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Home , Ary Barroso, A Ghost Is Born, Glenn Kotche, Third Coast Percussion

Theater Dance Music

at the Edlis Neeson Theater

Winter/Spring

Manual Cinema Ragamala Dance + Mementos Mori Rudresh Mahanthappa Jan 15–18, 2015 Song of the Jasmine Apr 10–12, 2015 Stan’s Cafe The Cardinals International Contemporary Ensem- Jan 22–24, 2015 ble (ICE): Anna Thorvaldsdottir In the Light of Air Sònia Sánchez Apr 25, 2015 Le Ça (The Id) Feb 13–15, 2015 Creative Music Summit: Nicole Mitchell Mariano Pensotti May 2, 2015 Cineastas (Filmmakers) Renée Baker Feb 26–Mar 1, 2015 May 3, 2015

Joffrey Academy of Dance Third Coast Percussion with Winning Works: Choreographers of Color Wild Sound Mar 7–8, 2015 May 21–22, 2015

The Seldoms Power Goes Mar 20–29, 2015 Third Coast Percussion with Glen Kotche Wild Sound May 21–22, 2015 Photo: Saverio Truglia

Third Coast Percussion Glenn Kotche Video: Xuan Sean Connors Drumkit Quartet #51 (2011) Stage direction: Leslie Buxbaum Robert Dillon Sean Connors, Robert Dillon, Danzig Peter Martin Peter Martin, David Skidmore Audio engineering: Dan Nichols David Skidmore 11 minutes Lighting design: Sarah Prince Instrument design and Glenn Kotche Steve Reich construction: NDWaves Projections of (What) Might Music for Pieces of Wood (for team: Quinlan McWilliams, (2006) Drums) (1973; arr. David Cossin, Susan Nace, John Nolan, Glenn Kotche 2012, for two drum kits) Ryan Snelling​, Juan 5 minutes Velazquez, ​Tony Villano, Glenn Kotche, David Skidmore Xinyi Wang;​ ​Professor Jay João Gilberto 7–10 minutes Brockman; Professor Undiú (1973; arr. Glenn Kotche, Douglas Hall; College of 2007) Intermission Engineering at the University Glenn Kotche of Notre Dame. 5 minutes Glenn Kotche Wild Sound Performance length is Steve Reich “Wilderness” approximately 100 minutes with Nagoya Marimbas (1994) “Rural” one intermission. Sean Connors and Peter Martin “Industrial” 5 minutes “Urban” Support for Third Coast Percussion: Wild Sound is provided in part by the Sean Connors, Robert Dillon, Amphion Foundation.

Peter Martin, David Skidmore Wild Sound was commissioned by the 43 minutes ’s DeBartolo Edlis Neeson Performing Arts Center and the Chamber Music America Classical Theater Commissioning Program, with generous funding provided by The Andrew W. Mellon Foundation and the Chamber Music America Endowment Fund. Additional support provided by The Saint Paul Chamber Orchestra's Liquid Music Series. About the Program as enigmatic or eccentric, he left Brazil Artists Up Close for the US, where he lived until 1980 First Night MCA Stage and recorded prolifically with numerous Projections of (What) Might (Glenn May 21 Kotche) jazz artists. It was during this time he Following the Kotche performs this work for drum set wrote “Undiú.” In the new arrangement performance, audience 2015–16 members are invited to trio with two pre-recorded parts. It was of Gilberto’s song, Kotche takes a engage in a conversa- originally introduced on his solo similar journey of detail and discovery. tion with Glenn Kotche Mobile (Nonesuch), which drew On his website, he described compos- and members of Third Coast Percussion, mod- inspiration from mobile sculptures, the ing as “about being honest with myself. erated by Peter Taub, music of Steve Reich, and the Hindu I have a degree in classical percussion Director of Performance Ramayana, and featured a wide range but I’m not a trained composer, so I Programs. of instruments, including vibraphone, bring a different approach and perspec- kalimba, mbira, and a drum kit custom- tive. When I’m composing, I try to assembled by Kotche. At the time of the remind myself to bring it back to who I album release, he explained in com- am as a person and musician—and ments published on his record com- draw from my experiences. That leads pany’s website, “In the right lighting, I'm to something that is certainly interesting usually struck as much by the shadows to me to explore, and it’s definitely that a mobile creates as by the sculp- honest.” ture itself. I'm also fascinated by the kinetic nature that affects relationships Nagoya