| 8 P.M.

OCTOBER 2017 OCTOBER 5, 6 & 7 goes VERTICAL DANCE IN THIS ISSUE BANDALOOP

BANDALOOP October 5-7

HABIB KOITÉ & BAMADA November 4

NAREH ARGHAMANYAN November 8

JUILLIARD STRING QUARTET November 9 October 2017 Volume 14, No. 2

Paul Heppner Publisher FALL 2017 Sara Keats Encore Stages Editor

Susan Peterson Design & Production Director Contents

Ana Alvira, Robin Kessler, 3 "The Play’s the Thing” Shaun Swick, Stevie VanBronkhorst Is Theatre our Ideal Production Artists and Graphic Design Empathy Workout? Mike Hathaway Sales Director Dialogue

Brieanna Bright, Joey Chapman, 7 Shaya Lyon and the Ann Manning Live Music Project Seattle Area Account Executives

Amelia Heppner, Marilyn Kallins, Terri Reed 9 A Conversation with San Francisco/Bay Area Account Executives Simone Hamilton

Carol Yip Sales Coordinator Intermission Brain Transmission 12 Test yourself with our 310 Terry Avenue. trivia quiz

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2 ENCORE STAGES “The Play’s the Thing” Is Theatre our Ideal Empathy Workout?

New Century Theatre Company's production of Festen, 2016. From left: Conner Neddersen, MJ Sieber. Photo by John Ulman.

Maia Kinney-Petrucha The first time I cried at the theatre, I Hundreds of plays later, I found was eleven. It was a local production myself studying the science behind examines the theoretical of West Side Story, and after being performance. Why is the experience so and applied science of unimpressed by the film, I wasn’t significant? I approached this question creating empathy through expecting much. But when I saw the from both a cognitive scientific and an tears on Maria’s face as she held Tony’s artistic perspective. My work consisted theatre. lifeless body, I was right there with her. of theoretical and applied research, I had never been in love. I had never beginning with the creation of a 2016 lost someone I loved. I was not a Puerto documentary theatre production Rican immigrant from the 1950s. I was entitled The Stories We Are. sure the actress didn’t have the same history as the character, but there she The show was devised at Hampshire was, embodying Maria's pain. And there College by seven ensemble members I was, feeling my heart wrench along who were asked to explore personal with everyone else’s in the room, and storytelling through a variety of understanding a mix of emotions I had performance mediums. There were never encountered. It was education. It two remarkable results: the actors’ was connection. It was power. evolution toward kindness and respect

encoremediagroup.com/programs 3 for one another, and the audience’s Trinity College, Cambridge, developed heightened emotional reactions. Seeing a chart from his 2011 empathy research people tell real stories on stage elicited called, “The Empathy Bell Curve.” It We don’t strong responses from the audience, suggests that everyone has different levels and I hypothesized that there is of empathy, but we all fall somewhere on witness theatre, something about theatre in particular a spectrum. What if where we sit on that that transforms the way we consider curve shifts throughout our lives? or work as humanity. After surviving millennia, theatremakers, theatre remains one of the most desirable Just as we must use any of our abilities modes of storytelling. Beyond the joy of to retain and strengthen them, we without entertainment, there is something we must do the same for our empathy. gain at the neural level by engaging with Unfortunately, we aren't prompted to experiencing theatre, something that defines our need experience empathy very deeply in for performing arts. daily life, and when we do there are empathy. contingencies. We empathize more easily with people we identify with and form after the show, but every night audiences personal relationships to. For instance, it’s were much more willing to share after After seeing The Stories We Are, a colleague impossible to empathize all at once with watching the actors perform. Our expressed to me what she gets out of the thousands of victims of hate crimes empathy motivates us to copy others in going to the theatre: “I like [having] an every year in the US. However, we can the moment. emotional upwelling. I forget my life empathize with the family of Matthew and I pay attention to what’s happening, Shepard, whose murder in 1998 became and then I can feel things based on my a spark of national outrage against In a 2012 study, researchers Thalia interpretation of what people are feeling.” homophobia and still resonates today Goldstein and Ellen Winner assessed with productions of the documentary play This sensation is called empathy, an empathy levels in elementary and high The Laramie Project. In stories, emotions ability we have to recognize and then school students who had received one are not only bolder and appear in quicker take on another person’s emotion in year of either acting, or other arts training. succession, but by pigeonholing a larger the present moment. We don’t witness They found that those who had studied issue and reaching us on a personal level, theatre, or work as theatremakers, acting for the year, and not another type of they can access and test the limits of our without experiencing empathy. Our main art, showed the most significant growth in empathy. task is to feel what another is feeling. It empathy scores. is the key to our involvement in a story, In that sense, observing and participating As children, pretend play guides our how we process emotional plot, predict in storytelling is like working out at the acquisition of empathy while our minds behavior, and understand a character’s gym. The practice of perspective taking develop. We use role-playing as children mental state. Performers achieve this with expands our minds. Theatre may just be to form these social capacities. Despite training. Audiences have empathy thrust the best empathy gym of them all. upon them. In both cases, we exercise pretend play being less socially acceptable empathy. as we get older, we’ve found other ways of imbedding it into our culture, including This isn’t news. Empathy is one of theatre’s Jessica Blank and Eric Jenson’s play theatre. Whether on stage or in the biggest attractions. Why bother going to The Exonerated was a compilation of audience, we are absorbed in an act of see a show that doesn’t make you laugh, interviews they conducted with six putting ourselves in another’s shoes. This cry, or your heart race? What is invaluable criminals on death row, each of whom consistent desire for pretend implies a to understand, however, is that through eventually suffered their way to freedom recurring need to enhance empathy into its activation in theatre, our empathy after proving their innocence. The adulthood. Theatre is a tool, adapted can grow. While crucial to our social authors spoke with audiences before from the basics of pretend play, which can cognition, it isn’t something we often and after the show, and found that the increase our social skillset at any age. operate consciously, making it a harder majority empathized with the people in skill to reinforce. Still, because empathy the stories far more after seeing the play Theatre activates a number of mental is both something we are born with and a than when they only had a description of capabilities, many of which are members skill, it can progress through experience, their conviction. In The Stories We Are, we of what is called, “The Empathy Circuit,” or be diminished without. introduced an interactive lobby display a phrase developed by Baron-Cohen to for the audience comprising of activities describe the vast mechanism in charge Simon Baron-Cohen, professor of where they could share personal stories. of the many ingredients that make up Developmental Psychopathology at the These activities were available before and empathy. University of Cambridge and Fellow at

4 ENCORE STAGES My wealth. My priorities. My partner.

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EAP full-page template.indd 1 7/17/17 3:08 PM The closeness of theatre can also help us counter preexisting biases. As performers, we must learn a different perspective, one that could be entirely new to us. The process of imagining, then becoming, is pure empathy. Trying to see through new eyes presents us with new possibilities. The audiences’ route to empathy is less taxing, but just as profound. We are free to experience emotion without fear that our feelings, or presence, will change a play’s outcome. This separation from the story gives room to practice feeling strongly without threat of consequence.

Ultimately, theatre can be considered a “transitional space,” a term coined by psychologist D. W. Winnicott, defined as a place where experiences happen between (Left to right): Lisa Caspari and Alice Schneider share a tender moment in the author’s worlds. In that space, we can process both documentary theatre production, The Stories We Are. Photo by Amy Deyerle-Smith. the world of reality, and the world of the play. This is quintessential for empathy practice because, while we understand that Researchers have discovered that when the emotional threat is not real, we can one is recounting a story, the parts of the still apply the feelings to social experiences brain associated with the experience of The very structure of theatre is crafted outside the theatre, augmenting our living the story are in use. The amygdala, to spark our empathy. Two components understanding and acceptance of the responsible for emotional comprehension in particular distinguish it from other “o th e r.” and learning, and the insular cortex, which narrative forms: all action happens in real time, and the world of the story and its helps us recall and relate to moments Embracing a more comprehensive viewers exist in the same space. we are talking about, are also at work. It understanding of the process can help is likely, then, that actors, who generally theatre take a much bigger role in empathy aren’t telling stories that happened Why bother going education and training for a variety of to themselves, still access these same to see a show that fields such as medicine, psychology, structures in order to express another’s and teaching. It can also be applied to persona. doesn’t make you treatment programs for individuals with empathy deficit disorders such as When we watch another person engage in laugh, cry, or your psychopathy and certain autism-spectrum a type of emotional or physical behavior, heart race? disorders. Chiefly, though, understanding something called the “Mirror Neuron exactly how theatre changes us can lead System” is in action. These neurons fire not to the creation of more productions just when witnessing physical behavior, These dual factors are essential to that maximize unbiased empathy and but through auditory description as well. understanding why theatre is exemplary faces us, as individuals and as a society, They explain how audiences both feel and for empathy development. Humans not in the direction of untold, unheard, and learn during a play. When an emotion is only empathize better with those they misunderstood tales.

6 ENCORE STAGES IN THIS ISSUE

Photos: Bruce Clayton Tom

Letter from the Director | A-2

BANDALOOP | A-3

Photo: Ferenc Kalmandy Q&A with BANDALOOP | A-5

Habib Koité & Bamada | A-9

Nareh Arghamanyan | A-11

Juilliard String Quartet | A-15

Guide to Meany Center | A-19

Photo: Julia Wesely Thanks to our Donors | A-20

Photo: Simon Powis

New_encore.indd 1 9/27/17 5:14 PM Welcome to Meany Center

Dear Friends:

Welcome to the 2017-18 season opening Martha Redbone and the Montrose performances of Meany Center for the Trio; performers from Cuba, China, Performing Arts. Mali, Finland, Denmark, Spain and Macedonia, to name a few. For several The beginning of a new season is artists, this will be their Seattle debut. always a time of anticipation and This year will also bring the debut of the excitement: in these first few weeks Meany Center Creative Process Series, alone, Meany audiences will experience free events highlighting the creative the world premiere of Strings by San inspiration of our visiting artists. Francisco-based vertical dance company BANDALOOP; pop star Habib Koité I hope you enjoy this evening’s of the West African nation of Mali, performance, as we share in award-winning Armenian pianist Narah the discovery and joy of artistic Arghmanyan, and the beloved master exploration. Thank you for being musicians of the Juilliard String Quartet. on the journey with us.

Over the next seven months we’ll be presenting many more of the most innovative and exciting artists the world has to offer: leading American artists such as Bill T. Jones, Garrick Ohlsson, Michelle Witt

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

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

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New_encore.indd 2 9/27/17 5:14 PM World Dance Series

World Dance Series BANDALOOP generously sponsored by GLENN KAWASAKI October 5, 6 & 7 | 8 p.m.

HARBORING SUPPORT COMES FROM

BANDALOOP’s Harboring is a multi-dimensional dance by Artistic Director Amelia Rudolph developed with Associate Director Rachael Lincoln in collaboration with the dancers of BANDALOOP. Originally staged in and around San Francisco’s Fort Mason, it is especially resonant in cities like Seattle whose sense of identity is influenced by its port. Harboring moves through images of travel, memory, the fluidity of the ocean, rope craft and maritime industry using the medium MEDIA PARTNER of multi-dimensional dance.

Artistic Direction and Choreography Amelia Rudolph

Created in Collaboration with Associate Artistic Director Meany Center thanks the following Rachael Lincoln Signature Sponsors for underwriting this evening's program.

