10-09 Chalk_GP 9/25/14 10:54 AM Page 1

Co-presented with Baryshnikov Arts Center

Thursday–Saturday Evenings, October 9–11, 2014, at 8:00

Chalk and Soot ( premiere)

Dance Heginbotham Brooklyn Rider

Featuring Carla Kihlstedt , Vocals and Gabriel Kahane , Reed Organ, Vocals

This performance is approximately 75 minutes long, including intermission.

Please join the artists in the Jerome Robbins Theater Lounge immediately following the performance for a White Light Lounge.

(Program continued)

The White Light Festival is sponsored by Time Warner Inc. Baryshnikov Arts Center is grateful for The Jerome Robbins Foundation’s generous support of Chalk and Soot . These performances are made possible in part by the Josie Robertson Fund for Lincoln Center.

Baryshnikov Arts Center, Please make certain all your electronic devices Jerome Robbins Theater are switched off.

WhiteLightFestival.org bacnyc.org 10-09 Chalk_GP 9/25/14 10:54 AM Page 2

Additional support is provided by The Fan Fox and Upcoming White Light Festival Events: Leslie R. Samuels Foundation, Inc. Friday, October 10, at 7:30 in Endowment support is provided by the American Church of St. Mary the Virgin Express Cultural Preservation Fund. Vespers Rundfunkchor Berlin MetLife is the National Sponsor of Lincoln Center. Simon Halsey , Conductor RACHMANINOFF: All-Night Vigil Movado is an Official Sponsor of Lincoln Center. Saturday, October 11, at 7:30 in the United Airlines is the Official Airline of Lincoln New York Society for Ethical Culture Center. Ecstatic Journeys Rizwan-Muazzam Qawwali WABC-TV is the Official Broadcast Partner of Pre-concert discussion at 6:15 Lincoln Center. Wednesday–Friday, October 15–17, at 7:30, William Hill Estate Winery is the Official Wine of and Saturday, October 18, at 2:00 and 7:30 Lincoln Center. in Rose Theater The Rite of Spring (New York premiere) Artist Catering is provided by Zabar’s and Basil Twist , Director and Designer Zabars.com. Orchestra of St. Luke’s Jayce Ogren , Conductor ALL-STRAVINSKY PROGRAM The first iteration of Chalk and Soot premiered on Fireworks; Pulcinella Suite; The Rite of Spring November 16, 2012, and was commissioned by Pre-concert discussion with Basil Twist and Jane Carolina Performing Arts at The University of North Moss on Friday, October 17, at 6:15 in the Irene Carolina at Chapel Hill as part of its “Rite of Spring Diamond Education Center at 100” celebration. Wednesday–Friday, October 22–24, at 7:30 in James Chalk and Soot was co-commissioned and created Memorial Chapel, Union Theological Seminary in part during three Creative Development How Like an Angel (U.S. premiere) Residencies at Jacob’s Pillow Dance Festival, with A unique melding of acrobatics by the troupe Circa support from the Jacob’s Pillow Dance Award and sacred song performed by I Fagiolini Initiative. Post-performance discussion with Robert Hollingworth on Thursday, October 23 Support for the creation and touring of Chalk and Soot provided by the O’Donnell-Green Music and For tickets, call (212) 721-6500 or visit Dance Foundation, National Endowment for the WhiteLightFestival.org. Call the Lincoln Center Info Arts, Hollister-Clagett Family Foundation for the Request Line at (212) 875-5766 to learn about pro - Performing Arts, the Mertz Gilmore Foundation, gram cancellations or to request a White Light and the Dance Heginbotham Commissioning Circle. Festival brochure.

Visit WhiteLightFestival.org for more information relating to the Festival’s programs.

