March 2018 at Meany Center for the Performing Arts Encore Arts Seattle

MARCH 2018

IN THIS ISSUE

IMOGEN COOPER JERUSALEM QUARTET March 6 March 13

FEATHERS OF FIRE CLOUD GATE DANCE March 14 THEATRE OF TAIWAN March 22-24 March 2018 Volume 14, No. 5

Paul Heppner Publisher SPRING 2018 Susan Peterson Design & Production Director Contents Ana Alvira, Robin Kessler, Stevie VanBronkhorst Feature Production Artists and Graphic Design 3 Seattle Celebrates Mike Hathaway Sales Director Shakespeare this season in all kinds of performances. Brieanna Bright, Joey Chapman, Ann Manning Dialogue Seattle Area Account Executives 9 Anthea Carns on Amelia Heppner, Marilyn Kallins, Terri Reed San Francisco/Bay Area Account Executives Bard in a Bar and

Carol Yip participatory theatre Sales Coordinator 12 Bobbin Ramsey on The Nether, the zeitgeist, and the cutting edge Intermission Brain Transmission 310 Terry Avenue. 15 Test yourself with our Leah Baltus trivia quiz! Seattle, WA 98109 Editor-in-Chief

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2 ENCORE STAGES All the World’s a Stage at the Seattle Celebrates Shakespeare Festival

Promotional photo for Beatrice & Benedict at Seattle Opera. Photo by Philip Newton.

Tell your friends you’re going to a play and chances This Spring, nearly twenty-five arts organizations across the city are are their minds will unconsciously jump to William participating in Seattle Celebrates Shakespeare, the balcony scene in Romeo and Juliet, the Shakespeare Festival. I was fortunate pained “Et tu, Brute?” from Julius Caesar, Lady Macbeth enough to speak with artists involved with four of the festival’s productions: scrubbing her hands of blood. Shakespeare is part of our Kiss Me, Kate at the 5th Avenue Theatre, cultural landscape. And soon, permutations of his work Mac Beth at Seattle Repertory Theatre, 12 Ophelias (a play with broken songs) will be all over Seattle. at the University of Washington, and Beatrice & Benedict at the Seattle Opera. Each production promises a thought-provoking and imaginative take on Shakespeare’s original text. But these four productions couldn’t be more different.

encoremediagroup.com/programs 3 Business, meet box office.

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To learn what Encore can do for your business, visit encoremediagroup.com. he Seattle Repertory Theatre T will be premiering writer- director Erica Schmidt’s Mac Beth, an adaptation of Shakespeare’s Macbeth told through the lens of seven young women. The adaptation promises to examine the dangerous effects of ambition as the line between real life and murderous fantasy increasingly becomes more and more blurred.

Seattle Repertory Theatre's artistic director, Braden Abraham, was drawn to Erica Schmidt’s adaptation for the Seattle Celebrates Shakespeare Festival.

“I find her work as a director and playwright boldly imaginative and artistically sensitive,” Abraham said of Schmidt’s work.

Porscha Shaw as Ophelia and Xavier Bleuel as Rude Boy in 12 Ophelias (a play with The two of them began discussing Mac broken songs) at UW Drama. Photo by Isabel Le. Beth three years ago – around the same time Seattle Repertory Theatre was lan Paul recently directed Kiss “It’s an interesting moment to direct considering their own participation in A Me, Kate, a musical adaptation of a show that centers around gender the festival. Abraham brought Schmidt Shakespeare’s Taming of the Shrew, at politics so frankly and openly,” Paul to Seattle in 2016 for a workshop of the the Shakespeare Theatre in Washington, said. “Kiss Me, Kate is really about how play and a public showing of the work D.C., where he also serves as associate women and men relate to each other— in progress as part of the theatre’s new artistic director. The musical, which and for all its comic moments, it also play program, The Other Season. In ran from November 2015 to January has some deep insights. I’m ready to Abraham’s mind, it’s a natural fit for 2016, attracted the attention of David take a new look at Kate and Petruchio, the theatre and for Seattle as a whole. Armstrong, 5th Avenue Theatre’s former and to re-examine their relationship “There's something daring about executive producer and artistic director. for 2018.” seven young women performing Armstrong flew to Washington, D.C. to this play,” Abraham said. “It's one of see the production, and later asked Paul Shakespeare's bloodiest works and to revive the production in Seattle, for Kiss Me, Kate runs April 6 we’re still conditioned as a culture the 5th Avenue Theatre's contribution to to 29 at the 5th Avenue to associate violence with men. Seattle Celebrates Shakespeare. Theatre. Erica's adaptation makes the violence “What I am most excited about is the feel dangerous and complicates chance to use many of the great Seattle- Shakespeare's rich insight into the based actors in the production,” Paul creative and destructive forces within shared. “I was knocked out by the u s a l l .” performers I met at our auditions and I “Kiss Me, Kate is know they will bring something special Mac Beth runs May 18 to to the show.” really about how June 17 at the Seattle Because Kiss Me, Kate centers on women and men Repertory Theatre. workplace sexual indiscretion in the entertainment industry, albeit through relate to each a 1948 lens, the conversation turned to manda Friou first encountered the recent unmasking of pervasive sexual other.” Shakespeare at seven years harassment in the film industry and the A old. Friou sat in the audience of wider impacts of the #MeToo movement. a production of Comedy of Errors,

encoremediagroup.com/programs 5 understanding the language of physical Hamlet, or in our case Rude Boy, operas is that it uses dialogue, rather comedy when iambic pentameter included,” Friou said. “I had no idea than sung musical forms to move the eluded. And while those early when I chose this play a year ago plot on – much like musical theater,” Shakespeare experiences are enough to that our production would coincide Lang said. “We felt that given the scare away even some adult audience with the beginning of the #MeToo context of the Seattle Celebrates members, Friou stuck with the Bard. movement, but the essence of the Shakespeare Festival, Beatrice & movement really is at the heart of this Benedict gave us the opportunity to “We spent what felt like months p l ay.” lean into the original Shakespeare— studying Macbeth,” Friou said, more than any other opera we remembering her high school English considered.” classes. “We did these exhaustive text excavation exercises where we had to 12 Ophelias (a play with Because of this production’s find the most used words in a scene broken songs) ran February relationship to Shakespeare’s original and write about the implication of 13 to 25 at the University of dialogue, Lang was adamant about their use—things like that. I really Washington. hiring a theatre director to take the credit that teacher for giving me helm. my first tools for breaking open any dramatic text. Little did I know that “As well as being ACT’s artistic director, she was essentially teaching me to be he Seattle Opera production John Langs is also a wonderful director my own dramaturg.” Tof Beatrice & Benedict will be a of Shakespeare,” Lang said. “We don’t unique experience for even the most want this production to seem like a Friou is a second year MFA directing diehard opera fan. This production conventional opera, but more like student at the University of of the Hector Berlioz adaptation of going to the theatre or to a musical.” Washington where she is directing Much Ado About Nothing is not only It’s a bold direction that Lang is Caridad Svich’s 12 Ophelias (a play being translated into English from the looking forward to sharing with the with broken songs), an adaptation of original French; Seattle Opera general rest of Seattle. Shakespeare’s Hamlet. She approaches director Aidan Lang has made the directing from an intersectionally bold decision to expand the world I spoke with Daniela Mack, who is feminist perspective, tending to of the opera to include scenes from alternating performing the role of gravitate toward new plays by female Shakespeare’s original text. Beatrice with fellow mezzo-soprano and transgender playwrights. Hanna Hipp. Mack has had her eye on “The great advantage that Beatrice & the role of Beatrice since discovering “I love Shakespeare on the page, but Benedict has over other Shakespeare for the most part his plays aren't stories I have a passion to tell,” Friou said. She doesn't see Shakespeare as a particularly feminist playwright. “With this show, I got to dig into Hamlet and tell a feminist story. I get the poetry and the romance and the drama. But I also get to give a previously one-dimensional female character a voice of her own. The power of that act is incredible, especially when I’m surrounded by an all-female creative team, an all-female band, and a cast that includes nine women.”

Our conversation about feminism naturally turned to the gradual unmasking of toxic masculinity in today’s society.

“Caridad Svitch has done an excellent job of highlighting the ways in which the traps of misogyny catch everyone— Model of the set design for Seattle Opera's Beatrice & Benedict. Photo by Hailey Burt.

6 ENCORE STAGES the score over a decade ago during her fellowship at the San Francisco Opera.

“The premise is timeless, and anyone can identify with the characters that drive the story,” Mack said. “The undeniable attraction between Beatrice and Benedict and the resulting over-the-top rejection of each other is the stuff that romantic comedies are made of. At its heart, it is a story about finding one’s way to love, but its other themes—including deception, infidelity, and the gender roles we play—are just as engaging.”

“At its heart, it is a story about finding one’s way to love, but its other themes APRIL 26 & 28 – including deception, infidelity, and the gender roles we Ludovic Morlot, conductor play – are just as Marc-André Hamelin, piano | Kenneth Tarver, tenor | Pauline Cheviller, narrator Cristina Valdés, piano | Jessica Choe, piano | Li-Tan Hsu, piano engaging.” Dmitry Pokrovsky Ensemble | Anna Marra, dancer Northwest Boychoir | Seattle Symphony Chorale Michael Curry, director & designer Mack and I spoke before rehearsals Brandon Woolley, assistant stage director & stage manager were underway and she shared An all-Stravinsky program on one spectacular night! Michael Curry, known that she’s most looking forward to for his work with Disney, Cirque du Soleil and the Olympics, brings his rehearsing with so many dear friends. exhilarating stage magic to Stravinsky’s most tender work — Persephone. She shared that it feels more like play With star soloists, dancers, puppeteers, three choirs, four grand pianos and less like work when the room is and the Seattle Symphony, all led by Ludovic Morlot — this evening is filled with people she knows and that sure to be unforgettable. this production is a rare and delightful Support for Stravinsky Perséphone is generously provided by the Judith Fong opportunity to skip the sometimes Music Director’s Fund. Marc-André Hamelin’s performances are generously underwritten by Muriel Van Housen and Tom McQuaid. awkward process of feeling out the energy of the rehearsal room.

“Dramatically, Beatrice is a wonderfully complex character,” Mack said. “She is strong, spunky, has a razor-sharp SEATTLESYMPHONY.ORG wit, but she has moments where she shows immense vulnerability too. As a

encoremediagroup.com/programs 7 bonus, the sparring that she gets to do with Benedict will be doubly fun, since I get to perform opposite my real-life hu sb a n d .”

Beatrice & Benedict runs February 24 to March 10 at the Seattle Opera.

Learn more at anacortes.org There’s so much to see during Seattle Celebrates Shakespeare. Catch any of the upcoming performances in this OUR BUILDING IS CLOSED FOR RENOVATION, piece or any of the other Shakespeare- BUT OUR PROGRAMS ARE MORE OPEN THAN EVER. inspired pieces coming soon, including Sergei Prokofiev’s Romeo & Juliet performed by the Seattle Symphony and an immersive multi-room adaptation of Hamlet by the Horse in Motion at the Stimson-Green Mansion. And while you’re sitting in the audience, take a moment to revel in the fact that even 400 years after his death, William Shakespeare’s words continue to inspire artists worldwide. We’re just lucky Geologist Scott Montgomery (3/13) makes the case for nuclear power. enough to have an embarrassment of Law professor Amy Chua (3/8) parses out our political tribes. riches in our own backyard.

Constitutional law expert Neuroscientist Michael Gazzaniga Adam Winkler (4/10) “...revel in the reveals how businesses won (4/3) dives into the heady issues their civil rights. of the brain. fact that even

Activist Ashley Dawson (3/21) 400 years after discusses how climate change affects city living. his death, William 2018 SPRING & SUMMER TICKETS ON SALE NOW! JOIN US IN A NEIGHBORHOOD NEAR YOU. Shakespeare’s words TOWNHALLSEATTLE.ORG continue to inspire...”

For more information about the Seattle Celebrates Shakespeare Festival, visit www.seattlecelebrates.org. <

Danielle Mohlman is a nationally produced feminist playwright based in Framing the Northwest since 1972 Seattle. Her play Nexus is among the 2015 Honorable Mentions on The Kilroys list. AURORA BALLARD BURIEN UNIVERSITY 23632 Hwy 99, Ste P 1703 NW Market St 457 SW 153rd 2900 NE Blakeley St, #A She is an alumnus of the inaugural class Edmonds WA 98026 Ballard WA 98107 Burien WA 98166 Seattle WA 98105 of Playwrights’ Arena at Arena Stage and 206-546-6480 206-784-7565 206-246-2293 206-522-0968 a member of the 2018 Umbrella Project Writers Group.

8 ENCORE STAGES IN THIS ISSUE Photo: LIU Chen-hsiang

Dear Friends:

This month, Meany Center presents four groundbreaking multimedia version of a extraordinary artists: British pianist Imogen thousand-year-old Persian epic, each work Cooper, the Jerusalem Quartet, Hamid invites us to connect in experiences that Rahmanian’s Feathers of Fire from Iran and inspire, enlighten and ultimately bring us Cloud Gate Dance Theatre of Taiwan in their closer together. newest work Formosa. Thank you for being here tonight and for Meany Center is committed to presenting taking this journey with us. artists and art forms from many different countries and cultures every season. We do Sincerely, this because we believe that the arts provide a unique window into important forms of expression, perspectives and ways of being that are different from our own.

From the penetrating music of Julian Michelle Witt Anderson and Leoš Janáček to the historic Executive and Artistic Director choreography of Lin Hwai-Min reflecting upon his Taiwanese homeland; to the

Meany Center Advisory Board Kathleen Wright, President Yumi Iwasaki, Leadership Team Darcy Paschino Ex-Officio Members: Joel Baldwin, ArtsFund Board Intern O. David Jackson John Robinson Ana Mari Cauce, UW President Ross Boozikee Dr. Susan Joslyn Donald Rupchock Robert C. Stacey, Luis Fernando Esteban Sally Kincaid Marcie Stone Dean, College of Arts & Sciences Davis B. Fox Kurt Kolb, Leadership Team Donald Swisher Catherine Cole, Divisional Dean of the Arts Brian Grant Jeff Lehman, Leadership Team Rick Szeliski Becky Harris Craig Miller, Leadership Team David Vaskevitch Kyra Hokanson Gray Chelsey Owen Gregory Wallace Cathy Hughes Seema Pareek Mark Worthington

EMERITUS BOARD

Linda Linford Allen Ruth Gerberding Dick Roth Ellen Wallach Linda Armstrong Randy Kerr Eric Rothchild Ellsworth C. “Buster” Alvord, In memoriam Cynthia Bayley Susan Knox Jeff Seely Betty Balcom, In memoriam Thomas Bayley Matt Krashan, K. Freya Skarin Ernest Henley, In memoriam Cathryn Booth-LaForce Emeritus Artistic Director Rich Stillman Mina Person, In memoriam JC Cannon Sheila Edwards Lange David Stone Jerome Sanford, Sr. In memoriam Elizabeth Cooper Frank Lau Lee Talner Gail Erickson Lois Rathvon Thomas Taylor

A-2 MEANY CENTER FOR THE PERFORMING ARTS President’s Piano President’s Piano Series generously sponsored by IMOGEN COOPER ERIC & MARGARET ROTHCHILD March 6 | 7:30 p.m. SEASON SUPPORT COMES FROM

BEETHOVEN Bagatelles, Op. 126 (1770–1827) Andante con moto, Cantabile e compiacevole Allegro Andante—Cantabile e grazioso Presto Quasi allegretto Presto— Andante amabile e con moto

HAYDN Sonata in E-Flat Major, Hob. XVI:52 (1732–1809) Allegro moderato Adagio Finale: Presto

INTERMISSION

MEDIA PARTNER HAYDN Variations in F Minor, Hob. XVII:6 (1732–1809)

JULIAN ANDERSON “She Hears” (from Sensation) (b. 1967) SUPPORT COMES FROM Nancy D. Alvord † LISZT Bagatelle sans tonalitė, S216a Katharyn Alvord Gerlich Warren and Anne Anderson (1811-1886) Ex-Offi cio Members: Linda Armstrong Ana Mari Cauce, UW President Sven and Melinda Bitners Robert C. Stacey, BEETHOVEN Variations and Fugue in E-Flat Major, Stephen and Sylvia Burges Dean, College of Arts & Sciences (1770–1827) Op. 35, “Eroica Variations” Ana Mari Cauce and Susan Joslyn Catherine Cole, Divisional Dean of the Arts Heidi Charleson Gail Erickson and Phil Lanum Lynn and Brian Grant Family Dr. Martin Greene and Kathleen Wright Richard and Nora Hinton Sally Schaake Kincaid Matthew and Christina Krashan Craig Miller and Rebecca Norton Bill and Meg Morgan Seema Pareek and Gurdeep Pall Mina B. Person † Eric and Margaret Rothchild Don and Toni Rupchock Dave and Marcie Stone Gloria Swisher

encoremediagroup.com/programs A-3 IMOGEN COOPER | Program Notes

BAGATELLES, OP. 126 (1824) symphonies and more than 80 string erase the lingering G-sharp of the fi nal LUDWIG VAN BEETHOVEN quartets. E major chord that closes the Adagio. The repeated notes recur frequently, A bagatelle is less a form than a state In 1794-95, Haydn wrote three sonatas for imparting a heady élan, another of mind, or more precisely, a state of Therese Jansen, a highly regarded pianist anticipation of Beethoven. feeling. If one of the prominent features and student of the pianist/composer of the Romantic era was an expansion of Muzio Clementi. No. 62 in E-Flat Major, forms—think of the enormous growth in Hob. XVI:52, was the third of the set VARIATIONS IN F MINOR, symphonic length from Beethoven’s First and Haydn’s fi nal sonata to boot; it is a HOB. XVII:6 (1793) Symphony to the Ninth—there was a large-scale essay considered by many FRANZ JOSEPH HAYDN corresponding search for completeness commentators as the greatest of his in miniature. Witness the evolution of keyboard works. Haydn made two very successful trips the art song, or German lied, under to England under the aegis of a major Schubert’s creative nurture. Beethoven The Allegro asserts its drama and ample impresario, Johan Peter Salomon, had played with the non-specifi c “trifl e” proportions with a rippling bold forte and composed his fi nal dozen (of at in his earliest years with his Op. 33 chord that launches the movement with least 104) symphonies for London Bagatelles, then revisited the genre late imposing power. As the opening thematic audiences. Collectively known as the in life with his Op. 119 and Op. 126 sets. group unfolds, one hears dotted (long- “London” or “Salomon” symphonies, These valedictory works have all of the short) fi gures that impart the fl avor of a these 12 works remain a core part of hallmarks of the late Beethoven style: Baroque “French” overture, reminding the late Classical symphonic repertoire. quirky rhythms, sudden unexpected us that Haydn grew up while Bach and Living in Vienna in 1793, he composed shifts of tempo and mood, and a radiance Handel were plying their trade. Emphatic the Variations in F Minor between his suggestive of heightened spirituality. rhythms and jabbing sforzando-like two voyages to England. interjections suggest connections with The Op. 126 set dates from 1824, the Haydn’s erstwhile student, the young Haydn appended the cumbersome year of the Ninth Symphony. No. 1 fl ows and impatient Beethoven, who, despite title “Un piccolo divertimento scritto e as a single gesture, interrupted only occasional jabs at his mentor, obviously composto per la stimatissima Signora by an arabesque-like middle section. learned a lot from the older composer. Ployer” to the Variations, a reference The following bagatelle, in the minor, The profusion of unexpected harmonic to the pianist Barbara Ployer for is a forceful quality that balances its departures from the tonic key adds a whom Haydn composed much of immediate predecessor. No. 3, in triple sense of bold exploration to the music, his piano music. meter, is a terse set of variations on an once again reminding us of Beethoven equally terse theme. No. 4 begins in waiting impatiently in the wings. Technically one can refer to the piece Beethoven’s gruff est style in B minor, as a set of double variations, based on then shifts quickly to B major where the Even more unusual, the ensuing Adagio is two themes, one in F minor, the other mood is contrastingly serene. The fi fth cast in remote E major, harmonically at in F major. The entire piece consists of of the set returns to a mood of unforced odds with the E-fl at tonality of the fi rst two variations on each theme followed expressiveness sharpened by subtle and third movements. Yet Haydn had by a relatively lengthy coda. Despite syncopations. No. 6 opens and closes with already made a brief detour into E major Signora Ployer’s name in the title, a burst of rambunctious energy balanced during the Allegro, perhaps hinting at its some commentators believe Haydn by a graceful middle section. use in the Adagio. Haydn composed the actually dedicated the work secretly to sonata for performance on the larger Marianne von Genzinger, a very close pianos created by makers in England, friend and probably late-life fl ame for SONATA IN E-FLAT MAJOR, further enhancing dynamic range and the composer; his actual marriage was a HOB. XVI:52 (1794) timbral richness. By and large, the music notoriously unhappy one. FRANZ JOSEPH HAYDN proceeds in sequences of dotted passages alternating with scales and repeated The general mood of the piece is darker Long-lived Franz Joseph Haydn may not single notes. Emotions range from and more personal than one might have actually “fathered” the symphony introspective murmurings to expect given Haydn’s essentially positive and string quartet, but through diligence sudden dramatic outbursts. outlook on life. Why he invested such and genius he polished and bequeathed mournful expression in Variations most fi nished models of both genres for A return to E-fl at informs the concluding likely relates to the recent passage of succeeding generations of composers. He Finale: Presto, a movement that celebrates Ms. Grenzinger at only 38 years of age. wrote imaginatively in all the instrumental Haydn’s considerable musical wit, The Andante posits the somber fi rst and vocal forms of his day, including recalling the legendary conductor Wilhelm theme in F minor, sharing it between opera, which he abandoned because he Furtwängler’s observation that “…the joys both hands. The second theme in felt that Mozart was clearly the master of of life are captured in handfuls in Haydn’s F major is a richly embroidered melody the genre. Haydn also wrote extensively music.” Vivacious, energetic and requiring that bears enough of a resemblance for the rapidly changing piano, creating a fi ne technique, the Finale supports to theme one that one senses a more than four-dozen sonatas that reveal contemporary reports of Mlle. Jansen’s subtle connection between them. The the same degree of variety and innovation fl uency. Note that the movement opens emotional contrast between the two one fi nds when surveying his 100-plus with fi ve repeated G naturals that serve to themes is echoed in their respective

