DOCSLIB.ORG

Alvin Ailey Dance Foundation

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

The Joyce Theater Presents , Alvin Aile~ American Dance Theater at BAM The Joyce Theater presents Alvin Ailey American Dance Theater at BAM Approximate BAM Howard Gilman Opera House running time: June 3-8 at 7:30pm two hours, June 7 at 2pm; June 8 at 3pm including two intermissions JUDITH JAMISON Artistic Director Masazumi Chaya Associate Artistic Director Classic Ailey (Program A)-June 3, 6, 8 Choreography by Alvin Ailey Night Creature Pas de Duke Masekela Langage Revelations Best Of (Program B)-June 4, 5, 7 The Golden Section, choreography by Twyla Tharp Unfold, choreography by Robert Battle The Groove To Nobody's Business, choreography by Camille A. Brown Revelations , choreography by Alvin Ailey Major support provided by • Altria Leadership support for The Joyce Theater has been received from the LuEsther T Mertz Charitable Trust. Major support for this presentation was provided by Altria Group, Inc. , the 2007-2008 season sponsor of The Joyce Theater. BAM 2008 Spring Season is sponsored by Bloomberg. Additional support for this presentation was provided, in part, by public funds from the New York City Department of Cultural Affairs, The Harkness Foundation for Dance, and The SHS Foundation. Opening night reception support is provided by The Honorable Letitia James, New York City Council, Calyon Credit Agricole CIB, and The Evelyn Sharp Foundation. Opening night reception features cocktails by JOHNNIE WALKER and floral decor by Fleurs Bella. Presentations of The Joyce are made possible with public funds from the National Endowment for the Arts, which believes that a great nation deserves great art; and the New York State Council on the Arts, a state agency. Major support for The Joyce has been received from Carnegie Corporation of New York, First Republic Bank, JPMorgan Chase Foundation, The Andrew W Mellon Foundation, Rockefeller Brothers Fund, The Fan Fox and Leslie R. Samuels Foundation, The Peter Jay Sharp Foundation, The Shubert Foundation and The Starr Foundation. y c • PRESENTS ALVIN AILEY AMERICAN DANCE THEATER JUDITH JAMISON Artistic Director Masazumi Chaya Associate Artistic Director Company Members Guillermo Asca, Olivia Bowman, Kirven J. Boyd, Hope Boykin, Clifton Brown, Courtney Brene Corbin, Rosalyn Deshauteurs, Khilea Douglass, Antonio Douthit, Vernard J. Gilmore, Alicia J. Graf, Abdur-Rahim Jackson , Chris Jackson, Gwynenn Taylor Jones, Willy Laury, Yannick Lebrun , Malik Le Nost, Roxanne Lyst, Amos J. Machanic, Jr., Rachael McLaren, Briana Reed, Jamar Roberts, Renee Robinson, Matthew Rushing, Glenn Allen Sims, Linda Celeste Sims, Yusha-Marie Sorzano, Constance Stamatiou, Tina Monica Williams, Marcus Jarrell Willis Executive Director Sharon Gersten Luckman Major funding is provided by the New York State Councif on the Arts, a State agency, the New York City Department of Cultural Affairs, the National Endowment for the Arts, JPMorgan Chase, Altria Group, Inc. , Citi, American Express, Prudential Financial, Inc. , Diageo, Time Warner, Inc. , Bloomberg, The Shubert Foundation, and MetUte Foundation American Airlines is the official airline of the Alvin Aifey American Dance Theater. ALL ABOUT AILEY CELEBRATING 50 YEARS This year Alvin Ailey American Dance Theater (AAADT), America's cultural ambassador to the world, marks its 50th anniversary of bringing African-American cultural expression and the American modern dance tradition to the world's stages. In 1958, Alvin Ailey led a group of young black modern dancers in a performance in New York City that changed forever the perception of American dance. Since then, the Ai ley company has gone on to perform for an estimated 21 million people on six continents, including two historic residencies in South Africa and the first performances ever by a modern dance company at the legendary Mariinsky Theatre in Russia. Born in Rogers, Texas on January 5, 1931, Alvin Ailey was first introduced to dance by performances of the Katherine Dunham Dance Company and the Ballet Russe de Monte Carlo. His formal dance training began when his friend Carmen de Lavallade encouraged him to join her in classes taught by modern dance pioneer Lester Horton. When Mr. Ailey began creating dance, he drew upon his "blood memories" of Texas, the blues, spirituals, and gospel music for inspiration, resulting in the creation of his most popular and critically acclaimed work-Revelations. Since its premiere in 1960, Mr. Ailey's masterpiece has been seen by more people around the world than any other dance piece. Although he created 79 ballets in his lifetime, Alvin Ailey maintained that his company was not exclusively a repository for his own work. Today, the Company continues Mr. Ailey's mission by presenting important works from the past and commissioning new ones to add to an ever-evolving repertoire that now encompasses over 200 works by more than 70 choreographers . Before his untimely death in 1989, Mr. Ailey chose Judith Jamison to become Artistic Director 50 of Alvin Ailey American Dance Theater. As the Company