Marimbas (Steve Reich) between the same basic parts to make Although a late piece, this 1994 compo- something perpetually new…. Through- sition revives some aspects of the out the record I investigate the idea of works of the 1960s and 1970s that negative or opposite rhythm by utilizing made Reich famous, namely repeating the intrinsic spaces—or rests—of patterns on instruments, with one or rhythms. Many of these songs were more beats out of phase. In older works shaped from a few simple ingredients Reich’s system would have been to and then used in varying forms and continue playing these, with the phase different contexts, each time creating relationship of them shifting one something new, yet homogeneous.” beat-unit each repetition, until they snapped back into exact unison. In this Undiú (João Gilberto, arr. Glenn work, the patterns change through a Kotche) process of development, and usually Born in the northeastern state of Brazil don't repeat more than three times. known as Bahia, the singer/songwriter The parts for the two instruments are See what everyone will be talking about by Buy online at Theater and guitarist João Gilberto is widely “through-composed” and both of them joining us for the MCA Stage 2015/16 season. known for reinterpreting the requiring virtuoso-quality players. Memorable artists perform in an array of mcachicago.org Dance foundation that Antonio Carlos Jobim It was commissioned by the Nagoya firsts, from world premieres to North American Music established in the 1950s. He created a Conservatory in Japan for the inaugura- debuts. rhythmically idiosyncratic approach to tion of a new auditorium, Shirakawa at the playing the guitar—an intensely Hall. MCA Stage is home to provocative, nervy, syncopated plucking of the strings that —Joseph Stevenson, All Music and beautiful performances of deep relevance Edlis flowed with his singing. After the Teatro Cinema Neeson success of his first record, Chega de Nagoya Marimba’s complex and varied and affecting expression. Historia de Amor Photo: Montserrat Quezada A. Theater Saudade (1959), and true to his image melodic patterns are played by two study in economy of means, both in of creating and discovering sounds terms of physical and musical materi- becomes part of the music, brought als. The three sections of the work are into dialogue with live performance on each constituted by a single rhythm, the instruments and a pre-recorded with a new version of the pattern audio track made up of everyday building up in as an individual voice sounds from a number of different before blending into the texture. Many environments. As the piece progresses of the rhythms that emerge along the through four different types of sonic way suggest alternative meters or environments—wilderness, rural, rhythmic inflections that may change industrial and urban—it mirrors a the listener’s perception of the whole. history of human innovation and creativity. Instruments are born from the Wild Sound (Glenn Kotche) desire to express ideas musically, The centerpiece of today’s program is a derived from the materials at hand, and project almost six years in the making. they are ultimately called upon to When Third Coast Percussion first interact with the sounds and the context approached Kotche about a collabora- of the world around us. tive project, the discussions quickly turned to their shared fascinating with At certain moments, audience members exploring and creating new sounds. have an opportunity to become a part of the piece by employing their

