DOCSLIB.ORG

San Francisco Ballet Directors: Lew Christensen, Michael Stnuin the Most Exciting Floor Show in Brooklyn Is Playing on Fulton Street

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
San Francisco Ballet Directors: Lew Christensen, Michael Stnuin the Most Exciting Floor Show in Brooklyn Is Playing on Fulton Street Am BROOKLYN ACADEMY OF MUSIC AMA ... gg5POPPOilm°111 SFB . 4111. ,,....... _ ....... 41 II. San Francisco Ballet Directors: Lew Christensen, Michael Stnuin The most exciting floor show in Brooklyn is playing on Fulton Street. I NOW PLAYING Eno r CATCH THE SHOW STARRING AT A&S Ammo= ....)1111 - - 4 - 3, 416 ',V . r 1100.40. I, or. ASS Brooklyn has eight floors that offer continuous entertainment seven days a week. Our headliners range from show-stopping dresses to sit down dining that will make you stand uo and cheer. The list of attractions also includes Ken's Food Basket on Five for gourmet delicacies, Glemby Beauty Salon on Six, the Entertainment Center on the mezzanine and countless other services to serve you. And the neighbor- hood ASS lives in lets a store that has it all give you even more. Within walking distance of our Fulton Street home, BAM has emerged as a prestigious entertainment complex and nearby Atlantic Avenue has blossomed into a dynamic area for shops and restaurants for every taste. And when you want to catch your breath, take in the breathtaking view from the Promenade in Brooklyn Heights. When you shop at ASS, there's more in store for you than just our store. Because when you catch our show, there are some great supporting acts waiting in the wings. Abraham and Straus 117p, oca--/-7 BAM BROOKLYN ACADEMY OF MUSIC October 26 through November 5, 1978 Opera House SAN FRANCISCO BALLET Directors: Lew Christensen, Michael Smuin Artists of the Company Damara Bennett Vivian Little Tina Santos Madeleine Bouchard Susan Magno Don Schwennesen Val Caniparoli Dennis Marshall Jim Sohm Gardner Carlson John McFall Robert Sund Evelyn Cisneros David Mc Naughton Michael Thomas Janne Clement Diana Meistrell Elizabeth Tienken Laurie Cowden Lynda Meyer Paula Tracy Allyson Deane Cynthia Meyers Vane Vest Nancy Dickson John Mourelatos Gary Wahl Betsy Erickson Gina Ness Diana Weber Attila Ficzere Anita Paciotti Jerome Weiss Alexander Filipov Zoltan Peter Deborah Zdobinski Victoria Gyorfi Roberta Pfeil Jamie Zimmerman Tornm Ruud Ballet Master Regisseur Robert Gladstein Virginia Johnson Regisseur Richard L. Cammack Music Director and Conductor Conductor Denis deCoteau Jean-Louis Le Roux Lighting Director Company Physician F Sara Linnie Slocum Dr. John N. Callander Company Instructors Richard Gibson Sue Loyd Sally Streets This program it made possible in part by public funds from the National Endowment for the Arts, a federal agency, and the New York State Council on the Arts. AIM 11;thilis; Itmai Whib-U- Wait! ^A,L7aa= Nr. - INSTANT PIP PRESS WORLD'S LARGEST PRINTING CHAIN 5 EAST 47, STREET NEW YORK NY. 10017 ( 212 , 486-0280 Pavlova Partums by Payot Paris EJIE HOLTZMAN PLYMOUTH PRINTING co. INC 450 North Avenue Cranford NJ. 07016 NJ 201.2768100 NY. 212.675-8370 HOWARD D. AUERBACH A note from the Benefit Chairman ... I would like to take this opportu- nity to personally thank Edward "Ai . Gallagher and Douglas Hoffman who were in charge of the Decora- ting Committee, Mitch Grant for rt- putting together the slide show, and numerous others whom I cannot mention here. A special vote of gratitude goes to Frank McGourty ;- -- and Carey Finkelstein at Les Mouches. I would also like to thank Tom Dorsey for his patience and help in putting this Gala together. Tom Gracianette SAN FRANCISCO BALLET Dear Friends: ti It gives me great pleasure to welcome you on behalf of the San Francisco Ballet Associ- VN ation to our New York performances. We are very proud to be making our first appear- ance here in over a decade