the richard b. fisher center for the performing arts at PAM TANOWITZ DANCE &FLUX UARTET June 27–28, 2015 Welcome The Richard B. Fisher Center for the Performing Arts at Bard College Chair Jeanne Donovan Fisher President presents

Dear Friends,

It’s a pleasure to welcome you to the Sosnoff Theater for this performance by Pam Tanowitz 15 Dance and the FLUX Quartet. PAM TANOWITZ DANCE This year’s SummerScape and celebrate the life and work of the Mexican FLUX UARTET composer Carlos Chávez, and this program includes the world premiere of Tanowitz’s solo for & Ashley Tuttle— former American Ballet Theatre principal dancer—set to Chávez’s Sonatina for Violin and Piano. Artistic Director and Choreographer Pam Tanowitz The program also includes Heaven on One’s Head, Tanowitz’s setting of two string quartets by Chávez’s contemporary Conlon Nancarrow, a thrillingly inventive experimental composer FLUX Quartet whose brilliance is at last fully recognized, though he was relatively unknown in his lifetime. Tom Chiu, violin; Conrad Harris, violin; Max Mandel, viola; Felix Fan, cello While Chávez spent a considerable amount of his creative life in the United States, the Lighting Design American-born Nancarrow conversely lived and worked primarily in Mexico, avoiding perse- Davison Scandrett cution for his communist affiliations. In this program Nancarrow’s quartets are performed by the FLUX Quartet, among the preeminent interpreters of contemporary classical music. Costumes Reid Bartelme Tanowitz originally created the first piece on the program, Broken Story (wherein there is no ecstasy), for Frank Lloyd Wright’s circular theater at the Guggenheim as part of the Works & Music Process series. This is its first presentation on a proscenium stage. Tanowitz responds deeply Carlos Chávez, Ted Hearne, David Lang, Conlon Nancarrow, and Caroline Shaw to her physical surroundings; in fact, her work often feels as though it has been created site- specifically for each theater. Today, few American choreographers have an opportunity to pres- Additional Musicians ent work on such expansive stages as the Sosnoff Theater; indeed, Sosnoff is the largest stage Pauline Kim Harris, violin; Michael Scales, piano for which Tanowitz has ever created work. The Fisher Center is committed to helping a new Dancers generation of dance makers create large-scale performances, establishing a legacy of major Andrew Champlin, Maggie Cloud, Dylan Crossman, Sarah Haarmann, Lindsey Jones, American dance for the future. We are thrilled to welcome Pam Tanowitz, and her remarkable Vincent McCloskey, Stuart Singer, Melissa Toogood, and Ashley Tuttle collaborators, to the Fisher Center for the first time.

Sosnoff Theater Best wishes, June 27 at 8 pm, followed by a post-performance discussion with the artists June 28 at 3 pm, with a pre-performance conversation at 2 pm

Running time for this performance is approximately 90 minutes, with one 20-minute Gideon Lester, Director of Theater Programs intermission.

Special support for these performances was provided by the McGue Millhiser Family The 2015 Bard SummerScape season is made possible in part through the generous support of Jeanne Donovan Fisher, the Martin and Toni Sosnoff Foundation, the Board of The Richard B. Fisher Center for the Performing Trust. Commissioning support was provided by Britton, Melina, and Emerson Fisher. Arts at Bard College, the Board of the Bard Music Festival, and the Friends of the Fisher Center, as well as grants from the National Endowment for the Arts and the New York State Council on the Arts with the support of To support innovative dance at the Fisher Center, contact Development Manager Governor Andrew Cuomo and the New York State Legislature. Kieley Michasiow-Levy, at [email protected] or 845-758-7987. Program Gray Linings, Steps in Time by Gia Kourlas

Broken Story (wherein there is no ecstasy) Pam Tanowitz stitches her intricate steps with the painstaking care of a dressmaker Music: No. 1 1655, Caroline Shaw hand-sewing a couture gown. She also likes the way they sound. Heels hit the floor in No. 2 almost all the time, David Lang quick succession as if conjuring up a dance’s heartbeat, as well a dancer’s inherent con- No. 3 For David Lang, Ted Hearne nection to the floor. Spaces within notes are drawn out through extreme tilts of the torso. Just as jumps elevate dancers into the air with near-invisible preparation, other Music performed by the FLUX Quartet movements, like a foot resting at the base of the opposite ankle in sur le cou-de-pied, turn Danced by Maggie Cloud, Dylan Crossman, Stuart Singer, and Melissa Toogood out to be more of a moment in a dance—perhaps even a memory of what might have been—than a means to an end. Broken Story (wherein there is no ecstasy) was commissioned by Works & Process at the Despite their elegance of form and structure, Tanowitz’s dances possess a rough-hewn Guggenheim and developed in residence at the Baryshnikov Arts Center, Mount Tremper beauty. They’re tough, knotted together by a labyrinth of choreographic inversions and Arts, and Works & Process at the Guggenheim. retrogrades. She likes to show a phrase, turn it inside out, and then reveal it anew from another angle. All the while, her highly trained performers—with a kind of frank sincerity —tell stories with their bodies. It’s a game of wills: technique, not the dancer, is the star, Intermission but if all goes well, it’s the dancer that conquers the technique and emerges a person.

Before the 2015 Bard Music Festival opens in August to focus on the life and work of the Solo Mexican composer Carlos Chávez, Bard SummerScape hosts three of Tanowitz’s works World premiere that demonstrate her disparate approaches to musicality, including Heaven on One’s Head. Set to Conlon Nancarrow’s String Quartet No. 1 and No. 3, Heaven, first performed Music: Carlos Chávez, Sonatina for Violin and Piano at the Joyce Theater in 2014, pays tribute to Chávez indirectly; the composers were con- Music performed by Pauline Kim Harris, violin, and Michael Scales, piano temporaries. Chávez was a Mexican composer who lived in America, while Nancarrow Danced by Ashley Tuttle was an American composer who lived in Mexico.

Along with an adapted version of Tanowitz’s recent Broken Story (wherein there is no Commissioning support for Solo was provided by Britton, Melina, and Emerson Fisher. ecstasy), the program also showcases the premiere of Solo, created for Ashley Tuttle, the Sonatina for Violin and Piano presented by arrangement with G. Schirmer, Inc., former American Ballet Theatre principal, set to Chávez’s Sonatina for Violin and Piano. publisher and copyright owner. In both Solo and Heaven, Tanowitz takes an intimate approach to the music. Heaven marks a new way of working for Tanowitz; in it, she mirrors its structure more closely than she has in the past. Heaven on One’s Head In the first section, each instrument plays the same phrase, but in canon; her eight Music: Conlon Nancarrow, String Quartet No. 1 and No. 3 dancers, paired up, follow suit. Tanowitz doesn’t read music herself; to grasp the com- Music performed by the FLUX Quartet plexities of Nancarrow’s composition, she studied the score with members of the FLUX Danced by Andrew Champlin, Maggie Cloud, Dylan Crossman, Sarah Haarmann, Quartet—with whom she frequently collaborates—and then melded her movement to Lindsey Jones, Vincent McCloskey, Stuart Singer, and Melissa Toogood it. What makes a dance musical? For Tanowitz, who is deeply influenced by Merce Cunningham, it comes down to rhythm: the ability to see and to listen in tandem. As The Nancarrow String Quartets are published by Smith Publications, 54 Lent Road, groups converge into bouquets or splinter off into solos and duets, accents shift and so Sharon, VT 05065. does the texture.