Kotche has long had a reputation for own body as well as an instrument Third Coast developing his sonic palette in creative distributed before the start of the Percussion Photo: Saverio ways, such as his “prepared snare performance. Truglia drum” which functions both as a musicians in tight canon, one just Third Coast overlapping descending figures that traditional snare drum and a resonator Percussion slightly after the other, to create an Photo: Barbara unfold at different speeds. The accom- for a variety of springs, wires and rods Johnston/University energized and kaleidoscopic whole. Photographer panying electronic audio track includes attached to the head, and Third Coast recordings from the cities that inspired Percussion’s repertoire has included Drumkit Quartet #51 (Glenn Kotche) this quartet, as well as a haiku that performing on tin cans and piano guts While touring the world with , captures the spirit of the music, written for the music of John Cage and Kotche began making sketches for a by Kotche and read by Yuka Honda (of building their own “Sixxen” for music by series of pieces each inspired by the band Cibo Matto): Philippe Manoury and Iannis Xenakis. different cities through which he was As Wild Sound has taken shape travelling. Kotche made fifty-four of blinking fresh raindrops through years of discussion and these sketches in total. Many of them full ephemeral anchor experimentation, it has become a work formed a collection of “Drumkit Quar- placidity hush that fully embraces Cage’s philosophy tets” written for the New York-based that all the world’s sounds are music, quartet So Percussion. These works Music for Pieces of Wood (for and that the percussionist’s job is to were all written for drum kits initially, Drums) (Steve Reich) bring all of those sounds to the stage. but later re-scored for everything from In creating this work, Reich was marimbas and cowbells to sirens and determined to compose music that Wild Sound utilizes no standardized disposable cameras. In Drumkit Quartet progressed through clearly audible instruments. Every instrument used #51 (Tokyo/Brisbane/Berlin), the four processes. Arranged for this perfor- was created specifically for this project, musicians surround two marimbas, mance by David Cossin for two drums and many of them will be created on creating a melody of raindrops with kits, Music for Pieces of Wood is a stage during the performance. The act About the Artists tureland (Cantaloupe Music, 2014). His Douglas R. Ewart Clarinet Choir: compositions have been commissioned Homage to Malachi Maghostut Favors by Kronos Quartet, The Silk Road João Gilberto (b. 1931) Ensemble, Bang on a Can All-Stars, July 11, 2015 started on guitar and led his first band So Percussion, and eighth blackbird. at the age of fourteen. He left his native His music has been performed at the Juazeiro, in the northeastern part of Ravinia Festival in ; Carnegie the state of Bahia, at the age of eigh- Hall's Zankel Hall and Lincoln Center teen to perform on live radio shows in for the Perfoming Art's Alice Tully Hall Salvador, Bahia’s largest city. Soon in New York; and Teatro Castro Alves after, he moved to while in Salvador, Brazil. Kotche joined the continuing to work for radio stations. He band Wilco in 2001, and his recordings absorbed a wide range of music, from with the group include Yankee Hotel Brazilian pop songs of the day to the Foxtrot, Kicking Television, the Grammy swing jazz of Duke Elllington and Tom- nominated , Wilco (The my Dorsey to the light-opera singing of Album), and the Jeanette MacDonald. After a decade Grammy-winning . In of unrealized potential as a composer, 2010, the members of Wilco started the he returned to semi-bucolic surround- music festival Solid Sound in collabora- ings, living in semi-obscurity in rural tion with the Massachusetts Museum Pôrto Alegre, where the vocalist Luis of Contemporary Art (MASS MoCA). Telles encouraged him to perfect his For their 2011 festival, Kotche also con- unique vocal style and guitar playing. tributed a permanent sound installation By the time of his first record, Chega de to the museum's collection. Saudade (1959), Gilberto had become widely known as the man who made In addition, Kotche records and per- bossa nova what it is today. After two forms regularly with Darin Gray in additional successful album releases in the longtime rhythm duo On Fillmore. the early 1960s, he left Brazil to settle in The two musicians have released four the US, where he lived until 1980. Dur- records, including Extended Vacation ing this period he recorded prolifically, (Dead Oceans). With Jim O’Rourke working frequently with saxophonist and , Kotche is also a mem- Stan Getz and recording music by older