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Home , Bryce Dessner, Eighth Blackbird, Will Oldham

WINTER/SPRING SEASON

Jan 23–24 Hand Eye ______Jan 28–30 Toshiki Okada/chelfitsch God Bless Baseball ______Feb 4 and 6–7 Ingri Fiksdal, Ingvild Langgård & Signe Becker Cosmic Body ______Feb 11–14 Faye Driscoll Thank You For Coming: Attendance ______Feb 18–27 Tim Etchells/Forced Entertainment The Notebook, Speak Bitterness, and (In) Complete Works: Table Top Shakespeare ______Mar 5–6 Joffrey Academy of Dance Winning Works ______Mar 25–26 eighth blackbird featuring (Bonnie “Prince” Billy) Ghostlight ______Mar 31–Apr 3 Blair Thomas & Co. Moby Dick ______Apr 7–10 Teatrocinema Historia de Amor (Love Story) ______Apr 12 and 14–16 Taylor Mac The History of Popular Music ______Apr 28–May 1 Kyle Abraham/ Abraham.In.Motion When the Wolves Came In

Museum of Contemporary Art Mar 25–26, 2016 WILL OLDHAM: SONGS (to be announced from the stage) Voice and guitar Will Oldham ______eighth blackbird Stage Direction Matthew Ozawa featuring Matthew Duvall Lighting Design Erik Barry Production Stage Manager Madeleine Borg Will Oldham ______Running time is approximately 100 minutes including intermission. (Bonnie “Prince” Billy) All works in the program are for the full sextet (flutes, clarinets, violin, cello, percussion, and piano) and with guest artists as noted in the program with the exception of “Lewisburg” from Ghostlight Murder Ballades, which is for solo cello. ______Flutes Nathalie Joachim EIGHTH BLACKBIRD STAFF Clarinets Michael Maccaferri Managing Director Peter McDowell Violin Yvonne Lam Business Manager Kelley Dorhauer Cello Nicholas Photinos Company and Annie Higgins Operations Manager Percussion Matthew Duvall Production Manager Madeleine Borg Piano Lisa Kaplan ______Director of Development Anne Cauley : MURDER BALLADES (2013, REV. 2015) Grants Manager Deidre Huckabay 1. “Omie Wise-Young Emily” 2. “Hocket” Development Associate Sarah Augusta 3. “Dark Holler” 4. “Lewisburg” Intern Eric Shoemaker 5. “Wave the Sea-Brushy Fork” ______6. “Underneath the Floorboards” Lead support for the MCA Stage New Works Initiative is provided by Elizabeth A. Liebman. Lead support for the eighth blackbird residency is provided by Helen and Sam Zell. Additional 7. “Pretty Polly-Tears for Sister Polly” generous support is provided by the National Endowment for the Arts, Anne L. Kaplan, 8. “Down in the Willow Garden” New Music USA (made possible by annual program support and/or endowment gifts from Helen F. Whitaker Fund, Aaron Copland Fund for Music, and Mary Flagler Cary Charitable Trust), ______Judy and Bob Duvall, and the Elizabeth F. Cheney Foundation. DAVID T. LITTLE: GHOSTLIGHT (2015) Murder Ballades was commissioned by eighth blackbird and Lunapark and was funded by ______The Doelen Concert Hall, Rotterdam; Muziekgebouw aan ‘t IJ, Amsterdam; and Muziekgebouw Frits Philips, Eindhoven, with the financial support of The Van Beinum Foundation, the (INTERMISSION) Netherlands, and with additional support from the Museum of Contemporary Art Chicago. ______Ghostlight was commissioned for eighth blackbird by the Abe Fortas Memorial Fund of The John FREDERIC RZEWSKI: COMING TOGETHER (1971) F. Kennedy Center for the Performing Arts. Arranged by Matt Albert (2000/2003) eighth blackbird is ensemble-in-residence with Contempo at the University of Chicago and the artists-in-residence at the Museum of Contemporary Art Chicago for the 2015–16 season. Nathalie Joachim is a Burkart Flutes & Piccolos Artist. Michael J. Maccaferri is a D’Addario Speaker Will Oldham Woodwinds Artist. Matthew Duvall proudly endorses Pearl Drums and Adams Musical Instruments, Vic Firth Sticks and Mallets, Zildjian Cymbals, and Black Swamp Percussion Accessories. Lisa ______Kaplan is a Steinway Artist. EIGHTH BLACKBIRD COMPOSERS’ NOTES AND THE MCA MURDER BALLADES eighth blackbird ensemble members are the 2015–16 artists in residence at the MCA. For the first time, the sextet brings When eighth blackbird asked me for a piece, I immediately its private rehearsal work into the public areas of the museum, knew what to do: let great American inspire a great preparing new compositions in the galleries. The residency American new-music ensemble. The murder ballad has its also offers illuminating open rehearsals, an interactive gallery roots in a European tradition, in which grisly details of bloody