASFB’s core mission. It represents an opportunity to celebrate cul- tural heritage, expand diversity, serve as a catalyst for new ventures, and play a role in fortifying a heritage art form.

Accolades and into the future In recognition of their pioneering and innovative model for American dance, Mossbrucker and Malaty were honored by the Joyce Theater Foun- dation with the Joyce Theater Award in 2010. The 2014–2015 season sees the company’s return engagements in Denver, Pittsburgh, Tucson, and debuts in Akron, Ohio; East Lansing, Michigan; State College, and San Antonio, as well as the Canadian capital, Ottawa. The company anticipates its seventh presentation at New York’s Joyce Theater. The fast-evolving company looks to a bright future with energy and optimism.

BIOGRAPHIES Bebe Schweppe, founder, due in large part to Jean-Philippe grew up in Augusta, Georgia. She and Tom,” she says. “Their strength started dancing at the age of 7 at has been in their unique ability to the Georgia Dance Theatre under perceive and design a repertoire Frankie Levy. She was invited by that entertains all parts—whether Robert Joffrey to study at his it’s the audience or the dancer.” school in New York on a full schol- arship at age 11. Schweppe moved “I am thankful that I had the dream to Aspen, Colorado, in 1975 and and was lucky and persistent fifteen years later founded the enough to convince J. P. and Tom Aspen Ballet School. Her pres- to relocate from New York City,” ence was a catalyst in the region. she continues. “Never did I imagine In 1996, she invited Jean-Philippe that one day the company would Malaty and Tom Mossbrucker be performing nationally and inter- to develop a small professional nationally, and never did I imagine company in Aspen. Through their that one day they would be per- combined energies, the Aspen forming works by internationally Ballet Company was born a year famous choreographers. Although later. Shortly after, new performing I had the dream, I never imagined opportunities beckoned in Santa so much. I feel very lucky.” Fe, upon which the company was renamed Aspen Santa Fe Ballet. Jean-Philippe Malaty, executive director, was born in the Basque Schweppe speaks with pride when region of France. After receiv- she considers the changes that ing his baccalaureate in dance, have occurred over the years to he accepted scholarships to her “baby.” study at Mudra—Maurice Béjart’s school in Brussels, Belgium—and “The Company has evolved to at John Cranko’s ballet academy having earned a name of its in Stuttgart, Germany. Invited by own—ASFB. What a treat! It is acclaimed instructor David Howard recognized by other artists and to study in New York, Malaty trav- respected by all. This is, of course, eled to America under Howard’s tutelage. Malaty’s performance sharing two homes. In his role, career began with Joffrey II. He Mossbrucker cultivates sophisti- also danced as a guest artist with cated and challenging works of the Los Angeles Classical Ballet, contemporary ballet. His shining Ballet Hispanico, and the Lyric achievement is ASFB’s roster of Opera of Chicago. He then segued twenty-seven ballets created on from the stage to an administrator commission by leading global cho- role. A key member of Aspen Santa reographers. Mossbrucker began to Fe Ballet’s start-up team, Malaty dance at age 4, studying tap in his has been central to developing the hometown of Tacoma, Washington. company’s unique dual-city based He pursued classical ballet training hybrid business model. He directs at the School of American Ballet operations in two locations and and the Joffrey Ballet School in oversees a $4 million budget that New York City. He spent twenty he allocates to the company, two years as a principal dancer with schools, an esteemed presenting the Joffrey Ballet, performing in series, and an award-winning folk- more than seventy ballets under loric outreach program. the direct coaching of founders Robert Joffrey and Gerald Arpino. Malaty’s first love is teaching. When Mossbrucker danced in ballets his schedule permits, he conducts by many great twentieth-century master classes at schools and choreographers, including Fredrick universities. In 2013, he shared an Ashton, George Balanchine, Laura honor with Artistic Director Tom Dean, William Forsythe, Jiri Kylián, Mossbrucker when the Santa Fe Mark Morris, Paul Taylor, and Twyla Community Foundation bestowed Tharp. Signature roles included its Piñon Award on the company. Iago in Jose Limon’s The Moor’s In 2012, the Denver