CAP UCLA presents Refuse the Hour William Kentridge

Philip Miller Dada Masilo, Catherine Meyburgh, Peter Galison

Fri, Nov 17 & Sat Nov 18 | Royce Hall

Photo by John Hodgkiss East Side, MESSAGE FROM THE DIRECTOR West Side, All Around LA Welcome to the Center for the Art of Performance

The Center for the Art of Performance is not a place. It’s more of a state of mind that embraces experimentation, encourages Photo by Ian Maddox a culture of the curious, champions disruptors and dreamers and One would have to admit that the masterful work of William Kentridge leaves supports the commitment and courage of artists. We promote virtually no artistic discipline unexplored, untampered with, or under-excavated in rigor, craft and excellence in all facets of the performing arts. service to his vigilant engagement with the known world. He has done x, y z, p, d, q, (installations, exhibitions, theater works, prints, drawings, animations, innumerable collaborations, etc.) and then some, over the arc of his career and there is nothing on the horizon line of his trajectory that indicates any notion of relenting any time 2017–18 SEASON VENUES soon. Royce Hall, UCLA Freud Playhouse, UCLA Over the years I have been asked to offer explanations and descriptions of the The Theatre at Ace Hotel Little Theater, UCLA works of William Kentridge while encountering it in numerous occasions around the Will Rogers State Historic Park world. As a curator, one is expected to possess the necessary expertise to rapidly summarize dimensional artistry. But in a gesture of truth, my attempts fail in UCLA’s Center for the Art of Performance (CAP UCLA) is dedicated to the advancement juxtaposition to the vastly better reality of experiencing his utter artistic singularity, of the contemporary performing arts in all disciplines—dance, music, spoken word and the staggering dimension of thoughtful care he takes in finding form. To me, he and theater—as well as emerging digital, collaborative and cross-platforms utilized by is a living celebration of making. today’s leading artists. Part of UCLA’s School of the Arts and Architecture, CAP UCLA curates and facilitates direct exposure to contemporary performance from around the Refuse the Hour is a chamber opera for the stage that expands upon, or possibly globe, supporting artists who are creating extraordinary works of art and fostering a compresses, his explorations about the nature of time from his widely acclaimed vibrant learning community both on and off the UCLA campus. The organization invests five-channel video installation entitled, The Refusal of Time. Both works stand as in the creative process by providing artists with financial backing and time to experiment a meditation on different historical conceptions of time and the complex legacies of colonialism and industry. Kentridge himself plays the central narrator, providing and expand their practices through strategic partnerships, residencies and collaborations. a fragmented lecture of sorts that winds through the constructs of time—from As an influential voice within the local, national, and global arts community, CAP UCLA virtually every possible angle—starting with Perseus (myth) and ending with serves to connect audiences across generations in order to galvinize a living archive of Einstein (science). Throughout, is the forward march of time, the emotional life of our culture. our relationship to time, the colonial imposition of organized time, the industrial clock and its system of controlled labor in service to monetized time. Time can cap.ucla.edu run backwards (metaphorically and in winding the hands of a clock), against the #CAPUCLA backdrop of a collective acknowledgement that we have limited time through which we might live a life, procrastinate, regret, exult, seize, take agency, rise up, fall over, release, relinquish and/or resist. In that span of time we are given an opportunity to reflect and engage with the cacophony of our inner and outer worlds.

Kentridge explores how we are able to make sense of contradictory things happening at the same time, and his staged work challenges our capacity to feel overwhelmed while simultaneously being entranced with sublime sounds, texts, movement and imagery. The absurd and the essential collide within a poetic staging of time—a performance lasting 80 minutes.

I would like to thank William Kentridge, Philip Miller, Dada Masilo, Catherine Meyburgh, Peter Galison and all of the collaborators involved for agreeing to revisit this production now, in this particular moment in time, and for entrusting CAP UCLA with facilitating its presentation in Los Angeles.

—Kristy Edmunds, Executive and Artistic Director Photo by John Hodgkiss

PRESHOW: Animating Newsprint Center for the Art of Performance presents ART IN ACTION Stop by our “making station” before each performance and try your hand at transforming newsprint, inspired by the art of William Kentridge. We’ll have all the supplies—newsprint, Refuse the Hour charcoal, stencils, stamps—you bring the ideas. A Talk About Time Sat, Nov 18 at 5pm | Royce Rehearsal Studio William Kentridge Artist William Kentridge and physicist Peter Galison Philip Miller are two of the collaborators behind their chamber opera, Refuse the Hour. Join us for a conversation Dada Masilo, Catherine Meyburgh, Peter Galison about the cultural and scientific implications of time, Fri, Nov 17 & Sat, Nov 18 at 8pm moderated by Andrea Ghez, Professor of Physics and Royce Hall Astronomy and Founder/Director of UCLA Galactic Center. This event is free, but seating is limited and Running time: Approx. 80 mins. | No intermission intimate. You must RSVP at cap.ucla.edu/TalkAboutTime. Performers William Kentridge History of Science Colloquium with Peter Galison Dada Masilo | dancer Mon, Nov 20 at 4pm | Royce Member Lounge Ann Masina | vocalist Presented in collaboration with our colleagues from Joanna Dudley | performer / vocalist the UCLA Department of History/Science, Medicine Thato Motlhaolwa | actor and Technology. Peter will discuss science, film and Adam Howard | musical conductor, writing as complementary forms of research, using POSTSHOW: NightCAP co-orchestration, trumpet and flugel horn his own work as examples. This event is free, you CAP UCLA Artist Circle Tlale Makhene | percussion must RSVP at cap.ucla.edu/Galison. Members are invited to a celebratory toast with Waldo Alexander | violin the artists in the Royce Dan Selsick | trombone Hall Donor Lounge after Vincenzo Pasquariello | piano the performance. Thobeka Thukane | tuba Creative Team MESSAGE FROM THE ARTIST Conception and libretto by William Kentridge Music by Philip Miller A projection on a ceiling. Audience members can see the images leaning their heads back, looking up; or look down into small mirrors they each hold. The Choreography | Dada Masilo archive of images held in the air can be brought down to the private view. This Video design | Catherine Meyburgh and William Kentridge is the starting point for our project. The ceiling projection was abandoned (we Dramaturgy | Peter Galison did not find the right ceiling). The idea was consigned to ‘the room of failures’— Scenic design | Sabine Theunissen yet to be constructed. Another starting point. An invitation by the Paris Movement | Luc de Wit institution Laboratoire, to do a project with a scientist. A series of conversations with Peter Galison commenced (ongoing). The project changed from the pre- Costume design | Greta Goiris history of relativity to a general consideration of time. Machine design | Christoff Wolmarans, Louis Olivier, and Jonas Lundquist A third alternative starting point. An invitation, and a beautiful bombed Lighting design | Felice Ross shell of a theatre, from dOCUMENTA. It was the right place to expand the Sound design | Gavan Eckhart consideration and making of the project on time. (The beautiful bombed theatre disappeared—to hold the air-conditioning unit of a new hotel.) Video orchestration | Kim Gunning Music direction | Adam Howard A fourth starting point. An interest in working with the dancer Dada Masilo. The Music arranged and orchestrated | Philip Miller and Adam Howard desire and the intention needed a subject. A particle collision. The conversation with the scientist became a duet for movement and voice. Production A fifth starting point. From the conversations with Peter Galison, a series of Technical Director | Richard Pierre ideas and metaphors erupted, each idea needing to become materialised. Lighting Operator | Marine Deballon Synchronicity into projected metronomes. Time into sound. A need to follow the Sound Engineer | Laurens Ingels metaphors and make them visible, audible. Video Controller | Kim Gunning Company Manager | Carol Blanco A sixth starting point. A team assembled. Philip Miller (composer), to turn time into sound. Catherine Meyburgh (video editor), to orchestrate the projected Technical Consultant US | Brendon Boyd images. Jonas Lundquist, to make mechanical (a bellows and a bicycle wheel) the principles of relativity. Christoff Wolmarans and Louis Olivier to do the Refuse the Hour was originally co-commissioned by Holland Festival same (a bicycle wheel and a megaphone). Sabine Theunissen (scenic designer) (Amsterdam), Festival d’Avignon, RomaEuropa Festival/Teatro di Roma (Roma), to make the context for the machines, the dance, the music, the projections. and Onassis Cultural Center (Athens), with additional support provided by Greta Goiris (costume designer) to find the language in cloth and clothes Marian Goodman Gallery (New York - Paris - London), Lia Rumma Gallery for what had become an opera. Luc de Wit, to find the orchestration of the (Naples - Milano), and The Goodman Gallery (Johannesburg - Cape Town). stage movements of the actors and musicians. And then an ancillary team of musicians, singers and organisers. Refuse the Hour is produced in the United States by THE OFFICE performing arts + film: Rachel Chanoff, Nadine Goellner, Laurie Cearley, Lynn Koek, Noah Until there was more team than project—and then the project filled the gaps.

