Mark Morris Dance Group & Music Ensemble

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PILLOWNOTES JACOB’S PILLOW EXTENDS SPECIAL THANKS by Seth Stewart Williams TO OUR VISIONARY LEADERS The PillowNotes series comprises essays commissioned from our Scholars-in-Residence to provide audiences with a broader context for viewing dance. VISIONARY LEADERS form an important foundation of support and demonstrate their passion for and commitment to Jacob’s Pillow through Mark Morris’ career to date has been bracketed by two phases in which he has brashly upended choreographic conventions. One was hard to miss, and the other easy to overlook. The first phase, when he burst onto the scene in the annual gifts of $10,000 and above. early 1980s, challenged a number of the dance world’s pieties: Morris foregrounded his queerness during an era when many choreographers favored a glass closet, questioned when and whether gender matters, and made dances marked by Their deep affliliation ensures the success and longevity of the a devotion to music that was at once brainy and deeply felt. Pillow’s annual offerings, including educational initiatives, free public programs, The School, the Archives, and more. This musicality might have seemed something of a throwback if not for the fact that few choreographers—perhaps not even George Balanchine—have been so precisely and wittily attentive to the structural nuances of a musical score, and if not for the fact that Morris directed his musicality at any genre whatsoever, from un-championed gems of the PRESENTS $25,000+ baroque repertory, to the Carnatic traditions of India, to deep cuts from mavericks like Yoko Ono and Harry Partch. MARK MORRIS DANCE GROUP Carole* & Dan Burack Christopher Jones* & Deb McAlister Morris’ choreography does not, like that of many other choreographers praised for their musicality, merely reflect the The Barrington Foundation Wendy McCain rhythm and mood of its music. Instead, Morris uses dance to expose the hidden workings of a score—when a composer & MUSIC ENSEMBLE Frank & Monique Cordasco Fred Moses* transforms a musical motif, for example, Morris subjects choreographic motifs to a related transformation. His hallmark Hon. Stephan P. Driscoll*, in honor and memory Jennie A. Kassanoff & Dan H. Schulman as a choreographer is an uncanny ability to give musical ideas choreographic forms that are at once so logically right and yet so wholly surprising. And yet his eye for music rarely leads to a purely abstract product. His dances, sometimes of John Lindquist & Barton Mumaw Mark & Taryn Leavitt Ted Shawn Theatre subtle morality tales in movement, have offered audiences a wry take on everything from the erotics of vampirism (One Stephanie & Robert ‡ Gittleman Sylvia T. Pope* Charming Night, 1985) and of striptease (Mythologies, 1986), to the dangers of American jingoism (World Power, 1995, July 17-21, 2019 Carolyn Gray & George Peppard Robert & Eileen Rominger and Empire Garden, 2009), to the high stakes that underlie even the most humdrum of workplaces (The Office, 1994). Joan & Jim Hunter If Morris’ taste in music was from the outset almost shockingly catholic, he was equally open-minded in his choice of dancers, whose diversity of bodies made them look less like a dance company and more like America. His embrace of such ARTISTIC DIRECTOR Mark Morris a heterogeneous ensemble had something to do with his own initial training as a boy in Seattle, which in addition to ballet $10,000+ involved serious study of Spanish and Balkan folk dances. In synthesizing such traditions he has repeatedly valorized the Dr. Norman Abramson Ann* & Peter Herbst collective, not only as a choreographic unit but, implicitly, as a social unit. Even one of the century’s great ballet soloists, EXECUTIVE DIRECTOR Nancy Umanoff Deborah & Charles Adelman Laura* & Nick Ingoglia Mikhail Baryshnikov, found that new forms of artistry were possible as one member among many in his performances with Aliad Fund Nancy K. Kalodner the Mark Morris Dance Group, and with the company he co-founded with Morris in 1990, the White Oak Dance Project. Rick & Nurit Amdur Amy & Richard Kohan Across Morris’ dances—from the early hit Gloria (1981), to the mid-career masterpiece Grand Duo (1993), to more recent MARK MORRIS DANCE GROUP Mica Bernas Candace* & Rick Beinecke Lizbeth & George Krupp achievements like Socrates (2010) and The (2015)—he has demonstrated an almost peerless facility in choreographing Karlie Budge** Linda & Bob Berzok Jack & Elizabeth Meyer, in honor of contrapuntal groups. Brandon Cournay Sydelle & Lee Blatt Diane & Deval Patrick David Carlisle & Morene Bodner Hans* & Kate Morris While Morris’ arrival and early successes threw many audiences and critics back on their heels, the radicalism of his Domingo Estrada, Jr. Chervenak-Nunnallé Foundation Gov. Deval L. & Diane Patrick more recent phase has been all too easily misapprehended. This is in part because it’s really an intensification—although Lesley Garrison* Neil* & Kathleen Chrisman Claudia Perles a significant one—of the musical and group sensibilities that have distinguished him from the outset. The difference is Lauren Grant that he has not only heightened the interdependence of dance and music in his choreography, but has extended this to Ranny Cooper & David Smith Caren & Barry Roseman Sarah Haarmann Jeffrey Davis & Michael T. Miller Hunter K. Runnette* & Mark P. VandenBosch an institutional interdependence between the making of music and the making of dance. Morris’ use of live music has David DeFilippo & Lisa Shapiro, in memory of Naomi Seligman & Ernie von Simson evolved from a preference to an imperative. His company has expanded to include not only superlative dancers, but an Deepa Liegel** Robert Gittleman Mark Sena & Linda Saul-Sena in-house collection of superlative musicians, all of whom now tour as the Mark Morris Dance Group and Music Ensemble. Aaron Loux Morris has occasionally taken the helm of this ensemble himself as one of its conductors, making him perhaps the only Hermine Drezner Natalie & Howard Shawn Laurel Lynch* Sheila Drill Lisbeth Tarlow & Stephen Kay major choreographer whose career has spanned both stage and orchestral pit. A live-music ethos also guides the broader Nancy & Michael Feller Roger Tilles mission of the entire Mark Morris Dance Center in Brooklyn: its classes feature accompaniment by everything from pianos Dallas McMurray David & Nina Fialkow in honor of Stephen Weiner & Donald Cornuet to djembe drums, and its pioneering Dance for PD® (Parkinson's Disease) initiative stresses the cognitive, physical, and Minga Prather** social benefits of doing accessible movement in response to live music. Deval & Diane Patrick and Mark A. Leavitt Ellen Weissman Brandon Randolph Mark & Liz Williams Jeanne Donovan Fisher Morris’ work to integrate music and dance is on the one hand a reversion to Western traditions (especially of the Nicole Sabella Joan* & Charlie Gross Elaine* & Irving Wolbrom seventeenth and eighteenth centuries, when choreographers were almost always also musicians). On the other hand, it follows from Morris’ embrace of several global traditions that thrive on the unification of music and dance, the live Christina Sahaida * Former Trustees, staff, faculty, interns, interaction of which allows performers and spectators alike to engage in a nuanced exchange of aesthetic sensations. In Billy Smith The School’s dancers, or artists-in-residence particular, Morris has for decades made close study of how gesture and sound interact in classical Indian dance; while Noah Vinson ‡ Deceased he rarely draws on odissi or bharata natyam directly, these and other forms have served as crucial models for his own innovations. MMDG MUSIC ENSEMBLE Colin Fowler INSTITUTIONAL SUPPORT Few choreographers have thrived in as wide a range of venues as Morris, who has devised work for both grand Georgy Valtchev As of May 23, 2019 major support for Jacob’s Pillow has been generously provided by the proscenium stages and intimate black box theaters. Upon his appointment in 1988 to head the dance division of the L’Allegro, il following institutions: The Arison Arts Foundation; Arnhold