In This Issue

FEBRUARY 2019

IN THIS ISSUE

TANYA TAGAQ February 8

FILIPPO GORINI February 15

MARK MORRIS DANCE GROUP February 21-23 January/February 2019 Volume 15, No. 4

JAN/FEB 2019

Paul Heppner President

Mike Hathaway Contents Senior Vice President Feature Kajsa Puckett 3 Millennial Audiences Vice President, Sales & Marketing Dialogue Genay Genereux Accounting & Office Manager 9 Round Table Discussion Production with the TeenTix Press Susan Peterson Corps Vice President, Production Intermission Brain Transmission Jennifer Sugden Assistant Production Manager 15 Test yourself with our trivia quiz! Ana Alvira, Stevie VanBronkhorst Production Artists and Graphic Designers

Sales Amelia Heppner, Marilyn Kallins, Terri Reed San Francisco/Bay Area Account Executives Encore Stages is an Encore Arts Devin Bannon, Brieanna Hansen, Ann Manning Program that features stories about Seattle Area Account Executives our local arts community alongside information about performances. Carol Yip Encore Arts Programs are publications Sales Coordinator of Encore Media Group. We also publish Marketing specialty publications, including the Shaun Swick Official Seattle Pride Guide and the Senior Designer & Digital Lead SIFF Guide and Catalog. Learn more Ciara Caya at encoremediagroup.com Marketing Coordinator

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Encore Arts Programs and Encore Stages are published monthly by Encore Media Group to serve musical and theatrical events in the Puget Sound and San Francisco Bay Areas. All rights reserved. ©2019 Encore Media Group. Reproduction without written permission is prohibited.

2 ENCORE STAGES Millennial Audiences

Danielle Mohlman (center in blue headband) with a group she arranged to see The Impossibility of Now by Y. York at Thalia’s Umbrella. Courtesy of Danielle Mohlman.

Playwright Danielle When I moved to Seattle in 2015, I national tour that sells out houses didn’t know anyone involved in theatre. almost every night. And I remind these Mohlman reflects on In fact, I didn’t know anyone who even regretful friends of this fact: I can do all a three-year effort enjoyed going to the theatre. So rather the research in the world, but at the end than learn a new city and the seemingly of the day I’m inviting them to take a to bring Millennial infinite number of theatres that came chance on a new play with me. audiences to Seattle with it all by myself, I made a rational choice: I created a group for Millennials I started with an email list of ten theatre and her hopes to experience theatre together. Millennials who wanted to give theatre for the future of this a try. The list has now grown to forty The first outing I planned was to see theatre lovers, including folks who theatre group. Come from Away at Seattle Repertory work in the industry but want to make Theatre in December 2015. Only two friends while seeing new plays. The friends joined me in the audience that group started as a pay-what-you-can night, but it remains the most talked experience, but we’ve moved away from about outing—even three years later. that as folks become more comfortable But here’s the thing: I didn’t know Come spending money on theatre. And while from Away was going to blow up the the original scope was broad—“Let’s way it did. I couldn’t have predicted see some plays!”—we now exclusively a cast album, a Broadway run and a attend plays written by female and

encoremediagroup.com/programs 3 Native Gardens by Karen Zacarias, produced by Intiman Theatre. Native Gardens by Karen Zacarias, produced by Intiman Theatre. Pictured: Sophie Franco (Tania) and Phillip Ray Guevara (Pablo). Pictured: Julie Briskman (Virginia), Gloria Alcalá (Landscape Photo by Naomi Ishisaka. Technician) and Sophie Franco (Tania). Photo by Naomi Ishisaka.

non-binary playwrights, playwrights of which we connected with. It turned we actually got to the theatre, I would color and LGBTQIA+ playwrights. out our favorite show all year was Two say that I was nervously excited. I was Trains Running at Seattle Rep—a play hoping we would have a good time, but that Socha invited me to. you never know.” THE (R)EVOLUTION “You have been a huge influence on me from an arts perspective,” Greg Socha, a Socha was put at ease five minutes into marketing manager in his early 30s told the performance and at intermission me. “My go-to entertainment option “One year ago, we were both beaming. OF STEVE JOBS used to be microwaveable popcorn and Netflix. And it still is. But I’ve realized I wouldn’t have that I love having the theatre as Siddhi R. Ghai, a volunteer festival FEB. 23–MAR. 9 something to look forward to.” even considered coordinator at Tasveer, has been with this group from the beginning. While Over the summer, I talked Socha into going, or at the she was living in India, she’d often subscribing to the 5th Avenue Theatre least would have see one or two plays a month. When I with me. They were running a special learned about Pratidhwani, Seattle’s on preview performances and I, talked myself out only South Asian theatre company, I “TOTALLY USER-FRIENDLY!” knowing what a big fan of musicals he knew that Ghai was going to be a fan. –The Los Angeles Times is, immediately reached out to him. of it but knowing “The few Pratidhwani plays we went to, This innovative and crowd-pleasing portrait of Apple’s visionary co-founder In English with English subtitles. “I was counting down the days until that I had a theatre Queen and A Small History of Amal, Age dazzles with “visually stunning” (ABQ Journal) staging and lyrical, cutting-edge Evenings 7:30 PM Sunday 2:00 PM we saw Come from Away—so worth it,” buddy made me 7, were very interesting for me because music mixing traditional and electronic instrumentation. Compelling, funny, and Socha said to me. “At this point, I’m I got to share a little bit of my culture touching, the unique production “does what opera does best: giving audiences a Featuring the Seattle Opera Chorus and members of Seattle Symphony getting more comfortable with actually with you,” Ghai told me. reach out . . . ” glimpse into the inner life of its title character” (Marin Independent Journal). Orchestra. making arts plans. I’ve even invited you Don’t miss this remarkable example of theatrical imagination. to stuff!” She added that she loved getting all MCCAW HALL “One year ago, I wouldn’t have even the cultural references without having West Coast Premiere! 206.389.7676 It’s true. Last season, Socha went with considered going, or at the least to think about it. When we attended A me to see two shows, The Impossibility would have talked myself out of it but Small History of Amal, Age 7 earlier this SEATTLEOPERA.ORG/STEVEJOBS of Now at Thalia’s Umbrella andPatti knowing that I had a theatre buddy season—a play Ghai invited me to—she 2018/19 Season Sponsor: Lenore M. Hanauer & the Kid at On the Boards, neither of made me reach out,” Socha said. “When grabbed my arm as soon as we walked Production Sponsors: ArtsFund, C.E. Stuart Charitable Trust, Tagney Jones Family Fund at Seattle Foundation Co-commission with Santa Fe Opera and San Francisco Opera, with support from Cal Performances © Ken Howard For Santa Fe Opera, 2017 4 ENCORE STAGES THE (R)EVOLUTION OF STEVE JOBS FEB. 23–MAR. 9

“TOTALLY USER-FRIENDLY!” –The Los Angeles Times

This innovative and crowd-pleasing portrait of Apple’s visionary co-founder In English with English subtitles. dazzles with “visually stunning” (ABQ Journal) staging and lyrical, cutting-edge Evenings 7:30 PM Sunday 2:00 PM music mixing traditional and electronic instrumentation. Compelling, funny, and touching, the unique production “does what opera does best: giving audiences a Featuring the Seattle Opera Chorus and members of Seattle Symphony glimpse into the inner life of its title character” (Marin Independent Journal). Orchestra. Don’t miss this remarkable example of theatrical imagination. MCCAW HALL West Coast Premiere! 206.389.7676 SEATTLEOPERA.ORG/STEVEJOBS

2018/19 Season Sponsor: Lenore M. Hanauer Production Sponsors: ArtsFund, C.E. Stuart Charitable Trust, Tagney Jones Family Fund at Seattle Foundation Co-commission with Santa Fe Opera and San Francisco Opera, with support from Cal Performances © Ken Howard For Santa Fe Opera, 2017 into the theatre. She was having a visceral reaction to the sound design— audio from a train station in Mumbai, the city where she grew up.

When I asked her what it’s been like to see plays in a group setting, with people she may or may not know, her response was overwhelmingly positive.

“Before meeting you, I never had the opportunity to discuss plays with a diverse group or people who I don’t know,” Ghai said to me. “It’s so interesting to get different perspectives because I feel it helps us expand our own cultural horizons.”

Jennifer Voorn, a manager of product management in the healthcare IT The Wolves by Sarah DeLappe, produced by ACT Theatre. Photo by Chris Bennion. sector, has also gotten a lot out of these group outings. She’s part of the theatre group’s origin story and, along with Ghai, attended that first performance of Come from Away with me. In the last “It’s amazing how the same piece of year, she’s come with me to see The Crucible and The Wolves at ACT Theatre, art can impact people so similarly— Native Gardens at Intiman Theatre and or so differently!” The Impossibility of Now. “I have greatly enjoyed meeting new people and hearing their perspective,” Voorn said. “I also enjoy experiencing the different levels of response a group can have to the same piece of art, in terms of what can make someone laugh, cry or be visibly uncomfortable. It’s amazing how the same piece of art can impact people so similarly—or so differently!”

Last season, Voorn took visiting family to see Into the Woods at Village Theatre. And, of course, she took a chance on some last-minute tickets to see Hamilton with her husband at The Paramount.

“We bought last minute tickets on SeatGeek thirty minutes before the show,” Voorn said. “I was so nervous we wouldn’t make it to the venue on time. The Wolves by Sarah DeLappe, produced by ACT Theatre. Photo by Chris Bennion. Once we arrived downtown, the smile

6 ENCORE STAGES on my face was so big. I will always remember that night.” from... POETRY SLAMS to POLICY PANELS Melissa Herrett folded into my theatre DINOSAURS to DRONES group when she moved to Seattle in 2016, but a new dog and a job that NEUROSCIENCE to NATURE requires her to travel has prevented a more consistent theatre habit. CELLOS to CHEMISTRY METEORS to MEDITATION “I do see more shows now but that’s mainly because you invite me,” Herrett ROCKET SCIENCE to ROCKING OUT... told me, adding that she wants to start bringing theatre into date nights with her boyfriend, substituting plays for the standby of dinner and a movie.

Herrett did see Lauren Weedman Doesn’t Live Here Anymore at ACT and The Impossibility of Nowwith the group this year.

“I prefer seeing shows with other people because my favorite part about them REOPENS MARCH 2019 is being able to discuss after the fact,” Herrett said. “It’s nice to go together so TOWNHALLSEATTLE.ORG you all have the experience of seeing the same performance. It would also be interesting to discuss a show that someone saw on a different night or at a different theatre and discuss how things varied from performance to performance.” JAN 27-29 ∙ SIFF FILM CENTER NT Live: The Tragedy Marissa Spiegel, an accountant, also of King Richard II enjoys the group outings. Simon Russell Beale (“King Lear”) plays King Richard II in a visceral “I think it’s really fantastic to go see new production about the limits plays with a variety of people,” Spiegel of power, directed by Joe Hill- said. “I think the people around you can Gibbins (“Little Revolution”). really influence the show—not just the people you know there but the rest of the audience as well.” FEB 10-12 ∙ SIFF FILM CENTER Spiegel attended group outings to see NT Live: I’m Not The Wolves and The Impossibility of Now. For The Wolves, Spiegel stayed with Running me to participate in the post-show David Hare’s latest play, a discussion, which meant a lot to me. fictional and explosive exploration of the Labour Party, stars Siân “My favorite type of experience has Brooke and Alex Hassel. been when there is a group of people that has never seen the show and has FOR TICKETS VISIT SIFF.NET

encoremediagroup.com/programs 7 relatively little context or background But for now, while this is still an knowledge,” Spiegel said. “It’s great endeavor run by a volunteer staff of How to Start Your to see the show with a group that has one, the most important thing I can do Own Arts Group fresh eyes to digest and talk about it is keep planning events. afterwards.” Excited about introducing your I wish I could say that in the last friends to more art? Start your three years, the group has grown own group for art lovers! I have big dreams for the future of this exponentially and that every single group. I average about one theatre event is a rousing success. But that Choose a focus! outing each month, but I’d love to get would be a lie. Sometimes I email my Danielle decided to choose to a point where those outings happen group of forty and the only person who theatre as her group’s focus, on a day that people can count on— responds is my husband. Sometimes but yours could focus on the first Wednesday of the month, for I can’t even get him to come with dance, the symphony or even example. I’d love to create partnerships me. But I keep coming back, I keep museums! Identify folks in your with local restaurants, so audience putting in the work and I keep growing friend group who are curious members can gather for a discounted my network. Because I know these about your passion and you’re drink or appetizer after the show and audience members count on me to take on your way. talk about what they just saw. I’d love to a chance on something new with them. expand my network beyond Millennials And that’s enough to keep me going. ■ I know, encouraging regulars to bring Pick a performance! a friend along each time. And I’d love Danielle Mohlman is a nationally produced Identify a performance that’s theatres across Seattle to work together feminist playwright based in Seattle. Her play interesting to you and check to incentivize a younger audience base, Nexus is among the 2015 Honorable Mentions Goldstar and TodayTix for on The Kilroys list. She is an alumnus of the rather than treating ticket sales like a discounts before you buy. Most inaugural class of Playwrights’ Arena at Arena performing arts organizations competition for resources. Stage and a member of the 2018 Umbrella Project Writers Group. offer discounts for groups of ten or more, so be sure to check in with the box office if your group is large enough.

Make a night of it! Invite your group to get dinner before the performance or gather for a post-show drink. Not only is it a fun way to create community, it’s also the perfect place to download what you’ve just seen or excitedly anticipate what you’re about to see.

Cherdonna Shinatra DITCH Keep it going! The key to a successful On view January 26–April 28, 2019 arts group is to just keep scheduling outings. Not every Also on view: Tschabalala Self and The Rain Doesn’t Know Friends From Foes: Ramin Haerizadeh, Rokni Haerizadeh, Hesam Rahmanian outing has to be a roaring success with fifteen of your friends. Sometimes only one Image: Courtesy of the artist. Design: Greg Newcomb. Photo: Jiji Lee. or two others will be able Cherdonna Shinatra: DITCH is organized by the Frye Art Museum and curated by David Strand, head of exhibitions and publications. Generous support is to attend. That’s okay! Any provided by Vulcan, Inc., the Robert Chinn Foundation, and the Seattle Office of Arts & Culture. opportunity to introduce friends 704 Terry Avenue | fryemuseum.org | Always Free to art is a success in our book.