under the distin- guished auspices of the Brooklyn Academy of Music. The growth of the Company and its re- pertory, under the guidance of our Directors, Lew Christensen and Michael Smuin, has been a source of pride. We are fortunate in Dear Friends: having six resident choreographers contribu- ting to the development of a unique reper- This is an exciting time in the history of toire. Administratively we are in sound the San Francisco Ballet and we are delighted to be able to share our hopes and enthusiasm condition. We are now perceived as an im- with our friends and supporters in New York. portant artistic resource, not only in our own The artistic philosophy of the San Fran- community, but all across the country. cisco Ballet has evolved through a desire to We are delighted to be here and I know honor the legacy of the European classical that our Artists, our Board of Trustees and ballet traditions, handed down to us by the the members of our staff join me in wishing teachers and choreographers who brought you a very enjoyable season with our beauti- those traditions to America, and to develop ful Company. our own talents to carry on that tradition. company, lies in Our future, like that of any Sincerely yours, our creativity. We are very fortunate, in this regard, to have six resident choreographers creating new works every season, a company . of forty dedicated dancers who give life to the choreographers' vision, and an excellent Richard E. LeBlond, Jr. school which provides our classical foundation. President and General Manager We feel that today our single most impor- tant contribution to ballet is the building of a repertoire unique to the San Francisco Ballet. A repertoire unique not only in choreography, but in design, production and music as well. Here in New York for the first time in over a decade we will present three different programs including nine New York premieres and the full-length "Romeo and Juliet," seen on national television last June as part of WNET's "Dance in America" series. During our 1979 Repertory Season we will present for the first time five world pre- mieres of works by our resident choreo- graphers with commissioned scores by Ameri- can composers. Our thanks to you for helping to make it all possible. O Lew Christensen Michael Smuin Directors 0767194, c.*:'orrie hurts the situ-Rimy terfirmance ifthe Otirn c.--1-"rancisco mallet ie eor 6/tri4if 733 madison avenue, new york, 140 maiden lane, san francisco. THE PROGRAM AP- Thursday , October 26, 1978, 7,00pm (See following papas for October 28 and November 5 programs.) Linterth. BEETHOVEN QUARTETS '1:1EMEZE3 (1977) RESTAURANT New York Premiere CATERERS /BAKERS Choreography John McFall Music Ludwig van Beethoven* BREAKFAST Costumes designed by Victoria Gyorfi LUNCHEON Lighting Designer Sara Linnie Slocum Costumes executed by Patricia Polen DINNER String Quartet Roy Malan, First Violin AFTER BAM SNACKS Miriam Dye, Viola SUNDAY BRUNCH Alexander Horvath, Second Violin 8, DINNER Richard Eade, Cello OPEN DAILY & SUN The Ensemble from 630 AM 'SI 130 AM; FRI 10 3 AM, SAT to a AM Variations All Baking Done Variation I on Premises Madeleine Bouchard Allyson Deane Betsy Erickson Diana Meistrell Roberta Pfeil Deborah Zdobinski OUR BURGUNDY 1 BANQUET ROOM Variation!! Available for Private Parties for up to 200 Victoria Gyorfi Jerome Weiss CALL Variation III 852-5257 Pseud A. Tina Santos Tomm Ruud Don Schwennesen Robert Sund st Neat Ave., Bklys e Variation I ExpreSS Gary Wahl ONLY 3 BLOCKS Variation V FROM BAM Madeleine Bouchard Diana Meistrell Gary Wahl Deborah Zdobinski Jamie Zimmerman Presto BROOKLYN Victoria Gyorfi David McNaughton Tina Santos Adagio HAS IT ALL! First Couple Roberta Pfeil, Jim Sohm CALL US FOR Second Couple Allyson Deane, Tomm Ruud FREE ASSISTANCE Third Couple Betsy Erickson, Vane Vest WE'LL HELP YOU LOCATE IT NEW YORK YELLOW PAGES, INC .Quartet No. 5 In A Major, Opus 18, NO 5 Quartet N. 13 in B Major, Opos 130 aLuf BOOKS Quartet No. 9 in C Major, Opus 59, No. 3 cityphonee INTERMISSION 675.0900 Call After 10 A.M. Weekdays Continued on ne. pope 0046 FBAM's Sale Price Mailing List great I n you're already on the BAM mailing list you know the value of receiving RAM's sale priced ticket offers. If you're not, why not fill oral the blank below and hand .1 to estaurant) I the nearest usher or mail it to BAM from you're home. Once you do we send you ad vance notification of BAM events. plus special opportunities to save up to 50, on Our just across from BAM top onus. seats. tel: 855-4830 I Name UL8-2000 IAddress OW State Zip open daily for lunch and dinner here's my new address. I Ii I I'm already on your mailing list, but till 9 P.M. Return to, BAM Mailing List Italian and American Cuisine 30 Lafayette Ave., Brooklyn, N.Y. 11217 special orders upon request L THE PROGRAM STRAVINSKY PAS DE DEUX (19761 ea mperdown New York Premiere Elm Choreography Lew Christensen Music Igor Stravinsky' Enjoy fine food & Lighting Designer Parker Young Conductor Denis deCoteau drink in a delightful atmosphere Susan Magno and David McNaughton 'Four Norwegian Moods for Orchestra: I ntrada, Song, Wedding Dance, Cortege Brunch, Sun 11:30-3 Dinner, Mon-Sat PAUSE 5 to midnight. Sun 4-11 SHINJO (1975) New York Premiere Reservations Suggested Based on an ancient Japanese legend by Chikamatsu This ballet is dedicated to the continuance and growth of cultural exchange between 847 Union Street Japan and America. Off 7th Avenue in Park Slope Choreography Michael Smuin Music Paul Seiko Chihara. Scenery and Costumes Willa Kim (212) 638-0860 Costumes executed by Ray Diffen Studios Lighting Designer Jennifer Tipton Conductor Denis deCoteau lin order of appearance) Tina Santos Gary Wahl Paula Tracy Robert Sund Allyson Deane Elizabeth Tienken Laurie Cowden Gina Ness John McFall Gardner Carlson Jerome Weiss Val Caniparoli Jim Sohm VISM.4.0StiStaill 'Cant. Vocal and Hichi-Riki Solo by Suenobu Togi Electronic Music Engineer James Cooper lust a few blocks from BAM) Music commissioned by Mr.
Load more

Recommended publications
  • Season Brochure
    Thirtieth Anniversary Season Pontecorvo ballet studios Barbara Pontecorvo Director Classes Start August 23, 2021! This is Where It Begins Our Covid-19 Plan Welcome back to Pontecorvo Ballet Studios for the 21-22 Season! We continue to follow all local, state and federal rules to keep your dancer and our staff safe. Happily, all teens and adults can easily get vaccinated now, and we hope you do. Vaccines are not available for our many sttudents under 12, so to keep them safe masks continue to be required in the building unless (1) you are in a studio where all dancers are 12 or older AND (2) you are fully vaccinated. Masks are still required for all in the lobby, restrooms and dressing areas regardless of vaccination status,and in the stu- dios for any dancer not vaccinated. In addition, we will continue our regimen of increased venti- lation and extra cleaning of touch services. We implemented mask requirements and other steps when we reopened in June 2020 and are happy to say that, as of July 2021, there has been, to our knowledge, NO in-studio transmis- sion of COVID-19 disease. We are so proud of our dancers and how they adapted,following all guidelines and keeping everyone safe and healthy. We urge everyone to get vaccinated as soon as they can. This is Where It Begins... - a chance to try -an opportunity to be your best -a life-long love of music -everlasting friendships -an understanding of your human body -toned muscles and good posture Pontecorvo Ballet Studios - enjoyment of regular exercise 20 Commercial Way -a well-rounded education Springboro OH 45066 -a love of performing -the end of stage fright For more information call -a career in ballet -the dream.