Foundation; The Barr Foundation; Théâtre Royal de la Monnaie in Brussels, Morris developed large-scale productions of enduring importance: Penseroso ed il Moderato Dido and Aeneas The Hard Nut The Barrington Foundation; Berkshire Taconic Community Foundation; Blue Cross Blue Shield (1988), (1989), and (1991). He has choreographed seminal opera Nixon in China of Massachusetts; The Chervenak-Nunnallé Foundation; The Feigenbaum Foundation; Gladys productions—from the premiere of (Houston Grand Opera, 1987) to landmark revivals of baroque operas Platée *Alumni of The School at Jacob's Pillow Krieble Delmas Foundation; The Ford Foundation; Howard Gilman Foundation; Harkness like (Royal Opera, 1997)—and enjoyed commissions from the world’s foremost ballet companies. Morris is equally Foundation for Dance; William Randolph Hearst Foundation; The John S. and James L. celebrated for the sweep of his more intimate chamber compositions, for which the Pillow has always been a special ** MMDG Apprentice Knight Foundation; Massachusetts Cultural Council, a state agency; MassDevelopment; The home. Not only has the MMDG appeared in over twenty seasons at the Pillow, but residencies here have contributed to Andrew W. Mellon Foundation; Mertz Gilmore Foundation; New England Foundation for the the development of several dances, including celebrated works like The Hard Nut, Grand Duo, and Falling Down Stairs, Arts; National Endowment for the Arts; Onota Foundation; The Prospect Hill Foundation; a 1995 collaboration with the cellist Yo-Yo Ma that was filmed in the Doris Duke Theatre for broadcast on the PBS series The Shubert Foundation; The Robert and Tina Sohn Foundation; The Spingold Foundation; “Inspired by Bach.” Talented Students in the Arts Initiative, a collaboration of the Doris Duke Charitable © 2019 Seth Stewart Williams and Jacob’s Pillow Dance Festival Foundation and Surdna Foundation; The Thompson Family Foundation; The Velmans Seth Stewart Williams, assistant professor at Barnard College of Columbia University, is a scholar of dance history and Foundation; Weissman Family Foundation; and Jacob’s Pillow Business Partners. Renaissance literature. He first came to the Pillow as a student at The School, and returned as a performer in the Festival. After work with Seán Curran and Donald McKayle, and as a supplemental dancer to MMDG, he received his doctorate in English literature from Columbia. See a longer version of this essay, including analysis and footage of three Morris dances, at danceinteractive.jacobspillow.org PROGRAM FUNDING AND SUPPORT MEMBERSHIP SUPPORTS

PRELUDE AND PRELUDE Mark Morris Dance Group & Music Ensemble's engagement at Jacob's Pillow is supported, in part, by a special EVERYTHING YOU LOVE ABOUT MUSIC Henry Cowell, "Set of Two for Violin and Harpsichord" contribution from Ellen & Arnold Offner. JACOB’S PILLOW By arrangement with G. Schirmer, INC. publisher and copyright owner

LIGHTING DESIGN Jeff Pickford Thanks to Maxine Morris. JOIN OUR THOUSANDS OF MEMBERS & SUPPORT THE MISSION OF JACOB’S PILLOW. MUSICIANS Georgy Valtchev (violin) Sincerest thanks to all the dancers for their dedication, commitment, and incalculable contribution to the Colin Fowler (piano) work. You can help the Pillow present outstanding dance artists from around the world, provide training and support to DANCERS Karlie Budge Major support for the Mark Morris Dance Group is provided by American Express, Anonymous, Beyer Blinder the talented dancers of The School at Jacob’s Pillow, maintain Domingo Estrada, Jr. Belle Architects & Planners, LLP, Allan and Rhea Bufferd Education Fund, Frederick and Morley Bland, Booth Lesley Garrison Ferris Foundation, Gale Epstein, Doris Duke Charitable Foundation, Judith R. and Alan H. Fishman, York-Chi our landmark site, and create free community programs Lauren Grant and Stephen Harder, Howard Hodgkin Estate, John and Tommye Ireland (in memoriam), Suzy Kellems Dominik, that engage people of all ages and backgrounds with dance. Aaron Loux Shelby and Frederick Gans, Isaac Mizrahi and Arnold Germer, Howard Gilman Foundation, Elizabeth Amy Laurel Lynch Leibman, Nicholas Ma and William Lopez, The Pierre and Tana Matisse Foundation, Suzanne Berman and Dallas McMurray Timothy J. McClimon, McDermott, Will & Emery, The Andrew W. Mellon Foundation, Meyer Sound/Helen Minga Prather and John Meyer, Mark Morris, Harris A. Berman & Ruth Nemzoff Family Foundation, Ellen and Arnold Offner, EVERY GIFT MATTERS. Nicole Sabella Sarabeth Berman and Evan Osnos, PARC Foundation, PopSockets, Poss Family Foundation, Dr. Jocelynne Rainey and Dr. Perry Rainey, Diane E. Solway and David Resnicow, Resnicow + Associates, Margaret Conklin and JOIN AND CHOOSE THE LEVEL RIGHT FOR YOU! Premiere, June 7, 1984 -- On the Boards, Washington Hall, Seattle David Sabel, The Fan Fox and Leslie R. Samuels Foundation, Iris Cohen and Mark Selinger, The SHS Foundation, The Shubert Foundation, Jane and R.L. Stine, Nancy Umanoff, Jamie Gorelick and Richard Waldhorn, The White Explore the full list of benefits, then join as a new Member, renew Cedar Fund, and Friends of MMDG. your current membership, or upgrade to a higher level at jacobspillow.org/support/membership. Additional support provided by Kenneth Aidekman Family Foundation, Arnow Family Fund, Lily Auchincloss Foundation, Bossak/Heilbron Charitable Foundation, Brooklyn Parkinson Group, Emily G. Buck Fund, The SPORT You can also make a donation by phone at 413.243.9919 x122. MUSIC Erik Satie, "Sports et Divertissements" Campbell Family Foundation, Chervenak-Nunnalle Foundation, Con Edison, Continental Grain Foundation, Lynn Glaser, Candace and Vincent Guadiani, Joseph and Joan Cullman Foundation for the Arts, Belden H. and COSTUME DESIGN Elizabeth Kurtzman Pamela K. Daniels, Dau Family Foundation, Susan and Gary DeLong, Jean Espenshade, Paula and Marjorie Sustaining members support the Pillow year-round through easy, Folkman, Bernard F. and Alva B. Gimbel Foundation, June O. Goldberg, Monika and Peter Greenleaf, Macduff automatic monthly or quarterly gifts. LIGHTING DESIGN Nick Kolin and Twyla Hughes, The Gladys Krieble Delmas Foundation, Google Matching Gift Program, The Harkness Foundation for Dance, Marta Heflin Foundation, V. Hansmann, Diane and Adam E. Max, Kinder Morgan MUSICIAN Colin Fowler (piano) Foundation, Kraft/Posy Charitable Fund, Leatherwood Foundation, J. Loux and Carol Sanders, Lyrasis, The John D. and Catherine P. MacArthur Foundation, Materials for the Arts, Megara Foundation, Mid Atlantic Arts Depending on your level, membership gives you access to: DANCERS Mica Bernas Foundation, Cynthia Hazen and Leon B. Polsky, Douglas Thomas, Parkinson’s Creative Collective, Parkinson’s Early Ticketing Brandon Cournay Foundation, The L.E. Phillips Family Foundation, Jerome Robbins Foundation, Rolex, Billy Rose Foundation, Fan level & above Domingo Estrada, Jr. Singer Xenos Wealth Management, Phoebe Taubman and Craig Nerenberg, Laurie M. Tisch Illumination Fund, Lesley Garrison June and Jeffrey Wolf, Michael and Rachel Zamsky, and Zeitz Foundation. Admission to Cast Parties Lauren Grant Contributor level & above Aaron Loux The Mark Morris Dance Group is supported in part by public funds from the New York City Department of Dallas McMurray Cultural Affairs in partnership with the City Council, Mayor Bill de Blasio, Brooklyn Borough President Eric L. Pillow Lab showings where you can witness the creative process Brandon Randolph Adams, Council Member Helen Rosenthal, the New York City Department for the Aging, the New York State Supporter level & above Nicole Sabella Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, and the Christina Sahaida National Endowment for the Arts. Priority Parking Passes Billy Smith Partners’ Circle level & above Noah Vinson The Mark Morris Dance Group is a member of Dance/USA and the Downtown Brooklyn Arts Alliance. Invitations to Member-Exclusive Events Premiere, July 10, 2019 -- Lincoln Center for the Performing Arts, Mostly Mozart Prelude and Prelude ©1984 Discalced, Inc. Festival, Rose Theater, New York Sport ©2019 Discalced, Inc. Discounts in The Pillow Store Words ©2014 Discalced, Inc. Grand Duo ©1993 Discalced, Inc.

