2015 Next Wave Festival OCT 2015

Shinique Smith, Beautiful Dreamer, 2015

Published by: Season Sponsor: CommissionedbyBAM DirectedbyAnneBogart MusicbyTheoBleckmann Written byCarlHancockRux The Exalted

#BAMNextWave #THEEXALTED L RUN TIME: DATES: OCATION:

Approx 1hr5min BAM F OCT 28—31at7:30pm (no intermission) isher (Fishman Space)

The Shubert Foundation,The Shubert Inc. The SHSFoundation The Morris and AlmaSchapiroFund Donald R. MullenJr. Foundation Trust The Francena T. Harrison provided by: fortheateratBAM Major support Rockefeller Brothers Fund. in theBAMFisher by supported Programming byNewYork Cityartists Season Sponsor: Executive Producer Joseph V. Melillo, President Katy Clark, Vice ChairmanoftheBoard Adam E.Max, Vice ChairmanoftheBoard William I.Campbell, Chairman oftheBoard Alan H. Fishman, AcademyBrooklyn ofMusic BAM Fisher ABOUT THE EXALTED THE EXALTED

The Exalted resurrects stories from NY Premiere the past in a mesmerizing narrative on the fight for freedom, combining CONCEIVED AND WRITTEN BY strands of the life and final days Carl Hancock Rux of the once influential, now mostly forgotten, German-Jewish art historian MUSIC BY *All music composed by Carl Einstein, one of the first critics Theo Bleckmann* Theo Bleckmann except to affirm the importance of African “Lili Marleen” (Norbert Schultze) and sculpture, thus influencing figures PERFORMED BY “Lord is it Mine?” (Roger Hodgson) such as George Grosz, Pablo Picasso, Carl Hancock Rux (both arrangements by Bleckmann); and Georges Braque, and impacting Theo Bleckmann Piano Trio in A-minor (Gustav Mahler) the development of Cubism and the European avant-garde. Einstein, DIRECTED BY The Exalted was first presented at the whose work was characterized by Anne Bogart Center for the Art of Performance at communist sympathies and anarchist UCLA in 2013. The work was fur- views, inevitably became a target of SCENIC AND COSTUME DESIGN BY ther commissioned by the BAM/Next the German right wing during the Maureen Freedman Wave Festival 2015 and developed in interwar Weimar period. Interwoven residence with Live Arts Bard at the with reflections on the genocide of the VIDEO BY Richard B. Fisher Center for the Per- Herero and Nama people in pre-WWI Onome Ekeh forming Arts at Bard College, and the German-occupied Africa—the first Kimmel Center for the Performing Arts genocide of the 20th century and a LIGHTING DESIGN BY in Philadelphia, PA. direct precursor to Hitler’s holocaust Brian H Scott —The Exalted, based on a forthcoming Special thanks to Hamilton Kirby, novel by Carl Hancock Rux, is a poetic STAGE MANAGER Patrick Synmoie, Christian Epps, meditation on heritage, love, and the Kristy Bodall Kristy Edmunds, and Morgan Green. willpower to overcome atrocity.

PRODUCTION ASSISTANT Felicia Lobo

PRODUCED BY Stephen Cohen for Music + Art

Photo: Carl Hancock Rux and Theo Bleckmann, by John Labbe Lisa Jones/Alva Rogers dance musical, Stained. Rux originated the title role in the folk opera production of The Temptation of St. Anthony, directed Who’s by Robert Wilson with book, libretto, and music by Bernice Johnson Reagon as part of the Ruhrtriennale festival in Duisburg, Germany. The opera had Who its American premiere at the BAM Next Wave Festival in October 2004 and world premiere at the Paris Opéra CARL HANCOCK RUX Palais Garnier. Rux’s The Blackamoor Conception, Writer, Performer Angel, created with composer Deir- dre Murray, was performed as part Carl Hancock Rux is an award-winning of SummerScape at Bard College. He poet, playwright, novelist, essayist, and appeared in the Foundry Theatre’s recording artist. He is the former head production How Much is Enough? in its of the MFA writing for performance three-week run at St. Ann’s Warehouse program at the California Institute of in fall 2013. Rux was also the curator the Arts (2006—09) and has taught of the WeDaPeoples Cabaret originally or been in residence at the Univer- conceived by Sekou Sundiata and sity of California San Diego, Stanford presented each September by Harlem University, University of Massachusetts Stage. Amherst, Hollins University, University of Iowa, and Brown University. His film credits include The Grand In- quisitor (as The One, directed by Tony Rux is the author of the novel Asphalt, Torn), Brooklyn Boheme (documen- the Obie award-winning play Talk, tary, directed by Nelson George and and the Village Voice literary prize- Diane Paragas), Migrations (directed winning collection of poetry, Pagan by Nelson George), and The Revolution Operetta. He has worked as a writer Will Not Be Televised: a Film about Gil and frequent guest performer in dance, Scott-Heron (documentary, directed by collaborating with Marlies Yearby’s Don Letts), among others. Rux is the Movin’ Spirits Dance Theater, Urban subject of the Voices of America televi- Bush Women, Jane Comfort & Co., Bill sion documentary, Carl Hancock Rux, T. Jones/Arnie Zane Dance Company, Coming of Age (produced by Larry Alvin Ailey American Dance Theater, Clamage and Richard Maniscalo), and Martha Clarke. Most recently, Four recipient of the CINE Golden Eagle Corners, the critically acclaimed piece Award. He was host and programming cheographed by Ron Brown for the director of the WBAI radio show, Live Alvin Ailey American Dance Theater, from Nuyorican Poets Cafe, contribut- which premiered at Lincoln Center in ing correspondent for XM radio’s The June 2013 was set to Rux’s Lamenta- Bob Edwards Show, and frequent tions (for you, son). Rux received a guest host on WNYC’s Soundcheck. Bessie award for his direction of the Rux co-wrote and narrated the radio