installation, performances, and public talks. homicides are recounted through song. When this tradition came to America, it developed its own vernacular, with stories and songs that were told and retold over generations. In Murder Ballades, I reexamine several of these old songs, allowing them to inspire my own music. “Omie Wise,” “Young Emily,” “Pretty Polly,” and “Down in the Willow Garden” are classic murder ballads, tales of romantically charged killings that are based on real events. “Hocket,” “Dark Holler,” “Lewisburg,” and “Underneath the Floorboards” are my own compositions, of which “Dark Holler” is loosely modeled on the clawhammer banjo style that would have accompanied many of these early folk songs. “Brushy Fork” is a Civil War–era murder ballad/fiddle tune, and “Wave the Sea” and “Tears for Sister Polly” are original compositions woven in the depths of the many months I spent inhabiting the seductive music and violent stories of these murder ballads. eighth blackbird Photo: Saverio Truglia –Bryce Dessner The group has divided the Dr. Paul and Dorie Sternberg Family GHOSTLIGHT Gallery on the museum’s third floor into two distinct areas: a rehearsal room and a space for visitor engagement. When A ghost light shining in a darkened theater has always struck the musicians rehearse, museum visitors may witness the creative me as a symbol of both the mysteries of the unknown and the process in real time. When eighth blackbird is away, a video possibility of the sacred. The ghost light itself is, of course, projected on three walls provides visitors an intimate look at a connected with a sense of the supernatural in the superstitions of rehearsal of ’s these broken wings. In addition to the theater. For example, one thought regarding the term’s the video, there is an audio recording that captures the group’s origins is this: since every theater has its own ghost, the light is studio preparations and discussions during their rehearsals placed on stage as a kind of offering, allowing the ghost(s) a and forthcoming concerts. Instruments and scores are on view chance to play upon the stage in exchange for the safety of the when the artists are not on-site. theater and its actors. Yet, to me, the ghost light has always felt more sacred than spooky; the setting is for a ritual, or is a kind of shrine, where an eternal flame burns, honoring the age and sanctity of the Theater, with its direct lines back to the ancient Greeks and their gods, rituals, and magic. Ghostlight was inspired by this sense of ancient ritual and the mysteries that lie within it. Like many works by the artists to whom each movement is dedicated—Leonora Carrington, Remedios Varo, Anne Waldman, and Lou Harrison—Ghostlight is a self-contained journey, first inward, then out. It begins with the calm of a summer dusk, then gradually grows darker, as it travels into murkier and stranger territory—the kind of psychic space where one might begin to reactions of others. I read much, exercise, talk to guards hear voices—before emerging again into the sunshine of a new and inmates, feeling for the inevitable direction of my life. day. It is a journey into the Enchanted Forest of fairy tales, where, as J. C. Cooper notes, the soul enters the “perils of the As I read it, I was impressed both by the poetic quality of the text unknown; the realm of death; the secrets of nature, or the and by its cryptic irony. I read it over and over again. It seemed spiritual world which [one] must penetrate to find the meaning.” that I was trying to capture a sense of the physical presence Like the ghost light itself, the work endeavors to explore the of the writer and, at the same time, to unlock a hidden meaning mysteries of the unknown and the possibility of the sacred. from the simple but ambiguous language. The act of reading and rereading finally led me to the idea of its musical treatment. Special thanks are due to Jamie Broumas, Director of Classical and New Music Programs at the Kennedy Center, the staff of the —Frederic Rzewski Museum of Contemporary Art Chicago—in particular Peter Taub as well as Lynne Warren, whose exhibition Surrealism: The SONGS Conjured Life first brought the paintings of Leonora Carrington and Remedios Varo into my life—Jeffrey Edelstein, and Eileen The original music of singer-songwriter William Oldham has Mack. Ghostlight is dedicated to the current and former members been