Thank You

Generous support for the 2011–12 Friends of the MCA Stage Become a Friend of the MCA Stage season of MCA Stage is provided by Elizabeth A. Liebman, David Amphion Foundation, Inc. Support the voices and visions of Herro and Jay Franke, Susan and Katherine A. Abelson and our time by directly investing in Lew Manilow, Lois and Steve Eisen Robert J. Cornell the work of living artists. Our and The Eisen Family Foundation, Janet Alberti and Fred Schneider Friends of the MCA Stage receive Nancy Lauter McDougal and Alfred Leigh and Henry Bienen exclusive benefits such as L. McDougal, The Weasel Fund, The Boeing Company recognition in MCA Stage program Mary Ittelson, Carol Prins and Teddy Dean Boys notes, exclusive ticket offers, John Hart/The Jessica Fund, Ellen Greg Cameron invitations to receptions with the Stone Belic, and Richard and Ann The Consulate General of artists, and access to behind-the- Tomlinson. Poland in scenes rehearsals. Pamela Crutchfield Foundation Season Sponsor Shawn M. Donnelley and Become a Friend of the MCA Stage Christopher M. Kelly today by calling 312.397.3864. Lois and Steve Eisen and The Eisen Family Foundation Gale and Ric Fischer David Herro and Jay Franke Terri and Stephen Geifman Official Airline Bill and Vicki Hood Mary E. Ittelson Anne and John Kern Lisa Yun Lee In-Kind Equipment Sponsor Elizabeth A. Liebman Susan and Lew Manilow Nancy Lauter McDougal and Fred McDougal Susan Manning and Doug Doetsch Hotel Partner Maecenas Charles L. Michod and Susan A. Michod Herbert R. and Paula Molner Maya Polsky Sarai Hoffman and Stephen Pratt Elizabeth Price and Lou Yecies Carol Prins and John Hart/ The Jessica Fund Mr. and Mrs. John Seder Mr. and Mrs. Dan Sternberg Mr. & Mrs. Thomas C. Sheffield Jr. Ms. Patricia F. Sternberg Ellen Stone Belic MCA Chicago is a proud partner of Richard and Ann Tomlinson the National Performance Network. Pooja and Peter Vukosavich/ Studio V Design The Weasel Fund Angel Ysaguirre and Bob Webb Anonymous

As of September 13, 2011 remixed/ reimagined

On June 23, 2011, MCA Chicago Stefan Edlis and Gael Neeson Gale and Ric Fischer celebrated the achievements of MCA Larry and Marilyn Fields Terri and Stephen Geifman Stage with the remixed/reimagined Walter and Karla Nicholas and Nancy Giampietro/ Performance Benefit. This Goldschmidt Foundation Reyes Holdings innovative evening was cochaired Jack and Sandra Guthman Paul and Linda Gotskind by MCA Trustee Sara Albrecht and Gretchen and Jay Jordan Paul Gray and Dedrea Armour Gray MCA Performance Committee member Kim and Brad Keywell Rachel and David Grund Jay Franke. Our sincere thanks to Robert M. and Diane v.S. Levy Caryn and King Harris all who contributed to the event Family Foundation Bill and Vicki Hood and to all who continue to support Sylvia Neil and Dan Fischel Cynthia Hunt and Philip Rudolph MCA Stage in its 15th season. Joseph G. Nicholas Foundation Susie Karkomi and Marvin Leavitt Donna and Howard Stone Anne and John Kern remixed/reimagined Host Committee Jamie and Rob Taylor Linda Kinzelberg Evening Benefactors Danielle and Martin E. Zimmerman Ron and Fifi Levin Sara Albrecht Lisa M. Key and Kevin Lint Lois and Steve Eisen Spotlight Supporters Suzanne Lovell, Inc. Jay Franke and David Herro Katherine A. Abelson and Stephen and Karen Malkin Susan and Lew Manilow Robert J. Cornell Susan Manning and Doug Doetsch Cari and Michael Sacks Jennifer Aubrey Barbara and Kent Manning Leigh and Henry Bienen Marquis and Pamela Miller Patron Sponsors Julie and Larry Bernstein Herbert R. and Paula Molner W. George and Margot Greig Deborah A. Bricker Abby O’Neil Mary Ittelson Suzette and Allan E. Bulley III Terry and Cynthia Perucca Anne Kaplan Maureen and Scott Byron Maya Polsky and Nicholas Bridon Sally Meyers Kovler and Meg and Tim Callahan Elizabeth Price and Lou Yecies Jonathan Kovler Marcia Cohn Sally and Ellis Regenbogen Rocco and Roxanne Martino Marge and Lew Collens Cheryl and John Seder Carol Prins and John Hart Patricia Cox Irving Stenn, Jr. UBS Pam Crutchfield Dorie Sternberg Helen and Sam Zell Nora Daley Conroy and Sean Conroy Patty Sternberg Dana and Stan Day Peggy and Jim Swartchild Spotlight Sponsors Ted and Julia DeNapoli Kathy Taslitz Mary Jo and Doug Basler Dirk Denison and David Salkin Richard and Ann Tomlinson

Ellen Stone Belic Dan and Nicole Drexler Kay and Craig Tuber Rosenberg Todd Photo: Robert and Sheryl Bellick Laura and Scott Eisen Peter and Pooja Vukosavich/ Marlene Breslow-Blitstein Sidney and Sondra Berman Epstein Studio V Design and Berle Blitstein Ginger Farley and Bob Shapiro Trudy and Jim Westerman Hubbard Street Thursday–Sunday, Dance Chicago January 19–22 and danc(e)volve: 26–29, 2012 New Works Festival Welcome Hubbard Street Dance Chicago

This project is supported by danc(e)volve: New Works Festival marks a piv- danc(e)volve is a very meaningful experience for Garrett Anderson Taryn Kaschock Russell, the J.B. and M.K. Pritzker otal moment for Hubbard Street Dance Chicago. our dancers. It helps them to develop not only Jesse Bechard Director, HS2 Foundation, and partially sup- ported by a City Arts grant from As a contemporary dance company, we seek as choreographers and designers but also as Christian Broomhall Kristen Brogdon, General the City of Chicago Department to explore a vast array of styles and forms of performers, allowing for the opportunity to look Jacqueline Burnett Manager of Cultural Affairs and Special Events and a grant from the dance and to create opportunities for art to at the complete process through the eyes of the Alejandro Cerrudo Illinois Arts Council, a state evolve. In order to do this we put a significant creator. These performances also give you an Meredith Dincolo Terence Marling, Rehearsal agency. focus on cultivating emerging choreographers. opportunity to learn more about the dancers by Kellie Epperheimer Director danc(e)volve marks the next step in a new sharing this intimate space with them and by Jonathan Fredrickson Alejandro Cerrudo, Resident Choreographic Development Initiative that is seeing their personalities come through in the Jason Hortin Choreographer making it possible to devote an entire series of work they create. The artists of Hubbard Street Alice Klock performances to a number of new works created come from incredibly diverse backgrounds and Ana Lopez Claire Bataille, Director, Lou by artists within our company and the winners of that diversity will be apparent in the art you see Pablo Piantino Conte Dance Studio the National Choreographic Competition. this evening. Creating this type of laboratory for Penny Saunders new work is key to choreographic development David Schultz Andy Brown, Production This initiative will greatly increase Hubbard and seeing dance evolve. Kevin Shannon Manager Street’s capacity to develop new work. Before Jessica Tong Ishanee DeVas, Company this point, there was no model to serve as a Glenn Edgerton Robyn Mineko Williams Manager bridge between developmental initiatives (such Artistic Director Matt Miller, Lighting Director as our Inside/Out Choreographic Workshop and Hubbard Street Dance Chicago the National Choreographic Competition) and Kilroy G. Kundalini, Audio main company premieres. With danc(e)volve, Hubbard Street 2 Engineer we are now creating that model. Aprill C. Clements, Stage Alicia Delgadillo Manager/Properties Master It is exciting for Hubbard Street to perform at Nicholas Korkos the Museum of Contemporary Art Chicago—an Emilie Leriche Stephan Panek, Head institution with a mission parallel to our own. Felicia McBride Carpenter This performance series is also a wonderful way Johnny McMillan Emily Predny, Lighting for two leading contemporary art organizations Justin Ronald Mock* Supervisor to come together. The proximity of the audience Lissa Smith* Rebecca Shouse, Wardrobe to the stage makes it a perfect venue for experi- Andrew Wright Supervisor mentation, which is necessary for innovation. Lou Conte, Founder