    [Show full text]
  • Nutcracker December 1–4, 2016
    ASHLEY WHEATER ARTISTIC DIRECTOR PREVIEW PERFORMANCES CHRISTOPHER WHEELDON’S NUTCRACKER DECEMBER 1–4, 2016 OPENING SEASON 2016/2017 Great Artists. Great Audiences. Hancher Performances. ASHLEY WHEATER ARTISTIC DIRECTOR GREG CAMERON EXECUTIVE DIRECTOR ROBERT JOFFREY FOUNDER GERALD ARPINO FOUNDER ARTISTS OF THE COMPANY MATTHEW ADAMCZYK DERRICK AGNOLETTI YOSHIHISA ARAI AMANDA ASSUCENA ARTUR BABAJANYAN EDSON BARBOSA MIGUEL ANGEL BLANCO ANAIS BUENO FABRICE CALMELS RAÚL CASASOLA VALERIIA CHAYKINA NICOLE CIAPPONI LUCIA CONNOLLY APRIL DALY FERNANDO DUARTE CARA MARIE GARY STEFAN GONCALVEZ LUIS EDUARDO GONZALEZ DYLAN GUTIERREZ RORY HOHENSTEIN ANASTACIA HOLDEN DARA HOLMES RILEY HORTON VICTORIA JAIANI HANSOL JEONG GAYEON JUNG YUMI KANAZAWA BROOKE LINFORD GRAHAM MAVERICK JERALDINE MENDOZA JACQUELINE MOSCICKE AARON RENTERIA CHRISTINE ROCAS PAULO RODRIGUES CHLOÉ SHERMAN TEMUR SULUASHVILI OLIVIA TANG-MIFSUD ALONSO TEPETZI ELIVELTON TOMAZI ALBERTO VELAZQUEZ MAHALLIA WARD JOANNA WOZNIAK JOAN SEBASTIÁN ZAMORA SCOTT SPECK MUSIC DIRECTOR GERARD CHARLES DIRECTOR OF ARTISTIC OPERATIONS NICOLAS BLANC BALLET MASTER/PRINCIPAL COACH ADAM BLYDE SUZANNE LOPEZ BALLET MASTERS PAUL JAMES LEWIS SENIOR PIANIST/MUSIC ADMINISTRATOR GRACE KIM MATTHEW LONG COMPANY PIANISTS Patrons are requested to turn off pagers, cellular phones, and signal watches during performances. The taking of photographs and the use of recording devices are not allowed. Artists subject to change. 3 4 HANCHER 2016/2017 SEASON SPONSOR WEST MUSIC HANCHER SPONSORS OF THE NUTCRACKER SUE STRAUSS RICHARD
    [Show full text]
  • Study Guide for Teachers and Students
    Melody Mennite in Cinderella. Photo by Amitava Sarkar STUDY GUIDE FOR TEACHERS AND STUDENTS 1 TABLE OF CONTENTS PRE AND POST-PERFORMANCE ACTIVITIES AND INFORMATION Learning Outcomes & TEKS 3 Attending a ballet performance 5 The story of Cinderella 7 The Artists who Created Cinderella: Choreographer 11 The Artists who Created Cinderella: Composer 12 The Artists who Created Cinderella Designer 13 Behind the Scenes: “The Step Family” 14 TEKS ADDRESSED Cinderella: Around the World 15 Compare & Contrast 18 Houston Ballet: Where in the World? 19 Look Ma, No Words! Storytelling in Dance 20 Storytelling Without Words Activity 21 Why Do They Wear That?: Dancers’ Clothing 22 Ballet Basics: Positions of the Feet 23 Ballet Basics: Arm Positions 24 Houston Ballet: 1955 to Today 25 Appendix A: Mood Cards 26 Appendix B: Create Your Own Story 27 Appendix C: Set Design 29 Appendix D: Costume Design 30 Appendix E: Glossary 31 2 LEARNING OUTCOMES Students who attend the performance and utilize the study guide will be able to: • Students can describe how ballets tell stories without words; • Compare & contrast the differences between various Cinderella stories; • Describe at least one dance from Cinderella in words or pictures; • Demonstrate appropriate audience behavior. TEKS ADDRESSED §117.106. MUSIC, ELEMENTARY (5) Historical and cultural relevance. The student examines music in relation to history and cultures. §114.22. LANGUAGES OTHER THAN ENGLISH LEVELS I AND II (4) Comparisons. The student develops insight into the nature of language and culture by comparing the student’s own language §110.25. ENGLISH LANGUAGE ARTS AND READING, READING (9) The student reads to increase knowledge of own culture, the culture of others, and the common elements of cultures and culture to another.