Photo: Carl Hancock Rux and Theo Bleckmann, by John Labbe documentary, Walt Whitman: Songs of edith Monk, with whom Bleckmann Myself, awarded the New York Press THEO BLECKMANN worked as a core ensemble member ANNE BOGART Club Journalism award for entertain- Music, Performer for 15 years. His uniquely flexible and Director ment news. colorful voice has also inspired com- A jazz singer and new music composer Anne Bogart is a prolific and award- positions by, among others, Michael of eclectic tastes and prodigious gifts, winning American theater and opera To mark the 10th anniversary of 9/11, Gordon, David Lang, Ikue Mori, Kirk Grammy-nominated Theo Bleckmann, director. She is the co-artistic director WNYC’s The Greene Space commis- Nurock, Julia Wolfe and, prominently, who has resided in New York City since of SITI Company, which she founded sioned Rux to create and perform a Phil Kline, who wrote three major song 1989, has released a series of gor- with Japanese director Tadashi Suzuki spoken word piece meant to be a cycles for Bleckmann: Zippo Songs geous and irreverent albums on Winter in 1992, and a professor at Columbia mosaic of remembrance of this histori- (2004, BAM Next Wave 2012) , Locus & Winter, including recordings of Las University where she runs the graduate cal event. A City Reimagined: Voices Solus (2006), and Out Cold (2012), Vegas standards, Berlin Kabarett, and directing program. She is the author of of 9/11 in Poetry and Performance, which premiered at the BAM Fisher. popular “bar songs” (all with pianist five books: A Director Prepares; The was presented in partnership with The Bleckmann has composed for a range Fumio Yasuda); a recording of newly- Viewpoints Book; And Then, You Act; New Press and the Columbia Center for of instruments from piano, violin, and arranged songs by Charles Ives (with Conversations with Anne; and, most Oral History live in The Greene Space kalimba to chimes, glockenspiel, toy the improvisational jazz/funk collective recently, What’s the Story: Essays on September 7 & 8, 2011. It marked microphone, and sewing machines. Kneebody); and his Solos for Voice and about art, theater, and storytelling. She Rux’s return to The Greene Space after He composed an evening-length work Toys. In his highly acclaimed CD re- is the recipient of a Doris Duke artist a memorable appearance in A Global for voice and the JACK String Quartet lease of 2012, Hello Earth—The Music grant, a USA fellowship, a Rockefeller Piano and Literary Salon: Bebop and created the space alien language of Kate Bush, Bleckmann managed to fellowship, and a Guggenheim Spoken Here on May 12, 2011, with for Steven Spielberg’s Men in Black. bring an entirely new perspective to the fellowship as well as three honorary an impromptu recitation accompanied Bleckmann’s work has been described songbook of the British pop recluse. doctorate degrees, from Bard College, by jazz pianist, Gerald Clayton. His as “from another planet” (The New York 2013 saw the release of Mother Goose Cornish School of the Arts, and CDs include Rux Revue (Sony/550), Times), “transcendent” (Village Voice), Melodies, a return to Bleckmann’s Skidmore College. Recent works with Apothecary Rx (Giant Step), Good and “brilliant” (New York magazine), uniquely interpretive collaborations SITI include The Theater is a Blank Bread Alley (Thirsty Ear), and Homeo- and left one critic wondering, “does he with Fumio Yasada. Most recently, Page; Persians; Steel Hammer; A stasis (CD Baby). Rux is the recipient eat people food?” (AllAboutJazz). Bleckmann has been touring Europe Rite; Café Variations; Trojan Women; of several awards including the Herb with Ambrose Akinmusire and record- American Document; Antigone; Alpert Prize, NYFA Prize, NYFA Gregory Recent accolades include NPR’s 2012 ing with Julia Hülsmann’s trio, for the Freshwater Under Construction; Millard fellowship, and NEA/TCG artist- top 10 jazz albums of the year for ECM label. Who Do You Think You Are; Radio in-residency fellowship. Last fall he Hello Earth! The Songs of Kate Bush, Macbeth; Hotel Cassiopeia; Death and co-wrote (with Arthur Yorinks) and top five spots in the 2013 and 2014 Bleckmann‘s most frequent collabora- the Ploughman; La Dispute; Score; performed in NPR Presents Water± DownBeat critics’ polls for best male tors include John Hollenbeck and Gary bobrauschenbergamerica; Room; directed by Kenny Leon (national tour) vocalist, third place for best vocalist in Versace (The Refuge Trio) and guitar War of the Worlds; Cabin Pressure; and was recently commissioned to the 2012 Rhapsody poll of 119 critics phenomenon Ben Monder. Exploring The Radio Play; Alice’s Adventures; create a new work for the The Kunsts- (formerly hosted by the Village Voice), the classical repertoire in the context of Culture of Desire; Bob; Going, Going, tiftung NRW (Arts Foundation of North Boston Phoenix best jazz acts of 2012, jazz in his work with pianist-composer- Gone; Small Lives/Big Dreams; The Rhine-Westphalia). Rux is currently and WQXR’s Operavore best opera of arranger Uri Caine, Bleckmann has ad- Medium; Noel Coward’s Hay Fever working on his new novel. 2012. He has received the prestigious ditionally collaborated with a remark- and Private Lives; August Strindberg’s ECHO Jazz award from the Deutsche able roster of contemporary musicians Miss Julie; and Charles Mee’s Orestes. Phono-Akademie in his native Ger- and composers, including Laurie Operas include Verdi’s Macbeth, I many and appeared on Late Night with Anderson, Peter Eldridge, Philip Glass, Capuleti e i Montecchi, and Bizet’s David Letterman with Laurie Anderson. Kate McGarry, Sheila Jordan, Luciana Carmen (Glimmerglass); Bellini’s In 2015, he received a grant from the Souza, Michael Tilson Thomas, Kenny Norma (Washington National Opera); Peter S Reed Foundation. Wheeler, John Zorn, the Bang on a Can three operas by Deborah Drattell and All-Stars and most prominently, Mer- Nicholas and Alexandra (Los Angeles Opera); Marina: A Captive Spirit (American Opera Projects); and Lilith ONOME EKEH KRISTY BODALL and Brecht/Weill’s Seven Deadly Sins Video Stage Manager (New York City Opera). Born in Nigeria and raised on both Kristy Bodall is a freelance stage sides of the Atlantic, Onome Ekeh manager working in NYC. Current MAUREEN FREEDMAN started out as a painter, gravitated projects include The Gray Man Scenic and Costume Design towards design, and fell in love with (Pipeline Theatre Company) and cinema. Somewhere in the collision Spring Street Social Society’s fall Maureen Freedman has designed she went digital. She has produced event. Previous stage managing credits for text-based performance, devised works for film, theater, and radio and include Together We Are Making a performance, puppetry opera, dance, is the recipient of several fellowships Poem in Honor of Life, Bull’s Hollow and film. Her work has taken her to including the Jerome Foundation, Part II: The Princess Alaska (Ars Nova the UK, Israel, and the US. Some Greenwall Foundation, and the Kun- Project Residency); Blue Window highlights include Feral (National stlerhaus Buchsenhausen Fellowship. (Strasberg Institute); You on the Theatre Studio, UK); I Hate the Way I She is the co-founder and conceptual Moors Now (Theatre Reconstruction Love You and Medea Triptych (Robin gear-machinitrix behind Featurezoo. Ensemble); War Lesbian (harunalee); Howard Dance Theatre at the Place, net. Her fiction and sound cinema can Melancholy Play (Strasberg Institute); UK); Wolves at the Window (Brits Off- be found at thememorexe.com. Clown Bar (Pipeline Theatre Company); Broadway Festival at 59 E59 Theatres Messages from a Mental Institution NYC); Gianni Schicchi (Opera Gala on (Dream Up Festival); Pentecost Martha’s Vineyard); Intimate Apparel (Middlebury College); After the Chairs (Connecticut Rep, NAPAT award for BRIAN H SCOTT (Fresh Fruit Festival); ANT Fest 2013 design excellence, SILV award for Lighting Design (Ars Nova); Tape (Strasberg Institute); excellence in scenic design); The Boat Rhinoceros (Atlantic Acting School); is Sinking” (Tsavta Theatre Tel-Aviv. In productions at the Park Avenue Giant Killer Slugs (Pipeline Theatre Israel, Golden Hedgehog award for best Armory, Brian H Scott created lighting Company); and Follow the Leader costume design); The House by the for Douglas Gordon’s Tears become… (Panicked Productions). Production Lake (Acco Festival, Israel, and touring Streams become…, Oktophonie with Assistant credits include Project Shaw Europe and Canada, best design Rirkrit Tiravanija, and the event of and Old-Fashioned Prostitutes (Public award); and Herzl for (Rina Yerushalmi a thread with Ann Hamilton. His Theater); Storefront Church (Atlantic Itim Ensemble, Israel). Freedman had recent lighting designs include Laurie Theatre Company); and Richard II the privilege of taking part in Cheek Anderson and Kronos Quartet’s (Pearl Theatre Company). She is by Jowl Theatre Company’s emerging Landfall, and the Anne Hamilton/SITI resident stage manager for Pipeline young professional’s program and Company’s theatre is a blank page, Theatre Company, and holds a BA in presenting her designs at the Linbury as well as Douglas Gordon’s Bound to theater arts from Dickinson College. Prize finalist exhibit in England. Future Hurt and Neck of the Woods. Scott is projects include production design for lighting designer for New York-based Hansel and Gretel and Daughters of SITI Company and Austin, TX-based the Regiment at UCONN opera. Rude Mechanicals, as well as San Francisco’s Kronos Quartet. Photo: John Labbe