looks toward the next 50 years and beyond, Jamison's own remarkable vision lights the way for this celebration. Beauty, spirit, hope YEARS CUlTUlAl and passion know no bounds. That is the power of Ailey. AMIASSADOIt Classic Ailey-Program A NIGHT CREATURE from "Ailey Celebrates Ellington" (1974) Choreography by Alvin Ailey Music by Duke Ellington ("Night Creature")* Original Costumes by Jane Greenwood Costume Designs Recreated by Barbara Forbes Lighting by Chenault Spence "Night creatures, unlike stars, do not come OUT at night-they come ON, each thinking that before the night is out he or she will be the star." -Duke Ellington MOVEMENT 1 June 3 & 8, 7:30pm: Alicia J. Graf, Vernard J. Gilmore & Company June 6: Renee Robinson , Guillermo Asca & Company June 8, 3pm: Olivia Bowman , Guillermo Asca & Company MOVEMENT 2 June 3 & 8, 7:30pm: Alicia J. Graf, Jamar Roberts June 6: Renee Robinson , Amos J. Machanic, Jr. June 8, 3pm: Olivia Bowman , Amos J. Machanic, Jr. Khilea Douglass , Roxanne Lyst , Courtney Brene Corbin , Yusha -Marie Sorzano, Constance Stamatiou , Hope Boykin Kirven J. Boyd , Willy Laury , Chris Jackson , Anton io Douthit, Malik Le Nost, Marcus Jarrell Willis MOVEMENT 3 June 3 & 8, 7:30pm: Alicia J. Graf, Vernard J. Gilmore & Company June 6: Renee Robinson , Guillermo Asca & Company June 8, 3pm : Olivia Bowman , Guillermo Asca & Company This production was made possible, in part, by a grant from The Ford Foundation and with public funds from the National Endowment for the Arts. Born in Washington, DC in 1899, American composer, pianist and jazz-band leader Duke Ellington was one of the most influential figures in the history of music. In the early 1930s his band became renowned at the legendary Cotton Club in Harlem. Later the band toured nationally and internationally. The "Duke" wrote over 900 compositions before his death in 1974; among his classics are "Mood Indigo," "Solitude," "Caravan," "Sophisticated Lady," and "Black, Brown, and Beige. " Fabric Dyeing of costumes by Elissa Tatigiki s Iberti *Used by arrangement with G. Schirmer, Inc., publisher and copyright owner. -PAUSE- PAS DE DUKE (1976) Choreography by Alvin Ailey Restaged by Masazumi Chaya Music by Duke Ellington Costumes by Rouben Ter-Arutunian Lighting by Chenault Spence Classic Ailey-Program A June 3 & 8, 7:30pm: Linda Celeste Sims , Clifton Brown June 6: Linda Celeste Sims , Matthew Rushing June 8, 3pm: Alicia J. Grat, Antonio Douthit This original Ailey production was made possible, in part, with public funds from the National Endowment for the Arts and the New York State Council on the Arts, a State agency, and by a grant from the Ford Foundation. Generous support for this production was received from Laren and Jesse Brill. Pas de Duke was originally created for "Ailey Celebrates Ellington ," the Ailey Company's contribution to the nation's bicentennial , that was performed at the New York State Theater in August, 1976. Pas de Duke was Alvin Ailey's modern dance translation of a classical pas de deux honoring two of the most renowned dancers in the world, Judith Jamison and Mikhail Baryshnikov. "Such Sweet Thunder" (1957) "Sonnet for Caesar" (1957) "Sonnet to Hank Cinq" (1957) "Clothed Woman" (1948) "Old Man's Blues" (1930) Used with the permission of Tempo Music, Inc., Mercer Ellington Publishing and G. Schirmer Inc. -INTERMISSION- MASEKELA LANGAGE (1969) "Looks Like It's Safer To Be In Jail ... " Choreography by Alvin Ailey Restaged by Masazumi Chaya Costumes by A. Christina Giannini Lighting by Chenault Spence Five dances with prologue and epilogue based on the music of South African trumpeter Hugh Masekela. Prologue-Sobukwe The Company Fuzz June 3 & 8, 7:30pm: Renee Robinson , Rosalyn Deshauteurs, Hope Boykin , Yusha-Marie Sorzano , Clifton Brown , Vernard J. Gilmore, Amos J. Machanic, Jr. , Guillermo Asca June 6: Briana Reed , Tina Monica Williams , Khilea Douglass , Olivia Bowman , Glenn Allen Sims , Chris Jackson , Malik Le Nost, Antonio Douthit June 8, 3pm: Alicia J. Grat, Tina Monica Williams, Khilea Douglass , Olivia Bowman , Jamar Roberts , Chris Jackson, Malik Le Nost, Willy Laury Morolo June 3 & 8, 7:30pm: Linda Celeste Sims , Guillermo Asca , Amos J. Machanic, Jr., Vernard J. Gilmore June 6: Courtney Brene Corbin , Antonio Douthit, Malik Le Nost, Chris Jackson June 8, 3pm: Constance Stamatiou, Willy Laury, Malik Le Nost, Chris Jackson Classic Ailey-Program A Babajula Bonke June 3 & 8, 7:30pm: Clifton Brown & Company June 6: Glenn Allen Sims & Company June 8, 3pm: Jamar Roberts & Company Bo Masekela June 3 & 8, 7:30pm: Renee Robinson June 6: Briana Reed June 8, 3pm: Alicia J. Graf U-Dui June 3 & 8, 7:30pm: Yusha-Marie Sorzano & Company June 6 & 8, 3pm: Olivia Bowman & Company Mace and Grenades June 3 & 8, 7:30pm: Matthew Rushing & Company June 6: Abdu r-Rahim Jackson & Company June 8, 3pm: Kirven J. Boyd & Company Epilogue-Sobukwe The Company Masekela Langage was originally commissioned by Connecticut College American Dance Festival. Additional funds were provided by The Ford Foundation.
Recommended publications
  • Donald Mckayle's Life in Dance

