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Home , Annabelle Lyon, Catherine Hurlin, Christine Shevchenko, Cory Stearns, Daniil Simkin, David Blair (dancer)

Northrop Grand Reopening

Northrop Presents AMERICAN THEATRE with live orchestra

Gala Performance, Fri, Apr 4, 8:00 pm Sat, Apr 5, 8:00 pm & Sun, Apr 6, 2:00 pm Carlson Family Stage at Northrop

1 WELCOME

Letter from Senior Vice President for Academic Affairs and Provost Karen Hanson and Northrop Director Christine Tschida

Welcome to the new Northrop—a treasure renewed and reimagined for a new century. As a signature building of the University and a major venue for renowned artists and speakers, Northrop has, since 1929, opened new worlds to students, brought generations of diverse audiences to our campus, and been a special place of learning, memory, and celebration. With its grand reopening this weekend following a multiyear renovation, Northrop will once again play an important role in the intellectual and cultural life of the Twin Cities and the entire region—and will be more integrated than ever before with the academic life of our campus.

Our renewed Northrop reflects all that we offer our students and the state as Minnesota’s land-grant research university— a world-class university in the heart of a dynamic metropolitan area. With this weekend’s performances of the spectacular Senior Vice President for Academic Affairs and Provost Theatre, Northrop resumes its long tradition Karen Hanson and Northrop Director Christine Tschida. of hosting internationally renowned artists in music, , and Photo by Patrick O’Leary. theater. It also will house modern seminar and meeting spaces; gallery space; multimedia facilities; a café; and student lounge and study space. And Northrop will again, and more than ever, be a central campus and community gathering place—the “hearth of the University”—for major events, from convocations to lectures by illustrious speakers.

The building also will be home to three University-wide academic programs: the University Honors Program, the Institute for Advanced Study, and the College of Design’s Travelers Innovation Lab. These programs will be springboards for the innovative teaching and learning collaborations that are so important in the modern university—engaging people from many disciplines across the University and from communities far and wide.

Northrop’s expanded role at the center of campus academic life will enrich the student experience, promote engagement beyond the classroom, develop new audiences to foster continued vitality in arts and culture, and create opportunities for cross-disciplinary dialogue about important issues and ideas. We hope you will enjoy the renovated spaces of the new Northrop, from the superb acoustics and sightlines of the Carlson Family Stage to the state-of-the-art space for and events in the Best Buy Theater—a thrilling renewal of a treasured landmark made possible by many public and private partners. Most of all, we hope you will discover Northrop’s cultural and intellectual spaces through events, programs, and collaborations that open exciting new worlds.

Sincerely,

Karen Hanson Senior Vice President for Academic Affairs and Provost

Christine Tschida Northrop Director

Northrop. Photo by Patrick O’Leary.

2 3 NORTHROP PRESENTS

AMERICAN BALLET THEATRE

Kevin McKenzie Rachel S. Moore Artistic Director Chief Executive Officer

Alexei Ratmansky Artist in Residence

HERMAN CORNEJO · · · PALOMA HERRERA · · · · · · · AMY WATSON† · JAMES WHITESIDE

STELLA ABRERA · KRISTI BOONE · · · ALEXANDRE HAMMOUDI YURIKO KAJIYA · · JARED MATTHEWS · · CRAIG SALSTEIN

Alexei Agoudine · Mai Aihara · Sterling Baca · Alexandra Basmagy · Gemma Bond · Kelley Boyd · Puanani Brown · Marian Butler · Nicola Curry* · Gray Davis · Claire Davison · Brittany DeGrofft · Grant DeLong Kenneth Easter · Zhong-Jing Fang · Thomas Forster · Patrick Frenette · April Giangeruso · Joseph Gorak Nicole Graniero · Melanie Hamrick · Sung Woo Han · Blaine Hoven · Gabrielle Johnson · Jonathan Klein Jamie Kopit · Courtney Lavine · Isadora Loyola · Duncan Lyle · Daniel Mantei · Cameron McCune Elina Miettinen · Kaho Ogawa · Patrick Ogle · Luciana Paris · Lauren Post · Kelley Potter · Luis Ribagorda Calvin Royal III · Jessica Saund · Adrienne Schulte · Arron Scott · Jose Sebastian · Gabe Stone Shayer Christine Shevchenko · Sarah Smith · Sean Stewart · Eric Tamm · · Cassandra Trenary Leann Underwood · Karen Uphoff · Luciana Voltolini · Paulina Waski · Jennifer Whalen · Katherine Williams Stephanie Williams · Lily Wisdom · Zhiyao Zhang · Roman Zhurbin

Apprentices Orchestra prepared by Rebecca Arons, Music Contractor Joo Won Ahn · · Pascal Knopp · Hannah Marshall · Alexandra Pullen · Nathan Vendt

Victor Barbee First Violin Viola Flute Trumpet Associate Artistic Director Allison Ostrander, Emily Hagen Jane Garvin John Koopman Concertmaster Susan Janda Amy Morris Chris Volpe Ormsby Wilkins Jill Olson Jenny Nilsson Craig Hara Music Director Julia Persitz Coca Bochonko Flute/Piccolo Natalia Moiseeva Jen Kalika Susie Kinoshi Trombone Charles Barker David LaMarche Conor O’Brien Valerie Little Phil Ostrander Principal Conductor Conductor Maisie Block Oboe Larry Zimmerman Elise Parker-Meichels Cello Michael Dayton James Jacobson Jeff Marshak Bass Trombone Ballet Masters Alastair Brown John Tranter Susan Jones · Irina Kolpakova · Clinton Luckett · Nancy Raffa · Emilia Mettenbrink Rebecca Arons Teresa Richardson Oboe/English Horn Eric Olson Ryan Walsh Tuba †Exchange Artist, Courtesy of The Laura Sewell Paul Budde *2014 Jennifer Alexander Dancer Second Violin Scott Lykins Clarinet Brenda Mickens David Holmes Karrin Meffert-Nelson Timpani Elizabeth Decker Kory Andry ABT gratefully acknowledges Avery and Andrew Barth for their sponsorship of the in memory of Bass Paul Schimming Laima and Rudolph Barth and in recognition of former ABT corps dancer Carmen Barth. Tamas Strasser Stephan Orsak Fred Bretschger Bassoon Percussion American Airlines is the Official Airline of . Melinda Marshall Rolf Erdahl Coreen Nordling Steve Kimball Susan Crawford Greg Hippen Laurie Hatcher-Merz Matt Barber Northern Trust is the Leading Corporate Sponsor of the Jacqueline Kennedy Onassis School at American Ballet Theatre. Miriam Griffiths Kellie Nitz David Hagedorn Horn ABT is supported, in part, with public funds from the National Endowment for the Arts; the New York State Council on the Arts Maureen Nilsen Harp Neal Bolter with the support of Governor Andrew Cuomo and the New York State Legislature; and the Department of Min Kim Cultural Affairs in partnership with the City Council. Paul Straka Chuck Hodgson Rebecca Jyrkas The ABT Artistic Director’s Chair is generously supported through an endowed gift from Edward A. Fox. American Ballet Theatre’s Hee Seo in Giselle. Photo © Gene Schiavone. 4 5 THE COMPANY

ABOUT AMERICAN BALLET THEATRE ACKNOWLEDGEMENTS

American Ballet Theatre is recognized as one of the great ABT gratefully acknowledges support from The R. Chemers ABT is grateful to the following sponsors of Soloists and members dance companies in the world. Few ballet companies Neustein ABT Artistic Initiatives Fund. of the corps de ballet: equal ABT for its combination of size, scope, and outreach. ABT gratefully acknowledges The Linda Allard and Herbert Isabella Boylston: Arlene C. Cooper Gallen Costume Fund. Misty Copeland: Harriette Cole and Kiran Sharma (INTELLIGENTSIA) Recognized as a living national treasure since its founding Alexandre Hammoudi: Margaret and Michael J. Mattes in 1940, ABT annually tours the , performing ABT gratefully acknowledges James S. and Amy Regan for their Yuriko Kajiya: Arianna and Samantha Netter endowed gift in recognition of the Principal First Violin/ Sarah Lane: Donna and Richard Esteves for more than 450,000 people, and is the only major Concertmaster Chair. Craig Salstein: Linda and Edward Morse cultural institution to do so. It has also made more than Sterling Baca: The Gayle Jaffe Dancer Sponsorship 30 international tours to 43 countries as perhaps the most ABT gratefully acknowledges Barbara Hemmerle Gollust and Gemma Bond: Avery and Andy Barth, in recognition of former representative American and has been Keith Gollust for their endowed gift in recognition of the Principal ABT corps dancer Carmen Barth Conductor’s Chair. Claire Davison: Mr. Jeffrey L. Berenson sponsored by the State Department of the United States on Zhong-Jing Fang: Fred and Irene Shen many of these engagements. David LaMarche’s performances with ABT are generously April Giangeruso: Margaret King Moore Dancer Award supported through an endowed gift from Nancy Havens-Hasty Joseph Gorak: Harlan M. Blake When American Ballet Theatre was launched in the autumn of and J. Dozier Hasty. Nicole Graniero: The Georgia Hiden Charitable Foundation Daniel Mantei: Susan Winokur and Paul Leach 1939, the aim was to develop a repertoire of the best ABT gratefully acknowledges The Peter T. Joseph Foundation for its Lauren Post: The Junior Council of ABT from the past and to encourage the creation of new works endowed gift in recognition of The Special Needs Fund. Luis Ribagorda: Donna and Richard Esteves by gifted young choreographers, wherever they might be Calvin Royal III: Harlan M. Blake found. Under the direction of and ABT gratefully acknowledges Lisa and Dick Cashin for their endowed Arron Scott: Avery and Andy Barth, in memory of Rudolph Barth gift in support of Ballet for the New Audience. Jose Sebastian: Lisa Towbin from 1940 to 1980, the company more than fulfilled that aim. Gabe Stone Shayer: Irene Fuchsberg Minkoff The repertoire, perhaps unmatched in the , American Ballet Theatre gratefully acknowledges Karin and Stanley Christine Shevchenko: Theresa Khawly includes all of the great full-length ballets of the nineteenth Schwalb for their generous endowed gift made in recognition of the Sean Stewart: The Junior Council of ABT century, such as , The Sleeping Beauty, and Giselle; amazing artistry and talent of ABT’s dancers. Eric Tamm: Charlotte and Macdonald Mathey Devon Teuscher: Kirby Woodson and Bradley Radoff the finest works from the early part of this century, such ABT gratefully acknowledges Charlotte and Macdonald Mathey for Cassandra Trenary: Kirby Woodson American Ballet Theatre’s Paloma Herrera and Marcelo Gomes as , , Jardin aux Lilas, and Rodeo; and their endowed sponsorship in recognition of a corps de ballet member. Jennifer Whalen: The Junior Council of ABT in Giselle. Photo © Gene Schiavone. acclaimed contemporary masterpieces such as Airs, Push Katherine Williams: Avery and Andy Barth, in memory of Laima Barth Comes to Shove, and Duets. In acquiring such an extraordinary ABT is proud to partner with the National YoungArts Foundation, ABT’s Apprentices: National YoungArts Foundation which identifies and supports the next generation of artists in the repertoire, ABT has commissioned works by all of the great choreographic geniuses of the 20th century: George visual, literary, and performing arts. Isabella Boylston is the recipient of a 2013 Leonore Annenberg Balanchine, , , , and , among others. Fellowship in the Arts. Physical therapy equipment, sprung studio dance floors, and In 1980, became Artistic Director of American Ballet Theatre, succeeding Lucia Chase and barres generously donated by The Anna-Maria and Stephen Kellen Skylar Brandt is the recipient of a 2013 Princess Grace Award. Foundation in recognition of Dr. Phillip Bauman for his extraordinary Oliver Smith. Under his leadership, numerous classical ballets were staged, restaged, and refurbished, and the work in the field of medicine. company experienced a strengthening and refining of the classical tradition. In 1990, Jane Hermann and Oliver Smith succeeded Baryshnikov and immediately established an agenda that was dedicated to maintaining the great ABT thanks Joseph A. Wilson for his leadership in creating the traditions of the past, while aggressively pursuing a vital and innovative future. Joseph A. Wilson Matching Fund. ABT gratefully acknowledges Ruth and Harold Newman for their In October 1992, former American Ballet Theatre , Kevin McKenzie, was appointed Artistic Director. leading support of ABT’s Apprentice Program. McKenzie, steadfast in his vision of ABT as “American,” is committed to maintaining the company’s vast repertoire, and to bringing the art of dance theater to the great stages of the world. ABT gives special thanks to Northern Trust and Dave Blowers, East Region Wealth Management President, for their generous support of the Jacqueline Kennedy Onassis School. Over its nearly 75-year history, the company has appeared in a total of 136 cities in 43 countries. ABT has appeared in all fifty states of the United States. In keeping with the company’s long-standing commitment to bring the finest ABT wishes to give special thanks to Bumble and Bumble for its in dance to the widest international audience, ABT has recently enjoyed triumphant successes with engagements generous support. in Hong Kong, , , and Beijing. ABT is grateful to M•A•C for its generous donation of makeup.

