OCT 18—19 The Second Woman A SEASON OF BAM DEBUTS

Season Sponsor: BAM Next Wave 2019

Brooklyn Academy of Music

Adam E. Max, BAM Board Chair Katy Clark, President

William I. Campbell and Nora Ann Wallace, David Binder, Artistic Director BAM Board Vice Chairs

The Second Woman

Created by Nat Randall and Anna Breckon

BAM Fishman Space Oct 18 at 5pm

Running time: approx. 24 hours

Written and directed by Anna Breckon and Nat Randall Performed by Alia Shawkat Video direction by EO Gill & Anna Breckon Lighting design by Amber Silk & Kayla Burrett Sound design by Nina Buchanan Set design by FUTURE METHOD STUDIO Hair and makeup design by Sophie Roberts

Season Sponsor:

Leadership support for BAM Access Programs provided by the Jerome L. Greene Foundation

Leadership support for theater at BAM provided by The SHS Foundation and The Shubert Foundation, Inc. v

Directors’ Note The Second Woman Photo: Heidrun Lohr

The Second Woman takes as its starting point the idea that emotions and identities are culturally and historically specific, and that gender identities are defined by, and produced through, emotional cultures and norms. Taking gender, as a particular relation to cultural power and privilege, as its focus, The Second Woman explores the ways in which gender privilege and power expresses itself through feeling. The Second Woman began as a small self-funded project. It was a high-risk endeavor as, although we could test the work with multiple partici- pants, we couldn’t test the durational aspect of the show. There is no way to rehearse a 24-hour production that relies on audience and participants. With so many variables and unknowns, we went into our second perfor- mance with an equal amount of dread. While the format had worked in a particular way once, we had no idea how a change in cultural context—in this case a different city and festival—would impact the work. This is because The Second Woman doesn’t exist prior to its coming into being in the moment of its presentation. It is created each time by bringing together a series of contingent elements that can be curated and managed but never completely controlled. This is what makes the show vulnerable to failure; it is also what makes it dynamic, live, and full of possibility. The Second Woman is made by a female-identifying and non-binary crew. Behind the scenes, we have four camera operators, two vision switch- ers, two sound operators, two stage managers, and two man wranglers. While we run training and offer guidelines prior to the show, this crew works v

The Second Woman

to make representational decisions moment to moment. This ensures that female and non-binary ways of looking and modes of feeling hold the show together. The sourcing of local crew also means that the ways of looking that collectively structure the representation is of the place. After three iterations of the show in Australia, we were invited to do a performance at the opening of Weiwuying: The National Kaohsiung Center for the Arts. This introduced an additional set of variables. It was unknown how Taiwanese participants would engage with the material and if the form of the show would hold up in this very different cultural context. For this first international iteration, we introduced the idea of finding a local per- former for each international presentation. Zhu Zhi-Ying was the performer assisted by Hsu A-Wing as co-director of performance. We are immensely grateful to Weiwuying—in particular Emma Liao and Kathy Hong—and Zhi-Ying for taking the risk to create with us a specifically Taiwanese version of this project. Our decision to find a local performer in predominantly English speaking countries is based on the fact that much of The Second Woman’s political and emotional potency resides in the show’s ability to demonstrate the sub- tle ways in which gender power hierarchies operate at the level of everyday emotional experience and ordinary social interaction. The capacity for The Second Woman to do this depends on the onstage dynamic accurately expressing local gender relations in their cultural specificity and complexity. We thought of Alia Shawkat as the ideal performer for this premiere in New York. We feel she is a very open performer, a risk-taker, and has amazing comic timing. She is strong, resilient, smart and has a queer and feminist sensibility. For us, this was very important as it is Alia who will pro- vide the primary anchoring look of the show. In The Second Woman, it is through the perception of the performer that we are able to make ideological and emotional sense of gendered interactions on stage. We would like to thank David Binder for the invitation to present at BAM; Alia Shawkat for taking on the immense task of performing live for 24 hours; the local crew and participants for making this iteration of the show unique to New York City; a special thanks to Anne Davison; our core creative team from Australia; and our producers at Performing Lines.

—Anna Breckon & Nat Randall

American Stage Managers Hannah Woodward, Jenna Lazar

Alia Shawkat is appearing with the permission of Actors’ Equity Association. The American Stage Managers are members of Actors’ Equity Association.

Produced by Performing Lines Who’s Who Who’s Who

in a US Narrative Feature Film. Additional TV EO GILL (lead camera, video direction) is a credits include: the Emmy nominated show Sydney-based artist whose moving-image Drunk History, IFC’s Portlandia, Comedy practice interrogates gender, class-politics, and Central’s Broad City, and HBO’s Getting On. intimacy. Gill has installed and presented work extensively, most recently at Artspace, Alaska Photo: Carlota Guerrero NAT RANDALL (co-writer, co-director, Projects, Campbelltown Arts Centre, Museum performer) is an artist working at the for Contemporary Art, and Performance Space intersection of performance, video, and and has completed residencies with Banff Centre film. Randall has presented work at major for Creativity, Canada; National Film & Sound institutions, galleries, and festivals nationally Archive in Canberra; NES Residency, Iceland; and internationally. In 2019 Randall and and Bundanon Trust, NSW. Gill graduated with collaborator Anna Breckon and Performing a BA (Honours Class 1) from University of New Lines were nominated for a Helpmann South Wales in 2013 and an MFA at UNSW Award for Best Production of a Play for their Art & Design in 2018 supported by an APA critically acclaimed The Second Woman. Scholarship. Gill was on the 2016—17 board of Randall is also a founding member of art directors at Firstdraft and is a core and founding collective Hissy Fit and performance collective member of art collective Hissy Fit. In 2018 Gill Team MESS. Through these collaborations was the recipient of the Create NSW Visual Arts she has presented work extensively across (Emerging) Fellowship. Australia. Randall studied at the University of ALIA SHAWKAT stars in TBS’ breakout Wollongong where she developed a breadth of NINA BUCHANAN (music composition) is a hit genre-bending mystery comedy Search performance practice including devised work, musician and composer based in Melbourne, Party. The LA Times raved “It’s Shawkat, site-specific practice, and participatory work. Australia. Her work spans synth and keyboard with her non-standard corkscrew hair and music, experimental dance music, and glorious profusion of freckles, who drives the ANNA BRECKON (co-writer, co-director, ambient electronic music for the club, screen, show, bringing an intensity into Dory’s most video direction) is an independent artist, film performance, dance, and theater works. She unfocused, unsure moments.” Well known for studies scholar, and critic. In 2018 Breckon has collaborated with numerous artists on her role of “Maeby Fünke” on FOX’s Emmy completed her PhD in queer and feminist works which have traveled to festivals including Award-winning cult comedy series Arrested film theory at the University of Sydney. Her Dark Mofo, Next Wave (Melbourne), Frameline Development, Shawkat recently reprised the thesis considered queer forms of happiness San Francisco, MIX NYC Queer Experimental role with all new episodes for Netflix. She in a selection of contemporary auteur films. Film Festival, Xposed Berlin, and Outfest LA. played a prominent role in the fourth season She has published on John Waters (2013) Buchanan has released music on labels Nice of Jill Soloway’s critically acclaimed Amazon and Todd Solondz (2018) in Screen (Oxford Music and Paradise Daily Records and performs series, Transparent, and will return for the University Press). In 2010, Breckon received live as a solo artist, as well as with bands Video show’s two-hour series finale. Shawkat’s film a master of arts in film, TV and media Ezy, UTI, and Hardata. She produces and hosts career began at the age of 11 with her feature studies on the films of John Waters from the Sweet Dreams on 3CR Community Radio. debut as a young Iraqi child in Three Kings University of Auckland. Over the last five years, opposite George Clooney. She’s been seen in she has worked as a director, editor, and AMBER SILK (lighting design) is a lighting a slew of anticipated film projects including writer for projects presented at the Museum designer and production manager who has 20th Century Women, Paint It Black, Netflix’s of Contemporary Art, Performance Space, worked across many forms including small and Original Film Pee-Wee’s Big Holiday, Green Dark Mofo, Perth Festival, Adelaide Festival, large-scale outdoor events, site-specific work, Room, and Whip It. Shawkat most recently Weiwuying: National Kaohsiung Center for the and multidisciplinary projects. Until recently starred in the 2019 drama Animals and Arts, Harbourfront Centre, and the Australian she was the venue and technical supervisor at served as lead actress, co-writer, and executive Centre for Contemporary Art. In 2018, producer in the independent drama Duck Breckon co-created, co-wrote, and directed Butter, which premiered at the Tribeca Film a 90-minute video work Rear View for the Festival where she was awarded Best Actress Australian Centre for Contemporary Art. Who’s Who

