February 2005 2005 Spring Season

Peter Schuyff, Death , 2003 ENCORE The Performing Arts Magazine 2005 Spring Season

Brooklyn Academy of Music

Alan H. Fishman Will iam I. Campbell Chairman of the Board Vice Chairman of th e Board

Karen Brooks Hopkins Joseph V. Melil lo President Exec utive Producer

presents Amelia

Approximate BAM Howard Gi lman Opera House running time: February 1, 3-5, 2005 at 7:30pm 1 hour and 30 minutes, no La La La Human Steps intermission by Edouard Lock

Music by David Lang Vocal music-Songs from Lou Reed; lyrics by Lou Reed Costume design by Vandal Set design by Stephane Roy Li ghting design by John Munro

Dancers Andrea Boardman Bernard Martin Mistaya Hemingway Jason Shipley-Holmes Keir Knight Billy Smith Chun Hong Li Zofia Tujaka

Musicians Njo Kong Kie , piano, musical direction Alexandre Castonguay, cello Simon Claude, viol in Nadine Medawar, voca list

Music by arrangement with G. Schirmer, Inc agents in the United States for Red Poppy publisher and copyright owner

Leadership support for Amelia is provided by The Florence Gould Foundation with major support from Tourisme Montreal. Additional engagement support is provided by Quebec Government House, New York.

Delta Air Lines is the official airline for BAM , which also receives major support from The Harkness Foundation for Dance and The Jerome Robbins Foundation, Inc.

The opening night reception for Amelia is sponsored by MEGU-Modern Japanese Cuisine.

IN:NYCsM Card from American Express is the presenting sponsor for BAMfans (young donors club). 11 Amelia Additional Recorded music Normand-Pierre Bilodeau , Alain Thibault production cred its Musical improvisation and arrangement Njo Kong Kie, Alexandre Castonguay, Simon Claude

Co-Producers LG Arts Center, Seoul, Korea Het Muziekth eater, Amsterdam , The Netherlands deSingel, Antwerp, Belgium Theatre de la Vill e, Paris, France National Arts Center, Ottawa, Canada MONTREAL HIGHLIGHTS Festi va l, Montreal , Canada with specia l support from ImPulsTanz, Vienna, Austria

La La La Human Executive Director Lynda Clouette-Mackay Steps Artistic Director Edouard Lock

Rehearsal Staff Rehearsal Director Hua Fang Zhang Trainer and Massage Therapist Shawn Dewberry

Administration Administrative Director Benoit Des Roches Communications and Public Affairs Director Andre Malacket Executive Assistant Chantal Taillon Administrative Assistant Elysabeth Aguila Communication coord inator Alyson MacGregor

Production Touring & Stage Manager Jean-Hugues Rochette Technical & Lighting Director Marc Tetreault Head Carpenter Eric Michaud Sound Engineer Martin De Blois Head Electrician Antoine Rivet Projectionist Johnny O'Neil

Agents Asia , Australia , Mexico & South America: Atmo Production s Brazil: Antares Promo<;6es Europe: Van Baasbank & Baggerman France: Epidemic Japan : Conversation USA: Cadence Arts Network

LA LA LA HUMAN STEPS WISHES TO THANK: The Conseil des arts et des lettres du Quebec, the Canada Counci l for the Arts, the Montrea l Arts Coun cil , the Canadian Department of Foreign Affairs and International Trade, the Fonds de stabili sation et de consolida­ tion des arts et de la cu lture du Quebec, the Ministere de la Culture et des Communications du Quebec, the Cultural Hu man Resou rces Council of Canada , the Place des Arts and Tourisme Montreal.

www.lalalahumansteps.com Program note

When the body is in flux it has a relatively abstract and incomplete shape. Memories tend to be like that as well for me.

This piece has to do with some memories I had of Emile, a trans­ vestite I knew when I was about eighteen. I used to go visit him with some friends. His house was very detailed with lots of intricate screens. He called him­ self Amelia. I don't think the piece deals as much with those memories as it does about the act of remembering.

"Impurities" stemming from speed, and little details in the choreography, as well as interfer­ ence (from objects, fluctuating light sources, etc.), increase my perception of body shape as a symbol of everything that is on ly partially revealed. I suppose pointe interests me in that con­ text because it does the opposite. It reveals body shape albeit in a graph ic, idealized format. To reveal and to hide seems to me to be memory-like. The films in the piece are based on recording