On April 27, 2006, by an act of Congress, American Ballet Theatre became America’s National Ballet Company®.

6 7 THE PERFORMANCE

GISELLE A in Two Acts

Choreography after , Jules Perrot, and

Staged by Kevin McKenzie

Libretto by Théophile Gautier, on a theme by Heinrich Heine

Music by Adolphe Adam

Orchestrated by

Scenery by Gianni Quaranta

Costumes by Anna Anni

Lighting by

American Ballet Theatre’s Yuriko Kajiya in Giselle. Photo © Rosalie O’Connor. 8 9 THE STORY

SYNOPSIS PRODUCTION HISTORY OF GISELLE

ACT I The world premiere of Giselle, the oldest continually- The ballet is set in the vineyard country bordering the The villagers return and proclaim Giselle the queen performed ballet, occurred at the Théâtre de l’Académie Rhine. Hilarion, the village huntsman and a gamekeeper of the Wine Festival. Hilarion interrupts to denounce Royale de Musique in Paris on June 28, 1841, danced by to the court, returns from his early morning chores and Loys as an impostor. When Loys denies the charges and as Giselle and Lucien Petipa as Albrecht. pauses before a neighboring cottage—the home of threatens the gamekeeper with his sword, Hilarion blows Giselle, with whom he is in love. Villagers pass by on the hunting horn, a signal for the to return. This ballet is in the repertoire of almost all of the major ballet their way to the vineyards, where they will harvest the Loys is exposed as an impostor when Bathilde reveals companies in the world and was first presented by American last of the grapes before the Wine Festival. that he is her fiancé, Count Albrecht. The shock of Ballet Theatre (then Ballet Theatre) at the Center Theatre learning of Albrecht’s duplicity is too great for Giselle’s in New York City on January 12, 1940, with Count Albrecht arrives with his squire and enters a frail constitution. Her mind becomes unhinged, and she by and scenery and costumes by Lucinda Ballard. cottage opposite Giselle’s. He emerges dressed as a dies of a broken heart—her love unrequited. The leading roles were danced by Annabelle Lyon and Dolin. peasant, submits his disguise to the squire’s inspection, and dismisses him. Hilarion witnesses this exchange American Ballet Theatre’s second production of Giselle and is puzzled that the squire should show such ACT II premiered on October 15, 1946, at the in deference to this youth, who is known to the villagers The scene is laid in a clearing in the forest near Giselle’s New York City, with choreography by Dimitri Romanoff and as a fellow peasant named Loys. Loys excuses himself grave. The wilis are summoned by their queen, Myrta, scenery and costumes by Eugene Berman. The leading roles from joining the grape pickers so that he can be alone to attend the ceremonies that will initiate Giselle into were danced by Alicia Alonso and Igor Youskevitch. with Giselle. He swears eternal love, and she takes the their sisterhood. The wilis are maidens whose fiancés traditional test with a daisy—“he loves me, he loves failed to marry them before their deaths. Their love The third production of Giselle, directed by David Blair, received me not.” When it appears the answer will be “not,” unrequited, they can find no rest. Their spirits are its first performance at the Carter Barron Amphitheatre in she throws the flower away; Loys retrieves it and, by forever destined to roam the earth from midnight to Washington, D.C. on July 4, 1968, with scenery by Oliver surreptitiously discarding a petal, comes up with the dawn, vengefully trapping any male who enters their Smith and costumes by Peter Hall. The leading roles were answer “he loves me.” Hilarion interrupts, protesting domain and forcing him to dance to his death. Hilarion, performed by Lupe Serrano as Giselle and Royes Fernandez that he, and not Loys, truly loves Giselle. A quarrel in search of Giselle, meets his death at their hands. American Ballet Theatre’s Hee Seo in Giselle. as Albrecht. The production’s New York City premiere was ensues, and Hilarion’s suspicions deepen as Loys Albrecht arrives to leave flowers on Giselle’s grave. Photo © Rosalie O'Connor. given at the Metropolitan House on July 10, 1968, instinctively reaches for the sword that, as a nobleman, He too is trapped and commanded to dance until with the same cast. he is accustomed to wearing. death. Giselle resolves to protect him. She with him until the clock strikes four, at which hour the wilis Using the Smith/Hall scenery and costumes, Mikhail Baryshnikov staged both the fourth and fifth productions The villagers return, and Giselle invites them to join lose their power. Albrecht is rescued from death. of Giselle for ABT after choreography by Jean Coralli, Jules Perrot, and Marius Petipa. The first premiered at the in a dance to celebrate the harvest. Her mother, Kennedy Center for the Performing Arts in Washington, D.C. on December 16, 1980, with Marianna Tcherkassky as Berthe, interrupts and warns her that her life may be Giselle and Baryshnikov himself as Albrecht; while the second, which featured additional staging by and endangered if she overexerts herself by dancing. Elena Tchernichova, received its first performance at the Filene Theatre at Wolf Trap Farm in Vienna, Virginia, on She is struck by a momentary hallucination of her August 28, 1985, danced by Tcherkassky and . daughter in death. She sees her as a wili, a restless spirit who has died with her love unrequited. American Ballet Theatre’s sixth production, featuring scenery by Gianni Quaranta and costumes by Anna Anni, was created for the film Dancers, produced in 1987 by Cannon . The film incorporates Giselle into its storyline. A horn sounds in the distance, and Loys recognizes it The production’s first public performance was given on March 20, 1987 at the Shrine Auditorium in Los Angeles, as coming from the hunting party of the prince of California, with Tcherkassky as Giselle and Kevin McKenzie as Albrecht. Courland. As Loys hastily departs, Hilarion breaks into Loys’ cottage. Refreshments are served to the hunters, The current staging is by Kevin McKenzie, using the Quaranta and Anni designs. and the prince’s daughter, Bathilde, gives Giselle a gold necklace when she learns they are both engaged to be married. After the royal party has returned to the hunt, Hilarion emerges from Loys’ cottage with a hunting The music for Giselle is used by arrangement with , horn and a sword, further evidence that the supposed agents for Editions Mario Bois, publisher and copyright owner. peasant is, in fact, a nobleman. Borzois provided by Lythe Borzoi.

American Ballet Theatre’s performances of Giselle are generously supported through an endowed gift from Sharon Patrick.

10 11 THE ARTISTS

KEVIN McKENZIE Moore served as Executive Director of Project STEP, (2007) and Flames of Paris (2008). Under Prior to his appointment to ABT, Wilkins spent 16 Artistic Director a classical music school for students of color in Boston Ratmansky’s direction, the was named years as Music Director of the National Ballet of Kevin McKenzie was a leading and Managing Director of Ballet Theatre of Boston. “Best Foreign Company” in 2005 and 2007 by The Canada where he received much critical acclaim for dancer with both The Joffrey She has also held senior positions with Americans for Critics’ Circle in , and he received a Critics’ his conducting of the National Ballet orchestra. Ballet and the National Ballet the Arts and the National Cultural Alliance, both in Circle National Dance Award for The Bright Stream in He has been particularly singled out for his sensitive, of Washington before joining Washington, D.C. In 1990, Moore also served as an 2006. In 2009, Ratmansky choreographed new dances yet vibrant interpretations of all the great classical American Ballet Theatre as a Arts Administration Fellow at the National Endowment for the ’s production of Aida. ballets such as The Sleeping Beauty and Swan Lake. in March 1979. He was for the Arts. Ratmansky joined American Ballet Theatre as Artist appointed a Principal Dancer the in Residence in January 2009. same year and danced with the company until 1991. Moore served as adjunct faculty in the dance CHARLES BARKER A native of Vermont, McKenzie received his ballet department of Emerson College from 1998–2000 For American Ballet Theatre, Ratmansky has Principal Conductor training at the Washington School of Ballet. In 1972, and taught non-profit finance in the Arts Administration choreographed On the Dnieper, Seven Sonatas, Charles Barker has conducted McKenzie was awarded a silver medal at the Sixth Graduate Program at Boston University (2000). She Masquerade, , Dumbarton, Firebird, numerous orchestras including International Ballet Competition in Varna, Bulgaria. served as adjunct faculty in the Arts Administration Symphony #9, Chamber Symphony, Piano Concerto the Royal Philharmonic, Tokyo program at from 2006–10. No. 1, and The Tempest. City Philharmonic, Paris In September 1989, McKenzie was appointed a In April 2010, Moore was elected a member of the Opera Orchestra, Danish permanent guest artist with Women’s Forum of New York. Radio Symphony, La Orquesta and, in 1991, assumed the position of Artistic Associate. ORMSBY WILKINS Filarmonica de , He has also acted as Associate Artistic Director Moore currently serves on the board of the Dizzy Feet Music Director Adelaide Symphony, Columbus Symphony, and the and choreographer with ’s New Foundation and the National Dance Foundation of A native of Sydney, Australia, Pacific Symphony. Amsterdam Ballet. Bermuda. She is a member of the Child Performer Ormsby Wilkins joined American Advisory Board for the New York State Department of Ballet Theatre as its Music Barker was Music Director and Conductor of the McKenzie was appointed Artistic Director of American Labor, and a member of the United States National Director in November 2005. American Chamber Orchestra from 1981 to 1987. Ballet Theatre in October 1992. His previous Commission for UNESCO. In February 1983, he made his Carnegie Hall choreographic credits include Groupo Zambaria (1984) After taking his music studies debut, conducting the ACO and, in November 1983, and Liszt Études (1991), both for Martine van Hamel’s Moore holds a bachelor’s degree from Brown University, at the Conservatories of Sydney performed A Tribute to Aaron Copland at Carnegie Hall, New Amsterdam Ballet, and Lucy and the Count Phi Beta Kappa, Honors (1992); and a Masters in Arts and Melbourne, Wilkins joined in honor of the composer's 83rd birthday. In 1985, (1992) for The Washington Ballet, and, for American Administration from Columbia University (1994). and became resident conductor in 1982. Moving to he was Music Director for Aaron Copland’s opera Ballet Theatre, The Nutcracker (1993), Europe in 1983, he was appointed conductor with The Second Hurricane at the New Federal Theatre (1995, in collaboration with Susan Jones), a new ’s Sadler’s Wells Royal Ballet (now called the in New York. production of Swan Lake (2000), the conception and ). With Sadler’s Wells, Wilkins direction of a new production of (2004), Artist in Residence toured North and South America, Eastern Europe, He was Music Director of the from with choreography by Anna-Marie Holmes, and a new Alexei Ratmansky was born in , and South East Asia. 1985 to 1987 and has conducted for San Francisco production of The Sleeping Beauty with St. Petersburg and trained at Ballet, , Pittsburgh Ballet, and Michael Chernov (2007). the Bolshoi Ballet School. Wilkins continued his association with The Australian Richmond Ballet, and La Compania Nacional de Danza His performing career included Ballet, having been invited to guest on many occasions in Mexico City. He joined American Ballet Theatre in McKenzie has received numerous awards including an positions as principal dancer with for its extensive engagements, which have included 1986. He was Music Director of The Australian Ballet honorary degree of Doctor of Arts from Saint Michael’s Ukrainian National Ballet, the those in the United States, , and London, from 1997 to 2001, then joined College in Colchester, Vermont (1993) and the Dance , and the England. Other international engagements have until 2003. Magazine Award (1999). McKenzie is a founding board Royal Danish Ballet. He has choreographed ballets for included La Scala, Milan, the Rome Opera Ballet, member of Kaatsbaan International Dance Center in the , the Royal Danish Ballet, the Royal the Ballet of Teatro San Carlo of Naples, and the Barker has conducted numerous film and television Tivoli, New York. Swedish Ballet, , New York City . In 2001 he spent three months features for dance including Dance in America, Ballet, , The Australian Ballet, in Italy conducting once again at La Scala and also a PBS special presentation on the works of Antony Kiev Ballet, and the State Ballet of Georgia. making his debuts in both Genoa and at the Teatro Tudor; the BBC in England; TV Asahi in Japan; and RACHEL S. MOORE Comunale in Florence. the ABC in Australia. Chief Executive Officer He earned a Golden Mask Award in 1999 and 2007, A former member of ABT’s corps and in 2005 was awarded a Benois de la Danse Wilkins has conducted many orchestras around the de ballet from 1984–88, Rachel prize. He was made Knight of Dannebrog by Queen world, both in association with ballet and in concert. S. Moore was named Executive Margrethe II of Denmark in 2001. They include the Philharmonia and Royal Philharmonic Director of American Ballet Orchestras of London, the Royal Opera House Theatre in April 2004. Prior to Ratmansky was named artistic director of the Bolshoi Orchestra, Winnipeg Symphony, Calgary Philharmonic, her appointment, she served as Ballet in January 2004. For the Bolshoi Ballet, he Edmonton Symphony, Hong Kong Philharmonic, Director of ’s Center choreographed full-length productions of The Bright Melbourne Symphony, Tokyo Philharmonic, and for Dance Education (2001–04). From 1998–2001, Stream (2003) and The Bolt (2005), and re-staged National Arts Centre Orchestra, Ottawa.

