NOVEMBER 2017

IN THIS ISSUE

LIZT ALFONSO DANCE CUBA November 16-18

MONTROSE TRIO December 9

MARK O’CONNOR’S AN APPALACHIAN CHRISTMAS Featuring the O’Connor Band December 16-17 October 2017 Volume 14, No. 2

Paul Heppner Publisher FALL 2017 Sara Keats Encore Stages Editor

Susan Peterson Design & Production Director Contents

Ana Alvira, Robin Kessler, 3 "The Play’s the Thing” Shaun Swick, Stevie VanBronkhorst Is Theatre our Ideal Production Artists and Graphic Design Empathy Workout? Mike Hathaway Sales Director Dialogue

Brieanna Bright, Joey Chapman, 7 Shaya Lyon and the Ann Manning Live Music Project Seattle Area Account Executives

Amelia Heppner, Marilyn Kallins, Terri Reed 9 A Conversation with San Francisco/Bay Area Account Executives Simone Hamilton

Carol Yip Sales Coordinator Intermission Brain Transmission 12 Test yourself with our 310 Terry Avenue. trivia quiz

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2 ENCORE STAGES “The Play’s the Thing” Is Theatre our Ideal Empathy Workout?

New Century Theatre Company's production of Festen, 2016. From left: Conner Neddersen, MJ Sieber. Photo by John Ulman.

Maia Kinney-Petrucha The first time I cried at the theatre, I Hundreds of plays later, I found was eleven. It was a local production myself studying the science behind examines the theoretical of West Side Story, and after being performance. Why is the experience so and applied science of unimpressed by the film, I wasn’t significant? I approached this question creating empathy through expecting much. But when I saw the from both a cognitive scientific and an tears on Maria’s face as she held Tony’s artistic perspective. My work consisted theatre. lifeless body, I was right there with her. of theoretical and applied research, I had never been in love. I had never beginning with the creation of a 2016 lost someone I loved. I was not a Puerto documentary theatre production Rican immigrant from the 1950s. I was entitled The Stories We Are. sure the actress didn’t have the same history as the character, but there she The show was devised at Hampshire was, embodying Maria's pain. And there College by seven ensemble members I was, feeling my heart wrench along who were asked to explore personal with everyone else’s in the room, and storytelling through a variety of understanding a mix of emotions I had performance mediums. There were never encountered. It was education. It two remarkable results: the actors’ was connection. It was power. evolution toward kindness and respect

encoremediagroup.com/programs 3 for one another, and the audience’s Trinity College, Cambridge, developed heightened emotional reactions. Seeing a chart from his 2011 empathy research people tell real stories on stage elicited called, “The Empathy Bell Curve.” It We don’t strong responses from the audience, suggests that everyone has different levels and I hypothesized that there is of empathy, but we all fall somewhere on witness theatre, something about theatre in particular a spectrum. What if where we sit on that that transforms the way we consider curve shifts throughout our lives? or work as humanity. After surviving millennia, theatremakers, theatre remains one of the most desirable Just as we must use any of our abilities modes of storytelling. Beyond the joy of to retain and strengthen them, we without entertainment, there is something we must do the same for our empathy. gain at the neural level by engaging with Unfortunately, we aren't prompted to experiencing theatre, something that defines our need experience empathy very deeply in for performing arts. daily life, and when we do there are empathy. contingencies. We empathize more easily with people we identify with and form after the show, but every night audiences personal relationships to. For instance, it’s were much more willing to share after After seeing The Stories We Are, a colleague impossible to empathize all at once with watching the actors perform. Our expressed to me what she gets out of the thousands of victims of hate crimes empathy motivates us to copy others in going to the theatre: “I like [having] an every year in the US. However, we can the moment. emotional upwelling. I forget my life empathize with the family of Matthew and I pay attention to what’s happening, Shepard, whose murder in 1998 became and then I can feel things based on my a spark of national outrage against In a 2012 study, researchers Thalia interpretation of what people are feeling.” homophobia and still resonates today Goldstein and Ellen Winner assessed with productions of the documentary play This sensation is called empathy, an empathy levels in elementary and high The Laramie Project. In stories, emotions ability we have to recognize and then school students who had received one are not only bolder and appear in quicker take on another person’s emotion in year of either acting, or other arts training. succession, but by pigeonholing a larger the present moment. We don’t witness They found that those who had studied issue and reaching us on a personal level, theatre, or work as theatremakers, acting for the year, and not another type of they can access and test the limits of our without experiencing empathy. Our main art, showed the most significant growth in empathy. task is to feel what another is feeling. It empathy scores. is the key to our involvement in a story, In that sense, observing and participating As children, pretend play guides our how we process emotional plot, predict in storytelling is like working out at the acquisition of empathy while our minds behavior, and understand a character’s gym. The practice of perspective taking develop. We use role-playing as children mental state. Performers achieve this with expands our minds. Theatre may just be to form these social capacities. Despite training. Audiences have empathy thrust the best empathy gym of them all. upon them. In both cases, we exercise pretend play being less socially acceptable empathy. as we get older, we’ve found other ways of imbedding it into our culture, including This isn’t news. Empathy is one of theatre’s Jessica Blank and Eric Jenson’s play theatre. Whether on stage or in the biggest attractions. Why bother going to The Exonerated was a compilation of audience, we are absorbed in an act of see a show that doesn’t make you laugh, interviews they conducted with six putting ourselves in another’s shoes. This cry, or your heart race? What is invaluable criminals on death row, each of whom consistent desire for pretend implies a to understand, however, is that through eventually suffered their way to freedom recurring need to enhance empathy into its activation in theatre, our empathy after proving their innocence. The adulthood. Theatre is a tool, adapted can grow. While crucial to our social authors spoke with audiences before from the basics of pretend play, which can cognition, it isn’t something we often and after the show, and found that the increase our social skillset at any age. operate consciously, making it a harder majority empathized with the people in skill to reinforce. Still, because empathy the stories far more after seeing the play Theatre activates a number of mental is both something we are born with and a than when they only had a description of capabilities, many of which are members skill, it can progress through experience, their conviction. In The Stories We Are, we of what is called, “The Empathy Circuit,” or be diminished without. introduced an interactive lobby display a phrase developed by Baron-Cohen to for the audience comprising of activities describe the vast mechanism in charge Simon Baron-Cohen, professor of where they could share personal stories. of the many ingredients that make up Developmental Psychopathology at the These activities were available before and empathy. University of Cambridge and Fellow at

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EAP full-page template.indd 1 7/17/17 3:08 PM The closeness of theatre can also help us counter preexisting biases. As performers, we must learn a different perspective, one that could be entirely new to us. The process of imagining, then becoming, is pure empathy. Trying to see through new eyes presents us with new possibilities. The audiences’ route to empathy is less taxing, but just as profound. We are free to experience emotion without fear that our feelings, or presence, will change a play’s outcome. This separation from the story gives room to practice feeling strongly without threat of consequence.

Ultimately, theatre can be considered a “transitional space,” a term coined by psychologist D. W. Winnicott, defined as a place where experiences happen between (Left to right): Lisa Caspari and Alice Schneider share a tender moment in the author’s worlds. In that space, we can process both documentary theatre production, The Stories We Are. Photo by Amy Deyerle-Smith. the world of reality, and the world of the play. This is quintessential for empathy practice because, while we understand that Researchers have discovered that when the emotional threat is not real, we can one is recounting a story, the parts of the still apply the feelings to social experiences brain associated with the experience of The very structure of theatre is crafted outside the theatre, augmenting our living the story are in use. The amygdala, to spark our empathy. Two components understanding and acceptance of the responsible for emotional comprehension in particular distinguish it from other “o th e r.” and learning, and the insular cortex, which narrative forms: all action happens in real time, and the world of the story and its helps us recall and relate to moments Embracing a more comprehensive viewers exist in the same space. we are talking about, are also at work. It understanding of the process can help is likely, then, that actors, who generally theatre take a much bigger role in empathy aren’t telling stories that happened Why bother going education and training for a variety of to themselves, still access these same to see a show that fields such as medicine, psychology, structures in order to express another’s and teaching. It can also be applied to persona. doesn’t make you treatment programs for individuals with empathy deficit disorders such as When we watch another person engage in laugh, cry, or your psychopathy and certain autism-spectrum a type of emotional or physical behavior, heart race? disorders. Chiefly, though, understanding something called the “Mirror Neuron exactly how theatre changes us can lead System” is in action. These neurons fire not to the creation of more productions just when witnessing physical behavior, These dual factors are essential to that maximize unbiased empathy and but through auditory description as well. understanding why theatre is exemplary faces us, as individuals and as a society, They explain how audiences both feel and for empathy development. Humans not in the direction of untold, unheard, and learn during a play. When an emotion is only empathize better with those they misunderstood tales.

6 ENCORE STAGES IN THIS ISSUE

Photo: Courtesy of Noche Flamenca

Letter from the Director | A-2

Photo: Shayne Gray Soledad Barrio & Noche Flamenca | A-3

A Brief History of Flamenco | A-5

Montrose Trio | A-9

Mark O’Connor: An Appalachian Christmas | A-13

Photo: John David Pittman Your Guide to Meany Center | A-15

Thanks to our Donors | A-16 Welcome to Meany Center

Dear Friends:

Welcome to Meany Center for the And in April, Kathleen Battle will appear in Performing Arts. I hope you enjoy the Seattle for the first time since 1995 — here performance tonight. Every season Meany at Meany Center! Center strives to surpass the season before, and this year is no exception. But that’s just what you see on our stage. Throughout this year, upwards of 6,000 We launched our 36th Season with the K-12 students will fill Meany Hall at six soaring artistry of BANDALOOP, and have free student matinees; hundreds more continued at the heights of artistic excellence will benefit from more than 20 in-school ever since. We expect Noche Flamenca, the residencies that feature such artists as Montrose Trio and the Mark O’Connor Band Calidore Quartet and the Danish String to kick it up another notch. Quartet in their own classrooms.

Then, in February, Meany Center will be one So enjoy the performance tonight. I look of the few venues in the country to present forward to seeing you again, soon. all three parts of Bill T. Jones’ ambitious new work Analogy: A Trilogy over three successive nights—just as the MacArthur Award-winning choreographer envisioned it.

In March, Iranian artist Hamid Rahmanian’s Michelle Witt Feathers of Fire will ignite our stage with a breathtaking multi-disciplinary, live-animation production of an ancient Persian epic.