Bashevkin, Diane Eber. theofficearts.com —William Kentridge Funds for this performance provided by the Sally & William A. Rutter Endowment for the Performing Arts.

Additional funds provided by Fariba Ghaffari and Ann Harmsen.

Photo by John Hodgkiss ABOUT REFUSE THE HOUR ABOUT THE ARTISTS

Refuse the Hour is the chamber opera companion to William Kentridge’s five- WILLIAM KENTRIDGE (conception and libretto) channel video installation The Refusal of Time. Entirely original in its conception William Kentridge (born Johannesburg, South Africa, 1955) is internationally and presentation, Refuse the Hour interweaves an astonishing range of visual acclaimed for his drawings, films, theatre and opera productions. His practice and sound languages, setting dance, live music, projections, drama, and is born out of a cross-fertilization between mediums and genres. His work dynamic scenic design against one another on stage. As Kentridge himself responds to the legacies of colonialism and apartheid, within the context of delivers a fragmented lecture, these elements swirl around him: dancer and South Africa’s socio-political landscape. His aesthetics are drawn from the choreographer Dada Masilo enters into a taught physical interaction with the medium of film’s own history, from stop-motion animation to early special artist and set; singers and musicians perform composer Philip Miller’s riveting effects. Kentridge’s drawing, specifically the dynamism of an erased and score; an array of strange musical machines clatter intermittently into life; and redrawn mark, is an integral part of his expanded animation and filmmaking Catherine Meyburgh’s video design animates the proceedings. In the midst of practice, where the meanings of his films are developed during the process this Dadaistic dream landscape, Kentridge acts as a contemporary storyteller, of their making. Kentridge’s practice also incorporates his theatre training. recounting a tale that begins with the myth of Perseus and ends with Einstein’s Kentridge’s work has been seen in museums and galleries around the world visionary findings. The result is a journey to the fringes of science, theatre and since the 1990s, including Documenta in Kassel, the Museum of Modern art, a synthesis both playful and profound that could only have sprung from Art in New York, the Albertina Museum in Vienna, Musée du Louvre in Paris, the mind of this singular artist. Whitechapel Gallery in London, Louisiana Museum in Copenhagen. Opera productions include Mozart’s The Magic Flute, Shostakovich’s The Nose, The Refusal of Time was originally commissioned for dOCUMENTA 2012. Created and Alban Berg’s Lulu, and have been seen at opera houses including the with the physicist Peter Galison, the installation is a meditation on different Metropolitan Opera in New York, La Scala in Milan, English National Opera historical conceptions of time and the complex legacies of colonialism and in London, Opera de Lyon, Amsterdam Opera, and others. This summer he industry. Refuse the Hour, first performed in June 2012 at the Frascati Theatre directed Berg’s Wozzeck for the Salzburg Festival. The five-channel video and in Amsterdam as part of the Holland Festival, is a spectacular multimedia work sound installation The Refusal of Time was made for Documenta (13) in 2012; that takes The Refusal of Time to another level. since then it has been seen in cities around the world. More Sweetly Play the Dance, an eight-channel video projection shown first seen in Amsterdam in April 2015, and Notes Toward a Model Opera, a three-screen projection looking at the Chinese Cultural Revolution, made for an exhibition in Beijing in 2015; both have been presented in many other cities since. Kentridge’s ambitious public art project for Rome, Triumphs & Laments (a 500 m frieze of figure power-washed from pollution and bacterial growth on the walls of the Tiber River) opened in April 2016 with a performance of live music composed by Philip Miller and a procession of shadow figures. Forthcoming projects include a substantial production to be seen at the Amory in New York and the Tate Turbine Hall in London. Kentridge is the recipient of honorary doctorates from several universities including Yale and the University of London, and in 2012 he presented the Charles Eliot Norton Lectures at Harvard University. In 2010, he received the Kyoto Prize. In 2015 he was appointed an Honorary Academician of the Royal Academy in London. In October 2017, he will receive the Princesa de Asturias Award for the arts.