EO GILL (lead camera, video direction) is a PACT Centre for Emerging Artists and has been Sydney-based artist whose moving-image employed by prominent organizations such practice interrogates gender, class-politics, and as Urban Theatre Projects, Japan Foundation, intimacy. Gill has installed and presented work Oxfam Australia, the Sydney Gay and Lesbian extensively, most recently at Artspace, Alaska Mardi Gras Official After Party, Island Vibe Projects, Campbelltown Arts Centre, Museum Festival, Share the Spirit Festival, Quandamooka for Contemporary Art, and Performance Space Festival, Bankstown Arts Centre, and Blacktown and has completed residencies with Banff Centre Arts Centre. This year she was the lighting for Creativity, Canada; National Film & Sound designer for Black Birds at The Joan, MCA Archive in Canberra; NES Residency, Iceland; Artbar, curated by Latai Taumoepeau and The and Bundanon Trust, NSW. Gill graduated with Second Woman at Dark Mofo. Silk is most a BA (Honours Class 1) from University of New passionate about making and contributing to South Wales in 2013 and an MFA at UNSW work that seeks to engage communities to Art & Design in 2018 supported by an APA interrogate existing cultural prejudices and affect Scholarship. Gill was on the 2016—17 board of positive social change. directors at Firstdraft and is a core and founding member of art collective Hissy Fit. In 2018 Gill KAYLA BURRETT (co-lighting designer/head was the recipient of the Create NSW Visual Arts electrician) is a Sydney-based lighting designer (Emerging) Fellowship. and head electrician. Her previous roles include for Sydney Theatre Company—production NINA BUCHANAN (music composition) is a electrician, The Real Thing; head electrician, musician and composer based in Melbourne, Accidental Death of an Anarchist. For Australian Australia. Her work spans synth and keyboard Ballet—head follow spot operator, Sleeping music, experimental dance music, and Beauty and Alice’s Adventures in Wonderland, ambient electronic music for the club, screen, Dome A follow spot operator, China Tour 2018. performance, dance, and theater works. She For Performing Lines: co-lighting designer/head has collaborated with numerous artists on electrician, The Second Woman (Taiwan and works which have traveled to festivals including Canada tours). Dark Mofo, Next Wave (Melbourne), Frameline San Francisco, MIX NYC Queer Experimental GENEVIEVE MURRAY // FUTURE METHOD Film Festival, Xposed Berlin, and Outfest LA. STUDIO (set design) Buchanan has released music on labels Nice Future Method is a research and design studio Music and Paradise Daily Records and performs that actively questions and pushes the line live as a solo artist, as well as with bands Video between the practical and the abstract. Founded Ezy, UTI, and Hardata. She produces and hosts by Genevieve Murray in 2013, Future Method Sweet Dreams on 3CR Community Radio. works collaboratively with creatives and academics who form their praxis in-between AMBER SILK (lighting design) is a lighting established notions of contemporary architecture designer and production manager who has and art—seeking to extend and enrich the field worked across many forms including small and of interdisciplinarity and collective culture and large-scale outdoor events, site-specific work, push them into the public domain. and multidisciplinary projects. Until recently she was the venue and technical supervisor at Photo: Heidrun Lohr

Who’s Who FROM THE WRITER AND DIRECTOR OF YERMA

SOPHIE ROBERTS (hair and makeup design) is JENNA R. LAZAR (stage manager) a Sydney-based hair and makeup design artist Productions include: We Are the Tigers (Theatre with over 20 years experience working across 80); safeword. (ATA); Summer Shorts (nine fashion, art, music, and celebrity. Collaborating seasons—59E59); The Mad Ones (59E59); The with internationally renowned photographers Drawer Boy (Soho Playhouse); Found (The Cell); including Lachlan Bailey, Bibi Cornejo Borthwick, Next to Normal—A Benefit Concert (QOD); New ROSE BYRNE BOBBY CANNAVALE Jackie Nickerson, and Emma Summerton, she Haven International Festival of Arts and Ideas; regularly contributes to Australian Vogue and Goodbody (59E59); Paint Made Flesh (The Harper’s Bazaar, with her work also featuring in Cell); Halcyon Days (Oberon Theatre Ensemble); Holiday, WSJ, RUSSH, and Porter magazines. Order (dir. Austin Pendleton); American Rapture Her contributions extend to hair direction for (dir. Alexander Dinelaris); and Hamlet. Lazar is London, New York, and Australian fashion also the managing director of Planet Connections weeks. Within the visual and performing arts, and a proud member of AEA. Roberts has collaborated on projects with artists including The Kingpins, Técha Noble, Barbara PERFORMING LINES produces provocative Cleveland with Mike Parr, and Hissy Fit. https:// contemporary performance by Australia’s most artist-group.net/people/sophie-roberts audacious independent artists. It curates a portfolio of work that is propelled by pressing HANNAH WOODWARD (stage manager) questions and new ways of seeing the world. Broadway: Be More Chill. Off-Broadway: Our Performing Lines champions the unconventional, Dear Dead Drug Lord (WP/2ST), Jersey Boys the marginal, the rebellious, and the new. Its (New World Stages), Harry Clarke (Minetta purpose is to champion risk and to ensure Lane), The Government Inspector (Red Bull that the breadth and plurality of Australia’s Theater), The Moors (Playwright’s Realm), The creative potential is represented and celebrated. Woodsman (New World Stages), Homos, or Performing Lines is led by Executive Producer Everyone in America and Nice Girl (Labyrinth), Marion Potts, with teams in Sydney, Perth, The Absolute Brightness of Leonard Pelkey and Hobart and a network of producers and (Westside Downstairs, National Tour), Buyer & presenters around the country and the world. In Cellar (Rattlestick, Barrow Street, national tour). everything it does, it acknowledges that it lives Regional: McCarter Theatre, Two River Theater, on Aboriginal land and constantly learns from Pennsylvania Shakespeare Festival, Shakespeare the wisdom of its First Peoples. Where it is, and Theatre of New Jersey. the history that precedes it, informs how the company works and moves forward. http://performinglines.org.au

WRITTEN AND DIRECTED BY

SIMON STONE Photo: Caitlin Cronenberg Please Note

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JENNA R. LAZAR (stage manager) Productions include: We Are the Tigers (Theatre 80); safeword. (ATA); Summer Shorts (nine seasons—59E59); The Mad Ones (59E59); The Drawer Boy (Soho Playhouse); Found (The Cell); Next to Normal—A Benefit Concert (QOD); New ROSE BYRNE BOBBY CANNAVALE Haven International Festival of Arts and Ideas; Goodbody (59E59); Paint Made Flesh (The Cell); Halcyon Days (Oberon Theatre Ensemble); Order (dir. Austin Pendleton); American Rapture (dir. Alexander Dinelaris); and Hamlet. Lazar is also the managing director of Planet Connections and a proud member of AEA.

PERFORMING LINES produces provocative contemporary performance by Australia’s most audacious independent artists. It curates a portfolio of work that is propelled by pressing questions and new ways of seeing the world. Performing Lines champions the unconventional, the marginal, the rebellious, and the new. Its purpose is to champion risk and to ensure that the breadth and plurality of Australia’s creative potential is represented and celebrated. Performing Lines is led by Executive Producer Marion Potts, with teams in Sydney, Perth, and Hobart and a network of producers and presenters around the country and the world. In everything it does, it acknowledges that it lives on Aboriginal land and constantly learns from the wisdom of its First Peoples. Where it is, and the history that precedes it, informs how the company works and moves forward. http://performinglines.org.au

WRITTEN AND DIRECTED BY

SIMON STONE Photo: Caitlin Cronenberg

STAY CONNECTED BAM.org SIX WEEKS ONLY! JAN 12—FEB 23 TICKETS ON SALE NOW BAMwifi_forBK @BAMstage PRODUCED BY BAM, INTERNATIONAAL THEATER AMSTERDAM, AND DAVID LAN @BAM_Brooklyn YouTube.com/BAMorg BAM.org/Medea 718.636.4100 SEASON SPONSOR: LEADERSHIP SUPPORT LEADERSHIP BAM.org/blog FOR BAM ACCESS SUPPORT FOR PROGRAMS PROVIDED BY THEATER AT BAM BAM®, Brooklyn Academy of MusicTM, Next Wave®, THE JEROME L. GREENE PROVIDED BY THE ® and Teknopolis are trademarks of Brooklyn FOUNDATION SHS FOUNDATION Academy of Music, Inc. © Brooklyn Academy of Music, Inc. 2019. Proud Partner of AND THE SHUBERT BAM Medea FOUNDATION, INC. BAM BY VIOLAINE HUISMAN

Salutes BAM ÉDOUARD LOUIS The interview focused on Édouard Louis’ BY VIOLAINE WAS SITTING very latest publication, Who Killed My Father, a HUISMAN straight, looking scathing attack on the French state’s neglect of deliberately into the the poor and contempt of the working class. In interviewer’s eyes. I a prose both passionate and clinical, he writes: was sitting next to “You belong to the category of humans whom him, on the other side of a two-tone couch— politics consigns to an early death.” part grey, part red. We were on the set of La Édouard Louis’ birth name is that of the Grande Librairie, a talk show about books, protagonist of his first novel: Eddy Bellegueule. broadcast live in hundreds of thousands of Like most anglophone names in France, often French homes weekly. borrowed from American pop culture, Eddy The show had brought together five writers sounds déclassé; Bellegueule literally means with books loosely about family. The other “pretty face.” In fact, Édouard Louis is very three authors were across a coffee table from good looking: fine features, a slender gait, Édouard and me, flanking the presenter, in piercing blue eyes. The name Édouard is as a club chair. The seating arrangement forced posh in French as it is in English. The End of us to lean in each time it was our turn to Eddy, about growing up poor and queer in a speak. There was a live audience, too, though depressed rural town, overwhelmingly racist it wasn’t the participatory kind. (If you’re and homophobic, tells the story of the abuse tempted to watch, the show is available on he suffered as a child and his escape from YouTube, in French.) his soul-crushing milieu. His journey started

Salutes

Strengthening Communities . Photo Tommy Ga-Ken Wan Ga-Ken of Eddy . Photo Tommy Kwaku Mills and Alex Austin, The End Kwaku Mills and Alex

THE END OF EDDY NOV 14—21| BAM FISHER PART OF A CELEBRATION OF ÉDOUARD LOUIS, WITH HISTORY OF VIOLENCE AT ST. ANN’S WAREHOUSE with acting, with theater and more broadly with Édouard, more or less. He invoked Jean-Paul literature as a portal to reinvention. Eddy went Sartre: In The Words, the philosopher writes on to attend the most prestigious schools in about the impossibility of speaking on behalf of France, to join the cultural elite; he went from the voiceless, and the moral obligation to have role-playing to becoming Édouard . their voice be heard. We understand you’ve read Édouard explained to the interviewer that in Sartre, said the TV presenter, but I’m asking you Who Killed My Father, he wanted to describe to speak from the heart. How do you, Édouard the impact of politics in a tangible way, through Louis, feel, deep down, about this inner conflict? his father’s story. A former factory worker, his Well, said Édouard, politely, deep down, I feel father was forced to return to work as a street the books I’ve read help me make sense of cleaner after his health collapsed. In this vitriolic, questions I find no simple answers to. pamphlet-like volume, Édouard Louis blames the As the words hung in the air, I turned to state for instituting an inhumane political system, the audience, noticing a woman I knew. We WE PROUDLY SUPPORT unjust and blind to workers’ physical suffering. exchanged smiles. A camera mounted on tracks He blames French politicians—calling them out moved past us. by name—for destroying his father’s body. He Becoming Édouard, for Eddy, has meant also comes to his father’s defense, after having contending with different versions of himself: BAM decried in stark, uncompromising language, how whether it is the tortured child he once was, the ashamed and resentful he was of his upbringing public figure he now is, or the stage adaptation in The End of Eddy. of his character. It takes courage and audacity to Everything The TV presenter, alternately reading from tells one’s story. It takes generosity to let others Matters his teleprompter and going off script, raised an own it, too. obvious contradiction: How is it to write about Violaine Huisman is a writer, translator, and independent curator the working class when you have become a based in Brooklyn. She is the co-founder of The Floor, a space bourgeois yourself? Well, it’s complicated, said which merges wellness with arts and civic engagement.

