User Not Found by Dante Or Die Created by Daphna Attias & Terry O’Donovan Written by Chris Goode

NOV 6—16

User A SEASON OF BAM DEBUTS Not Found Season Sponsor: BAM Next Wave 2019

Brooklyn Academy of Music

Adam E. Max, BAM Board Chair Katy Clark, President

William I. Campbell and Nora Ann Wallace, David Binder, Artistic Director BAM Board Vice Chairs User Not Found By Dante or Die Created by Daphna Attias & Terry O’Donovan Written by Chris Goode

Greene Grape Annex, 753 Fulton St

Nov 6 & 7, 12—14 at 8pm; Nov 8, 9, 15 & 16 at 6pm & 8:30pm

Running time: approx. 90 minutes, no intermission

Directed by Daphna Attias Performed by Terry O’Donovan Creative technology design by Marmelo Lighting & set design by Zia Bergin-Holly Composition & sound design by Yaniv Fridel Video design by Preference Studio Costume design & design assistant Alessia Mallardo Access development & captioning Sophie Gunn

Season Sponsor:

Leadership support for BAM Access Programs provided by the Jerome L. Greene Foundation

Leadership support for theater at BAM provided by The Fan Fox & Leslie R. Samuels Foundation, Inc.; The SHS Foundation; and The Shubert Foundation, Inc.

Leadership support for User Not Found provided by the BAM Young Producers

Leadership support for off-site programs provided by the Howard Gilman Foundation User Not Found

USER NOT FOUND one and developed a world-within-a-world to immerse our audience in, alongside the rest By Dante or Die of our inspirational creative team including

@danteordie designer Zia Bergin-Holly, videographers Photo: Justin Jones danteordie.com Preference Studio, and a brilliant team of technical stage managers. Three years ago we read Caroline Twigg’s One of our initial instincts was to stage article in The Guardian, questioning what the performance in a café—the contemporary should happen to her husband’s digital office/anonymous communal zone. People legacy after his sudden death. Her writing connecting to the world through screens, yet is a moving depiction of grief magnified insulated from it by headphones. What if the through the screen-life of the man she had person sitting next to us was watching the lost in reality. We could immediately picture pop music video that reminded them of their a performance inspired by this contemporary lost lover, or getting a Facebook message with evolution of grieving. the worst news possible? We wanted to create Our audience would see into the online an insular world of an individual within a world of someone faced with the questions communal space. that go hand in hand with any legacy: what We love sharing our story with small should or shouldn’t you read and how privacy groups of people in cafés around the world has changed as smartphones have become so and these performances as part of BAM’s Next entwined with our lives. Wave Festival mark our US debut. We hope Our process has been enlightening. We the production will spark a conversation with met with John Troyer at University of Bath’s the person sitting next to you and will amuse, Centre for Death & Society, questioned Aleks move you and trigger a debate with your loved Krotoski who has written on digital afterlife ones. We hope to hear from you and stay in Untangling the Web and her BBC4 connected in this weird digital world that we’re podcast The Digital Human. We’ve also all navigating, by tapping and swiping with our collaborated with University of Reading on a “real” digits. research project exploring social media within Please do let us know @danteordie contemporary performance. #UserNotFound or [email protected] – We knew we needed a collaborator to would you push the button? build our imagined digital world. After many meetings trying to explain the project with a —Terry O’Donovan & Daphna Attias, variety of what we were told were “creative co-artistic directors of Dante or Die technologists,” we met Luke and Abhinav from Marmelo. Their creative and detailed approach to both the subject matter and developing the technical language, platform and content has been a continued source of inspiration. We had three adjectives in mind for a writer to collaborate with: provocative, warm, and human. Chris Goode was top of the list. Creating User Not Found with him has been a dream. Generous and insightful in his united approach, he contested our perceptions and crafted a script that has been a new challenge for us to direct and perform. Composer Yaniv Fridel has collaborated with us since day User Not Found User Not Found Photo: Justin Jones

ADDITIONAL PRODUCTION CREDITS Producer Sophie Ignatieff Production management Philippa Mannion Technical stage management Oran O’Neill Movement direction Sarah Lamb Assistant composer, additional production & music Oscar Moos Additional composition Ofer (OJ) Shabi Laurent Mercier vocals JJ

PR representative Cliona Roberts Production photography Justin Jones

@danteordie danteordie.com Who’s Who FROM THE WRITER AND DIRECTOR OF YERMA

DANTE OR DIE makes bold and ambitious site- of the Radiant Child (2007), to intimate solo based performances that tour across the world. storytelling pieces like Kiss of Life (2002) and We transform ordinary spaces to create unique We Must Perform A Quirkafleeg! (2006), one and intimate experiences. Led by co-founders of a series of performances made specifically for Daphna Attias and Terry O’Donovan, Dante or audiences’ own homes; and from script-based ROSE BYRNE BOBBY CANNAVALE Die choreographs audiences to explore and pieces like King Pelican (2009, nominated celebrate contemporary human stories in real for a TMA Award for Best New Play) to more places, such as hotel rooms, leisure centers, obviously experimental works such as Hey self-storage buildings, and ski lifts. We are Mathew (2008) and Glass House (2009), a SITELINES Associate Artists at South Street, a performance installation for Deloitte Ignite at UK arts center which champions performance in the Royal Opera House. In 2009 he published unusual locations. The History of Airports: Selected texts for CO-ARTISTIC DIRECTORS performance 1995—2009, which was launched Daphna Attias, Terry O’Donovan during a retrospective season hosted jointly by Executive Producer Lucy Atkinson Artsadmin and Camden People’s Theatre. He is Producer Sophie Ignatieff increasingly noted for his reading/performances Associate Artist Anna Richmond of experimental work by earlier poets and artists, Access Associate Sophie Gunn including Kurt Schwitters, Christopher Knowles, danteordie.com Samuel Beckett, and Michael Basinski. He is an @danteordie associate researcher at Rose Bruford College and a member of the advisory panel to the Archive DAPHNA ATTIAS (creator, director) is co-artistic of the Now. director of Dante or Die Theatre. She has directed Twitter:@chrisgoodeandco all of the company’s work to date, including La Fille a La Mode, I Do, Handle With Care, TERRY O’DONOVAN (creator, performer) has and Take On Me. She is also artistic director of worked as an actor, director, and producer since Peut-Être Theatre, with whom she creates dance 2005. As co-artistic director of Dante or Die, he theater performances for young audiences. Her has co-created all productions and performed directorial work with Peut-Être includes Tidy Up, in most. He specializes in creating intimate and Shh...Bang!, The Tin Soldier, Dare to Sea, and immersive performances. He recently directed Draw Me a Bird. In 2017 she received an Action the acclaimed new site-specific production Bread for Children’s Arts Members Award for her prolific Not Profits, which the Irish Times described as theater productions which now tour the world. “truly exceptional in both scale and content.” On Her work has been presented and performed The Wire, O’Donovan’s 2015 production for Irish nationally and internationally at venues such as company Wildebeest Theatre, was nominated Almeida Theatre, Roundhouse, Royal Albert Hall, for Best Production in the Irish Times Theatre Brighton Festival, Southbank Centre, Lincoln Awards. Other directing credits include The Center, and in Malta, Israel, Singapore, France, Secret Princess of Severndroog (Look Left Look and China. With Dante or Die, Attias has worked Right commission for Greenwich and Docklands WRITTEN AND DIRECTED BY in partnership with University of Reading for International Festival). In 2012 he co-founded over 10 years, collaborated with academics and TOOT to make Ten Out of Ten, an Ovalhouse experts from a wide range of special areas, and commission that toured throughout 2013—14. SIMON STONE Photo: Caitlin Cronenberg guest lectured at a variety of universities such Since then he has co-created Be Here Now and as Royal Central School of Speech & Drama and Focus Group which have both toured the UK. University of Salford. The company has collaborated with a variety of lnstagram: @DaphnaAttias organizations to make accessible and challenging SIX WEEKS ONLY! JAN 12—FEB 23 TICKETS ON SALE NOW interactive work. With Dante or Die, he has CHRIS GOODE (writer) is a writer and maker worked in partnership with University of Reading PRODUCED BY BAM, INTERNATIONAAL THEATER AMSTERDAM, AND DAVID LAN working in theater and live performance. He has for over 10 years, collaborated with academics amassed a significant body of unpredictable work and experts from a wide range of special areas, BAM.org/Medea 718.636.4100 SEASON SPONSOR: LEADERSHIP SUPPORT LEADERSHIP in diverse formats: from large-scale theater-based and guest lectured at a variety of universities FOR BAM ACCESS SUPPORT FOR PROGRAMS PROVIDED BY THEATER AT BAM projects such as Men in the Cities (Royal Court; such as Royal Central School of Speech & Drama THE JEROME L. GREENE PROVIDED BY THE Traverse), Monkey Bars (Traverse/Unicorn), and University of Salford. FOUNDATION SHS FOUNDATION The Consolations (1999), and Speed Death Twitter: @terryodonovan Proud Partner of AND THE SHUBERT BAM Medea FOUNDATION, INC. BAM SIX WEEKSONLY! BAM.org/Medea PRODUCED BYBAM,INTERNATIONAAL THEATER AMSTERDAM, ANDDAVID LAN 718.636.4100 FROM THEWRITERANDDIRECTOR OFYERMA ROSE BYRNE BYRNE ROSE JAN 12—FEB 23 JAN 12—FEB SIMON STONE WRITTEN AND DIRECTED BY DIRECTED AND WRITTEN SEASON SPONSOR: Proud Partner of Medea

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Photo: Caitlin Cronenberg

Photo by János Posztós Photo: Justin Jones Who’s Who

MARMELO (creative technology design) is writing, producing, and engineering music a team of technologists and designers who internationally for both established and emerging specialize in helping creatives bring stories to life artists and to accompany film, TV, and theater with technology. Over the past three years they productions, amassing an impressive client have worked with numerous theater companies list between them of Idris Elba, Louis Theroux, and cultural organizations, for example building a Diplo, Usher, Lethal Bizzle, Arrow Benjamin, Lisa motion capture experience allowing guests of the Stansfield, the BBC, and the National Theatre Royal Shakespeare Company’s Stratford-Upon- UK. Together they formed a production team Avon theater to take the role of Prospero and of young talented producers working from their create a virtual tempest that engulfed the foyer. creative hub at Soho Sonic studios in London. They also partnered with site-specific theater Instagram: @ojandfridel company Dante or Die to devise and develop bespoke technology for User Not Found. Other PREFERENCE STUDIO (video design) is a small projects have included installations with the Old but punchy film production company specializing Vic London and the Rheged Gallery in Cumbria. in producing bespoke creative video and audio With all of these, their goal has been to develop content. Stephen and Benjamin studied at the and use technology in a way that enhances Surrey Institute of Art and Design (now UCCA) and audiences’ ability to engage with art, without it between them specialize in cinematography and becoming a distraction and hopefully adding a video arts, film editing, experimental video, motion light sprinkling of magic to work that they feel graphics, and sound design/music production. passionately about. Instagram: @preferencestudio Twitter: @marmelodigital ALESSIA MALLARDO (costume design and ZIA BERGIN-HOLLY (lighting and set design) design assistance) graduated with a First Class designs lighting and sets for international theater, BA HONS degree in theater, performance, and dance, opera, and live music events. She won event design at Birmingham City University in the 2017 Irish Times Theatre Award for Best the summer of 2017. She had an avid interest Lighting Design for her design of Pan Pan Theatre in and determination to work with immersive Company’s 2016 production of The Importance and intimate shows, and so contacted Dante Or of Nothing, which was revived for touring in Die, becoming the costume designer on User 2018. Her stage set and lighting designs include Not Found. Over the past year, Mallardo has The Misfits for Corn Exchange; Bullet Tongue for transitioned into television as an art department Big House (sets); User Not Found for Dante or assistant for shows including the fantasy-comedy Die; They Called Her Vivaldi for Theatre Lovett remake of Worzel Gummidge, airing on BBC at the Abbey Theatre, Dublin/Irish and North One, Season two of the BBC comedy-sketch American tours; The Shitstorm for The Abbey show Famalam, and the second season of British Theatre and Dublin Fringe Festival; designing comedy-drama Sick Of It, released on Sky One. the Olympia Theatre, Dublin performances of As well as television, Mallardo has dabbled in Grace Jones concerts for Bloodlight, and Bami the music industry assisting on the Chemical by Blinder Films (sets). Recent stage lighting Brothers’ We’ve Got To Try music video. Currently designs include Cleft and Melt for Rough Magic, she works as an art department assistant on Bread Not Profits for Gúna Nua, Apologia, There She Goes, a comedy-drama returning for a The Lion in Winter, and Hand to God for the second season on the BBC. English Theatre Frankfurt, Frankie and Johnny lnstagram: @alessia.mallardo.designs in the Clair De Lune for Northern Stage, The Nest for Lyric Theatre Belfast and Young Vic SOPHIE GUNN (access development and Theatre London, and Fabric for Robin Rayner captioning) has been collaborating with Dante Productions, a Scotsman Fringe First Award or Die as a D/deaf Access Associate since 2017. Winner. Upcoming work includes projects with Passionate about making all theater and arts Unicorn Theatre, Hull Truck Theatre, and Silver accessible to D/deaf audiences, Gunn aims Blue Entertainment. to have accessibility integrated as a key part Twitter: @ziaaislinn of the creative process. She led on embedded captioning for User Not Found and performed YANIV FRIDEL (composition and sound design), in Take On Me during which she communicated with his partner OJ, has 15 years of experience through BSL at all performances, to ensure every Strengthening