    [Show full text]
  • 2019-2020 Season Overview JULY 2020
    ® 2019-2020 Season Overview JULY 2020 Report Summary The following is a report on the gender distribution of choreographers whose works were presented in the 2019-2020 seasons of the fifty largest ballet companies in the United States. Dance Data Project® separates metrics into subsections based on program, length of works (full-length, mixed bill), stage (main stage, non-main stage), company type (main company, second company), and premiere (non-premiere, world premiere). The final section of the report compares gender distributions from the 2018- 2019 Season Overview to the present findings. Sources, limitations, and company are detailed at the end of the report. Introduction The report contains three sections. Section I details the total distribution of male and female choreographic works for the 2019-2020 (or equivalent) season. It also discusses gender distribution within programs, defined as productions made up of full-length or mixed bill works, and within stage and company types. Section II examines the distribution of male and female-choreographed world premieres for the 2019-2020 season, as well as main stage and non-main stage world premieres. Section III compares the present findings to findings from DDP’s 2018-2019 Season Overview. © DDP 2019 Dance DATA 2019 - 2020 Season Overview Project] Primary Findings 2018-2019 2019-2020 Male Female n/a Male Female Both Programs 70% 4% 26% 62% 8% 30% All Works 81% 17% 2% 72% 26% 2% Full-Length Works 88% 8% 4% 83% 12% 5% Mixed Bill Works 79% 19% 2% 69% 30% 1% World Premieres 65% 34% 1% 55% 44% 1% Please note: This figure appears inSection III of the report.
    [Show full text]
  • The Work of Committees in 2007
    House of Commons Liaison Committee The work of committees in 2007 Third Report of Session 2007–08 HC 427 House of Commons Liaison Committee The work of committees in 2007 Third Report of Session 2007–08 Report, together with appendices and formal minutes Ordered by The House of Commons to be printed 27 March 2008 HC 427 Published on 4 April 2008 by authority of the House of Commons London: The Stationery Office Limited £0.00 The Liaison Committee The Liaison Committee is appointed to consider general matters relating to the work of select committees; to advise the House of Commons Commission on select committees; to choose select committee reports for debate in the House and to hear evidence from the Prime Minister on matters of public policy. Current membership Mr Alan Williams MP (Labour, Swansea West) (Chairman) The Chairmen for the time being of the Select Committees listed below: Administration – Mr Frank Doran MP (Labour, Aberdeen North) Business and Enterprise – Peter Luff MP (Conservative, Mid Worcestershire) Children, Schools and Families – Mr Barry Sheerman MP (Labour/Co-op, Huddersfield) Communities and Local Government – Dr Phyllis Starkey MP (Labour, Milton Keynes South West) Culture, Media and Sport – Mr John Whittingdale MP (Conservative, Maldon and Chelmsford East) Defence – Mr James Arbuthnot MP (Conservative, North East Hampshire) Environmental Audit – Mr Tim Yeo MP (Conservative, South Suffolk) Environment, Food and Rural Affairs – Mr Michael Jack MP (Conservative, Fylde) European Scrutiny – Michael Connarty MP (Labour,
    [Show full text]
  • Monetary Policy Oversight in Comparative Perspective: Britain and America During the Financial Crisis
    Political Science and Political Economy Working Paper Department of Government London School of Economics No. 3/2014 Monetary Policy Oversight in Comparative Perspective: Britain and America during the Financial Crisis Cheryl Schonhardt-Bailey (LSE) Monetary Policy Oversight in Comparative Perspective: Britain and America During the Financial Crisis Cheryl Schonhardt-Bailey Government Department London School of Economics and Political Science Houghton Street London WC2A 2AE [email protected] http://personal.lse.ac.uk/schonhar/ This study examines deliberation on monetary policy oversight in the US and UK between 2006 and 2009. It employs reciprocity as the key criterion for judging the quality of monetary policy oversight deliberation (i.e., committee participants are expected to engage with one another, taking up and responding to the