Jacob’s Pillow is committed to providing an environment that cultivates the celebration of the art of dance Follow and tag Mark Morris Dance Group on Facebook, Twitter, and Instagram @markmorrisdance Help make dance creation, presentation, education, and and its positive impact on community. Visit their website at mmdg.org preservation at Jacob’s Pillow possible. While in our theaters, please refrain from behavior that could disturb other patrons and performers during the performance. We ask that you: Get insider news at mmdg.org/join-email-list silence your cell phone; do not photograph or video record performances; keep your ticket with you at all times; observe that food and beverages are MARK MORRIS DANCE GROUP, 3 Lafayette Avenue, Brooklyn, NY 11217-1415 (718) 624-8400 not allowed, with the exception of water; and please let a staff member know if you need help. Thank you for observing these House Rules so that Thank you! everyone can have an enjoyable experience.

We are so glad you are here. Enjoy the show! MARK MORRIS DANCE GROUP WORDS (excerpts) MARK MORRIS ARCHIVES Michael Mushalla, Booking MUSIC Felix Mendelssohn, "Songs Without Words" DANCE GROUP STAFF Stephanie Neel, Archive Project Representation (Double M Arts & Artistic Director Manager Mark Morris, Events) COSTUME DESIGN Maile Okamura Nancy Umanoff, Executive Director Regina Carra, Archive Project Williams Murray, Media and Metadata and Cataloging General Consultation Services LIGHTING DESIGN Nick Kolin PRODUCTION Coordinator (Better Altitude Inc.) Director of Johan Henckens, Kareem Woods, Archive Mark Selinger, Legal Counsel MUSICIANS Georgy Valtchev (violin) Technical Production Digitization Assistant (McDermott, Will & Emery) Colin Fowler (piano) Nick Kolin, Lighting Supervisor O'Connor Davies, Accountant Rory Murphy, Audio Supervisor EDUCATION (Munns & Dobbins, LLP) DANCERS Mica Bernas Sarah Marcus, Director of Stephanie Sleeper, Costume Orthopaedist, M.D. Karlie Budge Education David S. Weiss, Coordinator (NYU Langone Medical Center) Brandon Cournay Rachel Roberge, School Director Amy Page, Wardrobe Supervisor Marshall Hagins, Physical Lauren Grant Alexandra Cook, Community Therapist, PT, PhD Laurel Lynch Programs Director COMPANY Jeffrey Cohen, Hilot Therapist Minga Prather Jen Rossi, Company Manager Jessica Pearson, Adult Programs, Brandon Randolph Julia Weber, Assistant Company Assistant Manager Christina Sahaida Manager Jamia Jordan, School BOARD Billy Smith Colin Fowler, Music Director Administrator Judith R. Fishman, Chairman Noah Vinson Sam Black, Rehearsal Director Alexandria Ryahl, Education David Resnicow, Vice-Chairman Programs Assistant Mark Selinger, Vice-Chairman Premiere, October 8, 2014, New York City Center, Fall for Dance Festival, New York ADMINISTRATION Denise Camarillo-Cruz, Jolie Isaac Mizrahi, Secretary Elizabeth Fox, Chief Financial Saltiel, Sophia Visscher-Lubinizki, Officer Education Interns Sarabeth Berman Frederick Bland Geoff Chang,General Manager David Leventhal, Dance for PD® - INTERMISSION - Margaret Conklin Aleksandr Kanevskiy, IT Director Program Director Suzy Kellems Dominik Natalia Kurylak, Finance Manager Maria Portman Kelly, Dance for Shelby Gans Chris Pritchard, Budget Manager PD® Programs and Engagement GRAND DUO Manager York-Chi Harder Rebecca Hunt, Payroll Manager/ MUSIC Lou Harrison, "Grand Duo for Violin and Piano" Benefits Administrator Eva Nichols, Outreach Director Nicholas Ma Amy Bauman, Dance for PD® Finance Assistant Timothy J. McClimon COSTUME DESIGN Susan Ruddie Emily Rogers, Programs Assistant Jamaelya Hines, Finance Intern Helen Meyer Natasha Frater, Dance for PD® Mark Morris LIGHTING DESIGN Michael Chybowski Stephanie Saywell, Assistant to Programs Administrator the Executive Director Jocelynne Rainey, Ed.D Connie Zhou, Dance for PD® Intern Prelude Ellen Offner Stampede DEVELOPMENT DANCE CENTER OPERATIONS Jane Stine Michelle Amador, Director of A Round Elise Gaugert, Director of Events Development Polka and Venue Operations David Gracia, Manager of Mark Sacks, Director of Facilities Individual Giving MUSICIANS Georgy Valtchev (violin) and Capital Projects Colin Fowler (piano) Ann Marie Rubin, Manager of Annie Woller, Rental Programs Institutional Giving Manager DANCERS Mica Bernas Aidan Heck, Data Entry and Tiffany McCue,Operations Karlie Budge Research Assistant Coordinator Brandon Cournay Christina Dong,Development Emma Sanz, Operations Intern Domingo Estrada, Jr. Intern Tamika Daniels, Front Desk Lesley Garrison Manager Aaron Loux MARKETING Laurel Lynch Director of Dominique Terrell, Assistant Front Karyn LeSuer, Dallas McMurray Marketing Desk Manager Minga Prather Hunter Darnell, Roxie Maisel, Joleen Richards, Web & Social Brandon Randolph Anna Marchisello, Carter Shocket, Media Manager Nicole Sabella Nissa Heman, Marketing & Patricia Suarez, Kareem Woods, Front Desk Associates Christina Sahaida Communications Associate Billy Smith Hector Mazariegos, Hyland Pitts, Trevor Izzo, Content & Editoral Noah Vinson Coordinator Orlando Rivera, Virginia Ross, Louis Michael Sanabria, Arturo Anabel Gullo, Marketing Intern Velazquez, Maintenance Premiere, February 16, 1993, Fine Arts Center, University of Massachusetts, Amherst COMPANY MARK MORRIS was born on Bernstein Lifetime Achievement Center’s Fall for Dance Festival, CHRISTINA SAHAIDA (Dancer) appeared at venues such as August 29, 1956, in Seattle, Award for the Elevation of Music regularly performs at Lincoln grew up in Pittsburgh, Wigmore Hall and the Barbican Washington, where he studied in Society, the Benjamin Franklin Center for the Performing Arts’ Pennsylvania and began her early Centre in London; La Cité de la with Verla Flowers and Perry Laureate Prize for Creativity, Mostly Mozart and White Light dance training at the Pittsburgh Musique in Paris; Amsterdam’s Brunson. In the early years of the International Society for the Festivals, and collaborates yearly Ballet Theatre School. In 2012, she Royal Carré Theatre; and Bulgaria his career, he performed with Performing Arts’ Distinguished with BAM on performances graduated with honors from Butler Hall in Sofia. He has toured the companies of Lar Lubovitch, Artist Award, Cal Performances and master classes. From the University, receiving a B.F.A. in Asia, Australia, and Israel, with Hannah Kahn, Laura Dean, Award of Distinction in the company’s many London seasons, Dance Performance. She has performances in Beijing Cultural Eliot Feld, and the Koleda Balkan Performing Arts, the Orchestra of it has received two Laurence worked with Ballet Quad Cities, Arts Center, Guangzhou Opera Dance Ensemble. He formed St. Luke’s Gift of Music Award, and Olivier Awards and a Critics’ Circle Texture Contemporary Ballet, House, Sydney Opera House, the Mark Morris Dance Group the 2016 Doris Duke Artist Award. Dance Award for Best Foreign and most recently the Big Muddy Tel Aviv Opera House, Taipei (MMDG) in 1980, and has since In 2015, Morris was inducted Dance Company. Reflecting Morris’ Dance Company in St. Louis, Cultural Center Taiwan, Hong created over 150 works for the into the Mr. and Mrs. Cornelius commitment to live music, the Missouri. Sahaida joined MMDG Kong, and Suntory Hall in Tokyo. company. From 1988 to 1991, he Vanderbilt Whitney Hall of Fame Dance Group has featured live as an apprentice in July 2017 and A dedicated collaborative was Director of Dance at Brussels’ at the National Museum of Dance musicians in every performance became a company member in