BAM_5.25x8.375_Bleed.indd 1 9/6/18 11:11 AM

Strengthening Communities . Photo Tommy Ga-Ken Wan Ga-Ken of Eddy . Photo Tommy Kwaku Mills and Alex Austin, The End Kwaku Mills and Alex

Édouard, more or less. He invoked Jean-Paul Sartre: In The Words, the philosopher writes about the impossibility of speaking on behalf of the voiceless, and the moral obligation to have their voice be heard. We understand you’ve read Sartre, said the TV presenter, but I’m asking you to speak from the heart. How do you, Édouard Louis, feel, deep down, about this inner conflict? Well, said Édouard, politely, deep down, I feel the books I’ve read help me make sense of questions I find no simple answers to. As the words hung in the air, I turned to the audience, noticing a woman I knew. We WE PROUDLY SUPPORT exchanged smiles. A camera mounted on tracks moved past us. Becoming Édouard, for Eddy, has meant contending with different versions of himself: BAM whether it is the tortured child he once was, the public figure he now is, or the stage adaptation of his character. It takes courage and audacity to Everything tells one’s story. It takes generosity to let others Matters own it, too.

Violaine Huisman is a writer, translator, and independent curator based in Brooklyn. She is the co-founder of The Floor, a space which merges wellness with arts and civic engagement.

BAM_5.25x8.375_Bleed.indd 1 9/6/18 11:11 AM Securing BAM’s Future Securing BAM’s Future

BAM Endowment A great institution is built upon on a secure future. At BAM, a robust endowment is the foundation for our adventurous programming and archival, community, and educational initiatives. BAM sincerely thanks those listed below for their generous support of the BAM Endowment. $5,000,000 and above Charles J. & Irene F. Hamm Ide & David Dangoor Richard B. Fisher & Jeanne Stephanie & Tim Ingrassia Thérèse M. Esperdy & Robert G. Donovan Fisher Maribelle & Stephen Leavitt Neborak The Howard Gilman Foundation Mary & Jim Ottaway Jr. in honor of Madison S. Finlay The Peter Jay Sharp Foundation Ruth Blackburne Ottaway Forest City Ratner Companies Lila Wallace-Reader’s Digest Rockefeller Brothers Fund Francena T. Harrison Performance Endowment Fund for Community, Jonathan F.P. & Diana V.C. Rose Fund Educational, & Public Affairs Martha A. & Robert S. Rubin Rita K. Hillman Programs Nora Ann Wallace & Jack Nusbaum HSBC Bank USA, N.A. Goldman Sachs Gives at the $1,000,000 to $4,999,999 $250,000 to $499,999 recommendation of Anne Hubbard Altria Group, Inc./Next Wave The Bohen Foundation & Harvey Schwartz Forward Fund The Charles & Valerie Diker Dance Richard Hulbert BAM Fund to Support Emerging Endowment Fund Independence Community Bank and Local Musicians The Horace W. Goldsmith Foundation Miriam Katowitz & Arthur Radin Brooklyn Community Foundation Michael Bancroft Goth Endowed Mr. & Mrs. Edgar A. Lampert The Campbell Family Foundation Annual Performance Fund Annie Leibovitz & Studio The Irene Diamond Fund William Randolph Hearst Leo Burnett, USA Doris Duke Charitable Foundation Endowment for Education and James McLaren & Lawton Fitt Emily H. Fisher Humanities Programs Sarah G. Miller & Frank L. Coulson Judith R. & Alan H. Fishman The Rita & Alex Hillman Foundation The Morgan Stanley Community The Ford Foundation Fund to Carole & Irwin Lainoff and Educational Fund Support Collaborative Creativity Maxwell Family Fund in Community J.P. Morgan & Co. Incorporated Among U.S. Artists Funds, Inc. Nash Family Foundation Diane & Adam E. Max The Jessica E. Smith and Kevin R. The Jerome Robbins Foundation, Inc. The Andrew W. Mellon Foundation Brine Charitable Trust May & Samuel Rudin Family Fund For Opera & Music-Theater The Geraldine Stutz Trust, Inc. Foundation Bruce C. Ratner Anonymous Edward Spilka William Boss Sandberg Axel Stawski & Galia Meiri The Peter Jay Sharp Fund for Opera $100,000 to $249,999 Mr. & Mrs. Ame Vennema and Theater Michael Bailkin, Marvin Levine, Verizon Communications The SHS Foundation Jesse Masyr, David Stadtmauer The Isak and Rose Weinman The Starr Foundation Robert & Joan Catell Fund for Foundation in honor of Madame The Thompson Family Foundation Education Programs Lilliana Teruzzi Charina Endowment Fund The Winston Foundation $500,000 to $999,999 Neil D. & Kathleen M. Chrisman Anonymous The Devitre Fund Mr. & Mrs. Henry Christensen III As of August, 2019

For more information on the BAM Endowment please contact Bill Kramer, Vice President for Development at 718.724.8261 or [email protected]. Securing BAM’s Future

BAM Endowment A great institution is built upon on a secure future. At BAM, a robust endowment is the foundation for Planned Giving our adventurous programming and archival, community, and educational initiatives. BAM sincerely You can help BAM prepare for the future by making a provision in your estate plans. In doing so, your thanks those listed below for their generous support of the BAM Endowment. legacy giving will support BAM programs and initiatives for many years to come. Options for planned giving include making a bequest in your will and naming BAM as a beneficiary in your retirement plan Ide & David Dangoor Thérèse M. Esperdy & Robert G. or insurance policy. We are deeply grateful to the partners below, our BAM Angels, who have made Neborak planned gifts to BAM. Madison S. Finlay Forest City Ratner Companies Francena T. Harrison Performance Fund Rita K. Hillman HSBC Bank USA, N.A. Goldman Sachs Gives at the recommendation of Anne Hubbard & Harvey Schwartz Richard Hulbert Independence Community Bank Miriam Katowitz & Arthur Radin Mr. & Mrs. Edgar A. Lampert Annie Leibovitz & Studio Leo Burnett, USA BAM Angels James McLaren & Lawton Fitt Anonymous (2) Miriam Katowitz & Arthur Radin David L. Ramsay, MD Sarah G. Miller & Frank L. Coulson Denis Azaro Charlotte & Stanley Kriegel William Boss Sandberg The Morgan Stanley Community Bettina Bancroft Edgar A. Lampert Louis Sanders and Educational Fund J.P. Morgan & Co. Incorporated Robert & Joan Catell Carol & Joel Levy Katherine Schrier Nash Family Foundation Neil D. Chrisman Harvey Lichtenstein Harriet L. Senz The Jerome Robbins Foundation, Inc. Mr. & Mrs. Henry Christensen III Phyllis Holbrook Lichtenstein Toni Mendez Shapiro May & Samuel Rudin Family Mallory Factor William Lynch Ellen & Sam Sporn Foundation Madison S. Finlay Hamish & Georgene M. Maxwell Bella F. Stoll Edward Spilka Axel Stawski & Galia Meiri Richard B. Fisher Scott C. McDonald Lynn M. Stirrup Mr. & Mrs. Ame Vennema Judith R. & Alan H. Fishman Joseph V. Melillo PaulaMarie Susi Verizon Communications Barry M. Fox Evelyn & Everett Ortner Grace Timberlake The Isak and Rose Weinman Rita Hillman Frank J. & Adeline Pannizzo Judge Franklin R. Weissberg Foundation in honor of Madame Barbara T. Hoffman William Winthrop Parsons Carol Yorke & Gerard Conn Lilliana Teruzzi Karen Brooks Hopkins Howard Pitsch The Winston Foundation Anonymous William Josephson Marie D. Powers

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For more information on the BAM Endowment please contact Bill Kramer, Vice President for Development at 718.724.8261 William Lynch, Director of Leadership Gifts at 718.636.4186 or [email protected]. All inquiries will or [email protected]. remain confidential. TBHC was founded in 1845 and BAM was founded in 1861. Together, we share more than 325 years of serving Brooklyn!