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BAM_5.25x8.375_Bleed.indd 1 9/6/18 11:11 AM Photo: Marmelo Who’s Who performance was accessible to D/deaf audiences. London–West End); Anna Bolena, Don Giovanni, She is a CODA (Child of a Deaf Adult) who has La Calisto (all Longborough Festival Opera, been brought up around D/deaf people. She met 2019 Season); User Not Found (Dante or Die, Dante or Die through the Hunt Academy for Young UK Tour); good dog (tiata fahodzi, UK tour), The Actors and was part of the guest cast when Take Curious Incident of the Dog in the Night-Time On Me first toured in 2016. Gunn runs deaf (National Theatre, Schools Tour); The Fishermen awareness courses at Legoland with the aim of (New Perspectives, HOME Manchester/Assembly improving the experience of d/Deaf guests. She is Studio 2, Edinburgh); A Fortunate Man (New working towards being a fully qualified interpreter. Perspectives, HOME Manchester/AssemblyStudio Twitter: @sophieaccess 2, Edinburgh); La traviata (Longborough Festival Opera, 2018); Here I Belong (Pentabus, UK tour); PHILIPPA MANNION (production management) Wolves Are Coming For You (Pentabus, UK tour); is a stage manager from Edinburgh, Scotland. As the Crow Flies (Pentabus, UK tour); Scottish She has an MA (Hons) in theater studies from Ballet Up Close (Scottish Ballet, Scotland Tour). the University of Glasgow and MA in writing for Twitter: @orancheeks performance and dramaturgy from Goldsmiths College, London. She specializes in working in SOPHIE IGNATIEFF (producer) is an outdoor arts and site-specific theater and has experienced creative producer who has worked with Nutkhut, Actors Touring Company, produced in a wide range of contexts from and Welsh National Opera, to name a few. festivals to major venues to independent touring For Dante or Die, Mannion has worked as a companies, for a diversity of audiences and technical stage manager on User Not Found scales. She began her career producing projects since April 2018, realizing the show’s technical for young people and adults at the National elements through the rehearsal period, previews, Theatre. Her experience of producing in house opening at Edinburgh Fringe, and then on all for venues continued at Leeds Playhouse subsequent UK and international tours. She where she programmed several seasons and continues to work on the show as a TSM on the produced productions across all spaces. Prior latest UK tour and London run. Mannion worked to joining Dante or Die, she had also worked as the co-production manager for a second Dante with independent touring companies at Look or Die show, Take On Me, which toured venues Left Look Right and tiata fahodzi, as well as around the UK in 2018—19. She is also an Apple developing and touring a new cabaret with Certified Mac Technician, having worked for Apple emerging theatermaker Miriam Sherwood. Retail as a Genius from 2016—18. Her international festival experience includes Twitter: @mannionaise working at Manchester International Festival, where she was assistant producer on the large- ORAN O’NEILL (technical stage management) scale international touring production, Tree of trained on the BA production technology and Codes, including the New York transfer. Ignatieff management course at the Royal Conservatoire joined the Dante or Die team in April 2018 and of Scotland, and worked in Glasgow for six collaborates across all live and upcoming projects years before relocating to London. O’Neill’s first including producing the company’s large-scale involvement with Dante or Die was the 2019 community touring production Take On Me spring/summer tour of User Not Found as and the upcoming Kiss Marry Kill, involving an one of the technical stage managers. Selected ensemble of ex-prisoners. theater credits include: The Fishermen (New Twitter: @sophieignatieff Perspectives, Edinburgh Fringe/Trafalgar Studios, BAM User Not Found

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VIDEO & PHOTOGRAPHY Joseph Black (Luka), Angela Ekaette Michaels (Maria), James Short (Laurent Mercier), Freya Storch (Laurent Mercier’s Nouveau Monde), Simon Rice (Tim), Stuart Barter (voiceover), Fiona Watson (voiceover), Zoe Allum, Robert Beck, Shelby Bond, Anastasia Booth, Edward Dingley, Patrick James French, Stephanie Fuller, Benjamin Grant, Sophie Gunn, Charlie Hendren, Ben Howarth, Sophia Kak- embo, Bridget Lappin, Makis Mezopoulos, Ken Mulligan, Madeleine Oslejsek, Pedro Pablo Rodriguez, BAM Faith Rowley, Maria-Eleni Sitaropoulou. THANK YOU Inna, Hannah and Richard at Stone Nest. Nir Meiri, Maya Politaki, Anna Richmond, Kirsten Burrows, Faith Rowley, Neil Maes and Abigail Coe. Lib Taylor, Lucy Jeffery, Chris Bacon & Lucy Tyler at the University of Reading. Sarah Hunt (HAYA). John Luther. Central School of Speech & Drama. John Troyer. Aleks Krotoski. Dr Alexander Lyons. Michael Harpur. Matt Eames. Andy Budd at Clearleft. George Spender & Konstantinos Vasdekis at Oberon. Emily Coleman, Ben Anderson and the team at In Good Company & Derby Theatre. The team at Artsdepot and Kerry Andrews. Shân MacLennan and the team at Southbank Centre. Paul & Ed and all at China Plate, New Wolsey & PULSE. Marie, Derek, Jack and the Roundhouse team. Orla O’Loughlin & Ruth McEwan and the Traverse team. Kate, Vivian and all at Jeelie Piece Café. Patricia and all at The CoffeeWorks Project. Dan Hills at Laine Pub Company. Dom Francis at Deafinitely Theatre. Rachael Spence. Rachel Clarke. Adeane Hardy. Carmel Macaree. Andy Lawson. Pamela Vision. Fiona Anderson at Stagetext. Scott and Holly Ryan. Gavin and Hannah at Farnham Maltings. David and all at BAM. And all of our supportive & dedicated board members.

Commissioned by In Good Company’s mid-career artist commission and supported by artsdepot’s Creative Residencies, Southbank Centre, South Street, The New Wolsey Theatre, University of Reading, Roundhouse London, Stone Nest, and Farnham Maltings. Preferred Hotel User Not Found is funded by IMAF, AHRC, Cockayne - Grants for the Arts, The London Community Foundation, The Wellcome Trust Public Engagement Fund, and Arts Council England. Salutes Young Producers Are you a BAM supporter in your 20’s, 30’s, or early 40’s?

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A SEASON OF ALL NEW BAM ARTISTS Barber Shop Chronicles DEC 3—8 Photo: Dean Chalkley

One of the “best theatre shows of the 21st century” —THE GUARDIAN (UK) FUEL / NATIONAL THEATRE / LEEDS PLAYHOUSE BY INUA ELLAMS DIRECTED BY BIJAN SHEIBANI

718.636.4100 BAM.org Tickets start at $35 Season Sponsor: Leadership support for BAM Leadership support for theater at Additional support provided by Access Programs provided by the BAM provided by The Fan Fox & President’s Circle members Jerome L. Greene Foundation Leslie R. Samuels Foundation, Inc.; William D. & Susan Kahan Rifkin The SHS Foundation; and The Shubert Foundation, Inc. A cropped photographA cropped of Merce photographA croppedCunningham’s of Merce photograph Cunningham’s How Toof How MercePass, To Pass, Kick, Cunningham’s Kick, Fall Fall and Run Run How To Pass, Kick, Fall and Run omitting John Cage omittingsitting John stage Cageomitting left. sitting Merce Johnstage left.CunninghamCage Merce sitting Cunningham stageDance Dance left. Company Company Merce 1970 Cunningham1970 Dance Company 1970 Photo: JamesPhoto: Klosty, James courtesy Klosty, courtesy Photo:BAM BAM Hamm James Hamm Archives Klosty, courtesy BAM Hamm Archives A cropped photograph of Merce Cunningham’s How To Pass, Kick, Fall and Run omitting John Cage sitting stage left. Merce Cunningham Dance Company 1970 Photo: James Klosty, courtesy BAM Hamm Archives

A cropped photograph of Merce Cunningham’s How To Pass, Kick, Fall and Run omitting John Cage sitting stage left. Merce Cunningham Dance Company 1970 Photo: James Klosty, courtesy BAM Hamm Archives WORKING PHOTO: ELLIOTT KAUFMAN ELLIOTT PHOTO: IN CONCERT Barber Shop Chronicles IS WHAT WE DO. Fly toward something better with the help of 80,000 Delta employees who do everything they can to help you explore what’s possible.

Photo: Marc Brenner

Barber shops can be safe spaces for Black men, where opinions fly while getting a cut and a shave, or waiting for your favorite barber. By Matthew Allen WORKING PHOTO: ELLIOTT KAUFMAN ELLIOTT PHOTO: IN CONCERT Barber Shop Chronicles In conversation IS WHAT WE DO. Fly toward something better with the help of 80,000 Delta employees who do everything they can to help you explore what’s possible.

Photo: Marc Brenner Photo: Jesse Winter

Barber shops can be safe spaces for Black men, BAM President Katy Clark talks with new where opinions fly while getting a cut and a Artistic Director David Binder about his first shave, or waiting for your favorite barber. Next Wave. By Matthew Allen

Artists & audiences get closer Nov 2019 Contents

In Many Hands. Photo: Dirk Rose

Boundaries in theaters are falling, and audiences mingle with performers on an ever more intimate scale. The Next Wave offers a slate of close-up events. By Susan Yung Photo: Marc Brenner

ONE OF THE 20th century, aside from his home and the BY MATTHEW BASTIONS OF church, the barber shop was traditionally all he ALLEN UNFILTERED had to call his own—the only place untainted African-American by the dreaded white gaze. To understand the discourse—the barber importance of the barber shop, observe such shop—is the setting evidence in over 50 years of pop culture. for a Next Wave show. When contemplating First and foremost is the obvious—the where a Black man can have a safe space to desire to look good. From Afros and dark express his feelings and engage in unbridled caesars, to high-top fades and faux-hawks, debate and dialogue, a business where one grooming can be paramount to the Black man, gets haircuts may be the last place that comes whether to look presentable for an interview, or to mind, but it’s true. Making its New York impress a date. But you might have to wait, as debut on December 3 at the Harvey Theater not every head is fit for every cutter, so when at BAM Strong, Barber Shop Chronicles (Fuel/ you find the right barber, you’ll wait no matter National Theatre/Leeds Playhouse) finds six what—whether there are three people ahead cities throughout the African Diaspora united or two vacant barbers with nothing to do. by two commonalities—getting a fresh trim In a 2018 episode of FX’s Emmy-winning Honest discourse is the key to fostering and speaking your mind. comedy Atlanta, we bust a gut watching Paper healthy communication and solutions to Stemming from slavery and running all the Boi falling folly after ridiculous folly with his social ills. For Black American males, the way to the age of Trump, the Black American barber, Bibby, all to get his hair cut in exactly barber shop has been a forum for examining male has scarcely had a place or platform the way he wants and needs it. It’s hilarious, race relations and interaction between the where he could fearlessly express his thoughts but it also speaks to an underlying theme sexes. You’ll see this in Wattstax (1973), and observations. The origin of the barber is that comes with your barber: trust. Reliability for instance. The documentary on the traced to Ancient Egypt, as far back as 5000 is paramount—knowing what you’re going titular music festival commemorating the BC. While the foundation of the “business” to get, which can sometimes only attributed 1967 Watts Riots in LA not only featured derives from Africa, barber shop “culture” is to negative things, like police harassment, performances from Isaac Hayes, Allen King, strong throughout the African diaspora. In the for one. and The Bar-Kays, but also commentary from Watts natives. It’s no accident that many Black citizens were interviewed in local barber shops and beauty salons—safe spaces—speaking unwaveringly on topics like the relations between Black men and Black