PHILIP MILLER (composer, co-arranger and orchestrator) Philip Miller is a composer and sound artist from South Africa whose work includes music for live performance, film, video and sound installation. His longtime collaboration with artist, William Kentridge includes the recent project Triumphs and Laments (Rome 2016), the performance-lecture Refuse the Hour and the multimedia installation, The Refusal of Time (2015), exhibited worldwide including at Dokumenta 13, Kassel, the Metropolitan Museum of Art, New York and the Whitechapel Gallery, London. Miller’s own work has included the award winning choral composition, Rewind (2007) a cantata for voice, tape and testimony which has toured internationally at the Royal Photo by John Hodgkiss Festival Hall, (London), Celebrate Brooklyn, (New York), The 62 Centre, Williams College, (Massachusetts), as well as The Baxter and Market theatres (South and democracy), which premiered at the Sundance Film Festival in 2008. Other Africa). Miller has scored numerous soundtracks for film and television including recent projects include the book Building Crashing Thinking (on technologies his Emmy-nominated soundtrack to Miner’s Shot Down, HBO’s The Girl and that re-form the self) and Containment, a feature documentary film about the BET’s The Book of Negroes, and Roots. More recent commissions include the burial of nuclear waste. video and sound installation, BikoHausen at Germany’s Darmstadt Summer Music Festival, 2016. BikoHausen is currently installed at the Goethe Institute CATHERINE MEYBURGH (video design) in Johannesburg until June 2017 to critical acclaim. In collaboration with Catherine Meyburgh has worked in film as a director and editor since 1983. Thuthuka Sibisi, Miller has re-created a sound work: The African Choir of 1891 She has worked extensively as editor on feature films, dOCUMENTAries, multi- Re-imagined, which is based upon the songs the African choir sang on their projection works in theatre, experimental and short films. Recent work includes first tour to London in 1891. This multi-channel sound installation accompanies collaborations on The Refusal of Time with William Kentridge and Philip Miller; archival photographic portraits of the choir. The work was presented at the Nelson Mandela: The Myth and Me, a feature dOCUMENTAry by director Khalo Autograph ABP Gallery in London in 2016 and will travel to South Africa in late Matabane; and Kentridge’s production of The Nose. Her work in film, opera 2017. The CD of these songs will be released in August 2017. Miller’s newest and art installations has enriched her work across these different platforms musical composition is a commission for the South African choreographer, thereby informing each other in unexpected ways. In television she has edited Dada Masilo new ballet, Giselle. The production is currently on tour in Europe the groundbreaking drama series Yizo Yizo, which inspired many of the drama and South Africa, 2017 and Los Angeles, 2018. A CD of Giselle has been recently series that followed in South Africa. She directed Alan Paton’s Beloved Country, released. Kentridge & Dumas in Conversation, and Viva Madiba, A Hero for All Seasons for Nelson Mandela’s 90th birthday celebration. She edited the short filmPortrait DADA MASILO (choreography/performer) of a Young Man Drowning for director Teboho Mahlatsi, which won the Silver Dada was born and bred in Johannesburg, South Africa. She began Lion at the Venice Film Festival. Her work in collaborative installations has been formal training at The Dance Factory at the age of 11. She also attended exhibited at MoMA in New York and The Louvre in Paris, among many other Johannesburg’s National School of the Arts, from which she graduated at museums. 17. After a year as a trainee at Cape Town’s Jazzart Dance Theatre, she was accepted at the Performing Arts Research and Training Studios in Brussels, SABINE THEUNISSEN (scenic design) where she remained for two years. Returning to South Africa late 2006, she Sabine Theunissen studied architecture in Brussels. She spent one year at began to create work. In 2008, she was awarded the prestigious Standard technical office of La Scala in Milan, then joined the Royal Theater of la Bank Young Artist Award for Dance. Three commissions from the National Monnaie (Brussels) as a member of the design office (1995-2012), where she Arts Festival resulted in her Romeo and Juliet (2008), Carmen (2009) and developed set projects for many set designers and directors. In 2003, she met Swan Lake (2010). Since 2012, Masilo’s Swan Lake and Carmen have toured William Kentridge. Their collaboration begins with The Magic Flute (creation extensively throughout Europe. Swan Lake was also staged at Sadler’s Wells in TRM 2005). Since then, she has designed the sets for The Nose (The Met, NYC London and in the U.S.A. at the Hop Center, Dartmouth College and at The 2010), Refuse the Hour (2012), The Refusal of Time (dOCUMENTA XIII - Kassel Joyce Theater in New York. This season resulted in co-commissions from The 2012), Winterreise (Vienna Festival June 2014), and recently, for Lulu (The Met Hop, The Joyce, Lyon Biennale and Sadler’s Wells, for the creation of Dada NYC, 2015). She also designed Kentridge’s major exhibition Notes Towards an Masilo’s Giselle which premiered last May at Dansenshus, Oslo. Since then, it Opera (Beijing, June 2015). She designed sets for La Dispute and Marrakech, has been re-staged for the Kuopio Dance Festival (Finland), the National Arts staged by H. Theunissen (Brussels), for Ariane et Barbe Bleue (Dijon 2012), Festival (South Africa), Impulstanz (Vienna), La Batie Festival (Geneva) and staged by Lilo Baur, for Hors Champs (National Theater of Belgium 2013), recently completed an Italian tour to Rome, Ferrara and Reggio Emilia. Masilo’s choreographed by Michèle Noiret, and for Radioscopie (Mons 2015). She current engagement follows performances of her Swan Lake at the Esplanade designed the exhibition The Body in Indian Art (Europalia Festival, Brussels Oct Theatre in Singapore. 2013). She is preparing the design of the exhibition, 1000m2 of Desire (CCCB, Barcelona, September 2016). PETER GALISON (dramaturgy) Peter Galison is the Joseph Pellegrino University Professor of the History LUC DE WIT (movement) of Science and of Physics at Harvard University. His work explores the Luc De Wit is an actor, stage director, drama teacher and a Feldenkrais complex interaction between the three principal subcultures of physics— practitioner. Since 1995 he is directing opera’s of Mozart, Poulenc, Milhaud, experimentation, instrumentation, and theory, and their cultural and political Kagel. Since 2005 he is artistic collaborator of William Kentridge. He often surroundings. Books include: How Experiments End (1987), Image and Logic directs the revivals of William Kentridge’s productions all over the world: (1997), Einstein’s Clocks, Poincaré’s Maps (2003) and with L. Daston, Objectivity Mozart’s The Magic Flute; Monteverdi’s Il Ritorno di Ulisse; the theater play (2007). Among other volumes, he co-edited Architecture of Science; Picturing Wozzeck, by Büchner. Luc De Wit is associated director with William Kentridge Science, Producing Art; Scientific Authorship; and Einstein for the 21st Century. for The Nose, Shostakovich for The Met in co-production with the Festival He co-directed two dOCUMENTAry films: Ultimate Weapon: The H-bomb of Aix-en-Provence and the Opera de Lyon. In 2005 he is co-director with Dilemma (2000), and Secrecy (with robb Moss, about national security secrecy William Kentridge for Lulu, Alban Berg for The Met in co-production with De Nederlandse Opera and English National Opera. GRETA GOIRIS (costume design) consists of two life size bronze figures sitting on a public bench. He was also Greta Goiris studied costume design at the Royal Academy of Fine Arts in commissioned to do the Think Benches for RMB—a large scale project that has Antwerp and set design at Institute del Teatre in Barcelona. Her first costumes been underway for a few years. In 2009, Olivier formed part of the Artspace she designed for Jaques Delcuvellerie in Brussels and Avignon. Amongst which Mentorship Program and was mentored by Wilma Cruise, a greatly respected La Grande Imprecation Devant Les Murs De La Ville (T. Dorst ), La Mere (B. South African artist. He now lives and works in Johannesburg after moving his Brecht), Andromaque (Racine) and Rwanda-1994. studio from Pretoria in 2012 to establish Workhorse, a bronze foundry and art studio situated in Marshalltown, Johannesburg. From 2001 onwards she collaborated with Johan Simons on numerous (music-)theatre productions. Amongst others: The Leenane Trilogy (M.Mc JONAS LUNDQUIST (machine design) Donagh) for ZT Hollandia, Sentimenti, Das Leben ein Traum (Calderon), Jonas Lunquist has been collaborating with William Kentridge since 2004 on Vergessene Strasse (Louis-Paul Boon) for the Ruhrtriennale, Die Perser projects like Black Box, The Refusal of Time and Refuse the Hour. He has held (Aischylos) for Münchner Kammerspiele, Die Neger (Jean Genet) for Wiener many positions in the theater technical field since 1986, and has assisted artists Festwochen(2014). Also with Simons she designed the costumes for the like Brian Eno and Robert Wilson. “Ever since I sat beside my grandfather in his opera’s Fidelio (Beethoven) for Opera de la Bastille (2008) in Paris, Herzog little invention studio, inventing his own digging machine, or a powerful new Blaubarts Burg (Bela Bartok) for the Salzburger Festspiele (2008) and most type of porridge beater, for kitchens easy to clean, I have been interested in recently Alceste (Gluck) for the Ruhrtriennale (August 2016). In July 2016 mechanical solutions, movement and craftsmanship. To have the possibility Greta designed the costumes for Les Indes Galantes directed by Sidi Larbi of applying those interests in art and theater is such a privilege and gives me Cherkaoui. Greta also collaborated with Pierre Audi, Ivo Van Hove, Karin Beyer, great joy, as well as some interesting moments to learn from, just as it did for Josse De Pauw and Peter Verhelst. Die Zauberflöte (De Munt, 2005) would be my grandfather.” He currently holds the position as Head of Workshops at the the start of a long collaboration with William Kentridge. Operas The Nose; Royal Swedish Opera. (Metropolitan Opera, 2010), Lulu (DNO, Metropolitan Opera, 2015, ENO 2016) and installations and music theatre productions Refuse the hour; (Holland FELICE ROSS (lighting design) Festival/Festival d’Avignon), The Refusal of Time; (Documenta Kassel), Felice has designed the lights for many theater, opera, and dance productions, Winterreise; (Wiener Festwochen), Paper Music; (Firenze), More sweetly play as well as art installations, in Europe, Israel, Korea, South Africa and the USA. the danse (Amsterdam) and O Sentimental Machine (Istanbul Biennal) all Among Felice’s lighting designs in Opera: The Israeli Opera, Tel Aviv (Le Barbier follow. de Séville, The Medium, Onegin, La Traviata); The National Opera, Warsaw (Otello, Onegin, Pique Dame, Don Giovanni, Don Carlo, Ubu Roi, Wozzeck, The CHRISTOFF WOLMARANS (machine design) Flying Dutchman); The National Opera, Washington D.C. (Andrea Chenier); Christoff Wolmarans was born in 1969. Since his early childhood you would find The Grand Opera, Poznan (Così fan tutte); Roma Musical Theatre, Warsaw him tinkering in his father’s garage. He studied industrial design at Wits 1990- (Polanski’s Dance of the Vampires); La Monnaie Opera, Brussels (Medee, 1993. In 1994 he worked in props and set building for a Christian dance and Macbeth, Lulu, Don Giovanni); The Bayerische Staatsoper, Munich (Eugène drama company, an position that lasted until 2004. In this time he had his Onéguine, Die Frau ohne Schatten); The National Opera, Paris (Iphigénie en own business designing and manufacturing custom steel and wood furniture, Tauride, Parsifal, Vec Makropoulos, Le Roi Roger); the last two co-producted as well as inventing and building all kinds of gadgets and gizmos for private with Teatre Real, Madrid, (Poppea & Nerone, Alceste); Palau de les Arts, clients. From 2008 to the present he has been employed full time in William Valencia (Onegin, ballet El Amore Brujo); Staatsoper, Berlin (A Rake’s Progress); Kentridge’s studio, building props to be filmed, as well as building kinetic and Welsh National Opera, Cardiff (Manon Lescaut); National Opera, Prague static sculptures on William’s instructions. 