Join the conversation: #LCWhiteLight

We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members. In consideration of the performing artists and members of the audience, those who must leave before the end of the performance are asked to do so between pieces. The taking of photographs and the use of recording equipment are not allowed in the building. 10-09 Chalk_GP 9/25/14 10:54 AM Page 3

Chalk and Soot (New York premiere)

Dance Heginbotham Brooklyn Rider Featuring Carla Kihlstedt , Vocals and Gabriel Kahane , Reed Organ, Vocals John Heginbotham , Choreographer Colin Jacobsen , Composer Wassily Kandinsky , Lyrics Nicole Pearce , Lighting Design Maile Okamura , Costume Design

Dance Heginbotham John Eirich, Lindsey Jones, Courtney Lopes (Oct. 10), Weaver Rhodes, Sarah Stanley (Oct. 9 and 11), Macy Sullivan

Brooklyn Rider Johnny Gandelsman, Violin Colin Jacobsen, Violin Nicholas Cords, Viola Eric Jacobsen, Cello

Chalk and Soot (2014)

ACT I Intro Sounds Exit Open Song

Intermission

ACT II Look Still? Curtain Disconnect, Delay, Lean and Release: A ritual dance for the modern day* Seeing Table

*Composed by Shara Worden (2012) Chalk and Soot premiered July 30, 2014, in the Doris Duke Theatre at Jacob’s Pillow Dance Festival in Becket, Massachusetts.

WhiteLightFestival.org bacnyc.org 10-09 Chalk_GP 9/25/14 10:54 AM Page 4

Note from the Choreographer by John Heginbotham

The first iteration of Chalk and Soot premiered as part of Carolina Performing Arts’s cen - tennial celebration of The Rite of Spring . Colin Jacobsen was commissioned to write new music for the event, and in the collaborative spirit of Stravinsky and Nijinsky, he approached me about providing choreography. We looked to Kandinsky and his book of Modernist poetry, Sounds , for an anchor. Filled with absurd, colorful figurative and pas - toral scenes, Sounds was published in 1912, just one year before the premiere of The Rite of Spring .

We were both inspired by the idea that Kandinsky was known as a painter and not as a poet, and we imposed a rule for ourselves: each of us was to attempt something outside of our respective established creative processes. Colin took on the unfamiliar task of composing vocal music (originally for vocalist Shara Worden), while I took a stab at chore - ographing a portion of the work in silence (music was later composed for this portion, the section called Seeing ). Ultimately, music and dance combined, and we found the 30 min - utes of material we created for Chalk and Soot to be a fruitful venture.

We decided to continue our collaboration as we had touched upon only six of the 38 evocative poems. Thanks to the generosity of several institutions and individuals, we were able to expand Chalk and Soot into an evening-length work. What you will hear and see at this performance is the completion of the cycle, which investigates the unsettling, dark, imaginative themes laid out by the mind of Kandinsky.

—Copyright © 2014 by John Heginbotham 10-09 Chalk_GP 9/25/14 10:54 AM Page 5

Chalk and Soot Music by Colin Jacobsen Lyrics by Wassily Kandinsky

Sounds

Face. Far. Cloud...... There stands a man with a long sword. The sword is long and also broad. Very broad...... He tried to trick me many times and I admit it: He succeeded too—at tricking. And maybe too many times...... Eyes, eyes, eyes…eyes...... A woman, who is thin and not young, who has a cloth on her head, which is like a shield over her face and leaves her face in shadows. With a rope the woman leads the calf, which is still small and unsteady on its crooked legs. Sometimes the calf walks behind her very obediently. And sometimes it doesn’t. Then the woman pulls the calf by the rope. It lowers its head and shakes it and braces its legs. But its legs are weak and the rope doesn’t break. The rope doesn’t break...... Eyes look out from afar. The cloud rises...... The face. Afar. The cloud. The sword. The rope.

WhiteLightFestival.org bacnyc.org 10-09 Chalk_GP 9/25/14 10:54 AM Page 6

Exit

You clapped your hands. Don’t lean your head toward your joy. Never, never. And now he’s cutting again with the knife. Again he’s cutting through with the knife. And now the thunder rolls in the sky. Who led you in deeper? In the dark deep quiet water the tops of the trees point down. Always. Always. And now he sighs. A heavy sigh. Again he sighed. He sighed. And the stick hits against something dry. Who then will point to the door, the exit?

Open

Now disappearing slowly in green grass. Now sticking in grey muck. Now disappearing slowly in white snow. Now sticking in grey muck. Lay long: big long black reeds. Lay long. Long reeds. Reeds. Reeds.