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Preferred Hotel Salutes

. The Great Tamer Photo: Julian Mommert

DIMITRIS the waist up, holding a dog to her breasts. BY JESS PAPAIOANNOU— Nearly beatific in her Mona Lisa repose atop BARBAGALLO CREATOR OF the poverty of an uneven cardboard floor, the The Great Tamer performer has often been witnessed naked in and other works of her shows, embellished by variously colored virtuosic dance-theater wigs, mud, glitter, and face paint. In the spectacle since 1986—employs nudity in frequency of her nudity, she has stripped the his live performances. Among other things. undressed state of its shock value. On the roof His stagecraft, in the lineage of Pina Bausch of her building, a male critic glibly wondered and Robert Wilson, could be described as after the necessity of her repeat antics—“didn’t anthropomorphic; he treats his sets like bodies Karen Finley already do this?”—inciting a too. Ideal in their beauty and mutant in their gentle argument that continued back down potential, his floors are always gamely ready the stairs. to be stripped. They keep coming undone, To presume that one naked body is every erupting in raised anomalies designed to naked body is the very height of a cool conceit. unmoor his dancers. I don’t normally conceive To risk individuating undressed bodies is to of stages as flesh, yet all metaphors point in reveal how idiosyncratic desire actually is. a woman pulls a clean white sheet over her this direction. In Papaioannou’s six-hour durational naked body. A shirtless man approaches a The last vivid memory I have of a nude work Inside (2011), set inside a room set window and looks “outside.” As I watch video body onstage was at a bastardized rendition of inside a theater in Athens, there are many documentation of the work, sedentary in my Antigone hosted by well-known dance theater/ nudes of more opaque personality than bed, I marvel at these specimens. Trapezius performance artist Ann Liv Young in her Young’s, figures simultaneously alone but muscles falling down backs make me want to Bushwick apartment. I entered the residence together in their aloneness; they make their run to a gym so that, over time, I may watch with my companion and a hip docent way through personal scores that accumulate my own body change in front of the mirror. instructed us that the performance would not in collisions of mysterious togetherness. The Or, if one dictum of spectatorship begin for 45 minutes, so we headed toward installation’s choreography is described as “a is mirroring: the roof to look at the setting sun. Passing simple series of actions, of humans returning I may walk in plain patterns over my floor. a room to our left, I saw Young naked from home.” These actions are familiar and banal: I may climb into bed with another

naked body. I may better sense the spectral traces that live in my architectures. . The Great Tamer Like a hotel room in a suburb of Paris where

Photo: Julian Mommert I suffer a week-long flu while performing a production of Endgame at a nearby theater. My costume is just linen yoga pants, transparent enough to expose my boxer briefs and occasional flashes of pubic hair, as I prostrate myself on white marley before my scene partner. I am shirtless in this production, my chest bearing the marks of a relatively recent top surgery. The director Tania Bruguera has said of my pale body, mottled by cystic acne and the patchiest

. The Great Tamer Photo: Julian Mommert

the waist up, holding a dog to her breasts. Nearly beatific in her Mona Lisa repose atop the poverty of an uneven cardboard floor, the performer has often been witnessed naked in her shows, embellished by variously colored wigs, mud, glitter, and face paint. In the frequency of her nudity, she has stripped the undressed state of its shock value. On the roof of her building, a male critic glibly wondered after the necessity of her repeat antics—“didn’t Karen Finley already do this?”—inciting a gentle argument that continued back down the stairs. THE GREAT TAMER To presume that one naked body is every NOV 14—17 naked body is the very height of a cool conceit. HOWARD GILMAN OPERA HOUSE To risk individuating undressed bodies is to reveal how idiosyncratic desire actually is. a woman pulls a clean white sheet over her beard: “You are like a sculpture.” Inside In Papaioannou’s six-hour durational naked body. A shirtless man approaches a Beckett’s cryptic text, I enjoy this sense of self work Inside (2011), set inside a room set window and looks “outside.” As I watch video that vacillates between animal and artwork, inside a theater in Athens, there are many documentation of the work, sedentary in my and it is theatrical complex as container nudes of more opaque personality than bed, I marvel at these specimens. Trapezius which allows me this weirdly pleasurable Young’s, figures simultaneously alone but muscles falling down backs make me want to limbo state of freedom, even as I am together in their aloneness; they make their run to a gym so that, over time, I may watch ostensibly trapped in our panopticon set. At way through personal scores that accumulate my own body change in front of the mirror. night, sick and tender, I hobble to the toilet, in collisions of mysterious togetherness. The Or, if one dictum of spectatorship delivering a performance of self-management installation’s choreography is described as “a is mirroring: that perhaps has been delivered here before. simple series of actions, of humans returning In the space between public and I may walk in plain patterns over my floor. home.” These actions are familiar and banal: private—the space where my abject self I may climb into bed with another lives, between hotel bathroom and a hundred

naked body. spectators—posits the proscenium itself as a mediating ritual of relief. There is respite I may better sense the spectral traces that to be found in the glow of his theater, where live in my architectures. the imagination becomes material and . The Great Tamer Like a hotel room in a suburb of Paris where concrete: it’s a magic trick for spending time

Photo: Julian Mommert I suffer a week-long flu while performing a with your own body, which might seem to production of Endgame at a nearby theater. speak a language you do not know. For me, My costume is just linen yoga pants, Papaioannou’s stage compositions precipitate transparent enough to expose my boxer a boomeranging voyeurism, where I begin to briefs and occasional flashes of pubic hair, feel as though it is my body being watched by as I prostrate myself on white marley before me, and not the other way around. my scene partner. I am shirtless in this Jess Barbagallo is an arts writer, teacher, actor, and production, my chest bearing the marks of playwright based in New York City. His plays have been seen a relatively recent top surgery. The director at Dixon Place and New Museum; his writing in Artforum; he Tania Bruguera has said of my pale body, has performed with Big Dance Theater, Builders Association, and in Harry Potter on Broadway, among other citations. mottled by cystic acne and the patchiest BAM

Glenn Kaino, Spill. Glenn Kaino, Studio Photo courtesy Kaino

Larry Ossei-Mensah: Tell me about what you try to do as a visual artist.

Glenn Kaino: I use the idea of what I believe art can be, along with theories of art and artistic engagement, to create connections between existing systems of knowledge that don’t normally connect.

LOM: Can you expound on what you mean by that?

GK: I think some of the nuance of our humanity and our role as creative thinkers is being lost because of the way information is now catalogued and organized in very systematic ways. I believe that art has the ability to open channels of communication, as opposed to closing down connections that don’t “fit” or map perfectly. Things don’t have to make sense in the landscape of art. Art is the space between Salutesknowing, where invention can happen. BAM

Glenn Kaino, Spill. Glenn Kaino, Studio Photo courtesy Kaino

Larry Ossei-Mensah is guest curator of The LOM: Over the span of your career, are Rudin Family Gallery at BAM Strong, BAM’s there any projects that you view as being first dedicated visual art space. Larry sat milestones or turning points in affirming down with the inaugural gallery artist Glenn this approach? Kaino to talk about the current exhibition. GK: There have been a few projects that have resonated with my approach in more Larry Ossei-Mensah: Tell me about what you substantial ways. In New York City, my try to do as a visual artist. 2004 Whitney Biennial piece titled Desktop Operation (There’s No Place Like Home; 10th Glenn Kaino: I use the idea of what I believe Example of Rapid Dominance/Em City); the art can be, along with theories of art and project I did for Prospect.3 called Tank; and artistic engagement, to create connections my long-term collaboration with Olympian between existing systems of knowledge that Tommie Smith, who in 1968 raised his hand don’t normally connect. after he won the gold medal in the Men’s 200m; are representative of my process. LOM: Can you expound on what you mean by that? LOM: Dope. Turning to When A Pot Finds Its Purpose specifically, were there any GK: I think some of the nuance of our humanity individuals who influenced your work? and our role as creative thinkers is being lost because of the way information is now GK: I had been talking with Tommie Smith catalogued and organized in very systematic about plants and seeds as metaphors for ways. I believe that art has the ability to open multi-generational political narratives, and I channels of communication, as opposed to found myself at a dinner listening to Bishop closing down connections that don’t “fit” or map T.D. Jakes talk about repotting plants as a perfectly. Things don’t have to make sense in metaphor for the creative mind’s need for the landscape of art. Art is the space between expansion and growth. At the end of the Salutesknowing, where invention can happen. evening, one of the young guests at the table asked himhowwecouldhelp,andhedidn’t and determiningwhatvolumemightholdthe appropriate worksforthisendeavor? a seedlingareoutofdateandneedtobe engaging inadialoguewiththeaudience. opening upaspaceissomethingItake of thetoolsrepresentationanddemocracy career asBishopJakes,ametaphoricforest, rethought orrepotted. history— ruminating aboutourcountry’s meditative condition, political workwe’redoinginmystudio, and might stillalsobenefitfromarepotting. space, like a recast of the Liberty Bell,while space, likearecastoftheLiberty seriously. Noonehasseenthe gallery specifically, thetoolsofourdemocraticsystem. someone assignificantanddevelopedintheir works thatwould were thinkingthroughwhatwouldbethe do wasselect What Itriedto Perhaps weareatthemomentwhensome GK: Theresponsibilityandchallengeof have aclearanswer. Itstruckmethenthat that were invented when this country was that wereinventedwhenthiscountry LOM before—the whole effort isexperimenting before—the wholeeffort function inaformof Then Ifoundmyselfthinkingaboutthe : Were thereanychallengesasyou THE RUDINFAMILY GALLERY FINDS ITSPURPOSE THROUGH DEC15 (651 FULTON ST) WHEN APOT and this is an opportunity tobreakthatopen. and thisisanopportunity of it. rather thanprovidesmallanswers.IfIwas present atBAM.Therearemanycreative sometimes there’satendencytosilothem, space. What’reyourfeelingsaroundbeingthe work, whetherit’sontheirwaytoaplayor somewhat transitory. visiting intentionally, towalk away with? : I’m excited to be the first artist working in workingin GK: I’mexcitedtobethefirstartist GK: Mypracticeaspirestoaskbigquestions knowing thisspacewasdesignedtobe it’s becausemeanttobeindialoguewith intersections—theater, dance,performance— forTheRudin Familyinaugural artist Gallery? the audience, everything else goingonat the audience,everything to encourageanyonecomeseethework, that’s rich in history, and I’m proud to be part that’s richinhistory, andI’mproudtobepart the space.It’sanhonor. BAMisaninstitution LOM LOM What doyouwantpeoplewhoseethe : I’m intrigued by this opportunity to : I’mintriguedbythisopportunity : Andyoumentionedopeningupa country; andindoingso, thatit’s BAM, thestreet,city, and the in dialoguewiththeworld.