*HS2 Apprentice danc(e)volve: New Works Festival Program A January 19, 20, 28, and 29

Mai Fu,” from the album The Opera Album 2011 as recorded by Andreas Scholl, Orchestra of the Age Path and Observations (15 minutes) Recall (15 minutes) Never was (7 minutes) of Enlightenment & Sir Roger Norrington for Decca Music Group. Music by Henry Purcell: “Funeral Johnny McMillan, Choreographer Robyn Mineko Williams, Choreographer Alejandro Cerrudo, Choreographer Sentences for the Death of Queen Mary II (1695): Pekka Lehti, Liu Sola, Mari Boine, Music Chromatics, Chris Menth, mixed by Robyn George Frideric Handel, Henry Purcell, Music The Queen’s Funeral March (procession),” from the album 40 Famous Marches as recorded by Baroque Matt Miller, Lighting Design Mineko Williams, Music Matt Miller, Lighting Design Brass of London & David Hill for Decca Music Rebecca Shouse, Costume Design Matt Miller, Lighting Design Branimira Ivanova, Costume Design Group. Music by Henry Purcell: “Music for the Rebecca Shouse, Costume Design Funeral of Queen Mary 1695: Drum Processional,” from the album Purcell: Music for Queen Mary as Dancers Dancers recorded by the King’s College Choir & Stephen Alice Klock, Andrew Wright Dancers Emilie Leriche and Johnny McMillan Cleobury for EMI Classics. Alicia Delgadillo, Nicholas Korkos Jacqueline Burnett Emilie Leriche, Felicia McBride Jason Hortin In his new piece Never was, Hubbard Street Intermission Pablo Piantino Resident Choreographer Alejandro Cerrudo The concept of this original work by Hubbard David Schultz focuses on the physicality of dance through the Untitled Landscape (15 minutes) Street 2 dancer Johnny McMillan was inspired Kevin Shannon intricacies of Baroque music by Handel and Jonathan Fredrickson, Choreographer by a single image—in his words, “a little nomad Jessica Tong Purcell. Set to contrasting compositions that Henryk Gorecki, Music girl in a beautiful parka.” Soon after finding the build to form a cohesive duet, the dance—while Matt Miller, Lighting Design picture, he discovered a feature on the Sami In the debut of her original piece Recall, not a love duet—nevertheless showcases the Nathan Rohrer, Costume Design people of Scandinavia, a culture of indigenous Hubbard Street dancer Robyn Mineko Williams movement of two dancers as they interact and reindeer herders. Crafting his piece around blends the pulsing beats of Chromatics and coexist in a polarizing musical landscape. Dancers several works of music and, to a larger extent, Chris Menth. Describing one of her inspirations Jesse Bechard the folkloric music of Sami musicians such as as “the experience of memory,” Williams crafts “In…[danc(e)volve] we have nine choreographers Jacqueline Burnett Mari Boine, as well as visual art and writing, a dynamic piece wherein dancers play with the in total. The work that I did is a duet, and it’s a Kellie Epperheimer McMillan emphasizes the importance of ground- lenses of different points of view and how these very demanding piece physically and technically Jason Hortin ing oneself amid chaos and change. Sami cul- can both distort and clarify one’s perceptions. as well. It requires a very mature dancer and a Alice Klock ture inspired McMillan to use the dancers’ move- Two people living through the same experience very complete dancer. I am constantly asking Kevin Shannon ment to demonstrate the necessity of simplifying can walk away with completely different them to give a lot of energy, but at the same time Jessica Tong and accepting one’s emotions. impressions of a single event—a concept be able to control that energy. To perform, not that Williams finds particularly intriguing. The just execute steps, execute movement, but to “Man is physically as well as metaphysically a Created for and premiered by Hubbard Street 2 at process of danc(e)volve feels to Williams like transmit something specific. thing of shreds and patches, borrowed unequal- MCA Stage in Chicago on January 19, 2012. Music by Mari Boine: “Vilges Soula,” from the album A Week being “a kid in a candy store,” working with “the ly from good and bad ancestors, and a misfit or Two in the Real World, courtesy of Real World best tools I could ask for.” “What I think is unique about dance(e)volve is from the start.” Records. Used by permission of Sony/ATV. Music by Mari Boine and Liu Sola: “Maze,” from the album Created for and premiered at MCA Stage on January this freshness, these young people creating. Ralph Waldo Emerson A Week or Two in the Real World, courtesy of Real 19, 2012. Music by Chromatics: “Tick of the There is not one work in the evening that you Clock,” from the album Night Drive. Used by per- World Records. Used by permission of Sony/ATV. would be able to see anywhere else. And it’s Created for and premiered at MCA Stage on January Music by Pekka Lehti: “Veijo With Wimme,” from the mission of Chromatics. Music by Chris Menth: 19, 2012. Music by Henryk Gorecki: “Symphony 3, album Outo Voima (Strange Force), courtesy of Aito Untitled. Used by permission of Chris Menth. going to be full of fresh ideas and artists very op 36 Movement 1: lento sostenuto tranquillo ma Records Ltd. Used by permission of BMG Chrysalis. hungry to create.” catabile,” from the album Gorecki: Symphony No. 3 “Symphony of Sorrowful Songs,” as recorded by Alejandro Cerrudo Warsaw Philharmonic Orchestra & Kazimierez Kord for Universal Music Enterprises. Used by permis- Created for and premiered by Hubbard Street 2 sion of Boosey & Hawkes. at MCA Stage in Chicago, on January 19, 2012. Music by George Frideric Handel: “Serse: Ombra danc(e)volve: New Works Festival, Program B January 21, 22, 26, and 27