Final Size: 5.25" x 8.375" • Ratio: 1' = 1' • Resolution: 300 DPI • Color: CMYK 24781 BAM Salute Ad 4C Viacom_2015 AA cropped cropped photographphotograph of of Merce Merce Cunningham’s Cunningham’s How How To Pass,To Pass, Kick, Kick, Fall andFall Run and Run omittingomitting JohnJohn Cage sittingsitting stage stage left. left. Merce Merce Cunningham Cunningham Dance Dance Company Company 1970 1970 A cropped photograph of MercePhoto:Photo: Cunningham’s James James Klosty, Klosty, courtesyHow courtesy To BAMPass, BAM Hamm Kick, Hamm ArchivesFall andArchives Run omitting John Cage sitting stage left. Merce Cunningham Dance Company 1970 Photo: James Klosty, courtesy BAM Hamm Archives Oct 2015

Contents

Rivette’s Epic—OUT 1 Real Enemies

Photo courtesy Carlotta Films US BAMcinématek screens all 775 minutes of Jacques Rivette’s OUT 1: Noli me tangere, a cinephilic necessity. by Stephen Bowie

Photo: Noah Stern Weber Hagoromo Conspiracy theory meets New Orleans-style jazz in a Wendy Whelan and Jock Soto depict Angel and Fish- dazzling music-theater work. erman in this operatic adaptation of an ancient fable. by Isaac Butler by Susan Yung

BAMbill Cover

SHINIQUE SMITH is the 2015 Next Wave Festival Cover Artist, part of BAM’s tradition of visual art on the cover of BAMbill. Since 1983, dozens of artists have participated, including Roy Lichtenstein, Andy Warhol, Chuck Close, Rosemarie Trockel, and more. Three new artworks created by Smith will rotate between Sep–Dec 2015. These archival inkjet prints, each 22” x 30”, are available to purchase for $1200 individually or $3500 for all three. Proceeds benefit BAM. For inquiries or to purchase, please contact BAM Visual Art at [email protected] or 718.636.4101.

Shinique Smith (b. 1972, Baltimore, MD) is a New York-based artist whose work is inspired by the vast nature of things that we consume and discard, which resonate on a personal and social scale. The graffiti of her youth, Japanese calligraphy, and abstraction are influences from which she extracts “the graceful and spiritual qualities in written word and the everyday.” Over her career, Smith has had more than 20 solo exhibitions and has exhibited internationally, including at the Brooklyn Museum of Art, Deutsche Guggenheim (Berling), Los Angeles County Museum of Art, Museum of Contemporary Art (North Miami), The New Museum, and MOMA/PS1. Most recently, the Museum of Fine Arts, Boston mounted a solo exhibition titled Shinique Smith: Bright Shinique Smith, Beautiful Dreamer, 2015, 22”x30”, Matter, which featured 30 key works from the past decade alongside recent archival inkjet print. Photo courtesy the artist. work. Smith earned her BFA and MFA from Maryland Institute College of Art and Master of Arts in Teaching from the School of the Museum of Fine Arts and Tufts University. She is represented by James Cohan Gallery, New York and Shanghai, David Castillo Gallery in Miami, and Brand New Gallery, Milan. @BAMcinématek #OUT1 Photo courtesy Carlotta Films US US Photo courtesy Carlotta Films

Modern Cinema’s by Stephen Bowie Holy Grail Jacques Rivette’s OUT 1: Noli me Tangere Inspired by the structure of the 19th-century (1971) is so much a thing of legend that novel, Rivette took some elements from longtime cinephiles recall its infrequent Balzac’s History of the Thirteen, but (much screenings like concerts: Le Havre in ’71, like his contemporaries, François Truffaut and Rotterdam in ’89, New York City (Queens, Jean-Luc Godard, in their early films) he was though!) in ’05. This month, BAMcinématek less interested in creating a traditional story of revives OUT 1, all 775 minutes of it, via the suspense than in taking one apart to see how world premiere of a new digital restoration. Its it worked. Working from an outline rather than eight parts will screen several times, in pairs (for a full script, Rivette encouraged his cast— a more movie-sized experience) and also as a including French stars Michel Lonsdale and Bulle two-day marathon (for the binge-watchers). Ogier—to improvise, and left in moments where they grew befuddled. He wanted the audience to Though Rivette’s final edit split the film into see them as “actors more than characters”—one eight discrete segments, the director found its of many ways in which OUT 1 fundamentally form as he went, printing more than 30 hours resists becoming a Hitchcockian nail-biter of of footage during a six-week shoot. As its size twists and resolutions. became apparent, Rivette considered showing OUT 1 as a movie serial (the black-and-white Rivette styled OUT 1 to resemble a documentary recaps that open each section are a holdover of in which “fiction gradually proliferates.” In this idea) or a mini-series for French television practice, that means the acting exercises that (which rejected it). Set in modern-day Paris, the dominate the early hours of OUT 1 function as film follows the work of two separate theatrical something of an endurance test. (Shooting on companies, then extends its focus to a pair of 16-millimeter, Rivette was able to present one mysterious street people—a harmonica-tooting of these scenes—more hippie-era encounter deaf-mute (Jean-Pierre Léaud) and a beautiful sessions than rehearsals—in a single 45-minute petty thief (Juliet Berto)—who separately take.) But OUT 1’s duration, once one settles stumble upon a murky political conspiracy. into its rhythm, proves a powerful tool for Eventually, the two strands cohere. reconfiguring the expectations of the suspense @BAMcinematek Nov 4—19