Bonfils-Stanton Pavane, Champion Roper in Agnes Foundation granted Malaty a Liv- DeMille’s Rodeo, Billy in Eugene ingston Fellowship in recognition Loring’s Billy the Kid, and Romeo of his significant leadership role in John Cranko’s Romeo and Juliet. in Colorado’s non-profit sector. In In 2013, Mossbrucker shared an recognition of ASFB’s contribu- honor with Executive Director tion to the field of dance, Malaty Jean-Philippe Malaty when the and Mossbrucker were honored Santa Fe Community Foundation with the Joyce Theater Founda- bestowed its Piñon Award on tion Award in 2010. A naturalized the company and in 2010 when U.S. citizen, Malaty is proud to ASFB was honored with the Joyce have forged a company alive with Theater Foundation Award. A for- American energy, invention, and mer board member of Dance USA, eclecticism. Mossbrucker serves on the board of The Gerald Arpino and Robert “Dance is a celebration of the Joffrey Foundation. human spirit, and not a celebration of steps. Here at Aspen Santa Fe “We strive for continuity and enjoy Ballet, we foster the spirit and the bringing choreographers back to love of dance,” Malaty says. create second and third works ... . To us that is success,” Mossbrucker Tom Mossbrucker, artistic direc- says. tor, has for seventeen years built a prestigious arts organization studio gives the freedom to grow DANCERS artistically. On stage, I feel like I’m Corwin Barnette began dancing in a different world,” Bolaños says. in his hometown of Mesa, Arizona. Sadie Brown, in her second sea- While in high school, he performed son with ASFB, began to dance across the United States, Europe, in her hometown of Evansville, and China. He received national Indiana. She also studied at the recognition including New York Boston Ballet School, The HARID City Dance Alliance’s Outstanding Conservatory, and the Walton Dancer award. Most recently, School for Girls in Grantham, Barnette earned his bachelor England. Brown performed for of fine arts in dance from The three seasons with the Grand Juilliard School. He is excited to be Rapids Ballet and as a guest art- joining ASFB for his first season. ist with Evansville Dance Theater, Craig Black is in his fourth sea- Evansville Ballet, and Michigan son with ASFB. The California Classic Ballet. Her guesting with native was the captain of his high Ballet Bratislava took her to school’s nationally ranked dance Slovakia and Austria. “The dancers team. Black earned his bachelor of have been extremely welcoming, fine arts from The Juilliard School, and it’s a wonderful work environ- where he was awarded the 2010 ment. Some days it feels like you Princess Grace Award in dance. aren’t even coming to work; you’re He won the 2011 Lorna Strassler just showing up with a group of Award for Student Excellence at people who love to dance,” Brown Jacob’s Pillow Dance Festival. says. Black’s summer programs were Paul Busch is in his fourth sea- at Springboard Danse Montréal, son with ASFB. Born in Romania, Nederlands Dans Theater, and the Busch began dancing with the Pillow. “We are all super involved. Dayton Ballet. He earned his high We all love what we do. At first, a school diploma from Interlochen new piece is overwhelming. I love Arts Academy in Michigan and the challenge in that. It gives me his bachelor of fine arts in dance the push I need to step it up to the from The Juilliard School. Busch’s next level,” Black says. musical background led him to Katherine Bolaños, a native of dance. “As a pianist, I studied the Oklahoma City, is in her eleventh Suzuki method. Listening to music, season with ASFB. Bolaños began I started to move and fell in love her professional career with Ballet with dance. But now that I’m a Oklahoma, where she remained dancer, I could never go back to for seven years performing mostly just playing piano. I see myself as a classical roles. As a guest art- musician who dances,” Busch says. ist with the Los Angeles Ballet Samantha Klanac Campanile Ensemble, she toured extensively enjoys the honor of being the in Taiwan and China. “I love the company’s most longstanding partnering in contemporary work member, now in her fourteenth and moving in a way that’s very season with ASFB. Campanile slow, expressive, and creature-like. has originated roles in creations I enjoy rehearsing in the studio as by Jorma Elo, Nicolo Fonte, and much as performing on stage. The Cayetano Soto. Growing up in Austin, Pacific Northwest Ballet, Buffalo, New York, she trained at and Boston Ballet. He earned his the American Academy