Glenn Kaino (L) and Larry Ossei-Mensah. Photo courtesy Kaino Studio. BAM Supporters &PatronsBAM Supporters and this is an opportunity tobreakthatopen. and thisisanopportunity of it. rather thanprovidesmallanswers.IfIwas present atBAM.Therearemanycreative sometimes there’satendencytosilothem, space. What’reyourfeelingsaroundbeingthe work, whetherit’sontheirwaytoaplayor somewhat transitory. visiting intentionally, towalk away with? : I’m excited to be the first artist working in workingin GK: I’mexcitedtobethefirstartist GK: Mypracticeaspirestoaskbigquestions knowing thisspacewasdesignedtobe intersections—theater, dance,performance— forTheRudin Familyinaugural artist Gallery? it’s becausemeanttobeindialoguewith that’s rich in history, and I’m proud to be part that’s richinhistory, andI’mproudtobepart the space.It’sanhonor. BAMisaninstitution the audience, everything else goingonat the audience,everything to encourageanyonecomeseethework, LOM LOM What doyouwantpeoplewhoseethe : I’m intrigued by this opportunity to : I’mintriguedbythisopportunity : Andyoumentionedopeningupa country; andindoingso, thatit’s BAM, thestreet,city, and the in dialoguewiththeworld.

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Campbell & The Bernard and Anne Gregory Gilmartin Sabety Carolina Carvalho-Cross & Al Garner Christine Wächter-Campbell; Doris Duke Charitable Foundation; Robert & Mercedes Eichholz Foundation; Thérèse M. Esperdy & Spitzer Charitable Trust John M. Goldsmith Jennifer Tunney Spencer Cross Andra Georges & Timothy C. Robert G. Neborak; Jeanne Donovan Fisher; Anne Hubbard & Harvey Schwartz; The Rita and Alex Hillman Foundation; Robin & Tom & Wendy Stephenson Rhonna & Ezra Goodman Bernardette Vaskas Mary Ellen Cashman Shepard Stop & Stor Charitable Fund Francis Greenburger & Patricia Voight & Rachel Elizabeth & John Caulk Tina and Michael Gerling Edgar Lampert; Diane & Adam E. Max; James I. McLaren & Lawton W. Fitt; Jonathan F.P. & Diana Calthorpe Rose; Axel Stawski & Michael M. Thomas Isabelle Autones Wolff Beverly & Herbert Chase Household Galia Meiri Stawski; John L. & Eva Usdan; and Nora Ann Wallace & Jack Nusbaum Gerrit Thurston Vanessa Guida Thomas Von Foerster Lori Chemla & Shelley Maxine Gerson Takemi Ueno Anna & Raja Harb Stacey Winston Levitan Sonnenberg Lauren Ghaffari Major Sponsor of BAM Community Major Sponsor: Major Sponsor: Vanetta Vancak Jeanne Hardy Michael Young & Debra Jaye Chen & Peter Brown Lauren C. Glant & Michael Programs: Diane & Stephen Volk Justin Haythe Raskin Ruslan Chilov J. Gillespie Leigh & Robin Walters Jeffery Hentze Anonymous (1) Kerri Chyka & Samuel Bufter Kristin Booth Glen & Harold Mr. & Mrs. Alan G. Weiler Dr. Arlene Heyman, MD Lisa M. Cirando Edgar Earl D. Weiner The William Talbott Hillman $1,500 to $2,499 Geoffrey E. Clark, M.D. Virginia Gliedman Nathaniel White Foundation Robert & Mary Beth Aberlin Art Claybon Amy Glosser & Janno Lieber Francis H. Williams Mark Horowitz & Dorrine Brice Acosta Lois Conway June O. Goldberg Major support for BAM’s programming and initiatives provided by Jonathan & Jessika Auerbach; Tony Bechara; Sarah Billinghurst Carolyn T. Ellis & H. Lake Veca Caroline P. Addison Michael Cox & Zach Fannin Karen & Andrew Goldberg Wise Alan Hyde Keira Alexandra Peter & Mary Coy Susan Goldberg & Simon & Howard Solomon; Natalia Chefer & Joel Tompkins; Linda & Adam Chinn; Suzy & Anthony Davis; The Gladys Krieble Delmas Devera & Michael Witkin Linda Jackson Ms. Alexandra Alger Peter Crews Liu Foundation; Mark Diker & Deborah Colson; Cheryl & Joe Della Rosa; Epstein Teicher Philanthropies; Steven & Susan Felsher; Dan Wonderly & Jenn David & Amy Jaffe Donald Allison & Sumiko Ito Cedomir Crnkovic & Valerie Peter Goldfarb Barry M. Fox; Roberta Garza; Francis Goelet Charitable Lead Trusts; Agnes Gund; The Emily Davie & Joseph S. Kornfeld Foundation; Holmes Douglas Jaffe & Kristin Ella Almodovar & Jacqueline Rubsamen Teresa Gonzalez Richard C. Yancey Heavey Bacchus Allison Cromwell & Craig I. Michael Goodman & Scott C. McDonald; The Ambrose Monell Foundation; Barbara & Richard Moore; Henry and Lucy Moses Fund, Inc.; The Barbro Cynthia Young & George Gregory James James B. Anderson & Dror Falls Judith Uman Osher Pro Suecia Foundation; Rona & David Picket; Donald A. Pels Charitable Trust; The Jerome Robbins Foundation, Inc.; Eberstadt Donna & Carroll Janis Katzir Sebastian Cucullu Bindhu Gopalan Rockefeller Brothers Fund’s Charles E. Culpeper Arts and Culture Program; Anna Kuzmik Sampas & George Sampas; The Morris and Nancy Young Julia Kahr & Brian Colton Linda Andrei Ellen & John Curtis Hayley Gorenberg & George Barbara & David Zalaznick Philip Kearns & Sid Ray Matthew & Krista Annenberg Karen Dauler & Gaston Silva Sands Alma Schapiro Fund; Bartholomew A. Sheehan & Sheila A. Cain; Joseph and Sylvia Slifka Foundation; Starry Night Fund; Douglas Vivian and James Zelter Chin Kim Stephanie Ansin & Spencer Megan P. Davis Erwin Gorostiza C. Steiner; Joseph A. Stern; Tiger Baron Foundation; Virginia B. Toulmin Foundation; and The Joseph LeRoy & Ann C. Warner Fund Household Jenny Kirschner & Aari Stewart Rafael de Cardenas Crystal Gosberg Matthew & Myra Kirschner Frank & Mary Ann Arisman Katrina De Wees Jason Grebin & Lorie Programming in BAM’s Lepercq Space is supported The Steinberg Screen at the BAM Harvey Theater is made possible Zuckerbraun Jonathan Klein Dymir Arthur Sabina Daley Deaton & Kombert-Grebin by The Lepercq Charitable Foundation by The Joseph S. and Diane H. Steinberg Charitable Trust Anonymous (4) Alan & Susan Kolod S. J. Avery Adam Deaton The Green-Wood Cemetery The Krumholz Foundation Ajay & Sonya Ayyappan DeLaCour Family Mimi & Bill Grinker $2,500 to $4,999 Miodrag Kukrika Joshua Backer & Callie Foundation Mark Groves and Ross Additional support for BAM’s programming and initiatives provided by Arthur F. & Alice E. Adams Charitable Foundation; Jody & John Nora Abousteit & Joshua Peter & Karen Labbat Schweitzer Nick Demos & Mary Snow Nehm Arnhold; Rose M. Badgeley Residuary Charitable Trust; Anne H. Bass; The Bay and Paul Foundations; Charles Hayden Foundation; Ramo François & Calleen Michael Bailey & Latheisha Linda Dennery Nathan Guetta Goldman Sachs Gives at the direction of R. Martin Chavez; Jim Chervenak; Citi; Steven & Alexandra Cohen Foundation; Constans Accion Cultural Espanola Letaconnoux Legree Martha DeRight & Erich Eileen Guggenheim Leigh Adel-Arnold Emma Lindsay Daniel Baldini Bechtel Helen & Peter Haje Culver Foundation; Culture Ireland; Elizabeth De Cuevas; Andre Dua; Miriam Katowitz; John Lipsky; The Frederick Loewe Foundation, Aesop John Macintosh & Anna Nancy Barber Diana Diamond & John Cynthia Hammond & Inc.; Gary Lynch & Kate Hall; M&T Bank; David & Susan Marcinek; MetLife Foundation; Gabriel & Lindsay Pizzi; Marcel Przymusinski; Jacqueline & Joseph Verdi Andrea Barbieri Alschuler Joseph Samulski William D. & Susan Kahan Rifkin; May and Samuel Rudin Family Foundation, Inc.; Bette & Richard Saltzman; The Scherman Aguanno Dianne Mackenzie Ms. Monica Barrett & Ms. Daniel and Alexis DiPietro David Hariton & Thomas Mark Allison & Stephanie Macro Sea Inc. Alexis Frazier Lynn Dolnick Lippy Foundation, Inc.; Timothy & Julie Sebunya; Simon Sinek; Jennifer Small & Adam Wolfensohn; Edward & Virginia Spilka; Ellen & Sam Holmquist Anne Maltz Katie Barthmaier & Brent Miriam Donoho Gina Harman Sporn; The Harold and Mimi Steinberg Charitable Trust; Ann Tenenbaum & Thomas H. Lee; The Tillary Hotel; Pedro Jose Torres & Assoc. of Theatrical Press Rebecca McBride Buck Dr. Jack Downhill Jr. Joyce & Ira Haupt II Cecilia Picon; Viacom; and Claire & Curtis Wood Agents & Mngr Claudine & Aeric Meredith- Mickey & Martin Baumrind Donna & Mitchell Drach Douglas & Jessica Healy Milton & Sally Avery Arts Goujon Martine Beamon & Eddie Allison & Mark Dunn James G. Croghan & Louis Foundation Danny & Audrey Meyer Joyce Sarah & Alistair Dunn R. Hedgecock The BAM facilities are owned by the City of New York and benefit from public funds provided through the New York City Denis Azaro Lewis Millholland Erin Becker Lisabeth During & Ross Diana Rhoten & John Department of Cultural Affairs with support from Mayor Bill de Blasio; Cultural Affairs Commissioner Tom Finkelpearl; the New Peggy and John Bader Marsha & Darcy Miro Carol & Chris Beemer Poole Heilemann York City Council including Council Speaker Corey Johnson, Finance Committee Chair Daniel Dromm, Cultural Affairs Committee Household Tracy Mitchell Kathleen Begala & Yves- Atiba T. Edwards Heimbinder Family Carla K. Balakgie Jim & Iris Munson Andre Istel Suzan & Fred Ehrman Molly Heines & Thomas Chair Jimmy Van Bramer, Council Member Laurie A. Cumbo, and the Brooklyn Delegation of the Council; and Brooklyn Borough Jayne H. Baum New York State Assembly— Koren Bell Ellie & Dan Moloney President Eric L. Adams. Jeffrey Bauman Helene Weinstein Thérèse D. Bernbach Dwight W. & Ann C. Ellis Kris Heinzelman Carl & Judith Berg Christopher A. Noey & Suzanne Bernstein Caryl Englander Buck Henry BAM would like to thank the Brooklyn Delegations of the New York State Assembly, Joseph R. Lentol, Delegation Leader; and JJ & Michelle Berney Ghiora Aharoni Marie-Eve Berty Gail Erickson & Christa Rice Adam & Sita Hess New York Senate, Senator Velmanette Montgomery. Jill & Sheldon Bonovitz Daniel & Rebecca Okrent Rajeev Bhaman Mrs. Sarah K. Erlij Adria & Donald Hillman Dominique Bravo & Eric Roger W. Oliver Karen Binder & Victor Ney Peter & Joan Faber Barbara T. Hoffman Sloan Jon Otis Sunil Savkar & Stefanie Richard & Florence Lily & Joel Hoffman Your tax dollars make BAM programs possible through funding from: Vida & Patrick Brett Joanne Ottaviano Birkmann Fabricant Judith M. Hoffman Sandra Brinkert Steven C. & Diane Parrish Dr. David Biro David Farer & Elisa King Frank Holozubiec Paul Broches Laura A. Pels Nadia Bishai Thomas Faust Elizabeth Holtzman Virginia Brody Michael Pride Michael & Nancy Feller Linda Hope BAM Supporters & Patrons

