Season Sponsor: 2017 BAM Next Wave Festival #MYLAI

Published by: Season Sponsor: 2017 BAM Next Wave Festival #MYLAI

Brooklyn Academy of Music

Adam E. Max, Katy Clark, Chairman of the Board President

William I. Campbell, Joseph V. Melillo, Vice Chairman of the Board Executive Producer

My Lai

Kronos Quartet, Rinde Eckert & Vân-Ánh Võ Music by Jonathan Berger Libretto by Harriet Scott Chessman

BAM Harvey Theater Sep 27—30 at 7:30pm

Running time: approx. one hour & 15 minutes, no intermission

Direction and set design by Mark DeChiazza and Rinde Eckert Video projection design by Mark DeChiazza Lighting design by Brian H. Scott

Season Sponsor: MY LAI

My Lai Lullaby For string quartet, dàn– bâu` and dàn– tranh

Jonathan Berger, composer In collaboration with David Harrington and Vân-Ánh Võ

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My Lai A monodrama for tenor, string quartet, and Vietnamese instruments

Jonathan Berger, composer Harriet Scott Chessman, librettist

I. First Landing Flight Descent The Ditch

II. Second Landing Hovering The Bunker

III. Third Landing Postcard Fishing

KRONOS QUARTET David Harrington violin John Sherba violin Hank Dutt viola Sunny Yang cello

Rinde Eckert vocalist

Vân-Ánh Võ, t’rung, dàn bâu, dàn tranh

ADDITIONAL CREDITS Audio engineer Scott Fraser Creative consultant Drew Cameron Producer Janet Cowperthwaite Production management Kronos Performing Arts Association

My Lai (music by Jonathan Berger, libretto by Harriet Scott Chessman) was commissioned for the Kronos Quartet, Rinde Eckert, and Vân-Ánh Võ by the Harris Theater for Music and Dance with support from the Laura and Ricardo Rosenkranz Artistic Innovation Fund and The Andrew W. Mellon Foundation, the Gerbode-Hewlett Foundations 2013 Music Commissioning Awards initiative, and the National Endowment for the Arts.

These works were written for Kronos Quartet, Rinde Eckert, and Van-Anh Vo. Photo: Yannick Grandmont —Harriet ScottChessman andmusicians. piece togetherwithsuchaninspiring groupofartists inthecreationofthis I amgratefulforthischancetostretch mymusicalwings,andtoparticipate now, andyetthevoiceIimagined forHughThompsonhasheldanddeepened. tocomposethemusic,librettochanged,gradually gainingtheshapeithas Once Jonathanstarted suggestions, overthecourseoffirstyearandahalf, beforeIheardonenoteofhiscomposition. towritemusically.aspects ofthisprocesshasbeentheeffort Irevisedthelibretto, withJonathan’s This ismyfirstlibretto—Iamafictionwriterprimarily—andoneofthe mostsurprisingandfulfilling crew.helicopter andyoungtwo-person involving thethreeunauthorizedlandingsthis24-year-old pilotmadewithhisreconnaissance ofthelibrettotrustingthisvoiceandfollowingarcthatterriblemorning, wrote thefirstdraft baffled,painedandsorrowful—cametomepowerfully.humble, yearningandfurious,forthright, I figure.Isoughtfirsttolistenforhisvoice,andsomehowthisvoice—open, plainspoken,extraordinary todoresearch,HughThompsonincreasinglyemergedformeasacompelling, Once Istarted to face,fromthatdayon, ashisactionscameunderfirebyowncountry. Georgia musthavehadthatmorninginMarch1968.IalsocaughtsightofhowmuchThompson ofHughThompson, Isensedthecourageandhumanitythisyoungofficerfromrural 2013, thestory . AssoonasJonathanBergertoldme,inJune It hasbeenajoyandhonortocollaborateonMyLai —Jonathan Berger the frayofwar. set throughacharacterstudyofanindividualwhounintentionallybecomesinextricablyboundupin expression inwhichthepoliticalandsocietalunderpinningsofconflict,itssenselessbrutalityare new soundworlds.AswasthecaseinmyrecentworkTheWar Reporter seeksamodeof , MyLai into simultaneouslyrepresentsacontinuationofmycreativepathandanexcitingdeparture My Lai toseekclosureand resolution. idealistic attempttostopthecarnagearepiecedtogetherinaneffort proudofwhathedid,theconsequencesThompson’s naïve, neither heroic,norparticularly hospital room,whereThompson, surrenderingtocancer, facesdeathunderhospicecare.Feeling Scored fortenor, theworktakesplaceina traditionalVietnameseinstruments,andstringquartet, Thompsonvilifiedasadisloyaloutcastformuchofhislife. left andtrialthatshookthenationalconscience, toconductaninquiry massacre forcedthemilitary graspandflewhimtosafety.from itsdeadmother’s Thompson’s refusaltoremainsilentaboutthe threatened toopenfireonhisowntroops. Failing tostopthecarnage,hepulledawoundedchild the troops.Aghastathisinabilitytostopslaughter, inamomentofenormouspassion, Thompson theincident,thenbylandinghishelicopterbetweenciviliansand to intercede,firstbyreporting a routinereconnaissanceflight.Appalledbywhathesaw, Warrant OfficerHughThompsonattempted actions ofayoungarmyhelicopterpilotwho, byhappenstance,witnessedthekillingincourseof and swayedthecourseofhistory. Theeventsofthatdaymaywellhavegoneunnoticedsaveforthe 16, 1968,wasoneofthedarkestmomentsVietnamWar—one thattraumatizedthenation The massacreofover500innocentciviliansbyAmericansoldiersinthevillageMyLaionMarch —ARTISTS’STATEMENTSMY LAI Who’s Who

KRONOS QUARTET (performer) and home season performances, education For more than 40 years, San Francisco’s Kronos programs, and a self-produced Kronos Festival. Quartet—David Harrington (violin), John Sherba In 2015, Kronos launched Fifty for the Future: (violin), Hank Dutt (viola), and Sunny Yang (cel- The Kronos Learning Repertoire, an education lo)—has combined a spirit of fearless exploration and legacy project that is commissioning—and with a commitment to continually reimagine the distributing for free—the first learning library of string quartet experience. In the process, Kronos contemporary repertoire for string quartet. has become one of the world’s most celebrated and influential ensembles, performing thousands RINDE ECKERT (co-direction, set design, of concerts, releasing more than 60 recordings, performer) collaborating with many of the world’s most The multi-talented Rinde Eckert is an acclaimed intriguing and accomplished composers and writer, composer, librettist, musician, performer, performers, and commissioning over 900 works and director. In the service of grappling with and arrangements for string quartet. Kronos has complex issues, his virtuosic command of ges- received more than 40 awards, including the ture, language, and song takes the total theater Polar Music and Avery Fisher Prizes, two of the artist beyond the boundaries of what a play, most prestigious awards given to musicians. a dance piece, an opera, or a musical might be. Sometimes tragic and austere, sometimes Integral to Kronos’ work is a series of long- broadly comedic, entirely grounded by presence, running collaborations with many of the world’s his work is alchemical—moving from rumina- foremost composers, including Americans Terry tion and distillation to hard-won illumination, Riley, Philip Glass, and Steve Reich; Azerbaijan’s or its lack. Eckert creates solo work, chamber Franghiz Ali-Zadeh; Russia’s Vladimir Martynov; pieces, and through-composed operas with Poland’s Henryk Górecki; and Serbian-American larger casts, and has long collaborated with other Aleksandra Vrebalov. Additional collaborators art makers including choreographers, compos- have included Wu Man, Laurie Anderson, Tanya ers, directors, and new music ensembles. His Tagaq, Mahsa Vahdat, Trevor Paglen, Van Dyke opera and new music-theater productions tour Parks, múm, Dawn Upshaw, Noam Chomsky, throughout the US and to major European and Tom Waits, Asha Bhosle, Taraf de Haïdouks, and Asian festivals. Three of Eckert’s plays have run Howard Zinn. successfully off-Broadway, receiving Drama Desk nominations and a Lucille Lortel Award. His On tour for five months per year, Kronos appears theater writing credits include Highway Ulysses, in the world’s most prestigious concert halls, Horizon, Orpheus X, and And God Created Great clubs, and festivals. Kronos is equally prolific Whales, which had three off-Broadway runs and wide-ranging on recordings, including the with the original cast and director for a total of Grammy- and Latin Grammy-nominated Nuevo 227 performances. In addition to My Lai, current (2002) and the 2004 Grammy-winner Alban theater and music projects in which he also Berg’s Lyric Suite. Kronos’ most recent releases performs include Aging Magician composed by include the One Earth, One People, One Love: Paola Prestini with direction by Julian Crouch; Kronos Plays Terry Riley box set; Folk Songs, Slide with composer/performer Steven Macky; which features Sam Amidon, Olivia Chaney, and My Fools: A Life in Song, his newest one- Rhiannon Giddens, and Natalie Merchant sing- person show. Eckert was the 2007 finalist for ing traditional songs; and Ladilikan, a collabora- the Pulitzer Prize in Drama. His awards include tive album with Trio Da Kali, a “super-group” of being named an inaugural Doris Duke Artist in Malian griot musicians assembled by Aga Khan 2012, the 2009 Alpert Award in the Arts for Music Initiative. Theatre, a 2007 Guggenheim Fellowship, and the 2005 American Academy of Arts and Letters The nonprofit Kronos Performing Arts Association Marc Blitzstein Award. Eckert lives in New York manages all aspects of Kronos’ work, including with his wife, the actress Ellen McLaughlin. the commissioning of new works, concert tours Photo: Zoran Orlic Who’s Who