of Ballet, bachelor of fine arts in dance from The Chautauqua Institute, NYSSA, The Juilliard School. “I’ve had and the School of American Ballet. amazing opportunities at ASFB. She began her college education I got to work with the original at SUNY Purchase, but earned her group—Seth, Sam, and Katie. It bachelor of fine arts from SUNY shaped me as a young dancer. I Empire State College. “The beauty learned from their maturity, pro- of dance is that the challenge is fessionalism, and real artistry,” always there. We’re always learn- McGahan says. ing, and no two performances are alike. The company has evolved in Emily Proctor, a graduate of The many wonderful ways while I’ve Juilliard School, is marking her been here. I feel lucky to be a part eighth season with ASFB. A native of it,” Campanile says. of Raleigh, North Carolina, Proctor trained at the North Carolina Peter Franc is in his third sea- School of the Arts. Prior to join- son with ASFB. Franc’s first ing ASFB, she had the opportu- teacher was Maniya Barredo at nity to tour with Hell’s Kitchen Metropolitan Ballet Theatre in Dance in Aszure Barton’s Come In, Atlanta. After high school train- which starred Mikhail Baryshnikov. ing at the Louisville Ballet School, Proctor was selected as one of he moved to the Houston Ballet Dance Magazine’s “25 to Watch” Academy, eventually joining the in 2010. “I just had career-saving Houston Ballet, where he danced foot surgery that went well. I’m so for seven years. He reached the grateful to be back doing what I rank of demi-soloist performing love, which gives my life a wonder- in works by George Balanchine, ful sense of purpose,” Proctor says. Christopher Bruce, Jorma Elo, Nicolo Fonte, Jiří Kylián, Jerome Seia Rassenti, in her sixth sea- Robbins, Stanton Welch, and son with ASFB, danced with Christopher Wheeldon. “I like the Flamenco Y Mas as a youngster demand dance puts on my body, in Arizona, then trained in ballet finding a coordination it never with Linda Walker at the Tucson found before. The feeling that I’m Regional Ballet. After graduat- at my limit gives me a high. I’m ing from the Kirov Academy of pushed by the good competition Ballet in Washington, D.C., she here. Everyone is really gifted,” danced with North Carolina Dance Franc says. Theatre, where she worked with Dwight Rhoden. “I feel most Nolan DeMarco McGahan, a comfortable in the contemporary native of Dallas, has danced with mode. I trained classically because ASFB for eight seasons. McGahan I knew it would help me become a trained at Ballet Academy of Texas better dancer. But I really love the and then with Fernando Bujones freedom and personal expression at the Orlando Ballet School. A of the work we do here. I found my graduate of Booker T. Washington niche,” Rassenti says. High School of the Performing and Visual Arts, McGahan attended summer programs with Ballet Joseph Watson, in his sixth from 1978 to 1984 and the Cullberg season with ASFB, began for- Ballet from 1984 to 1990. For the mal dance training at T.W.I.G.S. Boston Ballet, Elo has created six (To Work In Gaining Skills), a world premieres: Sharp Side of respected after-school program in Dark (2002), Plan to B (2004), his hometown of Baltimore. After Carmen (2006), Brake the Eyes graduating from the Baltimore (2007), In on Blue (2008), and Le School for the Arts, Watson Sacre du Printemps (2009). Elo’s attended The Juilliard School, From All Sides debuted in 2007 earning a bachelor of fine arts for Hubbard Street Dance Chicago, in dance. He was a member of set to a commissioned score from North Carolina Dance Theatre Chicago Symphony Orchestra’s before joining ASFB. “I try not to Mead Composer-in-Residence overthink a performance. I just Mark Anthony Turnage and con- tell myself that I’m about to go ducted by Maestro Esa-Pekka on stage to do what I love. I love Salonen. Elo has received commis- the Zen feeling I get when I’m out sions from the Netherlands Dance there,” Watson says. Theatre 1, Basel Ballet, Houston Ballet, Royal Danish Ballet, Norwegian National Ballet, Finnish CHOREOGRAPHERS National Ballet, Royal Ballet of Flanders, Stockholm 59° North, Finnish-born Jorma Elo is one Alberta Ballet, Staatstheater of the most sought-after chore- Nurnberg, ASFB, and Ballet X. He ographers in the world. He was is also a skilled designer of cos- named resident choreographer tumes, lighting, and video effects. of the Boston Ballet in 2005 and The 2005 Helsinki International was singled out as a “talent to Ballet Competition awarded Elo a follow” by