Coming Together/A tt i ca Rebecca Lazier N e w s p e a k Frederic Rzewski

Thursday, June 13 at 7:00 and 9:00 p.m. Friday, June 14 at 7:30 and 9:30 p.m. Saturday, June 15 at 7:30 and 9:30 p.m. The Invisible Dog Art Center Coming Together/Attica

Choreography by Rebecca Lazier in collaboration with the dancers : Frederic Rzewski, Coming Together and Attica (Coming Together Part 2) 1971 Performed by: Newspeak

Part I – Coming Together Part II – Silence Part III – Attica

Dancers: Asli Bulbul, Pierre Guilbault, Jennifer Lafferty, Rashaun Mitchell, Christopher Ralph and Silas Riener photo by Anna Finke

Music performed by Newspeak: Mellissa Hughes, voice; James Johnston, keyboard; Taylor Levine, guitar; David T. Little, drums; Eileen Mack, clarinets; Peter Wise, Coming Together/Attica was developed with support from the percussion; and special guests: Robert Burkhart, cello and Patti Kilroy, violin. Movement Research Artist Residency Project and funded in part by the Leonard and Sophie Davis Fund, the Canada Council for the Arts, Live Art Lighting design: Davison Scandrett Productions and Scotia Festival of Music. These performances are made possible by grants from the Puffin Foundation, the Greater Arts Development Costume design: Mary Jo Mecca Fund of the Department of Cultural Affairs, administered by the Brooklyn Arts Council, Inc., New Music USA’s 2013 Live Music for Dance House Manager: Katy Dammers Program and Princeton University’s Peter B. Lewis Center for the Arts, Committee Website Design: Melissa Fox on Research in the Humanities and Social Sciences and the Program in Dance. Editor: Sydney Schiff Program and Postcard Designer: Peter Wise at Square Candy Design Sound Engineer: Tei Blow Funding has been made possible by the Puffin Foundation. Publicity: Steven Swartz at Dotdotdotmusic Photography: Anna Finke

Rehearsed at the New 42nd Street Studios, Gibney Dance Center and Mark Morris Dance Center.

No unauthorized photography or videotaping

Frederic Rzewski studied music with Charles Mackey, Walter Piston, Roger Frederic Rzewski: Sessions and in the United States. In 1960 he traveled to Italy to study with Luigi Dallapiccola. There he met Severino Gazzelloni, with whom Notes on Coming Together and Attica he played in a number of concerts that marked the beginning of his career as a performer of new music. Rzewski’s early friendship with Christian Wolff Coming Together was written in “I think the combination of age and and , and (through Wolff) his acquaintance with November and December of 1971 a greater coming together is responsible and strongly influenced his development in both composition in response to a historical event, the for the speed of the passing time. It’s six and performance. In Rome in the mid-sixties, together with Alvin Curran and Attica Prison Riots. In September of months now, and I can tell you truthfully Richard Teitelbaum, he formed the MEV (Musica Elettronica Viva) group, that year, inmates of the state prison few periods in my life have passed so which quickly became known for its pioneering work in live electronics and in Attica, New York revolted and took quickly. I am in excellent physical and improvisation. Many of Rzewski’s works are inspired by secular and socio- control of a part of the institution. emotional health. There are doubtless historical themes, show a deep political conscience and feature improvisational Foremost among their demands was the subtle surprises ahead, but I feel secure elements. Some of his better-known works include: The People United Will recognition of their right “to be treated and ready. As lovers will contrast their Never Be Defeated! (36 variations on the Sergio Ortega song El pueblo unido as human beings.” After several days of emotions in times of crises, so am I jamás será vencido); a set of virtuosic piano variations written as a companion fruitless negotiations, Governor Nelson dealing with my environment. In the piece to Beethoven’s Diabelli Variations; North American Ballads; Night Crossing Rockefeller ordered state police to retake indifferent brutality, the incessant noise, with herman; Fougues; Fantasia and Sonata; The Price of Oil and Le Silence des the prison by force, on the grounds the experimental chemistry of food, Espaces Infinis. Recently he composed Nanosonatas (2007) and the Cadenza con that the lives of the guards whom the the ravings of lost hysterical men, I o senza Beethoven (2003), written for Beethoven’s Fourth Piano Concerto. Since prisoners had taken as hostages were in can act with clarity and meaning. I am 1977 Rzewski has been Professor of Composition at the Conservatoire