12 13 PRINCIPALS

PALOMA HERRERA CORY STEARNS Principal Dancer Principal Dancer Born in Buenos Aires, Paloma Born in Long Island, New York, Herrera trained with Olga Ferri Cory Stearns began his classical in , at the Minsk Ballet training at Seiskaya Ballet and School in Russia, and at the graduated from the of American Ballet. School with honors. Stearns She was the first prize winner at joined American Ballet Theatre’s several major competitions in Studio Company in 2004 and the South America, and was a Finalist at the Fourteenth main company as an apprentice in 2005. He joined the International Ballet Competition in Varna in 1990. corps de ballet in 2006 and was appointed a Soloist in She joined American Ballet Theatre as a member of 2009. He was promoted to Principal Dancer in January the corps de ballet in June of 1991, was promoted 2011. Stearns won the 2009 Prize for to Soloist in 1993, and to Principal Dancer in 1995. best male dancer. Herrera has been a member of the Artists Committee Sponsored by Charlotte and Macdonald Mathey for The since 2004. Sponsored by Susan and Leonard Feinstein AMY WATSON Exchange Artist in 2014 VERONIKA PART Originally from Washington, D.C., Principal Dancer Watson trained at the School of Veronika Part entered the American Ballet and performed Vaganova Ballet Academy in 1988. with the Ballet She joined the Kirov Ballet in 1996 before joining the corps de ballet and was promoted to soloist in of Royal Danish Ballet in 2000. 1998. She was the winner of the In 2003 she was appointed BALTIKA Prize in 1999. Part joined soloist and in 2007 principal dancer. Watson has also American Ballet Theatre as a performed at the Copenhagen International Ballet and Soloist in August 2002 and was promoted to the Dance Salad Festival in Houston, Texas. In 2011, Principal in May 2009. she received the Order of Dannebrog from Queen Sponsored by Theresa Khawly Margethe II of Denmark. This is Watson’s debut with American Ballet Theatre.

HEE SEO Principal Dancer JAMES WHITESIDE Born in , , Hee Principal Dancer Seo trained at the Born in Fairfield, , Academy in Washington, D.C. James Whiteside began his and at the John Cranko Ballet training at age nine at the D’Valda Academy in Stuttgart. In 2003 she & Sirico Dance and Music Centre. won the Award He continued his training at the and the Grand Prix at the Youth Virginia School of the Arts. American Grand Prix in New York. Seo joined the ABT In 2002, Whiteside joined Boston Studio Company in 2004 and the main company as Ballet II, and joined the corps de ballet of Boston Ballet an apprentice in 2005. She became a member of the in 2003 and became a second soloist in 2006. He was corps de ballet in 2006 and was appointed a Soloist in promoted to first soloist in 2008 and to principal dancer 2010. Seo was promoted to Principal Dancer in 2012. with Boston Ballet in 2009. Whiteside joined American Sponsored by Christina Lyon Ballet Theatre as a Soloist in September 2012 and was appointed a Principal Dancer in October 2013. Sponsored by Beth Chartoff Spector

American Ballet Theatre’s Paloma Herrera in Giselle. Photo © Gene Schiavone. 14 15 SOLOISTS

STELLA ABRERA Copeland joined ABT’s Studio Company in September SARAH LANE SASCHA RADETSKY Soloist 2000. She joined American Ballet Theatre as a Soloist Soloist Stella Abrera of South Pasadena, member of the corps de ballet in April 2001 and was Born in San Francisco, Born in Santa Cruz, California, California, began her studies appointed a Soloist in August 2007. Copeland was a California, Sarah Lane began Radetsky began his ballet studies with Philip and Charles Fuller recipient of a 2008 Leonore Annenberg Fellowship her dance training in Memphis, in the San Francisco Bay Area and Cynthia Young at Le Studio in the Arts. Her new memoir, LIFE IN MOTION: An Tennessee under the direction with Damara Bennett and Ayako in Pasadena. She continued her Unlikely Ballerina is in bookstores now. of Pat Gillespie at the Memphis Takahashi. At the age of 15, he studies at the West Coast Ballet , and continued was invited to study in Moscow at Theatre in San Diego and spent her instruction at the Draper the Bolshoi Academy under three years studying the Royal Academy of Dancing ALEXANDRE HAMMOUDI Center for Dance Education in Rochester, NY. In 2002, world-renowned men’s teacher Pytor Pestov. After a method with Joan and Monica Halliday at the Halliday Soloist Lane was the Silver Medalist, the highest medal in year in Russia, he studied on scholarship at the Kirov Dance Centre in Sydney, Australia. Abrera joined Born in Paris, France, Alexandre the Junior Division, at the Jackson International Ballet Academy in Washington, D.C. under Rudolph Kharatian American Ballet Theatre as a member of the corps de Hammoudi began his training Competition, and also won the Bronze Medal at the and Andrei Garbouz. He also studied on scholarship ballet in 1996 and was appointed a Soloist in 2001. at ten with Max Bozzoni of the Competition. Lane joined at the summer programs of the School of American Abrera received the Gold Medal at the Royal Academy . He continued American Ballet Theatre as an apprentice in August Ballet, American Ballet Theatre’s School of Classical of Dancing’s Adeline Genee Awards in London in 1995. his training at the Academy of 2003, became a member of the company’s corps de Ballet with Mikhail Baryshnikov, the San Francisco Dance Salle Playel in Paris from ballet in April 2004, and was appointed a Soloist in Ballet School, and the Bolshoi Ballet Academy in Vail, 1996-99, and received further August 2007. Lane was a recipient of the Princess Colorado. Radetsky joined American Ballet Theatre ISABELLA BOYLSTON training at the School in Grace Award in 2007 and a 2008 Leonore Annenberg as an apprentice in 1995, became a member of the Soloist London and at the School of American Ballet, both Fellowship in the Arts. She was the dancing double for corps de ballet in 1996, and a Soloist in 2003. In 2000, Born in Sun Valley, Idaho, Isabella on full scholarship. Hammoudi has won numerous in Fox Searchlight Pictures’ feature Radetsky starred as Charlie in the movie Center Stage. Boylston began dancing at the international competitions, including the Trophee film Black Swan. Radetsky joined Dutch National Ballet as a principal age of three. While training at the Arabesque and the Biarritz Dance Competition. At 17, dancer for the 2008–09 season. Academy of , she Hammoudi became a member of the National Ballet won the gold medal in 2001 at the of . Hammoudi joined ABT’s Studio Company in JARED MATTHEWS Youth America Grand Prix Finals in 2002, in April 2003, joined the main company as an Soloist CRAIG SALSTEIN New York City. In 2002, she began apprentice, and became a member of the company’s Jared Matthews was born in Soloist training at the on full scholarship. corps de ballet in April 2004. He was appointed a Houston and received his early Born in Miami, Florida, Craig Boylston joined the ABT Studio Company in 2005, the Soloist in July 2012. ballet training there under the Salstein began his training at main company as an apprentice in May 2006, the corps guidance of Victoria Vittum and the Ballet Academy of Miami at de ballet in March 2007, and was promoted to Soloist Gilbert Rome. He was awarded the age of eight and continued in June 2011. She won the 2009 Princess Grace Award YURIKO KAJIYA a full scholarship to study at his training with the Miami City and was nominated for the 2010 Prix Benois de la Soloist North Carolina School of the Arts Ballet. In 1995, he was the Grand Danse. In 2011 she received the Clive Barnes Award Born in Nagoya, Japan, Yuriko summer program as well as the School of American Champion of Ed McMahon’s and in 2013, she received a Leonore Annenberg Kajiya began her training at the Ballet and American Ballet Theatre. While attending Star Search. For two summers, Salstein trained with Fellowship in the Arts. age of eight. At ten, she moved American Ballet Theatre’s Summer Intensive Program The , the School of American Ballet, and to China and became one of the in 2001 as a Coca-Cola Scholarship winner, he was at American Ballet Theatre’s Summer Intensive as a first foreign students to study with invited to join ABT’s Studio Company. Matthews joined National Training Scholar. He joined Miami City Ballet MISTY COPELAND and graduate from the Shanghai American Ballet Theatre as an apprentice in 2002 in 1999 and American Ballet Theatre’s Studio Company Soloist Ballet School on scholarship. and as a member of the corps de ballet in April 2003. in 2000. In 2002, he joined the corps de ballet of Born in Kansas City, Missouri and In 1997, at age 13, Kajiya won the Best Performance He was appointed a Soloist in August 2007. American Ballet Theatre and was promoted to Soloist raised in San Pedro, California, Award in the senior category at the Tao Li Bei National in March 2007. Misty Copeland began her ballet Ballet Competition. In 1999, she became one of the studies at the age of 13 at the youngest finalists at the Third International Ballet San Pedro Dance Center. At the Competition in Nagoya. In 2000, she won the Prix de age of 15, she won first place in Lausanne Scholarship which enabled her to study at the Music Center Spotlight Awards the National Ballet of Canada School in . Kajiya and began her studies at the Lauridsen Ballet Center. joined American Ballet Theatre’s Studio Company in Copeland has studied at the San Francisco Ballet School September 2001. She became an apprentice with the and American Ballet Theatre’s Summer Intensive on full main company in 2002 and was promoted to the corps scholarship and was declared ABT’s National Coca-Cola de ballet that same year. She was appointed a Soloist Scholar in 2000. with ABT in August 2007.