ber of the trio . The band Brazilian songwriters such as Dorival has recently recorded its third album. Caymmi and Ary Barroso. He returned Kotche has twice appeared on the to Brazil in the early 1980s. Since then, cover of Modern Drummer and once On the opening of The Freedom Principle: Theater while living semi-reclusively again, he on the cover of Percussive Notes, Experiments in Art and Music, 1965 to Now, has worked with virtually every big the official publication of the Percussive composer and media artist Douglas R. Dance name in Brazilian pop, including Gilber- Arts Society, of which Kotche is cur- Ewart convenes a supergroup of reedists and Music to Gil, , Maria Bethania, rently a board member. He resides in vocalists from the Association for the , and . Chicago with his wife and two children. Advancement of Creative Musicians (AACM), Buy tickets online at the along with visual artist Floyd Webb and at mcachicago.org Glenn Kotche (b. 1970) Steve Reich (b. 1936) performance poet Sterling D. Plumpp. Edlis has collaborated on more than ninety has embraced aspects of Western clas- Neeson recordings and has released four solo sical music as well as the structures, Douglas Ewart Photo: Lauren Deutsch Theater , including his latest, Adven- harmonies, and rhythms of non-West- ern and American vernacular musics, In 1994, Reich was elected to the the Holy Cross/Immaculate Heart of for two summers with the Aspen Music particularly jazz, throughout more than American Academy of Arts and Let- Mary Marimba Ensemble on Chica- Festival Contemporary Ensemble. As fifty years as a composer. This is evi- ters; in 1995, he was elected to the go’s South Side. an educator, he has served as As- dent in his early taped speech pieces Bavarian Academy of Fine Arts in sistant Professor of Percussion at the It's Gonna Rain (1965) and Come Out 1995; and, in 1999, he was awarded Third Coast’s recent and upcoming University of Wisconsin–Stevens Point, (1966) and in his collaborations with the Commandeur de l'ordre des Arts et concerts and residencies include ap- and taught elementary-school and video artist Beryl Korot on the music Lettres. Reich’s Different Trains (1988) pearances at the Metropolitan Mu- middle-school music in the Chicago theater video work The Cave (1993) and Music for 18 Musicians (1976) each seum of Art (New York), Town Hall Se- suburbs. He holds a Bachelor of Mu- and the digital documentary video earned him a Grammy Award. In 2009, attle, Bravo! Vail Valley Music Festival sic degree from the Eastman School opera Three Tales (2002). he won his first-ever Pulitzer Prize for (Colorado), Eastman Kilbourn Recital of Music, a Master of Music degree Double Sextet (2007), commissioned Series (New York), St. Paul Chamber from , and is He founded his first ensemble in 1966. by eighth blackbird. He was awarded Orchestra Liquid Music Series (Min- currently pursuing a Doctor of Music It consisted of three musicians, but rap- the Golden Lion for Lifetime Achieve- nesota), Atlas Performing Arts Center degree from the Eastman School of idly grew to eighteen members. Since ment in Music from the 2014 Venice and the National Gallery of Art (Wash- Music. 1971, Steve Reich and Musicians have Biennale. (Compiled with permission of ington, DC), Ensemble Music Society toured widely and to venues as di- Boosey & Hawkes.) of Indianapolis, University of Chicago Robert Dillon verse as Carnegie Hall and the Bottom Presents, and the Austin Chamber is an ensemble member and Develop- Line Cabaret. Reich’s music has been Third Coast Percussion Music Festival (Texas). The ensemble ment Director of Third Coast Percus- performed by major orchestras and explores and expands the sonic pos- has also toured to Virginia, Pennsylva- sion. He has performed as a substitute ensembles around the world, including sibilities of the percussion repertoire nia, Wisconsin, and throughout . with the Chicago, Boston, and San the New York and Los Angeles Philhar- and produces a wide range of concerts, Diego Symphony Orchestras, and monics; London, San Francisco, Bos- often in collaboration with artists from Additional local Chicago