Royal danger. In the ensuing violence, forty- deliberate, sometimes even calculating, de Musique in Liege, Belgium. He has also taught at the Yale School of Music, three persons, including several of the seldom employing histrionics expect the University of Cincinnati, the State University of New York at Buffalo, the hostages, were killed and many more as a test of the reactions of others. I California Institute of the Arts, the University of California at San Diego, Mills wounded. One of the dead was Sam read much, exercise, talk to guards College, the Royal Conservatory of the Hague, the Hochschule der Kuenste in Melville, a prisoner who had played and inmates, feeling for the inevitable Berlin and the Hochschule fuer Musik in Karlsruhe. a significant role in organizing the direction of my life.” rebellion. Attica, subtitled Coming Together Part In the spring of 1971, Melville wrote a II, was originally intended to follow basic device for the generation of melodic or two instruments of the ensemble, letter to a friend describing his experience Coming Together after a short silence, so and rhythmic sequences is “squaring,” a while the others add only individual of the passage of time in prison. After that the two pieces together would form a form I first used in 1968 in Les Moutons notes or melodic fragments from time his death the letter was published in the pair of dark and light images on the same de Panurge, for an indeterminate number to time, according to rules specific to magazine, Ramparts. As I read it, I was subject. In this case, it is a survivor of the of melody instruments. In this technique, each section. Only in the final section impressed both by the poetic quality of event who speaks: Richard X. Clark, a a sequence of notes, measures, or phrases do all of the players join in playing all of the text and by its cryptic irony. I read it, prisoner who was freed on parole several is gradually accumulated by adding the notes. In Attica, a 28-beat melody reread it and reread it again. It seemed weeks after the massacre. As the car elements one at a time, then diminished is divided into four bars of seven beats, that I was trying both to capture a sense taking him to Buffalo passed the Attica by subtraction. In Coming Together, each of which is “squared” to become the of the physical presence of the writer town line, the reporter sitting next to him seven pitches are used to generate eight period of 49 beats. The four periods are and simultaneously to unlock a hidden asked how it felt to leave Attica behind triangular structures of 28 notes. Each then themselves “squared” to become a meaning from the simple but ambiguous him. His answer, “Attica is in front of of these melodic sequences is then sequence of sixteen periods. These are language. The act of reading and me,” became the text for this piece. “squared” to become either large sections played over a constant drone, with a long rereading finally led me to the idea of a The compositional techniques of 28x28=784 notes. The resulting dominant chord at the end. musical treatment. The text is as follows: employed in both pieces are similar. The chain of 6272 notes is played by one –As published in the score. Biographies with Mary Siedman and Dancers, John and performances with the Pittsburgh New York Department of Cultural Zullo, Helen Simoneau Danse and Pam Symphony Orchestra of Mozart’s Concerto Affairs, administered by the Brooklyn Tanowitz. He strives to give back in any K.453 (with original cadenzas). Johnston Arts Council, Inc., She has been artist- Asli Bulbul came to New York from way he can. Looking to leave this world is a founding member of Proteus, in-residence at Movement Research, The Istanbul, Turkey in 1997. After an full of creation and less of destruction, Newspeak and Electric Kompany and Joyce Theater Foundation, The Yard and apprenticeship with Tanztheater he is an artist who is working to better has performed in Carnegie Hall, Alice the Djerassi Resident Artist Program. Wuppertal/ in 2000, she himself day by day. Tully Hall, Ford Theater, The Library Rebecca is a Senior Lecturer at Princeton joined Bill.T.Jones/Arnie Zane Dance of Congress and Disney Hall among University and has previously been on Co. in 2001. Between 2001-2010, she others. Recent collaborators include the faculty at UCLA, Wesleyan University, took part in the creation of eight original Hailed by The New York Times as “ a Ethel Quartet, Zephyros Winds, Poul Trinity College, Hartford Ballet/ productions and danced in numerous versatile, charismatic soprano endowed Ruders, Jacob TV, and University of Hartford and Mimar Sinan