Song

A man sits in A narrow ring, A narrow ring Of thinness. He is content. He has no ear. And doesn’t have his eyeballs. He cannot find What’s left behind Of red sounds of the sun ball. Whatever falls Stands up again. And what was dumb, It sings a song. Until the man, Who has no ear, And doesn’t have his eyeballs, Will start to find Signs left behind Of red sounds of the sun ball. 10-09 Chalk_GP 9/25/14 10:54 AM Page 7

Look

Why are you watching me through the white curtain? I didn’t call after you, I didn’t ask you to look through the white curtain at me. Why does it hide your face from me? Why can’t I see your face behind the white curtain? Don’t watch me through the white cur - tain! I didn’t call after you. I didn’t ask you. Through closed eyelids, I see how you watch me, when you watch through the white curtain. I’ll pull back the white curtain and see your face, and you won’t see mine. Why can’t I pull back the white curtain? Why does it hide your face from me?

Still?

You, wild foam. You, good-for-nothing snail, you who don’t love me. Empty silence of endless soldiers’ steps, that here cannot by heard. You, set of four windows with a cross in the middle. You, windows of the empty hall, of the white wall where no one leans. You, speaking windows with inaudible sighs. You ignore me: you weren’t built for me.

You, true mortar.

You, meditative swallow, you who don’t love me. Self-consuming silence of rumbling wheels that chase and shape the figures. You, thousands of stones that weren’t laid for me and sunk down with hammers. You hold my feet in a spell. You are small, hard and gray. Who gave you the power to show me the glittering gold? You, speaking gold. You wait for me. You invite me: you were built for me.

You, soulful mortar.

Curtain

The rope went down and a certain curtain went up. We have all waited so long for this moment. A certain curtain hung. A certain curtain hung. A certain curtain hung. It was hanging down. Now it’s up. When it went up (started up), we were all so very pleased.

WhiteLightFestival.org bacnyc.org 10-09 Chalk_GP 9/25/14 10:54 AM Page 8

Seeing

Blue, Blue got up, got up and fell. Sharp, Thin whistled and shoved, but didn’t get through. From every corner came a humming. FatBrown got stuck—it seemed for all eternity. It seemed. It seemed. You must open your arms wider. Wider. Wider. And you must cover your face with red cloth. And maybe it hasn’t shifted yet at all: it’s just that you’ve shifted. White leap after white leap. And after this white leap another white leap. And in this white leap a white leap. In every white leap a white leap. But that’s not good at all, that you don’t see the gloom; in the gloom is where it is. That’s where everything begins…………………………………………………………...... ….. With a…………………………………………..Crash………………………………………

Table

Once there was a long table. Oh, a long, long table. Right and left at this table sat many, many, many people. people, people, people. Oh, a long, long time at this long, long table sat people.

—Translated from the German by Elizabeth R. Napier

—Used by permission of Yale University. © Artists Rights Society (ARS) New York/ADAGP, Paris 10-09 Chalk_GP 9/25/14 10:54 AM Page 9

Meet the Artists reviews from classical, world, and rock crit - ics alike. In the past season the ensemble collaborated with banjo legend Béla Fleck on the Deutsche Grammophon/Mercury Classics album The Impostor and on a 20- city North American tour. Other highlights included collaborations with soprano Dawn Upshaw as part of residencies at the University of Texas at Austin and the University of North Carolina at Chapel Hill, S E N

O as well as the eighth season of the J

E L L

E Stillwater Music Festival, a weeklong N A J chamber festival in Minnesota founded by Dance Heginbotham the group in 2006 as a place to unveil new Founded in 2011, Dance Heginbotham is a repertoire and collaborations. performance group devoted to the presen - tation of dance and theatrical work created The quartet has been increasingly active in by John Heginbotham. The company’s the recording studio, with releases such as work features highly structured, technically 2013’s A Walking Fire on Mercury Classics rigorous, and theatrical choreography, fre - and the much-praised Brooklyn Rider Plays quently set to the music of contemporary Philip Glass on the composer’s Orange composers. Dance Heginbotham made its Mountain Music label. Violinist Johnny debut in January 2012 on the Millennium Gandelsman launched In a Circle Records Stage at the John F. Kennedy Center for in 2008 with the release of Brooklyn Rider’s the Performing Arts and has since been eclectic debut recording, Passport , fol - presented by Baryshnikov Arts Center, the lowed by Dominant Curve in 2010 and Brooklyn Academy of Music, Jacob’s Seven Steps in 2012. The group’s newly Pillow Dance Festival, Lincoln Center Out released album, The Brooklyn Rider of Doors, the Metropolitan Museum of Art, Almanac , includes the song “Exit” from Carolina Performing Arts, and ODC this evening’s perfor mance. Theater, among others. This fall the com - pany will start work on a new piece with a commissioned score by jazz pianist/ composer Ethan Iverson. N I K H S U N N A G