    Donald Mckayle's Life in Dance

    ey rn u In Jo Donald f McKayle’s i nite Life in Dance An exhibit in the Muriel Ansley Reynolds Gallery UC Irvine Main Library May - September 1998 Checklist prepared by Laura Clark Brown The UCI Libraries Irvine, California 1998 ey rn u In Jo Donald f i nite McKayle’s Life in Dance Donald McKayle, performer, teacher and choreographer. His dances em- body the deeply-felt passions of a true master. Rooted in the American experience, he has choreographed a body of work imbued with radiant optimism and poignancy. His appreciation of human wit and heroism in the face of pain and loss, and his faith in redemptive powers of love endow his dances with their originality and dramatic power. Donald McKayle has created a repertory of American dance that instructs the heart. -Inscription on Samuel H. Scripps/American Dance Festival Award orld-renowned choreographer and UCI Professor of Dance Donald McKayle received the prestigious Samuel H. Scripps/American Dance Festival WAward, “established to honor the great choreographers who have dedicated their lives and talent to the creation of our modern dance heritage,” in 1992. The “Sammy” was awarded to McKayle for a lifetime of performing, teaching and creating American modern dance, an “infinite journey” of both creativity and teaching. Infinite Journey is the title of a concert dance piece McKayle created in 1991 to honor the life of a former student; the title also befits McKayle’s own life. McKayle began his career in New York City, initially studying dance with the New Dance Group and later dancing professionally for noted choreographers such as Merce Cunningham, Martha Graham, Sophie Maslow, and Anna Sokolow.
  • Get Ready for the Newest Broadway Musical Coming Your Way in 2014

