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. E C This performance is supported, in part, by sponsors of the International Theater Festival, Tom Kearns and AN D 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