R E T E

P Carla Kihlstedt Composer, violinist, and vocalist Carla Kihlstedt is a veteran of folk/pop, contem - porary classical, improvised, and experi - mental music. She is a founding member of L L A

M several pioneering and iconic bands, includ - S

H A

R ing Sleepytime Gorilla Museum, Rabbit A S Rabbit, The Book of Knots, Minamo, and Tin Brooklyn Rider Hat, whose most recent record was a set of Brooklyn Rider offers eclectic repertoire in 17 songs based on the poetry of e.e. cum - gripping performances that continue to mings called the rain is a handsome animal attract legions of fans and draw rave (New Amsterdam Records).

WhiteLightFestival.org bacnyc.org 10-09 Chalk_GP 9/25/14 10:54 AM Page 10

Ms. Kihlstedt has written a song cycle for album, The Ambassador , a musical investi - the International Contemporary Ensemble gation of Los Angeles by Tony Award– about dreams, a musical/radio piece for the winning director John Tiffany at Carolina ROVA Saxophone Quartet, a piece about Performing Arts, UCLA, and BAM. Since the advent of communications technology releasing his 2006 song cycle Craigslist - for the Bang on a Can All-Stars, a reflection lieder , Mr. Kahane has been commis - of the photography of Robert and Shana sioned by Carnegie Hall, Kronos Quartet, ParkeHarrison for Brooklyn Rider, an American Composers Orchestra, the Los impressionistic audio travelogue for Angeles Chamber Orchestra, and the Causing a Tiger (commissioned by the Caramoor Festival, among others. As a Brecht Forum), and a score for the Folger theater composer, he has received com - Shakespeare Library’s production of missions from the Public Theater ( February Romeo and Juliet , for which she was nom - House ), Signature Theatre in Arlington, inated for a Helen Hayes Award. She Virginia, and the Williamstown Theatre has also written a song cycle with poet Festival. A recipient of multiple fellowships Rafael Osés for eight performers called from the MacDowell Colony and the Necessary Monsters , based on Jorge Luis Corporation of Yaddo, Mr. Kahane makes Borges’s Book of Imaginary Beings . his home in Brooklyn in close company with a century-old piano and many books. Ms. Kihlstedt has performed at many festi - vals in North America and Europe, includ - John Heginbotham ing the Armenian National Gallery Festival; John Heginbotham is a Brooklyn-based the Vancouver, San Francisco, and choreographer and performer, and the artis - Saalfelden jazz festivals; and the Ojai, tic director of Dance Heginbotham. Mr. Caramoor, and Other Minds music festi - Heginbotham is the recipient of the 2014 vals. In addition to her own albums and Jacob’s Pillow Dance Award, the Martha Hill those of her various bands and projects, Prize for Sustained Achievement in Dance she has contributed to the recordings of (1993), and two Jerome Robbins Foun da- Fred Frith, Tom Waits, Mr. Bungle, Tracy tion New Essential Works (NEW) Fellow - Chapman, Pretty Lights, and Madeleine ships (2010, 2012). In addition to his work Peyroux. She teaches young musicians in with Dance Heginbotham, his choreography the Contemporary Improvi sation depart - has been seen at Dance Theater Work- ment at the New England Conservatory. shop, the Museum of Modern Art, and Joe’s Pub at the Public Theater, among other venues. He has created work for the Atlanta Ballet, the Wooden Floor, Cork Opera House (Cork, Ireland), Fischer spooner, Dartmouth

N College, The Juilliard School, Purchase A M E

L College, Princeton Uni versity, and Long O G

H

S Island University. In December 2013 Mr. O

J Gabriel Kahane Hegin botham choreographed Isaac Mizrahi’s Gabriel Kahane has established himself as Peter and the Wolf at the Guggenheim a leading voice among a generation of Museum. This past June he collaborated young composers redefining music for the with Mizrahi again on The Magic Flute at the 21st century. With high praise for his Opera Theatre of Saint Louis. orchestral debut of the premiere of his song cycle Orinoco Sketches with John Originally from Anchorage, Alaska, Mr. Adams and the Los Angeles Philharmonic, Heginbotham graduated from The Juilliard Mr. Kahane’s work defies classifications. School in 1993. He was a member of the This season sees the staging of his latest Mark Morris Dance Group from 1998 to 10-09 Chalk_GP 9/25/14 10:54 AM Page 11