16 17 CORPS DE BALLET

Alexei Agoudine Grant DeLong Jamie Kopit Calvin Royal III Karen Uphoff APPRENTICES Moscow, Russia Carlisle, Pennsylvania Huntington Beach, California Tampa, Florida Bad Axe, Michigan Joined ABT 2004 Joined ABT 2004 Joined ABT 2011 Joined ABT 2010 Joined ABT 2003 Joo Won Ahn Wonju, South Korea Mai Aihara Kenneth Easter Courtney Lavine Jessica Saund Luciana Voltolini Joined ABT 2014 Yamanashi, Japan Fort Lauderdale, Florida Fairfax, Virginia Great Falls, Virginia Joinville, Brazil Joined ABT 2013 Joined ABT 2003 Joined ABT 2010 Joined ABT 2006 Joined ABT 2011 Catherine Hurlin New York, New York Sterling Baca Zhong-Jing Fang Isadora Loyola Adrienne Schulte Paulina Waski Joined ABT 2013 Larkspur, Colorado Shanghai, China Rio de Janeiro, Brazil Guatemala City, Guatemala Greenwich, Connecticut Joined ABT 2011 Joined ABT 2003 Joined ABT 2008 Joined ABT 1999 Joined ABT 2011 Pascal Knopp Rejoined ABT 2011 Baltimore, Maryland Alexandra Basmagy Thomas Forster Duncan Lyle Jennifer Whalen Joined ABT 2013 Red Bank, New Jersey London, England Melbourne, Australia Arron Scott Seoul, South Korea Joined ABT 2011 Joined ABT 2007 Joined ABT 2012 State College, Pennsylvania Joined ABT 2002 Hannah Marshall Joined ABT 2004 New York, New York Gemma Bond Patrick Frenette Daniel Mantei Katherine Williams Joined ABT 2013 Bedfordshire, England Vancouver, British Columbia, Evansville, Indiana Jose Sebastian Honolulu, Hawaii Joined ABT 2008 Canada Joined ABT 2003 New York, New York Joined ABT 2007 Alexandra Pullen Joined ABT 2013 Joined ABT 2009 Nashville, Tennessee Kelley Boyd Cameron McCune Stephanie Williams Joined ABT 2013 Fresno, California April Giangeruso Raleigh, North Carolina Gabe Stone Shayer Newcastle, Australia Joined ABT 2002 Ellicott City, Maryland Joined ABT 2013 Philadelphia, Pennsylvania Joined ABT 2012 Nathan Vendt Joined ABT 2010 Joined ABT 2012 St. Louis, Missouri Skylar Brandt Elina Miettinen Lily Wisdom Joined ABT 2014 White Plains, New York Joseph Gorak Helsinki, Finland Christine Shevchenko Boston, Massachusetts Joined ABT 2010 Fort Wayne, Indiana Joined ABT 2008 Odessa, Ukraine Joined ABT 2011 Joined ABT 2009 Joined ABT 2007 Puanani Brown Kaho Ogawa Zhiyao Zhang Washington, D.C. Nicole Graniero Tokushima, Japan Sarah Smith Jiangsu, China Joined ABT 2010 New York, New York Joined ABT 2012 Bad Axe, Michigan Joined ABT 2012 Joined ABT 2006 Joined ABT 2004 Marian Butler Patrick Ogle Roman Zhurbin Houston, Texas Melanie Hamrick Oklahoma City, Oklahoma Sean Stewart Moscow, Russia Joined ABT 1995 Williamsburg, Virginia Joined ABT 2002 Mount Holly, New Jersey Joined ABT 2004 Joined ABT 2004 Joined ABT 1997 Nicola Curry Luciana Paris Rejoined ABT 2008 Colorado Springs, Colorado Sung Woo Han Buenos Aires, Argentina Joined ABT 2005 Seoul, South Korea Joined ABT 2001 Eric Tamm Joined ABT 2013 San Francisco, California Gray Davis Lauren Post Joined ABT 2007 Greenwood, South Carolina Blaine Hoven Pensacola, Florida Joined ABT 2007 Mobile, Alabama Joined ABT 2008 Devon Teuscher Joined ABT 2004 South Burlington, Vermont Claire Davison Kelley Potter Joined ABT 2007 Boulder, Colorado Gabrielle Johnson Kernersville, North Carolina Joined ABT 2012 Palmer, Alaska Joined ABT 2003 Cassandra Trenary Joined ABT 2011 Rejoined ABT 2009 Lawrenceville, Georgia Brittany DeGrofft Joined ABT 2011 Tucson, Arizona Jonathan Klein Luis Ribagorda Joined ABT 2011 Toulouse, France Madrid, Spain Leann Underwood Joined ABT 2013 Joined ABT 2004 Portland, Oregon Joined ABT 2006

18 19 ABT BOARD ABT STAFF

BALLET THEATRE FOUNDATION, INC. BOARD OF GOVERNING TRUSTEES ARTISTIC DIRECTOR Wig & Make-up Supervisor and Merchandising Manager Interns Kevin McKenzie Jeffrey Rebelo Daniel Casatelli Hannah Anderson, Kelly Barron, Alanna Garcia, Molly Gibbons, Angela Hilario, Lucia Chase and Oliver Smith, Founders CHIEF EXECUTIVE OFFICER Wig & Make-up Artist Audience Development and Group Jenna Jacobs, Sarah Jones, Jason Rachel S. Moore Rena Most Services Manager, Benjamin Lipnick Kooistra, Angelica Nanez, Julia Sandke, Mahalia Sealy Jacqueline Kennedy Onassis (1929-1994), Honorary Chairman Emerita ARTISTIC Resident Scenic Artist Press Associate and Staff Photographer Artist in Residence Christine Skubish Myra Armstrong PROFESSIONAL SERVICES Alexei Ratmansky Consulting Orthopedist OFFICERS MUSIC Marketing and Promotions Associate William Hamilton Associate Artistic Director Music Director Stephanie Rainess Victor Barbee Ormsby Wilkins Assistant Orthopedist Donald Kramer, Chairman Photographer Dr. Philip Bauman Artistic Administrator Principal Conductor Gene Schiavone Cristina Escoda Charles Barker Physical Therapists Andrew F. Barth, Mildred C. Brinn, David H. Koch, Vice Chairmen Associate Staff Photographer Peter Marshall, Julie Daugherty Ballet Masters Conductor and Music Administrator Rosalie O’Connor Susan Jones, Irina Kolpakova, Clinton David LaMarche Massage Therapist Sharon Patrick, President Luckett, Nancy Raffa, Keith Roberts EDUCATION AND TRAINING Olinda Cedeno Orchestra Personnel Manager Director of Education and Training Brian J. Heidtke, Vice President & Treasurer Rehearsal Coordinator Matthew Dine Mary Jo Ziesel Advisor, JKO Wellness Program Nancy Havens-Hasty, Secretary Miki Shintani La Ann L. Hicks, LCSW Rehearsal Pianists Associate Director of Education and Assistant to the Artistic Staff Barbara Bilach, Benjamin Houghton, Training, Dennis J. Walters Immigration Counsel E Amanda Sugino David LaMarche, Daniel Waite, Emily Wong Wormser, Kiely, Galef & Jacobs LLP XECUTIVE COMMITTEE Artistic Director, Jacqueline Kennedy Company Teachers DEVELOPMENT Onassis School, Franco De Vita Labor Counsel Donald Kramer, Chairman Nancy Bielski, Rinat Imaev, , Director of Development Kauff, McGuire & Margolis LLP Clinton Luckett, Kate Lydon, Nancy Raffa, Kyle Y. Ridaught Director, Jacqueline Kennedy Onassis Keith Roberts, Craig Salstein, Gennadi School, Heidi Gunter Auditor Anne M. Tatlock, Honorary Chair, Executive Committee Saveliev, Vladilen Semenov Director of Membership Lutz & Carr LLP Grey Johnson Director of Training Programs COMPANY MANAGEMENT AND Molly Schnyder Insurance Broker Melissa A. Smith, Chair, Audit Committee ADMINISTRATION Manager of Special Gifts and Endowment DeWitt Stern Group General Manager Brannan Berman Artistic Director of Summer Intensives, and Beth Chartoff Spector, Chair, Development Committee David G. Lansky Assistant Principal, Jacqueline Kennedy Advisor, JKO Wellness Program Brian J. Heidtke, Chair, Education Committee Manager of Major Gifts Onassis School, Melissa Allen Bowman Ann Hicks, LCSW Company Manager Jon Haddorff Lawrence J. Shaw, Chair, Finance Committee Kyle Pickles Artistic Director, ABT National Training Chair of the Medical Advisory Board Martin Sosnoff, Chair, Investment Committee Manager of Institutional Support Curriculum, Raymond Lukens Dr. Gary Wadler Associate Company Manager Claire Stephanic Ali Wambold, Chair, Nominating Committee Ashley K. Baer Director, Studio Company American Ballet Theatre is a member of Sharon Patrick, Chair, Strategic Planning Committee Database and Finance Manager Kate Lydon the American Arts Alliance, the Arts and Executive Assistant and Board Liaison Alan Berquist Business Council, Inc. and Dance/U.S.A. Abby Olson Artistic Coordinator of the Apprentice Mildred C. Brinn Assistant Manager of Major Gifts Program, Clinton Luckett The dancers and stage managers of Assistant to the General Manager Patrick Galvin American Ballet Theatre are represented Lisa Smith Cashin Kimberly Walen Artistic Coordinator for Educational for the purpose of collective bargaining Nancy Havens-Hasty Assistant Manager of Special Events Outreach, Richard Toda by the American Guild of Musical Artists, PRODUCTION Katherine Kantor AFL-CIO. Director of Production National Training Curriculum Manager N. James Whitehill III Coordinator of Membership Events and Jenna Bitterman Trucking by Clark Transfer Inc. Services, Stephanie Rondy TRUSTEES Technical Director Manager, JKO School IT consulting service for ABT is provided Richard Koch Membership Associate Rebecca Schwartz by SyNet Solutions, Inc. Jaclyn LaCamera Linda Allard William J. Gillespie Rachel S. Moore Production Stage Manager Manager of Student Life, JKO School Tour booking by Jean-Jacques Cesbron, Francesca Macartney Beale Wendy Evans Joseph Ruth Newman Danielle Ventimiglia Membership Associate, Patron Ticketing Melody Boza Columbia Artists Management, LLC. Ariel Dupas Arlene J. Blau Christian Keesee Anka K. Palitz Stage Manager Summer Intensive Manager Harlequin is the official floor of American David C. Blowers Theresa Khawly Victoria Phillips Jennifer McGrath Assistant to the Director of Development Elizabeth Aymong Ballet Theatre. Emily Waters Hamish Bowles Paul T. Lehr Matthew Rubel Assistant Stage Manager Summer Intensive Coordinator Wm. Kanabe Pianos, supplied by Audre D. Carlin Paula Mahoney Blaine Trump Jeremiah Bischoff FINANCE Naomi Gewanter Frank and Camille’s West, is the official Chief Financial Officer piano of American Ballet Theatre. Valentino D. Carlotti Andrew J. Martin-Weber Jean Volpe Lighting Director William Taylor Summer Intensive Assistant Nancy Chemtob Nancy McCormick John L. Warden, Esq. Brad Fields Melissa Rosko ABT alumna Gretchen Schumacher Controller generously volunteers her time as Alumni Susan Feinstein Bill McIntosh Joseph A. Wilson Master Carpenter Godwin Farrugia National Training Curriculum Associate Coordinator. Sonia Florian Kevin McKenzie Douglas C. Wurth Dan De Prenger Meghan Love Payroll and Benefits Manager VOLUNTEERS Edward A. Fox Leslie Ziff Carpenters Catherine P. Brown JKO School Associate Susan Angermeier, Carol Becker, Pat Esteban Osorio, Chris Miano Katie Ferris Belote, Hanna Burak, Paul Cahill, Judi Bookkeeper Chandon, John Condon, Vivien Delugg, Ann L. Hicks, Vice Chair, Education Committee Master Electrician Marianne Vanaselja Education Associate Beverly Epstein, Margaret Fridecky, Bill Brian Zimmerman Amanda Tomera Gerdes, Judy Ginesi, Marianne Goodman, I.T. Manager Yvonne and Warren Herbst, Honey Hilzen, ***** Electricians/Board Operators Vince Lingner JKO School Assistant Perin Hurewitz, Wanda Jones, Harriet Kirk, Paul Frydrychowski, Ben Eells Elizabeth Owens Skidmore Jo Leondopoulos, Shelley and Stephen Office Manager Limmer, Jennie Lang, Keiko Matsumura, Property Master Roseanne Forni JKO School Faculty Audrey M. Messer, Ina M. Mishkin, Barbara CHAIRMEN EMERITI COUNCIL CHAIRS HONORARY TRUSTEES Paul Wells Sophie Alpern, Alexis Andrews, Jenna Q. Myers, Eileen O’Neill, Geri Richards, MARKETING AND COMMUNICATIONS Bitterman, Rodica Bordeianu, Melissa Patricia M. Rosenberg, Betsy Ruml, Juanita Charles H. Dyson Susan Fales-Hill, Chair, ABT Ambassadors Ricki Gail Conway Property Man Director of Press and Allen Bowman, Richard Bowman, Harriet Seidel, Estelle Selzer, Beth Shapiro, Nancy Edward A. Fox Hon. Mary Ourisman, Chair, International Committee Alexander C. Ewing Steven Dunbar Kelly Ryan Clark, Franco De Vita, Olga Dvorovenko, L. Sifton, Joy Silber, Linda Sitnick, Jean Sun Carla Flores, Carmela Gallace, Kari Shaw, Lynne Smalley, Marianne Stegeland, Stephen J. Friedman Madeline Eckett Oden, Chair, Chairman’s Council Deborah, Lady MacMillan Wardrobe Supervisor Director of Marketing and Brand Gonthier, Adrienne Hurd, Mikhail Ilyin, Steven Toback, Johanna Weber, Hermine Hamilton E. James Patricia Belote, Chair, Golden Circle Council Robin Chemers Neustein Bruce Horowitz Management, James Timm Jessica Lang, Meghan Love, Raymond Weiss, Elinor Wexler, Nahomi Yamazaki, Lukens, Kate Lydon, Clarice Marshall, Anthony Yazzetti Peter T. Joseph Mrs. Byam K. Stevens, Jr. Wardrobe Manager of Press and Online Media Francois Perron, Keith Sabado, Flavio Lewis S. Ranieri Nancy Zeckendorf Hilarie Jenkins, Andrew Corbo, Susie Morgan Taylor Salazar, Lupe Serrano, Richard Toda, Tomoko Ueda-Dunbar Martine van Hamel Melville Straus