musician, Valtchev enjoys frequent Théâtre Royal de la Monnaie, the in Saratoga Springs, New York. since the formation of the February 2019. performances with distinguished national opera house of Belgium. Morris opened the Mark Morris MMDG Music Ensemble in 1996. international artists and ensembles In 1990, he founded the White Dance Center in Brooklyn, New MMDG regularly collaborates BILLY SMITH (Dancer) grew up in the United States and Europe. Oak Dance Project with Mikhail York, in 2001 to provide a home with renowned musicians, in Fredericksburg, Virginia, and As a principal member of the Baryshnikov. Much in demand as for his company, subsidized rental including cellist Yo-Yo Ma, pianist attended George Mason MMDG Music Ensemble, he a ballet choreographer, Morris has space for local artists, outreach Emanuel Ax, mezzo-soprano University under a full academic frequently travels around the created 22 ballets since 1986 and programs for children and seniors, Stephanie Blythe, and jazz trio and dance talent scholarship. He world. Valtchev has been honored his work has been performed by and a school offering dance The Bad Plus, as well as leading to lead, as guest concertmaster, graduated magna cum laude in companies worldwide, including classes to students of all ages orchestras and opera companies, several major symphony San Francisco Ballet, American and abilities. Morris’ memoir,Out including the Metropolitan Opera, 2007 and received achievement orchestras, most notably the Ballet Theatre, Ballet du Grand Loud, co-written by Wesley Stace, English National Opera, and the awards in performance, London Philharmonic and the Théâtre de Genève, and the Royal will be published by Penguin Press London Symphony Orchestra. choreography, and academic Royal Symphony Orchestra of New Zealand Ballet. Noted for in October 2019. MMDG frequently works with endeavors. While at George Mason Madrid. He is a founder and his musicality, Morris has been distinguished artists and designers, he performed the works of artistic director of the Unbeaten described as “undeviating in his THE MARK MORRIS DANCE including painters Robert Bordo Mark Morris, Paul Taylor, Lar Path chamber music festival in devotion to music” (The New GROUP was formed in 1980 and the late Howard Hodgkin, set Lubovitch, Doug Varone, Daniel Kovachevitsa, Bulgaria, and a Yorker). He began conducting and gave its first performance designers Adrianne Lobel and Ezralow, Larry Keigwin, Susan founding member of the chamber performances for MMDG in that year in New York City. The Allen Moyer, costume designers Marshall, and Susan Shields. music series Bulgarian Concert 2006 and has since conducted at company’s touring schedule Martin Pakledinaz and Isaac Smith’s own piece, 3-Way Stop, Evenings in New York. Tanglewood Music Center, Lincoln steadily expanded to include Mizrahi, and many others. was selected to open the 2006 Center, and BAM (Brooklyn cities in the United States MMDG’s film and television NOAH VINSON (Dancer) is Academy of Music). He served and around the world, and in projects include Dido and Aeneas, American College Dance Festival originally from Springfield, Illinois as Music Director for the 2013 1986 it made its first national The Hard Nut, Falling Down Stairs, Gala at Ohio State University, and received his B.A. in Dance Ojai Music Festival. He also works television program for the PBS two documentaries for the U.K.’s and his original choreography for from Columbia College Chicago. extensively in opera, directing and series Dance in America. In 1988, South Bank Show, and PBS' Live a production of Bye Bye Birdie He was named a Dance Magazine choreographing productions MMDG was invited to become from Lincoln Center. In 2015, garnered much critical praise. An “Dancer on the Rise” in 2009 for the Metropolitan Opera, the national dance company of Morris’ signature work L’Allegro, actor as well, Smith’s regional and assisted Mark Morris in New York City Opera, English Belgium, and spent three years il Penseroso ed il Moderato had theater credits include Tulsa in the creation of The Letter Vfor National Opera, and The Royal in residence at the Théâtre Royal its national television premiere on Gypsy, Mistoffelees in CATS, and Houston Ballet. He began dancing Opera, Covent Garden, among de la Monnaie in Brussels. The PBS’ Great Performances. While Dream Curly in Oklahoma! Smith with MMDG in 2002 and became a others. He was named a Fellow Dance Group returned to the on tour, the Dance Group partners company member in 2004. of the MacArthur Foundation in United States in 1991 as one with local cultural institutions danced with Parsons Dance from 1991 and has received eleven of the world’s leading dance and community organizations to 2007-10. He joined MMDG as a honorary doctorates to date. He companies. Based in Brooklyn, present arts and humanities-based company member in 2010. has taught at the University of New York, MMDG maintains activities for people of all ages and Washington, Princeton University, strong ties to presenters in several abilities. GEORGY VALTCHEV (Violin) has and Tanglewood Music Center. cities around the world, most performed on some of the world’s He is a member of the American notably to its West Coast home, THE MMDG MUSIC ENSEMBLE most prestigious stages as a Academy of Arts and Sciences Cal Performances in Berkeley, was formed in 1996 and is integral soloist, with orchestras, in recitals, and the American Philosophical California, and its Midwest home, to the Dance Group. “With the and as a chamber musician. In the Society, and has served as an the Krannert Center for the dancers come the musicians… United States, he has appeared at Advisory Board Member for the Performing Arts at the University and what a difference it makes” Lincoln Center's Alice Tully Hall, Rolex Mentor and Protégé Arts of Illinois at Urbana-Champaign. (Classical Voice of North Carolina). Initiative. Morris has received MMDG also appears regularly in The Ensemble’s repertory ranges New York's Carnegie Hall, Kennedy the Samuel H. Scripps/American New York, Boston, Seattle, and from 17th and 18th century works Center in Washington, DC, the Dance Festival Award for Lifetime Fairfax. In New York, the company by John Wilson and Henry Purcell 92nd Street Y, and Chicago's Achievement, the Leonard has performed at New York City to more recent scores by Ethan Cultural Institute. In Europe, he has Iverson, Lou Harrison, and Henry appeared with MMDG in 2005 As a freelance artist, he has Cowell. The musicians also and danced with the company performed with the Radio City participate in the Dance Group’s until 2019, when he became the Christmas Spectacular, the Mark educational and community rehearsal director. Morris Dance Group, Morphoses, programming at home and on tour. The Metropolitan Opera, New York The Music Ensemble is led by Colin MICA BERNAS (Dancer) is Theatre Ballet, The Chase Brock Fowler, who began to collaborate originally from Manila, Philippines, Experience, Schoen Movement with MMDG in 2005 during the and received her training at the Company, Dance Heginbotham, creation of Mozart Dances. Cultural Center of the Philippines and KEIGWIN + COMPANY. TV/ Dance School. She later joined film/industrial credits include COLIN FOWLER (Music Director, Ballet Philippines as member of PBS’ Great Performances, Musical Piano) began his musical study at the corps de ballet, performing Chairs (HBO), Puma, Sesame the age of five in Kansas City and as a soloist