Bonobo (16 minutes) Program B Facets of the Same (16 minutes) Never was (7 minutes) Penny Saunders, Choreographer Taryn Kashock Russell, Choreographer Alejandro Cerrudo, Choreographer Astor Piazzolla, Bonobo, Arvo Pärt, mixed by ... and other stories of imperfection Django Reinhardt, The Tiger Lillies, Music George Frideric Handel, Henry Purcell, Music Terence Marling, Music (7 minutes) Matt Miller, Lighting Design Matt Miller, Lighting Design Matt Miller, Lighting Design Alice Klock, Choreographer Rebecca Shouse, Costume Design Branimira Ivanova, Costume Design Rebecca Shouse, Costume Design Clint Mansell, Max Richter, Music Matt Miller, Lighting Design Dancers Dancers Dancers Alice Klock, Costume Design Kellie Epperheimer Emilie Leriche and Johnny McMillan Alicia Delgadillo Alice Klock Nicholas Korkos Dancers David Schultz Please see program A for notes and credits. Emilie Leriche Nicholas Korkos and Emilie Leriche Garret Anderson Felicia McBride Pablo Piantino Intermission Johnny McMillan Hubbard Street dancer Alice Klock’s original Andrew Wright piece entitled ... and other stories of imperfec- Taryn Kashock Russell created this piece as an The Fantastic Escape of the Little Buffalo tion is a form of onstage catharsis that explores individual’s journey of introspection, initiated by (22 minutes) Hubbard Street dancer and winner of the 2011 the universal breadth of personal history. Set both external and internal forces. “I was contem- Clébio Oliveira, Choreographer National Choreographic Competition, Penny to the minimalist scores “Together We Will Live plating my inability to experience how someone Various artists, Music Saunders draws back the stage curtain and Forever” by composer Clint Mansell and “Song” sees themselves,” notes Kashock Russell. “It Matt Miller, Lighting Design peers into the lives of performers in Bonobo, her by Max Richter, Klock works with a sense of is a unique and biased set of eyes we look out Rebecca Shouse, Costume Design new work for Hubbard Street 2. Though not a candor and simplicity. Describing the choreo- from. My inspiration for this work came from period piece, Bonobo is inspired by the history graphic process as “therapeutic,” Klock trans- personal challenges, but my desire is to convey Dancers of Vaudeville-type traveling tent shows from the lates her own formative experiences into move- a more universal theme of reflection.” Alicia Delgadillo 1920s and thirties, before movies had sound and ment, to which she hopes both the dancers and Nicholas Korkos before television sets became commonplace in audience will attach their own meanings and Created for and premiered at the MCA Stage on Felicia McBride January 19, 2012. Music by Django Reinhardt: “Blue the home. Portraying the spirit of performance, interpretations. “I believe that, because of the Drag,” from the album A Little Love A Little Kiss. Johnny McMillan whether a song-and-dance routine, a straight magic of art, a trickle-down effect occurs when Used by permission of Ibiza Friends. “Blues,” from Emilie Leriche the album Sing De . Used by permission of Iris play, or some version of a freak show, Bonobo an artist creates works that truly means some- Music France. Courtesy of Jewel Music Publishing Andrew Wright features an eclectic score ranging from hilarity thing in its making,” she says. Co, Inc. “Django’s Tiger,” from the album The Best of Django Reinhardt, courtesy of EMI. Used by per- to poignancy, mixed by Terence Marling. mission of Jewel Music Publishing Co, Inc. Music “When I first started to think of what I would cre- Created for and premiered at Hubbard Street Dance by The Tiger Lillies: “Right to Wrong,” from the ate for Hubbard Street 2, I wanted to begin with Chicago’s 2011 Inside/Out Choreographic Workshop Created for and premiered by Hubbard Street 2 at album Bouquet of Vegetables The Early Years, “Same at the UIC on June 17, 2011. a compelling idea,” notes choreographer Clébio MCA Stage in Chicago on January 19, 2012 as part Old Story,” from the album Low Life Vegetables, Music by Clint Mansell: “Together We Will Live of the 2011 National Choreographic Competition. ”Scars,” from the album Death and The Bible. Used Oliveira. “Something I had been contemplating Forever,” performed by The Kronos Quartet, cour- Music by Bonobo: “Pick Up (Four Tet Mix),” from by permission of musicas.de gmbh. was, ‘When do humans become animals and the album Ninja Tune Retrospect Volume 2, cour- tesy of Warner Brothers Entertainment. Used by tesy of Third Side Music. Music by Arvo Pärt: permission of Universal Music Publishing Group and when do animals become humans?’” Researching “Lamentate: Fragile e Conciliante,” from the album Fox Music, Inc. Music by Max Richter: “Song,” from this question, Oliveira found that the largest dis- Pärt: Lamentate, courtesy of Naxos of America, the album Songs from Before, courtesy of FatCat Inc. Used by permission of European American Records. tinction between the two species is higher thought Music Distributors LLC. Music by Astor Piazzolla: and yet he was fascinated by an animal’s ability to “Milonga,” from the album Astor Piazzolla: Unmixed, manipulate human emotions. The conclusion he courtesy of Milan Records. Used by permission of Warner/Chappell Music, Inc. arrived at is that when one’s primitive instincts are Theater Music Teatr ZAR activated, both human and animal become equal. newest piece, thrice, is created from choreog- The movements of this piece illustrate these blind raphy that originally appeared as twice (once), The Gospels of instincts: hunger, fear, and love. performed during the Chicago Symphony Childhood Triptych Orchestra’s MusicNOW series in December The development of The Fantastic Escape of the 2011. Set to Anna Clyne’s “Within Her Arms,” Mar 29–Apr 1, 2012 Little Buffalo was supported in part by Hancher, twice (once) marries the abstraction of dance to The University of Iowa. the precision of mathematical patterns. Marling Presented by MCA Stage retains the same choreographic timeline and in association with Goodman Theatre Created for and premiered by Hubbard Street 2 structure as twice (once), but thrice has been at Space Place Theater in Iowa City, Iowa on September 22, 2011. Music by Juan Alba: “Un altered musically, spatially, and scenically Tanguito Con Seba.” Music by Jimmie Davis, Charles resulting in an entirely new perspective and Mitchell, and Paul Rice: “You Are My Sunshine,” from the album Legends of Music Collection: Doris meaning for the same dance. Day as recorded by Doris Day and Frank Yankovic and his Yanks for Ling Music Group. Music by Frederic Chopin: “Nocturne No. 2 in E Flat, Op. The original choreography for twice (once) was 9 No. 2,” from the album Chopin: Nocturnes as supported by Carla Eyre & Peter Gallagher, and recorded by Maurizio Pollini for Universal Music James F. Oates. Entertainment. Music by Siba: “Fulô do Jungo,” from the soundtrack Baile Perfumado as recorded by Chico Science, Fred 04, Siba, Lucio Maia, Created for and premiered by Hubbard Street and Paulo Rafael for Natasha. Music by Siba e a Dance Chicago at MCA Stage in Chicago on January Floresta: “Alados,” from the album E A Fuloresta 19, 2012. Music by Vivaldi: “Concerto in E as recorded by Siba e a Fuloresta for O+ Music. Minor ‘Il Favorito’ RV 277, 2. Andante,” per- Music by Worm is Green: “Walk Thru,” from the formed by Viktoria Mullova and Giardino Armonico/ album Automagic. Giovanni Antonini, from the album Vivaldi 5 Violin Concertos, courtesy of Onyx.