Meany Center Advisory Board Kathleen Wright, President Yumi Iwasaki, Leadership Team Darcy Paschino Ex-Officio Members: Joel Baldwin, ArtsFund Board Intern O. David Jackson John Robinson Ana Mari Cauce, UW President Ross Boozikee Dr. Susan Joslyn Donald Rupchock Robert C. Stacey, Dean, College of Arts & Sciences Luis Fernando Esteban Sally Kincaid Marcie Stone Catherine Cole, Divisional Dean of the Arts Davis B. Fox Kurt Kolb, Leadership Team Donald Swisher Brian Grant Jeff Lehman, Leadership Team Rick Szeliski Becky Harris Craig Miller, Leadership Team David Vaskevitch Kyra Hokanson Gray Chelsey Owen Gregory Wallace Cathy Hughes Seema Pareek Mark Worthington

EMERITUS BOARD

Linda Linford Allen Ruth Gerberding Dick Roth Ellen Wallach Linda Armstrong Randy Kerr Eric Rothchild Ellsworth C. “Buster” Alvord, In memoriam Cynthia Bayley Susan Knox Jeff Seely Betty Balcom, In memoriam Thomas Bayley Matt Krashan, K. Freya Skarin Ernest Henley, In memoriam Cathryn Booth-LaForce Emeritus Artistic Director Rich Stillman Mina Person, In memoriam JC Cannon Sheila Edwards Lange David Stone Jerome Sanford, Sr. In memoriam Elizabeth Cooper Frank Lau Lee Talner Gail Erickson Lois Rathvon Thomas Taylor

A-2 MEANY CENTER FOR THE PERFORMING ARTS World Dance Series

World Dance Series SOLEDAD BARRIO & generously sponsored NOCHE FLAMENCA by GLENN KAWASAKI

November 16-18 | 8 p.m. SUPPORT COMES FROM

SEGUNDA RONDA

Artistic Director & Producer Martín Santangelo

Featuring Soledad Barrio MEDIA PARTNER

With Juan Ogalla Eugenio Iglesias Salva de María Carmina Cortes Meany Center thanks the following Manuel Gago Signature Sponsors for underwriting David ‘Chupete’ Rodriguez this evening's program: Hamed Traore Marina Elana Linda and Tom Allen Carlos Menchaca Nancy D. Alvord Katharyn Alvord Gerlich Sharon Gantz Bloome Executive Producer Stephen and Sylvia Burges Sharon Levy Ana Mari Cauce and Susan Joslyn Ex-Offi cio Members: Manisha Chainani Ana Mari Cauce, UW President Resident Designer & Production Manager Britt East and Scott VanGerpen Robert C. Stacey, Dean, College of Arts & Sciences S. Benjamin Farrar Lynn and Brian Grant Family Catherine Cole, Divisional Dean of the Arts Chelsey Owen and Robert Harris Richard and Nora Hinton Company Manager Glenn Kawasaki, Ph.D. Mitchell Dufanal Matthew and Christina Krashan Marcella D. McCaff ray Choreography Richard Szeliski and Lyn McCoy Martín Santangelo & company members Seema Pareek and Gurdeep Pall Lois H. Rathvon Music Cecilia Paul and Harry Reinert Eugenio Iglesias, Salva de María, David ‘Chupete’ Rodriguez, & Hamed Traore Eric and Margaret Rothchild Joseph Saitta Vocal Arrangements Thomas and Doris Taylor Manuel Gago & Carmina Cortes Ellen Wallach and Thomas Darden George Wilson and Claire McClenny

encoremediagroup.com/programs A-3 NOCHE FLAMENCA | Program

LA RONDE Performed by The Company Choreography by Martín Santangelo

La Ronde is a meeting of souls, stripped to their barest condition. Examining the collective unconscious, the work, performed as a series of duets, will attempt to expose the similarities between us. It is a look at intimate relationships. The piece not only expresses the passion that lies at the heart of fl amenco but also focuses on two souls who allow themselves to commune and converse at the deepest level of the human condition.

INTERMISSION

CANTIÑAS Performed by Marina Elana & Carlos Menchaca

ROMANCE Performed by Juan Ogalla

ZAMBRA CARACOLERA Performed by Manuel Gago

SOLEÁ Performed by Soledad Barrio

Noche Flamenca is supported in part by the National Endowment for the Arts, the Howard Gilman Foundation, the Harkness Foundation for Dance, The Fan Fox and Leslie R. Samuels Foundation, and the New York State Council on the Arts.

Program is subject to change.

A-4 MEANY CENTER FOR THE PERFORMING ARTS Photo: Courtesy of Noche Flamenca A BRIEF HISTORY of FLAMENCO The precarious conditions of the for all flamenco guitar playing. Most of The wail of the cante jondo (deep Andalucian singer of the past made it the cante has an underlying rhythmic song) resembles the mournful chant inevitable that he/she should dwell on structure which must be strictly adhered of the exiled Sephardic Jews. Its the more tragic aspects of existence. Even to: the compás. One of flamenco's poetry has the existentialist angst and though conditions are now incomparably chief characteristics is the complex philosophical questioning common better, the feelings inherent in the cante syncopation against the compás, with in Arabic poetry. The dance, which are universal, timeless and represent a the cante being sung almost entirely off evolved slowly, fully blossoming in link between past and present. the beat and the guitarist maintaining the 1840s, suggests the repetitive key the rhythm, adding further to the symbol prevalent in Islam, the trance Andalucia, the region of southern Spain syncopation. In some forms, like the inducing rhythms of Africa, and the which is flamenco's home, has a strong cante libre (free song), the compás is stubborn search of Jewish music. musical tradition documented from less apparent, but the singer may break ancient times — and flamenco takes its into an established rhythm, which the Flamenco developed rapidly, gaining place in that heritage. Throughout the guitarist then has to follow. Indeed, in artistic stature as well as popularity. centuries, Andalucia absorbed peoples the singer is at liberty to improvise, Establishments appeared throughout of different cultures and backgrounds whether the toque (guitar playing) is Andalucia and beyond, dedicated including Romans, Jews and Moors. free or in compás, and the guitarist may wholly to the performance of Perhaps the most significant arrival not know beforehand what is to be flamenco. They came to be known as was in the 15th century when tribes of expected of him. cafes cantantes, (coffee theatres) where nomadic Gypsies settled in southern refreshment could be enjoyed while Spain, coinciding with Ferdinand and There is no evidence that the guitar watching the performance. Although Isabella's conquest of Granada, the last was initially used to accompany the some of them survived until the middle bastion of the Moors, and the subsequent cante, and even today some of the most of the 20th century, their heyday was expulsion of Jews and Arabs from Spain. dramatic forms of cante are invariably past by the 1920s. Often, they were like performed unaccompanied. However, cabaret theaters, with as many as four Historian Felix Grande, writing about life in it was certainly in regular use by the end shows a day. the 15th-17th centuries stated: “The Jews of the 19th century in Spain. The lute were massacred, the Gypsies humiliated was extremely popular in the rest of Dance has always been associated and persecuted, the Arabs exterminated, Europe during the Renaissance, but was with flamenco. It is difficult to imagine the Moriscos (converted Arabs) expelled, rejected in Spain as a foreign intrusion this music without movement. and the Andalucians generally exploited... since it was of Arab origin. Furthermore, While sophisticated flamenco dance if we do not relate the music...to brutality, the vihuela (the guitar's predecessor) companies have been touring the repression, hunger, fear, menace, was more suited to the accompaniment world for more than 50 years, it is inferiority, resistance, and secrecy, then of ballads by strumming, since the the raw un-choreographed dances we shall not find the reality of cante lute requires notes to be picked more of Andalucian Gypsies that has flamenco...it is a storm of exasperation delicately. It was also cheaper to produce maintained the art form in its most and grief.” It was against this background and more robust. creative essence. that flamenco evolved. In the 19th century, there were two types While earlier records suggest that flamenco of singing in Andalucia: the cante gitano was at one time unaccompanied, it is hard of the Gypsies and the cante Andaluz. for us today to imagine flamenco without Silverio Franconetti, an Andaluz of Italian a guitar. In effect, the guitar forms an origin and an exceptional singer of Gypsy integral part of the song; singer and styles, was the first to bring these two guitarist are one creating the cante. The styles together. This integration of both different types ofcante provide the basis forms resulted in the cante flamenco.

Photo: Courtesy of Noche Flamenca encoremediagroup.com/programs A-5 NOCHE FLAMENCA | About the Artists

ABOUT NOCHE FLAMENCA interrelated and given equal weight in the Cristobal Reyes, and El Toleo, Ballet Espanol presentations of Noche Flamenca, creating de Paco Romero, Festival Flamenco and Under the direction of Martín Santangelo, a true communal spirit within the company: many other companies. She has performed the award-winning Noche Flamenca has the very heart and soul of fl amenco. throughout Europe, Japan and North become Spain’s most successful touring and South America with such artists as company. Formed in 1993 by Santangelo In support of its mission to educate and Alejandro Granados, El Torombo, Isabel and his Bessie award-winning wife, enlighten audiences about fl amenco, Bayón, Jesus Torres, Miguel Perez, Belen Soledad Barrio, the company regularly the company off ers extensive residency Maya, Manolo Marin, Javier Barón, Merce tours throughout the globe. Performance programs that reach out to people of all Esmeralda, Rafael Campallo and Belen highlights around the globe include ages. With company members based in Maya. She is a resident teaching artist regular seasons in New York City and Spain, Noche Flamenca is a registered at NYU Tisch School of the Arts, Drama. performances in, Europe, Argentina, US not-for-profi t with its offi ce and Barrio has won awards from more than Chile, Brazil, Egypt, North America, representation based in New York City. 15 countries for her excellence in dance, Australia and Canada. Noche Flamenca’s artistic integrity has been including a “Bessie” award for Outstanding recognized with awards from the National Creative Achievement and a 2015 Dance Hailed by critics for its transcendent and Dance Project (2006, 2009, 2013, 2014), the Magazine Exceptional Artist award. deeply emotional performances, Noche National Endowment for the Arts (2007- Flamenca is recognized as the most 2009, 2012-2014), and the Lucille Lortel SALVA DE MARÍA (Guitarist) authentic fl amenco touring company in Award for Special Theatrical Experience was born in Madrid. He is the son of Basilio the fi eld today. Santangelo has successfully (2003), among others. de Cadiz and the singer/dancer Maria brought to the stage the essence, purity Fernandez and grandson of legendary and integrity of one of the world’s most THE COMPANY singer Antonio “La Chaqueta”. He began his complex and mysterious art forms without career in the peña fl amenca “Chaqueton” the use of tricks or gimmicks. All aspects MARTÍN SANTANGELO (Artistic Director) accompanying singers Carmen Linares, of fl amenco—dance, song and music—are founded Noche Flamenca. He studied with José Merce, Vicente Soto, Chaqueton and Ciro, Paco Romero, El Guito, Manolete and others. He moved to Barcelona to work Alejandro Granados. He has performed with Maite Martin, La Chana, Guinesa throughout Spain, Japan and North and Ortega and other mythic fi gures in South America, appearing with Maria fl amenco. He went on to work with Carmen Benitez’s Teatro Flamenco, the Lincoln Cortes and Gerardo Nuñez in the Lorca’s Center Festival of the Arts and Paco Yerma. Since 2001 he has collaborated Romero’s Ballet Espanol. He also appeared with guitarist Chicuelo, working with artists in Julie Taymor’s Juan Darien at Lincoln Miguel Poveda, La Susi, Maite Martin Chano Center. He choreographed and performed Lobato, Israel Galvan, Isabel Bayón, Javier in Eduardo Machado’s Deep Song. He Latorre and Duquende. choreographed a production of Romeo and Juliet at the Denver Theater Center. He EUGENIO IGLESIAS (Guitarist) has directed and choreographed Bodas de began playing professionally at a very Sangre, The Lower Depths, La Celestina and young age where he worked in all the A Streetcar Named Desire, amongst many important “tablaos” in Sevilla. He then other productions in Spain and Buenos began touring with various companies Aires. Martín has been blessed to have and has accompanied many dancers such worked with Lee Breuer, Luis Valdez and as Antonio Canales, Farruco, Farruquito, Jerzy Grotowski. He has collaborated with El Guito, La Tona, Javier Baron, Sara many, many artists, but his most fulfi lling Varas, Manuela Carrasco, Israel Galvan, collaboration has been with his wife, Mario Maya, Angelita Vargas, Alejandro Soledad Barrio and his two wild daughters, Granados etc. He has also accompanied Gabriela and Stella. many of the greatest fl amenco singers in Spain including Lole Montoya, La Negra, SOLEDAD BARRIO (Choreographer & Chiquetete, La Susi, Carmen Montoya, Dancer) was born in Madrid. She is a Juan Villar and El Potito amongst many founding member of Noche Flamenca with others. He is currently working on his her husband Martín Santangelo. Barrio has own fl amenco show as composer and appeared as a soloist with Manuela Vargas, songwriter. Blanca del Rey, Luisillo, El Guito, Manolete,