Original Art Direction Linda and Tom Allen Jack Carpenter Nancy D. Alvord Katharyn Alvord Gerlich Staging Director Linda Armstrong Melecio Estrella Sharon Gantz Bloome Ana Mari Cauce and Susan Joslyn Manisha and Devindra Chainani Live Music Britt East and Scott VanGerpen Composed and Performed by Gideon Freudmann Lynn and Brian Grant Family Chelsey Owen and Robert Harris Additional Music Richard and Nora Hinton Composed by Mark Orton Glenn Kawasaki, Ph.D. Performed by Mark Orton, Tin Hat, Tin Hat Trio, Karla Kihlstedt and Jesse Olsen Bay Matthew and Christina Krashan Marcella D. McCaffray

Richard Szeliski and Lyn McCoy Lighting Design Seema Pareek and Gurdeep Pall Jim French Lois H. Rathvon Cecilia Paul and Harry Reinert Costumes Eric and Margaret Rothchild Jamielyn Duggan Joseph Saitta Dave and Marcie Stone

Thomas and Doris Taylor Choreography Ellen Wallach and Thomas Darden in collaboration with the dancers: George Wilson and Claire McClenny Virginia Broyles | Becca Dean | Melecio Estrella Rachael Lincoln | Courtney Moreno | Jessica McKee Danny Nguyen | Roel Seeber | Jessica Swanson

Movement Chorus Local Volunteers Led by Ivana Lin

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New_encore.indd 3 9/27/17 5:14 PM BANDALOOP | Program

HARBORING: OUTSIDE STRINGS World Premiere Travelers Jessica Swanson and Roel Seeber In this new work with an original score by acclaimed U.K. composer Gabriel Prokofiev, the rope becomes a character On the Way within the piece, exploring our connections and the ways Jessica McKee we anchor to, connect with, effect, restrain and release one another. Through eloquent dance and dynamic, Container Quartet inter-dependent rigging systems, the choreography Becca Dean, Melecio Estrella, Rachael Lincoln investigates and brings these connections to life. and Courtney Moreno Artistic Direction and Choreography Amelia Rudolph PAUSE, AS WE MOVE INSIDE MEANY HALL Created in Collaboration with Associate Artistic Director Melecio Estrella

HARBORING: INSIDE Second Associate Artistic Director Rachael Lincoln Storm Virginia Broyles, Rachael Lincoln, Composer Jessica McKee, Jessica Swanson Gabriel Prokofiev

Disembark Lighting Design Becca Dean, Courtney Moreno Jim French

Two Point Costume Design Melecio Estrella and Rachael Lincoln Jessica McKee

Waiting Costume Fabrication Virginia Broyles, Courtney Moreno, Jamielyn Duggan Danny Nguyen, Jessica Swanson Jessica McKee K.D. Schill Surface Tension Roel Seeber Choreography in collaboration with the dancers Groundswell Virginia Broyles | Becca Dean | Melecio Estrella The Company Ivana Lin (Apprentice) | Rachael Lincoln Courtney Moreno | Jessica McKee | Danny Nguyen Roel Seeber | Jessica Swanson INTERMISSION

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New_encore.indd 4 9/27/17 5:14 PM BANDALOOP | Q&A

Q&A with BANDALOOP’s founder & artistic director

Amelia Rudolph

In addition to their October 5-7 performances, BANDALOOP is a participant in the Creative Fellowships Initiative, an interdisciplinary pilot project at the University of Washington exploring the nature of creative research. In August 2017, BANDALOOP spent a week in residence at Meany Center, time dedicated to the creation of Strings. We caught up with BANDALOOP founder Amelia Rudolph while they were in Seattle to hear more about their experience:

Amelia Rudolph (right) works on stage at Meany Hall in August 2017.

What was the genesis of BANDALOOP? BANDALOOP is a dance company that is the result of me being a dancer my whole life, and then starting to rock climb. When I was climbing, I began to wonder what would it be like to dance in the mountains. For the past 25 years, I’ve been answering the question: How does the technology of climbing allow you to move in different ways?

Tell us about your weeklong Creative Fellowship residency at Meany Center. I’m actually able to be working on and finishing pieces ofStrings . I came with 83.2% of the piece done…or something like that. We are finishing the piece, and we are discovering. I had ideas that I needed to have the theater to even try. So I am literally creating the finale moment this week, from scratch, from my imagination, using all the resources that are available this week.

Strings has its premiere here. What is the focus of this new work? I’m really excited about the new piece, Strings. It’s a collaboration with Gabriel Prokofiev, a composer from the U.K. He has this amazing ability to pull from the old Russian world that his grandfather came from, and also include a contemporary sound that is driving—almost like sounds from a club. The piece is about the various ways we experience connection. It’s about the invisible strings that hold us together. It’s about how our relationships tug on us and enclose us or set us free. That is represented in the choreography itself—sometimes the strings are invisible, and sometimes they are literal rope and string.

How has this fellowship at UW advanced your creative process? One thing that this fellowship has offered me is an invitation to fail. An invitation to take some chances, artistically. When I first started working on the piece in the studio, I said to myself and to the dancers: “We are making nothing. We are investigating, we are playing, we are trying things.” And that gift was just incredible. I do get to do that kind of investigation in my own work, but not often enough, and there’s something about getting funding that specifically asks you to delve into process and really take a moment and be in the tangle of it. In a way, that’s the biggest gift.

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New_encore.indd 5 9/27/17 5:14 PM BANDALOOP | About the Artists

BANDALOOP honors nature, community designated by the Trisha Brown Dance with the San Francisco Opera, Faye and the human spirit through perspective- Company to re-mount and perform Driscoll, Rachael Lincoln, Scott Wells bending dance. A pioneer in vertical Brown’s seminal work Man Walking and Damara Ganley, among others. performance, BANDALOOP seamlessly Down the Side of a Building exclusively weaves dynamic physicality, intricate throughout the world. The recent Jim French has collaborated with choreography and climbing technology BANDALOOP video Waltz on the Walls BANDALOOP since 2013. His designs to turn the dance floor on its side. Under of City Hall, in which Amelia is featured, are in the repertories of Amy Seiwert’s the artistic direction of Amelia Rudolph, garnered two million views on YouTube. Imagery, Ballett Basel (Switzerland), Ballet the work re-imagines dance, activates West, Ballet X, Carte Blanche (Norway), public spaces, and inspires wonder and Virginia Broyles, originally from Atlanta, Cedar Lake Contemporary Ballet, imagination in audiences around the studied at American University, DC and Hubbard Street Dance Chicago, Introdans world. BANDALOOP trains dancers and University of Georgia, where she received (Netherlands), LA Dance Project, RAW youth at home and on tour, and has her B.F.A. and was a member of CORE Dance, Richmond Ballet, Rioult Dance NY, performed live for over a million people. Concert Dance Company directed by Bala San Francisco Ballet, Texas Ballet Theater, Sarasvati. In addition to her own dance and Twyla Tharp Dance. Jim is currently Amelia Rudolph, Artistic Director, is a and video work, Virginia has performed lighting supervisor at San Francisco choreographer, dancer/athlete, teacher with Rob Esposito, Rebecca Enghauser, Ballet, has been house LD at SF Jazz, and and community leader. Her work is Helen Pickett, Catellier Dance Projects, volunteers for Dancers Responding to informed by natural and built spaces, Hallie Dalsimer, Alison Williams, Simpson/ AIDS and Bike East Bay. human relationships, and by non- Stulberg Collaborations, ALTERNATIVA, traditional relationships with gravity. Scott Wells & Dancers, and is a founding Gideon Freudmann, cellist and prolific She founded BANDALOOP in 1991, member of vîv dance company. composer, has been on the forefront bringing together dance, climbing and of that instrument's modern creative varied off-the-ground movement into Becca Dean is an artist and athlete from expansion for more than 30 years. Gideon site-reactive performances on cliffs, the mountains of Colorado. She received first came to the public's attention as urban structures and in theaters. She is her B.F.A. in modern dance from University one half of Holiday Clocks, a raucous an active and dynamic performer, a co- of Utah and has performed with Flyaway cello, guitar and vocal duo playing leader for Creative Capital's Professional Productions, Kathleen Hermesdorf, Joe original and traditional folk tunes. Development Program, teaches youth in Goode Performance Group and Fog Beast. During the 1990s, Gideon continued Oakland, CA through Destiny Arts Center, Becca's movement is influenced by her developing his repertoire through both and recently served on the board of training in martial arts, modern dance, solo and collaborative work providing Dance/USA. Amelia recently completed the archery and contact improvisation. She live accompaniment to dance troupes, NEA funded re-mount of Crossing, filmed teaches Dance for Parkinson’s at Stanford and many others. Among the many in the Sierra Nevada mountains, which Neuroscience Center and throughout the innovative musical avenues he followed became the short award-winning film Bay Area, and has been a core member was to adopt the electric cello to craft SHIFT. She is currently editing the film of of BANDALOOP since 2015. the sound for which he is most known her next mountain work Coyote Waltz, shot today. Using foot-operated effect pedals, in Yosemite in 2016. Melecio Estrella has been a Bay Area he took his live performances into new performing artist, director and teacher territories of looping, soaring, multi- Amelia holds bachelors and masters for the past 18 years. He is co-artistic layered compositions and improvisations. degrees in comparative religion from director of Fog Beast, assistant artistic Gideon moved to Portland, Oregon in Swarthmore College and the Graduate director of BANDALOOP, and a longtime the mid-2000s where he is a founding Theological Union, Berkeley. Her member of the Joe Goode Performance member of the Portland Cello Project intellectual and artistic sensibilities inform Group. His recent engagements include and the band Caravan Gogh. He has her work inspiring practical, spiritual, making dances on the cliffs of Tianmen also branched into live soundtrack theoretical and political creativity. Her Mountain in the Hunan province of accompaniment to silent films. choreography has explored dance in China, Art and About in Sydney Australia, theaters and on buildings and cliffs The Africa Cup in Gabon, The Barents Ivana Lin (Apprentice) began her all over the U.S. and in 22 countries Spektacle in Kirkenes Norway, and the JFK dance training at the Pacific Northwest around the world. Amelia is continually Centennial at The Kennedy Center. His Ballet School at the age of six. In 2008, challenged and inspired by her choreographies have been commissioned she had the opportunity to perform with experiences in nature, with her dancers by Yerba Buena Center for the Arts, the Alvin Ailey Company during their and with communities that unearth the San Francisco Opera Center and 50th Anniversary tour. Eventually joining and clarify her values, identity and art. numerous universities around the U.S. As the Evergreen City Ballet’s performance Rudolph and BANDALOOP have been a performer Melecio has also appeared division in 2012, Ivana performed roles

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New_encore.indd 6 9/27/17 5:14 PM such as Cinderella in Cinderella. Recently Shuch Performance Group, Rachael OCT graduating from the University of Lincoln, Lisa Townsend, Christy Funsch, 19 Washington with a Bachelor of Arts in Lizz Roman & Dancers, Fog Beast and dance as well as a Bachelor of Science Chris Black. Her award-winning first in physiology, Ivana has performed novel, In Case of Emergency, came out in in multiple UW affiliated productions 2014. She has been a core member of including the Chamber Dance Company BANDALOOP since 2015. Concert. She is excited to be performing with BANDALOOP. Danny Nguyen has been dancing and performing internationally since 2007. Rachael Lincoln is a choreographer, He received a B.A. from the University FACULTY RECITAL Sæunn Thorsteinsdóttir, cello dancer and dance filmmaker whose work of California, Berkeley, in dance and Performing music composed for her has been presented in venues including performance studies. Shortly after by Halldór Smárason, Þuríður Jónsdóttir, Sopiensaele Theater in Berlin, Theater graduating Danny toured with the Páll Ragnar Pálsson, and Melia Watras. 7:30 pm Jones Playhouse Theater Artaud in San Francisco, The Dublin Broadway musical Blast!, performing Fringe Festival, The Bytom Dance Festival in the United States, South Korea and in Poland and The Indonesian Dance Japan. Since then, he has performed Festival. A member of BANDALOOP since works by Katie Faulkner, Joe Goode OCT 1998, she has also worked with The Joe and Fog Beast. When he is not dancing 25 Goode Performance Group, Jo Kreiter Nguyen enjoys being on his bike. Danny Flyaway Productions, Sara Shelton Mann, has been dancing with BANDALOOP Kathleen Hermesdorf and Kim Epifano since 2013. in San Francisco, and with wee dance company, Sommer Ulrickson and Jess Gabriel Prokofiev creates music that Curtis in Berlin. Rachael is the co-director both embraces and challenges western of BANDALOOP’s short film SHIFT shot classical traditions. A London-based in Yosemite in 2015. She is currently an composer, producer, DJ and founder MUSIC OF TODAY Assistant Professor in the Department of of the NONCLASSICAL record label Intercontinental Experimental Dance at the University of Washington and club night, he has emerged at Music Ensemble and continues making work with her the forefront of a new approach to Featuring violist Garth Knox, the Six Tones, the Cuong Vu Trio, and UW faculty Bonnie long-time collaborator Leslie Seiters. classical music in the U.K., recognized Whiting, Richard Karpen, and Juan Pampin. by Financial Times as being “in the 7:30 pm Meany Theater Jessica McKee graduated cum laude vanguard of redefining classical music from the College of Creative Arts at San conventions.” Prokofiev’s distinctive Francisco State University. Her physical sound is informed by his background NOV training includes martial arts, circus arts as a producer of hip-hop, grime and and a multiplicity of dance forms. In electro records, as well as his earlier 3 the Bay Area, she has had the pleasure involvement in electroacoustic music of performing with Cielo Vertical Arts, at York and Birmingham Universities. Paco Gomes & Dancers, Printz Dance Project and Terry Sendgraff. Jessica has Recent works include a poly-stylistic been invited as guest artist to perform “orchestral remix” of Beethoven’s Ninth her own choreography for Bay Area Symphony commissioned by John dance companies and San Francisco Axelrod and the Orchestre National des State University, and she co-directed and Pays de la Loire, France; a 3rd String UW Symphony with choreographed for “Izzy” award nominee Quartet premiered by the Ruysdael Seattle Symphony Horns Zooz Dance Company. Jessica is a core Kwartet at the Wigmore Hall; import/ Performing works by Beethoven, Schumann, and Dvorak. With faculty artist member of BANDALOOP, performing with export/ a percussion suite for Global Jeff Fair and Seattle Symphony colleagues. the company since 2005 and serving as Junk, toured in the U.K. and U.S. by 7:30 pm Meany Theater the company’s resident costume designer. Joby Burgess’s Powerplant; and a book for solo piano recorded by Russian Courtney Moreno has a background virtuoso GéNIA. in modern dance, circus arts, biology, and creative writing. She has performed Latest projects include new music for MORE AT: WWW.MUSIC.WASHINGTON.EDU in works by Flyaway Productions, Erika a ballet production of A Midsummer ArtsUW TICKET OFFICE: 206.543.4880