linked to Americana, folk, roots, country, punk, and indie of eighth blackbird. rock. He describes his work as “Appalachian post-punk solipsist.” He is also known as Bonnie “Prince” Billy, the name he has —David T. Little used for most of his musical output since 1998. Oldham explains his numerous monikers—including Palace Brothers, Palace COMING TOGETHER Songs, Palace Music, and others—offering insight into his perfor- mance ethos: “I thought it would be better if there was sort I wrote Coming Together in November and December of 1971 in of an implied character. Somebody that people could live with. response to a historical event; in September of that year, inmates If they had the record in their house, they could feel 100 percent at the state prison in Attica, New York, revolted and succeeded comfortable about living with that person. I just mean that in taking possession of a part of the institution. Foremost when they hear the voice, they’re allowed to disassociate it from among their demands was the recognition of their right to be the life—the lives—of the singer. Hopefully, people identify the treated as human beings. After several days of fruitless negotia- songs with themselves, and not with the singer.” tions, Governor Nelson Rockefeller ordered state police to retake the prison by force, justifying his action on the grounds that the lives of the guards whom prisoners had taken as hostages were in danger. In the ensuing violence, forty-three persons, including several of the hostages, were killed and many more were wounded. One of the dead was Sam Melville, a prisoner who had played a significant role in organizing the rebellion. In the spring of 1971, Melville had written a letter to a friend describing his experience of the passage of time in prison. After his death, the letter was published in the magazine Ramparts: I think the combination of age and a greater coming together is responsible for the speed of the passing time. It’s six months now, and I can tell you truthfully few periods in my life have passed so quickly. I am in excellent physical and emotional health. There are doubtless subtle surprises ahead, but I feel secure and ready. As lovers will contrast their emotions in times of crisis, so am I dealing with my environment. In the indifferent brutality, the incessant noise, the experimental chemistry of food, the ravings of lost hysterical men, I can act with clarity and meaning. I am deliberate, sometimes even calculating, seldom employing histrionics, except as a test of the His operas Soldier Songs ABOUT (Prototype Festival) and Dog Mar 31–Apr 3 THE ARTISTS Days (Peak Performances/Beth at MCA Stage Morrison Projects) have been BRYCE DESSNER widely acclaimed. His recent is one of the most sought-after and upcoming works include composers of his generation, AGENCY (), with a rapidly expanding CHARM (Baltimore Symphony/ Blair Thomas & Co. catalogue of works commis- Marin Alsop), Hellhound (Maya sioned by leading ensembles. Beiser), Haunt of Last Nightfall His orchestral, chamber, and (Third Coast Percussion), the vocal compositions have been opera JFK with Royce Vavrek commissioned by the Los (Fort Worth Opera/American Angeles Philharmonic, Metro- Lyric Theater), a new opera politan Museum of Art (for commissioned by the MET the ), Opera/Lincoln Center Theater Kronos Quartet, BAM Next new works program, and the Wave Festival, Barbican music-theatre work Artaud in Centre, Edinburgh Internation- the Black Lodge with Outrider al Festival, Sydney Festival, legend Anne Waldman (Beth eighth blackbird, Sō Percussion, Morrison Projects). His music New York City Ballet, and has been heard at Carnegie many others. Recently Dessner Hall, LA Opera, the Park was invited to compose music Avenue Armory, the Bang On for Alejandro González A Can Marathon, and else- Iñárritu’s film The Revenant, where. Educated at University which received a 2016 Golden of Michigan and Princeton, Globe nomination for Best Little is cofounder of the Original Score. His recordings annual New Music Bake Sale, include Aheym, a Kronos has served as executive Quartet disc devoted to his director of MATA, serves on music (Anti-); St. Carolyn by the the Composition Faculty at Sea on , Mannes-The New School and with the Copenhagen Phil Shenandoah Conservatory, under Andre de Ridder; and and is Composer-in-Residence Music for Wood and Strings, an with Opera