A-6 MEANY CENTER FOR THE PERFORMING ARTS JUAN OGALLA (Dancer) was born in Cádiz. and on the works of Rubén Maldonado, DEC He began working as a professional at the among others flamenco artists. 1 young age of fifteen. He was a member of the Company Manuel Morao, Ballet DAVID “CHUPETE” RODRIGUEZ de Cristina Hoyos, Manuela Carrasco, (Percussionist) was born in Sevilla where Company of Maria Pages and many others. he began playing percussion as a child, Ogalla also performed in the following accompanying his brother the renowned festivals: Festival Internacional de Mont dancer, Antonio “El Chupete.” David de Marssans, Festival de Música y Danza studied at La Universidad de Sevilla and de Granada, Festival Flamenco de Mahón, in the Conservatorio de Triana. In Europe, and Festival Querencias en Ceret. He has he has performed at festivals such as UW PERCUSSION ENSEMBLE John Cage, The City Wears a Slouch Hat performed in all the tablaos in Spain such La Suma Flamenca de Madrid, Festival Bonnie Whiting directs a theatrical version as Casa Patas, El Arenal and Los Gallos, as de Berlin and La Bienal de flamenco of Cage’s recently unearthed radio play. well as in many theaters in Europe, Japan de Sevilla, among others. Throughout With new music by UW composition students. and the U.S.A., Festival de Jerez, Paris his career, he has worked with Antonio 7:30 pm Meany Studio Theater Opera, and the most important theaters in Cortés “Chiquetete,” Juan Peña “El Spain as a soloist. He is currently working Lebrijano,” Arcángel, Antonio Canales, on a production with Manuela Ríos and Pastora Soler, David Peña Dorantes, DEC Arcángel. Pedro Sierra, Manolo Franco, Niño de 6 Pura, Pastora Galván, Laura Vital, Manuel MANUEL GAGO (Singer) Cuevas, María de la Colina, Jose Ángel was born in Cadiz to a family of flamenco Carmona, Romero San Juan and Agustín singers, he began singing at the age of five. Carbonell “El Bola.” By 14, he was singing in flamenco festivals with such well-known singers as Juan Villar, MARINA ELANA (Dancer) began her Charo Lobato and Rancapino. Later, he studies in Spanish classical dance and began singing for dancers including Joaquin flamenco with Adela Clara and continued Cortez, Sara Varas, Rafaela Carrasco, Belen her training with La Mónica and Yaelisa CarolFest Maya, El Guito, Manolete, Javier Baron in the San Francisco Bay Area. In Spain, The Chamber Singers, University Chorale, University Singers, Women's Choir, Gospel and Cristobal Reyes. Manuel has traveled she studied in Sevilla and Madrid with Choir, and UW Men's Glee Club perform the world, singing in Europe, Asia, South artists such as Juana Amaya, Yolanda seasonal music from around the globe. America and the United States. Heredia and Rafaela Carrasco. Marina 7:30 pm Meany Theater made her performance debut with CARMINA CORTES (Singer) Theatre Flamenco of San Francisco, was born in Barcelona to Andalusian sharing the stage with Pastora Galvan DEC parents. She began to work with a wide and Jose Anillo. She also appeared with range of flamenco dance companies Maria Benitez’s Teatro Flamenco in 2007 8 touring through European and Arab in Santa Fe, New Mexico. Marina was a countries by the age of 17. Later, she soloist and company member of Caminos began to sing in the renowned tablaos of Flamencos, with whom she performed in Barcelona, El Cordobes and El Tablao del San Francisco’s premier venues and with Carmen. During this time she collaborated artists such as Andres Pena and Miguel with such great flamenco artists as Mayte Rosendo. She graduated from Stanford Martín, Israel Galván, Belén Maya, Montse University in 2008 with a B.A. in film and Cortés, and Miguel Poveda, among others. Spanish language. UW Symphony with She later moved to Madrid and started to Jon Kimura Parker, piano work with Carmen Cortes and Gerardo HAMED TRAORE (Guitarist & Bassist) Performing music by Prokofiev and Nuñez. In recent years, she has been is a guitarist/multi-instrumentalist from Gershwin, including Gershwin’s Piano Concerto in F Major with Jon Kimura Parker. touring around the world with flamenco New York City. Born of West African 7:30 pm Meany Theater companies such as Joaquín Ruiz and Rafael parents, he was exposed to West African Amargo, while also singing in flamenco rhythms and instrumentation at an early recitals and collaborating on recordings age. At 14, he began to formally play with “Flamenco Kids,” Rafael Amargo’s guitar and bass and has since performed “Tiempo Muerto,” Flavio Rodríguez’s in the New York City Area, including at MORE AT: WWW.MUSIC.WASHINGTON.EDU “Anyway,” Joaquín Ruiz’s “Mar de Tierras” The Bitter End, Sullivan Hall, Arlene’s ArtsUW TICKET OFFICE: 206.543.4880

encoremediagroup.com/programs A-7 Grocery, and Rockwood Music Hall. He S. BENJAMIN FARRAR (Resident of International Affairs, at The New instructs year-long ensembles at The Designer & Production Manager) School University in New York City. Beacon School and has composed music is a freelance designer of scenery, Mitchell has since worked as a grant for past Noche Flamenca productions, lighting and projection for live and program consultant for non-profit including Antigona. He is currently a performance. He has worked in many organizations including the La Casita student at Purchase College (SUNY), venues in New York, including The Comunal de Sunset Park and New studying studio production and audio Public Theater, The Joyce Theatre and York Child & Family Support Services, engineering. The Lortel Theatre. He has designed where he currently sits on the board of throughout the U.S. and Canada in directors. CARLOS MENCHACA (Dancer) venues such as The Majestic Theatre has had a rich variety of influences in his in Boston, White Bird in Portland, SHARON LEVY (Producer) training and professional career. He began The McCarter in Princeton, The Royal is the president of Dovetail dancing at age ten, studying Mexican Conservatory in Toronto and The Productions, which formed in 1997 and Spanish regional dance, Danza Zellerbach Playhouse in Berkeley. to develop and produce new work. Española, ballet and flamenco primarily He has also designed for venues She was a producer with St. Ann’s with his aunt, accomplished dancer and in Australia, Mexico, Argentina, Warehouse, La MaMa, Mabou Mines director Belinda Menchaca. In 2006, Peru, Brazil, England, Scotland and and piece by piece for Lee Breuer’s Menchaca moved to Albuquerque to work Switzerland. Benjamin has worked as a La Divina Caricatura; Shalom Shanghai with Yjastros: The American Flamenco guest designer at NYU Gallatin School in for the Shanghai Arts Festival; Baba Repertory Company, and to study at the New York and Grinnell College in Iowa. Brinkman’s The Rap Guide to Evolution; Conservatory of Flamenco Arts under He is a graduate of The University of Mabou Mines DollHouse; Lee Breuer the direction of Joaquin Encinias. He has Iowa and Vanderbilt University. and Bob Telson’s The Gospel at Colonus; worked with an array of influential dancers the jazz opera Lulu Noire and the and flamenco artists including Antonio MITCHELL DUFANAL (Company Tribute to King Oliver. She was manager Canales, Alejandro Granados, José Maya, Manager) was born and raised in New to trumpeter Jon Faddis; worked with Nino de los Reyes, Concha Jareño, Manuel York City and earned his Master of the British Theatre of the Deaf and Gutierrez, Pedro Córdoba, Valeriano Paños Science degree in Urban Policy Analysis the Theatrical Outfit in Atlanta, where and Domingo Ortega. and Management at the Milano School she produced more than 40 plays and musicals throughout the 1980s.

SPECIAL THANKS Noche Flamenca would like to thank its funders: National Endowment for the Arts, New England Foundation for the Arts’ National Dance Project, The Harkness Foundation for Dance, The Fan Fox and Leslie R. Samuels Foundation, The Andrew W. Mellon Foundation, the New York State Council on the Arts and The Mary Duke Biddle Foundation.

The company also extends special thanks to: Wendy vanden Heuvel, Etta Brandman, Aurora Santangelo, Frances McDormand, Joel Coen, Annatina Miescher, Mary Frank, Barbara and Donald Tober, Eric Cocco, Lee Breuer, Maude Mitchell, Eric Hoisington, Martin Weschler, Cathy Eilers, The Joyce Theater, Gabriela and Stella for being patient, Hamed Traore, Phil Esparza, Luis Valdez and Kinan Valdez of El Teatro Campesino, Jackie Shue, Patricia Zohn and our many friends and individual donors.

A-8 MEANY CENTER FOR THE PERFORMING ARTS International Chamber Music Series

SEASON SUPPORT MONTROSE TRIO COMES FROM December 9 | 7:30 p.m.

Jon Kimura Parker, Piano Martin Beaver, Violin Clive Greensmith, Cello

HAYDN Trio in E-fl at Major, Hob. XV:29 (1732 – 1809) Poco allegretto MEDIA PARTNER Andantino ed innocentemente Finale: Preso assai