    Get Ready for the Newest Broadway Musical Coming Your Way in 2014

    ALADDIN – Get ready for the newest Broadway musical coming your way in 2014 from Disney Theatricals! With more information is coming soon, Aladdin is being adapted from centuries-old Arabian folktales including “One Thousand and One Nights,” will feature a full Broadway score including the five beloved songs from the film. Check back in November, 2013 for more information! ANNIE - The sun will come out this fall, when the legendary musical Annie returns to Broadway to delight a new generation of theatregoers. The plucky redheaded orphan and her scruffy mutt Sandy make their way in Depression-era New York from a dismal orphanage to the home of billionaire Daddy Warbucks. BIG FISH - With elements of adventure as well as fantasy, the musical creates a magical world complete with a witch, a giant, Siamese twins and a really big fish. Based on the novel by Daniel Wallace and the 2003 film. BOOK OF MORMON, THE -Have they written it on golden plates? Only the creators (South Park + Avenue Q) know for sure in this smash-hit Tony Award Winning Musical. BREAKFAST AT TIFFANY’S - Emilia Clarke ("Game of Thrones") takes on the iconic role of the self- invented Holly Golightly, a character played memorably by Audrey Hepburn in the 1961 movie version. In New York City in 1943, Fred, a young writer from Louisiana, meets Holly Golightly, a charming, vivacious and elusive good-time girl. Everyone falls in love with Holly — including Fred. But he is poor, and Holly's other suitors include a playboy millionaire and the future president of Brazil.
  • Paul Taylor Dance Company’S Engagement at Jacob’S Pillow Is Supported, in Part, by a Leadership Contribution from Carole and Dan Burack

    Paul Taylor Dance Company’S Engagement at Jacob’S Pillow Is Supported, in Part, by a Leadership Contribution from Carole and Dan Burack

    PILLOWNOTES JACOB’S PILLOW EXTENDS SPECIAL THANKS by Suzanne Carbonneau TO OUR VISIONARY LEADERS The PillowNotes comprises essays commissioned from our Scholars-in-Residence to provide audiences with a broader context for viewing dance. VISIONARY LEADERS form an important foundation of support and demonstrate their passion for and commitment to Jacob’s Pillow through It is said that the body doesn’t lie, but this is wishful thinking. All earthly creatures do it, only some more artfully than others. annual gifts of $10,000 and above. —Paul Taylor, Private Domain Their deep affiliation ensures the success and longevity of the It was Martha Graham, materfamilias of American modern dance, who coined that aphorism about the inevitability of truth Pillow’s annual offerings, including educational initiatives, free public emerging from movement. Considered oracular since its first utterance, over time the idea has only gained in currency as one of programs, The School, the Archives, and more. those things that must be accurate because it sounds so true. But in gently, decisively pronouncing Graham’s idea hokum, choreographer Paul Taylor drew on first-hand experience— $25,000+ observations about the world he had been making since early childhood. To wit: Everyone lies. And, characteristically, in his 1987 autobiography Private Domain, Taylor took delight in the whole business: “I eventually appreciated the artistry of a movement Carole* & Dan Burack Christopher Jones* & Deb McAlister PRESENTS lie,” he wrote, “the guilty tail wagging, the overly steady gaze, the phony humility of drooping shoulders and caved-in chest, the PAUL TAYLOR The Barrington Foundation Wendy McCain decorative-looking little shuffles of pretended pain, the heavy, monumental dances of mock happiness.” Frank & Monique Cordasco Fred Moses* DANCE COMPANY Hon.
  • Alvin Ailey American Dance Theater's Ailey Ascending