2010 he co-founded Workhorse (Salome); Savonlinna Opera Festival, (La Traviata); Third World Bunfight, Cape Bronze Foundry with Louis Olivier and Hennie Bekker. In 2013 he met the Town, (Macbeth). beautiful Sonika and they got married soon after. GAVAN ECKHART (sound design) LOUIS OLIVIER (machine design) Gavan Eckhart is a sound engineer, producer and studio owner at Soul Fire Louis Olivier is a sculptor based in Johannesburg, South Africa. Born in 1976, in Studios in Johannesburg, South Africa. He has been working with Philip Miller Vereeniging, he grew up in Bethal in Mpumalanga. He works in various media and William Kentridge for over 10 years and has recorded and mixed the sound such as sculpture, drawing and installations. Olivier creates from the unknown for most of their collaborative works, as well as Philip’s extensive film score depths of the heart and often uses cardboard to sculpt with. He sees his repertoire. His vast experience in theater, television, film and music culminates position as an artist as that of a dragoman, an interpreter of the formless and in the creative utilisation of sound technology for visual arts and music the invisible, facilitating communication between the soul and matter. It is production. He also tours with top South African and international bands, this process that contributes to his choice in materials. The present—which is providing great mixes for diverse listenerships. Currently he is installing sound what he focuses on—requires an immediate response, an expeditious choice systems for museums and venues, as well as producing and mixing a variety of of materials. The artist has done corporate commissions for Sasol and Rand musical and visual artists, both in the studio and on the road. Merchant Bank (RMB). He created the Sandton Benchmark Project, which KIM GUNNING (video controller) Kim Gunning was born in Johannesburg, South Africa. She began her career Ann is a versatile, talented and formidable big woman with an ever bigger voice in theatre as a Stage Manager in 1984, eventually specialising in Opera Stage who handle operas, classical, gospel, jazz and pop with great aplomb. Management. In this capacity she has worked extensively in South Africa, the United States of America, Europe, Asia and Australia. Kim then moved JOANNA DUDLEY (performer / vocalist) to Chicago, USA, where she spent three years as the Production Stage Joanna Dudley works internationally as a director, performer and singer Manager for Chicago Opera Theater. During this time she also worked with creating music theatre, choreography and installation. She studied early the Handspring Puppet Company as a Stage Manager and Video Operator and contemporary music at the Adelaide Conservatorium, Australia and the for their productions of Il Ritorno d’Ulisse and UBU and the Truth Commission. Sweelinck Conservatorium, The Netherlands. On scholarships she has also William Kentridge was the Stage Director for both of these productions. When studied traditional Japanese music in Tokyo and traditional dance and music Kentridge was engaged to direct a new version of Zauberflöte produced by the in Java. In Berlin, Joanna worked as a guest director and performer at the Theatre de la Monnaie in 2004, he asked Kim to join the production as his Video Schaubuehne. Works created there include My Dearest, My Fairest with Juan Controller. Since then she has been part of his production team for The Nose, Kruz Diaz de Garaio Esnaola and colours may fade with Esnaola and Rufus Refuse the Hour, Winterreise, Lulu, and Wozzeck. Didwiszus. Other works in collaboration with Didwiszus include the solo music theatre piece, The Scorpionfish, Who Killed Cock Robin? with the Flemish ADAM HOWARD (music direction, co-arranger and orchestrator, trumpet, vocal ensemble Capilla Flamenca and most recently LOUIS & BEBE with the flugel horn) electronic noise musician SchneiderTM. Joanna’s sound installation Tom’s Song Adam Howard was born in the UK. He holds a classical music degree from the for 32 music boxes and 16 LP players has given regular appearances at major world famous Guildhall School of Music and Drama in London, and originally international art festivals. In long collaboration with William Kentridge and came to South Africa to take up the position of principal trumpet of the New Philip Miller, Joanna features as a singer and performer in Refuse the Hour Arts Philharmonic Orchestra of Pretoria in 1997. Until recently, he was principal and Paper Music. William Kentridge invited Joanna to create a solo role for his trumpet player for the Johannesburg Philharmonic Orchestra. Howard owns production of Lulu for the Metropolitan Opera New York. Together they co- and runs the award-winning three-studio facility Howard Audio, based in created and Joanna performed The Guided Tour of the Exhibition: for Soprano Johannesburg. Howard Audio’s services include music composition, album and Handbag for the Foreign Affairs Festival in Berlin and the museum of the production, arrangements, audio final mix, sound design, and musical direction Martin Gropius Bau. for corporate events. He has musical directed, composed, arranged, produced, and performed music for many of South Africa’s top artists, among them Hugh Other collaborators include Seiji Ozawa, Les Ballets C de la B, Sidi Larbi Masekela, Freshly Ground, Loyiso, Mbongeni Ngema, Brenda Fassie, Thandiswa Cherkaoui, Sasha Waltz, Heiner Goebbels, Thomas Ostermeier and Falk Mazwai, Danny K, Kabelo, Mafikozolo, The Parlotones, and many more. He Richter. She has appeared extensively throughout the world including venues performed at the 2010 FIFA World Cup “kick-off” concert, performing with the as festivals such as Carnegie Hall, Avignon Festival, Holland Festival, The likes of Alicia Keys, John Legend, Hugh Masekela, and Angelique Kidjo. In 2012, Metropolitan Opera, BAM, Vienna Opera and Hong Kong Festival. Adam was asked to be musical director for William Kentridge’s Refuse the Hour. Adam has also worked on long-form films. He regularly works with composer THATO MOTLHAOLWA (actor) Philip Miller, and orchestrated the film White Lion in 2010. Thato Motlhaolwa is a Market Theatre Laboratory Drama Graduate of 2008. Thato has since been working in the performing arts industry as a performer, ANN MASINA (vocals) writer, director, and producer. In 2008, Thato appeared in a German feature Ann Masina was born in Witbank, Mpumalanga. She started singing as a film The Ambassador by Sigi Rothemund. Also, Thato worked in preparation soloist in 1994 in the Africa Sings Choral Choir. 1999 she joined the Nick Malan material of The Nose directed by William Kentridge. He has toured Europe with Opera House now known as the Cape Town Opera House under professor William Kentridge’s Refuse the Hour. Thato wrote and directed the theater play Angelo Gobbato performing operas such as Carmen and Aida to great acclaim. This Church, which was seen at the National Arts Festival in Grahamstown in Masina is a cofounder of JOAT Opera Group. 2005-2009 she worked with Robyn 2010. He also wrote and directed Membership. Thato also works frequently as a Orlyn a choreographer in her productions, Dressed to kill, Venus, Walking next to voice-over artist. our shoes and extensively toured Europe. 2007-2009 she was a member of the two Grammy Award winners Soweto Gospel Choir. 2014-2015 she performed in TLALE MAKHENE (percussion) a musical called Colour Me Human produced by Steve Dyer performed at the Born in Soweto, Tlale Makhene moved to Swaziland at a young age and began Soweto Theatre and Jo’burg Theatre. 2012-present date she has been part of drumming at the age of 4. Makhene is one of South Africa’s most remarkable William Kentridge’s productions and workshops, Refuse The Hour, Paper Music, drumming talents. Highly regarded by musicians and musical fans alike, he Triumph and Lament which toured the world, she has been part of The Less is a much sought after teacher, session musician, and performer. His debut Good Idea Center performed the Venus piece with Lebo Mashile and other album The Ascension of the Enlightened is a true spiritual offering from a truly productions for the first season. She just finished doing a 60 cast workshop enlightened man. He has toured with Keiko Matsui and performed on her called The Head And The Load. album MOYO, where he worked with Derrick Nakamoto. He has also performed with Pharaoh Sanders, Corrine Bailey, Angelique Kidjo, and Jamalia during the THOBEKA THUKANE (tuba) 46664 concerts. He recently performed with Yusef Lateef and Rufus Reid at Thobeka Thukane is an orchestral tuba player from Durban, South Africa. He the Gold Reef City Lyric Theatre. Tlale was part of a performance at a World studied through the KZN Philharmonic Orchestra as a cadet musician. One Economic Forum in an ensemble led by Caiphus Semenya and directed by of his career highlights was sitting in the principal tuba’s chair of the London Quincy Jones. Other members of that ensemble were Arturo Sandoval, Bashiri Symphony Orchestra during a tour with the KZN Philharmonic orchestra in Johnson, Branford Marsalis, Louis Nash and Herbie Hancock. He has been 2005. He held a position as the principal tuba player for the Johannesburg nominated for the MTN SAMA awards for Best Contemporary Album. Tlale Philharmonic Orchestra in 2011 to 2012. He has been part of the Refuse the released a new album, SwaziGold, in April 28, 2017. Hour cast since the first tour in Amsterdam 2012. Thobeka says, “I enjoy the different sounds and creative elements that I have had to incorporate in WALDO ALEXANDER (violin) working with Refuse the Hour.” He is a pastor and also enjoys playing golf. Waldo Alexander is a session musician and freelance violinist, based in Johannesburg. His musical activities spread across several genres and THE OFFICE performing arts + film (Producer) disciplines, focusing predominantly on New Music, experimental collaborations THE OFFICE performing arts + film is an independent curator and production with numerous established and emerging composers and artists, both locally company based in New York and London. THE OFFICE works in ongoing and abroad, as well as arranging and studio recordings. Since 2012 he has been partnerships with festivals, venues, and institutions—BRIC Celebrate Brooklyn!, touring with William Kentridge’s production, Refuse the Hour, and together the Sundance Institute, MASS MoCA, and the New York Jewish Film Festival, with pianist Jill Richards has recently released an album of works by Kevin among others—to create cultural programming that is unique and mission Volans. As a session musician, Waldo has been active as a recording artist, specific. THE OFFICE also produces events around the world, and provides arranger and co-producer for the last 25 years. Waldo plays a fine Italian strategic planning, assessments of public programming, and other creative instrument on generous loan by the Lindbergh Arts Foundation, and is endorsed consulting services for all manner of cultural organizations as well as corporate by Sennheiser South Africa, Prosound, and is the South African ambassador for philanthropies, foundations, brands, and municipalities. Visit theofficearts.com DPA microphones. for more information.

