Carolina Performing Arts 2010/11

BeijingDance/LDTX Tuesday & Wednesday, April 12 & 13 at 7:30pm

carolina performing arts 10/11 1 carolina performing arts 10/11 3 Dear Friends

For the last several months, we at Carolina Performing Arts have been working to finalize the schedule for our 2011-12 season. Every year, I find this process exhilarating and challenging, rewarding and frustrating. Our 2010-11 season has been filled with performances from legendary, established artists such as Yo-Yo Ma, Chick Corea and McCoy Tyner, as well as emerging voices like Nicola Benedetti, Sidi Larbi Cherkaoui (with his Sutra), and the young virtuosi who make up Gidon Kremer’s Kremerata Baltica. And there is much more to come in these last months. As we work to craft our new season, selecting works that engage, delight and enliven our

2010/11 season audiences, I am constantly reminded of the budgetary considerations that make curating a season so difficult. As you probably know, the costs associated with bringing the caliber of art we have all come to expect from this series far exceed the revenue brought in from ticket sales alone. As we handpick each performance, I am constantly forced to consider cost, to weigh our curatorial mission against our bottom line, to ask myself, “Can we afford to bring this work to our audiences?” Many exciting artists do not make the cut. All told, ticket sales make up about 45% of the money needed to keep Carolina Performing Arts running. In a surrealist thought experiment, my colleagues in development and I often wonder what our season would look like at 45%. We picture the St. Petersburg Philharmonic Orchestra playing with only 45 of its breathtaking musicians. We imagine only eight of 17 Shaolin monks performing Sutra, in half-built spruce boxes. We imagine the left half of Yo-Yo Ma playing the right half of a two-stringed cello, flanked by 45% of The Silk Road Ensemble. Thought experiments aside, this is a serious concern. The gap between ticket revenue and costs is enormous. We remain enormously grateful to the University for its generous support, but these are difficult times for our state and we must turn to you. The only way we can fill the gap is with private giving, with generous support from you, our patrons. So, as we look toward the end of our current season and to the beginning of our next, I ask you to consider supporting Carolina Performing Arts. I invite you to join the Carolina Performing Arts Society to give back to the arts that have given so much to all of us. Please join us in helping make sure that this series, and the cultural landscape in this community, remain 100% vibrant.

Sincerely,

Emil J. Kang Executive Director for the Arts Director, Carolina Performing Arts Professor of the Practice, Department of Music

www.carolinaperformingarts.org in(919)843-3333 •spi•ra•tion season10 /11season Carolina ACKNOWLEDGMENTS Carolina Performing Arts gratefully acknowledges the generous Performing contributions of time, energy and resources from many individuals and organizations including the Office of the Provost, Office of the Chancellor, University Advancement, Department of Public Safety, the 2010/11 Faculty Council, Student Body Government and UNC News Services. Arts Elite Coach is the official transportation provider for Carolina Performing Arts’ artists.

Administrative staff Emil J. Kang – Executive Director Kelly Boggs – Audience Services Manager tableofcontents Michelle Bordner –Director of Artist Relations Priscilla Bratcher – Director of Development 6 iD – Cirque Éloize Barbara Call – Finance and Human Resources Manager Amy Clemmons – Development Assistant 10 Leon Fleisher, piano Reed Colver – Director of Campus and Community Engagement Jennifer Cox – Administrative Assistant 12 The Andersen Project – Ex Machina Mary Dahlsten – Box Office Manager Butch Garris – Production Manager 16 Nederlands Dans Theater Erin Hanehan – Campus and Community Engagement Coordinator Matt Johnson – Production Manager 20 Woyzeck on the Highveld – Melchee Johnson – Development and Stewardship Manager Handspring Puppet Company Mike Johnson – Director of Operations Sean McKeithan – Marketing and Communications Coordinator 24 St. Petersburg Philharmonic Orchestra Dan McLamb – Tessitura Systems Administrator Meghan McNamara – Artistic Coordinator with Yuri Temirkanov, conductor Melody Pineda – Artistic Assistant and Alisa Weilerstein, cello Mark Steffen – Events Manager Aaron Yontz – Production Manager 28 BeijingDance/LDTX Memorial Hall student staff 32 Bach and Beyond – Jennifer Koh Carolina Performing Arts is grateful for the over 100 students who work in our Box Office, House and Tech staffs. It is their 34 Tony Allen’s Afrobeat Orchestra hard work and dedication that make every performance at Memorial Hall a success. 36 Branford Marsalis, saxophone with the north Carolina Jazz Repertory Orchestra Advertisers Make This Book Possible This program book would not be possible without the advertisers who support it. Their patronage means this information is available 38 Important Information to you without cost to Carolina Performing Arts. We extend our 39 Board, Endowment, Society gratitude and encourage you to thank them, as well. 40 Donor Spotlight The Carolina Performing Arts programs are published and designed 41 Donors by Opus 1, inc., in cooperation with Carolina Performing Arts. If you are interested in reaching our audience with your message in the 48 Student View Carolina Performing Arts program book, please call or email Amy 49 Advertisers Index Scott at (919) 834-9441 or [email protected]. 50 The Last Word in•spi•ra•tioncarolina performing arts 10/11 5 dance

“Stunningly beautiful…” - Newsday

Photo credit: Valérie Remise iD – Cirque Éloize Tuesday & Wednesday, March 1 & 2 at 7:30pm

The Wednesday, March 2 performance of iD – Cirque Éloize is dedicated to Kim and Clarence Perszyk by Carol and Rick McNeel.

This performance is supported, in part, by sponsors of the International Theater Festival, Tom Kearns and

d an c e Joseph and Beatrice Riccardo. www.carolinaperformingarts.org (919)843-3333 TUES & WED mar 1 & 2 | 7:30 PM

Word from the author and director touring that major network of theaters since and powerful show that mixes urban dance 2007. In addition to its tour performances, with the new art circus universe. iD is Cirque At Cirque Éloize, we have always nurtured Cirque Éloize develops custom-made con- Éloize’s 7th creation. our shows through encounters with creators cepts for international special events. To from different horizons. We have always dandate, more than 1000 events havec taken The TROUPEe favored a multidisciplinary artistic approach, place. Since 2004, Cirque Éloize’s head which is enriched by artists of several In addition to their disciplines, all performers office and creative studio are located in the nationalities. No exception lies in this new take part in group choreographies. Dalhousie Station, a historic building in the creation. Sixteen artists on stage, ten circus heart of Old Montréal, departure station disciplines, and the discovery of a world NICOLAS FORTIN - Juggling, Trampowall of the first train going from Montréal to that is new to us – urban dances such as MELISSA “MELLY MEL” FLERANGILE - Vancouver in 1886. In order to maintain this breakdance and hip-hop. I imagined this Urban Dances site as a place for dialogue and encounters show at the heart of a futuristic city, where CHRISTIAN “SANCHO” GARMATTER - for the circus community, Cirque Éloize the omnipresence of image causes us to Urban Dances invites up-and-coming artists to visit. Today, lose our reference points. I sought to create XUAN LE - In-line Skating the company hires more than 100 individu- an estheticism at the crossroads of comic JOSIANNE LEVASSEUR - Cyr Wheel, als working in various teams and projects. books, science-fiction movies and the rich Trampowall universe of graffiti. The decidedly rock, elec- RICHARD MAGUIRE - Urban Dances, tronic and poetic music, coupled with the Jeannot Painchaud, CEO and Hand Balancing, Trampowall presence of video, highlight the show’s play- Artistic Director, Cirque Éloize BAPTISTE MONTASSIER - Urban Dances Director ful, energetic, youthful and urban aspects. HUGO OUELLET-CÔTÉ - Straps, Trampowall, In the middle of this surreal megalopolis A graduate of Montréal’s National Circus Juggling exists a public place. A public place as a School, Jeannot Painchaud began as a IRIS PELZ - Hand to Hand spot where one can seek refuge and escape performing artist with circuses and multidis- THIBAUT PHILIPPE - Trial Bike anonymity, express one’s individuality and ciplinary artistic troupes. He was an acrobat, MANDA RYDMAN - Contortion, Aerial Hoop affirm one’s identity, in order to reclaim juggler and actor with a specialty in artistic bi- FLETCHER SANCHEZ - Chinese Pole, possession of public space, and to dance cycle, for which he won a bronze medal at the Trampowall the city… An area for encounters, a site of prestigious Paris Festival Mondial du Cirque CHRISTOPHER SCHLUNK - Hand to Hand passage, a hood where clans confront one de Demain in 1992. In 1993, he became a RYAN SHINJI MURRAY - Trampowall, Stilts another, where friendships are woven, where founder of Cirque Éloize, gathering the best EMI VAUTHEY - Aerial Silks, Contortion love is created and dissolved. I am proud to performers and designers over 17 years. In invite you to join us on this new adventure. 2001, he staged the first version of Cirque Orchestra, mixing contemporary dance, acro- TECHNICAL Team on Tour - Jeannot Painchaud batics and a live symphony orchestra. ALICE KOP - Tour Director ALEXIS BEAUDET-ROY - Technical Director, Cirque Éloize In 2002, he met director Daniele Finzi Pasca, whose poetic style was an important Head Sound Technician Éloize is a word that comes from the contribution to Cirque Éloize. He staged PATRICK ALLARD - Head Light Technician Magdalen Islands and means “flashes three Cirque Éloize shows from 2002-07, NICOLAS BELLE-ISLE - Head Rigger of heat lightning seen on the horizon.” An Nomade and Rain for Cirque Éloize and MYLÈNE CAYA - Stage Manager inspiration for the troupe’s seven founding Nebbia in co-production with Teatro Sunil, ERICK GALIPEAU - Head Stage Carpenter members, this lightning symbolizes the heat Finzi Pasca’s own company. In 2006, Finzi SIMON METHOT - Head Video Technician and energy that feed the troupe’s spirit. Pasca and Teatro Sunil invited Jeannot to join Positioned at the heart of the renewal of the creative team of the 20th Olympic Winter CREATIVE Team circus arts, Cirque Éloize has been creating Games closing ceremonies in Turin, Italy. As moving performances filled with magic since assistant director, Jeannot was in charge of JEANNOT PAINCHAUD - Director 1993. Continually striving for artistic perfec- the acrobatic components. Jeannot is also JONATHAN ST-ONGE - Executive Producer tion, it is one of the leaders in contemporary head of Special Events at Cirque Éloize, ROBERT MASSICOTTE - Set Designer, circus arts. Based on the multidisciplinary overseeing tailor-made concepts for large- Illustrator and Video Projections talents of its artists, Cirque Éloize expresses scale international shows, galas, corporate Co-Designer its innovative nature through theatricality events, special television presentations and KRZYSZTOF SOROCZYNSKI - Show Acrobatic and humanity, and combines circus arts with more. In 2009, he became president of the Designer, Head-trainer and Trampowall music, dance and theater in a path-breaking board of En Piste, the Circus arts national Act Designer and original manner. With seven original network. With 24 years’ experience in the MOURAD MERZOUKI - Artistic Contributor productions to its credit, Cirque Éloize has new arts circus, Jeannot has made Cirque PIERRE BERNARD - Artistic Consultant presented almost 4,000 performances in Éloize a world leader in contemporary circus JEAN-PHI GONCALVES - Co-Composer 395 cities over 31 countries. Cirque Éloize movement. Having traveled to more than ALEX McMAHON - Co-Composer has taken part in numerous prestigious 30 countries, he continues his dream of LINDA BRUNELLE - Costume Designer international festivals and recently seduced bringing the new circus art form to the world. NICOLAS DESCOTEAUX - Light Designer Broadway with its show Rain, which has been He is back to directing with iD, a dynamic ALEXIS LAURENCE - Video Projections Co-Designer carolina performing arts 10/11 7 SUZANNE TRÉPANIER - Make-up Designer JEAN-PHILIPPE BÉNARD, HUGO BOURQUE, MARIE-FRANCE LEFEBVRE - Head Rigger MARIE-ÈVE SOUTIÈRE - Assistant Director LIONNEL DECHAMPS, YANICK DÉCARIE, SIMON WATKINS-DONALD - Head Video JACQUES POULIN-DENIS - Sound Designer – VALÉRIE DESROSIERS,MARILYSE FILLION, Technician Urban Ambiance LOUIS HÉON, CHRISTIAN LECLERC, PASCAL LEBLANC - Technical Director, Head VÉRONIQUE ALLARD - Production Director – FRANCIS LECLERC, FRANÇOISMORIN, Sound Technician phase 2 DIOGO PINTO, JEAN-LOUIS ROBERT, ZAKI- CLARA FEFERBERG - Production Assistant MARC-ANDRÉ LECLERC - Assistant PAUL SALIB, SEBASTIEN SAVOIE, STÉPHANE TIAGO CHASQUEIRA - Acrobatic Carpenter Production Director, Technical Director ST-JEAN - Technicians FRANÇOIS DESROCHERS - Video Consultant CATHERINE LEBOEUF & LOUISE BOURRET - JEAN-LOUIS ROBERT, SAMUEL MALLIÉ, Assistants & Costume Coordinators NANCY BOUCHER, CHRISTIAN CLAVEAU, SIMON GAUTHIER - Video System Designer COSTUME Shop STEEVE CARON - Technicians MARC-ANDRÉ GILBERT - Sound Technology CHANTAL BACHAND - Costume Assistant REAL DORVAL, FRANCIS LECLERC, LUC- Consultant MICHEL PROULX, JULIE SAURIOL - Cutters VINCENT OUELLET - Video Technicians PIERRE LAFONTAINE - Hair Styler MATHIEU AUDY - Tailor MARIO NOËL - Key-Grip & Runner JOSIANNE LEVASSEUR - Assistant to the ATELIER D À COUDRE LINDA PROULX - Trainee – Stage Manager Show Acrobatic Designer ANDRÉE POITRAS - Graphic Designer MARC “MARCUS” GAUTHIER & MARIE- and Head Trainer FRANCE LEFEBVRE – Riggers OLIVIER LEMIEUX - Trampoline Trainer Make-Up CHRISTIAN “SANCHO” GARMATTER Responsible for Choreography ANNE POULIN - Make-up Assistant CO-COMMISSIONERS CHRISTIAN “SANCHO” GARMATTER, ELON HÖGLUND, EMMANUELLE LEPHAN, Image, Promotion & iD’s RICHARD MAGUIRE, KONE THONG Communication VONGPRASEUTH – Choreographic Collaborators ÉRIC BEAUSÉJOUR - Graphic Artist RENÉ BIBAUD - Coach – Skipping Rope VALÉRIE REMISE/RAMIRO COLOMA MARIÈVE HÉMOND - Coach – Aerial Silk - Photographers ALBERT RUDNICKI - Producer & Director of PROJECT MANAGER Photography – Promotional Video MARIYA MONEVA, Project Manager PRODUCTION Team VINCENT HOSS-DESMARAIS - Editor [email protected] MARIYA MONEVA - Project Manager and Translator 514 596-3838 ext. 263 ALICE KOP - Tour Director COMUNIKA - iD Poster and Logo Design ALEXIS BEAUDET-ROY - Technical Director, PRESS & PUBLICITY Head Sound Technician Participants in iD’s creation - MYLÈNE CAYA - Stage Manager NICOLE BOUCHARD, Phase 1 PATRICK ALLARD - Head Light Technician Communications Director

ERICK GALIPEAU - Head Stage Carpenter Troupe [email protected] SIMON METHOT - Head Video Technician MASON AMES - Hand to Hand, Trampowall +1 514 596-3838 ext. 240 ROBERT OUELLETTE - Head Rigger VALÉRIE BENOÎT-CHARBONNEAU - CAROLE LAPOINTE - Production Accountant Hand to Hand, Trampowall CLAIRE BREGEON - Assistant to the Project STACEY CARLSON - Flying Hammock BOOKING Manager FLORIAN ZUMKEHR - Chinese Pole, SYLVIE BAUMANN, Assistant Director, NATASHA DROUIN-BEAUREGARD - Trampowall International Development - Assistant – Casting Touring Shows [email protected] CREATIVE Team SOUNDTRACK +1 514 596-3838 ext. 226 NADIA LABRIE - Director’s Assistant JORANE, BETTY BONIFASSI, BOOGAT, MARC BEAUDRY - Delegate Producer, VINCENT MESSAGER ARIANE MOFFATT, SYLPHIR CHAREST, Production Manager and Agent, International Development - GEORGI LAZAROV, MILENA BOZOUKOVA Technical Director Touring Shows - Vocals NATHALIE ENAULT - Production Stage [email protected] Manager +1 514 596-3838 ext. 232 CLAUDIA COUTURE - Stage Manager, STAGECRAFT Shop Director’s Assistant SCÈNE ÉTIQUE - Sets Workshop FLORENCE CORNET - Make-up Designer – Trampowall ACMÉ SERVICES SCÉNIQUES - Accessories Workshop PRODUCTION Team R & R TREMBLAY - Transport KATHERINE RIVA GUERRA - Tour Director & JOËL NORTON - Technical Consultant Project Manager – Trampowall MATHIEU URVOY-LETELLIER - Head Sound Technician www.carolinaperformingarts.org (919)843-3333 on Cirque Éloize evan mitchell