VÂN-ÁNH VÕ (performer) JONATHAN BERGER (composer) Vân-Ánh Võ is one of the finest performers on Jonathan Berger’s music has been widely hailed Vietnamese traditional instruments in the world, for its expressivity and powerful drama. Berger’s and a rapidly emerging composer. She dedicates “dissonant but supple” (New York Times) com- her life to creating music by blending the sounds positions include vocal, orchestral, and chamber of Vietnamese instruments with other music music as well as electroacoustic music. Berger’s genres, and fusing deeply rooted Vietnamese mu- sixth string quartet, Swallow, was premiered in sical traditions with new structures and composi- New York in 2014 by the St. Lawrence String tions. In 1995, Võ won the championship title in Quartet. Recent commissions include a work for the Vietnamese National Đàn Tranh (Zither) Com- the Chamber Music Society of Lincoln Cen- petition. Since settling in the San Francisco Bay ter, Chamber Music America, Spoleto Festival Area in 2001, Võ has focused on collaborating USA, National Endowment for the Arts, Denver with musicians across different genres to create Chamber Music Society, and the Gerbode, new works, bringing Vietnamese traditional music Mellon, and Ford Fellowships, among others. to a wider audience and preserving her cultural Berger’s violin concerto Jiyeh was released last legacy through teaching. She has released three year on Harmonia Mundi’s Eloquentia Label. CDs: Twelve Months, Four Seasons (2002), She’s Berger’s works are also available on Naxos, Not She (2009) with award-winning composer Centaur, and Sony recordings. Following critically Bao Đo, and Three-Mountain Pass (2013), with acclaimed performances in California and New Kronos Quartet as guest artist. Võ has also been York, Berger’s opera, Visitations, is scheduled to collaborator and guest soloist with Southwest receive its Chicago premiere in 2017. Berger has Chamber Music, and jazz, rap, and other world been composer-in-residence at Spoleto, Banff, music artists. Additionally, she has been co- and numerous universities throughout the world. composer and arranger for the Oscar-nominated In addition to composing, Berger is an active and Sundance Grand Jury Prize winner for Best researcher in music perception and cognition, Documentary, Daughter from Danang, the Emmy and has authored more than 70 publications. Award-winning film Bolinao 52, and the winner of Berger is the Denning Family Provostial Professor multiple Best Documentary and Audience Favorite in Music at Stanford University. awards for A Village Called Versailles. She has presented her music at Carnegie Hall, Zellerbach HARRIET SCOTT CHESSMAN (librettist) Hall, Kennedy Center, Houston Grand Opera, Harriet Scott Chessman, a fiction writer, is the Yerba Buena Center for the Arts, on NPR, and at author of the acclaimed novels The Lost Sketch- many world music festivals throughout the US, book of Edgar Degas, Someone Not Really Her and as a guest artist with Kronos Quartet at the Mother, The Beauty of Ordinary Things, Lydia 2012 Cultural Olympiad in London. She has been Cassatt Reading the Morning Paper, and Ohio invited and participated as a screening judge in Angels. Her fiction has been on the San Fran- the World Music category for the 2015 Grammys. cisco Chronicle’s Best Books list and featured In addition to the dàn Tranh, Võ also performs as on Good Morning America and in The New York soloist on the monochord– (dàn Bâu), the bamboo Times, in addition to being translated into seven xylophone (dàn T’rung), traditional– ` drums (trông), languages. She has taught creative writing and and other traditional– instruments. Recently, in ´ literature at Yale University (where she earned a collaboration with Asian American for Community PhD in English), Bread Loaf School of English, Involvement, an NGO which has served refugees and Stanford University. After 12 years in the in Santa Clara County for 40 years, Võ received San Francisco Bay Area, she now lives in Con- an award from Creative Work Fund for The Odys- necticut, where she is working on a new libretto sey—From Vietnam to America, which premiered and a collection of short stories. My Lai is her during the 40th anniversary of the end of Vietnam first libretto, and she has been thrilled to contrib- War, highlighting the incredible power of the hu- ute to this beautiful piece. harrietchessman.com man spirit, the value of freedom, and the will of the Vietnamese Boat People to survive. Who’s Who

MARK DECHIAZZA (co-direction, set design, work commissioned by North Carolina Sym- video projection design) phony and Princeton Symphony Orchestra; and Mark DeChiazza is a director, filmmaker, de- staging and design for composer John Luther signer, and choreographer. Many of his projects Adams’ Sila, a massive site-determined piece for explore interactions between music performance 80 musicians commissioned by Lincoln Center. and media to discover new expressive possibili- markdechiazza.com. ties. His work can bring together composers, ensembles, and musicians with visual artists, BRIAN H. SCOTT (lighting designer) dancers, music ensembles, and makers of all Brian H. Scott, a lighting and scenic designer types. Investigating the body and its relationships based in New York City, is resident designer to space, time, and experience remain vital to for Austin-based Rude Mechanicals, where he his process across all disciplines. His large-scale designed Stop Hitting Yourself at Lincoln Center, music-theater production Quixote premiered in Now Now Oh Now, Method Gun, I’ve Never spring 2017 at Peak Performances, and extends Been So Happy, How Late It Was How Late, a creative partnership with composer Amy Lipstick Traces, Requiem for Tesla, and Match- Beth Kirsten begun in Columbine’s Paradise play. At the Park Avenue Armory, he created Theater, which was produced and performed by lighting for Oktophonie and Ann Hamilton’s eighth blackbird. DeChiazza’s ongoing creative The Event of a Thread. He designed lighting for partnership with this multiple-Grammy win- Laurie Anderson and Kronos Quartet’s Landfall. ning ensemble began in 2009 with his lauded As SITI Company resident lighting designer, he production of Schoenberg’s Pierrot Lunaire, and created lighting for Steel Hammer with Bang on continues with Dan Trueman’s Olagón, now in a Can All Stars, The Persians, and Trojan Women development. Recent projects include produc- with the Getty Villa, American Document with tion concept, direction, and choreography for the Martha Graham Dance Company, Cafe Varia- Orpheus Unsung, a collaboration with composer tions, Under Construction, WhoDoYouThinkYo- Steven Mackey which premiered at Guthrie uAre, Hotel Cassiopeia, Death and the Plough- Theater in 2016; direction and editing of the film man, bobrauschenbergamerica 7; Henry Hewes Hireath, which partners with the performance Design Award 2004), Radio MacBeth, and War of Sarah Kirkland Snider’s 35-minute orchestral of the Worlds Radio Play, many of which have been presented at BAM. brianhscott.com

For the Kronos Quartet/Kronos Performing Arts Contact: Association: Kronos Quartet/Kronos Performing Arts Janet Cowperthwaite, Managing Director Association Sidney Chen, Artistic Administrator P. O. Box 225340 Mason Dille, Development Manager San Francisco, CA 94122-5340 USA Sarah Donahue, Production Operations Manager kronosquartet.org Lauren Frankel, Development Associate facebook.com/kronosquartet Scott Fraser, Senior Sound Designer instagram.com/kronos_quartet Sasha Hnatkovich, Communications Manager twitter.com/kronosquartet Reshena Liao, Strategic Initiatives Project Manager The Kronos Quartet records for Nonesuch Nikolás McConnie-Saad, Office Manager Records. Brian Mohr, Sound Designer, Technical Manager Kären Nagy, Strategic Initiatives Director Brian H. Scott, Lighting Designer Lucinda Toy, Business Operations Manager My Lai—Libretto

MY LAI effectively stopped the My Lai atrocities.