DAN SELSICK (trombone) Dan Selsick studied at the Konservatorium Der Stadt Wien, where he majored in trombone performance and music composition. He also did a period of study at the Hochschule Fuer Musik und Darstellende Kunst In Wien, studying conducting under the tutelage of renowned conductor Otmar Suitner. Soon after his return to South Africa in 1993 Dan took up a post at WITS university where he lectured in music composition for 10 years. This was followed by intermittent guest lecturing at various institutions around South Africa. Dan enjoys a continued and busy performance schedule both in the worlds of conducting and trombone playing. He currently conducts the Abdullah Ibrahim big band and directs the Johannesburg based Orbit Big Band. In recent years Dan has worked with several renowned artists, including saxophonist Bob Mintzer, singer Anne Hampton Calloway, tuba player Howard Johnson, jazz pianist Lynne Arialle, tenor man Yusef Lateef, artist William Kentridge, bass legend Rufus Reid, and singer Gregory Porter. Dan continues to compose and write commercially for a myriad of productions including his latest project, The Nu Notes.

VINCENZO PASQUARIELLO (piano) Born in Milan, Vincenzo Pasquariello began his musical studies at an early age under the guidance of his father, then at the Giuseppe Verdi Conservatory in Milan, where he graduated with Bruno Canino, and recently attended the Master’s degree program with Mario Borciani. He has played in Italy and abroad both as a solist and in various chamber music ensembles in major theaters and museums, performing his own compositions, among other things, Photo by John Hodgkiss he’s also working as an actor in various Italian theater including Piccolo Teatro di Milano, Teatro Argentina di Roma, Teatro Biondo di Palermo. WE’RE EXCITED TO BE THE NEW FOOD & BEVERAGE CONCESSIONAIRE FOR ROYCE HALL! Come early, enjoy some delicious eats & drinks on our terrace!