4 5 George Balanchine famously said, “There are no new steps, only new combinations,” and She didn’t begin choreographing until her junior year at The Ohio State University, where Tanowitz takes that to heart. Even more than a deconstructionist of ballet and modern her first piece was set to Janis Joplin and called I Only Drink Coffee. (Dancers hung upside dance, Tanowitz is a deconstructionist of herself. She repurposes and reframes steps; she is down from the stage with their hair streaming down.) After graduating in 1991, she moved an avid recycler. The duet from Broken Story is a condensed version of one found in her 2006 to New York, where she continued making dances, but in the mid-nineties decided to start work Blue Bamboula. Another duet, from Femina (2011), led to material for Fortune, created over and apply to graduate school. turned her down—her technique for Juilliard students. Sometimes Tanowitz regards her work as one long dance, and while wasn’t solid enough, she later discovered—but she was accepted at Sarah Lawrence College. that may or not be true, her pieces are certainly in dialogue with one another. As she has From 1996 to 1998, under the tutelage of Viola Farber, the former Merce Cunningham pointed out, “I’m a good editor, but I also don’t like to throw things away.” dancer, Tanowitz underwent a transformation.

For Solo, which features Pauline Kim Harris on violin and Michael Scales on piano, Tanowitz Farber retaught Tanowitz how to dance and how to look at life. Each day was different; after borrows movement from Femina, which featured a solo for Tuttle. It marked the first time rigorous morning classes, students would work on a piece or respond to a task, such as the two worked together. In its current form, Tanowitz has stripped that former work bare, choreographing a dance in 10 minutes. The pair connected immediately. “I wasn’t precious removing all of its theatrical touches to show the bones of the steps in which she illuminates about what I made, and Viola loved that I didn’t want to get a degree to teach,” Tanowitz Tuttle’s history in ballet, shown through ghostly afterimages that still live in the ballet says. “I just went there to work—it was immersion into trying to figure out what kind of dancer’s body. Tanowitz also resurrects four steps from 2011’s Untitled (The Blue Ballet), in work I wanted to make.” which Tuttle moves her body through écarté positions and then abruptly shifts into a neu- Tanowitz is a choreographer who loves dance. (Not all do.) In that sense, all of her dances tral, pedestrian stance. are love stories. She is a romantic, but tenacious, especially when it comes to making, as she That tension between the old and the new, or codified and casual movement, is a corner- puts it, “a good dance.” This is her utopian means to an end. Like the ballets she worships, stone of Tanowitz’s work. It lends ballet vocabulary a human context, an emotional spark. she aims, with each premiere, to choreograph a dance that will stand the test of time. But She also explores vulnerability in Solo: she hopes to emphasize not only the architecture of as much as she is inspired by history, she’s not beholden to it. Her work is always an invita- a space, but a different, more fragile side of a ballerina. What is femininity? What is purity? tion to be in the gray: to settle into a world where the past informs the present and where Where is the woman inside of the dancer? modern dance and ballet brush up against each other—perhaps even touch—and then go their separate ways. Tanowitz first began experimenting with the ballet world in 2002, when she created Informal for then New York City Ballet soloist Tom Gold; in it she deconstructed the tendu, Gia Kourlas writes about dance and performance for the New York Times and other one of ballet’s most basic positions; instead of letting the foot extend fully, she stopped the publications. range of motion abruptly at the ball of the foot. In 2006, she choreographed Grand Bamboula, a solo for another City Ballet dancer, Elizabeth Walker, that included a brisk deconstruction of the opening of George Balanchine’s Serenade. In her own Be in the Gray With Me (2009), Tanowitz riffed on the Rose Adagio from The Sleeping Beauty. Tanowitz’s fixation on ballet is both peculiar and understandable. She is firmly a modern dancer; the use of the bare foot gives her dances their accent, their pulse; it roots them to the floor; it gives the stage a beat. But one thing escapes her: just how to express her point of view with a pointe shoe.

For all her reverence of ballet, Tanowitz, born and raised in New Rochelle, grew up training in modern dance at the Steffi Nossen School of Dance at the age of 10. She was lucky; her instructors were a wealth of New York choreographers and teachers, including Hannah Kahn, Marcus Schulkind, Regina Larkin, and Lonne Moretton. Mark Morris, a choreographer whom Tanowitz has long admired, was in Kahn’s company. While a student, she was also a member of the Steffi Nossen Dance Company, which she regards as a treasured experience. The training was rigorous, but that was part of the incentive. In a 1986 New York Times arti- cle, Tanowitz was quoted as saying, “If I had Saturdays and Sundays free, I wouldn’t know what to do with myself.”

6 7 Who’s Who est cinematic work by visionary artist Matthew Barney and composer Jonathan Bepler. Previously performing at Bard SummerScape in 2010, FLUX is thrilled to return for this summer’s festival.