While I didn’t have University of North Carolina School of the Cirque Éloize is no exception. The feats they the chance to train in Arts. From juggling to plate spinning, hat perform inspire wonder. They are especially circus arts until I was manipulation and basic tumbling, it got me remarkable to a person like me who has seventeen, my marvel hooked no longer just on the spectacle but trained in many of these disciplines (trust me of them has been with the practice as well. when I say these are no simple tricks, but me from a very early Now at UNC-Chapel Hill, despite there being the result of hours and hours spent training age. From watching no specific class devoted to the circus arts, in order to provide for you – in that wonderful street performers I still continue to train, learn new skills and circus tradition – the belief that anything is across the nation from practice with fellow students. Friends and possible). New Orleans to Boulder, Colorado, to seeing I even amassed all our circus apparatuses As the performers take the stage, all this will the traveling Ringling Brothers Circus at age in order to provide recent workshops to the soon become clear. The body has no limits if five, I was instantly hooked by the art form’s dramatic art community. It’s an important you allow yourself to believe in it. ability to expand human possibility. The study to promote because, for me, it’s not Enjoy the show! circus has the power to leave the audience just a hobby, not just something fun and breathless without tricks or gimmicks, but by entertaining, but an activity that inspires the Evan Mitchell (’11) is majoring in Dramatic Arts the sheer capability of the human body. at UNC-Chapel Hill and founded the After Hours imagination. Few other performances allow Ensemble to provide ensemble-based workshops on When I was seventeen, I had the opportunity the spectator (young or old) to question the performance techniques including circus skills. to receive training in circus skills at the limits of what is or is not possible.

carolina performing arts 10/11 9 classiclassicalcal recitals recitals

“…rhapsodic and affecting…” - The New York Times

Credit: Eli Turner

Leon Fleisher, piano Thursday, March 3 at 7:30 PM

Classical music performances are made possible by the William R. Kenan, Jr. Charitable Trust. We thank the Trustees for their visionary generosity and for encouraging others to support Carolina Performing Arts. c lassi al re itals

www.carolinaperformingarts.org (919)843-3333 classical recitalsthurs mar 3 | 7:30 PM

Leon Fleisher Program When pianist/conductor Leon Fleisher accepted the 2007 Kennedy Center Honor, “Sheep May Safely Graze” from Cantata No. 208 (1713) J.S. Bach Caroline Kennedy recognized him as “a arr. Egon Petri (1685-1750) piano prodigy ... who rose to the heights, embraced adversity and became a musician Capriccio in B-flat Major “On the Departure of a Most Beloved Brother” for all seasons.” His inspiring story Nine BWV 992 (1703-1706) I. Arioso. Ist eine Schmeichelung der Freunde, um denselben von seiner Lives, written with Washington Post critic Reise abzuhalten. Anne Midgette, was published by Doubleday II. Andante. Ist eine Vorstellung unterschiedlicher Casuum, die ihm in der in late 2010. Fremde könnten vorfallen. Fleisher’s musicianship is the stuff of leg- III. Adagissimo. Ist ein allgemeines Lamento der Freunde. end, and his personal story is as heartbreak- IV. Allhier kommen die Freunde, weil sie doch sehen, dass es anders nicht ing as it is life-affirming. Well on his way to sein kann, und nehmen Abschied. conquering the music world at 16, singled V. Aria di Postiglione. Adagio poco. out in The New York Times as “one of the VI. Fuga all´imitatione della cornetta di Postiglione most gifted … keyboard artists” and soon hailed as “the pianistic find of the century” Chromatic Fantasia and Fugue in D minor, BWV 903 (1720) by the great conductor Pierre Monteux, he was cruelly sidelined at the height of his Chaconne for the Left Hand from Violin Partita No. 2 in D minor BWV 1004 (1717-1723) powers by a rare neurological disease that arr. Brahms (1877) lost him the use of his right hand at the age of thirty-seven. Treatments have restored INTERMISSION mobility, winning him enormous acclaim for Sonata in B-flat Major, D. 960 (1828) Schubert his 2004 recording Two Hands. His story is Molto moderato (1797-1828) the subject of the 2006 Oscar-nominated Andante sostenuto documentary Two Hands, written and Allegro vivace con delicatezza directed by Nathaniel Kahn (My Architect). Allegro ma non troppo Fleisher’s Sony recordings continue to be among the most admired in the catalogue. His first two-hand performances in over forty years, as soloist with the London Philharmonic conducted by Vladimir Jurowski, were hailed as among the most moving and memorable performances of the season. Recent and forthcoming appearances include his acclaimed Carnegie Hall workshops; conducting the Irish Chamber Orchestra, the Brazilian Symphony and Osaka Philharmonic; and appearances at the Aldeburgh and Ravinia Festivals and the Hollywood Bowl. He will perform and conduct in a series of concerts at New York’s 92nd Street Y and will appear as a conductor, soloist, recitalist, chamber music artist, master class mentor and invaluable resource in college and uni- versity residencies around the world.

carolina performing arts 10/11 11 worlwd theaterorld theater “...dazzling...” - The Guardian (UK)

Credit: Emmanuel Valette

The Andersen Project – Ex Machina Thursday, March 17 at 7:30pm & Friday, March 18 at 8pm

This performance is supported, in part, by sponsors of the International Theater Festival,

w orl d t h eater Tom Kearns and Joseph and Beatrice Riccardo.

www.carolinaperformingarts.org (919)843-3333 Thur Mar 17 | 7:30pm | Fri mar 18 | 8pm

Written and directed by Arts, Milan; Emerson College, Boston; La The Andersen Project: world thRobert Lepage eaterComète (scène nationale de Châlons-en- A Modern Fairy Tale Performed by Yves Jacques Champagne); La Coursive, La Rochelle; Le Festival d’automne à Paris; Le Grand Having come to Paris at the behest of the Script Collaborators: Peder Bjurman, Théâtre de Québec; Le Théâtre du Nouveau Opéra Garnier, which has commissioned him Marie Gignac Monde, Montréal; Le Théâtre du Trident, to write the libretto for a children’s opera Assistant Director: Félix Dagenais Québec; Le Théâtre français du Centre based on a fairy-tale by Hans Christian national des Arts d’Ottawa; Le Théâtre Associate Set Designer: Jean Le Bourdais Andersen, a Québécois songwriter settles National de Bordeaux Aquitaine; Le Théâtre down in a friend’s apartment on Rue Saint- Associate Lighting Designer: Nicolas Marois National de Chaillot; Le Théâtre National Denis. During his stay, he necessarily meets Sound Designer: Jean-Sébastien Côté de Toulouse Midi-Pyrénées; Le Volcan - Scène nationale du Havre; LG Arts Center, people: one of the Opéra’s senior managers Costume Designer: Catherine Higgins Seoul; Maison des Arts, Créteil; MC2 : (a man with some odd and unusual likings), Properties: Marie-France Larivière Maison de la Culture de Grenoble; National a young janitor and graffiti artist of North Puppeteer: Jean-Nicolas Marquis Chiang Kai-Shek Cultural Centre, Taipei; African descent, as well as a dog who could Pilar de Yzaguirre - Ysarca Art Promotions, well be guiding the tale along its way. Images produced by: Jacques Collin, Madrid; Setagaya Public Theatre, Tokyo; Véronique Couturier, David Leclerc spielzeiteuropa I Berliner Festspiele; Teatre Freely inspired from two stories by Andersen Wig Master: Richard Hansen Lliure, Barcelona; The Hans Christian (“The Dryad” and “The Shadow”) and from Robert Lepage’s agent: Lynda Beaulieu Andersen 2005 Foundation; The Sydney anecdotes drawn from the famed Danish Festival; Théâtre de Caen Production Manager: Louise Roussel author’s Parisian travels, The Andersen Project calls on some of Lepage’s recurring Production Manager (touring): themes: the confrontation between romanti- Marie-Pierre Gagné Associate Producer – Europe, Japan: Richard Castelli cism and modernism, between recognized Tour Manager: Isabelle Lapointe Associate Producer – United Kingdom: and underground art forms, between past Technical Director: Serge Côté Michael Morris and present. However, in this new solo work, Technical Director (touring): Eric Gautron Associate Producer –The Americas, Asia he also explores more troubling territories: Stage Manager: Nathalie Godbout (except Japan), Australia, NZ: questions about sexual identity, unfulfilled fantasies and a thirst for recognition and Lighting Manager: Félix Bernier Guimond Menno Plukker fame that are drawn from Andersen’s life Sound Manager: Caroline Turcot Producer for Ex Machina: Michel Bernatchez and writings, only to serve as a filigree to the Video Manager: Nicolas Dostie modern tale. Wardrobe and Prop Manager: Isabel Poulin Music Once again, Lepage tells the story of a Head Stagehand: Simon Cloutier Donizetti’s “Una furtiva lagrima” Québécois whose travels abroad and meet- Technical Consultant: Tobie Horswill ings with others allow him to find out what Performed by Vincenzo La Scola Collaboration on the improvisational and defines, motivates and inspires him. Used by arrangement with Naxos of America creative process: Normand Poirier Grieg’s Sonata No. 1 for violin and piano Make-up: Nathalie Gagné Robert Lepage in F major Assistant to the Costume Designer: Versatile in every form of theater craft, Performed by Olivier Charlier and Jennifer Tremblay Brigitte Engerer award-winning Robert Lepage is equally Costumes Cutter: Nicole Fortin talented as a director, scenic artist, play- Used by arrangement with Harmonia Mundi Seamstress: Hélène Ruel wright, actor and film director. His original Sarah McLachlan’s “Sweet Surrender” approach to theater has won him interna- Set building: Les Conceptions visuelles (DJ Tiësto Remix) tional acclaim and shaken the dogma of Jean-Marc Cyr Used by arrangement with Tyde Music & classical stage direction to its foundations, Horse’s cart maker: Martin Beausoleil Nettwerk Productions especially through his use of new technolo- Sculpture Maker (“Femme piquée par Offenbach’s “Pas de deux” (from the ballet gies. Contemporary history is his source of un serpent”)” Patrick Binette Le Papillon) inspiration, and his modern and unusual Lighting Designer’s Trainee (creation): Performed by John Georgiadis work transcends all boundaries. Jennifer Jimenez (Theatre Ontario’s Professional Theatre Training Program) Used by arrangement with Universal Music His plays include Circulations (1984), The Canada for Decca London Dragons’ Trilogy (1985), Vinci (1986), Audioguide voice: Ulla Henningsen Polygraph (1987) and Tectonic Plates (1988). Production: Ex Machina Acknowledgements: Le-Maillon, Théâtre de Strasbourg; Odense City Museums From 1989-93 he was Artistic Director of the Coproduction: Carolina Performing Arts, Théâtre français at the National Arts Centre Auckland Festival; Bite:06, Barbican, Ex Machina is funded by the Canada Council in Ottawa, meanwhile pursuing his own cre- London; Bonlieu Scène Nationale, Annecy; for the Arts, Quebec’s Arts and Literature ative projects, Needles and Opium (1991), Festival de Otoño de la Comunidad de Council and the City of Quebec. Madrid; Cal Performances, Berkeley; Coriolanus, Macbeth, A Midsummer Night’s Canadian Stage, Toronto; Célestins, www.lacaserne.net Dream and The Tempest (1992). Théâtre de Lyon; Change Performing

carolina performing arts 10/11 13 In 1994, he founded Ex Machina, produc- La Damnation de Faust (1999), 1984 Goldoni’s Les Jumeaux vénitiens. In 1999 ing The Seven Streams of the River Ota (2005), The Rake’s Progress (2007), The and 2000, he earned coveted nominations (1994), A Midsummer Night’s Dream Nightingale and Other Short Fables (2009), for Québec’s Métrostar and Jutra awards for (1995) and Elsinore (1995). In 1994, he and Rheingold, Wagner’s Ring prelude, which his parts in André Melançon’s hit TV series wrote and directed his first feature film, Le premiered in 2010 at The Metropolitan Ces enfants d’ailleurs II and Jean Beaudin’s Confessional, going on to direct Polygraph Opera with the cycle being presented during film Souvenirs intimes. (1996), Nô (1997), Possible Worlds (2000) 2010-11 and 2011-12. He has appeared in movies including and a film adaptation of his play The Far Side Patrice Leconte’s La veuve de Saint-Pierre of the Moon (2003). In 1997, he opened Yves Jacques with Juliette Binoche, Gabriel Pelletier’s La La Caserne, a multidisciplinary production In 1984, Yves Jacques’ part in Denys vie après l’amour, Nuit de noces by Émile center, creating and producing Geometry of Arcand’s The Decline of the American Empire Gaudreault, Yves Simoneau’s Napoléon Miracles (1998), Zulu Time (1999), The Far confirmed his standing as an actor and was with John Malkovich, Gérard Depardieu and Side of The Moon (2000), a new version of followed by a succession of hits in film, tele- Isabella Rossellini, Claude Miller’s La Petite The Dragons’ Trilogy (2003), The Busker’s vision and on stage. Appearances include Lilly (2003) and Denys Arcand’s Oscar- Opera (2004), The Andersen Project (2005), Les Feluettes, French-language versions winning The Barbarian Invasions (2004). Lipsynch (2007), The Blue Dragon (2008) of Brecht’s Galileo and The Threepenny From 2001-05, he has orbited the earth with and Eonnagata (2009). Opera, Brad Fraser’s Unidentified Human Robert Lepage’s The Far Side of the Moon, He directed Peter Gabriel’s Secret World Remains and the True Nature of Love, the winning Montreal’s Theatre du Nouveau Tour (1993) and Growing Up Tour (2002) Denys Arcand film Jésus de Montréal and Monde’s Best Actor Award (Prix Gascon-Roux) and designed and directed Cirque du Soleil Luc Plamondon’s rock opera La Légende in 2003. Recently, he appeared in Sébastien shows KÀ (2005), a permanent show in Las de Jimmy. Rose’s Le Banquet, Léa Pool’s La Dernière Vegas, and TOTEM (2010). For Québec City’s He has lived in Paris since 1993, appearing Fugue, Alain Desrochers’ Cabotins and Kevin 400th anniversary in 2008, Lepage and Ex alongside Rupert Everett in Jérome Savary’s Tierney’s French Immersion. He has worked Machina created the largest architectural production of Oscar Wilde’s The Importance extensively with French director Claude Miller projection ever achieved: The Image Mill™, of Being Earnest (1996) and in Savary’s hit on films including Voyez comme ils dansent followed by Aurora Borealis (2009). Paris production of Molière’s Le Bourgeois (2010), Un secret (2006), Betty Fisher et autres histoires (International Critics’ Lepage’s opera productions include gentilhomme. Montréal appearances include Award 2001), La chambre des magiciennes Bluebeard’s Castle and Erwartung (1993), Oscar Wilde’s An Ideal Husband (1999) and (International Critics’ Award, Berlin, 2000) and La classe de neige (Prix du Jury, Cannes 1998). He was awarded the Chevalier de l’Ordre des Arts et des Lettres (2001) and the Officier de l’Ordre du Canada (2009).