genre. Revelations that would be throwaways if anything, comes next? Ultimately the question in a standard-length film—like the fact about the film contemplates is not so much the nature Léaud’s character, disclosed several hours in, that of the conspiracy, but whether it even matters. undoes almost every previous assumption about him—have a momentous impact when Rivette In the most straightforward interpretation, OUT drops them as bombshells amid the minutiae of 1’s mysterious 13 are former radicals, now acting technique. A tangible clue, a rare outburst hiding in plain sight and languishing without of violence, prompt a reaction of “wait, did that purpose. Photo: David Cooper Lisa Ryder. That’s not really a spoiler, as Rivette really just happen?” because Rivette embeds fills the margins of OUT 1 with riddles and non them so deliciously within the quotidian. OUT sequiturs, leaving the door open for any number 1 is less of a mystery than a movie about what of contradictory interpretations—symbolic, it would feel like if you suddenly observed a paranoid, even extraterrestrial. (In one scene two Hitchcock plot unraveling within your own life. of the conspirators suddenly start speaking in tongues—or perhaps it’s a surveilled recording, Rivette was the late bloomer of the French New censored by some unseen Dr. Mabuse figure.) Wave; during the decade in which Truffaut and The pivotal occurrence at the climax is an Godard achieved fame and commercial success, outburst of laughter—a plot-negating moment Rivette completed only three features (at least of catharsis not only for a major character, but two of them masterpieces, granted, but neglected for the winded viewer at the end of the OUT ones). He would achieve major international 1 marathon. It is, perhaps, the most gripping attention only with his next film, 1974’s trippy shaggy dog story ever told. Celine and Julie Go Boating. Implicitly, OUT 1 is about the end of a New Wave that left him Stephen Bowie writes about television and behind, and also about the uncertain aftermath film for The A.V. Club and his website, of the failed leftist uprising of May 1968—what, classictvhistory.com. Photo courtesy Carlotta Films US US Photo courtesy Carlotta Films TAKING OFF 5,000 TIMES A DAY. TAKING ON EVERYTHING ELSE. Delta is proud to be the offical airline of BAM. #BAMNextWave #WendyWhelan Wendy Whelan and Jock Soto. Photo: David Michalek Wendy

by Susan Yung Taking Flight

At a recent rehearsal for Hagoromo, Chris Green branching out, and she quickly got her wish. In talks to a group of performers as one man addition, she has worked on Restless Creature, cradles Wendy Whelan, appearing paler than an evening of four works choreographed for/with usual and remarkably lank, limbs akimbo at her; and a collaboration with the Royal Ballet’s slightly bizarre angles. One of the world’s most elegant Edward Watson. beloved ballerinas suffering from exhaustion? Not to worry—Green is the project’s puppet designer, Whelan, portraying the Angel in Hagoromo, is and this Wendy was one of two puppets. And paired onstage with her perennial NYCB partner even though the puppets are not in their finished of yore, Jock Soto, as the Fisherman. Just as states, the working models feature silicon skins they did 20 years ago at the State Theater, cast from Whelan, including her face, so it’s still Whelan appears radiant and weightless, like the a bit unsettling despite the knowledge that it’s a spirit she represents, while Soto is grounded, doppelganger. warm, and assured. They seem to have a sixth sense for tuning in to one another, as they did in The show is a new situation for the puppet, just exemplars such as Wheeldon’s After the Rain. In as it is for Whelan, who adds Hagoromo—based Hagoromo—a story that originated in one version on an enchanting Japanese fable, at the BAM as early as the eighth century and was produced Harvey, from Nov 3 to 8—to a growing list of as a Noh play six centuries later—the Angel’s projects that have pushed and pulled her far wing cloak (hagoromo) falls to earth and the beyond her admirable dramatic and technical Fisherman picks it up, happy for the apparent capabilities as a longtime principal at New York gift. But the Angel cannot ascend to heaven City Ballet. These include a guest solo with without it. He reluctantly agrees to return the the Stephen Petronio Company that came on hagoromo in return for a dance by the Angel. the heels of Whelan’s 2011 Bessie Award for Best Performer for her work with NYCB—in her Hagoromo is a collaboration of remarkably acceptance speech, she expressed an interest in accomplished creators, in addition to Whelan CELEBRATE COMMUNITY

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and Soto. It is being produced by American of the body and soul living in harmony. Two Opera Projects, which focuses on iconoclastic singers (contralto Katalin Károlyi and tenor chamber operas (for example, As One, presented Peter Tantsits), a choir from the Brooklyn Youth at the BAM Fisher last year). It was conceived Chorus, and musicians from the renowned and is being directed by David Michalek, International Contemporary Ensemble (ICE) Whelan’s husband and the artist perhaps best join the dancers and puppet teams onstage. known in New York for Slow Dancing, the Costumes are designed by Belgian vanguardist epic-scale HD portraits that hung in the plaza Dries Van Noten, with a libretto by Brendan during the 2007 Lincoln Center Festival and Pelsue of the Actors Theatre of Louisville. mesmerized viewers for hours at a time. David Neumann, a choreographer of terrific wit, is ~~~ familar to audiences as a performer in his own As the Wendy puppet is wafted around the work, in theater pieces such as Beckett Shorts, rehearsal studio, emulating the buoyancy of the (with Mikhail Baryshnikov, for whom he also actual Whelan, it conjures the idea of the dancer choreographed), and as an accomplished director, as marionette. After all, they’re often being told including The Object Lesson (2013 Next Wave). precisely what to do, deployed as diverse colors in an choreographer’s rainbow palette. A quick Nathan Davis, composer and percussionist, often glance at the real Whelan’s movements, of which takes inspiration from nature, and writes for the simplest can attain mysterious grandeur and instruments in order to bring out their essential pack a huge emotional punch, negates that. characters. Entwining musical lines serve to Here is a great artist of our time, fully engaged in emphasize the ethereal aspect of the tale, which projects that expand and further share her gifts. deals in part with the meeting and mediation between corporal and spiritual, and the necessity Susan Yung is Senior Editorial Manager at BAM. Wendy Whelan and Jock Soto. Photo: David Michalek Wendy BAM Directory

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Official Piano for BAM: BAM.org sponsor: #BAMNextWave #RealEnemies Photo Noah Stern Weber

by Isaac Butler Shadow Histories Real Enemies is at the BAM Harvey, Nov 18— burbled up from the tar pits of the internet after 22, with music by Darcy James Argue, films by the Sandy Hook shootings. Peter Nigrini, and written and directed by Isaac Butler, who shares his thoughts here. These conspiracy theories are outlandish and, to many, offensive. Even worse, however, is that our government actually considered commissioning As of this writing, the Real Enemies team has faked acts of terrorism in order to provoke just returned from developing the piece at and justify war with Cuba in 1962. Dubbed Virginia Tech in Blacksburg, VA. People know “Operation Northwoods,” and recommended by Virginia Tech for many reasons—its unique the Chairman of the Joint Chiefs of Staff before limestone, football team, and engineering President Kennedy nixed the operation, the plan program are all legendary—but more recently, included flying fake Cuban MiGs past commuter Tech and its environs have been in the news jets, and killing American citizens in acts of terror because of a spectacular act of violence. In that could be blamed on Castro. late August, Vester Flanagan shot and killed two former colleagues on live television in the outskirts Belief in conspiracies is one of the defining of Roanoke, less than 30 minutes from our hotel. aspects of modern culture. It transcends political, Shortly thereafter, he released footage of the economic, and other divides. Conservative murder filmed from his own point of view, and or liberal, rich or poor, religious or secular, then killed himself during a car chase with police. across all races and backgrounds there exists a conspiratorial strain of thought that believes That’s the official version of the story, the one there are forces secretly plotting against us, or I (and most Americans) believe. In the wake controlling our fates. A conspiracy theory about of the Roanoke shootings, however, a new King George III’s plans for the colonies even sits shadow narrative emerged. According to this at the heart of the Declaration of Independence. story, so-called “crisis actors” faked the shooting on camera in order to abet the government’s Conspiracy comes from the Latin conspirare, voracious quest to end gun rights. Similar stories which literally means to breathe together, but in #RealEnemies Nov 18—22 its everyday usage means to agree to or to plot. work. Other musical touchstones include the A plot is, of course, also a story, or a narrative. film scores of Michael Small and David Shire, When the composer Darcy James Argue, the Nicaraguan singer-songwriter Carlos Mejía projection designer Peter Nigrini, and I set Godoy, early 1980s LA electrofunk-influenced out to investigate and build a multimedia live hip hop, intricately layered polyrhythms at the music-theater piece about conspiracy theories, intersection of post-minimalist classical music we realized very swiftly that we were actually and contemporary jazz, and much more. investigating the nature of narrative itself. Using 15 projection screens, multi-channel E.M. Forster famously wrote that “The King died video, stealthy staging, and a giant clock and then the Queen died,” is not a story, but counting down to doomsday, Real Enemies “The King died and then the Queen died of grief” combines found text and media from dozens of is. Causality lies at the heart of all narrative. sources to spin a web of paranoia and distrust. Without causality, all that remains are isolated Seemingly disparate pieces of information gain events. Conspiracy theories take these isolated a new coherence. After all, when the truth events, and insert causality, making them into becomes increasingly elusive, we all have to a plot. Conspiracy theories, then, are on one decide what we believe, what stars we’ll connect, level simply another form of narrative sense- and what new constellations we’ll form. making, like taking the stars in the sky and weaving them into mythical scorpions and crabs and hunters.