    Alvin Ailey American Dance Theater's Ailey Ascending

    FOR IMMEDIATE RELEASE Ailey Contacts: Christopher Zunner: [email protected] / 212-405-9028 Lauren Morrow: [email protected] / 212-405-9079 ALVIN AILEY AMERICAN DANCE THEATER’S AILEY ASCENDING 60th ANNIVERSARY CELEBRATION INCLUDES A LANDMARK SEASON AT NEW YORK CITY CENTER NOVEMBER 28 – DECEMBER 30 Five-Week Holiday Engagement Features World Premieres of Ronald K. Brown’s The Call and Rennie Harris’ Lazarus, Company Premiere of Wayne McGregor’s Kairos, New Production of Robert Battle’s Juba, and Timeless Ailey Program of Rarely Seen Works by Alvin Ailey Multimedia Work Becoming Ailey Brings Presence of Legendary Founder Back to the Stage Tickets starting at $29 are on sale now! November 6, 2018 (NEW YORK CITY) — Alvin Ailey American Dance Theater, New York City Center’s Principal Dance Company, returns to the theater’s stage from November 28 – December 30, 2018 for a milestone season. During the Company’s Ailey Ascending 60th Anniversary celebration, Artistic Director Robert Battle leads Ailey’s 32 extraordinary dancers during this five-week holiday engagement that will elevate a legacy of excellence in artistry with premieres by some of today’s most revered and prolific choreographers, including world premieres by Rennie Harris and Ronald K. Brown; a company premiere by Wayne McGregor; a new production of by Robert Battle; the return of a recent premiere by Jessica Lang, and special performances of rarely seen works by Alvin Ailey himself. The New York City Center season launches on Wednesday, November 28th with a 60th Anniversary Opening Night Gala benefit performance, followed by a party at the New York Hilton Grand Ballroom.
  • Indigo in Motion …A Decidedly Unique Fusion of Jazz and Ballet

    Indigo in Motion …A Decidedly Unique Fusion of Jazz and Ballet

    A Teacher's Handbook for Pittsburgh Ballet Theatre's Production of Indigo in Motion …a decidedly unique fusion of jazz and ballet Choreography Kevin O'Day Lynne Taylor-Corbett Dwight Rhoden Music Ray Brown Stanley Turrentine Lena Horne Billy Strayhorn Sponsored by Pittsburgh Ballet Theatre's Arts Education programs are supported by major grants from the following: Allegheny Regional Asset District Claude Worthington Benedum Foundation Pennsylvania Council on the Arts The Hearst Foundation Sponsoring the William Randolph Hearst Endowed Fund for Arts Education Additional support is provided by: Alcoa Foundation, Allegheny County, Bayer Foundation, H. M. Bitner Charitable Trust, Columbia Gas of Pennsylvania, Dominion, Duquesne Light Company, Frick Fund of the Buhl Foundation, Grable Foundation, Highmark Blue Cross Blue Shield, The Mary Hillman Jennings Foundation, Milton G. Hulme Charitable Foundation, The Roy A. Hunt Foundation, Earl Knudsen Charitable Foundation, Lazarus Fund of the Federated Foundation, Matthews Educational and Charitable Foundation,, McFeely-Rogers Fund of The Pittsburgh Foundation, William V. and Catherine A. McKinney Charitable Foundation, Howard and Nell E. Miller Foundation, The Charles M. Morris Charitable Trust, Pennsylvania Department of Community and Economic Development, The Rockwell Foundation, James M. and Lucy K. Schoonmaker Foundation, Target Corporation, Robert and Mary Weisbrod Foundation, and the Hilda M. Willis Foundation. INTRODUCTION Dear Educator, In the social atmosphere of our country, in this generation, a professional ballet company with dedicated and highly trained artists cannot afford to be just a vehicle for public entertainment. We have a mission, a commission, and an obligation to be the standard bearer for this beautiful classical art so that generations to come can view, enjoy, and appreciate the significance that culture has in our lives.
  • Alvin Ailey American Dance Theater