CHARACTERS HUGH THOMPSON’S THREE LANDINGS Hugh Thompson, Jr. (inspiration for this libretto): Emcee and Phil (as voices in game show interruptions) (1) On the first landing, near a large irrigation ditch filled with villagers’ bodies, Officer PLACE Thompson tried to persuade the officer in charge, Hospital room in the Veterans Affairs Medical Lieutenant William Calley, to help those people Center, Pineville, Louisiana still alive and to stop the killing. Calley ordered Thompson to leave. As the helicopter rose up Son My˜ Village (including the hamlet of My˜ Lai), again, Sergeant David Mitchell fired his M-16 South Vietnam into the dead or wounded in the ditch.

TIME (2) Shocked and furious, Officer Thompson December 2005, a few weeks before Hugh and his crew started to search from the air for Thompson’s death on January 6, 2006 ways to help the villagers. He bravely placed (Epiphany). his helicopter between US troops and about 10 people—including children—hiding in an The morning of March 16, 1968 earthen bunker. Commanding his crew to train their guns on the American soldiers, he brought the villagers out of the bunker and successfully ABOUT THIS LIBRETTO persuaded a large helicopter to airlift them to safety. My Lai approaches the My Lai massacre through the memory and imagination of Hugh (3) As Thompson flew the helicopter over the Thompson, Jr., the American Army helicopter village on the way to refuel, Andreotta spotted pilot who courageously intervened in the movement in the same irrigation ditch where atrocities, in which American GIs killed over 500 they had landed the first time. On this third innocent Vietnamese villagers, including many landing, Andreotta walked into the ditch, over women and children. Now facing cancer in the the bodies of the dead and dying, and rescued a last month of his life, Thompson is haunted by small boy. this massacre, and by his own inability to save more lives. Hugh Thompson became a passionate, devoted witness of this atrocity from that day forward. His testimony in 1970 became critical for the HISTORY Army’s investigations and prosecution of guilty parties. However, the House Armed Services Warrant Officer Thompson was a member of the Committee—with President Nixon’s help—tried 123rd Aviation Battalion of the 23rd Infantry to undermine Thompson’s credibility as a Division. Flying his observation helicopter witness and threatened to court martial him for on the morning of March 16, 1968 on a his intervention. reconnaissance mission, the 24-year old officer, together with his young crew Lawrence Colburn All of the officers and soldiers involved in and Glenn Andreotta, could find no Viet Cong the massacre—with the exception of William activity in Son My Village. Calley—were ultimately acquitted. Found guilty of killing 22 South Vietnamese unarmed As Thompson and his crew started to realize civilians, Calley was sentenced to life in prison, that American soldiers were engaged in a but served only three and a half years under large-scale massacre, he made three heroic and house arrest. unauthorized landings, in addition to sending anguished radio reports. Upon his return to Thirty years after the massacre, Hugh base, Thompson reported the massacre in Thompson, Lawrence Colburn, and person, which led to the order to cease fire that (posthumously) Glenn Andreotta were awarded My Lai the Soldier’s Medal. In 1999, Thompson and I especially wish to acknowledge Trent Angers’ Colburn also received the Peace Abbey’s Courage valuable authorized biography of Hugh of Conscience Award. Thompson, The Forgotten Hero of My Lai: The Hugh Thompson Story, Michael Bilton’s Four Hours in My Lai, and Seymour Hersh’s My Lai 4 ACKNOWLEDGEMENTS and other writings.

I wish to thank Jonathan Berger and Kronos I dedicate this libretto to the memory of my for bringing me on board this resonant, moving father, G. Wallace Chessman, who participated project. I also thank the wonderful journalists, in the D-Day Landings, June 6, 1944, when he soldiers and writers who have investigated and was 25 years old. remembered the My Lai massacre and other aspects of the Vietnam War. —Harriet Scott Chessman

LIBRETTO If only I could fly out of my body, FIRST LANDING out of this sick body, out of my soul. 1: Flight No! No, no. [Hugh Thompson sings in darkness] Please no more! Please let me go. My Lord, what a morning My Lord, what a morning Oh, my Lord, what a morning 2: Interlude When the stars begin to . . .

[Lights up. A hospital room, bare, with a bed, a 3: Descent TV, a chair.] [As if peering out of his cockpit, surveying the I always wanted to fly, landscape from the air] rise up like a bird, to fly. I wish my little boy could see this. I wish my son Bucky could see this. This cancer, Such beauty son of a bitch infantry, This beauty moves through me. Ah! Just for a moment I always wanted to fly! I wish my little boy could see this.

They had no chance to fly. This beauty . . . My Lai

This? This! Do you hear me? Over? There! Can you hear? That! This. There! God damn it, can you hear me? Over. What’s going on? Over. Over. What’s going on here? Can you hear? How on earth? Ah! Look! What’s this? Bodies piled on bodies, Look! Look! Look there! just people, Along the hedgerow — children, like fish caught . . . No, not fish, Along the road — just bodies, just people caught, Here, there! some moving, In the rice paddy — some crying out . . .

Weren’t those people just walking to market, Help! Medic! their baskets waiting to be filled? Why don’t you . . . Weren’t those people just heading to the fields on this bright morning? [Hugh takes remote control, turns TV on, and My Lord, what a morning. starts to watch a game show.]

[as if talking into his radio] Game Show Interruption #1 I’m taking her down. Open the door. [Applause, horns, laughter] Open the fucking door! EMCEE Look! In the ditch, that girl is still moving. [voice appears to come from an old-fashioned TV in Hugh’s hospital room] Medic! Medic! That girl is still moving! Welcome back! Welcome! We have an exciting show for you this morning. We’re playing with Where in God’s name is the medic? a teacher from Idaho, a nurse from Maine, and a Chief Warrant Officer in our Armed Forces. A The captain walks up, helicopter pilot, am I right, sir? pokes her with his boot — his boot! [some applause, approving murmurs] He raises his automatic and — All right, then! You know how the game is God in heaven, played. We’ll show you three doors—a red, a what did You do white, and a blue one. Choose one and the game creating such a son of a bitch? is on. And to honor our brave American troops . . . let’s start with you, Officer.

4: The Ditch I’m sure you’ve had to make difficult choices in your line of work—this one should be a piece of The long ditch cake! The long, long ditch Every morning [laughter] Every day So, Officer, which will it be? Blue, white, or red? [As if talking on his cockpit radio] My Lai

[brief audience silence] For Christ’s sake!

Our officer seems a bit lost. But he’s a helicopter I never chose that! pilot, folks. I’m sure he knows how to land this thing! EMCEE

[laughter] This is the moment of truth, folks. Are you ready, Officer? So what’ll it be, Captain? [increasing laughter, applause] [audience silence] So let’s open the door and see what’s behind it. I said what’ll it be, Captain. Here we go!

HUGH [cheers, applause, horns]

Are you talking to me . . ? HUGH I’m not a Captain. Wait—Hang on! EMCEE EMCEE Hey, that woke him up! Always important to get the right rank. Sir, yes SIR! [as if snapping to Too late to change your mind, chief. Phil? What attention and saluting] has the officer chosen?

[laughter] PHIL

But seriously, Officer Thompson, time’s running Well Dick, the smoke is clearing, and you can out! Make your choice! just make it out. Okay. Looks like a ditch full of bodies, old people, women and children. Yeah, I [ticking clock music] see it now, women and children, babies. All dead or about to be, Dick. HUGH [murmurs, chatter, “oohs,” light applause] All the doors are red . . . ! HUGH EMCEE Stop this! Stop this right now! Look again, Officer. EMCEE HUGH Can we stop it, folks? The doors are all red! [laughter and cries of “No!”] EMCEE HUGH At last! Our contestant has chosen the RED door! You are going to stop this! [applause, laughter, horns] EMCEE HUGH [simultaneous with Emcee] That’s right. This is how the game is played. No! Listen to me!! That’s not what I said! [laughter, applause, rising to include helicopter My Lai

and gunfire] My Lord, what a morning. My Lord, what a morning. EMCEE My Lord, what a mor...

This is how the game is played, you candy ass, I’m going to try to stop this! bleeding heart, motherf— . . . I’m going to land her there, right there, between those children and our troops. SECOND LANDING [to his gunners] 1: Hovering We’re going to stop this madness. Larry! Man your gun. The ocean is glistening. Take aim. Take aim! The fields shine. Aim at our soldiers. Once you land, there’s no turning back, If those bastards . . . not for you, If those bastards open fire not for your crew. on the children in the bunker, blow them away, The ocean is glistening. blow those bastards away. The fields shine. Ah, blow those bastards away. Once you land, there’s no going back. My gunners nod, Larry and Glenn. You can’t just hover. They look at me and nod . . . You have to go down, Incredulous down into the madness. Angelic Mortified. You have to leave your life behind and dive, dive and dive We’re caught in this. into the madness. How has this happened? And dive, and dive and dive, Ah! The ocean glistened. into the madness. The fields shone. Here the world is changed, I’m bringing her down. forever changed. I’m landing this bird now. [to the Captain on the ground.] Hold your fire, Captain! 2: Bunker Captain, hold your fire! What’s that? There it is! Orders? Orders? Over there! I don’t give a fuck about your orders! An earthen bunker. For God’s sake, hold your fire. No! wait! A rabbit hole? Ah! Children hiding. I am caught in this. Little children hiding . . . almost caught. Ah, I am caught in this. Wait! Wait! It will never be over. My God! I will always be in it, Jesus Christ, shouting at the captain. what do I do? I’m still shouting. What would You do? [TV turns on by itself. Game show starts again.] My Lai

Game Show Interruption #2 EMCEE

HUGH Well, Officer Thompson, you didn’t get that one, but you still have one more chance. You’re still I’m not playing this game anymore. standing. He’s still standing, folks!