8 ENCORE STAGES IN THIS ISSUE

Photo: Chris Hardy

Alexander String Quartet with Joyce Yang | May 22

The University of Washington acknowledges the Coast Salish people of this land, the land that touches the shared waters of all tribes and bands within the Suquamish, Tulalip and Muckleshoot nations. Welcome to Meany Center World Music & Theater TANYA TAGAQ SUPPORT COMES FROM Dear Friends: RETRIBUTION Everyone in the theater tonight shares A few years ago, two of our long- a common passion: live performance by time supporters and World Dance the leading artists of our day. In the case subscribers, Cecilia Paul and Harry February 8 | 8 p.m. of the Mark Morris Dance Group, I am Reinhart, started an endowment to happy to say that “live” also extends to support live music for dance. Because of the music performed by the company. their generosity, performances like this Tanya Tagaq Gillis, vocals CAMPUS & COMMUNITY PARTNERS are possible. Meany Center is fortunate Jean Martin, drums, trumpet and samples It isn’t always possible for dance to have friends like Cecilia and Harry. Jesse Zubot, violin and samples companies to bring their own musicians; when they do, however, the effect is I hope you enjoy the performance Christine Duncan, vocals and choir director electric. Live music introduces just a tonight. frisson of the unexpected — a note held a fraction longer or shorter than the time Yours, The Element Choir, directed by Christine Duncan before; a phrase played louder or softer — and it keeps the dancers engaged in ways that recorded music does not. The program will be announced from the stage. There will be no intermission. MEDIA PARTNER Michelle Witt Executive and Artistic Director

ADDITIONAL SUPPORT COMES FROM

Linda & Tom Allen Estate of Ellsworth C. Alvord † Nancy D. Alvord † ADVISORY BOARD Katharyn Alvord Gerlich Randy Apsel Ariel Fund Craig Miller, President Seema Pareek EMERITUS BOARD Ana Mari Cauce & Susan Joslyn Delaney & Justin Dechant Joel Baldwin Darcy Paschino Linda Linford Allen / Linda Armstrong Britt East & Scott VanGerpen Ross Boozikee John Robinson Cynthia Bayley / Thomas Bayley / Cathryn Gail Erickson & Phil Lanum Ira & Courtney Gerlich Luis Fernando Esteban Donald Rupchock Booth-LaForce / JC Cannon / Elizabeth Cooper Lynn & Brian Grant Family Davis B. Fox Marcie Stone Gail Erickson / Ruth Gerberding / Randy Kerr Matthew & Christina Krashan Jeff rey Lehman & Katrina Russell Brian Grant Donald Swisher Susan Knox / Matt Krashan, Emeritus Artistic Craig Miller & Rebecca Norton Chelsey Owen & Robert Harris Aya Hamilton Rick Szeliski Director / Sheila Edwards Lange / Frank Lau Estate of Mina Person † Lois Rathvon / Dick Roth / Eric Rothchild Becky Harris David Vaskevitch Estate of Carmel Hennessy Pope † Jeff Seely / K. Freya Skarin / Rich Stillman Kyra Hokanson Gray Gregory Wallace Joseph Rothberg & Susan Corwin David Stone / Lee Talner / Thomas Taylor Eric & Margaret Rothchild Cathy Hughes Mark Worthington Ellen Wallach Richard Szeliski & Lyn McCoy Yumi Iwasaki Kathleen Wright O. David Jackson Ellsworth C. “Buster” Alvord, In memoriam EX-OFFICIO MEMBERS Dr. Susan Joslyn Betty Balcom, In memoriam Sally Kincaid Ana Mari Cauce, UW President Ernest Henley, In memoriam Kurt Kolb Robert C. Stacey, Dean, College of Arts & Sciences Mina Person, In memoriam Jeff Lehman Catherine Cole, Divisional Dean of the Arts Jerome Sanford, Sr., In memoriam Chelsey Owen

A-2 MEANY CENTER FOR THE PERFORMING ARTS World Music & Theater TANYA TAGAQ SUPPORT COMES FROM RETRIBUTION February 8 | 8 p.m.

Tanya Tagaq Gillis, vocals CAMPUS & COMMUNITY PARTNERS Jean Martin, drums, trumpet and samples Jesse Zubot, violin and samples Christine Duncan, vocals and choir director

The Element Choir, directed by Christine Duncan

The program will be announced from the stage. There will be no intermission. MEDIA PARTNER

ADDITIONAL SUPPORT COMES FROM

Linda & Tom Allen Estate of Ellsworth C. Alvord † Nancy D. Alvord † Katharyn Alvord Gerlich Randy Apsel Ariel Fund Ana Mari Cauce & Susan Joslyn Delaney & Justin Dechant Britt East & Scott VanGerpen Gail Erickson & Phil Lanum Ira & Courtney Gerlich Lynn & Brian Grant Family Matthew & Christina Krashan Jeff rey Lehman & Katrina Russell Craig Miller & Rebecca Norton Chelsey Owen & Robert Harris Estate of Mina Person † Estate of Carmel Hennessy Pope † Joseph Rothberg & Susan Corwin Eric & Margaret Rothchild Richard Szeliski & Lyn McCoy

encoremediagroup.com/programs A-3 MUSIC THAT MOVES BETWEEN WORLDS by Devon Léger

Tanya Tagaq is not a traditional artist. Nor is devours genres, pulling easily from metal, punk, rock, she an experimentalist. She is a trailblazer. An artist electronic, folk and traditional genres in all of her committed to forging a new path each time she work, and quests continuously for new collaborators. creates. She carries her past and her perspective She has worked with everyone from Björk to The with her on these trails, but she pushes herself to Kronos Quartet, bringing her own sensibility to consistently break new ground. Her music bridges each project, refusing to be bound by anyone’s between worlds, from pre-Christian Inuit culture expectations for her work. to cutting-edge creative avant-gardes, but it’s also meant to be a bridge between people. The largely improvisational nature of her music and creation ties her viscerally to each audience, and creates When I started [singing Inuit throat a feedback loop between singer and listener, a turning of sound and spirit that increases in songs], it felt like I was ﬂ ushing out power with each revolution. Her performances are electrifying, drawing out unexpected passions in all the pain. It has taken me 40 years herself and the audience, creating new sounds, new to have a true pride in who I am. rhythms, and pushing her physical body to the limit. This is music as a force of change. Music tied to the — TANYA TAQAG elements. Music that moves between worlds. 2015 interview with The Guardian Tagaq is a wildly inventive polymath, an artist who seems to master any medium in which she creates As a musician, composer, songwriter, vocalist and With such a wide-ranging field of inspiration and throat singer, Tagaq has worked with some of the collaboration, it might seem incongruous that best artists in the world and received accolades Tagaq’s core inspiration continues to be the world of like Canada’s Polaris Prize, awarded in 2014, and Inuit throat singing, but the traditions of Inuit throat numerous Juno Awards, Canada’s Grammys. A noted songs are themselves wildly creative. Usually called artist and painter (she went to school for visual katajjaq, Inuit throat singing is a sung interplay arts), she has also worked in fi lm, with the short that is one part game and one part experiment, fi lm Tungijuk (2009), and with her improvised live a flow of vocables played or performed between soundtrack to the seminal, though problematic fi lm, two women. Largely improvisational, katajjaq Nanook of the North. She has just published her fi rst uses intense vocalizations, cyclical rhythms, and a novel, Split Tooth, which was immediately long-listed kind of circular breathing that allows the singers for Canada’s prestigious Scotiabank Giller Prize. to sing while inhaling and exhaling. Two women Questing for yet another medium, her brilliant turn stand close together, singing almost into each as an audiobook narrator for Split Tooth, mixing other’s mouths. It’s said that in the older styles of prose, poetry and sung vocalizations, is redefi ning katajjaq, one woman would use the other’s mouth what an audiobook can do. In the same way she and head as a resonating body, intimately linking works across artistic mediums, Tagaq relentlessly both bodies. Tagaq discovered these sounds from

A-4 MEANY CENTER FOR THE PERFORMING ARTS cassette tapes her mother sent her when she was taking down a caribou, then into a seal, then into an away at university. Though born and raised in the Inuit woman eating the seal’s flesh after it has been remote community of Cambridge Bay in Nunavut, hunted. Her debut novel, Split Tooth, explores these Tagaq didn’t grow up singing and was looking for themes in depth. It’s one-part fiction and one-part MUSIC THAT an artistic outlet. She taught herself Inuit throat memoir, mixing anecdotes (many deeply unsettling) singing on her own, developing unique techniques of her upbringing in the Arctic with a fantastical to recreate the sounds of two women that she story of a woman’s discovery of her own sexuality heard on those first tapes. She never aimed to and motherhood as seen through vision-laden MOVES BETWEEN create traditional music, but used these sounds mythological interactions with animal spirits and and vocal ideas to explore the range of her voice the northern lights. Like much of Tagaq’s work, it and the scope of her art. She also tapped into the has no small aim: to recreate a new morality based real heart of the tradition, a spark of joy, of life. As on Inuit and far Northern values. This new morality, WORLDS a game, katajjaq is a friendly competition between based on a deep love for our shared humanity and a two women that is won when a mistake, a surprise, reverence for natural life, holds the real message of by Devon Léger or an unusual sound causes the other to dissolve in Tagaq’s music and shows us why she pushes herself laughter. This spirit of invention and laughter and so hard to find the best means to express it. exploration is at the heart of both the tradition and Tagaq’s aesthetic. Inuit throat singing is also deeply feminine, and A lot of cultures acknowledge this ties to Tagaq’s larger vision as well. Her most current album, Retribution, channels fury over the darkness without it being evil, sexual assault and exploitation of women, and ties this violence towards a feminine perspective because through truth and of the planet that we’ve so abused. Her music on acknowledgment people reap the album has been called “wombcore,” and Tagaq herself speaks of the power of the female form, change. as a life-bringer and life-taker. With Indigenous women in Canada (and the United States) far — TANYA TAQAG more at risk for violence or murder than their 2018 interview with The Globe and Mail white counterparts, Tagaq is using her platform to push for equality, and to push for a solution to this plague of violence. Her intensely powerful Devon Léger is a music writer and publicist in Seattle with 2014 performance at the Polaris Prize awards saw a deep interest in Canadian music traditions. He studies her performing in front of an endless scroll of the Acadian fiddling, received an M.A. in Ethnomusicology from names of missing or murdered Indigenous women the UW, and was invited to Nunavik to perform at the Aqpik in Canada over the past thirty years. That the Jam Festival in 2011. takeaway from the evening for most people was her “more” controversial statements against PETA, over the international bans on seal hunting, confounded her. How could we be more focused on the life of a seal, than on the life of a woman?

Life and death live hand-in-hand in the music of Tanya Tagaq. Growing up in a hunter culture, she saw first-hand how Inuit use the land to draw meat and food, nutrients and vitamins — sustenance of a much higher and more nutritious level than the groceries that needed to be flown in and cost exorbitant prices. She’s spoken of the reverence Inuit hunters have for animal life, of how the hunters pour snow into the mouth of a dead seal so that it will have water to drink in the afterlife. In her short film Tungijuk, Tagaq shapeshifts into a wolf

encoremediagroup.com/programs A-5 to look deep inside and question the smoke of illusions the WE ARE modern world has created. Tanya FEB breathes truth and conviction, 26 of PLACE uncompromising and focused. Evolution and tradition walk a fi ne by Si Matta line here in “Indian Country,” but the center of the story is always For 500 years the Indigenous rooted in who we are as a People. experience in the Americas The tools which we use as artists has been altered by a colonial change with a changing world, and mindset. A mindset that has in the words of Trudell, “the drum Frequency: Sonata altered our collective story. A story Violinist Michael Jinsoo Lim, violist Melia has always been the center of the that has changed, and continues Watras and cellist Sæunn Thorsteinsdóttir tribe, a new electronic tribe.” A to change. It seems impossible for examine the venerable sonata form. third identity rises and morphs as 7:30 pm Gerlich Theater (formerly Meany Theater) us Indigenous folks to separate we push the boundaries of what our story from our art. We are it means to be Indigenous, what it a story people. We are of Place. means to be of Place, and what it Tradition and story were created means to make a better world for MAR from this sense of Place. A Place 3 connected to the spirit of all things, and in the last 500 years, our story has changed. From the The whole point is to take fi rst ship of European settlers, we from our native culture and have learned and incorporated a diff erent story. Always listening, from contemporary culture always interpreting anew, and without using one art form in this interpretation we have to mimic the other, so that adapted and morphed with the our native identity remains (Im)migration: crisis of modern living. Tanya the native identity, the Music of Displaced Peoples Tagaq’s music is a prime example Music by Prokoﬁev, Stravinsky, Honegger, contemporary identity remains of this. A third identity. and Rebecca Clarke, with a pre-concert the contemporary identity, lecture by Elena Dubinets, UW Music History. 4 pm Brechemin Auditorium Tanya Tagaq’s art and vision and the mixing of these two tell an immense story. Like musical identities creates a those who came before her, third musical identity. such as John Trudell, she paints MAR the contemporary Indigenous — JOHN TRUDELL 8 landscape with a vision that is Native Artist and Activist personal yet political. Her music and art explores this space of resistance we Indigenous peoples the coming generations. Our have created in opposition to voices must rise above the colonialism and environmental colonial mindset, and create degradation. Her voice is part of peace and wellbeing for a world a collective voice that has risen that is hurting and an Earth that in “Indian Country,” which echoes needs us. And sometimes, to UW Symphony with from the shores of Canada to the get there, we must be brutally Concerto Competition Winners frontlines of Standing Rock. Like honest with how bad it really is; David Alexander Rahbee conducts music by many of her contemporaries — uncompromised storytelling in Strauss and de Falla and performances by A Tribe Called Red, for example winners of the UW Concerto Competition. the age of forgetting. 7:30 pm Gerlich Theater (formerly Meany Theater) — she is expanding the idea of what our drums sound like, Si Matta is an Indigenous activist, and breaking the molds and storyteller, folklorist and artist focused stereotypes of Native American on the animism of place and identity. His music and art. With strong work focuses on the bioregion of his tribal roots of the Pacifi c Northwest. He is of images, she forces the observer MORE AT: WWW.MUSIC.WASHINGTON.EDU Watala / Cowlitz / Sami descent, and much ArtsUW TICKET OFFICE: 206.543.4880 to participate and engage with of his writing and work can be found at the world that she knows, and gatheringthestories.org.