repertory pieces performed in the US with brilliant technique and superlative Marc Mellits. He recently completed his Conservatory is Istanbul, Turkey. and internationally. Since then, she has stage instincts…indispensable to New Doctoral studies at the School worked with , Jennifer York’s new-music ecosystem” Mellissa of Music and currently lives in New York. Nugent, Rebecca Lazier, Bill Young/ Hughes is a dedicated interpreter of Taylor Levine is a guitarist in the Colleen Thomas & Co. and RoseAnne living composers, singing world and NYC area. He is a founding member Spradlin. She has also collaborated with regional premieres with the American Described as “intensely focused” by of Dither, an electric guitar quartet. Nu Dance Theater on a site-specific Composers Orchestra, New York City The New York Times, Patti Kilroy is In addition, Taylor often performs a project Dorian C, which was adapted to Opera, the Brooklyn Philharmonic, the a modern-minded violinist based in variety of composed and improvised a short film and selected to be part of St. Lawrence String Quartet, JACK New York City. Her quartet Cadillac music with a wide range of musicians. Cannes Film Festival’s Short Film Corner. Quartet, SIGNAL, Alarm Will Sound, Moon Ensemble has been described as a Some of these include Signal Ensemble, She recently taught at Bard College Victoire and of course Newspeak, among “commission-crazed young group” (Time , Marc Ribot, Erykah and Princeton University and teaches other groundbreaking ensembles. This Out New York) “with excellent ensemble Badu, Tyondai Braxton, Bryce Dessner, technique classes at Movement Research summer Hughes sings John Zorn’s awareness and phrasing” (The Examiner). Ethel, Bang on a Can, Eighth Blackbird, in NYC. She recently joined the NYC- The Holy Visions at the She has played with groups Alarm Will Blarvuster, Newband, , based experimental theater group Nature Festival, at the Barbican in London, and Sound, Signal, Argento New Music Theo Bleckmann, Weasel Walter, Ches Theater of Oklahoma where she has been in Ghent, Warsaw, Jerusalem, Paris and Project, ensemble mise-en, ETHEL, Smith, Philip White, Eve Beglarian’s busy discovering her inner actor/singer. Australia. Hughes also enjoys a busy Wordless Music Orchestra and The New BRIM, , New career in early music, working regularly York Pops. She is a doctoral student World Symphony, London Sinfonietta, with the Clarion Music Society and at NYU where she enjoys playing new BBC Orchestra, LA Philharmonic, Cellist Robert Burkhart has performed Trinity Wall Street, among others. music, reading books in the library and Wordless Music Orchestra and previously with the New York Symphonic studying with Naoko Tanaka. Read more Newspeak. Taylor also pursues an Ensemble, WQXR’s “Young Artist at pattikilroy.com. active role as an educator. He studied at Showcase,” American Modern Ensemble, James Johnston is an American musician The Manhattan School of Music and Ensemble Pi, Argento Chamber who enjoys an active and varied career The Amsterdam Conservatory. Taylor Ensemble, SONYC; The Mannes College as a pianist, keyboardist and arranger. A Jennifer Lafferty is from southern currently resides in Brooklyn, where he of Music and University of Wisconsin- graduate of The and Yale California, where she studied dance at can often be found building a variety of Madison. University, Johnston’s pianism has been University of California, Los Angeles called “especially impressive, displaying and met Rebecca Lazier, with whom she electronic circuits. deft touch” by the Pittsburgh Post has worked since 2000. Since moving Pierre Guilbault recently graduated Gazette. Recent performance highlights to NYC, she has also performed in the David T. Little is a New York-based from the University of North Carolina include concerts with the London work of Yasuko Yokoshi, Beth Gill, Anna composer/drummer whose of the Arts with a BFA in Dance. Sinfonietta and LA Philharmonic as part Sperber, Christopher Williams, Michou fuses classical and popular idioms to New to New York, he started taking of Tyondai Braxton’s Central Market, a Szabo, Renee Archibald and Nina dramatic effect. Widely performed— workshops with the Cunningham Trust th 100 anniversary performance of Peirrot under the direction of Robert Swinston, Lunaire with the Proteus Ensemble as Sandra Neels, Rashaun Mitchell and part of the Five Boroughs Music Festival Susana Hayman-Chaffey. He has worked

Rebecca Lazier: Notes on the Choreography