Ex Machina In 1994, when Robert Lepage asked his collaborators to help find a name for his new company, he had one condition: the word “theater” could not be part of the name. Ex Machina is thus a multidisciplinary company bringing together actors, writers, set designers, technicians, opera singers, puppeteers, computer graphic designers, video artists, contortionists and musicians. Ex Machina’s creative team believes that the performing arts – dance, opera, music – should be mixed with recorded arts – film- making, video art and multimedia. That there must be meetings between scientists and playwrights, set painters and architects, and between artists from Québec and the rest of the world. New artistic forms will surely emerge from these gatherings. Ex Machina wants to rise to the challenge and become a laboratory, an incubator for a form of theater that will reach and touch audiences from this new millennium.

www.carolinaperformingarts.org (919)843-3333 about the andersen project Laurence Deschamps-Laporte

In Québec, when one more universally, he centers his produc- told as a cute children’s tale time after time. mentions Robert tions on the exploration of individuals’ The Little Prince was intended as a cruel story Lepage, no questions tortured aspirations. He reveals people’s about the lack of humanity in Saint-Exupéry’s are asked. He is the profound identity and debates through World War II society, and I believe Andersen’s emblem of theater, his characters, but also scrutinizes North stories are not unlike those of Saint-Exupéry. performance, artistic American and European contemporary Lepage puts an end to the simplistic exploita- production and non- societies through his transient and ever- tion of Andersen’s stories, and reclaims the conformism in the evolving multimedia direction. original essence of Andersen’s life and his province. He is a great The Andersen Project breaks our preconcep- creations in all their complexity. He uses the source of inspiration for artists of all media, tions on space, individuals and children’s premise of Andersen’s life to tell the story and with every new project, he pushes the stories. In this play, Lepage unveils the life of of multiple individuals. Through Andersen, boundaries of traditional artistic creation, a man we thought of as a Danish storyteller he tells the story of many Québécoises – the multimedia and storytelling techniques. who loved children. Andersen was in fact a story of me, and probably of you. As a Québécoise, I am filled with pride to see solitary man with a narcissistic and destruc- Laurence Deschamps-Laporte (’11), from Québec, Robert Lepage succeeding internationally – tive sexuality, incredibly talented but also is completing a degree in International Studies at no matter the medium, I find inspiration in his troubled. He admitted disliking children. UNC-Chapel Hill. In the fall, she will begin a master’s work. Whether it’s multimedia art, print-mak- degree in Development Studies at Oxford University Always skeptical when the works of storytell- ing or performance, Lepage is an incredible as a Rhodes Scholar. ers are told only through the superficiality source of vitality and creation. He can of children’s stories, I cannot bear seeing capture vividly the hybrid, multicultural soul Antoine de Saint-Exupéry’s The Little Prince of Montreal or the everyday Québécois. But

carolina performing arts 09/10 15 dance

“…inventive, bold and always fabulously danced.” - The New York Times

Photo credit: Joris-Jan Box Photography Nederlands Dans Theater Tuesday & Wednesday, March 29 & 30 at 7:30pm The March 29 performance of Nederlands Dans Theater is supported by Wyndham Robertson, Performance Benefactor.

Program

Silent Screen

INTERMISSION

The Second Person d an c e

www.carolinaperformingarts.org (919)843-3333 TUES & WED mar 29 & 30 | 7:30 PM

dSilent Screen anThe Second Person cby programminge in such a way that the per- formance becomes a complete experience Choreography: Paul Lightfoot and Sol León Choreography: Crystal Pite for the public. It is important to Vincent to Music: Philip Glass, Glassworks (1982) Assistant to the choreographer: expose dance to influences from other art Why does someone have to die? Maurice Causey disciplines, to break new ground together. from The Hours (2002) Music: Owen Belton (new composition) Concept film: Lightfoot León Text: Crystal Pite Realization film: Metropolis Film Voice: Kate Strong Nederlands Dans Theater I and Dicky Schuttel Light: Kees Tjebbes This company was founded in 1959 and Decor: Paul Lightfoot and Sol León Costumes: Joke Visser, Crystal Pite consists of 30 dancers. They vary in age Costumes: Paul Lightfoot and Sol León Decor: Crystal Pite from 23 to 42 and each one of them excels (Big thank you to Joke Visser and Painting canvas: Vorm & Dekor, in their solo qualities. These phenomenal Hermien for realization and support) Roelf Visscher dancers and the multifaceted repertoire they Lighting: Tom Bevoort Production of dolls: Rob’s Prop Shop, bring to the stage attract full houses all over World premiere: April 28, 2005 – Willeke Smit the world. Lucent Danstheater Den Haag World premiere: February 15, 2007 – Lucent Danstheater Den Haag Nederlands Dans Theater II The Tuesday, March 29 performance of Nederlands Dans Theater This company was founded in 1978 for Nederlands Dans Theater is supported young upcoming talent with astonishing by Wyndham Robertson, Performance Nederlands Dans Theater originated in technique and endless energy and currently Benefactor. 1959 when 22 people broke free from consists of 16 dancers up to the age of 23. the Nederlands Ballet. These rebels were Nederlands Dans Theater II is a revolution- Program Notes impassioned by dance and the desire to ary breeding ground of talent and dance give it a style all their own. Under the direc- Never before have Paul Lightfoot and Sol repertoire by established and up-and- tion of Carel Birnie and Benjamin Harkarvy, León made a piece as long as this – 45 coming choreographers. they steadily built a different repertoire of minutes – and the result has rarely been so modern dance. Fifty years later, Nederlands compelling and well balanced. Silent Screen Paul Lightfoot and Sol León Dans Theater has become one of the lead- is set to the abstract and yet emotional ing dance companies in the world. A rich Paul Lightfoot (Kingsley, England) trained at music of Philip Glass. The piece begins with repertoire has been built up with works the Royal Ballet School in London. In 1985, a fascinating duet against the background of from master choreographers Jirˇí Kylián and he joined Nederlands Dans Theater II and a solitary man vanishing into the sea. When Hans van Manen as well as from resident two years later moved on to Nederlands the dancers disengage themselves from the choreographers Sol León and Paul Lightfoot, Dans Theater I, where he was vital to the images, they display harmony and happi- associate choreographers Crystal Pite and image of the company. He also took up ness. Then the sea transforms into a forest Johan Inger and many other guest choreogra- choreography, his talent for which stood and the atmosphere changes. Despite its phers including Ohad Naharin, Nacho Duato out in 1988 during the annual workshop high degree of technicality, the ballet refers and William Forsythe. Under the direction of Nederlands Dans Theater. After this to great themes of life and has a profound of Artistic Director Jim Vincent, Nederlands workshop he created The Bard of Avon for emotional overtone. Dans Theater attracts full houses worldwide. Nederlands Dans Theater II (1989), the first This time the inspiration is the art of silent Through the years, but particularly in its hey- of many pieces for Nederlands Dans Theater movies, the amazing way of acting emotions, day under former artistic director Jirˇí Kylián, I as well as Nederlands Dans Theater II, and the beauty of the body’s expression without Nederlands Dans Theater has done pioneer- also for Nederlands Dans Theater III at the words and the power of these actors, who ing work in contemporary dance. Ballets time. His choreographies were made in close project their drama in a symbolic way. It has originally made for Nederlands Dans Theater collaboration with Sol León – an alliance that been a beautiful and emotional experience are still danced all over the world. Numerous continues to this day. that makes us improve our way of communi- dancers and choreographers that once Sol León (Córdoba, Spain) finished her dance cating through the art of dance. started with the company have set up their training at the National Ballet Academy of – Sol León own dance companies worldwide. While cher- Madrid and came to The Hague in 1987 ishing what has been built up, Nederlands to dance with Nederlands Dans Theater II “One never realizes an emotion at the time. Dans Theater looks to the future. Jim under Arlette van Boven. In 1989, she joined It expands and thus we don’t have complete Vincent wants to strengthen the connection Nederlands Dans Theater I. She danced emotions about the present, only about the between dance and society, which he does many works by masters of choreography past.” (Virginia Woolf) – Paul Lightfoot

carolina performing arts 10/11 17 including Jirˇí Kylián, Hans van Manen, Mats Pivot tours nationally and internationally Ek and Ohad Naharin until she stopped with productions that include Dark Matters dancing in 2003. From 1989, Sol León and (2009), Fault (2008), Lost Action (2006), Paul Lightfoot have worked together produc- Uncollected Work (2002) and Double Story ing choreographies for Nederlands Dans (2004), created with Richard Siegal. In Theater. In 2002, the couple were appointed 2010, Kidd Pivot became the resident resident choreographers of Nederlands company of Kunstlerhaus Mousonturm in Dans Theater. Together they have made 40 Frankfurt, Germany and is now known as choreographies for this dance company. Kidd Pivot Frankfurt RM. Crystal Pite is an In 2007, they started a charity project for Associate Dance Artist of Canada’s National street children in Bangladesh. Arts Centre and Associate Choreographer of Netherlands Dance Theater. She is the Crystal Pite recipient of the 2008 Governor General’s Vancouver-based choreographer and Mentorship Award. performer Crystal Pite has created works for Netherlands Dance Theatre 1, Cullberg Ballet, Ballett Frankfurt, Les Ballets Jazz de Montréal (Resident Choreographer 2001–04), Cedar Lake Contemporary Ballet, Exclusive North American Representation: Ballet British Columbia, Alberta Ballet, The IMG Artists National Ballet of Canada and several inde- Carnegie Hall Tower, 152 West 57th Street, pendent dance artists, the most recent of 5th Floor, New York, NY 10019 whom is Louise Lecavalier. Pite is a former company member of Ballet British Columbia Ph: 212-994-3500, Fx: 212-994-3550, and Ballett Frankfurt. In 2001, she formed www.imgartists.com her own company, Kidd Pivot, and continues to create and perform in her own work. Kidd www.carolinaperformingarts.org (919)843-3333 On Nederlands Dans Theater Amanda K. Miller

About twenty years The work I am creating with the dancers is a ago, I choreographed challenging process because of the different two ballets for improvisational tools I use to create the Nederlands Dans choreography. Each dancer reveals more Theater II, when Jirˇí and more of him/herself with this language, Kylián was the artistic as if writing a poem with physical language director. At the time, and expression. These dancers approach the dancers and I were the process with open minds and hearts. close to the same I can understand and appreciate their age. Here I am again, creating a piece for intellectual intelligence and curiosity and Nederlands Dans Theater I. Jim Vincent, the their ability to translate and transform this current artistic director, was my schoolmate into their bodies. Dancers’ bones talk, and at University of North Carolina School of the throughout our bodies is the democracy of a Arts. This time, I am much older than the strange sort of freedom. dancers, but my sensations of happiness As an audience member, just sit back, are the same. relax and be engulfed in Nederlands Dans Being a dancer is a very difficult job. It Theater’s generosity as performers, with all requires so much precision, self-discipline, that they give as individual human beings to musicality, passion, and most importantly, their art – dancing. a sense of humor about oneself and one’s Born and raised in Chapel Hill, Amanda K. Miller community. We laugh a lot every day, and this is founder of the Pretty Ugly Dance Company. keeps things very real and compassionate. I Recently, she led a workshop series at UNC-Chapel have always found this to be the case with Hill as a part of Carolina Performing Arts’ Dance Master Class Series. Nederlands Dans Theater.

ackland art museum 1/2 pg

carolina performing arts 10/11 19 worlwd theaterorld theater

“…consistently innovative…” Credit: XXX - Boston Globe Photo Credit: John Hodgkiss

Woyzeck on the Highveld – Handspring Puppet Company Friday & Saturday, April 1 & 2 at 8pm

A play for puppets and animated projections

voices of dissent

This performance is supported, in part, by sponsors of the International Theater Festival,

w orl d t h eater Tom Kearns and Joseph and Beatrice Riccardo. www.carolinaperformingarts.org (919)843-3333 world theaterFRI & Sat Apr 1 & 2 | 8pm Based on the play by GEORGE BÜCHNER ROLES & PLAYERS – William Kentridge Directed by WILLIAM KENTRIDGE Woyzeck ...... HAMILTON DHLAMINI Restaged by LUC DE WIT Maria ...... BUSI ZOKUFA Director’s Note Designed by ADRIAN KOHLER & The Barker, The Miner, Margaret, Andries (1992 Original Production) WILLIAM KENTRIDGE MNCEDISI SHABANGU I first came across the playWoyzeck in Animation WILLIAM KENTRIDGE The Captain ...... NKOSINATHI GAAR Barney Simon’s remarkable production in Lighting Design WESLEY FRANCE The Doctor ...... JASON POTGIETER the old Arena Theatre in Doornfontein in the 1970s. Characters and images from The Company Director’s Note (2008 Revival) the play have floated on the edges of my consciousness since then. For many years, Actor MNCEDISI SHABANGU In the strange, convoluted world of oppression I have wanted to do some form of produc- Puppeteers NKOSINATHI GAAR, and enlightenment that constituted Prussia tion of the work as it seemed to me that JASON POTGIETER, in the 19th century, there was a law which the anguish and desperation of Büchner’s HAMILTON DHLAMINI, stated that anyone condemned to death had text does not need to be locked into the BUSI ZOKUFA first to be examined by a psychiatrist before context of Germany in the 19th century, and Technical Director WESLEY FRANCE he could be executed. The psychiatric report that the similar circumstances that exist in Sound Engineer SIMON MAHONEY of one such person, a private in the army South Africa today make this play completely Stage Manager BRUCE KOCH condemned to death for the murder of his common law wife, formed the basis of the eloquent in a local setting. Music produced by STEVE COOKS, play Woyzeck, written by Georg Büchner in The second source of this production is to be EDWARD JORDAN 1875. The play was an unfinished series of found in the desire to work with puppetry in Sound Design WILBERT SCHOUBEL fragments at the time of the author’s death at general and the Handspring Puppet Company in Cello CLARA HOOYBERG the age of 25, and it was not performed until particular – to work in an area in which perfor- Piano accordions ALFRED MAKGALEMELE, . some 40 years later. Since then, its mixture mance and drawing come together, to try to see ISAAC VAN GRAAN of fragmentation, rationality and irrationality if one could find an emotional depth and weight have made it a central text in 20th century without recourse to the obvious techniques of Puppet Maker ADRIAN KOHLER theater. Handspring Puppet Company and I psychological transformation of an actor’s face. were drawn to the text both for its substance Assistant Puppet Makers FRANCOIS ...... The third source is the animated films that but also for its abbreviated, fragmentary form. VILJOEN, ERICA ELK I have been making. The cumbersome and Both puppetry and animation are short forms, Assistant Animator ERICA ELK archaic technique of charcoal drawing and puppetry because of the conflict between the Video Editor THABO NEL erasure that I use imposes severe limita- weight of a puppet and the strength of an Original Lighting Design MANNIE MANIM tions on the mobility and interaction of the arm, animation because of the hours of labor Set Builder FRANCOIS VILJOEN drawn figures. Working with puppets and needed to draw even short sequences. Costumes HAZEL MAREE these animated films attempts to bring the This production was my first collaboration possibilities of versatile three-dimensional Producer BASIL JONES with Handspring Puppet Company, and movements into the work I have been doing. Production Manager WESLEY FRANCE when we made it some 15 years ago, we This is my first experience of working with had the blessing of absolutely not knowing puppets and the discoveries have been enor- what we were doing, making the form, and Major Revival 2008. Original Production mous. Each day of rehearsal has brought the grammar of the form, as we went along. 1992: The Standard Bank National Arts revelations of the things that puppets can In the subsequent productions of Faustus Festival, the Johannesburg City Council, the do better than their living counterparts (try in Africa!, Ubu Tells the Truth, Il Ritorno Foundation for the Creative Arts, the German training a rhinoceros to write or an infant to d’Ulisse and Confessions of Zeno, we have Embassy in South Africa, the Department of fly on cue). Also worth watching out for is always worked with the disadvantage of National Education and Art Bureau (Munich). that strange condition where the manipula- hindsight. In this presentation, there are www.handspringpuppet.co.za tion of the puppets is completely transpar- some changes of puppetry controls, some ent, where, in spite of seeing the palpable changes of manipulation, but essentially we artificiality of the movement of the puppet, Handspring Puppet Company’s activities in are making a restaging of the original produc- one cannot stop believing in the puppet’s the Americas and in Asia are produced by tion. We hope new audiences find pleasure own volition and autonomy. Deirdre Valente, Lisa Booth Management, Inc. both in Buchner’s remarkable text and our production of it. But in truth this restaging – William Kentridge is a gift to ourselves, as we try to rediscover some of the things we did not know.