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AM / FM CHARDONNAY Fresh! AM / FM PINOT NOIR COME VISIT US Art in Action @FUNDAMENTALLA HOT & FRESH EATS “Art in Action is somewhere between an academic symposium and the vibrancy of an eagerly awaiting coloring book. This is where we explore in CHICKEN ASADA TACOS WESTWOOD public to release the energetic potential of sharing ideas together.” 1303 WESTWOOD BLVD. —Kristy Edmunds CRISPY POLENTA FRIES LOS ANGELES, CA 90024 Art in Action, our free public engagement program, offers a wide range of experiential BEEF SLIDERS 310.444.7581 art activities around the ideas emanating from the work of artists on our season. Through workshops, lectures, master classes, films, salons and art-making forums, Art in Action ARTISINAL CHEESE PLATE DTLA provides a platform for our UCLA and Los Angeles communities to exchange ideas and participate in shared cultural experiences. SLOW ROASTED TURKEY SANDWICH 750 S. GRAND AVENUE LOS ANGELES, CA 90017 This season, we’re continuing two ongoing initiatives and introducing a third. Writing the ROAST BEEF SANDWICH 213.935.8180 Landscape returns with new takes on the Poetry Bureau and special activities with our library partners, exploring how the impulse to make something results in an altered land- *Catering services scape, or new view. Hearing Beyond Listening devises ways to “listen better,” with artist- ...AND MORE !! curated playlists, personalized music maps, intimate salons, and the now popular, CAP also available Listening Lab. A new series of programs, Facing the Blank Page, takes direct inspiration from this season’s the theater is a blank page. Activities throughout the season will investigate how we transmit traces of ourselves through the written word, movement, sound and imagery. cap.ucla.edu/ArtInAction CODA21

CODA21 is a pilot initiative that supports dialogue, research, and collaboratively designed experiments between UCLA’s Center for the Art of Performance and leading research cen- ters and labs across campus. Collaborating labs include Denise Cai and Silvalab, a leading neuroscience research lab studying molecular and cellular cognition; Hakwan Lau and the Consciousness & Metacognition Lab; the Tennenbaum Center for the Biology of Creativity; and the Design Media Arts Lab.

Informing CODA21’s design is the belief that the students at UCLA represent the conditions emblematic of society at large. Economic anxiety, homogeneous living arrangements, and media saturation imposing gender and racial stereotypes have seriously eroded the acade- my’s critical role in fostering a pluralistic, tolerant, progressive, and socially interdependent community. Curriculum is increasingly limited in its ability to play this historic role. The remaining antidote is a thoughtfully curated arts presenting program like CAP UCLA, an interdisciplinary learning experience offering students and the extended audience exposure, through live performance to artists who represent the diversity of traditions, ethnicities, gender roles, and aesthetics reflective of the demographic terrain in which we all work and live. Through its experimental collaboration, CODA21 seeks to confirm, amplify, and enhance this crucial role.

Design for Sharing

“Design for Sharing enriches and supports learning, social awareness and responsible cultural arts citizenship creating a new generation of artists and audiences.” —Kristy Edmunds

Design for Sharing (DFS) is our free K-12 arts education program that provides public school students from across the Los Angeles metro area access to the performing arts, CODA21 ARTISTS & PROJECTS both at UCLA and in their own classrooms. The arts provide a gateway for students to Leading artists and choreographers will participate in CODA21 through full explore shared ideas across communities and culture–sparking their curiosity and imag- presentations of their work, development residencies, and pilot experiments. ination. Since 1969, Design for Sharing has provided performances, workshops and school residencies to almost a million public school students, offering a diverse array of music, Ann Carlson: Doggie Hamlet Kyle Abraham/Abraham.In.Motion contemporary dance, and innovative theater. cap.ucla.edu/dfs Will Rogers State Historic Park Dearest Home February 3–4, 2018 Freud Playhouse, UCLA This season, the following CAP artists April 5–7, 2018 will participate in Design for Sharing programs: Okwui Okpokwasili Poor People’s TV Room Jennie Liu: Autobiography of Dancenorth/Lucy Guerin Inc Gabriel Kahane Presented in association with REDCAT the Kimono on the Western Stage AteNine João Donato February 8–11, 2018 CODA21 Development Residency ONIX Ensamble Antonio Sanchez & Migration

Kronos Quartet Kyle Abraham/Abraham.In.Motion CODA21 is funded in part by The Surdna Foundation. The Surdna Foundation seeks to foster sustainable communities in the United States—communities guided by principles of social justice and distinguished by healthy environments, strong local economies, and thriving cultures. CAP UCLA BOARD House Rules DESIGN FOR SHARING COUNCIL OF DIRECTORS ACCESSIBILITY Stephanie Snyder, President* PHOTOGRAPHY The Theatre at Ace Hotel offers ADA access-ible Diane Applebaum* EXECUTIVE COMMITTEE Photography, video and the use of any recording seats and restrooms. You can buy ADA seating on Linda Essakow* Bradley Tabach-Bank, President equipment is strictly prohibited at all times our ticketing site or by calling AXS at 888-9-AXS- Billie Fischer* Deborah Irmas, Interim Executive Vice President during performances at all UCLA campus TIX (888-929-7849). When buying tickets over Joanne Knopoff Kathleen Quisenberry, Vice President performance venues and at The Theatre at the phone, please let the ticket agent know if you Marti Koplin* Anne-Marie Spataru, Vice President Ace Hotel. Any/all press photography must be require accessible seating, and s/he will issue you Joan Lesser Valerie Cohen, Vice President approved in writing an ADA seat. Diane Levine in advance by the Center for the Art of Fariba Ghaffari, Vice President Katie Marsano* Ann Harmsen, Vice President Performance representative. For press inquiries In addition to wheelchair spaces, The Theatre Merle Measer and to make a request to cover Diane Levine, Vice President Muriel Sherman* at Ace Hotel is equipped with select aisle seats Lori J. Wolf, Vice President an event, visit cap.ucla.edu/press/ that have folding armrests on the aisle side to Anne-Marie Spataru* make transfer easier for those with mobility Bonnie Taub BOARD MEMBERS Sheila Weisman limitations. For such seating, please request a Murray Hidary CAMERAS & SMART PHONES “transfer seat.” Mimi Wolfen The use of cameras, smart phones, cell phones Roslyn Holt Swartz Karyn Orgell Wynne Georgina Huljich and recording equipment of any kind is strictly If you need accessible seating the night of the Anne Jarmain * Executive Council Member prohibited at all times during performances at event and don’t have a special ticket, we’ll do all UCLA campus performance venues and at Renee Luskin our best to accommodate you once you arrive Ginny Mancini The Theatre at Ace Hotel. All devices must be SPECIAL THANKS TO OUR at the theater. Katie Marsano silenced before the start of the performance. DINING PARTNERS Karyn Orgell Wynne Please be considerate to those around you and Assisted listening devices are available. Alan M. Schwartz Fundamental LA refrain from texting, emailing or surfing If desired please ask our house staff. Stephanie Snyder LA Chapter the web during performances. Leslie White Palamino Restaurant & Bar Patty Wilson Plateia Pruex & Proper LATE SEATING Shibumi Late seating will be subject to company WEST Restaurant approval and will occur only at a suitable time at the discretion of the house staff. Latecomers This Event Program was Printed by... may not be able to be seated in their assigned seats to avoid disruption or distractions during the performance. Some events have no late seating by request of the artist, and refunds on parking and tickets for latecomers will not be accommodated. Serving L.A.’s Westside Since 1982

Please check the event detail page of our website for late seating policies for specific 1525 S. Sepulveda Blvd., Suite E performances or opt in to our email data-base Los Angeles, CA 90025 by signing up for our newsletter and pre-show Tel. 310.445.9999 emails with helpful information about pre-show activities, parking, late seating, running time, nearby dining oppor-tunities and more at cap. ucla.edu/enews/ CONNECT WITH US

CHILDREN Join the Conversation! Children over age 5 are welcome to most events and, regardless of age, must have a ticket. We want to hear from you – share Infants on laps are not permitted. Inquire when thoughts about the arts and purchasing tickets of age appropriateness performances you experience with for specific events and check out website for #CAPUCLA specific performance information.