Pam Tanowitz (Artistic Director and Choreographer) has been making dances since 1992. Davison Scandrett (Lighting Design) is a Brooklyn-based production manager and light- She founded Pam Tanowitz Dance in 2000, and has received commissions and residen- ing designer. Since graduating from the University of North Carolina School of the Arts cies at the Joyce Theater, New York Live Arts, The Kitchen, Danspace Project, The in 2002, he has worked as a lighting director, production manager, or department head Guggenheim Museum’s Works & Process program, City Center’s Fall for Dance Festival, on more than 1,000 performances in 44 states and 17 countries. Credits include the world Vail International Dance Festival, and Baryshnikov Arts Center. The company has also per- tour of Rent, the first national tour of The Drowsy Chaperone, Super Bowl XXXIX, three formed in the Lincoln Center Out of Doors Festival and the Chicago Dancing Festival. tours for the Tony Award–winning The Acting Company, and dances by Sarah Michelson, Tanowitz received a 2009 Bessie Award for the dance Be in the Gray With Me at Dance Miguel Gutierrez, Joanna Haigood, Charlie Anderson, and Merce Cunningham. Scandrett Theater Workshop. She was awarded a prestigious Guggenheim Fellowship in 2011 and a was the recipient of a Bessie for his 2006 collaboration with Michelson and Parker Lutz 2013–14 Hodder Fellowship from Princeton University. She has been guest choreographer on the visual design of Dogs and was director of production for the Merce Cunningham at The , Rutgers University, , SUNY Purchase, and Dance Company. Marymount . This year, Tanowitz was chosen to participate in the American Ballet Theatre’s Innovation Initiative Choreography Workshop and the Evelyn Reid Bartelme (Costume Design) began his professional life as a dancer. He worked for Sharp/Cal Arts Residency. Her work is in the repertory of New York Theatre Ballet, Saint ballet companies throughout North America and Canada, and later in his career worked Louis Ballet, and Ballet Austin. Additional awards include two Joyce Theater residency for modern dance companies in New York including Shen Wei Dance Arts and the Lar grants, Foundation for Contemporary Arts’ Grants to Artists Award, and support from the Lubovitch Dance Company. He has also performed in works by Jack Ferver, Liz Santoro, Jerome Robbins Foundation, New York Foundation for the Arts BUILD Grant and LMCC. Burr Johnson, Douglas Dunn, Christopher Williams, and Kyle Abraham. He went on to Tanowitz is a graduate of The Ohio State University and Sarah Lawrence College, where graduate from the fashion design program at the Fashion Institute of Technology and she was mentored by former Merce Cunningham principal dancer Viola Farber. began working as a freelance costume designer. Reid has designed costumes most notably for Christopher Wheeldon, Lar Lubovitch, Pam Tanowitz, Trey McIntyre, Jack The FLUX Quartet (Musicians), “one of the most fearless and important new-music Ferver, Jillian Peña, and Liz Santoro. In collaboration with designer Harriet Jung, Reid ensembles around” (Joshua Kosman, San Francisco Chronicle), has premiered new works has designed costumes for the New York City Ballet, American Ballet Theatre, Pacific and performed to rave reviews in venues ranging from The John F. Kennedy Center for the Northwest Ballet, Pennsylvania Ballet, Miami City Ballet, Justin Peck, Marcelo Gomes, Jodi Performing Arts and Carnegie Hall’s Zankel Hall to maverick art houses such as EMPAC, Melnick, Doug Varone, and Kyle Abraham. The Kitchen, and the Walker Art Center as well as international music festivals in Australia, Europe, and the Americas. The group’s discography includes recordings on the Pauline Kim Harris (Violin) is a Grammy-nominated artist who engages in both classical Cantaloupe Music, Innova Recordings, Tzadik, and Cold Blue Music labels, in addition to and the experimental/avant-garde. She recorded John Zorn’s tour de force solo violin work two critically acclaimed releases on Mode Records. Strongly influenced by the irreverent Passagen in 2012, which she then performed live for a duet created by choreographer Pam spirit and anything-goes philosophy of the Fluxus art movement, violinist Tom Chiu Tanowitz at the Joyce Theater, Lincoln Center for the Performing Arts, and the Chicago founded FLUX in the late ’90s. The quartet has since cultivated an uncompromising Dance Company in 2013. As first violinist of the Alchemy Quartet, she toured Europe and repertoire that follows neither fashions nor trends, but rather combines yesterday’s sem- the United States with the string quartet’s Zorn@60 concert celebration, and served as inal iconoclasts with tomorrow’s new voices. As part of its mission to support future music director of the Bill T. Jones/Arnie Zane Dance Company for several tours in the musical pioneers, FLUX actively commissions and has been awarded grants from the United States and abroad. She is a member of the S.E.M. Ensemble, Ostravska Banda, American Composers Forum, The Aaron Copland Fund for Music, Chamber Music OBSq, Ensemble LPR, Wordless Music Orchestra, and the “enterprising violin duo” String America, and Meet the Composer. The spirit to expand stylistic boundaries is a trademark Noise. Most recently she performed as a soloist in the live screening of There Will Be of the FLUX Quartet, and thus the quartet avidly pursues projects with genre-transcend- Blood with Jonny Greenwood and the Wordless Music Orchestra at the United Palace ing artists working in mixed media. These artistic synergies have led to acclaimed new Theatre. She will be releasing her first feature album, /SHäkôn/. She was in the final mas- works with experimental balloon musician Judy Dunaway, choreographers Pam terclass of Jascha Heifetz. Tanowitz and Christopher Wheeldon, and digital art pioneers OpenEndedGroup. Most recently, FLUX appeared both on film and the soundtrack of River of Fundament, the lat-