carolina performing arts 10/11 21 Handspring Puppet Company earned Handspring Olivier, Evening Standard through an innovative use of charcoal draw- and London Critic’s Circle awards in 2007 for ing, prints, collages, stop-animation, film, Exploring the boundaries of puppet theater their magnificent life-size puppets. Joey, the opera and theater. Kentridge see his work within an African context since 1981, lead horse of the production, has also made as rooted in Johannesburg – the city in which Handspring Puppet Company is directed by several special appearances including a visit he was born and continues to work today. In Adrian Kohler and Basil Jones. Based in Kalk with Queen Elizabeth II at Windsor Castle 2010, he was awarded the Kyoto Prize and Bay on the outskirts of Cape Town, South and at the 2011 TED conference in Long made his debut at the Metropolitan Opera, Africa, the company provides an artistic Beach, CA. The Broadway production opens staging and designing Dmitri Shostakovich’s home and professional base for a core group on April 14. In 2010, the National commis- The Nose. Five Themes, a large-scale exhibi- of performers, designers, theater artists and sioned and produced Or You Could Kiss Me, tion that surveys nearly three decades of work technicians. Their work has been presented which Handspring created in collaboration and underscored the inter-relatedness of his in more than 30 countries around the world. with playwright/director Neil Bartlett. mediums and disciplines, was presented in Handspring has been regularly produced 2010 at NYC’s MOMA; Jeu de Paume, Paris; In conjunction with Cape Town’s Out the Box in the USA since 1994, when the company Albertina Museum, Vienna and in 2009 at Festival, the company has established the made its debut with Woyzeck on the Highveld, the San Francisco Museum of Art; Modern Handspring Puppetry Awards, five cash prizes the first of six collaborations with William Art Museum of Fort Worth, Texas; Norton awarded annually to recognize and celebrate Kentridge. This team’s subsequent produc- Museum of Art, West Palm Beach, Florida. the work of those engaged in the art form. tions – Faustus in Africa (1994), Ubu and His recent work also includes I am not me, Handspring Puppet Company, a compre- the Truth Commission (1998), Zeno at 4AM the horse is not mine, a solo lecture/per- hensive survey and catalog raisonné of the (2001), Confessions of Zeno (2002, 2003) formance piece and installation, and Black company’s work with essays, drawings and and Il Ritorno d’Ulisse (1998, rev 2004) – Box/Chambre Noire, a miniature piece with hundreds of detailed full-color photographs, have also been presented here. Tall Horse, mechanized puppets and projection with was published by David Krut in 2010. made in collaboration with Yaya Coulibaly’s original music by Philip Miller, commissioned Sogolon from Mali, toured the USA in 2005. William Kentridge by Deutsche Guggenheim in Berlin. Handspring has also partnered with William Kentridge is a South African artist London’s National Theatre. War Horse, a whose work tracks a personal route across long-running hit on London’s West End, the legacy of apartheid and colonialism

www.carolinaperformingarts.org (919)843-3333 on Handspring Puppet company priscilla bratcher

Puppets keep dancing both performances and was, once again, in and out of my life, enthralled. I wanted more and was rewarded layering impressions in 2009 and 2010 with the National of magical moments. Theatre’s production of War Horse in London. Although some Using Handspring’s life-sized puppets for the scholars argue that animals in the play, War Horse knocked me puppetry is as ancient out with its powerful story-telling. This time I as 30,000 years old, was not alone in my weeping. It was reported I am not. I do have a that even Her Majesty the Queen shed a tear fuzzy childhood memory of seeing a puppet when she saw it. show, but can’t remember where or when. It This spring brings another puppet experience, may have been during the year we spent in Handspring’s Woyzeck on the Highveld. England when I was six years old. I dredge up Based on the Georg Büchner classic play, a scene at someone’s birthday party, which this performance promises to be powerful included an outdoor Punch and Judy show. and moving as well as inventive under the The study of puppetry was part of my direction of artist and filmmaker William coursework for a BA in theater, but at the Kentridge. I can’t wait. time, it was considered an art form for And here’s what I’ve come to understand children only. Fortunately, puppetry artists from my lifelong dance with puppets. This art and audiences have come a long way since form has power because it resonates with then and a new appreciation for this ancient childhood memories. But performances that global art form has emerged. artfully use puppets transcend sentimentality. In 1998, I began to work on the Memorial By asking the audience to suspend disbelief Hall renovation campaign. Chair Jim Heavner and invest cloth, wood and clay with breath used his wide network to ensure our success. and the ability to think, feel and react, puppet One of his pals was Debbie Ellis of Atlanta. artists can take us on magical journeys of Both Debbie’s parents were Carolina alumni delight, pathos, joy and wonder. I hope you and she honored them by generously naming will travel with me on April 1 and 2. two of the brand new dressing rooms. After Priscilla Bratcher, Anglophile and theater devotee the campaign, Debbie joined the board of with a weakness for Shakespeare, is Director the Center for Puppetry Arts in Atlanta, an of Development for Carolina Performing Arts at amazing museum/school/performance UNC-Chapel Hill. troupe. Through Debbie, my interest in and knowledge of puppetry was rekindled. A couple of years later, I began working for Britain’s Royal Shakespeare Company. There, I met the amazing Chief Associate Director Gregory Dorn, who had learned of the Bunraku puppet tradition while touring Macbeth in Japan a few years earlier. He creatively integrated the art form into a production of Venus and Adonis, one of the Bard’s two long poems. It used hand and shadow puppets, marionettes and Bunraku. I was lucky enough to see it in Stratford in 2004 and it stunned me. It was funny, outrageous, erotic, tragic and moving. For the first time since childhood, puppets made me weep. In 2005, I was back at UNC-Chapel Hill working for Carolina Performing Arts. The Grand Opening Season included Handspring and Sogolon Puppet Companies’ production of Tall Horse, featuring life-sized puppets interacting with actors. I saw

carolina performing arts 10/11 23 classicclassial ensembles cal ensembles

“…music in the purest form possible…” - The Washington Post

Credit: Colin Bell St. Petersburg Philharmonic Orchestra with Yuri Temirkanov, music director & conductor, and Alisa Weilerstein, cello Tuesday, April 5 at 7:30 PM

Classical music performances are made possible by the William R. Kenan, Jr. Charitable Trust. We thank the

c lassi al ensem b les Trustees for their visionary generosity and for encouraging others to support Carolina Performing Arts. www.carolinaperformingarts.org (919)843-3333 classical ensembTues,les Apr 5 | 7:30 PM

Program orchestra’s repertoire and touring interna- tionally. In 1976, he became artistic director Russian Easter Overture, Op. 36 Rimsky-Korsakov and chief conductor of the Kirov (Mariinsky) (1844-1908) Theatre, actively touring abroad and creat- ing classic productions of Prokofiev’s War Concerto for Cello No. 1 in E-flat major, Op. 107 Shostakovich and Peace, Tchaikovsky’s Eugene Onegin Allegretto (1906-1975) and Queen of Spades, Petrov’s Peter I and Moderato Shchedrin’s Dead Souls. Cadenza Allegro con moto He also began collaborating with many world- famous orchestras, becoming chief conduc- INTERMISSION tor of the Royal Philharmonic Orchestra (RPO) in 1992, principal guest conductor of Symphony No. 4 in E minor, Op. 98 Brahms the Dresden Philharmonic (1992-97), prin- Allegro non troppo (1833-1897) cipal guest conductor of the Danish Radio Andante moderato Symphony Orchestra (since 1998), chief con- Allegro giocoso ductor of the Baltimore Symphony Orchestra Allegro energico e passionato (2000-06) and guest conductor of the Bolshoi Theatre (2007-08). He tours regularly with the St. Petersburg Philharmonic Orchestra and performs the traditional opening and closing concerts of the season. Under his direction, the Orchestra became the first The St. Petersburg Continuing the Orchestra’s 125th anniver- Russian orchestra to perform at Carnegie Philharmonic Orchestra sary celebrations, this season features Hall’s opening concerts of the season. two subscription series (Yuri Temirkanov Founded in 1882, The St. Petersburg and his Orchestra and The First Russian The People’s Artist of the USSR, he has Philharmonic Orchestra, Russia’s oldest Symphony Orchestra) and the winter festival received State Awards and Orders including symphonic ensemble, has undertaken the “Arts Square,” opening with Evgeny Kissin. the President of Russia award and the Abbiati first Russian performances of Tchaikovsky’s In the newly refurbished Philharmonic Hall, award, Best Conductor of the Year. Last sea- Symphony No 6 (“Pathetique”), Richard the Orchestra will perform with Krzysztof son, he was elected Honorary Member of the Strauss’ symphonic poems Ein Heldenleben Penderecki the first St. Petersburg per- Academy of Santa Cecilia and was honored and Also Sprach Zarathustra, Mahler’s First formance of his Polish Requiem and a by the St. Petersburg government. Symphony, Bruckner’s Ninth Symphony, concert with Rodion Shchedrin in which the Prokofiev’s Classical Symphony, Skryabin’s Temirkanov has made the preservation composer will play his First Piano Concerto. Poem of Ecstasy and many Shostakovich and nurturing of St. Petersburg’s spiritual It will also perform at the Marathon- symphonies. Conductors have included and cultural inheritance the subject of an Concert for International Music Day and Tchaikovsky, Prokofiev, Richard Strauss, International Foundation for Cultural celebrate Stravinsky’s 125th anniversary. Arthur Nikisch, Alexander Glazunov, Serge Initiatives in his name. In 1998, he created The Orchestra also tours the US, including Koussevitsky, Otto Klemperer, Bruno Walter, the Temirkanov award for talented young three Carnegie Hall performances. The Felix Weingartner, Leopold Stokowski, Georg musicians. In 1999, he founded the new season closes in June with a traditional Solti and many others. Arts Square international winter festival, festival, The Music Collection, featuring featuring the world’s greatest soloists with In 1917, the Orchestra became the State Serge Baudo, Hans Graf, Freddy Kempf and the Orchestra. Orchestra. Soloists Vladimir Horowitz Paata Burchuladze. and Sergey Prokofiev appeared with the Alisa Weilerstein Orchestra, which began to play modern Yuri Temirkanov repertoire – Stravinsky, Schoenberg, Berg, Cellist Alisa Weilerstein has attracted wide- One of the most sought-after conductors of Hindemith, Honegger, Poulenc – while con- spread attention for her virtuosity, technical his generation, Yuri Temirkanov became ar- tinuing to premiere the music of contempo- precision and impassioned musicianship. tistic director and chief conductor of the St. rary Russian composers. In 1938, conductor 2009-10 milestones included performing Petersburg Philharmonic Orchestra in 1988. Evgeny Mravinsky joined the Orchestra and Elgar’s Cello Concerto with the Berliner In 1967, Evgeny Mravinsky offered him for the next 50 years transformed it into Philharmoniker and Daniel Barenboim, the position of assistant conductor at the one of the best in the world. In 1988, Yuri participating in a White House classical Philharmonic Hall. From 1968, Temirkanov Temirkanov became principal conductor, giv- music event, touring Venezuela with Gustavo was head of the Academic Symphony ing numerous world premieres and opening Dudamel and the Simón Bolívar Symphony Orchestra of the Philharmonia, widening the Carnegie Hall’s 2005-2006 season. Orchestra and making her LA Philharmonic

carolina performing arts 10/11 25 Photo Credit: Lucio Lecce

debut with Dudamel, performing Dvorˇák’s Cello Concerto. Highlights of her 2010-11 season include touring with the St. Petersburg Philharmonic Orchestra led by Yuri Temirkanov, recitals with pianists Inon Barnatan and Gabriel Kahane, performing the Beethoven Triple Concerto with pianist Jeremy Denk, violinist Chee Yun and conductor Marek Janowski with the San Francisco Symphony, and de- buting with the National Orchestra of Spain, the Danish Radio Symphony Orchestra and the Royal Stockholm Philharmonic Orchestra performing Osvaldo Golijov’s Azul. A dedicated chamber musician, she performs regularly in prestigious festivals and with her parents as the Weilerstein Trio, the New England Conservatory’s Trio- in-Residence. In 2008, she was awarded Lincoln Center’s Martin E. Segal prize for ex- ceptional achievement and in 2006 she won the Leonard Bernstein Award. She received a 2000 Avery Fisher Career Grant and in 2000- 01 was selected for the prestigious ECHO (European Concert Hall Organization) “Rising Stars” recital series and the Chamber Music Society of Lincoln Center’s Chamber Music Society Two. In 2000, she recorded a CD for EMI Classics’ “Debut” series. Born in 1982, she made her Cleveland Orchestra debut in 1995 and her Carnegie Hall debut with the New York Youth Symphony in 1997. A graduate of the Young Artist Program at the Cleveland Institute of Music, where she studied with Richard Weiss, she graduated from New York’s Columbia University in 2004 with a degree in Russian history.

www.carolinaperformingarts.org (919)843-3333 carolina performing arts 10/11 27 dance

“…the coming of age of new Chinese dance…” - Dance Europe

Photo credit: Zhang He Ping

BeijingDance/LDTX Tuesday & Wednesday, April 12 & 13 at 7:30pm

Artistic Director: Willy Tsao Deputy Artistic Director: Li Hanzhong Technical Director and Lighting Designer: Godzilla Tan Production Manager: Chen Lin Stage Manager: You Hu Company Manager: Liu Siwen d an c e Dancers: Ma Bo, Zuo Yan, Song Tingting, Zhao Kexin, Xu Yiming, Zi Wei, Liu Bin, Liang Yu, Liu Yifeng, Zheng Zhi, He Yao, Li Yue, Guo Wei, Qian Kun www.carolinaperformingarts.org (919)843-3333 TUES & WED APR 12 & 13 | 7:30 PM

Program choreographers. It reflects the development of contemporary dance in 20th-century dApril 12 Program anApril 13 Program cChina. All Rivere Red is not a comfortable fusion of East and West, but rather, a direct Unspeakable The Cold Dagger and violent confrontation between those Sky adhering to tradition and those inspired One Table N Chairs (excerpt) to innovate. INTERMISSION All River Red About the Company The birth of BeijingDance/LDTX (Lei Dong Tian Xia, literally translated as Thunder Rumbles Under Heaven) in September of 2005 not only caught widespread international atten- April 12 Program player, strategy and sacrifice, and cause and tion, but also captured the imagination of effect are shown to be one and the same. Unspeakable many artists in China. BeijingDance/LDTX Choreographer: Sang Jijia Sky was born out of a controversial and exciting Costume Designer: Sang Jijia & Gao Jie Choreography: Liu Bin time of rapid cultural change in China, be- Set Designer: Sang Jijia Music Producer: Mao Liang coming China’s first non-governmental and Lighting Designer: Goh Boon Ann Dancers: Zuo Yan, Song Tingting, independent professional dance company. Music Arrangement: Sang Jijia Zhao Kexin, Liu Bin, Xu Yiming,Li Yue Founded by veteran choreographers and and Qian Kun a new generation of dancers in China, All music is arranged by Sang Jijia, from the BeijingDance/LDTX is a platform for contem- works of Pan Sonic, Thom Willems, Ryoji To embrace, to trust, to hope and to continue… porary creations. Under the artistic direction Ikeda and John Adam. of Willy Tsao, China’s foremost figure in One Table N Chairs (excerpt) modern dance, and deputy artistic director Dancers: Full Company Choreographers: Willy Tsao, Li Hanzhong Li Hanzhong, the company boasts an en- and Ma Bo semble of 14 technically exquisite dancers What is expected is not a person, not a Music: Traditional Chinese Opera recordings and a diverse repertoire. Based in China’s story, not anything. from Beijing and Guangdong capital, BeijingDance/LDTX serves as both Dancers: Full Company a leader and a catalyst for the modern and A world that can be explained even with bad This excerpt is one of nine scenes that contemporary dance and dance appreciation reasons is a familiar world. But, on the other together compose the full evening version movement. By nurturing young talent and hand, in a universe suddenly divested of illu- of One Table N Chairs. Inspired by the local exclusively working with Chinese choreogra- sions and lights, man suddenly feels an alien, operas in different parts of China, the nine phers, BeijingDance/LDTX pioneers China’s a stranger. His exile is without remedy since scenes represent the different sentiments most cutting edge choreography. he is deprived of the memory of a lost home and situations of life. It is estimated that or the hope of a promised land. This divorce Since it’s creation in 2005, BeijingDance/ China has over one hundred kinds of local between man and his life, the actor and his LDTX has traveled extensively throughout opera, each with its unique singing and act- setting, is properly the feeling of absurdity. Mainland China, Hong Kong, Europe and ing style. The nine most distinctive types of - Albert Camus North America. In addition, BeijingDance/ operas and their highlights are adapted and LDTX hosts the annual Beijing Dance deconstructed in One Table N Chairs to give April 13 Program Festival, which brings the world’s most a kaleidoscopic picture of contemporary and innovative work to the nation’s capital. The Cold Dagger (excerpt) traditional China. Through performance seasons, educa- Choreographers: Li Hanzhong and Ma Bo tional programs, commercial engagements, Music: Henryk Gorecki INTERMISSION technique classes, and outreach activities, Dancers: Full Company All River Red BeijingDance/LDTX attracts aspiring danc- The Cold Dagger (excerpt) is an explosive Choreography: Li Hanzhong and Ma Bo ers and artists to contemporary dance and staging of confrontation and humanity. This Music: Igor Stravinksy serves as an important voice in the evolu- ten-minute version of an evening-length work Dancers: The Full Company tion of modern Chinese thought and society. plays with the Chinese idiom that likens life Stravinsky’s Rite of Spring was premiered Willy Tsao (Company Director/Artistic Director) to a game of chess, wherein dancers act in 1913, signifying the dawn of a new era has been a major figure in China’s modern as life-sized pieces in an intricately choreo- in music writing. This music has inspired dance community for over 25 years. Born graphed match of the traditional Chinese many western masters of choreography to and educated in Hong Kong, Tsao received Weiqi (go) game. The work is a mesmerizing create innovative dances. All River Red is the his modern dance training in the US from look at the “game of life,” in which piece and version offered by contemporary Chinese 1973-1977. In 1979, he graduated from the