These particular narratives tend to flourish at times when we have genuine cause to distrust those in power. When we learn that the NSA has been monitoring all of our emails and cataloging all of our phone calls, or that the FBI ran a secret illegal program for decades dedicated to destroying the American left, or that the CIA secretly dosed prisoners, drug addicts, housewives, and prostitutes with LSD as part Darcy James Argue. Photo Noah Stern Weber of its mind control research, the only natural response is: “What else are they hiding from us?”

Real Enemies is ultimately a work of nonfiction, which is to say, it is an exploration of real world beliefs. Building it has entailed extensive research into a broad range of conspiracies, from the familiar and well-documented to the speculative and outlandish. The show traces the historical roots, iconography, ideology, rhetoric, and psychology of these conspiracies. It chronicles a shadow history of postwar America, touching on everything from COINTELPRO to the alleged CIA-Contra cocaine trafficking ring to reptilian shape-shifters from Alpha Draconis infiltrating our government at the highest level.

As befitting a journey into postwar paranoia, the score draws on 12-tone techniques even as it departs from conventional notions about how those techniques are traditionally employed. In Real Enemies, the 12-tone row is a deep structural device, not just for the music, but for the formal and visual development of the entire Securing BAM’s Future Securing BAM’s Future

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Resheske The Aaron Copland Fund Richard Lynn & Joseph Evall Anonymous (6) Coordinated Metals Inc. Tracey & Phillip Riese for Music, Inc. Dianne Mackenzie Joseph Cosgriff Rush Philanthropic Arts Breukelein Institute/Dennis Anne Mackinnon $1,500 and above Peter & Mary Coy Foundation Corrado Madiba Restaurant Brice Acosta Curtis Cravens Jack Sanderson The Cowles Charitable Trust Allison & Joe Magliocco Caroline P. Addison Michael Crowley Sarah I. Schieffelin Dr. Rudolph F. Crew Laurie Mallet/Ozone Alexandra Alger Michele Cubic & Raymond Residuary Trust The Criterion Collection Design, Inc. Daniel Algrant Velazquez LOCAL COLLECTIVE