thrice (14 minutes) Terence Marling, Choreographer Terence Marling, Antonio Vivaldi, Music Matt Miller, Lighting Design “profoundly moving … Rebecca Shouse, Costume Design echoing from the deep, Dancers Jacqueline Burnett deep past with the Meredith Dincolo evanescent present” Kellie Epperheimer Robyn Mineko Williams New Theatre Quarterly Garrett Anderson For tickets, visit mcachicago.org or call 312.397.4010. Jason Hortin Pablo Piantino Support for this project is generously provided by the Consulate General of Poland in Chicago. The choreography of Hubbard Street Rehearsal Director and choreographer Terence Marling’s Photo: Irena Lipinska Irena Photo: About the artists Hubbard Street 2 (HS2), formed in Elo, Johan Inger, Paul Lightfoot, and Sol Leon, 1997, prepare dancers ages eighteen to among others. From 2006 to 2008, he directed twenty-five for the life of a professional The Colburn Dance Institute at The Colburn dancer in a contemporary company. School of Performing Arts in Los Angeles. Glenn joined Hubbard Street’s artistic leader- HS2 provides talented young artists with a ship team full-time as associate artistic director Hubbard Street Dance Chicago the HSDC Parkinson’s Project, using contempo- chance to develop their professional experience, in 2008. Since 2009, Edgerton has guided the under the artistic direction of Glenn Edgerton rary dance techniques to improve the mobility and fast becoming dynamic and bold dancers. The company forward as artistic director, building on since 2009, celebrates thirty-four years as one quality of life for participants. company’s vibrant environment gives dancers the more than three decades of artistic leadership of the most original and forward-thinking forces experiences necessary to develop strong tech- from both Lou Conte and Jim Vincent, whose in contemporary dance. The core purpose of The main company, comprised of sev- nique and an individual voice. HS2 dancers are extraordinary work established the company as Hubbard Street is to bring artists, art, and audi- enteen dancers, display unparalleled known for their athleticism and fearless dancing. a leader in dance performance, education, and ences together to enrich, engage, educate, and versatility and virtuosity. Under the direction of Taryn Kaschock Russell, appreciation. transform lives through the experience of dance. HS2’s six company members perform and tour to Hubbard Street serves as an emblem of the One of the only American dance companies to critical acclaim at venues around the world. Garrett Anderson city’s international cultural profile and continues operate year-round, Hubbard Street continues to is from Tucson, its role as a leader in the field of dance, pushing produce bold and passionate performances in To date, fifteen HS2 dancers have advanced to Arizona. He began the art forward by creating new works, diversify- Chicago, at national and international celebrated the main company and many more have joined his training in Walnut ing repertoire, and cultivating the next generation dance venues, and through some of the most other national and international companies. Creek, California of dancers and choreographers. cutting-edge dance programs at prestigious Annually, HS2 hosts the National Choreographic under the direction universities around the country. While many con- Competition, which gives three emerging chore- of Richard Cammack Edgerton’s dynamic artistic vision for creating temporary dance peers are single-choreographer ographers chosen from hundreds of applicants and Zola Dishong new works and strengthening the company’s organizations, Hubbard Street has always been the chance to realize their artistic expression at the Contra Costa repertoire while cultivating and deepening rela- a repertory company, representing numerous with the dancers of the second company. Almost Centre. He went on to study at San tionships with collaborative partners has fast choreographers and styles. The company in its thirty new works have been created for HS2 as Francisco Ballet school and then in Pacific become a reality. Since becoming Artistic Director, entirety has grown to be recognized as a leader part of the National Choreographic Competition. Northwest Ballet’s professional division. In 2001, Edgerton has secured new commissions and in the creation and development of new chore- Anderson joined Ballet as a repertoire hits by master and notable choreogra- ography, unique collaborations, and innovative Glenn Edgerton member of the corps de ballet and in 2005 was phers including Jirí Kylián, Nacho Duato, William production concepts. (Artistic Director) promoted to soloist. In 2008, he joined the Royal Forsythe, Twyla Tharp, Ohad Naharin, Victor joined Hubbard Street Ballet of Flanders in Antwerp, Belgium, as a first Quijada, Aszure Barton, and Sharon Eyal. Its importance is based on its role as both a Dance Chicago after soloist under the direction of Kathryn Bennets. repository of work from some of the twentieth an international career There he toured extensively throughout Europe Key to Hubbard Street’s mission is to cultivate and twenty-first century’s best contemporary as a dancer and direc- and the world. In January 2011, he returned to collaborative partnerships with Chicago’s most choreographers and as a commissioning agent tor. He began his the United States to dance with Trey McIntyre significant cultural and community organizations. of new works, having commissioned and pre- dancing career at The Project. Anderson was the recipient of the Since 2000, Hubbard Street has established part- sented almost 200 new and acquired dance where, Theatre national dance scholar- nerships with the Chicago Symphony Orchestra, works throughout its history. Critically acclaimed mentored by Robert Joffrey, he performed lead- ship and holds a BA in dance from St. Mary’s presenting new and existing choreography set for its exuberant, athletic and innovative reper- ing roles in the company’s contemporary and College of California. Anderson joined Hubbard to orchestral music performed by the symphony; toire, Hubbard Street is always changing and classical repertoire for eleven years. In 1989, Street Dance Chicago in August 2011. the Art Institute of Chicago, producing dance evolving while maintaining the highest artistic Edgerton joined the acclaimed Nederlands works within art exhibits and free information standards. Additionally, Hubbard Street now Dans Theater (NDT), and after dancing for sessions to the public to explore the vital connec- offers a Summer Intensive, which provides con- five years retired from performing to become tion between dance and