2012, and performed across the U.S. and Nicole Pearce internationally with artists including Mikhail Nicole Pearce (lighting design) has worked Baryshnikov, Yo-Yo Ma, Emanuel Ax, the previously with Dance Heginbotham on Bad Plus, and Zakir Hussain. He is a found - Closing Bell , Dark Theater , Fly by Wire , ing teacher of Dance for PD, an ongoing col - Manhattan Research , and Twin . She has laboration between the Mark Morris Dance also worked with Mark Morris (Mark Morris Group and the Brooklyn Parkinson Group. Dance Group, Boston Ballet, and Voloshky Ukrainian Dance Ensemble), Aszure Barton Colin Jacobsen (Nederlands Dans Theater, Aszure Barton & Colin Jacobsen is a composer and violinist Artists, Hubbard Street Dance Chicago, and who was named one of the top 100 com - The Juilliard School), and Jessica Lang posers under 40 by NPR listeners. He is also (Joffrey Ballet, Birmingham Royal Ballet, active as an Avery Fisher Career Grant–win - National Ballet of Japan, and Jessica Lang ning soloist and a touring member of Yo-Yo Dance), among others. Her New York the - Ma’s famed Silk Road Ensemble. For his ater credits include The American Dream work as a founding member of two innova - and The Sandbox directed by Edward Albee, tive, audience-expanding ensembles—the Beebo Brinker Chronicles directed by Leigh string quartet Brooklyn Rider and the Silverman, Edgewise directed by Trip orchestra The Knights—Mr. Jacobsen was Cullman, Betrothed directed by Rachel recently selected to receive a prestigious Dickstein, A Raisin in the Sun directed by United States Artists Fellowship. In 2005 he Jade King Carroll, and Savage in Love founded Brooklyn Rider with violinist directed by Pam MacKinnon. Johnny Gandelsman, violist Nicholas Cords, and his brother, cellist Eric Jacobsen. Maile Okamura Maile Okamura (costume design) has been Jointly inspired by encounters with leading designing and constructing costumes for exponents of non-Western traditions and by John Heginbotham since 2002. She is also a his own classical heritage, Mr. Jacobsen’s dancer with the Mark Morris Dance Group. work as a composer developed as a natural outgrowth of his chamber and orchestral col - laborations. Among his most notable com - positions for Brooklyn Rider are Brooklesca , an homage to his Brooklyn home; Beloved , do not let me be discouraged , as heard on the quartet’s acclaimed recording with Kayhan Kalhor; and Achilles’ Heel , which is John Eirich showcased on Dominant Curve . His most John Eirich (dancer) was raised in Orlando, recent compositions for the group include Florida, where he studied ballet and jazz at Three Miniatures , which were written for the Southern Ballet Theatre. He earned his reopening of the Metropolitan Museum of bachelor of fine arts degree in dance from Art’s Islamic art galleries. Mr. Jacobsen col - New World School of the Arts in 2005, was laborated with Iran’s Siamak Aghaei to write a student at Jacob’s Pillow Contemporary a Persian folk–inflected composition, Traditions Program, and performed with Ascending Bird , which he performed as a Miami Contemporary Dance Company and soloist with the YouTube Symphony the Florida Grand Opera. He has worked Orchestra at the Sydney Opera House. His with the Amy Marshall Dance Company, work for dance and theater includes music was a member of Taylor 2 from 2006–10 for Compagnia de’ Colombari’s theatrical pro - and has been a member of TAKE Dance duction of Walt Whitman’s Song of Myself . since 2007. Mr. Eirich joined Du sˇan T ynek ´ WhiteLightFestival.org bacnyc.org 10-09 Chalk_GP 9/25/14 10:54 AM Page 12

Dance Theatre in 2010, is currently a mem - Lubovitch, Paul Taylor, Jessica Lang, B.J. ber of Dance Heginbotham, and has per - Sullivan, and Huang Yi of Cloud Gate Dance formed Missa Brevis with the Limón Theatre. Ms. Lopes is currently working Dance Company, and L’Allegro, il Penser - with choreographers John Heginbotham, oso ed il Moderato and The Hard Nut with Ian Spencer Bell, and Kathryn Alter. the Mark Morris Dance Group. S E N O J