8 9 Hailed as a pianist with “heroic vigor,” Brooklyn-based Michael Scales (Piano) has per- performed works by Pam Tanowitz, Elena Vazintaris, Dylan Crossman, and Jessica Lang, formed as a soloist and chamber musician for dance across the country and internation- with whom she currently dances. She has participated in and is currently performing, on ally. An advocate of new art, Scales has been involved in the process and performance of scholarship, in repertory workshops sponsored by the Merce Cunningham Trust. multiple new works of music and choreography. He has served as music director and Haarmann is incredibly grateful to Pam Tanowitz for this performance opportunity. pianist at New York Theatre Ballet for the past five seasons, and can also be seen at many dance institutions around New York City. Scales has a master of music degree from James Lindsey Jones (Dancer) is originally from St. Louis, Missouri. She graduated with a B.F.A. Madison University, where he studied under Lori Piitz, and a B.A. from Kutztown from SUNY Purchase College and also attended London Contemporary Dance School. University, where he studied under Maria Asteriadou. Jones has performed with Dance Heginbotham, Pam Tanowitz Dance, GREYZONE, Ian Spencer Bell, June Finch, Rosario/Adriane Lee, Samuel Swanton, and Lauren Camp. She Andrew Champlin (Dancer) grew up in Portland, Oregon, where he started to train in was recently featured in two of Isaac Mizrahi’s theatrical productions: as “The Cat” in classical dance at the School of Oregon Ballet Theatre (OBT). After dancing professionally Peter and the Wolf and in The Magic Flute with Opera Theatre of Saint Louis. with OBT as an apprentice, Champlin continued his dance training on full scholarship at The School of American Ballet in New York City, where he studied the Balanchine tech- Vincent McCloskey (Dancer) began his dance training at The Washington School of nique under the direction of Peter Martins and Kay Mazzo. Champlin holds a B.A. from Ballet, and continued his studies at The Chicago Academy for the Arts, Alvin Ailey Eugene Lang College at University. As a professional dancer he studies American Dance Theater, Joffrey Ballet School, and at The Construction Company with with internationally renowned ballet teacher Janet Panetta and former members of the Carolyn Lord. In addition to performing in the work of Pam Tanowitz since 2010, he cur- Merce Cunningham Dance Company through the Merce Cunningham Trust. Champlin rently dances with Patricia Hoffbauer, and has worked with many choreographers, has had the pleasure of working with numerous choreographers in the field of contem- including Rebecca Lazier, Karole Armitage, Lucinda Childs, Dusan Tynek, Mark Morris, and porary art and dance, such as Pam Tanowitz, Miguel Gutierrez, David Gordon, Wally Peter Kyle. Cardona, Todd Williams, David Parker, Christopher Williams, Ryan McNamara, Jillian Peña, and Xavier Le Roy, among others. In addition to performing, Champlin teaches ballet Stuart Singer (Dancer) is a Brooklyn-based performer and teacher. A recipient of a 2014 technique and assists Panetta in New York City and abroad. New York Dance and Performance Bessie Award for Outstanding Performer, he is currently developing new projects with John Jasperse, Beth Gill, Gwen Welliver, Joanna Kotze, and Maggie Cloud (Dancer) is a New York–based dancer and teacher originally from Sarasota, Andrew Ondrejcak, and has recently worked with Lucinda Childs, Robert Wilson, Wally Florida. Since completing her B.F.A. at Florida State University, she has performed in Cardona, Doug Varone, Yanira Castro, Mollye Maxner, Netta Yerushalmy, and the Bill T. works by several artists, including Lauren Bakst, Kim Brandt, Ellen Cornfield, Diana Crum, Jones/Arnie Zane Dance Company. He is a currently a guest lecturer in dance at Princeton Moriah Evans, John Jasperse, Burr Johnson, Jen McGinn, Sarah Michelson, Pam Tanowitz, University, and has also taught on faculty at Bard College, Bennington College, SUNY Gillian Walsh, and Emily Wexler. Purchase College, and the American Dance Festival. Originally from western Massachusetts, he is a graduate of SUNY Purchase College Conservatory of Dance. Singer Dylan Crossman (Dancer) grew up under the Mediterranean sun and studied in rainy has been making dances with Pam Tanowitz since 2014. London at the Trinity Laban Conservatoire of Music and Dance. He moved to New York eight years ago and worked for choreographers Wally Cardona, Christopher Williams, Melissa Toogood (Dancer) joined Pam Tanowitz Dance in 2006–08, returning in 2012 to Peter Kyle, and Seán Curran while managing a Turkish restaurant. Crossman joined the also serve as rehearsal director and assistant to the choreographer for numerous proj- Merce Cunningham Dance Company in 2009 and was part of the Legacy Tour, enjoying ects. Toogood was nominated for an Outstanding Performer Bessie Award in 2013 for her every second of it. Now freelance, Crossman works with Pam Tanowitz, Kimberly role in Tanowitz’s The Spectators as well as Rashaun Mitchell’s Interface. She was a mem- Bartosik/daela, Sally Silvers, Ryan McNamara, and Brian Brooks Moving Company. He ber of the Merce Cunningham Dance Company; her tenure included the Legacy Tour. received a Bessie Award for his work in Tanowitz’s Be in the Gray With Me. Kid Birds, a proj- She has taught Cunningham technique since 2007 and was a 2013 and 2015 Merce ect for which he was the teacher/choreographer, won the 2014 Artistic and Cultural Cunningham Fellow. She has performed with Rosie Herrera Dance Theatre, Kyle Audacity Award (France). He is a part-time faculty member at Purchase College and for Abraham/Abraham.In.Motion, Sally Silvers, Kimberly Bartosik, and Stephen Petronio the Merce Cunningham Trust. Crossman is a New York Live Arts associate artist. Company, and tapped with The Bang Group. Toogood is currently working with Mitchell and Silas Riener, and continues to be a guest with the Petronio Company. A native of Sarah Haarmann (Dancer) grew up in Macungie, Pennsylvania. She graduated from Sydney, Australia, Melissa earned a B.F.A. in dance performance from New World School Marymount Manhattan College with a B.F.A. in dance. Since graduation, Haarmann has of the Arts in Miami, Florida. She was listed in Dance Magazine’s “25 to Watch” in 2014.