David Horowitz James Marshall Johnathan Reale Deborah Stewart & James Mark Horowitz John Marshall & Seriti Jason Reed Mintz Katherine Hosford & Yamini Me & Ro Dr. Susan Stewart Christopher Welch William Keith Marshall Juergen Riehm & Jody Felicia Stingone & Phillip David Howe & Charlene Household Oberfelder Rutherford Wang Brendan Martin Kayte Ringer Gail Stone & Matt Fishbein Dennis Hranitzky Jerri & Tom Mayer Julie Robbins Joshua Storck Timothy Hughes Deborah McAlister & Daniel Rocha Leila Straus Tom Huhn & Nancy Steele Christopher Jones Amita Rodman Mehta & Kathleen Sullivan Laura Hussey Peter & Denise McCormick Viren Mehta Maureen & Paul Swetow Jan Inscho & Seymour Miles Kathryn A. McDonald Paul A. Rogers Toby Talbot Lois A. Jackson, D.D.S. Gordon McLeod & Melanie Andrea M. Rosen Gabrielle Tana Susan & Stephen Jeffries Grisanti Marjorie & Jeffrey A. Rosen Phoebe Taubman & Craig Mr. & Mrs. Dudley D. Sharon & Curtis Mechling Beverly & William Rosoff Nerenberg Johnson Molly Meloy Amy Roth & Joe Guest Juliet Taylor & James Walsh T.R. Johnson Franny Milberg Marsha & Richard Rothman Jordan Temple Andrea Jolles Liza Velazquez & Timothy Elizabeth A. Rovere Josephine & Philip Teverow Randy & Mill Jonakait Milford Martine Rubenstein Geoffrey Thomas Diane Compagno Miller Photo courtesy Periferia Teatro Photo courtesy Periferia Fly Feather. Barbara Julius & Marc Wiliam Ryall Catherine K. Tice Silberberg Jeremy Miller & Teresa Lisa & Jonathan Sack Grace & John Timberlake Ralph Julius & Ken Nelson Cunningham Josh Safran & Jess Narcissa & John Titman Joseph and Susan Walkush David & Judith Miller Camacho Dr. Irena Tocino Rita J. & Stanley H. Kaplan Iliana F. Mindlin Jennifer Sage & Nicolas Coralie Toevs Family Foundation Sandra & Lowell Mintz Grabar Manny Torrijos & Jing CELEBRATE Susan M. Kath and Steven Michele Mirman S. Gerald Saliman & Shang Tan R. Schindler Claire Molloy and Seth Lloyd Raymond Vallejo Peter C. Trent Aaron & Jacquie Katzel Household Shani Sandy Thomas Tsang Susan Kellman Maria Montoya Davita Scarlett Linnet Tse & John Forsyth Suzanne Greene & John Marissa M. Moore Val Schaffner Jonathan & Cynthia Uejio Kelly Kathy Morton & David Michele & José Scheinkman Valery Upson Matthew Kliegman Nadelman Evan & Lee Case Van Rij COMMUNITY Eric & Sharone Komaroff Sammy & Merle Moultrie Miriam Schneider Raymond & Priscilla Vickers Kameron M. Kordestani Mr. Robert Napier & Ms. Florian Schodel Ethan J. Wagner & Thea Joan Kronick Sharon Napier Pat Schoenfeld Westreich Wagner Rob Krulak Charles M. Nathan & Alisa Ellen Schonfeld Cynthia Wainwright & Edward & Phyllis F. Levin Ira Schreger Stephen Berger Kwalwasser James Neal Gabriel & Jolie Schwartz David Waldes Hugh & Betsy Lamle New York State Assembly— Richard Schwartz & Gita Blair Wallace & Jessica Foundation Peter Abbate Martohardjono Delaney Drs. Robert Langan & Sara Kristina Newman-Scott Ralf Schwieger Seth Washinsky L. Weber James L. Niesen Elena & Welland Scripps Robert Watt & Dawn Judith A. Langer Marguerite Nougué-Sans Dr. & Mrs. Thomas P. Sculco Bradford Robert S. Langley Michael Novodvorskiy Elisabeth Searles & Richard John & Martha Watts Drs. John & Judie LaRosa James C. & Marie Nugent- Friedberg Kathy & Bill Weigel Marcelle Lashley-Kabore & Head Marlas Segerstrom Center For Ms. Kathy Weil Sougrinoma Kabore Empire Educational Services The Arts David I. Weiner Helena Lee & Richard Adam H. Offenhartz Ann Settel Seymour & Kate Weingarten Klapper Katharine and Ryan Ogg Shamos Family Foundation Marjorie & Irv Weiser Janice Lee & Stuart Shapiro Household Joshua Shapiro & Heller B. Harry White & Esther Michael Lee Barry Michael Okun Berman Redmount Almudena & Pablo Legorreta Paul Oosterhuis Brian & Lindsay Shea Carolyn Wiener Roseanne Legrand Bianca Maria Orlando & Michael Shea & Armen Dominic C. Williams & Sue Lehmann William McGinty Marsoobian Martha Norrick Barbara Lemperly Grant Jane Ormerod & Peter Ted & Mary Jo Shen Lisa Williams & Charles Andrew Levinson & Deborah Darrell Gil Shiva Willis Reik Lois Ottombrino Melanie & Joseph Shugart Andrea Wolfe & Kirk Lipsey Dominique Levy Nicole & Bruce Paisner Mrs. C Sidamon-Eristoff Rhoda Woo Marcia & William Levy Meredith Palmer Larry & Ashley Silverman Jacqueline Woodson & Richard Levy & Lorraine Dr. & Mrs. Rudolph Palmer Richard Sime Juliet Widoff Gallard Cheryl Paradis & Gene Harry Simino Nancy Workman & Jeffrey Lewis & Karin Miller- McCullough John & Helen Simonson Jonathan Miller Lewis Lee Parks Loren & Marlene Skeist Danielle Durchslag & Aamir Ken Lindley & Clay Schudel Estelle Parsons & Peter Stephen R. Smith & Ford Wyne Esq. Seen Lippert & Frederick Zimroth Rogers Simon Yates Landman Kirk & Sue Patrick Matthew Patrick Smyth Evan D. Yinoulis Simon Lipskar & Kate Christopher & Fatima Peters James Sollins Nancy Zamudio Zuckerman Antonia Pew Richard & Mimi Somerby Michael & Barbara Andrea Lipsky-Karasz Elizabeth Peyton Susan Sommer & Stephen Zimmerman Neil & N. Lipuma Pfizer Foundation Inc. Warnke Frank & Arrien Zinghini ® Tina Liu Andrew Pinkowitz & Mary Michael Sonnenfeldt & Katja Anonymous (14) Santander is proud to support BAM. Keith Lloyd Pinkowitz Goldman Cary & Jan Lochtenberg Jennifer Plotnick & Kent Juliet Sorce & David Weber (Gifts and commitments Rachel Loeb & Zach Block Rogowski Melissa Schiff Soros between August 28, Matthew Lopez & Brandon Anne Pollack Annaliese Soros 2018—August 28, Clarke Elaine J. Pommells Ellen Sorrin 2019) Richard Lynn & Joseph Evall Daniel Porter & Melanie Dr. Rogelio Sosnik & Dr. Jane & Bill Macan Judd Irene Cairo For more information on santanderbank.com Edward Mafoud Paul & Marjorie Possick André Spears & Anne Rosen supporting BAM, please Brian & Florence Mahony Vlad Preoteasa Thom Spillman contact the office of Bill Nathalie Blachere & Robert Sandra Pierson Prior Jonathan Sporn Kramer, Vice President SantanderBankUS @santanderbankUS Maki Leslie & David Puth Andrew St. Laurent & Beth of Development, at George Mallis Erik Quarfordt Levine 718.724.8261 or Ronald Daignault & Teresa Joanna Raczkiewicz Sarah Stasny [email protected]. Santander Bank, N.A. is a Member FDIC and wholly owned Maloney Kent Rahman Jillian Steadman Anthony Manheim Maureen Raley Marion & Ronald Stein subsidiary of Banco Santander, S.A. ©2015 Santander Bank, N.A. All Andrea Marber Stephen Raphael & Ellen Joshua Sternoff & Rebecca rights reserved. Santander, Santander Bank and the Flame Logo are Phillip Marriott & Susannah Marks Gradinger Taylor Bridget Read registered trademarks, and A Bank for Your Ideas is a service mark, of Banco Santander, S.A. B000611 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.