A-6 MEANY CENTER FOR THE PERFORMING ARTS TANYA TAGAQ | About the Artist

Photo provided by artist

anya Tagaq employs artists for over a decade. Tagaq’s is not just about sound, although exquisite, unnerving improvisational approach lends her music is decidedly modern vocal improvisations itself to collaboration across and technically intricate, but that bridge traditional roots genres. Recent projects have about widespread, deep-rooted with contemporary culture. pulled her in vastly diff erent assumptions about contemporary Hailed by Rolling Stone as “one of directions, from contributing indigenous culture. today’s most electric, transfi xing guest vocals to a hardcore punk performers in any genre,” the band from Toronto, to premiering Christine Duncan (choir director, Arctic-born artist was the recipient a composition made for Kronos vocals) is a Canadian artist, of Canada’s prestigious Polaris Quartet’s Fifty for the Future based in Toronto, who has been Music Prize in 2014 for her album collection, to composing a piece performing with Tanya Tagaq since Animism, and was recently named for the Toronto Symphony 2014. She directs the improvising to the Order of Canada, one of Orchestra. Tagaq was also recently Element Choir, which often the country’s highest honors. In asked to contribute a track performs with Tagaq in Toronto. 2016, Tagaq followed up Animism to an Adult Swim compilation with Retribution, an even more album entitled NOISE, alongside musically aggressive, formally luminaries like Merzbow, Wolf Bischofberger Eyes and Pharmakon. adventurous, and more intensely est. 1955 political work that landed on many Violins Tagaq’s music and performances of the year’s “best of” lists, with Professional Fader calling it “one of the most challenge static ideas of genre and stunning records you’ll hear this culture, and contend with themes Repairs year, or maybe ever.” of environmentalism, human Appraisals rights and post-colonial issues. In & Sales While 2014’s Polaris Music Prize interviews, Tagaq has repeatedly stressed the importance of win signaled an awakening to 1314 E. John St. considering her work in the Tagaq’s art and messages, she has Seattle, WA been touring and collaborating context of contemporary — not 206-324-3119 with an elite international circle of traditional — art. This statement www.bviolins.combviolinsltd.com

BV encoremediagroup.com/programs 071811 repair 1_12.pdf A-7 TANYA TAGAQ | About the Artist

MOMIX In addition, Duncan trains a multiple Juno Award-winning improvisational choirs to musician with avant-rock perform with Tagaq in other band Fond of Tigers, Zubot & APRIL 25-27 cities. Duncan is a veteran Dawson and others. In recent vocalist and a musical years, Zubot has become an chameleon, known for using in demand record producer, BUY TICKETS EARLY for her voice as an instrument. She having produced both the this SELL-OUT SHOW has been involved in everything Polaris Music Prize winning from jazz, R&B, gospel, album Animism and the recent Celebrated for performances improvised music and sound acclaimed album Retribution, poetry, to new music, opera by Tanya Tagaq. In the world of astounding inventiveness and musique actuelle. She also of contemporary/commercial and physical beauty, Moses plays the theremin. With Tagaq, music, Zubot has worked with Pendleton and the dancer- and long-time collaborator artists such as Dan Mangan, Jean Martin, Duncan is part of Destroyer, Mira Calix, Hawksley illusionists of MOMIX take the creation team and ongoing Workman, Veda Hille, Stars, audiences into surreal performances of the symphonic Sandro Perri, Frog Eyes, Mother piece, Qiksaaktuq, where she Mother, Amy Millan and others. and fantastic worlds by conducts the orchestral brass in In the world of creative and seamlessly blending illusion, structured improvisation during improvised music, Zubot has the performances. An active work with Steve Reich, Francois magic and whimsy. educator and clinician, Duncan Houle, Peggy Lee, Evan Parker, teaches in the jazz programs at Mats Gustafsson, Matthew the University of Toronto and Bourne, Joe Fonda, Fred Frith, Humber College. Tony Wilson, Eyvind Kang, Nels Cline and others. Zubot Jean Martin (drums, trumpet runs the critically acclaimed and samples) is a drummer, creative music label Drip Audio. multi-instrumentalist, producer For his work in fi lm, he has and a key member in the fi eld been nominated twice for a of creative music in Canada. Canadian Screen Award in the Martin is based in Toronto but “Original Score for Feature Film” his network of collaborators category. He has been touring extends throughout Canada and and recording extensively with internationally. As a performer, Tanya Tagaq since 2006. his principal associations are with Christine Duncan, Barnyard Drama, The Element Choir, Jesse Zubot, Tanya Tagaq, John Southworth, ZMF Trio, Bernard Falaise and Justin Haynes. He has performed and recorded with notable artists such as David Murray, Evan Parker, William Parker, Veryan Weston, Phil Minton and Craig Tayborn, to name a few.

Jesse Zubot (violin) is a unique musician whose practice spans multiple genres and transcends idioms. Known mainly as a violinist, he is also a multi-instrumentalist and incorporates electronic manipulation and studio gadgetry in his work. Zubot is TANYA TAGAQ | About the Artist President’s Piano President's Piano Series generously sponsored by FILIPPO GORINI ERIC & MARGARET ROTHCHILD

February 15 | 7:30 p.m. SEASON SUPPORT COMES FROM

BEETHOVEN Piano Sonata No. 31 in A-fl at Major, Op. 110 (1770–1827) Moderato cantabile, molto espressivo Allegro molto, a scherzo Adagio ma non troppo — Allegro ma non troppo

BARTÓK Piano Sonata BB 88 (Sz. 80) (1881–1945) Allegro moderato MEDIA PARTNER Sostenuto e pesante Allegro molto

INTERMISSION MEANY CENTER THANKS THE FOLLOWING SIGNATURE SPONSORS Anne-Lise and Scott Bean STOCKHAUSEN Klavierstück IX (1928–2007) ADDITIONAL SUPPORT COMES FROM

Estate of Ellsworth C. Alvord † BEETHOVEN Piano Sonata No. 32 in C Minor, Op. 111 Nancy D. Alvord † Katharyn Alvord Gerlich (1770–1827) Maestoso — Allegro con brio ed appassionato Warren & Anne Anderson Arietta — Adagio molto semplice e cantabile Randy Apsel Ariel Fund Sven & Melinda Bitners Stephen & Sylvia Burges Ana Mari Cauce & Susan Joslyn Delaney & Justin Dechant Britt East & Scott VanGerpen Gail Erickson & Phil Lanum Ira & Courtney Gerlich Lynn & Brian Grant Family M. Elizabeth Halloran Sally Schaake Kincaid Matthew & Christina Krashan Jeff rey Lehman & Katrina Russell Hans & Kristin Mandt Craig Miller & Rebecca Norton Bill & Meg Morgan Chelsey Owen & Robert Harris Seema Pareek & Gurdeep Pall Estate of Mina Person † Estate of Carmel Hennessy Pope † Eric & Margaret Rothchild Don & Toni Rupchock David & Marcie Stone Donald & Gloria Swisher Estate of Barbara Weinstein † Keynote Artist Management Garden Studios, 71-75 Shelton Street, London, WC2H 9JQ | www.keynoteartistmanagement.com

encoremediagroup.com/programs A-9 FILIPPO GORINI | About the Artist

Photo: Michael Wilson

talian pianist Filippo Gorini is praised for his “rare intellect, temperament…and vivid in Bonn, fi rst prize at the Neuhaus Competition in imagination.” In 2015, he received both the Moscow and an award at the Young Euro Classics fi rst and audience prizes at the Telekom Beethoven Festival in Berlin. Competition Bonn, for his performances of works by Gorini’s debut disc of The Diabelli Variations, released Schubert, Beethoven, Schönberg and Bartok. in August 2017 on Alpha Classics, has received In summer 2018, Gorini made his debut at Rheingau outstanding reviews including fi ve-star ratings from Festival and Festspiele MecklenburgVorpommern, The Guardian, Le Monde, BBC, as well as a Diapason along with appearances at Muse Salentine in Italy, D’or. His concerts and CD recording have been and Plush Festival in Dorset, UK. Recital highlights broadcast by prestigious radio stations in Europe, include performances at the Vancouver Recital Series such as RadioClassica in Italy, Deutsche Welle in Canada, Amici Della Musica in Florence, Società and NDR in Germany, RTÉ Lyric FM in Ireland and dei Concerti in Trieste, Edesche Concertzaal, Munich Radio2 in Poland. He has performed with orchestras Herkulessaal, Slovak Philharmonic, Arts et Lettres in such as Klassiches Philharmonisches Orchester Vevey and Tonhalle Zürich. and Beethoven Orchester of Bonn, Westdeutsche Sinfonia, Haydn Orchester Bozen, Liechtenstein Gorini’s recent concert appearances in Europe have Symphony Orchestra, National Slovak Philharmonic, drawn unanimous acclaim on prestigious stages such Gyeonggi Philharmonic, with conductors Daejin Kim, as the Konzerthaus Berlin, Elbphilharmonie Hamburg, Min Chung, Heribert Beissel, and many more. Leipzig Gewandhaus, Laeiszhalle Hamburg, Die Glocke Bremen, Great Hall of the Moscow Conservatory, After graduating with honors from the Donizetti Beethovenhaus Bonn and Sale Apollinee at Teatro Conservatory in Bergamo, and completing a La Fenice. In May 2018, Gorini received recognition Postgraduate Course at the Mozarteum University in for the “Una vita per la musica — Giovani,” annually Salzburg, Gorini has continued his studies with Maria awarded by La Fenice in Venice. Previous awards and Grazia Bellocchio and Pavel Gililov, and is mentored competition success includes the 2017 Beethoven- by Alfred Brendel. Ring prize from the Citizens for Beethoven Association

A-10 MEANY CENTER FOR THE PERFORMING ARTS FILIPPO GORINI | About the Program

The last compositions by Ludwig in the bass. In the recapitulation, exactly the middle of the sonata. van Beethoven have established an unexpected modulation to the The arioso seems to lead to a silent, themselves as masterpieces and key of E major off ers a moment of irreparable end in the very low have enjoyed the appreciation unexpected, ethereal beauty. The register of the instrument, but from of musicians and music lovers conclusion comes peacefully after these ashes, a fugue on a theme of alike. Being used to this music, returning for the last time to the ascending fourths, closely related however, may obscure its opening phrase, and with a brief to the opening of the sonata, is unique sense of urgency and its cadence in the last bars. born. Uplifting and soulful, it slowly radical departure from musical builds in intensity and triumph, but conventions of the time, as our The second movement, allegro ultimately precipitates again into ears become accustomed to their molto, a scherzo, exhibits stark a second arioso, marked perdendo use of harmony and rhythm. When contrast to the fi rst, with sudden le forze (“strength waning”), even performed together with works changes in dynamics and extremely more desperate than the fi rst, and of the 20th Century, their most concise phrases instead of long appears to be sung through sobs. modern aspects are more easily lines. It resumes directly from It is followed by an inversion of grasped, and their nature appears the same note on which the fi rst the previous fugue marked poi a again untamed, despite the rich was concluded. Beethoven shows poi di nuovo vivente (“little by little interpretative tradition that already his humorous side in the use of again living”), with augmentations exists. musical material from two folk and diminutions of the subject, songs in the main theme: Unsa kätz displaying Beethoven’s mastery Piano Sonata No. 31 in häd kaz’ln g’habt (“Our cat has had in this diffi cult compositional A-ﬂ at Major, Op. 110 (1822) kittens”) and Ich bin lüderlich, du technique. This ultimately leads LUDWIG VAN BEETHOVEN bist lüderlich (“I am a slob, you are to a glorious ending, with the a slob”). The rhythms are jagged original fugue theme surround by Composed between 1820 and 1822, and syncopated. The trio, in D-fl at sonorous fast notes reaching a this sonata is in three movements. major, presents wide leaps and fi nal, triumphal chord. The fi rst movement, Moderato descending eight-note fi gures with cantabile, molto espressivo (“at a sharp dynamics, then leads into Piano Sonata BB 88 (Sz. 80) (1926) moderate speed, singing, and a reprise of the scherzo ending, BÉLA BARTÓK very expressive”) is in a compact after some sforzato chords, in classical sonata form of Apollonian the unexpected key of F major, A sonata in three compact nature. The elegance and simplicity leaving a feeling of irresolution. movements, exhibiting classical of form highlight to the fullest The movement feels unbalanced, forms despite the modernistic the beauty of the themes, which especially in opposition to the fi rst. musical language, it is still tonal are among the most natural and but extremely dissonant. Folk eff ortless-sounding Beethoven The third movement is the heart material permeates the whole achieved. The key of A-fl at major, of the sonata. It has a complex composition, both in the rhythmical extremely warm, is reinforced in its and narrative structure divided fi rst movement (Allegro moderato), character by the indication amabile into six sections. After a recitative the processional, almost psalmodic (“amiable”), a sentiment that introduction, where Beethoven Sostenuto e pesante, and the permeates the whole movement. seems to seek the key and material danceful Allegro molto. The piano is for the adagio as a poet would seek used as a percussion instrument, Despite the apparent simplicity, it is his words — exploring diff erent with clusters and dissonant diffi cult in analysis to identify with keys and harmonies with extreme chords in the diff erent registers precision two themes that would freedom — we have a doleful, highlighting the irregular rhythms be expected in a sonata form, speaking arioso. The descending typical of Central European folk but rather we hear two distinct lamentation, full of plight, is in music. In this program, it comes groups of themes, separated by the obscure key of A-fl at minor, as a sharp contrast to the general graceful arpeggio fi gures. The supported by repeated and regular lyrical character of Beethoven’s fi rst group opens tentatively, chords in the left hand. Built out of Op. 110, while at the same time and after a trill on a suspended extremely long and tense phrases, maintaining the use of folk dominant chord, the rest of the it is a pinnacle of expressivity, and material, and of the opposition of movement unfolds with a sense extremely moving. registers (the high and low registers of natural consequence of ideas. of the instrument used without Due to the length of the third The development is simple, with the connecting central region), and movement (by itself longer just the opening phrase of music further evolution in the sharpness than the fi rst two together), the restated in diff erent keys on an of rhythms. They also pair well underlying sixteenth-note fi guration introduction and arioso come at

encoremediagroup.com/programs A-11 FILIPPO GORINI | About the Program together due to tonal correlations extremely slow, irregular, chromatic The second movement, Arietta — between their keys, with Bartók ascending scale, hieratic and still. Adagio molto semplice e cantabile beginning the sonata on a G-sharp The two ideas are intertwined more (“Slowly, very simple, and songlike”) that was the bass for the fi nal chord and more, in a general acceleration is one of the deepest testaments in Beethoven. of the density of musical events, of Beethoven’s music. In its until they lead into the fi nal pages, essence, it is a set of variations on Klavierstück IX (1962) with irregular, improvisatory a theme that slowly accelerates the KARLHEINZ STOCKHAUSEN fi gurations leading again to silence. subdivision of beats in each bar, The soundscape created is certainly transforming the theme almost Conceived in the years when inhospitable and uneasy, at times past the point of recognition, composition was at its most dramatic or suspended. There and ultimately leading to a silent, abstract and theoretical, this piece are many aspects in common peaceful ending. The modern is constructed through extremely with Beethoven’s Op. 111, from rhythms in the variations, especially restrictive mathematical rules the terrifying beginning (that the “boogie-woogie” one, and the deriving from the ancient, but to Beethoven’s contemporaries long chain of trills, make for a always modern, art of counterpoint, must have sounded as violent as unique soundscape that only exists the staple of Germanic music Stockhausen’s did to us), to the in this work, with an uncanny sense in every age. Serial techniques use of unresolved dissonance, of of architecture that knows where and mathematically determined opposite characters juxtaposed, rules can be stretched. It is a soulful proportions (following the Fibonacci and fi nally the ending in silence. song of relief, of joy, of peace series) give this work a palpable found after the pain in the fi rst architectural coherence. The Piano Sonata No. 32 in C Minor, movement. beginning, alienating, repeats 142 Op. 111 (1822) This seems to be the most times over a long diminuendo, LUDWIG VAN BEETHOVEN an extremely dissonant chord recurring theme in Beethoven’s late composed of two tri-tones. It is As with Op. 110, this sonata was production: the ability to express followed by a contrasting idea: an also completed in 1822, and is harsher, cruder content than the monumental conclusion to ever before in music, but also the Beethoven’s sonata writing, which certainty of fi nding from there a revolutionized the genre and the path to redemption, to tenderness, whole conception of the piano as to peace as the ultimate mystical an instrument. Uncommonly, it is in glory, and it is in this sonata two sole movements, in complete that this fi nds its most perfect contrast with each other: one is in a expression. It is therefore fi tting minor key, the other major; one is that Beethoven here concluded his in sonata form with fugal elements, legacy of sonatas, reaching perhaps SEATTLE BAROQUE ORCHESTRA the other in variation form; one is the highest point ever in this genre. in binary tempo, the other ternary; & WHIM W’HIM © Filippo Gorini one Dyonisiac, the other Apollonian; Pergolesi’s Stabat Mater one faster and dramatic, the other SAT. 23 FEB. 2019 | 7:30 PM slow and peaceful. Shorecrest Performing Arts Center The fi rst movement, Maestoso — SUN. 24 FEB. 2019 | 2:30 PM Allegro con brio ed appassionato, Shorecrest Performing Arts Center is in sonata form. A terrifying introduction, with diminished seventh leaps in octaves, and unresolved dissonant harmonies, followed by a long state of suspension, leads into the main movement. Brisk, full of abrupt changes in dynamics, character and tempo, and rich in fugal passages with sixteenth-note runs, this 909 NE 43rd Street #206 stormy fi rst movement’s coda ends Seattle, WA 98105 ultimately in C major, preparing the 206.325.7066 | earlymusicseattle.org quiet entry of the Arietta.