Photo: Marc Brenner women, and the pitfalls of being called a nigger at school for the first time. Debates in barber shops have arguably become a part of Black American folklore. The raucous energy and unapologetic opinions—ranging from the best rappers, ball players, and political antics—are welcome and encouraged. Take Showtime’s The Shop (2019), for example. Executive-produced by NBA superstar LeBron James, the program finds athletes, musicians, and entertainers expounding on topics of the day, with hot takes flying about. Comedian Jerrod Carmichael spoke candidly about his disdain Photo: Marc Brenner

20th century, aside from his home and the church, the barber shop was traditionally all he had to call his own—the only place untainted by the dreaded white gaze. To understand the importance of the barber shop, observe such evidence in over 50 years of pop culture. First and foremost is the obvious—the desire to look good. From Afros and dark caesars, to high-top fades and faux-hawks, grooming can be paramount to the Black man, whether to look presentable for an interview, or impress a date. But you might have to wait, as not every head is fit for every cutter, so when BARBER SHOP CHRONICLES you find the right barber, you’ll wait no matter DEC 3—8 what—whether there are three people ahead HARVEY THEATER or two vacant barbers with nothing to do. In a 2018 episode of FX’s Emmy-winning Honest discourse is the key to fostering for Broadway musical Hamilton, an otherwise comedy Atlanta, we bust a gut watching Paper healthy communication and solutions to celebrated multi-cultural phenomenon. Or Boi falling folly after ridiculous folly with his social ills. For Black American males, the John Landis’ Coming to America (1988) barber, Bibby, all to get his hair cut in exactly barber shop has been a forum for examining starring Eddie Murphy, which featured the way he wants and needs it. It’s hilarious, race relations and interaction between the hysterically iconic barber shop disagreements but it also speaks to an underlying theme sexes. You’ll see this in Wattstax (1973), about boxers. that comes with your barber: trust. Reliability for instance. The documentary on the Finally, there’s ownership. In the 1800s, is paramount—knowing what you’re going titular music festival commemorating the the first Black barbers, both free and unfree, to get, which can sometimes only attributed 1967 Watts Riots in LA not only featured almost exclusively served wealthy whites. to negative things, like police harassment, performances from Isaac Hayes, Allen King, Following emancipation, the establishments for one. and The Bar-Kays, but also commentary soon became sacred institutions for African- from Watts natives. It’s no accident that Americans and opportunities for Black many Black citizens were interviewed in men to become proprietors of their own local barber shops and beauty salons—safe businesses. Being a master of your own fate spaces—speaking unwaveringly on topics like is a luxury for most men, but for Black men, the relations between Black men and Black it’s especially not to be taken for granted. It’s

Photo: Marc Brenner women, and the pitfalls of being called a fitting that James used The Shop as the place nigger at school for the first time. where California Governor Gavin Newsom Debates in barber shops have arguably signed a bill allowing college athletes to become a part of Black American folklore. benefit financially when universities use their The raucous energy and unapologetic likeness, name, and image. This will do what opinions—ranging from the best rappers, ball many barber shops do all over the world: players, and political antics—are welcome empower Black men. and encouraged. Take Showtime’s The Shop (2019), for example. Executive-produced by Matthew Allen is a Brooklyn-based TV producer and music NBA superstar LeBron James, the program journalist whose work can be found in Ebony, Jet, The Root, finds athletes, musicians, and entertainers Village Voice, BRIC Community Media, and PBS’ All Arts. expounding on topics of the day, with hot takes flying about. Comedian Jerrod Carmichael spoke candidly about his disdain Season Sponsor: Official Airline of BAM: Official Healthcare Provider of BAM:

Lead Sponsor: Leadership support for BAM Access Reel Impact is co-presented by BAM Initiatives provided by the Jerome L. and Amazon Studios Greene Foundation Lead Sponsor: Leadership support for programming in the Howard Gilman Opera House and BAM Leadership support for dance at BAM for off-site programs provided by: Leadership support for theater and provided by: dance at BAM provided by The SHS Foundation

Leadership support for the BAM Hamm Leadership support for theater at BAM Leadership support for BAM Visual Art Archives and BAM Film, Community, provided by The Fan Fox & Leslie R. provided by Toby Devan Lewis and Education programs provided by Samuels Foundation, Inc.; and The Leadership support for User Not Found The Thompson Family Foundation Shubert Foundation, Inc. provided by the BAM Young Producers Leadership support for opera at BAM provided by Aashish & Dinyar Devitre, and Robert L. Turner

Leadership support for BAM’s programming and initiatives provided by brigittenyc; Brookfield Properties; William I. Campbell & Christine Wächter-Campbell; Doris Duke Charitable Foundation; Robert & Mercedes Eichholz Foundation; Thérèse M. Esperdy & Robert G. Neborak; Jeanne Donovan Fisher; Anne Hubbard & Harvey Schwartz; The Rita and Alex Hillman Foundation; Robin & Edgar Lampert; Diane & Adam E. Max; James I. McLaren & Lawton W. Fitt; Jonathan F.P. & Diana Calthorpe Rose; Axel Stawski & Galia Meiri Stawski; John L. & Eva Usdan; and Nora Ann Wallace & Jack Nusbaum

Major Sponsor of BAM Community Major Sponsor: Major Sponsor: Programs:

Major support for BAM’s programming and initiatives provided by Jonathan & Jessika Auerbach; Tony Bechara; Sarah Billinghurst & Howard Solomon; Natalia Chefer & Joel Tompkins; Linda & Adam Chinn; Suzy & Anthony Davis; The Gladys Krieble Delmas Foundation; Mark Diker & Deborah Colson; Cheryl & Joe Della Rosa; Epstein Teicher Philanthropies; Steven & Susan Felsher; Barry M. Fox; Roberta Garza; Francis Goelet Charitable Lead Trusts; Agnes Gund; The Emily Davie & Joseph S. Kornfeld Foundation; Scott C. McDonald; The Ambrose Monell Foundation; Barbara & Richard Moore; Henry and Lucy Moses Fund, Inc.; The Barbro Osher Pro Suecia Foundation; Rona & David Picket; Donald A. Pels Charitable Trust; The Jerome Robbins Foundation, Inc.; Rockefeller Brothers Fund’s Charles E. Culpeper Arts and Culture Program; Anna Kuzmik Sampas & George Sampas; The Morris and Alma Schapiro Fund; Bartholomew A. Sheehan & Sheila A. Cain; Joseph and Sylvia Slifka Foundation; Starry Night Fund; Douglas C. Steiner; Joseph A. Stern; Tiger Baron Foundation; Virginia B. Toulmin Foundation; and The Joseph LeRoy & Ann C. Warner Fund

Programming in BAM’s Lepercq Space is supported The Steinberg Screen at the BAM Harvey Theater is made possible by The Lepercq Charitable Foundation by The Joseph S. and Diane H. Steinberg Charitable Trust

Additional support for BAM’s programming and initiatives provided by Arthur F. & Alice E. Adams Charitable Foundation; Jody & John Arnhold; Rose M. Badgeley Residuary Charitable Trust; Anne H. Bass; The Bay and Paul Foundations; Charles Hayden Foundation; Goldman Sachs Gives at the direction of R. Martin Chavez; Jim Chervenak; Citi; Steven & Alexandra Cohen Foundation; Constans Culver Foundation; Culture Ireland; Elizabeth De Cuevas; Andre Dua; Miriam Katowitz; John Lipsky; The Frederick Loewe Foundation, Inc.; Gary Lynch & Kate Hall; M&T Bank; David & Susan Marcinek; MetLife Foundation; Gabriel & Lindsay Pizzi; Marcel Przymusinski; William D. & Susan Kahan Rifkin; May and Samuel Rudin Family Foundation, Inc.; Bette & Richard Saltzman; The Scherman Foundation, Inc.; Timothy & Julie Sebunya; Simon Sinek; Jennifer Small & Adam Wolfensohn; Edward & Virginia Spilka; Ellen & Sam Sporn; The Harold and Mimi Steinberg Charitable Trust; Ann Tenenbaum & Thomas H. Lee; The Tillary Hotel; Pedro Jose Torres & Cecilia Picon; Viacom; and Claire & Curtis Wood

The BAM facilities are owned by the City of New York and benefit from public funds provided through the New York City Department of Cultural Affairs with support from Mayor Bill de Blasio; Cultural Affairs Commissioner Tom Finkelpearl; the New York City Council including Council Speaker Corey Johnson, Finance Committee Chair Daniel Dromm, Cultural Affairs Committee Chair Jimmy Van Bramer, Council Member Laurie A. Cumbo, and the Brooklyn Delegation of the Council; and Brooklyn Borough President Eric L. Adams.

BAM would like to thank the Brooklyn Delegations of the New York State Assembly, Joseph R. Lentol, Delegation Leader; and New York Senate, Senator Velmanette Montgomery. Your tax dollars make BAM programs possible through funding from: Salutes Season Sponsor: Official Airline of BAM: Official Healthcare Provider of BAM:

Major Sponsor of BAM Community Major Sponsor: Major Sponsor: Programs:

BAM is deeply grateful to the supporters and patrons listed below for their vital gifts to BAM over the last year.