art; Illinois Institute of centrated training in ballet and modern technique artistic director of the main company, leading Technology School of Architecture, re-imagining classes, repertoire rehearsals, dance history lec- NDT for a decade and presenting the works of the space in which dance is performed; and Rush tures, and health and wellness presentations to Jirí Kylián, Hans van Manen, William Forsythe, University Medical Center, which helped establish pre-professional dancers from across the nation. Ohad Naharin, Mats Ek, Nacho Duato, Jorma Jesse Bechard School, and the San Francisco Conservatory Alicia Delgadillo Kellie Epperheimer is from Bolton, of Dance. She received a BFA in Dance is from Charlotte, is from Los Osos, Massachusetts. He Performance from The Ailey School/Fordham North Carolina and California. She began began his formal bal- University joint program in New York City in May was born in San her dance train- let training at sixteen 2009, graduating magna cum laude and with Francisco. She ing in 1988 with the and graduated from departmental honors. Burnett joined Hubbard received her training Academy of Dance Walnut Hill School for Street Dance Chicago as a Center Apprentice in the Royal Academy and Civic Ballet of the Arts. He attended in January 2008, while concurrently completing of Dance and Cechetti San Luis Obispo. summer programs her BFA degree, and became a member of the styles of ballet under Epperheimer joined at , Alonzo Kings LINES Ballet, main company in August 2009. Burnett is also a the tutelage of Susan Hayward. After moving to Hubbard Street 2 in January 2005 before and . In 2000, having completed 2011–12 Princess Grace Honorarium recipient. Charlotte, she continued her studies with Gay becoming an apprentice with the main company his freshman year at the University of Chicago, Porter and Bridget Porter Young at the Charlotte in December 2006. Epperheimer became a full he returned to dance. After a year with Ballet Alejandro Cerrudo School of Ballet. In 2004, Delgadillo began company member in January 2008. Austin he joined Richmond Ballet where he (Dancer, Resident studying full time with Daniel and Rebecca danced for eight years, performing works by Choreographer) Wiley at Piedmont School of Music and Dance. Jonathan John Butler, Jessica Lang, Val Caniparoli, is a native of Madrid, She has attended summer programs with Frederickson William Soleau, Mauricio Wainrot, and Colin Spain. He received Hubbard Street Dance Chicago, American Ballet is from Corpus Christi, Conner. Bechard joined Hubbard Street Dance his training at the Theatre, Juilliard, San Francisco Conservatory Texas. He studied Chicago in August 2010. Real Conservatorio of Dance, and Springboard Danse Montreal. ballet at the Munro Professional de Most recently, Delgadillo had the opportunity Ballet Studios, home Christian Broomhall Danza de Madrid. to perform with Alvin Ailey American Dance to Corpus Christi is from Columbus, After becoming a professional dancer in 1998, Theater in Alvin Ailey’s Memoria. Currently, she Ballet, under teach- Ohio. He received Cerrudo’s dance career has been shaped and is finishing her degree in dance with the Ailey/ ers Cristina Munro classical training from enriched by various dance companies including Fordham BFA Program where she has per- and Kay Boone. He received his BFA for Dance BalletMet Columbus Victor Ullate Ballet, , Nederlands formed works by Sidra Bell, Jennifer Muller, and Performance and Choreography from California under the direction of Dans Theater 2, and, since 2005, by Hubbard Camille A. Brown. Delgadillo joined Hubbard Institute of the Arts in 2006. Immediately thereaf- David Nixon and Yoko Street Dance Chicago. In 2008 Cerrudo was Street 2 in August 2011. ter, he joined the Limon Dance Company where Ichino. From 1999 to named Hubbard Street Choreographic Fellow he had the opportunity to perform principal roles. 2001 he danced pro- and became the company’s first Resident Meredith Dincolo While dancing with Limon, he created two new fessionally with BalletMet Columbus. He then Choreographer in 2009. Cerrudo has created is from Indianapolis, works with the company. He is a former winner performed with the Theatre until several works for Hubbard Street and for the Indiana. She began of Hubbard Street’s National Choreographic 2005, when he returned to dance with BalletMet company’s unique collaborations with the dancing at age seven Competition and was named one of Dance Columbus until 2008. Broomhall joined Hubbard Chicago Symphony Orchestra and Nederlands in Indianapolis and Magazine’s “25 to Watch” in 2011 for his chore- Street Dance Chicago in August 2008. Dans Theater. Cerrudo’s works are being continued her training ography. Fredrickson joined Hubbard Street in performed by dance companies around the under Iacob Lascu February 2011. Jacqueline Burnett United States and the world, including Germany, in Michigan. She is from Pocatello, Denmark, The Netherlands, and Australia. graduated from the Jason Hortin Idaho. She received Always dancing and constantly creating, University of Notre Dame in 1993 and moved is from Olympia, her classical ballet Cerrudo was honored with an award from The to Chicago to pursue dance. In 1996, Dincolo Washington. He training in Pocatello, Boomerang Fund for Artists in 2011. joined Hubbard Street Dance Chicago where graduated from the Idaho from Romanian she spent four years under the direction of Lou University of Nevada, Ballet Master Marius Conte. In 2000, she joined Lyon Opera Ballet Las Vegas with a Zirra, with additional and went on to the Nationaltheater Mannheim, BFA in dance under summer training at under Kevin O’Day and Dominique Dumais. the direction of Louis Ballet Idaho, Brindusa-Moore Ballet Academy, Dincolo returned to Hubbard Street Dance Kavouras and has Universal (Kirov) Ballet Academy, the Juilliard Chicago in November 2004. danced with Moving People Dance Theatre, the Erick Hawkins Dance Company, and River Francisco Opera. In addition to Davis, Moses, Terence Marling Johnny McMillan North Chicago Dance Company. Hortin joined and King, Korkos has performed the works (Rehearsal Director) is from Sault Ste. Hubbard Street Dance Chicago as an appren- of Yannis Adoniou, Sidra Bell, and, most recent- began his ballet train- Marie, Ontario. He tice in August 2007 and was promoted into the ly, Alex Ketley and Katie Faulkner. Korkos joined ing in 1982 at the Ruth began his training main company in July 2008. Hubbard Street 2 in September 2010. Page School of Dance in Sault Ste. Marie, under the direction of Ontario at age twelve. Alice Klock Emilie Leriche Larry Long. In 