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New_encore.indd 7 9/27/17 5:14 PM BANDALOOP | About the Artists

Night’s Dream with choreographer Cathy BANDALOOP Staff & Crew Marston for Bern Ballet’s winter season in Play Switzerland, a groundbreaking concerto Founder/Artistic Director for trumpet, percussion, turntables and Amelia Rudolph orchestra premiered by Orchestre de Pau Pays de Béarn in February 2014, a hip-hop Associate Artistic Director brings inspired symphonic work, Dial 1-900 Mix- Melecio Estrella A-Lot, for Seattle Symphony, premiered in June 2014, and a violin concerto, Executive Director/Producer premiered by Daniel Hope, Sascha Goetzel Thomas Cavanagh joy. and Borusan Istanbul Philharmonic at the BBC Proms in July 2014 to great acclaim, Managing Director and then toured by Vladimir Jurowski Amanda Moran It is beneficial for problem with the Svetlanov Symphony in Russia. solving, creativity, and Prokofiev recently premiered a new Company Manager saxophone concerto for Branford Marsalis, Krystal Harfert relationships. That’s why at U.S. commissioned by Naples Philharmonic Bank, we invest in community and Detroit Symphony. Stage Manager

programming that supports Alex Zendzian Roel Seeber started dancing at age 10 ways for children and adults to in New York City, break dancing with the Head Rigger play and create. U.S. Bank has 560 Breakers. After pursuing a career as Derrick Lindsay a downhill skier, he started formal dance invested $6.6 million across training at the University of Utah. From Technical Director the country this year to foster there he transferred to the conservatory Mike Rogers of dance at Purchase College, State creativity, innovation, health University of New York, where he Riggers and relationships through graduated cum laude with a B.F.A. in Melecio J. Estrella, Acacia Houle, dance. In 2001, Seeber joined the Limon Matt Leonard, Mike Rogers programming that provides Dance Company where he danced until access to cultural activities, joining BANDALOOP in March of 2008. Production/Office Assistant funding for arts organizations Additionally, he has studied martial arts, Valerie Mendez flying trapeze and has taught Limon based that enhance the economic dance around the U.S. and in Europe. Special Thanks vitality of the community and Jessica Swanson comes from a Special Thanks to: The entire staff at support for organizations that movement background that includes Meany Hall, UW Dance Department, help kids learn and grow through competitive gymnastics, martial arts, Gabriel Prokofiev, Rika Iino, Jyana Middle Eastern dance and modern Browne, Valerie Mendez, Maude active play. U.S. Bank is proud dance. She received a B.F.A. in dance Wilson, Hayley Scott, Rachael to support Meany Center for performance from SUNY Purchase Lincoln, Ivana Lin and BANDALOOP’s in 1998. In New York, she worked Board of Directors and Anchor Circle the Performing Arts, bringing with Doug Elkins, Doug Varone and Donors. culturally diverse performing arts Dancers, and Faye Driscoll. In the San programming to our region’s kids. Francisco Bay Area Swanson performed The creation of Harboring was with Joe Goode Performance Group, generously funded by the Kenneth Flyaway Productions, Rachael Lincoln, Rainin Foundation and the Fort #CommunityPossible Capacitor and Cielo Vertical Arts. She Mason Foundation. is an independent choreographer whose work has been shown in New BANDALOOP is represented York City, London, Amsterdam and worldwide by Sozo Artists, Inc. the San Francisco Bay Area. She is a video designer, videographer and bandaloop.org | @bandalooping photographer. Jessica has been dancing with BANDALOOP since 2005.

New_encore.indd 8 9/27/17 5:14 PM World Music & Theater Series SEASON SUPPORT HABIB KOITÉ & BAMADA COMES FROM November 4 | 8 p.m.

THE PROGRAM WILL BE ANNOUNCED FROM THE STAGE. THERE WILL BE NO INTERMISSION.

MEDIA PARTNER

Meany Center thanks the following Signature Sponsors for underwriting this evening's program.

Linda and Tom Allen Nancy D. Alvord Katharyn Alvord Gerlich Cristi Benefield Ana Mari Cauce and Susan Joslyn Britt East and Scott VanGerpen Matthew and Christina Krashan Seema Pareek and Gurdeep Pall Blue and Jeff Resnick Eric and Margaret Rothchild Richard Szeliski and Lyn McCoy

Photo: Ferenc Kalmandy

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New_encore.indd 9 9/27/17 5:14 PM HABIB KOITÉ & BAMADA | About the Program

Mali has rich and diverse musical times, Habib plays music that sounds closer traditions. In his words: “I put these two traditions, all of which have many to the blues style he studied under Khalilou words together to symbolize the music of regional variations and styles that are Traoré, a veteran of the legendary Afro- all ethnic groups in Mali. I’m curious about particular to the local cultures. Habib Cuban band Maravillas du Mali. all the music in the world, but I make music Koité is unique because he brings from Mali. In my country, we have so many together different styles, creating The predominant style played by Habib is beautiful rhythms and melodies. Many a new pan-Malian approach that based on the danssa, a popular rhythm from villages and communities have their own reflects his open-minded interest his native city of Keyes. He calls his version kind of music. Usually, Malian musicians in all types of music. He tunes his danssa doso, a Bambara term he coined that play only their own ethnic music, but me, instrument to the pentatonic scale combines the name of the popular rhythm I go everywhere. My job is to take all these and plays on open strings as one with the word for hunter’s music (doso), one traditions and to make something with would on a kamale n'goni. At other of Mali’s most powerful and ancient musical them, to use them in my music.”

LAS MIGAS HABIB KOITÉ & BAMADA Saturday, October 28, 2017 About the Artist 7:30 pm | Tickets $19–$44 Presenting the raw power of vocals, dancing violin lines, sensual choreography, and upbeat rhythms of the guitar, the four women of Las Migas create a fascinating blend of Flamenco and Mediterranean styles of music from Spain. ECA SATURDAY MATINEE JAZZY ASH & THE LEAPING LIZARDS Saturday, November 18, 2017 11:00 am | $10 / $2 Arts for Everyone Bring the whole family on a Crescent ne of Africa’s most popular City inspired, jazzy music adventure. andO recognized musicians, Habib Jazzy Ash’s songs celebrate the magic Koité is a modern troubadour with of movement, with a lot of sugar and extraordinary appeal because Koité‘s sass thrown in, New Orleans-style. musicianship, wit and wisdom translate across cultures. Hailing from the LAS CAFETERAS musically prolific West African nation Friday, April 27, 2018 of Mali, the guitarist and composer 7:30 pm | Tickets $15–$39 has been named the biggest pop Las Cafeteras create a vibrant musical star of the region by Rolling Stone. fusion that the LA Times called a Over the past decade, his artistry “uniquely Angeleno mishmash of punk, and magnetic personality have made hip-hop, beat music, cumbia, and him an international star, delighting rock.” They’ve performed with Mexican audiences the world over, and placing icons Cafe Tacuba, the Los Angeles him firmly among the leading figures Philharmonic Orchestra, and Talib Kweli. in contemporary world music. Bonnie Raitt proclaims, “first there was 10% discount for Seniors 62+ & Military on events presented by ECA! Hendrix, then Stevie Ray, and now Habib.” Koité‘s most recent release, ec4arts.org | 425.275.9595 Soô (which translates to home), looks squarely at his native land, a country 410FOURTHAVENUENORTH torn apart by violence over the last two EDMONDSWA98020 years, at a time when a real feeling of home couldn’t be more vital. A-10 MEANY CENTER FOR THE PERFORMING ARTS

New_encore.indd 10 9/27/17 5:14 PM President’s Piano Series

President's Piano Series NAREH ARGHAMANYAN generously sponsored by ERIC & MARGARET ROTHCHILD November 9 | 7:30 p.m.

SEASON SUPPORT COMES FROM SCRIABIN Sonata No. 3 in F-Sharp Minor, Op. 23 (1872-1915) Drammatico Allegretto Andante Presto con fuoco

HABIB KOITÉ & BAMADA GLINKA Nocturne in F Minor, “La separation” About the Artist (1804-1857)

GLINKA / ARR. BALAKIREV L’alouette (“The Lark”)

BALAKIREV Islamey, Op. 18 (“Oriental Fantasy”) MEDIA PARTNER (1872-1915)

INTERMISSION

Meany Center thanks the following MEDTNER Sonata Reminiscenza in A Minor Signature Sponsors for underwriting (1880-1951) (from “Forgotten Memories,” Op. 38) this evening's program.

Nancy D. Alvord RACHMANINOV Daisies, Op. 38, No. 3 Katharyn Alvord Gerlich (1873-1943) Lilacs, Op. 21, No. 5 Warren and Anne Anderson Linda Armstrong Sven and Melinda Bitners RACHMANINOV/ ARR. WILD Sorrow in springtime, Op. 21, No. 12 Stephen and Sylvia Burges O, cease the singing, Op. 4, No. 4 Ana Mari Cauce and Susan Joslyn Vocalise, Op. 34, No. 14 Heidi Charleson Gail Erickson and Phil Lanum Lynn and Brian Grant Family STRAVINSKY/ ARR. AGOSTI Three Pictures from The Firebird Suite Dr. Martin Greene and Kathleen Wright (1882-1971) Danse infernale du roi Kastchei Richard and Nora Hinton Berceuse Sally Schaake Kincaid Finale Matthew and Christina Krashan Craig Miller and Rebecca Norton Bill and Meg Morgan Seema Pareek and Gurdeep Pall Eric and Margaret Rothchild Don and Toni Rupchock Dave and Marcie Stone

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New_encore.indd 11 9/27/17 5:14 PM NAREH ARGHAMANYAN | About the Artist

irst Prize winner at the 2008 Montréal International Piano Since September 2016, Miss Arghamanyan holds the title Competition,F highly acclaimed pianist Nareh Arghamanyan of artist in residence at the Queen Elisabeth Music Chapel, is one of the great talents of her generation. Having given under the direction of Louis Lortie who she appears debuts with orchestras such as Vienna Symphony, City with at a number of public performances and festivals of Birmingham Symphony Orchestra, Tonhalleorchester throughout the season. Zurich, hr-Sinfonieorchester Frankfurt, NDR Sinfonieorchester Hamburg, Rundfunk-Sinfonieorchester Berlin, Orchestre Nareh Arghamanyan is a regular guest at international Philharmonique de Strasbourg and Orchestre Philharmonique festivals such as the Schleswig-Holstein Musik Festival, de Monte-Carlo, RTÉ Dublin, Hong Kong Sinfonietta, Vancouver Festival de Lanaudière, Marlboro Festival and Singapore and Utah Symphonies, she also regularly performs at prestigious Piano Festival. Conductors she works with include Alain venues such as the Wigmore Hall, Philharmonie Berlin, Altinoglu, John Axelrod, Stefan Blunier, Kevin John Edusei, Laieszhalle Hamburg, Herkulessaal Munich, Konzerthaus Vienna, Howard Griffiths, Carl St Clair, Sir Neville Marriner, Michael Musikverein Vienna, Piano Festival Lucerne, Lincoln Centre New Sanderling, Kazuki Yamada, Xian Zhang, Jean-Marie Zeitouni York, Kimmel Centre Philadelphia and Gardner Museum Boston. and Christoph Poppen.