(List represents gifts between August 28, 2018—August 28, 2019) In Many Hands. Photo by Dirk Rose Photo: Jesse Winter $5,000,000 and above Theater Subdistrict Council Steven & Alexandra Cohen David & Elaine Gould Pia & Jimmy Zankel The City of New York—Bill Robert L. Turner Foundation Pamela Grace Anonymous (5) de Blasio, Mayor John L. & Eva Usdan Carolyn & Paul Cronson The Marc Haas Foundation, The New York City Council— Nora Ann Wallace & Jack Constans Culver Foundation Inc. $5,000 to $9,999 Brooklyn Delegation Nusbaum Elizabeth De Cuevas Mr. & Mrs. Burton K. Haimes Jad Abumrad & Karla The New York City Council— Joseph LeRoy & Ann C. The Gladys Krieble Delmas Charles J. & Irene F. Hamm Murthy Laurie A. Cumbo Warner Fund Foundation Brian Harasek Theresa Galvin & Mark The New York City Council— Elizabeth & Matthew Denys The Francena T. Harrison Almeida Corey Johnson, Speaker $50,000 to $99,999 Dow Jones Foundation Foundation Trust Takis C. Anoussis New York City Department Arthur F. & Alice E. Adams Andre & Stephanie Dua HBO Peter Balis & Brian Goldston of Cultural Affairs Charitable Foundation Estate Of Howard Pitsch The Jim Henson Foundation Hugo Barreca & Wendy The Thompson Family Sarah Billinghurst & Howard MaryAnne Gilmartin Cheryl Henson & Ed Finn Schlemm Foundation Solomon Stephanie & Timothy The DuBose and Dorothy Nathaniel Beck & Karen JPMorgan Chase & Co. Ingrassia Heyward Memorial Fund Hackett $1,000,000 to Linda & Adam Chinn Miriam Katowitz & Arthur Sophie Hughes Alan L. Beller $4,999,999 Con Edison Radin Kelly and André Hunter Barbara Berliner & Sol Apple Suzy & Anthony Davis Ann Tenenbaum & Thomas Household Rymer Aashish & Dinyar Devitre Cheryl & Joe Della Rosa Lee Scott & Viktoriia Irwin Denise Bernardo & Eddie Judith R. & Alan H. Beth Rudin DeWoody Dorothy Lichtenstein Japan-US Friendship Muentes Fishman Mark Diker & Deborah John Lipsky Commission Elaine S. Bernstein Jerome L. Greene Colson M&T Bank Alan Jones & Ashley Garrett Paula & Earl Black Foundation Epstein Teicher David & Susan Marcinek Barbara Haws & Bill Blumhouse Television Leon Levy Foundation Philanthropies MetLife Foundation Josephson The Boston Foundation Diane & Adam E. Max Steven & Susan Felsher Laura Pels International Gene & Terry Kaufman Gordon Bowen New York City Economic Barry M. Fox Foundation for Theater Will & Prattana Kennedy Emily and Mike Cavanagh Development Corporation Francis Goelet Charitable Pfizer Inc. Alexander E. Kipka & Household The SHS Foundation Lead Trusts Gabriel & Lindsay Pizzi Katherine Nintzel Tim & Carol Cole The Robert W. Wilson Gotham Organization, Inc. Marcel Przymusinski David L. Klein, Jr. Foundation The Aaron Copland Fund for Charitable Trust Agnes Gund William D. & Susan Kahan Joan Kreiss Music, Inc. The Emily Davie & Joseph Rifkin Judith & Douglas Krupp The Cowles Charitable Trust $500,000 to $999,999 S. Kornfeld Foundation May and Samuel Rudin Eileen M. Lach Joan K. Davidson (The J.M. Brooklyn Borough The Lepercq Charitable Family Foundation, Inc. Solange Landau Kaplan Fund) President’s Office— Foundation Bette & Richard Saltzman Matthew & Sabrina Leblanc Emme & Jonathan Deland Eric Adams Gary Lynch & Kate Hall In Memory of Robert Sklar Jonathan E. Lehman and Phyllis Levin Jeanne Donovan Fisher Grace Lyu-Volckhausen Edward & Virginia Spilka The Bertha and Isaac Violet & Christopher Eagan Howard Gilman Foundation Scott C. McDonald William & Anne M. Tatlock Liberman Foundation Henry & Kathy Elsesser The Rita and Alex Hillman The Ambrose Monell Lu-Shawn Thompson Jayne Lipman Laurie Garrett Foundation Foundation The Tillary Hotel John Martinez & Andrea Ann and Gordon Getty Robin & Edgar Lampert Barbara & Richard Moore Pedro Jose Torres & Cecilia Bozzo Foundation Stavros Niarchos Foundation Henry and Lucy Moses Picon Constance & H. Roemer Nomi Ghez Foundation Rajika & Anupam Puri Fund, Inc. Viacom McPhee John N. & Gillett A. Gilbert National Endowment for James Wilentz & Robin Medgar Evers College Gifts Parisa Golestaneh $250,000 to $499,000 the Arts Maxwell and Grants Laurel Gonsalves Bloomberg Philanthropies The Barbro Osher Pro Carol Yorke & Gerard Conn Michael Palm Foundation Stephen R. Greenwald & The Brooklyn Hospital Center Suecia Foundation Anonymous (1) Moet Hennessy USA Rebecca A. Sullivan Katy Clark—You told me that while you didn’t William I. Campbell & Donald A. Pels Charitable Edward S. Moore Foundation The Grodzins Fund Christine Wächter- Trust $10,000 to $24,999 Morgan Stanley Henry B. & Karoly S. know it at the time, your varied and winding Campbell rag & bone The Academy of Motion Sanford Nager & Monique Gutman Chubb The Jerome Robbins Picture Arts and Sciences Allain Amy & Ronald Guttman career has been preparing you to come to Doris Duke Charitable Foundation, Inc. American Express Laura Naylor Scott & Ellen Hand Foundation Anna Kuzmik Sampas & Ameriprise Financial The O’Grady Foundation David W. Heleniak BAM the whole time. What did you mean? Anne Hubbard & Harvey George Sampas Allan Arffa & Kay Matschullat William & Laura Taft Paulsen Penn & Diane Holsenbeck Schwartz Santander David Ashen Peck Stacpoole Foundation Richard Hulbert David Binder—When you’re moving through MINI USA Usha Saxena Household The Howard Bayne Fund Patty Dugan Perlmuth Hunter Roberts Construction The Shubert Foundation, Inc. The Morris and Alma Catrina Bentley & Carey R. Maya Polsky Group life, it’s impossible to see how the dots will Schapiro Fund Ramos The Reed Foundation Mark Jackson & Karen connect, but looking back, you can see how $100,000 to $249,999 Bart A. Sheehan & Sheila Frances Bermanzohn & Alan John & Cindy Reed Hagberg Amazon Studios A. Cain Roseman Frances A. Resheske Penny Jackson & Thomas perfectly they align. That’s the case for BAM Jonathan & Jessika Simon Sinek Nick Boris The River Café Campbell Jackson Auerbach Joseph and Sylvia Slifka Mr. & Mrs. Tony Bowe James & Eliza Rossman Mary Kantor and me. Tony Bechara Foundation Brooklyn Daily Eagle Thomas Roush Household Michael Kaye & Andrea Brookfield Properties Jennifer Small & Adam Amy Carlson and Syd Butler Jonathan Rozoff Loukin See, I grew up in Los Angeles, where Delta Air Lines Wolfensohn Household Jessica Salomon and Eman Helen Kim-Bordes Robert and Mercedes Brian Stafford & Céline Michael Carr El Husseini Household Christoph & Flora Kimmich I was mostly exposed to musicals—the Eichholz Foundation Dufétel Betsy and Ed Cohen/Areté Charles Scharf Household Bill Kramer & Peter Thérèse M. Esperdy & Starry Night Fund Foundation Timothy & Julie Sebunya Cipkowski barricade-busting, chandelier-dropping Robert G. Neborak Doug C. Steiner Andrea Compton Vivien & Michael Shelanski Kenneth & Susan Kramer kind. Once in a while, a great play would The Fan Fox & Leslie R. Joseph A. Stern Creative Artists Agency Amy Sherman-Palladino Garrick Leonard & Leslie Samuels Foundation, Inc. Time Warner Foundation Caroline & Paul Cronson Susan & Larry Sills Feder come to town; I saw the Royal Shakespeare Roberta Garza Virginia B. Toulmin Culture Ireland Arielle Tepper Madover Mrs. Wilbur Levin Andrew Gundlach Foundation Ide & David Dangoor Laurie M. Tisch Illumination Carol & Joel Levy Company’s epic Nicholas Nickleby in 1986, The Harkness Foundation Warner Media Group Carole De Beer Fund Christopher Li Greci & for Dance Anonymous (1) Jamie Dimon Jane & Robert Toll Robert Ohlerking or the Broadway production of Fences, but Toby Devan Lewis The Dutch Performing Arts Trust for Mutual Virginia Lovejoy James I. McLaren & Lawton $25,000 to $49,999 Fund NL Understanding Mr. Reed Lowenstein & Dr. mostly big touring shows. W. Fitt Jody & John Arnhold Lauren Embrey Teresa Tsai Melanie Hanan National Grid The Barker Welfare William Everson Wendy vanden Heuvel The Lupin Foundation I went to UC Berkeley and spent a lot New York State Council on Foundation Extell Iva Vukina Anne Mackinnon of time at Cal Performances. Everybody the Arts Anne H. Bass Fred Eychaner Jed Walentas & Kate Camila Pastor & Stephen Onassis Cultural Center NY Brookfield Office Properties Joan Salwen Fields Engelbrecht Maharam performed there—Bill T. Jones with Arnie! Rockefeller Brothers Fund Charles Hayden Foundation Britton & Melina Fisher The Wasily Family Jay and Laurie Mandelbaum Jonathan F.P. & Diana Goldman Sachs Gives at Mr. & Mrs. Austin T. Foundation, Inc. Household I’m so lucky to have seen that. I saw Mark Calthorpe Rose the direction of R. Martin Fragomen, Jr. The Levy-Westhead Family Joyce F. Menschel Axel Stawski & Galia Meiri Chavez Fribourg Family Foundation White & Case LLP Richard & Ronay Menschel Morris in a long wig, dancing with a remote- Stawski Jim Chervenak Kathryn Gettles-Atwa Nathan Williams Bella Meyer The Joseph S. and Diane H. Constance Christensen Richard & Tess Gilder Melina Yabran Josh & Valerie Miller controlled Tonka truck! Steinberg Charitable Trust Citi Elaine Golin Bird Bath & Beyond and me. of time at Cal Performances. Everybody of timeatCalPerformances. Everybody or theBroadwayproductionofFences, but come totown; IsawtheRoyal Shakespeare connect, butlookingback,youcanseehow career hasbeenpreparingyoutocome controlled Tonka truck! performed there—BillT.performed JoneswithArnie! mostly bigtouringshows. perfectly theyalign. That’sthecaseforBAM perfectly I wasmostlyexposedtomusicals—the I’m soluckytohaveseenthat.Isaw Mark BAM thewholetime.Whatdidyoumean? Morris inalongwig, dancingwitharemote- life, it’simpossibletoseehowthedotswill kind. Onceinawhile,greatplaywould know itatthetime,yourvariedandwinding David Binder—Whenyou’removingthrough Company’s epicNicholasNicklebyin1986, Company’s barricade-busting, chandelier-dropping Katy Clark Photo: In ManyJesse Hands.Winter I wenttoUCBerkeleyandspenta lot See, IgrewupinLos Angeles,where Photo by Dirk Rose —You toldmethatwhileyoudidn’t

The BlackRider.AtBAMImetand fellin a PA onTheSecretGarden,andmetJohn errands for legendary designerWilliam Ivey errands forlegendary costume shoprunning critic fortheToronto Star,wastakingher moved toNewYork to university studentstoBAM,andshe always sew. IworkedasaPA on aplaycalledThe at the Cherry Lane;itstarredTonySum ofUsattheCherry work onBroadway. I Long onAssassins Hove’s Death ofKlinghoffer, love withPina Bausch,MalyTheatre,Cheek had manyjobs—inthe had an extra ticket. I saw everything. had anextraticket.Isaweverything. Hedwig and the Angry Inch. that becameHedwigandtheAngry the next20yearswith,workingonashow Cameron MitchellwhoIendedupspending Goldwyn, whorecentlystarredinIvovan After collegeI After David—My friendKarenFricker, atheater Katy—How didyoufirstwindupatBAM? Network, whichIproduced.was even thoughIcouldn’t The HardNut, ARTISTIC DIRECTOR KATY CLARK WITH BAM’SNEW BAM PRESIDENT DAVID BINDER Still/Here, The TALKS