A-4 MEANY CENTER FOR THE PERFORMING ARTS pairs of variations. Those in the minor are operatic “paraphrases” and arrangements The somewhat extended introduction inward, chromatic and deeply expressive, of a great deal of orchestral music, e.g., all to the Op. 35 Variations initially while their major-key counterparts flow nine Beethoven symphonies. presents only the bass notes of the easily and are animated by trills and theme before one, two and finally three triplets. The coda opens with a verbatim Liszt composed the Bagatelle sans tonalité independent lines fill out the theme reprise of the opening theme, soon gives the year before he died. A quirky, brief contrapuntally. Mind you, this is a rise to a distinct increase in harmonic waltz populated by terse left-hand chords long introduction, fully 65 measures, tension, reaches a powerfully dramatic that underpin teasing a rapid-fire right- interrupted at times by unexpected climax, and finally recedes into a desolate hand impetuous theme. The scurrying pauses. Only at its end does the actual close in which only fragments of the theme travels around the keyboard, not theme appear in the treble region opening theme are heard. stopping for long on any tonal center. It is of the piano before yielding to the playful and skirts with modern harmony, subsequent 15 variations and closing as does much of his very late piano music. Finale alla fuga. “SHE HEARS” (FROM SENSATION) Originally thought to be a substitute for (2015-16) the fourth Mephisto Waltz, it remained Note that Beethoven conceived this JULIAN ANDERSON unpublished until 1995. work pianistically, which is perhaps why the “Eroica” Symphony’s variations— “She Hears” is a study in listening. The title fully orchestral in character—are quite refers to an inscription Oskar Kokuschka VARIATIONS AND FUGUE IN E-FLAT different from those in the piano piece. placed on the back of a painting of MAJOR, “EROICA VARIATIONS,” As one moves through the Op. 35 King David he gave to Imogen Holst: OP. 35 (1802) variations one encounters a staggering “For Imogen — she hears.” Listening is LUDWIG VAN BEETHOVEN variety of gambits employed to give a somewhat underestimated activity. true meaning to the term “variation.” In Everyone who knew Imogen Holst Certain themes seem to stick in the dizzying fashion, rapid triplets skip by, remarked upon her specially focused creative minds of composers. One need alternating with sharp staccato chords intensity when listening to music. This think only of Rachmaninov’s obsession and a beautifully sculpted Largo section piece provides a very focused musical with the Medieval “Dies irae” theme, a in six-eight meter. The concluding surface for both player and listener natural given his chronic depression, and fugue in three parts begins with the — a chord progression which unfolds Shostakovich’s motto theme based on the first four notes of the opening bass gradually but continuously from start German notations equivalent to DSCH, theme before a restatement of the to finish. In homage to the dedicatee, i.e., Dmitri Shostakovich. Both composers “real” theme launches the brilliant coda. there are two allusions to Gustav Holst: used their respective motives several Beyond its stature sui generis, there is his Saturn around bars 49 et seq., and times in their oeuvre. For Beethoven it no doubt that the Op. 35 Variations his Egdon Heath around bars 57-9. was the simple tune in E-flat that serves had a significant impact and influence Finally, the piece comes to rest with the as basis for his Variations in E-Flat Major, on subsequent composers, especially intervals that opened the piece in the Op. 35, which carries the nickname Brahms in his Variations on a Theme treble, now resounding like deep bells in “Eroica.” He had u sed the charming by Handel (and even on the so-called the lowest register. and unassuming ditty in the finale of “Haydn” Variations, which closes with a his ballet, The Creatures of Prometheus passacaglia based on a descending four- (1800–01), the seventh of a set of 12 note theme). BAGATELLE SANS TONALITÉ, S216A (1885) Country Dances (published 1802–03) and FRANZ LISZT eventually as the variation theme for the © 2018 Steven Lowe finale of the epic “Eroica” Symphony in Franz Liszt has been hailed as the 1803, written after the Op. 35 Variations. greatest pianist in history—though he The Symphony’s great fame, of course, all was so characterized in 1845, long before but assured that its nickname would be Horowitz and other more recent lions of shared ultimately with the slightly early the keyboard have ruled that domain. set of piano variations. The Hungarian pianist possessed an Bischofberger astonishing technique and unrivalled Beethoven dedicated the Op. 35 “Eroica” est. 1955 ability to perform at first sight and full Variations to Moritz Lichnowsky, his Violins speed the most complicated scores set former student and brother of the before him—including, for instance, composer’s major patron, Prince Karl Professional Wagner’s densely contrapuntal opera, Die Lichnowsky. Beethoven, of course, had Repairs Meistersinger. He was also a prodigious an almost preternatural gift for variation Appraisals composer, writing more than 1,400 works form, which figured prominently in his & Sales that ran the gamut from the unspeakably famed extemporizations as well as in vulgar to the spiritually rapt. His harmonic finished and often mammoth written daring was prescient; one hears pre- works. No surprise, then, that the 15 1314 E. John St. echoes in his late music of Debussy and variations that constitute the Op. 35 set Seattle, WA even Bartók. In all, he composed some do not appear exactly replicated in the 206-324-3119 400 works for piano, including scads of finale of the “Eroica” Symphony. www.bviolins.combviolinsltd.com

encoremediagroup.com/programs A-5 BV 071811 repair 1_12.pdf IMOGEN COOPER | About the Artists

In Memoriam We are deeply saddened that Nancy Alvord, a dear friend of Meany Center, and indeed, of the entire Seattle arts community, passed away in December.

Nancy was a guiding force, along egarded as one of the fi nest Imogen is a committed chamber with her husband Buster, in Rinterpreters of Classical and Romantic musician and performs regularly with Henning Kraggerud and Adrian Brendel.

championing the arts in Seattle repertoire, Imogen Cooper is Photo: Stephanie Berger As a lieder recitalist, she has had a long and both were avid supporters and internationally renowned for her virtuosity and lyricism. Recent and collaboration with Wolfgang Holzmair patrons of Meany Center visiting future concerto performances include in both the concert hall and recording artists and performances. Nancy’s the Berliner Philharmoniker with Sir studio. Her recent solo recordings for Chandos Records feature music by presence and commitment over Simon Rattle, Sydney Symphony with Simone Young, and the BBC Scottish Brahms, Chopin, Liszt, Wagner, and many years was inspirational to all Symphony Orchestra with Thomas Robert and Clara Schumann. of us who knew her, and helped Dausgaard. Imogen received a CBE in the Queen’s the organization further many Imogen has a widespread international New Year Honours in 2007 and was the important artistic programs, take career and has appeared with the recipient of an award from the Royal creative risks, and reach thousands New York Philharmonic, and the Philharmonic Society the following year. Philadelphia, Boston, Cleveland, Vienna In 1997, she was awarded Honorary of youth through our education Philharmonic, Royal Concertgebouw, Membership in the Royal Academy of programs. Leipzig Gewandhaus, Budapest Music and in 1999, she was made a Festival, NHK and London Symphony Doctor of Music at Exeter University. Orchestras. Her recital appearances Imogen was the Humanitas Visiting Buster Alvord served as the Meany have included Tokyo, Hong Kong, New Professor in Classical Music and Music Center (formerly UW World Series) York, Singapore, Paris, Vienna, Prague Education at the University of Oxford for 2012-13. The Imogen Cooper Music Trust Board President for many years, and the Schubertiade in Schwarzenberg. was founded in 2015 to support young and together Nancy and Buster As a supporter of new music, Imogen pianists at the cusp of their careers and helped the organization grow the has premiered two works at the give them time in an environment of Cheltenham International Festival: peace and beauty. stability and strong foundation that Traced Overhead by Thomas Adès (1996) it has today. The Alvords, along and Decorated Skin by Deirdre Gribbin with their daughter Kathy Alvord (2003). In 1996, she also collaborated with members of the Berliner Gerlich, have been true leading Philharmoniker in the premiere of the lights for Meany Center. Nancy will quintet Voices for Angels. be dearly missed.

Photo: Yo-Yo Ma, Nancy D. Alvord and Katharyn Alvord Gerlich

A-6 MEANY CENTER FOR THE PERFORMING ARTS IMOGEN COOPER | About the Artists International Chamber Music SEASON SUPPORT JERUSALEM QUARTET COMES FROM March 13 | 7:30 p.m.

Alexander Pavlovsky, Violin Sergei Bresler, Violin Ori Kam, Viola Kyril Zlotnikov, Cello

MOZART Quartet in B-Flat Major, K. 458, “The Hunt” (1756–1791) Allegro vivace assai Menuetto and Trio: Moderato Adagio Allegro assai

MEDIA PARTNER JANÁČEK String Quartet No. 1, “Kreutzer Sonata” (1854-1928) Adagio—Con moto Con moto Con moto—Vivace—Andante Con moto—Adagio Photo: Stephanie Berger SUPPORT COMES FROM INTERMISSION Nancy D. Alvord † Katharyn Alvord Gerlich BEETHOVEN Quartet No. 16 in F Major, Op. 135 Warren and Anne Anderson (1770–1827) Allegretto Linda Armstrong Vivace Stephen and Sylvia Burges Ana Mari Cauce and Susan Joslyn Lento assai, cantante e tranquillo Helen Curtis Grave, ma non troppo tratto—Allegro Gail Erickson and Phil Lanum Lynn and Brian Grant Family Dr. Martin Greene and Kathleen Wright Matthew and Christina Krashan Hans and Tina Mandt Craig Miller and Rebecca Norton Mina B. Person † Cecilia Paul and Harry Reinert Eric and Margaret Rothchild Don and Toni Rupchock Dave and Marcie Stone Richard Szeliski and Lyn McCoy Gregory Wallace and Craig Sheppard Barbara Weinstein † Mark and Amy Worthington

encoremediagroup.com/programs A-7 JERSUALEM QUARTET | Program Notes

QUARTET IN B-FLAT MAJOR, K. 458, demeanor, though the mid-movement centering on the tragic consequences “THE HUNT” (1784) Trio balances things with a perky, of an extramarital aff air in which WOLFGANG AMADEUS MOZART dancelike feel. Beethoven’s famous “Kreutzer” Sonata (No. 9 in A Major, Op. 47) casts By the time Mozart composed his six By far the most poignant movement is “the most immoral eff ects” (Tolstoy’s string quartets “dedicated to Haydn” he the Adagio—the only such descriptor phrase) on the participants. The theme had already proven himself as a master found in the six of the “Haydn” quartets. of strong and independent women of idiomatic string writing, the result of In its opposition of major and minor enduring tragedy was one close to ample experience as a violinist and violist tonalities, the music conveys a seemingly Janáček’s heart, as manifest in Kát’a (his preferred instrument as a string contradictory sense of celebration and Kabanová and a piano trio in 1908 from player) and, of course, as a composer sad introspection that nonetheless fi t which he drew thematic material for his of more than a dozen string quartets comfortably side by side. Clearly, this is String Quartet No. 1. Composer Joseph already in his larder. Most of those early Mozart at his most yearningly Romantic; Suk, a member of the Bohemian String entries came to fruition while he was Schubert waits in the wings. Quartet (which commissioned and based in his hometown of Salzburg, premiered the new score) suggested before his permanent move to Vienna in The concluding Allegro assai sweeps aside that Janáček expressed therein 1781; they bask in elegance, grace and the mixed though balanced “messages” a protest against men’s despotic charm befi tting their Rococo, stile galant of the Adagio, racing toward the fi nish attitudes toward women. orientation and Italianate infl uence line with near-manic enthusiasm. Again, resulting from Mozart’s two extended rustic charm and childlike innocence It took but nine days for the composer to visits to Italy in his youth. lightens the mood. write the quartet, perhaps an indication of how keenly he was infl uenced by long- Unlike these early quartets, those he simmering ideas generated by Tolstoy’s composed in Vienna show increasing STRING QUARTET NO. 1, “KREUTZER woeful tale. As in much of Janáček’s drama and depth, as well as a mastery of SONATA” (1923) music, ingrained folkloric elements counterpoint learned from the example LEOŠ JANÁČEK permeate the rhythms and textures—he of Franz Joseph Haydn and study of was truly a spiritual descent of Smetana Bach and Handel, both of whose music Leoš Janáček must have been a patient and Dvořák in that regard. Yet it is the he came to revere. His knowledge of man, or at least one with a strong sense “modern” acoustic eff ects that give the and appreciation for counterpoint was of his own musical worth. Born in the quartet its 20th-century angst, e.g., greatly enhanced from the generous middle of the 19th century to a large and acerbic sul ponticello (on the bridge of the loan by Baron Gottfried van Swieten of poor family, he showed musical talent violin) scratchings and intense tremolos. many scores by the two Baroque giants. early and pursued a career in that fi eld In 1785, Mozart published the so-called with tremendous determination. Still in The opening movement only hints “Haydn” quartets. It was this collection his teens, he borrowed money to go to at the eventual catastrophe that that prompted Haydn to tell Mozart’s Prague to study and completed a three-year awaits the errant wife (for whom father, Leopold, “Under God, and as an course at the Organ School in one year. the composer had more sympathy honest man, I tell you that your son is Despite his enthusiasm and perseverance, than the author did), quoting the greatest composer known to me in fame did not thrust itself upon the gifted obliquely from Kát’a Kabanová. The person or by name.” musician until relatively late in his career. temperature rises considerably In 1916, in his 63rd year, he fi nally achieved during the second movement, where Though many posit the notion that recognition with a performance of his abrasive sul ponticello attacks suggest Mozart’s music fl owed from him as from powerful opera Jenufa (completed in 1908). the husband’s increasing rage over an artesian well, i.e., without any extra He went on to write other works for the the all-too-close relationship he eff ort required, the “Haydn” quartets stage—including the operas Kát’a Kabanová witnesses between his wife and her required two years of concentrated and The Cunning Little Vixen—and his fervent lover. As if to complete the connection eff ort—indicated by frequent erasures large-scale Glagolitic Mass (“Glagolitic” refers through Tolstoy to Beethoven, the in the manuscripts—before Mozart was to a Medieval form of the Czech language third movement quotes the second satisfi ed with his eff orts. he chose for his Mass in place of the theme from the fi rst movement of his customary Latin). He also wrote a number predecessor’s “Kreutzer” Sonata. The opening Allegro vivace assai of the of colorful orchestral works, such as his Quartet in B-Flat Major, K. 458, “The popular Sinfonietta and Taras Bulba. Among Marked Con moto—Adagio, the fi nal Hunt,” jauntily announces itself with a chamber works that have maintained a movement’s palpable agitation fi gure redolent of a hunting horn, hence foothold in the repertoire are his Sonata for conveys the violence of the wife’s the nickname included in the title. The Violin and Piano, his evocative solo piano murder. Given the composer’s prevailing mood of the movement is set, On an Overgrown Path, and his two sympathy for her, the concluding upbeat, unbuttoned and irresistibly rustic. string quartets. Adagio section functions as an act of forgiveness and humanity. Marked Menuetto and Trio: Moderato, Janáček’s String Quartet No. 1 dates the following movement tones down from 1923, and was inspired by Tolstoy’s the jollity, evoking a more serious novella, The Kreutzer Sonata, a dark tale

A-8 MEANY CENTER FOR THE PERFORMING ARTS APR QUARTET NO. 16 IN F MAJOR, Beethoven admitted to his publisher that OP. 135 (1826) he had great difficulty with the finale: 16 LUDWIG VAN BEETHOVEN “Here, my dear friend is my last quartet. It will be the last; and indeed it has given Given the trailblazing nature of me much trouble for I could not bring Beethoven’s four previous “late” myself to compose the last movement. quartets beginning with Op. 127, some But as your letters were reminding me of aficionados have dismissed his final it, in the end I decided to compose it. And entry as a comfortable throwback to the that is the reason why I have written the time-limited, traditional four-movement motto: ‘The difficult decision—Must it be? format of Haydn and Mozart. To do so —It must be, it must be!’” is to not fully appreciate the process of Faculty Recital: Craig Sheppard, economical reduction that Beethoven As one might expect, the finale begins piano; Sæunn Thorsteinsdóttir, cello may have exercised in this comparatively with an introductory three-note musical Performing the Beethoven Cello Sonatas-- brief farewell to the quartet medium, translation of the verbal question posited Opus 5 #1 in F Major and Opus 102 #2 indeed to all composition. Composed in the above epistle: “Must it be?” (This in D Major--and Rachmaninoff’s Cello Sonata Opus 19. the year before his death, the F Major potent thematic germ found new life in 7:30 pm Meany Theater Quartet balances the renewed vigor of his Franck’s Symphony in D Minor.) Harsh, youthful compositions with wise lessons dissonant chords pierce the heart before learned from a lifetime of writing music. Beethoven answers the question by switching into the major, inverting the APR The Allegretto that opens the Op. 135 theme so that the third note no longer 16 Quartet (1826) presents a number of ends in an upward questioning sense but short, pithy and protean motives— rather asserts an optimistic rejoinder. He “theme-lets” if you prefer—that he joins, had created a similar, though less truly splits up and uses as myriad germs for serious shift in his earlier Piano Sonata, the unfolding of the entire movement. Op. 81a, known as either Das Lebewohl Everything suggests a distillation of his or Les Adieux (“Farewell”). It is as if to say great gift for variation and elaboration, “Life has been hard, but with the wise seamless lyricism, humor and faultless, lessons learned by maturity, it has, after imaginative counterpoint, exemplified in a all, been a good run!” deft fugal episode. © 2018 Steven Lowe Faculty Guitar Recital: A dancing syncopated scherzo follows. Michael Partington with guest Marked Vivace, the music leaps forward Marc Teicholz Music by Haydn, Giuliani, Poulenc, with great energy moderated by lightness The Jerusalem Quartet appears by Bogdanovic, and others. of mood that occasionally borders on arrangement with David Rowe Artists 7:30 pm Brechemin Auditorium mania. Throughout much of the movement www.davidroweartists.com Beethoven divides the ensemble into two entities: the violins skitter and soar above The Jerusalem Quartet records the harmonic underpinning supplied by the for Harmonia Mundi APR viola and cello. 27 jerusalemstringquartet.com As is often the case with Beethoven, the Lento—the longest movement of the Quartet—reveals his inner feeling and spiritual aspirations. Brooding, even stark, the progressing variations grow from a slowly unfolding hymn-like theme that weds psyche/soul and body into unity. Yet within this probing expression of doubt and pain there are unmistakable UW Symphony Orchestra with glimmers of hope, especially in the Ben Lulich, clarinet exquisite lullaby that ends the movement. Works by Lutoslawski, Ravel, and Haydn. (Listen to the closing Adagio of Mahler’s David Alexander Rahbee, conductor. 7:30 pm Meany Theater Third Symphony: it not only mirrors the mood but has a melodic and harmonic passage that clearly comes from the pages of this movement.)