DIRECTOR’S FUND $25,000-$49,999 CAP UCLA STAFF CAP UCLA SPONSORS We are grateful to list the follow- Fariba Ghaffari & SUPPORTERS ing individuals whose support to Renee & Meyer Luskin DIRECTOR’S OFFICE EDUCATION the Director’s Fund bolsters the Virginia Mancini Director of Education & Special Initiatives - vision behind the major initia- Anne-Marie & Alex Spataru Executive and Artistic Director - Kristy Edmunds ENDOWMENTS Meryl Friedman tives at CAP UCLA. Their support Sheila & Walter Weisman Deputy Director and Program Manager - Over time, many generous indi- Education Program Coordinator - galvanizes our leadership efforts Fred Frumberg viduals have initiated leadership Theresa Willis Peters and is the sole resource through $10,000-$24,999 Assistant to the Director - Yuko Saegusa gifts to establish endowments Student Arts Coordinator - which the Director is able to Leon Birnberg Trust Artist Liaison - Zarina Rico that support the performing arts Theo Bonner-Perkins make advance commitments. Katie Marsano & Greyson Bryan at UCLA in perpetuity. PRODUCTION & EVENT OPERATIONS Arts Engagement Coordinator - Valerie & Bradford Cohen Ivy Hurwit Good Works Foundation Laura Donnelley/ Director of Operations - Steve Keeley Arthur E. Guedel Memorial Jackie and Stanley Gottlieb Good Works Foundation Patron Services Manager - Ron Jarvis Lectureship Fund HUMAN RESOURCES Audrey and Sydney Irmas Feintech Family Venue Manager - Lorrie Snyder Beatrix F. Padway Endowed Human Resources Manager - Charitable Foundation Audree Fowler Production Manager - Fund for Design for Sharing Bernie Macapinlac Linda Essakow Bozkurt “Bozzy” Karasu Design for Sharing Endowment Human Resources Assistant - Erah Lulu Sponsors and Foundations & Stephen Gunther Custodian Supervisor - Steve Jarnagin Doris Duke Charitable Anonymous Ann & Bill Harmsen House Manager - Ernie Ybarra Foundation Endowment Fund TICKETING Andrew W. Mellon Foundation Anne Jarmain Production Stage Manager - Kevin Pong Evelyn & Mo Ostin Endowment Assistant Director Central Ticket Office - Another Planet Entertainment Diane Kessler Event & Crew Coordinator - Don Kidd for the Performing Arts Gerardo Galeano AVK Arts Diane Levine House Electrician - Jessica Wodinsky George C. Perkins Fund Box Office Manager - Annabel Flores Antonia & Vladimer Kulaev Kathleen John Quisenberry Master Carpenter - Ron Greene Ginny Mancini Endowment Cultural Heritage Fund Cynthia Miscikowski/ Audio / Video Supervisor - John Coleman for Vocal Performance RENTAL EVENTS Colburn Foundation Ring Foundation House Electrician - Antony Gutierrez Henry Mancini Tribute Fund Rental Events Manager - Anthony Jones Doris Duke Charitable Roslyn Holt Swartz & Alan Swartz House Crew - Robert Ory James A. Doolittle Endowment Rental Events Coordinator - Christina Montaño Foundation Dee Dee Dorskind & Bradley House Crew - Katie Baker José Luis Nazar Endowment I.H. and Anna Grancell Tabach-Bank House Crew - Patrick Traylor for the Performing Arts CAP UCLA Administrative offices: Foundation Stephanie Snyder F.O.H Staff - Pia Shekerjian Kevin Jeske Young Artists Fund B100 Royce Hall, Box 951529 Library Foundation of Los Angeles & Micahel Warren Custodian - Chancy Dawson The Lloyd E. Rigler Los Angeles, CA 90095-1529 Mid Atlantic Arts Foundation Ron Watson Custodian - Ranoya Exum Emerging Arts Fund Tel: 310.825.4401 National Endowment for the Arts Leslie White & Al Limon Merle & Peter Mullin Endowment Fax: 310.206.3843 New England Foundation Carol Leifer & Lori Wolf FINANCIAL MANAGEMENT for the Performing Arts [email protected] for the Arts Kayrn Orgell Wynne Manager of Finance and Accounts – Mimi Perloff Endowment Nicholas Endowment Beth DeWoody & Firooz Zahedi Stephanie Tarvyd for Design for Sharing Office of Kristy Edmunds: Ralph M. Parsons Foundation Finance Analyst - Jodi Klein Mimi & Werner Wolfen 310.206.7408 Ring Foundation $5,000-$9,999 Endowment for Design [email protected] Samuel Goldwyn Foundation Anna Wong Barth MARKETING & COMMUNICATIONS for Sharing Surdna Foundation, Inc. & Donald Barth Director of Marketing & Communications – National Endowment for the Arts UCLA Central Ticket Office UCLA Student Fees Andrew Rhoda & J. Ben Bourgeois Kathy Budas Challenge Grant Endowment Tel: 310.825.2101 Advisory Committee Billie & Steven Fischer Communications Manager - Holly Wallace Plitt Theaters Fund Fax: 310.206.7540 Kiki & David Gindler Integrated Marketing Specialist - for Design for Sharing [email protected] INDIVIDUALS Murray Hidary Phinn Sriployrung Roslyn Holt Swartz & CAP UCLA is pleased to acknowl- Joanne Knopoff Marketing Associate - Baha Ebrahimzadeh Allan J. Swartz Endowment Press Inquiries: edge our individual members Joan Lesser & Ronald Johnston for the Performing Arts Holly Wallace and donors whose gifts directly Linda Gach Ray & Stephan Ray DEVELOPMENT Royce Center Circle Tel: 310.206.8744 support arts education and the Michael Stubbs & Bill Resnick Assistant Director of Development - Endowment Fund [email protected] art of performance at UCLA. Richard Ross Alexander Barrera Royce Gala Endowment Thank you! Alan Schwartz Foundations and Individual Initiatives Sally & William A. Rutter Development Office: Bonnie & Paul Yaeger Development Associate - Open Endowment for the Tel: 310.267.4463 $50,000-$149,999 Development Assistant - Christina Garcia Performing Arts [email protected] Deborah Irmas/Audrey and Syd- $2,500-$4,999 Artist Circle Box Office Liaison - Shirley & Ralph Shapiro ney Irmas Charitable Foundation Barbara Abell Monica Contreras Director’s Discretionary Fund Design for Sharing Office: Susan & Leonard Nimoy Diane & Noel Applebaum Shirley & Ralph Shapiro Tel: 310.825.7681 Laura & Gregg Perloff/ Perloff Helen & Alexander Astin Endowment for Design [email protected] Family Foundation Sylvia & Joseph Balbona for Sharing Kathleen Flanagan & Keenan Behrle