BAM Supporters & Patrons By Jowl. I learned so much here. It’s where David—We’re honoring the original I grew up, where I figured out who I am and intent of the Next Wave, passed down from what I wanted to make. Harvey Lichtenstein and Joe Melillo, by Katy—So how did you start producing? presenting a season of artists who’ve never David—I was in New York a little over been to BAM. All of them, every single one a year itching to do something of my own. I of them, is making their BAM debut. Some came up with the idea to do a reading series performances will be experiential, immersive, of Truman Capote’s A Christmas Memory, a and—I hope—surprising. Some will be wildly beautiful story about how Capote spends challenging, some accessible. You have Christmas with his cousin. Two different stars Barber Shop Chronicles, for example, which read the story each night, and all proceeds is for everyone. It’s brimming with life, joy, would benefit Equity Fights AIDS. music, and dancing. On the other side of the We needed talent, so we dropped letters spectrum you have Bacchae, by Marlene off to actors at their apartments, at stage Monteiro Freitas—certainly challenging, but doors—anywhere we could find them. People also exhilarating, wild, extraordinary. said yes: Madeline Kahn, Irene Worth, Elaine We’ll have site-specific work—something Stritch, Judith Ivey, and Nathan Lane all BAM hasn’t done in a while. With User Not came to Book Friends Café in Chelsea and Found, exploring how we experience private took part. They were so patient—my friends moments in public spaces, we’re going up and I had never produced anything. The New Fulton street to Greene Grape Annex. I love York Times wrote a short preview piece and bringing audiences to nontraditional spaces; it we were sold out. immediately awakens their senses and makes Katy—Persistence paid off! How them more open to adventurous work. We important is that quality for a producer? want to put audiences front and center. In David—It’s important, but what continues Many Hands does that—there’s no stage. The to drive me is the work—great work. audience is the performance. There were a million other benefits those I’m also interested in work that appeals to big stars could have participated in, but they younger audiences. The End of Eddy, adapted chose that one. Why? Because that Capote from Édouard Louis’ book, is a brilliant Christmas story is the best. I’m a Jewish boy coming-of-age story that resonates with from LA—what’s Christmas?—and even I teens. It gives us an opportunity to deepen don’t see how anyone could read it and not relationships with other arts organizations: St. tear up. Ann’s Warehouse simultaneously presents a Or take A Raisin in the Sun. When I theatrical adaptation of Louis’ second book, came to realize, in 1999, that it never had History of Violence, as part of its fall season. a Broadway revival, I spent the next four The Second Woman was a single 24-hour and a half years trying to produce one. No show. People came for 15 minutes or 24 one wanted to be in it or fund it, or give me hours. In this epic feat of acting endurance, a theater—that it was an African-American Alia Shawkat performed a scene from a play, and that African-American audiences Cassavetes film 100 times, opposite 100 men. wouldn’t come to Broadway. But I had it on As with everything in Next Wave 2019, I my desk—maybe the best American play ever hope the experience remains long after the written. The material got me through. Lorraine performance ends. I’m so excited and proud Hansberry got me through! to be a part of it. Katy—So here we are, the 38th Next Wave. And yet it feels utterly new. BAM Supporters & Patrons David—We’re honoring the original Linda Mirels and Wendy The Brooklyn Brewery Nadezhda Pryadko & Jeffrey B. Bishop & Jill Edith Ferber intent of the Next Wave, passed down from Fisher Household Thomas Bruce Matthew Daniel Baker Robert Ferris & Adrienne Harvey Lichtenstein and Joe Melillo, by John Morning Joyce E. Chelberg The Quebec Government Bryan Blatstein Shumway Darnell-Moser Charitable Neil & Kathleen Chrisman Office in New York Ellen & Charles Bock Igor Fert presenting a season of artists who’ve never Fund Jennifer Chu Peter & Susan Restler Mr. & Mrs. James Bodovitz Katherine & Luke Fichthorn The Netherland-America William & Marjorie Coleman The Rodgers & Hammerstein Dr. & Mrs. Jeffrey S. Borer Saks Fifth Avenue been to BAM. All of them, every single one Foundation Mr. John Colton & Ms. Organization Melanie Borisoff Dr. Michael First & Leslee The New York City Catherine Colton Jack Sanderson Samy Brahimy & Lizanne Snyder of them, is making their BAM debut. Some Council—Alicka Ampry- Ranny Cooper & David David Schiff Merrill Ryan Fitzgerald & Warren Samuel Smith Anthony Schlesinger & Anne Sally Brody Seubel performances will be experiential, immersive, The New York City Breukelein Institute/Dennis Forward John & Michelle Brooks Brigid Flanagan Council—Stephen Levin Corrado Elizabeth L. Schneider Andrew Brown Arthur & Susan Fleischer and—I hope—surprising. Some will be wildly The New York City The Criterion Collection Dr. Michael Schober Donna Gagliuso Jeff & Jenny Fleishhacker challenging, some accessible. You have Council—Jumaane Crunch Allen Sellers Donnaldson Brown Alison Forner & Martha Williams Peter Davidson & Drew George Sheanshang Norman & Terri Buchan McBrayer Barber Shop Chronicles, for example, which New York City Department McGhee (The J.M. Olatokumbo & Sheethal Geraldine Buchanan Seendy Fouron for the Aging Kaplan Fund) Shobowale Angela Bucknell Manon Frappier is for everyone. It’s brimming with life, joy, New York State Assembly— Monique Y. Davis Carolee Shubert Andrew Bulger Andrew Freireich & Tina Joseph R. Lentol Rohit and Katharine Desai Patricia J. S. Simpson Dennine Bullard Potter music, and dancing. On the other side of the Elyse & Michael Newhouse Family Foundation Ellynne Skove Jesse Burros & Jill Weiskopf Cultural Services of the Diana & Gene Pinover Yrthya Dinzey-Flores & Sasha Slorer Elizabeth Margaritis Butson French Embassy in the spectrum you have Bacchae, by Marlene William S. Rubenstein Antonino D’Ambrosio Mike & Janet Slosberg Laura E. Butzel & David United States Thomas & Georgina Russo Andrew Duchi Susan Snodgrass Berg Katherine Freygang Monteiro Freitas—certainly challenging, but S&P Global David & Susan Edelstein Joan & Laurence Sorkin Monica Byrczek Alex Friedman & Erica also exhilarating, wild, extraordinary. Saul & Devorah Sherman Marty Ellington Gayatri Spivak William & Regina Cahill Tennenbaum Fund Fiona & Harvey Fein The Dorothy Strelsin Mr. Charles Cahn & Dr. Alexander C. & Tillie S. We’ll have site-specific work—something Sarah I. Schieffelin Nathaniel N. Felsher Foundation Nancy Maruyama Speyer Foundation Residuary Trust Frankfurt Kurnit Klein & Jon Stryker & Slobodan Sol W. & Hermina Cantor Dennis Furbush BAM hasn’t done in a while. With User Not Morwin Schmookler Selz PC Randjelovic Foundation Susan & Michael Furman Amy W. Schulman & David M. Derene Frazier Kathryn Taras & Anthony Victoria Carey Treacy & Todd Gaffney Found, exploring how we experience private E. Nachman Eleanor F. Friedman Elitcher Louanna Carlin & Jane Duane McLaughlin & M. Showtime Igor Galynker Alice Tisch Hamburger Salomé Galib moments in public spaces, we’re going up Brian Snyder Walter Gilbert Lane Trippe & Marian Brendan Carney Ryan Gallagher The Bernard and Anne Gregory Gilmartin Sabety Carolina Carvalho-Cross & Al Garner Fulton street to Greene Grape Annex. I love Spitzer Charitable Trust John M. Goldsmith Jennifer Tunney Spencer Cross Andra Georges & Timothy C. bringing audiences to nontraditional spaces; it Tom & Wendy Stephenson Rhonna & Ezra Goodman Bernardette Vaskas Mary Ellen Cashman Shepard Stop & Stor Charitable Fund Francis Greenburger & Patricia Voight & Rachel Elizabeth & John Caulk Tina and Michael Gerling immediately awakens their senses and makes Michael M. Thomas Isabelle Autones Wolff Beverly & Herbert Chase Household Gerrit Thurston Vanessa Guida Thomas Von Foerster Lori Chemla & Shelley Maxine Gerson them more open to adventurous work. We Takemi Ueno Anna & Raja Harb Stacey Winston Levitan Sonnenberg Lauren Ghaffari Vanetta Vancak Jeanne Hardy Michael Young & Debra Jaye Chen & Peter Brown Lauren C. Glant & Michael want to put audiences front and center. In Diane & Stephen Volk Justin Haythe Raskin Ruslan Chilov J. Gillespie Leigh & Robin Walters Jeffery Hentze Anonymous (1) Kerri Chyka & Samuel Bufter Kristin Booth Glen & Harold Many Hands does that—there’s no stage. The Mr. & Mrs. Alan G. Weiler Dr. Arlene Heyman, MD Lisa M. Cirando Edgar Earl D. Weiner The William Talbott Hillman $1,500 to $2,499 Geoffrey E. Clark, M.D. Virginia Gliedman audience is the performance. Nathaniel White Foundation Robert & Mary Beth Aberlin Art Claybon Amy Glosser & Janno Lieber I’m also interested in work that appeals to Francis H. Williams Mark Horowitz & Dorrine Brice Acosta Lois Conway June O. Goldberg Carolyn T. Ellis & H. Lake Veca Caroline P. Addison Michael Cox & Zach Fannin Karen & Andrew Goldberg younger audiences. The End of Eddy, adapted Wise Alan Hyde Keira Alexandra Peter & Mary Coy Susan Goldberg & Simon Devera & Michael Witkin Linda Jackson Ms. Alexandra Alger Peter Crews Liu from Édouard Louis’ book, is a brilliant Dan Wonderly & Jenn David & Amy Jaffe Donald Allison & Sumiko Ito Cedomir Crnkovic & Valerie Peter Goldfarb Holmes Douglas Jaffe & Kristin Ella Almodovar & Jacqueline Rubsamen Teresa Gonzalez coming-of-age story that resonates with Richard C. Yancey Heavey Bacchus Allison Cromwell & Craig I. Michael Goodman & Cynthia Young & George Gregory James James B. Anderson & Dror Falls Judith Uman teens. It gives us an opportunity to deepen Eberstadt Donna & Carroll Janis Katzir Sebastian Cucullu Bindhu Gopalan Nancy Young Julia Kahr & Brian Colton Linda Andrei Ellen & John Curtis Hayley Gorenberg & George relationships with other arts organizations: St. Barbara & David Zalaznick Philip Kearns & Sid Ray Matthew & Krista Annenberg Karen Dauler & Gaston Silva Sands Ann’s Warehouse simultaneously presents a Vivian and James Zelter Chin Kim Stephanie Ansin & Spencer Megan P. Davis Erwin Gorostiza Household Jenny Kirschner & Aari Stewart Rafael de Cardenas Crystal Gosberg theatrical adaptation of Louis’ second book, Matthew & Myra Kirschner Frank & Mary Ann Arisman Katrina De Wees Jason Grebin & Lorie Zuckerbraun Jonathan Klein Dymir Arthur Sabina Daley Deaton & Kombert-Grebin History of Violence, as part of its fall season. Anonymous (4) Alan & Susan Kolod S. J. Avery Adam Deaton The Green-Wood Cemetery The Krumholz Foundation Ajay & Sonya Ayyappan DeLaCour Family Mimi & Bill Grinker The Second Woman was a single 24-hour $2,500 to $4,999 Miodrag Kukrika Joshua Backer & Callie Foundation Mark Groves and Ross Nora Abousteit & Joshua Peter & Karen Labbat Schweitzer Nick Demos & Mary Snow Nehm show. People came for 15 minutes or 24 Ramo François & Calleen Michael Bailey & Latheisha Linda Dennery Nathan Guetta Accion Cultural Espanola Letaconnoux Legree Martha DeRight & Erich Eileen Guggenheim hours. In this epic feat of acting endurance, Leigh Adel-Arnold Emma Lindsay Daniel Baldini Bechtel Helen & Peter Haje Alia Shawkat performed a scene from a Aesop John Macintosh & Anna Nancy Barber Diana Diamond & John Cynthia Hammond & Jacqueline & Joseph Verdi Andrea Barbieri Alschuler Joseph Samulski Cassavetes film 100 times, opposite 100 men. Aguanno Dianne Mackenzie Ms. Monica Barrett & Ms. Daniel and Alexis DiPietro David Hariton & Thomas Mark Allison & Stephanie Macro Sea Inc. Alexis Frazier Lynn Dolnick Lippy As with everything in Next Wave 2019, I Holmquist Anne Maltz Katie Barthmaier & Brent Miriam Donoho Gina Harman Assoc. of Theatrical Press Rebecca McBride Buck Dr. Jack Downhill Jr. Joyce & Ira Haupt II hope the experience remains long after the Agents & Mngr Claudine & Aeric Meredith- Mickey & Martin Baumrind Donna & Mitchell Drach Douglas & Jessica Healy Milton & Sally Avery Arts Goujon Martine Beamon & Eddie Allison & Mark Dunn James G. Croghan & Louis performance ends. I’m so excited and proud Foundation Danny & Audrey Meyer Joyce Sarah & Alistair Dunn R. Hedgecock Denis Azaro Lewis Millholland Erin Becker Lisabeth During & Ross Diana Rhoten & John to be a part of it. Peggy and John Bader Marsha & Darcy Miro Carol & Chris Beemer Poole Heilemann Household Tracy Mitchell Kathleen Begala & Yves- Atiba T. Edwards Heimbinder Family Carla K. Balakgie Jim & Iris Munson Andre Istel Suzan & Fred Ehrman Molly Heines & Thomas Jayne H. Baum New York State Assembly— Koren Bell Ellie & Dan Moloney Jeffrey Bauman Helene Weinstein Thérèse D. Bernbach Dwight W. & Ann C. Ellis Kris Heinzelman Carl & Judith Berg Christopher A. Noey & Suzanne Bernstein Caryl Englander Buck Henry JJ & Michelle Berney Ghiora Aharoni Marie-Eve Berty Gail Erickson & Christa Rice Adam & Sita Hess Jill & Sheldon Bonovitz Daniel & Rebecca Okrent Rajeev Bhaman Mrs. Sarah K. Erlij Adria & Donald Hillman Dominique Bravo & Eric Roger W. Oliver Karen Binder & Victor Ney Peter & Joan Faber Barbara T. Hoffman Sloan Jon Otis Sunil Savkar & Stefanie Richard & Florence Lily & Joel Hoffman Vida & Patrick Brett Joanne Ottaviano Birkmann Fabricant Judith M. Hoffman Sandra Brinkert Steven C. & Diane Parrish Dr. David Biro David Farer & Elisa King Frank Holozubiec Paul Broches Laura A. Pels Nadia Bishai Thomas Faust Elizabeth Holtzman Virginia Brody Michael Pride Michael & Nancy Feller Linda Hope BAM Supporters & Patrons