carolina performing arts 10/11 29 University of Hong Kong with an MBA and es- to the development of local arts. Other International Choreographers Showcase tablished the Hong Kong City Contemporary awards and honors include the “Dancer of (1999). Li joined the Beijing Modern Dance Dance Company. the Year Award” from the Hong Kong Artists’ Company as the Deputy Artistic Director in Guild (1988), the “Ten Outstanding Young Tsao has dedicated endless effort towards 1999. In 2005, Li left the Beijing Modern Persons” Award (1990), “The Badge of the development of modern dance in China. Dance Company and, along with Willy Tsao, Honor” from HRH Queen Elizabeth II (1993) In 1986, he was invited to teach modern founded BeijingDance/LDTX. and the “Louis Cartier Award of Excellence – dance at the Beijing Dance Academy, and Outstanding Choreographer”(1998). His major choreographic works have toured served later as the Artistic Advisor for internationally with Guangdong Modern their Youth Dance Company. In 1987, he Li Hanzhong Dance Company, Beijing Modern Dance became an advisor for the Guangdong Dance (Deputy Artistic Director/ Choreographer) Company and most recently, BeijingDance/ School and was instrumental in creating the was born in the western province of Yunnan. LDTX. Some of his most acclaimed works Guangdong Modern Dance Company, the He is hailed as part of China’s first gen- include All River Red (2000), Undetermined first professional modern dance company in eration of modern dancers. Li Hanzhong Domain (1997), Rear Light (2002) and The China. He served as their Artistic Director graduated with a bachelor’s degree from Cold Dagger (2006). from 1992-1998 and was invited back to the Beijing Dance Academy (Chinese Ethnic serve as Company General Manager in 2004. Dance) in 1991. Upon graduation, he joined Tsao has conducted intensive modern dance the Guangdong Modern Dance Company as www.BeijingLDTX.com workshops in many cities throughout China. a dancer, artistic assistant and choreog- Exclusive North American Tour In 1999, he was invited to be the Artistic rapher. He toured with the company to the Representation Director for Beijing Modern Dance Company. US, France, Germany, Switzerland, Austria, Rena Shagan Associates, Inc In 2005, he re-established the company Korea, Singapore and the Philippines. In 16A West 88 Street under the name BeijingDance/LDTX. As a 1996, he received the Asian Cultural Council New York, NY 10024 choreographer, his works have been pre- Scholarship to study at the American Dance tel. 212.873.9700 fax. 212.873.1708 sented in the US, Canada, Korea, Japan, Festival. Along with his prolific choreographic www.shaganarts.com Israel, Germany, France and China. Tsao’s creations in mainland China, Li has been contribution to modern dance has been invited to stage works for the Center for International Tour Coordinator, Sandy Garcia widely recognized. In 1999, he was awarded the Performance Arts, Adelaide (1998 and the “Bronze Bauhinia Star” by the Hong Kong 2000), Cloud Gate Dance Theatre, Taiwan Government for his significant contribution (1999) and the American Dance Festival’s www.carolinaperformingarts.org (919)843-3333 On BeijingDance/LDTX Jiayun Zhuang

My parents took me to personal memories of the performers. Sitting There are so many stories, and I expect that see a modern dance in the audience, it has become my personal BeijingDance/LDTX will bring more stories to performance when “ritual” to constantly try to figure out to which us. This drastically changing time has created I was in junior high. degree these stories are interwoven and told a wonderful storytelling stage for Chinese Putting aside the hints through dance. artists. Isn’t now the best-ever time for us of irony embedded in In Nederlands Dans Theater III, a dance- to get to know the dancing storytellers who this “adventure” for a theater company for experienced dancers mix reality with hope, euphoria with everyday moment, I was stunned older than 40 years, one of the members struggle, tradition with future, and individual and almost upset by recalls, “When I was 45, and empty-handed, stories with those of a bigger society? This the inexplicable compositions and movements I wanted to become a ballet teacher and rising company has performed a dynamic of dancers’ bodies. More than that, I was then I started [...] so here I am (as a ballet collection of works and has been actively extremely puzzled because of the lack of a teacher).” Pina Bausch and Tanztheater involved in a range of dance festivals and storyline: “What do I make out of this?” Well, Wuppertal’s production Ten Chi looks like, workshops, both in China and internationally. my parents asked me the same question. as someone perfectly described, “a series In addition to providing a variety of aesthetic Today, even though I have become of postcards.” And yes, the story fragments experiences and sensory impressions, LDTX someone who can “comfortably” talk captured in the cards are inspired by a visit to also brings into contemporary Chinese about modern dance and almost have the Japan, amusingly translated by the German society modern dance as the most direct, tendency to spit out such terms as “the dancer-tourists, into a celebration about the diverse and thought-provoking vocabulary body,” “expressionist,” and “challenge the plenitude and the loss of meaning. When for telling the new stories. I hope to have established” to describe modern dance, I talking about his new work, Listening to the the chance to have a cup of Longjing tea know I am still secretly looking for stories River, Lin Hwai-min, the founder of Taiwan’s with them, and to discuss their physical when watching a performance. Besides the Cloud Gate Dance Theatre, tells us that he is movements and choreographic structures. narrative of the dance, I tend to search for in hope of planting a tree somewhere along Then, I will ask: “What is your story?” anecdotes in the rehearsal room, some real- the Tamsui River and always wonders what Jiayun Zhuang is an Assistant Professor in the life fantasies evoked in a dance field trip, and type of tree it would be. Department of Dramatic Art at UNC-Chapel Hill.

carolina performing arts 10/11 31 classiclassicalcal recitals recitals

“An endearing presence, Koh has chops aplenty.” - The Star-Ledger

Photo credit: Janette Beckman

Bach and Beyond – Jennifer Koh, violin Thursday, April 14 at 7:30pm

Classical music performances are made possible by the William R. Kenan, Jr. Charitable Trust. We thank the Trustees for their visionary generosity and for encouraging others to support Carolina Performing Arts.

c lassi al re itals Co-Commissioned by Carolina Performing Arts

www.carolinaperformingarts.org (919)843-3333 classical recitalsthurs apr 14 | 7:30 PM

Program Jennifer Koh Beloved by audiences and critics for her Partita No. 3 in E major, BWV 1006 J.S. Bach Preludio (1685-1750) consummate musicianship and daring pas- Loure sion, Jennifer Koh is unique in her genera- Gavotte en Rondeau tion, bringing a probing intellectual acuity to Menuet I contemporary and traditional repertoire in Menuet II equal measure. Committed to exploring Bourrée connections between the pieces she plays, Giga searching for similarities of voice among composers as well as within the works of Sonata No. 2 in A minor, Op. 27 No. 2 Ysaÿe a single composer, her programs often Obsession (1858-1931) present rare and revealing juxtapositions, Malinconia offering composers as divergent as Mozart Danse des ombres and Ligeti, Schubert and Saariaho. Les furies Her Rhapsodic Musings recording (2010) features 21st-century solo violin works and Nocturne – In memory of W. Lutoslawski Kaija Saariaho includes a film by Tal Rosner on Esa-Pekka (b. 1952) Salonen’s Lachen Verlernt for solo violin. Fantasy – Remembering Roger Elliott Carter Other recordings include the Grammy- (b. 1908) nominated String Poetic, an acclaimed CD of the complete Schumann violin sonatas, Lachen verlernt (with video by Tal Rosner) Esa-Pekka Salonen works by Bach, Schubert, Szymanowski, (b. 1958) Martin, Schoenberg and jazz great Ornette Coleman, and Portraits, featuring the INTERMISSION Szymanowski and Martinů violin concer- tos with the Grant Park Orchestra under Partita No. 2 in D minor, BWV 1004 J.S. Bach Carlos Kalmar. Allemande (1685-1750) Since 1994-95, when she won the Corrente International Tchaikovsky Competition Sarabande in Moscow, the Concert Artists Guild Giga Competition and the Avery Fisher Career Ciaccona Grant, Ms. Koh has appeared with leading orchestras and conductors around the world. A prolific recitalist, she appears frequently at major music centers and festivals includ- ing Carnegie Hall, the Kennedy Center, the Kimmel Center in Philadelphia, Marlboro, Wolf Trap, Spoleto, and The Festival International de Lanaudiere in Canada. Born in Chicago of Korean parents, Ms. Koh currently resides in New York City. She is a graduate of Oberlin College and an alumna of the Curtis Institute, where she worked extensively with Jaime Laredo and Felix Galimir. She is grateful to her private spon- sor for the generous loan of the 1727 Ex Grumiaux Ex General DuPont Stradivari she uses in performance.

carolina performing arts 10/11 33 world musicworld music

Photo credit: Bernard Benant

Tony Allen’s Afrobeat Orchestra Tuesday, April 19 at 7:30pm

voices of dissent w orl d musi c www.carolinaperformingarts.org (919)843-3333 world musictues apr 19 | 7:30 PM

Musicians the classic stream of discs documenting and recorded No Discrimination. From the post-colonial iniquities of Nigerian 1981-83 he led the Mighty Irokos before Drums and Lead Vocal: Tony Allen society and the band’s increasingly bloody moving to London and then Paris, where he Bass: Cesar Anot conflicts with the authorities: Alagbon Close, remained. In 1984, he recorded N.E.P.A. – Rhythm Guitar: Claude Dibongue Everything Scatter, Expensive Shit, Yellow Never Expect Power Always – with his band Tenor Guitar: Kologbo Fever, Zombie, Kalakuta Show, Before I Jump Afrobeat 2000 and toured with juju superstar Keyboards: Amp Fiddler Like Monkey Give Me Banana, Sorrow Tears Sunny Ade. Throughout the 1990s, Allen was Trumpet: Albert Leusink And Blood and Fear Not For Man. Massively a sought-after session drummer, collaborat- Tenor Saxophone: Paul Carlon popular, the band was subject to constant ing with Randy Weston, Groove Armada, Air, Baritone Saxophones: Dimitri Moderbacher harassment and brutal physical attacks from Charlotte Gainsbourg, Manu Dibango and the army and police. Grace Jones. Since Fela Kuti’s death, Allen Tony Allen is recognized as Afrobeat’s torch bearer with Allen recorded his own albums Jealousy albums including Black Voices (1999), Home Born in Lagos, Nigeria in 1940 of mixed (1975), Progress (1976) and No Cooking, Tony Allen Live, Lagos No Shaking Nigerian and Ghanaian parentage, Tony Allen Accommodation For Lagos (1978) with Afrika and his latest, Secret Agent (2009). taught himself to play drums by listening 70, produced by Kuti. By 1978 he was ready to Art Blakey and Max Roach recordings. for a change and soon parted company with Three decades after the classic Afrika 70 Long acknowledged as one of Africa’s most Kuti – their final studio collaboration was albums, Nigeria remains riven by the same influential musicians, he created Afrobeat Centre Of The World (1981). In 1979, he injustices that the band had protested with Fela Kuti, performing with him in Afrika formed Tony Allen and the Afro Messengers against so courageously. 70 for 15 years. Together they recorded

on tony allen David Pier

Once in a great while, I encountered music inspired by Tony Allen crucial. Listening closely you may be surprised I hear a groove so long before I heard Allen himself. One of my at how busy Allen’s playing is: he has the powerful on WXYC favorite LPs growing up was Remain In Light, chatty snare drum style of a bebop drummer, that I have to pull over, an album composed by the Talking Heads his left hand keeping up a steady stream of as I did on Franklin and Brian Eno in a state of intoxication with jokes and asides. Yet his dynamic finesse Street the other day. the music and theatrics of Fela and his band is such that you might never notice all that “Wow, this drummer (Eno has called Allen “perhaps the greatest activity. Nothing sticks out where it shouldn’t. really manages to drummer who has ever lived”). What Allen’s Allen, like Fela, sees music as a tool for raising sound like Tony Allen!” grooves distinctly had, and the Talking Heads consciousness, not just for entertainment. Of course, it turned out to be Allen himself managed to borrow, was an atmospheric In “Elewon Po” he sings, “everywhere I – who else could even come close? It was quality balanced with propulsive funk. The look I find / too many prisoners.” Can we “Elewon Po,” off his 2009 release Secret funk of James Brown is like being in a street console ourselves that he is talking about Agent, which I hadn’t heard before. Like many fight; you know you’re getting hit. Tony Nigeria, not our own land-of-the-free? On fans, I’m most familiar with Allen’s work with Allen’s funk is something more subtle and a deeper level, Allen, like all performers of Fela Kuti in the ’70s. This felt different – enveloping, a dark fire all around you. You can the highest caliber, has something to show looser and more jovial than the controlled, think inside its spaces. No one understood us about the feeling of freedom – a freedom even ascetic grooves on Fela’s songs this quality better than the late Fela. Over of motion and invention attainable only by a “Shuffering and Shmiling” or “Zombie.” Yet Allen’s churning beats, he led his disciples total commitment to precision and discipline. it was potent enough to force me off the on meditative journeys, tracking flows of Tonight, we are lucky to witness him and road, and unmistakeably Allen – even after commodities and corrupt politicians in and his band at work, live. I’m certainly looking four decades’ worth of emulation by other out of Nigeria. The cinematic effect of Fela’s forward to it! drummers. There will only be one Elvin Jones, music required Allen’s steady, energetic, yet one Art Blakey, one Tony Allen. Tonight we are unobtrusive timekeeping. David Pier is an Assistant Professor in the Department of African and Afro-American Studies at in the presence of one of the all-time masters What is the secret to Allen’s atmospheric UNC-Chapel Hill. of the drum set. groove? A thousand drummers would love to know. One thing for sure is that his touch is

carolina performing arts 10/11 35 spspecialecial event event

Photos Courtesy of Ted Kurland Associates

Branford Marsalis, saxophone, Branford Marsalis with the North Carolina Jazz Long known as a jazz luminary, Grammy Award-winning saxophonist Branford Marsalis is a man of numerous musical interests, from Repertory Orchestra jazz, blues and funk to classical music projects. He has continued Thursday, April 21 at 7:30pm to expand his skills as an instrumentalist, composer and head of Marsalis Music, the label he founded in 2002. Born into one of New