In August 2017, Nareh Arghamanyan made her Montreal In 2011, she signed an exclusive recording contract with Symphony debut appearing with Kent Nagano in a Pentatone releasing a CD of solo works by Rachmaninov performance of Beethoven’s Choral Fantasy at the orchestra’s and a disc featuring the Liszt concertos, recorded with the Virée Classique Festival. Also in North America, she will Rundfunk-Sinfonieorchester Berlin and Alain Altinoglu. appear in recital in Seattle at the University of Washington Her latest recording includes the piano concerto by and as soloist with the Santa Rosa Symphony, performing Khachaturian as well as Prokofiev’s Third Piano Concerto. Tchaikovsky’s First Piano Concerto. Born in Armenia in 1989, Nareh Arghamanyan studied with Following a highly successful debut at the Goldener Alexander Gurgenov at the Tchaikovsky Music School for Saal of Vienna’s prestigious Musikverein with the Radio- Talented Children in Yerevan and became the youngest Symphonieorchester Vienna, Nareh Arghamanyan gave student to be admitted to the University for Music and her Swedish debut playing Prokofiev’s popular third piano Performing Arts in Vienna, where she studied piano concerto with the Royal Stockholm Philharmonic Orchestra. In with Heinz Medjimorec, and chamber music with Avedis the 2016/17 season she performed with both the Trondheim Kouyoumdjan. She also studied with Arie Vardi in Hannover, Symphony and Krzysztof Urbanski as well as the Helsingborg and in addition to her success at the Montreal International Symphony Orchestras under the baton of Stefan Solyom for Piano Competition, is a laureate of the 2007 Piano Campus their season’s opening concerts. In recital she appeared in International Competition in Pontoise and the 2005 Josef Lucerne, Sacile, Friedrichshafen, Nottingham and Montreal. Dichler Piano Competition in Vienna.

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New_encore.indd 12 9/27/17 5:14 PM NAREH ARGHAMANYAN | About the Program

Sonata No. 3 in F-Sharp Minor, Op. 23 just a cover through which gleams the opera taste through the early years of ALEXANDER SCRIABIN (1872–1915) restless and languishing soul.” the 19th century. Opera was his first love, and sunny Italianate melodies blend with The immensely gifted pianist and Andante: “A sea of feelings, tender and Russian melancholy in Glinka’s music. composer Alexander Scriabin remains sorrowful: love, sorrow, vague desires, a figure of great fascination today. inexplicable thought, illusions of a Rolling chords set in motion the Nocturne His early studies under the Russian delicate dream.” in F minor (1839), soon positing a sad and pianist and pedagogue Vasily Safanov flowing theme that rises in forcefulness in reflect his teacher’s immersion in the Finale, Presto con fuoco: “From the depth the middle section while never abandoning Chopin tradition. Scriabin’s music of being rises the fearsome voice of the prevailing mood. Echoes of early falls into two distinct stylistic periods. creative man whose victorious song Romanticism and even a few “recollections” Not unexpectedly, his early works are resounds triumphantly. But too weak yet of classical phrasing fit nicely into this redolent of Chopin; his later music has to reach the acme he plunges, temporarily wistful piece. an exploratory quality that parallels defeated, into the abyss of non-being.” Arnold Schoenberg’s rejection of traditional tonality. An explosive hammering theme sets in L’alouette (“The Lark”) motion the opening movement, offset by MIKHAIL GLINKA/MILY BALAKIREV Unsympathetic commentators see tender and lyrical phrases that vaguely Scriabin less as an eccentric musical recall Chopin. The assertive main theme A unison theme that opens L’alouette maverick than as an increasingly psychotic and auxiliary motive alternate in a alternates with brief “filler” chords before mystic who rambled incessantly about rhapsodic emotional dialogue between yielding to a gently flowing theme whose the color equivalents of keys, and who them. After this hyper-romantic journey, right-hand melody is gently supported by advocated light shows to be mounted in the movement ends calmly. rising chords in the bass. Recurring rising conjunction with the performance of his and falling scales suggests avian flight, music. Scriabin’s spiritualist departure The brief Allegretto surges in fits and adding sparkle to the rhapsodic music. from mainstream beliefs reflected his starts, again providing bold contrast acceptance of the theosophical occult between it rhythmically insistent opening theories of Madame Blavatsky and such theme and a calm and quietly glittering Islamey, Op. 18 later figures as Edgar Cayce. countertheme. MILY BALAKIREV (1837–1910)

Whatever one’s bias, Scriabin was an The Andante’s “program” noted above Mily Balakirev was a major player in authentic if unconventional creative updates Chopinesque reveries with creating a national style of Russian music voice. In such luminous orchestral hints of early 20th-century harmonic in the second half of the 19th century. He scores as The Poem of Ecstasy, Scriabin exploration. A quiet middle section helped found the Free School of Music in established a special niche for himself, suggests intrapersonal musing. Rapturous 1862, which gave direction and purpose to and his piano music has enjoyed a right-hand embroidery is underpinned by a new generation of composers to focus committed following among a coterie a subtly insistent melodic line. on an authentic Russian school freed from of pianists and avid listeners. the domination of Western conservatory Surging and insistent, the Finale is training. Among those influenced and Several years after completion of the driven onward by dotted rhythms and supported by his advocacy were Borodin, Sonata No. 3 in F-sharp Minor (1897–98), potent chordal harmony. Abundant Rimsky-Korsakov and Tchaikovsky. Scriabin accepted his wife’s interpretation contrary motion reflects both inner of the work as communicating the conflict and hopeful anticipation; in Balakirev’s best-known work remains following “States of the Soul:” the end, it is despair that emerges Islamey, described as an “oriental fantasy.” with pounding finality. It was, in fact, the only piece he wrote Drammatico: “The soul, free and wild, that profited his publishers. The music thrown into the whirlpool of suffering derives from three themes; the first, and strife.” Nocturne in F Minor, “La Separation” known as “Islamey,” was heard by the MIKHAIL GLINKA (1804–1857) composer during a visit to the Caucasus. Allegretto: “Apparent momentary and The rhythmically animated second theme illusory respite; tired from suffering the Glinka is called the “father of Russian follows and darts in and out of the initial soul wants to forget, wants to sing and music” because he was the first composer tune. A slow middle section of lyric flourish, in spite of everything. But the to use Russian melodies and stories impulse introduces the third theme, which light rhythm, the fragrant harmonies are rather than imitating Italianate models Balakirev had heard sung by an Armenian that dominated Russian concert and singer while visiting Tchaikovsky in 1869.

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New_encore.indd 13 9/27/17 5:14 PM NAREH ARGHAMANYAN | About the Program cont.

As the music unfolds, the composer a sequence of roiling scales reprise the opposites. The late pianist Earl Wild alters this theme and invests it with agitated mindset. The introductory opening transcribed a number of them for the considerably greater energy. In creating phrases are recapitulated to end the piece. keyboard, as did the composer himself. so challenging a keyboard piece, Balakirev was strongly influenced by the example of Liszt, who played Islamey Piano Transcriptions of Selected Lieder Three Pictures from The Firebird Suite frequently. This work was generally SERGEI RACHMANINOV (1873–1943) IGOR STRAVINSKY (1882–1971), considered to be the most difficult ARR. GUIDO AGOSTI piano piece in the repertoire until Ravel Though he lived well into the 20th century, composed “Scarbo” from Gaspard de this gifted pianist/conductor/composer Like Picasso, Stravinsky lived a long life la nuit. This was no accident: Ravel carried forward the ripe Romanticism and explored many different musical remarked that he intended to dethrone of Tchaikovsky. During the 1960s, in styles of composition. Early study with Balakirev’s pianistic tone poem as the particular, composers and critics tended Nikolai Rimsky-Korsakov complemented most challenging piece yet written. to dismiss his music because of its direct Stravinsky’s Russian heritage in fostering appeal to a wide audience, but the passage a fascination for the “fantastic.” Many of time has not diminished his popularity. of his works drew their inspiration from Sonata Reminiscenza in A Minor, Rachmaninov had a great penchant for old Russian fairytales, a trait shared by from “Forgotten Memories,” Op. 38 the big-hearted sweeping melodies that his mentor and many other Russian NICOLAI MEDTNER (1880–1951) epitomize late Romanticism, a style most composers. To this day his most popular famously heard in his popular second works are the three early ballets—The Russian-born with Germanic roots, and third piano concertos, Second Firebird, Petrushka and The Rite of Spring. Medtner was both a fine pianist and a Symphony, and the Rhapsody on a Theme These three works, written one after the talented composer. Before enrolling in by Paganini. He made his first visit to the other, reflect the orchestral exoticism the Moscow Conservatory, he studied United States in 1909 to rapturous acclaim. of Rimsky-Korsakov, the evolution of a piano with his mother and uncle. From that time, he visited America yearly. harmonic/rhythmic language inherited Largely self-taught in composition, Rachmaninov died on March 28, 1943, only from Debussy, and eventually, the he nonetheless received instruction few weeks after becoming an American aggressive dissonance of Stravinsky’s from Anton Arensky and Sergei citizen, and five days before his seventieth self-styled “primitivism.” Taneyev. He preferred devoting birthday. In addition to his substantial gifts himself to composition rather than to as a composer and pianist, he was also Stravinsky’s perennial favorite among performance, though most of his music considered a first-rate conductor. ballet and symphonic concertgoers, The is for piano. As with other Russian Firebird gained new life in Guido Agosti’s musicians he fled Russia following Although it is works for piano (with and virtuosic arrangement for solo piano. the Revolution. Among his fellow without orchestra) that are his best-known Agosti was a student of Ferrucio Busoni, expatriates, Rachmaninov and Prokofiev compositions, Rachmaninov worked in one of the early 20th-century’s innovative have enjoyed world-wide acclaim; only many genres. In the United States, his composers and a superb pianist. Stage relatively recently has Medtner’s music roughly six-dozen songs remain largely fright prevented him from seriously found a more cordial reception, despite unknown other than the popular wordless considering a solo career, but his Three the fact that Rachmaninov was Vocalise. Many of these introspective Pictures from The Firebird Suite has a staunch advocate for his music. emotional musings dig deeply into his accorded him his “15 minutes of fame.” depression, artistically sublimated into Cast as a single movement, the Sonata short and touching works of art. To Agosti drew three popular sections from Reminiscenza in A Minor is frequently discount them as mere expressions the 1919 version of The Firebird Suite: characterized as poetic. An aura of of Russian melancholia does them an the dissonant “Danse infernale” (which wistful nostalgia defines the music, injustice. Each of them eschews histrionics, anticipates the primitivist energy of The beginning with the lyrical opening theme limning intimate portraits of feeling states Rite of Spring), the serene lullaby from the that emerges from a series of dropping evoked at times by objects of nature, e.g., “Berceuse,” and the sumptuous “Finale,” two-note figures. As the work gets fully flowers, memories and reflections from a trilogy that embraces Stravinsky’s underway, the music becomes quietly his life. The aforementioned Vocalise— powerful rhythmic élan and lingering assertive, with improvisatory-sounding lyrical and wistful—has profited from wide Romantic lyricism. emotional introspection. The prevailing exposure by virtue of countless rescoring calm is shattered by an outburst of for many different instruments, from solo © 2017 Steven Lowe exuberant drama, though it soon piano to full orchestra, and all manner returns to dreamy ambience before of combinations in between these polar

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New_encore.indd 14 9/27/17 5:14 PM International Chamber Music Series

SEASON SUPPORT JUILLIARD STRING COMES FROM QUARTET November 9 | 7:30 p.m.

Joseph Lin, Violin Ronald Copes, Violin Roger Tapping, Viola Astrid Schween, Cello

MEDIA PARTNER

LUDWIG VAN BEETHOVEN Quartet in A Major, Op. 18, No. 5 (1770 – 1827) Allegro Menuetto Andante cantabile

Allegro Meany Center thanks the following Signature Sponsors for underwriting this evening's program.