10 11 We honor the late Richard B. Fisher for his generosity and leadership in building and supporting this Ashley Tuttle (Dancer) was invited by Mikhail Baryshnikov to join American Ballet superb center that bears his name by offering outstanding arts experiences. We recognize and thank the Theatre (ABT) at the age of 16. As a prima ballerina with ABT, Tuttle’s career spanned 17 following individuals, corporations, and foundations that share Dick’s and our belief in presenting and cre- 15 years. Her repertoire included works by George Balanchine, Martha Graham, Jií Kylián, ating art for the enrichment of society. Ticket sales cover less than percent of our programming. Help us sustain the Fisher Center and ensure that the performing arts are a part of our lives. We encourage and Mark Morris, Agnes de Mille, Antony Tudor, and William Forsythe. While maintaining her need you to join our growing list of donors. career with ABT, Tuttle joined the acclaimed Twyla Tharp Dance (TTD) in 2000. During Tuttle’s time with TTD, Tharp created the hit Broadway show Movin’ Out and the role of Donors to the Fisher Center Benefactor Mark W. Sutton Helen and Roger Alcaly Drs. Katherine and Richard Tobey Judy for her. Tuttle’s interpretation of this role earned her nominations for both Tony and Leadership Support Dr. Miriam Roskin Berger ’56 Mrs. Beverley D. Zabriskie Fred Astaire Dance Awards. Tuttle’s recent works include Tharp’s Come Fly Away on Anonymous Sandra and Dr. A. John Blair III Carolyn Marks Blackwood Bob Bursey and Leah Cox Supporter Broadway, Metropolitan Opera House’s Carmen, and guest performances with Dance Emily H. Fisher and John Alexander Gwenn Evitts Cohen Kathryn M. Adorney Jeanne Donovan Fisher Beverly Fanger and Nina Aronzon and Karl Rizzo Theatre of Harlem, Pam Tanowitz Dance, and Lynne Taylor-Corbett. She continues to Murray Liebowitz* Dr. Herbert S. Chase Jr. John J. Austrian ’91 and The Marks Family Foundation Florence & Robert Rosen Family Laura M. Austrian dance as a guest artist throughout the world. Tuttle has been a volunteer ballet teacher Martin and Toni Sosnoff Foundation Foundation Dr. Alvin and Arlene Becker at Groove With Me, a Harlem-based dance school focused on children at risk. She also Millbrook Tribute Garden, Inc. Carlos Gonzalez and Katherine Stewart Lawrence Bell New England Foundation for the Arts Prof. Eban Goodstein Susan Bienkowski teaches ballet at the Mark Morris Dance Group, Usdan Center for the Creative and New York State Council on the Arts Florence and Robert A. Rosen Marge and Ed Blaine (NYSCA) Denise S. Simon and Charles R. Blyth Performing Arts, The School at Steps, Cedar Lake Contemporary Ballet, Princeton Rockefeller Brothers Fund Paulo Vieiradacunha Mr. David Brangaitis Martin T. and Toni Sosnoff Darcy Stephens David J. Brown University, and Barnard College. Tuttle was awarded an honorary doctorate of humani- Felicitas S. Thorne Allan and Ronnie Streichler Jeffrey and Ellyn Burstein ties from Wofford College in 2011. Aida and Albert Wilder Harold Bush Golden Circle Wilder Consolidated Enterprises Inc. Mary L. Byrne and Glenn W. Mai Arthur F. and Alice E. Adams Foundation Michael Caola Estate of Richard B. Fisher Sustainer Susan Chadick and Robert Weiss PAM TANOWITZ DANCE Dr. Wolfgang Aulitzky and Douglas and Jack Charney Director Katharine Eltz-Aulitzky Daniel Chu and Lenore Schiff Pam Tanowitz, artistic director Fiona Angelini and Jamie Welch Prof. Jonathan and Jessica K. Becker Tom Cole Aaron Mattocks, producer Anna-Maria & Stephen Kellen Ward C. Belcher Susan Connors Foundation, Inc. Elizabeth A. R. Brown and Jane R. Cottrell Melissa Toogood, rehearsal director Anne Donovan Bodnar and Ralph S. Brown Jr. Dr. Margaret M. Coughlin James L. Bodnar Alfred Buff and Lenore Nemeth Paul A. Cruser Alicia Davis and Steve Ellis Roy and Patricia Carlin Prof. Matthew Deady Steven M. Dawson Joan and Robert Costa Mr. and Mrs. Timothy Delaney Pam Tanowitz Dance is fiscally sponsored by the Foundation for Independent Artists, Inc., Michael J. Del Giudice and Jaynne Keyes Blythe Danner ’65 C. Douglas and Leslie Dienel Stefano Ferrari and Lilo Zinglersen Amy K. and David Dubin Pat Doudna a nonprofit organization administered by Pentacle (DanceWorks, Inc). Pentacle is a non- Britton Fisher Dr. Judy Gold David Ebony and Bruce Mundt profit management support organization for the performing arts. Mara Greenberg, Catherine C. Fisher and Bruce Gordon Hal and Valery Einhorn Gregory A. Murphy John and Mary Kelly Joan and John Ensminger director; Ivan Sygoda, founding director. 75 Broad Street, Suite 304, New York, NY 10004. Amy and Ronald Guttman Max Kenner ’01 Arthur and Janet Eschenlauer Doris J. Lockhart Kevin Klose Bridget L. Fraser 212-278-8111. www.pentacle.org. The Maurer Family Foundation, Inc. Prof. Laura Kuhn Edward Friedman and Arline Lederman McGue Millhiser Family Trust Dr. Nancy Leonard and Tracee J. Fultz Mr. and Mrs. James H. Ottaway Jr. Dr. Lawrence Kramer Frances A. and Rao Gaddipati www.pamtanowitzdance.org Stephen Simcock Barbara L. and Arthur Michaels Maxine and Marvin Gilbert Terra Nova Foundation Andrea and Kenneth L. Miron Nicole Gill Thendara Foundation Joanne and Richard Mrstik Stanley and Anne Gordon Debra R. Pemstein and Dean Vallas Paul Graebener Pam Tanowitz Dance is supported, in part, by the National Endowment for the Arts. Producer David E. Schwab II ’52 and Marjorie Grinnell Kay Brover and Arthur Bennett Ruth Schwartz Schwab ’52 David A. Harris Bonnie Loopesko and Daniel Shapiro Margo and Anthony Viscusi John Haworth Dorothy and Leo Hellerman Patron Sponsor Kenneth P. Hodges Jamie Albright and Melva Bucksbaum and Elizabeth Jane Hoffman Stephen Hart Household Raymond J. Learsy Michael Holzhueter Sylvie and Leon Bressler Eileen and Michael Cohen Arnold N. Iovinella Felice C. Frankel Gordon Douglas Marcia Kaplan-Mann Thomas and Bryanne Hamill Patricia Falk Demetrios and Susan Karayannides The Harkness Foundation for Dance, Inc. Arnold and Milly Feinsilber Paul R. Knight Susan Hendrickson Nancy Felcetto Edward Nicholas Krapels Dr. Harriette Kaley Matthias and Victoria H. Gohl Dr. Roy and Amy Kulick Joseph La Piana Nan and David Greenwood Robert James Kurilla Amala and Eric Levine Neil Isabelle John E. Lee Stephen Mazoh and Martin Kline Rose and Josh Koplovitz Wendy and John Livingston New Music USA, Inc. Richard Kortright and Claudia Rosti Melissa R. Marrero Quality Printing Company, Inc. Helena Lee Herbert Mayo Ted Ruthizer and Jane Denkensohn Andrew McCabe Dr. Naomi Mendelsohn David A. Schulz Branca M. and Bruce L. Pachkowski Dan Meyer Sarah and Howard Solomon Sky Pape and Alan C. Houghton Linda Michaels Illiana van Meeteren Barbara A. and Joseph Schoenberg Douglas Milford Peter van Schaick Ann Stack Karen E. Moeller and Charles H. Talleur