s p e c ial event Program to be announced from the stage. Orleans’ most distinguished musical families, he gained acclaim with Art Blakey’s Jazz Messengers and his brother Wynton’s quintet before forming his own ensemble. He has performed and recorded with jazz giants including Miles Davis, Dizzy Gillespie, Herbie Hancock and Sonny Rollins. Known for his innovative spirit, he has performed jazz with his Quartet, his own unique contemporary popular music with his band Buckshot LeFonque, and classical works with acclaimed orchestras. His nearly two dozen recordings include Music Redeems (2010), Metamorphosen (2009), Braggtown (2006), Eternal (2004) and the DVD Coltrane’s “A Love Supreme” Live in Amsterdam (2004). www.carolinaperformingarts.org (919)843-3333 thurs apr 21 | 7:30 PM special eventDedicated to changing the future of jazz in the Creole Jazz Band and Jelly Roll Morton’s serving as clinicians to elementary, middle classroom, Marsalis has shared his knowl- Red Hot Peppers to the contemporary jazz and high schools across the state. edge at universities around the country, with of Pat Metheny, Maria Schneider and Kenny his full quartet participating in an innovative Werner. Of particular interest to the NCJRO North Carolina Jazz Repertory extended residency at the NCCU campus. He is the music of Duke Ellington. The orchestra Orchestra also brings a new jazz education approach to has mounted two large-scale Duke Ellington James Ketch, Music Director colleges and high schools through Marsalis Sacred Concerts including one program Kathy Gelb, vocals Jams, in which leading jazz ensembles pres- documented for Public Television by UNC-TV. ent concert/jam sessions in mini-residencies. Saxophones The members of the NCJRO possess a Jeff Bair, lead alto Marsalis spent years touring and recording wealth of jazz experience and many work David Reid, alto and clarinet with Sting, served as musical director of The actively as music educators across the Gregg Gelb, tenor sax and clarinet Tonight Show with Jay Leno, collaborated with state at such institutions as UNC-Chapel Wally West, tenor sax the Grateful Dead and Bruce Hornsby, acted Hill, UNC-Greensboro, UNC-Wilmington, East William Fritz, baritone sax, bass clarinet in films including Throw Mama from the Train Carolina University, North Carolina Central and School Daze, provided music for Mo’ University, Duke University, UNC-Pembroke, Trombones Better Blues and other films, hosted National and the North Carolina School of the Arts. George Broussard, Lucian Cobb, Public Radio’s Jazz Set, and was nominated The NCJRO has recorded three CDs includ- Caren Enloe, Mike Kris for a 2010 Tony Award and Drama Desk Award ing the holiday jazz CD Blizzard! and tribute Trumpets for his participation in the Broadway revival of CDs exploring the musical legacies of Benny Jerry Bowers, Jim Ketch, Leroy Barley August Wilson’s Fences. Goodman and Duke Ellington. The NCJRO is Christian McIvor operated by the not-for-profit organization Rhythm Section North Carolina Jazz Repertory The Jazz Foundation of North Carolina, Inc. Ed Paolantonio, piano Orchestra (NCJRO) The mission of the foundation is to promote Baron Tymas, guitar and preserve jazz in all its forms across Since 1993, the NCJRO has been North Jason Foureman, bass the state of North Carolina and to promote Carolina’s premier jazz orchestra. Embracing Thomas Taylor, drums the entire history of jazz, the NCJRO has jazz education through programs like The championed music ranging from King Oliver’s Jazz Express, which brings NCJRO members

on Branford Marsalis and the North Carolina Jazz Repertory Orchestra Jim ketch

What is it about the Newport Jazz Festival crowd to near-riotous Orchestra offers Memorial Hall listeners saxophone in jazz? As levels by stomping a 27-chorus blues solo several musical treats. The NCJRO, founded in a young professional in as an impromptu interlude between sections 1993, has explored music from the 1920s to the early 1920s, Duke in Ellington’s Diminuendo and Crescendo in the present and features 18 gifted musicians Ellington heard Sidney Blue. The performance re-ignited Ellington’s from across our state. The band has recorded Bechet perform on so- career. From that moment forward, Ellington three CDs and produced two events for UNC- prano saxophone and would introduce himself to audiences thusly: TV. Twice, the band has presented Ellington’s clarinet in his home- “Hello, I’m Duke Ellington and I was born in Sacred Music concert in Duke Chapel. Many town of Washington 1956 at the Newport Jazz Festival.” of you will hear the NCJRO for the first time DC. Ellington was deeply touched by the Branford Marsalis joins Sidney Bechet, Ben tonight. We hope you will become followers soulfulness and expressiveness of Bechet’s Webster, Paul Gonsalves, and so many other of the orchestra. The other treat is having horn playing that evening, so much so, that it brilliant jazz saxophonists as being a soulful the opportunity to showcase the amazing would impact his hiring practices throughout and expressive musician able to transform talents of Branford Marsalis against the rich his long career as a band leader. All things sounds and musical gesture into flights of and musically colorful backdrop of a 17-piece being equal, Ellington would seek musicians improvisational inspiration and deep meaning. jazz orchestra. When I teach Ellington in with very distinctive solo voices henceforth. His music and his playing embrace the Past, jazz history classes I talk about Ellington as Nearly two decades later (1939), Ellington Present and Future of jazz in significant ways. a painter. Ellington used the musicians in would add tenor saxophonist Ben Webster His dedication to studying the saxophone his band like a painter blending colors from to his orchestra. His band would now feature family as both a classical and jazz artist and his palette. With Branford Marsalis and the five saxophonists in the section. Ellington to listening extensively to an exceptionally NCJRO we hope to share with you music that knew Basie had Lester Young and Jimmy broad palette of music from many centuries is soulful and expressive, music rich in color Lunceford had Chu Berry. With Ben Webster enables Branford to draw on deep musical and contrast, and music that is both deeply on board, the Duke proudly proclaimed, “we reservoirs during his performances. moving and meaningful. are now a part of the swing era!” Nearly Tonight’s show featuring Branford Marsalis Jim Ketch is Music Director of the NCJRO and two decades later (1956), Duke’s tenor Director of Jazz Studies at UNC-Chapel Hill. with the North Carolina Jazz Repertory saxophonist Paul Gonsalves stirred up the

carolina performing arts 10/11 37 important information

Memorial Hall Box Office Hours All phone, fax and online orders must be charged by credit card as tickets will not be held without payment. • Monday-Friday: 10:00am - 6:00pm • Weekday events: 10:00am - intermission All sales are final. No refunds or exchanges are allowed. Tickets that go • Weekend events: 12 noon - intermission unused may be returned to the Box Office no later than one week prior to the performance and will be considered a tax-deductible donation. Memorial Hall Box Office A receipt for the donation will be issued. If a performance is The University of North Carolina at Chapel Hill cancelled, patrons will be refunded the face value of the ticket. CB#3276, 114 East Cameron Avenue All tickets, other than those purchased in person, will be mailed. Chapel Hill, NC 27599-3276 P: (919) 843‑3333; F: (919) 843‑2012 Please allow 7-10 days for delivery. All tickets purchased less than E-mail: [email protected] seven days prior to the performance will be held at Will Call. Patrons must present photo identification to pick up tickets at Will Call. House Policies All persons, regardless of age, must have a ticket for admission to performances. Late Arrivals A current mailing address, e-mail address and phone number are • Patrons arriving after the start of a performance will be seated at required when purchasing tickets. the discretion of the house staff, typically in between works. All programs, dates, times and prices are subject to change. Coat Check • This service is available for patrons seasonally and is located on Subscriptions the left side of the main lobby. Memorial Hall is not responsible for The Best Ticket Prices lost, stolen or damaged items. Purchase a subscription to receive a 15% discount off single Lost and Found ticket prices.

• For lost items, please contact the Box Office. For found items, The Best Possible Seats please notify an usher. Renewing subscribers keep the same seats for future seasons as Services for Persons with Disabilities long as they continue to subscribe. If they decide to make a seat change, their request is given the highest priority and is handled • If a patron has special needs, the Box Office staff should be before new subscribers. notified by the patron in advance and arrangements will be made for accommodations. Special needs include, but are not limited to, The Best Benefits hearing or sight impairment, the use of a wheelchair, etc. • Special events & single ticket pre-sale Concessions • Ticket donation • Ticket exchange • Concessions are available for purchase in the lobby prior to the • Insurance for lost or forgotten tickets performance and during intermission. • Annual subscriber open house reception • No outside food or beverage is allowed to be brought into • E-mail alerts to special offers and sales Memorial Hall. For more details, visit the subscription section at • No food or beverage is allowed inside the auditorium. carolinaperformingarts.org/tickets or call the Memorial Hall Box Office.

No Smoking Group Tickets Groups of 10 or more receive 10% off the general public ticket price. • Smoking is prohibited inside Memorial Hall and on the UNC campus.

No Electronic Devices Faculty and Staff Tickets UNC-Chapel Hill faculty and staff may purchase tickets to all Carolina • Use of cell phones, beepers and alarms of any kind is prohibited Performing Arts performances at a discount of 15% off the regular during performances. Please remember to turn these items off ticket price. Faculty and staff may also purchase subscription before the performance begins. packages at a discount of 20% off the regular ticket price. • Photography, videography and recording devices of any kind are A valid UNC OneCard must be presented to receive the faculty and prohibited during performances. staff discount.

Ticket Policies Student Tickets • Tickets may be purchased by phone, fax, mail, in person or online. Students can attend regular season Carolina Performing Arts events • Forms of payment accepted: Visa, MasterCard, UNC OneCard, for only $10. Each patron with a student ticket must display their cash, personal checks, and travelers’ checks. valid UNC OneCard upon entry. Limit two (2) tickets per OneCard, limit two (2) OneCards per order. www.carolinaperformingarts.org (919)843-3333 NATIONAL ADVISORY BOARD CAROLINA PERFORMING ARTS SOCIETY The Carolina Performing Arts National Advisory The Carolina Performing Arts Society supports the University’s commitment to invite outstanding Board of alumni and friends guides and champi- professional artists to perform and to teach; to foster a deep appreciation of a wide variety of the ons a shared vision of Carolina as the nation’s performing arts in the University, in the local community, and throughout the region; and to establish leading university in the arts. It is with profound Carolina as a national leader in the performing arts. gratitude that we thank these outstanding and Ticket sales cover only a portion of the total costs in presenting such a series. Support from generous volunteers. members is critical to maintain the artistic excellence of Carolina Performing Arts, its outreach programs, and student ticket subsidies. Tom Kearns, Darien, CT, Chair Jane Ellison, Greensboro, Vice Chair Members enjoy a variety of special privileges as listed below. An annual membership begins at Hodding Carter, Chapel Hill $125. We want to make your Carolina experience richer, more convenient, and more fun! Benefits Munroe Cobey, Chapel Hill and privileges are listed within the various membership levels following: Peter D. Cummings, Palm Beach Gardens, FL Undergraduate and Graduate Member: $35 Paula Flood, Chapel Hill • All benefits and privileges afforded to Sponsoring Members Jim Heavner, Chapel Hill Cheray Z. Hodges, Chapel Hill Sponsoring Member: $125-$999 Joan C. Huntley, Chapel Hill • Advance notice of season and individual tickets Sally Johnson, Raleigh • Priority subscription processing • An invitation to an annual Society event Emil Kang, ex-officio • Member recognition in our program book for all Carolina Performing Arts events Anne C. Liptzin, Chapel Hill Scott Maitland, Chapel Hill Silver Tier: $1,000-$2,499 Sara McCoy, Chapel Hill All benefits listed for Sponsoring Members, plus: James Moeser, Chapel Hill • Opportunity to purchase single tickets in advance of the general public Patty Morton, Charlotte • Complimentary parking passes for nearby lot Josie Patton, Chapel Hill • An invitation to the season preview reception • Priority seating for subscriptions to Carolina Performing Arts Phil Phillips, Chapel Hill Wyndham Robertson, Chapel Hill Gold Tier: $2,500-$4,999 Barbra Rothschild, New York, NY All benefits listed for Silver Tier, plus: Dee Schwab, Charlotte • Complimentary reserved parking Chancellor Holden Thorp, ex-officio • Receptions in the Pamela Heavner Gallery during intermission at each Stacey Yusko, Chapel Hill Carolina Performing Arts series performance Doug Zinn, Chapel Hill • Private tours Priscilla Bratcher, Staff Liaison • Exclusive travel opportunities Platinum Tier: $5,000-$9,999 All benefits listed for Gold Tier, plus: CAROLINA PERFORMING • Use of the Pamela Heavner Gallery for your own private reception ARTS ENDOWMENT • Opportunity to name a seat in Memorial Hall The David Lowry Swain Society: $10,000-$14,999 Through a generous $5 million challenge grant The David Lowry Swain Society is the Performing Arts Society’s most exclusive membership from the William R. Kenan, Jr. Charitable Trust program, offering members first class benefits throughout the year. Membership in the Swain Society made in 2005 and the inspirational leadership is granted to those donors who generously contribute $10,000 or more to the Carolina Performing of the Carolina Performing Arts Society National Arts Society annually. Advisory Board, generous donors enabled us to meet that challenge by the challenge deadline All benefits listed for Platinum Tier, plus: in 2007. Due to the economic turndown, our en- • Complimentary VIP valet parking pass with exclusive drop-off and pick-up area dowment, although safe, will not provide fund- reserved for Swain Society members only ing for our annual needs for the second year • Access to exclusive VIP/Stage Door entrance in a row. However, many of our most generous • Personal coat check at the VIP/Stage Door entrance endowment donors have given the equivalent • Opportunity to name two seats in Memorial Hall of the interest we would have earned from our • Exclusive access to the Swain Society Concierge Desk at (919) 843‑1869 for assistance invested funds. We anticipate that the fund with difficult-to-acquire tickets for all Carolina Performing Arts performances will begin providing annual support in fiscal • Assistance with requests for special tours and rental of Memorial Hall for special functions year 2012. Performance Benefactor: $15,000 and above Carolina Performing Arts has pressing needs to The Carolina Performing Arts Society has introduced a new program, Performance Benefactor, for fund the difference between our ticket income individuals making gifts of $15,000 and above. A Performance Benefactor is an individual, couple or and the actual cost of presenting our expanding family who has the opportunity to select a particular performance, then dedicated to you. Carolina series. Right now, tickets provide only about Performing Arts will thank you for your generous gift by providing: 55% of the total cost of presenting artists on our stages. The best way to do this is to build • All Carolina Performing Arts Society benefits including valet parking and invitations to special events throughout the season, as described above in The David Lowry Swain Society a permanent source of future funding through our endowment. Whether it’s through naming • Recognition in the season ticket brochure distributed throughout the year a seat ($5,000 gift), creating a named fund • Eight complimentary tickets to your selected performance, with valet parking and reception privileges for your guests during the selected performance ($100,000 minimum) or making a deferred estate commitment, your endowment gift will • Acknowledgment in the donor list for the season and an insert in the performance program that evening guarantee the excellence, variety and breadth of programming, the student outreach, and the • Opportunity to meet the artist following the performance (when the artist is available) investment in new creations that have become Gifts made at these specified levels automatically entitle you to all respective benefits and privileges the hallmark of Carolina Performing Arts. afforded to University donors in all Annual Giving Leadership programs.

carolina performing arts 10/11 39 donor spotlight James and SusanSPOTLIGHT Moeser