[surprised murmurs and laughter] [applause, laughter]

EMCEE HUGH

What do you say we give Officer Thompson here They weren’t soldiers. That was murder. They a round of applause for getting this far? were animals. No—Animals wouldn’t do that!

[applause, whistles, approving laughter] EMCEE

All right, then! We’re in the final round of the Last question—and this is for all the marbles. game now. Time for our Quiz! Two correct Are you ready, Officer? Are you ready, folks, answers—just two!—and you’re home free. Congressman Rivers, members of the House Armed Services Committee, President Nixon? HUGH HUGH I’m not answering any more questions. I already told you. I told everybody everything. This is a joke.

EMCEE EMCEE

First question: Confronting American soldiers on Are you ready for the last question? the ground, what did you order your crew to do? You have 30 seconds. HUGH

[ticking clock music] This is a fucking circus. I’m not playing! I’m out of this! HUGH EMCEE I observed three or four villagers running. Non- combatants, obviously—two were little children. He’s out of line here, folks. A loose cannon— They were under fire. Our soldiers—Charlie he’s jumping the gun. Can you blame the boy, Company . . . chasing them and— though? Can you, folks? Can we blame him for jumping the gun? [a buzzer sounds] [hoots and whistles, taunting] EMCEE HUGH [simultaneous with Emcee] Time’s up. So sorry, Officer. What did you order your crew to do? “Blow them away. Blow those You’re not going to prosecute a goddamned one bastards away” was the correct answer. of ’em—Calley . . . Medina . . . or any of the bastards that ordered this. You’re not gonna do a HUGH goddamn thing!

No, Sir! Our troops . . . they were NOT soldiers. EMCEE That is NOT what soldiers do. What do you say, Mr. President, Committee members: Can we blame him? Can we, My Lai

Congressman Rivers? Can we finally find a way just boys, really, that morning. to blame him? (My Lord, what a morning) Your country gone crazy.

THIRD LANDING 2: Fishing

1: Postcard Once more the ditch An ocean of bodies now [Hugh sits, reading a newspaper. He picks up Too many to count the telephone receiver and dials, holds the Small and smaller phone to his ear.] Glistening in the morning sun . . . Hello, yeah, I . . . I . . . I just . . . I just . . . Walking on bodies, I just wanted we fish out a little boy. to talk to Larry. I hold him by his small shirt.

Can I leave him a message? A little boy—a little boy about Bucky’s age— limp, but breathing. Tell him I called. Tell him Hugh called. He looks at us like he’s a thousand miles away Tell him . . . thanks for the postcard. on some distant mountain. Maybe I’ll see him soon. He’s as light as a leaf. Yeah, I’m still in the hospital. No, it’s not looking good, I take him in my arms. but you know what they say— I fly him out of hell . . . ah! nobody lives forever. I bring him to a nun in Quang Ngai City. [Hugh hangs up the phone] I always wanted to fly. Oh Larry, you were just a kid that morning [TV comes on for a brief moment. Hugh is sitting on top of the world. asleep in the chair. Someone turns the TV off, You and Glenn courageous, and all the lights go out.] just boys, ©2015 Viacom Inc. All rights reserved. rights All Inc. ©2015 Viacom

Final Size: 5.25" x 8.375" • Ratio: 1' = 1' • Resolution: 300 DPI • Color: CMYK 24781 BAM Salute Ad 4C Viacom_2015 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 Sep 2017

Contents

Crossing /peh-LO-tah/

Rod Gilfry. Photo: Gretjen Helene Photo: Bethanie Hines Crossing, an opera by Matthew Aucoin, recounts the Marc Bamuthi Joseph’s /peh-LO-tah/ focuses on fraught purgatory between the Civil War and peace. soccer as a universal language, with movement that by Robert Jackson Wood riffs on its fluid beauty. Q&A with Marc Bamuthi Joseph by Susan Yung Richard III Shakespeare’s Richard III (Schaubühne Berlin) was the prototype for many a contemporary arch villain. by Christian Barclay BAMbill Cover

Sara Greenberger Rafferty is the 2017 Next Wave Festival BAMbill Cover Artist—part of BAM’s tradition of visual art on the cover of BAMbill. Greenberger Rafferty reimagined the BAMbill cover in a commissioned artwork. Since 1983, dozens of artists have participated, including Roy Lichtenstein, Andy Warhol, Chuck Close, and Rosemarie Trockel.

Sara Greenberger Rafferty has exhibited widely since 2001, including solo exhibitions at The Kitchen and MoMA PS1 in New York; Eli Marsh Gallery (Amherst College, MA); The Suburban (IL); and a commissioned sculpture for the Public Art Fund. In 2014, she participated in the Whitney Biennial; the Hammer Biennial; and had solo exhibitions in Portland, OR; Riga, Latvia; and NYC. In 2015, her work was shown at Museum of Contem- porary Art (San Diego), Atlanta Contemporary Art Center (GA), and Galerie Andreas Huber (Vienna). In 2016, she presented her fourth solo exhibition at Rachel Uffner Gallery and this year a traveling exhibition—Sara Green- berger Rafferty: Gloves Off—is at the Dorsky Museum in New Paltz, NY.

Published by: Season Sponsor: Rafferty has participated in group shows including the Aspen Art Museum; Sara Greenberger Rafferty and in New York at Neuberger Museum (Purchase); Gagosian Gallery; Comedian’s Costume: Cover for 2017 Next and Jewish Museum. She is included in the collections of the Museum of Wave Festival BAMbill, 2017. Courtesy of the Modern Art and Whitney Museum of American Art, among others. Rafferty artist and Rachel Uffner Gallery, New York lives and works in Brooklyn. @BAM_Brooklyn #Crossing Whitman, Across the Divide by Robert Jackson Wood Photo: Gretjen Helene