SHOSTAKOVICH Trio in E minor, Op. 67 (1906 – 1975) Andante Meany Center thanks the following Allegro con brio Signature Sponsors for underwriting Largo this evening's program: Allegretto Nancy D. Alvord Katharyn Alvord Gerlich INTERMISSION Warren and Anne Anderson Linda Armstrong Stephen and Sylvia Burges BRAHMS Trio No. 1 in B Major, Op. 8 (1889 revision) Helen Curtis (1833 – 1897) Allegro con brio Gail Erickson and Phil Lanum Scherzo: Allegro molto Lynn and Brian Grant Family Dr. Martin Greene and Kathleen Wright Adagio Ana Mari Cauce and Susan Joslyn Finale: Allegro Matthew and Christina Krashan Cecilia Paul and Harry Reinert Eric and Margaret Rothchild Don and Toni Rupchock Dave and Marcie Stone Richard Szeliski and Lyn McCoy Gregory Wallace and Craig Sheppard Mark and Amy Worthington

encoremediagroup.com/programs A-9 MONTROSE TRIO | About the Artists

ormed in 2014, the Montrose Trio is a collaboration Chicago and Philadelphia. This season he appears with the stemmingF from a long and fruitful relationship between orchestras of Indianapolis, Pittsburgh, Ottawa, Vancouver, pianist Jon Kimura Parker and the Tokyo String Quartet. Toronto, Colorado, and Washington, DC. He also appears Mr. Parker was the quartet’s fi nal guest pianist, and a in Off the Score, an experimental group with legendary backstage conversation with violinist Martin Beaver and Police drummer Stewart Copeland. He is artistic advisor of cellist Clive Greensmith led to Montrose Trio’s creation. the Orcas Island Chamber Music Festival and professor of Named after Chateau Montrose, a storied Bordeaux wine piano at the Shepherd School of Music at Rice University in long favored after concerts, with a nod to the Montrose Houston. Arts District of Houston and the street in Winnipeg where Mr. Beaver was raised, the Montrose Trio has quickly Violinist Martin Beaver has appeared as soloist with established a reputation for performances of the highest the orchestras of San Francisco, Indianapolis, Montreal, distinction. In 2015 The Washington Post raved about their Toronto, and in Belgium and Portugal. A top prizewinner “absolutely top-notch music-making, as fi ne as one could at the international violin competitions of Indianapolis ever expect to hear…they are poised to become one of the and Montreal, he studied with Danchenko, Gingold, top piano trios in the world.” and Szeryng. Mr. Beaver was a founding member of the Toronto String Quartet and Triskelion, and was the fi rst The Montrose Trio gave their debut performance for violinist of the Tokyo String Quartet for 11 years. He is the Chamber Music Society of Detroit, with subsequent currently on faculty at the Colburn School in Los Angeles. performances at Wolftrap, in Montreal, and at the Santa Fe Chamber Music Festival. Their 2015-16 season included Cellist Clive Greensmith has performed as soloist with the concerts in Philadelphia, New York, Vancouver, Portland, London Symphony, Royal Philharmonic, English Chamber Eugene, Baltimore, Jacksonville, Durham, Detroit, Buff alo, Orchestra, Mostly Mozart Orchestra, Seoul Philharmonic, La Jolla and at the Hong Kong Chamber Music Festival. and the RAI orchestra in Rome. He has worked with In 2016-17, Montrose Trio performed in cities including distinguished musicians including András Schiff , Claude Cleveland, Indianapolis, Portland, Houston, Phoenix, Frank and Steven Isserlis, and won prizes in the Premio and Toronto. Stradavari held in Cremona, Italy. Mr. Greensmith was the cellist in the Tokyo String Quartet for 14 years and is Pianist Jon Kimura Parker performs with major North currently on faculty at the Colburn School in Los Angeles. American orchestras on a regular basis, including recent concerto performances with the orchestras of New York,

A-10 MEANY CENTER FOR THE PERFORMING ARTS MONTROSE TRIO | About the Program

Trio in E-fl at Major, Hob. XV: 29 The Andantino ed innocentemente opens accompaniment to the skittish piano. FRANZ JOSEF HAYDN (1732–1809) with a simple but extended theme from “Stomping” moments accentuate the the piano, soon echoed by the strings rustic origins of the music. Franz Joseph Haydn, whose combined while the keyboard weaves garlands string quartets and symphonies account around it. An emphatic minor key Piano Trio No. 2 in E Minor, Op. 67 for almost 200 works in his ample episode follows, rich in implicit emotion, DMITRI SHOSTAKOVICH (1906–1975) canon, wrote 45 piano trios and more before launching into the German dance- than a hundred others for the extinct based Finale. A rousing and energetic Shostakovich was deeply saddened baryton (the cello-like instrument played sequence of dazzling scalar passages led by the death in 1944 of his long- by the composer’s erstwhile employer by the piano is imitated at times by the time time friend and colleague Ivan at Esterhaza). Note that his piano strings, which otherwise provide chordal Sollertinsky. A distinguished and trios fall under the heading “Keyboard Music” in the current Grove Dictionary. Why? Simply because until the trios of Beethoven and Schubert, the cello LAS MIGAS and violin parts were more-or-less Saturday, October 28, 2017 discretionary, in large part because 7:30 pm | Tickets $19–$44 of the need to reinforce the feeble Presenting the raw power of vocals, dynamics of the harpsichord and early dancing violin lines, sensual fortepiano by doubling the piano’s left- choreography, and upbeat rhythms hand line in the cello’s lowest register. of the guitar, the four women of Las Migas create a fascinating blend of Having spent several decades on the Flamenco and Mediterranean styles Esterhazy’s family estate in Hungary, of music from Spain. Haydn was intimately acquainted with the gypsy and folk music of that Central ECA SATURDAY MATINEE European cultural center, cross-fertilized JAZZY ASH & THE by cultures from the Middle East as well as Western Europe. Of course, one need LEAPING LIZARDS not actually live in Hungary to appreciate Saturday, November 18, 2017 its rich musical legacy. Mozart, Schubert 11:00 am | $10 / $2 Arts for Everyone and Brahms all wrote music in the Bring the whole family on a Crescent Hungarian/Gypsy manner with varying City inspired, jazzy music adventure. degrees of historical accuracy. Jazzy Ash’s songs celebrate the magic of movement, with a lot of sugar and The Piano Trio in E-fl at Major, Hob. sass thrown in, New Orleans-style. XV: 29 (1790) was Haydn’s fi nal essay in the piano trio format. A grand LAS CAFETERAS arpeggio chord opens the Poco allegretto Friday, April 27, 2018 fi rst movement and is followed by a 7:30 pm | Tickets $15–$39 perky, even comic theme animated by Las Cafeteras create a vibrant musical obsessive dotted rhythms. Balancing the fusion that the LA Times called a rhythmic element is a frequent falling “uniquely Angeleno mishmash of punk, two-note counter-theme. As one can hip-hop, beat music, cumbia, and infer from the designation as a piano rock.” They’ve performed with Mexican sonata with optional string parts, it is the icons Cafe Tacuba, the Los Angeles piano that dominates the proceedings. Philharmonic Orchestra, and Talib Kweli. Midway through the movement an episode in the minor sounds sweet 10% discount for Seniors 62+ & Military on events presented by ECA! rather than dark. A brief pause in the fi nal minute begins quietly before ec4arts.org | 425.275.9595 closing the movement with vibrant élan. 410FOURTHAVENUENORTH EDMONDSWA98020

encoremediagroup.com/programs A-11 MONTROSE TRIO | About the Program cont. insightful critic, musicologist and in the Largo. Shostakovich cast this but just combed and arranged its hair director of the Leningrad Philharmonic, movement in the form of a passacaglia, a little.” Sollertinsky had ignited Shostakovich’s a 17th-century theme and variation passion for the music of Gustav Mahler form in which a theme is presented The opening Allegro con brio is in 1927. Mahler became a spectral in the bass and is repeated without dominated almost entirely by a presence in many of Shostakovich’s change while the composer weaves broadly fl owing, gorgeous theme that works, perhaps most tellingly in the variants above it. Shostakovich announces itself fi rst in the piano, soon Fifth Symphony, whose scherzo seemed maintains a deeply mournful tone echoed by the cello a third higher. The to have been born in Mahler’s Second through fi ve wrenching variations violin’s eventual entry further enriches Symphony. based on eight heavily weighted chords the spacious unfolding of this rapturous on the piano. music. After an extensive development, “I owe all my education to him,” the recap begins with a triumphant Shostakovich wrote Sollertinsky’s The concluding Rondo: Allegretto restatement of the opening theme, widow. “It will be unbelievably hard for incorporates material extracted from replete with contrapuntal weavings of me to live without him...His passing is the preceding movements, as well material from a subsidiary theme. a bitter blow for me.” To pay tribute as tunes intended to evoke Jewish and exorcise his grief, Shostakovich dance music, most likely a pointed and The second movement, Scherzo: Allegro, decided to memorialize his friend in a painful tribute to the great suff ering boasts fl eet-footed opening and closing Piano Trio—the same form Tchaikovsky brought by the Nazis, as well as his own sections with a contrastingly lush Trio, had adopted in his elegiac tribute to his country’s long and shameful history notable for its almost elfi n quality à la departed friend and mentor Nicholas of anti-Semitism. The Trio fulfi lls its Mendelssohn. Brahms evidently felt that Rubinstein half a century earlier. intended role as a memorial to a close he had uttered the fi nal word when he friend while serving as a powerful fi rst wrote this movement in 1854: the The Trio formed quickly in commentary on the incalculable and later version is essentially unchanged. Shostakovich’s heart and mind. At the unconscionable loss of life brought work’s premiere, the audience had about by the darkest side of our The ensuing Adagio in ABA (“song”) form trouble integrating what they perceived human nature. presages a pervasive autumnal quality as inconsistencies in the music. The associated with Brahms’ later works. sad and melancholy nature of much of Schumann’s description of Brahms’ the piece is countered by sections that Trio for Violin, Cello and Piano in B early sonatas as “veiled symphonies” bear a superfi cially cheerful, dance-like Major, Op. 8 fi ts the movement’s rich, orchestra- character—not unlike how Mahler so JOHANNES BRAHMS (1833–1897) like sonorities. The opening tune is an often opposed moments of deep grief intimate dialogue between the piano with manic parodies on popular ditties. Famously intimidated by the sheer and the stringed instruments. Later the weight and unequaled acclaim of cello introduces a keenly felt melody A slow and lugubrious fugal Beethoven’s symphonic canon, that is ultimately picked up by the introduction initiates the opening Brahms generally confi ned the violin. Andante, positing a theme eerily works of his youth to solo piano and whistled in high harmonics on the chamber music. Brahms completed The mood changes abruptly in the cello before assumption by the piano his fi rst Piano Trio Op. 8 in 1854, the concluding Allegro beginning with the and muted violin. Other melodies year after he met Robert and Clara cello’s statement of the fi rst theme, of folkloric persuasion are added to Schumann. In 1889, three-and-a- rich in implied agitation and unease. the mix, and the music builds to a half decades later, he revised the A second theme, uttered by the piano, powerful climax before fi nally closing in score, jettisoning about one-third calms the waters in resolute nobility. introspective quietude. of the music by shortening the fi rst Brahms plays off the two themes movement and tightening the overall against each other before the opening Marked Allegro con brio, a scherzo structure — without compromising theme asserts primacy in the coda. follows, showing Shostakovich at his the youthful passion of the music. Of most wickedly sardonic and energetic. special note is how seamless these © 2017 Steven Lowe The dark irony of Mahler’s scherzos changes are; the composer was able to paces nervously on the sidelines. maintain a consistency despite years of development in his compositional In startling contrast with the scherzo, style. Brahms wrote to a friend that the the emotional heart of the Trio throbs revision “did not provide it with a wig,

A-12 MEANY CENTER FOR THE PERFORMING ARTS Special Event

SEASON SUPPORT MARK O’CONNOR COMES FROM Feat. THE O’CONNOR BAND AN APPALACHIAN CHRISTMAS December 16 | 8 p.m. December 17 | 2 p.m.