How did a music-obsessed boy from Lubbock, It may be hard for us to remember a time when the region. “In the back of my mind,” he says Texas and a girl with a knack for math from the arts weren’t as valued and vibrant at the now, “I knew that the renovation of Memorial Larned, Kansas end up championing the arts University as they are today, but that was the Hall presented us with a tremendous oppor- at one of the nation’s great universities? The case when the Moesers arrived in Chapel Hill. tunity to fill a vacuum at UNC, in the Triangle answer says a lot about the power of music, At the beginning of his tenure, James faced and in the state.” a force that has certainly changed the course many urgent challenges. He took a very vis- The next step was to commit University of these two lives. ible role in the campaign for public support resources, engage the leadership of major for the higher education bond referendum, Susan grew up in a very small town and was donors and find the right person to lead the and early on made some critical investments 14 years old when it first occurred to her new program. With the hall’s renovation under in Carolina’s science programs. The bond bill that she might play the organ. “Someone’s way, Emil Kang was hired as the University’s contained the base funding for Memorial Hall, grandson was visiting from out of town and first Executive Director for the Arts. The with significant additional private funds to he was 14,” she says. “He played the organ William R. Kenan, Jr. Charitable Trust provided be raised. He knew that if the bond passed, postlude at church and it struck me that I significant funding in the form of a challenge the hall would be the very first building to be could do that!” She began taking organ les- grant to establish a permanent endowment. completed. So while he was working on many sons despite telling her high school guidance Five and a half years after the first notes were important and urgent university issues, he counselor she wanted to be a pharmacist, the played at the reopening of Memorial Hall, the was thinking about what to do about the arts. best job she could imagine for someone who series continues to grow and achieve new was good at math. Susan and James candidly admit that they successes. It is something both Moesers are were shocked to see how limited the perform- very proud of. James, on the other hand, was a child prodigy, ing arts presenting program was when they falling in love with the organ at about age five. Early on, they established a pattern of giving arrived. They could not believe that an institu- His childhood home was filled with music; personally. They named two seats during the tion of Carolina’s national and international his mother was a trained singer and music Memorial Hall renovation campaign, urging stature had such a small and underfunded teacher. On Saturdays, he accompanied other former UNC chancellors to join them. program. While the Student Union had done a her to rehearsals at church and fell in love Next time you have a moment, see if you good job of managing a program with limited with the fantastic and powerful sound of the can find Chancellors’ Row, which honors all resources, Carolina had never invested in the organ. He started piano lessons before he living former chancellors who made gifts to arts to a significant degree. If there is one started school, but his goal was always to the campaign. The Moesers continue to buy thing James Moeser understood, it was that play the organ. their tickets and make annual donations, the arts do not pay their own way through never missing a chance to support Carolina The two met at the University of Kansas, and ticket sales alone, and that significant uni- Performing Arts in any way they can. with six bachelors’, masters’ and doctoral de- versity investment, as well as robust private grees in music performance between the two of giving, is critical. In addition to personal financial support, them, they knew music would play a major role James now co-teaches a first-year seminar But would the lessons learned in places in their professional lives. Early in her career, with Emil Kang based on the series. He also like Lawrence, State College, Columbia and Susan took a full time organist-choirmaster serves on the CPA National Advisory Board, Lincoln apply to Chapel Hill? After all, those position at a Richmond, Va. church. As James’ and this year launched a small series of college towns are not part of a larger metro- career in higher education administration de- pre-performance lectures for members of the politan area enlivened by lots of performing veloped, he moved from Kansas to Penn State, Carolina Performing Arts Society. arts competition. James’ way of answering where they were married. Later moves took that question was to hire consultant and uni- In the spirit of not saying “no” when Carolina them to the Universities of South Carolina and versity performing arts presenter Ken Foster Performing Arts turns to the Moesers for help, Nebraska. At each university they observed to conduct a study. The resulting advice was on April 16, they will perform on a custom- and evaluated the institution’s performing arts that this area could financially support an am- built organ in a private home at Governors presenting program, learning lessons James bitious, major performing arts program that Club at a dessert reception fundraiser for would apply at Carolina when he arrived in would bring artists of the highest caliber to Carolina Performing Arts. (Space is extremely 2000 as the University’s 9th chancellor. www.carolinaperformingarts.org (919)843-3333 donors10 /11season donors SPOTLIGHT ENDOWMENT GIFTS The William D. and Dr. Sally C. Johnson Music Enrichment Fund supporting Leadership Gifts and Pledges collaborations with the Department of ($500,000 and above) Music, and also supporting The 10x10 William R. Kenan, Jr. Charitable Trust Commissioning Series. Ellison Family Foundation Mr. and Mrs. James Heavner* The James Moeser Fund for Excellence in the Arts supporting artists’ fees limited for this very unusual event; if you Luther and Cheray Hodges* for the world’s most recognized and would like an opportunity to attend, please Tom Kearns outstanding performers. contact Melchee Johnson at 919-843-1869.) William and Sara McCoy Anonymous So why are they so generous with their time, The Mark and Stacey Yusko Performing ideas, leadership and giving? They appreci- Major Gifts and Pledges Arts Fund supporting Carolina student ate the level of the performances brought to ($25,000 and above) arts experiences. the community, taking pride in the fact that over 30% of the audience is comprised of Blanche Hamlet Carolina students. They also like seeing the Anonymous CAROLINA PERFORMING wide variety of people who attend various John W. Hughes III ARTS SOCIETY performances. “They don’t all look like us,” Florence and James Peacock ANNUAL GIFTS they say with pride. William D. and Dr. Sally C. Johnson Contributions received December 1, Wyndham Robertson 2009 to December 31, 2010 as of date But for the Moesers, it comes down to the Dr. Joan C. Huntley of printing. performance experience and their love Professors Emeriti Charles M. of music. They clearly enjoy the classical and Shirley F. Weiss* Shirley J. Berger Performance Benefactor ($15,000 and above) Bobby and Kathryn Long “Carolina Performing Paul and Sidna Rizzo Anonymous Garry and Sharon Snook honoring the memory of Fred Fearing Arts has gotten us out Top of the Hill Restaurant and Brewery Anonymous of our comfort zone, and Elizabeth Willis Crockett Wyndham Robertson Mr. and Mrs. Robert F. Murchison that’s a good thing.” Dr. Charles B. Cairns & The Family David Lowry Swain Society Mrs. Georgia Carroll Kyser ($10,000 - $14,999) Kimberly Kyser The Abram Family Amanda Kyser programming, music they have studied Rebecca and Munroe Cobey Drs. Michael and Christine Lee and taught throughout their lives. But they Ellison Family Foundation Anne and Mike Liptzin have grown a great deal, too, expanding Luther and Cheray Hodges Deborah and Ed Roach their interests to performances they had Mr. Thomas S. Kenan III Lee and Myrah Scott not previously sought out. “Our taste has William R. Kenan, Jr. Charitable Trust Crandall and Erskine Bowles clearly changed since the series began,” Mrs. Georgia Carroll Kyser Susan says. “If you looked in our CD player Kimberly Kyser *Irrevocable deferred gift at home to see what we play while making Amanda Kyser William and Sara McCoy dinner, you would see jazz and world music Named Endowed Funds Carol and Rick McNeel in addition to classical.” Chancellor Emeritus ($100,000 and above) James Moeser adds with a smile, “Carolina Mrs. Sidney Siegel Performing Arts has gotten us out of our The Hamlet Family Performing Arts Charles Weinraub and Emily Kass comfort zone, and that’s a good thing.” Student Enrichment Fund supporting Mark W. and Stacey M. Yusko student engagement with artists.

carolina performing arts 10/11 41 10 /11season donors

Platinum Tier Anonymous Deborah Hylton and Leland Webb ($5,000 - $9,999) Mr. Ted B. Seagroves Lisa and Theodore Kerner, Jr., M.D. Jane McKee Slater Mack Koonce and Hope Thornton Koonce Eleanor and James Ferguson Lynn Smiley and Peter Gilligan Melissa LeVine Eugene and Paula Flood Michael and Amy Tiemann Alice and Sid Levinson Lowell and Ruth Hoffman Denise and Steve Vanderwoude Judith Lilley in memory of Al Lilley Jaroslav F. Hulka and Barbara S. Hulka Brad and Carole Wilson Harriet and Frank Livingston Tom Kearns Donald E. Luse Mrs. Frank H. Kenan Silver Tier Stephen J. and Karen S. Lyons Otis Littlefield ($1,000 - $2,499) Stanley R. Mandel John A. McLendon Betty Manning Christy and Joel Shaffer James and Delight Allen Anne and Bill McLendon Professors Emeriti Charles M. Michael Barefoot and Tim Manale Esteban and Dana McMahan and Shirley F. Weiss Neal and Jeanette Bench Dr. and Mrs. Travis A. Meredith Doug and Jacqueline Zinn Robert Benson Dolores Bilangi Adele F. Michal Gold Tier Kerry Bloom and Elaine Yeh Anonymous Mary and Ted Moore ($2,500 - $4,999) M. Robert Blum William Bolen Lawrence Moray Mary Bickers Priscilla Bratcher William Morton Betsy and Fred Bowman Timothy Bukowski and Naomi Kagetsu Barry Nakell Cliff and Linda Butler Rose G. Bynum Paula Davis Noell Leonard Cass Leigh Fleming Callahan Karl Nordling Castillo-Alvarez Fund of Triangle Michael and Diana Caplow Dr. Etta D. Pisano and Jan Kylstra Community Foundation Art Chansky and Jan Bolick Edwin and Harriet Poston Michael and June Clendenin G. Curtis and Sarah Clark William and Cathy Primack Mark and Marjorie Crowell Kathryn Conway Jolanta and Olgierd Pucilowski Peter D. Cummings Anonymous Robin and Harold Quinn Shirley Drechsel and Wayne Vaughn Frederic & Jane Dalldorf Elizabeth Raft Frank H. Dworsky Jo Anne & Shelley Earp Peter Croll Reichle Dr. Glen Elder, Jr. Pat and Jack Evans Russell and Ann Robinson and Ms. Sandy Turbeville Maryann Feldman David and Susan Rosenberg Family Jane Ellison Fidelity Investments Foundation Mrs. Frederick A. Fearing Arthur and Deborah Finn in memory of of the Triangle Community Foundation Dr. Harry Gooder and Ms. Sally Vilas Pauline Radovsky Andrew and Barbra Rothschild Susan Gravely and Bill Ross Mimi and James Fountain Patricia Shaw Mr. and Mrs. William H. Grumbles, Jr. Diane Frazier Robert and Helen Siler Nancy Joyner Ray and Marcia Freeman Mr. and Mrs. Alan C. Stephenson Lisa and Emil Kang David G. Frey Dr. Kenneth and Mary H. Sugioka Dr. Marcia Anne Koomen Burton and Kathleen Goldstein Kay and Richard Tarr Diana and Bob Lafferty Dr. Rebecca Goz Diane Vannais and Charles Waldren Dayna and Peter Lucas Frances C. Gravely and Haig Kay and Van Weatherspoon Keith Mankin and Julia Fielding Khachatoorian Alan Harry Weinhouse D.G. and Harriet Martin William and Elizabeth Greenlee William Whisenant and Kelly Ross David Kent Medlock Robert and Dana Greenwood Jesse L. White, Jr. Charles and Valerie Merritt Dr. and Mrs. Joseph Gulla John and Ashley Wilson James and Susan Moeser Leesie and Bill Guthridge Paul D. and Linda A. Naylor Jim and Ann Guthrie Sponsoring Member Josie Ward Patton ($125 - $999) Richard Hendel Francine and Benson Pilloff William Edwin Hollan, Jr. Brigitte Abrams and Francis Lethem Paula Rogenes and John Stewart Charles House Anonymous Coleman and Carol Ross Marguerite Hutchins Elizabeth Anderson Ernie and Mary Schoenfeld

www.carolinaperformingarts.org (919)843-3333 donors Cutler and Cristin Andrews Donna Cook and Matthew Maciejewski Barbara and Paul Hardin Pete and Hannah Andrews Sally and Alan Cone in honor of Robert S. and Leonne Harris Nina Arshavsky Anne and Mike Liptzin Martha Liptzin Hauptman in honor of Denise Ashworth Brian Conlon Mike & Annie Liptzin Ingram and Christie Austin Carolyn M. Conners, Ph.D. Clark and Karen Havighurst Steven B. and Elizabeth Ayers Joanne and Michael Cotter Charles S. Head Katherine Baer Adrienne Cox David and Lina Heartinger Peter Baer Andrew Cracker in memory Gerardo and Jo Heiss Larry and Vicky Band of Deborah Ann Cracker Hill Family Fund 2 of Triangle Linda J. Barnard Anne-Marie Cuellar Community Foundation Judith and Allen Barton William and Barbara Dahl Charles Hochman and Phyllis Pomerantz James and Mary Beck John and Janina DeMasi Carol Hogue John W. Becton and Christianna Williams and Henrik Dohlman Joan and David Holbrook in honor of Nancy B. Tannenbaum Mr. and Mrs. Michael J. Donoghue Marvin Saltzman Donna Bennick and Joel Hasen Mary C. Dowe Susan Hollobaugh and Richard Balamucki Donna Bergholz Steven Dubois and Kathleen Barker Paul Holmes Susan Bernstein Sam and Angela Eberts William and Mary Holmes Sue Bielawski John R. Edwards Beth Holmgren and Mark Sidell Lewis Niles Black and Elizabeth Anania Edwards Elizabeth M. Holsten Sara Bleick in memory George and Blair Evans W. Jefferson Holt and Kate Bottomley of Margaret Bleick Dillard Jerry and Adelia Evans Andrew and Charlotte Holton Blythe Family Fund Rabbi Frank and Patricia Fischer John Hsu Jack and Jennifer Boger Dr. and Mrs. E.S. Fishburne David and Sally Hubby Bollen Family Jaroslav Thayer Folda III George William Huntley III Barry L. Boneno Milton and Emerita Foust Marija Ivanovic Natalie and Gary Boorman Linda Frankel and Lewis Margolis Christopher and Betsy James P. Scott and Victoria Bouldin Donald and Elizabeth Frazer Kathryn E. Johnson Thomas and Betty Bouldin Douglas and Judy Frey Dr. Norris Brock Johnson in honor of Terrell Boyle James and Marcia Friedman Ms. Beatrice Brock Rebecca Brick Bramlett Ed and Bonnie Fuchs Carrilea McCauley Joy Joan Brannon Mr. and Mrs. J. Rex Fuqua Kevin and Michele Judge Craig and Catherine Briner Maeda Galinsky Harry Kaplowitz Lois Bronstein Greg Gangi Hugon Karwowski Ken and Margie Broun The Joseph and Anna Gartner Foundation Howard Kastel Raymond Brown Ann and David Gerber Thomas and Janet Kean Howard and Patricia Brubaker Leonard and Ann Gettes Donna B. Kelly in memory of Jamie and Anne Bryan Rose Marie Pittman Gillikin Georgia Carroll Kyser Jean Buckwalter Bonnie B. Gilliom Moyra and Brian Kileff in honor of Betsy Bullen Lallie M. and David R. Godschalk Caroline Borham Thomas W. and Gail W. Bunn Dr. James E. Godwin R. David and Mary Ann Kimball Bob Cantwell and Lydia Wegman and Dr. E.A. Campbell Anonymous Byron Capps Dick and Barbara Gordon J. Larry Klein Lawrence and Helen Cardman Mr. and Mrs. Walter Gordon Lynn Knauff Philip and Linda Carl Charles and Karen Goss Gary Koch Carolina Home Mortgage S. Elizabeth Grabowski and Barncy and Betsi Koszalka Catharine Carter James R. Symon Anonymous Hodding Carter and Patricia Derian Page Gravely G. Leroy Lail Michael Case and Lewis Dancy Steve Gravely Ted and Debbie LaMay Steve and Louise Coggins Alexis Groner Leslie and Barbara Lang Thomas Cole Albert and Mary Guckes Annette Langefeld Walter and Renate Coleshill Carol and Nortin Hadler Clara Lee Donald and Eunice Collins Lee Hansley Ken and Frankie Lee

carolina performing arts 10/11 43 10 /11season donors

R. Michael and Michelle Leonard Susan Rao Susan Wall in honor of Kelly Stowe Boggs Ivan Remnitz Katherine Wang Amy and Alan Levine Jan Rivero and Jeffrey Pugh Sue Anne Wells PhD Richard and Jane Levy in honor of Gerry Riveros for Gay Bradley Wellspring Fund of Triangle Annie Liptzin Dr. Michael and Sandra Roberts Community Foundation Robert M. Lewis, Jr. Stephen and Patricia Roberts R.H. and Barbara Wendell Joan Lipsitz and Paul Stiller Stephen and Esther Robinson Marlene and Roger Werner Robert Long and Anne Mandeville-Long Andrea Rohrbacher Katherine White Robert and Kathleen Lowman Margaret Rook Buck and Anne Williams Richard Luby and Susan Klebanow Richard Rosenberg John W. Williams, Jr. and Margaret Gulley Mary R. Lynn Brian and Linda Sanders Louise B. Williams and Richard Silva Edwin H. Mammen Robert Schreiner Glenn and Helen O. Wilson Richard Mann John and Anna Schwab Ron and Beverly Wilson Anonymous Ms. Marjorie Moses Schwab Dr. Derek and Louise Winstanly Randall Martin Carol and David Sclove Bill and Amy Wofford Mr. and Mrs. Uzal H. Martz, Jr. Jennifer and Bill Selvidge Eliza M. Wolff Karol Mason Robert and Pearl Seymour Anonymous William Mattern Robert Shipley John and Joan Wrede John and Janine McGee Mr. and Mrs. Keith Silva Anna Wu and George Truskey A. Gramling McGill Mark and Donna Simon Virginia Lee Wu Tim and Roisin McKeithan Charles Simpson David and Heather Yeowell in honor Daniel D. McLamb Rosemary Simpson of Tom Kearns Dr. and Mrs. Robert McLelland Kathy and Paul Singer David and Dee Yoder Philip and Sue Meyer Anne H. Skelly Betty York The Lawrence and Sylvia Mills Dana L. Smith Ann B. Young Family Fund Charles and Judith Smith Lisa Zannoni Charles and Barbara Milone Martha Smith John Morrison and Barbara Archer Wiley Smith Undergraduate and Graduate Benny and Ann Morse Claude and Sarah Snow Student Members Bob Esther and Emily Moseley Kenneth Soo ($35) Charles Mosher and Pamela St. John Daniela Sotres Fernando D. Chague Christopher and Helga Needes Jane Stein Keith Glassbrook Steve and Susan Nelson Gary and Anne Leslie Stevens Adrian Greene John and Dorothy Neter Ron Strauss and Susan Slatkoff Laura Hamrick Elisabeth and Walter Niedermann Leslie and Paul Strohm Amy Soyeon Kim Patrick and Mary Norris Oglesby Frank and Geraldine Stutz Michael Krouse Newland and Jo Oldham James and Sandra Swenberg Joseph Harrison Lee John V. Orth Helen Szuluk Charles McLaurin Vickie Owens Ellyn and Jimmy Tanner John D. Millett Robert and Mercy Pastor Sumner and Charlotte Tanson Christopher Nickell Pamela and Gene Pease Sally & Nick Taylor Temple Northup Larry E. Peterson Colin G. Thomas, Jr. Lily Roberts Dick and Jean Phillips Charles and Patricia Thompson Jamie Serkin Raymond Phillips, Jr. in memory of Ruth A. Richard Lauren Schultes Kaola and Frank Phoenix Rollie Tillman Evan Shapiro Carlyn and Ivan Pollack M.E. Van Bourgondien Emily Simon David and Peggy Poulos Todd Vision David Spanos Dr. and Mrs. Thomas E. Powell III G. Burkhard Mackensen and Alexandra Vargas David Prince Jutta Von Stieglitz Natalie Watanasiriroch Lilian and James Pruett Sejal Prabodh Vora Brendan and Tamara Watson Steve Prystowsky M.D.