MORE AT: WWW.MUSIC.WASHINGTON.EDU ArtsUW TICKET OFFICE: 206.543.4880

encoremediagroup.com/programs A-9 Photo: Andrew Jernigan A-10 JERSUALEM QUARTET concert stages.Withregularbi-annual beloved gueston theworld’sgreat The JerusalemQuartetisaregularand exploration ofnewepochs. the classicalrepertoireaswell refi nementofitsinterpretations drive andmotivationforthecontinuing of thecomposer’s work.Itisalso transparent andrespectful presentation between individualexpressionanda to maintainahealthy relationship This approachallowsthequartet balance between highandlowvoices. human sound andanegalitarian has founditscoreinawarm,full, in auniquemanner.Theensemble carries onthestringquartettradition stunning depthofexpression,which has resultedinawiderepertoireand of growthandmaturation.Thisjourney musicians haveembarkedonajourney subsequent 1996debut,thefourIsraeli the ensemble’s foundingin1993and of theJerusalemQuartet.Since was excellent Israelistringquartet.” Such blend: thesearethetrademarksofthis “P “ assion, precision,warmth,agold The NewYorkTimes’impression MEANY CENTER FORTHEPERFORMING ARTS |

About the Artists album featuringDvorak’sStringQuintet In February,thequartetreleasedanew chamber music,andtheECHO Classic. the BBC MusicMagazineAwardfor awards suchastheDiapasond’Or, have beenhonoredwith numerous and Schubert’s “DeaththeMaiden,” albums featuring Haydn’s string quartets quartet’s recordings,particularlythe exclusively forHarmoniaMundi.The The JerusalemQuartetrecords others. Petersburg WhiteNightsandmany Schwarzenberg, Rheingau,Saint Schleswig-Holstein, Schubertiade and festivalssuchasSalzburg,Verbier, Louvre, Paris,theLaeiszhalle Hamburg, performances attheAuditoriumdu Champs-Elysées, aswellspecial guest Munich Herkulessaal, Theatredes London’s Wigmorehall,TonhalleZürich, reception withregular appearancesin the quartet enjoysanenthusiastic as intheRaviniaFestival.InEurope, Washington and Cleveland,aswell York, Chicago, LosAngeles,Philadelphia, has performedincitiessuchasNew visits toNorthAmerica,thequartet Montreal, amongothers. in LosAngeles,Seattle,Houstonand will visitNorthAmericawithconcerts touring AsiainJanuary,thequartet Florence, MadridandMunich.After Vienna, Amsterdam,Brussels,London, bring them tocitiesincludingParis, Lee. Theseason’sEuropeantourswill artists suchasGaryHoff manandYura chamber musicincollaborationwith will presentacelebrationofDvorak’s its regular programs,theensemble In the2017-18season,alongside Ravel and Debussy. will includethecelebratedquartetsof year willreleaseasecondalbumthat Op.97 andSextetOp.48;laterthis World Music & Theater FEATHERS OF FIRE SUPPORT COMES FROM A PERSIAN EPIC March 14 | 8 p.m. YOUTH MATINEE SPONSORS A production of Fictionville Studio and Banu Productions

Conceived, Designed and Directed by Hamid Rahmanian In Collaboration with Larry Reed and ShadowLight Productions Original Music by Loga Ramin Torkian and Azam Ali

Written and Adapted by Hamid Rahmanian Co-written by Vikas Menon Based on the Book, Shahnameh: The Epic of the Persian Kings

Storyboards and Concept Development by Syd Fini Puppets Handcrafted by Neda Kazemifar and Spica Wobbe Assistant Director: Fred C. Riley III Digital Media Directed and Orchestrated by Mohammad Talani Costumes made by Dina Zarif MEDIA PARTNER Performers: Ya Wen Chien, Gabriela Garcia, Ariel Lauryn, Rose Nisker, Leah Ogawa, Fred C. Riley III and Dina Zarif

Cast of Major Characters (in order of appearance)

Narrator: King Manuchehr — King of Persia: SUPPORT COMES FROM Performance by Fred C. Riley III; Voice by Marc Thompson Linda and Tom Allen Voice by Charlie Varon Nancy D. Alvord † Mehrab — Governor of Kabul: Katharyn Alvord Gerlich Saum — Knight in the Persian Court: Performance by Ariel Lauryn Ana Mari Cauce and Susan Joslyn Performance and Voice by Voice by Marc Thompson Britt East and Scott VanGerpen Fred C. Riley III Catherine and David Hughes Sindokh — Wife of Mehrab: Hugues Hoppe and Sashi Raghupathy Simorgh — Magical Bird: Performance by Rose Nisker Yumi Iwasaki and Anoop Gupta Performance and Voice by Voice by Jeri Lynn Cohen Matthew and Christina Krashan Rose Nisker Chelsey Owen and Robert Harris Rudabeh — Daughter of Mehrab Seema Pareek and Gurdeep Pall Zaul — Son of Saum, Hero of the Story: & Sindokht: Blue and Jeff Resnick Performance by Gabriela Garcia Performance by Dina Zarif Eric and Margaret Rothchild Voice by Ryan Tasker Voice by Lisa Hori-Garcia Richard Szeliski and Lyn McCoy

Producers: Hamid Rahmanian, Melissa Hibbard and Nasim Yazdani Co-Producer: Ahmad Kiarostami

Musicians: Loga Ramin Torkian, Azam Ali, Sinan Cem Eroglu, Habib Meftah Boushehri, Omer Avci and Dina Zarif

A project of Two Chairs Inc. Sponsored by Canon USA and The Neda Nobari Foundation. www.kingorama.com

encoremediagroup.com/programs A-11 The SHAHNAMEH: From National Epic to World Literature

Samad Alavi Assistant Professor Near Eastern Languages and Civilization University of Washington

A-12 MEANY CENTER FOR THE PERFORMING ARTS he Shahnameh (The Book of Kings) is an epic poem The stories of the Shahnameh can be divided into three Tin the Persian language that tells the myths, legends and sections that correspond to three dynasties of Iranian history of the Iranian people. A massive work comprised of monarchs. The fi rst, the Pishdadian, occupy the realm over fi fty thousand rhyming couplets, the Shahnameh starts of mythology. These stories relate origin narratives: at the dawn of time and ends with the fall of the Sassanian the fi rst kings discover fi re, invent tools and introduce dynasty, the last pre-Islamic Iranian empire which fell to technologies like agriculture to their people. In these early Arab Muslim conquerors in 636. chapters, confl ict exists primarily between humans and demons. Abolqasem Ferdowsi (940-1019) spent 35 years of his life composing the Shahnameh based on the various stories The second section, corresponding to the reign of the and accounts of Iran’s ancient civilization that were available Kayanids, contains legends and heroic escapades. Here, to him. In at least one case, Ferdowsi also incorporated the the main source of confl ict is no longer between humans earlier attempts at a Shahnameh by another poet directly and supernatural beings — although there are still plenty into his own version. In some respects, then, the Shahnameh of battles against demons, dragons and other mythical is a product of its times. Not only does Ferdowsi’s poem pick creatures — but rather between Iran and its neighboring up where others left off (we know this because Ferdowsi adversaries. Along with the Iranian kings, the protagonists The tells us so), but the poet also praises the patrons who paid of this legendary section are the champions Rostam (the handsomely for Persian poetry in the day. That is to say, same from Mathew Arnold’s poem), his father Zaul, and Persian civilization was experiencing a period of cultural grandfather Saum, who fi ght on behalf of the Iranian revival in the tenth century, the likes of which had not throne. It is these champions’ unparalleled feats of strength been seen since well before the fall of the Sassanian and bravery, romantic encounters (like that between Zaul SHAHNAMEH: dynasty three centuries earlier. But if the Shahnameh is and Rudabeh), and tragic displays of hubris that drive many an indication of a broader historical movement, it is also of the Shahnameh’s best-known stories. that movement’s crowning achievement. When Ferdowsi fi nally completed his masterpiece in 1010, he ensured that The third section, which can be described as historical, Persian literature and the stories of the Iranians would relates the rise and fall of the Sassanians and corresponds, fl ourish for the millennium to follow. to greater and lesser degrees, with what is recorded From National Epic in other sources. Of course, the Shahnameh also omits In the sense that the Shahnameh tells the story of monarchs signifi cant portions from the record. For example, who ruled over a land called Iran and the heroes who Ferdowsi makes almost no mention of the Achaemenids, fought on their behalf, it is rightly referred to as the whose founder, Cyrus the Great, certainly looms large Iranian national epic. In that sense, we can think of the in the history of the Persians. Nonetheless, by the time World Literature Shahnameh as a literary expression of the values, ideals we arrive at the history of the Sassanians, it seems that to Ferdowsi had access to a number of chronicles and and aspirations of the Iranian people whose existence, according to the text, predates recorded history. Today, of other historical sources that allowed him to include course, Persian is an offi cial language of three countries: details about court and daily life that are not found in the Iran, Afghanistan and Tajikistan (where it is called Farsi, Dari mythical or legendary sections. and Tajik, respectively), and it would certainly be reasonable to consider those modern nation-states as Ferdowsi’s Taken as a whole, the Shahnameh might read as tragedy. It proper heirs. But the Shahnameh has also found its way tells the story, after all, of a once great civilization faced with into the literary traditions of nearly every society that has utter defeat in the poem’s closing lines. But the cultural had contact with Persia. The fi rst full English translation, revival taking place in Ferdowsi’s lifetime also suggests that for example, appeared in 1785. Less than a century later, at least the notion of a Persian civilization had endured Samad Alavi the English poet Mathew Arnold published “Sohrab and well beyond the period when the poem ends. Likewise, the Assistant Professor Rustum,” in which he retells arguably the most famous fact that the Shahnameh continues to be read, adapted and Near Eastern Languages and Civilization episode in the poem involving the tragic battle between the performed over a millennium after its composition would titular son and father. Indeed, if the Shahnameh began as itself bear witness to the cultural legacy of a civilization that University of Washington the epic of a given nation, it has since earned a place among Ferdowsi not only mourns but celebrates. the most celebrated works of world literature.

encoremediagroup.com/programs A-13 FEATHERS OF FIRE | About the Artists

The Company Hamid Rahmanian (Creator, Designer, Shadow Master (1979) has been shown on such as Serj Tankian of System of Director,) is a 2014 Guggenheim Fellow, PBS and the Discovery Channel. Reed has a Down, Peter Murphy of Bauhaus, and an award-winning visual artist and garnered numerous awards and honors, Dredg, Chris Vrenna formerly of Nine fi lmmaker born and educated in Tehran, and was named one of the Top 50 Artists in Inch Nails, Kodo, Zakir Hussain and Iran. His work centers on fi lm and graphic the San Francisco Bay Area by Metropolitan Mickey Hart. arts. His narrative and documentary fi lms Magazine in 1995 and 1996. have premiered at the Venice, Sundance, Ya Wen (Winnie) Chien (Ensemble) Toronto, Tribeca and IDFA Film Festivals. Loga Ramin Torkian (Composer) is an was born in Taiwan and currently He has won numerous international Iranian-born multi-instrumentalist and lives and works in San Francisco. She awards and his works have been televised composer. He is recognized internationally earned a M.A. in digital media from on international networks including PBS, for his ground-breaking work with world the University of the West of England, Sundance Channel, IFC, Channel 4, BBC music groups Niyaz and Axiom of Choice, Bristol. Her practice and teaching and Al Jazeera. Rahmanian undertook both of which he co-founded. A highly experience spans painting, drawing, the immense task of illustrating and gifted composer and visionary, Loga is photography, printmaking and book commissioning a new translation and greatly respected for his ability to adapt art. She has been involved in theaters adaptation of the Shahnameh by Ferdowsi, the Persian classical repertoire to his own in Taiwan, as well as ShadowLight entitled Shahnameh: The Epic of the Persian unique and modern compositions. In 2014, Productions in San Francisco. Kings (2013, Quantuck Lane Press), which Loga was nominated for a Canadian JUNO is now in its second edition and available Award for “Best World Music Album” for the Gabriela Garcia (Ensemble) as an audiobook. Rahmanian has created album he recorded with musical partner completed her M.F.A. in acting a pop-up book based on his Shahnameh, Azam Ali titled Lamentation of Swans. He from U.S.C. where she trained in which is due out in 2018. continues to produce albums and tour Le Coq and Grotowsky movement worldwide with Niyaz. techniques under Andy Robinson and Larry Reed (Shadow Master) is an David Bridel. She has had success in internationally recognized theater Azam Ali (Composer) is one of the most commercials and independent fi lms director. He is one of the few American prolifi c, versatile and gifted singers and appearing in spots for YouTube, dalangs (“shadow masters”) of traditional composers on the international music Conde Nast, Credit Karma, One West Balinese shadow theater known as Wayang stage today. Azam’s most notable work is Bank, USA Network and more, as well Kulit. The founder and artistic director with the cutting-edge world music electro- as the indie fi lm Actors Anonymous of ShadowLight Productions, Reed has acoustic project Niyaz. Her distinctive voice directed by James Franco, and pioneered contemporary shadow theater can be heard on myriad fi lm and television Case 347 staring Maya Stojan (2018 by integrating traditional shadow theater scores including Thor: The Dark World, The release). Gabriela also works as a techniques with film, modern theater Matrix Revolutions, Prince of Persia: The movement teacher and talent scout and dance styles. A true multidisciplinary Sands of Time, The Fight Club, True Blood, for acting conservatories in the artist, Reed has also written, directed and Alias, The Agency and Prison Break. Azam has greater Los Angeles area. produced films in the U.S. and Mexico. also collaborated with numerous musicians

A-14 MEANY CENTER FOR THE PERFORMING ARTS Ariel Lauryn (Ensemble) is a puppeteer, Mohsen Namjoo, Babak Jalali and ShadowLight Productions was founded physical comedian and theater maker others. He is a member of Kiosk, in San Francisco in 1972 by Larry Reed based in Brooklyn. She has performed pioneering Iranian rock band. to nurture indigenous shadow theater with The Very Hungry Caterpillar Show traditions, expand the possibilities of the (Off -Broadway), Puppet Kitchen, Trusty Dina Zarif (Costumes/Ensemble) is shadow theater medium, and refl ect the Sidekick, Columbia Stages, Physical a performer, musician and vocalist. cultural diversity and complexity of the Comedy Lab and LES Shakespeare. Her She has co-composed original music modern world through its works. It is original works have been produced by and sung in Home, a theatrical dance one of the very few companies dedicated CalArts, Fringe Festivals, Dixon Place, performance. Zarif also performed solely to the art of shadow theater, and Triskelion Arts, The Pit Loft and The Tank. classical repertoire at venues such as fi lls a distinctively unique role in the She has a M.F.A in physical theater from Red Poppy Art House, MAPP and Mission American theater scene. The company’s Dell’Arte International. Culture Center. Her recent music project work has been presented internationally, is Love Songs from Around the World, and the company has received Citations Rose Nisker (Ensemble) is a dancer, a duet with harp. She performed in a for Excellence from the International theater performer and aerial rope/fabric reading of Beyzaie’s Ardaviraf’s Report Puppetry Association, as well as having artist. She has performed at venues and most recently performed the role been nominated for the American across the globe including six tours to of dancer/singer in Beyzaie’s newest Theater Wing Design Award. Indonesia, EXPO ‘86 Vancouver and the play Tarabnameh, a Persian traditional World Festival of Sacred Music at the musical at Stanford University. Major funding provided by The Neda Hollywood Bowl. She holds a B.A. from Nobari Foundation, Hamid Shafi pour U.C.L.A. in world arts and cultures, is a Fictionville Studio is the production and Fereshteh Amin, Tahbazof Family principal artist with renowned Balinese company of husband-and-wife team Foundation, Nasiri Foundation, Bijan and performing arts company Gamelan Sekar Hamid Rahmanian and Melissa Hibbard. Soraya Amin Foundation, Strypemonde Jaya, and is the Artistic Director of Les Together they have created fi lm, book, Foundation, Maximum Diff erence Aerielles, an Oakland-based aerial youth graphic and fi ne art, photography and Foundation, Saeed and Samira Amidi, arts troupe. theater projects that span two decades. Susan Morshed, Kian Amidhozour, Their work has won numerous awards, Farid Falsafi and Afsaneh Vali Najad, Lily Leah Ogawa (Ensemble) is originally and has been selected to premiere at Sarafan, Farzam and Azadeh Hariri and from Yamanashi, Japan. She is a prestigious venues including the Sundance Farshid and Guila Zanjani, Maximum puppeteer, actor, dancer and model Film Festival, Venice Film Festival, Toronto Diff erence Foundation, Shahab Tehrani based in N.Y.C. She graduated from Sara Film Festival, Brooklyn Academy of and Nazila Habibizad, Babak Agha and Lawrence College where she studied Music, Honolulu Museum of Art and the Meroeh Meraji, Shahin Jansepar, Majid puppetry with Dan Hurlin and Tom Lee. Metropolitan Museum of Art. Their fi lms & Maryam Rahimian, Maryam Ansari Her recent credits include Headless Wolf have been seen around the world on BBC, and Nader Ansari (Roulette), Shank’s Mare (Hawaii tour & Channel 4, Al Jazeera and PBS, among La MaMa Experimental Theatre Club), other international outlets. They have Special Thanks and Dynamo (Target Margin). She is always strived to create work that is Neda Nobari, Neda Amidi, Bita Shafi pour, currently an artist-in-residence for Object multi-dimensional and provocative, Steven McIntosh, Sheila Canby, Ahmad Movement Puppetry Festival at The off ering a unique glimpse into worlds Sadri, Mahsa Hakimi, Parastou Mabodi, Center at West Park. that are otherwise unknown and little James Longley, Scott V. Burkhardt, explored. Their recent works include the Gregory P. Scalco, Paul Dresher Fred C. Riley III (Assistant Director/ seminal work Shahnameh: The Epic of the Ensemble, Ahmad Mortazavi, Ensemble) has honed his skills writing, Persian Kings, a 600-page tome that retells and Shanna Nasiri. directing, choreographing, building and the stories of the Persian Book of Kings by performing for such companies as Imago, the poet Ferdowsi. Feathers of Fire is represented by Lisa Tears of Joy Theatre, The Center for Booth Management, Inc., N.Y.C. Puppetry Arts, Shadowlight Productions, Banu Productions is a production and Tel: 212-921-2114 and Ping Chong and Company. Skilled in event management company owned by Email: [email protected] many forms of puppetry from Czech black Nasim Yazdani based in Dubai, U.A.E. to marionettes, intimate to spectacle, he Banu is active in promoting, engaging and is ready for any challenge. He is proud to fostering cross-cultural dialogues and have worked with great directors such as inspiration to showcase ethnic diversity by Janie Geiser, Jon Ludwig, Ping Chong, Josef supporting and creating diff erent art and Krofta and Larry Reed. cultural programs. Banu has advanced into further meaningful artistic projects Mohammad Talani (Digital Media and activities to achieve the goal of Director/Ensemble) is a Berkeley-based connecting the world through a cultural, musician, actor and videographer intellectual and educational experience born in Iran. He has collaborated in with fundraising for selected charity several fields as an actor, editor, music organization. performer and producer with diff erent artists including Bahram Beyzaei,

encoremediagroup.com/programs A-15 EAP full-page template.indd 1 1/31/18 3:29 PM World Dance World Dance Series generously sponsored by CLOUD GATE DANCE GLENN KAWASAKI THEATRE OF TAIWAN SUPPORT COMES FROM FORMOSA 關於島嶼 March 22-24 | 8 p.m.

Concept/Choreography MEDIA PARTNER Lin Hwai-min MEANY CENTER THANKS THE FOLLOWING SIGNATURE SPONSORS “In honor of Mr. Jao Gang whose tireless eff orts on behalf of a more There is NO INTERMISSION in this performance. equitable and just society are now bearing fruit.” — Catherine and David Hughes, Asian Programming Endowment with Grace Jao, Nicole Jao and Liya Jao

SUPPORT COMES FROM Manisha Advani Linda and Tom Allen Nancy D. Alvord † Katharyn Alvord Gerlich Sharon Gantz Bloome Stephen and Sylvia Burges Ana Mari Cauce and Susan Joslyn David B. Chow and Shwu-Shin Hou Britt East and Scott VanGerpen Lynn and Brian Grant Family This tour is made possible in part by the grants from the Ministry of Culture, Yumi Iwasaki and Anoop Gupta and the Ministry of Foreign Aff airs, Republic of China (Taiwan). Chelsey Owen and Robert Harris Richard and Nora Hinton Catherine and David Hughes Glenn Kawasaki, Ph.D. Matthew and Christina Krashan Marcella D. McCaff ray Richard Szeliski and Lyn McCoy Seema Pareek and Gurdeep Pall Lois H. Rathvon Cecilia Paul and Harry Reinert Fern Rogow † Eric and Margaret Rothchild Exclusive North American Tour Representation Joseph Saitta Rena Shagan Associates, Inc., Thomas and Doris Taylor 180 Riverside Drive, New York, NY 10024 Ellen Wallach and Thomas Darden Tel: ++1-212-873-9700 Fax:++1-212-873-1708 George Wilson and Claire McClenny www.shaganarts.com

encoremediagroup.com/programs A-17 Photo: Andrew Jernigan A-18 MovimentosFestwochenderAutostadtinWolfsburg,Germany CarolinaPerformingArts, University ofNorthCarolinaatChapelHill,USA ThéâtredelaVille—Paris,France Sadler’sWells,London,U.K. NationalKaohsiungCenterforthe Arts (Weiwuying),Taiwan,R.O.C. VeryMainstreamStudio November24,2017,NationalTheater,Taipei,Taiwan NationalPerformingArtsCenter—Theater&ConcertHall,Taiwan,R.O.C. Co-Productions Premiere Videography Projection Design Costume Design Lighting Design LIANGChun-mei Gérard Music Recitation Grisey Concept/Choreography LinHwai-min FORMOSA CLOUD GATEDANCETHEATREOFTAIWAN and asdewdrop or lightning. They shouldberegarded assuch. All thingscontrived are like dream, illusion, bubble, shadow, from theBuddhist DiamondSutra: as a metaphor of the world we live inandto contemplate anepigram a beautifulislandbeset by earthquakes, typhoonsandsocietalrifts, In thisfull-length work choreographer LinHwai-min usesFormosa, come to beknown as Taiwan. exclaimed —“beautiful!”anointingthe verdant place that would thick with mountainsandtrees, risingfrom thesea.“Formosa!” they coast of southernChina,Portuguese sailors saw it:a great green mass, In the16thcentury, gazingout from thedecksof shipssailingoff the MEANY CENTER FORTHEPERFORMING ARTS CHANG Hao-jan(Howell) CHOU Tung-yenand Apu JAN Lulu W.L.LEE Sangpuy KatatepanMavaliyw CHIANG Hsun Kaija Saariaho |

Program CAST

SECTION 1 CHEN Mu-han and the Company

SECTION 2 CHOU Chen-yeh, HUANG Mei-ya

SECTION 3 SU I-ping, TSAI Ming-yuan,

CHEN Mu-han, CHENG Hsi-ling, FAN Chia-hsuan, HUANG Mei-ya, HUANG Yu-ling, KUO Tzu-wei, TU Shang-ting, YANG I-chun,

CHEN Lien-wei, HOU Tang-li HSU Chen, HUANG Li-chieh, LIN Hsin-fang, WONG Lap-cheong

SECTION 4 CHENG Hsi-ling, HUANG Li-chieh, HUANG Yu-ling, KO Wan-chun, WONG Lap-cheong,

FAN Chia-hsuan, HOU Tang-li HUANG Pei-hua, LIN Hsin-fang,

CHEN Lien-wei, CHEN Mu-han CHOU Chang-ning, CHOU Chen-yeh, HUANG Mei-ya, KUO Tzu-wei, SU I-ping, TSAI Ming-yuan, YANG I-chun,

HSU Chen LU Wen-shan, TU Shang-ting

SECTION 5 CHEN Mu-han, CHOU Chen-yeh, HOU Tang-li, HUANG Mei-ya HUANG Pei-hua, KUO Tzu-wei, SU I-ping, TSAI Ming-yuan

SECTION 6 CHEN Lien-wei, FAN Chia-hsuan, KO Wan-chun, SU I-ping, TU Shang-ting

CHENG Hsi-ling, HOU Tang-li, HUANG Mei-ya HUANG Yu-ling, KUO Tzu-wei, LIN Hsin-fang, TSAI Ming-yuan, WONG Lap-cheong

SECTION 7 HUANG Pei-hua and the Company

SECTION 8 CHEN Lien-wei, CHEN Mu-han, CHOU Chen-yeh, HUANG Li-chieh and the Company

SECTION 9 The Company

Profound gratitude to the poets and writers who generously authorize their works used in Formosa:

CHEN Li, CHEN Lieh, CHEN Yu-Hong, CHIANG Hsun, CHIEN Chen, Chou Meng-tieh, Hsu Hui-chih, Dancer : HUANG Mei-ya Hwang Chun-Ming, LIEN Heng, Lin Fuan Chan, LIN Wen-yi, LIU Ka-shiang, Walis Nokan, Syaman Rapongan, Wang Wen-Chin, Xiang Yang, and YANG Mu (in alphabetical order); special thanks to LIU Yi-ling for collecting Formosa-related scripts.