David Horowitz James Marshall Johnathan Reale Deborah Stewart & James Mark Horowitz John Marshall & Seriti Jason Reed Mintz Katherine Hosford & Yamini Me & Ro Dr. Susan Stewart Christopher Welch William Keith Marshall Juergen Riehm & Jody Felicia Stingone & Phillip David Howe & Charlene Household Oberfelder Rutherford Wang Brendan Martin Kayte Ringer Gail Stone & Matt Fishbein Dennis Hranitzky Jerri & Tom Mayer Julie Robbins Joshua Storck Timothy Hughes Deborah McAlister & Daniel Rocha Leila Straus Tom Huhn & Nancy Steele Christopher Jones Amita Rodman Mehta & Kathleen Sullivan Laura Hussey Peter & Denise McCormick Viren Mehta Maureen & Paul Swetow Jan Inscho & Seymour Miles Kathryn A. McDonald Paul A. Rogers Toby Talbot Lois A. Jackson, D.D.S. Gordon McLeod & Melanie Andrea M. Rosen Gabrielle Tana Susan & Stephen Jeffries Grisanti Marjorie & Jeffrey A. Rosen Phoebe Taubman & Craig Mr. & Mrs. Dudley D. Sharon & Curtis Mechling Beverly & William Rosoff Nerenberg Johnson Molly Meloy Amy Roth & Joe Guest Juliet Taylor & James Walsh T.R. Johnson Franny Milberg Marsha & Richard Rothman Jordan Temple Andrea Jolles Liza Velazquez & Timothy Elizabeth A. Rovere Josephine & Philip Teverow Randy & Mill Jonakait Milford Martine Rubenstein Geoffrey Thomas Barbara Julius & Marc Diane Compagno Miller Wiliam Ryall Catherine K. Tice Silberberg Jeremy Miller & Teresa Lisa & Jonathan Sack Grace & John Timberlake Ralph Julius & Ken Nelson Cunningham Josh Safran & Jess Narcissa & John Titman Joseph and Susan Walkush David & Judith Miller Camacho Dr. Irena Tocino Rita J. & Stanley H. Kaplan Iliana F. Mindlin Jennifer Sage & Nicolas Coralie Toevs Family Foundation Sandra & Lowell Mintz Grabar Manny Torrijos & Jing CELEBRATE Susan M. Kath and Steven Michele Mirman S. Gerald Saliman & Shang Tan R. Schindler Claire Molloy and Seth Lloyd Raymond Vallejo Peter C. 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Santander, Santander Bank and the Flame Logo are Phillip Marriott & Susannah Marks Gradinger Taylor Bridget Read registered trademarks, and A Bank for Your Ideas is a service mark, of Banco Santander, S.A. B000611 BAM greatly appreciates all contributions in support of our work. We apologize for any inaccuracies. Please contact the Development Department at [email protected] with any corrections.

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Santander Bank, N.A. is a Member FDIC and wholly owned subsidiary of Banco Santander, S.A. ©2015 Santander Bank, N.A. All rights reserved. Santander, Santander Bank and the Flame Logo are registered trademarks, and A Bank for Your Ideas is a service mark, of Banco Santander, S.A. B000611 BAM greatly appreciates all contributions in support of our work. We apologize for any inaccuracies. Please contact the Development Department at [email protected] with any corrections.

B000611_Aug2015_CRA_CommADBAM.indd 1 8/25/15 10:09 AM BAM Board BAM Staff

Brooklyn Academy of Music Members Scott McDonald Emma Wolfe, Rep. for David L. Ramsay, M.D., Jonathan S. Auerbach James I. McLaren Hon. Bill de Blasio M.Ed. Chair of the Board Tony Bechara Ahrin Mishan Lori H. Luis, Rep. for Hon. Franklin R. Weissberg Adam E. Max David Binder David L. Picket Hon. Eric Adams Gordon Bowen Frances A. Resheske Chris Coffey, Rep. for BAM Endowment Trust Vice Chairs of the Board William I. Campbell Jonathan F.P. Rose Hon. Corey Johnson Chair William I. Campbell Natalia Chefer Anna Kuzmik Sampas Gabriel Pizzi Nora Ann Wallace Linda Chinn Timothy Sebunya Chairmen Emeriti Katy Clark Bart A. Sheehan Neil D. Chrisman Treasurer President Dr. Rudolph F. Crew Brian Stafford Seth S. Faison * Keith Stubblefield Katy Clark Suzy Franczak Davis Axel Stawski Alan H. Fishman Cheryl Della Rosa Doug Steiner Bruce C. Ratner Members Artistic Director Dinyar S. Devitre Joseph A. Stern Steven G. Felsher David Binder Mark N. Diker Alexa Davidson Suskin Honorary Trustees Alan H. Fishman Yrthya Dinzey-Flores Pedro J. Torres Beth Rudin DeWoody Elizabeth Holtzman Secretary Thérèse M. Esperdy John L. Usdan Mallory Factor Marcel Przymusinski Mark H. Jackson Richard E. Feldman Brigitte Vosse Robert L. Forbes Alberto Sanchez Steven G. Felsher Nora Ann Wallace Charles J. Hamm Timothy Sebunya Treasurer Jeanne Donovan Fisher Adam Wolfensohn Barbara B. Haws R. Edward Spilka James I. McLaren Barry M. Fox Claire Wood William Josephson Nora Ann Wallace Roberta Garza Mary Kantor Adam E. Max, Ex Officio Presidents Emeriti MaryAnne Gilmartin Ex Officio John Lipsky James I. McLaren, Ex Officio Karen Brooks Hopkins Anne Hubbard Hon. Bill de Blasio Laurie Mallet *in memoriam Harvey Lichtenstein * Edgar A. Lampert Hon. Corey Johnson Cathy-Ann Martine-Dolecki Lorraine Lynch Hon. Eric L. Adams Executive Producer Emeritus Adam E. Max Hon. Tom Finkelpearl Joseph V. Melillo

BAM Staff

Katy Clark, President CUSTODIAL SERVICES Sashawna Donaldson, Andreea Alison Dabdoub, Head of Sound & David Binder, Artistic Director Ramon Cabassa, Custodial Drogeanu, Anthony Shields Jr., Video, HT Coco Killingsworth, Vice President Supervisor Patrece Stewart, Asst. Managers Edward Donohue, Property of Education & Community Derrek Demary, Jean Smith, Master, HT Engagement Lead Custodians HUMANITIES Giancarlo Sini, Head Carpenter, OH Bill Kramer, Vice President of Yossess Allen, Hector Andino Jr., Molly Silberberg, Assoc. Director, John Manderbach, Head Electrician, Development Ludlow Chamberlain, Isaias Flores, Humanities OH Patrick J. Scully, Vice President & Ron Rathan, Akeon Thomas, Lucy Petropoulos, Humanities Asst. Nicholas Varacalli, Property General Manager Jerry Wright, Custodians Master, OH Keith Stubblefield,Chief Financial VISUAL ART Marc Putz, Head of Sound & Officer and iceV President of ARTISTIC PROGRAMMING Larry Ossei-Mensah, Guest Curator Video, OH Finance & Administration Stonie Darling, Assoc. Director, Alli Arnold, Visual Arts Manager James Kehoe, Head Carpenter, HT Artistic Programming Dept. Morgan King, Program Coordinator Chris Wilenta, Head Electrician, HT PRESIDENT’S OFFICE Juan Pablo Siles, Manager of Wayne Brusseau, Fly Person, OH Michael Doyle, Manager Artistic Planning GENERAL MANAGEMENT Heather Gallagher, Asst. Andrea Montesdeoca, Admin. Michelle Lapadula, Admin. Asst. BUDGETS & CONTRACTS Electrician, OH Coordinator Liz Zieminski, Director, GM Cooper Gardner, Asst., Sound PROGRAMS & CURATORIAL Budgets & Contracts & Video BOARD RELATIONS Amy Cassello, Producer Jimmy Walden, Budgets & Joseph Werner III, Asst. Carpenter, HT, Alexandra Biss, Director of Board Elizabeth Moreau, Producer Contracts Manager Tom Holler, Richard Wurzbach, Relations Charmaine Warren, Assoc. Sarah Kelly Konig, Budget & Utility People Kevin Terwin, Board Relations Asst. Producer Contract Coordinator Ginger Blake, Wardrobe Supervisor Abdel Salaam, Artistic Director, Morgan Weigle, Admin. Asst. HUMAN RESOURCES DanceAfrica ARTIST SERVICES Seth Azizollahoff, Assoc. Vice Danny Kapilian, Producer, R&B EVENT & VENUE OPERATIONS Mary Reilly, Director of Artist President, HR Festival, MetroTech Jaclyn Bouton, Director of Event & Services Samara Alexander, Assoc. Director, David Lan, Theater Assoc. Venue Operations Stacey Dinner, Artist Services HR Cady Knoll, Operations & Rentals Manager Alexis Boehmler, Benefits Manager ARCHIVES Manager, BAM Fisher Adrienne Wagner, Hannah Lang, Cynthia Smith, Payroll Manager Sharon Lehner, Director of Archives Chris Mode, Johanie Olivero, Artist Services Representatives Stephen Stone, HR Coordinator Louie Fleck, Archives Manager Project Managers Chelsie Campbell, Admin. Asst. Evelyn Shunaman, Processing Earline Stephen, FOH Rep/Rentals SECURITY to the AVP of HR and Archivist Asst., BAM Fisher Scott Shaw, Security Director Facilities Management Anita Goss, Volunteer Librarian Lawrence Seldon, Security Manager Denis Azaro, Volunteer PRODUCTION Shaunte Snipes, Admin. Coordinator FACILITIES MANAGEMENT Dylan Nachand, Director of Production Collie Dean, Supervising Attendant James Boese, Director of Facilities BAM ROSE CINEMAS Collin Costa, Ryan Gastelum, Guard Lynn Alexander, Facilities Manager Gina Duncan, Assoc. Vice Assoc. Directors of Production Kenneth Aguillera, Michael Whyte, Danny Jiang, Engineering Project President, Film Paul Bartlett, Senior Production Senior Attendant Guards Manager BAM FILM Supervisor Juan Lebron, Lead Guard Markee Glover, Logistical Services Ashley Clark, Senior Repertory & Tracy Lawrence, Olivia O’Brien, Vinroy Anglin, Marlon Desouza, Coordinator Specialty Film Programmer Brian Sciarra, Courtney Wrenn, Yasmin Diaz, Kevin Lemon, Teonia Ronald Jones, Admin. Coordinator Jesse Trussell, Repertory & Specialty Production Supervisors Smith, Andel Thomas, Kelly Ahmad Ghany, Raul Gotay, Film Programmer Laura Williams, Assoc. Production Wheaton, Attendant Guards Anthony Sam, Building Ryan Werner, Programmer at Large Manager Services Assocs. Natalie Erazo, Coordinator, Repertory Tony Crawford, Palmer Johnston, THEATER MANAGEMENT BUILDING MAINTENANCE & Specialty Film Programs Production Coordinators Christine M. Gruder, Theater Manager Anthony Shields, Maintenance CINEMA OPERATIONS Elizabeth Lee, Admin. Coordinator John L. Jones, Assoc. Theater Supervisor Jesse Green, Assoc. Director, Celine Abdallah, Production Intern Manager Steve McDowell, Lead Cinema Production & Technology Tony Harris, Production Asst. Sonia Clayton, Jacqueline David, Maintenance Technician Anthony Shields Jr., Assoc. Leroy Houston, Theater Staff Allan Boyce, Calvin Brackett, Director, Cinema Operations STAGE CREW Supervisors Ronald Hunter, Maintainers Michael Katz, Head Projectionist Thomas Paulucci, Crew Chief Carl Blango, Asst. Maintainer Adam Goldberg, Cinema Manager BAM Staff