engagements has appeared numerous times on the ton, and BBC Symphony Orchestras; other disciplines. Formed in 2005, the by Third Coast Percussion include a Chicago Symphony’s contemporary London Sinfonietta; Kronos Quartet; group’s concert and residency proj- four-concert series in various venues music series, MusicNOW, as well as Ensemble Modern; Ensemble Intercon- ects have involved engineers at the and collaborations with Hubbard at the University of Chicago's Contem- temporain; Bang on a Can All-Stars; University of Notre Dame, architects Street Dance Chicago, eighth black- po series alongside eighth blackbird and eighth blackbird. at the Frank Lloyd Wright School of bird, the Chicago Youth Symphony and the Pacifica Quartet. He previ- Architecture, astronomers at the Adler Orchestra, Ensemble Signal, and ously served as Chair of Percussion Major choreographers have created Planetarium, and others. Third Coast video artists Luftwerk. The ensemble Studies at Merit School of Music and a dances to Steve Reich's music, notably often employs new media, such as has performed in twenty-eight states percussion instructor at Loyola Univer- Anne Teresa de Keersmaeker (Fase, free iPhone and iPad apps, to connect and has recently begun to tour interna- sity Chicago. He served as principal 1983, set to four early works as well as audience members to the ensemble’s tionally. Third Coast Percussion per- percussionist in the 2007-08 season Drumming, 1998, and Rain, 2001, set music and to encourage listeners to forms exclusively with Pearl/Adams of the Madison Symphony Orchestra, to “Music for 18 Musicians”), as well as make their own musical performances Musical Instruments, Zildjian Cymbals, and has held positions in the Civic Jirí Kylían, Jerome Robbins for the New as well. Remo Drumheads, and sticks Orchestra of Chicago and the South- York City Ballet, Laura Dean, Eliot Feld, and mallets. west Michigan Symphony Orchestra. Alvin Ailey, Lar Lubovitch, Maurice In 2013, Third Coast Percussion was He is a member of the twelve-member Bejart, Lucinda Childs, Siobhan Davies, the first ensemble to be invited as Sean Connors percussion group Ensemble XII and Richard Alston. His collaborations Ensemble-in-Residence at the Univer- is an ensemble member and Techni- (formerly the Lucerne Festival Percus- across music genres include his 2013 sity of Notre Dame’s DeBartolo Per- cal Director of Third Coast Percus- sion Group), and has played with the -inspired work for chamber forming Arts Center, where the group sion. He has performed with Amphion National Repertory Orchestra and ensemble, Radio Rewrite, which was performs a series of concerts each Percussion, the Pittsburgh New Music participated in Pierre Boulez's Lu- a joint commission from the London year and leads engagement programs Ensemble, eighth blackbird, the cerne Festival Academy (Switzerland), Sinfonietta, Alarm Will Sound, and across departments and in the South International Contemporary Ensemble Tanglewood Music Center (Lenox, Stanford Live. Bend community. The ensemble also (ICE), Signal, and Metropolis En- Massachusetts), Spoleto Festival USA maintains a long-term residency with semble, and he was the percussionist (Charleston, SC), and Pacific Music Festival (Sapporo, Japan). In addi- programming for youth includes work Roscoe Mitchell tion to Third Coast recordings, he can with Urban Gateways, the University of Trios be heard as a soloist on Christopher Chicago's CONNECT program, and the Adler’s Ecstatic Volutions in a Neon Young Audiences organization which Sep 27, 2015 Haze (Innova Records) and a perform- presents concerts in public schools er on the compilation American Music across the US. He holds a Doctor of for Percussion, Volume 1 (Naxos Re- Music and Master of Music degrees cords). He holds a Bachelor of Music from Northwestern University, and from Northwestern University and a received his Bachelor of Music degree Master of Music from the New Eng- from Mason Gross School of the Arts at land Conservatory, where he received Rutgers University. the John Cage Award for Outstanding Contribution to Contemporary Music David Skidmore