from 2001-06. Since Street, and Target. As an educator went on to study at the prestigious moving to New York in 2006, and répétiteur, he has worked with Interlochen Arts Academy. He Bernas has worked with Marta The Pennsylvania Ballet, Whim continued his education at The Renzi Dance, Armitage Gone W’Him, The Juilliard School/Nord Juilliard School, where he received Dance, Gallim Dance, Barkin/ Anglia Education, and universities his Bachelor of Music in 2003 and Selissen Project, and Carolyn nationwide. Offstage, he has his Master of Music in 2005. Dorfman Dance (2007-13). She worked with companies in multiple While at Juilliard, he studied piano was a guest artist with the Limón capacities from artistic direction to with Abbey Simon, organ with Dance Company, performing at administrative management. For Gerre Hancock and Paul Jacobs, the 2013 Bienal Internacional many years, he was the Rehearsal harpsichord with Lionel Party, and de Danza de Cali in Bogotá, Director and Associate Artistic conducting with James dePriest Colombia; Lincoln Center’s David Director of KEIGWIN + COMPANY. and Judith Clurman. A versatile H. Koch Theater; and at The Joyce In addition, he has assisted musician and conductor, Fowler Theater for the company’s 70th numerous choreographers on works in many areas of the music Anniversary in 2015. Bernas creative projects in theatre, film, scene in New York City. He is a also teaches at the Limón Institute and dance. He joined MMDG in veteran of numerous Broadway and has been on the faculty for October 2018. shows, most recently performing BIMA at Brandeis University since in the Tony Award winning musical 2011. She joined MMDG in August DOMINGO ESTRADA, JR. (Dancer) Jersey Boys. A seasoned church 2017. is a native of Victoria, Texas, musician, Fowler is currently the studied martial arts, and earned organist at Marble Collegiate KARLIE BUDGE (Dancer) grew up in his black belt in 1994. He danced Church on Fifth Avenue and also Knoxville, Tennessee, dancing with ballet folklorico through his church leads services and concerts at Park the Tennessee Children’s Dance for eleven years. Estrada earned Avenue Synagogue, where he Ensemble (TCDE). She graduated his B.F.A. in Ballet and Modern has served as Music Director since magna cum laude with a B.A. Dance from Texas Christian 2012. As a classical soloist and in Dance and B.S. in Statistics in University and had the honor of collaborative artist, he has 2016 from Case Western Reserve working with the late Fernando performed and recorded with University and danced with Bujones. During his undergraduate many world-renowned musicians Graham 2 dance company. studies, he attended the American and ensembles, including Budge has performed works by Dance Festival where he had the Deborah Voigt and the Los Mark Morris, Pascal Rioult, privilege of performing Skylight, Angeles Philharmonic. He began Larry Keigwin, Martha Graham, a classic work by choreographer to collaborate with the Mark Ted Shawn, Bertram Ross, Laura Dean. He debuted with Morris Dance Group in 2005 and Virginie Mecene, Adam Barruch, MMDG in 2007 and became a has since then performed over Michael Mao, and Randy company member in 2009. Estrada 40 pieces with the company on Duncan. She has presented her would like to thank God, his family, almost every keyboard instrument choreography throughout New and all who support his passion. possible, including the harmonium York City in Playscape2016, NEXT@ and toy piano, and has conducted Graham, NYC10, SoloDuo Festival, LESLEY GARRISON (Dancer) performances of Mozart Dances, and four Martha Graham School grew up in Swansea, Illinois, and Acis and Galatea, and The Hard showings. She received the received her early dance Nut. Hailed by The New York Times Pearl Lang Award for Excellence training at the Center of Creative as “invaluable” and “central to in Choreography in 2017. Budge Arts in St. Louis, Missouri, and Morris' music,” he was appointed joined MMDG as an apprentice in Interlochen Arts Academy in music director in 2013. September 2018. Interlochen, Michigan. She studied at the Rotterdamse Dansacademie SAM BLACK (Rehearsal Director) is BRANDON COURNAY (Dancer) in The Netherlands and holds a originally from Berkeley, California, is originally from Walled Lake, B.F.A. from Purchase College. She and received his B.F.A. in Dance Michigan, and received his first performed with MMDG in from SUNY Purchase. He first B.F.A. from The Juilliard School. 2007 and became a company member in 2011. Garrison teaches and Bill Young. Haarman joined MINGA PRATHER (Dancer) is a at The School at the Mark Morris MMDG in August 2017. Dallas, Texas native, and received Dance Center and for MMDG’s her training from Booker T. Dance for PD® program. DEEPA LIEGEL (Dancer) grew up Washington High School for the dancing with Cornish Preparatory Performing and Visual Arts, and LAUREN GRANT (Dancer), honored Dance, Leela Kathak Dance, and later graduated with honors in with a New York Dance and Seattle Theater Group in Seattle, Dance from the Ailey/Fordham Performance “Bessie” award for Washington. She received her B.F.A. program. Prather has had her career with the Mark Morris B.F.A. in Dance Performance the pleasure of performing with Dance Group, has danced with with honors and a minor in Arts Hubbard Street Dance Chicago, MMDG since 1996, appearing Management from Southern Alvin Ailey American Dance in over 60 of Morris' works. Methodist University in 2017. Theater, and Nimbus Dance Works In addition to staging Morris' Since moving to New York, she performing works by Alvin Ailey, repertory on his company and at has performed with Barkha Dance Alejandro Cerrudo, William universities, Grant teaches Company, Broadway Bares, and Forsythe, Ohad Naharin, ballet and modern technique for Monica Kapoor, and apprenticed Crystal Pite, and Twyla Tharp. numerous professional dance with the Limón Dance Company. She received an award from the companies and schools around She joined MMDG as an National Young Arts Foundation the globe and is an adjunct faculty apprentice in September 2018. for Modern Dance in 2014. Prather member at Montclair State joined MMDG as an apprentice in University. Her writing has been AARON LOUX (Dancer) grew September 2018. published in the journals Dance up in Seattle, Washington, and Education in Practice, Ballet began dancing at the Creative BRANDON RANDOLPH (Dancer) Review, Dance Enthusiast, Dance Dance Center as a member of began his training with the School Magazine, and InfiniteBody. She Kaleidoscope, a youth modern of Carolina Ballet Theater in also serves as a panelist for the dance company. He began his Greenville, South Carolina, under New York State Council on the classical training at the Cornish the direction of Hernan Justo. At Arts. Grant earned her M.F.A. College Preparatory Dance age 14, he was accepted into the in Dance from Montclair State Program and received his B.F.A. South Carolina Governor’s School University (where she was a from The Juilliard School in 2009. for the Arts and Humanities, where member of the Alpha Epsilon He danced at The Metropolitan he studied with Stanislav Issaev Lambda Honor Society) and her Opera and with Arc Dance and Bobby Barnett. Randolph B.F.A. in Dance from New York Company before joining received his B.F.A. in Dance from University’s Tisch School of the MMDG in 2010. Purchase College in 2012. There Arts. She is a recipient of the he had the opportunity to perform prestigious