A-12 MEANY CENTER FOR THE PERFORMING ARTS World Dance World Dance Series generously sponsored by MARK MORRIS GLENN KAWASAKI DANCE GROUP & MUSIC ENSEMBLE SEASON SUPPORT COMES FROM February 21–23 | 8 p.m.

MMDG MUSIC ENSEMBLE ADDITIONAL SUPPORT COMES FROM Ramón Carrero-Martínez | Colin Fowler | Wolfram Koessel Linda & Tom Allen Sean Ritenauer | Kris Saebo | Georgy Valtchev Estate of Ellsworth C. Alvord † Nancy D. Alvord † Katharyn Alvord Gerlich Randy Apsel Ariel Fund Artistic Director Mark Morris Stephen & Sylvia Burges Executive Director Nancy Umanoff William Calvin & Katherine Graubard Ana Mari Cauce & Susan Joslyn Delaney & Justin Dechant Britt East & Scott VanGerpen Gail Erickson & Phil Lanum Ira & Courtney Gerlich Major support for the Mark Morris Dance Group is provided by American Express, Anonymous, Lynn & Brian Grant Family M. Elizabeth Halloran Beyer Blinder Belle Architects & Planners, LLP, Frederick and Morley Bland, Booth Ferris Glenn Kawasaki, Ph.D. Foundation, Allan S. and Rhea K. Buff erd, Suzy Kellems Dominik, Doris Duke Charitable Matthew & Christina Krashan Foundation, Judith R. and Alan H. Fishman, Shelby and Frederick Gans, Isaac Mizrahi and Jeff rey Lehman & Katrina Russell Arnold Germer, Howard Gilman Foundation, Hearst Foundations, Sandy Hill, Elizabeth Amy Craig Miller & Rebecca Norton Chelsey Owen & Robert Harris Liebman, The Pierre and Tana Matisse Foundation, Suzanne Berman and Timothy J. McClimon, Estate of Mina Person † McDermott, Will & Emery, The Andrew W. Mellon Foundation, Meyer Sound/Helen and John Estate of Carmel Hennessy Pope † Meyer, Stavros Niarchos Foundation, Ellen and Arnold Off ner, Sarabeth Berman and Evan Lois Rathvon Osnos, PARC Foundation, Poss Family Foundation, Diane E. Solway and David Resnicow, Estate of Fern Rogow † Eric & Margaret Rothchild Resnicow + Associates, Margaret Conklin and David Sabel, The Fan Fox and Leslie R. Samuels Joseph Saitta Foundation, Iris Cohen and Mark Selinger, The SHS Foundation, The Shubert Foundation, Jane Richard Szeliski & Lyn McCoy and R.L. Stine, The White Cedar Fund, and Friends of MMDG. Ellen Wallach & Thomas Darden

The Mark Morris Dance Group is supported in part by public funds from the New York City Department of Cultural Aff airs in partnership with the City Council, Mayor Bill de Blasio, Brooklyn Borough President Eric L. Adams, Council Member Helen Rosenthal, the New York City Department for the Aging, the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, and the National Endowment for the Arts.

encoremediagroup.com/programs A-13 MARK MORRIS DANCE GROUP | Program

DANCING HONEYMOON

Music: “Limehouse Blues,” “You Were Meant for Me,” “Do Do Do,” “Someone to Watch Over Me,” “A Cup of Coff ee, A Sandwich, and You,” “Wild Thyme,” “Experiment,” “Dancing Honeymoon,” “And Her Mother Came Too,” “Fancy Our Meeting,” “Who,” “Two Little Bluebirds,” “Goodnight, Vienna,” “It’s Not You,” “There’s Always Tomorrow”

Transcribed and arranged by Ethan Iverson, from historical recordings of Gertrude Lawrence and Jack Buchanan

Mark Morris, vocals Colin Fowler, piano Sean Ritenauer, percussion Georgy Valtchev, violin

Dancers: Sam Black, Lesley Garrison, Lauren Grant, Aaron Loux, Laurel Lynch, Dallas McMurray, Noah Vinson

Costume Design: Elizabeth Kurtzman

Lighting Design: Michael Chybowski

Premiere: September 22, 1998 — University of Washington World Series, Meany Hall, Seattle, Washington

This dance was created under the auspices of the Mark Morris Dance Group New Works Fund, sponsored by Philip Morris Companies Inc.

NUMERATOR

Music: Lou Harrison — Varied Trio for violin, piano, and percussion Gending Bowl Bells Elegy Rondeau, in honor of Fragonard Dance

Colin Fowler, piano Georgy Valtchev, violin Sean Ritenauer, percussion

Dancers: Sam Black, Domingo Estrada, Jr., Aaron Loux, Dallas McMurray, Brandon Randolph, Noah Vinson

Costume Design: Elizabeth Kurtzman

Lighting Design: Nick Kolin

Premiere: June 26, 2017 — Tanglewood Music Center, Seiji Ozawa Hall, Lenox, Massachusetts

Music by arrangement with Frog Peak, publisher.

A-14 MEANY CENTER FOR THE PERFORMING ARTS INTERMISSION

THE TROUT

Music: Franz Schubert — Quintet in A major [Trout Quintet], Op. post. 114 D 667

Georgy Valtchev, violin Ramón Carrero-Martínez, viola Wolfram Koessel, cello Kris Saebo, double bass Colin Fowler, piano

Dancers: Mica Bernas, Domingo Estrada, Jr., Lesley Garrison, Aaron Loux, Laurel Lynch, Dallas McMurray, Brandon Randolph, Nicole Sabella, Christina Sahaida, Billy Smith, Noah Vinson

Costume Design: Maile Okamura

Lighting Design: Nick Kolin

Premiere: August 9, 2018 — Mostly Mozart Festival, New York, New York

encoremediagroup.com/programs A-15 MARK MORRIS DANCE GROUP | About the Artist

Photo: Christopher Duggan

ark Morris was born Noted for his musicality, Morris has Protégé Arts Initiative. Morris has on August 29, 1956, been described as “undeviating in his received the Samuel H. Scripps/ in Seattle, where he devotion to music” (The New Yorker). American Dance Festival Award for studied with Verla Flowers and He began conducting performances Lifetime Achievement, the Leonard Perry Brunson. In the early years for MMDG in 2006 and has since Bernstein Lifetime Achievement of his career, he performed with conducted at Tanglewood Music Award for the Elevation of Music the companies of Lar Lubovitch, Center, Lincoln Center and BAM in Society, the Benjamin Franklin Hannah Kahn, Laura Dean, Eliot (Brooklyn Academy of Music). He Laureate Prize for Creativity, Feld and the Koleda Balkan served as Music Director for the the International Society for the Dance Ensemble. He formed 2013 Ojai Music Festival. Performing Arts’ Distinguished Artist the Mark Morris Dance Group Award, Cal Performances Award of (MMDG) in 1980, and has since He also works extensively in opera, Distinction in the Performing Arts, created over 150 works for the directing and choreographing the Orchestra of St. Luke’s Gift of company. From 1988 to 1991, productions for the Metropolitan Music Award and the 2016 Doris he was Director of Dance at Opera, New York City Opera, English Duke Artist Award. Brussels’ Théâtre Royal de la National Opera and The Royal Monnaie, the national opera Opera, Covent Garden, among In 2015, Mark Morris was inducted house of Belgium. In 1990, he others. He was named a Fellow into the Mr. and Mrs. Cornelius founded the White Oak Dance of the MacArthur Foundation in Vanderbilt Whitney Hall of Fame at Project with Mikhail Baryshnikov. 1991 and has received eleven the National Museum of Dance in Much in demand as a ballet honorary doctorates to date. He Saratoga Springs, New York. Morris choreographer, Morris has has taught at the University of opened the Mark Morris Dance created 22 ballets since 1986 and Washington, Princeton University Center in Brooklyn, New York, in his work has been performed by and Tanglewood Music Center. 2001 to provide a home for his companies worldwide, including He is a member of the American company, subsidized rental space for San Francisco Ballet, American Academy of Arts and Sciences and local artists, outreach programs for Ballet Theatre, Ballet du Grand the American Philosophical Society, children and seniors, and a school Théâtre de Genève and the Royal and has served as an Advisory Board off ering dance classes to students New Zealand Ballet. Member for the Rolex Mentor and of all ages and abilities.

A-16 MEANY CENTER FOR THE PERFORMING ARTS The Mark Morris Dance Group and opera companies, including Pakledinaz and Isaac Mizrahi, was formed in 1980 and gave its the Metropolitan Opera, English and many others. first performance that year in New National Opera and the London York City. The company’s touring Symphony Orchestra. MMDG’s film and television schedule steadily expanded to projects include Dido and Aeneas, include cities in the United States MMDG frequently works with The Hard Nut, Falling Down Stairs, and around the world. In 1986, it distinguished artists and designers, two documentaries for the U.K.’s made its first national television including painters Robert Bordo South Bank Show and PBS’s Live program for the PBS series Dance and the late Howard Hodgkin, set from Lincoln Center. In 2015 in America. In 1988, MMDG was designers Adrianne Lobel and Allen Morris’ signature work L’Allegro, invited to become the national Moyer, costume designers Martin il Penseroso ed il Moderato had its dance company of Belgium, and spent three years in residence at the Théâtre Royal de la Monnaie in Brussels. The Dance Group NAI-NI CHEN DANCE returned to the United States in COMPANY & AHN TRIO, 1991 as one of the world’s leading “A QUEST FOR FREEDOM” dance companies. Saturday, February 23 | 7:30 pm | $34–$59 Inspired by the personal stories of Nai-Ni Chen, Based in Brooklyn, New York, a Taiwanese choreographer-dancer who MMDG maintains strong ties to emigrated to America, and the Ahn Trio, presenters in several cities around three sisters born in Seoul, Korea, who moved to New York, this captivating multi-cultural the world, most notably to its West production examines leaving one’s home, Coast home, Cal Performances family and friends to embrace new dreams in Berkeley, California, and its and freedom. Midwest home, the Krannert Pre-Show Artist Talk: 6:00–6:40 pm (FREE) Center for the Performing Arts at the University of Illinois at Urbana- MARIACHI SOL Champaign. MMDG also appears de MÉXICO regularly in New York, Boston, Seattle and Fairfax. de JÓSE HERNÀNDEZ Saturday, March 2 | 7:30 pm | $24–$59

Mariachi Sol de México is one of the most In New York, the company has prolific recording Mariachi groups in the performed at New York City world. Their show-stopping performance Center’s Fall for Dance Festival, is led by Maestro Jóse Hernàndez, who is regularly performs at Lincoln Center responsible for taking Mariachi music to for the Performing Arts’ Mostly unprecedented heights. Mozart and White Light Festivals, and collaborates yearly with BAM THE MIKADO on performances and master Saturday, April 13 | 7:30 pm | $39–$69 classes. From the company’s many This all-new, critically-acclaimed production London seasons, it has received of The Mikado premiered in New York in January 2017. The production represents two Laurence Olivier Awards and a a great deal of work between New York Critics’ Circle Dance Award for Best Gilbert & Sullivan Productions and the Foreign Dance Company. Asian-American theatrical community in New York and serves as an example of a Reflecting Morris’ commitment to cooperative effort to promote diversity, equity, and inclusive practices with live music, the Dance Group has classic works of art. featured live musicians in every Pre-Show Artist Talk: 6:00–6:40 pm (FREE) performance since the formation of the MMDG Music Ensemble in 10% discount for Seniors 62+ & Military on events presented by ECA! 1996. MMDG regularly collaborates with renowned musicians, including ec4arts.org | 425.275.9595 cellist Yo-Yo Ma, pianist Emanuel Ax, mezzo-soprano Stephanie 410FOURTHAVENUENORTH Blythe, and jazz trio The Bad Plus, EDMONDSWA98020 as well as leading orchestras