Music of Kaija Saariaho’s “NoaNoa” and “Six Japanese Gardens” are used Photo: LIU Chen-hsiang by arrangement with Chester Music Limited, and Gérard Grisey’s “Le Noir de l’Etoile” by permission of Boosey and Hawkes.

encoremediagroup.com/programs A-19 CLOUD GATE DANCE THEATRE OF TAIWAN | Program It’s raining SECTION 6 In springtime it rains without warning Betelnut trees stand like soldiers in rows Traffic forecast for the next two days: On the slopes graves are stacked in layers “Hsichih, Baisha, Yingge, Linbian, Nuannuan, Chunri, WORDS in FORMOSA In the paddies rice sprouts in neat rows Wanli, Meinung. Jianshi, Jiji, Tongxiao, Wuri, Fanlu, Badu, Shuishang, SECTION 3 Words have been used to communicate, to record and Drops of rain roll down my windscreen Wufeng.” document. Words can be blurred through time. Records Egrets take flight and land Tall tassels at the water’s edge Excerpt from “Microcosmos” by CHEN Li of history can also be erased. Bright and pure white Sweep the sky so blue Like snowflakes falling In Formosa, words play a major part. Lin Hwai-min uses Tall tassels on the peaks (Note: This double entendre between place names and typefaces of Chinese characters as the sole material for Sweep the sky so high Excerpt from “The Song of the Rift Valley” by CHIANG Hsun landscape phenomena can only be rendered as one or the projection design to create visual landscapes, made up other meaning. It could also be rendered as: mainly of names of mountains, rivers, cities and villages on Then, the sky, so blue and so high Mt. Guanyin lies by the Tamsui River “White sand at the river’s end, song of the eagle at the the island. Towards the end, characters gradually fall apart Has a name: Autumn The sun sets, like an infant forest’s edge, warm spring day, beautiful mist across ten Cradled by Goddess Guanyin’s knee thousand li [Li is a traditional Chinese distance unit. One li into dispersed strokes and lines, all of which are swept away Excerpt from “Tall Grass Tassels” by Hwang Chun-Ming by waves of the sea, leaving a white, empty stage just as the Thus it is. Those who have been here equals about 500 meters]; This is their eternity— production begins. Sika deer used to run wild here May the Tamsui River forever be Sharp peaks gathered together, dark days through the Everything raced with the moonlight The sunset over the Tamsui River forever be night; eight stops on the aboriginal road; cloud covered In addition to music, recorded reading of poems about But after the day dawned Mt. Guanyin forever be peaks over the water.”) Taiwan— its land, lore and people—completes the The moonlight took away the Pingpu people Forever be, forever be soundscape of Formosa. The following is translation of the The clouded leopard ran into the mountains What children of Yilan learn about first is water: reading in the production. Higher and higher Excerpt from “Sunset on the Banks of the Tamsui River” by Chou Meng-tieh Rain water, well water, river water, Until it went higher than lake water, sea water, and spring water. The moon and the sun We are in Aowanda Each kind of water has its own pattern. SECTION 1 The most beautiful sweet gum trees Excerpt from “Moonlight and Clouded Leopard” by Hsu Hui-chih Standing in the highlands at 3,000 feet Spring rain falls in soft, dense veils, summer brings thunder and lightning. The whirling ocean, Ilha Formosa (Beautiful Island). There are so many eyes in the sky. With mountain peaks behind us With over 200 rainy days every year, Excerpt from “The General History of Taiwan” by LIEN Heng One was, mom told me, my celestial eye Among a forest of Taiwan firs Yilan can write a book on rain. that would light the way for me until I die. Against cold northeast monsoon winds People from Yilan are most likely born on a rainy day, My island is a leaf, Excerpt from “The Eyes of the Sky” by Syaman Rapongan and hear the song of rain on their deathbed. fl oating along the edge of the Pacifi c. We blossom in brilliance Excerpt from “The Plain that Rain God Protects” by CHIEN Chen SECTION 4 Late autumn’s most passionate Some people say: It is a big whale. and most charming of smiles Finally, one spring day But most love to say: It is a yam, I like to take the morning train. Our children will read the following news: nurturing 23 million people like a mother. Excerpt from “The Turning of the Sweetgum Tree Leaves in Aowanda” If I’m lucky, I can pass a school set in the midst of rice paddies, Migratory birds are returning north I like this kind of saying. by Xiang Yang while students do their morning exercise. Drivers traveling along the Tamsui River I also like that it is a leaf. Jumping up and down in their red clothes against waves of Probe ships call the arrival of the mullet May not blow their horns Excerpt from “My Island” by LIN Fuan Chan green rice stalks and fishing boats gather off the coast. Excerpt from “Hope” by LIU Ka-shiang as the sun rises over the ocean. Fishermen wait with their eyes wide open With an abundance of earthquakes, rumors and violence. It’s like music and painting—full of hope. watching the sea closely. SECTION 7 Yet the four seasons are like spring. The country prospers, Excerpt from “Resolute Mountain, River of Hope” by Wang Wen-chin When the water turns from blue to dark red people are at peace. a large school of mullet has arrived. That winter, rumors were confirmed by rivers Excerpt from “The Book of Southern China—On Behalf of Gentleman A All small towns have Liwu River, Jhonggang River Excerpt from “Son of a Fishing Town” by LIN Wen-yi for Lady B” by CHEN Li their own bakeries and pharmacies Daan River and rivers in unnamed valleys Jewelry stores and clothing shops When the monsoon season arrives, clouds begin to gather SECTION 2 Theaters and daycare centers and descend Formosan deer were barred from They all have tow trucks and road junctions and thunder and lightning follow. the river by man’s fortifications The next spring and the one after Farmers of Lanyang hurry to harvest their first season crop Firearms were seen in icy, choking waters I will be standing in a rice paddy All small towns have while their neighbors plant their second. Scattered strands of hair could never find Imagining you as a beautiful egret Their own railway tracks and blind alleys a home for their souls Pure white garments, delicate heart Buddhist temples and Christian churches Excerpt from “Release” by Hwang Chun-Ming Excerpt from “Pulling Back the Veil of Silence” by Walis Nokan They all have their own old people Now we sit between the paddies Cats, dogs and betelnut beauties Speaking in Minnan, Hakka, SECTION 9 Someone upwind is burning rice straw (Who stay quiet) Shandong, Shanxi, and Hebei, Pale smoke wafts between us Starlings foraging in black cloaks In the languages of the Atayal, Puyuma, The whirling ocean, Ilha Formosa (Beautiful Island). With elongated shadows Rukai, Tsou, Thao, Saisiyat, Paiwan, Next summer and the one after Papora, Hoanya, Babuza, Excerpt from “The General History of Taiwan” by LIEN Heng I will come to see waves of rice in the wind Small towns have their own orange jasmine plants and Bazeh, Taokas, Siraya, See dragonfl ies thick in the sky Thorny vines, walls and bridges Kavalan, Ketagalan… You will be in another world Daybreaks and sunsets Beautiful sounds. Beautiful island. And may never return Their own loves, desires and pains Beautiful Taiwan. Beautiful languages.

Excerpt from “Among the Rice Paddies” by YANG Mu Excerpt from “Small Towns” by CHEN Yu-Hong Excerpt from “Song of the Island—For the Children of Taiwan” by CHEN Li

A-20 MEANY CENTER FOR THE PERFORMING ARTS CLOUD GATE DANCE THEATRE OF TAIWAN | Program It’s raining SECTION 6 In springtime it rains without warning Betelnut trees stand like soldiers in rows Traffic forecast for the next two days: On the slopes graves are stacked in layers “Hsichih, Baisha, Yingge, Linbian, Nuannuan, Chunri, WORDS in FORMOSA In the paddies rice sprouts in neat rows Wanli, Meinung. Jianshi, Jiji, Tongxiao, Wuri, Fanlu, Badu, Shuishang, SECTION 3 Words have been used to communicate, to record and Drops of rain roll down my windscreen Wufeng.” document. Words can be blurred through time. Records Egrets take flight and land Tall tassels at the water’s edge Excerpt from “Microcosmos” by CHEN Li of history can also be erased. Bright and pure white Sweep the sky so blue Like snowflakes falling In Formosa, words play a major part. Lin Hwai-min uses Tall tassels on the peaks (Note: This double entendre between place names and typefaces of Chinese characters as the sole material for Sweep the sky so high Excerpt from “The Song of the Rift Valley” by CHIANG Hsun landscape phenomena can only be rendered as one or the projection design to create visual landscapes, made up other meaning. It could also be rendered as: mainly of names of mountains, rivers, cities and villages on Then, the sky, so blue and so high Mt. Guanyin lies by the Tamsui River “White sand at the river’s end, song of the eagle at the the island. Towards the end, characters gradually fall apart Has a name: Autumn The sun sets, like an infant forest’s edge, warm spring day, beautiful mist across ten Cradled by Goddess Guanyin’s knee thousand li [Li is a traditional Chinese distance unit. One li into dispersed strokes and lines, all of which are swept away Excerpt from “Tall Grass Tassels” by Hwang Chun-Ming by waves of the sea, leaving a white, empty stage just as the Thus it is. Those who have been here equals about 500 meters]; This is their eternity— production begins. Sika deer used to run wild here May the Tamsui River forever be Sharp peaks gathered together, dark days through the Everything raced with the moonlight The sunset over the Tamsui River forever be night; eight stops on the aboriginal road; cloud covered In addition to music, recorded reading of poems about But after the day dawned Mt. Guanyin forever be peaks over the water.”) Taiwan— its land, lore and people—completes the The moonlight took away the Pingpu people Forever be, forever be soundscape of Formosa. The following is translation of the The clouded leopard ran into the mountains What children of Yilan learn about first is water: reading in the production. Higher and higher Excerpt from “Sunset on the Banks of the Tamsui River” by Chou Meng-tieh Rain water, well water, river water, Until it went higher than lake water, sea water, and spring water. The moon and the sun We are in Aowanda Each kind of water has its own pattern. SECTION 1 The most beautiful sweet gum trees Excerpt from “Moonlight and Clouded Leopard” by Hsu Hui-chih Standing in the highlands at 3,000 feet Spring rain falls in soft, dense veils, summer brings thunder and lightning. The whirling ocean, Ilha Formosa (Beautiful Island). There are so many eyes in the sky. With mountain peaks behind us With over 200 rainy days every year, Excerpt from “The General History of Taiwan” by LIEN Heng One was, mom told me, my celestial eye Among a forest of Taiwan firs Yilan can write a book on rain. that would light the way for me until I die. Against cold northeast monsoon winds People from Yilan are most likely born on a rainy day, My island is a leaf, Excerpt from “The Eyes of the Sky” by Syaman Rapongan and hear the song of rain on their deathbed. fl oating along the edge of the Pacifi c. We blossom in brilliance Excerpt from “The Plain that Rain God Protects” by CHIEN Chen SECTION 4 Late autumn’s most passionate Some people say: It is a big whale. and most charming of smiles Finally, one spring day But most love to say: It is a yam, I like to take the morning train. Our children will read the following news: nurturing 23 million people like a mother. Excerpt from “The Turning of the Sweetgum Tree Leaves in Aowanda” If I’m lucky, I can pass a school set in the midst of rice paddies, Migratory birds are returning north I like this kind of saying. by Xiang Yang while students do their morning exercise. Drivers traveling along the Tamsui River I also like that it is a leaf. Jumping up and down in their red clothes against waves of Probe ships call the arrival of the mullet May not blow their horns Excerpt from “My Island” by LIN Fuan Chan green rice stalks and fishing boats gather off the coast. Excerpt from “Hope” by LIU Ka-shiang as the sun rises over the ocean. Fishermen wait with their eyes wide open With an abundance of earthquakes, rumors and violence. It’s like music and painting—full of hope. watching the sea closely. SECTION 7 Yet the four seasons are like spring. The country prospers, Excerpt from “Resolute Mountain, River of Hope” by Wang Wen-chin When the water turns from blue to dark red people are at peace. a large school of mullet has arrived. That winter, rumors were confirmed by rivers Excerpt from “The Book of Southern China—On Behalf of Gentleman A All small towns have Liwu River, Jhonggang River Excerpt from “Son of a Fishing Town” by LIN Wen-yi for Lady B” by CHEN Li their own bakeries and pharmacies Daan River and rivers in unnamed valleys Jewelry stores and clothing shops When the monsoon season arrives, clouds begin to gather SECTION 2 Theaters and daycare centers and descend Formosan deer were barred from They all have tow trucks and road junctions and thunder and lightning follow. the river by man’s fortifications The next spring and the one after Farmers of Lanyang hurry to harvest their first season crop Firearms were seen in icy, choking waters I will be standing in a rice paddy All small towns have while their neighbors plant their second. Scattered strands of hair could never find Imagining you as a beautiful egret Their own railway tracks and blind alleys a home for their souls Pure white garments, delicate heart Buddhist temples and Christian churches Excerpt from “Release” by Hwang Chun-Ming Excerpt from “Pulling Back the Veil of Silence” by Walis Nokan They all have their own old people Now we sit between the paddies Cats, dogs and betelnut beauties Speaking in Minnan, Hakka, SECTION 9 Someone upwind is burning rice straw (Who stay quiet) Shandong, Shanxi, and Hebei, Pale smoke wafts between us Starlings foraging in black cloaks In the languages of the Atayal, Puyuma, The whirling ocean, Ilha Formosa (Beautiful Island). With elongated shadows Rukai, Tsou, Thao, Saisiyat, Paiwan, Next summer and the one after Papora, Hoanya, Babuza, Excerpt from “The General History of Taiwan” by LIEN Heng I will come to see waves of rice in the wind Small towns have their own orange jasmine plants and Bazeh, Taokas, Siraya, See dragonfl ies thick in the sky Thorny vines, walls and bridges Kavalan, Ketagalan… You will be in another world Daybreaks and sunsets Beautiful sounds. Beautiful island. And may never return Their own loves, desires and pains Beautiful Taiwan. Beautiful languages.

Excerpt from “Among the Rice Paddies” by YANG Mu Excerpt from “Small Towns” by CHEN Yu-Hong Excerpt from “Song of the Island—For the Children of Taiwan” by CHEN Li

encoremediagroup.com/programs A-21 CLOUD GATE DANCE CLOUD GATE CULTURE THEATRE OF TAIWAN AND ARTS FOUNDATION

Founder/Artistic Director Lin Hwai-min Honorary Chairman LEE Yuan-tseh Associate Artistic Director LEE Ching-chun Music Director LIANG Chun-mei Chairperson SHEN Hsueh-yung Qi Gong Masters HSIUNG Wei LEE Guo-wei Board of Directors CHENG Tsung-lung Internal Martial Arts Masters CHEN Jun-long HONG Min-hong Adam Chi HSU HSU Sheng-hsiung TANG Hong-zhi Barry LAM Ballet Teachers LEE Shu-hui Lin Hwai-min WU Ching-yin LIN Hsin-ho Modern Dance Teacher HUANG Hsu-hui Stan SHIH Rehearsal Directors CHOU Chang-ning TSAI Hong-tu TSAI Ming-yuan TSENG F.C. Rehearsal Assistants HUANG Pei-hua YANG I-chun WANG Chi-mei Accompanists KUO Tsung-han WU Jia-jin Kate Huei-wen WEN Wing-hung WONG Dancers CHOU Chang-ning Diane YING HUANG Mei-ya HUANG Pei-hua Executive Director YEH Wen-wen TSAI Ming-yuan

HOU Tang-li KO Wan-chun SU I-ping YANG I-chun

CHEN Mu-han KUO Tzu-wei WONG Lap-cheong

CHENG Hsi-ling CHOU Chen-yeh FAN Chia-hsuan HUANG Li-chieh LIN Hsin-fang

CHEN Lien-wei HSU Chen HUANG Yu-ling

Apprentices CHAN Pui-pui CHEN Guang-xuan LU Wen-shan SHAO Hsing-wen SU Yin-sheng TU Shang-ting

Administrative Staff on Tour

Director of International Programs WANG Jaw-hwa (Joanna) Senior International Project Manager WANG Shu-chen (Janice) International Project Assistant DAN Han-yin

Technical Staff on Tour

Production Manager Lulu W.L. LEE Deputy Stage Manager LAI Liang-chia Stage Supervisor CHEN Chih-feng Lighting Supervisor LIN Szu-chen Projection Supervisor LIN Ching-kai Wardrobe Mistress HSU Wen-wen