reasons offered by other participants). Using automated content analysis, the empirical finding is that reciprocity is clearly evident in the parliamentary oversight committee, but much less so in the two congressional committees. The two country cases represent very different approaches to legislative oversight, with the UK demonstrating a committee approach both in terms of the testimony of the monetary policy body and of the behaviour of the legislative committee, while the US demonstrates a focus on a series of individual contributions both from the Fed chairman and Members of Congress. In the US, this appears to allow greater scope to divert discussion away from the primary focus of hearings (i.e., monetary policy). 1 I. Introduction In normal economic times, clashes between politicians and central bankers in legislative oversight hearings on monetary policy are not typically considered worthy of headline news coverage.
    [Show full text]
  • The Shubert Foundation 2020 Grants
    The Shubert Foundation 2020 Grants THEATRE About Face Theatre Chicago, IL $20,000 The Acting Company New York, NY 80,000 Actor's Express Atlanta, GA 30,000 The Actors' Gang Culver City, CA 45,000 Actor's Theatre of Charlotte Charlotte, NC 30,000 Actors Theatre of Louisville Louisville, KY 200,000 Adirondack Theatre Festival Glens Falls, NY 25,000 Adventure Theatre Glen Echo, MD 45,000 Alabama Shakespeare Festival Montgomery, AL 165,000 Alley Theatre Houston, TX 75,000 Alliance Theatre Company Atlanta, GA 220,000 American Blues Theater Chicago, IL 20,000 American Conservatory Theater San Francisco, CA 190,000 American Players Theatre Spring Green, WI 50,000 American Repertory Theatre Cambridge, MA 250,000 American Shakespeare Center Staunton, VA 30,000 American Stage Company St. Petersburg, FL 35,000 American Theater Group East Brunswick, NJ 15,000 Amphibian Stage Productions Fort Worth, TX 20,000 Antaeus Company Glendale, CA 15,000 Arden Theatre Company Philadelphia, PA 95,000 Arena Stage Washington, DC 325,000 Arizona Theatre Company Tucson, AZ 50,000 Arkansas Arts Center Children's Theatre Little Rock, AR 20,000 Ars Nova New York, NY 70,000 Artists Repertory Theatre Portland, OR 60,000 Arts Emerson Boston, MA 30,000 ArtsPower National Touring Theatre Cedar Grove, NJ 15,000 Asolo Repertory Theatre Sarasota, FL 65,000 Atlantic Theater Company New York, NY 200,000 Aurora Theatre Lawrenceville, GA 30,000 Aurora Theatre Company Berkeley, CA 40,000 Austin Playhouse Austin, TX 20,000 Azuka Theatre Philadelphia, PA 15,000 Barrington Stage Company
    [Show full text]
  • The Portland Ballet Dances a Fairytale Holiday
    Contact: Cynthia Kirk [email protected] 503-330-1886 The Portland Ballet Dances a Fairytale Holiday Double Bill Includes World Premiere of John Clifford’s Tales from Mother Goose and His Wildly Popular The Enchanted Toyshop Portland State University Orchestra Plays Ravel and Rossini/Respighi’s Music Live at All Six Performances 5-Dollar-First-Show Presents Generous Holiday Gift to Portlanders The Portland Ballet Presents the World Premiere of John Clifford’s Tales from Mother Goose (2014) with his The Enchanted Toyshop (2003) in partnership with Portland State University Orchestra Performances Open Rehearsal F/Sa/Su, Nov 28/29/30, 1 & 5 PM Led by Artistic Director Nancy Davis Lincoln Hall, 1620 SW Park at Market TPB Studio Runtime: 100 minutes w/intermission 6250 SW Capitol Highway Tickets: F/Nov 28, 1 PM $5 Sa, Nov 1, 3-4 PM All other performances: Free: Reservation/Ticket Not Required Tickets: $15, youth; $35, adults Information: theportlandballet.org $90, family pack (2 youth, 2 503.452.8448 adults); additional youth, $10 PSU Box Office, pdx.edu/boxoffice/tickets 503.725.3307 Limited Arts Card and Arts for All tickets Information: 503.452.8448 For 13 years, THE PORTLAND BALLET (Nancy Davis, artistic director)—the metro area’s premiere youth ballet company—has presented a holiday production to delight the entire family. Taking place over Thanksgiving weekend, the production offers a refreshing change from most holiday fare: it’s not the Nutcracker and it takes place before the December performance rush. In addition, it is danced by THE PORTLAND BALLET’s superbly trained young dancers with an immediate connection to a family audience.