20 21 NORTHROP HISTORY

If Walls Could Talk: A History of Northrop — Written by Laura Weber

On the occasion of the twenty-fifth anniversary of the University Artists Course in 1944, its impresario, The “grand dame” of Twin Cities theaters Consensus for the wording was difficult to reach; after Verna Golden Scott, wrote, “It would be difficult to enumerate many artists of the past two decades who have The design for is attributed to a number of versions were considered, the inscription not appeared on the University Artists Course.” Half a century later, Scott’s assessment is equally applicable Clarence H. Johnston Sr., who served as state archi- was finally carved in June 1936. Harry Rowatt Brown, to Northrop Memorial Auditorium, the Artists Course's long time home. tect from 1901 until 1936. Frederick Mann, head of the a local businessman, donated a set of carillon bells School of Architecture and the University’s Advisory (which are actually bars) in 1948 in memory of his wife, Architect, prepared sketches for the proposed Francis Miller Brown. The transformed landmark at the heart of the University notion was a classically inspired mall, which would auditorium design, which were given final execution of Minnesota’s east bank campus has indeed hosted extend from the old campus district south to the river. by Johnston. a dizzying array of artists, entertainers, and public fig- Though Gilbert’s design changed a few times, and was ures in its 85-year history: and Santana; never fully executed, he ultimately sited the mall’s Despite the shortfall of funds, ground was broken for Mikhail Baryshnikov and the B-52s; His Holiness The main building at the head of the proposed mall. the 4,847-seat Northrop Auditorium on April 30, Dalai Lama and the ; Merce Cunningham President Leroy Burton (1917–20) sought to revive 1928, on the site of a former medicinal plant garden and Perry Como; W.H. Auden and . the shelved Cass Gilbert . In particular, Burton (established in 1911 by Dean Frederick Wulling of Northrop’s aura has been experienced by tens of thou- felt an auditorium was needed to serve as “a lively the College of Pharmacy). Plans were altered to cut sands of U of M students, arts patrons, and Minnesota center for the arts.” The auditorium was to be named costs. Mann expressed concern about acoustics. citizens, perhaps as schoolchildren bused in to hear the for Cyrus Northrop, the University’s second president, Symphony (now Minnesota) Orchestra or as who served from 1884 until his death in 1911. There The monumental Classical Revival building was proud relatives attending commencement ceremonies. was, however, a significant impediment to the plan. dedicated on October 22, 1929. The dominant feature The tracks of the Northern Pacific railroad crossed a of the red brick building with stone trim is its imposing nearby bridge over the Mississippi River and ran across colonnade of Ionic stone columns. The three-story the southern edge of campus, the area roughly below lobby, dubbed Memorial Hall, contains tablets today’s Northrop Plaza. engraved with names of the founders of the state and University. The auditorium featured an elaborate Funded by sometimes tardy contributions from alumni and students, Northrop Auditorium broke ground in April 1928 and was completed Burton’s successor as University president, Lotus D. proscenium arch and chandelier. in October 1929. Coffman, finally negotiated a solution in 1922. The Northern Pacific would reroute its trains to nearby The University celebrated Northrop’s opening with Campus center for learning and gathering Great Northern tracks, leaving their right-of-way three dedicatory concerts (organized by Vera Scott) in Northrop was integrated into the campus life of Univer- available to build not only Northrop Auditorium, but the fall of 1929. The Minneapolis Symphony Orchestra, sity students for decades. Convocations, free and open Memorial Stadium and the other buildings that soon to take up residence in Northrop for the next to the public, were held weekly in the auditorium until eventually filled in the mall. 44 years, led off on October 22. On October 30, 1969, and less frequently into the 1970s. An extensive the Boston Symphony, under the baton of Serge range of speakers exposed students to political, Coffman’s foresight extended to seeking private fund- Koussevitzky, performed. President Coffman presided scientific, and cultural arenas, as can be seen from a raising as a complement to state support. The Greater over the third event, the Alumni and State Program, sampling from 1959 to 1961: choreographer Agnes University Corporation, made up of 20,000 alumni on November 15. DeMille, civil rights leader Martin Luther King Jr., psy- and friends of the University living in Minnesota, was chologist Albert Ellis, tennis champion Althea Gibson, 1925 sketch, prepared by Frederick Mann, which Northrop architect Northrop’s famous Aeolian-Skinner pipe organ was and historian Arnold Toynbee. Music professor and Clarence H. Johnston Sr. used for the final design. formed in 1922 to raise $2 million dollars to construct both a stadium, dedicated to the 3,200 Minnesotans installed in four sections, from 1932 to 1935. The pipe University organist Arthur B. Jennings gave half-hour A railroad runs through it who had died in World War I, and the auditorium organ was the second largest in the Upper Midwest, recitals before the Thursday convocations. Cap and The need for a central campus gathering place was dedicated to Cyrus Northrop’s legacy. Fifteen hundred after that of the Minneapolis Auditorium. Its 6,975 Gown Day and Commencement were rites of passage acute by the turn of the twentieth century. The University enthusiastic students, faculty, staff, and friends pledged pipes—ranging from the size of a pencil to 32 feet associated with Northrop’s grandeur. outgrew its campus surrounding The Knoll, off $665,000 in the first four days of the fund drive alone. high—were located above the stage in a room as big as University Avenue. In this period, the Armory, built in the stage. It was played from a four-manual console The stairs and plaza in front of Northrop were a natu- 1896, was the only gathering spot on campus available Once made, however, fundraisers found it difficult located in the orchestra pit. Organ scholars attest to ral gathering spot, whether casual lounging between for arts performances or ceremonial occasions. to collect on many pledges, particularly from students. the Aeolian-Skinner’s historic value as a completely classes, or planned rallies, programs, or protests. Noon With Northrop building costs going up to $1.3 million, unaltered and intact example of the organ builder’s Summer at Northrop concerts (now known as Music on The Board of Regents held a design competition for a the Greater University Corporation took drastic skill. The organ is currently disassembled and in storage, the Plaza), have been a campus tradition since 1954. campus expansion plan in 1907. St Paul’s Cass Gilbert, measures. In 1928, one student was taken to court awaiting funds for its restoration and reinstallation in the Only a partial version of Clarence Johnston’s original who by this time had designed the Minnesota State as a test case over his unpaid $100 pledge, shocking revitalized Northrop. plans for the plaza was built due to lack of funding. Capitol in the early 1890s and moved his growing the public. It was the first of several such cases to Northrop Plaza was finally completed in 1965, paved practice to New York, won the competition. Gilbert’s go to court. The final element of the building to be completed was with granite, according to plans developed by Advisory the inspirational inscription on the building’s façade. Architect and professor Winston Close.

22 23 The now-familiar umbrella tables on the plaza were in- pioneer Mary Wigman on January 12, 1932, was The murals have been recreated in their original Symphony Orchestra, and a region-wide committee of stalled in 1967. In 1944, the Department of Concerts and particularly bold. A 1986 thesis on the Artists Course location in the revitalized Northrop, and can be seen sponsors. In the 1950s, James Lombard and Mrs. F.K.O. Lectures was created as an umbrella unit for activities noted its boldness because a German expressionist at the stairway entry points to the fourth floor. Weyerhaeuser were responsible for instituting the at Northrop. Under the direction of James Lombard, “Priestess of the Dance” performed solo in the Met’s first auditions to be held outside New York City, Concert and Lectures oversaw weekly convocations, simplest of costumes and on the barest of stages. In the 1960s, the Art Gallery added important Pop Art at Northrop. special lectures, Summer at Northrop, and the annual works to its collection. Two 20-foot-square murals tour of the Metropolitan Opera. Concerts and Lectures Northrop’s presenting function for performing arts exhibited at the 1964 World’s Fair (gifts of the artists, Touring costs mounted as the years went by. The Met’s also provided crucial University outreach services to events of all genres, popular and classical, fell under University alumnus James Rosenquist and Roy biggest stars increasingly refused to tour and regional the state and region by operating talent and booking the Artists Course name until 1978, when the name Lichtenstein) had to be displayed on the floor of audiences heard less skilled singers, those either on services for community programs (school assembly retired in favor of Northrop Dance Series. Northrop’s lobby in 1966 as they were too large to their way up or down. The Met was forced to drop cities and convocation programs, play loan library, high display in the gallery. The following year, the Art from the national tour, but never Minneapolis. When school commencement speakers); concert and lectures University Art Gallery Gallery added its first Andy Warhol piece, a silk-screen the Met discontinued touring altogether, in 1986, series; and theater touring service. President Coffman’s desire to make the University a print from Warhol’s Marilyn series which was a gift by only four cities, from a high of fifteen in the 1940s, cultural center for the community included a place to local art dealers and hair salon owners George Shea remained on the tour. Psychology 1001 and other large lecture courses were “display pictures.” In April 1934, Coffman and Malcolm and Gordon Locksley. not held in Northrop’s large auditorium until 1959, Willey began the University Art Gallery—initially known and lasted until other suitable lecture halls were built. as the “Little Gallery”—as an experiment in the fine Minneapolis Symphony (Minnesota) Orchestra Northrop’s basement was, until 2009, home for the arts. Now known as the , the Art The Minneapolis Symphony Orchestra was founded in 200-plus member University Marching Band, and the Gallery occupied five small rooms on the fourth floor 1903. In its early years, it performed in various locations auditorium site of its annual indoor concerts. Concerts of Northrop. Ruth Lawrence, widow of assistant to the in both Minneapolis and St. Paul, including the Armory. and Lectures supplemented its paid usher staff with president James Lawrence, was appointed curator The Minneapolis Symphony, renamed the Minnesota student ushers who donated their time in exchange and director after the first curator, Hudson D. Walker, Orchestra in 1968, made Northrop its home from 1930 for seeing free shows. However, as the convocation left after a few months. Lawrence created a niche for to 1974. The U of M was one of the few colleges or uni- tradition petered out by the 1970s, many students’ day- the University Art Museum by acquiring modern and versities in the country to be home to a major orchestra. to-day experience of Northrop Auditorium consisted American art, making the University virtually the only of lounging on its steps, walking by its imposing façade place in the area it could be viewed. The elegant new hall was welcomed by all, but con- on their way somewhere else, or catching a noon cerns about acoustics for orchestra performances led concert. Not until graduation day did many venture Lawrence’s first acquisition was Georgia O’Keeffe’s to installation of a plywood acoustical shell in 1940 to into the aging auditorium. “Oak Leaves, Pink and Gray.” It was displayed initially enhance sound. In 1953, Northrop received what the in the Fine Arts Room, an innovation of Lawrence’s. Minneapolis Tribune called an “ear-lifting,” including a Venue for the arts and lectures The room opened in February 1936 as a place with new acoustical shell. Most of the $100,000 project was The Twin Cities today are blessed with so many perfor- no other purpose than the contemplation of a single devoted to improvements of the technical capacity of mance venues and arts and entertainment options work of art. Students, alas, did not use the room as the hall. Seats were ripped out and replaced, as were the View from 1959. Northrop hosted myriad recitals and concerts thanks that it is hard to conjure a time when Northrop was intended, and the Fine Arts Room experiment ended curtain and carpeting. A retractable curtain, used to cut to being a temporary home to the University Artists Course and the the only large multi-purpose hall and primary arts in the early 1940s. the size of Northrop to 1,228 seats, was added in 1956. Minneapolis Symphony Orchestra. presenter in the area. Its importance to the cultural life of the entire community from the 1930s to 1970s Early exhibitions were designed to support instruction. Sound quality for audience and performers of the The 1970s—a turning point cannot be underestimated. Faculty and student artwork was also regularly Minneapolis Symphony continued to be a concern. In As Northrop Auditorium approached the half-century displayed. The exhibitions were so popular that the response, Northrop installed the world’s first 12-gauge mark, it experienced a series of turning points. The Artists Course gallery began to use the corridors of the third and fourth steel acoustical shell in 1961, replacing the 1940 facility was aging. The recital business, staple of the Artistically, Northrop’s early years revolved around floors of Northrop, and by the early 1960s, expanded to plywood version. (The 1953 shell was used to enhance University Artists Course for decades, had seriously the University Artists Course, founded by Scott in the second floor and main floor. Galleries stayed open the smaller recital-sized performances of the Artists declined. The most crucial turning point occurred in 1919. Classical music was the mainstay of the recital on concert evenings so patrons could spend intermis- Course.) Sound reflecting baffles were designed to 1973, when the left for its acous- series, held in conjunction with the Music Department. sion immersed in even more culture. The gallery also eliminate auditorium dead spaces. In 1969, California tically superior and smaller home, Orchestra Hall. Mezzo-soprano Ernestine Schumann-Heink was its operated an art rental service for faculty and staff that acoustical consultant Paul Venaclausen directed more Northrop began running deficits. Under Dr. Ross Smith, first featured artist. Violinist Fritz Kreisler, pianist continues to this day at the Weisman Art Museum. acoustical improvements. “At last,” wrote Peter Altman, who arrived as Concerts and Lectures director in 1968, and composer Sergei Rachmaninoff, violinist Jascha music critic for the Minneapolis Star, “it is hoped the Northrop looked for innovative ways to fill the hall. Heifetz, coloratura soprano Lily Pons, and pianist From 1938 to 1942, 60 Works Progress Administra- hall’s notorious sound and sight problems have finally Vladimir Horowitz, are just a few of the artists Scott tion (WPA) workers joined the gallery staff as a unit to been overcome.” The Board of Regents provided one boost. After pro- brought to Minnesota audiences. compile and arrange a vast accumulation of research hibiting outside promoters from renting Northrop for material from hundreds of sources. Gerome Kamrowski, Metropolitan Opera regional tour their own profit for decades, regents voted to reverse the The Artists Course was the first such series under college a 22-year-old WPA artist from Warren, Minnesota, The Metropolitan Opera made Northrop a regular stop policy in 1974. The era of rock and pop concerts began. or university sponsorship and was widely imitated. created two murals for the auditorium in 1936, one on its national tour beginning in 1945. Opera patrons After Northrop’s completion, the Artists Course moved representing music, ballet, and cinema and the other flocked from a nine-state region and Canada to attend But it was dance that would prove to be Northrop’s from the Armory and expanded its offerings to include drama, architecture, and the graphic and plastic arts. opera week each May. The Opera was a joint produc- marketing niche. In the 1970s, interest in the art form dance. The first dance performance, by tion of the University Artists Course, the Minneapolis was gaining popularity. Northrop’s seating capacity and