JAMES MACMILLAN Quartet No. 2, Why is this night different?(1998) Nancy D. Alvord (b. 1959) Katharyn Alvord Gerlich Warren and Anne Anderson Linda Armstrong INTERMISSION Sven and Melinda Bitners Stephen and Sylvia Burges ANTONÍN DVOŘÁK Quartet in C Major, Op. 61 Helen Curtis Gail Erickson and Phil Lanum (1841 – 1904) Allegro Lynn and Brian Grant Family Poco adagio e molto cantabile Dr. Martin Greene and Kathleen Wright Allegro vivo Ana Mari Cauce and Susan Joslyn Matthew and Christina Krashan Finale. Vivace Cecilia Paul and Harry Reinert Eric and Margaret Rothchild Don and Toni Rupchock Dave and Marcie Stone Richard Szeliski and Lyn McCoy The Juilliard String Quartet is represented by Colbert Artists Management, Inc. Gregory Wallace and Craig Sheppard Mark and Amy Worthington

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New_encore.indd 15 9/27/17 5:14 PM JUILLIARD STRING QUARTET | About the Artists

ith unparalleled artistry and enduring vigor, the The Juilliard String Quartet’s groundbreaking interactive app WJuilliard String Quartet continues to inspire audiences on Schubert’s Death and the Maiden, was released in 2015 around the world with its performances. Founded in by the innovative app developer, Touchpress, jointly with the 1946, and widely known as “the quintessential American Juilliard School. Both the app and the JSQ’s 2014 recording of string quartet,” the Juilliard draws on a deep and vital the Death and the Maiden are available on iTunes. Celebrating engagement with the classics, while embracing the mission one of the great collaborative relationships in American music, of championing new works — a vibrant combination of the Sony Classical’s reissue of the Juilliard Quartet’s landmark familiar and the daring. Each performance of the Juilliard recordings of the first four Elliott Carter String Quartets Quartet is a unique experience, bringing together the four together with the 2013 recording of the Carter Quartet No. members’ profound understanding, total commitment and 5 traces a remarkable period in the evolution of both the unceasing curiosity in sharing the wonders of the string composer and the ensemble. The Quartet’s recordings of the quartet literature. Bartók and Schoenberg Quartets, as well as those of Debussy, Ravel and Beethoven, have won Grammy Awards, and in Having welcomed cellist Astrid Schween and celebrated its 2011 the Quartet became the first classical music ensemble 70th anniversary last season, the Juilliard String Quartet to receive a Lifetime Achievement Award from the National marks the 2017-18 season with highly anticipated return Academy of Recording Arts and Sciences. appearances in Seattle, Santa Barbara, Pasadena, Memphis, Raleigh, Houston, Amsterdam and Copenhagen. The Devoted master teachers, the members of the Juilliard String Quartet continues its acclaimed annual performances in Quartet offer classes and open rehearsals when on tour. Detroit, Philadelphia and at the Ravinia Festival, along with At the Juilliard School, where they are the String Quartet numerous concerts at home in New York City, including in Residence, all are sought-after members of the string appearances at Lincoln Center and Town Hall. The season and chamber music faculty, and annually in May they are kicks off with the release of a new album featuring the world hosts of the 5-day internationally recognized Juilliard String premiere recording of Mario Davidovsky’s Fragments (2016), Quartet Seminar. During the summer, the JSQ works closely together with Beethoven Op. 95 and Bartók No. 1. Highlights on string quartet repertoire with students at the renowned of concert programming throughout the 2017-18 season Tanglewood Music Center. include visionary works by Beethoven, Bartók and Dvořák, as well as James MacMillan’s haunting and evocative Quartet In performance, recordings and incomparable work No. 2, Why is this night different? (1998). educating the major artists and quartets of our time, the Juilliard String Quartet has carried the banner of the United States and the Juilliard School throughout the world.

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New_encore.indd 16 9/27/17 5:14 PM JUILLIARD STRING QUARTET | About the Program

String Quartet No. 5, in A Major, a kinship with the earlier composer’s vary in mood, texture and coloration Op. 18, No. 5 Quartet in A Major, K. 464 (same key as throughout—all enhanced by shifts LUDWIG VAN BEETHOVEN (1770–1827) this work, but not of this movement, which into the minor and sudden moves into is in D Major), which some have argued unexpected chordal harmonies. Beethoven’s 16 string quartets remain was the model for Op. 18, No. 5. Others, the iconic works that have defined the however, have noted a family resemblance Mozart’s spirit is apparent in the chamber music experience for two to Mozart’s profound Divertimento, K. concluding Allegro, a joy-filled and centuries. From the six Op. 18 quartets 563. Whatever the source of Beethoven’s energetic voyage mediated by sheer of his youth, through the dramatic works inspiration, the movement’s sweet, grace and buoyancy. Yet, Beethoven’s of his adventuresome middle years, to unhurried and utterly beguiling theme voice is undeniably present in the the last unparalleled masterpieces of serves as the basis for five variations that development section, which is high his full maturity, Beethoven built upon the great quartets of his immediate predecessors Haydn and Mozart and set a standard of excellence approached but UW Department of Dance never surpassed. As a body of music, Chamber Dance Company Beethoven’s quartets explore and express the vast range of emotion of a composer whose heart beat to the rhythm of our The Body Politic shared humanity. The Op. 18 quartets, composed between 1798 October 12-15, 2017 and 1800, show a mastery of the mature Meany Theatre classical style of Mozart and Haydn with hints of the more assertive style still to Choreography: come in Beethoven’s middle quartets. Isadora Duncan 1922 Helen Tamiris 1932 The opening Allegro is as upbeat and Jane Dudley 1938 bracing as the C minor quartet from the Eve Gentry 1938 collective Op. 18 set is dark and anxious. Lucinda Child 1963 Beethoven balances lovely individual Susan Marshall 1984 lines with strong and brash harmonies. Kate Weare 2008 Again, with an eye of future composition, Crystal Pite 2009 dynamic contrasts abound animated by signature sforzandos that invariably add Tickets: $10-22 power to much of his ensuing music. Brief ArtsUW Tickets silences and forays into the minor add 1313 41st St. further emotional variety. No doubt early artsuw.org listeners and string players would have 206-543-4880 been a bit confused by Beethoven’s unruly More info: dance.uw.edu musical behavior!

Altering typical movement order, the Allegro is followed by a graceful Menuetto, reflective of Mozart’s courtly equivalents. While less assertive than Beethoven’s Photo: Steve Korn Steve Photo: transformative and assertive scherzos, this movement revels in potent silences. The Trio section conjures the world of the rustic dance, which figures prominently through much of his music and including the Ninth Symphony, composed but three years before his death.

The third movement, Andante cantabile, is yet another homage to Mozart, revealing

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New_encore.indd 17 9/27/17 5:14 PM JUILLIARD STRING QUARTET | About the Program cont.

in muscularity and dramatic asides. form a shadow. There is then a slow Brahms, a distinctive Brahmsian The movement also revels in animated intense pulsing on viola and cello over influence is very apparent in Dvořák’s counterpoint, to-and-fro conversational which there are fragmented versions of Seventh Symphony, his Piano Trio, repartee, and ends with a brief, almost both childhood tunes. Op. 65, and elsewhere. peaceful coda. The return of the high cello sweeps In the fall of 1881, Dvořák began work on © 2017 Steven Lowe towards the next section — a fast brutal a quartet commissioned by the famous scherzo. The short violent glissandi which Vienna-centric Hellmesberger Quartet. proliferate are eventually transformed Cast in F Major, the composer dropped Quartet No. 2, Why is this night different? into a high ethereal sheen, gliding through an initial attempt before launching a new JAMES MACMILLAN (B.1959) the natural harmonics. The final slow quartet, now set in C Major. section gathers up fragments of all the Certain concerns prevalent in some of principal ideas, but now much more The opening Allegro reflects Dvořák’s my works of the 1990s, namely a sense tentative and broken. admiration for Beethoven by virtue of of ambiguity between darkness and its dramatic urgency, favoring potent light and the confrontation of extremes, The title is taken from the Jewish rite rhythmic impetus rather than the resurface here in my second string of commemoration on the Seder Night Bohemian’s wonted lyricism, a conscious quartet. In terms of mood there is an which is that before Pesach (Passover) choice to minimize the composer’s Czech attempt to present a sense of celebration begins. Here the family celebrate the flight musical “accent.” (At the time Vienna and within a context of danger and violence. of the Children of Israel from Egypt. The other German-speaking areas disdained Children’s themes appear again as they youngest present asks “Why is this night folk influence from other European areas.) did in my opera Ines de Castro, Cello different from all other nights?” before The movement opens with a flowing Concerto and Symphony: Vigil. However, the father relates the tale of flight and gesture that is propelled by great vigor the themes used here are quotations of liberation from slavery. and forcefulness. Nonetheless, Dvořák and allusions to melodies written by me obviously could not bring himself to fully as a child some thirty years before. The drama of the story, the centrally deny his Bohemian heritage. important figure of the child in the ritual, The music is in one continuous movement the closeness between elation and despair In the ensuing Poco adagio e molto cantabile divided into four main sections. A slow and between joy and fear together he draws upon his aforementioned introduction presents the principal suggested the archetypes which lie behind lyric genius while providing contrasting idea — a chromatically twisting melodic my musical interests. They provided the tension. The first violin’s role, vis à vis the line on violin, accompanied by the first initial spark of inspiration for this piece. lower strings, suggests a concerto soloist childhood theme, plucked and resonated reveling in a gesture of heart-warming lyric on the other instruments. This leads © 1998 James MacMillan utterance. Throughout the movement, the to the first main section which involves emotional range balances implied angst a number of characteristics: a fast sul with comforting serenity. ponticello scurrying in parallel motion, String Quartet No. 11, the childhood theme on high sustained in C Major, Op. 61 The third movement demonstrates harmonics, a variation of the principal ANTONÍN DVOŘÁK (1841–1904) his familiarity with Czech and central theme accompanied by biting semi- European folk music, emphasized by quaver bursts, and the main theme Antonín Dvořák was a composer of two melodies suggestive of a polonaise. transformed into a waltz for viola with many competing, and at times opposing, Stomping figures hint at rustic dance. In strangely tangential comments on influences. Inspired by his slightly older the central trio section, the Bohemian violin and cello. The section culminates countryman, Bedřich Smetana (1824- connection is more overtly expressed than in a longer, meatier passage involving 1884), Dvořák embraced the folk music elsewhere in the Quartet. a combination of disparate elements, of Bohemia and Slovakia, though his led by a muscular melody passing from idiomatic-sounding melodies were his The concluding Rondo marked Vivace gives instrument to instrument. own creations. Early in his career he was a nod to the dance known as a furiant, smitten by Wagner, whose influence which figures prominently in many of The second section is based on a second shows most tellingly in some of the Dvořák’s seemingly unstoppable finales, childhood theme, here remodalised to early symphonies (numbers 3 and 4 in herein framed in classical structures and fit the new context. It is first carried particular). Later, partly because of the tamed by delightful stick-in-the mind and on a high cello with the melodic notes tremendous moral — and ultimately heart tunefulness. resonated on the other instruments to financial — support he received from © 2017 Steven Lowe

A-18 MEANY CENTER FOR THE PERFORMING ARTS

New_encore.indd 18 9/27/17 5:14 PM 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 Office 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 Office Hours: Mon-Fri, 11 A.M. – 6 P.M. theater personnel. parking within walking distance of Meany. Meany Hall Box Office CELL PHONES, CAMERAS & OTHER The Meany Hall Box Office 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 office at [email protected] or 206-543-2010.

EVACUATION In case of fire or other emergency, please 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 five 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 firearms, without special written permission from UW Police, is prohibited on the UW Campus. Find the complete policy at washington.edu.

INFRARED HEARING DEVICES Meany Hall (main stage) is equipped with an infrared hearing system. Headsets are available at no charge. Please speak with an usher. A driver's license or credit card is required as collateral.