1994, He graduated from is from Ann Arbor, is from Santa Fe, New he joined the Interlochen Arts Michigan. She began Mexico. She began Pittsburgh Ballet Academy, receiv- dancing at the age of her dance training Theater directed by Patricia Wilde, performing ing the young artists’ award in dance. He eleven. In 2003, she at the age of eight. works by George Balanchine, Glen Tetley, Paul has attended summer programs at the San attended Interlochen In 2007 she moved Taylor, Jirí Kylián, Ohad Naharin, Kevin O’Day, Francisco Conservatory, Bartholin International Arts Academy, where to the Boston area and Dwight Rhoden as well as many full-length Ballet Seminar, and Hubbard Street. He has she achieved artis- to study at Walnut classical . In 2003 Marling was invited to worked with Gleich Dances under the direction tic and academic Hill School for the join the National Theatre Mannheim in Germany of Julia Gleich and was awarded first place at high honors upon graduation. In 2007, Klock Arts. She has attended summer programs at under the direction of Kevin O’Day where he par- the 2010 American Ballet Competition in both moved to California to study with Magnus Midwest (formerly Joffrey Midwest), ticipated in the creation of many new works. the classical and contemporary divisions. He in the LINES/Dominican BFA program. She Complexions , San Marling danced with Hubbard Street Dance has performed roles in ballets such as Arthur has attended summer programs at the San Francisco Conservatory of Dance, and Hubbard Chicago from April 2006 to December 2009. He Saint-Léon’s Coppelia, August Bournonville’s La Francisco Ballet, The National Ballet School of Street Dance Chicago. In 2009 she performed participated in the creation of new works with Sylphide and Frederick Ashton’s Les Patineurs, Canada, , Alonzo King LINES alongside the dancers of zoe|juniper in the Jorma Elo, Toru Shimazaki, Jim Vincent, Lucas as well as works by Randy Duncan, Patrick Ballet, San Francisco Conservatory of Dance, devil you know is better then the devil you don’t. Crandall, and Alejandro Cerrudo, and danced Corbin, Kim Robards, and Hannah Baumgarten. Springboard Danse Montreal, and Hubbard Leriche joined Hubbard Street 2 as an appren- works by Susan Marshall, Nacho Duato, Ohad McMillan joined Hubbard Street 2 as an appren- Street. She has worked professionally on a tice in September 2010 and became a company Naharin, Margarite Donlon, Jirí Kylián, and oth- tice in September 2010 and became a company number of projects with San Francisco chore- member in August 2011. ers. Marling became rehearsal director for member in August 2011. ographer Gregory Dawson, and had the honor Hubbard Street in January of 2010. of performing with Alonzo King LINES Ballet Ana Lopez Justin Ronald Mock in their 2008 home fall season. She joined is from A Coruña, Felicia McBride is from Pittsburgh, Hubbard Street 2 in September 2009 and was Spain. She began is from San Antonio, Pennsylvania. He promoted into the main company in August 2011. her formal training Texas. She began her began his dance at Conservatorio de ballet training under training at age seven- Nicholas Korkos Danza Diputacion the direction of Julie teen at The Lincoln is from San Francisco, de A Coruña. Upon Morton Simpson in Park Performing Arts California. He trained graduating Isaac San Antonio. She Charter School. He predominantly at Diaz Pardo high attended summer pro- has participated in Alonzo King’s LINES school, she continued her training at Centro grams at Houston summer dance programs at Hubbard Street Ballet School, as well Internacional de Danza Carmen Roche. Lopez Ballet, Chatauqua Dance Chicago, Lou Conte Dance Studio, and as San Francisco danced with Joven Ballet Carmen Roche, Ballet, , and Ballet Austin. After . He received his BA School of the Arts and Compañía Nacional de Danza 2, and Ballet spending her senior year as a trainee with North from Point Park University in 2011, where he first Purchase College, Theater Munich before joining Hubbard Street Carolina Dance Theater she danced with Ballet became acquainted with Hubbard Street’s rep- SUNY. At age fifteen Korkos performed in and Dance Chicago in January 2008. Lopez was Austin 2 for one season. In 2009 McBride joined ertoire while dancing Bardo by Toru Shimazaki. toured The Rite of Spring, with LINES. From named one of Dance Magazine’s “25 to Watch” Dominic Walsh Dance Theater (DWDT) where Mock joined Hubbard Street 2 as an apprentice 2008 to 2010, Korkos was a member of both in 2012. she performed works by Jirí Kylián, Mats Ek, in August 2011. Robert Moses’s KIN and Kara Davis’s Project Mauro Bigonzetti, Vaclav Kunes, and Dominic Agora in San Francisco. During that time he Walsh. After two seasons with DWDT, McBride also performed in Il Trovatore with the San joined Hubbard Street 2 in August 2011. Clébio Oliveira Taryn Kaschock Saunders has also danced with , Celebrating 100 Years.” He is a cofounder of is a Brazilian native Russell toured extensively with MOMIX, and was a BØRDERLINE DANCE CIRCLE—a troupe under and graduate of (Director, HS2) member of Cedar Lake Ensemble in New York the choreographic direction of Michelle Mola— the Universidad de joined Hubbard Street before joining Hubbard Street Dance Chicago in for which he danced professionally and devel- Cidade in Rio de Dance Chicago after November 2004. In 2011 Saunders was one of oped concepts since 2005. Shannon joined Janeiro. She is a an extensive career the three National Choreographic Competition Hubbard Street Dance Chicago in November choreographer and with the Joffrey Ballet. winners awarding her the opportunity to create a 2007. contemporary dance Starting in 1995 she new work for Hubbard Street 2. instructor. Since spent seven years Lissa Smith beginning to choreograph, Oliveira has won performing and touring extensively with the com- David Schultz is from Miami, Florida more than fifteen awards as a top choreogra- pany. During that time, she expanded her artistry is from Grand where she began her pher in Brazil. In January 2009, Oliveira was by dancing the principal roles in classic works Rapids, Michigan. dance. She gradu- invited by the Ballet Theatre Kiel in Germany to by Agnes DeMille, George Balanchine, Martha He began his train- ated from New World stage his piece Something is ending, something Graham, and John Cranko. She was also the ing at the School of School of the Arts is beginning. This work was revered for being first woman outside of David Parsons company Grand Rapids Ballet. High School and both innovative and interesting while utilizing a to dance his signature solo Caught. Kaschock Before