“Since I have sat where you sit and breathed the dying, groaning themselves to sleep at night. the air you breathe, I know you will hear me,” What type of meaning could the believer in “the sings the poet Walt Whitman at the beginning of body electric” offer to such a scene? Matthew Aucoin’s opera Crossing, an American Repertory Theater production directed by Diane These are some of the questions that Aucoin— Paulus (Howard Gilman Opera House, Oct who wrote the libretto and who is himself a 3—8). It is, in our time, an almost perversely prolific poet— imagined Whitman struggling optimistic sentiment. Yet in the context of with, at least. To give the story focus, Aucoin Whitman’s exuberant oeuvre, it’s perhaps looked to Memoranda During the War, the fitting. Whitman was an idealist, a writer whose diary Whitman kept during the time, and ebullient verse betrayed a sprawling fantasy found an enigmatic point of departure: a brief of human communion—of bodies and souls yet suggestive reference to a soldier named merged, of distances overcome—sanctioned by John Wormley. “Large clear dark-brown eyes, an erotic metaphysics of shared experience. “For very fine—didn’t know what to make of me,” every atom belonging to me as good belongs to Whitman wrote of Wormley, betraying a desire you,” he wrote in “Song of Myself.” tempered by alienation. Aucoin had found his subplot. Yet beyond the edges of poems, Whitman found, the world could be a crueler place, and In the opera, Whitman—played by baritone perhaps nowhere more than the grisly setting of Rod Gilfry (the loser, 2016 Next Wave)—is Aucoin’s opera: a makeshift Civil War hospital, instantly smitten. “Such beauty, such life, such where Whitman volunteered as a medic and fire, a living soul in the middle of war,” he spiritual healer of sorts during a prolonged sings. Wormley, along with many of the other crisis of confidence. It was there that Whitman, soldiers, proves to be a tough sell. “Do you already a misunderstood poet with an even more really think your words will do us any good?” misunderstood sexuality, would further confront one of them asks. But Wormley, it turns out, is his alienation, pitting his belief in the possibility just as vulnerable and out of place as Whitman. of poetic intimacy against the profane prose of During an evening of relaxed boundaries, the two #Crossing Oct 3—8 find each other and share a bed. Human touch claustrophobia reigns. Occasional projections, becomes refuge. gauzily cast on the wooden walls, evoke the night sky or a waving wheat field—hallucinations Aucoin, all of 27, is something of a wunderkind. of free and peaceful times before the war, if not He is currently at work on his third opera, set predictive of future peace. Director Diane Paulus to premiere at the Metropolitan Opera, where amplifies it all with an atomized mise en scène. he also serves as the venue’s youngest-ever If the soldiers’ individual hospital beds represent assistant conductor. He is also artist-in-residence their emotional isolation, then Whitman, ever at the LA Opera, a position that was created to moving between them, attempts to be the life- take special advantage of his dual composing giving tissue that binds. He is poetry incarnate, and conducting skills. an elusive, animating spirit that does what it can to weave the profane into more than the But Aucoin the keen-eared poet is just as much sum of its parts. “Myself disintegrated, every one on display in Crossing. In the orchestra, made of disintegrated yet part of the scheme.” members from the Boston-based ensemble A Far Cry, flutes, piccolos, and high strings arpeggiate In a particular moment of frustration, Whitman in post-minimalist shimmers to enliven the asks: “What do you do if you can’t heal a text in various ways. A muscular lyricism rivers wound?” Surely not write a useless little poem, underneath. Some of the most emotionally replies the artist’s guilty conscious. But if war intense moments fall to a male chorus, made up suggests the failure of poetry—Leaves of Grass of the hospital’s wounded soldiers, whose unison was nothing if not a paean to unity—then it also outcries come to embody the broken fraternity suggests the continued need for it. For Whitman of men united by fear. Subtle choreography in that trying moment, it needed only to take the by Jill Johnson lends a visual breeze to the form of love. inertial scene. Robert Jackson Wood is a Brooklyn-based On Tom Pye’s set—a single-room cabin-cum- freelance writer. sick-ward seemingly in the middle of nowhere— Photo: Gretjen Helene WORKING IN CONCERT KAUFMAN ELLIOTT PHOTO: IS WHAT WE DO. Fly toward something better with the help of 80,000 Delta employees who do everything they can to help you explore what’s possible. @BAM_Brooklyn #PEHLOTAH Photo: Bethanie Hines

Beautiful game by Susan Yung /peh-LO-tah/ is at the Harvey Theater (Oct Did you and your collaborators develop the 18—21), created by Marc Bamuthi Joseph/The soccer-inflected movement just for this work, or Living Word Project. Joseph discussed the show, is it something you’ve used in other pieces? which is based on soccer. All the choreography for /peh-LO-tah/ was Can you discuss the idea of soccer as a created by Stacey Printz in a series of residencies universal language? around the country from Dallas to San Francisco to Atlanta to Middletown, CT at Wesleyan Soccer isn’t just the world’s most popular sport, University. Stacey is a relentless and prolific it is the activity to which we globally assign the movement generator, and she transferred that most value as an emblem of cultural aesthetics. It ethic to the creative process in complement with isn’t just success on the pitch that communicates the original music, text, and direction of the a nation’s character, it’s how the game is played, entire team. The choreography was made for from Ghanaian grace to Brazilian flair to Spanish these bodies, taking into account the folkloric polyrhythm to German focus and consistency. vocabulary and mastery of Amara Tabor Smith That universality then is more pronounced against and the contemporary and lyrical elasticity of the stark contrast of political monocultures and Traci Tolmaire. These women, as much as the repressive regimes. How do we register that athletic and geographic influences that undergird universal joy in the shadow of South African the entire piece, formed the inspirational apartheid? How do we reconcile with a country backbone for our choreographic design. that meddles in the elections of other sovereign nations and also invites the planet to roam freely Can you share some thoughts about black within its borders during the World Cup? In this athletes taking a political stance? case the sport reveals that joy is universal, as are the contradictions inherent among the men and Besides hip-hop itself, Black Lives Matter is women who passionately engage in it. the longest sustained grassroots movement of BAM

Salutes #PEHLOTAH Oct 18—21

make something beautiful and participatory so that we might consider black life in public space in a frame other than rage or grief. Whether it’s Lebron James or Serena Photo: Bethanie Hines Williams or Colin Kaepernick, there is an ethic among black athletes that understand this reality, and are taking their lead from Muhammad Ali, or Wilma Rudolph, or Kareem Abdul-Jabbar, to activate their high-visibility perch in the name of political progress. These athletes understand the stakes and know there ain’t no more time to play games.

Please talk about the educational component of /peh-LO-tah/.

As part of my development process, and through a commission from the Guggenheim Museum, I developed note in my lifetime. Ironically, what sustains the a kinetic learning module that movement most is not necessarily the activists accesses /peh-LO-tah/’s field of inquiry and themselves as much as the fact that cops or creates a sports-based political action for kids vigilantes keep killing unarmed black people. of color, particularly young immigrants, and Even if folks wanted to mute the campaign, they their parents. This project is called “moving couldn’t because Walter Scott is getting shot in and passing” and it intersects curriculum the back, or Sam Ambrose is getting shot in his development, site-specific performance, and the face, or nine people are being annihilated in the politics of joy while using soccer as metaphor for house they came to pray in. The movement is a the urgent question of enfranchisement among place of mourning, and has also been a site of youth of color. We combine play with poetry paramilitary opposition, so you can understand and visual iconography and connect moving on the edge, in the time of this drought; you can the field without the ball to moving through this sense the extra-parched thirst for wet justice to country without “possession” of “center.” come rolling down. Moving and Passing Curricular Tactics (M-PACT) So… What is the visual score for this stress? is a five-week curriculum that I designed taking Consider the theater of grainy camera phones this process one step further. Using text and pointed at Oscar Grant, grainy audio picking media from /peh-LO-tah/ and other sources, up the distant sound of Trayvon Martin’s final M-PACT is a month-long writer’s workshop moments, and the alternative iconography comes whose outcomes are poems, personal narratives, from where? Rap? and media pieces correlating characteristics of the world’s game to characteristics of some of Ask yourself what is your normalized view of the world’s pathologies. Participants develop the black people as a mass. Not a few people in poetic underpinnings of immigration-centered your workplace, I’d submit that in the American personal essays. Our goal is to have students imagination black people don’t tend to aggregate emerge with written or digital pieces capturing in places of success. See us imagined by their personal narrative at the crossroads of America in mass and the landscape might sport, race, economics, constitutional law, and be poverty, jail, and at best church. So the dreams in defiance of the impossible. most worthy action any black person with a high visibility platform might do right now is Susan Yung is senior editorial manager at BAM. place black joy among the white noise and BAM Directory

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Salutes @BAM_Brooklyn #RICHARDIII Prototypical villain

by Christian Barclay Photo: Arno Declair

Richard III was King of England from 1483 until sowing discord to his advantage. Richard’s his death in 1485, at the age of 32, in the Battle rise and reign is ruthless and, in many ways, of Bosworth Field. He was the last king of the recognizable. The curse of physical deformity, House of York and the last of the Plantagenet the power hungry political machinations, and the dynasty. And, if centuries-old stories are to be kill or be killed mentality are found everywhere believed, he was one of the great villains of in popular culture. They define modern-day English history. Shakespeare’s Richard III depicts villainy, from Dr. No and Frank Underwood to the his Machiavellian rise and reign. The play, written beleaguered rulers of Westeros. We may recognize during the early 1590s, shaped and cemented them as inherently bad; it’s not quite enough Richard’s reputation as a “rudely stamp’d” to turn away, and may in fact serve to draw hunchback, “subtle, false and treacherous,” guilty stronger scrutiny. of “stern murder in the dir’st degree.” Richard’s hunchback is the literal and figurative In director Thomas Ostermeier’s bold and brash chip on his shoulder, a feature that all but Richard III for Schaubühne Berlin (Enemy of relegates him to a life of scorn. “Cheated of the People, NWF 2013), at the BAM Harvey feature, by dissembling nature,” Richard’s villainy from Oct 11 to 14, the infamous king (played by is an outgrowth of his deformity; a wretched soul Lars Eidinger) is a gleefully amoral psychopath, for a wretched body. Modern reflections can be shuffling across the stage with an artificial hump, found in the scores of James Bond villains with a skull cap, and clubfoot shoe. He confides in metallic hands, steel-capped teeth, and facial the audience his darkest deeds and thoughts––“I scars. Rather than mask their motives, their am determined to prove a villain, And hate the strange and defining features all but mark them idle pleasures of these days”––as he goes about as suspicious characters. It is often the easiest #RICHARDIII Oct 11—14 way to predict a final showdown––keep an eye unyielding ambition. These deaths epitomize on the man who weeps blood. Richard’s amorality––there is little emotion attached to the acts, but rather a cold and clear When we first meet Richard as the Duke of sense of purpose. It’s the same drive that fuels Gloucester, he reveals the first step in his master the warring factions on Game of Thrones, where plan. “Plots have I laid, inductions dangerous, By queens and would-be kings burn their citizens drunken prophecies, libels and dreams, To set my and sacrifice their children to a mythic god. Driven brother Clarence and the king, In deadly hate the by a righteous self-regard, their path to power is one against the other.” Throughout the course of strewn with the bodies of those who dared get the play, Richard relays his schemes directly to in the way. the audience, pausing between moves to explain his strategy. His cunning machinations and steely Richard ruled too short of a time for any serious delivery bring to mind another power hungry evaluations of his reign to be made. Shakespeare, politician––House of Cards’ Frank Underwood, a dutiful glorifier of the Tudors, had no qualms in played by Kevin Spacey. When they break the portraying him as a single-mindedly ruthless man. fourth wall, it is often with glee: a wink and nudge Though history hasn’t been kind to him, Richard’s before driving the dagger in. (Spacey played a prototypical villainy has spawned countless savage Richard III in the Bridge Project’s searing anti-heroes, henchmen, and scarred sociopaths. 2012 rendition at the Harvey Theater, directed by These characters have a way of capturing our Sam Mendes and co-produced by BAM, The Old imagination, compelling us to follow them—and Vic, and Neal Street.) often against our better judgement, root for their success. By the end of the play, Richard’s brother, nephews, and wife have paid the price for his Christian Barclay is a publicist at BAM. Lars Eidinger. Photo: Arno Declair Lars Eidinger. Securing BAM’s Future