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Santander Bank, N.A. is a Member FDIC and wholly owned subsidiary of Banco Santander, S.A. ©2015 Santander Bank, N.A. All rights reserved. Santander, Santander Bank and the Flame Logo are registered trademarks, and A Bank for Your Ideas is a service mark, of Banco Santander, S.A. B000611 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.

B000611_Aug2015_CRA_CommADBAM.indd 1 8/25/15 10:09 AM BAM Board BAM Staff

Brooklyn Academy of Music Members Lorraine Lynch Hon. Eric L. Adams David L. Ramsay, M.D., M.Ed. Jonathan S. Auerbach Adam E. Max Hon. Tom Finkelpearl Hon. Franklin R. Weissberg Chair of the Board Tony Bechara Scott McDonald Emma Wolfe, Rep. for Hon. Adam E. Max David Binder James I. McLaren Bill de Blasio BAM Endowment Trust Gordon Bowen Ahrin Mishan Lori H. Luis, Rep. for Hon. Chair Vice Chairs of the Board William I. Campbell David L. Picket Eric Adams Gabriel Pizzi William I. Campbell Natalia Chefer Frances A. Resheske Chris Coffey, Rep. for Hon. Nora Ann Wallace Linda Chinn Jonathan F.P. Rose Corey Johnson Treasurer Katy Clark Anna Kuzmik Sampas Keith Stubblefield President Dr. Rudolph F. Crew Timothy Sebunya Chairmen Emeriti Katy Clark Suzy Franczak Davis Bart A. Sheehan Neil D. Chrisman Members Cheryl Della Rosa Brian Stafford Seth S. Faison * Steven G. Felsher Artistic Director Dinyar S. Devitre Axel Stawski Alan H. Fishman Alan H. Fishman David Binder Mark N. Diker Doug Steiner Bruce C. Ratner Elizabeth Holtzman Yrthya Dinzey-Flores Joseph A. Stern Marcel Przymusinski Secretary Andre Dua Alexa Davidson Suskin Honorary Trustees Alberto Sanchez Mark H. Jackson Thérèse M. Esperdy Pedro J. Torres Beth Rudin DeWoody Timothy Sebunya Richard E. Feldman John L. Usdan Mallory Factor R. Edward Spilka Treasurer Steven G. Felsher Brigitte Vosse Robert L. Forbes Nora Ann Wallace James I. McLaren Jeanne Donovan Fisher Nora Ann Wallace Charles J. Hamm Adam E. Max, Ex Officio Barry M. Fox Adam Wolfensohn Barbara B. Haws James I. McLaren, Ex Officio Presidents Emeriti Roberta Garza Claire Wood William Josephson *in memoriam Karen Brooks Hopkins MaryAnne Gilmartin Mary Kantor Harvey Lichtenstein * Anne Hubbard Ex Officio John Lipsky Philippe Krakowsky Hon. Bill de Blasio Laurie Mallet Executive Producer Emeritus Edgar A. Lampert Hon. Corey Johnson Cathy-Ann Martine-Dolecki Joseph V. Melillo

BAM Staff

Katy Clark, President Anita Goss, Volunteer Librarian Chris Mode, Johanie Olivero, SECURITY David Binder, Artistic Director Denis Azaro, Volunteer Project Managers Scott Shaw, Security Director Coco Killingsworth, Vice President Earline Stephen, FOH Rep/Rentals Shaunte Snipes, Admin. Coordinator of Education & Community BAM ROSE CINEMAS Asst., BAM Fisher Collie Dean, Supervising Attendant Engagement Gina Duncan, Assoc. Vice Guard Bill Kramer, Vice President of President, Film PRODUCTION Kenneth Aguillera, Michael Whyte, Development BAM FILM Dylan Nachand, Director of Production Senior Attendant Guards Patrick J. Scully, Vice President & Ashley Clark, Senior Repertory & Collin Costa, Ryan Gastelum, Juan Lebron, Lead Guard General Manager Specialty Film Programmer Assoc. Directors of Production Vinroy Anglin, Marlon Desouza, Keith Stubblefield,Chief Financial Jesse Trussell, Repertory & Specialty Paul Bartlett, Senior Production Yasmin Diaz, Kevin Lemon, Teonia Officer and iceV President of Film Programmer Supervisor Smith, Andel Thomas, Kelly Finance & Administration Ryan Werner, Programmer at Large Tracy Lawrence, Olivia O’Brien, Wheaton, Attendant Guards Natalie Erazo, Coordinator, Repertory Brian Sciarra, Courtney Wrenn, PRESIDENT’S OFFICE & Specialty Film Programs Production Supervisors THEATER MANAGEMENT Michael Doyle, Manager CINEMA OPERATIONS Laura Williams, Assoc. Production Christine M. Gruder, Theater Manager Andrea Montesdeoca, Admin. Asst. Jesse Green, Assoc. Director, Manager John L. Jones, Assoc. Theater Cinema Production & Technology Tony Crawford, Palmer Johnston, Manager BOARD RELATIONS Anthony Shields Jr., Assoc. Production Coordinators Sonia Clayton, Jacqueline David, Alexandra Biss, Director of Board Director, Cinema Operations Elizabeth Lee, Admin. Coordinator Leroy Houston, Theater Staff Relations Michael Katz, Head Projectionist Celine Abdallah, Production Intern Supervisors Kevin Terwin, Board Relations Asst. Adam Goldberg, Cinema Manager Tony Harris, Production Asst. Sashawna Donaldson, Andreea EDUCATION & COMMUNITY HUMAN RESOURCES Drogeanu, Anthony Shields Jr., STAGE CREW ENGAGEMENT Seth Azizollahoff, Assoc. Vice Patrece Stewart, Asst. Managers Thomas Paulucci, Crew Chief Brandi Stephney, Admin. Asst. President, HR Alison Dabdoub, Head of Sound & to VP of Education & Samara Alexander, Assoc. Director, HUMANITIES Video, HT Community Engagement HR Molly Silberberg, Assoc. Director, Edward Donohue, Property Sasha Metcalf, Assoc. Director of Alexis Boehmler, Benefits Manager Humanities Master, HT Research & Evaluation Cynthia Smith, Payroll Manager Lucy Petropoulos, Humanities Asst. Giancarlo Sini, Head Carpenter, OH Chelsie Campbell, Intern John Manderbach, Head Electrician, OPERATIONS VISUAL ART OH Shana Parker, Director of Operations ARTISTIC PROGRAMMING Larry Ossei-Mensah, Guest Curator Nicholas Varacalli, Property Jennifer Leeson, Senior Operations Stonie Darling, Assoc. Director, Alli Arnold, Visual Arts Manager, Master, OH Manager Artistic Programming Dept. Development & Public Art Marc Putz, Head of Sound & Sommer McCoy, Operations Manager Juan Pablo Siles, Manager of Morgan King, Program Coordinator Video, OH Leo Paredes, Operations Coordinator Artistic Planning James Kehoe, Head Carpenter, HT Sofia Franklin, Intern Michelle Lapadula, Admin. Asst. GENERAL MANAGEMENT Chris Wilenta, Head Electrician, HT BUDGETS & CONTRACTS Wayne Brusseau, Fly Person, OH COMMUNITY ENGAGEMENT PROGRAMS & CURATORIAL Liz Zieminski, Director, GM Heather Gallagher, Asst. Dewonnie Frederick, Community Amy Cassello, Producer Budgets & Contracts Electrician, OH Affairs & Bazaar Manager Elizabeth Moreau, Producer Jimmy Walden, Budget & Contract Sean Kelly, Asst., Sound & Video Patricia Fogah, Community Affairs Charmaine Warren, Assoc. Manager Joseph Werner III, Asst. Carpenter, HT, & Bazaar Asst. Producer Sarah Kelly Konig, Budget & Tom Holler, Richard Wurzbach, Abdel Salaam, Artistic Director, Contract Coordinator Utility People EDUCATION & FAMILY PROGRAMS DanceAfrica Ginger Blake, Wardrobe Supervisor Steven McIntosh, Director of Danny Kapilian, Producer, R&B EVENT & VENUE OPERATIONS Education & Family Programs Festival, MetroTech Jaclyn Bouton, Director of Event & ARTIST SERVICES Ava Kinsey, Assoc. Director of David Lan, Theater Assoc. Venue Operations Mary Reilly, Director of Artist Services Education Alexander Orbovich, Assoc. Stacey Dinner, Artist Services Manager Mikal Lee, Verushka Wray, Program ARCHIVES General Manager Adrienne Wagner, Hannah Lang, Managers Sharon Lehner, Director of Archives Cady Knoll, Operations & Rentals Artist Services Representatives Mecca Madyun, Education Louie Fleck, Archives Manager Manager, BAM Fisher Manager Evelyn Shunaman, Processing Patreece Jackman, Intern Archivist Program Coordinator BAM Staff