    [Show full text]
  • Todd Bolender and Janet Reed Were Dancing in Pied Piper When It Hap- Pened, One of Those Unforeseen Stage Mishaps That Can Wreck a Performance Completely
    1 Todd Bolender and Janet Reed were dancing in Pied Piper when it hap- pened, one of those unforeseen stage mishaps that can wreck a performance completely. Set to Aaron Copland’s jazzy Concerto for Clarinet and String Orchestra, Pied Piper was Jerome Robbins’s fourth work for New York City Ballet. Its vocabulary was in the same vein as Fancy Free and Interplay, a blend of classical steps, modern dance, and social dancing. For the finale, he included a jitterbug move, in which Bolender had to swing Reed over his head and around his neck, her legs in a wide second position, and from there to the floor directly in front of him. In the early 1950s, when this per- formance took place, Bolender had begun wearing a wig over his thinning hair that fit over his scalp like a hat. At this particular performance, all was going well, until Bolender, after swinging Reed down to the floor, looked down and thought, “My God, has she lost her tights” at the same moment that Reed looked in the same direction. They both broke into uncontrol- lable laughter, fortunately just as the corps came rushing onto the stage and covered their hasty exit, Bolender’s much-loathed wig (“it had curls and things,” he told Deborah Jowitt) restored to his head.1 By 1952, when it’s likely this performance took place,2 Bolender and Reed had been friends since Reed arrived in New York in January 1942. They had been dancing together in Robbins’s and Balanchine’s work since 1949, when Reed joined City Ballet.
    [Show full text]
  • Wayne Mcgregor | Random Dance
    WAYNE MCGREGOR | RANDOM DANCE FEBRUARY 13, 2014 OZ SUPPORTS THE CREATION, DEVELOPMENT AND PRESENTATION OF SIGNIFICANT CONTEMPORARY PERFORMING AND VISUAL ART WORKS BY LEADING ARTISTS WHOSE CONTRIBUTION INFLUENCES THE ADVANCEMENT OF THEIR FIELD. ADVISORY BOARD Amy Atkinson Karen Elson Jill Robinson Anne Brown Karen Hayes Patterson Sims Libby Callaway Gavin Ivester Mike Smith Chase Cole Keith Meacham Ronnie Steine Jen Cole Ellen Meyer Joseph Sulkowski Stephanie Conner Dave Pittman Stacy Widelitz Gavin Duke Paul Polycarpou Betsy Wills Kristy Edmunds Anne Pope Mel Ziegler A MESSAGE FROM OZ Welcome and thank you for joining us for our first presentation as a new destination for contemporary performing and visual arts in Nashville. By being in the audience, you are not only supporting the visiting artists who have brought their work to Nashville for this rare occasion, you are also supporting the growth of contemporary art in this region. We thank you for your continued support. We are exceptionally lucky and very proud to have with us this evening, one of the worlds’ most inspiring choreographic minds, Wayne McGregor. An artist who emphasizes collaboration and a wide range of perspectives in his creative process, McGregor brings his own brilliant intellect and painterly vision to life in each of his works. In FAR, we witness the mind and body as interconnected forces; distorted and sensual within the same frame. As ten stunning dancers hyperextend and crouch, rapidly moving through light and shadow to a mesmerizing score, the relationship between imagination and movement becomes each viewer’s own interpretation. An acronym for Flesh in the Age of Reason, McGregor’s FAR investigates self-understanding and exemplifies the theme from Roy Porter’s novel by the same name, “that we outlive our mortal existence most enduringly in the ideas we leave behind.” Strap in.