joining the attended The Boston unique and particular body language. Oliveira’s Russell joined Hubbard Street Dance Chicago company for four Conservatory. Smith choreographic work emphasizes the complex- in 2002 and the following January was named seasons, Schultz danced in summer programs at Hubbard Street ity of the human body by alternating strength, one of Dance Magazine’s “25 to Watch.” Her studied with the National Ballet of Canada. He Dance Chicago, Jacob’s Pillow, The Juilliard investigation, poetry, and sensibility. His diverse repertoire, while dancing with Hubbard Street, has performed works by Gordon Pierce Schmidt School, Alonzo King LINES Ballet, Martha use of genre generates a very specific aesthetic included master works by Jirí Kylián, Nacho and Septime Webre, as well as Prodigal Son Graham, The Joffrey Ballet, and The Joffrey that mixes dance techniques, theater, and folk Duato, William Forsythe, and Ohad Naharin. by Peter Sparling. Schultz has studied the Midwest Workshop. She has performed works culture—a style that has been placed on many Kaschock Russell also participated in numerous techniques and works of Paul Taylor, George by Martha Graham, José Limon, Gregory companies throughout Brazil and Europe. In original creations while a member of the compa- Balanchine, Lester Horton, Martha Graham and Dawson, Hofesh Shecter, Thang Dao, Peter 2011 Oliveira was one of the three National ny. In 2007, she became a member of Hubbard Nacho Duato before joining Hubbard Street 2 London, Alwin Nikolais, and Uri Sands. In 2009, Choreographic Competition winners giving Street’s artistic staff and began teaching com- in September 2009. He was promoted into the Smith won the “Arts For Life!” dance scholar- him the opportunity to create a new work for pany class, conducting rehearsals, and re- main company in August 2011. ship presented by Florida’s Former First Lady Hubbard Street 2. setting choreography. She was named Director Columba Bush. Smith joined Hubbard Street 2 of Hubbard Street 2 in 2008 and also coordi- Kevin Shannon as an apprentice in August 2011. Pablo Piantino nates Hubbard Street’s National Choreographic is from Baltimore, is from Mendoza, Competition. In 2010 Kaschock Russell con- Maryland. He began Jessica Tong Argentina. He began ceived and directed the critically acclaimed his formal dancing is from Binghamton, dancing at the age Hubbard Street 2 family program Harold and the under the guidance New York. She of fourteen. His train- Purple Crayon: A Dance Adventure. of Lester Holmes. He received her formal ing includes private graduated from the training at The Ballet seminars with Hector Penny Saunders Baltimore School School in Salt Lake Zaraspe and stud- is from West Palm for the Arts, receiv- City, Utah under Jan ies at both the Colón Beach, Florida. She ing additional summer training at the School of Clark Fugit, as well Theatre School and the Juilliard School, where received her formal American Ballet, Miami City Ballet, Paul Taylor, as at the University of he received his BFA. Having danced with the dance training at and and David Parsons. He received his BFA in 2007 Utah where she danced as a member of Utah Colón Theatre and the Juilliard graduated from the from the Juilliard School, where he performed Ballet. She also attended the summer programs School Dance Ensemble, Piantino joined the Harid Conservatory works by Susan Marshall, Mark Morris, William of American Ballet Theatre, San Francisco in 1999 and became a in Boca Raton. While Forsythe, and Jirí Kylián. He has toured nation- Ballet, and Lou Conte Dance Studio, among oth- Hubbard Street Dance Chicago company mem- furthering her train- ally with the Juilliard School Ensemble and ers. Tong danced with BalletMet in Columbus, ber in August 2005. ing under Elisabeth Carroll, she joined the performed in the nationally broadcast special Ohio, Eliot Feld’s Ballet Tech in NYC; and American Repertory Ballet in New Jersey. “Live From Lincoln Center, The Juilliard School: Hubbard Street 2 before joining the main com- pany in January 2007. Tong was named one of The Design Team Nathan R. Rohrer Dance Magazine’s “25 to Watch” in 2009. has designed costumes for theater and dance Matt Miller productions throughout Chicago, including Robyn Mineko currently serves as the lighting director for Pinkalicious, currently playing at the Williams Hubbard Street Dance Chicago and as the Playhouse, as well as Snow White and is from Lombard, resident lighting designer for Hubbard Street Alexander and the Terrible, Horrible, No Good Illinois. She began 2. Some of his favorite work includes Harold Very Bad Day, currently playing at the Apollo dancing at age five and the Purple Crayon: A Dance Adventure, Theatre. He has designed numerous dance under the direction of Nessuno, Never Did Run Smooth, and the 2011 productions for Hubbard Street 2, River North Yvonne Brown Collodi. Inside/Out Choreographic Workshop. Miller’s Chicago Dance, Thodos Dance Chicago, and She continued study- lighting work has also taken him to such orga- Deeply Rooted Productions. Other theater ing dance at the Lou nizations as the Chicago Dancing Festival, the credits include Lifeline Theatre, Emerald City Conte Dance Studio on full scholarship from Chicago Symphony Orchestra, Dance For Life, Theatre, New Colony, Griffin Theatre, and the 1993 to 1995. Williams danced with River North Chicago Takes Off, The Goodman Theatre, and University of Chicago, where he is costume Chicago Dance Company for four years before The Plagiarists theatre company. He holds a shop manager. His picturesque costume ren- becoming an apprentice with Hubbard Street BFA in Lighting Design from the Johnny Carson derings have been exhibited and sold in art Dance Chicago in June 2000. She became a School of Theatre and Film in the Hixon-Lied galleries and have been featured in Time Out full company member in September 2001. In College of Fine and Performing Arts at the Chicago. Rohrer received his BA from the 2010, she cochoreographed Harold and the University of Nebraska Lincoln. University of Wisconsin-Stevens Point. Purple Crayon: A Dance Adventure for Hubbard Street 2. Branimira Ivanova Rebecca M. Shouse is a graduate of the University of Connecticut is a native of Elizabethtown, Kentucky and has Andrew Wright with an MFA in Costume Design and the a BA in Theatre from Morehead State University, is from Burlington, International Academy of Design and an MFA in Acting from Western Illinois Ontario. He began Technology with a BFA in Fashion Design. She University, and an MFA in Costume Design from his dance training made her debut in the costuming and