I first heard Coming Together and Attica the music and dance. At first I was afraid six years ago when a friend sat me a dance would be read narrowly, seen down, gave me headphones and told me only as representation or an attempted to listen. I did not know when it was political statement. The more I worked, composed, where the text came from, the however, I realized this music is not so performer instructions, the compositional much of a piece about a single moment techniques, the history of the riots and of American history, but a work that their significance in American history continues to reveal relevant abstract and or of Rzewski’s controversial position political questions. Although the music in the music world. Even without this was inspired by the riots, Rzewski does photo by Anna Finke information, I was immediately struck not dictate an ideology in the piece, he by the music’s combination of structural invites the listener to create his or her Winthrop. She is currently working on a including at the Tanglewood, Aspen and clarity and emotional power. I wanted own meanings, something I strive to do new piece by Beth Gill. Cabrillo Festivals, and by eighth blackbird, to know how it was made, what made it with my own work. Third Coast Percussion, So Percussion, work and who Frederic Rzewski was. The two works are rarely performed as Rebecca Lazier, a native of Halifax, Nova the London Sinfonietta, Brooklyn I had no plans to make a dance with Rzewski originally intended: together and Scotia and Juilliard alum, is a project- Philharmonic, Alarm Will Sound and the the score and even as I delved into the separated by a period of silence. I heard based choreographer who has lived, Symphony Orchestra under history and context of the piece, the Newspeak perform Coming Together in choreographed and produced her work —his upcoming projects drive behind my research was purely 2008 and their version instantly became in Hartford, Los Angeles, Istanbul, and, include new works for the Kronos Quartet, one of interest. I started playing with my favorite as it combines classical, jazz for the past 13 years, New York. Lazier’s Maya Beiser, Todd Reynolds, wild Up and Rzewski’s structural rules and restraints and rock’n’roll influences and features a work has been performed in many New the Fort Worth Opera. An active drummer, in rehearsals. What would choreographic female vocalist. I approached David about York venues including Danspace Project, Little has performed and recorded with “squaring” be? Could I give similar the possibility of creating an evening The Kitchen, the Guggenheim Museum, the International Contemporary Ensemble performance procedures to the dancers? I length performance and, as they say, the 92nd Street Y, Joyce SoHo and Movement (ICE) and Corey Dargel, and performs was interested in how Rzewski translated rest is history. Research at the Judson Church. She regularly with his amplified chamber the experience of reading the text into Rzewski’s work brought new has toured to a variety of locales from ensemble Newspeak, for which is also the the form on which he built the piece. perspectives to my experience of isolation Martha’s Vineyard to Los Angeles, founding Artistic Director. From 2010- Nevertheless, I still had not committed and confinement, introduced possibilities Jacob’s Pillow to New Orleans, from 2012 he served as the Executive Director to having the score performed with the for structural invention, motivated me to Nova Scotia, Canada to Turkey. Recently, of New York’s MATA Festival. He is choreography; this was experimentation. research the history and current conditions Lazier received grants from the Puffin currently the Head of Composition and It is hard to pinpoint the precise of imprisonment and enabled me to Foundation, New Music USA’s 2013 New Music Coordinator at Shenandoah moment when it became necessary for me imagine social change. Like Rzewski, I Live Music for Dance Program, Canada Conservatory in Winchester, VA. to realize a performance that combines hope the piece resonates in many ways. Council on the Arts and the Greater Clarinetist Eileen Mack grew up in choreography has been presented in committed to the music of its time universities in Turkey and Princeton Australia and is now based in New NYC by Danspace Project, Baryshnikov Newspeak has commissioned and University. After choreographing York. She is a sought after new music Arts Center, La Mama Moves Festival, premiered work by David T. Little, Caleb Harrison Atelier‘s Pharmacophore: clarinetist, and regularly performs in Mount Tremper Arts, Skirball Center Burhans, Corey Dargel, Oscar Bettison, Architectural Placebo (2011), he presented the city with the amplified Newspeak at NYU and at numerous festivals and Ted Hearne, Judd