This listing represents accumulative contributions from July 1, 2016-August 1, 2017 Carol & Frank Biondi Pamela & John Bartko Bea & Leonard Mandel Nadege & Jay Conger Charlene & John Baskin Jonathan Marmelzat/Willard Edie & Robert Parker Linda Engel & Alan Benjamin L. Marmelzat Foundation Sue & David Eisner Lynn & Leslie Bider Sandra Klein & Donald McCallum Caryn Espo & David Gold Carol & Frank Biondi Merle & Gerald Measer Irene Goldenberg James Blakeley Deborah & Etan Milgrom Judy Abel & Eric Gordon Marjorie Blatt Susan & Joseph Miller Adam Grancell/I. H. Ronda & Stanley Breitbard Jessica Cahen & Ronald Mintz & Anna Grancell Foundation Sigrid Burton & Max Brennan Ruth & Robert Mirvis Sandra & Lewis Kanengiser Lily & Thomas Brod Leslie Mitchner Fiona & Michael Karlin Rona Elliot & Roger Brossy Philip Morton Joseph Kaufman Marilyn McKnight Browning Dori & Charles Mostov Milly & Robert Kayyem & Roger Browning Paulette & Ronald Nessim Joan & Warren Kessler Madelynne & Glenn Cardoso Mary Montella & Jeffrey Newman Martha Koplin Ellen Hoffman & Neal Castleman Jami O’Brien Cameron Jobe Richard Cohen Richard Powell & Gerald Markovitz Roberta Conroy Marilyn & Jerome Prewoznik Claude Petite Sherri Crichton Linda Peterson & Arthur Price Ronnie Rubin & Marty Piter Lynne & James DeWitt Gloria & Samuel Reyes Nancy & Brad Rosenberg Rachel Knopoff James Rodney Suzie & Michael Scott & Russell Dickerson Wendy-Sue Rosen Muriel & Neil Sherman The Walt Disney Linda McDonough & Bradley Ross Laurie & Rick Shuman/Raskin Company Foundation Bernice & Lawrence Rudolph Family Foundation Abida & Ray Diwan Mark Saltzman Jennifer Simchowitz Feris Greenberger Lela & Gerard Sarnat Srila & Man Jit Singh & David Dolinko Judy & George Savitsky Pamela Smith Ros Warby & Kristy Edmunds Jose Segundo Debra Vilinsky & Michael Sopher Olga Garay-English Linda & B. Thomas Seidman Carolyn & Lester Stein & Kerry English Gena Selmont Laila & Mehran Taslimi Mary & Robert Estrin Marjorie Kagawa Singer Jessica Kronstadt Nancy & Jerome Falk & Peter Singer & William Turner Irwin & Helgard Field Louise Nelson & David Smith Become a Member Susanne & Douglas Upshaw Elodie & Bruce Fortune Mary & Alan Snyder Patty & Richard Wilson Zoe Friedlander Georgina Huljich & Marcelo Spina Mimi Wolfen Thomas Garvin Gary Stewart Your membership with the Center for the Art of Performance is more than ticket discounts, Carla Breitner & Gary Woolard Linda Goodman Carol & Joseph Sullivan priority seating, invitations to additional programs and special member gatherings—it is sup- Elizabeth Gray & Randall Gordon Joanne Takahashi port for what we are able to champion within the wider cultural landscape. When you make a $1,500-2,499 Pattikay & Meyer Gottlieb Suzanne Taylor gift to the Center for the Art of Performance or to our Design for Sharing program, you join a George Allen Jennifer Wells Green Catherine & Leonard Unger Rosanne Bogart & Randall Green Sarah & Sydney Vinnedge community of advocates inspired by artistic exploration and new ways of knowing. We belong Helene & Edwin Cooper Susie Edberg & Allen Grogan Toby & Robert Waldorf to a culture of the curious, and by supporting great artists, we land on new perspectives. Marie & Steve Feig Adam Gunther Ruth Roberts & Dennis Wasser Mary & Stanley Friedman William Harper Sally & David Weil Our members are committed to groundbreaking contemporary performance locally, globally Lori & Robert Goodman Lois Haytin Terry & John Welsh Jackie Gottlieb Hanna & Manfred Heiting James Wetmore and everywhere in between. Your support is how we ensure that artistic expression will thrive Peggy & Bernard Lewak Barbara & Daniel Horwitz Nancy Englander & Harold on stage, on the UCLA campus and in the Los Angeles community for years to come. Mem- Patricia Rosenburg Helene Des Ruisseaux Williams bership dollars provide the means for us to interact with the leading artists of our time, and Jane Schiffhauer & Marcus Horwitz James Sie & Doug Wood Suzie & Laurence Swerner Joan & Howard Jaffe Marilouise & Albert Zager to share what we discover with as many people as we can. Jaclyn Kanner Marcie & Howard Zelikow $500-$1,499 Lauren Kasmer Laurie Ziegler With your involvement, we can provide young audiences with the chance to experience life Anonymous x 3 Wendy & Stephen Kramer through the lens of the modern stage, offer fans and aficionados the recent work of artists Sara & James Adler Maria Arispe & Timothy Lane Natsuko Akiyama Susan Levich who propel us boldly forward, and enhance the public mission of one of the nation’s leading Susan Stein & David Alper Diane & Desmond Levin research universities. Michael Ambrose Morelle & Norman Levine IN-KIND CONTRIBUTIONS Patti & Harlan Amstutz Janell Thornton-Lewis Your membership dollars are the primary financial resource that sustains us. We need your Robert Anderson & Randall Lewis support now more than ever. Please become a member today. Gail & James Andrews ® Sherrill Luke drink water, not sugar Barbara Barry Chan Luu cap.ucla.edu/membership TAYLOR MAC

Théâtre de la Ville

L’État de siege

(The State of“Taylor Mac seduces by Albert Camus you, breaks your heart, Directed by Emmanuel Demarcy-Motapatches it back up again

In a nightmarish future,and a sews sequins along “one of the great experiences of my city is reduced to silence and the scars.” life.” —Wesley Morris, submission under a ruthless Thu, Oct 26 & Fri, Oct 27 The New York Times CAPRoyce UCLA Hall 2017-18 —The Irish CAP UCLA 2017-18 cap.ucla.edu | 310-825-2101 Funds provided by the National Endowment for the Arts Challenge Grant Endowment with additional Tickets on Sale Now! Theatersupport from Anne-Marie Spataru, Deborah SeriesIrmas and Diane Levine. Support comes from The Cultural Services of the French Embassy in the United States 888-929-7849 | cap.ucla.edu Tickets on Sale Now! A 24-Decade History of Popular MusicPhoto by Christophe Dessaigne 310-825-2101 | cap.ucla.edu Thu, Mar 15 - Sat, Mar 24 #CAPUCLA

Tickets on sale now!

@CAP_UCLA #TaylorMacCAPUCLA