12 13 Irene Mungiu Phyllis Marsteller Drs. M. Susan and Irwin Richman Maureen A. Whiteman and Terrence Mahon Mechelle Nobiletti James McLafferty Sarah and Howard Solomon Lawrence J. Zlatkin Charles S. Maier Elizabeth J. and Sevgin Oktay Ray Michaels Dr. Sanford B. Sternlieb Richard and Dee Wilson Dr. Naomi Mendelsohn Mr. and Mrs. Robert B. Opatrny Kieley Michasiow-Levy and Matt Levy Margo and Anthony Viscusi Mr. and Mrs. William T. Nolan Marilyn and Peter Oswald Dr. David T. Mintz Dr. Siri von Reis Sponsor Fernando and Marta E. Nottebohm Margrit and Albrecht Pichler Bonni Nechemias Jamie Albright and Elizabeth J. and Sevgin Oktay David S. Pollack Celina R. Pipman and Sergio A. Spodek Producer Stephen Hart Household David B. and Jane L. Parshall Joan Quigley Steven Pollak and Robin Tanenbaum Mary I. Backlund and Virginia Corsi Saida and Sherwood Baxt Lucas Pipes ’08 and Maarten Reilingh, Real Estate Broker Melanie B. Powers and Lydia Chapin and David Soeiro David Cuming Sarah Elizabeth Coe Paden ’09 Christopher Nelson Rowley Frederic B. Presbrey Eliot D. and Paula K. Hawkins Mr. and Mrs. Gonzalo de Las Heras Irving L. Sablosky Franz Safford David Pozorski and Anna Romanski Anne E. Impellizzeri Donald C. Fresne Dagni and Martin Senzel Myrna B. Sameth Faye Rafferty Alfred J. Law and Glenda A. Fowler Law Dr. Judy Gold Eric and Karin Shrubsole Drs. Brigitte I. and Herman J. Servatius Yael Ravin and Howard Sachar Alison L. and John C. Lankenau Mr. and Mrs. Harrison J. Goldin Theodore Somerville Elisabeth A. Simon George and Gail Hunt Reeke Stewart's Shops Richard E. Hahn Chris and Mila Tewell Joseph Sobota Catherine K. Reinis Allan and Ronnie Streichler E. Noel Harwerth and Seth Melhado Timothy and Cornelia Eland Fund of Gabriella Sperry Drs. M. Susan and Irwin Richman Coralie Toevs Martin Holub and Sandra Sanders the Fidelity CGF Dr. Raymond F. Stainback Michael Roomberg Dr. Elisabeth F. Turnauer-Derow Soohyung Kim and Robert and Melanie Whaley Campbell Steward Paul Rosenberg Merida Welles and Chip Holman Anna Carolina Gunnarson Serita Winthrop Randy J. Tryon Martin Jay Rosenblum Irene Zedlacher Dr. Seymour and Harriet Koenig Robert E. Tully Irwin H. Rosenthal Cynthia Hirsch Levy ’65 Friend Beth Uffner Amy Rothstein and Peter Salerno Patron Susan Lorence Anonymous James Warnes Amanda J. Rubin Kathleen Augustine Margrit and Albrecht Pichler Antonia Bakker-Salvato Dr. Dietmar B. Westphal Heinz and Klara Sauer Belinda and Stephen Kaye Dr. Howard Bellin Stanley Wiegand Barbara and Dick Schreiber MetLife Foundation Supporter Christina Bevilacqua ’81 Dr. Lawrence A. Wills and D. J. Martin John and Aija Sedlak Alexandra Ottaway Barbara J. Agren Clara Botstein Mike and Kathy Zdeb Susan Sprachman Barbara B. Reis Anonymous Leslie Chen Irene Zedlacher Marcia Sprules David E. Schwab II ’52 and Elizabeth Phillips Bellin ’00 and Richard D. Cohen David and Sarah Stack Ruth Schwartz Schwab ’52 Marco M.S. Bellin Jane R. Cottrell Friend Glenn and Agnes Statile Andrew Solomon and Shirley Benson Joan and Wolcott Dunham Dr. and Mrs. Morton Alterman Mavis and Harold Stevens John Habich Solomon Khurshed Bhumgara Mr. and Mrs. Arthur L. Fenaroli Anonymous (2) Cathy Stone Edwin Steinberg Beth and Jerry Bierbaum David and Tracy Finn Sybil Baldwin Dr. Elisabeth F. Turnauer-Derow Olivia van Melle Kamp Harriet Bloch and Evan Sakellarios Samantha R. J. Free Derek J. Balling Alison M. and James A. von Klemperer Bill Zifchak and Maggie Evans John C. D. and Nancy Bruno C. Robert Friedman and William G. Barrett Gerald and Grace Wapner Philip and Mimi Carroll Vernon Mosheim Rev. Winston L. Bath Lois Weber Benefactor Sarah Gates Colley Leslie and Richard J. Gershon Eva Thal Belefant ’49 David and Meliza E. Woolner Dr. Miriam Roskin Berger ’56 Joan and Robert Costa Maxwell H. and Victoria Goodwin Howard and Mary Bell Robert and Lynda Youmans Sarah Botstein and Bryan Doerries Ellen C. Curtis Danielle Greenberg James P. Booth Melva Bucksbaum and James R. Devanney Maureen W. Gregory Bert Boyson Raymond J. Learsy Rt. Rev. Herbert A. and Mary Donovan David Grundy Joe and Meg Cairo Friends of the Bard Music Festival Thomas M. Burger and Andree Robert Gordon Douglas Frederick Fisher Hammond Darrah L. Cloud Amy K. and David Dubin Seth Dubin Fritz and Nancy Henze Dr. Stephen R. Cohen Leadership Support Robert C. Edmonds ’68 Abby H. and John B. Dux Derek B. Hernandez ’10 Richard A. Costello Helen and Roger Alcaly Elizabeth W. Ely ’65 and Cornelia Z. and Timothy Eland Juliet Heyer Patricia Curthoys The Andrew W. Mellon Foundation Jonathan K. Greenburg Patricia Ellis Robert E. Kaus Frank J. Cutolo Bettina Baruch Foundation Marieluise Hessel and Edwin L. Artzt Jim and Laurie Niles Erwin Suzanne H. Keusch Curtis DeVito Jeanne Donovan Fisher Elena and Fred Howard Harold Farberman Diana Niles King Gary DiMauro and Kathryn Windley Jane W. Nuhn Charitable Trust Dr. Harriette Kaley Laura Flax Mr. and Mrs. Michael Levin Richard A. Donovan Dr. Barbara Kenner Mona and Fred Payton Karl Fleischmann Ms. Alexandra R. Marshall Abby H. and John B. Dux Mr. and Mrs. James H. Ottaway Jr. Claire and John Reid Luisa E. Flynn Stephen Mazoh and Martin Kline Amy J. Engel Denise S. Simon and Schwab Charitable Fund John and Patricia A. Forelle Anna Neverova ’07 Christian Fekete Paulo Vieiradacunha Elizabeth Farran Tozer and Emily Rutgers Fuller Barbara B. Peelor Sydney Heller Finkel Felicitas S. Thorne W. James Tozer Jr. Emma Gaudio ’09 and Alex Gaudio ’10 D. Miles Price Floyd and Phyllis Glinert Foundation Millie and Robert Wise Rosemary and Noel Werrett Maxine and Marvin Gilbert Susan Price of the FCGF The Wise Family Charitable Foundation Samuel L. Gordon Jr. John Royall Raimond Flynn Sustainer Alison Granucci Molly Schaefer and Dan Slott Ronald C. Geuther Golden Circle Anonymous (2) James Hayden Frederick W. Schwerin Jr. Mr. and Mrs. Floyd Glinert Dr. Thomas Hesse Alexander and Margaret Bancroft Susan Hendrickson John and Aija Sedlak Fayal Greene and David J. Sharpe Susan and Roger Kennedy Robert and Isobel Clark Denise Kahn Elizabeth K. and James Shequine Sheryl Griffith Edna and Gary Lachmund Ana and J. Roberto De Azevedo Demetrios and Susan Karayannides Jessica and Peter Tcherepnine Veronica Halverson Martin L. and Lucy Miller Murray Willem F. De Vogel Mr. and Mrs. Thomas W. Keesee III Pamela A. Tucker Amy and David Harter National Endowment for the Arts (NEA) Emily H. Fisher and John Alexander Mr. and Mrs. George A. Kellner Arete B.S. Warren Delmar D. Hendricks John Geller Erica Kiesewetter Peter and Maria Wirth Shawn Holzmann Director Diva Goodfriend-Koven Prof. Camille C. King Marianne Wurlitzer Renee J. Jaworski and Mark J. Melvin The Ann & Gordon Getty Foundation David and Nancy Hathaway John R. and Karen Klopp Dr. Herbert M. and Audrey S. Wyman Dr. Eleanor C. Kane Bessemer National Gift Fund Rachel and Dr. Shalom Kalnicki Chloe A. Kramer Linda L. Kaumeyer Dr. Leon Botstein and Barbara Haskell Helene L. and Mark N. Kaplan Elissa Kramer and Jay H. Newman * deceased Marilyn and William L. Kirchner Michelle R. Clayman Fernanda Kellogg and Kirk Henckels Debra I. and Jonathan Lanman List current as of May 6, 2015 Ulrike Klopfer Joan K. Davidson Beth Ledy Steven and Deborah Lanser Ted Krawczyk Carlos Gonzalez and Katherine Stewart Carolyn Makinson Victoria and Douglas Larson Maurice Dupont Lee Matthew M. Guerreiro and Claire and Chris Mann E. Deane and Judith S. Leonard Ronald Leibler Christina Mohr Dr. and Mrs. Arthur Menken Rosemary Levai Peter J. and Susan B. Levangia The Jewish Community Alliance of Andrea and Kenneth L. Miron Edward R. and Karen Levene Richard T. Levien Northeastern Pennsylvania Mary Moeller Martin S. Lippman Larry Lowenthal The J. M. Kaplan Fund, Inc. Joanne and Richard Mrstik Linda Lopez Joan Mack Amy and Thomas O. Maggs Art and Jeannette Taylor Catherine and Jacques Luiggi Mr. Peter J. Mancuso Marstrand Foundation Barbara and Donald Tober Lynn Favrot Nolan Family Fund Marilyn J. Marinaccio Jim and Talila O’Higgins Prof. Marina van Zuylen John P. MacKenzie