encoremediagroup.com/programs A-17 MARK MORRIS DANCE GROUP | About the Artist national television premiere on he has served as Music Director Karlie Budge grew up in Knoxville, PBS’s Great Performances. While since 2012. As a classical soloist Tennessee, dancing with the on tour the Dance Group partners and collaborative artist, he has Tennessee Children’s Dance with local cultural institutions performed and recorded with many Ensemble (TCDE). She graduated and community organizations to world-renowned musicians and magna cum laude with a B.A. present arts and humanities-based ensembles, including Deborah Voigt in dance and B.S. in statistics activities for people of all ages and and the Los Angeles Philharmonic. in 2016 from Case Western abilities. He began to collaborate with the Reserve University and danced Mark Morris Dance Group in 2005 with Graham 2 dance company. The MMDG Music Ensemble, and has since then performed over Budge has performed works by formed in 1996, is integral to the 40 pieces with the company on Mark Morris, Pascal Rioult, Larry Dance Group. “With the dancers almost every keyboard instrument Keigwin, Martha Graham, Ted come the musicians…and what a possible, including the harmonium Shawn, Bertram Ross, Virginie diff erence it makes” (Classical Voice and toy piano, and has conducted Mecene, Adam Barruch, Michael of North Carolina). The Ensemble’s performances of Mozart Dances, Acis Mao and Randy Duncan. She repertory ranges from 17th and and Galatea, and The Hard Nut. Hailed has presented her choreography 18th century works by John Wilson by the New York Times as “invaluable” throughout New York City in and Henry Purcell to more recent and “central to Morris’ music,” he was Playscape2016, NEXT@Graham, scores by Ethan Iverson, Lou appointed music director in 2013. NYC10, SoloDuo Festival and four Harrison and Henry Cowell. The Martha Graham School showings. musicians also participate in the Mica Bernas, originally from Manila, She received the Pearl Lang Award Dance Group’s educational and Philippines, received her training at for Excellence in Choreography in community programming at home the Cultural Center of the Philippines 2017. Budge joined MMDG as an and on tour. The Music Ensemble Dance School. She later joined Ballet apprentice in September 2018. is led by Colin Fowler who began Philippines as member of the corps to collaborate with MMDG in 2005 de ballet, performing as a soloist Ramón Carrero-Martínez during the creation of Mozart from 2001-2006. Since moving (viola), a passionate chamber Dances. to New York in 2006, Bernas has musician from Venezuela, has worked with Marta Renzi Dance, won top prizes in chamber music Colin Fowler (music director, Armitage Gone Dance, Gallim Dance, competitions, including fi rst piano) began his musical study Barkin/Selissen Project and Carolyn prize in the Maria Paula Alonzo at the age of 5 in Kansas City and Dorfman Dance (2007-2013). She was Chamber Music Competition in went on to study at the prestigious a guest artist with the Limón Dance Caracas with Teresa Carreño Interlochen Arts Academy. He Company, performing at the 2013 String Quartet and fi rst prize in continued his education at The Bienal Internacional de Danza de Cali the Ruth Widder String Quartet Juilliard School, where he received in Bogotá, Colombia; Lincoln Center’s Competition in New York his Bachelor of Music in 2003 David H. Koch Theater; and at The performing Bartok’s fi rst string and his Master of Music in 2005. Joyce Theater for the company’s 70th quartet. Carrero-Martínez began While at Juilliard, he studied piano Anniversary in 2015. Bernas also his music studies in Caracas as with Abbey Simon, organ with teaches at the Limón Institute and part of “El Sistema.” His festival Gerre Hancock and Paul Jacobs, has been on the faculty for BIMA at appearances include Beethoven harpsichord with Lionel Party, and Brandeis University since 2011. She Fest 2010 in Bonn, Salzburg conducting with James dePriest joined MMDG as an apprentice in Festival 2014 with Teresa Carreño and Judith Clurman. A versatile January 2017 and became a company Youth Orchestra of Venezuela, musician and conductor, Fowler member in August 2017. Esterházy String Quartet Festival works in many areas of the music 2014 in Austria with Teresa scene in New York City. He is a Sam Black is originally from Berkeley, Carreño String Quartet, and veteran of numerous Broadway California, where he began studying Musica Mundi International shows, most recently performing tap at the age of nine with Katie Chamber Music Festival 2016, in the Tony Award winning musical Maltsberger. He received his B.F.A. where he performed with the Jersey Boys. A seasoned church in dance from SUNY Purchase, and Schumann Quartet and the musician, Fowler is currently the currently teaches MMDG master famous pianist Menahem Pressler organist at Marble Collegiate classes and Dance for PD®. He fi rst in Belgium. He was also an Church on Fifth Avenue and also appeared with MMDG in 2005 and International Program Artist in leads services and concerts at became a company member in 2007. Music@Menlo 2017. Currently, Park Avenue Synagogue, where Carrero-Martínez is an

A-18 MEANY CENTER FOR THE PERFORMING ARTS undergraduate at Manhattan The Pennsylvania Ballet, Whim Lauren Grant, honored with a School of Music, where he is W’Him, The Juilliard School/Nord New York Dance and Performance a full scholarship student of Anglia Education and universities “Bessie” award for her career with Daniel Avshalomov, violist of the nationwide. Offstage, he has the Mark Morris Dance Group, has American String Quartet. worked with companies in multiple danced with MMDG since 1996, capacities from artistic direction to appearing in over 60 of Morris’ Durell R. Comedy, a native administrative management. For works. In addition to staging of Prince Georges County, many years, he was the Rehearsal Morris’ repertory on his company Maryland, began dancing at the Director and Associate Artistic and at universities, Grant teaches age of 6 with Spirit Wings Dance Director of KEIGWIN + COMPANY. ballet and modern technique for Company. He graduated from In addition, he has assisted numerous professional dance the Visual & Performing Arts numerous choreographers on companies and schools around program of Suitland High School creative projects in theatre, film the globe and is an adjunct in 2004 and magna cum laude and dance. He joined MMDG as faculty member at Montclair State from George Mason University, an apprentice in March 2018 and University. Her writing has been receiving his B.F.A. in dance became a company member in published in the journals Dance performance in 2008. Since then, October 2018. Education in Practice, Ballet Review, he has worked and performed Dance Magazine and InfiniteBody. with The Metropolitan Opera, Domingo Estrada, Jr., a native She also serves as a panelist Troy Powell, and Kyle Abraham, of Victoria, Texas, studied martial for the New York State Council among others. Comedy was a arts and earned his black belt in on the Arts. Grant earned her member of the Limón Dance 1994. He danced ballet folklorico M.F.A. in Dance from Montclair Company from 2009-2015, through his church for 11 years. State University (where she was performing principal and soloist Estrada earned his B.F.A. in ballet a member of the Alpha Epsilon roles. He has also appeared as a and modern dance from Texas Lambda Honor Society) and soloist dancer in Baltimore Opera Christian University and had her B.F.A. in Dance from New Company’s Aida and worked with the honor of working with the York University’s Tisch School Washington National Opera from late Fernando Bujones. During of the Arts. She is a recipient 2013-2014 as a principal dancer his undergraduate studies, he of the prestigious American and dance captain. He was a attended the American Dance Association of University Women former fellowship student at the Festival where he had the privilege Career Development Grant, Ailey School and a 2014 adjunct of performing Skylight, a classic the Sono Osato Scholarship for faculty member at George Mason work by choreographer Laura Graduate Studies and the Caroline University’s School of Dance. Dean. He debuted with MMDG Newhouse Grant — all in support Comedy joined MMDG as an in 2007 and became a company of her scholarly pursuits. Originally apprentice in 2015 and became member in 2009. Estrada would from Highland Park, Illinois, she a company member in 2016. like to thank God, his family and lives in Brooklyn, New York with all who support his passion. her husband David Leventhal Brandon Cournay is originally (former MMDG dancer and current from Walled Lake, Michigan, Lesley Garrison grew up in Dance for PD® Program Director) and received his B.F.A. from The Swansea, Illinois, and received and their son, born in 2012. Juilliard School. As a freelance her early dance training at the artist, he has performed with Center of Creative Arts in St. Sarah Haarmann grew up in the Radio City Christmas Louis, Missouri, and Interlochen Macungie, Pennsylvania and Spectacular, the Mark Morris Arts Academy in Interlochen, received training at the Lehigh Dance Group, Morphoses, The Michigan. She studied at the Valley Charter High School for Metropolitan Opera, New York Rotterdamse Dansacademie in the Performing Arts under the Theatre Ballet, The Chase Brock The Netherlands and earned a direction of Kimberly Maniscalco. Experience, Schoen Movement B.F.A. from Purchase College. She graduated magna cum Company, Dance Heginbotham She first performed with MMDG laude with a B.F.A. in dance from and KEIGWIN + COMPANY. TV/ in 2007 and became a company Marymount Manhattan College film/industrial credits include member in 2011. Garrison in 2012. Haarmann has had the PBS’s Great Performances, Musical teaches at The School at the Mark pleasure of performing with Pam Chairs (HBO), Puma, Sesame Street Morris Dance Center and for Tanowitz Dance, Jessica Lang and Target. As an educator and MMDG’s Dance for PD® program. Dance, Dylan Crossman Dans(ce), répétiteur, he has worked with Pat Catterson, Denisa Musilova

encoremediagroup.com/programs A-19 MARK MORRIS DANCE GROUP | About the Artist and Bill Young. She joined MMDG She joined the Mark Morris Alvin Ailey American Dance as an apprentice in January 2017 Dance Group as an apprentice in Theater and Nimbus Dance Works, and became a company member September 2018. performing works by Alvin Ailey, in August 2017. Alejandro Cerrudo, William Forsythe, Aaron Loux grew up in Seattle, Ohad Naharin, Crystal Pite and Twyla Wolfram Koessel (cello) has Washington, and began dancing Tharp. She received an award from established himself as a much at the Creative Dance Center as a the National Young Arts Foundation sought-after chamber musician, member of Kaleidoscope, a youth for Modern Dance in 2014. Prather soloist, recording artist and modern dance company. He began joined MMDG as an apprentice in contractor in the New York his classical training at the Cornish September 2018. music scene. He has performed College Preparatory Dance Program with MMDG since 1999 and and received his B.F.A. from The Brandon Randolph began his was music director from 2004- Juilliard School in 2009. He danced training with the School of Carolina 2008. In 2006, Koessel joined at The Metropolitan Opera and with Ballet Theater in Greenville, South the world-renowned American Arc Dance Company before joining Carolina, under the direction of String Quartet, with whom he MMDG in 2010. Hernan Justo. At age 14, he was performs in the foremost concert accepted into the South Carolina halls throughout the world, Laurel Lynch began her dance Governor’s School for the Arts and collaborating frequently with training at Petaluma School of Humanities, where he studied with today’s leading artists. Koessel Ballet in California. She moved to Stanislav Issaev and Bobby Barnett. appears with a wide range of New York to attend The Juilliard Randolph received his B.F.A. in dance ensembles and groups, most School where she performed works from Purchase College in 2012. There notably and frequently with the by Robert Battle, Margie Gillis, he had the opportunity to perform Orpheus Chamber Orchestra and José Limón and Ohad Naharin. with Dance Heginbotham as well as the New York Philharmonic. He is After graduation Lynch danced for repertory by Stephen Petronio, Lar also a founding member of Trio+ Dušan Týnek Dance Theatre, Sue Lubovitch, Paul Taylor and George together with violinist Yosuke Bernhard Danceworks and Pat Balanchine. Randolph began working Kawasaki and pianist Vadim Catterson. Lynch joined MMDG as with MMDG in 2013 and became a Serebryani. He has supervised an apprentice in 2006 and became company member in 2014. and performed music for Warner a company member in 2007. Many Brothers, American Express and thanks to Gene and Becky. Sean Ritenauer (percussion) many independent fi lm companies is described as a percussionist and organized hundreds of Dallas McMurray, from El Cerrito, “with mesmerizing dexterity” and classical orchestra and chamber California, began dancing at enjoys a diverse career in concert music concerts during the last age four, studying jazz, tap and halls, theaters and studios in New decade in New York City. He is acrobatics with Katie Maltsberger York and around the world. As an on the faculty of the Manhattan and ballet with Yukiko Sakakura. orchestral musician, Ritenauer School of Music and the Aspen He received a B.F.A. in dance from performs frequently with the New Music Festival. He resides with the California Institute of the Arts. York Philharmonic and Malaysia his wife, pianist and writer J. Mae McMurray performed with the Philharmonic. He is also the Principal Barizo, in Manhattan. Limón Dance Company in addition Percussionist of the Huntsville to works by Jiří Kylián, Alonzo King, Symphony Orchestra in Alabama, Deepa Liegel grew up dancing Robert Moses and Colin Connor. where he has been a member since with Cornish Preparatory McMurray performed with MMDG as 2005 and is frequently featured as Dance, Leela Kathak Dance and an apprentice in 2006 and became a soloist. Ritenauer can be heard Seattle Theater Group in Seattle, a company member in 2007. all over Broadway, where has held Washington. She received her the percussion chair on numerous B.F.A. in dance performance Minga Prather, a Dallas, Texas shows including Hair, Pippin and with honors and a minor in arts native, received her training from Something Rotten. As a devoted management from Southern Booker T. Washington High School educator, Ritenauer has a thriving Methodist University in 2017. for the Performing and Visual Arts, private teaching studio in New Since moving to New York, she and later graduated with honors York City, where his students have has performed with Barkha Dance in dance from the Ailey/Fordham been accepted into some of the Company, Broadway Bares and B.F.A. program. Prather has had world’s fi nest music institutions Monica Kapoor and apprenticed the pleasure of performing with including The Juilliard School, with the Limón Dance Company. Hubbard Street Dance Chicago, Manhattan School of Music, New

A-20 MEANY CENTER FOR THE PERFORMING ARTS England Conservatory, Boston master’s degrees from The Juilliard Center’s Alice Tully Hall, New York’s Conservatory, Eastman School of School, where his teachers were Carnegie Hall, the Kennedy Center Music, Northwestern University, Orin O’Brien and Homer Mensch. in Washington D.C., the 92nd Street University of Michigan and Indiana Saebo is also an alumnus of Y and Chicago’s Cultural Institute. University. He is also the head of Ensemble Connect. In Europe, he has appeared at percussion at Hofstra University venues such as Wigmore Hall and on Long Island. Ritenauer earned Christina Sahaida grew up in the Barbican Centre in London, a B.A. in classical percussion and Pittsburgh, Pennsylvania and began La Cité de la Musique in Paris, a M.A. in orchestral performance her early dance training at the Amsterdam’s Royal Carré Theatre, from the Manhattan School of Pittsburgh Ballet Theatre School. In and Bulgaria Hall in Sofia. He has Music and is a proud graduate of 2012, she graduated with honors toured Asia, Australia and Israel with Interlochen Arts Academy. from Butler University, receiving a performances in Beijing Cultural B.F.A. in dance performance. She Arts Center, Guangzhou Opera Nicole Sabella is originally from has worked with Ballet Quad Cities, House, Sydney Opera House, Tel Clearwater, Florida, where she Texture Contemporary Ballet and Aviv Opera House, Taipei Cultural studied at the Academy of Ballet most recently the Big Muddy Dance Center Taiwan, Hong Kong and Arts and the Pinellas County Company in St. Louis, Missouri. Suntory Hall in Tokyo. A dedicated Center for the Arts at Gibbs Sahaida joined the Mark Morris collaborative musician, Valtchev High School under Suzanne Dance Group as an apprentice in enjoys frequent performances with B. Pomerantzeff. In 2009, she July 2017. distinguished international artists graduated from the University and ensembles in the United States of the Arts in Philadelphia, Billy Smith grew up in and Europe. As a principal member Pennsylvania, earning her B.F.A. in Fredericksburg, Virginia, and of the MMDG Music Ensemble, he modern dance performance and attended George Mason University frequently travels around the world. the “Outstanding Performance in under a full academic and dance Valtchev has been honored to lead, Modern Dance” Award. She was talent scholarship. He graduated as guest concertmaster, several a performer with Zane Booker’s magna cum laude in 2007 and major symphony orchestras, most Smoke, Lilies, and Jade Arts received achievement awards notably the London Philharmonic Initiative. Sabella first performed in performance, choreography and the Royal Symphony Orchestra with MMDG in 2013 and became a and academic endeavors. While of Madrid. He is a founder and company member in 2015. at George Mason he performed artistic director of the Unbeaten the works of Mark Morris, Paul Path chamber music festival in Kris Saebo (double bass) leads a Taylor, Lar Lubovitch, Doug Varone, Kovachevitsa, Bulgaria and a versatile musical life as a chamber Daniel Ezralow, Larry Keigwin, founding member of the chamber musician, recording artist (New Susan Marshall and Susan Shields. music series Bulgarian Concert York and Los Angeles), composer/ Smith’s own piece, 3-Way Stop, was Evenings in New York. arranger, and teaching artist. selected to open the 2006 American Saebo is a founding member of College Dance Festival Gala at Ohio Noah Vinson is originally from Decoda, the Affiliate Ensemble State University and his original Springfield, Illinois, and received his of Carnegie Hall, and performs choreography for a production B.A. in dance from Columbia College regularly with A Far Cry and of Bye Bye Birdie garnered much Chicago. He was named a Dance NOVUS NY. A noted collaborator, critical praise. An actor as well, Magazine “Dancer on the Rise” in he has worked with artists such as Smith’s regional theater credits 2009 and assisted Mark Morris in the Sir Simon Rattle, Dawn Upshaw, include Tulsa in Gypsy, Mistoffelees creation of his most recent work for Jamey Haddad and Nas. He is in CATS and Dream Curly in Houston Ballet, The Letter V. He began also a devoted teaching artist, Oklahoma! Smith danced with dancing with MMDG in 2002 and and has worked in this capacity Parsons Dance from 2007-2010. became a company member in 2004. in the greater New York area, He joined MMDG as a company as well as internationally. He member in 2010. has also been a visiting teaching artist at The Colburn School and Georgy Valtchev (violin) has will be returning this summer performed on some of the world’s to Skidmore College to serve on most prestigious stages as a soloist faculty for the Decoda Skidmore with orchestras, in recitals and as Chamber Music Institute. Saebo a chamber musician. In the United received his bachelor’s and States, he has appeared at Lincoln