    Alvin Ailey American Dance Theater

    Cal Performances Presents Program A Wednesday, March , , pm Wednesday, March , , pm Th ursday, March , , pm Friday, March , , pm Friday, March , , pm Zellerbach Hall Saturday, March , , pm & pm Sunday, March , , pm PROGRAM A Zellerbach Hall Alvin Ailey American Dance Th eater Firebird Alvin Ailey, Founder intermission Th e Groove To Nobody’s Business JUDITH JAMISON, Artistic Director pause Masazumi Chaya, Assistant Artistic Director Treading intermission Company Members Guillermo Asca, Olivia Bowman, Kirven J. Boyd, Hope Boykin, Clifton Brown, Revelations Courtney Brené Corbin, Rosalyn Deshauteurs, Khilea Douglass, Antonio Douthit, Vernard J. Gilmore, Alicia J. Graf, Ebony Haswell, Zach Law Ingram, Firebird Abdur-Rahim Jackson, Chris Jackson, Gwynenn Taylor Jones, Willy Laury, () Malik Le Nost, Roxanne Lyst, Amos J. Machanic, Jr., Adam McKinney, (West Coast Company Premiere) Briana Reed, Jamar Roberts, Renee Robinson, Matthew Rushing, Choreography Maurice Béjart Glenn Allen Sims, Linda Celeste Sims, Yusha-Marie Sorzano, Restaging Shonach Mirk Robles Constance Stamatiou, Tina Monica Williams Music Igor Stravinsky, Th e Firebird Suite* Costumes Joëlle Roustan, Roger Bernard casting — wednesday evening Sharon Gersten Luckman, Executive Director Clifton Brown, Jamar Roberts, Linda Celeste Sims, Alicia J. Graf, Ebony Haswell, Kirven J. Boyd, Glenn Allen Sims, Amos J. Machanic, Jr., Major funding is provided by the New York State Council on the Arts, a State agency, the New York Vernard J. Gilmore, Malik Le Nost City Department of Cultural Aff airs, the National Endowment for the Arts, Altria Group, Inc., American Express, and Prudential Financial, Inc. casting — friday evening Matthew Rushing, Adam McKinney, Offi cial Airline Gwynenn Taylor Jones, Courtney Brené Corbin, Rosalyn Deshauteurs, Guillermo Asca, Abdur-Rahim Jackson, Zach Law Ingram, Chris Jackson, Willy Laury Major support for Alvin Ailey American Dance Th eater’s production of Firebird has been provided by Movado Group.
  • Guest Artists

    Guest Artists

    Guest Artists George Hamilton, Broadway and Film Actor, Broadway Actresses Charlotte D’Amboise & Jasmine Guy speaks at a Chicago Day on Broadway speak at a Chicago Day on Broadway Fashion Designer, Tommy Hilfiger, speaks at a Career Day on Broadway SAMPLE BROADWAY GUEST ARTISTS CHRISTOPHER JACKSON - HAMILTON Christopher Jackson- Hamilton – original Off Broadway and Broadway Company, Tony Award nomination; In the Heights - original Co. B'way: Orig. Co. and Simba in Disney's The Lion King. Regional: Comfortable Shoes, Beggar's Holiday. TV credits: "White Collar," "Nurse Jackie," "Gossip Girl," "Fringe," "Oz." Co-music director for the hit PBS Show "The Electric Company" ('08-'09.) Has written songs for will.i.am, Sean Kingston, LL Cool J, Mario and many others. Currently writing and composing for "Sesame Street." Solo album - In The Name of LOVE. SHELBY FINNIE – THE PROM Broadway debut! “Jesus Christ Superstar Live in Concert” (NBC), Radio City Christmas Spectacular (Rockette), The Prom (Alliance Theatre), Sarasota Ballet. Endless thanks to Casey, Casey, John, Meg, Mary-Mitchell, Bethany, LDC and Mom! NICKY VENDITTI – WICKED Dance Captain, Swing, Chistery U/S. After years of practice as a child melting like the Wicked Witch, Nicky is thrilled to be making his Broadway debut in Wicked. Off-Broadway: Trip of Love (Asst. Choreographer). Tours: Wicked, A Chorus Line (Paul), Contact, Swing! Love to my beautiful family and friends. BRITTANY NICHOLAS – MEAN GIRLS Brittany Nicholas is thrilled to be part of Mean Girls. Broadway: Billy Elliot (Swing). International: Billy Elliot Toronto (Swing/ Dance Captain). Tours: Billy Elliot First National (Original Cast), Matilda (Swing/Children’s Dance Captain).
  • MARTIN PAKLEDINAZ, Costume Designer