Mark O'Connor, violin/mandolin/guitar Maggie O'Connor, violin/vocals MEDIA PARTNER Kate Lee O'Connor, violin/vocals Forrest O'Connor, mandolin/vocals Geoff Saunders, bass/banjo Joe Smart, guitar

Meany Center thanks the following Signature Sponsors for underwriting this evening's program: THE PROGRAM WILL BE ANNOUNCED FROM THE STAGE. Nancy D. Alvord THERE WILL BE ONE 20-MINUTE INTERMISSION. Katharyn Alvord Gerlich Ana Mari Cauce and Susan Joslyn

encoremediagroup.com/programs A-13 MARK O’CONNOR Feat. THE O’CONNOR BAND

ABOUT | The O’Connor Band ABOUT | An Appalachian Christmas

The O’Connor Band’s very fi rst performance took place at the “Appalachia is the original melting pot of our country legendary Walnut Valley Festival in Winfi eld, Kansas in 2015. featuring more diverse styles of American music than just In 2017 – less than a year and a half later – they took home about anywhere,” says Mark O’Connor. “This theme makes the GRAMMY Award for Best Bluegrass Album for their debut for what is a trilogy of my ‘Appalachia’ recordings now: recording, Coming Home. Appalachia Waltz, Appalachian journey and An Appalachian Christmas. My holiday album features well known carols as In a whirlwind 18 months, the band has also performed at well as several Appalachian-themed songs about a beloved the GRAMMY Awards Premiere Ceremony, received standing hunting dog, passing a fi ddle down through the generations, ovations at the Grand Ole Opry, reached the No. 1 spot and off ering a new version of Appalachia Waltz with classical on Billboard’s Top Bluegrass Albums chart, and partnered guitarist Sharon Isbin, (one of my most well-known pieces). with powerhouse booking agency William Morris Endeavor A few of my favorite Christmas centerpieces for the album Entertainment (WME). They have put together a show unlike include Renee Fleming’s soprano embraced by a mountain any other, one that blends country and pop sensibilities with orchestra and fi ddle solo in Away In A Manger and Amazing Americana rawness, bluegrass drive, and chamber music Grace; the jazzy style of Jane Monheit with an all-acoustic sophistication, one that has begun winning over audiences at string band in Winter Wonderland and The Christmas Song; festivals (AmericanaFest, GreyFox, IBMA, RockyGrass), clubs and terrifi c guest appearances by music legends James (Jazz Alley, Dakota Jazz Club), and the world’s premier theaters Taylor, Yo-Yo Ma and Alison Krauss.” (Arlene Schnitzer Concert Hall, Glasgow Royal Concert Hall, Schermerhorn Symphony Center). O’Connor has created several arrangements of Christmas classics and fashions a wondrous mixture of both Their recently released sophomore album, O’Connor Band Live!, instrumental and vocal music in bluegrass and other is a stunning showcase of their most exciting concert material American music genres. Concertgoers are treated to fresh to date. Recorded in Sellersville, Pennsylvania, in late 2016, the takes on traditional songs with a few original compositions album captures the band on the heels of a packed summer included. His renditions are playful and joyous, but can be festival schedule, during which they had honed their sound strikingly earnest too. and risen to an even higher level of cohesion, power, and expressiveness than before. This is the seventh consecutive year An Appalachian Christmas will be on tour. The ensemble has a dynamic energy on stage that brings their individual expertise to holiday themes and classics in the most delightful and musically satisfying way.

A-14 MEANY CENTER FOR THE PERFORMING ARTS YOUR GUIDE TO MEANY CENTER

FOOD & BEVERAGE IN MEANY HALL FRAGRANCES TAPESTRIES DISPLAYED ON STAGE Food and beverage stations are located in In consideration of patrons with scent The artwork on display on stage during Piano the main lobby and downstairs at the Gallery allergies, please refrain from wearing and Chamber Music events are tapestries Café on the east side of the lower lobby. perfume, cologne or scented lotions woven by Danish artist Charlotte Schrøder. The stations are open one hour prior to the to a performance. performances and at intermission. MEANY CENTER ADDRESS CANCELLATIONS & CONTACT INFORMATION RESTROOMS Due to unforeseen circumstances, we Meany Center for the Performing Arts Restrooms are located on the lower sometimes have to cancel or postpone University of Washington, and upper lobby levels. performances. All programs, dates and artists Box 351150 are subject to change. Seattle, WA 98195-1150 LATE ARRIVAL Phone: 206-543-4882 / Fax: 206-685-2759 Unless noted otherwise, all World Dance SMOKING POLICY meanycenter.org and World Music evening performances Smoking is not permitted on the University begin at 8 p.m. Special Event, Piano, and of Washington campus. ArtsUW Ticket Offi ce Chamber Music Series events begin at 1313 NE 41st Street 7:30 p.m. Out of respect for the artists PARKING OPTIONS Seattle, WA 98105 and seated patrons, late seating may Limited, underground paid parking is Ph: 206-543-4880 | Toll-free: 800-859-5342 be limited. Late arrivals will be escorted available in the Central Plaza Parking Garage, Fax: 206-685-4141 into the theater at appropriate intervals, located underneath Meany Hall. There Email: [email protected] to be determined by the artists and are also several surface lots and on-street Offi ce Hours: Mon-Fri, 11 A.M. – 6 P.M. theater personnel. parking within walking distance of Meany. Meany Hall Box Offi ce CELL PHONES, CAMERAS & OTHER The Meany Hall Box Offi ce opens one hour ELECTRONIC DEVICES MEANY CENTER ART EXHIBIT before the performance and is located in Please turn off these devices before Visit the Meany Center Art Exhibit in the Meany Hall's main entrance. performances. Because of contractual Lower Lobby for an installation of work obligations with our artists, the use of by students in the UW School of Art + Art photographic recording equipment is History + Design. prohibited. Flash cameras can be disruptive and dangerous to some artists.

LOST AND FOUND Contact the House Manager immediately following the performance or contact the Meany Hall House Manager's offi ce at [email protected] or 206-543-2010.

EVACUATION In case of fi re or other emergency, please follow the instructions of our ushers, who are trained to assist you. To ensure your safety, please familiarize yourself with the exit routes nearest your seat.

ADMISSION OF CHILDREN Children fi ve years of age or older are welcome at all Meany Center performances. A ticket is required for admission.

WHEELCHAIR SEATING Wheelchair locations and seating for patrons with disabilities are available. Requests for accommodation should be made when purchasing tickets.

FIREARM POLICY Possession or use of fi rearms, without special written permission from UW Police, is prohibited on the UW Campus. Find the complete policy at washington.edu.

INFRARED HEARING DEVICES Meany Hall (main stage) is equipped with an infrared hearing system. Headsets are available at no charge. Please speak with an usher. A driver's license or credit card is required as collateral.

encoremediagroup.com/programs A-15 FRIENDS OF MEANY CENTER Many thanks to the following donors whose generous support make our programs possible:

PRODUCER’S CIRCLE DISTINGUISHED PATRON Luther Black and Christina Wright ($25,000+) (between $1,000 and $2,499) William D. Bollig Ross Boozikee Nancy D. Alvord Anonymous Lawrence and Kathleen Brennan Katharyn Alvord Gerlich Joan Affl eck-Smith and Nepier Smith Heida Brenneke Glenn Kawasaki, Ph.D. Stephen Alley and Amy Scott David and Deborah Buck Eric and Margaret Rothchild Jeff and Cameron Altaras Virginia Burdette and Gary Wieder Jillian Barron and Jonas Simonis Rita Calabro DIRECTOR’S CIRCLE Cynthia and Christopher Bayley Wimsey J. N. Cherrington (between $10,000 and $24,999) Tom Bayley Timothy Cliff ord Mel Belding and Kathy Brostoff Warren and Anne Anderson Jill Conner Cathryn Booth-LaForce and W. Kenneth LaForce Linda Armstrong Margaret Crastnopol and Charles Purcell Kalman Brauner and Amy Carlson Sharon Gantz Bloome Suzanne Dewitt and Ari Steinberg William Calvin and Katherine Graubard Sven and Melinda Bitners Jeanne Dryfoos Eric and Susan Carlson Ana Mari Cauce and Susan Joslyn Sally and Jeff Eagan Thomas Clement Lynn and Brian Grant Family Thomas Faber and Laura Townsend Faber Consuelo and Gary Corbett Richard and Nora Hinton Robin and Douglas Ferguson Leonard Costello and Patricia McKenzie Sally Schaake Kincaid Albert Fisk and Judith Harris Richard Cuthbert and Cheryl Redd-Cuthbert Marcella D. McCaff ray Gary Fuller and Randy Everett Toby Diamond Chelsey Owen and Robert Harris Sergey Genkin and Nelli Tkach Anita and Jack Dingrani Cecilia Paul and Harry Reinert Genevra Gerhart Susan and Lewis Edelheit William Glassford and Beverley Song Lisa Esztergalyos and Kenneth Schiele Jayme Gustilo SERIES BENEFACTOR Dr. Melvin and Nanette Freeman (between $5,000 and $9,999) Susan and Richard Hall Bill and Ruth Gerberding Steven Haney Linda and Tom Allen William Gleason Wolfram and Linda Hansis Stephen and Sylvia Burges Torsten and Daniela Grabs Larry Harris and Betty Azar Manisha Chainani Kyra Hokanson Gray Phyllis Hatfi eld Heidi Charleson Carolyn and Gerald Grinstein Stephen and Sarah Hauschka Helen Curtis Arthur and Leah Grossman Ernest and Elaine Henley Britt East and Scott VanGerpen Christopher and Amy Gulick Alan and Judith Hodson Gail Erickson and Phil Lanum Hylton and Lawrence Hard Tuck Hoo and Tom Lyons Matthew and Christina Krashan Michael Heltsley Randy and Gwen Houser Karen Koon and Brad Edwards Timmy Hendrickson Joan Hsiao and James Bromley Craig Miller and Rebecca Norton Susan Herring Brian Hulse and Julia Paden Bill and Meg Morgan Peter Hiatt and Ronald Hunden Melanie Ito and Charles Wilkinson Seema Pareek and Gurdeep Pall Paul and Alice Hill Marcia Kamin Judy Pigott Hugues Hoppe and Sashi Raghupathy Deborah Katz Lois Rathvon Mary and Michael Hudspeth Philip and Marcia Killien Blue and Jeff Resnick Michael Hunter David Kimelman and Karen Butner Don and Toni Rupchock O. David Jackson Leslie Kincaid and Nicholas Lawrence Joseph Saitta Ilga Jansons and Michael Dryfoos Jessica Kravitz Dave and Marcie Stone H. David Kaplan Frank and JoAnna Lau Summit Law Group, PLLC Otis and Beverly Kelly Chris Laws Richard Szeliski and Lyn McCoy Randy and Kimberly Kerr Margaret Levi and Robert Kaplan Thomas and Doris Taylor Kelly Kleemeier and Dave Dickson Michael Linenberger and Sallie Dacey Gregory Wallace and Craig Sheppard Susan Knox and Weldon Ihrig Dennis Lund and Martha Taylor Ellen Wallach and Thomas Darden Leander Lauff er and Patricia Oquendo Lynda Mapes and Douglas MacDonald George Wilson and Claire McClenny Jeff rey Lehman and Katrina Russell Hans and Kristin Mandt Mark and Amy Worthington Melodie Martin and Kenneth Dayton Wayne and Kristin Martin Dr. Martin Greene and Kathleen Wright Barbara Martyn Robin L. McCabe Tomilynn and Dean McManus Ramona Memmer and Lester Goldstein EVENT SPONSOR Robin Mendelson and Joss Delage John and Gail Mensher (between $2,500 and $4,999) Yoshi and Naomi Minegishi Linda and Peter Milgrom Margaret Dora Morrison Alan and Mary Morgan Kenneth and Marleen Alhadeff Darcy and Enzo Paschino Kevin Murphy and Karen Freeman Randy Apsel Richard and Sally Parks James and Pamela Murray Cristi Benefi eld Alice Portz and Brad Smith Erika J. Nesholm Janet Boguch and Kelby Fletcher Tina and Chip Ragen Eugene and Martha Nester Robert and Janitta Carithers Jeff and Kimberly Seely Anne Stevens Nolan and William Nolan Vasiliki Dwyer Evelyn Simpson Amanda Overly Davis Fox and Rosemary Coleman David Skar and Kathleen Lindberg Mina B. Person Michelle and Matthew Galvin Sigmund and Ann Snelson John Rochford and Nick Utzinger Dirk Giseburt and Marilyn Stahl Carrie Ann Sparlin Joy Rogers and Robert Parker Hellmut and Marcy Golde Bob and Robin Stacey Werner and Joan Samson M. Elizabeth Halloran Ethel and Bob Story Michael Scupine and Kim Gittere-Abson Elizabeth Hebert Dale Sylvain and Thomas Conlon Edward Sheets and Ronda Skubi In memory of Gene Hokanson Lorraine Toly Bela and Yolande Siki Catherine and David Hughes Manijeh Vail Marcia Sohns and Mark Levy Yumi Iwasaki and Anoop Gupta Josephus Van Schagen and Marjon Floris Clark Sorensen and Susan Way Bernita Jackson Ernest Vogel and Barbara Billings Patricia Tall-Takacs and Gary Takacs Kurt Kolb Michelle Witt and Hans Hoff meister Mark and Liza Taylor Corrinne Martin and Gary Horsfall Stephen and Ericka Thielke Ladies Musical Club, Inc. PATRON Kris and Epaminondas Trimis Mary Lindenberger (between $500 and $999) Valeri and Eugenia Vinyar Tom McQuaid, in memory of Bill Gerberding David Wang John O’Connell and Joyce Latino Kay and John Allen Joella Werlin Donald and Gloria Swisher Gretchen and Basil Anex Stephen and Debra Wescott Donna and Joshua Taylor Anonymous John V. Worthington Alix Wilber and Andrew Himes Jean-Loup and Diane Baer Wright Piano Studio Students A-16 MEANY CENTER FOR THE PERFORMING ARTS Igor Zverev and Yana Solovyeva Anonymous / Laurence Ashley / Jill Bader / Elizabeth Virginia Sybert and Peter Byers / Brian Taberski / Peter Baker / Lisa Baldwin and John Cragoe / Lauret Ballsun Tarczy-Hornoch and Candice McCoy / Beth Traxler / GREAT PERFORMER Timothy and G. Anthony Barrick / Mary and Douglas Barbara Trenary / Dorene and Dennis Tully / Gerald (between $250 and $499) Bayley / Mike and Marie Bender / Robin Bentley / Tuttle and Kathleen Gorham / Phyllis Van Orden / Mary Ann Berrie / David Bird /Helen Bodkin /Susan Margaret van Waardenburg / Yvonne and Bruno Vogele Stuart Allen and Sunny Liu and Thomas Bohn / Joyce and David Brewster / Kevin / Edward and Patricia Wagner / Lenore Waldron / Greta Charles Alpers and Ingrid Peterson Burnside and Rachel Schopen / Dianne Calkins / and Joseph Ward / Gail and John Wasberg / Larry and Richard Ammerman Scott and Jayme Canfield / Carol and Henry Cannon Lucy Weinberg / Merle Weiss and Diane Pien / Christine Lauralyn Andrews / Frances Carr / John and Danielle Carr / Robert Westergaard / Bruce and Christine White / John and Anonymous Catton / Pamela and Robert Center / Pamela Charles Margaret Williams / Karin Williams / April and Brian Sharon Armstrong / Robert and Patricia Charlson / Curt Clauson / Robert Williamson / Phillip and Constance Winberry / Barbara Robert Bergman and Molly Cleland / Rita and Richard Cloney / Jayne and Grant Winther / Carolyn Wood / Ying Gi Yong / Barbara Bishop-Sand and James Sand Coe / Leslie and Libby Cohen / Richard and Dorothy Evgueni and Tatiana Zabokritski / Shirley Zaic and Eric James and Edith Bloomfield Cole / Jan and Bill Corriston / Scott Craig and Louise Johnson / Robert Zauper / Lawrence Zeidman and Linda William Bogardus Locke / Karen and Philip Craven / Jean Crill / Gavin Tatta / Maxine Zemko Janet Boguch and Kelby Fletcher Cullen and David Jamieson / Judith Cushman and Gene Brenowitz and Karen Domino Robert Quick / Katherine De Bruyn / The de Soto FRIEND Natalie Brown Family / Janice DeCosmo and David Butterfield / (between $50 and $99) Paul Brown and Amy Harris Barbara DeCoster / Kathleen Dickeman / Theodore Elizabeth Cantrell Dietz / Ann Dittmar / Susan and David Dolacky / David Anonymous / Jessica Allen and William Diamond / Julie James and Peggy Champin Doody and Michael Erickson / Nancy Dorn / Laurie Anderson / Suzanne and Marvin Anderson / Anton Daniel and Sandra Ciske Ann and C. Bert Dudley / Elizabeth C. Duffell and Brad Andrews and Kata Kekedi / John and Genevieve Ashford Arian Colachis and Ian Glass Wilke / Dona and Robert Dughi / Margaret Dunn / / Maaike Bakker and Andrew Lewis / Ruth and Mark Catherine Cole Ian Einman / Polly and Eric Feigl / Corinne Fligner and Balter / Jonas Barklund / Elisabeth Beaber / Thomas R. Bruce and Mary-Louise Colwell Mark Wener / Brenda Fong / Jacqueline Forbes and Bird / Lisa and Steve Boulanger / Elaine Brighton / Susan Leroy and Marybeth Dart Douglas Bleckner / Susanne and Bruce Foster / Susan Buttram and David Frost / Timothy Callahan and Amy Joan Duffell and Albert Fuchs / Brian Giddens and Steve Rovig / Paige / Linda and Peter Capell / Eric Carnell / Phyllis Pamela Fink and Michael Bevan George Gilman / Sara Glerum / J. David Godwin and and Alan Caswell / Leroy Chadwick / Sing Chao and Susan Fischer Virginia Reeves / Anne Good / Charles and Margaret Daniel Welch / Michael and Gayle Charlesworth / John Emily Fitch Gordon / Jennifer and Henry Gordon / Catherine Clarkson and Elizabeth Gilchrist / Fran Clifton / Carol Gerald Folland Gorman / Gene Graham / Phillip Greenblatt / Nancy Cole and Andrew Groom / Monica Clare Connors / Anne Stuart Fountain and Tom Highsmith and Earl Grout / Dorothy Guth / Emile Haddad and and George Counts / Christopher Curry / Diane Darling Janet Geier and Peter Seitel Terryll Bailey / Walter and Willa Halperin / Rebekah and Darrel Nance / Elizabeth and John Darrah / Laura Susan and Russell Goedde Harris / Shuko Hashimoto / Kathryn Heafield and Guy and William Downing / Richard Eide / Robert and Ingrid Tim Groggel and Annette Strand Sattler / James Heher and Leslie Fields / Lori Hess and Eisenman / Patricia Emmons and Shmuel El-Ad / Renee Chris Gross Benjamin Miller / Janet Hesslein and Murl Sanders / Eskenazi and Michael Magee / Timmie Faghin / Giselle Lynn Hagerman and James Hummer David Hewitt and Marcia Wagoner / Peter Hoffmeister Falkenberg and Rockwell Moulton / Thea Fefer / James Kara D. Hefley and Meghan Barry / Eric and Mary Horvitz / Shwu-Shin Fesalbon and Edward Francis Darr II / Jay Field and Susan Hert and William Levering III Hou and David Chow / Roy Hughes / Margaret Hunt Deborah Dwyer / Melanie Field / Judith Gillum Fihn and Norman Hollingshead / Patricia Hynes / Robert C. Jenkins / Robert Johnson Stephan D. Fihn / Susan Carol Fisher / Robert and Elaine David B. Johnson and Heather Erdmann / Larry and Roberta Jordan / Franza / William Friedman / Anne Futterman / Frances Julia Kalmus and John Lillard Ellen Kaisse and Gary Roberts / Kyle Kinoshita / Divya Goldman / Thomas and Carol Graham / Jerry and Ellen Michael and Nancy Kappelman Krishnana / James and Elaine Klansnic/ Adam Kline Hendin / Judith Herrigel / Keri Holmboe / Natarajan Paul Kassen and Genie Middaugh / Joan Klyn / Glen Kriekenbeck Janarthanan and Ponni Rajagopal / Erica and Duane George and Mary Kenny and Quentin King / Phyllis Lamphere / Rosalie Lang Jonlin / Margot Kadesch / Linda Kent and James Corson / Frederick Klein IV / Inge and Leslie Larsen / Rosanne Larsen and Gary Lee Klastorin and Ralph Walden / Nancy and John Jean Kincaid and David Koewler Burdge / Deborah and David Larson / Tammara and Kloster / Joseph and Anne-Marie Knight / Richard and Thomas and Rhoda Lawrence Brian Leighton / Peter LeVeque / Meini Li / Warren Donna Koerker / Margarethe Konzak / Jennifer Kraft and Arni Hope Litt Lucas / Ingrid Lynch / Barbara Mack / Daniel Mageau Chris Pesce / Daniel and Sandra Kraus / Yvonne Lam and Barbara Lycett and John Parchem / Sara Magee / Heinz and Ingeborg Maine / Suresh Nathan Schimke / Diane Lasko and Clinton Diener / Carla Jeffrey and Barbara Mandula and Anjali Malhotra / John and Katharina Maloof / and David Lawrence / Jo Anne Laz / Kathryn Lew and William and Holly Marklyn Constance Mao / Wendy Marlowe / Michael and Nancy Dennis Apland / Erika Lim / Larry MacMillan and Billie Michael Mathieu Matesky / Donna McCampbell / Wayne McCleskey Young / David Margolius and Inna Garkavi / William and Jim McDermott and Robin Thomas / Mary V. McGuire / Robert and Judith Matchett / Robert McCroskey / Brian McHenry / Mary Mikkelsen Catherine McKee / Michael and Noor McMann / Susan Sharon Metcalf and Randall Smith / Charles and Lynn Terry Miller L. McNabb / Renate McVittie / Christine Meinhold / Meyer / Eric Michelman and Patricia Shanley / Marilyn M. Lynn Morgan Vera Metz / Michael and Sarajane Milder / Barbara Milberger / Jocelyn and Michael Miller / James Moore Margarete Noe and James Miller / Sheree Miller and Benjamin Greer / and Kristi Branch / Harold and Susan Mozer / Susan James and Tiffany Reed James and Cheri Minorchio / George and Julie Moberly Mulvihill and James Liverman / George and Ellen Naden / Dennis Reichenbach / Reza and Carol Moinpour / Raymond Monnat and Betty Ngan and Tom Mailhot / Barbara O’Steen and R. Jason Reuer Christine Disteche / David Morris / Anne Morrison / Howard Mitchell / Sharon Overman / James Packman Bette Round Christine Moss / Pamela A. Mullens / Joseph and Kay and Andrew Cohen / Michael and Susan Peskura / Janet and John Rusin Neal / John Nemanich and Ellendee Pepper / Marianne Sandra Pisatello / Nicole Quinones / William Reed and Jennifer Salk and David Ehrich Nijenhuis / Caroline Normann / Mark Novak and Nancy Worden / Meryl Retallack / Pacita Roberts / David Cathy Sarkowsky Katrin Pustilnik / Marilyn and Beatrice Nowogroski and JoAnne Rudo / William Sandal / Margaret Sandelin / Eric Schlegel and Mary Stout / Mary Kay O’Neill / Nenita Odesa / Martin Oiye and Stephen and Linda Saunto / Peggy Savlov / Craig Mark and Patti Seklemian Susan Nakagawa / Angela Owens / David Owsiany Schieber / Noah Schooler / Herbert and Elaine Selipsky / Maya Sonenberg and John Robinson and Everett Seven / Cathryn Palmer / Elizabeth Park Robert Simpson Jr. / Hazel Singer and John Griffiths / Bonnie Swailes / William and Frances Parson / Gerald Paulukonis / Anne Solomon / Donna Sunkel / Sharon and Michio Carol Swayne and Guy Hollingbury Betty Person / Anna and David Peterson / James and Tsutsui / Frits van Oppen / Karen Uhrbrock / Kymberly Margaret Taylor and Robert Elliott Louise Peterson / Jeanne Peterson / Karen Peterson and Jeremy Waltmunson / Amy Wong-Freeman / David and Barbara Thomas / Gregory and Margaret Petrie / James Phelps and Becky Woodworth Diana and Richard Thompson Ena Urbach / Sandra Piscitello / Susan Porterfield / Gayle and Jack Thompson James and Ruth Raisis / Wendy and Murray Raskind This listing includes donors ($50 and above) to Meany Mary Toy / Yumiko Ray / Stephen and Mary Reardon / Carrie Center for the Performing Arts from July 1, 2016 to June Michelle and Stephen Turnovsky Richard / Cynthia Richardson / Carla Rickerson / Paula 30, 2017. To change your program listing or correct an Pieter and Tjitske Van der Meulen Riggert / Chet Robachinski / Norita Robbins / Rachel error, please call us at 206-685-2819. Contributions to Patricia Wahl and Dean Wingfield and David Robert / Sam and Josie Roskin / Gail Sailer Meany Center are tax-deductible to the extent allowed Osamu Yamamoto / Darrell Sanders / Laura Sargent / Robert and Doris by law. To make a gift or for more information on donor Lee and Barbara Yates Schaefer / Joachim Schneider and Jolene Vrchota / benefits, please call 206-685-2819 or visit meanycenter. Charles Schooler / Janet Schweiger / Jean Schweitzer org/donate. KEY PLAYER / Noah Scooler / Giles and Sue Shepherd/ Roberta (between $100 and $249) Sherman and Charles Meconis / John Sindorf and Mary Ann Bolte / Mani and Karen Soma / Derek Storm and James Adcock and Anne Otten / Mary Alberg / Kathryn Cynthia Gossett / Pamela Stromberg / Kristin Strout / Alexandra and Steven Rubey / Frank and Nola Allen /