E

L Weaver Rhodes L E N

A Lindsey Jones J Weaver Rhodes (dancer) was born and Lindsey Jones (dancer) is originally from St. raised in Colleyville, Texas, where he started Louis, Missouri, where she started dancing to dance at age 12 at Dance Continuum. He at the Center of Creative Arts. She gradu - later received his training from the Booker T. ated with a bachelor of fine arts degree Washington High School for the Performing from Purchase College and also studied and Visual Arts under the direction of Lily at London Contemporary Dance School. Weiss. He then went on to receive his bach - Since graduating, Ms. Jones has partici - elor of fine arts degree in dance from pated in various reconstructions of Merce Purchase College in 2012. Mr. Weaver has Cunningham’s works with former com - attended various summer workshops pany members. She has performed with including the Rock School for Dance Ian Spencer Bell, Adriane Lee/Rosario, Education, the Bill T. Jones/Arnie Zane June Finch, Jessica Taylor, and Lauren Dance Company intensive at Skidmore, the Camp with Co-Lab [Experiments in Collab - American Dance Festival, Springboard oration]. Ms. Jones is currently dancing Danse Montréal, and Northwest Dance with Dance Heginbotham, Pam Tano witz Project’s LAUNCH: 7. He has performed Dance, and GREYZONE. with various companies, including North - west Dance Project, Mettin Movement, the Kevin Wynn Collection, and the Metropolitan Classical Ballet in Arlington, Texas. Mr. Weaver has also worked with artists such as Robert Battle, Dwight Rhoden, Jessica Lang, Kate Skarpe towska, Patrick Corbin, Pam Tanowitz, and Greg Dolbashian. Courtney Lopes Courtney Lopes (dancer) is originally from Bermuda. She attended the University of North Carolina School of the Arts for her high school education, focusing on contem - porary dance, and earned her bachelor of fine arts degree in dance from Purchase Sarah Stanley College in 2012. Ms. Lopes has studied with the American Dance Festival, Limón Sarah Stanley (dancer) is from Houston, Dance Company, Doug Varone and Texas, where she trained at the High Dancers, and the Taipei National University School for the Performing and Visual Arts. of the Arts. Ms. Lopes has performed She graduated in 2011 from Purchase works by such choreographers as Lar College, where she performed works by 10-09 Chalk_GP 9/25/14 10:54 AM Page 13

Nelly van Bommel, Wally Wolfgruber, and BAC’s opening in 2005 heralded the launch Johannes Wieland, among others. While at of this mission, establishing a thriving cre - Purchase, she had the opportunity to study ative laboratory and performance space for at Taipei National University of the Arts in artists from around the world. BAC’s activi - 2009. She now lives in New York, where ties encompass a robust residency program she has worked with Nelly van Bommel/ augmented by a range of professional ser - NØA Dance, Brice Mousset, LaneCoArts, vices, including commissions of new work, KDNY, Jonathan Royse Windham, Mettin as well as the presentation of performances Movement, Gallim Dance, Punchdrunk’s by artists at varying stages of their careers. Sleep No More, and Dance Heginbotham. In tandem with its commitment to support - ing artists, BAC is dedicated to building audiences for the arts by presenting con - temporary, innovative work at affordable ticket prices.