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BAM Supporters & Patrons

Ellen & John Curtis Noa Guy Joseph Lovett & James Pauline Pinto Gayatri Spivak Peter & Katharine Darrow Gunilla Haac Cottrell Daria Pizzetta Jonathan Sporn Karen Dauler & Gaston Silva Helen & Peter Haje Reed Lowenstein Carl Podwoski & Virginia Samarith Srey Megan P. Davis Patricia Hallstein & Axel Ann M. & Mitchell A. Lovejoy Barbara Stanton Monique Davis Kramer Lowenthal Paul & Marjorie Possick Shirley Staples & Donald Trayton Davis Cynthia Hammond & Jane Macan John Michael Powers, Jr. Vangel Sabina & Adam Deaton Joseph Samulski Ann MacDonald & Charles Sandra Pierson Prior Gillian Steel Jeffrey Deitch Jennifer Hand & Thomas Raubicheck Greg Pucillo Judy & Michael Steinhardt DeLaCour Family Foundation Tierney John Macintosh & Anna Verdi Leslie & David Puth Jeanne & Steven Stellman Diana Delmonte-Wong & Joan & Douglas B. Hansen Macro Sea Inc. Theodore Quinn Dr. Susan Stewart Adrian Wong Robert E. 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Gerald Saliman & Bartfield Michael & Nancy Feller IATSE - Theatrical Stage McGroarty Raymond Vallejo Chauncey Upson Edith Ferber Employees Local 4 Gordon McLeod & Melanie Mina Samuels & David Foster Frederick Victor Richard Feuring & Charles Sam Ibrahim Grisanti Nancy Sands Patricia Voight & Rachel Krewson Pamela Jackson Susan Meirs Lori Saperstein Wolff Katherine & Luke Fichthorn Beth Jacobs & Dr. Keith Robert Menschel Save Mor Copy Center Vollmuth & Brush Joan Salwen Fields Gottesdiener Claudine & Aeric Meredith- Rosemary Scanlon David Wagner Carl & Merle Fieser Steven & Susan Jacobson Goujon Michele & Jose Scheinkman Ethan J. Wagner & Thea Flanders House Anthony Johnson Danny & Audrey Meyer Douglas & Ans Schickler Westreich Karen L. & Evan L. Flatow T. Radey Johnson & Jane Daniel Michalow Ellen Schleifer & Jordan Katz Marcus Wainwright & Arthur & Susan Fleischer Platt Franny Milberg Lynn Schneider Glenna Neece Jeffrey Fleishhacker Barbara Julius & Marc Diane Miller Lynn C. Schneider Leigh & Robin Walters Lydia Foo Silberberg Judith Scofield & David Miriam Schneider Barbara & Sedgwick Ward Andrew & Blake Foote Genevieve Kahr & Dan C. Miller Roberta Schneiderman Seth Washinsky James Fowler Freedberg Sandra and Lowell Mintz Florian Schodel Janet C. Waterhouse PhD Katherine Franke Shari Kaplan Darcy Miro & Ross Tuttle Ellen Schonfeld William Webb Christopher W. Franklin Alex & Ada Katz Lucy Mitchell-Innes Gabriel & Jolie Schwartz Kathy & Bill Weigel Zhauna Franks & Daniel Aaron & Jacquie Katzel Donald & Gwen Moffat Richard Schwartz & Gita Sandra & George Weiksner Rechelbacher Sebastian & Hilke Kaupert Adrian Mojica Martohardjono Laurie & David I. Weiner M. Derene & Julius Frazier Susan Kellman Nikki Mondschein Ralf Schwieger Earl D. & Gina Ingoglia Lauri Freedman Jessie Kelly Maria Montoya Carl Scott Weiner Andrew Freireich & Tina Suzanne Greene & John John Morning Dr. & Mrs. Thomas P. Sculco Charlene Magen Weinstein Potter Kelly Evangeline Morphos Elisabeth Searles & Richard Michael S. Weinstein Katherine Freygang Ms. Judith Khan Kathy Morton & David Friedberg Cora Weiss Effie & Robert Fribourg Vlad Khandros Nadelman Tatiana Serafin David F. Wertheimer Sarah B. Friedman & Micheline Klagsbrun & Ken Deirdre Mullane Ann Settel Veronica Westberg & Paul Salama Grossinger Jim & Iris Munson Rena Shagan Gregory Hill James Friend Michael Koch & Andrew Edward Nahem Shamos Family Foundation Harry White & Esther Alexander C. & Tillie S. Kohler Brandon Nelson Gerald Shepps Redmount Speyer Foundation David Kolbusz Matthew Nemeth & Tricia Elizabeth M. & David M. Nathaniel White Susan & Michael Furman Bennette Kramer & Eliot Long Kissinger Sherman Susan Whiting & Bruce Treacy & Todd Gaffney Kenneth & Susan Kramer Consulate General of The Melanie & Joseph Shugart Duane McLaughlin & The Krumholz Foundation Netherlands in New York Elizabeth Sidamon-Eristoff Van Dusen M. Salomé Galib Roberta Krumholz Jean-Gabriel Neukomm & Hunter Lewis Tyler Whitmer Al Garner Liz & George Krupp Nonesuch Records Larry & Ashley Silverman Earl Wilcox Peter Gee Rocco & Deborah Landesman Marguerite Nougué-Sans John & Helen Simonson Barbara Wilks Lynda & Marvin Geller Drs. John & Judie LaRosa Tiffany Nowell Leslie Simpson Candace Williams Dr. Peter L. Geller Andrew Lazarow & Rachel James C. & Marie Nugent- Holle Singer Ashley Winton Andra Georges & Timothy Routh Head Marlas Loren & Marlene Skeist Ross Wisnewski C. Shepard Matthew & Sabrina Leblanc Daniel & Rebecca Okrent Johanna Skrzypczyk & Thomas & Sarah Liz Gerring & Kirk Radke Abdul-Rahman Lediju & Barry Michael Okun Emmanuel Gastard Wisniewski Patricia Gift Angela Nurse-Lediju Roger W. Oliver Elaine Sloan Devera Witkin Katharine Gilbert Janice Lee Peter Darrell & Jane Ormerod Annette Smith Doug Wolff Anne Gilchrist Lisa Lee Kathleen Owens Pamela Smith Dr. Elizabeth Wolff Gregory F. Gilmartin Sue Lehmann Ilana Pachter & William Wynn Matthew Patrick Smyth Rachel Wood & Scott Olsen Lauren C. Glant & Michael Richard Levy & Lorraine Meredith Palmer Susan Snodgrass Fred Wright J. Gillespie Gallard Cheryl Paradis & Gene Kenneth Soehner Aamir Wyne Esq. June Goldberg Jeffrey Lewis & Karin McCullough James Sollins Michael Young & Debra Susan Goldberg & Simon Liu Miller-Lewis Gwenevere Parker Andrew P. Solomon & Raskin Roanne Goldfein Keisha A. Lightbourne Estelle Parsons Elizabeth Bartman The Zeitz Foundation Elaine Goldman Chamberlain & Mathieu Kirk & Sue Patrick Richard & Mimi Somerby Jory Zimmerman Amy Kern & John M. S. Chamberlain Robert H. Pees Sarah & R. Sorenson Frank & Arrien Zinghini Goldsmith Emma Lindsay Bill & Patty Dugan Perlmuth Melissa Schiff Soros Anonymous (8) I. Michael Goodman & Simon Lipskar & Kate Amy Perry Annaliese Soros Judith Uman Zuckerman Alexandra & Frederick Peters Ellen Sorrin July 23, 2015 David & Elaine Gould Keith Lloyd Christopher Petescia & Beth Dr. Rogelio Sosnik & Dr. Jane & Jean-Marie Grenier Cary Lochtenberg & Jan Petescia Irene Cairo Bill Grogan Lochtenberg Antonia Pew André Spears & Anne Rosen David Gruber Rachel Loeb & Zachary Block Andrew Pinkowitz & Mary David Spears Amy & Ronald Guttman Randy Lott Pinkowitz Joseph Spiegel

BAM greatly appreciates all contributions in support of our work. We apologize for any inaccuracies. Please contact the Development Department at [email protected] with any corrections. BAM Board

Brooklyn Academy of Music Cheryl Della Rosa Alberto Sanchez Mary Kantor Dinyar S. Devitre Timothy Sebunya John Lipsky Chairman of the Board Beth Rudin DeWoody Bartholomew A. Sheehan III Laurie Mallet Alan H. Fishman Mark Diker Jessica Smith Cathy-Ann Martine-Dolecki Andre Dua Brian Stafford David L. Ramsay, M.D., M.Ed. Vice Chairmen of the Board Brendan J. Dugan Axel Stawski Elaine Weinstein William I. Campbell Thérèse Esperdy Joseph A. Stern Hon. Franklin R. Weissberg Adam E. Max Teri Everett Pedro J. Torres Vaughn C. Williams, Esq. Mallory Factor John L. Usdan President Richard E. Feldman, Esq. Brigitte Vosse BAM Endowment Trust Chair Katy Clark Steven G. Felsher Nora Ann Wallace Timothy J. Ingrassia Jeanne Donovan Fisher Veronica Westberg Secretary Barry M. Fox Adam Wolfensohn Vice Chair Joseph V. Melillo MaryAnne Gilmartin Claire Wood Gabriel Pizzi Robert M. Greenberg Andrew Zolli Treasurer G. Penn Holsenbeck Treasurer James I. McLaren Anne Hubbard Ex Officio Keith Stubblefield Mark H. Jackson Gina Argento Presidents Emeriti Daniel A. Klores Lori Luis Members Karen Brooks Hopkins Philippe Krakowsky Laura Popa William A. Douglass III Harvey Lichtenstein Edgar A. Lampert Steven G. Felsher Gary Lynch Chairmen Emeriti Elizabeth Holtzman Members Patricia E. Michels Neil D. Chrisman James I. McLaren Tony Bechara Ahrin Mishan Seth S. Faison Norman L. Peck Fran Bermanzohn Donald R. Mullen Jr. Bruce C. Ratner Alberto Sanchez Gordon Bowen William A. Perlmuth Timothy Sebunya Linda Chinn David L. Picket Honorary Trustees R. Edward Spilka Henry Christensen III Frances A. Resheske Robert L. Forbes Nora Ann Wallace Pamela A. Codispoti Sarah C. Robertson Charles J. Hamm Henry Christensen III, Ex Officio Dr. Rudolph F. Crew Jonathan F.P. Rose Barbara B. Haws, C.A. Thérèse Esperdy, Ex Officio David E.R. Dangoor Anna Kuzmik Sampas William Josephson Alan H. Fishman, Ex Officio