Philadelphia and album-length work performed Music-Theatre Group. The by Sō Percussion (Brassland). founding artistic director of the Dessner’s music is marked by a ensemble Newspeak, his music keen sensitivity to instrumental can be heard on New Amster- color and texture. He earned dam and Innova labels. He is his bachelor’s and master’s published by Boosey & Hawkes. degrees from . Dessner formed the instrumen- MATTHEW OZAWA Photo: Kipling Swehla tal quartet Clogs and in 2001, spans multiple artistic disci- cofounded the critically plines in his work, notably acclaimed, Grammy Award– having worked for Lyric Opera nominated band The National. of Chicago, Oregon Shake- Moby Dick speare Festival, Canadian DAVID T. LITTLE Opera Company, San Francisco Tickets at mcachicago.org is one of the most imaginative Opera, Santa Fe Opera, the young composers on the scene. Macau International Festival, Performance view, eighth Frederic Rzewski to write two Richmond and the University blackbird: pieces: Pocket Symphony (2001) of Chicago. Hand Eye, MCA Chicago for sextet, and Knight, Death January 2016 and Devil (2008) for sextet and Highlights of the 2015–16 Photo: Elliot Mandel string quartet. season include the MCA’s Artist in Residence program, debut EIGHTH BLACKBIRD performances in Poland and is a four-time Grammy Award– with the Philadelphia Chamber winning sextet celebrating Music Society, and the its twentieth year in the ensemble’s awaited return 2015–16 season. It formed in to Carnegie’s Zankel Hall, The 1996 as a group of six entre- Kennedy Center, the Phil­ preneurial Oberlin Conser­ harmonic Society of Orange vatory students, who quickly County, Vancouver New became known for performing Music, UT Austin, and UC from memory, often employing Berkeley. and Opera Siam. He has McLaughlin Memorial Prize in choreography, and frequently collaborated with artists Peter Theater for his work at collaborating with artists eighth blackbird’s members Sellars, Francesca Zambello, Oberlin. He is founder and across multiple disciplines and hail from the Great Lakes, Rob Ashford, Meredith Monk, artistic director of the perform- genres in an effort to create Keystone, Golden, Empire, and and Isaac Mizrahi. Ozawa’s ing arts company Mozawa. visually compelling musical Bay states. The ensemble’s recent directing credits include experiences. name derives from the eighth Arizona Lady (North American FREDERIC RZEWSKI stanza of Wallace Stevens’s premiere, Arizona Opera), was born in Westfield, Massa- The sextet has commissioned evocative, aphoristic poem, Matt Aucoin’s Second Nature chusetts, in 1938. He studied and premiered hundreds of “Thirteen Ways of Looking (world premiere, Lyric with Charles Mackey, Walter works by dozens of composers, at a Blackbird” (1917). eighth Unlimited), Tsuru (world Piston, Roger Sessions, Milton including David T. Little, blackbird is managed by premiere, Houston Ballet/Asia Babbitt, and Luigi Dallapiccola. , Missy Mazzoli, David Lieberman Artists. For Society), Y Portraits (world His compositional career and , whose more information, please visit premiere art gallery event, has had many phases: his music commissioned work Double eighthblackbird.org. Mozawa), Porcelain (Prologue from the late sixties and early Sextet (2007) went on to win Theatre Company), Snow seventies (Les Moutons de the 2009 Pulitzer Prize. Dragon (world premiere, Panurge and Coming Together) Their long-term relationship Skylight Music Theater/Opera combines elements of written with Chicago’s Cedille Records Siam), Fallen (world premiere, and improvised music, which has produced seven acclaimed Mozawa), Les mamelles de in the seventies led to a recordings, including four Tirésias/Le Pauvre Matelot (new greater experimentation with Grammy Awards for strange production, Wolf Trap Opera), forms that treated style and imaginary animals (2008), A Little Night Music (Houston language as structural ele- Lonely Motel: Music from Slide Grand Opera) and The ments (The People United Will (2011), Meanwhile (2013), and Memory Stone (world pre- Never Be Defeated). He briefly Filament (2016). miere, Houston Grand Opera). returned to experimental and Upcoming directing credits graphic notation (Le Silence eighth blackbird’s mission ex- include Nabucco (Lyric Opera des Espaces Infinis and The ­tends beyond performance to of Chicago) and The Root of Price of Oil) before exploring curation and