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New_encore.indd 19 9/27/17 5:14 PM FRIENDS OF MEANY CENTER Many thanks to the following donors whose generous support make our programs possible:

PRODUCER’S CIRCLE DISTINGUISHED PATRON Jean-Loup and Diane Baer ($25,000+) (between $1,000 and $2,499) Luther Black and Christina Wright William D. Bollig Nancy D. Alvord Anonymous Ross Boozikee Katharyn Alvord Gerlich Joan Affleck-Smith and Nepier Smith Lawrence and Kathleen Brennan Glenn Kawasaki, Ph.D. Stephen Alley and Amy Scott Heida Brenneke Eric and Margaret Rothchild Jeff and Cameron Altaras David and Deborah Buck Jillian Barron and Jonas Simonis Virginia Burdette and Gary Wieder DIRECTOR’S CIRCLE Cynthia and Christopher Bayley Rita Calabro (between $10,000 and $24,999) Tom Bayley Wimsey J. N. Cherrington Mel Belding and Kathy Brostoff Warren and Anne Anderson Timothy Clifford Cathryn Booth-LaForce and W. Kenneth LaForce Linda Armstrong Jill Conner Kalman Brauner and Amy Carlson Sharon Gantz Bloome Suzanne Dewitt and Ari Steinberg William Calvin and Katherine Graubard Sven and Melinda Bitners Jeanne Dryfoos Eric and Susan Carlson Ana Mari Cauce and Susan Joslyn Sally and Jeff Eagan Thomas Clement Lynn and Brian Grant Family Thomas Faber and Laura Townsend Faber Consuelo and Gary Corbett Richard and Nora Hinton Robin and Douglas Ferguson Leonard Costello and Patricia McKenzie Sally Schaake Kincaid Albert Fisk and Judith Harris Richard Cuthbert and Cheryl Redd-Cuthbert Marcella D. McCaffray Gary Fuller and Randy Everett Toby Diamond Chelsey Owen and Robert Harris Sergey Genkin and Nelli Tkach Anita and Jack Dingrani Cecilia Paul and Harry Reinert Genevra Gerhart Susan and Lewis Edelheit William Glassford and Beverley Song Lisa Esztergalyos and Kenneth Schiele Jayme Gustilo SERIES BENEFACTOR Dr. Melvin and Nanette Freeman (between $5,000 and $9,999) Susan and Richard Hall Bill and Ruth Gerberding M. Elizabeth Halloran Linda and Tom Allen William Gleason Steven Haney Stephen and Sylvia Burges Torsten and Daniela Grabs Wolfram and Linda Hansis Manisha and Devindra Chainani Kyra Hokanson Gray Larry Harris and Betty Azar Heidi Charleson Carolyn and Gerald Grinstein Phyllis Hatfield Helen Curtis Arthur and Leah Grossman Stephen and Sarah Hauschka Britt East and Scott VanGerpen Christopher and Amy Gulick Ernest and Elaine Henley Gail Erickson and Phil Lanum Hylton and Lawrence Hard Alan and Judith Hodson Matthew and Christina Krashan Michael Heltsley Tuck Hoo and Tom Lyons Karen Koon and Brad Edwards Timmy Hendrickson Randy and Gwen Houser Bill and Meg Morgan Susan Herring Joan Hsiao and James Bromley Seema Pareek and Gurdeep Pall Peter Hiatt and Ronald Hunden Brian Hulse and Julia Paden Judy Pigott Paul and Alice Hill Melanie Ito and Charles Wilkinson Lois Rathvon Hugues Hoppe and Sashi Raghupathy Marcia Kamin Blue and Jeff Resnick Mary and Michael Hudspeth Deborah Katz Don and Toni Rupchock Michael Hunter Philip and Marcia Killien Joseph Saitta O. David Jackson Leslie Kincaid and Nicholas Lawrence Dave and Marcie Stone Ilga Jansons and Michael Dryfoos Jessica Kravitz Summit Law Group, PLLC H. David Kaplan Frank and JoAnna Lau Richard Szeliski and Lyn McCoy Otis and Beverly Kelly Margaret Levi and Robert Kaplan Thomas and Doris Taylor Randy and Kimberly Kerr Michael Linenberger and Sallie Dacey Gregory Wallace and Craig Sheppard Kelly Kleemeier and Dave Dickson Dennis Lund and Martha Taylor Ellen Wallach and Thomas Darden Susan Knox and Weldon Ihrig Lynda Mapes and Douglas MacDonald George Wilson and Claire McClenny Leander Lauffer and Patricia Oquendo Hans and Kristin Mandt Mark and Amy Worthington Jeffrey Lehman and Katrina Russell Wayne and Kristin Martin Dr. Martin Greene and Kathleen Wright Melodie Martin and Kenneth Dayton Robin L. McCabe Barbara Martyn Ramona Memmer and Lester Goldstein EVENT SPONSOR Tomilynn and Dean McManus John and Gail Mensher (between $2,500 and $4,999) Robin Mendelson and Joss Delage Linda and Peter Milgrom Craig Miller and Rebecca Norton Alan and Mary Morgan Kenneth and Marleen Alhadeff Yoshi and Naomi Minegishi Kevin Murphy and Karen Freeman Randy Apsel Margaret Dora Morrison James and Pamela Murray Cristi Benefield Darcy and Enzo Paschino Erika J. Nesholm Robert and Janitta Carithers Richard and Sally Parks Eugene and Martha Nester Vasiliki Dwyer Alice Portz and Brad Smith Anne Stevens Nolan and William Nolan Davis Fox and Rosemary Coleman Tina and Chip Ragen Amanda Overly Michelle and Matthew Galvin Jeff and Kimberly Seely Mina B. Person Dirk Giseburt and Marilyn Stahl Evelyn Simpson John Rochford and Nick Utzinger Hellmut and Marcy Golde David Skar and Kathleen Lindberg Werner and Joan Samson Elizabeth Hebert Sigmund and Ann Snelson Michael Scupine and Kim Gittere-Abson In memory of Gene Hokanson Carrie Ann Sparlin Edward Sheets and Ronda Skubi Catherine and David Hughes Bob and Robin Stacey Bela and Yolande Siki Yumi Iwasaki and Anoop Gupta Ethel and Bob Story Marcia Sohns and Mark Levy Bernita Jackson Dale Sylvain and Thomas Conlon Clark Sorensen and Susan Way Kurt Kolb Lorraine Toly Patricia Tall-Takacs and Gary Takacs Corrinne Martin and Gary Horsfall Manijeh Vail Mark and Liza Taylor Ladies Musical Club, Inc. Josephus Van Schagen and Marjon Floris Stephen and Ericka Thielke Mary Lindenberger Ernest Vogel and Barbara Billings Kris and Epaminondas Trimis Tom McQuaid, in memory of Bill Gerberding Michelle Witt and Hans Hoffmeister Valeri and Eugenia Vinyar John O’Connell and Joyce Latino David Wang Donald and Gloria Swisher PATRON Joella Werlin Donna and Joshua Taylor (between $500 and $999) Stephen and Debra Wescott Alix Wilber and Andrew Himes Kay and John Allen John V. Worthington Gretchen and Basil Anex Wright Piano Studio Students Anonymous Igor Zverev and Yana Solovyeva

A-20 MEANY CENTER FOR THE PERFORMING ARTS

New_encore.indd 20 9/27/17 5:14 PM GREAT PERFORMER Bayley / Mike and Marie Bender / Robin Bentley / Margaret van Waardenburg / Yvonne and Bruno Vogele (between $250 and $499) Mary Ann Berrie / David Bird /Helen Bodkin /Susan / Edward and Patricia Wagner / Lenore Waldron / Greta and Thomas Bohn / Joyce and David Brewster / Kevin and Joseph Ward / Gail and John Wasberg / Larry and Stuart Allen and Sunny Liu Burnside and Rachel Schopen / Dianne Calkins / Lucy Weinberg / Merle Weiss and Diane Pien / Christine Charles Alpers and Ingrid Peterson Scott and Jayme Canfield / Carol and Henry Cannon Westergaard / Bruce and Christine White / John and Richard Ammerman / Frances Carr / John and Danielle Carr / Robert Margaret Williams / Karin Williams / April and Brian Lauralyn Andrews Catton / Pamela and Robert Center / Pamela Charles Williamson / Phillip and Constance Winberry / Barbara Anonymous / Robert and Patricia Charlson / Curt Clauson / Robert and Grant Winther / Carolyn Wood / Ying Gi Yong / Sharon Armstrong and Molly Cleland / Rita and Richard Cloney / Jayne Evgueni and Tatiana Zabokritski / Shirley Zaic and Eric Robert Bergman Coe / Leslie and Libby Cohen / Richard and Dorothy Johnson / Robert Zauper / Lawrence Zeidman and Linda Barbara Bishop-Sand and James Sand Cole / Jan and Bill Corriston / Scott Craig and Louise Tatta / Maxine Zemko James and Edith Bloomfield Locke / Karen and Philip Craven / Jean Crill / Gavin William Bogardus Cullen and David Jamieson / Judith Cushman and FRIEND Janet Boguch and Kelby Fletcher Robert Quick / Katherine De Bruyn / The de Soto (between $50 and $99) Gene Brenowitz and Karen Domino Family / Janice DeCosmo and David Butterfield / Natalie Brown Barbara DeCoster / Kathleen Dickeman / Theodore Anonymous / Jessica Allen and William Diamond / Julie Paul Brown and Amy Harris Dietz / Ann Dittmar / Susan and David Dolacky / David Anderson / Suzanne and Marvin Anderson / Anton Elizabeth Cantrell Doody and Michael Erickson / Nancy Dorn / Laurie Andrews and Kata Kekedi / John and Genevieve Ashford James and Peggy Champin Ann and C. Bert Dudley / Elizabeth C. Duffell and Brad / Maaike Bakker and Andrew Lewis / Ruth and Mark Daniel and Sandra Ciske Wilke / Dona and Robert Dughi / Margaret Dunn / Balter / Jonas Barklund / Elisabeth Beaber / Thomas Arian Colachis and Ian Glass Ian Einman / Polly and Eric Feigl / Corinne Fligner and Bird / Lisa and Steve Boulanger / Elaine Brighton / Susan Catherine Cole Mark Wener / Brenda Fong / Jacqueline Forbes and Buttram and David Frost / Timothy Callahan and Amy R. Bruce and Mary-Louise Colwell Douglas Bleckner / Susanne and Bruce Foster / Susan Paige / Linda and Peter Capell / Eric Carnell / Phyllis Leroy and Marybeth Dart and Albert Fuchs / Brian Giddens and Steve Rovig / and Alan Caswell / Leroy Chadwick / Sing Chao and Joan Duffell George Gilman / Sara Glerum / J. David Godwin and Daniel Welch / Michael and Gayle Charlesworth / John Pamela Fink and Michael Bevan Virginia Reeves / Anne Good / Charles and Margaret Clarkson and Elizabeth Gilchrist / Fran Clifton / Carol Susan Fischer Gordon / Jennifer and Henry Gordon / Catherine Cole and Andrew Groom / Monica Clare Connors / Anne Emily Fitch Gorman / Gene Graham / Phillip Greenblatt / Nancy and George Counts / Christopher Curry / Diane Darling Gerald Folland and Earl Grout / Dorothy Guth / Emile Haddad and and Darrel Nance / Elizabeth and John Darrah / Laura Stuart Fountain and Tom Highsmith Terryll Bailey / Walter and Willa Halperin / Rebekah and William Downing / Richard Eide / Robert and Ingrid Janet Geier and Peter Seitel Harris / Shuko Hashimoto / Kathryn Heafield and Guy Eisenman / Patricia Emmons and Shmuel El-Ad / Renee Susan and Russell Goedde Sattler / James Heher and Leslie Fields / Lori Hess and Eskenazi and Michael Magee / Timmie Faghin / Giselle Tim Groggel and Annette Strand Benjamin Miller / Janet Hesslein and Murl Sanders / Falkenberg and Rockwell Moulton / Thea Fefer / James Chris Gross David Hewitt and Marcia Wagoner / Peter Hoffmeister Fesalbon and Edward Francis Darr II / Jay Field and Lynn Hagerman and James Hummer and Meghan Barry / Eric and Mary Horvitz / Shwu-Shin Deborah Dwyer / Melanie Field / Judith Gillum Fihn and Kara D. Hefley Hou and David Chow / Roy Hughes / Margaret Hunt Stephan D. Fihn / Susan Carol Fisher / Robert and Elaine Susan Hert and William Levering III / Patricia Hynes / Robert C. Jenkins / Robert Johnson Franza / William Friedman / Anne Futterman / Frances Norman Hollingshead and Heather Erdmann / Larry and Roberta Jordan / Goldman / Thomas and Carol Graham / Jerry and Ellen David B. Johnson Ellen Kaisse and Gary Roberts / Kyle Kinoshita / Divya Hendin / Judith Herrigel / Keri Holmboe / Natarajan Julia Kalmus and John Lillard Krishnana / James and Elaine Klansnic/ Adam Kline Janarthanan and Ponni Rajagopal / Erica and Duane Michael and Nancy Kappelman and Genie Middaugh / Joan Klyn / Glen Kriekenbeck Jonlin / Margot Kadesch / Linda Kent and James Corson / Paul Kassen and Quentin King / Phyllis Lamphere / Rosalie Lang Lee Klastorin and Ralph Walden / Nancy and John George and Mary Kenny / Inge and Leslie Larsen / Rosanne Larsen and Gary Kloster / Joseph and Anne-Marie Knight / Richard and Frederick Klein IV Burdge / Deborah and David Larson / Tammara and Donna Koerker / Margarethe Konzak / Jennifer Kraft and Jean Kincaid and David Koewler Brian Leighton / Peter LeVeque / Meini Li / Warren Chris Pesce / Daniel and Sandra Kraus / Yvonne Lam and Thomas and Rhoda Lawrence Lucas / Ingrid Lynch / Barbara Mack / Daniel Mageau Nathan Schimke / Diane Lasko and Clinton Diener / Carla Arni Hope Litt / Sara Magee / Heinz and Ingeborg Maine / Suresh and David Lawrence / Jo Anne Laz / Kathryn Lew and Barbara Lycett and John Parchem and Anjali Malhotra / John and Katharina Maloof / Dennis Apland / Erika Lim / Larry MacMillan and Billie Jeffrey and Barbara Mandula Constance Mao / Wendy Marlowe / Michael and Nancy Young / David Margolius and Inna Garkavi / William and William and Holly Marklyn Matesky / Donna McCampbell / Wayne McCleskey Judith Matchett / Robert McCroskey / Brian McHenry / Michael Mathieu and Robin Thomas / Mary V. McGuire / Robert and Sharon Metcalf and Randall Smith / Charles and Lynn Jim McDermott Catherine McKee / Michael and Noor McMann / Susan Meyer / Eric Michelman and Patricia Shanley / Marilyn Mary Mikkelsen L. McNabb / Renate McVittie / Christine Meinhold / Milberger / Jocelyn and Michael Miller / James Moore Terry Miller Vera Metz / Michael and Sarajane Milder / Barbara and Kristi Branch / Harold and Susan Mozer / Susan M. Lynn Morgan and James Miller / Sheree Miller and Benjamin Greer / Mulvihill and James Liverman / George and Ellen Naden / Margarete Noe James and Cheri Minorchio / George and Julie Moberly Betty Ngan and Tom Mailhot / Barbara O’Steen and R. James and Tiffany Reed / Reza and Carol Moinpour / Raymond Monnat and Howard Mitchell / Sharon Overman / James Packman Dennis Reichenbach Christine Disteche / David Morris / Anne Morrison / and Andrew Cohen / Michael and Susan Peskura / Jason Reuer Christine Moss / Pamela A. Mullens / Joseph and Kay Sandra Pisatello / Nicole Quinones / William Reed and Bette Round Neal / John Nemanich and Ellendee Pepper / Marianne Nancy Worden / Meryl Retallack / Pacita Roberts / David Janet and John Rusin Nijenhuis / Caroline Normann / Mark Novak and and JoAnne Rudo / William Sandal / Margaret Sandelin / Jennifer Salk and David Ehrich Katrin Pustilnik / Marilyn and Beatrice Nowogroski Stephen and Linda Saunto / Peggy Savlov / Craig Cathy Sarkowsky / Mary Kay O’Neill / Nenita Odesa / Martin Oiye and Schieber / Noah Schooler / Herbert and Elaine Selipsky / Eric Schlegel and Mary Stout Susan Nakagawa / Angela Owens / David Owsiany Robert Simpson Jr. / Hazel Singer and John Griffiths / Mark and Patti Seklemian and Everett Seven / Cathryn Palmer / Elizabeth Park Anne Solomon / Donna Sunkel / Sharon and Michio Maya Sonenberg and John Robinson / William and Frances Parson / Gerald Paulukonis / Tsutsui / Frits van Oppen / Karen Uhrbrock / Kymberly Bonnie Swailes Betty Person / Anna and David Peterson / James and and Jeremy Waltmunson / Amy Wong-Freeman / Carol Swayne and Guy Hollingbury Louise Peterson / Jeanne Peterson / Karen Peterson Becky Woodworth Margaret Taylor and Robert Elliott / Gregory and Margaret Petrie / James Phelps and David and Barbara Thomas Ena Urbach / Sandra Piscitello / Susan Porterfield / This listing includes donors ($50 and above) to Meany Diana and Richard Thompson James and Ruth Raisis / Wendy and Murray Raskind Center for the Performing Arts from July 1, 2016 to June Gayle and Jack Thompson / Yumiko Ray / Stephen and Mary Reardon / Carrie 30, 2017. To change your program listing or correct an Mary Toy Richard / Cynthia Richardson / Carla Rickerson / Paula error, please call us at 206-685-2819. Contributions to Michelle and Stephen Turnovsky Riggert / Chet Robachinski / Norita Robbins / Rachel Meany Center are tax-deductible to the extent allowed Pieter and Tjitske Van der Meulen and David Robert / Sam and Josie Roskin / Gail Sailer by law. To make a gift or for more information on donor Patricia Wahl and Dean Wingfield / Darrell Sanders / Laura Sargent / Robert and Doris benefits, please call 206-685-2819 or visit meanycenter. Osamu Yamamoto Schaefer / Joachim Schneider and Jolene Vrchota / org/donate. Lee and Barbara Yates Charles Schooler / Janet Schweiger / Jean Schweitzer / Noah Scooler / Giles and Sue Shepherd/ Roberta KEY PLAYER Sherman and Charles Meconis / John Sindorf and Mary (between $100 and $249) Ann Bolte / Mani and Karen Soma / Derek Storm and Cynthia Gossett / Pamela Stromberg / Kristin Strout / James Adcock and Anne Otten / Mary Alberg / Kathryn Virginia Sybert and Peter Byers / Brian Taberski / Peter Alexandra and Steven Rubey / Frank and Nola Allen / Tarczy-Hornoch and Candice McCoy / Beth Traxler / Anonymous / Laurence Ashley / Jill Bader / Elizabeth Barbara Trenary / Dorene and Dennis Tully / Gerald Baker / Lisa Baldwin and John Cragoe / Lauret Ballsun Tuttle and Kathleen Gorham / Phyllis Van Orden / Timothy and G. Anthony Barrick / Mary and Douglas encoremediagroup.com/programs A-21