American Association LAUREL LYNCH (Dancer) began with Dance Heginbotham as well of University Women Career her dance training at Petaluma as repertory by Stephen Petronio, Development Grant, the Sono School of Ballet in California. She Lar Lubovitch, Paul Taylor, and Osato Scholarship for Graduate moved to New York to attend George Balanchine. Randolph Studies, andthe Caroline The Juilliard School where she began working with MMDG in Newhouse Grant—all in support performed works by Robert Battle, 2013 and became a company of her scholarly pursuits. Originally Margie Gillis, José Limón, and member in 2014. from Highland Park, Illinois, she Ohad Naharin. After graduation lives in Brooklyn, New York, with Lynch danced for Dušan Týnek NICOLE SABELLA (Dancer) her husband David Leventhal Dance Theatre, Sue Bernhard is originally from Clearwater, (former MMDG dancer and current Danceworks, and Pat Catterson. Florida, where she studied at the Dance for PD® Program Director) Lynch joined MMDG in 2007. Many Academy of Ballet Arts and the and their son, born in 2012. thanks to Gene and Becky. Pinellas County Center for the Arts at Gibbs High School under SARAH HAARMAN (Dancer) grew DALLAS McMURRAY (Dancer) is Suzanne B. Pomerantzeff. In 2009, up in Macungie, Pennsylvania, and from El Cerrito, California, and she graduated from the University received training at the Lehigh began dancing at age four, studying of the Arts in Philadelphia, Valley Charter High School for jazz, tap, and acrobatics with Katie Pennsylvania, earning her B.F.A. in the Performing Arts under the Maltsberger and ballet with Yukiko Modern Dance Performance and direction of Kimberly Maniscalco. Sakakura. He received a B.F.A. in the “Outstanding Performance in She graduated magna cum dance from the California Institute Modern Dance” Award. She was laude with a B.F.A in Dance from of the Arts. McMurray performed a performer with Zane Booker’s Marymount Manhattan College with the Limón Dance Company Smoke, Lilies, and Jade Arts in 2012. Haarmann has had the in addition to works by Jiří Kylián, Initiative. Sabella first performed pleasure of performing with Alonzo King, Robert Moses, and with MMDG in 2013 and became a Pam Tanowitz Dance, Jessica Lang Colin Connor. McMurray joined company member in 2015. Dance, Dylan Crossman Dans(c)e, MMDG in 2007. Pat Catterson, Denisa Musilova, COMPANY MARK MORRIS was born on Bernstein Lifetime Achievement Center’s Fall for Dance Festival, CHRISTINA SAHAIDA (Dancer) appeared at venues such as August 29, 1956, in Seattle, Award for the Elevation of Music regularly performs at Lincoln grew up in Pittsburgh, Wigmore Hall and the Barbican Washington, where he studied in Society, the Benjamin Franklin Center for the Performing Arts’ Pennsylvania and began her early Centre in London; La Cité de la with Verla Flowers and Perry Laureate Prize for Creativity, Mostly Mozart and White Light dance training at the Pittsburgh Musique in Paris; Amsterdam’s Brunson. In the early years of the International Society for the Festivals, and collaborates yearly Ballet Theatre School. In 2012, she Royal Carré Theatre; and Bulgaria his career, he performed with Performing Arts’ Distinguished with BAM on performances graduated with honors from Butler Hall in Sofia. He has toured the companies of Lar Lubovitch, Artist Award, Cal Performances and master classes. From the University, receiving a B.F.A. in Asia, Australia, and Israel, with Hannah Kahn, Laura Dean, Award of Distinction in the company’s many London seasons, Dance Performance. She has performances in Beijing Cultural Eliot Feld, and the Koleda Balkan Performing Arts, the Orchestra of it has received two Laurence worked with Ballet Quad Cities, Arts Center, Guangzhou Opera Dance Ensemble. He formed St. Luke’s Gift of Music Award, and Olivier Awards and a Critics’ Circle Texture Contemporary Ballet, House, Sydney Opera House, the Mark Morris Dance Group the 2016 Doris Duke Artist Award. Dance Award for Best Foreign and most recently the Big Muddy Tel Aviv Opera House, Taipei (MMDG) in 1980, and has since In 2015, Morris was inducted Dance Company. Reflecting Morris’ Dance Company in St. Louis, Cultural Center Taiwan, Hong created over 150 works for the into the Mr. and Mrs. Cornelius commitment to live music, the Missouri. Sahaida joined MMDG Kong, and Suntory Hall in Tokyo. company. From 1988 to 1991, he Vanderbilt Whitney Hall of Fame Dance Group has featured live as an apprentice in July 2017 and A dedicated collaborative was Director of Dance at Brussels’ at the National Museum of Dance musicians in every performance became a company member in musician, Valtchev enjoys frequent Théâtre Royal de la Monnaie, the in Saratoga Springs, New York. since the formation of the February 2019. performances with distinguished national opera house of Belgium. Morris opened the Mark Morris MMDG Music Ensemble in 1996. international artists and ensembles In 1990, he founded the White Dance Center in Brooklyn, New MMDG regularly collaborates BILLY SMITH (Dancer) grew up in the United States and Europe. Oak Dance Project with Mikhail York, in 2001 to provide a home with renowned musicians, in Fredericksburg, Virginia, and As a principal member of the Baryshnikov. Much in demand as for his company, subsidized rental including cellist Yo-Yo Ma, pianist attended George Mason MMDG Music Ensemble, he a ballet choreographer, Morris has space for local artists, outreach Emanuel Ax, mezzo-soprano University under a full academic frequently travels around the created 22 ballets since 1986 and programs for children and seniors, Stephanie Blythe, and jazz trio and dance talent scholarship. He world. Valtchev has been honored his work has been performed by and a school offering dance The Bad Plus, as well as leading to lead, as guest concertmaster, graduated magna cum laude in companies worldwide, including classes to students of all ages orchestras and opera companies, several major symphony San Francisco Ballet, American and abilities. Morris’ memoir,Out including the Metropolitan Opera, 2007 and received achievement orchestras, most notably the Ballet Theatre, Ballet du Grand Loud, co-written by Wesley Stace, English National Opera, and the awards in performance, London Philharmonic and the Théâtre de Genève, and the Royal will be published by Penguin Press London Symphony Orchestra. choreography, and academic Royal Symphony Orchestra of New Zealand Ballet. Noted for in October 2019. MMDG frequently works with endeavors. While at George Mason Madrid. He is a founder and his musicality, Morris has been distinguished artists and designers, he performed the works of artistic director of the Unbeaten described as “undeviating in his THE MARK MORRIS DANCE including painters Robert Bordo Mark Morris, Paul Taylor, Lar Path chamber music festival in devotion to music” (The New GROUP was formed in 1980 and the late Howard Hodgkin, set Lubovitch, Doug Varone, Daniel Kovachevitsa, Bulgaria, and a Yorker). He began conducting and gave its first performance designers Adrianne Lobel and Ezralow, Larry Keigwin, Susan founding member of the chamber performances for MMDG in that year in New York City. The Allen Moyer, costume designers Marshall, and Susan Shields. music series Bulgarian Concert 2006 and has since conducted at company’s touring schedule Martin Pakledinaz and Isaac Smith’s own piece, 3-Way Stop, Evenings in New York. Tanglewood Music Center, Lincoln steadily expanded to include Mizrahi, and