    MARTIN PAKLEDINAZ, Costume Designer

    THE ELIXIR OF LOVE FOR FAMILIES PRODUCTION TEAM BIOGRAPHY MARTIN PAKLEDINAZ, Costume Designer Martin Pakledinaz is an American Tony Award-winning costume designer for stage and film. His work on Broadway includes The Pajama Game, The Trip to Bountiful, Wonderful Town, Thoroughly Modern Millie, Kiss Me, Kate, The Boys From Syracuse, The Diary Of Anne Frank, A Year With Frog And Toad, The Life, Anna Christie, The Father, and Golden Child. Off-Broadway work includes Two Gentlemen of Verona, Andrew Lippa's The Wild Party, Kimberly Akimbo, Give Me Your Answer, Do, Juvenalia, The Misanthrope, Kevin Kline's Hamlet, Twelve Dreams, Waste, and Troilus and Cressida. He won two Tony Awards for designing the costumes of Thoroughly Modern Millie and the 2000 revival of Kiss Me Kate, which also earned him the Drama Desk Award for Outstanding Costume Design. He has designed plays for the leading regional theatres of the United States, and the Royal Dramatic Theatre of Sweden. Opera credits include works at the New York Metropolitan Opera and the New York City Opera, as well as opera houses in Seattle, Los Angeles, St. Louis, Sante Fe, Houston, and Toronto. European houses include Salzburg, Paris, Amsterdam, Brussels, Helsinki, Gothenburg, and others. His dance credits include a long collaboration with Mark Morris, and dances for such diverse choreographers as George Balanchine, Eliot Feld, Deborah Hay, Daniel Pelzig, Kent Stowell, Helgi Tomasson, and Lila York. His collaborators in theatre include Rob Ashford, Gabriel Barre, Michael Blakemore, Scott Ellis, Colin Graham, Sir Peter Hall, Michael Kahn, James Lapine, Stephen Lawless, Kathleen Marshall, Charles Newell, David Petrarca, Peter Sellars, Bartlett Sher, Stephen Wadsworth, Garland Wright, and Francesca Zambello.
  • Resume 2017.Pgs

    Resume 2017.Pgs

    JANE LABANZ www.janelabanz.com Height: 5’5” / Weight: 120 212 300 5653 Soprano/Mix/Light Belt AEA SAG/AFTRA Strong High Notes 330 West 42nd Street, 18th Floor New York, NY 10036 212-629-9112 [email protected] BROADWAY/NATIONAL TOURS Director Anything Goes Hope u/s (Broadway and National Tour) Jerry Zaks The King and I Anna (Sandy Duncan / Stefanie Powers standby) Baayork Lee The Best Little Whorehouse in Texas Ginger (Doatsey Mae u/s) Thommie Walsh (Cast album, w/ Ann-Margret) Eric Schaeffer Annie Grace Farrell Bob Fitch 42nd Street Phyllis Dale (Peggy u/s) Mark Bramble The Sound of Music (w/ Marie Osmond) Swing/Dance Captain Jamie Hammerstein Bye Bye Birdie (w/ Tommy Tune/Anne Reinking) Kim u/s (to Susan Egan) Gene Saks Dr. Dolittle (w/ Tommy Tune) Puddleby Tommy Tune Cats Jelly/Jenny/Swing David Taylor REGIONAL THEATRE Tuck Everlasting (World Premiere /Alliance Theatre) Older Winnie (Nanna u/s) Casey Nicholaw (Dir.) Love Story (American Premiere) Alison Barrett Walnut Street Theatre A Little Night Music Mrs. Nordstrom / Dance Captain Cincinnati Playhouse 9 to 5 Violet Newstead Tent Theatre I Love a Piano Eileen Milwaukee Repertory Always…Patsy Cline Louise Seger New Harmony Theatre The Cocoanuts (Helen Hayes Award, Best Musical) Polly Potter Arena Stage Noises Off Brooke Ashton Totem Pole Playhouse Cinderella Fairy Godmother / Queen u/s North Shore Music Theatre The Nerd Clelia Waldgrave Totem Pole Playhouse The Music Man Marian Paroo Pittsburgh Playhouse George M! Nellie Cohan Theatre by the Sea George M! Agnes Nolan (plus 9 other
  • African American Creative Arts Dance, Literature, Music, Theater, and Visual Art from the Great Depression to Post-Civil Rights Movement of the 1960S

    African American Creative Arts Dance, Literature, Music, Theater, and Visual Art from the Great Depression to Post-Civil Rights Movement of the 1960S