encoremediagroup.com/programs A-17 ENDOWMENT AND PLANNED GIFTS Many thanks to the following individuals for supporting the future of Meany Center through planned gifts and contributions to our endowment:

Planned Gifts Meany Center Education Endowment Anonymous Kalman Brauner and Amy Carlson Linda and Tom Allen Ernest and Elaine Henley* Ellsworth and Nancy Alvord Julie Kageler Wimsey J.N. Cherrington Matthew and Christina Krashan* Consuelo and Gary Corbett J. Pierre and Felice Loebel* Bill and Ruth Gerberding Lee and Judy Talner* Matthew and Christina Krashan Margaret Dora Morrison Matt Krashan Endowed Fund for Cecilia Paul and Harry Reinert Artistic and Educational Excellence Mina B. Person † in the Performing Arts Lois Rathvon Carolyn H. Grinstein and Gerald Grinstein Fern Rogow † Matthew and Christina Krashan* Dave and Marcie Stone Donald and Gloria Swisher * Endowment Founder Lee and Judy Talner † Deceased “If I have seen a Ellen J. Wallach little further, it is MATCHING CORPORATE GIFTS Arts AL!VE Student Fund for only by standing Exploring the Performing Arts Adobe Systems, Inc. Susan Knox and Weldon Ihrig* AT&T Foundation on the shoulders Renata Tatman and Pablo Schugurensky Chevron Corporation City of Seattle of Giants." Nancy and Eddie Cooper Endowed Fund East West Bank — BERNARD OF CHARTRES for Music in Schools Google, Inc. Dave and Marcie C. Stone* IBM Corporation Intel Corporation From Haydn to Mozart to Meany Center Endowment Fund Merck Company Foundation Beethoven to the Beatles, Windsor R. Utley* † Microsoft Corporation each generation owes its Phillip B. and Constance J. Winberry Puget Sound Energy progress to the ones that Shell Oil Company came before. Elaine and Ernest Henley Endowment State of Washington for Classical Music The Boeing Company Ernest † and Elaine D. Henley* The K Foundation You, too, can be a giant. T-Mobile USA, Inc. Catherine and David Hughes Asian U.S. Bank CONSIDER A GIFT to the Programming Endowment United Way of Greater Los Angeles Meany Center through your Catherine and David Hughes* United Way of King County will, trust or retirement plan, Yumi Iwasaki and Anoop Gupta United Way of Snohomish County and help future generations Wells Fargo, LLC Live Music for World Dance of artists and arts lovers see Series Endowment a little further by standing on Lorraine Toly your shoulders. Bernita W. Jackson Linda and Peter Capell Contact: Dr. Susan Hert and William R. Levering, III Cristi Benefi eld, Director of Cecilia Paul and Harry Reinert* Sergio Ortega-Trujano Philanthropy, Meany Center 206-616-6296 [email protected] meanycenter.org/donate

This listing includes endowment founders and endowment donors from July 1, 2016 to June 30, 2017. For more information on how to make a gift through your will or trust, or to name Meany Center for the Performing Arts as a benefi ciary of your retirement plan or insurance policy, please call 206-685-1001 or 800-284-3679 or visit www.uwfoundation.org/giftplanning.

A-18 MEANY CENTER FOR THE PERFORMING ARTS MEANY CENTER SEASON SPONSORS We are deeply grateful to the following corporations, foundations and government agencies whose generous support make our programs possible:

$100,000 AND ABOVE

The Andrew W. Mellon Foundation

$25,000 AND ABOVE

The Boeing Company / Classical KING FM 98.1* / National Endowment for the Arts / Nesholm Family Foundation Scan Design Foundation

$10,000 - $24,999

4Culture / ArtsFund / Microsoft / Seattle Offi ce of Arts & Culture / U.S. Bank

UP TO $9,999

Banner Bank / East West Bank / KEXP 90.3 FM* / KUOW 94.9 FM* Ladies Musical Club / Peg and Rick Young Foundation / U.S. Bank Western States Arts Federation

BUSINESS CIRCLE SPONSORS

Agua Verde Cafe Catering / Classical Wines from Spain / College Inn Pub / Hotel Deca* / Fran's Chocolates* / Macrina Bakery* Madres Kitchen* / Pagliacci* / North City Bistro* / Theo Chocolate* University Inn* / Watertown Hotel*

CAMPUS + COMMUNITY PARTNERS

Arts Impact / ArtsUW / Burke Museum / Cornish College of the Arts / Department of Near Eastern Languages and Civilization / Henry Art Gallery / Ladies Musical Club / Langston Hughes Performing Arts Institute / Live Music Project / Nordic Heritage Museum / Seattle Art Museum / Seattle Music Partners Seattle Public Schools / Second Inversion / Scan Design / UW Alumni Association / UW American Indian Studies / UW Canadian Studies / UW Dance Department / UW Intellectual House / UW First year programs / UW Graduate School / UW Libraries / UW Residential Life Program / UW School of Drama / UW School of Music / Velocity Dance Center

* Denotes full or partial gift in kind.

Join an impressive roster of companies of all sizes that support Meany Center, its mission, and its performances. Sponsors receive signifi cant recognition throughout the season and an array of benefi ts catered to your organization's goals. For more information, please contact the Meany Center Philanthropy Department at (206) 221-1287.

encoremediagroup.com/programs A-19 MEANY CENTER AND ARTSU TICET OICE STA

Michelle Witt Eecutive and Artistic Director Rosa Alvare Director of Patron Services Rita Calaro Managing Director Li Wong Assistant Director of Patron Services Katrina Deininger Patron Services Associate Scott Coil Director of Finance and Administration Keeli Er Patron Services Associate ames Fesalon Fiscal Specialist Patric Walrath Patron Services Associate evgeniy Gofman Accountant Cathy Wright Patron Services Associate

Laura McKee Tessitura Administrator Patron Services Assistants Gretchen Shant IT Administrator asmine urett Daota Miller Cristi Benefi eld Director of Philanthropy Kendra Stricklin Marie Laaro Annual Giving and Events Manager Lauren Widman Alix Wiler Grants and Communications Manager Aey Willman Lauren awaci Philanthropy Assistant Angela un

Elizabeth C. Duff ell Director of Artistic Engagement Lead Ushers Kaeline Kine Artist Engagement Coordinator Danielle levens yana rowne Creative Fellowships Coordinator Eli Gallagher Roert as Education and utreach Associate Duncan Greeley Colleen Kimsey Green Room Assistant Natalie Harrington

Teri Mumme Director of Marketing and Communications Ushers ill ecer Assistant Director of Marketing and Communications Reiane Abuda Rob Noland Graphics Production & Content Coordinator Altaire Anderson Son ui Marketing Assistant Frances ueno Yolanda Barton, Communications & utreach Assistant Shannon Chen Arthur Grossman Phil Lanum ruce Clayton Tom Photographers Ana Constantin Esther English Tom ure Technical Director Laura Freeman rian Engel Lighting Supervisor Susan Hur uniper Shuey Stage Manager Laura Keil Matt Starritt Sound Engineer Pearl Lam Doug Meier Studio Theatre Stage Technician Raine Myrvold C.. Pier Nancy Hautala Audience Services Manager omira Romero Tom Highsmith Lead House Manager Evelyn Seo Noah Duff y, House Manager Owen Stevens Sean Luscome House Manager Levi Sy Daniel Kaseerg Assistant House Manager Griffi n Withington Nina Tosti Concessions Manager Dani Slowi Barista Katelynn Reeson Concessions Assistant Catering y

ITA PERLMAN IN RECITAL TURSDAY, ANUARY 1, at 0 PM

Itzhak Perlman has earned his place among the most decorated and beloved classical musicians in the world. Don't miss this rare opportunity to hear this legendary musician perform up close in the intimate setting of Meany Theater.

A-20 MEANY CENTER FOR THE PERFORMING ARTS By Danielle Mohlman

Dialogue

Shaya Lyon and the Live Shara Lyon. Image courtesy of interviewee. Music Project

We sent Encore Stages contributing writer Jonathan Shipley to meet Shaya Lyon, founder and executive director of the Live Music Project. The Live Music Project (LMP) is an organization that connects people with live classical music, strengthening communities, celebrating listener agency, and amplifying local resources. They talked about LMP's successes, classical music today, and what's coming up in the Seattle classical music scene.