24 25 City Ballet, American Ballet Theatre, Joffrey Ballet, remained, scattered about the building in cramped aging, and crumbling icon” made only a modest Stars of the Bolshoi Ballet, the National Dance Company storage spaces with no temperature control. Under contribution to the academic priorities of the University. of Senegal, and Bill T. Jones/Arnie Zane Dance the direction of Lyndel King, who took the helm in A vision for a “multi-use, daily-use facility” featuring a Company are just a few. 1981, the gallery made plans for a suitable facility. reduced-size 2,700-seat auditorium to allow creation In 1983 the Board of Regents approved a name change of gathering spaces and academic program offices was Citing its role as a major dance presenter, and wishing to University Art Museum. In 1988, regents approved a advanced, and ultimately implemented. to avoid confusion, in September 1978 a Northrop press proposal for $4 million for a new building, if the release went out declaring, “The Department of museum could raise a similar amount. Finally, in 1993 Funding for the long-planned $88.2 million renovation Concerts and Lectures is pleased to announce that the the no-longer “little” museum moved into its own was finally secured in 2010. Memorial Hall would be University Artists Course is officially dead. Alive and building, the landmark Frank Gehry-designed preserved, but the rest of Northrop’s interior was essen- well in its place is the Northrop Dance Season, which Weisman Art Museum. tially gutted, though historic artifacts were preserved for sponsors the World Dance Season, Metropolitan Opera, later reinstallation. The new multipurpose main theater Nutcracker Fantasy, and other events noted on this Northrop’s presenting scope expanded in 1987 when features state-of-the-art acoustics, improved sightlines, letterhead.” ( Marching Band, it joined with the Walker Art Center in launching the cutting-edge technologies, and updated amenities, Summer Session entertainment, and special events.) Discover Series to showcase new directions in perfor- including rehearsal studio, reception rooms, and more mance, drawing its season roster from contemporary concession stands and ticket windows. A second venue, In 1980, Minnesota magazine reported that, in the previ- artists in opera, dance, music, theater, and mixed media. the 168-seat Best Buy Theater, adds flexibility for ous decade, more than 600,000 people had seen 161 Notable past performances have included , lectures and recitals. Visual art returns to the fourth performances under Northrop Dance Season auspices Martha Clark, Diamanda Galas, the Wooster Group, floor with a new art gallery. The new Northrop is and the department was in the black. Ross Smith noted Spalding Gray, Kronos Quartet, Dance also home to three University-wide programs: The that the only great dancer who hadn’t appeared on the Company, and Urban Bush Women. The Discover Series University Honors Program, The Institute for Advanced Northrop stage was Isadora Duncan. Northrop Dance received a boost in 1990 when Northrop was one of Study, and The College of Design’s Travelers Innovation Season was regarded as one of Smith’s most important three arts presenting organizations nationwide awarded Lab. Seminar and meeting rooms, study spaces and legacies. It was continued and enhanced by his assistant a three-year grant of $249,00 from Northwest Area student lounges, and a café round out the mix. Dale Schatzlein, who became Northrop director in 1985. Foundation to co-commission and present large-scale (After Schatzlein’s death in 2006, Northrop Operations contemporary visions in the performing arts. In addition to its preeminent dance season, Northrop Director Sally Dischinger served as interim director. became administrative home for the McKnight 1975 installation of the “Balanchine basket weave” sprung-wood floor, duplicating what developed for the Ben Johnson served as director of Northrop Concerts In 1993 Northrop became one of 20 jazz presenters Foundation’s Artist Fellowships for Dancers and . and Lectures from 2007 to 2013. Christine Tschida is nationwide to join the Lila Wallace-Reader’s Digest Choreographers in 2011, which annually awards three Northrop’s director today.) National Jazz Network, paving the way for Northrop Jazz fellowships of $25,000 each to Minnesota dancers, the size of its proscenium stage made it one of the only Series, a complement to the club scene. Charlie Haden and three fellowships of $25,000 each to Minnesota facilities in the region with the ability to present major In 1980 Northrop began regularly hosting distinguished Liberation Music Orchestra was the first artist to perform choreographers. Northrop is also home for the touring dance companies. The Northrop Dance Season lectures by world leaders when the Humphrey Institute as part of the Jazz Season. , Wynton McKnight International Fellowship, which brings one was established in 1970–71. Northrop committed to of Public Affairs’ Distinguished Carlson Lecture Series Marsalis, Cassandra Wilson, Herbie Hancock, Maria international choreographer to Minnesota each year to dance in 1975, investing $30,000 to replace its old floor made Northrop its home base. Over 50 dignitaries, Schneider, and The Bad Plus are just a few who followed. create new work with and for Twin Cities dance artists. with a new sprung wood floor consisting of overlapping including U.S. Presidents , George H.W. wood strips. The floor was called a “Balanchine basket Bush (when he was Vice President), and , Plans for revitalization What began as the Artists Course almost a century weave,” duplicating the one developed by George have stood at Northrop’s podium. In 2001, Carlson Years of deferred maintenance meant much work ago is today Northrop Presents. All of Northrop’s Balanchine for the New York City Ballet. lecturer His Holiness the 14th Dalai Lama received an would be needed to ensure the venerable Northrop residents will work collaboratively on the new vision honorary University degree on the Northrop stage as would be a viable facility in the twenty-first century. for Northrop: to expand programming in ways that will The number of dance companies booked by Northrop part of his visit to campus. The University conducted 11 studies on the future enlighten, challenge, and engage students, faculty, rose from three in 1969 to twelve in 1975. These in- of Northrop, beginning in 1993. Northrop Dance and the community. cluded three of the country’s top troupes, Alwin Nikolai, Competition for the arts dollar in the Twin Cities audiences surveyed in 1999 said the words or phrases , and , and a 17-perfomance heated up in the 1980s as new performance venues, that came to mind in association with the auditorium By putting the most compelling artists of the day on World Dance Series featuring contemporary, ballet, and particularly the dance-friendly Ordway Music Theater were, in order: dance, large/huge, old, uncomfortable stage at the center of campus, matched by world-class folk miniseries. Smith was instrumental in arranging the in St. Paul, opened. Northrop continued to grow its seating, parking difficulties. In the early 2000s, technical capabilities and acoustics and comfortable collaboration between the Minnesota Dance Theatre, dance audiences nonetheless. In 1992, Northrop University officials solicited the expertise and visions surroundings, the newly revitalized Northrop will again the Minnesota Orchestra, and Northrop in presenting Dance Season counted 3,000 subscribers and overall of key constituents and outside experts for their ideas become a destination, the hub for arts, culture, and the Loyce Houlton’s Nutcracker Fantasy for many attendance of 40,000. Programming focused on on the future of Northrop. Still, provisions were made academic activity it was originally intended to be. holiday seasons. artists from diverse cultures. for the present. In 2006, the building received $15 million in exterior and mechanical repairs over a The list of dance legends Northrop Dance Season Meanwhile, another important Northrop tenant, the 17-month period. Laura Weber is a Minneapolis writer and historian. A longer version of this history of Northrop, and over 100 images, may be found at presented in the twentieth century alone is so long that Art Gallery, was contemplating its future. The fourth northrop.umn.edu/about/history to enumerate even highlights risks becoming a laundry floor rooms and auditorium corridors were never In 2007, the Future of Northrop Advisory Committee list: Mikhail Baryshnikov, , Merce meant to be the gallery’s permanent home. But there stated, “there is no aspect of Northrop without issue.” All photos courtesy of University of Minnesota Archives. Cunningham, Paul Taylor, and Twyla Tharp; New York the gallery’s 7,000 pieces valued at some $6 million The configuration and use patterns of the “sacred,

26 27 NORTHROP REVITALIZATION

Designing the Transformation

HGA Architects and Engineers (HGA) partnered with the University of Minnesota to transform the historic Northrop NORTHROP GALLERY OTHER FEATURES Auditorium into a major arts venue and a vibrant focus of campus life and the Twin Cities community. By successfully Reviving a space closed to the public since the opening New cast-plaster ornaments (Laban panels) reconfiguring the auditorium and updating public spaces, HGA reimagined an innovative space that will serve multiple of the Weisman Art Museum, this sky-lit gallery was the Designed in dialogue with the stone ornament in creative and academic functions, fulfilling the University’s mission to establish a “crossroads of learning, discovery, original home of the University Art Museum. Memorial Hall, the family of cast plaster ornaments arts, and community.” in the lobby and performance spaces draws equally from classical proportions, acoustic requirements, and abstractions of Laban notation. CARLSON FAMILY STAGE recitals, the most notable feature of this space is the The new performance space is a 2,700-seat hall with active acoustic system, a cutting edge technology Historic plaster ornaments (Proscenium panels) superior acoustics and sightlines, and state-of-the-art which creates a warm, intimate, and clear aural When selected panels of the proscenium arch were technologies to provide the highest quality experience environment for a full range of performances. faithfully recast to improve the acoustic performance of attainable. The new hall will feature the finest in artistic the proscenium, these original panels were transferred performance—exhilarating, cultural experiences, ROBERT AND GAIL BUUCK MEMORIAL HALL to the lobby, allowing the public a more intimate view designed in collaboration with academic units and RESTORATION of this exquisite craftsmanship and history. community partners, to inspire students and the Meticulous material restorations of the stone, people of Minnesota. plaster, and terrazzo finishes return this space to its Loggia original elegant state, while modern services have Once experienced as an extension of the proscenium been invisibly integrated. Sensitive detailing in the arch in the historic auditorium, these columns, surrounding public spaces allow this hall to serve not vaults, and urns now play in the surrounding lobby, only as part of the performance pageantry but as a The Lindahl Founders Room is a carefully crafted and well-equipped both marking the vestiges of the original auditorium event space. versatile event space unto itself. footprint and providing a sculptural stage to be experienced every day. LINDAHL FOUNDERS ROOM In addition to exhibiting visual and film works, it serves A high-finish event room, the design of this space as a pre-function space for the performance halls recalls the materiality and formality of Memorial Hall accessed from the fourth level. while offering expansive views of the Minneapolis skyline, The Knoll, and Nicholson Hall. Functionally, ELLIE AND TOM CROSBY SEMINAR ROOM the room offers full audio and visual capability, in Directly above the Rehearsal Hall, the Seminar Room addition to catering support. is a versatile event space featuring views of Pillsbury Hall and Lilly Plaza. CARGILL HONORS COMMONS Perched between picturesque views of the Mall COLLEGE OF DESIGN TRAVELERS INNOVATION LAB and Northrop’s dynamic public spaces, these The Travelers Innovation Lab will house activities Seating in the theater now wraps the stage in three balconies. commons offer technology-rich informal gathering created by the College of Design and its partners to and collaborative spaces for students, faculty, and develop and present innovative ideas related to some HUBBARD BROADCASTING REHEARSAL STUDIO members of the community. of the challenges of our time. This space will provide a place in which the College, the University, and the At nearly the size of the stage, this room is one of the The Laban panels in the Atrium are both historic and contemporary. most versatile spaces in the building. Equipped with full larger Minnesota community connect around creative connectivity, grid, dance floor, and adjustable acoustics, events, research demonstrations, interdisciplinary this space not only accommodates most performance classes, and innovation workshops. Murals (“Guest Performance” and “Local Talent”) requirements, but can also serve as a venue outright. These murals, reproduced atop the East and West Its perimeter floor-to-ceiling windows open up to the CAFÉ Stairwells, were originally created by Gerome surrounding vibrant landscape, promoting a strong Ensuring that Northrop will be a destination throughout Kamrowski in 1936 as part of the Federal Art Project of between the pulse of the campus and the each day and week, the Café is prominently located off the Works Progress Administration. Kamrowski, a 22 creative movements within the building. the main lobby, overlooking the West Entry and new year-old artist from Warren MN, produced two Cubist West Landscape. Fresh and warm foods, as well as inspired murals that were at the time identified as BEST BUY THEATER traditional convenient fare will be offered by this branch “the first in the Twin Cities to be done in this modern Nestled beneath the steep rake of the third balcony, of a highly-regarded Twin Cities destination. style,” (, May 8, 1936). These mural this intimate 168-seat venue promises to be one of the reproductions were made possible by a generous most used spaces in the building. Designed to support Photos left to right: Carlson Family Stage, Best Buy Theater, contribution from the late Judith Martin. Lindahl Founders Room. Photos © Tim Rummelhoff. a full range of events from lectures to digital film and The Best Buy Theater is designed for lectures, films, and recitals. Laban panels. Photo by Patrick O’Leary.