Greenstein, Missy choreography as part of Atelier’s Ensemble and the post- minimalist band, universities throughout the East Coast. Mazzoli and many others. “You could installation VEAL at the Invisible Dog Art Victoire, as well as appearing with groups He is currently on faculty at Tisch School call this punk classical,” Lucid Culture Center. including Signal Ensemble, Wordless of the Arts and Sarah Lawrence College. wrote, “fearlessly aware…(and) resolutely Music Orchestra, Wet Ink, ymusic and defiant.” New Sounds host John Schafer Davison Scandrett is a Brooklyn- the Bang on a Can All Stars. She has NEWSPEAK, named after the thought- called them “important players on the new based lighting designer and production worked with composers such as Steve limiting language in George Orwell’s music scene here in New York.” manager. Since graduating from the Reich, David Lang and Michael Gordon, 1984, is a powerhouse ensemble that North Carolina School of the Arts with conductors including Oliver became an early standout within New Christopher Ralph was born and raised (2002) he has supervised lighting and Knussen and Pierre Boulez, and has York’s “indie-classical” scene. The current in Long Island, N.Y. He began his dance technical production for more than 1000 performed in venues around the world stellar line-up–Caleb Burhans (composer/ training at Holy Trinity High School, performances in 46 states and 23 countries. including Zankel at Carnegie Hall, the violin), David T. Little (composer/drums), were he worked with Cathy Murphy Credits in the dance field include: Sarah Sydney Opera House, the Amsterdam Mellissa Hughes (voice), Eileen Mack and James Whore. He also trained at Michelson, Miguel Gutierrez, Rashaun Concertgebouw and London’s Royal (clarinet), Taylor Levine (guitar), Brian Dance Center and Steps Mitchell, Joanna Haigood, Silas Riener, Albert Hall. Eileen has performed as Snow (cello), James Johnston (piano) with Peter Schabel, Dorrit Koppel, Jennifer Monson, Wendy Whelan, Brian soloist at the Canberra International and Peter Wise (percussion)–began Frank Hatchett and Chio Yamada. Brooks and Pam Tanowitz. As Director Festival and the Bang on performing together in 2008, and released Since graduating from SUNY Purchase, of Production for the a Can Marathon, and has been a fellow at their first CD with New Amsterdam Christopher has performed with Lauri Dance Company from 2008-2012, the Bang on a Can and Norfolk Chamber Records in November 2010, to critical Stallings, Gregory Dolbashian, Aszure he was instrumental in the planning Music Festivals. acclaim. NEWSPEAK has been featured Barton, Janis Brenner, Loni Landon, and execution of the Company’s Patrick Corbin and recently with Doug precedent-setting Legacy Plan as well Varone at the in Les as numerous landmark collaborations Troyens. Christopher has also toured with with prominent visual artists, musicians a wide range of choreographers to China, and filmmakers. Davison designed the Japan, London and Spain. lighting for Paris Opera Ballet’s 2012 revival of Cunningham’s Un Jour ou Silas Riener, originally from Washington, Deux and was the recipient of a Bessie D.C., graduated from Princeton Award (2007) for visual design (with University in 2006 with a degree in Sarah Michelson and Parker Lutz). Comparative Literature and certificates in Creative Writing and Dance, with Peter Wise (percussion) grew up a focus on linguistics. He has worked playing music in Stockbridge, MA with Chantal Yzermans, Takehiro and studied percussion at the Eastman Ueyama, Christopher Williams, School of Music and SUNY Stony and Rebecca Lazier and Brook. Currently based in Hudson, currently with Tere O’Connor. He was NY and the Berkshires, he plays with a member of the Merce Cunningham an eclectic array of ensembles including Newspeak. photo by Stephen Taylor Dance Company from 2007-2011 and Newspeak, Oliphant, JG Thirlwell’s received a 2012 New York Dance and Manorexia and Banana Bag & Bodice. He as part of the Tune-In Festival with eighth Mary Jo Mecca designed Rebecca’s Performance Award (Bessie) for his is one of the co-founding artistic directors blackbird at the Park Avenue Armory, Terminal (2009) at the Joyce SoHo and I performance in Cunningham’s Split of The Berkshire Fringe, a theater, dance the Ecstatic Music Festival in NYC, on Just Like This Music and Coming Together/ Sides. While performing with MCDC, and music festival in Great Barrington, New Sounds Live and at the International Attica (2012) in Nova Scotia. Additional Riener completed his MFA in Dance at MA (www.berkshirefringe.org). Peter is Festival of Arts and Ideas. They