What is Live Music Project? double. I was enthralled. As I scoured the able to bridge the information discovery internet for the next performance of the gap for concert-goers. At the core of our work is a Brahms double in New York City, where comprehensive performance calendar I was living at the time, it turned out to What is the state of classical music these that has been described by one concert- be more difficult that I’d expected to find days? goer as “the overture to the concert concert listings based on that particular I think the experience of classical music experience.” Since we launched it piece of music. I moved to Seattle. With is shifting. The industry once thrived in Seattle in 2014, the calendar has knowledge of the vast array of orchestral on subscriptions and is now having a included more than 1,300 ensembles, ensembles that are so special to this more spontaneous approach. It might series, presenters, and individual region, and some time in the technology be difficult for you to imagine, this performers. Later this year we will industry, it struck me that tech might be evening, what will make you feel alive on expand our calendar platform to support communities nationwide.

What else are you excited about in regards to LMP? I’m excited about our Spontaneous Free Tickets program. SFT offers a limited number of free concert tickets to its subscribers: students, families, and the elderly, for whom ticket prices are often cost-prohibitive; traditional classical audiences cautiously curious about hearing newer ensembles or compositions; and others who leverage the program to explore events in unfamiliar neighborhoods or venues. The tickets are donated by classical music organizations. How did you get involved in LMP? I love this question. It takes me back to falling in love with the Brahms double concerto. A few years ago, I came across a video of David Oistrakh and Mstislav Rostropovich performing the Brahms Photo courtesy of Live Music Project.

encoremediagroup.com/programs 7 a given Friday night next April – but you Our building is closed for renovation, but our programs are more open than ever. probably have an idea right now what would make you feel alive and complete today. If the trend is toward scanning a list of upcoming concerts and deciding on a whim which concert space will make us feel what we need to feel right now, I see LMP’s comprehensive listings Break bread with as one way to fill that role. Nathan Myhrvold (10/26). Are you a classical musician? Resist with Marcus Harrison Green and Mark Baumgarten (11/2). When I was nine, a piano appeared in our house. My babysitter taught me the Rollick through the caricature mind first bars of Moonlight Sonata by ear, of New Yorker’s Barry Blitt (11/3). and I’d play it over and over again in the Talk Mad Men to novels with dark of night. I loved that. Matthew Weiner and Maria Semple (11/13). Who are your favorite composers? That’s a trick question, right? Tickets are on sale now. Join us in a neighborhood near you. What are you excited about on the Seattle calendar in the next few months? So much! The Seattle Symphony and Everett Philharmonic are both performing Elgar’s Enigma Varations.

townhallseattle.org Early Music Guild is premiering a work for electric theorbo – sort of a cross between a lute and an electric guitar. Thalia Symphony Orchestra will bring us Vaughan Williams.

What are some ways locals can listen to Live well. contemporary classical music? How to narrow it down – Seattle is At Mirabella Seattle, our goal teeming with new music. The Seattle Modern Orchestra is solely devoted is for you to live better longer. to the music of the 20th and 21st With our premium fitness centuries. The Wayward Music Series and aquatic centers and our at the Good Shepherd Center presents works by living composers frequently. countless wellness classes, Seattle Symphony’s [untitled] series is staying active and engaged has rich with contemporary works. KING FM’s Second Inversion is dedicated to never been easier. contemporary classical music.

Let go of age. Embrace How can someone help LMP? healthy. Retire at Mirabella. We’d love your help. Whether it’s 206-254-1441 submitting your organization’s events to our calendar, hosting an event-a-thon, retirement.org/mirabellaseattle writing code for our new nationwide calendar platform, making a donation, or partnering as a sponsor, community Mirabella Seattle is a Pacific Retirement Services participation makes the world go community and an equal housing opportunity. ‘round. Your readers can learn more at livemusicproject.org.< JONATHAN SHIPLEY

8 ENCORE STAGES Dialogue

A Conversation with Simone Hamilton Simone Hamilton. Courtesy of the interviewee.

Simone Hamilton is the Artistic Engagement Coordinator at Seattle Repertory Theatre. She identifies as a producer and curator of spaces, aiming to bring audiences closer to the art on stage. She’s a Washington native and calls both Seattle and Whidbey Island her home. Encore Stages contributor Danielle Mohlman spoke with her just before tech week for the Public Works production of The Odyssey. In addition to the core cast of professional actors, over 100 performers flooded the stage in this musical adaptation of Homer’s poem – performers from the King County Boys and Girls Club, the Ballard NW Senior Center, the Jubilee Women’s Center, and beyond.

Public Works was an incredible theatrical the entire life of this program – from endeavor that involved the entire workshops to the rehearsal process to community — professional and amateur the final production – is hard earned joy, performers alike. How did Seattle collective imagination, and true equity. Rep decide to get involved with this Together we are all learning and have nationwide theatrical experiment? become more than just an ensemble. We Our initial inspiration for bringing Public are a community that takes care of each Works to Seattle began when our Artistic other just as a family would. It’s exciting Director, Braden Abraham, saw Lear to see how these values permeate people’s deBessonet’s production of A Winter’s Tale lives as we all become more civically at The Public Theatre in 2014. He said it engaged with our communities, even was like seeing the whole city onstage. In outside the walls of the theatre. 2014, Braden and Marya Sea Kaminski, If you could pick any play in the world our Associate Artistic Director, started to transform into a Public Works-style imagining what an incredible experience production, what would you choose and it would be for our stage and our audience why? to produce our own Public Works. Marya hired me in 2016 and together we began If I had to choose from an existing play, building this dream into a reality. Public I’d choose The Lion, the Witch, and the Works became a way for us to examine Wardrobe. The story is a childhood favorite and evolve our processes institution- and the themes within the story around wide and truly collaborate with our collaborative leadership, acceptance, community. That process has inspired us resistance, courage, and community forward and motivated us to keep going. really resonate with me. But realistically, I’d like for us to explore commissioning What was the most exciting part of our own Public Works-style production working on the Public Works production that reflects the stories of the Pacific of The Odyssey? Northwest. I envision a story full of epic adventure, momentous bravery, and Rehearsal photo of The Odyssey at Seattle It’s so hard to just name one! One thing Repertory Theatre. Photo by Kina Ackerman. that has presented itself throughout conscious reflection with characters that

encoremediagroup.com/programs 9 are reflective of us all – including those SUBSCRIBE TODAY! who came before us and those who are here with us today.

What are your hopes for the future of Public Works in Seattle? I hope the future of Public Works Seattle includes sustainable growth and deepened MAR 10–MAY 20 JUL 20–AUG 12 engagement. I hope that as a theatre, Seattle Rep can continue to show up for our community in ways we haven’t before. In the future, I see the values of the program becoming contagious and continuing to reach beyond the confines of APR 20–MAY 13 SEP 7–30 theatre and Seattle. Theatre is a powerful tool for change and we like to think of Public Works as a movement rather than a moment. We are actively making the change we wish to see in our community, our country, and our world by not only JUN 8–JUL 8 OCT 12–NOV 11 identifying, but actualizing our individual and collective truths under these magical and imaginary circumstances.

Are there any musicians, dancers, or theatre artists that you’re especially acttheatre.org | 206.292.7676 | 700 Union St, Seattle, WA excited about this season? Who are you excited to see? I’m really excited about the regional SEATTLE PREMIERE performers that make cameo appearances in The Odyssey and seeing more from all of them this year. We’ve been collaborating with dancers, musicians, vocalists, and visual artists from around the region who offer a wide range of artistic talents – from the high energy Seattle Seahawks The Drumline to the incredibly dynamic dance troupe Purple Lemonade and the drop dead gorgeous drag queen Tipsy Rose Lee. The cameo groups are the crème filling BY DOUGLAS of The Odyssey. This show wouldn’t be NanceCARTER BEANE possible without them. Do you have any plugs? How can folks find more about you and your work? No plugs for myself, but check out Public Works Seattle and our community partners: Centerstone, the Jubilee

THIS PROGRAM IS SUPPORTED IN PART BY A GRANT FROM THE WASHINGTON STATE ARTS COMMISSION. ARTS STATE WASHINGTON THE FROM GRANT A BY PART IN SUPPORTED IS PROGRAM THIS Women’s Center, the Ballard NW Senior Center/Sound Generations, Path with SHOW SPONSORS Art, and the King County Boys and Girls OCTOBER 26 - NOVEMBER 19, 2017 Club.< DANIELLE MOHLMAN 206.938.0339 | ARTSWEST.ORG SEASON SPONSORS 4711 CALIFORNIA AVE SW, SEATTLE, WA 98116

10 ENCORE STAGES Intermission Brain Transmission Are you waiting for the curtain to rise? Or, perhaps, you’ve just returned to your seat before the second act and have a few minutes to spare? Treat your brain to this scintillating trivia quiz!

Email us the answer to the last question and have a chance to win tickets to a show!

1. Book-It Repertory Theatre’s Howl’s Moving Castle: The Musical is based on the beloved animated film directed by Hayao Miyazaki. Which of the following Studio Ghibli films was not directed by him? a) Ponyo b) Spirited Away c) Kiki’s Delivery Service d) Grave of the Fireflies

2. The Government Inspector, a comedy of errors set in a remote Russian town rife with corruption, was written by Nikolai Gogol, supposedly in response to an anecdote told to him by which author? a) Fyodor Dostoyevsky

b) Alexander Pushkin Ukrainian-born Russian author Nikolai Gogol. Painting by Fyodor Antonovich Moller, 1841 c) Anton Chekov d) Leo Tolstoy 4. Italian composer and pianist Ludovico 5. Also in early October, Bandaloop will Einaudi is playing at the Moore Theatre perform at the Meany Center. This in early October. His grandfather was dance troupe combines modern dance the Italian president between 1948 – with aerial acrobatics. Which landmark 3. Arthur Miller’s The Crucibleis now 1955. What was his grandfather’s first have they not yet danced on? playing at ACT Theatre. The play is name? a) The Space Needle based on recorded testimony from the a) Luigi Salem witch trials. In what year did b) Tianmen Mountain in China these occur? b) Luciano c) El Capitan in Yosemite a) 1692 c) Emilio d) Mt. Constitution b) 1688 d) Giulio c) 1701 Bonus Question d) 1674 What was the last arts performance you attended that you liked best and why?

Email your response to [email protected] with Trivia Quiz in the subject line.

Orcas Island, Washington State, Mt. Constitution is the second-highest mountain on an island in the contiguous 48 U.S. States. States. U.S. 48 contiguous the in island an on mountain second-highest the is Constitution Mt. State, Washington Island, Orcas

Massachusetts. 4) A – Luigi. Luigi Einaudi served as the second President of the Italian Republic after the fall of fascism, succeeding Enrico De Nicola. 5) D – Mt. Constitution. Located on on Located Constitution. Mt. – D 5) Nicola. De Enrico succeeding fascism, of fall the after Republic Italian the of President second the as served Einaudi Luigi Luigi. – A 4) Massachusetts.

sustained in a duel to defend the honor of his sister. 3) A – 1692. Between February 1692 and May 1693, a group of people, mostly young women, were accused of witchcraft in Salem Village, Village, Salem in witchcraft of accused were women, young mostly people, of group a 1693, May and 1692 February Between 1692. – A 3) sister. his of honor the defend to duel a in sustained

ANSWERS ANSWERS Pushkin died in 1837 from injuries injuries from 1837 in died Pushkin of Author Pushkin. Alexander – B 2) Takahata. Isao by directed was tragedy moving this 1988, in Released – D 1) Onegin, Fireflies. the of Grave

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