www.carolinaperformingarts.org (919)843-3333 donors

Yoo Jeong Yang Linda Cooper Richard Hardy Kerry-Ann da Costa Wade Harrison OTHER CONTRIBUTIONS Jennifer Cox Olivia Lawton Henderson (Less than $125) Richard Craddock Susan Henley Martha Alexander Laura Crane Joyce Williams Hensley Meg Alexander Michael Crosa Brian Edward Hill James V. and Maria Del Mastro Allen Richard Crume Gary P. Hill James and Susan Anthony Carlos Cruz Jonathan Hill Tony Armer Evan and Elisabeth Dellon Alison Sue Rose Hilton Mr. Baird John and Jill DeSalva Tyler Hoke O. Gordon Banks Dawne Deuterman Rosemary Holland Arnold Barefoot, Jr. Hannah Bell Diedrick Howard Holsenbeck Michael Barnes Caroline Hume Dilweg James and Elizabeth Hooten Eddie and Joan Bass Janice Dodds Kathleen Hopkins Zane Beckwith Linda and Mike Dore Mitchell and Deborah Horwitz Barbara E. Bergquist Doris Downing Julia Howland-Myers Pat and Thad Beyle John Duckett in memory of Marc Howlett Aditi Bhattacharjee Ralph B. Garrison Rife Hughey III Mr. and Mrs. D.A.Birnbaum Noel and Shelby Dunivant Michael Iwanski and Deborah Maloney Jerri Bland Ramona Dunlap Mohamed Jalloh Kelly Stowe Boggs Ryan Ebright Drs. Everette James and Nancy Farmer Michelle M. Bordner H. Jack and Betsy Edwards Jonathan James Donald Boulton Ralph and Audrey Edwards Charles Jeffers M. Blair Bowers Susan Egnoto Melchee Johnson Renae Braddy Anonymous Mike Johnson Michael Brady Class of 2010 Baynor Elston Chip Johnston Hope Breeze Matthew Ewend Rebecca Jones Robert Brinkley Katherine Fitch Charles Kahn Ellen Smith Broad Elizabeth Flake James Kalagher Teresa Broome Elisabeth Fox Phyllis Kammer David Brown Matthew Franke Jonathan Karpinos Virginia Brown Anna Freeman John and Joy Kasson Aimee Peden Burke Susan Gallinari Nathan Katzin Jennifer Butler O. Ganley Laura A. Keenan Dana Cain Debra Garcia John Kennedy Steven Cann Bob Garner Jeanette Kimmel in honor of Christy Cappelletti Butch Garris Mrs. Anne C. Liptzin Jennifer Carbrey John and Kathy Gibson Deborah C. Klein Margaret Carmody Durral Gilbert Andrea Knowlton Dulce Castillo Natasha Gillyard Margot Dodge Kohler Dr. Gillian T. Cell Dylan Gilroy Leslie Kreizman Jooyeon Chon Mary Kirk Goeldner Gregory and Laura Lane James and Brenning Cheatham David Goodman John Langstaff Billy Chow and Penny Oslund Lynne Graham Robert and Geraldine Laport Sandra Cianciolo Carl and Anne Granath Joel Laskey Dianne Clinton Russell and Mary Graves Jeffrey Lawson James Abernethy Cobb, Jr. Kelsey Greenawalt Cameron Lee George Collias A. Glenn and Carolyn Griffin Joycelyn Powell Leigh Linda Convissor Douglas Griffin Sharon Leonard Sandra Cook Ephraim Gur Nate Lerner Jerry and Kathryn Gurganious

carolina performing arts 10/11 45 10 /11season donors

Margot Lester Monica Pallett Josephine Stipe Madeline G. Levine Robert and Martha Paterson Cheryl Stone Gene Liau James Paul Stuart Lee Stroud Alison Linas Jeremy Peterman Xiaowu Sun Ray and Mary Ann Linville Marilyn Pfefferkorn Thor Svendsen Peizhu Liu Phyllis Post Sally Swanson Monique Lockett Mallorie Price Annie Talbert George Logan Veshana Ramiah Barry and Margaret Teasley Elizabeth Lokey Catalina Ramirez and D.J. Dore Jennifer Tenlen Kenneth Lorenz Patricia Ramos Class of 2010 Rod Thompson Richard Lupton in memory of David Rathel Claire J. Thomson Mildred C. Lupton, M.A. 1969 Emily and William Ray Gregory Timmons Young Kyung Lyoo Jacob Reardon Caroline W. Treadwell Jheanne Malit Robert Reed John Trexler Dr. Patrick T. and Elaine L. Malone Mary Regan Chris Trull in honor of Erika Barrera’s Raleigh Mann Anthony and Terry Reger 25th Birthday Emily Turner Marsland Class of 2010 Suzanne Reiss in memory of Carol Tyndall Timothy Mason Charles Colver Rachel Van Patten Clare Matti Hallie Ringle Barbara Vance Kevin and Karen Mattingly Maureen J. Robinett Jay and Leslie Walden Lawrence McCabe M. Burdette Robinson Daryl Farrington Walker Paul McCarthy John Rosenfeld David Walker Emily McCloy Barbara Rowan Wheaton Family Deborah McDermott Eric McKinley Sain Rebecca Wheeler Harriet McGraw Margie Satinsky Marguerita Whitney John McKeever Sara Satinsky Joan F. Widmer Sean McKeithan Emily Scarborough Robert Wirth Elizabeth McKenna Leah Schinasi and Ghassan Hamra Brent Wissick Robert McLeod Eric Schlotterbeck Peter and Joan Witt Meghan McNamara Marisa Sears Merrill Wolf Laurie E. McNeil David and Linda Seiler Jennifer Cantwell Wood Ann Meadows Debra Senchak Lindsay Wrenn Thomas and Sandra Meyer Jayana Shah Sarah Younger Class of 2010 Andrew Miklos Sarah Shapard Julie Mikus Tatjana Shapkina Carolina Performing Arts Staff Contributions Taylor Miles Foy J. Shaw, Jr. Kelly Stowe Boggs Charles Miller Robert Shepard Michelle M. Bordner Robert Millikan Marjorie Shoemaker Priscilla Bratcher Solon Minton III David and Jacqueline Sices Jennifer Cox Christian Moe William Siddall Butch Garris Coolie and Thad Monroe Frances Simms Melchee Johnson Margaret Moore Nikolai Skiba Mike Johnson Paul Morgan Page Smith Emil Kang Grant Morine Dr. Patrick Carlsten Smith Harry Kaplowitz Paul and Barbara Nettesheim Simone Smith Sean McKeithan Laura Newman Harriet Solomon Daniel D. McLamb Michael Nutt Gina Song Meghan McNamara Larisa Oktyabrsky Jacob Spencer Mark Steffen Ryan and Hannah Ong Mark Steffen Tammy S. Womack Jerry Oster Lauren Stevens Iris L. Padgett Stephen Stimpson

www.carolinaperformingarts.org (919)843-3333 donors

SPECIAL THANKS General and Mrs. Arthur W. Clark S. Davis and Katherine Phillips TO OUR SPONSORS Richard Craddock William and Cathy Primack Tom Kearns and Joseph Dr. James W. Crow Teresa Prullage and Beatrice Riccardo Robert Marion Daniel John Allen Quintus Elite Coach Elizabeth Chewning Deacon Anonymous Mary Duke Biddle Foundation M’Liss and Anson Dorrance Margaret Ferguson Raynor Sponsor of the 2011 Carolina Woody and Jean Durham Deborah and Ed Roach Performing Arts Student Matinee Elizabeth H. T. Efird Wyndham Robertson University Florist Jane Ellison Rebecca and Rick Rosenberg Sharon M. Emfinger Andrew and Barbra Rothschild Mrs. Frederick A. Fearing Bev Saylor STUDENT TICKET ANGEL Eleanor and James Ferguson Ernie and Mary Schoenfeld FUND CONTRIBUTIONS Susan Ferguson Ms. Marjorie Moses Schwab Received as of December 31, 2010. Sandra Strawn Fisher Foy J. Shaw, Jr. in memory of William Beecher Strawn Mark Sidell Angel Mimi and James Fountain Mrs. Sidney Siegel ($25,000 and above) John W. Fox Nancy Howard Sitterson Robert and Mary Ann Eubanks Rose Marie Pittman Gillikin Jane McKee Slater Joseph and Beatrice Riccardo Joan Heckler Gillings Alan Clements Stephenson Mark W. and Stacey M. Yusko Jonathan and Deborah Goldberg Warren and Sara Sturm Carolyn Bertie Goldfinch John and Joe Carol Thorp Patron R. McDonald Gray III Patti and Holden Thorp ($5,000 - $9,999) Wade and Sandra Hargrove John and Marree Townsend Tim Hefner David Venable Tom Kearns George R. Hodges and Kay and Van Weatherspoon Mr. Thomas S. Kenan III Katherine W. Hodges Alan Welfare John and Martha Hsu Barbara Smith White Booster Dr. Joan C. Huntley Ronald White ($2,000 - $4,999) Mrs. Frank H. Kenan Tom and Lyn White Terrell Boyle Sharon May Kessler Eliza M. Wolff Patti and Eric Fast Jeanette C. Kimmel Ruth Ann Woodley Paula Flood Kimball and Harriet King Doug and Jacqueline Zinn Dorothy Shuford Lanier Dr. Marcia Anne Koomen *Scott Garcia and Debbie McDermott Dawn Andrea Lewis Donor W. Cooper and Lorie Lewis *deferred gift (Less than $2,000) Anne and Mike Liptzin Hannah Kennedy Albertson Walker Long K. Dean Amburn Richard B. Lupton Elizabeth A. Ayers Knox Massey Family Judith and Allen Barton O. Kenton and Carol McCartney Susan Bickford William and Sara McCoy Dolores Bilangi G.W. McDiarmid Lewis Niles Black Adele F. Michal Robin Lenee Broadnax Melanie Ann Modlin Roy Burgess Brock Michele Natale Maria Browne Stephen Andrew Oljeski Meredith Bryson in honor of Josie Ward Patton Sandra Hardy Bryson Florence and James Peacock Leslie Anne Bunce John Atlas Pendergrass Hodding Carter and Patricia Derian Kenneth Lawing Penegar John and Barbara Chapman Earl N. Phillips, Jr.

carolina performing arts 10/11 47 STUDENTSTUDENT VIEW VIEW Amanda Ziesemer

“...I have come to realize the importance of two pursuits: prioritizing genuineness and being uncomfortable.”

Within a university such as Carolina, indi- leads the mind to an emphasis on initiative Throughout my career as a student, I have vidual experiences are in part contingent on that extends beyond the final curtain fall. come to realize the importance of two a student’s ability to create her or his own pursuits: prioritizing genuineness and being The combination of extreme sport and dance path by fully employing the resources given uncomfortable. Both come from a construc- by STREB presented an engaging form of to her. Inventive creativity drives the student tive point of vulnerability and have the power boundary-pushing that was artfully con- experience. Carolina Performing Arts is a to be the most defining and influential forces structed, yet not reckless. The implications venue that facilitates the intersection of behind my education. Genuineness provides of this responsible “boundary-pushing” cultures and inspires this inventive creativity. a solid foundation and being uncomfortable moved me beyond the physicality of it, initiates change, progress and learning. Each performance questions the status and challenged me to apply this attitude in quo and challenges students to view things social, cultural and educational spheres. Carolina Performing Arts has played an from a new perspective. The performing arts Sutra combined the tradition of kung fu with active role in challenging me to apply these possess a unique capability to confront an modern musical composition, and wrapped pursuits to my education via the lens of art. I audience with the thought-provoking, and my mind in a beautiful interaction between did not come to UNC describing myself as an sometimes uncomfortable, challenge to re- old and new. Beyond the aesthetics of the artist, but through Carolina Performing Arts assess convention. performance, I was particularly struck by I have been shown that the way I carry my the understated yet constant role of the experience as an audience member beyond During my time at UNC, the performing young boy. As I related to him, I saw the the doors of Memorial Hall becomes a arts have constantly challenged me to look stage as a microcosm of where I stand in continuation of artistic expression. Allowing honestly at my own perceptions, forced me time. I am a student on the cusp of my fu- a performance the chance to be enriching to broaden my views of the world beyond ture and I was reminded, and in some ways to you is a responsible employment of Chapel Hill, and exposed me to various cautioned, that the ancient plays an integral resources, and the extent to which you are expressions of beauty. Being a part of the role in the contemporary. open to inspiration is an exciting springboard audience and therefore implicitly engaged in for inventive creativity. the performance, even if at various degrees, Amanda Ziesemer (’13) is studying Public Policy, Arabic and Chemistry at UNC-Chapel Hill.

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carolina performing arts 10/11 49 in the last word LASTBuck Goldstein WORD

Having spent most of my professional life involved in innovation, I to see on network television. Who can forget John, Paul, George and welcome the opportunity to discuss how the most innovative perform- Ringo, as they stood next to Ed Sullivan, a bastion of the establish- ing artists of our time changed the way we look at the world. Just as ment, preparing to sing “I Want to Hold Your Hand” or “All My Loving”? entrepreneurs and scientists convert science fiction into reality with Nothing in those early, innocuous songs suggests a body of work that pioneering work in fields such as nano-technology and information would include well over 200 songs, most of them hits, and a pres- science, performing artists transform our culture in ways that, in ence that would dominate popular culture for decades. A peek at the retrospect, seem unimaginable. I can’t think of better examples than iTunes store as this is being written reveals almost total domination Bob Dylan, The Beatles and The Rolling Stones. of the home page by The Beatles as a result of the recent release in electronic format of their entire catalogue. Bob Dylan taught us that a songwriter could actually be a poet, not just a lyricist. His writing will be enshrined alongside Walt Whitman, The Rolling Stones did something that only true innovators can ac- Ralph Waldo Emerson and Emily Dickinson as work that combines complish. They taught Americans about themselves and introduced artistic brilliance with social commentary, providing a mirror on the an American art form to the entire world. Determined to become a British-styled Chicago blues band, they labored for years to learn the techniques pioneered by Muddy Waters, Robert Johnson, Jimmy Reed “...performing artists transform and Howlin’ Wolf – legends to Mick Jagger and Keith Richards but virtually unknown in the United States where they lived and attempted our culture in ways that, to make a living. When The Stones crashed upon the scene in a cloud of sexuality tinged with illicit drugs, their vehicle was songs written by in retrospect, seem unimaginable. black American blues singers who, until then, performed on the side at night while doing manual labor during the day to earn a living. Even today, in their late ’60s, The Rolling Stones embody anti-establishment tumult of the last half-century. In the ’60s he gave us “The Times They fervor and their work continues to be rooted in a uniquely American Are A-Changin’” as a first indication of a generational shift that would foundation that was essentially unknown until they discovered it and manifest itself in the civil rights movement and the anti-war movement revealed it to the world. which he chronicled with “Blowing in the Wind” and “Masters of War.” Each time Kay and I trek across campus to Memorial Hall we do so Later he plugged in his guitar, to the great consternation of most of with the expectation that we will be transported somewhere we haven’t his fans, and suggested that pop music did not have to be relegated been before and we will think new thoughts, feel new emotions or be to three-minute songs as he turned out long lyrical works such as re-introduced to some old ones. It’s a safe bet we won’t be seeing The “Visions of Johanna.” He still hasn’t stopped performing and exploring Beatles at our favorite performance venue but knowing Emil Kang, Bob and if there is one thing we can always expect from Dylan it is the Dylan and The Stones aren’t outside the realm of possibility. unexpected. Buck Goldstein is The University Entrepreneur in Residence and a Senior Lecturer The Beatles cracked wide open the conventional post-World War II in the Department of Economics at UNC-Chapel Hill. culture of the “organization man” and the results were there for all

www.carolinaperformingarts.org (919)843-3333