Anna Kisselgoff in choreographic prize. He is also the her 2004 year in review for The recipient of the Prince Charitable New York Times. It was an astute Trust Prize and the Choo-San Goh observation. He has since created Choreographic Award. Dance numerous works in the United Magazine (April 2007) featured States and internationally, includ- Elo on the cover; Pointe Magazine ing Slice to Sharp for New York named him a “Dance VIP” of 2006, City Ballet; Glow-Stop and C. to and Esquire named him a “Master C. (Close to Chuck) for American Artist” in 2008. Ballet Theatre; Double Evil for San Francisco Ballet; Carmen Cayetano Soto was born in for Boston Ballet; A Midsummer Spain in 1975. He started his dance Night’s Dream for Vienna State education in his hometown of Opera Ballet; Pur ti Miro for Barcelona at the Institut del Teatre National Ballet of Canada; 10 to and continued his studies at the Hyper M for Royal Danish Ballet; Koninklijk Consevatorium in The and Offcore for Finnish National Hague. After receiving his degree Ballet. Elo trained with the Finnish in classical dance, Soto signed his National Ballet School and the first professional contract with IT Kirov Ballet School in Leningrad. Dansa in Barcelona, before join- Prior to joining the Netherlands ing the Ballet Theater Munich in Dance Theater in 1990, he danced 1998 under the artistic direction with the Finnish National Ballet of Philip Taylor. Soto created several successful ballets and one of Royal Ballet of Flanders awarded his first signature pieces, Fugaz, Soto with first place for his bal- for the Ballet Theater Munich. In let 24FPS. Canela Fina, commis- September 2005, he became a sioned by Bale da Cidade de Sao freelance choreographer. Since Paulo, was awarded best dance then, he has collaborated with the production in 2008 by a Brazilian following international companies: newspaper. In 2011, he was nomi- Stuttgarter Ballet, Royal Ballet of nated for the Golden Mask Award Flanders, Balé da Cidade de Sao in Russia for his choreography for Paulo, BJM Montreal, Introdans, Uneven. Soto lives in Munich. Introdans voor de Jeugd, Gauthier Dance Company, Companhia Norbert De La Cruz III, born Nacional de Bailado, Perm Opera in the Philippines and raised in and Ballet Theater, Návodní Los Angeles, began his artistic Divadlo Brno, ASFB, Tanz Luzern journey at age 13. He trained at Theater, and Northwest Dance the Gabriella Axelrad Education Project in Portland. He created Foundation; studied at The LA several ballets for German com- County High School for the Arts, panies, including Staatstheater American Ballet Theatre NYC, San Braunschweig, Augsburg Francisco Ballet, Miami City Ballet, Ballett, Ballett in Revier, Ballett Lines Ballet, Netherlands Dans Dortmund, and Mecklenburgisches Theatre Dance Course; and gradu- Staatstheater Schwerin. In ated from The Juilliard School with Schwerin, he created his first a bachelor of fine arts in dance. full-evening ballet, A Midsummer He has danced professionally with Night’s Dream, with choreogra- Aszure Barton & Artists, Balletto pher Annet Göhre. In 2009, he Teatro di Torino, Gallim, Sydney began a collaboration with ASFB Skybetter & Associates, Lustig and Introdans Ensemble voor de Dance Theatre, and ASFB. As jeugd. He created a new full-eve- an emerging choreographer and ning version of Carmen for Ballet performing artist, De La Cruz III Dortmund. Due to the success in was awarded the Jerome Robbins Dortmund, Národní Divadlo Brno Foundation’s NEW Essential Works in the Czech Republic decided to Grant; the winner of Hubbard stage his Carmen in 2010. Besides Street 2’s National Choreographic these works, he choreographed Competition and has recently for four dancers in the Church of received the 2012 Princess Grace St. Egidean in Nürnberg, dancing Foundation Award under chore- Mozart´s Mass in C-minor with Life ography—premiering his first com- Orchestra. Fascinated by the fash- mission with ASFB, Square None. ion label Talbot Runhof, he started He continues to pursue his passion to collaborate with the designer on in choreography and movement several projects. Runhof designed invention. He strives to continue the costumes for Carmen, and dancing with a high emphasis on Soto choreographed a new solo his artistry as a means to tran- to present their new collection scend a positive creative change at Fashion Week in Paris. The in our world. costumes of Sortijas, for Ballet Hispanico of New York, will also be designed by the duo. The 2006 choreographic competition of the