White Light Festival I could compare my music to white light, Macy Sullivan which contains all colors. Only a prism can Originally from Camas, Washington, Macy divide the colors and make them appear; Sullivan (dancer) currently dances for Dance this prism could be the spirit of the listener. Heginbotham and the Chase Brock —Arvo Pärt. Celebrating its fifth anniver - Experience. She recently performed the sary, the White Light Festival is Lincoln roles of Peter in Isaac Mizrahi and John Center’s annual exploration of music and Heginbotham’s Peter and the Wolf , Marie in art’s power to reveal the many dimensions Chase Brock’s The Nutcracker , and a fea - of our interior lives. International in scope, tured tap dancer in Tyne Rafaeli’s The Poor the multidisciplinary festival offers a broad of New York . Ms. Sullivan has danced for spectrum of the world’s leading instrumen - Ray Hesselink, Anabella Lenzu, Alexander talists, vocalists, ensembles, choreogra - Wein man, and Caleb Teicher, and per - phers, dance companies, and directors formed work by Alexander Ekman, Mark complemented by conversations with Morris, Ohad Naharin, Christopher Stowell, artists and scholars and post-performance Merce Cunning ham, George Balanchine, White Light Lounges. and Aug ust Bournonville. As a teaching artist, Ms. Sullivan has worked with Lincoln Lincoln Center for the Performing Center, Cayman Arts Festival, Artists Arts, Inc. Striving to End Poverty, and most recently, Lincoln Center for the Performing Arts ’s Department of Education. (LCPA) serves three primary roles: presenter She holds a bachelor of fine arts degree in of artistic programming, national leader in dance from The Juilliard School (Martha Hill arts and education and community relations, Prize, John Erskine Prize, Choreographic and manager of the Lincoln Center campus. Honors) and formerly trained with Oregon A presenter of more than 3,000 free and Ballet Theatre, Josie Moseley, Tracey Dur - ticketed events, performances, tours, and bin, and Karen Cannon. educational activities annually, LCPA offers 15 programs, series, and festivals including Baryshnikov Arts Center American Songbook, Great Performers, Baryshnikov Arts Center (BAC) is the realiza - Lincoln Center Festival, Lincoln Center Out tion of a long-held vision by artistic director of Doors, Midsummer Night Swing, the Mikhail Baryshnikov to build an arts center Mostly Mozart Festival, and the White Light in New York City that would serve as a gath - Festival, as well as the Emmy Award– ering place for artists from all disciplines. winning Live From Lincoln Center , which

WhiteLightFestival.org bacnyc.org 10-09 Chalk_GP 9/25/14 10:54 AM Page 14

airs nationally on PBS. As manager of the complex and the 11 resident organizations. Lincoln Center campus, LCPA provides sup - In addition, LCPA led a $1.2 billion campus port and services for the Lincoln Center renovation, completed in October 2012.

Lincoln Center Programming Department Jane Moss, Ehrenkranz Artistic Director Hanako Yamaguchi, Director, Music Programming Jon Nakagawa, Director, Contemporary Programming Jill Sternheimer, Acting Director, Public Programming Lisa Takemoto, Production Manager Charles Cermele, Producer, Contemporary Programming Kate Monaghan, Associate Director, Programming Mauricio Lomelin, Associate Producer, Contemporary Programming Julia Lin, Associate Producer Nicole Cotton, Production Coordinator Regina Grande, Assistant to the Artistic Director Luna Shyr, Programming Publications Editor Nasrene Haj, House Seat Coordinator Utsuki Otsuka, Production Assistant Reshena Liao, House Program Intern

For Chalk and Soot Matt Miller, Lighting Assistant Valerie Oliveiro, Production Stage Manager

Management Information Dance Heginbotham Adrienne Bryant, Managing Director www.danceheginbotham.org

Brooklyn Rider’s representation: Opus 3 Artists www.opus3artists.com

Mr. Kahane’s representation: First Chair Promo www.firstchairpromo.com

Ms. Kihlstedt’s representation: www.carlakihlstedt.com

SPECIAL THANKS Chalk and Soot would not have been possible without Mikhail Baryshnikov and the incredible staff at Baryshnikov Arts Center; invaluable support was also provided by Ella Baff, the all-star staff at Jacob’s Pillow Dance Festival, and the anonymous donors responsible for the Jacob’s Pillow Dance Award; additional thanks to Emil Kang, Marnie Karmelita, and the staff at Carolina Performing Arts; Wanda Fleck, Norton Owen and the O’Donnell-Green Music and Dance Foundation; Sarah Marcus and the Hollister-Clagett Family Foundation for the Performing Arts; the National Endowment for the Arts; the Mertz Gilmore Foundation; the Dance Heginbotham Advisory Council and Commissioning Circle: Jennings Bryant, Lauren Cherubini, Zev Greenfield, Jeanie Heginbotham, Kristen Miles, Isaac Mizrahi, and Michele and Steven Pesner. Additional thanks to Mark Morris, Nancy Umanoff, Huong Hoang, and the Mark Morris Dance Group; Damian Woetzel, Christopher Pennington, Allen Greenberg and the Board of the Jerome Robbins Foundation; Ron, Jeanie, Sherrie, Henry Heginbotham, Lorraine Leader, and Kim Graham; Edmund Jacobsen and Susan Bloom; Mel and Amy Okamura; Todd and Alison Bryant; thank you to the performers; Val Oliveiro, you are amazing; Nicole Pearce, thank you for your brilliance and patience; Adrienne Bryant, Maile Okamura—thank you for everything. 10-09 Chalk_GP 9/25/14 10:54 AM Page 15