New_encore.indd 21 9/27/17 5:14 PM ENDOWMENT AND PLANNED GIFTS Many thanks to the following individuals for supporting the future of Meany Center through planned gifts and contributions to our endowment:

Planned Gifts Kalman Brauner and Amy Carlson Anonymous Ernest and Elaine Henley* Linda and Tom Allen Julie Kageler Ellsworth and Nancy Alvord Matthew and Christina Krashan* Wimsey J.N. Cherrington J. Pierre and Felice Loebel* Consuelo and Gary Corbett Lee and Judy Talner* Bill and Ruth Gerberding Matthew and Christina Krashan Matt Krashan Endowed Fund for Margaret Dora Morrison Artistic and Educational Excellence Cecilia Paul and Harry Reinert in the Performing Arts Mina B. Person † Carolyn H. Grinstein and Gerald Grinstein Lois Rathvon Matthew and Christina Krashan* Fern Rogow † Dave and Marcie Stone * Endowment Founder Donald and Gloria Swisher † Deceased Lee and Judy Talner Ellen J. Wallach MATCHING CORPORATE GIFTS Arts AL!VE Student Fund for “If I have seen a Exploring the Performing Arts Adobe Systems, Inc. Susan Knox and Weldon Ihrig* ArtsFund little further, it is Renata Tatman and Pablo Schugurensky American Endowment Foundation AT&T Foundation only by standing on Meany Center Programming Endowment Banner Corporation the shoulders of Windsor R. Utley* † The Boeing Company Chevron Corporation Giants." Nancy and Eddie Cooper Endowed Fund City of Seattle — Bernard of Chartres for Music in Schools East West Bank Dave and Marcie C. Stone* First Clearing, LLC Google, Inc. From Haydn to Mozart to Meany Center Endowment Fund IBM Corporation Beethoven to the Beatles, each Phillip B. and Constance J. Winberry Intel Corporation generation owes its progress to The K Foundation the ones that came before. Elaine and Ernest Henley Endowment KUOW for Classical Music Merck Company Foundation Ernest † and Elaine D. Henley* Microsoft Corporation You, too, can be a giant. Nintendo of America, Inc. Catherine and David Hughes Asian The Pride Foundation Consider a gift to the Programming Endowment Puget Sound Energy Meany Center through your will, Catherine and David Hughes* Shell Oil Company trust or retirement plan, and help Yumi Iwasaki and Anoop Gupta State of Washington future generations of artists and T-Mobile USA, Inc. Live Music for World Dance United Way of King County arts lovers see a little further by Series Endowment United Way of Greater Los Angeles standing on your shoulders. Lorraine Toly United Way of Snohomish County Bernita W. Jackson U.S. Bankcorp Contact: Linda and Peter Capell Wells Fargo, LLC Cristi Benefield, Director of Dr. Susan Hert and William R. Levering, III YourCause Cecilia Paul and Harry Reinert* Philanthropy, Meany Center Sergio Ortega-Trujano 206-616-6296 [email protected] Meany Center Education Endowment meanycenter.org/donate

This listing includes endowment founders and endowment donors from July 1, 2016 to June 30, 2017. For more information on how to make a gift through your will or trust, or to name Meany Center for the Performing Arts as a beneficiary of your retirement plan or insurance policy, please call 206-685-1001 or 800-284-3679 or visit www.uwfoundation.org/giftplanning.

A-22 MEANY CENTER FOR THE PERFORMING ARTS

New_encore.indd 22 9/27/17 5:14 PM MEANY CENTER SEASON SPONSORS We are deeply grateful to the following corporations, foundations and government agencies whose generous support make our programs possible:

$100,000 AND ABOVE

The Andrew W. Mellon Foundation

$25,000 AND ABOVE

The Boeing Company / Classical KING FM 98.1* / National Endowment for the Arts / Nesholm Family Foundation Scan Design Foundation

$10,000 - $24,999

4Culture / ArtsFund / Microsoft / Seattle Office of Arts & Culture / U.S. Bank

UP TO $9,999

Banner Bank / East West Bank / KEXP 90.3 FM* / KUOW 94.9 FM* Ladies Musical Club / Peg and Rick Young Foundation / U.S. Bank Western States Arts Federation

BUSINESS CIRCLE SPONSORS

Agua Verde Cafe Catering / Classical Wines from Spain / College Inn Pub / Hotel Deca* / Fran's Chocolates* / Macrina Bakery* Madres Kitchen* / Pagliacci* / North City Bistro* / Theo Chocolate* University Inn* / Watertown Hotel*

CAMPUS + COMMUNITY PARTNERS

Arts Impact / ArtsUW / Burke Museum / Cornish College of the Arts / Department of Near Eastern Languages and Civilization / Henry Art Gallery / Ladies Musical Club / Langston Hughes Performing Arts Institute / Live Music Project / Nordic Heritage Museum / Seattle Art Museum / Seattle Music Partners Seattle Public Schools / Second Inversion / Scan Design / UW Alumni Association / UW American Indian Studies / UW Canadian Studies / UW Dance Department / UW Intellectual House / UW First year programs / UW Graduate School / UW Libraries / UW Residential Life Program / UW School of Drama / UW School of Music / Velocity Dance Center

* Denotes full or partial gift in kind.

Join an impressive roster of companies of all sizes that support Meany Center, its mission, and its performances. Sponsors receive significant recognition throughout the season and an array of benefits catered to your organization's goals. For more information, please contact the Meany Center Philanthropy Department at (206) 221-1287.

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New_encore.indd 23 9/27/17 5:14 PM 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 Benefield, Director of Philanthropy Kendra Stricklin Marie Lazzaro, Annual Giving and Events Manager Lauren Widman Alix Wilber, Grants and Communications Manager Abbey Willman Lauren Zawacki, Philanthropy Assistant Angela Yun

Elizabeth C. Duffell, Director of Artistic Engagement Lead Ushers Kaeline Kine, Artist Engagement Coordinator Eli Gallagher Jyana Browne, Creative Fellowships Coordinator Duncan Greeley Robert Babs, Education and Outreach Associate Natalie Harrington

Teri Mumme, Director of Marketing and Communications Ushers Jill Becker, Assistant Director of Marketing and Communications Reiane Abuda Rob Noland, Graphics Production & Content Coordinator Altaire Anderson Son Bui, Marketing Assistant Francis Bueno Arthur Grossman, Phil Lanum, Bruce Clayton Tom, Photographers Shannon Chen Ana Constantin Tom Burke, Technical Director Esther English Brian Engel, Lighting Supervisor Laura Freeman Juniper Shuey, Stage Manager Susan Hur Matt Stearns, Sound Engineer Laura Keil Doug Meier, Studio Theatre Stage Technician Pearl Lam Raine Myrvold Nancy Hautala, Audience Services Manager C.J. Pier Tom Highsmith, Lead House Manager Yomira Romero Noah Duffy, House Manager Evelyn Seo Sean Luscombe, House Manager Owen Stevens Becky Plant, House Manager Levi Sy Daniel Kaseberg, Assistant House Manager Griffin Withington Nina Tosti, Concessions Manager Dani Slowik, Barista Katelynn Reeson, Concessions Assistant Catering by

ITZHAK PERLMAN IN RECITAL THURSDAY, JANUARY 18, at 7:30 P.M.