education. The the Wind is Water (Houston new uses of the twelve- group served as music director Grand Opera). Among tone technique in the eighties of the Ojai Music Festival Ozawa’s numerous awards (Antigone-Legend, The Per- (2009), enjoyed a three-year are a 2007 directing and a sians). Rzewski adopts a freer residency at the Curtis 2008 dramaturgy fellowship and spontaneous approach to Institute of Music, and holds Performance view, eighth blackbird: with Oregon Shakespeare his more recent work. eighth ongoing ensemble-in-residence Hand Eye, MCA Chicago, January 2016 Festival, and the James S. blackbird commissioned positions at the University of Photo: Nathan Keay, © MCA Chicago EIGHTH BLACKBIRD Loretta Julian Bonnie McGrath GRATEFULLY Sarah Solatoff Mirkin Sandra McNaughton ACKNOWLEDGES ITS Tom and Jane Morris Mid Atlantic Arts Apr 7–10 2015 SUPPORTERS. Kathleen Panoff Foundation ______Jamie Rubin Dave Miller at MCA Stage $25,000 and above Kathryn Stuart Timothy Munro and Dennis and Anne Wentz Julie Ritchey Daniel Lewis ______Donald Nally Bloomberg Up to $999 Peter Nicholson Philanthropies Edward and Gayla John D. and Catherine T. Andy Akiho Nieminen Teatrocinema MacArthur Peri Arnold Susan Noel Foundation Clyde Owan National Endowment BMI Foundation, Inc. Jason Pickleman and for the Arts Seth Brodsky and Leslie Bodenstein Prince Charitable Trusts Jude Stewart Christine Pope ______Elizabeth Buccheri Arnie Portner $10,000–24,000 Simon Chang D. Elizabeth Price Scott Christian Ellen Primack Aaron Copland Fund Gavin Chuck Elbina Rafizadeh for Music, Inc. Liese Dallbauman Shulamit Ran Colburn Foundation Paul Delllevigne Richard Replin and Arts Council Lawrence and Arlene Elissa Stein Agency Dunn Julia Rhoads and Alex ______Matthew and Margaret Brenneman $5,000–9,999 Duvall Claire Rice Sara Farr and Lin Jim Rosenfield Amphion Foundation, Brehmer David Schober Inc. Scott Fehlan Asheley Smith Elizabeth F. Cheney Elaine Fishman Nell Stanton Foundation Brenda Fowler and Sara Stern and Ted City of Chicago Harry Gottlieb Fishman Department Cultural Beye Fyfe and Dan Peter Vukosavich Affairs & Special Clark Sandra Wilcoxon Events David Ginsburg Jaquelyn Zevin Gaylord and Dorothy James Ginsburg and ______Donnelley Patrice Michaels eighth blackbird grate- Foundation Ivan Handler fully acknowledges Judy and Bob Duvall Stan Harrison donors for their support Ann and Gordon Jeff and Katie Haydon of Creative Partners, Getty Foundation Helen Jameson a collaborative effort Mid Atlantic Arts David and Rochelle Jones to provide professional Foundation Kenneth and Lorraine fundraising for three New Music USA Kaplan Chicago nonprofit Lisa Kaplan arts organizations: Grand Victoria James Karela eighth blackbird, Lucky Foundation Maggie Kast Plush Productions, Marley Lewis and Betty and John Kay and Blair Thomas & Co. Gene Vilensky Sean Kelly ______Eunbi Kim CREATIVE PARTNERS $1,000–4,999 Yvonne Lam DONORS Marc Lapinski Tremaine Atkinson E. Steve Lichtenberg John D. and Catherine T. Kate Bensen and and Betsy Aubrey MacArthur Dick Johnson Melynda Lopin Foundation Neil and Stephanie Rachel Lurie Russell and Yonah Klem Photo: Montserrat Quezada A. Cohen Laura Lynch Barbara Koenen Hester Diamond Michael Maccaferri Jim Lasko and Tria Steve and Yayoi Mary Mackay and Smith Lasko Everett Edward Wheatly Elizabeth Liebman Nancy Fishman Ed Malone and Kristina Melynda Lopin Historia de Amor Charlie Jett and Dr. Entner Kerry James Marshall and Nancy Church John B. Martin Cheryl Lynn Bruce Christopher and Mary Ellen McDowell Susan Rossen Tickets at mcachicago.org Joyce Peter McDowell Julie Volchenboum The MCA’s newest FOUNDING MEMBERS THANK YOU affinity group, Enact, OF ENACT: Dr. Bruce and Sally Bauer Lead support for the 2015-2016 season of MCA Stage is provided by gives longtime Julie and Shane Campbell Elizabeth A. Liebman. performance fans and Patricia O. Cox Shawn M. Donnelley* Generous support for MCA Dance is provided by David Herro and Jay Franke. newcomers alike the and Christopher M. Kelly opportunity to meet Lois** and Steve Eisen and Additional generous support is provided by Caryn and King Harris; Shawn M. The Eisen Family Foundation Donnelley and Christopher M. Kelly; Lois and Steve Eisen and The Eisen Family artists, discuss ground- Ginger Farley and Bob Shapiro Foundation; Ginger Farley and Bob Shapiro; the Martha Struthers Farley breaking directions David Herro