28 29 REVITALIZATION TEAM CAPITAL DONORS

Thank you to Northrop Revitalization project contractors! The revitalization of Northrop was made possible On behalf of all Northrop staff, our most heartfelt thank you goes out to this impressive group of project with the support of the citizens of the State of Minnesota contractors, consultants, and engineers for their hard work, impeccable skill, and enthusiastic dedication in the revitalization of Northrop. and the following donors:

OWNER SUBCONTRACTORS Interium FOUNDERS Regents of the University of Acme-Ochs Brick and Stone J.R. Clancy, Inc. $1,000,000 and above Minnesota Advanced Masonry Restoration Johnson Controls Advance Terrazzo & Tile Co., Inc. Kelleher Construction Best Buy GENERAL CONTRACTOR All Metro Glass KONE Inc. JE Dunn Construction American Artstone Kremer and Davis, Inc. Robert and Gail Buuck Anderson Technology M.G. McGrath, Inc. ARCHITECT Arrow Lift Maverick Cutting and Breaking Cargill HGA Architects and Engineers Arteka Companies Metropolitcan Mechanical Carlson Family Foundation AVI-SPL, Inc. Mechanical Test & Balance THEATRICAL & ACOUSTICAL Balco, Inc. Minnesota Elevator, Inc. John and Nancy Lindahl CONSULTANT Bald Eagle Erectors Minuti Ogle The Travelers Companies, Inc. ARUP Brothers Fire Protection MTG Building Material Supply, Inc. Navy Island Innovative Surfaces ENGINEERS Carl Bolander & Sons Olympus Lockers & Storage HGA Architects and Engingeers CECO Concrete Construction Products Inc. MBJ Structural Engineers Clark Door Limited Professional Audio Design LEADERS up to $1,000,000 Engineering Partners International Conrad Scmitt Studios/Chicago Rebarfab LLC Ornamental Plastering RoyC CKC Contracting Ryan Plumbing Carl Bolander & Sons, Co. OTHER CONSULTANTS CK Wegner, Inc. Schaefer Hardwood Floors, Inc. Ellie and Tom Crosby AKF Group CSI SECOA, Inc. Braun Intertec Custom Expressions Sensory Environment Design Julia W. Dayton Breevort Preservation Strategies Dalco Roofing & Sheet Metal, Inc. Series USA, LLC Clark Engineering Dziedzic Caulking, Inc. Solution Dynamics Egan Company Communication Resources Eco Cleaning Solutions Star Equipment, Inc. Elliot Contracting Corporation Northwest Egan Company, Inc. Steinbrecher Painting, Inc. Foley-Baker Associates Elliott Contracting Corp. Superior Erectors Hammel, Green and Abrahamson, Inc. Hakanson Anderson Associates Engineering Construction Tek Steel Hubbard Broadcasting Hess-Roise Historical Consultants Innovations, Inc. Twin City Acoustics, Inc. Roof Spec Exterior Building Services, Inc. Twin City Tile & Marble Co. JE Dunn Construction Summit Fire Protection Floors by Beckers W.L. Hall Co. Judith A. Martin Schoenstein & Co Floor Technologies Wilkie Sanderson Theatre Strategies Group Fluid Interiors Won-Door Corporation Metropolitan Mechanical Contractors, Inc. Glewwe Doors, Inc. Yaw Construction Group, Inc. Gopher Stage Lighting Gorman Surveying Graphic Specialties Hanson Precast Industrial Steel Fabricators Infinity Scaffold, Inc

30 31 GRAND REOPENING SPONSORS

Thank you to Northrop’s Grand Reopening Sponsors GOLD SPONSOR

Northrop would like to thank the following corporations and individuals for their generous support of Northrop’s grand reopening celebration and programming.

Individual Sponsors SILVER SPONSOR

GOLD SPONSOR Kathy and Allen Lenzmeier

BRONZE SPONSORS Helen and Benjamin Liu Antone and Genevieve Melton-Meaux Sally and Ken Spence BRONZE SPONSORS

TABLE SPONSORS Desiree and David Abele Mira Akins Elli and Anoush Ansari Karen Bachman Annette and Brian Call Fran and Barb Davis Theresa Harris Randy Hartten and Ron Lotz Paul and Sarah Karon Dale Schatzlein and Emily Maltz Fund Regent Patricia Simmons and Dr. Lester Wold SPONSORS Grand Reopening Committee

HONORARY CHAIRS COMMITTEE MEMBERS Robert and Gail Buuck Desiree and David Abele Barbara Carlson Gage and Skip Gage Mira Akins Karen Kaler Anoush Ansari Nancy and John Lindahl Karen Bachman Marilyn Carlson Nelson and Dr. Glen Nelson Blythe Brenden Regent Patricia Simmons and Dr. Lester Wold Annette Call Barb Davis CO-CHAIRS Fran Davis Antone and Genevieve Melton-Meaux Jennifer Ezrilov Ken and Sally Spence Theresa Harris Ron Lotz and Randy Hartten Stephanie Prem IN-KIND SPONSORS Sue Zelickson MEDIA SPONSOR

32 33 NORTHROP ADVISORY BOARD NORTHROP RESIDENTS

Northrop is an epicenter of discovery and transformation that connects the Letter from Northrop’s Advisory Board Chair University of Minnesota and communities beyond by celebrating innovation in the arts, performance, and academics. As Chair of Northrop’s Advisory Board, it is my great honor to welcome you to Northrop’s grand reopening! I trust that you will experience a revitalized space that pays homage An architectural treasure, Northrop is an enduring symbol of the University, the to many of Northrop’s architectural and historic roots and, at the same time, is at the focal point of the Twin Cities campus, and the anchor of the Northrop Mall. Since vanguard with its state-of-the-art design, functionality, and aesthetic beauty. The grand opening in 1929, Northrop has served as the University’s primary gathering place for the performing arts, concerts, reopening performances of Giselle by the American Ballet Theatre are a testament to academic ceremonies, and major civic events. The new Northrop will fuel innovation and creativity, and serve Northrop’s bright future. students, faculty, artists, audiences, and the State of Minnesota. The new Northrop will be a bustling, dynamic destination for collaboration and study, central to everyday life on campus. A vital center of academic distinction This celebration also presents me with the opportunity to formally introduce Northrop’s and discovery, the new Northrop will bring together three University-wide signature programs: The Institute for Advisory Board to the community. The Advisory Board is comprised of community and Advanced Study, The University Honors Program, and the College of Design’s Travelers Innovation Lab will engage business leaders who serve as champions for Northrop’s inspiring and growing vision. their work with the artists, performers, and leading thinkers who will appear on stage as part of Northrop Presents. As Northrop ambassadors, the Advisory Board is faithfully committed to advocating on Photo courtesy of Antone Melton-Meaux behalf of Northrop and creating increased awareness for Northrop in the University community and the Twin Cities. Working in close relationship with leadership, the Advisory As a pan-collegiate academic unit with an enrollment of over 2,300 undergraduates, Board will support Northrop’s unique new position as a facilitator of interdisciplinary discovery. The Advisory Board the University Honors Program (UHP) assists high-achieving students in making will continue to grow in size over the next year with the addition of a diverse and energized group of leaders. the most of their undergraduate education at the University of Minnesota. Our students join the program already motivated to excel both inside and On behalf of the Advisory Board, thank you for being part of this extraordinary moment for Northrop. We look outside the classroom, but we challenge them to go one step further—UHP staff forward to seeing you at future performances and encourage you to discover all the new experiences that and associated faculty guide and encourage them to join and participate in the Northrop has to offer. University’s broader mission of research and scholarship as they develop into creative, independent, and informed thinkers. Sincerely, UHP will make its presence felt in every corner of the revitalized Northrop. The program sponsors a broad spectrum of events throughout the academic year, some of which will bring our students’ work to Northrop’s galleries and performance spaces. Our Honors Seminars and Global Challenge Courses will be held in the Antone Melton-Meaux Seminar Room, which will also provide a space for Latin Honors candidates to present their theses. Finally, the annual Honors Recognition Ceremony and reception, which celebrate the accomplishments of the University’s Latin Honors graduates, will be held in the main theater.

Advisory Board Members Since its inception in 2005, the Institute for Advanced Study has supported and encouraged interdisciplinary and collaborative work, creating intellectual community Antone Melton-Meaux, Chair Heather Faulkner Chas. Porter across and beyond the boundaries of the University. Managing Counsel Community Volunteer Founder and CEO St. Jude Medical, Inc. Future & Now As a University-wide interdisciplinary center, it is a resource for scholars, artists, John Foley professionals, and students who are engaged in a wide variety of study and practice. Colleen Carey CEO Cecily Sommers With its support of collaborative research and extensive public programming, it also serves as a bridge between the President LEVEL Innovation Doyenne and Author University and the wider community as a place where people meet and ideas are exchanged. The Cornerstone Group Think Like a Futurist Tom Morgan In Northrop, the IAS will continue its practice of offering lively and extensive public programming that serves as a Faegre, Baker Daniels LLP forum where substantial questions are addressed in creative ways. At IAS public programs, University faculty learn about what their peers are doing, students discover the breadth of research and creative activity at the University, and community members contribute to innovative ideas in a welcoming and unintimidating space. Through its residential fellows (University faculty, graduate students, and visiting scholars and artists) and research/creative NORTHROP STAFF U of M TICKETS & EVENTS STAFF Justin Burke, Technical Director David Russell, Audience Services Manager Tom Archibald, Event Manager and Student Supervisor collaborative programs, the IAS will bring artists, scientists, and scholars from across and beyond the University Mary Ellen Childs, Program Director, McKnight Artist Robin Sauerwein, Business Manager/Accountant Kathleen Dennis, Accounting Assistant into Northrop, where they will engage in and share their work. The IAS will be a lively meeting place, not only for Fellowships for Choreographers and Dancers Chanse Shirley, Student Engagement Intern Laura Durenberger-Grunow, Special Projects Assistant Sally Dischinger, Operations Director Nicole Stumpf, Marketing & Publicity Intern Ken Hahn, U of M Tickets & Events scheduled events and presentations, but also unplanned encounters and serious play that facilitate unexpected Welles Emerson, External Relations Associate Allyson Taubenheim, Student Engagement Coordinator Candy Lord, Accountant Lindsy Halleckson, Grants and Outreach Associate Abby Taylor, Student Engagement Intern Holly A Radis-McCluskey, Director inspiration, revelation, and collaboration. Cari Hatcher, Marketing & Publicity Director Sarah Thompson, External Relations Director Eve Roycraft, Business Analyst Brad Kern, Stage Manager & Audio Video Supervisor Christine Tschida, Director of Northrop Elise Whaley, Event Manager Megan Kiecker, Graphic Designer Natalie Wilson, External Relations Assistant Dan Wozney, Data Manager Allana Olson, Stage Manager & Lighting Supervisor Miranda Woehrle, Senior Graphic Designer Alex Pham, Marketing & Publicity Intern Melissa Wray, Marketing & Communications Associate Kristine Porwoll, Intern