    International Journal of Humanities and Social Science Vol. 6, No. 2; February 2016 African American Creative Arts Dance, Literature, Music, Theater, and Visual Art From the Great Depression to Post-Civil Rights Movement of the 1960s Dr. Iola Thompson, Ed. D Medgar Evers College, CUNY 1650 Bedford Ave., Brooklyn, NY 11225 USA Abstract The African American creative arts of dance, music, literature, theater and visual art continued to evolve during the country’s Great Depression due to the Stock Market crash in 1929. Creative expression was based, in part, on the economic, political and social status of African Americans at the time. World War II had an indelible impact on African Americans when they saw that race greatly affected their treatment in the military while answering the patriotic call like white Americans. The Civil Rights Movement of the 1960s had the greatest influence on African American creative expression as they fought for racial equality and civil rights. Artistic aesthetics was based on the ideologies and experiences stemming from that period of political and social unrest. Keywords: African American, creative arts, Great Depression, WW II, Civil Rights Movement, 1960s Introduction African American creative arts went through several periods of transition since arriving on the American shores with enslaved Africans. After emancipation, African characteristics and elements began to change as the lifestyle of African Americans changed. The cultural, social, economic, and political vicissitudes caused the creative flow and productivity to change as well. The artistic community drew upon their experiences as dictated by various time periods, which also created their ideologies. During the Harlem Renaissance, African Americans experienced an explosive period of artistic creativity, where the previous article left off.
  • Zvidance DABKE

    Zvidance DABKE

    presents ZviDance Sunday, July 12-Tuesday, July 14 at 8:00pm Reynolds Industries Theater Performance: 50 minutes, no intermission DABKE (2012) Choreography: Zvi Gotheiner in collaboration with the dancers Original Score by: Scott Killian with Dabke music by Ali El Deek Lighting Design: Mark London Costume Design: Reid Bartelme Assistant Costume Design: Guy Dempster Dancers: Chelsea Ainsworth, Todd Allen, Alex Biegelson, Kuan Hui Chew, Tyner Dumortier, Samantha Harvey, Ying-Ying Shiau, Robert M. Valdez, Jr. Company Manager: Jacob Goodhart Executive Director: Nikki Chalas A few words from Zvi about the creation of DABKE: The idea of creating a contemporary dance piece based on a Middle Eastern folk dance revealed itself in a Lebanese restaurant in Stockholm, Sweden. My Israeli partner and a Lebanese waiter became friendly and were soon dancing the Dabke between tables. While patrons cheered, I remained still, transfixed, all the while envisioning this as material for a new piece. Dabke (translated from Arabic as "stomping of the feet") is a traditional folk dance and is now the national dance of Lebanon, Jordan, Syria, and Palestine. Israelis have their own version. It is a line dance often performed at weddings, holidays, and community celebrations. The dance strongly references solidarity, and traditionally only men participated. The dancers, linked by hands or shoulders, stomp the ground with complex rhythms, emphasizing their connection to the land. While the group keeps rhythm, the leader, called Raas (meaning "head"), improvises on pre-choreographed movement phrases. He also twirls a handkerchief or string of beads known as a Masbha. When I was a child and teenager growing up in a Kibbutz in northern Israel, Friday nights were folk dance nights.
  • To Get a Job in a Broadway Chorus, Go Into Your Dance:" Education for Careers in Musical Theatre Dance

    To Get a Job in a Broadway Chorus, Go Into Your Dance:" Education for Careers in Musical Theatre Dance

    University of Northern Colorado Scholarship & Creative Works @ Digital UNC Master's Theses Student Research 9-30-2019 "To Get a Job in a Broadway Chorus, Go into Your Dance:" Education for Careers in Musical Theatre Dance Lauran Stanis [email protected] Follow this and additional works at: https://digscholarship.unco.edu/theses Recommended Citation Stanis, Lauran, ""To Get a Job in a Broadway Chorus, Go into Your Dance:" Education for Careers in Musical Theatre Dance" (2019). Master's Theses. 108. https://digscholarship.unco.edu/theses/108 This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Master's Theses by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2019 LAURAN STANIS ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School “TO GET A JOB IN A BROADWAY CHORUS, GO INTO YOUR DANCE:” EDUCATION FOR CAREERS IN MUSICAL THEATRE DANCE A Thesis Submitted in Partial Fulfillment Of the Requirements for the Degree of Master of Arts Lauran Stanis College of Performing and Visual Arts School of Theatre Arts and Dance Dance Education December 2019 This Thesis by: Lauran Stanis Entitled: “To Get a Job in a Broadway Chorus, Go into Your Dance:” Education for Careers in Musical Theatre Dance has been approved as meeting the requirement for the Degree of Masters in Arts in the College of Performing and Visual Arts in the School of Theatre and Dance, Program of Dance Education Accepted by the Thesis Committee: _________________________________________________ Sandra L.