BAM Endowment A great institution is built upon on a secure future. At BAM, a growing endowment is the foundation for expansive programming that continues to set new standards for artistic daring and excellence. The BAM Endowment provides the financial underpinning to launch new artistic initiatives, plan for future years, seize opportunities for institutional advancement, and confront unanticipated challenges. BAM sincerely thanks those listed below for their generous support in securing BAM’s future.

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Season Sponsor: Support for the Signature Artist Series Major support for Discounted Ticket provided by: Initiatives provided by the Jerome L. Greene Foundation.

Programming in the BAM Howard Gilman Leadership support for dance at BAM Leadership support for every season Opera House is supported and endowed provided by: provided by the BAM Board of Trustees, by the Howard Gilman Foundation. led by Adam E. Max, Chair & Programming in the BAM Harvey Theater William I. Campbell, Vice Chair. is endowed by the Doris Duke Charitable Foundation. Programming in BAM’s Xavier Cha is the recipient of Support preserving the vitality of Lepercq Space is supported by The The Harkness Dance Residency at BAM programming provided by the Lepercq Charitable Foundation. the BAM Fisher in 2017. Lichtenstein family and generous donors to the BAM Harvey Fund. Major support for Crossing provided by Official Airline of BAM: Robert L. Turner. Next Wave Festival supporters: Rose M. Badgeley Residuary Major Sponsor Charitable Trust Official Healthcare Provider of BAM: BNY Mellon brigittenyc Leadership support for opera at BAM The Gladys Krieble Delmas Foundation provided by: Epstein Teicher Philanthropies Aashish & Dinyar Devitre Fribourg Family Foundation The Andrew W. Mellon Foundation The Francena T. Harrison Title Sponsor of BAM Rose Cinemas Foundation Trust Major support for The Fountainhead and BAMcinématek: The DuBose and Dorothy Heyward and Bangsokol provided by Memorial Fund Edward Jay Wohlgemuth. The Kovner Foundation M&T Bank Major support for The Fountainhead BAM Rose Cinemas are named in The Ambrose Monell Foundation provided by The Dutch Performing Arts recognition of a major gift in honor of Morgan Stanley Fund NL. Jonathan F.P. and Diana Calthorpe Rose, Henry and Lucy Moses Fund, Inc. and have been generously supported by Samuel I. Newhouse Foundation, Inc. Onassis Programs at BAM supported by: The Peter Jay Sharp Foundation, and the Stavros Niarchos Foundation Estate of Richard B. Fisher. Donald A. Pels Charitable Trust Pfizer Inc. The Steinberg Screen at the BAM Harvey The Reed Foundation Major support for Principles of Theater is made possible by The The Jerome Robbins Foundation, Inc. Uncertainty, Buffer, and A Billion Nights Joseph S. and Diane H. Steinberg The Morris and Alma Schapiro Fund On Earth provided by Agnes Gund. Charitable Trust. The Scherman Foundation, Inc. The SHS Foundation Leadership support for BAM Visual Major support for BAM Hamm Archives The Shubert Foundation, Inc. Art provided by Agnes Gund and provided by Charles J. & Irene F. Hamm. The Harold and Mimi Steinberg Toby Devan Lewis. Charitable Trust BAM would like to thank the Brooklyn The TinMan Fund Major Sponsor of BAM Community Delegations of the New York State Virginia B. Toulmin Foundation Programs: Assembly, Joseph R. Lentol, Delegation Leader; and New York Senate, Senator The BAM facilities are owned by the Velmanette Montgomery. City of New York and benefit from public funds provided through the New York Endowed funds supporting the Next City Department of Cultural Affairs Wave Festival: The Howard Gilman Your tax dollars make BAM programs with support from Mayor Bill de Blasio; Foundation; Lila Wallace-Reader’s possible through funding from: Cultural Affairs Commissioner Tom Digest Endowment Fund for Community, Finkelpearl; the New York City Council Educational, and Public Affairs Programs including Council Speaker Melissa Mark at BAM; The Andrew W. Mellon Viverito, Finance Committee Chair Julissa Foundation Fund for Opera and Music- Ferreras, Cultural Affairs Committee Chair Theater; The SHS Foundation; The Peter Jimmy Van Bramer, Councilmember Jay Sharp Fund for Opera and Theater; Laurie Cumbo, and the Brooklyn The Ford Foundation Fund to Support Delegation of the Council; and Brooklyn Collaborative Creativity Among U.S. Borough President Eric L. Adams. Artists; Estate of Richard B. Fisher; BAM Fund to Support Emerging and Local Official Piano for BAM: Musicians; The Starr Foundation; Next Wave Forward Fund: Altria Group, Inc./ Founding Sponsor “Supporting the Spirit of Innovation”; and The Devitre Fund. BAM Supporters & Patrons