34 35 NORTHROP RESIDENTS GUEST SERVICES

The Travelers Innovation Lab within Northrop is home to activities created by the Located in Northrop Room 11 (east side) and College of Design and its partners to develop and present innovative ideas, concepts, The New Northrop Fanfare Room 91 (west side). and processes. To celebrate Northrop’s Guest Services Provide: Grand Reopening, Northrop »Coat check The Travelers Innovation Lab will involve the entire faculty of the College of Design, »Large print programs both through direct use of the space and in soliciting a series of short-term creative and the U of M School of »Lost and found services events. Furnished for flexibility, the Travelers space will provide a starting point for the Music jointly sponsored the College to work with its partners in the new Northrop and to connect with the rest of the University community. competition to compose Restrooms a signature Northrop Restrooms are located on every level and side of the building, The new Northrop can provide a similar starting point for innovation for the entire University, connecting research including family restrooms. with culture, learning with experience, and innovation with all. fanfare to indicate final seating for events. General Ticket Information The College of Design Travelers Innovation Lab is a new physical space within Northrop—and as befitting a new For any ticketing questions, visit U of M Tickets and Events on The fanfare will premier the ground floor of west and east sides of the building or visit space for innovation—this semester it is being used to explore a range of potentials for its use. The College issued northrop.umn.edu for the most current listing of events. a call for proposals to faculty, staff, and students where collaborative teams could apply for three-week residencies live at Northrop’s Grand in the Lab. Proposals needed to discuss how their work addresses innovation. Examples include teams exploring Reopening on Friday, April Replacing Lost Tickets Spencer Brand. Photo courtesy of 4, 2014 and will be used for For your convenience, U of M Tickets & Events keeps record of how artists and designers can collaborate to create interactive environments, and another that will explore the 2nd Annual Minnesota Varsity via your purchase, should you lose or forget your tickets. redesign of ubiquitous materials and applications with the aim of improved environmental performance. minnesota.publicradio.org. future Northrop events. Accommodating Special Needs The winning Northrop Fanfare is composed by Spencer Northrop has accessible seating; please ask an usher for U of M Tickets and Events (UMTE) provides an enterprise solution to the University of Brand, currently a sophomore at the University of assistance. Elevators are located on both the east and west Minnesota majoring in trumpet performance. Brand sides of the building. Accessible services, including parking Minnesota for event sales and registration for arts, public affairs, and academic events. information, are available upon request. Their service-centered model focuses on collaboration and accountability with their is from Alexandria, Minnesota, where he attended partners and clients and uses their knowledge and passion to be responsive to their Jefferson High School. He plays in the University If a guest wishes to transfer from their wheelchair to fixed patrons in the community. Symphony and Wind Ensemble. seats the wheelchair will be taken to the outer lobby to comply with local fire code regulations. At the end of the performance an usher will return the wheelchair to the guest. UMTE has experience with a wide array of events ranging from small private receptions and dinners to workshops and multi-day conferences to theatre productions and concerts, as well as the unique Please note: We do not recommend transferring to fixed seats admission requirements for timed-entry tours or season ticketing. UMTE serves as a resource to access the rich unless absolutely necessary as this may hinder evacuation in emergency situations. diversity of events offered at the University of Minnesota. LET’S BE FRIENDS! Cameras and Cell Phones Stay connected to Northrop with Use of cameras and recording equipment are not permitted With the generous support of the McKnight Foundation, Northrop awards fellowships in any theater. Please be considerate and turn off your cell your favorite way of communicating phones or other electronic devices during the performance. to individual mid-career dancers and choreographers. Support for individual artists to hear about newly announced has been a cornerstone of the McKnight Foundation’s arts program since it began in events and activities in the future. Motorist Assistance 1981. The foundation recognizes that the arts cannot flourish or enhance community University of Minnesota provides free jump starts, vehicle life without the ideas, energy, and drive of individual artists, and that artists cannot unlocking, and flat tire changes to vehicles in University parking facilities Mon–Fri, 7:00 am–10:00 pm. make these contributions without unfettered creative time. Fellowship awards are Join our email club on our website, made in 10 disciplines through 8 arts organizations and presenters. or connect with us one of these Call 612-626-PARK (7275) for assistance.

other ways. Campus Security Escort Choreographer and Dancer Fellowships Trained security monitors are available 24/7 to walk or bike The McKnight Artist Fellowships for Choreographers and Dancers annually awards three fellowships of $25,000 with anyone on campus. This free service is provided by the each to Minnesota choreographers and three fellowships of $25,000 each to Minnesota dancers. The awards are University of Minnesota Police Department. unrestricted and can help an artist set aside periods of time for study, reflection, experimentation, and exploration; take advantage of an opportunity; or work on a new project. Please call 612-624-WALK (9255) from any campus phone or ask an usher to contact them for you.

International Fellowships Questions? The McKnight International Artist Fellowship invites one international choreographer each year to spend time in If you have any questions or concerns, please ask an usher or residence in Minnesota, collaborating with Minnesota dance artists and showcasing new work. International Artist anyone with a Northrop name tag. Fellowships are offered by invitation only.

36 37 No amount of number crunching can calculate the value of the arts.

As proud members of the arts, we applaud the effort and dedication it takes to bring creative vision to reality.

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44 45 46 47 48 49 NORTHROP Grand Reopening Events in April, May, and June

The Department of English and Northrop Present An Evening with Novelist David Mitchell Wed, Apr 9, 7:30 pm

Northrop Presents CollegeHumor Live Starring Jake & Amir and Streeter Seidell, with special guest, Alice Wetterlund Thu, Apr 10, 8:00 pm

Hubert H. Humphrey School of Public Affairs Presents Distinguished Carlson Lecture Series Condoleezza Rice Thu, Apr 17, 5:00 pm

Northrop Presents Trey McIntyre Project Tue, April 22, 7:30 pm

Center for Spirituality and Healing Presents Wellbeing Lecture Series Dan Siegel, MD Thu, April 24, 6:30 pm

Northrop Presents A Live Broadcast A Prairie Home Companion, with Garrison Keillor Sat, April 26, 4:45 pm

Echoes of History: Osmo Vänskä & the Musicians of the Minnesota Orchestra Fri, May 2, 8:00 pm Sun, May 4, 2:00 pm

Northrop Presents The University of Minnesota School of Music’s University Symphony Orchestra Plays Mahler’s Symphony No. 2 Sat, May 3, 8:00 pm

Attila Glatz Concert Productions Presents Daniel O’Donnell Live in Concert Mon, Jun 2, 7:00 pm

Northrop Presents Emily Johnson/Catalyst SHORE Sat-Sun, Jun 14-22, Times and Locations Vary

For a full listing of events, including free events, please visit Northrop's website.

Trey McIntyre Project. Photo © Lois Greenfield.

50 51 FRIENDS OF NORTHROP

Thank you to our Friends of Northrop! We would like to thank the following foundations and individuals whose generous support makes Northrop’s transformative cultural experiences possible. Friends are at the center of Northrop’s biggest ideas and brightest moments. This year, we invite you to rediscover Northrop and create a new generation of memories. Make your mark on Northrop’s future by becoming a Friend today! northrop.umn.edu/support

DIRECTORS CIRCLE Thomas Murtha Joyce and Eugene Hogenson Producer Dr. David and Kathy Rothenberger Nigel Holmes Blythe Brenden-Mann Foundation Denise Holtz Carolyn Foundation Advocate Katherine Howard Doris Duke Charitable Foundation Sage Cowles Kimberly Hutchens EmcArts, Inc. Ginny and Will Craig Ramona Jacobs The Joyce Foundation Sally Dischinger Kristine Johnson Allen and Kathleen Lenzmeier Katherine and Robert Goodale Lance and Jan Johnson Helen and Benjamin Liu Kathy and Lee Gremillion Michael Kanner Robert Lunieski Cathy and Sue Hart Dwayne King The Fund Maureen Haworth Darlene Kirch The McKnight Foundation Vicki Lansky and Stephen Schaefer Sarah Kling Antone and Genevieve Melton-Meaux Alan and Peggy Lathrop Chris Kraft Minnesota State Arts Board Sanford Lipsky Barbara Land National Endowment for the Arts Candy Lord William Larson New England Foundation for the Arts Cal Lueneburg Linda Leamer Sally and Kenneth Spence Shawn Monaghan and Greg Plontikoff Elaine M. Leonard Leni and David Moore, Jr. Delores and Sheldon Levin President Mason and Gwen Myers James W. and Sharon A. Lewis The Akins Family Regan Byrne and Timothy Palmer Claudia Parliament In Memory of Dr. William G. Akins Gordon Rouse and Beach Bill Lough and Barbara Pinaire Randy Hartten and Ron Lotz Barbara Stoll Holly MacDonald Paul and Sarah Karon Jeff Stout and Ron Overlid Holly Manning Voigt and Mary Jean Lenmark Michael Symeonides and Mary Pierce Tom Marthaler In Memory of Voigt and Catherine Lenmark Carol Thacher Frank Mayers Dale Schatzlein and Emily Maltz Fund Susan Tracy Orla and George McClure Victoria Veach Kathy McGill Underwriter Annette Webb and William Palmquist Toni McNaron Arts Midwest Nancy Mohs David and Desiree Abele Associate Mark and Cece Morrow Annette and Brian Call Anonymous (11) Jenny Nilsson Margaret Albrecht Ben Oiye Partner Sofia Ali and David Caccamo Elizabeth M. Parker Linda Andrews Kathy and Dennis Anderson Ann L. Piotrowski Karen Bachman and Robert Fisch Jeanne Andre and Dennis Schapiro Chas. Porter Thomas and Barbara Brown Paul Aslanian Possibilitree Colleen Carey Tom and Jill Barland Jon Schasker Ellie and Tom Crosby Allen Beers Stephanie Scheu and Claire Hanson Fran Davis Rebecca Biderman and David Fraher Ralph Schnorr The Douglas and Wendy Dayton Foundation Jerome and Patricia Boge Karen Scholl Susan H. DeNuccio Joan Bren and Steven Nelson Jacky & Jim Sherohman Richard Gregory Kathryn Cahill and Ferne Rowland Darlene Sholtis and Heino Beckmann Gail and Stuart Hanson The CDF Foundation Marilyn and Dale Simmons Theresa Harris and Jim Rowader Alice and Herbert Cederberg Ursel and Mark Smith Emily Knox and Brian Lammers J. P. Collins Cecily Sommers Sally and Richard Leider Jeanne and David Cornish Lucy and Dave Sontag Glenn Lindsey Susan Cygnet Katherine R. Stahl Jennifer Marrone and David Short Dale and Rosemary Dahl Jane Starr Jennifer Martin Thomas Devine Cheryl Stearns Thomas and Conchy Morgan Jean Ann Durades Penny P. Truax In Memory of Sylvia and Henry Frisch William Durfee and Devorah Goldstein John Wald and Marianne Remedios Jodi and Daniel Rosen Steven Eckles Dr. Cheryl Wall and Ellen Westenburg Capt. Buddy Scroggins and Kelly Schroeder Heather Faulkner Margaret Weglinski Donald Williams and Pamela Neuenfeldt Majel Fletty Cathy and Annelynn Westrum Marsha Freeman Cody Ward Wolkowitz FRIENDS CIRCLE From a 35 Year Subscriber Benefactor Pat Gaarder CURRENT AS OF 3/12/14 Jerry L. Artz David Gerdes Mark Bayuk Richard Gramling This activity is made possible by the voters of Minnesota through a R. and J. Cameron Richard Gwynne Minnesota State Arts Board Operating Support grant, thanks to Rob Carlson and Gregg Larson Joan and John Haldeman legislative appropriation from the arts and cultural heritage fund, Jack and Ann Cole Lindsy Halleckson and a grant from the Wells Fargo Foundation Minnesota. Lynn Hamer Eugene and Joyce Haselmann Gail Kochie Blair W Hawkins, Jr.

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