Itzhak Perlman has earned his place among the most decorated and beloved classical musicians in the world. Don't miss this rare opportunity to hear this legendary musician perform up close – in the intimate setting of Meany Theater.

A-24 MEANY CENTER FOR THE PERFORMING ARTS

New_encore.indd 24 9/27/17 5:14 PM By Danielle Mohlman

Dialogue

Shaya Lyon and the Live Shara Lyon. Image courtesy of interviewee. Music Project

We sent Encore Stages contributing writer Jonathan Shipley to meet Shaya Lyon, founder and executive director of the Live Music Project. The Live Music Project (LMP) is an organization that connects people with live classical music, strengthening communities, celebrating listener agency, and amplifying local resources. They talked about LMP's successes, classical music today, and what's coming up in the Seattle classical music scene.

What is Live Music Project? double. I was enthralled. As I scoured the able to bridge the information discovery internet for the next performance of the gap for concert-goers. At the core of our work is a Brahms double in New York City, where comprehensive performance calendar I was living at the time, it turned out to What is the state of classical music these that has been described by one concert- be more difficult that I’d expected to find days? goer as “the overture to the concert concert listings based on that particular I think the experience of classical music experience.” Since we launched it piece of music. I moved to Seattle. With is shifting. The industry once thrived in Seattle in 2014, the calendar has knowledge of the vast array of orchestral on subscriptions and is now having a included more than 1,300 ensembles, ensembles that are so special to this more spontaneous approach. It might series, presenters, and individual region, and some time in the technology be difficult for you to imagine, this performers. Later this year we will industry, it struck me that tech might be evening, what will make you feel alive on expand our calendar platform to support communities nationwide.

What else are you excited about in regards to LMP? I’m excited about our Spontaneous Free Tickets program. SFT offers a limited number of free concert tickets to its subscribers: students, families, and the elderly, for whom ticket prices are often cost-prohibitive; traditional classical audiences cautiously curious about hearing newer ensembles or compositions; and others who leverage the program to explore events in unfamiliar neighborhoods or venues. The tickets are donated by classical music organizations. How did you get involved in LMP? I love this question. It takes me back to falling in love with the Brahms double concerto. A few years ago, I came across a video of David Oistrakh and Mstislav Rostropovich performing the Brahms Photo courtesy of Live Music Project.

encoremediagroup.com/programs 7 a given Friday night next April – but you Our building is closed for renovation, but our programs are more open than ever. probably have an idea right now what would make you feel alive and complete today. If the trend is toward scanning a list of upcoming concerts and deciding on a whim which concert space will make us feel what we need to feel right now, I see LMP’s comprehensive listings Break bread with as one way to fill that role. Nathan Myhrvold (10/26). Are you a classical musician? Resist with Marcus Harrison Green and Mark Baumgarten (11/2). When I was nine, a piano appeared in our house. My babysitter taught me the Rollick through the caricature mind first bars of Moonlight Sonata by ear, of New Yorker’s Barry Blitt (11/3). and I’d play it over and over again in the Talk Mad Men to novels with dark of night. I loved that. Matthew Weiner and Maria Semple (11/13). Who are your favorite composers? That’s a trick question, right? Tickets are on sale now. Join us in a neighborhood near you. What are you excited about on the Seattle calendar in the next few months? So much! The Seattle Symphony and Everett Philharmonic are both performing Elgar’s Enigma Varations.

townhallseattle.org Early Music Guild is premiering a work for electric theorbo – sort of a cross between a lute and an electric guitar. Thalia Symphony Orchestra will bring us Vaughan Williams.

What are some ways locals can listen to Live well. contemporary classical music? How to narrow it down – Seattle is At Mirabella Seattle, our goal teeming with new music. The Seattle Modern Orchestra is solely devoted is for you to live better longer. to the music of the 20th and 21st With our premium fitness centuries. The Wayward Music Series and aquatic centers and our at the Good Shepherd Center presents works by living composers frequently. countless wellness classes, Seattle Symphony’s [untitled] series is staying active and engaged has rich with contemporary works. KING FM’s Second Inversion is dedicated to never been easier. contemporary classical music.

Let go of age. Embrace How can someone help LMP? healthy. Retire at Mirabella. We’d love your help. Whether it’s 206-254-1441 submitting your organization’s events to our calendar, hosting an event-a-thon, retirement.org/mirabellaseattle writing code for our new nationwide calendar platform, making a donation, or partnering as a sponsor, community Mirabella Seattle is a Pacific Retirement Services participation makes the world go community and an equal housing opportunity. ‘round. Your readers can learn more at livemusicproject.org.< JONATHAN SHIPLEY

8 ENCORE STAGES Dialogue

A Conversation with Simone Hamilton Simone Hamilton. Courtesy of the interviewee.

Simone Hamilton is the Artistic Engagement Coordinator at Seattle Repertory Theatre. She identifies as a producer and curator of spaces, aiming to bring audiences closer to the art on stage. She’s a Washington native and calls both Seattle and Whidbey Island her home. Encore Stages contributor Danielle Mohlman spoke with her just before tech week for the Public Works production of The Odyssey. In addition to the core cast of professional actors, over 100 performers flooded the stage in this musical adaptation of Homer’s poem – performers from the King County Boys and Girls Club, the Ballard NW Senior Center, the Jubilee Women’s Center, and beyond.

Public Works was an incredible theatrical the entire life of this program – from endeavor that involved the entire workshops to the rehearsal process to community — professional and amateur the final production – is hard earned joy, performers alike. How did Seattle collective imagination, and true equity. Rep decide to get involved with this Together we are all learning and have nationwide theatrical experiment? become more than just an ensemble. We Our initial inspiration for bringing Public are a community that takes care of each Works to Seattle began when our Artistic other just as a family would. It’s exciting Director, Braden Abraham, saw Lear to see how these values permeate people’s deBessonet’s production of A Winter’s Tale lives as we all become more civically at The Public Theatre in 2014. He said it engaged with our communities, even was like seeing the whole city onstage. In outside the walls of the theatre. 2014, Braden and Marya Sea Kaminski, If you could pick any play in the world our Associate Artistic Director, started to transform into a Public Works-style imagining what an incredible experience production, what would you choose and it would be for our stage and our audience why? to produce our own Public Works. Marya hired me in 2016 and together we began If I had to choose from an existing play, building this dream into a reality. Public I’d choose The Lion, the Witch, and the Works became a way for us to examine Wardrobe. The story is a childhood favorite and evolve our processes institution- and the themes within the story around wide and truly collaborate with our collaborative leadership, acceptance, community. That process has inspired us resistance, courage, and community forward and motivated us to keep going. really resonate with me. But realistically, I’d like for us to explore commissioning What was the most exciting part of our own Public Works-style production working on the Public Works production that reflects the stories of the Pacific of The Odyssey? Northwest. I envision a story full of epic adventure, momentous bravery, and Rehearsal photo of The Odyssey at Seattle It’s so hard to just name one! One thing Repertory Theatre. Photo by Kina Ackerman. that has presented itself throughout conscious reflection with characters that

encoremediagroup.com/programs 9 are reflective of us all – including those SUBSCRIBE TODAY! who came before us and those who are here with us today.

What are your hopes for the future of Public Works in Seattle? I hope the future of Public Works Seattle includes sustainable growth and deepened MAR 10–MAY 20 JUL 20–AUG 12 engagement. I hope that as a theatre, Seattle Rep can continue to show up for our community in ways we haven’t before. In the future, I see the values of the program becoming contagious and continuing to reach beyond the confines of APR 20–MAY 13 SEP 7–30 theatre and Seattle. Theatre is a powerful tool for change and we like to think of Public Works as a movement rather than a moment. We are actively making the change we wish to see in our community, our country, and our world by not only JUN 8–JUL 8 OCT 12–NOV 11 identifying, but actualizing our individual and collective truths under these magical and imaginary circumstances.

Are there any musicians, dancers, or theatre artists that you’re especially acttheatre.org | 206.292.7676 | 700 Union St, Seattle, WA excited about this season? Who are you excited to see? I’m really excited about the regional SEATTLE PREMIERE performers that make cameo appearances in The Odyssey and seeing more from all of them this year. We’ve been collaborating with dancers, musicians, vocalists, and visual artists from around the region who offer a wide range of artistic talents – from the high energy Seattle Seahawks The Drumline to the incredibly dynamic dance troupe Purple Lemonade and the drop dead gorgeous drag queen Tipsy Rose Lee. The cameo groups are the crème filling BY DOUGLAS of The Odyssey. This show wouldn’t be NanceCARTER BEANE possible without them. Do you have any plugs? How can folks find more about you and your work? No plugs for myself, but check out Public Works Seattle and our community partners: Centerstone, the Jubilee

THIS PROGRAM IS SUPPORTED IN PART BY A GRANT FROM THE WASHINGTON STATE ARTS COMMISSION. ARTS STATE WASHINGTON THE FROM GRANT A BY PART IN SUPPORTED IS PROGRAM THIS Women’s Center, the Ballard NW Senior Center/Sound Generations, Path with SHOW SPONSORS Art, and the King County Boys and Girls OCTOBER 26 - NOVEMBER 19, 2017 Club.< DANIELLE MOHLMAN 206.938.0339 | ARTSWEST.ORG SEASON SPONSORS 4711 CALIFORNIA AVE SW, SEATTLE, WA 98116

10 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. Book-It Repertory Theatre’s Howl’s Moving Castle: The Musical is based on the beloved animated film directed by Hayao Miyazaki. Which of the following Studio Ghibli films was not directed by him? a) Ponyo b) Spirited Away c) Kiki’s Delivery Service d) Grave of the Fireflies

2. The Government Inspector, a comedy of errors set in a remote Russian town rife with corruption, was written by Nikolai Gogol, supposedly in response to an anecdote told to him by which author? a) Fyodor Dostoyevsky

b) Alexander Pushkin Ukrainian-born Russian author Nikolai Gogol. Painting by Fyodor Antonovich Moller, 1841 c) Anton Chekov d) Leo Tolstoy 4. Italian composer and pianist Ludovico 5. Also in early October, Bandaloop will Einaudi is playing at the Moore Theatre perform at the Meany Center. This in early October. His grandfather was dance troupe combines modern dance the Italian president between 1948 – with aerial acrobatics. Which landmark 3. Arthur Miller’s The Crucibleis now 1955. What was his grandfather’s first have they not yet danced on? playing at ACT Theatre. The play is name? a) The Space Needle based on recorded testimony from the a) Luigi Salem witch trials. In what year did b) Tianmen Mountain in China these occur? b) Luciano c) El Capitan in Yosemite a) 1692 c) Emilio d) Mt. Constitution b) 1688 d) Giulio c) 1701 Bonus Question d) 1674 What was the last arts performance you attended that you liked best and why?

Email your response to [email protected] with Trivia Quiz in the subject line.

Orcas Island, Washington State, Mt. Constitution is the second-highest mountain on an island in the contiguous 48 U.S. States. States. U.S. 48 contiguous the in island an on mountain second-highest the is Constitution Mt. State, Washington Island, Orcas

Massachusetts. 4) A – Luigi. Luigi Einaudi served as the second President of the Italian Republic after the fall of fascism, succeeding Enrico De Nicola. 5) D – Mt. Constitution. Located on on Located Constitution. Mt. – D 5) Nicola. De Enrico succeeding fascism, of fall the after Republic Italian the of President second the as served Einaudi Luigi Luigi. – A 4) Massachusetts.

sustained in a duel to defend the honor of his sister. 3) A – 1692. Between February 1692 and May 1693, a group of people, mostly young women, were accused of witchcraft in Salem Village, Village, Salem in witchcraft of accused were women, young mostly people, of group a 1693, May and 1692 February Between 1692. – A 3) sister. his of honor the defend to duel a in sustained

ANSWERS ANSWERS Pushkin died in 1837 from injuries injuries from 1837 in died Pushkin of Author Pushkin. Alexander – B 2) Takahata. Isao by directed was tragedy moving this 1988, in Released – D 1) Onegin, Fireflies. the of Grave

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