Daniel Gonzalez Matthew & Sabrina Leblanc Brandon Nelson & Iman Karen Schlesinger Constance Casey & Dr. I. Michael Goodman & Abdul-Rahman Lediju & Criner Nelson Miriam Schneider Harold Varmus Judith Uman Angela Nurse-Lediju Consulate General of The Dr. Michael Schober Peter Ventura & Adria Crum Erwin Gorostiza Janice Lee Netherlands in New York Florian Schodel Raymond & Priscilla Vickers Larry E. Dumont, M.D. & Lisa Lee New York State Assembly – Patricia Schoenfeld Diana Viñoly Interiors Martin Gould Roseanne Legrand Peter Abbate Christopher J. Scholz & Patricia Voight & Rachel Stephen R. Greenwald & Sue Lehmann New York State Assembly – Ines Elskop Wolff Rebecca A. Sullivan Barbara Lemperly Grant James F. Brennan Ellen Schonfeld Mr. Bernd Vollmuth The Green-Wood Cemetery Garrick Leonard & Leslie Sheila Nevins Nancy Schwartz Sternoff David Wagner Mimi & Bill Grinker Feder Kiersten Nieuwejaar Richard Schwartz & Gita Ethan J. Wagner & Thea Bill Grogan Susana T. 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Migdal Susan and Elihu Rose Gabrielle Tana Loukin Timothy Milford & Liza Foundation Inc. Julie Tarney Peter Keegan Velazquez Andrea M. Rosen Cadogan Tate Susan Kellman Jason Miller & Ileana Lawrence Rosenthal Ronald & Adele Tauber Jessie Kelly Salazar Beverly & William Rosoff Josephine & Philip Teverow Suzanne Greene & John Judith Scofield Miller & James & Eliza Rossman Win & Lisa Thin Kelly David C. Miller Elizabeth A. Rovere Grace & John Timberlake David Kemp Virginia & Timothy Millhiser Melissa Bowen Rubin & Narcissa & John Titman Younghee Kim-Wait & Jarett Iliana F. Mindlin Joshua Rubin Dr. Irena Tocino F. Wait Sandra & Lowell Mintz Maisie Rubinstein Coralie Toevs Cubie King Jr. Michele Mirman Ann Rudovsky Limor Tomer Mr. Steve Reich & Ms. Donald & Gwen Moffat Lisa & Jonathan Sack Jenny Tolan & Catesby Beryl Korot Claire Molloy & Seth Lloyd Josh Safran & Jess Perrin Bennette Kramer & Eliot Maria Montoya Camacho Manny Torrijos & Jing Long Marissa M. Moore Jennifer Sage & Nicolas Shang Tan Kenneth & Susan Kramer Norma & Randy Moore Grabar Stephen Touhey Ashwin Krishnan Evangeline Morphos S. Gerald Saliman & Lane Trippe & Marian Joan Kronick Kathy Morton & David Raymond Vallejo Sabety Rob Krulak Nadelman Mina Samuels & David Linnet Tse & John Forsyth Roberta Krumholz Sammy & Merle Moultrie Foster Jonathan & Cynthia Uejio Edward & Phyllis Edward Nahem Val Schaffner Bill Updegraff & Aliza Kwalwasser Mr. Robert Napier & Ms. Michele & Jose Bartfield Helen & James Lally Sharon Napier Scheinkman Chauncey Upson Robert S. Langley Charles M. Nathan & Alisa Douglas & Ans Schickler Valery Upson Drs. John & Judie LaRosa F. Levin Evan & Lee S-K Sonia Valentin & Frank Jess Latham Laura Naylor Anthony Schlesinger & Fernandez Raymond Learsy Brian Negri Anne Forward 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 Bartholomew A. Sheehan III William Josephson Dinyar S. Devitre Brian Stafford Mary Kantor Chairman of the Board Mark Diker Axel Stawski John Lipsky Adam E. Max Yrthya Dinzey-Flores Doug Steiner Laurie Mallet Andre Dua Joseph A. Stern Cathy-Ann Martine-Dolecki Vice Chairman of the Board Thérèse Esperdy Pedro J. Torres David L. Ramsay, M.D., William I. Campbell Mallory Factor John L. Usdan M.Ed. Richard E. Feldman Brigitte Vosse Elaine Weinstein President Steven G. Felsher Nora Ann Wallace Hon. Franklin R. Weissberg Katy Clark Jeanne Donovan Fisher Veronica Westberg Barry M. Fox Adam Wolfensohn BAM Endowment Trust Chair Secretary MaryAnne Gilmartin Claire Wood Gabriel Pizzi Joseph V. Melillo Robert M. Greenberg Andrew Zolli Anoushka Healy Treasurer Treasurer G. Penn Holsenbeck Ex Officio Keith Stubblefield James I. McLaren Anne Hubbard Gina Argento Daniel A. Klores Lori Luis Members Presidents Emeriti Philippe Krakowsky Laura Popa William A. Douglass III Karen Brooks Hopkins Edgar A. Lampert Steven G. Felsher Harvey Lichtenstein (in memoriam) Gary Lynch Chairmen Emeriti Alan H. Fishman Patricia E. Michels Neil D. Chrisman Elizabeth Holtzman Members Ahrin Mishan Seth S. Faison (in memoriam) Timothy J. Ingrassia Jonathan S. Auerbach William A. Perlmuth Alan H. Fishman James I. McLaren Tony Bechara David L. Picket Bruce C. Ratner Alberto Sanchez Fran Bermanzohn Frances A. Resheske Timothy Sebunya Gordon Bowen Sarah C. Robertson Honorary Trustees R. Edward Spilka Linda Chinn Jonathan F.P. Rose Beth Rudin DeWoody Nora Ann Wallace Henry Christensen III Anna Kuzmik Sampas Robert L. Forbes Henry Christensen III, Ex Officio Pamela A. Codispoti Alberto Sanchez Charles J. Hamm Thérèse Esperdy, Ex Officio Dr. Rudolph F. Crew Timothy Sebunya Barbara B. Haws, C.A. Adam E. Max, Ex Officio

BAM Staff

Katy Clark, President ARCHIVES Eamon Boyland, Hayley Rowland, Bobby Arnold, Asst. Security Joseph V. Melillo, Executive Sharon Lehner, Director of Archives Interns Manager Producer Louie Fleck, Archives Manager Collie Dean, Supervising Attendant Alice Bernstein, Executive Vice Jan Carr, Evelyn Shunaman, STAGE CREW Guard President Processing Archivists Thomas Paulucci, Crew Chief Kenneth Aguillera, Michael Whyte, Coco Killingsworth, Vice President Anita Goss, Volunteer Librarian Oscar Gruchalski, Head Carpenter, Senior Attendant Guards of Education & Community Denis Azaro, Volunteer OH Juan Lebron, Lead Guard Bill Kramer, Vice President of Amy Domjan, Asst. Electrician, OH Marlon Desouza, Yasmin Diaz, Development BAM ROSE CINEMAS Nicholas Varacalli, Master of Kevin Lemon, Teonia Smith, Andel John Lanasa, Vice President of Gina Duncan, Assoc. Vice Properties, OH Thomas, Kelly Wheaton, Attendant Marketing & Communications President, Cinema Marc Putz, Sound Engineer, OH Guards Keith Stubblefield, Chief Financial BAMCINÉMATEK James Kehoe, Head Carpenter, HT Officer and iceV President of Ashley Clark, Senior Film Joseph Werner III, Asst. Carpenter, HT THEATER MANAGEMENT Finance & Administration Programmer John Manderbach, Head Christine M. Gruder, Theater Jesse Trussell, Programmer Electrician, HT Manager PRESIDENT’S OFFICE Ryan Werner, Programmer at Large Sean Kelly, Asst, Sound & Video John L. Jones, Assoc. Theater Alexandra Biss, Director of Board Natalie Erazo, Department Asst. Edward Donohue, Master of Manager Relations CINEMA OPERATIONS Properties, HT Sonia Clayton, Jacqueline David, Michael Doyle, Manager Efi Shahar, Cinema Executive Alison Dabdoub, Sound Engineer, HT Leroy Houston, Theater Staff Andrea Montesdeoca, Manager Tom Holler, Richard Wurzbach, Supervisors Administrative Asst. Michael Katz, Projectionist Utility Men Adam Goldberg, Asst. Manager Ginger Blake, Wardrobe Supervisor EDUCATION HUMAN RESOURCES Andreea Drogeanu, Anthony EDUCATION & FAMILY Seth Azizollahoff, Assoc. Vice Shields Jr., Patrece Stewart, GENERAL MANAGEMENT PROGRAMS President, HR Head Floor Staff Patrick J. Scully, Assoc. Vice Steven McIntosh, Director of Samara Alexander, Senior HR President & General Manager Education & Family Programs Manager HUMANITIES Sara Danielsen, Assoc. General John P. Tighe, Asst. Director of Cynthia Smith, Payroll Manager Molly Silberberg, Humanities Manager, Fisher Building Education Alexis Boehmler, Benefits Manager Manager Alexander Orbovich, Assoc. Eveline Chang, Mikal Lee, Verushka Gerard Franco, HR Coordinator General Manager Wray, Program Managers Courtney Best, Administrative Asst. VISUAL ART Liz Zieminski, GM Budget Manager Holly Shen, Curator of Visual Arts Jaclyn Bouton, Senior Project EDUCATION OPERATIONS ARTISTIC PROGRAMMING Alli Arnold, Visual Arts Development Manager Shana Parker, Director of Stonie Darling, Dept. Manager Sales Manager Liana Agredo, Project Manager Operations for Education Juan Pablo Siles, Coordinator of Mary Gordanier, Visual Arts Johanie Olivero, Project Supervisor Jennifer Leeson, Operations Artistic Planning Coordinator Chris Mode, GM Coordinator, Manager for Education Budgets & Contracts Nora Tjossem, Education PROGRAMS & CURATORIAL PRODUCTION Samuel Denitz, GM Coordinator Coordinator Amy Cassello, Assoc. Producer, R. Michael Blanco, Director of Cady Knoll, Fisher FOH Leo Paredes, Admin. Asst. Next Wave Festival Production Representative and Rentals Sarah Horne, DanceMotion USASM Dylan Nachand, Production Coordinator LEAD INSTRUCTORS Project Director Manager Jen Armas, Mtume Gant, Arts Meghan Rose Murphy, DanceMotion Collin Costa, Assoc. Production ARTIST SERVICES & Justice USASM Project Manager Manager Mary Reilly, Director of Artist Jenny Rocha, Dancing into the Jason Collins, Deanna Martinez, Paul Bartlett, Senior Production Services Future DanceMotion USASM Project Assts. Supervisor Stacey Dinner, Artist Services Michael LoMonico, Shakespeare Danny Kapilian, Producer, R&B Ryan Gastelum, Brian Sciarra, Manager Teaches Teachers Festival, MetroTech Courtney Wrenn, Production Jeannine Baca, Britney Polites, Lonnie Woods III, Brooklyn Steven Serafin, Special Consultant & Supervisors Artist Services Representatives Interns for Arts and Culture Editor, BAM: The Complete Works Heli Soell, Project Manager Palmer Johnston, Evan Kutcher, SECURITY TEACHING ARTISTS Laura Williams, Production Roger Davis, Security Manager Raquel Almazan, Jennifer Armas, Coordinators Gideon Bautista, Morris Beasley, BAM Staff