EDUCATION & COMMUNITY James Sutton, Publications Asst. Ebanks, Greg Garner, Matthew Grace Eubank, Assoc. Director, ENGAGEMENT Ellen Fraher, Intern McKenna, Warren Ng, Edward Special Events Brandi Stephney, Admin. Asst. Raube-Wilson, Angela Romualdez, Hector Rios, Special Events to VP of Education & CREATIVE SERVICES Allyson Steele, Noel Vega, Ticket Coordinator Community Engagement Andrew Sloat, Creative Director Services Representatives Nina Tandilashvili, Special Events Sasha Metcalf, Assoc. Director of Patrick Morin, Assoc. Director Asst. Research & Evaluation of Design DEVELOPMENT Kimberly Lum, Alison Whitworth, Olivia Jacobs, Admin. Asst. to FINANCE & ADMINISTRATION OPERATIONS Designers the VP of Development CAPITAL PROJECTS Shana Parker, Director of Ben Katz, Video Producer Jonathan Jones, Director, Capital Operations Kaitlyn Chandler, Video Editor & CORPORATE RELATIONS & Projects Jennifer Leeson, Senior Motion Designer SPONSORSHIP Operations Manager Joseph Barglowski, Video Editor Rebecca Carew, Director of FINANCE Sommer McCoy, Operations Helen Chu, Asst. Video Editor Corporate Relations & Jennifer Anglade, Associate Vice Manager Jenny Choi, Publications Manager Sponsorship President, Finance Leo Paredes, Operations Kati Rehbeck, Creative Services Mari Ogino, Senior Manager, Kozue Oshiro, Controller Coordinator Project Manager Corporate Partnerships & Tameka White, Asst. Controller Sofia Franklin, Intern Nora Casey, Copywriter Sponsorships Claudia Bailey, Adam Sachs, Annie Heath, Creative Services Asst. Clara Hung, Corporate Assoc. Directors of Finance COMMUNITY ENGAGEMENT Daniel Abary, Intern Partnerships & Brian Gee, Accounting Manager Dewonnie Frederick, Community Sponsorships Coordinator Gina Pellegrini, Budget Manager Affairs & Bazaar Manager DIGITAL MEDIA Tyler Cleveland, Staff Accountant Patricia Fogah, Community Affairs Aaron Weibel, Director of Digital INSTITUTIONAL GIVING Chaya Coppersmith, AP & Bazaar Asst. Production Clemente Luna, Director of Administrator Alison Kozol, Manager of Digital Institutional Giving Meaghan McLaughlin, Finance EDUCATION & FAMILY Operations Kailin Husayko, Assoc. Director Coordinator PROGRAMS Farrah Desgranges, Project of Institutional Giving Paige Haroldson, Finance Asst. Steven McIntosh, Director of Coordinator Stephanie Caragliano, Institutional Education & Family Programs Alisha Bhowmik, Nandi Piper, Giving Manager INFORMATION TECHNOLOGY Ava Kinsey, Assoc. Director of Digital Media Assts. Emma Kilroy, Institutional William Allen Lee III, Assoc. Education Giving Asst. Vice President of Information Verushka Wray, Program AUDIENCE DEVELOPMENT & Technology Manager MARKETING MAJOR GIFTS & PATRON Jason Q. Minnis, Assoc. Director, Mikal Lee, Mecca Madyun, Charlotte Levitt, Director of Audience PROGRAMS IT Development Education Managers Development & Marketing Stacy Margolis, Assoc. VP of Ira Sibulkin, Assoc. Director, IT Patreece Jackman, Intern Raphaele de Boisblanc, Assoc. Major Gifts & Patron Programs Technical Services Program Coordinator Director of Marketing Rami Awn, Director of Patron Svetlana Mikhalevskaya, LEAD INSTRUCTORS Sam Polcer, Assoc. Director of Services Database Manager Jennifer Armas, Mtume Gant, Content Strategy Barbara Cummings, Director of Matthew Taylor, Senior Web Arts & Justice Sharlene Chiu, Senior Manager, Major Gifts & BAMtravel Developer Jenny Rocha, Dancing into The Audience Development & Maayan Dauber, Director, Patron Gabriel Dekoladenu, Benjamin Future Insights Programs & Major Gifts James, Web Developers Lonnie Woods III, Brooklyn Interns Allison Kadin, Senior Marketing William Lynch, Director of Jersy Rodriguez, Technical for Arts & Culture Instructor Manager Leadership Giving & Special Support Manager Lori Zakalik, Senior Cinema Projects Tamar Audate, Technical Support TEACHING ARTISTS Marketing Manager Michael Kendrick, Senior Tech Raquel Almazan, David Alston, Gideon Monique Campbell, Advertising Manager of Patron Services Susan Bishop, Admin. Bautista, Oludare Bernard, Rebecca Manager Deema Salem, Senior Manager, Coordinator Bliss, Stacey Bone Gleason, Chia-Ti Vilina Phan, Marketing Manager Patron Programs Kenneth Flores, Senior Desktop Chiu, Yasmar Cruz, Darian Dauchan, Andrew Rubenbauer, Marketing Jessica Hindle, Patron Services Analyst Harris Eisenstadt, Imani Faye, Okai Manager, Development & Manager Lucas Austin, Rafael Iglesias, Fleurimont, Omari Forman-Bey, Kimani Visual Art Eranga Fernando, Major Gifts Desktop Analysts Fowlin, Samara Gaev, Ingrid Gordon, Milagros Verendia, Marketing Officer Pat Hall, Chelsea Harrison, Mel House, Manager, Education & Tanushree Naimpally, Patron INSTITUTIONAL ADVOCACY Albert Iturregui-Elias, Enya-Kalia Community Engagement Programs Manager Ellen Leszynski, Senior Manager Jordan, Michel Kouakou, Abigail Akornefa Akyea, Content Jesse Rose-Pulitzer, Major Gifts & Katerina Patouri, Manager, Levine, Spencer Lott, GV Maldonado, Marketing Coordinator Patron Coordinator Institutional Advocacy & Farai Malianga, Anthony Merchant, Lindsay Brayton, Marketing & Kayte Zhang, Patron Services Asst. Capital Projects Elia Monte Brown, Janet Onyenucheya, Publicity Asst. Rafaela Campagnolo Cavion, Pamela Patrick, Mike Ramsey, Gwenyth Emilie McDonald, Marketing Asst. MEMBERSHIP & DEVELOPMENT Institutional Advocacy Intern Reitz, Efeya Sampson, Jashua SaRa, Non Kuramoto, Anh Vo, OPERATIONS Billy Schultz, Lauren Sharpe, Marcus Marketing Interns Claire Charlesworth, Director of Bookseller | Greenlight Bookstore Smalls, Šara Stranovsky, Taylor Steele, Membership & Development Karen Thornton-Daniels, Adia TICKET SERVICES Operations Film Buyer | Adam Birnbaum Whitaker, Todd Woodard G. Scott Kubovsak, Director of J Olson, Assoc. Director, Immigration Counsel Ticket Services Development Operations & Jonathan Ginsburg, Fettman, MARKETING & Kevin McLoughlin, Head Treasurer Analytics Tolchin and Majors, PC COMMUNICATIONS Russell Grier, First Asst. Treasurer Bruce Smolanoff, Assoc. Director, Andi Floyd, Blue Skies Britt Aronovich, Marketing Victor Jouvert, Charlie Dolce, Kyle Telefund Immigrations Services, LLC Revenue Manager Williams, Asst. Treasurers Elizabeth Sarkady, Assoc. Insurance Broker | Dewitt Stern Frank Marsilio, Marketing Royda C. Venture, Assoc. Director, Director, Donor Recognition Medical Consultant | Ahmar Butt, MD Operations Manager Ticket Services Travis Calvert, Senior Manager, Georgina Richardson, Customer Budget & Operations General Counsel | Mark Jackson COMMUNICATIONS Care Manager Cheryl Miller, Membership Restaurateur | Great Performances Sandy Sawotka, Director of Latasha McNeil, Asst. Manager Manager Communications Ryan Mauldin, Ticket Services Richard Serrano, Research Manager Oct 1, 2019 Sarah Garvey, Assoc. Director Project Manager Yah Jeffries, Development of Publicity Miranda Gauvin, Ticket Services Operations Asst. Susan Yung, Assoc. Director of Senior Representative Emily Searles, Membership Asst. Editorial David Hsieh, Cynthia Tate Saul Almiachev, Wendy Berot, SPECIAL EVENTS Publicity Managers Anaïs Blin, Shadell Brown, Lucca James Vause, Director of Special Shelley Farmer, Publicity Damilano, Justin Dash, Robert Events Manager, Film TBHC was founded in 1845 and BAM was founded in 1861. Together, we share more than 325 years of serving Brooklyn! Kyle Marshall Choreography. Kyle Photo: Miguel Aviles TBHC is the Official Healthcare Provider of BAM. Upcoming Events TBHC was founded in 1845 and BAM was founded in 1861. Together, we share more than 325 years of serving Brooklyn! Kyle Marshall Choreography. Kyle Photo: Miguel Aviles TBHC is the Official Healthcare Provider of BAM. Upcoming Events @BAM_Brooklyn | #BAMNextWave

In Many Hands. BAM Photo by Dirk Rose

“ARTISTS ARE Lead Sponsor EXPLORERS. WHO BETTER TO SHOW US THE CITY ANEW?” —DAVID BINDER, TED TALK Performing artists need audiences to create energy; the space between them becomes electrically charged when they connect. Some of the most powerful performances are interactive or immersive, in which audience members mix with performers. And when the venue shifts to a nontraditional space, habits and preconceived notions are shaken up to create fresh, memorable experiences. In recent decades, the sheer volume of interactive theater and dance has grown. (The website Noproscenium.com is dedicated to immersive and interactive theatrical experiences, should you be curious about the extensive offerings.) Remember the milestone event titled De La Guarda (Daryl Roth Theater), around the turn of the 21st century? Then you Salutessurely recall water and other things being

In Many Hands. BAM Photo by Dirk Rose

“ARTISTS ARE flung onto a tarp above your head, and Lead Sponsor BY SUSAN EXPLORERS. WHO excitedly anticipating the possibility of being YUNG BETTER TO SHOW hoisted aloft by one of the flying aerialists. It US THE CITY ANEW?” eradicated many pre-existing limits of theater —DAVID BINDER, and was truly exhilarating. (Incidentally, BAM TED TALK Artistic Director David Binder was a producer Performing artists need audiences to create of De La Guarda.) energy; the space between them becomes Many shows at BAM have broken with electrically charged when they connect. tradition. In Ivo van Hove’s Roman Tragedies Some of the most powerful performances (2012), audience members—as de facto are interactive or immersive, in which citizens of Rome—were invited onto the stage audience members mix with performers. area, which expanded into the wings and And when the venue shifts to a non- crannies of the Howard Gilman Opera House; traditional space, habits and preconceived a bar served viewers drinks. Numerous video notions are shaken up to create fresh, cameras filmed the actors, moving freely, and memorable experiences. the footage was projected live on a large In recent decades, the sheer volume screen. If you happened to be near one of the of interactive theater and dance has scenes in progress, your mug went up there grown. (The website Noproscenium.com too, many feet tall. Tanztheater Wuppertal is dedicated to immersive and interactive Pina Bausch has often broken the fourth wall theatrical experiences, should you be to converse with front row viewers, or hand curious about the extensive offerings.) them items. Geoff Sobelle pushed theatrical Remember the milestone event titled De conventions in The Object Lesson (2014), La Guarda (Daryl Roth Theater), around when viewers sat on the Fisher stage, which the turn of the 21st century? Then you resembled a house halfway through the Salutessurely recall water and other things being moving process, full of detritus and cartons which became seating. Viewers were enlisted User Not Found, by Chris Goode, takes to help—to have dinner, or to hold up a audiences off of BAM’s campus—up Fulton St, chandelier for a hastily arranged tryst. By the to Greene Grape Annex, a coffee shop. A man end of the show, Sobelle had fostered a strong deals with the passing of a loved one, and feeling of community and good will. the deceased’s resulting digital archive. He A number of shows in the 2019 Next is seated among viewers whose headsets are Wave—the first curated by David Binder, tuned to a common sound source, and smart with artists all new to BAM—break with phones that simultaneously display what he the traditional use of theater space or its sees. How can our contemporary lives be conventions. What if they went to Moscow? carried out entirely in public, even while we BAM (conceived and directed by Brazilian are more isolated from one another than ever? Christiane Jatahy), based on Three Sisters And what of our online lives is deemed worthy by Anton Chekhov, is performed in the of preservation? Fishman Space while being filmed and mixed Another extra-theater performance takes live; the resulting feed screens simultaneously viewers outside. He Did What?, a 10-minute for audiences in BAM Rose Cinemas. The graffiti-style opera, entices audiences to watch audiences then switch venues at intermission, the work (by Dumbworld) projected on the watching from a fresh (but informed) perspective. side of the Peter Jay Sharp Building. Think about going to the beach. What Inside, outside, two venues, a coffee comes to mind? Is it the feel of sand between shop, a marathon performance… all ways your toes, or through your fingers, either of reimagining and experiencing anew the blazing hot or cool and silky? Or the shock infinite possibilities of theater. of the water’s coldness, the heat from the blazing sun, or the scent of brine? Similar sensory experiences move forefront in In Susan Yung is associate director of editorial at BAM and co-editor/contributor for the book BAM: The Next Wave. Many Hands, by Kate McIntosh. The intimate Fisher audience takes centerstage, its members interacting with one another and with things which become topical touchstones.