many others. was selected to open the 2006 Center, and BAM (Brooklyn cities in the United States MMDG’s film and television NOAH VINSON (Dancer) is Academy of Music). He served and around the world, and in projects include Dido and Aeneas, American College Dance Festival originally from Springfield, Illinois as Music Director for the 2013 1986 it made its first national The Hard Nut, Falling Down Stairs, Gala at Ohio State University, and received his B.A. in Dance Ojai Music Festival. He also works television program for the PBS two documentaries for the U.K.’s and his original choreography for from Columbia College Chicago. extensively in opera, directing and series Dance in America. In 1988, South Bank Show, and PBS' Live a production of Bye Bye Birdie He was named a Dance Magazine choreographing productions MMDG was invited to become from Lincoln Center. In 2015, garnered much critical praise. An “Dancer on the Rise” in 2009 for the Metropolitan Opera, the national dance company of Morris’ signature work L’Allegro, actor as well, Smith’s regional and assisted Mark Morris in New York City Opera, English Belgium, and spent three years il Penseroso ed il Moderato had theater credits include Tulsa in the creation of The Letter Vfor National Opera, and The Royal in residence at the Théâtre Royal its national television premiere on Gypsy, Mistoffelees in CATS, and Houston Ballet. He began dancing Opera, Covent Garden, among de la Monnaie in Brussels. The PBS’ Great Performances. While Dream Curly in Oklahoma! Smith with MMDG in 2002 and became a others. He was named a Fellow Dance Group returned to the on tour, the Dance Group partners company member in 2004. of the MacArthur Foundation in United States in 1991 as one with local cultural institutions danced with Parsons Dance from 1991 and has received eleven of the world’s leading dance and community organizations to 2007-10. He joined MMDG as a honorary doctorates to date. He companies. Based in Brooklyn, present arts and humanities-based company member in 2010. has taught at the University of New York, MMDG maintains activities for people of all ages and Washington, Princeton University, strong ties to presenters in several abilities. GEORGY VALTCHEV (Violin) has and Tanglewood Music Center. cities around the world, most performed on some of the world’s He is a member of the American notably to its West Coast home, THE MMDG MUSIC ENSEMBLE most prestigious stages as a Academy of Arts and Sciences Cal Performances in Berkeley, was formed in 1996 and is integral soloist, with orchestras, in recitals, and the American Philosophical California, and its Midwest home, to the Dance Group. “With the and as a chamber musician. In the Society, and has served as an the Krannert Center for the dancers come the musicians… United States, he has appeared at Advisory Board Member for the Performing Arts at the University and what a difference it makes” Lincoln Center's Alice Tully Hall, Rolex Mentor and Protégé Arts of Illinois at Urbana-Champaign. (Classical Voice of North Carolina). Initiative. Morris has received MMDG also appears regularly in The Ensemble’s repertory ranges New York's Carnegie Hall, Kennedy the Samuel H. Scripps/American New York, Boston, Seattle, and from 17th and 18th century works Center in Washington, DC, the Dance Festival Award for Lifetime Fairfax. In New York, the company by John Wilson and Henry Purcell 92nd Street Y, and Chicago's Achievement, the Leonard has performed at New York City to more recent scores by Ethan Cultural Institute. In Europe, he has MARK MORRIS DANCE GROUP WORDS (excerpts) MARK MORRIS ARCHIVES Michael Mushalla, Booking MUSIC Felix Mendelssohn, "Songs Without Words" DANCE GROUP STAFF Stephanie Neel, Archive Project Representation (Double M Arts & Artistic Director Manager Mark Morris, Events) COSTUME DESIGN Maile Okamura Nancy Umanoff, Executive Director Regina Carra, Archive Project Williams Murray, Media and Metadata and Cataloging General Consultation Services LIGHTING DESIGN Nick Kolin PRODUCTION Coordinator (Better Altitude Inc.) Director of Johan Henckens, Kareem Woods, Archive Mark Selinger, Legal Counsel MUSICIANS Georgy Valtchev (violin) Technical Production Digitization Assistant (McDermott, Will & Emery) Colin Fowler (piano) Nick Kolin, Lighting Supervisor O'Connor Davies, Accountant Rory Murphy, Audio Supervisor EDUCATION (Munns & Dobbins, LLP) DANCERS Mica Bernas Sarah Marcus, Director of Stephanie Sleeper, Costume Orthopaedist, M.D. Karlie Budge Education David S. Weiss, Coordinator (NYU Langone Medical Center) Brandon Cournay Rachel Roberge, School Director Amy Page, Wardrobe Supervisor Marshall Hagins, Physical Lauren Grant Alexandra Cook, Community Therapist, PT, PhD Laurel Lynch Programs Director COMPANY Jeffrey Cohen, Hilot Therapist Minga Prather Jen Rossi, Company Manager Jessica Pearson, Adult Programs, Brandon Randolph Julia Weber, Assistant Company Assistant Manager Christina Sahaida Manager Jamia Jordan, School BOARD Billy Smith Colin Fowler, Music Director Administrator Judith R. Fishman, Chairman Noah Vinson Sam Black, Rehearsal Director Alexandria Ryahl, Education David Resnicow, Vice-Chairman Programs Assistant Mark Selinger, Vice-Chairman Premiere, October 8, 2014, New York City Center, Fall for Dance Festival, New York ADMINISTRATION Denise Camarillo-Cruz, Jolie Isaac Mizrahi, Secretary Elizabeth Fox, Chief Financial Saltiel, Sophia Visscher-Lubinizki, Officer Education Interns Sarabeth Berman Frederick Bland Geoff Chang,General Manager David Leventhal, Dance for PD® - INTERMISSION - Margaret Conklin Aleksandr Kanevskiy, IT Director Program Director Suzy Kellems Dominik Natalia Kurylak, Finance Manager Maria Portman Kelly, Dance for Shelby Gans Chris Pritchard, Budget Manager PD® Programs and Engagement GRAND DUO Manager York-Chi Harder Rebecca Hunt, Payroll Manager/ MUSIC Lou Harrison, "Grand Duo for Violin and Piano" Benefits Administrator Eva Nichols, Outreach Director Nicholas Ma Amy Bauman, Dance for PD® Finance Assistant Timothy J. McClimon COSTUME DESIGN Susan Ruddie Emily Rogers, Programs Assistant Jamaelya Hines, Finance Intern Helen Meyer Natasha Frater, Dance for PD® Mark Morris LIGHTING DESIGN Michael Chybowski Stephanie Saywell, Assistant to Programs Administrator the Executive Director Jocelynne Rainey, Ed.D Connie Zhou, Dance for PD® Intern Prelude Ellen Offner Stampede DEVELOPMENT DANCE CENTER OPERATIONS Jane Stine Michelle Amador, Director of A Round Elise Gaugert, Director of Events Development Polka and Venue Operations David Gracia, Manager of Mark Sacks, Director of Facilities Individual Giving MUSICIANS Georgy Valtchev (violin) and Capital Projects Colin Fowler (piano) Ann Marie Rubin, Manager of Annie Woller, Rental Programs Institutional Giving Manager DANCERS Mica Bernas Aidan Heck, Data Entry and Tiffany McCue,Operations Karlie Budge Research Assistant Coordinator Brandon Cournay Christina Dong,Development Emma Sanz, Operations Intern Domingo Estrada, Jr. Intern Tamika Daniels, Front Desk Lesley Garrison Manager Aaron Loux MARKETING Laurel Lynch Director of Dominique Terrell, Assistant Front Karyn LeSuer, Dallas McMurray Marketing Desk Manager Minga Prather Hunter Darnell, Roxie Maisel, Joleen Richards, Web & Social Brandon Randolph Anna Marchisello, Carter Shocket, Media Manager Nicole Sabella Nissa Heman, Marketing & Patricia Suarez, Kareem Woods, Front Desk Associates Christina Sahaida Communications Associate Billy Smith Hector Mazariegos, Hyland Pitts, Trevor Izzo, Content & Editoral Noah Vinson Coordinator Orlando Rivera, Virginia Ross, Louis Michael Sanabria, Arturo Anabel Gullo, Marketing Intern Velazquez, Maintenance Premiere, February 16, 1993, Fine Arts Center, University of Massachusetts, Amherst PROGRAM FUNDING AND SUPPORT MEMBERSHIP SUPPORTS