14 15 Boards and Administration The Richard B. Fisher Center Facilities SummerScape Seasonal Staff Nick Ligon, Lighting Programmer, Pam Abbey Lowenstein, Production Assistant, for the Performing Arts Mark Crittenden, Facilities Manager Tanowitz Dance, The Wreckers Oklahoma! Ray Stegner, Building Operations Manager Administration and Programming Walter Daniels, Electrician Bard College Advisory Board Doug Pitcher, Building Operations Susana Meyer, Producer, SummerScape Dale Gibbons, Electrician Audience Services Jeanne Donovan Fisher, Chair Coordinator Opera Matt Griffen, Electrician Ushers Board of Trustees Carolyn Marks Blackwood Daniel DeFrancis, Building Operations Justin Vivian Bond, Curator and Host, John King, Electrician Gouled Ahmed ’16 David E. Schwab II ’52, Chair Emeritus Leon Botstein+ Assistant Spiegeltent Brian Lindsay, Electrician JaQuan Beachem ’17 Charles P. Stevenson Jr., Chair Stefano Ferrari Robyn Charter, Fire Panel Monitor Richard Suchenski, Curator, Aaron Weininger, Electrician Hannah Berger '16 Emily H. Fisher, Vice Chair Robert Martin+ Katie O’Hanlon, Environmental Specialist SummerScape Film Festival Matthew Holcombe, Electrician Intern Eric Brodbeck George F. Hamel Jr., Vice Chair Dimitri B. Papadimitriou+ Patricia O’Hanlon, Environmental Cara Frisina, Marketing Intern Breit Katz, Electrician Intern Danielle Comerford '17 Elizabeth Ely ’65, Secretary; Life Trustee Denise S. Simon Specialist Jessalyn Kilgour, Audience Services Intern Ryan Naso, Electrician Intern Robert Crane 15 Stanley A. Reichel ’65, Treasurer Thurmond Smithgall Anna Simmons, Environmental Specialist Katherine Ritchie, Development/ Jamie Stokley, Electrician Intern Martha Fearnley ’ Martin T. Sosnoff Administrative Becky Fildes 17 Fiona Angelini Toni Sosnoff Audio Harrison Forman ’ Roland J. Augustine Felicitas S. Thorne The Bard Music Festival Company Management John Chocianowski, Audio Engineer, Michael Golub Leon Botstein+, President of the College Michael Coglan, Company Manager Spiegeltent Hasani Gunn Stuart Breslow+ Live Arts Bard Creative Council Board of Directors Jensen Clifford, Assistant Company Craig Freeman, Audio Engineer, Natalie Hayes Mark E. Brossman Alicia Davis Denise S. Simon, Chair Manager Oklahoma! Isabelle LaBarbera Steve Dawson Arianne DeCerb, Assistant Company Noah Firtel, Audio 1, The Wreckers Jack Lee Thomas M. Burger+ 2 James C. Chambers ’81 Jeanne Donovan Fisher Roger Alcaly Manager Brandon Roe, Audio , Oklahoma! Anwen Lewis Joshua J. Aronson 15 Marcelle Clements ’69, Alumni/ae Terry Gotthelf Mallory Hewell, Assistant Company Clara Gallagher, Audio-Visual Intern Bella Mazzetti ’ Leon Botstein+ Trustee Amy Guttman Manager Emily Hutton, Audio-Visual Intern Aidan McLaughlin Michelle R. Clayman The Rt. Rev. Andrew M. L. Dietsche, Richard Katzman Christina Ramos, Assistant Company Christine O’Donovan-Zavada, Audio- Aubrey Mulvey David Dubin Visual Intern Morgan Oppenheimer ’16 Honorary Trustee Doris Lockhart Manager Robert C. Edmonds ’68 Matthew Strieder, Audio-Visual Intern Emma Patsey Asher B. Edelman ’61, Life Trustee Stephen Simcock Jeanne Donovan Fisher Megan Robitaille Paul S. Efron Sarah Stack Bard Music Festival Christopher H. Gibbs+ Properties Charlotte Standefer Robert S. Epstein ’63 Coram Williams Stephen Dean, Stage Manager Carlos Gonzalez 12 Aubrey Ellis, Properties Master, Matt Strieder Barbara S. Grossman ’73, Alumni/ae Emily Cuk ’ , Stage Manager Paula K. Hawkins 15 Oklahoma! Philip Torphy ’16 Trustee Administration and Programming Anna Bikales ’ , Production Assistant Thomas Hesse 16 Justin Titley, Properties Master, The Evan Torrisi Andrew S. Gundlach Debra Pemstein, Vice President for Tamzin Elliott ’ , Production Assistant Susan Petersen Kennedy 15 Production Assistant Wreckers Isabel Vazquez Sally Hambrecht Development and Alumni/ae Affairs Jesse Goldberg ’ , Barbara Kenner Kedian Keohan ’16, Production Assistant Patrice Escandon, Assistant Properties Elizabeth Westermeyer Marieluise Hessel Bob Bursey, Senior Producer Gary Lachmund David Nagy ’13, Production Assistant Master, The Wreckers Avis Zane Maja Hoffmann Gideon Lester, Director of Theater Thomas O. Maggs Isabel Bump, Properties Intern Isaac Betters, Bus Captain Matina S. Horner+ Programs Robert Martin+ Spiegeltent Abigail Cain, Properties Intern Charles S. Johnson III ’70 Caleb Hammons, Associate Producer Business Manager Kenneth L. Miron Emily Rea, Venue Director Nick LaBarbera, Properties Intern Parking Attendants Mark N. Kaplan, Life Trustee Jeannie Schneider, Kieley Michasiow-Levy, Development Christina A. Mohr Marci Skolnick, Production Stage Sophia Renee, Properties Intern Colin Bemis George A. Kellner Manager James H. Ottaway Jr. Manager Ethan Isaac ’18 Fredric S. Maxik ’86 Zia Affronti Morter ’12, Executive Assistant Felicitas S. Thorne Evan Spigelman ’09, Spiegeltent Wardrobe Liam Jantzen James H. Ottaway Jr., Life Trustee Siri von Reis Assistant David Burke, Costume Coordinator, Stasha Moreno ’15 Martin Peretz, Life Trustee Production Salome Dewell ’16, Host Captain The Wreckers James Mulvey Stewart Resnick, Life Trustee Vincent Roca, Production Manager Artistic Directors Aleah Black, Host Jimmy Bennett, Wardrobe Supervisor, Niall Murphy ’17 Roger N. Scotland ’93, Alumni/ae Trustee Stephen Dean, Production Coordinator, Leon Botstein Naja Nicole Gordon ’15, Host The Wreckers Kevin Soto '16 Jonathan Slone ’84 Concerts and Lectures Christopher H. Gibbs Emma Lutz-Higgins ’16, Host Thalessa Billups, Wardrobe Supervisor, Alex Theisen James A. von Klemperer Matthew Waldron ’07, Production Robert Martin Luke McCrosson ’16, Host Oklahoma! David Uridia Coordinator, Dance and Theater Lily Houston Smith ’16, Host Katelyn Barrow, First Hand Maggie Zavgren ’18 Patricia Ross Weis ’52 Rick Reiser, Technical Director Executive Director Anastasha Moreno, Merchandiser Joy Havens, Assistant Wardrobe Josh Foreman, Lighting Supervisor Irene Zedlacher Supervisor Box Office Ticket Agents Senior Administration Moe Schell, Costume Shop Supervisor Production Management Gabrielle LaRoche, Head Stitcher Savannah Bachman ’17 Leon Botstein, President Seth Chrisman, Audio/Video Supervisor Associate Director Morgan Oppenheimer, Production Intern Laurel Walford, Costume Shop Foreman Jackson Blau ’17 87 Dimitri B. Papadimitriou, Executive Vice Hellena Schiavo, Assistant to the Raissa St. Pierre ’ Rachel Spears, Production Intern Krista Arena, Wardrobe Mirabai Bright-Thonney ’16 President Production Manager Cara Barker, Wardrobe Sarah Cohen ’18 Michèle D. Dominy, Vice President and Scholar in Residence 2015 Carpenters Jules Capuco, Wardrobe Ethan Evans ’16 Dean of the College Communications Leonora Saavedra Jacob Bigelow, Assisitant Technical Sarah Dickerson, Wardrobe Antonio Irizarry ’16 Mary Backlund, Vice President for Mark Primoff, Director of Communications Director, The Wreckers Lucy Gwathmey, Wardrobe Lizabeth Malanga ’16 2015 Student Affairs and Director of Eleanor Davis, Media and Marketing Program Committee Andrew Persson, Assisitant Technical Michael Hellman, Wardrobe Audrey Rosenblish ’16 Admission Manager Byron Adams Director, Oklahoma! Katharina Koehler, Wardrobe Ben Sernau ’17 Norton Batkin, Vice President and Dean Leon Botstein Jacob Goldwasser, Carpenter Rossina Lozoya, Wardrobe of Graduate Studies Publications Walter Clark Nicole Madar, Carpenter Casey Morris, Wardrobe Jonathan Becker, Vice President Mary Smith, Director of Publications Christopher H. Gibbs Jen Medina-Gray, Carpenter Megan Seiler, Wardrobe and Dean for International Affairs Robert Martin Tony Musso, Carpenter David Shoemaker, Wardrobe and Civic Engagement Audience Services Leonora Saavedra Hickory Renadette, Carpenter Jaclyn Vela, Wardrobe James Brudvig, Vice President for David Steffen, Audience Services Richard Wilson Sean Spencer, Carpenter Administration Manager and Communications Irene Zedlacher Shane Crittenden, Carpentry Intern Hair and Makeup Susan H. Gillespie, Vice President for Coordinator Mariah Curtis, Carpentry Intern Jared Janas, Hair and Makeup Designer, Special Global Initiatives Nicholas Reilingh, Box Office Manager/ Director of Choruses Brynn Gilchrist, Carpentry Intern The Wreckers Max Kenner ’01, Vice President for Database Administrator James Bagwell Caleb Harris, Carpentry Intern Brittany Hartman, The Wreckers Institutional Initiatives Emily Gildea ’11, Assistant Box Office Michael Lazarus, Carpentry Intern Kaila Herrera, The Wreckers Robert Martin, Vice President for Manager Vocal Casting/Producer, Staged Concerts Derek Pitcher, Carpentry Intern Earon Nealey, The Wreckers Academic Affairs and Director of The Hellena Schiavo, House Manager Susana Meyer Daisy Rosato, Carpentry Intern Bard College Conservatory of Music Sophie Green ’17, Assistant House Stage Management Debra Pemstein, Vice President for Manager Electrics Lynn Krynicki, Stage Manager, The Development and Alumni/ae Affairs Kai Mote ’16, Assistant House Manager + ex officio Kara Ramlow, Master Electrician, Wreckers Bethany Zulick ’15, Assistant House Oklahoma!, Pam Tanowitz Dance, The Megan Schwarz Dickert, Production Manager Wreckers Stage Manager, Oklahoma! John Dicarlo, Lighting Programmer, Kelly Hardy, Assistant Stage Manager, Oklahoma! Oklahoma!