encoremediagroup.com/programs A-21 MARK MORRIS DANCE GROUP | Staff

MARK MORRIS DANCE GROUP STAFF Assistant Front Desk Manager Dominique Terrell Artistic Director Mark Morris Front Desk Associates Hunter Darnell, Roxie Maisel, Executive Director Nancy Umanoff Anna Marchisello, Carter Shocket, Kareem Woods Maintenance Hector Mazariegos, Hyland Pitts, Orlando Rivera, PRODUCTION Virginia Ross, Arturo Velazquez Director of Technical Production Johan Henckens Music Director Colin Fowler Booking Representation Michael Mushalla Lighting Supervisor Nick Kolin (Double M Arts & Events) Sound Supervisor Rory Murphy Media and General Consultation Services Costume Coordinator Stephanie Sleeper William Murray (Better Attitude, Inc.) Legal Counsel Mark Selinger ADMINISTRATION (McDermott, Will & Emery) Chief Financial Offi cer Elizabeth Fox Accountant O’Connor Davies, Munns Payroll Manager/Benefi ts AdministratorRebecca Hunt & Dobbins, LLP Finance Manager Natalia Kurylak Orthopaedist David S. Weiss, M.D. Finance Intern Heleny Rodriguez (NYU Langone Medical Center) IT Director Aleksandr Kanevskiy Physical Therapist Marshall Hagins, PT, PhD Company Manager Jen Rossi Hilot Therapist Jeff rey Cohen Associate General Manager Geoff Chang Assistant Company Manager Julia Weber Thanks to Maxine Morris. Assistant to the Executive Director Stephanie Saywell Archive Project Manager Stephanie Neel Sincerest thanks to all the dancers for their dedication, Archive Project Metadata and Cataloging Coordinator commitment and incalculable contribution to the work. Regina Carra Archive Digitization Assistant Kareem Woods The Mark Morris Dance Group is a member of Dance/USA and the Dance Notator Sandra Aberkalns Downtown Brooklyn Arts Alliance.

DEVELOPMENT Additional support provided by Amazon, Kenneth Aidekman Family Director of Development Michelle Amador Foundation, Arnow Family Fund, Lily Auchincloss Foundation, Manager of Individual Giving David Gracia Inc., Bossak/Heilbron Charitable Foundation, Cavali Foundation, Manager of Institutional Giving Ann Marie Rubin Chervenak-Nunnalle Foundation, Con Edison, Joseph and Joan Development Associate Makayla Santiago Cullman Foundation for the Arts, Inc., Dau Family Foundation, The Gladys Krieble Delmas Foundation, Estée Lauder Companies, MARKETING ExxonMobile Corporate Matching Gift Program, Google Matching Director of Marketing Karyn LeSuer Gift Program, Guggenheim Partners Matching Gifts, The Harkness Marketing & Communications Associate Julie Dietel Foundation for Dance, Marta Hefl in Foundation, IBM Corporation Web & Social Media Coordinator Joleen Richards Matching Gifts Program, Jaff e Family Foundation, JPMorgan Chase Marketing Assistant Trevor Izzo & Co., Kinder Morgan Foundation, The Langworthy Foundation, Marketing Interns Melissa Marino & Sharon Zhou Leatherwood Foundation, The John D. and Catherine T. MacArthur Foundation, Materials for the Arts, Megara Foundation, Merck EDUCATION Partnership for Giving, Morgan Stanley & Co., Harris A. Berman Director of Education Sarah Marcus & Ruth Nemzoff Family Foundation, The L. E. Phillips Family School Director Kelsey Ley Foundation, The Pinkus Foundation, Jerome Robbins Foundation, Education Programs Manager Rachel Roberge Rolex, Billy Rose Foundation, Inc., Jennifer P. Goodale and Mark Community Education Programs Manager Alexandra Cook Russell, San Antonio Area Foundation, Schneer Foundation, Laurie Education Programs Assistant Jessica Pearson M. Tisch Illumination Fund, Viad Corp, and Zeitz Foundation. School Liaison Alexandria Ryahl Education Fellow Marie Saint-Cyr Dancing Honeymoon ©1998 Discalced, Inc. Education Intern Kory Longsworth Numerator ©2017 Discalced, Inc. Outreach Director Eva Nichols The Trout ©2018 Discalced, Inc. Dance for PD® Program Director David Leventhal Dance for PD® Programs & Engagement Manager For more information contact: Maria Portman Kelly MARK MORRIS DANCE GROUP Dance for PD® Programs Assistant Amy Bauman 3 Lafayette Avenue Dance for PD® Programs Administrator Brooklyn, NY 11217-1415 Natasha Frater (718) 624-8400 Dance for PD® Interns Jamie Desser www.mmdg.org facebook: markmorrisdancegroup DANCE CENTER OPERATIONS twitter: markmorrisdance Operations Manager Elise Gaugert instagram: markmorrisdance Facilities Manager Mark Sacks snapchat: markmorrisdance Rental Programs Manager Annie Woller youtube: Mark Morris Dance Group Operations Coordinator Tiff any McCue blogger: Mark Morris Dance Group Operations Intern Henry Lombino To sign up for inside news from the Mark Morris Dance Group, Front Desk Manager Tamika Daniels go to mmdg.org/join-email-list

A-22 MEANY CENTER FOR THE PERFORMING ARTS 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. ADDRESS & CONTACT INFORMATION CANCELLATIONS Meany Center for the Performing Arts RESTROOMS Due to unforeseen circumstances, we University of Washington, Restrooms are located on the lower sometimes have to cancel or postpone Box 351150 and upper lobby levels. performances. All programs, dates and artists Seattle, WA 98195-1150 are subject to change. Phone: 206-543-4882 / Fax: 206-685-2759 LATE ARRIVAL meanycenter.org Unless noted otherwise, all World Dance SMOKING POLICY and World Music evening performances Smoking is not permitted on the University ArtsUW Ticket Oﬃ ce begin at 8 p.m. Special Event, Piano, and of Washington campus. 1313 NE 41st Street Chamber Music Series events begin at Seattle, WA 98105 7:30 p.m. Out of respect for the artists PARKING OPTIONS Ph: 206-543-4880 | Toll-free: 800-859-5342 and seated patrons, late seating may Limited, underground paid parking is Fax: 206-685-4141 be limited. Late arrivals will be escorted available in the Central Plaza Parking Garage, Email: [email protected] into the theater at appropriate intervals, located underneath Meany Hall. There Offi ce Hours: Mon-Fri, 11 A.M. – 6 P.M. to be determined by the artists and are also several surface lots and on-street theater personnel. parking within walking distance of Meany. Meany Hall Box Oﬃ ce The Meany Hall Box Offi ce opens one hour CELL PHONES, CAMERAS & OTHER before the performance and is located in ELECTRONIC DEVICES MEANY HALL ART EXHIBIT Meany Hall's main entrance. Please turn off these devices before Visit the Meany Center Art Exhibit in the performances. Because of contractual Lower Lobby for an installation of work obligations with our artists, the use of by students in the UW School of Art + Art photographic recording equipment is History + Design. prohibited. Flash cameras can be disruptive and dangerous to some artists.

LOST AND FOUND Contact the House Manager immediately following the performance or contact the Meany Hall House Manager's offi ce at [email protected] or 206-543-2010.

EVACUATION In case of fi re 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. THANK YOU

ADMISSION OF CHILDREN KATHY GERLICH! Children fi ve years of age or older are welcome at all Meany Center performances. A ticket is required Meany Center was honored this world class artists on our stage for for admission. year to receive a leadership gift from many years to come. In recognition of Katharyn Alvord Gerlich. An inspiring Kathy’s long and generous support, WHEELCHAIR SEATING Wheelchair locations and seating for philanthropist, artist and arts lover the Meany Mainstage Theater will be patrons with disabilities are available. and supporter, Kathy started coming renamed the Katharyn Alvord Gerlich Requests for accommodation should be made when purchasing tickets. to Meany with her late parents Nancy Theater starting this fall. and Buster Alvord when she was in FIREARM POLICY Possession or use of fi rearms, without high school. Today she has tickets to We hope that in addition to honoring special written permission from UW Police, every Meany performance! this remarkable woman, it will also is prohibited on the UW Campus. Find the complete policy at washington.edu. serve as an example to other women The Katharyn Alvord Gerlich philanthropists who might one day INFRARED HEARING DEVICES Meany Hall (main stage) is equipped with Endowment for Artistic Excellence walk into the Katharyn Alvord Gerlich an infrared hearing system. Headsets are will help support the commissioning Theater and think that maybe they available at no charge. Please speak with an usher. A driver's license or credit card of new works and artist residencies could make a lasting diff erence for is required as collateral. as well as ensure the continuation of something they believe in, too.

encoremediagroup.com/programs A-23 FRIENDS OF MEANY CENTER Many thanks to the following donors whose generous support make our programs possible:

PRODUCER’S CIRCLE DISTINGUISHED PATRON Manijeh Vail Patricia Tall-Takacs & Gary Takacs ($25,000+) (between $1,000 and $2,499) Josephus Van Schagen & Marjon Floris Mark & Liza Taylor Ernest Vogel & Barbara Billings Kris & Epaminondas Trimis Estate of Ellsworth C. Alvord† Joan Aﬄ eck-Smith & Nepier Smith Rachel Warren Pieter & Tjitske Van der Meulen Nancy D. Alvord† Kenneth & Marleen Alhadeff Robert & Andrea Watson Shu-Chin & Wenshyan Wang Katharyn Alvord Gerlich Stephen Alley & Amy Scott David & Mary Williams David Wang Glenn Kawasaki, Ph.D. Jillian Barron & Jonas Simonis Kathleen Wright & Dr. Martin Greene Joella Werlin Marcella D. McCaff ray Cynthia & Christopher Bayley Marsha Wright Stephen & Debra Wescott Craig Miller & Rebecca Norton Thomas Bayley Drs. Crispin S. Wilhelm & Sundee L. Morris Estate of Mina Person† Mel Belding & Kathy Brostoff PATRON Eric & Margaret Rothchild Cristi Benefi eld (between $500 and $999) GREAT PERFORMER Donald & Gloria Swisher Luther Black & Christina Wright (between $250 and $499) Maryanne Tagney & David Jones Sharon Gantz Bloome John & Nancy Angello Estate of Barbara Weinstein† William D. Bollig Anonymous Sharon Armstrong Cathryn Booth-LaForce Charles Alpers & Ingrid Peterson Robert Babs DIRECTOR’S CIRCLE & W. Kenneth LaForce Jean-Loup & Diane Baer Trudy Baldwin (between $10,000 and $24,999) Kalman Brauner & Amy Carlson Louisa Barash & Scott David Lisa Baldwin & John Cragoe Lawrence & Kathleen Brennan Jonas Barklund Mike & Marie Bender Anonymous Virginia Burdette & Gary Wieder Ross Boozikee Robert Bergman Warren & Anne Anderson Mariann Carle & Thomas Manley Pat Braus & Holly Boone Joseph Bosco Sven & Melinda Bitners Cashpot Shabu Shabu LLC Heida Brenneke John Brasino Stephen & Sylvia Burges David B. Chow Natalie Brown Gene Brenowitz & Karen Domino Ana Mari Cauce & Susan Joslyn Thomas Clement David & Deborah Buck Nathaniel Brown Delaney & Justin Dechant Consuelo & Gary Corbett Leo Butzel & Roberta Reaber Paul Brown & Amy Harris Britt East & Scott VanGerpen Margaret Crastnopol & Charles Purcell Timothy Cliff ord Dianne Calkins Gail Erickson & Phil Lanum Richard Cuthbert & Cheryl Redd-Cuthbert Ken Cogen Inez Caspi Ariel Fund Anita & Jack Dingrani R. Bruce & Mary-Louise Colwell Carolyn Caster Estate of Carmel Hennessy Pope† Susan & Lewis Edelheit Jill Conner Jan & Bill Corriston Ira & Courtney Gerlich John† & Kathy Ehrenberg Suzanne Dewitt & Ari Steinberg Judith Cushman & Robert Quick Lynn & Brian Grant Family Ruth Gerberding Margaret Dunn Leroy & Marybeth Dart Sally Schaake Kincaid Carolyn & Gerald Grinstein Luis Fernam & Isabelle Marie Esteban Cynthia L. Doll & Greg C. Nelson Jeff rey Lehman & Katrina Russell Arthur & Leah Grossman Thomas Faber & Laura Townsend Faber Arlene Ehrlich Hans & Kristin Mandt Terri Hamilton Robin & Douglas Ferguson Ian Einman Chelsey Owen & Robert Harris Wolfram & Linda Hansis Albert Fisk & Judith Harris Pamela Fink & Michael Bevan Cecilia Paul & Harry Reinert Hylton & Lawrence Hard Stuart Fountain & Thomas Highsmith Susan Fischer Kara D. Hefl ey Sergey Genkin & Nelli Tkach Janet Geier & Peter Seitel SERIES BENEFACTOR Michael Heltsley Richard Groomer & Betsy Lieberman Susan & Russell Goedde (between $5,000 and $9,999) Timmy Hendrickson Susan & Richard Hall Tim Groggel & Annette Strand Linda & Tom Allen Susan Herring Steven Haney Emile F. Haddad & Terryll Bailey Randy Apsel Ryan & Steve Hess Katherine Hanson & Michael Schick Rebekah Harris Estate of Fern Rogow† Peter Hiatt & Ronald Huden Phyllis Hatfi eld Shelley Hartnett William Calvin & Katherine Graubard Paul & Alice Hill Stephen & Sarah Hauschka Kara Hefl ey M. Elizabeth Halloran Peter Hoff meister & Meghan Barry Dr. Karen Henley & Dr. Laurie Goldman Melanie Ito & Charles Wilkinson Richard & Nora Hinton Kyra Hokanson Gray Susan Hert & William Levering III Marica Kamin Yumi Iwasaki & Anoop Gupta Mary & Michael Hudspeth Tuck Hoo Michael & Nancy Kappelman Karen Koon O. David Jackson Randy & Gwen Houser Paul Kassen Matthew & Christina Krashan Ilga Jansons & Michael Dryfoos Brian Hulse & Julia Paden Ronit Katz & Hank Levy Bill & Meg Morgan Mary E. & Giff ord Jones Robert C. Jenkins Marcia G. Killien, Ph.D. Seema Pareek & Gurdeep Pall Beverly & Otis Kelly Julia Kalmus & John Lillard Frederick Klein IV Lois Rathvon Randy & Kimberly Kerr Aaron Katz & Kate Dougherty Arni Hope Litt Joseph Rothberg & Susan Corwin Leslie Kincaid & Nicholas Lawrence Deborah Katz Eli Livne, Ph.D. & Dr. Esther Karson Don & Toni Rupchock Kelly Kleemeier & Dave Dickson David Kimelman & Karen Butner Dr. E. Ludman & Mr. D. Birch Joseph Saitta Susan Knox & Weldon Ihrig Joseph & Anne-Marie Knight Barbara Mack Dave & Marcie Stone Karen Lane Frank & Joanna Lau Lynda Mapes & Douglas MacDonald Richard Szeliski & Lyn McCoy Leander Lauff er & Patricia Oquendo Teresa Lawson William & Holly Marklyn Ellen Wallach & Thomas Darden Chris Laws Margaret Levi & Robert Kaplan Michael Mathieu George Wilson & Claire McClenny David Levy Michael Linenberger & Sallie Dacey Robin McCabe David Skar & Kathleen Lindberg Dennis Lund & Martha Taylor Christine Meinhold EVENT SPONSOR Melodie Martin & Kenneth Dayton Jeff rey & Barbara Mandula Ms. Mary M. Mikkelsen (between $2,500 and $4,999) Barbara Martyn Michael & Nancy Matesky Eric & Trisha Muller Tomilynn & Dean McManus Ramona Memmer & Lester Goldstein Caroline Normann Anonymous Robin Mendelson & Joss Delage John & Gail Mensher James Phelps & Ena Urbach Anne-Lise & Scott Bean Jane Miyamoto-Dell’isola & Lawrence Linda & Peter Milgrom Chet Robachinski Heidi Charleson Dell’Isola Mary Monfort & Kevin Coulombe Barbara & Mark Roller Toby Diamond Margaret Dora Morrison M. Lynn Morgan Bette Round Janet Boguch & Kelby Fletcher Sayantani Mukherjee Kevin Murphy & Karen Freeman Jennifer Salk & David Ehrich Davis Fox & Rosemary Coleman James & Pamela Murray Eugene & Martha Nester Eric Schlegel & Mary Stout Dr. Melvin & Nanette Freeman Richard & Sally Parks Margarete Noe Mark & Patti Seklemian Walter Gray Gerald Parks Anne Stevens Nolan & William Nolan Mark Teitelbaum Elizabeth Hebert Kenneth & Monica Payson Nenita Odesa Robin Thomas The Hokanson Family Dick & Jill Rice Amanda Overly Gayle & Jack Thompson Hugues Hoppe & Sashi Raghupathy Douglas & Claudia Ross Barbara Lycett & John Parchem Michelle & Stephen Turnovsky Catherine & David Hughes Evelyn Simpson Geoff Prentiss Valeri & Eugenia Vinyar Bernita W. Jackson Sigmund & Ann Snelson Jason Reuer Dr. James B. & Judith B. Wagonfeld Kurt Kolb Carrie Ann Sparlin Carrie Rhodes Greg Wetzel Leonard Costello & Patricia McKenzie Bob & Robin Stacey John Rochford & Nick Utzinger John & Lynn Williams Yoshi & Naomi Minegishi Ethel & Bob Story Joy Rogers & Robert Parker Deborah Wilson & Nqag Chong Teng John O’Connell & Joyce Latino Bonnie Swailes Werner & Joan Samson John V. Worthington Darcy & Enzo Paschino Dale Sylvain & Thomas Conlon Cathy Sarkowsky Osamu Yamamoto John C. Robinson & Maya Sonenberg Lee & Judith Talner Michael Scupine & Kim Gittere Abson Lee & Barbara Yates Donna & Joshua Taylor Lorraine Toly Marcia Sohns & Mark Levy Igor Zverev & Yana Solovyeva Gregory Wallace & Craig Sheppard Nancy Tosta & Bob Ewing Clark Sorensen & Susan Way Michelle Witt & Hans Hoff meister Barbara Trenary Carol Swayne & Guy Hollingbury

A-24 MEANY CENTER FOR THE PERFORMING ARTS KEY PLAYER William Reed / Ying Gi Yong / Ryan & Heidi York / Carol & David Lawrence / Arlene Levy / James & June Lindsey (between $100 and $249) Young / Evgueni & Tatiana Zabokritski / Nancy & Robert / Larry Macmillan & Billie Young / Linda Maki / William Zager / Shirley Zaic & Eric Johnson / Lawrence Zeidman & & Judith Matchett / Sean McCain / Brian McHenry / Ted Anonymous / Laila Adams / James Adcock & Anne Otten / Linda Tatta / Maxine Zemko Mears / Barbara Mericle / Sharon Metcalf & Randall Smith Mary Alberg / Kathryn Alexandra & Steven Rubey / Frank / Eric Michelman & Patricia Shanley / Marilyn Milberger / & Nola Allen / Julie Anderson / Timothy & Susan Anderson FRIEND Sheree Miller & Benjamin Greer / Stephen Miller / Jocelyn / Samia Ashraf & Lewis Davidson / Ruth & Mark Balter / (between $50 and $99) & Michael Miller / Harold & Susan Mozer / Susan Mulvihill Dana & Rena Behar / Robin Bentley / Wendy Besse / Marcia & James Liverman / Ellen & George Naden / Christopher & David Binney / David Bird / James & Edith Bloomfi eld / Suzanne & Marvin Anderson / Anonymous / Jill Bader Newell / Linda Oshins / Barbara O’Steen & R. Howard Beverly Bodansky / Daniel Branstetter & Barbara Kesler / / Elisabeth Beaber / John & Terry Berg / Thomas Bird Mitchell / Tracy & Todd Ostrem / Raymond Pendergast / Shannon Bruce / Robin Calderon / Carol & Henry Cannon / Helen Bodkin / Lee Anne Bowie / Richard Brandon / Douglas Perry / Michael & Susan Peskura / Philip Porach / Frances Carr / Robert Catton / Pamela & Robert Center / Elaine Brighton / Shannon Bryan & William Molloy / James & Ronald Niemeyer / Colette Posse / Nicole Quinones Leroy Chadwick / Robert & Molly Cleland / Leslie & Libby Burkman / Zbigniew Butor / Susan Buttram & David Frost / Meryl Retallack / Ellen & Dan Roach / David & Joanne Cohen / Richard & Dorothy Cole / Marjolyn Conrad / / Scott & Jayme Canfi eld / Connie Case / Phyllis & Alan Rudo / William Sandal / Mary Jo Schreifels & Ronald Jones Elizabeth Cooper / Kathy Cowles & Bradford Chamberlain / Caswell / Sing Chao / Merrilee Conway & James Young / / Stephen & Loretta Schuler / Charles Smith & Olga Smith Jean Crill / Gavin Cullen & David Jamieson / Janice DeCosmo Anne & George Counts / Barbara Courtney / Christopher / Christopher & Ann Smith / Jeff rey & Alice Snyder / H. & David Butterfi eld / Barbara DeCoster / Celeste & Eduardo Curry / Suzanne Di Lanzo / Daphne Dilley / Janice Dilworth Anne Solomon / Donna Sunkel / W. Michael Thompson Delostrinos / Kathleen Dickeman / Theodore Dietz / Susan & Gregory Denton / William & Laura Downing / Kathleen / Peter Thurlow / Mary Vanveen & Charles Carosella / & David Dolacky / Nancy Dorn / Jeanne Dryfoos / Laurie & Edward Dunn / Sally & Jeff Eagan / Robert & Ingrid Silvia Vega / Carol Wallace & Durlin Hickok / Liz Wallace / Ann & C. Bert Dudley / Elizabeth C. Duff ell & Brad Wilke / Eisenman / William Elwell / Susan Fisher / Daniel Gamelin / Kymberly & Jeremy Waltmunson / Grace Wang / Greta & JoLynn Edwards & Hal Opperman / Joan & Brian Edwards David & Anne Gilbert / Elizabeth Gilchrist & John Clarkson / Joseph Ward / Gail & John Wasberg / Becky Woodworth / Richard Eide / Lynne & Hollie Ellis / Patricia Emmons & Linda Gorton & Ken Bounds / Earl & Nancy Grout / Stephen Shmuel El-Ad / David Doody & Michael Erickson / Gary Haeck / Denise Hastings / Ellen & Jerry Hendin / Judith Fuller & Randy Everett / Susan Ewens / Alan & Jane Fantel Herrigel / Anne Herrmann & Albert Ortiz / Alistair & Cynthia / Polly & Eric Feigl / Jane Fellner & Neal Friedman / Judith Hirst / Keri Holmboe / Mary Anne Howard / Heidi Hummel Gillum Fihn & Stephan D. Fihn / Laura Finn / Gerald Folland / David Johnson / Duane & Erica Jonlin / Margot Kadesch / Brenda Fong / Jacqueline Forbes & Douglas Bleckner / / Phyllis Kaiden / Linda Kent & James Corson / Forest & Susanne Foster / William Friedman / Susan & Albert Fuchs Cristina Key / Gur Kimchi / Lee Klastorin & Ralph Walden / / Kai Fujita / Stanley & Marion Gartler / Jennifer Gaus & Jennifer Kraft & Chris Pesce / Daniel & Sandra Kraus / Carla David Lion / Gene & Evelyn Gershen / Brian Giddens & Steve Rovig / George Gilman / Katya Giritsky / Sara Glerum / J. David Godwin & Virginia Reeves / Peter Goldman & Martha Kongsgaard / Frances H. Goldman Fund of the Greater Cincinnati Foundation / Anne Good / Jennifer & Henry Gordon / Catherine Gorman / Gene Graham / Chris Gross / Lynn Hagerman & James Hummer / Eric Hansen & Jody LaBissoniere / Shuko Hashimoto / John & Geraldine J O I N U S Hay / Dandan He / Kathryn Heafi eld & Guy Sattler / Helen Henley / Lori Hess & Benjamin Miller / Janet Hesslein & Murl Sanders / David Hewitt & Marcia Wagoner / Jonathan & Deborah Himmelfarb / Norman Hollingshead/ Roy Hughes / Margaret Hunt / Patricia Hynes / Joshua Jacobs / Sibyl James / Linda & Christopher Johnson / Robert Johnson & Heather Erdmann / James & Elaine Klansnic / Adam Kline & Genie Middaugh / Nancy & John Kloster / Joan Klyn / Lillian Koblenz / Glen Kriekenbeck & Quentin King / Phyllis Lamphere / Rosalie Lang / Deborah & David Larson / Lauren & David Lawson / Peter LeVeque / Kathryn Lew & Dennis Apland / James & Marianne LoGerfo / Gwendolyn Lundberg & David Aggerholm / Lisa & Ross Macfarlane / Sara Magee / John & Katharina Maloof / Wendy Marlowe / Tessa Matthey & Peter Durkee / Lila May / Mary V. McGuire / Robert & Catherine McKee / Michael & Noor McMann / Susan L. McNabb / Richard Mesher & Cynthia Lee / Charles & Lynn Meyer / Michael & Sarajane Milder / Eleanor Miller & Lucas Butler / Reza & Carol Moinpour / Steve Moody / David Morris / Anne Morrison / Christine Moss / Richard & Dora Moxon / Joseph & Kay Neal / John Nemanich & Ellendee Pepper / Betty Ngan & Tom Mailhot / Marianne Nijenhuis / Mark Novak & Katrin Pustilnik / Martin Oiye & Susan Nakagawa / Bruce & Linda Olson / Angela Owens / Cathryn Palmer / Elizabeth Park / Margaret Paternek / Jeanne Peterson / Karen Peterson / Gregory & Margaret Petrie / Sandra Piscitello / Susan Porterfi eld / T. David & Gloria Prins / James & Ruth Raisis / Wendy & Murray Raskind / Dennis Reichenbach / Matt Reichert / Carrie Richard / Carla Rickerson / Paula Riggert / Rachel & David Robert / Sam & Josie Roskin / John & Janet Rusin / Jesse Salomon / Norman & Elisabeth Sandler / Laura Sargent / Robert & Doris Schaefer / Charles Schooler / Janet Schweiger / Jean Schweitzer / Noah Scooler / Charyl & Earl Sedlik / Julie & Reza Sharif / Roberta Sherman & Charles Meconis / John Sindorf & Mary Ann Bolte / Hazel Singer & John Griffi ths / Douglas Smith / Mani & Karen Soma / Harold & Ruth Spalter / Derek Storm & Cynthia Gossett / Pamela Stromberg / Stella Suzara / Rachel Swerdlow / Virginia Sybert & Peter Byers / Sarah Temple / David & Barbara Thomas / Mary Anne Thorbeck / Myrna & Donald Torrie / Dorene & Dennis Tully / Frits van Oppen / Phyllis Van Orden / Yvonne & Bruno Vogele / Kaoru Wada / Patricia Wahl & Dean Wingfi eld / Debora & David Wakeley / Michele Wang & Gregory Carter / Jerry Watt & Vreni Arx / Larry & Lucy Weinberg / Ann & Richard Weiner / Merle Weiss & Diane Pien / Bruce & Christine White / Karin Williams / Phillip & Constance Winberry / Carolyn Wood / Nancy Worden &

encoremediagroup.com/programs A-25 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 Anonymous Live Music for World Dance Series Linda & Tom Allen Endowed Fund Ellsworth C. & Nancy D. Alvord† Kai Fujita Wimsey J.N. Cherrington Dandan He Consuelo & Gary Corbett Bernita W. Jackson Bill† & Ruth Gerberding Gwendolyn Lundberg Matthew & Christina Krashan & David Aggerholm Margaret Dora Morrison Sayantani Mukherjee Cecilia Paul & Harry Reinert Cecilia Paul & Harry Reinert* Mina B. Person† Gregory Petrie & Margaret Petrie Lois Rathvon Dave & Marcie Stone Meany Center Education Endowment Donald & Gloria Swisher Kalman Brauner & Amy Carlson Lee & Judy Talner Jackie Forbes & Douglas W. Bleckner Ellen J. Wallach Jill S. Hanley Conner