Baryshnikov Arts Center

Board of Directors Slavka B. Glaser, Chairman R. Jarrett Lilien, Treasurer Mikhail Baryshnikov, Chairman Emeritus

Frank Cordasco Richard DeScherer Diana DiMenna James H. Duffy Sandra Foschi Roger W. Hooker Aidan Mooney Steven Pesner Suzanne Weil

Staff Mikhail Baryshnikov, Artistic Director Steven Battaglia, Operations Manager Rachel Bellamy, Marketing and Administrative Assistant Patrice Christu, Operations Associate Katie Gorum, Technical Director Layton Hower, Director of Finance and Human Resources Alex Hurst, Assistant Technical Director Kristen Miles, Director of Marketing and Communications Kirsten Munro, Director of Development Pedja Muzijevic, Artistic Administrator Georgiana Pickett, Executive Director Pamela Rapp, Production Manager Vernon Scott, Special Events Manager and Executive Assistant to the Artistic Director Eleanor Wallace, Program Manager

Special thanks to our production crew, front-of-house staff, and volunteers.

How to Support BAC Please visit www.bacnyc.org and click “donate now” to make a valuable contribution to help sustain artist-centered programming at BAC.

For more information please contact Kirsten Munro, Director of Development, at [email protected].

Baryshnikov Arts Center Acknowledgements

Baryshnikov Arts Center is grateful for the support of its generous individual and institutional annual fund donors in 2014.

Elena Aristova, Mikhail Baryshnikov and Lisa Rinehart, Tina and Jeffrey Bolton Family Fund, Catherine Brennan, Clyde Brownstone, Frank and Monique Cordasco, Richard and Jennie DeScherer, Joseph and Diana DiMenna, James H. Duffy, Ehrenkranz Family Foundation, Barbara Fleischman, Sandra Foschi, Slavka B. Glaser, Louise Guenther, Agnes Gund, Dr. Ayele Hadero, Brian and Tania Higgins, Roger and Joan Hooker, Huong Hoang, Fredericka Hunter, Colleen Keegan, Donald M. Kendall, Paul and Teresa Kim, Joan Konner and Alvin Perlmutter, Herman Krawitz, Jarrett and Maritess Lilien, Jane Lipton, Jane & Richard Mescon, Aidan Mooney, Steven and Michèle Pesner, Aidan and Elizabeth Quinn, John S. Rockwell, Dorothy Scheuer, Wallace Shawn, Christina Sterner, Jennifer Tipton, Ian and Jack Archer Watters, Mary Waters, Suzanne Weil, and in memory of Sophia Adams.

WhiteLightFestival.org bacnyc.org 10-09 Chalk_GP 9/25/14 10:54 AM Page 16

Affirmation Arts Fund, The AG Foundation, Arison Arts Foundation, Capezio-Ballet Makers Dance Foundation, Citizens of Humanity, The Enoch Foundation, J.C. Flowers Foundation, Ford Foundation, Foundation for Contemporary Arts, Marshall Frankel Foundation, Howard Gilman Foundation, Francis Goelet Charitable Lead Trusts, Irving Harris Foundation, Francena T. Harrison Foundation Trust, Kent-Lucas Foundation, The Andrew W. Mellon Foundation, Mertz Gilmore Foundation, New England Foundation for the Arts/National Dance Project, Rudolf Nureyev Dance Foundation, Princess Grace Foundation-USA, Robert Rauschenberg Foundation, The Jerome Robbins Foundation, James E. Robison Foundation, Blanchette Hooker Rockefeller Fund, Fan Fox and Leslie R. Samuels Foundation, The Shubert Foundation, The Thompson Family Foundation, Trust for Mutual Understanding, Agnes Varis Charitable Trust, and the Walter Family Foundation.

Baryshnikov Arts Center is also grateful for support provided by the National Endowment for the Arts and public funds from the New York City Department of Cultural Affairs in partnership with the City Council. Funding is also made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

Yamaha is the official piano of the Baryshnikov Arts Center.

As of September 10, 2014