BAM Staff

Katy Clark, President Evelyn Shunaman, Processing John Manderbach, Head Marlon Desouza, Kevin Lemon, Joseph V. Melillo, Executive Archivists Electrician, HT Teonia Smith, Andel Thomas, Producer Jan Carr, Digital Content Writer Edward Donohue, Master of Michael Whyte, Attendant Guards Alice Bernstein, Executive Vice Anita Goss, Volunteer Librarian Properties, HT President Regina Carra, Christina Kennedy, Alison Dabdoub, Sound Engineer, HT CUSTODIAL SERVICES Stephanie S. Hughley, Vice Ivonne Paredes, Anika Paris, Jarin Oscar Gruchalski, Utility Man Ramon Cabassa, Custodial Supervisor President of Education, Schexnider, Mark Toepfer, Rebecca Richard Wurzbach, Utility Man Yossess Allen, Allan Boyce, Ludlow Humanities, Cinema & Cinématek Walsh, Kendra Williams, Interns Ginger Blake, Wardrobe Supervisor Chamberlain, Isaias Flores, Mayra John Lanasa, Vice President of Larysa McKenna, Volunteer Guillen, Ron Rathan, Akeon Thomas, Marketing & Communications ARTIST SERVICES Custodians Riccardo Salmona, Vice President GENERAL MANAGEMENT Mary Reilly, Director of Artist Services for Institutional Advancement Patrick J. Scully, General Manager Stacey Dinner, Artist Services Manager DEVELOPMENT Keith Stubblefield, Chief Financial Sara Danielsen, Assoc. General Jeannine Baca, Britney Polites, Lucile Hecht, Administrative Asst. Officer and Vice residentP of Manager, Fisher Building Artist Services Representatives to Vice President for Institutional Finance & Administration Carrie W. Reynolds, Assoc. General Sarah Silverblatt-Buser, Fisher Artist Advancement Manager Services Representative PRESIDENT’S OFFICE Liz Zieminski, GM Budget Manager BOARD RELATIONS & ENDOWMENT Michael Doyle, Administrative Jaclyn Bouton, Senior Project THEATER MANAGEMENT Denis Azaro, Board Relations & Coordinator Manager Christine M. Gruder, Theater Manager Endowment Director Liana Agredo, Jessie Fairbanks, John L. Jones, Assoc. Theater Alexandra Biss, Manager of Board ARTISTIC PROGRAMMING Project Managers Manager Relations Stonie Darling, Department Manager Chris Mode, GM Coordinator, Sonia Clayton, Jacqueline David, Ross Marshall, Manager of Artistic Budgets & Contracts Leroy Houston, Theater Staff CORPORATE RELATIONS & Planning Samuel Denitz, Admin. Asst. & Supervisors SPONSORSHIP Juan Pablo Siles, Programming BAMshop Liaison Chantal Bernard, Director of Intern Denis Horan, Intern BUILDING OPERATIONS Corporate Relations Cameron Christensen, Director of Ashley Jacobson, Senior Corporate PROGRAMS & CURATORIAL PRODUCTION Building Operations Relations Manager Nick Schwartz-Hall, Line Producer Neil Kutner, Director of Production Rohan Bhasin, Facilities Manager Elizabeth Sarkady, Business Amy Cassello, Assoc. Producer, Collin Costa, Dylan Nachand, Wendy Berot, Project Manager Development Manager Next Wave Festival Assoc. Production Managers Summer Krounbi, Building Rebecca Carew, Corporate Darrell M. McNeill, Assoc. Producer, Paul Bartlett, Ryan Gastelum, Operations Coordinator Sponsorship Manager Music Jennifer Grutza, Elizabeth Moreau, Markee Glover, Mailroom Clerk Katerina Patouri, Sponsorship Asst. Rachel Katwan, Asst. Line Producer Brian Sciarra, Production Robyn Goldstein, Mailroom Asst. R. Michael Blanco, DanceMotion Supervisors Kevin Cecil, Building INDIVIDUAL GIVING USASM, Project Director Danielle Colburn, Laura Williams, Operations Asst. Barbara Cummings, Director of Ashley Yergens, DanceMotion Palmer Johnston, Production Elaine Colon, Jean Smith, Building Development USASM, Project Coordinator Coordinators Services Assoc. William Lynch, Director of Paige Haroldson, DanceMotion Heli Soell, Admin. Coordinator Steve McDowell, Auxiliary Technician Leadership Gifts USASM, Project Asst. Violaine Crespin, Lynn Koek, Interns Glenn Alan Stiskal, Director of Jason Collins, DanceMotion BUILDING MAINTENANCE Major Gifts USASM Intern STAGE CREW Anthony Shields, Maintenance Gwendolyn Dunaif, Assoc. Danny Kapilian, Producer, R&B Thomas Paulucci, Crew Chief Supervisor Director, Major Gifts & Patron Festival, MetroTech Cyrus Similly, Head Carpenter, OH Daniel Curato, Calvin Brackett, Programs Steven Serafin, Special Consultant Paul McManus, Asst. Carpenter/ Ronald Hunter, Maintainers Richard Serrano, Research Manager & Editor, BAM: The Complete Flyman, OH Carl Blango, Asst. Maintainer Ben Lasser, Manager, Patron Program Works James D’Adamo, Head Electrician,OH Travis Calvert, Project Coordinator, Amy Domjan, Asst. Electrician, OH SECURITY Major Gifts ARCHIVES Nicholas Varacalli, Master of Chris Thompson, Security Manager Sharon Lehner, Director of Archives Properties, OH Melvin Patterson, Manuel Taveras, INSTITUTIONAL GIVING Sarah Gentile, Digital Project Archivist Marc Putz, Sound Engineer, OH Supervising Attendant Guards Clemente Luna, Director of Louie Fleck, Archives Manager James Kehoe, Head Carpenter, HT Kenneth Aguillera, Collie Dean, Institutional Giving Bree Midavaine, Mary Rhymer, Joseph Werner III, Asst. Carpenter, HT Senior Attendant Guards BAM Staff