dance Purdue University. Her costume designs at the age of eight. world with Hubbard Street Dance Chicago in include PHYSIKAL LINGUISTIKS; Lickety Split; He has attended 2002. She has worked with the company ever Love Stories and ten others for Hubbard Street summer intensives since and has designed costumes for Toru Dance Chicago; and Creative Force (also with Hubbard Street Shimazaki, Marguerite Donlon, Alejandro featured in Robert Altman’s film The Company), Dance Chicago and Cerrudo, and Andrea Miller to name a few. Footnotes for RJ, and Lyric Discourse for The River North Chicago Dance Company. He also Ivanova is a 2009 and 2010 Jeff Award nominee Joffrey Ballet. attended Springboard Danse Montréal where for the costume design for Lifeline Theater’s he worked with Les Ballets Jazz de Montréal productions of Treasure Island and Wuthering and Batsheva Dance Company performing Heights. Ivanova is a recipient of Certificate for repertoire by Aszure Barton and Ohad Naharin. Excellence in Theatre Design by USITT in 2007. While completing his BFA in dance at Point Park Her work was part of the United States National University Wright received the “Rising Star in Exhibit at the Prague Quadrennial World Stage Dance” award and performed works by Gerald Expo in Prague 2007. She is also a recipient Arpino, Trey McIntyre, Toru Shimazaki, and of Fashion Group International’s “Design Your Kiesha Lalama. He joined Hubbard Street 2 as Future Award” and the Driehaus Award for an apprentice in August 2011 while finishing his Fashion Excellence, both in 2002. degree. Wright became a company member in January 2012. Hubbard Street Dance Chicago Board of Directors

Administration Executive Committee Dance Stacey Dent, Associate Director of Finance Marc Miller, Chair Karine Provost, Manager of Meg Siegler Callahan, President Pre-Professional Programs Camille Rudge, Secretary John Jota Leaños Krista Ellensohn, Accounting and Ellis Regenbogen, Treasurer Operations Clerk Dave Mekemson, Immediate Past Chair Imperial Silence: Marisa Santiago, Touring Coordinator Jane Strauss, Vice President, External Affairs Una Ópera Muerta Tierman Damas, Arts Administration Intern Lyndon Taylor, Vice President, Membership Richard F. Tomlinson II, May 17–19, 2012 External Affairs Vice President, Facilities Bill Melamed, Director of External Affairs Sharon Barry, Associate Director of Sara Albrecht Development Marge Collens Stacey Recht, Associate Director of Marketing Linda Hutson Colin Borck, Individual Giving Manager Karen Lennon Kalena Dickerson, Manager of Maureen Mosh Institutional Grants Byron Pollock Farrah Williams, Manager of Communications J. Randall White Lisa Hayden, Ticketing and Patron Services Associate Directors Brian Barasch, Marketing Coordinator Corinne E. Brophy Jamie Wasielewski, Development Assistant Carolyn Clift Joel Cory Education and Community Programs Allan Drebin Kathryn Humphreys, Director of Education and Carla J. Eyre Community Programs Elizabeth Yntema Ferguson Sinead Kimbrell, Associate Director of Paul Gignilliat Education Frances Henkel “one of the most beautiful Sarah McCarty, Education Manager Stephanie J. Hickman Kristen Gurbach Johnson, Joni S. Jacobsen and seamless pieces of Community Programs Coordinator Betsy Stelle Morgan Cara Scrementi, Sarah Nolan performance art, culture Community Programs Coordinator James F. Oates and commentary I have Cheryl Olendzki, Lead FSI Teaching Artist Sheila Owens Alyssa Rapp ever seen.” Wardrobe Staff Lauren Robishaw Presa POBRE ⁄ Rebecca Shouse, Wardrobe Supervisor Carter Sharfstein Branimira Ivanova, Draper Mary Kay Shaw POOR Magazine Carol Miller, Draper Ross Shelleman Nathan Rohrer, First Hand Denise Stefan-Ginascol For tickets, visit mcachicago.org or call Deborah Stonebraker 312.397.4010.

Funded in part by the National Performance Network Residency Program. Photo: George Hagegeorge George Photo: Courtesy Guidelines and Information

As one of the nation’s largest multidisciplinary museums devoted to Parking the art of our time, the Museum of Contemporary Art Chicago offers Validate your ticket at coat exhibitions of the most thought-provoking art of today. The museum’s check for $11 parking in the MCA garage (220 E. ) performing arts program, MCA Stage, is the most active presenter of and Bernardin garage (747 N. theater, dance, and music in Chicago, featuring leading performers Wabash). The $11 parking is from around the globe in our 300-seat theater. limited to six hours on date of performance.

MCA Stage is committed to presenting groundbreaking performances Lost and found that focus on collaboration; working closely with artists; converging To inquire about a lost item, call the museum at 312.280.2660. with the larger programming of the museum; and offering a contem- Unclaimed articles are held for porary view of the traditional roots of performance. 30 days.

Seating Switch off all noise-making Mary Ittelson, Performance Programs devices while you are in Chair of the Board of Peter Taub, Director the theater. Trustees Yolanda Cesta Cursach, Late arrivals are seated at the Madeleine Grynsztein, Associate Director management’s discretion. Food Pritzker Director Surinder Martignetti, Manager and open beverage containers are Janet Alberti, Kevin Brown, not allowed in the seating area. Deputy Director House Management Associate Michael Darling, Alicia M Graff, Reproduction James W. Alsdorf Chief House Management Associate Unauthorized recording and Curator Quinlan Kirchner, reproduction of a performance House Management Associate is prohibited. Performance Committee Eboni Senai Hawkins, Intern Museum of Contemporary Art Lois Eisen, Chair Kitty Huffman, Intern Chicago Katherine A. Abelson 220 E. Chicago Avenue Ellen Stone Belic Theater Management Chicago, Illinois 60611 Pamela Crutchfield Dennis O’Shea, mcachicago.org Ginger Farley Manager of Technical Gale Fischer Production General information 312.280.2660 Jay Franke Richard Norwood, Timothy A. Herwig Theater Production Manager Box office 312.397.4010 John C. Kern Volunteer for performances Lisa Yun Lee Box Office 312.397.4072 Elizabeth A. Liebman Matti Allison, Manager [email protected] Lewis Manilow Phongtorn Phongluantum, Alfred L. McDougal Assistant Manager Contact the Performance department Paula Molner Molly Laemle, Coordinator [email protected] D. Elizabeth Price Sarah Aguirre, Associate Carol Prins Jena Hirschy, Associate Museum hours Cheryl Seder Lucy Pearson, Associate Tuesday: 10 am–8 pm Patty Sternberg Wednesday–Sunday: 10am–5pm Closed Mondays, Thanksgiving, Richard Tomlinson Program notes compiled by Christmas, and New Year’s Day Yolanda Cesta Cursach