    [Show full text]
  • Dance Theatre of Harlem
    François Rousseau François DANCE THEATRE OF HARLEM Founders Arthur Mitchell and Karel Shook Artistic Director Virginia Johnson Executive Director Anna Glass Ballet Master Kellye A. Saunders Interim General Manager Melinda Bloom Dance Artists Lindsey Croop, Yinet Fernandez, Alicia Mae Holloway, Alexandra Hutchinson, Daphne Lee, Crystal Serrano, Ingrid Silva, Amanda Smith, Stephanie Rae Williams, Derek Brockington, Da’Von Doane, Dustin James, Choong Hoon Lee, Christopher Charles McDaniel, Anthony Santos, Dylan Santos, Anthony V. Spaulding II Artistic Director Emeritus Arthur Mitchell PROGRAM There will be two intermissions. Friday, March 1 @ 8 PM Saturday, March 2 @ 2 PM Saturday, March 2 @ 8 PM Zellerbach Theatre The 18/19 dance series is presented by Annenberg Center Live and NextMove Dance. Support for Dance Theatre of Harlem’s 2018/2019 professional Company and National Tour activities made possible in part by: Anonymous; The Arnhold Foundation; Bloomberg Philanthropies; The Dauray Fund; Doris Duke Charitable Foundation; Elephant Rock Foundation; Ford Foundation; Ann & Gordon Getty Foundation; Harkness Foundation for Dance; Howard Gilman Foundation; The Dubose & Dorothy Heyward Memorial Fund; The Klein Family Foundation; John L. McHugh Foundation; Margaret T. Morris Foundation; National Endowment for the Arts; New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature; New England Foundation for the Arts, National Dance Project; Tatiana Piankova Foundation; May and Samuel Rudin
    [Show full text]
  • Dancin' in the Rain
    Dancin’ in the Rain A Bit of Portland Dance History – 1900 to 1954 By Carol Shults and Martha Ullman West hen Bill Christensen arrived in Portland in 1932 he created an atmosphere that had not existed before here. Until then, dancing, except for ballroom dance, was an almost exclusively “ladies only” territory. W It was long since respectable, but the energy, channeled into the “artistic” recitals presented by various teachers and their students was distinctly feminine. Portland had seen the American Ted Shawn and the Russian Mikhail Mordkin on the stage, but a local equivalent just didn’t exist. Bill Christensen filled that gap. By 1934, after just two years of attracting supporters and training dancers, he was able to present a spectacle including portions of The Nutcracker at the Rose Festival in collaboration with the Portland Junior Symphony (the original incarnation of today’s Youth Philharmonic). Bill was just 30 years old when he came here after years of touring with his brothers and several partners on the Orpheum vaudeville circuit. Dancing of all kinds, but with a serious emphasis on the classical, was his heritage from the Danish progenitor Lars Christensen who had emigrated to Utah in 1854. Bill was married and the Depression was on. “Nobody had a dime.” Mary Tooze, one of Bill’s students, describes how her mother Ada Ausplund threw herself into supporting Christensen because “here was this wonderful, positive thing for young Pictured left to right in The Nutcracker (1934) people to do.” The effort it took to transport 70 Standing: Norma Nielsen, Willam Christensen, Geraldine Brown, dancers to Seattle for performances there gives an Jacques Gershkovitch (conductor), Hinemoa Cloninger, Betty Dodson idea of the motivating force Bill provided.
    [Show full text]