Kailin Husayko, Semra Ercin, Malcolm Jackson, Education DIGITAL MEDIA AND PROJECT Douglas Fischer, Fiscal Coordinator Institutional Giving Managers Program Intern MANAGEMENT Yusuf Siddiquee, Fiscal Asst. Stephanie Caragliano, Institutional Nora Tjossem, Education Events Aaron Weibel, Manager of Web Giving Coordinator Intern Production GOVERNMENT & COMMUNITY Rebecca Russell, Intern Jamie Kraus, Nancy Chow, Digital AFFAIRS HUMANITIES Media Coordinators Tamara McCaw, Director of MEMBERSHIP Violaine Huisman, Director of Josephine Llorente, Digital Govt. & Community Affairs Katherine King, Director of Humanities Production Asst. Dewonnie Frederick, Community Membership Programs Molly Silberberg, Humanities Casey Cleverly, Creative Services Affairs & Bazaar Manager Sarah Mischner, Membership Manager Project Manager Ilex Bien-Aime, Govt. & Manager Community Affairs Coordinator Bruce Smolanoff, Telefund LEAD INSTRUCTORS MARKETING Manager Joshua Cabat, Young Film Critics Shannon Lacek, Director of HUMAN RESOURCES Cheryl-Lyn Miller, Membership Samara Gaev, Arts & Justice Marketing Seth Azizollahoff, Director of Coordinator Michael LoMonico, Shakespeare Raphaele de Boisblanc, Senior Human Resources Kate Rakowski, Telefund Assistant Teaches Teachers Marketing Manager Cynthia Smith, Payroll Manager Shannon Alexander, Jessica Jenny Rocha, Dancing into the Andrew Chan, Melanie Cherry, Samara Alexander, Recruiter Benton, Allison Bodwell, Future Allison Kadin, Marketing Alexis Boehmler, Human Stéphanie De Latour, Justin Gray, Pat Hall, BAM/Restoration Managers Resources Coordinator Kimberly Howard, Samantha DanceAfrica Coordinator Rhea Daniels, Marketing Naila Mahmood, Benefits & HR Inniss, Melissa Krzywicki, Emilie Coordinator Coordinator McDonald, Joe Mulligan, Adrienne TEACHING ARTISTS Laura Scholl, Marketing Operations Reynolds, Amanda Wilder, Sarah Abrams, Sékou Alájé, Manager INFORMATION TECHNOLOGY Membership Representatives Jennifer Armas, Brigitte Barnett- Britt Aronovich, Marketing William Allen Lee III, Director of Loftis, Rebecca Bliss, Melissa Revenue Manager Information Technology PATRON SERVICES Brown, Mahogany Browne, Catherine Charnov, Marketing Asst. Thomas Brown, Tessitura Ramzi Awn, Director of Patron Chia-Ti Chiu, Darian Dauchan, Business Manager Services Harris Eisenstadt, Imani Faye, AUDIENCE DEVELOPMENT & Ira Sibulkin, Assoc. Director of IT Michael Kendrick, Manager of Kimani Fowlin, Ana Garcia, Glenn STRATEGIC PLANNING Timothy Assam, Systems Patron Services & Donor Gordon, Ingrid Gordon, Rachael Molly Meloy, Director of Audience Administrator Relations Holmes, Mel House, Albert Development & Strategic Svetlana Mikhalevskaya, Database Jessica Hindle, Patron Services Iturregui-Elias, Gwendolyn Kelso, Planning Developer Coordinator Nicole Kempskie, Abigail Levine, Joaquin Esteva, Advertising Jason Q. Minnis, IT Project Alexander Jofe, Annie Steingold, Spencer Lott, Farai Malianga, Manager Manager Patron Services Assts. Hector Morales, Michael Mullen, Claire Frisbie, Content Marketing Matthew Taylor, Andrei Iliescu, Kwesi Nkroma, Devin Norik, Manager Web Developers PLANNED GIVING Gene Osborne, Pamela Patrick, Nathan Gould, Marketing Manager, Jersy Rodriguez, Technical Stephanie Franco, Director of Drew Petersen, Korey Phillips, Development Support Manager Planned Giving Katie Issel Pitre, Mike Ramsey, Chris Tyler, Content Marketing Asst. Susan Bishop, Admin. Coordinator Gwenyth Reitz, Najee Ritter, Victor Sharlene Chiu, Customer Loyalty & Lucas Austin, Junior Desktop SPECIAL EVENTS Sanchez, Jen Shirley, Robby Strategy Manager Analyst Margaret Breed, Director of Stamper, Rohiatou Siby, Keomi Special Events Tarver, Karen Thornton-Daniels, TICKET SERVICES PROJECT MANAGEMENT Grace Eubank, James Vause, Leese Walker, Adia Whitaker, Todd G. Scott Kubovsak, Director of Jeremy Dewey, Director, Project Paloma Wake, Special Events Woodard Ticket Services Management & Strategic Managers Russell Grier, First Asst. Treasurer Planning SUMMER ASSISTANTS Victor Jouvert, Kevin McLoughlin, Marissa Angelucci, MBA Intern VISUAL ART Jenna Boscoe, Alejandra Duque Charlie Dolce, Asst. Treasurers Holly Shen, Curator of Visual Arts Cifuentes, Heather Janneck, Royda C. Venture, Ticket Services Mary Gordanier, Visual Arts John Meyer Manager Audience Research & Analysis Coordinator Georgina Richardson, Customer George A. Wachtel MARKETING & Care Manager EDUCATION & HUMANITIES & COMMUNICATIONS Latasha McNeil, Asst. Manager Bookseller BAMCINÉMATEK COMMUNICATIONS Ryan Mauldin, Senior Ticket Greenlight Bookstore Shana Parker, Director of Sandy Sawotka, Director of Services Representative Operations for E&H Communications Saul Almiachev, Anaïs Blin, Louisa European Production Jennifer Leeson, Operations Sarah Garvey, Assoc. Director de Butts, Justin Dash, Dominique Representative Manager for E&H of Publicity Delgado, Evan Dice, Robert On Tour Ltd., Roger Chapman Jackie Katz, Education Assoc. Susan Yung, Senior Editorial Ebanks, Miranda Gauvin, Joya

Victoria Collado, Education Asst. Manager Harris, Sophie McNeill, Warren Film Buyer Rebekah Gordon, Admin. Adriana Leshko, Senior Publicity Ng, Elsie Pacella, Edward Raube- Adam Birnbaum Coordinator Manager Wilson, Tara Ricasa, Shanice David Hsieh, Publicity Manager Tulley, Noel Vega, Jimmy Weaver, Immigration Counsel BAM ROSE CINEMAS Christian Barclay, Baha Althea Wilkinson, Ticket Services Jonathan Ginsburg, Fettman, Efi Shahar, Cinema Executive Ebrahimzadeh, Christina Representatives Tolchin and Majors, PC Manager Norris, Publicists Michael Katz, Projectionist James Sutton, Publications Asst. FINANCE & ADMINISTRATION Insurance Broker Adam Goldberg, Asst. Manager Hannah Thomas, Press & CAPITAL PROJECTS Dewitt Stern Andreea Drogeanu, Brente Kelly, Marketing Assoc. Jonathan Jones, Director, Capital Davina Roberts, Anthony Projects Medical Consultants Shields Jr., Head Floor Staff CREATIVE Matthew Baclini, Capital Projects Ahmar Butt, MD Andrew Sloat, Creative Director Analyst Anders Cohen, MD BAMCINÉMATEK Patrick Morin, Assoc. Director Laura Grady, Capital Projects Gabriele Caroti, Director of Design Manager Restaurateur Nellie Killian, David Reilly, Ryan Rowlett, Senior Interactive Great Performances Programmers Designer FINANCE & ADMINISTRATION Jesse Trussell, Programming Asst. Katie Positerry, Interactive Ellen Leszynski, Project Ryan Werner, Programmer at Designer Manager Sep 15, 2015 Large Kyle Richardson, Designer Benjamin Cohen, Assoc. Director FINANCE EDUCATION of Video Kozue Oshiro, Controller Steven McIntosh, Director of Ben Katz, Video Production Tameka White, Asst. Controller Education & Family Programs Manager Claudia Bailey, Budget Manager John P. Tighe, Asst. Director of Alexander Guns, Video Editor Brian Gee, Accounting Assoc. Education Jenny Choi, Publications Manager David McCullough, Budget Eveline Chang, Mikal Lee, Seán McKeithan, Robert Wood, Coordinator Verushka Wray, Program Copywriters Seon Gomez, Staff Accountant Managers Iman Bance, Accounting Asst. Cathleen Plazas, Program Adam Sachs, Fiscal Manager Coordinator