Performance. His teachers include is an ensemble member and Executive Michael Burritt, James Ross, and Will Director of Third Coast Percussion. Hudgins. He has performed as an ensemble member at Carnegie Hall, the Lin- Peter Martin coln Center Festival, Kimmel Center, is an ensemble member and Finance EMPAC, June in Buffalo, Klangspuren Director of Third Coast Percussion. Schwaz, the Ojai Music Festival, the He was the principal percussionist Bang On a Can Marathon, and three with the contemporary music group Percussive Arts Society International Ensemble Dal Niente, and has been Conventions. He is a former member a featured artist at the Jeju Summer of the Pittsburgh New Music Ensemble Music Festival of Korea, the Kennedy (2007-2011) and Ensemble ACJW Center's Millennium Stage, the Round (2008-2010.) He has collaborated and Top Festival, the Soundfield Festival, performed under conductors such as the Rush Hour Concert Series, and the Pierre Boulez, Lorin Maazel, David Percussive Arts Society International Robertson, and Michael Tilson Convention. He has performed with Thomas, composers Steve Reich, Steve the Scandinavian Chamber Orchestra, Mackey, Matthias Pintscher, and Peter the Pittsburgh New Music Ensemble, Eötvos, and chamber ensembles So Opera Moda, the Greeley Philharmon- Percussion and eighth blackbird. He ic, New Philharmonic and Northwest has performed as a soloist in Europe, Indiana Symphony Orchestras, and Asia, and the US, and as a member as accompanist for Thodos Dance of the Lucerne Festival Academy, the A founding member of the Art Ensemble of Theater Company. He was first prize winner at Civic Orchestra of Chicago, the Pacific Chicago, a key group to emerge from the the 2003 Percussive Arts Society Solo Music Festival, and the National Reper- Association for the Advancement of Creative Dance Marimba Competition. Martin is former tory Orchestra. He also composes, Musicians (AACM), composer and multi- Music Associate Professor and Director of and his work is performed regularly in instrumentalist Roscoe Mitchell has been a Percussion Studies at Virginia Com- concert halls and universities across major contributor to experimental music Buy tickets online at the monwealth University, and served the country. He has served on the since the 1960s. This concert features his at mcachicago.org as an instructor at Northwestern percussion faculty at the Peabody acclaimed trios and is presented as part of Edlis University, Trinity International Uni- Conservatory for four years. He holds a MCA exhibition The Freedom Principle: Neeson versity, and the National High School Bachelor of Music degree from North- Roscoe Mitchell Experiments in Art and Music, 1965 to Now. Photo: Joseph Blough Theater Music Institute. His devotion to music western University, where he studied with Michael Burritt and James Ross, Performance Studies from Northwest- Thank you Friends of the MCA Stage $500–999 and a Master of Music degree from the ern University, and trained in physical Leslie Bodenstein and Yale School of Music, where he studied theater at Écoles Jacques Lecoq and Lead support for the 2014–15 $10,000–24,999 Jason Pickleman with Robert Van Sice. Philippe Gaulier. season of MCA Stage is prov­ided Shawn M. Donnelley and Julie and Shane Campbell by Elizabeth A. Liebman. Christopher M. Kelly Terri and Stephen Geifman Leslie Buxbaum Danzig Xuan Ginger Farley and Bob Shapiro Mark Light is a director in theater and dance. Her is a graduate of the Eastman School Additional generous support Andreas Walburg-Wolfegg Anonymous co-creations with Julia Rhoads/Lucky of Music, where she began applying is provided by David Herro and Plush Productions, The Better Half her music performance training to Jay Franke, Caryn and King $5,000–9,999 $499 and under and The Queue, have toured nationally video work. She has received sev- Harris, and Lois and Steve Eisen Sara Albrecht Jane & Issi though National Dance Project and Na- eral commissions, such as for Mariel and the Eisen Family Foundation. Ellen Stone Belic David Brown tional Performance Network Creation by Osvaldo Golijov, and is a regular Patricia Cox Coleen