16 17 Individual supporters are BECOME A FRIEND OF BECOME A PATRON OF THE FISHER CENTER THE FISHER CENTER About The Richard B. Fisher Center for the Performing Arts at Bard College essential to sustaining the Richard B. Fisher Center for Friends of the Fisher Center enjoy a Patrons enjoy all of the benefits of The Richard B. Fisher Center for the Performing Arts, an environment for world-class artistic the Performing Arts as an behind-the-scenes look at Fisher Center Benefactors of the Fisher Center, plus extraordinary part of presentations, invitations to exclusive access to the best seats in the house, presentation in the Hudson Valley, was designed by Frank Gehry and opened in 2003. events, and access to special services personalized ticketing, preferred cultural life in the Hudson Risk-taking performances and provocative programs take place in the 800-seat Sosnoff throughout the year. parking, and exclusive events. Valley. Generous gifts from 220 Friend ($75) Benefits include: Theater, a proscenium-arch space, and in the -seat LUMA Theater, which features a flex- arts supporters like you Patron ($1,500) All of the Benefactors • Access to tickets before the ible seating configuration. The Center is home to Bard College’s Theater & Performance and help make everything at benefits, plus: general public • Access to the best seats and Dance Programs, and host to two annual summer festivals: SummerScape, which offers the Fisher Center possible. • Invitations to season previews and personalized ticket handling through open house events the Patron Priority Line opera, dance, theater, operetta, film, and cabaret; and the Bard Music Festival, which cele- • 10 Our members support % discount on Spiegeltent dining • Access to the Bard Music Festival 25 2015 • 20% discount on Fisher Center brated its th year last August with “Schubert and His World.” The festival will be world-class performing Patron’s Lounge at Olin Hall merchandise • Recognition in performance programs devoted to Carlos Chávez and the music of Mexico and the rest of Latin America. arts and enjoy a variety • Fully tax deductible • $1,180 tax deductible of discounts and benefits 150 The Center bears the name of the late Richard B. Fisher, former chair of Bard College’s Supporter ($ ) All of the above, plus: 2,500 through our Friends • Waived ticket handling fees (save Producer ($ ) All of the above, plus: Board of Trustees. This magnificent building is a tribute to his vision and leadership. and Patrons programs. $4.50 per ticket, $10 per subscription) • Invitation for two to an exclusive • Invitation to a behind-the-scenes tour pre-performance dinner at a Hudson Please join us! Valley home The outstanding arts events that take place here would not be possible without the of the Fisher Center 2,030 • Fully tax deductible • $ tax deductible contributions made by the Friends of the Fisher Center. We are grateful for their support Sponsor ($300) All of the above, plus: Director ($5,000) All of the above, plus: and welcome all donations. • Invitations to opening night parties • Reserved VIP parking for all events at the Fisher Center For more information visit • SummerScape production poster • $250 tax deductible • Invitation for two to an intimate fishercenter.bard.edu/support dinner with a world-class performer, About Bard College or call 845-758-2273. Sustainer ($500) All of the above, plus: creator, or scholar • Bard Music Festival limited edition • $4,380 tax deductible Founded in 1860, Bard College in Annandale-on-Hudson, New York, is an independent, T-shirt • SummerScape production poster nonsectarian, residential, coeducational college offering a four-year B.A. program in the signed by the cast • $415 tax deductible liberal arts and sciences and a five-year B.A./B.S. degree in economics and finance. The 1,000 Bard College Conservatory of Music offers a five-year program in which students pursue Benefactor ($ ) All of the above, plus: • Bard Music Festival book (Princeton a dual degree—a B.Music and a B.A. in a field other than music—and offers an M.Music University Press) in vocal arts and in conducting. Bard also bestows an M.Music degree at Longy School of • Private, behind-the-scenes tour of the Fisher Center for you and your guests Music of Bard College in Cambridge, Massachusetts. Bard and its affiliated institutions • Invitations to working rehearsals and also grant the following degrees: A.A. at Bard High School Early College, a public school directors’ presentations • $750 tax deductible with campuses in New York City, Cleveland, and Newark, New Jersey; A.A. and B.A. at Bard College at Simon’s Rock: The Early College, in Great Barrington, Massachusetts, and through the at six correctional institutions in New York State; M.A. Enclosed is my check made payable to Bard College in the amount of $ in curatorial studies, M.S. in economic theory and policy, and M.S. in environmental policy Thank You! Please return your donation to: Please designate my gift toward: n Fisher Center programs n Bard Music Festival and in climate science and policy at the Annandale campus; M.F.A. and M.A.T. at multiple Bard College Please charge my: nAmex nDiscover nMasterCard nVisa in the amount of $ campuses; M.B.A. in sustainability in New York City; and M.A., M.Phil., and Ph.D. in the dec- Office of Development orative arts, design history, and material culture at the in PO Box 5000 Annandale-on-Hudson, NY Manhattan. Internationally, Bard confers dual B.A. degrees at the Faculty of Liberal Arts 12504-5000 Credit card account number Expiration date and Sciences, St. Petersburg State University, Russia ( College); American Name as it appears on card (please print clearly) University of Central Asia in Kyrgyzstan; and : A Liberal Arts University; as well as dual B.A. and M.A.T. degrees at Al-Quds University in the West Bank. Name as it should appear in publications n I would like my gift to be anonymous

Address ©2015 Bard College. All rights reserved. Cover ©Christopher Duggan Inside back cover ©Peter Aaron ’68/Esto City State Zip code

18 Telephone E-mail FCMT THEATER JUNE 25 – JULY 19 Rodgers and Hammerstein’s OKLAHOMA!

SPIEGELTENT JUNE 26 – AUGUST 15 CABARET, MUSIC, FINE DINING, AND MORE

DANCE JUNE 27–28 PAM TANOWITZ DANCE & FLUX QUARTET

PERFORMANCE/INSTALLATION JULY 9–12 EVERYTHING BY MY SIDE By Fernando Rubio

FILM SERIES JULY 11 – AUGUST 2 REINVENTING MEXICO

OPERA JULY 24 – AUGUST 2 THE WRECKERS By Ethel Smyth

and

26TH SEASON BARD MUSIC FESTIVAL AUGUST 7–9 AND 13–16 CHÁVEZ AND HIS WORLD SUMMERSCAPE

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