A-22 MEANY CENTER FOR THE PERFORMING ARTS CLOUD GATE DANCE THEATRE OF TAIWAN About the Artists

oo LIU Chen-hsiang ar: AI Ming-yan

The Company Cl Gae is the name of the oldest Award for Lifetime Achievement. Previous Her choreographic ors include oma non dance in China In aardees include Martha Graham Merce a a a a oma for Cloud Gate choreographer Lin Haimin adopted this Cunningham, Pina Bausch and William and s a for Spotlight classical name for the fi rst contemporary Forsythe. Lin is the fi rst recipient based Dance Company. In 1999, collaborating dance company in the greater Chinese- in Asia. Among other honors received by ith Canadian stage designer Tania speaking community. Lin Hwai-min are honorary doctorates Etienne she choreographed and from six universities in Taian and Hong performed the dance solo or orar The dancers comprising Cloud Gate ong the ohn D Rocefeller rd Aard o ars In she choreographed receive training in meditation o the Distinguished Artist Aard from the ossom and oo for Kaohsiung City an ancient breathing exercise internal International Society for the Performing Ballet Company. martial arts modern dance ballet and Arts (ISPA), the Chevalier of the Order of calligraphy. Through Lin Hwai-min’s Arts and Letters from the French Ministry of Lee is also the Chief Consultant for Cloud choreographies, the company transforms Culture and a Lifetime Achievement Aard Gate Dance School and has helped to ancient aesthetics into a thrilling and from the International Movimentos Festival create and develop class syllabuses for modern celebration of motion Germany. Lin was the mentor of dance for students aged from to the 2012-2013 Rolex Mentor and Protégé Cloud Gate has toured extensively with Arts Initiative He has also been celebrated AIA SAAIAHO (Music) freuent engagements at the ext Wave by m aa as one of Asia’s Heroes. Born in Helsinki in 1952 and based in Festival in New York, the Sadler’s Wells Paris, Kaija Saariaho is a composer Theater and Barbican Centre in London LEE CHING-CHUN of contemporary and experimental the Mosco Chehov International (Associate Artistic Director) music She attended the Helsini Theater Festival the Movimentos Festival Lee Chingchun holds a MA degree in University of Art and Design, studied (Germany), and the Internationales Tanzfest dance studies from City University of Laban at the Sibelius Academy in Helsinki NRW directed by Pina Bausch. Centre London In she received the ith the pioneering modernist ational Aard for the Arts from Taian Paavo Heininen, and later at the LIN HWAI-MIN ational Culture and Arts Foundation the Freiburg Musihochschule ith Brian (Founder and Artistic Director) highest aard for artists in Taian Ferneyhough, one of the godfathers of A riterturnedchoreographer Lin Hai “New Complexity,” and Klaus Huber, min often dras inspiration from Asian Since joining Cloud Gate in Lee has the towering fi gure of modern music. cultures and aesthetics to create ors taken leading roles in many of Lin Hwai- In 1982, Saariaho moved to Paris and with contemporary resonance. He founded min’s works. Appointed as the associate worked regularly at IRCAM research Cloud Gate Dance Theater of Taian in artistic director in Lee represented institute here she developed and Cloud Gate in Lin Haimin to restage his ors mo techniues of computerassisted and for Zurich Ballet in Switzerland composition, and acquired fl uency in In he received the prestigious and Introdans in the etherlands oring ith tape and live electronics Samuel H Scripps/American Dance Festival respectively in 2004 and 2005. She has also ored in San Diego

encoremediagroup.com/programs A-23 CLOUD GATE DANCE THEATRE OF TAIWAN | About the Artists and served as visiting professor of Bamboo Dream (2001), among others, In the following years, Sangpoy continued Inspired by fantasy, history, literature and images for Cloud Gate productions with best cinematography award at Taipei composition at the Sibelius Academy. Liang has also served as Lin Hwai-min’s to sing with Feijuyuenbao Synectics in a fusion of East and West, Jan’s designs Listening to the River (2010), followed by Film Festival 2015, and the most recent Creative Assistant for several of his various festivals and concerts. In 2017, are renowned for the juxtaposition of Rice (2013), White Water (2014), Autumn MANFEI by award-winning film director Saariaho has received many major later productions. invited to sing at the opening ceremony of traditional and oriental elements with a River (2016) and Formosa (2017). CHEN Hyin-gen. composing awards, such as the the Taipei Summer Universiade, Sangpoy contemporary twist. His APUJAN brand Grawemeyer Award and the Polar Music After graduating from the Chinese turned himself into a household name with was selected as one of the top 10 Culture Rich with diversity of forms, Chang’s Chang’s other credits with performing Prize, and served as the music mentor of Cultural University, Taiwan, Liang his mesmerizing voice. and Creative brands in Taiwan, and has video and photography works are also arts include projection design for The the 2014-15 Rolex Mentor and Protégé pursued further education in applied been featured in international fashion seen in music videos, commercials, Tempest and Media by Contemporary Arts Initiative. She has also received music at U.C.L.A. School of Music in 1990. Sangpoy won his fi rst Taiwan Golden publications such as Wallpaper, Vogue UK projection designs, short fiction and Legend Theater (2008), and Wings of commissions to work with leading While in the U.S., she studied music Melody Awards — considered the and Vogue Italy. documentary films. His documentary Desire (2016) by Century Contemporary conductors from the Lincoln Center for arrangement and composition at the equivalent to Grammy Awards in the filming credits, among others, include Dance Company which was presented in the Kronos Quartet, from IRCAM for the Live\Electronic Music Concert Workshop Chinese-speaking communities — for the Jan has garnered a great deal of Lin Hwai-Min-Interface Between Worlds by Posthof, Linz, Austria. Ensemble Intercontemporain, the BBC, and had her compositions performed Best Vocalist-Aboriginal Language Award international attention and praise. ARTE/ZDF, A Life That Sings that won the the New York Philharmonic, the Salzburg in Texas and Tokyo. As the winner of in 2013. In 2017, with his album Yaangad, Shortlisted for the Vogue Italy New Talent Music Festival, the Théâtre du Châtelet Tokyo Live Electronics Compose Music which features only tribal music and songs, contest as one of ten designers, Jan has in Paris and the Finnish National Opera, Competition, her works were presented he again received the honor, this time with also been named as one of GQ Taiwan’s among others. once again in Japan in 2002. the Album of the Year Award, the Best men of the year. He has recently exhibited Vocal Recording Album Award, and the Best a selection of garments as a permanent GÉRARD GRISEY (Music) (1946-1998) A music accompaniment professor at Vocalist-Aboriginal Language Award. collection at the La Cite de la Dentelle et de Born in Belfort in 1946, Gérard Grise the dance department of the Taipei la Mode in Calais, France. was one of the most infl uential French University of the Arts since 1991, Liang LULU W.L. LEE (Lighting Design) composers of the latter half of the 20th is also one of the most popular music Lulu W. L. Lee holds an M.F.A. in theater CHOU TUNG-YEN century. He was considered one of the directors, producers and accompanists lighting design from Temple University, and Very Mainstream Studio pioneering composers who brought the for Taiwan’s up-and-coming dance and Philadelphia, and has worked as the (Projection Design) concept of spectral music, or spectralism, theater companies. In 2000, she was architecture lighting designer at The Chou Tung-yen holds a M.A. in into wide practice, although he later invited to be the music producer for Lighting Practice, U.S., the technical scenography with distinction from publicly disowned this label. His central Young Asian-Pacifi c Choreographer’s supervisor for 2001 Taipei Lantern Central Saint Martins College of Art and work, the cycle Les Espaces Acoustiques Workshop, supervised under World Festival, the resident stage manager at Design in London, and a B.F.A. in theater (begun 1974, completed 1985), is Dance Alliance, held in Taiwan. In 2003, Novel Hall, and the technical manager for directing from National Taiwan University considered by many to be one of the she produced a modern dance music Taipei Arts Festival. of Arts (NTUA). most important musical works of the accompaniment CD, The Wave, published 20th century in the classical domain. by the award-winning Ja Wei Audio Lee’s lighting design works encompass Working primarily in video art and theater, & Visual Company. In 2005, she was operas, dance works and theater Chou is constantly on the shortlist of Grisey studied at several eminent invited by Diabolo Dance Theater to productions for various performance Taipei Film Festival. His film and theater French and German institutions, serve as music director and to compose companies, including Ping-fong Acting works are presented and screened at including Trossingen Conservatory, the choreographic music for their new dance Troupe, Guo Guang Chinese Opera international stages regularly, receiving Conservatoire National Supérieur de work The Game of Diablo Dance. Company, Golden Bough Theater, Creative raving reviews and numerous awards Musique, l’École Normale Supérieure de Society and Cloud Gate. Her design credits from major arts festivals including France, Musique, the Paris Conservatoire, IRCAM SANGPUY KATATEPAN MAVALIYW with Cloud Gate include Formosa (2017), Germany, Japan, Denmark, and China. In — the world’s largest public research (Music) White Water (2014), Dust (2014), Rice (2013), 2010, to transform his enthusiasm in video center dedicated to bridge music and Sangpuy Katatepan Mavaliyw, often How Can I Live on Without You (2011), Water and theater to practice, he founded Very technology — and the Darmstadt described as a “young man with an Stains on the Wall (2010), Listening to the Mainstream Studio. Summer Courses between 1963 and old soul,” comes from a Pinyumayan River (2010), Oculus (2007), Lost Shadows 1974. He won the highly coveted Prix indigenous tribe, Katatipulr, in the (2006), as lighting designer, and The Road to Winner of the Interactive and New Media de Rome and stayed at the Villa Medici southeast coast of Taiwan. the Mountain (2004), Cursive II (2003) — now Award at World Stage Design 2013, in Rome from 1972 to 1974. While known as Pine Smoke, and Bamboo Dream Chou has produced a documentary working as a freelance composer, Grisey Deeply touched by his grandfather’s (2001) as assistant lighting designer. for the Digital Performing Arts Festival, co-founded the ensemble L’Itinéraire singing with ancient tunes on tape, and edited the book Crossmania: Digital in 1973 for the purpose of promoting Sangpoy decided to dedicate himself to Appointed as technical director in 2010, Performing Arts Festival. and playing new music. From the mid- learning, preserving and promoting the Lee has worked closely with Cloud Gate for 1970s on, he was active as a teacher at long forgotten ancient Pinuyumayan many years as project lighting director. Chou is also devoted to the education the Darmstadt Summer Courses, the music, language, culture and traditions. of digital performing arts in Taiwan and University of California, Berkeley, and the In 1999, in the immediate aftermath of APU JAN (Costume Design) currently serves as a lecturer at the School Paris Conservatoire. Taiwan’s disastrous 921 Earthquake, Apu Jan is a London-based Taiwanese of Theater Arts, NTUA. Sangpoy joined the Feijuyuenbao fashion designer and the founder of a LIANG CHUN-MEI (Music) Synectics — an activist music group fashion brand APUJAN. After graduating HAO-JAN (HOWELL) CHANG Liang Chun-mei joined Cloud Gate formed by artists from various tribes from the Royal College of Art, U.K., Jan has (Videography) in 1991 and was appointed music — to embark on a journey across the been showcasing his designs at the London Chang Hao-Jan holds a master’s degree director in 2017. Liang co-designed island to hearten and comfort the Fashion week starting in 2013, as well as from the Graduate School of Applied music for Cloud Gate’s Formosa (2017), traumatized tribal people. in major fashion meccas such as Paris and Media Arts and a bachelor’s degree from Rice (2013), Wind Shadow (2006), Wild New York. the Film Department of National Taiwan Cursive (2005), Pine Smoke (2003) and University of Arts. He began to film

A-24 MEANY CENTER FOR THE PERFORMING ARTS CLOUD GATE DANCE THEATRE OF TAIWAN | About the Artists and served as visiting professor of Bamboo Dream (2001), among others, In the following years, Sangpoy continued Inspired by fantasy, history, literature and images for Cloud Gate productions with best cinematography award at Taipei composition at the Sibelius Academy. Liang has also served as Lin Hwai-min’s to sing with Feijuyuenbao Synectics in a fusion of East and West, Jan’s designs Listening to the River (2010), followed by Film Festival 2015, and the most recent Creative Assistant for several of his various festivals and concerts. In 2017, are renowned for the juxtaposition of Rice (2013), White Water (2014), Autumn MANFEI by award-winning film director Saariaho has received many major later productions. invited to sing at the opening ceremony of traditional and oriental elements with a River (2016) and Formosa (2017). CHEN Hyin-gen. composing awards, such as the the Taipei Summer Universiade, Sangpoy contemporary twist. His APUJAN brand Grawemeyer Award and the Polar Music After graduating from the Chinese turned himself into a household name with was selected as one of the top 10 Culture Rich with diversity of forms, Chang’s Chang’s other credits with performing Prize, and served as the music mentor of Cultural University, Taiwan, Liang his mesmerizing voice. and Creative brands in Taiwan, and has video and photography works are also arts include projection design for The the 2014-15 Rolex Mentor and Protégé pursued further education in applied been featured in international fashion seen in music videos, commercials, Tempest and Media by Contemporary Arts Initiative. She has also received music at U.C.L.A. School of Music in 1990. Sangpoy won his fi rst Taiwan Golden publications such as Wallpaper, Vogue UK projection designs, short fiction and Legend Theater (2008), and Wings of commissions to work with leading While in the U.S., she studied music Melody Awards — considered the and Vogue Italy. documentary films. His documentary Desire (2016) by Century Contemporary conductors from the Lincoln Center for arrangement and composition at the equivalent to Grammy Awards in the filming credits, among others, include Dance Company which was presented in the Kronos Quartet, from IRCAM for the Live\Electronic Music Concert Workshop Chinese-speaking communities — for the Jan has garnered a great deal of Lin Hwai-Min-Interface Between Worlds by Posthof, Linz, Austria. Ensemble Intercontemporain, the BBC, and had her compositions performed Best Vocalist-Aboriginal Language Award international attention and praise. ARTE/ZDF, A Life That Sings that won the the New York Philharmonic, the Salzburg in Texas and Tokyo. As the winner of in 2013. In 2017, with his album Yaangad, Shortlisted for the Vogue Italy New Talent Music Festival, the Théâtre du Châtelet Tokyo Live Electronics Compose Music which features only tribal music and songs, contest as one of ten designers, Jan has in Paris and the Finnish National Opera, Competition, her works were presented he again received the honor, this time with also been named as one of GQ Taiwan’s among others. once again in Japan in 2002. the Album of the Year Award, the Best men of the year. He has recently exhibited Vocal Recording Album Award, and the Best a selection of garments as a permanent THE QUEBE GÉRARD GRISEY (Music) (1946-1998) A music accompaniment professor at Vocalist-Aboriginal Language Award. collection at the La Cite de la Dentelle et de Born in Belfort in 1946, Gérard Grise the dance department of the Taipei la Mode in Calais, France. SISTERS was one of the most infl uential French University of the Arts since 1991, Liang LULU W.L. LEE (Lighting Design) Thursday, March 29, 2018 composers of the latter half of the 20th is also one of the most popular music Lulu W. L. Lee holds an M.F.A. in theater CHOU TUNG-YEN 7:30 pm | $15–$39 century. He was considered one of the directors, producers and accompanists lighting design from Temple University, and Very Mainstream Studio The Quebe Sisters blend Western Swing, pioneering composers who brought the for Taiwan’s up-and-coming dance and Philadelphia, and has worked as the (Projection Design) Swing Jazz, and Texas Fiddle Music with concept of spectral music, or spectralism, theater companies. In 2000, she was architecture lighting designer at The Chou Tung-yen holds a M.A. in multi-part close-singing harmonies that into wide practice, although he later invited to be the music producer for Lighting Practice, U.S., the technical scenography with distinction from transfix the audience. publicly disowned this label. His central Young Asian-Pacifi c Choreographer’s supervisor for 2001 Taipei Lantern Central Saint Martins College of Art and work, the cycle Les Espaces Acoustiques Workshop, supervised under World Festival, the resident stage manager at Design in London, and a B.F.A. in theater (begun 1974, completed 1985), is Dance Alliance, held in Taiwan. In 2003, Novel Hall, and the technical manager for directing from National Taiwan University considered by many to be one of the she produced a modern dance music Taipei Arts Festival. of Arts (NTUA). most important musical works of the accompaniment CD, The Wave, published LAS CAFETERAS 20th century in the classical domain. by the award-winning Ja Wei Audio Lee’s lighting design works encompass Working primarily in video art and theater, Friday, April 27, 2018 & Visual Company. In 2005, she was operas, dance works and theater Chou is constantly on the shortlist of 7:30 pm | Tickets $15–$39 Grisey studied at several eminent invited by Diabolo Dance Theater to productions for various performance Taipei Film Festival. His film and theater Las Cafeteras create a vibrant musical fusion, French and German institutions, serve as music director and to compose companies, including Ping-fong Acting works are presented and screened at with a unique East LA sound that the LA Times including Trossingen Conservatory, the choreographic music for their new dance international stages regularly, receiving Troupe, Guo Guang Chinese Opera has called a “uniquely Angeleno mishmash of work The Game of Diablo Dance. raving reviews and numerous awards Conservatoire National Supérieur de Company, Golden Bough Theater, Creative punk, hip-hop, beat music, cumbia, and rock.” Musique, l’École Normale Supérieure de Society and Cloud Gate. Her design credits from major arts festivals including France, The band has performed with artists including Musique, the Paris Conservatoire, IRCAM SANGPUY KATATEPAN MAVALIYW with Cloud Gate include Formosa (2017), Germany, Japan, Denmark, and China. In Mexican icons Cafe Tacuba, the Los Angeles — the world’s largest public research (Music) White Water (2014), Dust (2014), Rice (2013), 2010, to transform his enthusiasm in video Philharmonic Orchestra, and Talib Kweli. center dedicated to bridge music and Sangpuy Katatepan Mavaliyw, often How Can I Live on Without You (2011), Water and theater to practice, he founded Very technology — and the Darmstadt described as a “young man with an Stains on the Wall (2010), Listening to the Mainstream Studio. Summer Courses between 1963 and old soul,” comes from a Pinyumayan River (2010), Oculus (2007), Lost Shadows 1974. He won the highly coveted Prix indigenous tribe, Katatipulr, in the (2006), as lighting designer, and The Road to Winner of the Interactive and New Media THE MYSTICAL de Rome and stayed at the Villa Medici southeast coast of Taiwan. the Mountain (2004), Cursive II (2003) — now Award at World Stage Design 2013, in Rome from 1972 to 1974. While known as Pine Smoke, and Bamboo Dream Chou has produced a documentary ARTS OF TIBET working as a freelance composer, Grisey Deeply touched by his grandfather’s (2001) as assistant lighting designer. for the Digital Performing Arts Festival, Friday, May 11, 2018 co-founded the ensemble L’Itinéraire singing with ancient tunes on tape, and edited the book Crossmania: Digital 7:30 pm | Tickets $15–$44 in 1973 for the purpose of promoting Sangpoy decided to dedicate himself to Appointed as technical director in 2010, Performing Arts Festival. As part of a 5-day ECA residency that includes and playing new music. From the mid- learning, preserving and promoting the Lee has worked closely with Cloud Gate for the creation of a Mandala Sand Painting, 1970s on, he was active as a teacher at long forgotten ancient Pinuyumayan many years as project lighting director. Chou is also devoted to the education the Tibetan monks of Drepung Loseling the Darmstadt Summer Courses, the music, language, culture and traditions. of digital performing arts in Taiwan and Monastery will give a performance combining University of California, Berkeley, and the In 1999, in the immediate aftermath of APU JAN (Costume Design) currently serves as a lecturer at the School multi-phonic chanting, music and dance into Paris Conservatoire. Taiwan’s disastrous 921 Earthquake, Apu Jan is a London-based Taiwanese of Theater Arts, NTUA. an unforgettable experience. Sangpoy joined the Feijuyuenbao fashion designer and the founder of a 10% discount for Seniors 62+ & Military on events presented by ECA! LIANG CHUN-MEI (Music) Synectics — an activist music group fashion brand APUJAN. After graduating HAO-JAN (HOWELL) CHANG Liang Chun-mei joined Cloud Gate formed by artists from various tribes from the Royal College of Art, U.K., Jan has (Videography) in 1991 and was appointed music — to embark on a journey across the been showcasing his designs at the London Chang Hao-Jan holds a master’s degree director in 2017. Liang co-designed island to hearten and comfort the Fashion week starting in 2013, as well as from the Graduate School of Applied ec4arts.org | 425.275.9595 music for Cloud Gate’s Formosa (2017), traumatized tribal people. in major fashion meccas such as Paris and Media Arts and a bachelor’s degree from 410FOURTHAVENUENORTH Rice (2013), Wind Shadow (2006), Wild New York. the Film Department of National Taiwan Cursive (2005), Pine Smoke (2003) and University of Arts. He began to film EDMONDSWA98020

encoremediagroup.com/programs A-25 UPCOMING PERFORMANCES at MEANY CENTER

KATHLEEN BATTLE: UNDERGROUND RAILROAD – A SPIRITUAL JOURNEY April 14

Soprano Kathleen Battle’s luminous voice has been called “…without qualiﬁ cation, one of the very few most beautiful in the world” (The Washington Post). Yet what distinguishes her most is her almost magical ability to create an unwavering bond with her audience. Re- turning to Seattle for the ﬁ rst time in two decades, the legendary opera star takes the Meany stage to explore traditional spirituals and the writings of Harriet Tub- man and Frederick Douglass. She is joined by acclaimed jazz pianist Joel A. Martin and local choirs The Sound of the Northwest and UW Chamber Singers.

COMPLEXIONS CONTEMPORARY BALLET May 17-19

Combining technical precision, power and passion, Complexions Contemporary Ballet transcends tradition in a groundbreaking mix of styles ranging from ballet to hip hop. Led by former Alvin Ailey American Dance Theater virtuosos and So You Think You Can Dance choreographers Dwight Rhoden and Desmond Richardson, the company is sure to dazzle and thrill with Rhoden’s fiercely kinetic choreography, daredevil dancing by superstar Richardson and company, and a hip soundtrack of pop, rock and classical anthems from Bach to Bowie.

MEANYCENTER.ORG | 206-543-4880 UPCOMING PERFORMANCES at MEANY CENTER YOUR GUIDE TO MEANY CENTER

FOOD & BEVERAGE IN MEANY HALL FRAGRANCES TAPESTRIES DISPLAYED ON STAGE Food and beverage stations are located in In consideration of patrons with scent The artwork on display on stage during Piano the main lobby and downstairs at the Gallery allergies, please refrain from wearing and Chamber Music events are tapestries Café on the east side of the lower lobby. perfume, cologne or scented lotions woven by Danish artist Charlotte Schrøder. The stations are open one hour prior to the to a performance. performances and at intermission. MEANY CENTER ADDRESS CANCELLATIONS & CONTACT INFORMATION RESTROOMS Due to unforeseen circumstances, we Meany Center for the Performing Arts Restrooms are located on the lower sometimes have to cancel or postpone University of Washington, and upper lobby levels. performances. All programs, dates and artists Box 351150 are subject to change. Seattle, WA 98195-1150 LATE ARRIVAL Phone: 206-543-4882 / Fax: 206-685-2759 Unless noted otherwise, all World Dance SMOKING POLICY meanycenter.org and World Music evening performances Smoking is not permitted on the University begin at 8 p.m. Special Event, Piano, and of Washington campus. ArtsUW Ticket Oﬃ ce Chamber Music Series events begin at 1313 NE 41st Street 7:30 p.m. Out of respect for the artists PARKING OPTIONS Seattle, WA 98105 and seated patrons, late seating may Limited, underground paid parking is Ph: 206-543-4880 | Toll-free: 800-859-5342 be limited. Late arrivals will be escorted available in the Central Plaza Parking Garage, Fax: 206-685-4141 into the theater at appropriate intervals, located underneath Meany Hall. There Email: [email protected] to be determined by the artists and are also several surface lots and on-street Offi ce Hours: Mon-Fri, 11 A.M. – 6 P.M. theater personnel. parking within walking distance of Meany. Meany Hall Box Oﬃ ce CELL PHONES, CAMERAS & OTHER The Meany Hall Box Offi ce opens one hour ELECTRONIC DEVICES MEANY CENTER ART EXHIBIT before the performance and is located in Please turn off these devices before Visit the Meany Center Art Exhibit in the Meany Hall's main entrance. performances. Because of contractual Lower Lobby for an installation of work obligations with our artists, the use of by students in the UW School of Art + Art photographic recording equipment is History + Design. prohibited. Flash cameras can be disruptive and dangerous to some artists.