Kealey Fund awards, in 2012 and 2014, respec- collaborator with performing artists. The MCA is a proud member of Pamela Crutchfield MCA North Shore Affiliates tively. Her work as director has been Museums in the Park and Karen and Jim Frank Jane Mordini presented by the MCA, Spoleto Festival receives major support from the The Irving Harris Foundation Matthew F. O’Connor USA (South Carolina), CRASHarts Chicago Park District. Susie Karkomi and Jacquelyn Paine and at the Institute of Contemporary Art Marvin Leavitt Robert Barr Boston, Dance Cleveland, Clarice The Martha Struthers Farley Richard Poston Smith Performing Arts Center (Mary- and Donald C. Farley Jr. Kazu Yamamoto land), Flynn Center for the Performing Family Foundation Anonymous Arts (Vermont), ODC (California), and Maya Polsky the Yard (Massachusetts). Danzig is Carol Prins and John Hart co-founder of the Chicago-based physi- cal theater company 500 Clown, whose $1,000–4,999 work has been presented in Chicago Amphion Foundation, Inc. at Steppenwolf Theatre Company and Leigh and Henry Bienen Lookingglass Theatre Company as Sarai Hoffman and Stephen Pratt well as nationally. The company was a Cynthia Hunt and Philip Rudolph Presidential Fellow in the Arts at Uni- Maecenas versity of Chicago from 2005-08. Other Susan Manning and theater credits include co-directing Doug Doetsch Redmoon Theater's The Elephant and Herbert R. and Paula Molner the Whale, commissioned by Chicago Sharon Oberlander Children's Theatre, and Hunchback at Elizabeth Price and Lou Yecies New Victory Theater (New York) and Cheryl and John Seder Rockefeller Memorial Chapel at the Ms. Patricia F. Sternberg University of Chicago; directing Float As of May 2015 with About Face Theatre; and tour- ing nationally and internationally as an actor with New York-based Eleva- tor Repair Service. She has taught in the Theater and Performance Studies program at the University of Chicago and the MFA directing program at Northwestern University. She holds a The MCA is a proud partner of the BA from Brown University and PhD in Foundation Season Sponsor Preferred Hotel Partner National Performance Network. Courtesy guidelines and information

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MCA Stage’s groundbreaking performances are an integral Lost and Found part of MCA Chicago’s artist-activated, audience-engaged To inquire about a lost item, call the programming. Along with the museum’s exhibitions and museum at 312.280.2660. Unclaimed educational initiatives, they encourage a broad and diverse articles are held for thirty days. community to experience and discuss the work and ideas of living artists. Seating Please switch off all noise-making King Harris, Chair of Performance Programs the Board of Trustees Peter Taub, Director devices while you are in the theater. Madeleine Grynsztejn, Yolanda Cesta Cursach, Pritzker Director Associate Director Teresa Samala de Guzman, Cameron Heinze, Manager Patrons are seated at the manage- Deputy Director Richard Norwood, Theater Michael Darling, James W. Production Manager ment’s discretion. Food and open Alsdorf Chief Curator Alex Benjamin, Intern beverage containers are not allowed Noelia Cruz, Intern in the seating area. Performance Committee House Management Lois Eisen, Chair Kevin Brown, Associate Ellen Stone Belic Phill Cabeen, Associate Patricia Cox Tiffany Goodman, Associate Reproduction Ginger Farley Quinlan Kirchner, Associate Unauthorized recording and repro­ Jay Franke John C. Kern Box Office duction of a performance is prohibited. Lisa Yun Lee Matti Allison, Manager Elizabeth A. Liebman Phongtorn Phongluantum, Paula Molner Assistant Manager General information Sharon Oberlander Molly Laemle, Coordinator Maya Polsky Amy Esposito, Associate 312.280.2660 D. Elizabeth Price Caitin Joseph, Associate Carol Prins Alexandra Kavanau, Associate Cheryl Seder Alex Manges, Associate Patty Sternberg Diandra Miller, Associate Box office Richard Tomlinson 312.397.4010 Program notes compiled by Yolanda Cesta Cursach Volunteer for performances 312.397.4072 [email protected]

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