Ellsworth C. and Nancy D. Alvord Meany Center Programming “If I have seen a Endowed Fund Endowment Fund Estate of Ellsworth C. Alvord* William A. Friedman little further, it is Eric & Margaret Rothchild Arts Al!ve Student Fund for Exploring Windsor R. Utley*† only by standing the Performing Arts Estate of Barbara L. Weinstein† Susan Knox & Weldon Ihrig* Phillip & Constance Winberry on the shoulders

Nancy and Eddie Cooper Endowed Fund Mina Brechemin Person of Giants." for Music in Schools Endowed Fund — BERNARD OF CHARTRES Dave & Marcie Stone* Estate of Mina B. Person*†

Katharyn Alvord Gerlich Endowment for Gloria Wilson Swisher Music Education From Haydn to Mozart to Artistic Excellence and Outreach Endowment Beethoven to the Beatles, Katharyn Alvord Gerlich* Bernita W. Jackson each generation owes its Donald & Gloria Swisher* progress to the ones that Elaine and Ernest Henley Endowment George Wilson & Claire McClenny for Classical Music Deborah Wilson & Ngan Chong Teng came before. Dr. Joseph Bosco, III David & Mary Willams Dr. Jane B. Fellner & Neal S. Friedman You, too, can be a giant. Helen Henley * Endowment Founder Elaine & Ernest Henley*† † Deceased Dr. Karen Henley & Dr. Laurie Goldman CONSIDER A GIFT to the Katherine Jane Hanson, Ph.D. Matching Corporate Gifts Meany Center through your & Prof. Michael Schick Adobe Systems, Inc. will, trust or retirement plan, Dr. Joshua J. Jacobs AT&T Foundation and help future generations Dr. Richard A. Mesher & Cynthia S. Lee Chevron Corporation Frits W. Van Oppen City of Seattle of artists and arts lovers see Prof. T. David & Gloria Prins East West Bank a little further by standing on Google, Inc. your shoulders. Catherine and David Hughes Asian IBM Corporation Programming Endowment Intel Corporation Catherine & David Hughes* Merck Company Foundation Contact: Microsoft Corporation Cristi Benefi eld, Director of Matt Krashan Endowed Fund for Artistic Puget Sound Energy Philanthropy, Meany Center and Educational Excellence in the Shell Oil Company Performing Arts State of Washington 206-616-6296 Matthew & Christina Krashan The Boeing Company [email protected] Lee & Judy Talner The K Foundation meanycenter.org/donate (*Multiple Founders) T-Mobile USA, Inc. U.S. Bank United Way of Greater Los Angeles United Way of King County United Way of Snohomish County

This listing includes endowment founders and endowment donors from July 1, 2017 to June 30, 2018. 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 benefi ciary of your retirement plan or insurance policy, please call 206-685-1001 or 800-284-3679 or visit www.uwfoundation.org/giftplanning.

A-26 MEANY CENTER FOR THE PERFORMING ARTS MEANY CENTER INSTITUTIONAL SUPPORTERS 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

Classical KING FM 98.1* / National Endowment for the Arts / Nesholm Family Foundation

$10,000 - $24,999

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

UP TO $9,999

Banner Bank / East West Bank / Horizons Foundation / KEXP 90.3 FM* / Ladies Musical Club / New England Foundation for the Arts / Peg and Rick Young Foundation Washington State Arts Commission / 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* / University Inn* / Watertown Hotel*

CAMPUS + COMMUNITY PARTNERS

Arts Impact / ArtsUW / Burke Museum / Cornish College of the Arts / Henry Art Gallery / Ladies Musical Club / Langston Hughes Performing Arts Institute / Live Music Project / Seattle Art Museum / Seattle Music Partners / Seattle Public Schools Second Inversion / 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

* 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 signifi cant recognition throughout the season and an array of benefi ts catered to your organization's goals. For more information, please contact the Meany Center Philanthropy Department at (206) 685-2819.

encoremediagroup.com/programs A-27 MEANY CENTER AND ARTSUW TICKET OFFICE STAFF

Michelle Witt, Executive and Artistic Director Rosa Alvarez, Director of Patron Services Melanie Muradian, Assistant to the Executive Director Liz Wong, Assistant Director of Patron Services Colette Moss, Patron Services Associate Danae Hollowed, Interim Director of Finance and Administration Keeli Erb, Patron Services Associate Yevgeniy Gofman, Accountant Cathy Wright, Patron Services Associate Eric Schielmann, Fiscal Specialist Patron Services Assistants Elizabeth C. Duff ell, Director of Artistic Engagement Danielle Blevens Kaeline Kine, Artist Engagement Coordinator Elaine Currie Kristen Kosmas, Creative Fellowships Coordinator Kelli Hong Charlotte Schoen, Student Engagement Intern Julia Loyd Jinnie Yi, UW Student Engagement Assistant Merewyn Lynn Lily Dittrich, Education Offi ce Assistant Kendall Massey Paquita Esterly, Green Room Assistant Mariama Sidibe Lauren Widman Cristi Beneﬁ eld, Director of Philanthropy Alix Wilber, Grants and Communications Manager Lead Ushers Erin Candee, Philanthropy Coordinator Raine Myrvold Juliet Romano-Olsen, Development Student Assistant Levi Sy Griﬃ n Withington Teri Mumme, Director of Marketing and Communications Rob Noland, Graphic Designer Ushers Cynthia Mullis, Interim Marketing Manager Altaire Anderson Julie Yuan, Marketing Assistant Emily Asplin Dan Neifert, Graphic Design Intern Frances Bueno Arthur Grossman, Phil Lanum, Photographers Ana Constantin Ryan Farris Laura McKee, Tessitura Administrator Abbi Helms Gretchen Shantz, IT Administrator Jared Kawasawa Laura Keil Tom Burke, Technical Director Daniel Matheson Brian Engel, Lighting Supervisor C.J. Pier Juniper Shuey, Stage/Video Supervisor Abby Ryiter Matt Starritt, Audio Supervisor Owen Stevens Doug Meier, Studio Theatre Stage Technician Joslyn Thomas Emma Turner Nancy Hautala, Audience Services Manager Tom Highsmith, Lead House Manager Noah Duff y, House Manager Duncan Greeley, House Manager Natalie Harrington, House Manager

Catering by

A-28 MEANY CENTER FOR THE PERFORMING ARTS Dialogue Encore Stages in conversation

Fall Press Corps Intensive lesson. Photo courtesy of Mariko Nagashima.

Encore Stages recently Since 2006, the TeenTix Press Corps has collaborated with professional critics to sat down with four mentor teens interested in arts journalism through workshops and intensives. In 2015, TeenTix put the Press Corps on hiatus in order to put racial equity and social members of the new justice at the center of the program. They relaunched in Spring 2018 and we couldn’t TeenTix Press Corps, be more excited. along with Mariko Danielle Mohlman: What about arts all of your work. That was something Nagashima, the Press journalism most appeals to you? How that inspired me when I started out. Corps manager, for a did you get started in this field? And I think just over time it’s been easier to—well, I guess I’m actually still behind the scenes look Ben Capuano, senior at Mercer Island working on finding my voice. at what arts journalism High School: I got introduced through means to them. my school paper. Compared to other I think that’s a lifelong process as well. articles that we would put out, Or a career-long process. reviewing had an increased emphasis on writer voice, which I really enjoyed. I got Capuano: Yeah. (Laughs.) interested in criticism from watching reviews on YouTube—where you really Mariko Nagashima, Press Corps need a personality that shines through manager: For sure.

encoremediagroup.com/programs 9 Huma Ali, junior at Lake Washington High School: I definitely agree with what Ben said about how you get to have an opinion, but it’s also not just about your opinion. You actually have to look at the piece of art critically and assess what the artist did, how they did it and the constraints they had. And arts journalism also serves as a record for the artistic events that have happened over time.

Erin Croom, senior at Garfield High School: I feel like writing arts criticism is a more formal expression of my opinion. Because it’s one thing to talk to my friend and say, “Oh I liked this movie.” Or “I didn’t like it.” But to analyze it in a more—not really intellectual or scholarly way—but in writing. In words that make sense on paper instead of how I’m talking right now.

Nagashima: You kind of figure out your opinion about something as you’re writing about it?

Croom: Yeah.

Ali: And I think you can also figure out why you think that. Because when you’re talking to your friend, you’re like, “Yeah, I don’t like it.” But when you’re writing about it, you have to really dig deep and think, “Well, why don’t I like it?”

There are joys that come with arts journalism, but there are also challenges. Talk to me about a challenge you’ve faced and how you worked through it.

Joshua Fernandes, junior at Ballard High School: One of the challenges that I faced recently was figuring out how to review something that I’m not really familiar with the medium of. I recently reviewed an improv show—and that was my first improv show. And it was a horror show—and that was also my first horror-themed experience. So, approaching it from a position where you’re knowledgeable, but at the same

10 ENCORE STAGES Seth Randal Debora Moore

Experience Tacoma Art Museum’s New Rebecca and Jack Benaroya Wing EXHIBITIONS OPENING JANUARY 19, 2019: • Metaphor into Form: Art in the Era of the Pilchuck Glass School • Debora Moore: Arboria • Mary Van Cline: Selections from The Documenta Project • All the Rivers Flow into the Sea: Introducing Martin Blank’s Current

Robert C. Jones

1701 Pacific Avenue Tacoma, WA 98402 TacomaArtMuseum.org Fall Press Corps Intensive lesson. Photo courtesy of Mariko Nagashima.

time vulnerable. It’s really hard to Once you sat down to write your review, strike a balance between the two and did you feel the same way about the still make yourself sound authoritative. film as you had initially?

Right, because we’re expected to Croom: I think so. It was just easier to be experts for the readers, even if articulate. we’re not. Capuano: During my first review Croom: I guess I had kind of an for TeenTix, it was hard for me to opposite experience when we saw the physically juggle my notepad. I’d never filmWhite Rabbit. Film is where I feel really taken a notepad to go review a the strongest, but with this one . . . it show before. was just kind of odd and I didn’t really like it. And it was disappointing that I And writing in the dark! didn’t like it because I wanted to like the movie. I was kind of at a loss for Capuano: Yeah! And I didn’t know what to say about it because I don’t how much to focus on my notes at the want to tear it to shreds; it doesn’t expense of not focusing on the show. deserve that. So, I researched. I looked So, I went on a note taking hiatus for at some other people’s reviews to a lot of the performance and then see what they thought and how that when I went back to write my review compared to what I thought. And that I was like, “Ah, I wish I had taken helped me figure out my own ideas. notes on this.”

12 ENCORE STAGES Wholesale and Retail Sales ¿ Roasting fine coffees since 1993

Fall Press Corps Intensive at a Seattle Repertory Theatre performance. Photo courtesy of Mariko Nagashima.

Ali: Well, generally I think it’s hard to write how you’re authentically feeling when you’re seeing a new medium that you don’t know much about. It’s also hard to write about different types of art. Like we were just talking about: when you have a lot more practice with film, it might be harder to write about visual art. I enjoy theatre, so when I write about plays, it generally turns out better than when I write about visual art. It’s hard to find a balance.

Nagashima: Also, there’s been a little bit of a challenge in deciding what kind of style or voice TeenTix reviews want to have and deciding what, editorially, One of Seattle’s original roaster cafes, Lighthouse has spent that looks like. Because this is new more than twenty years creating a loyal following of coffee for everybody. We’ve never done this lovers. Lighthouse roasts consistently great coffee in small before. batches of the freshest premium beans, hand roasted in a If you ran your own arts publication, vintage cast-iron roaster each day. what would it look like? What would you prioritize in terms of journalists and coverage? 400 N 43rd St. ¿ Seattle, WA. 98103 ¿ 206-633-4775 Ali: It would look like the Press Corps program. I just like how everything’s LIGHTHOUSEROASTERS.COM set up.

encoremediagroup.com/programs 13 Nagashima: Because you helped set it up.

Ali: Oh yeah that makes sense. (Laughs.) I like the process. It’s effective and it’s fun. It’s a very enjoyable process—especially how our editors Business, go see shows with our writers. Croom: I really like how in the Press Corps Intensive everyone is female- identifying. And it’s just a totally meet different sense of community than in my classes, where it’s both girls and boys. I think that focus, even though it’s not intentional—it’s just people who Broadway. applied and got in—but it really does have an effect on how we discuss art and how we are willing to share our impressions and responses. Encore Media Group connects businesses Ali: And the people who are involved and brands to the best of arts & culture in want to be involved. At school, things the Bay Area and Seattle. are made more painful because people don’t want to be there. But when you’re We’re proud to have published programs doing Press Corps, everyone wants to be there and they do their part, so it for Seattle-area arts organizations makes it a lot more enjoyable. since 1976. Fernandes: I would agree. It’s just a lot of people who are really passionate From jewelers and restaurants to galleries about art and they love doing what they and schools, smart business owners know do. And, ideally, they would never get burned out. And they’d continue to do Encore is the best way to get their brand what they love just because they love it. in the spotlight. Capuano: I read the TeenTix review for A Star is Born, and I had seen that movie. And when I read that review, I was able to have a different perspective on it—even though I had already seen it. I guess my ideal publication would allow people to take things that they were already somewhat familiar with and view it with a different perspective. ■ Danielle Mohlman

This round table was lightly edited and excerpted from an interview conducted To learn what Encore can do for your business, November 7, 2018. visit encoremediagroup.com.

14 ENCORE STAGES

encoremediagroup.com/programs 15

ANSWERS: 1) b. The Decameron. This compendium of retold and original stories is set in a framing story of ten young people telling each other tales to pass the time during a fortnight- long vacation from plague-ridden Florence. 2) a. Salt castle. 3) c. A painter. Jack Stangle (1927–1980) was a revered character in Seattle art history known for his confident landscape

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

second act and have a few minutes to spare? Treat your brain to this scintillating trivia quiz! trivia scintillating this to brain your Treat spare? to minutes few a have and act second

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Brain Transmission Intermission Intermission 37YEARS /1,300+MEMBERS

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