LOST AND FOUND Contact the House Manager immediately following the performance or contact the Meany Hall House Manager's offi ce at [email protected] or 206-543-2010. FACULTY VIOLA RECITAL EVACUATION In case of fi re or other emergency, please Melia Watras & Atar Arad follow the instructions of our ushers, who are trained to assist you. To ensure your safety, please familiarize yourself with the exit routes nearest your seat.

ADMISSION OF CHILDREN Children fi ve years of age or older are welcome at all Meany Center performances. A ticket is required for admission.

WHEELCHAIR SEATING Wheelchair locations and seating for patrons with disabilities are available. Requests for accommodation should be made when purchasing tickets.

FIREARM POLICY Possession or use of fi rearms, without special written permission from UW Police, is prohibited on the UW Campus. Find the complete policy at washington.edu. UW viola professor Melia Watras welcomes internationally renowned artist Atar Arad, her former teacher and fellow violist/composer, INFRARED HEARING DEVICES for a concert that centers on compositions by the two colleagues Meany Hall (main stage) is equipped with as well as works by Britten and Penderecki. an infrared hearing system. Headsets are available at no charge. Please speak with an usher. A driver's license or credit card WED. MARCH 28, 2018 MEANY THEATER, 7:30 PM is required as collateral. TICKETS: $20 ($10 STUDENTS/SENIORS) WWW.MUSIC.WASHINGTON.EDU - 206.543.4880