There is quite a lot of pas de deux work in information from parts of the dancers body and Amelia because I'm interested in seeing how storing them as data. Then the image of the the pairing of. two people can lead to interesting dancer is created separately. The two (data and image) are then brought together, sort of like movement possibilities. Sometimes when the partnering is fast, the tempo is achieved digital puppets. Emile was a puppeteer. through a strong dependency between both dancers. A lot of it is generated through very The piece premiered in Prague in October small weight shifts, which tend to not be 2002, and its last previous performance was in noticeable and wh ich emphasize timing and Tokyo in June 2004. It was revived specifically cooperation , rather than strength . Mutual for BAM and will not be presented again. dependence is interesting to me because I think it reflects the way things really are, - Edouard Lock even though they don't always appear to be that way. Photo of Mistaya Hemingway and Jason Shipley Holmes by Edouard Lock Who's Who Edouard Lock (founder/artistic director and and restate performances based on sound choreographer) began his choreographic career technical fundamentals and a renewal of in 1974 at the age of 20, creating work for a performance values that range from the hyper number of Canadian companies. In 1980 he physical to the lyrical. The company has founded La La La Human Steps, a company coll aborated with institutions as varied as the that has garnered strong international recogni­ Paris Opera and Frank Zappa. Amelia, the tion and is approaching its 25th anniversary. ninth piece in th e company's history, was pre­ Over the yea rs he has bee n invited to create miered in Prague in October 2002 and toured works for companies such as the Pari s Opera nationally and internationally until July 2004. , the , and the Het Nationale Ballet of Holland. His works Dancers received Bessies in 1985 for Human Sex, the 2001 Prix Denise Pelletier, The Canadian Andrea Boardman began her ballet training in National Arts Centre Awa rd , and th e 2003 New Jersey, and later attended the National Benois de la Danse in Moscow for AndreAuria , Academy of Dance (Illinois), where she was a ballet which premiered in October 2002 at awarded first prize in the National Merit the Pari s Opera Ballet. His company La La La Scholarship Awards. In 1978, she danced with Human Steps participated in the Pari s National the American Ballet Theatre's Ballet Repertory Opera's production of Les Boreades (BAM Company until 1980, when she joined Les 2003 Spring Season). A film adaptation of Grands Canadiens de Montrea l. Amelia directed by Edouard Lock had its Principal dancer at Les Grands Ballets from American premiere at last year's Tribeca Film 1985 to 2001, she has performed in over 75 Festival and was most recently shown at ballets of the repertoire, demonstrating a Siamdance International Film Festival in Park versatility that encompasses an impressive City Utah. Th is film has won its ca tegory in range in style, from traditional classics to dar­ numerous international festivals including the ing contemporary works. Over the course of her Chicago Film Festival , La Rose D'or Television career, she has coll aborated with world­ Festival in Switzerland , The Prague Inter­ renowned choreographers; her passion and national Festival, and won in all categories sensitivity as an artist in spired James Kudelka, for the Jury awa rd at the International Banff , and Mark Morris to create works Television Festi va l in Canada. It is also recipient especially for her, among others. Featured in six of two Geminis, and was a finalist at the telev ision films honoring dance, Boardman has Intern ati onal Emmy Awards. been invited severa l times to perform at the internationally celebrated Gala des Etoiles and La La La Human Steps was founded in 1980 at Dancers for Life benefit events, among other around a three-week series of performances in guest appearances. Boardman join ed La La La a tiny theater in Montreal fol lowed by a week Human Steps in July 200l. at The Kitchen in New York . Since then it has become one of the most recognized dance Mistaya Hemingway, born in Edmonton, companies in the world and has earned Alberta , completed her professional dance international recognition by developing a training at the National Ballet School , in unique choreographic language that has been Toronto. In 1994, she moved to Stuttgart, constantly reinvented over its 24-year history. where she continued to train and perform at Choreographic complexity, the alteration of the Stuttgarter Staatstheatre. She then moved balletic structures, and the intertwining of to Amsterdam in 1996 and joined the Dutch choreographic, musical , and cinematic strands National Ballet, where she danced in Twyla are among the elements that create a sense of Tharp's In the Upper Room . In 1999, she perceptual distortion and renewal , encouraging became member of Alberta Ballet, performing audiences to both reinvent and rediscover the in ballets by Dominique Dumais and Jorma body and its dance. The company has encour­ Elo. Hemingway joined La La La Human Steps aged its dancers to question, define, renew, in 200l. Who's Who

Kei r Kn ight, born in Calgary, Alberta , attended North Carolina School of the Arts, Pacifi c Northwest Ball et School, and Roya l Winnipeg Ballet School. Knight joined La La La Human Steps as a former dancer with the Roya l Winnipeg Ballet. He appeared in Salt during the Spring 1999 European tour. He trained with Truman Finney, Magali Messac, and David Moroni .