He Did What?. Photo courtesy Dumbworld Salutes User Not Found, by Chris Goode, takes audiences off of BAM’s campus—up Fulton St, to Greene Grape Annex, a coffee shop. A man deals with the passing of a loved one, and the deceased’s resulting digital archive. He is seated among viewers whose headsets are tuned to a common sound source, and smart phones that simultaneously display what he sees. How can our contemporary lives be carried out entirely in public, even while we BAM are more isolated from one another than ever? And what of our online lives is deemed worthy of preservation? Another extra-theater performance takes viewers outside. He Did What?, a 10-minute graffiti-style opera, entices audiences to watch the work (by Dumbworld) projected on the side of the Peter Jay Sharp Building. Inside, outside, two venues, a coffee shop, a marathon performance… all ways of reimagining and experiencing anew the infinite possibilities of theater.

Susan Yung is associate director of editorial at BAM and co-editor/contributor for the book BAM: The Next Wave.

He Did What?. Photo courtesy Dumbworld Salutes Securing BAM’s Future Securing BAM’s Future

BAM Endowment A great institution is built upon on a secure future. At BAM, a robust endowment is the foundation for Planned Giving our adventurous programming and archival, community, and educational initiatives. BAM sincerely You can help BAM prepare for the future by making a provision in your estate plans. In doing so, your thanks those listed below for their generous support of the BAM Endowment. legacy giving will support BAM programs and initiatives for many years to come. Options for planned giving include making a bequest in your will and naming BAM as a beneficiary in your retirement plan $5,000,000 and above Charles J. & Irene F. Hamm Ide & David Dangoor Richard B. Fisher & Jeanne Stephanie & Tim Ingrassia Thérèse M. Esperdy & Robert G. or insurance policy. We are deeply grateful to the partners below, our BAM Angels, who have made Donovan Fisher Maribelle & Stephen Leavitt Neborak planned gifts to BAM. The Howard Gilman Foundation Mary & Jim Ottaway Jr. in honor of Madison S. Finlay The Peter Jay Sharp Foundation Ruth Blackburne Ottaway Forest City Ratner Companies Lila Wallace-Reader’s Digest Rockefeller Brothers Fund Francena T. Harrison Performance Endowment Fund for Community, Jonathan F.P. & Diana V.C. Rose Fund Educational, & Public Affairs Martha A. & Robert S. Rubin Rita K. Hillman Programs Nora Ann Wallace & Jack Nusbaum HSBC Bank USA, N.A. Goldman Sachs Gives at the $1,000,000 to $4,999,999 $250,000 to $499,999 recommendation of Anne Hubbard Altria Group, Inc./Next Wave The Bohen Foundation & Harvey Schwartz Forward Fund The Charles & Valerie Diker Dance Richard Hulbert BAM Fund to Support Emerging Endowment Fund Independence Community Bank and Local Musicians The Horace W. Goldsmith Foundation Miriam Katowitz & Arthur Radin Brooklyn Community Foundation Michael Bancroft Goth Endowed Mr. & Mrs. Edgar A. Lampert The Campbell Family Foundation Annual Performance Fund Annie Leibovitz & Studio BAM Angels The Irene Diamond Fund William Randolph Hearst Leo Burnett, USA Doris Duke Charitable Foundation Endowment for Education and James McLaren & Lawton Fitt Anonymous (2) Humanities Programs Sarah G. Miller & Frank L. Coulson Emily H. Fisher Denis Azaro Judith R. & Alan H. Fishman The Rita & Alex Hillman Foundation The Morgan Stanley Community Bettina Bancroft The Ford Foundation Fund to Carole & Irwin Lainoff and Educational Fund Support Collaborative Creativity Maxwell Family Fund in Community J.P. Morgan & Co. Incorporated Robert & Joan Catell Among U.S. Artists Funds, Inc. Nash Family Foundation Neil D. Chrisman Diane & Adam E. Max The Jessica E. Smith and Kevin R. The Jerome Robbins Foundation, Inc. Mr. & Mrs. Henry Christensen III The Andrew W. Mellon Foundation Brine Charitable Trust May & Samuel Rudin Family Mallory Factor The Geraldine Stutz Trust, Inc. Foundation Fund For Opera & Music-Theater Madison S. Finlay Bruce C. Ratner Anonymous Edward Spilka Richard B. Fisher William Boss Sandberg Axel Stawski & Galia Meiri The Peter Jay Sharp Fund for Opera $100,000 to $249,999 Mr. & Mrs. Ame Vennema Judith R. & Alan H. Fishman and Theater Michael Bailkin, Marvin Levine, Verizon Communications Barry M. Fox The SHS Foundation Jesse Masyr, David Stadtmauer The Isak and Rose Weinman Rita Hillman The Starr Foundation Robert & Joan Catell Fund for Foundation in honor of Madame Barbara T. Hoffman The Thompson Family Foundation Education Programs Lilliana Teruzzi Karen Brooks Hopkins Charina Endowment Fund The Winston Foundation $500,000 to $999,999 Neil D. & Kathleen M. Chrisman Anonymous William Josephson The Devitre Fund Mr. & Mrs. Henry Christensen III As of November, 2018 For more information on planned giving opportunities, visit BAM.org/plannedgiving. Or contact

For more information on the BAM Endowment please contact Bill Kramer, Vice President for Development at 718.724.8261 William Lynch, Director of Leadership Gifts at 718.636.4186 or [email protected]. All inquiries will or [email protected]. remain confidential. Securing BAM’s Future

Planned Giving You can help BAM prepare for the future by making a provision in your estate plans. In doing so, your legacy giving will support BAM programs and initiatives for many years to come. Options for planned giving include making a bequest in your will and naming BAM as a beneficiary in your retirement plan or insurance policy. We are deeply grateful to the partners below, our BAM Angels, who have made planned gifts to BAM.

BAM Angels

Anonymous (2) Miriam Katowitz & Arthur Radin David L. Ramsay, MD Denis Azaro Charlotte & Stanley Kriegel William Boss Sandberg Bettina Bancroft Edgar A. Lampert Louis Sanders Robert & Joan Catell Carol & Joel Levy Katherine Schrier Neil D. Chrisman Harvey Lichtenstein Harriet L. Senz Mr. & Mrs. Henry Christensen III Phyllis Holbrook Lichtenstein Toni Mendez Shapiro Mallory Factor William Lynch Ellen & Sam Sporn Madison S. Finlay Hamish & Georgene M. Maxwell Bella F. Stoll Richard B. Fisher Scott C. McDonald Lynn M. Stirrup Judith R. & Alan H. Fishman Joseph V. Melillo PaulaMarie Susi Barry M. Fox Evelyn & Everett Ortner Grace Timberlake Rita Hillman Frank J. & Adeline Pannizzo Judge Franklin R. Weissberg Barbara T. Hoffman William Winthrop Parsons Carol Yorke & Gerard Conn Karen Brooks Hopkins Howard Pitsch William Josephson Marie D. Powers

For more information on planned giving opportunities, visit BAM.org/plannedgiving. Or contact William Lynch, Director of Leadership Gifts at 718.636.4186 or [email protected]. All inquiries will remain confidential. BAM Directory

STAY CONNECTED Sun: 90 minutes prior to first cur- Restrooms BAM.org | [email protected] tain on performance days. BAM Howard Gilman Opera House: Harvey and Fisher box offices open mezzanine and balcony level BAMwifi_forBK 90 minS prior to curtain on perfor- (handicapped accessible: @BAMstage mance days (same-date ticket sales orchestra level and BAMcafé) and pick-up only). @BAM_Brooklyn BAM Harvey Theater: YouTube.com/BAMorg BAM Rose Cinemas lobby and 3rd floor Advance Ticket Sales: BAM.org/blog BAM.org/#Film | 718.636.4100 BAM Fisher: VENUE LOCATIONS lower lobby, 4th floor, and 7th floor Box office opens 30 minutes before PETER JAY SHARP BUILDING the first screening of the day. Headphones 30 Lafayette Ave BAM Rose Cinemas is wheelchair BAM offers infra-red listening devices BAM Howard Gilman Opera House accessible. Infra-red headsets for for the hearing impaired; please Lepercq Space/BAMcafé the hearing impaired are available; inquire at the coat check. BAM Rose Cinemas Hillman Attic Studio inquire at the box office. BAM STRONG OTHER Student Rush Info 651 Fulton St www.BAM.org/student-rush Administrative Offices Harvey Theater 718.636.4111 The Rudin Family Gallery Late Seating Robert W. Wilson Sculpture Terrace Late seating is solely at the discre- Rental Information BAM FISHER tion of management. Ticketed seats 718.636.4198 | [email protected] 321 Ashland Pl BAM.org/rentals Fishman Space are not guaranteed past curtain time. Hillman Studio BAM Visual Art Rooftop Terrace and Stutz Gardens SERVICES 718.636.4101 | [email protected] Leavitt Workshop BAM.org/BAMVisualArt Brooklyn, NY 11217 Membership 718.636.4194 Questions and Comments TICKETS [email protected] [email protected] Level 5 special access to orchestra seats, BAM.org/contactus BAM Ticket Services call Ticket Services at 718.636.4100 Performance tickets and info 718.636.4100 Patron Services [email protected] For donors who make an annual Group Sales contribution of $1,500 or more: For ticket orders of 10 or more 718.636.4182 718.623.7885 | [email protected] [email protected] BAM Box Office Peter Jay Sharp Building Lost & Found Mon–Sat: 12–6pm; closed holidays 718.636.4150, Mon—Fri: 9am—5pm

Please Note

Warning The photographing, during the performances and intermissions. BAM is a charter member of the League of videotaping, or sound recording of any per- This violates a New York City ordinance and Historic American Theaters and an affiliate formance without written permission of the is punishable by law. —Fire Commissioner member of the League of American Theaters management, is prohibited by law. Violators and Producers. may be punished by ejection and may be BAM backstage employees Children under five not admitted liable for money damages. are represented by the Interna- unless explicitly noted. tional Alliance of Theatrical Stage Fire Notice The exit indicated by a red light Employees (I.A.T.S.E.). © Brooklyn Academy of Music, Inc. 2019. and sign nearest to the seat you occupy is BAM®, Brooklyn Academy of Music®, the shortest route to the street. In the event BAM theater managers and press agents are EverybootyTM, Next Wave® and Teknopolis® of fire or other emergency, please WALK TO represented by the Association of Theatrical are trademarks of Brooklyn Academy of THAT EXIT, FOLLOWING THE DIRECTIVES Press Agents and Managers, Music, Inc. OF THE HOUSE STAFF. Thoughtless Local #18032, persons annoy patrons and endanger IATSE, AFL-CIO. the safety of others by lighting matches or smoking in prohibited areas