encoremediagroup.com/programs A-27 FRIENDS OF MEANY CENTER Pieter and Tjitske Van der Meulen Mary Ann Berrie / David Bird /Helen Bodkin /Susan / John and Margaret Williams / Karin Williams / April Valeri and Eugenia Vinyar and Thomas Bohn / Joyce and David Brewster / Kevin and Brian Williamson / Phillip and Constance Winberry Many thanks to the following donors whose generous support make our programs possible: David Wang Burnside and Rachel Schopen / Dianne Calkins / / Barbara and Grant Winther / Carolyn Wood / Ying Gi Joella Werlin Scott and Jayme Canfield / Carol and Henry Cannon / Yong / Evgueni and Tatiana Zabokritski / Shirley Zaic and Stephen and Debra Wescott Frances Carr / John and Danielle Carr / Robert Catton Eric Johnson / Robert Zauper / Lawrence Zeidman and Drs. Crispin S. Wilhelm and Sundee L. Morris PRODUCER’S CIRCLE Mary Lindenberger PATRON / Pamela and Robert Center / Pamela Charles / Robert Linda Tatta / Maxine Zemko John V. Worthington ($25,000+) Corrinne Martin and Gary Horsfall (between $500 and $999) and Patricia Charlson / Curt Clauson / Robert and Wright Piano Studio Students Ladies Musical Club, Inc. Molly Cleland / Rita and Richard Cloney / Jayne Coe / FRIEND Nancy D. Alvord † Kay and John Allen Igor Zverev and Yana Solovyeva Tom McQuaid, in memory of Bill Gerberding Leslie and Libby Cohen / Richard and Dorothy Cole / (between $50 and $99) Katharyn Alvord Gerlich John O’Connell and Joyce Latino Charles Alpers and Ingrid Peterson Anonymous Gretchen and Basil Anex GREAT PERFORMER Jan and Bill Corriston / Scott Craig and Louise Locke / Anonymous / Jessica Allen and William Diamond / Julie John C. Robinson and Maya Sonenberg Karen and Philip Craven / Jean Crill / Gavin Cullen and Glenn Kawasaki, Ph.D. Anonymous (between $250 and $499) Anderson / Suzanne and Marvin Anderson / Anton Donna and Joshua Taylor David Jamieson / Judith Cushman and Robert Quick Andrews and Kata Kekedi / John and Genevieve Ashford Marcella D. McCaff ray Robert and Andrea Watson Jean-Loup and Diane Baer Mina B. Person † Luther Black and Christina Wright Stuart Allen and Sunny Liu / Katherine De Bruyn / The de Soto Family / Janice / Maaike Bakker and Andrew Lewis / Ruth and Mark Alix Wilber and Andrew Himes Richard Ammerman DeCosmo and David Butterfield / Barbara DeCoster / Balter / Jonas Barklund / Elisabeth Beaber / Thomas Eric and Margaret Rothchild Michelle Witt and Hans Hoff meister William D. Bollig Donald and Gloria Swisher Ross Boozikee Lauralyn Andrews Kathleen Dickeman / Theodore Dietz / Ann Dittmar / Bird / Lisa and Steve Boulanger / Elaine Brighton / Susan Maryanne Tagney and David Jones Heida Brenneke Anonymous Susan and David Dolacky / David Doody and Michael Buttram and David Frost / Timothy Callahan and Amy DISTINGUISHED PATRON Sharon Armstrong Erickson / Nancy Dorn / Laurie Ann and C. Bert Dudley Paige / Linda and Peter Capell / Eric Carnell / Phyllis Barbara Weinstein † (between $1,000 and $2,499) Natalie Brown David and Deborah Buck Robert Bergman / Elizabeth C. Duffell and Brad Wilke / Dona and Robert and Alan Caswell / Leroy Chadwick / Sing Chao and DIRECTOR’S CIRCLE Anonymous Rita Calabro Barbara Bishop-Sand Dughi / Margaret Dunn / Ian Einman / Polly and Eric Daniel Welch / Michael and Gayle Charlesworth / John (between $10,000 and $24,999) Joan Affl eck-Smith and Nepier Smith Wimsey J. N. Cherrington James and Edith Bloomfield Feigl / Corinne Fligner and Mark Wener / Brenda Fong Clarkson and Elizabeth Gilchrist / Fran Clifton / Carol Stephen Alley and Amy Scott Timothy Cliff ord William Bogardus / Jacqueline Forbes and Douglas Bleckner / Susanne Cole and Andrew Groom / Monica Clare Connors / Anne Warren and Anne Anderson Jeff and Cameron Altaras Jill Conner Gene Brenowitz and Karen Domino and Bruce Foster / Susan and Albert Fuchs / Brian and George Counts / Christopher Curry / Diane Darling Anonymous Jillian Barron and Jonas Simonis Margaret Crastnopol and Charles Purcell Paul Brown and Amy Harris Giddens and Steve Rovig / George Gilman / Sara and Darrel Nance / Elizabeth and John Darrah / Laura Linda Armstrong Cynthia and Christopher Bayley Suzanne Dewitt and Ari Steinberg Elizabeth Cantrell Glerum / J. David Godwin and Virginia Reeves / Anne and William Downing / Richard Eide / Robert and Ingrid Sharon Gantz Bloome Tom Bayley Jeanne Dryfoos James and Peggy Champin Good / Charles and Margaret Gordon / Jennifer and Eisenman / Patricia Emmons and Shmuel El-Ad / Renee Sven and Melinda Bitners Lawrence and Kathleen Brennan Sally and Jeff Eagan Daniel and Sandra Ciske Henry Gordon / Catherine Gorman / Gene Graham Eskenazi and Michael Magee / Timmie Faghin / Giselle Ana Mari Cauce and Susan Joslyn Mel Belding and Kathy Brostoff John and Kathy Ehrenberg Arian Colachis and Ian Glass / Phillip Greenblatt / Nancy and Earl Grout / Dorothy Falkenberg and Rockwell Moulton / Thea Fefer / James Lynn and Brian Grant Family Cathryn Booth-LaForce and W. Kenneth LaForce Thomas Faber and Laura Townsend Faber Catherine Cole Guth / Emile Haddad and Terryll Bailey / Walter and Fesalbon and Edward Francis Darr II / Jay Field and Richard and Nora Hinton Kalman Brauner and Amy Carlson Robin and Douglas Ferguson R. Bruce and Mary-Louise Colwell Willa Halperin / Rebekah Harris / Shuko Hashimoto Deborah Dwyer / Melanie Field / Judith Gillum Fihn and Sally Schaake Kincaid Virginia Burdette and Gary Wieder Albert Fisk and Judith Harris Leroy and Marybeth Dart / Kathryn Heafield and Guy Sattler / James Heher Stephan D. Fihn / Susan Carol Fisher / Robert and Elaine Hans and Kristin Mandt William Calvin and Katherine Graubard Stuart Fountain and Tom Highsmith Joan Duffell and Leslie Fields / Lori Hess and Benjamin Miller / Franza / William Friedman / Anne Futterman / Frances Craig Miller and Rebecca Norton Eric and Susan Carlson Gary Fuller and Randy Everett Pamela Fink and Michael Bevan Janet Hesslein and Murl Sanders / David Hewitt and Goldman / Thomas and Carol Graham / Jerry and Ellen Chelsey Owen and Robert Harris Thomas Clement Sergey Genkin and Nelli Tkach Susan Fischer Marcia Wagoner / Eric and Mary Horvitz / Shwu-Shin Hendin / Judith Herrigel / Keri Holmboe / Natarajan Cecilia Paul and Harry Reinert Consuelo and Gary Corbett Genevra Gerhart Emily Fitch Hou and David Chow / Roy Hughes / Margaret Hunt Janarthanan and Ponni Rajagopal / Erica and Duane Judy Pigott Leonard Costello and Patricia McKenzie William Glassford and Beverley Song Gerald Folland / Patricia Hynes / Robert C. Jenkins / Robert Johnson Jonlin / Margot Kadesch / Linda Kent and James Corson / Carmel Hennessy Popet Richard Cuthbert and Cheryl Redd-Cuthbert Jayme Gustilo Janet Geier and Peter Seitel and Heather Erdmann / Larry and Roberta Jordan / Lee Klastorin and Ralph Walden / Nancy and John Fern Rogow † Toby Diamond Susan and Richard Hall Susan and Russell Goedde Ellen Kaisse and Gary Roberts / Kyle Kinoshita / Divya Kloster / Joseph and Anne-Marie Knight / Richard and Anita and Jack Dingrani Steven Haney Tim Groggel and Annette Strand Krishnana / James and Elaine Klansnic/ Adam Kline Donna Koerker / Margarethe Konzak / Jennifer Kraft and SERIES BENEFACTOR Susan and Lewis Edelheit Wolfram and Linda Hansis Chris Gross and Genie Middaugh / Joan Klyn / Glen Kriekenbeck Chris Pesce / Daniel and Sandra Kraus / Yvonne Lam and (between $5,000 and $9,999) Lisa Esztergalyos and Kenneth Schiele Larry Harris and Betty Azar Lynn Hagerman and James Hummer and Quentin King / Phyllis Lamphere / Rosalie Lang Nathan Schimke / Diane Lasko and Clinton Diener / Carla / Inge and Leslie Larsen / Rosanne Larsen and Gary Linda and Tom Allen Dr. Melvin and Nanette Freeman Phyllis Hatfi eld Kara D. Hefley and David Lawrence / Jo Anne Laz / Kathryn Lew and Burdge / Deborah and David Larson / Tammara and Stephen and Sylvia Burges Bill and Ruth Gerberding Stephen and Sarah Hauschka Norman Hollingshead Dennis Apland / Erika Lim / Larry MacMillan and Billie Brian Leighton / Peter LeVeque / Meini Li / Warren Manisha Advani William Gleason Ernest and Elaine Henley David B. Johnson Young / David Margolius and Inna Garkavi / William and Lucas / Ingrid Lynch / Barbara Mack / Daniel Mageau Heidi Charleson Torsten and Daniela Grabs Susan Hert and William Levering III Julia Kalmus and John Lillard Judith Matchett / Robert McCroskey / Brian McHenry / / Sara Magee / Heinz and Ingeborg Maine / Suresh Helen Curtis Kyra Hokanson Gray Alan and Judith Hodson Michael and Nancy Kappelman Sharon Metcalf and Randall Smith / Charles and Lynn and Anjali Malhotra / John and Katharina Maloof / Britt East and Scott VanGerpen Carolyn and Gerald Grinstein Peter Hoff meister and Meghan Barry Paul Kassen Meyer / Eric Michelman and Patricia Shanley / Marilyn Constance Mao / Wendy Marlowe / Michael and Nancy Gail Erickson and Phil Lanum Arthur and Leah Grossman Tuck Hoo and Tom Lyons George and Mary Kenny Milberger / Jocelyn and Michael Miller / James Moore Matesky / Donna McCampbell / Wayne McCleskey Catherine and David Hughes Christopher and Amy Gulick Randy and Gwen Houser Frederick Klein IV and Kristi Branch / Harold and Susan Mozer / Susan and Robin Thomas / Mary V. McGuire / Robert and Matthew and Christina Krashan Terri Hamilton Joan Hsiao and James Bromley Jean Kincaid and David Koewler Mulvihill and James Liverman / George and Ellen Naden / Catherine McKee / Michael and Noor McMann / Susan Karen Koon and Brad Edwards Michael Heltsley Brian Hulse and Julia Paden Thomas and Rhoda Lawrence Betty Ngan and Tom Mailhot / Barbara O’Steen and R. L. McNabb / Renate McVittie / Christine Meinhold / Bill and Meg Morgan Timmy Hendrickson Melanie Ito and Charles Wilkinson Arni Hope Litt Howard Mitchell / Sharon Overman / James Packman Vera Metz / Michael and Sarajane Milder / Barbara Seema Pareek and Gurdeep Pall Susan Herring Marcia Kamin Barbara Lycett and John Parchem and Andrew Cohen / Michael and Susan Peskura / and James Miller / Sheree Miller and Benjamin Greer / Lois Rathvon Peter Hiatt and Ronald Hunden Aaron Katz and Kate Dougherty Jeffrey and Barbara Mandula Sandra Pisatello / Nicole Quinones / William Reed and James and Cheri Minorchio / George and Julie Moberly Blue and Jeff Resnick Paul and Alice Hill Philip and Marcia Killien William and Holly Marklyn Nancy Worden / Meryl Retallack / Pacita Roberts / David / Reza and Carol Moinpour / Raymond Monnat and Don and Toni Rupchock Mary and Michael Hudspeth David Kimelman and Karen Butner Michael Mathieu and JoAnne Rudo / William Sandal / Margaret Sandelin / Christine Disteche / David Morris / Anne Morrison / Joseph Saitta Michael Hunter Leslie Kincaid and Nicholas Lawrence Jim McDermott Stephen and Linda Saunto / Peggy Savlov / Craig Christine Moss / Pamela A. Mullens / Joseph and Kay Dave and Marcie Stone O. David Jackson Joseph and Anne-Marie Knight Terry Miller Schieber / Noah Schooler / Herbert and Elaine Selipsky / Neal / John Nemanich and Ellendee Pepper / Marianne Summit Law Group, PLLC Ilga Jansons and Michael Dryfoos Jessica Kravitz M. Lynn Morgan Robert Simpson Jr. / Hazel Singer and John Griffiths / Nijenhuis / Caroline Normann / Mark Novak and Richard Szeliski and Lyn McCoy H. David Kaplan Frank and JoAnna Lau Margarete Noe Anne Solomon / Donna Sunkel / Sharon and Michio Katrin Pustilnik / Marilyn and Beatrice Nowogroski Thomas and Doris Taylor Deborah Katz Chris Laws James and Tiffany Reed Tsutsui / Frits van Oppen / Karen Uhrbrock / Kymberly / Mary Kay O’Neill / Nenita Odesa / Martin Oiye and Gregory Wallace and Craig Sheppard Otis and Beverly Kelly Margaret Levi and Robert Kaplan Dennis Reichenbach and Jeremy Waltmunson / Amy Wong-Freeman / Susan Nakagawa / Angela Owens / David Owsiany Ellen Wallach and Thomas Darden Randy and Kimberly Kerr Michael Linenberger and Sallie Dacey Jason Reuer Becky Woodworth and Everett Seven / Cathryn Palmer / Elizabeth Park George Wilson and Claire McClenny Kelly Kleemeier and Dave Dickson Dennis Lund and Martha Taylor Barbara and Mark Roller / William and Frances Parson / Gerald Paulukonis / Mark and Amy Worthington Susan Knox and Weldon Ihrig Lynda Mapes and Douglas MacDonald Bette Round This listing includes donors ($50 and above) to Meany Betty Person / Anna and David Peterson / James and Dr. Martin Greene and Kathleen Wright Leander Lauff er and Patricia Oquendo Wayne and Kristin Martin Janet and John Rusin Center for the Performing Arts from July 1, 2016 to June Melodie Martin and Kenneth Dayton Robin L. McCabe Jennifer Salk and David Ehrich Louise Peterson / Jeanne Peterson / Karen Peterson 30, 2017. To change your program listing or correct an EVENT SPONSOR Barbara Martyn Ramona Memmer and Lester Goldstein Cathy Sarkowsky / Gregory and Margaret Petrie / James Phelps and error, please call us at 206-685-2819. Contributions to Ena Urbach / Sandra Piscitello / Susan Porterfield / (between $2,500 and $4,999) Tomilynn and Dean McManus John and Gail Mensher Eric Schlegel and Mary Stout Meany Center are tax-deductible to the extent allowed Robin Mendelson and Joss Delage Ms. Mary M. Mikkelsen Mark and Patti Seklemian James and Ruth Raisis / Wendy and Murray Raskind by law. To make a gift or for more information on donor Kenneth and Marleen Alhadeff Yoshi and Naomi Minegishi Linda and Peter Milgrom Maya Sonenberg and John Robinson / Yumiko Ray / Stephen and Mary Reardon / Carrie benefits, please call 206-685-2819 or visit meanycenter. Randy Apsel Margaret Dora Morrison Alan and Mary Morgan Bonnie Swailes Richard / Cynthia Richardson / Carla Rickerson / Paula org/donate. Cristi Benefi eld Sayantani Mukherjee Kevin Murphy and Karen Freeman Carol Swayne and Guy Hollingbury Riggert / Chet Robachinski / Norita Robbins / Rachel Janet Boguch and Kelby Fletcher Darcy and Enzo Paschino James and Pamela Murray Margaret Taylor and Robert Elliott and David Robert / Sam and Josie Roskin / Gail Sailer Robert and Janitta Carithers Richard and Sally Parks Erika J. Nesholm David and Barbara Thomas / Darrell Sanders / Laura Sargent / Robert and Doris Heidi Charleson Alice Portz and Brad Smith Eugene and Martha Nester Diana and Richard Thompson Schaefer / Joachim Schneider and Jolene Vrchota / Vasiliki Dwyer Tina and Chip Ragen Anne Stevens Nolan and William Nolan Gayle and Jack Thompson Charles Schooler / Janet Schweiger / Jean Schweitzer Davis Fox and Rosemary Coleman Jeff and Kimberly Seely Amanda Overly Mary Toy / Noah Scooler / Giles and Sue Shepherd/ Roberta Michelle and Matthew Galvin Evelyn Simpson John Rochford and Nick Utzinger Michelle and Stephen Turnovsky Sherman and Charles Meconis / John Sindorf and Mary Dirk Giseburt and Marilyn Stahl David Skar and Kathleen Lindberg Joy Rogers and Robert Parker Patricia Wahl and Dean Wingfield Ann Bolte / Mani and Karen Soma / Derek Storm and Hellmut and Marcy Golde Sigmund and Ann Snelson Werner and Joan Samson Osamu Yamamoto Cynthia Gossett / Pamela Stromberg / Kristin Strout / M. Elizabeth Halloran Carrie Ann Sparlin Michael Scupine and Kim Gittere-Abson Lee and Barbara Yates Virginia Sybert and Peter Byers / Brian Taberski / Peter Hylton and Lawrence Hard Bob and Robin Stacey Edward Sheets and Ronda Skubi Tarczy-Hornoch and Candice McCoy / Beth Traxler / Elizabeth Hebert Ethel and Bob Story Bela and Yolande Siki KEY PLAYER Barbara Trenary / Dorene and Dennis Tully / Gerald In memory of Gene Hokanson Dale Sylvain and Thomas Conlon Marcia Sohns and Mark Levy (between $100 and $249) Tuttle and Kathleen Gorham / Phyllis Van Orden / Hugues Hoppe and Sashi Raghupathy Lorraine Toly Clark Sorensen and Susan Way James Adcock and Anne Otten / Mary Alberg / Kathryn Margaret van Waardenburg / Yvonne and Bruno Yumi Iwasaki and Anoop Gupta Manijeh Vail Patricia Tall-Takacs and Gary Takacs Alexandra and Steven Rubey / Frank and Nola Allen / Vogele / Edward and Patricia Wagner / Lenore Waldron Bernita Jackson Josephus Van Schagen and Marjon Floris Mark and Liza Taylor Anonymous / Laurence Ashley / Jill Bader / Elizabeth / Greta and Joseph Ward / Gail and John Wasberg / Kurt Kolb Ernest Vogel and Barbara Billings Stephen and Ericka Thielke Baker / Lisa Baldwin and John Cragoe / Lauret Ballsun Larry and Lucy Weinberg / Merle Weiss and Diane Pien Jeff rey Lehman and Katrina Russell Kris and Epaminondas Trimis Timothy and G. Anthony Barrick / Mary and Douglas / Christine Westergaard / Bruce and Christine White Bayley / Mike and Marie Bender / Robin Bentley / A-28 MEANY CENTER FOR THE PERFORMING ARTS FRIENDS OF MEANY CENTER Pieter and Tjitske Van der Meulen Mary Ann Berrie / David Bird /Helen Bodkin /Susan / John and Margaret Williams / Karin Williams / April Valeri and Eugenia Vinyar and Thomas Bohn / Joyce and David Brewster / Kevin and Brian Williamson / Phillip and Constance Winberry Many thanks to the following donors whose generous support make our programs possible: David Wang Burnside and Rachel Schopen / Dianne Calkins / / Barbara and Grant Winther / Carolyn Wood / Ying Gi Joella Werlin Scott and Jayme Canfield / Carol and Henry Cannon / Yong / Evgueni and Tatiana Zabokritski / Shirley Zaic and Stephen and Debra Wescott Frances Carr / John and Danielle Carr / Robert Catton Eric Johnson / Robert Zauper / Lawrence Zeidman and Drs. Crispin S. Wilhelm and Sundee L. Morris PRODUCER’S CIRCLE Mary Lindenberger PATRON / Pamela and Robert Center / Pamela Charles / Robert Linda Tatta / Maxine Zemko John V. Worthington ($25,000+) Corrinne Martin and Gary Horsfall (between $500 and $999) and Patricia Charlson / Curt Clauson / Robert and Wright Piano Studio Students Ladies Musical Club, Inc. Molly Cleland / Rita and Richard Cloney / Jayne Coe / FRIEND Nancy D. Alvord † Kay and John Allen Igor Zverev and Yana Solovyeva Tom McQuaid, in memory of Bill Gerberding Leslie and Libby Cohen / Richard and Dorothy Cole / (between $50 and $99) Katharyn Alvord Gerlich John O’Connell and Joyce Latino Charles Alpers and Ingrid Peterson Anonymous Gretchen and Basil Anex GREAT PERFORMER Jan and Bill Corriston / Scott Craig and Louise Locke / Anonymous / Jessica Allen and William Diamond / Julie John C. Robinson and Maya Sonenberg Karen and Philip Craven / Jean Crill / Gavin Cullen and Glenn Kawasaki, Ph.D. Anonymous (between $250 and $499) Anderson / Suzanne and Marvin Anderson / Anton Donna and Joshua Taylor David Jamieson / Judith Cushman and Robert Quick Andrews and Kata Kekedi / John and Genevieve Ashford Marcella D. McCaff ray Robert and Andrea Watson Jean-Loup and Diane Baer Mina B. Person † Luther Black and Christina Wright Stuart Allen and Sunny Liu / Katherine De Bruyn / The de Soto Family / Janice / Maaike Bakker and Andrew Lewis / Ruth and Mark Alix Wilber and Andrew Himes Richard Ammerman DeCosmo and David Butterfield / Barbara DeCoster / Balter / Jonas Barklund / Elisabeth Beaber / Thomas Eric and Margaret Rothchild Michelle Witt and Hans Hoff meister William D. Bollig Donald and Gloria Swisher Ross Boozikee Lauralyn Andrews Kathleen Dickeman / Theodore Dietz / Ann Dittmar / Bird / Lisa and Steve Boulanger / Elaine Brighton / Susan Maryanne Tagney and David Jones Heida Brenneke Anonymous Susan and David Dolacky / David Doody and Michael Buttram and David Frost / Timothy Callahan and Amy DISTINGUISHED PATRON Sharon Armstrong Erickson / Nancy Dorn / Laurie Ann and C. Bert Dudley Paige / Linda and Peter Capell / Eric Carnell / Phyllis Barbara Weinstein † (between $1,000 and $2,499) Natalie Brown David and Deborah Buck Robert Bergman / Elizabeth C. Duffell and Brad Wilke / Dona and Robert and Alan Caswell / Leroy Chadwick / Sing Chao and DIRECTOR’S CIRCLE Anonymous Rita Calabro Barbara Bishop-Sand Dughi / Margaret Dunn / Ian Einman / Polly and Eric Daniel Welch / Michael and Gayle Charlesworth / John (between $10,000 and $24,999) Joan Affl eck-Smith and Nepier Smith Wimsey J. N. Cherrington James and Edith Bloomfield Feigl / Corinne Fligner and Mark Wener / Brenda Fong Clarkson and Elizabeth Gilchrist / Fran Clifton / Carol Stephen Alley and Amy Scott Timothy Cliff ord William Bogardus / Jacqueline Forbes and Douglas Bleckner / Susanne Cole and Andrew Groom / Monica Clare Connors / Anne Warren and Anne Anderson Jeff and Cameron Altaras Jill Conner Gene Brenowitz and Karen Domino and Bruce Foster / Susan and Albert Fuchs / Brian and George Counts / Christopher Curry / Diane Darling Anonymous Jillian Barron and Jonas Simonis Margaret Crastnopol and Charles Purcell Paul Brown and Amy Harris Giddens and Steve Rovig / George Gilman / Sara and Darrel Nance / Elizabeth and John Darrah / Laura Linda Armstrong Cynthia and Christopher Bayley Suzanne Dewitt and Ari Steinberg Elizabeth Cantrell Glerum / J. David Godwin and Virginia Reeves / Anne and William Downing / Richard Eide / Robert and Ingrid Sharon Gantz Bloome Tom Bayley Jeanne Dryfoos James and Peggy Champin Good / Charles and Margaret Gordon / Jennifer and Eisenman / Patricia Emmons and Shmuel El-Ad / Renee Sven and Melinda Bitners Lawrence and Kathleen Brennan Sally and Jeff Eagan Daniel and Sandra Ciske Henry Gordon / Catherine Gorman / Gene Graham Eskenazi and Michael Magee / Timmie Faghin / Giselle Ana Mari Cauce and Susan Joslyn Mel Belding and Kathy Brostoff John and Kathy Ehrenberg Arian Colachis and Ian Glass / Phillip Greenblatt / Nancy and Earl Grout / Dorothy Falkenberg and Rockwell Moulton / Thea Fefer / James Lynn and Brian Grant Family Cathryn Booth-LaForce and W. Kenneth LaForce Thomas Faber and Laura Townsend Faber Catherine Cole Guth / Emile Haddad and Terryll Bailey / Walter and Fesalbon and Edward Francis Darr II / Jay Field and Richard and Nora Hinton Kalman Brauner and Amy Carlson Robin and Douglas Ferguson R. Bruce and Mary-Louise Colwell Willa Halperin / Rebekah Harris / Shuko Hashimoto Deborah Dwyer / Melanie Field / Judith Gillum Fihn and Sally Schaake Kincaid Virginia Burdette and Gary Wieder Albert Fisk and Judith Harris Leroy and Marybeth Dart / Kathryn Heafield and Guy Sattler / James Heher Stephan D. Fihn / Susan Carol Fisher / Robert and Elaine Hans and Kristin Mandt William Calvin and Katherine Graubard Stuart Fountain and Tom Highsmith Joan Duffell and Leslie Fields / Lori Hess and Benjamin Miller / Franza / William Friedman / Anne Futterman / Frances Craig Miller and Rebecca Norton Eric and Susan Carlson Gary Fuller and Randy Everett Pamela Fink and Michael Bevan Janet Hesslein and Murl Sanders / David Hewitt and Goldman / Thomas and Carol Graham / Jerry and Ellen Chelsey Owen and Robert Harris Thomas Clement Sergey Genkin and Nelli Tkach Susan Fischer Marcia Wagoner / Eric and Mary Horvitz / Shwu-Shin Hendin / Judith Herrigel / Keri Holmboe / Natarajan Cecilia Paul and Harry Reinert Consuelo and Gary Corbett Genevra Gerhart Emily Fitch Hou and David Chow / Roy Hughes / Margaret Hunt Janarthanan and Ponni Rajagopal / Erica and Duane Judy Pigott Leonard Costello and Patricia McKenzie William Glassford and Beverley Song Gerald Folland / Patricia Hynes / Robert C. Jenkins / Robert Johnson Jonlin / Margot Kadesch / Linda Kent and James Corson / Carmel Hennessy Popet Richard Cuthbert and Cheryl Redd-Cuthbert Jayme Gustilo Janet Geier and Peter Seitel and Heather Erdmann / Larry and Roberta Jordan / Lee Klastorin and Ralph Walden / Nancy and John Fern Rogow † Toby Diamond Susan and Richard Hall Susan and Russell Goedde Ellen Kaisse and Gary Roberts / Kyle Kinoshita / Divya Kloster / Joseph and Anne-Marie Knight / Richard and Anita and Jack Dingrani Steven Haney Tim Groggel and Annette Strand Krishnana / James and Elaine Klansnic/ Adam Kline Donna Koerker / Margarethe Konzak / Jennifer Kraft and SERIES BENEFACTOR Susan and Lewis Edelheit Wolfram and Linda Hansis Chris Gross and Genie Middaugh / Joan Klyn / Glen Kriekenbeck Chris Pesce / Daniel and Sandra Kraus / Yvonne Lam and (between $5,000 and $9,999) Lisa Esztergalyos and Kenneth Schiele Larry Harris and Betty Azar Lynn Hagerman and James Hummer and Quentin King / Phyllis Lamphere / Rosalie Lang Nathan Schimke / Diane Lasko and Clinton Diener / Carla / Inge and Leslie Larsen / Rosanne Larsen and Gary Linda and Tom Allen Dr. Melvin and Nanette Freeman Phyllis Hatfi eld Kara D. Hefley and David Lawrence / Jo Anne Laz / Kathryn Lew and Burdge / Deborah and David Larson / Tammara and Stephen and Sylvia Burges Bill and Ruth Gerberding Stephen and Sarah Hauschka Norman Hollingshead Dennis Apland / Erika Lim / Larry MacMillan and Billie Brian Leighton / Peter LeVeque / Meini Li / Warren Manisha Advani William Gleason Ernest and Elaine Henley David B. Johnson Young / David Margolius and Inna Garkavi / William and Lucas / Ingrid Lynch / Barbara Mack / Daniel Mageau Heidi Charleson Torsten and Daniela Grabs Susan Hert and William Levering III Julia Kalmus and John Lillard Judith Matchett / Robert McCroskey / Brian McHenry / / Sara Magee / Heinz and Ingeborg Maine / Suresh Helen Curtis Kyra Hokanson Gray Alan and Judith Hodson Michael and Nancy Kappelman Sharon Metcalf and Randall Smith / Charles and Lynn and Anjali Malhotra / John and Katharina Maloof / Britt East and Scott VanGerpen Carolyn and Gerald Grinstein Peter Hoff meister and Meghan Barry Paul Kassen Meyer / Eric Michelman and Patricia Shanley / Marilyn Constance Mao / Wendy Marlowe / Michael and Nancy Gail Erickson and Phil Lanum Arthur and Leah Grossman Tuck Hoo and Tom Lyons George and Mary Kenny Milberger / Jocelyn and Michael Miller / James Moore Matesky / Donna McCampbell / Wayne McCleskey Catherine and David Hughes Christopher and Amy Gulick Randy and Gwen Houser Frederick Klein IV and Kristi Branch / Harold and Susan Mozer / Susan and Robin Thomas / Mary V. McGuire / Robert and Matthew and Christina Krashan Terri Hamilton Joan Hsiao and James Bromley Jean Kincaid and David Koewler Mulvihill and James Liverman / George and Ellen Naden / Catherine McKee / Michael and Noor McMann / Susan Karen Koon and Brad Edwards Michael Heltsley Brian Hulse and Julia Paden Thomas and Rhoda Lawrence Betty Ngan and Tom Mailhot / Barbara O’Steen and R. L. McNabb / Renate McVittie / Christine Meinhold / Bill and Meg Morgan Timmy Hendrickson Melanie Ito and Charles Wilkinson Arni Hope Litt Howard Mitchell / Sharon Overman / James Packman Vera Metz / Michael and Sarajane Milder / Barbara Seema Pareek and Gurdeep Pall Susan Herring Marcia Kamin Barbara Lycett and John Parchem and Andrew Cohen / Michael and Susan Peskura / and James Miller / Sheree Miller and Benjamin Greer / Lois Rathvon Peter Hiatt and Ronald Hunden Aaron Katz and Kate Dougherty Jeffrey and Barbara Mandula Sandra Pisatello / Nicole Quinones / William Reed and James and Cheri Minorchio / George and Julie Moberly Blue and Jeff Resnick Paul and Alice Hill Philip and Marcia Killien William and Holly Marklyn Nancy Worden / Meryl Retallack / Pacita Roberts / David / Reza and Carol Moinpour / Raymond Monnat and Don and Toni Rupchock Mary and Michael Hudspeth David Kimelman and Karen Butner Michael Mathieu and JoAnne Rudo / William Sandal / Margaret Sandelin / Christine Disteche / David Morris / Anne Morrison / Joseph Saitta Michael Hunter Leslie Kincaid and Nicholas Lawrence Jim McDermott Stephen and Linda Saunto / Peggy Savlov / Craig Christine Moss / Pamela A. Mullens / Joseph and Kay Dave and Marcie Stone O. David Jackson Joseph and Anne-Marie Knight Terry Miller Schieber / Noah Schooler / Herbert and Elaine Selipsky / Neal / John Nemanich and Ellendee Pepper / Marianne Summit Law Group, PLLC Ilga Jansons and Michael Dryfoos Jessica Kravitz M. Lynn Morgan Robert Simpson Jr. / Hazel Singer and John Griffiths / Nijenhuis / Caroline Normann / Mark Novak and Richard Szeliski and Lyn McCoy H. David Kaplan Frank and JoAnna Lau Margarete Noe Anne Solomon / Donna Sunkel / Sharon and Michio Katrin Pustilnik / Marilyn and Beatrice Nowogroski Thomas and Doris Taylor Deborah Katz Chris Laws James and Tiffany Reed Tsutsui / Frits van Oppen / Karen Uhrbrock / Kymberly / Mary Kay O’Neill / Nenita Odesa / Martin Oiye and Gregory Wallace and Craig Sheppard Otis and Beverly Kelly Margaret Levi and Robert Kaplan Dennis Reichenbach and Jeremy Waltmunson / Amy Wong-Freeman / Susan Nakagawa / Angela Owens / David Owsiany Ellen Wallach and Thomas Darden Randy and Kimberly Kerr Michael Linenberger and Sallie Dacey Jason Reuer Becky Woodworth and Everett Seven / Cathryn Palmer / Elizabeth Park George Wilson and Claire McClenny Kelly Kleemeier and Dave Dickson Dennis Lund and Martha Taylor Barbara and Mark Roller / William and Frances Parson / Gerald Paulukonis / Mark and Amy Worthington Susan Knox and Weldon Ihrig Lynda Mapes and Douglas MacDonald Bette Round This listing includes donors ($50 and above) to Meany Betty Person / Anna and David Peterson / James and Dr. Martin Greene and Kathleen Wright Leander Lauff er and Patricia Oquendo Wayne and Kristin Martin Janet and John Rusin Center for the Performing Arts from July 1, 2016 to June Melodie Martin and Kenneth Dayton Robin L. McCabe Jennifer Salk and David Ehrich Louise Peterson / Jeanne Peterson / Karen Peterson 30, 2017. To change your program listing or correct an EVENT SPONSOR Barbara Martyn Ramona Memmer and Lester Goldstein Cathy Sarkowsky / Gregory and Margaret Petrie / James Phelps and error, please call us at 206-685-2819. Contributions to Ena Urbach / Sandra Piscitello / Susan Porterfield / (between $2,500 and $4,999) Tomilynn and Dean McManus John and Gail Mensher Eric Schlegel and Mary Stout Meany Center are tax-deductible to the extent allowed Robin Mendelson and Joss Delage Ms. Mary M. Mikkelsen Mark and Patti Seklemian James and Ruth Raisis / Wendy and Murray Raskind by law. To make a gift or for more information on donor Kenneth and Marleen Alhadeff Yoshi and Naomi Minegishi Linda and Peter Milgrom Maya Sonenberg and John Robinson / Yumiko Ray / Stephen and Mary Reardon / Carrie benefits, please call 206-685-2819 or visit meanycenter. Randy Apsel Margaret Dora Morrison Alan and Mary Morgan Bonnie Swailes Richard / Cynthia Richardson / Carla Rickerson / Paula org/donate. Cristi Benefi eld Sayantani Mukherjee Kevin Murphy and Karen Freeman Carol Swayne and Guy Hollingbury Riggert / Chet Robachinski / Norita Robbins / Rachel Janet Boguch and Kelby Fletcher Darcy and Enzo Paschino James and Pamela Murray Margaret Taylor and Robert Elliott and David Robert / Sam and Josie Roskin / Gail Sailer Robert and Janitta Carithers Richard and Sally Parks Erika J. Nesholm David and Barbara Thomas / Darrell Sanders / Laura Sargent / Robert and Doris Heidi Charleson Alice Portz and Brad Smith Eugene and Martha Nester Diana and Richard Thompson Schaefer / Joachim Schneider and Jolene Vrchota / Vasiliki Dwyer Tina and Chip Ragen Anne Stevens Nolan and William Nolan Gayle and Jack Thompson Charles Schooler / Janet Schweiger / Jean Schweitzer Davis Fox and Rosemary Coleman Jeff and Kimberly Seely Amanda Overly Mary Toy / Noah Scooler / Giles and Sue Shepherd/ Roberta Michelle and Matthew Galvin Evelyn Simpson John Rochford and Nick Utzinger Michelle and Stephen Turnovsky Sherman and Charles Meconis / John Sindorf and Mary Dirk Giseburt and Marilyn Stahl David Skar and Kathleen Lindberg Joy Rogers and Robert Parker Patricia Wahl and Dean Wingfield Ann Bolte / Mani and Karen Soma / Derek Storm and Hellmut and Marcy Golde Sigmund and Ann Snelson Werner and Joan Samson Osamu Yamamoto Cynthia Gossett / Pamela Stromberg / Kristin Strout / M. Elizabeth Halloran Carrie Ann Sparlin Michael Scupine and Kim Gittere-Abson Lee and Barbara Yates Virginia Sybert and Peter Byers / Brian Taberski / Peter Hylton and Lawrence Hard Bob and Robin Stacey Edward Sheets and Ronda Skubi Tarczy-Hornoch and Candice McCoy / Beth Traxler / Elizabeth Hebert Ethel and Bob Story Bela and Yolande Siki KEY PLAYER Barbara Trenary / Dorene and Dennis Tully / Gerald In memory of Gene Hokanson Dale Sylvain and Thomas Conlon Marcia Sohns and Mark Levy (between $100 and $249) Tuttle and Kathleen Gorham / Phyllis Van Orden / Hugues Hoppe and Sashi Raghupathy Lorraine Toly Clark Sorensen and Susan Way James Adcock and Anne Otten / Mary Alberg / Kathryn Margaret van Waardenburg / Yvonne and Bruno Yumi Iwasaki and Anoop Gupta Manijeh Vail Patricia Tall-Takacs and Gary Takacs Alexandra and Steven Rubey / Frank and Nola Allen / Vogele / Edward and Patricia Wagner / Lenore Waldron Bernita Jackson Josephus Van Schagen and Marjon Floris Mark and Liza Taylor Anonymous / Laurence Ashley / Jill Bader / Elizabeth / Greta and Joseph Ward / Gail and John Wasberg / Kurt Kolb Ernest Vogel and Barbara Billings Stephen and Ericka Thielke Baker / Lisa Baldwin and John Cragoe / Lauret Ballsun Larry and Lucy Weinberg / Merle Weiss and Diane Pien Jeff rey Lehman and Katrina Russell Kris and Epaminondas Trimis Timothy and G. Anthony Barrick / Mary and Douglas / Christine Westergaard / Bruce and Christine White Bayley / Mike and Marie Bender / Robin Bentley / encoremediagroup.com/programs A-29 ENDOWMENT AND PLANNED GIFTS MEANY CENTER SEASON SPONSORS Many thanks to the following individuals for supporting the future of Meany Center through planned gifts We are deeply grateful to the following corporations, foundations and government agencies whose generous and contributions to our endowment: support make our programs possible:

Planned Gifts Meany Center Education Endowment $100,000 AND ABOVE Anonymous Kalman Brauner and Amy Carlson Linda and Tom Allen Ernest and Elaine Henley* The Andrew W. Mellon Foundation Ellsworth and Nancy Alvord † Julie Kageler Wimsey J.N. Cherrington Matthew and Christina Krashan* Consuelo and Gary Corbett J. Pierre and Felice Loebel* $25,000 AND ABOVE Bill and Ruth Gerberding Lee and Judy Talner* Matthew and Christina Krashan The Boeing Company / Classical KING FM 98.1* / National Margaret Dora Morrison Matt Krashan Endowed Fund for Endowment for the Arts / Nesholm Family Foundation Cecilia Paul and Harry Reinert Artistic and Educational Excellence Scan Design Foundation Mina B. Person † in the Performing Arts Lois Rathvon Carolyn H. Grinstein and Gerald Grinstein Fern Rogow † Matthew and Christina Krashan* $10,000 - $24,999 Dave and Marcie Stone Donald and Gloria Swisher * Endowment Founder 4Culture / ArtsFund / Microsoft / Seattle Offi ce of Arts Lee and Judy Talner † Deceased “If I have seen a Ellen J. Wallach & Culture / U.S. Bank little further, it is MATCHING CORPORATE GIFTS Arts AL!VE Student Fund for only by standing UP TO $9,999 Exploring the Performing Arts Adobe Systems, Inc. Susan Knox and Weldon Ihrig* AT&T Foundation Banner Bank / East West Bank / KEXP 90.3 FM* / KUOW 94.9 FM* Renata Tatman and Pablo Schugurensky on the shoulders Chevron Corporation Ladies Musical Club / Peg and Rick Young Foundation City of Seattle of Giants." Nancy and Eddie Cooper Endowed Fund Western States Arts Federation East West Bank — BERNARD OF CHARTRES for Music in Schools Google, Inc. Dave and Marcie C. Stone* IBM Corporation BUSINESS CIRCLE SPONSORS Intel Corporation From Haydn to Mozart to Meany Center Endowment Fund Merck Company Foundation Beethoven to the Beatles, Agua Verde Cafe Catering / Classical Wines from Spain / Windsor R. Utley* † Microsoft Corporation each generation owes its Phillip B. and Constance J. Winberry College Inn Pub / Hotel Deca* / Fran's Chocolates* / Macrina Puget Sound Energy progress to the ones that Shell Oil Company came before. Bakery* Madres Kitchen* / Pagliacci* / North City Bistro* / Theo Elaine and Ernest Henley Endowment State of Washington Chocolate* University Inn* / Watertown Hotel* for Classical Music The Boeing Company Ernest † and Elaine D. Henley* The K Foundation You, too, can be a giant. T-Mobile USA, Inc. Catherine and David Hughes Asian U.S. Bank CONSIDER A GIFT to the CAMPUS + COMMUNITY PARTNERS Programming Endowment United Way of Greater Los Angeles Meany Center through your Catherine and David Hughes* Arts Impact / ArtsUW / Burke Museum / Cornish College of the United Way of King County will, trust or retirement plan, Yumi Iwasaki and Anoop Gupta United Way of Snohomish County and help future generations Arts / Department of Near Eastern Languages and Civilization Wells Fargo, LLC Live Music for World Dance of artists and arts lovers see / Henry Art Gallery / Ladies Musical Club / Langston Hughes Series Endowment a little further by standing on Performing Arts Institute / Live Music Project / Nordic Heritage Lorraine Toly your shoulders. Bernita W. Jackson Museum / Seattle Art Museum / Seattle Music Partners Seattle Linda and Peter Capell Contact: Public Schools / Second Inversion / Scan Design / UW Alumni Dr. Susan Hert and William R. Levering, III Cristi Benefi eld, Director of Association / UW American Indian Studies / UW Canadian Cecilia Paul and Harry Reinert* Sergio Ortega-Trujano Philanthropy, Meany Center Studies / UW Dance Department / UW Intellectual House / UW 206-616-6296 First year programs / UW Graduate School / UW Libraries / UW [email protected] meanycenter.org/donate Residential Life Program / UW School of Drama / UW School of Music / Velocity Dance Center

* Denotes full or partial gift in kind.