Chun Hong Li began her ballet studies at the Beijing Dance Academy. In September 1995, she joi ned the National Ball et of China where, one year later, she became soloist. Over direction of David Moroni. In 1991-92, he the cou rse of her ca reer, she participated in was a member of the Royal Winnipeg Ballet. numerou s international dance festival s and she The following year, he joined Les Grands won a prize at the Fourth National Peach and Ballets Canadiens de Montreal, where he per­ Plum Cup dance competition of China , in the formed in various works including Ba lanchine, female solo catego ry. Li joined La La La Jiri Kylia n, Nacho Duato, and Edouard Lock's Human Steps in 200l. Etude. In 1997, Shipley-Holmes joined La La La Human Steps and performed in Salt. Bernard Marti n, born in Montreal, first studied at the Pierre Crepeau Dance School before Billy Sm ith , born in West Palm Beach, FL, first graduating from the Ecole superieure de danse studied dance at the Palm Beach County du Quebec in 1988. Over the course of his School of th e Arts. He pursued his training at career, he danced with Les Grands Ballets the Ailey School then at the North Carolina Canadiens de Montreal , La Fondation Jean­ School of the Arts. In August 1999, he joined Pierre Perreau lt, Systeme D/Dom inique Porte, the School of American Ball et. In February and with Montreal Danse. He also performed 2000, he became a member of Les Ballets in the film Cafe Boheme , choreographed by Grandiva, where he was soloist and danced Gioconda Barbuto. Martin joi ned La La La principal roles. Billy joined La La La Hu man Human Steps in 2001. Steps in 2001.

Jason Shi pley-Holmes, born in Brantford , Zofia Tujaka , born in New York , began her Ontario, grew up in Vancouver, British professional dance training at the school of the Columbia . From 1989 to 1991 , he studied at Cleveland Ballet and later at the Royal the Royal Winnipeg Ballet School under the Winnipeg Ballet School. She toured and Who's Who performed with the Royal Winnipeg Ballet until contributed original music to the soundtrack December 1996. She then joined La La La of Edouard Lock's film Amelia . He is the Human Steps during their final shows of 2. cellist of Day OFF, founded with Simon Claude She has also performed in Edouard Lock's Salt , and Njo Kong Kie (www.dayoff.ca). created in the fall of 1998. Simon Claude (violin) received his formal Musicians musical training at L'ecole Vincent d'indy and Universite de Montreal (with Vladimir Njo Kong Kie (pianist and musical director) Lansman). In 1995, he founded the tango joined La La La Human Steps in 1996 and has group Intakto with Alejandro Venegas. After toured on the last three company productions: more than 300 concerts given in the Americas, 2, Salt, and Amelia. He performed in and con­ Europe and Asia, they released their first album tributed original music to the soundtrack of in 2002, which features three of his own com­ Edouard Lock's film Amelia . His compositions positions and is a critical as well as popular have also been used in the websites of the success. The album won the 2003 Album of London International Festival of Theatre and the Year ADISQ Felix Award for world music Margaret Atwood's novel Oryx and Crake . and garnered a Juno award nomination in the Recently, he founded the band Day OFF same category. Claude has collaborated on (www.dayoff.ca) with Alexandre Castonguay stage and on discs with many artists from very and Simon Claude, performing music he wrote diverse horizons such as pop singers Mitsou, during the days off of the two-year tour of Chloe Ste-Marie, rap group Loco Locass, Amelia. Knotty together, a naughty and gay French legend Salvatore Adamo (with the hon­ chamber opera in three short acts, written with our of leading the string section), DJ Mark librettist Anna Chatterton, will be performed in Anthony, jazz pianist Omar Sosa , and guitarist the 27th Rhubarb! Festival at the Buddies in Mario Chenart. Claude can be heard on the Bad Times Theatre in Toronto in Feb 2005. Of Radio Canada series Chartrand et Simone, as Chinese descent, Kong Kie was born in Medan, solo violinist, as well as a variety of films, Sumatra, and lived in Macau and Lisbon. He television shows, and commercials. He joined now calls Toronto home. La La La Human Steps in 2002 and has performed with the company across Europe, Alexandre Castonguay (cello) was born in Asia , and North America. He performed in and Sherbrooke, Quebec and studied cello with contributed origina l music to the soundtrack Caro l Sirois. he continued his studies at the of Edouard Lock's fil m Amelia. He is the Universite de Montreal with Therese Motard violinist of Day OFF, founded with Alexandre and Yuli Turovsky, graduating with a diploma in Castonguay and Njo Kong Kie (www.dayoff.ca). Musical Interpretation Studies. He pursued fur­ ther training at the Royal Northern College of Nadine Medawar (vocalist) started studying Music in Manchester under the direction of classical piano in Lebanon, where she was Emma Ferrand . He was first cello of the born . She continued her studies in classical Musical Youth World Orchestra and later the music in Montreal until the age of eighteen , to Sherbrooke Symphony Orchestra . He has finally concentrate on her vocal training. played with various orchestras including Medawar has also completed her studies in the Halle Orchestra (UK), L'Ensemble Strategy and International Business at McGill Contemporain de Montreal, the orchestra of University. In the past three years, she has Opera Lyra in Ottawa , and the Ensemble participated to the 4e Jeux de la Francophonie, Instrumental Appassionata. In the fall of 2004, the Festival international de la chanson de he gave a series of recitals under the auspices Granby, and was finalist in the auditions of the of the Maison de la Culture de Montreal. He Quebec version of the musical Romeo & joined La La La Human Steps in 2002 and has Juliette. She joined La La La Human Steps in performed with the company across Europe, May 2003. Asia and North Ameri ca. He performed in and