have designs for dance include: Rashaun NYU’s Tisch School of the Arts (2008). also a founding member of Kickwheel headlined on the MATA Festival, shared Mitchell: Interface at BAC and Nox at St. Since 2010, he has collaborated with Ensemble Theater, most recently bills with The Fiery Furnaces as part of Marks Church, Zvi Gotheiner: Sky and poet Anne Carson and choreographer composing music and designing sound for Wordless Music and performed as part of Water (2013) at MUSA! Festival, Barkin/ Rashaun Mitchell. He has taught at Dark: An End of the World Play with Music John Zorn’s Full Force festival. Actively Sellisen Project: Differential Cohomology Concord Academy SummerStages, several and an Exercise Bike. (2011), Jody Sperling’s Time Lapse Dance (2013), Susan Marshall: Atelier project (2010), Brian Brooks: Landing, Deganit I am grateful to our generous donors whose support is crucial to helping us fill the gap between box office income and grants. Shemy: Narrowline, Jill Johnson: Folding A special thank you to: Iris Ashkinos, Emily Jenkins and Daniel Aukin, Elizabeth Blake, John and Sharon DaSilva, Ladan Hamidi- Articulation, Laura Peterson: Atomic Toosi, William Harman, Jane Harmon, F. William Kaufmann, Barbara and Mark Kronman, Eileen Lafferty, John and Catherine Orbital, Raja Kelly: Basic Instructions Lazier, James Martin, Martha Eddy and D B Middletown, Lauri Mulvey, Laurent and Kumiko Serog, Joan and Mel Rothman, Before Leaving Earth and other projects Rebecca Stenn, Judith and Robert Waldman and Judith and Stanley Zabar. for the Program in Dance at Princeton University. She studied Couture Design Please consider donating to this or future projects. The easiest way to donate is online through our website: www.rebeccalazier.com. with Miss Alice Sapho of Paris and New All of your gifts are tax-deductible as Rebecca is a sponsored artist of The Field*. *Rebecca Lazier is a Sponsored Artist of The Field, a York. www.mjmecca.com not-for-profit, tax-exempt, 501(c)(3) organization serving the New York City community. Contributions made to The Field and earmarked for Rebecca Lazier are tax deductible to the extent allowed by law. For more information about The Field contact: The Field, 75 Rashaun Mitchell graduated from Maiden Lane, Suite 906, New York, NY 10038, (212) 691-6969, fax: (212) 255-2053, www.thefield.org. A copy of The Field’s latest annual Sarah Lawrence College in 2000 and report may be obtained, upon request, from The Field or from the Office of the Attorney General, Charities Bureau, 120 Broadway, New York, since then has worked with NYC-based NY 10271. artists including: Chantal Yzermans, For more information go to www.rebeccalazier.com. Donna Uchizono, Pam Tanowitz, Risa Jaroslow, Sara Rudner, Jonah Bokaer, I cannot express well enough my gratitude to the dancers and designers. Their tenacity, commitment, dedication and pure excellence Richard Colton, , Rebecca continue to exceed my expectations. Their creative contributions and involvement in the process are integral to my work. I would also Lazier and Silas Riener. He has received like to thank the dancers who helped develop material for this work: Hadar Ahuvia, Rommel Salveron, Anna Schon, Paul Singh, Emily numerous awards: a Princess Grace Stone, Storme Sundberg and Christopher Williams. Thank you Frederic Rzewski, David T. Little and Newspeak for your vision and Award: Dance Fellowship (2007), a New key contributions to the production. York Dance and Performance “Bessie” Award for sustained achievement in Special thanks to: Simon Courchel for inviting us to The Invisible Dog; Lucien Zayan for all of your support and feedback; Steven the work of Merce Cunningham 2004- Swartz for taking a chance on dance; Ariane and Seth Harrison for the generous loan of the body saving floor; Chris Wilcox and the 2012 (2011), a Bessie for “Outstanding Scotia Festival of Music together with Paul Casky and Gay Hauser from Live Art Dance Productions for giving us the opportunity to Emerging Choreographer” and a grant perform in Nova Scotia; John and Catherine Lazier for more than lobster dinners; my colleagues at Princeton: Susan Marhsall, Tina from the Foundation for Contemporary Fehlandt, Kristen Arnold, Aynsley Vandenbrouke and Dyane Harvey; the staff at The Field: Shawn René Graham, Cassie Tunick, Art (2013). He is a Cunningham Fellow Chongsi Chang and Liza Wade Green for support grant writing and fundraising; my students who question and provoke; and to and licensed stager of the repertory. His friends and family especially Rebecca Stenn, Patricia Hoffbauer, Robert and Judith Waldman and Price, Jasper, Grace and Sylvia.