Rebecca Bliss, Stacey Bone Grace Finley, Admin. Asst. to VP of Jessica Hindle, Patron Services Iman Bance, AP Administrator Gleason, Mahogany Brown, Marketing & Communications Manager Yusuf Siddiquee, Fiscal Melissa Brown, Chia-Ti Chiu, Angelica Wilson, Marketing Intern Deema Salem, Patron Programs Coordinator Darian Dauchan, Harris Coordinator Meaghan McLaughlin, Finance Eisenstadt, Imani Faye, Okai AUDIENCE DEVELOPMENT & Annie Steingold, Patron Services Asst. Fleurimont, Kimani Fowlin, STRATEGIC PLANNING Coordinator Samara Gaev, Mtume Gant, Sharlene Chiu, Customer Loyalty Olivia Jacobs, Patron Services Asst. GOVERNMENT & COMMUNITY Ingrid Gordon, Pat Hall, Mel & Strategy Manager AFFAIRS House, Albert Iturregui-Elias, Claire Frisbie, Content Marketing MEMBERSHIP & DEVELOPMENT Schawannah Wright, Director of Devin Kawaoka, Gwendolyn Manager OPERATIONS Community Programs Kelso, Abigail Levine, Spencer Nathan Gould, Marketing Claire Charlesworth, Director of Dewonnie Frederick, Community Lott, Gladys Maldonado, Farai Manager, Development Membership & Development Affairs & Bazaar Manager Malianga, WT McRae, Anthony Matt Frazier, Advertising Coordinator Operations Merchant, Elia Monte Brown, Chris Tyler, Content Marketing Sarah Mischner, Assoc. Director, INFORMATION TECHNOLOGY Michael Mullen, Kwesi Nkroma, Coordinator Operations & Analytics William Allen Lee III, Director of Janet Onyenucheya, Pamela Travis Calvert, Senior Manager, Information Technology Patrick, Machiko Takeuchi Phillip, TICKET SERVICES Budget & Operations Ira Sibulkin, Assoc. Director of IT Mike Ramsey, Gwenyth Reitz, G. Scott Kubovsak, Director of Cheryl Miller, Membership Thomas Brown, Business Efeya Sampson, Victor Sanchez, Ticket Services Manager Analytics Manager Jashua SaRa, Billy Schultz, Kevin McLoughlin, Head Elizabeth Sarkady, Project Man- Svetlana Mikhalevskaya, Lauren Sharpe, Jen Shirley, Treasurer ager, Crediting & Operations Database Developer Elizabeth Simmons, Marcus Russell Grier, First Asst. Treasurer Richard Serrano, Research Manager Jason Q. Minnis, IT Project Smalls, Sara Stranovsky, Taylor Victor Jouvert, Charlie Dolce, Kyle Bruce Smolanoff, Telefundraising Manager Steele, Karen Thornton Daniels, Williams, Asst. Treasurers Manager Matthew Taylor, Andrei Iliescu, Jono Waldman, Sarah Wansley, Royda C. Venture, Ticket Services Steven Knudsen, Development Web Developers Adia Whitaker, Todd Woodard Manager Operations Asst. Jersy Rodriguez, Technical Georgina Richardson, Customer Emily Searles, Membership Asst. Support Manager MARKETING & Care Manager Tamar Audate, Tim Chawaga, COMMUNICATIONS Latasha McNeil, Asst. Manager SPECIAL EVENTS Technical Support Techs COMMUNICATIONS Ryan Mauldin, Ticket Services James Vause, Special Events Susan Bishop, Admin. Sandy Sawotka, Director of Coordinator Director Coordinator Communications Evan Dice, Miranda Gauvin, Grace Eubank, Special Events Lucas Austin, Desktop Analyst Sarah Garvey, Assoc. Director Ticket Services Senior Manager of Publicity Representatives Lucile Russo, Special Events STRATEGIC PLANNING & Susan Yung, Senior Editorial Saul Almiachev, Anaïs Blin, Lucca Coordinator PROJECTS Manager Damilano, Justin Dash, Robert Gina Dyches, Special Events Asst. Ellen Leszynski, Project Adriana Leshko, Senior Publicity Ebanks, Greg Garner, Warren Ng, Manager Manager Elsie Pacella, Edward Raube- FINANCE & ADMINISTRATION David Hsieh, Maureen Masters, Wilson, Angela Romualdez, CAPITAL PROJECTS Publicity Managers Allyson Steele, Noel Vega, Ticket Jonathan Jones, Director, Capital Audience Research & Analysis Christian Barclay, Publicist Services Representatives Projects George A. Wachtel James Sutton, Publications Asst. Daniel Costa, Capital Projects Merisa Sahin, Intern DEVELOPMENT Manager Bookseller Petra Laohakul, Admin. Asst. to Katerina Patouri, Capital Greenlight Bookstore CREATIVE SERVICES the VP of Development Projects & Government Andrew Sloat, Creative Director Affairs Coordinator European Production Patrick Morin, Assoc. Director CORPORATE RELATIONS & Representative of Design SPONSORSHIP BUILDING OPERATIONS On Tour Ltd., Roger Chapman Rebecca Brooker, Joseph Kaplan, Chantal Bernard, Director of Wendy Berot, Project Manager Kyle Richardson, Alison Corporate Relations & Danny Jiang, Operations Film Buyer Whitworth, Designers Sponsorship Manager Adam Birnbaum Ben Katz, Video Producer Terrance Knox, Director of New Lynn Alexander, Facilities Joseph Barglowski, Kaitlyn Business Development Manager Immigration Counsel Chandler, Video Editors Rebecca Carew, Senior Manager Markee Glover, Logistical Services Jonathan Ginsburg, Fettman, Dorothea Trufelman, Asst. Video of Corporate Relations & Coordinator Tolchin and Majors, PC Editor Sponsorship Ahmad Ghany, Raul Gotay, Andi Floyd, Blue Skies Jenny Choi, Publications Manager Mari Ogino, Sponsorship Asst. Anthony Sam, Building Immigrations Services, LLC Farah Haidari, Seán McKeithan, Services Assocs. Copywriters INSTITUTIONAL GIVING Insurance Broker Shu Chun Xie, Creative Services Clemente Luna, Director of BUILDING MAINTENANCE Dewitt Stern Project Manager Institutional Giving Anthony Shields, Maintenance Kati Rehbeck, Creative Services Asst. Kailin Husayko, Senior Manager Supervisor Medical Consultants of Institutional Giving Steve McDowell, Lead Ahmar Butt, MD DIGITAL MEDIA Semra Ercin, Institutional Giving Maintenance Technician Aaron Weibel, Director of Digital Manager Allan Boyce, Calvin Brackett, Legal Counsel Production Stephanie Caragliano, Institutional Ronald Hunter, Maintainers Mark Jackson Miles Bridges, Sarah Hayes, Giving Coordinator Carl Blango, Asst. Maintainer Alison Kozol, Digital Media Restaurateur Coordinators MAJOR GIFTS & PATRON CUSTODIAL SERVICES Great Performances PROGRAMS Ramon Cabassa, Custodial MARKETING Stacy Margolis, Assoc. VP of Supervisor Sep 1, 2017 Raphaele de Boisblanc, Senior Major Gifts & Patron Programs Elaine Colon, Jean Smith, Lead Marketing Manager William Lynch, Director of Custodians Rhea Daniels, Allison Leadership Giving & Special Yossess Allen, Ludlow Kadin, Marketing Managers Projects Chamberlain, Isaias Flores, Mayra Laura Scholl, Marketing Ramzi Awn, Director of Patron Guillen, Ron Rathan, Akeon Operations Manager Services Thomas, Custodians Britt Aronovich, Marketing Barbara Cummings, Director of Revenue Manager Development FINANCE Anna Troester, Marketing Maayan Dauber, Director of Kozue Oshiro, Controller Coordinator, Education & Patron Programs Tameka White, Asst. Controller Community Brent Radeke, Major Gifts Officer Claudia Bailey, Adam Sachs, Lindsay Brayton, Marketing & Michael Kendrick, Senior Assoc. Directors of Finance Publicity Asst. Manager of Patron Services & Brian Gee, Accounting Manager Donor Relations Tyler Cleveland, Staff Accountant