and Jay Franke and Donald C. Farley Jr. Family Foundation; Mary E. Ittelson; Sharon and Lee Sarai Hoffman and Stephen Pratt Oberlander; Maya Polsky; Carol Prins and John Hart/The Jessica Fund; with leading curators, Cynthia Hunt and Philip Rudolph Ellen Stone Belic; Amphion Foundation, Inc.; Leigh and Henry Bienen; Mark and choose key Mary E. Ittelson Light; Melynda Lopin; Maecenas; Herbert R. and Paula Molner; Elizabeth Anne L. Kaplan Price and Lou Yecies; and Ms. Patricia F. Sternberg. performers to sponsor. Anne and John Kern Lisa Yun Lee The MCA is a proud member of the Museums in the Park and receives major Join Enact, a group of MCA Circle Elizabeth A. Liebman support from the Chicago Park District. Donors dedicated to supporting and Susan Manning and Doug Doetsch learning more about the renowned Herbert R. and Paula Molner programs on the MCA Stage. Sharon and Lee Oberlander Foundation Membership in Enact enhances your Maya Polsky Season Sponsor MCA experience by offering you Elizabeth Price and Lou Yecies backstage access to artists and Carol Prins and John Hart/ insider information about our The Jessica Fund Preferred programs and the current state of Mr. and Mrs. John Seder Hotel Partner the field. Ms. Patricia F. Sternberg Ellen Stone Belic Each year, Enact members choose— Richard and Ann Tomlinson through discussion and voting—one performance to sponsor, thereby increasing the impact MCA Stage programming has on the community. ADDITIONAL BENEFITS OF ENACT MEMBERSHIP INCLUDE:

� Members-only programming throughout the MCA Stage season � Pre and post-performance discussions with artists � Behind-the-scenes access to select rehearsals � An annual preview of the upcoming season � Recognition as the Enact Sponsor of a select program All benefits of Circle Donors � MUSEUM OF Enact dues: $1,000 annually CONTEMPORARY ART Circle Donor contribution: From CHICAGO $1,500 annually 220 E Chicago Ave For more information, contact * Enact Chair us at [email protected]. ** Enact Cochair Chicago, IL 60611 As of March 2016 As an internationally renowned institution Anne L. Kaplan, Chair of devoted to contemporary culture, the Museum the Board of of Contemporary Art Chicago presents the Trustees most thought-provoking visual art and Madeleine Grynsztejn, performing arts of our time. MCA Stage is a Pritzker Director vibrant series presenting theater, dance, Teresa Samala and music by leading artists from the United de Guzman, Deputy States and around the world in the MCA’s Director three-hundred-seat Edlis Neeson Theater. Michael Darling, James W. Alsdorf MCA Stage’s groundbreaking performances are Chief Curator an integral part of the MCA’s artist-activated, audience-engaged programming. Along PERFORMANCE with the museum’s exhibitions and educational PROGRAMS initiatives, they encourage a broad and Peter Taub, Director diverse community to experience and discuss Yolanda Cesta Cursach, the work and ideas of living artists. Associate Director John Rich, Manager Isabel Dieppa, PARKING Coordinator Validate your ticket at the coat check for $12 Richard Norwood, parking in the MCA garage (220 East Chicago Theater Avenue) or the Bernardin garage (747 Production North Wabash). Discounted parking is limited Manager to six hours on the date of performance. Meghan Claire Coppoletti, Intern LOST AND FOUND Udita Upadhyaya, Intern To inquire about a lost item, call the museum at 312-280-2660. Unclaimed articles are held HOUSE MANAGEMENT for thirty days. Kevin Brown, Associate Phill Cabeen, Associate SEATING Quinlan Kirchner, Please switch off all noise-making devices Associate while you are in the theater. BOX OFFICE Patrons are seated at the management’s Matti Allison, Manager discretion. Food and open beverage containers Phongtorn Phongluantum, are not allowed in the seating area. Assistant Manager Molly Laemle, REPRODUCTION Coordinator Unauthorized recording and repro­duction Lucas Baisch, Associate of a performance is prohibited. Stephanie Branco, Associate GENERAL INFORMATION Nora Carroll, Associate 312-280-2660 Emma Dwyer, Associate Wright Gatewood, BOX OFFICE Associate 312-397-4010 Julie Kriegel, Associate Laura Volkening, Associate VOLUNTEER FOR PERFORMANCES 312-397-4072 Program notes compiled [email protected] by Yolanda Cesta Cursach MUSEUM HOURS Tuesday: 10 am–8 pm Wednesday–Sunday: 10 am–5 pm Closed Mondays, New Year’s Day, Thanksgiving, and Christmas