LEAD INSTRUCTORS Raphaele de Boisblanc, Assoc. Barbara Cummings, Director of Yossess Allen, Hector Andino Jr., Jennifer Armas, Mtume Gant, Director of Marketing Major Gifts & BAMtravel Ludlow Chamberlain, Isaias Flores, Arts & Justice Sam Polcer, Assoc. Director of Maayan Dauber, Director, Patron Ron Rathan, Akeon Thomas, Jenny Rocha, Dancing into the Content Strategy Programs & Major Gifts Jerry Wright, Custodians Future Sharlene Chiu, Senior Manager, William Lynch, Director of Lonnie Woods III, Brooklyn Interns Audience Development & Leadership Giving & Special FINANCE for Arts & Culture Instructor Insights Projects Jennifer Anglade, Associate Vice Allison Kadin, Senior Marketing Michael Kendrick, Senior President, Finance TEACHING ARTISTS Manager Manager of Patron Services & Kozue Oshiro, Controller Raquel Almazan, David Alston, Lori Zakalik, Senior Cinema Donor Relations Tameka White, Asst. Controller Gideon Bautista, Oludare Bernard, Marketing Manager Deema Salem, Senior Manager, Claudia Bailey, Adam Sachs, Rebecca Bliss, Stacey Bone Gleason, Monique Campbell, Advertising Patron Programs Assoc. Directors of Finance Yasmar Cruz, Darian Dauchan, Manager Jessica Hindle, Patron Services Brian Gee, Accounting Manager Harris Eisenstadt, Imani Faye, Okai Vilina Phan, Marketing Manager Manager Tyler Cleveland, Staff Accountant Fleurimont, Omari Forman-Bey, Kimani Andrew Rubenbauer, Marketing Eranga Fernando, Major Gifts Chaya Coppersmith, AP Fowlin, Samara Gaev, Ingrid Gordon, Manager, Development Officer Administrator Pat Hall, Chelsea Harrison, Mel House, Milagros Verendia, Marketing Tanushree Naimpally, Patron Meaghan McLaughlin, Finance Albert Iturregui-Elias, Enya-Kalia Manager, Education & Programs Manager Coordinator Jordan, Michel Kouakou, Abigail Community Engagement Jesse Rose-Pulitzer, Major Gifts & Paige Haroldson, Finance Asst. Levine, Spencer Lott, GV Maldonado, Akornefa Akyea, Content Patron Coordinator Farai Malianga, Anthony Merchant, Marketing Coordinator Kayte Zhang, Patron Services Asst. INFORMATION TECHNOLOGY Elia Monte Brown, Janet Onyenucheya, Lindsay Brayton, Marketing & William Allen Lee III, Assoc. Pamela Patrick, Drew Peterson, Mike Publicity Asst. MEMBERSHIP & DEVELOPMENT Vice President of Information Ramsey, Gwenyth Reitz, Jashua SaRa, Emilie McDonald, Marketing Asst. OPERATIONS Technology Billy Schultz, Lauren Sharpe, Marcus Drew Wesley, Marketing Intern Claire Charlesworth, Director of Jason Q. Minnis, Assoc. Director, Smalls, Šara Stranovsky, Taylor Steele, Membership & Development IT Development Karen Thornton-Daniels, Adia TICKET SERVICES Operations Ira Sibulkin, Assoc. Director, IT Whitaker, Todd Woodard G. Scott Kubovsak, Director of J Olson, Assoc. Director, Technical Services Ticket Services Development Operations & Svetlana Mikhalevskaya, MARKETING & Kevin McLoughlin, Head Treasurer Analytics Database Manager COMMUNICATIONS Russell Grier, First Asst. Treasurer Bruce Smolanoff, Assoc. Director, Matthew Taylor, Senior Web Ece Ozaman, Marketing Asst. Victor Jouvert, Charlie Dolce, Kyle Telefund Manager Developer Britt Aronovich, Marketing Williams, Asst. Treasurers Elizabeth Sarkady, Assoc. Gabriel Dekoladenu, Benjamin Revenue Manager Royda C. Venture, Assoc. Director, Director, Donor Recognition James, Web Developers Frank Marsilio, Marketing Ticket Services Travis Calvert, Senior Manager, Jersy Rodriguez, Technical Operations Manager Georgina Richardson, Customer Budget & Operations Support Manager Care Manager Cheryl Miller, Membership Tamar Audate, Technical Support COMMUNICATIONS Latasha McNeil, Asst. Manager Manager Tech Sandy Sawotka, Director of Ryan Mauldin, Ticket Services Richard Serrano, Research Manager Susan Bishop, Admin. Coordinator Communications Coordinator Yah Jeffries, Development Kenneth Flores, Senior Desktop Sarah Garvey, Assoc. Director Miranda Gauvin, Ticket Services Operations Asst. Analyst of Publicity Senior Representative Emily Searles, Membership Asst. Lucas Austin, Rafael Iglesias, Susan Yung, Assoc. Director of Saul Almiachev, Wendy Berot, Desktop Analysts Editorial Anaïs Blin, Shadell Brown, Lucca SPECIAL EVENTS INSTITUTIONAL ADVOCACY David Hsieh, Cynthia Tate Damilano, Justin Dash, Robert James Vause, Director of Special Ellen Leszynski, Senior Manager Publicity Managers Ebanks, Greg Garner, Matthew Events Katerina Patouri, Manager, Shelley Farmer, Publicity McKenna, Warren Ng, Edward Grace Eubank, Assoc. Director, Institutional Advocacy & Manager, Film Raube-Wilson, Angela Romualdez, Special Events Capital Projects James Sutton, Publications Asst. Allyson Steele, Noel Vega, Ticket Hector Rios, Special Events Ellen Fraher, Intern Services Representatives Coordinator Nina Tandilashvili, Special Events Bookseller | Greenlight Bookstore CREATIVE SERVICES DEVELOPMENT Asst. Andrew Sloat, Creative Director Olivia Jacobs, Admin. Asst. to Film Buyer | Adam Birnbaum Patrick Morin, Assoc. Director the VP of Development FINANCE & ADMINISTRATION Immigration Counsel of Design CAPITAL PROJECTS Jonathan Ginsburg, Fettman, Kimberly Lum, Alison Whitworth, CORPORATE RELATIONS & Jonathan Jones, Director, Capital Tolchin and Majors, PC Designers SPONSORSHIP Projects Andi Floyd, Blue Skies Ben Katz, Video Producer Rebecca Carew, Director of Immigrations Services, LLC Kaitlyn Chandler, Video Editor & Corporate Relations & FACILITIES MANAGEMENT Insurance Broker | Dewitt Stern Motion Designer Sponsorship James Boese, Director of Facilities Medical Consultant | Ahmar Butt, MD Joseph Barglowski, Video Editor Mari Ogino, Senior Manager, Lynn Alexander, Facilities Manager Helen Chu, Asst. Video Editor Corporate Partnerships & Danny Jiang, Engineering Project General Counsel | Mark Jackson Jenny Choi, Publications Manager Sponsorships Manager Restaurateur | Great Performances Kati Rehbeck, Creative Services Clara Hung, Corporate Markee Glover, Logistical Services Project Manager Partnerships & Coordinator Sep 1, 2019 Nora Casey, Copywriter Sponsorships Coordinator Ronald Jones, Admin. Coordinator Annie Heath, Creative Services Asst. Ahmad Ghany, Raul Gotay, Daniel Abary, Nadia Haile, INSTITUTIONAL GIVING Anthony Sam, Building Interns Clemente Luna, Director of Services Assocs. Institutional Giving DIGITAL MEDIA Kailin Husayko, Assoc. Director BUILDING MAINTENANCE Aaron Weibel, Director of Digital of Institutional Giving Anthony Shields, Maintenance Production Stephanie Caragliano, Institutional Supervisor Alison Kozol, Manager of Digital Giving Manager Steve McDowell, Lead Operations Emma Kilroy, Institutional Maintenance Technician Farrah Desgranges, Project Giving Asst. Allan Boyce, Calvin Brackett, Coordinator Ronald Hunter, Maintainers Alisha Bhowmik, Nandi Piper, MAJOR GIFTS & PATRON Carl Blango, Asst. Maintainer Digital Media Assts. PROGRAMS Stacy Margolis, Assoc. VP of CUSTODIAL SERVICES AUDIENCE DEVELOPMENT & Major Gifts & Patron Programs Ramon Cabassa, Custodial MARKETING Rami Awn, Director of Patron Supervisor Charlotte Levitt, Director of Audience Services Derrek Demary, Jean Smith, Lead Development & Marketing Custodians A cropped photographA cropped of Merce photographA croppedCunningham’s of Merce photograph Cunningham’s How Toof How MercePass, To Pass, Kick, Cunningham’s Kick, Fall Fall and Run Run How To Pass, Kick, Fall and Run omitting John Cage omittingsitting John stage Cageomitting left. sitting Merce Johnstage left.CunninghamCage Merce sitting Cunningham stageDance Dance left. Company Company Merce 1970 Cunningham1970 Dance Company 1970 Photo: JamesPhoto: Klosty, James courtesy Klosty, courtesy Photo:BAM BAM Hamm James Hamm Archives Klosty, courtesy BAM Hamm Archives A cropped photograph of Merce Cunningham’s How To Pass, Kick, Fall and Run omitting John Cage sitting stage left. Merce Cunningham Dance Company 1970 Photo: James Klosty, courtesy BAM Hamm Archives

A cropped photograph of Merce Cunningham’s How To Pass, Kick, Fall and Run omitting John Cage sitting stage left. Merce Cunningham Dance Company 1970 Photo: James Klosty, courtesy BAM Hamm Archives A cropped photographA cropped of Merce photograph Cunningham’s of Merce Cunningham’s How To How Pass, To Pass, Kick, Kick, Fall Fall and Run Run omitting John Cage omittingsitting John stage Cage left. sitting Merce stage left.Cunningham Merce Cunningham Dance Dance Company Company 1970 1970 Photo: JamesPhoto: Klosty, James courtesy Klosty, courtesy BAM BAM Hamm Hamm Archives A cropped photograph of Merce Cunningham’s How To Pass, Kick, Fall and Run omitting John Cage sitting stage left. Merce Cunningham Dance Company 1970 Photo: James Klosty, courtesy BAM Hamm Archives

A cropped photograph of Merce Cunningham’s How To Pass, Kick, Fall and Run omitting John Cage sitting stage left. Merce Cunningham Dance Company 1970 Photo: James Klosty, courtesy BAM Hamm Archives BAM

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