This listing includes endowment founders and endowment donors from July 1, 2016 to June 30, 2017. For more information on how to make Join an impressive roster of companies of all sizes that support Meany Center, its mission, and its performances. Sponsors receive signifi cant a gift through your will or trust, or to name Meany Center for the Performing Arts as a benefi ciary of your retirement plan or insurance policy, recognition throughout the season and an array of benefi ts catered to your organization's goals. For more information, please contact the please call 206-685-1001 or 800-284-3679 or visit www.uwfoundation.org/giftplanning. Meany Center Philanthropy Department at (206) 221-1287.

A-30 MEANY CENTER FOR THE PERFORMING ARTS ENDOWMENT AND PLANNED GIFTS MEANY CENTER SEASON SPONSORS Many thanks to the following individuals for supporting the future of Meany Center through planned gifts We are deeply grateful to the following corporations, foundations and government agencies whose generous and contributions to our endowment: support make our programs possible:

* Denotes full or partial gift in kind.

encoremediagroup.com/programs A-31 MEANY CENTER AND ARTSUW TICKET OFFICE STAFF

Michelle Witt, Executive and Artistic Director Rosa Alvarez, Director of Patron Services Rita Calabro, Managing Director Liz Wong, Assistant Director of Patron Services Katrina Deininger, Patron Services Associate Scott Coil, Director of Finance and Administration Keeli Erb, Patron Services Associate James Fesalbon, Fiscal Specialist Patrick Walrath, Patron Services Associate Yevgeniy Gofman, Accountant Cathy Wright, Patron Services Associate

Laura McKee, Tessitura Administrator Patron Services Assistants Gretchen Shantz, IT Administrator Jasmine Burkett Dakota Miller Cristi Beneﬁ eld, Director of Philanthropy Kendra Stricklin Alix Wilber, Grants and Communications Manager Lauren Widman Lauren Zawacki, Philanthropy Assistant Abbey Willman Angela Yun Elizabeth C. Duﬀ ell, Director of Artistic Engagement Kaeline Kine, Artist Engagement Coordinator Lead Ushers Jyana Browne, Creative Fellowships Coordinator Danielle Blevens Robert Babs, Education and Outreach Associate Eli Gallagher Colleen Kimsey, Green Room Assistant Raine Myrvold

Teri Mumme, Director of Marketing and Communications Ushers Rob Noland, Graphics Production & Content Coordinator Reiane Abuda Cynthia Mullis, Interim Marketing Manager Altaire Anderson Son Bui, Marketing Assistant Frances Bueno Katrin Husseini, Communications & Outreach Assistant Shannon Chen Arthur Grossman, Phil Lanum, Bruce Clayton Tom, Photographers Ana Constantin Warren Woo, Videographer Esther English Ryan Farris Tom Burke, Technical Director Laura Freeman Brian Engel, Lighting Supervisor Abbi Helms Juniper Shuey, Stage Manager Jared Kawasawa Matt Starritt, Audio Supervisor Pearl Lam Doug Meier, Studio Theatre Stage Technician C.J. Pier Abby Ryider Nancy Hautala, Audience Services Manager Yomira Romero Tom Highsmith, Lead House Manager Evelyn Seo Noah Duﬀ y, House Manager Owen Stevens Sean Luscombe, House Manager Levi Sy Daniel Kaseberg, House Manager Emma Turner Natalie Harrington, Assistant House Manager Griﬃ n Withington Duncan Greeley, Assistant House Manager

Nina Tosti, Concessions Manager Dani Slowik, Barista Catering by Katelynn Reeson, Concessions Assistant

CALIDORE STRING QUARTET with DAVID FINCKEL AND WU HAN April 24, 7:30 p.m.. This vibrant young ensemble teams up with esteemed chamber musicians David Finckel and Wu Han for a powerhouse program of quintets by Schubert and Dvořák

A-32 MEANY CENTER FOR THE PERFORMING ARTS Dialogue Encore Stages in conversation

Anthea Carns, a Bard, and Some Nerds Walk Into a Bar

Anthea Carns is a busy woman. After pursuing a degree in dramaturgy at Carnegie Mellon University, she splits her time here in Seattle between stage managing, acting with HERON Ensemble, dramaturgy, playwriting, and Bard in a Bar, which is basically Shakespeare karaoke.

She recently sat down with us to talk nerds, obscure dirty Elizabethan-era jokes, and Shakespeare plays set in near-future rainforests. Anthea Carns. Photo courtesy of the artist. What is Bard in a Bar? all the stuff that happens in between Bard in a Bar is basically Shakespeare each scene so it’s kind of a half Drunk karaoke. I pull together a ‘highlights History stand-up routine, half karaoke reel’ of scenes from a chosen play and bar, half Rocky Horror Picture Show. It’s then get volunteer readers from the a lot of halves, but it’s really rooted in audience. They get a couple of minutes my feeling that Shakespeare should to talk together, go through my big be fun and accessible. It’s a bit like bag of silly props and costumes, and a Shakespeare in the Park model, then they read the scene. I explain but with more booze…and audience participation…and heckling.

The final scene of Hamlet, at Solo Bar at 200 Roy Street in Seattle. Photo courtesy of Bard in a Bar.

encoremediagroup.com/programs 9 The funeral of Caesar at Solo Bar. Photo courtesy of Bard in a Bar.

How did you get involved in the project? whether Shakespeare had real artistic aesthetic. Which is fine, but that’s There’s a great organization called Nerd merit because he completely ignored as far as it goes! It forces you to ask, Nite that hosts regular talks from folks the Aristotelian unities in favor of, you though, ‘Why are you doing this in a about the things they’re nerdy about. I know, telling compelling stories. There near-future rainforest?’ What does think I heard them describe it once as is an argument that Shakespeare’s that rainforest mean, semiotically and ‘That thing that when you start talking ability to incite empathy outweighed culturally, and how does that meaning about it, your friends’ eyes start to glaze any formal flaws he had. So, there are intersect with the play’s meaning? If over? We want that.’ I presented a talk a few elements: I think the great plots it’s just because you want Puck to do a with them about how to recognize still excite us; I think his sheer prolific- bunch of lemur-based animal work, I dirty jokes in Shakespeare—which is ness means that there’s something would push you to think more deeply actually not that hard, but there are for everyone; and I think Shakespeare about what the forest means in the play some obscure Elizabethan English jokes had a real genius for creating complex, and to us now. On the flip side, if you’re that it helps to have context for—and ambiguous, human characters. We keep doing Merchant in a 1980s shopping the owner of the bar and I decided to coming back to him because we haven't mall to riff on commercialism and see if we could make it into a recurring completely figured his characters out, ‘greed is good’ culture, sign me the hell event of some kind. That was in just like we haven't completely figured up. I think you’ve got something with December 2014. It’s gone through a lot out our own human experiences. legs. of development since then, including a Why do some interpretations of What has/does Shakespeare mean to venue change to Solo Bar, a partnership Shakespeare succeed while others fail? you? As a person - as a writer? with the Seattle Public Library, and This is to say, why does one Hamlet that a lot of refinement of the format. Every couple of years I have a new idea takes place in a 1980s shopping mall for a Shakespeare adaptation I want to work when another, set in a near-future Why does Shakespeare continue to write. My first real foray into playwriting rainforest, doesn’t? resonate century to century? was an exploration of Hamlet called Bad I was just reading some great history I’m so glad you asked me this. I’ve seen Hamlet that I co-wrote with my dear about this! Back in the 1700s the French, so many ‘high concept’ Shakespeare friend Lillian DeRitter. And I have this the Germans and the English were all productions where the concept just whole Tempest thing I want to do. Like having spirited critical slap fights about didn’t add anything. It’s just a fun I said—I think I keep coming back to

10 ENCORE STAGES SEASONAL EXHIBITS Anthea Carns, hosting. Photo courtesy of Bard in a Bar. FOR YOUR PALETTE Enjoy artistically inspired dishes crafted from local Shakespeare because I find facets of ingredients, and see the personal story of Dale Chihuly myself there. And those facets change through his collections. every few years, so there’s always LUNCH / HAPPY HOUR / WEEKEND BRUNCH something new to mine; some new aspect of the human experience to try and dig into, personally and artistically. COLLECTIONSCAFE.COM I think as an artist, having good LOCATED AT CHIHULY GARDEN AND GLASS material to start from makes it that 305 HARRISON ST / SEATTLE WA much easier to produce good material 206.753.4935 yourself.

When is the next Bard in a Bar? Tuesday, March 13, 8PM, at Solo Bar! And you can keep up with future events by liking the Bard in a Bar page on Facebook.

How can one get involved in Bard in a Bar in the future? Are there volunteer opportunities? Everybody is welcome and indeed encouraged to come and read! Trust me, you do not have to know anything about Shakespeare to participate. It's a Harry Partch pretty streamlined process, but if people have resources like printing, props, photography skills, or performance Festival spaces, I'd love to hear from them at [email protected]. < May 11 - 13, 2018 Jonathan Shipley is a freelance writer MEANY THEATER living in West Seattle. He's been published A festival of world premieres, rare in the Los Angeles Times, Fine Books works, scholarly talks, workshops, and more. & Collections Magazine, and Seattle featuring the music and handmade instruments Magazine, among others. of 20th century American composer Harry Partch. MORE AT: WWW.MUSIC.WASHINGTON.EDU • ARTS UW TICKET OFFICE: 206.543.4880

encoremediagroup.com/programs 11 Dialogue Encore Stages in conversation

Bobbin Ramsey

Bobbin Ramsey has lived and breathed Seattle art her entire life. This 27-year-old theatre and film director has touched almost every arts organization in town: from attending Seattle Children’s Theatre as a child to volunteering at the Vera Project in high school to internships at Intiman and Book-It Repertory Theatre. She even attended the University of Washington, obtaining degrees in Drama and Creative Writing.

Today, Bobbin serves as Lead Producer at The Horse in Motion, a theatre company she founded with members of her University of Washington cohort, as well as Casting Director and Resident Director at Washington Ensemble Theatre (WET). In addition Bobbin Ramsey. Photo by Kendall Shea. to directing for both The Horse in Motion and WET, Bobbin freelances for a number of theatres around town, including Cornish College of the Arts, Live Girls! Theatre Company, and her alma mater, the University of Washington.

In anticipation of her upcoming production of The Nether at WET, Bobbin spoke with us about directing urgent new work, championing female-identifying playwrights, and the shows that she’s looking forward to seeing.

The Nether feels especially relevant — the play handles intense subject matter, Boards’ Northwest New Works Festival both because of Seattle’s booming tech I think that our audience will be willing in June. What drew you to this subject sphere and in the conversations we’re to go there with us. matter? having nationwide about consent. In We are so excited to be performing what ways do you think this play will Has this play changed the way you think about directing and working with actors? at Northwest New Works this year! It challenge WET’s audiences? has always been one of my favorite The Nether asks questions about I’m not sure, we haven’t started performance festivals in Seattle and I the lawful and ethical responsibility rehearsals yet. But I have been thinking am so excited for The Horse in Motion that our society has towards sex and about how to make sure the rehearsal to be participating. Almost a year technology, in a very extreme way. As space feels safe and comfortable – and ago, we came across an article about we approach the reality of Jennifer has some levity to it, given the intensity the Mallus Maleficarum which was Haley’s imagined world, we are forced of the piece. One of the actors and I the 15th century German document to grapple with the responsibility we have already been talking about having that became the basis for all western have to one another. I think that this nightly dance parties so we never leave European and American witch hunts play challenges all audiences who see rehearsal in a dark headspace. But in the subsequent centuries. Then, in it, because it forces the viewer to hold overall, I think the process is going to be November, we were all inspired by Lindy two seemingly contradictory ideas at about approaching the subject matter West’s article “Yes, This Is a Witch Hunt. the same time. For WET audiences in carefully and consciously with enough I’m a Witch and I’m Hunting You.” in the particular, I think we are dipping our openness to have frank conversations, New York Times. We’ve been exploring toe into a subject matter that is even while still recognizing the emotional and creating a piece of theatre that more divisive and difficult to talk about labor that goes into the work. inverses the traditional witch hunt than most of our work. WET often narratives, where witches are real and In addition to directing, you’re a co- thrives in taking on the plays that other powerful. We’re also questioning what founder and lead producer at The theatre companies shy away from, and this new narrative means in context Horse in Motion. Talk to us about the our audiences are usually willing to join of this major cultural shift we are piece you’re putting together for On the us for that theatrical ride. Even though experiencing.

12 ENCORE STAGES Wellesley Girl with The Horse in Motion. Photo by Colby Wood.

I think that The Horse in Motion and On the Boards are both always looking for new ways to engage in societal cornish.edu conversations through theatrical lenses, and that is what we would like to do with this piece. Additionally, The Horse in Motion always strives to push the boundaries of how we theatricalize our DESTINATION RETIREMENT... work, in large part because many of us Luxury Living in Sunny Sequim have been inspired by the work we’ve “Live in the Beauty of it all” seen at On the Boards. Now it’s our turn to create a piece of theatre that plays with style, tone and spectacle.

Directing the work of living female playwrights is clearly very important to you. How do you hope to bring more female playwrights to Seattle stages? I am very lucky to be a part of two Sequim Sequim theatre companies where I have a Voted Also Featured in major say in what gets produced. With BEST NORTHWEST WEEKEND SMALL TOWN my work with WET and The Horse in ESCAPES 2017 May 21, 2017 Motion, the work that is produced by USA Today L.A. Times both companies is decided by each Designed with you in mind. The Lodge is a full service, independent retirement community. of the ensembles of the companies. When season planning, I am always Fine Dining • Spacious Apartments • Individual Cottages advocating for producing the work Month to Month Rental • No Upfront Buy-in Fee of female-identifying playwrights, especially new plays. As I grow in my www.thelodgeatsherwood.com career and expand the list of companies that I work with, I will continue 360-681-3100 to prioritize putting the voices of 660 Evergreen Farm Way, Sequim, WA 98382

encoremediagroup.com/programs 13 The Things Are Against Us with Washington Ensemble Theatre. Photo by Chris Bennion.

contemporary female-identifying artists in The Wolvesat ACT and in the original and playwrights from other marginalized work she creates. I continue to be an avid groups on stage. follower of Alice Gosti’s work, and I am extremely excited to see her piece at On How do you hope to grow and challenge the Boards this March. Alice’s work with the theatre community here in Seattle? durational performance has always been I want to continue pushing boundaries totally captivating to me, and as a big fan of what type of work we make and what of Brecht, I am very excited to see Alice’s stories we tell. There is so much excellent investigation of capitalism and object. The work being developed in this city right other project that I’m eager to see is Frank now, and we need to continue to push Boyd and Libby King’s Patti and the Kid. towards making that work accessible to I’ve been a huge fan girl of both Libby and all types of audiences, both financially Frank since seeing their work with The and emotionally. There is so much TEAM in New York. The fact that they’re amazing work being created that include doing an exploration of Waiting for Godot important conversations about equity mixed with dystopian American myth is and social justice, and as a director and so appealing to all of my artistic senses. producer, I want to push myself to make sure that the people of this city have the Washington Ensemble Theatre’s production ability to engage with that work. of The Nether runs April 27 to May 14. Hamlet, The Horse in Motion’s next Are there any musicians, dancers, or production, runs April 12 to 29 at The theatre artists that you’re especially Stimson-Green Mansion. < excited about this season? Who are you excited to see? Danielle Mohlman is a nationally produced feminist playwright based in Oh, there are so many! I mean, Meme Seattle. Her play Nexus is among the 2015 Garcia is back in town. I saw her solo Honorable Mentions on The Kilroys list. show at 18th & Union in November and She is an alumnus of the inaugural class was completely blown away. Her artistic of Playwrights’ Arena at Arena Stage and voice is so powerful and beautiful. I can’t a member of the 2018 Umbrella Project wait to see more of her performances Writers Group. throughout the city this year, especially

14 ENCORE STAGES Intermission Brain Transmission Are you waiting for the curtain to rise? Or, perhaps, you’ve just returned to your seat before the second act and have a few minutes to spare? Treat your brain to this scintillating trivia quiz!

Email us the answer to the last question and have a chance to win tickets to a show!

1) Seattle Shakespeare Company is putting on The Merchant of Venice. The most memorable character from the play is Shylock, a moneylender and proud father. In the 2004 film adaptation of this play, who played Shylock?

a) Jeffrey Tambor b) Gary Oldman c) James Caan d) Al Pacino

2) Crowns is playing at Taproot Theatre Company. In the play, a young girl learns about the power of faith and community from her grandmother’s friends, who wear beautiful church hats on Sundays. Which of the following is a word for someone who makes and sells ladies’ hats?

a) Sartorian b) Coiffure c) Milliner d) Helmetier

3) The Great Leap, playing at Seattle Repertory Theatre, is a story of Cloche design by local designer, Faye mentorship and ‘70s cultural shift, centered around a basketball court in Woo Collection. San Francisco’s Chinatown. The play is written by Lauren Yee, who had another play about cultural and generational themes produced at ACT in September 2017. What was the title of this play?

a) Hookman b) The Tiger Among Us c) Samsara d) King of the Yees

4) Meany Center for the Performing Arts will host a performance of Feathers Bonus Question of Fire, a Persian epic performed with shadow puppets and live actors. What was the last arts performance Which of the following is not a type of puppet theatre? you attended that you liked best and why? a) Wayang Email your response to b) Bunraku [email protected] c) Kuckucksuhr with "Trivia Quiz" in the subject line.

d) Marionette

Bunraku is a Japanese type of rod puppet. Marionette, the French word for puppet, is used outside of France to refer to stringed puppets. puppets. stringed to refer to France of outside used is puppet, for word French the Marionette, puppet. rod of type Japanese a is Bunraku

in August 2015 as part of ActLAB’s The Construction Zone series of plays in development. 4) c.– Kuckucksuhr is German for Cuckoo Clock. Wayang is a form of shadow puppet from Indonesia. Indonesia. from puppet shadow of form a is Wayang Clock. Cuckoo for German is Kuckucksuhr c.– 4) development. in plays of series Zone Construction The ActLAB’s of part as 2015 August in

ANSWERS: ANSWERS: played at ACT September 8 – October 1, 2017. It was performed performed was It 2017. 1, October – 8 September ACT at played d.– 3) hats. men’s mostly sells and makes who someone is hatter A Milliner. c.– 2) Pacino. Al d.– 1) King of the Yees Yees the of King

encoremediagroup.com/programs 15 My legacy. My partner.

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