The School’s dancers, or artists-in-residence particular, Morris has for decades made close study of how gesture and sound interact in classical Indian dance; while Noah Vinson ‡ Deceased he rarely draws on odissi or bharata natyam directly, these and other forms have served as crucial models for his own innovations. MMDG MUSIC ENSEMBLE Colin Fowler INSTITUTIONAL SUPPORT Few choreographers have thrived in as wide a range of venues as Morris, who has devised work for both grand Georgy Valtchev As of May 23, 2019 major support for Jacob’s Pillow has been generously provided by the proscenium stages and intimate black box theaters. Upon his appointment in 1988 to head the dance division of the following institutions: The Arison Arts Foundation; Arnhold Foundation; The Barr Foundation; Théâtre Royal de la Monnaie in Brussels, Morris developed large-scale productions of enduring importance:L’Allegro, il The Barrington Foundation; Berkshire Taconic Community Foundation; Blue Cross Blue Shield Penseroso ed il Moderato (1988), Dido and Aeneas (1989), and The Hard Nut (1991). He has choreographed seminal opera productions—from the premiere of Nixon in China (Houston Grand Opera, 1987) to landmark revivals of baroque operas of Massachusetts; The Chervenak-Nunnallé Foundation; The Feigenbaum Foundation; Gladys *Alumni of The School at Jacob's Pillow Krieble Delmas Foundation; The Ford Foundation; Howard Gilman Foundation; Harkness like Platée (Royal Opera, 1997)—and enjoyed commissions from the world’s foremost ballet companies. Morris is equally Foundation for Dance; William Randolph Hearst Foundation; The John S. and James L. celebrated for the sweep of his more intimate chamber compositions, for which the Pillow has always been a special ** MMDG Apprentice Knight Foundation; Massachusetts Cultural Council, a state agency; MassDevelopment; The home. Not only has the MMDG appeared in over twenty seasons at the Pillow, but residencies here have contributed to Andrew W. Mellon Foundation; Mertz Gilmore Foundation; New England Foundation for the the development of several dances, including celebrated works like The Hard Nut, Grand Duo, and Falling Down Stairs, Arts; National Endowment for the Arts; Onota Foundation; The Prospect Hill Foundation; a 1995 collaboration with the cellist Yo-Yo Ma that was filmed in the Doris Duke Theatre for broadcast on the PBS series The Shubert Foundation; The Robert and Tina Sohn Foundation; The Spingold Foundation; “Inspired by Bach.” Talented Students in the Arts Initiative, a collaboration of the Doris Duke Charitable © 2019 Seth Stewart Williams and Jacob’s Pillow Dance Festival Foundation and Surdna Foundation; The Thompson Family Foundation; The Velmans Seth Stewart Williams, assistant professor at Barnard College of Columbia University, is a scholar of dance history and Foundation; Weissman Family Foundation; and Jacob’s Pillow Business Partners. Renaissance literature. He first came to the Pillow as a student at The School, and returned as a performer in the Festival. After work with Seán Curran and Donald McKayle, and as a supplemental dancer to MMDG, he received his doctorate in English literature from Columbia. See a longer version of this essay, including analysis and footage of three Morris dances, at danceinteractive.jacobspillow.org PROGRAM FUNDING AND SUPPORT MEMBERSHIP SUPPORTS

We are so glad you are here. Enjoy the show! PILLOWNOTES JACOB’S PILLOW EXTENDS SPECIAL THANKS by Seth Stewart Williams TO OUR VISIONARY LEADERS The PillowNotes series comprises essays commissioned from our Scholars-in-Residence to provide audiences with a broader context for viewing dance. VISIONARY LEADERS form an important foundation of support and demonstrate their passion for and commitment to Jacob’s Pillow through Mark Morris’ career to date has been bracketed by two phases in which he has brashly upended choreographic conventions. One was hard to miss, and the other easy to overlook. The first phase, when he burst onto the scene in the annual gifts of $10,000 and above. early 1980s, challenged a number of the dance world’s pieties: Morris foregrounded his queerness during an era when many choreographers favored a glass closet, questioned when and whether gender matters, and made dances marked by Their deep affliliation ensures the success and longevity of the a devotion to music that was at once brainy and deeply felt. Pillow’s annual offerings, including educational initiatives, free public programs, The School, the Archives, and more. This musicality might have seemed something of a throwback if not for the fact that few choreographers—perhaps not even George Balanchine—have been so precisely and wittily attentive to the structural nuances of a musical score, and if not for the fact that Morris directed his musicality at any genre whatsoever, from un-championed gems of the PRESENTS $25,000+ baroque repertory, to the Carnatic traditions of India, to deep cuts from mavericks like Yoko Ono and Harry Partch. MARK MORRIS DANCE GROUP Carole* & Dan Burack Christopher Jones* & Deb McAlister Morris’ choreography does not, like that of many other choreographers praised for their musicality, merely reflect the The Barrington Foundation Wendy McCain rhythm and mood of its music. Instead, Morris uses dance to expose the hidden workings of a score—when a composer & MUSIC ENSEMBLE Frank & Monique Cordasco Fred Moses* transforms a musical motif, for example, Morris subjects choreographic motifs to a related transformation. His hallmark Hon. Stephan P. Driscoll*, in honor and memory Jennie A. Kassanoff & Dan H. Schulman as a choreographer is an uncanny ability to give musical ideas choreographic forms that are at once so logically right and yet so wholly surprising. And yet his eye for music rarely leads to a purely abstract product. His dances, sometimes of John Lindquist & Barton Mumaw Mark & Taryn Leavitt Ted Shawn Theatre subtle morality tales in movement, have offered audiences a wry take on everything from the erotics of vampirism (One Stephanie & Robert ‡ Gittleman Sylvia T. Pope* Charming Night, 1985) and of striptease (Mythologies, 1986), to the dangers of American jingoism (World Power, 1995, July 17-21, 2019 Carolyn Gray & George Peppard Robert & Eileen Rominger and Empire Garden, 2009), to the high stakes that underlie even the most humdrum of workplaces (The Office, 1994). Joan & Jim Hunter If Morris’ taste in music was from the outset almost shockingly catholic, he was equally open-minded in his choice of dancers, whose diversity of bodies made them look less like a dance company and more like America. His embrace of such ARTISTIC DIRECTOR Mark Morris a heterogeneous ensemble had something to do with his own initial training as a boy in Seattle, which in addition to ballet $10,000+ involved serious study of Spanish and Balkan folk dances. In synthesizing such traditions he has repeatedly valorized the Dr. Norman Abramson Ann* & Peter Herbst collective, not only as a choreographic unit but, implicitly, as a social unit. Even one of the century’s great ballet soloists, EXECUTIVE DIRECTOR Nancy Umanoff Deborah & Charles Adelman Laura* & Nick Ingoglia Mikhail Baryshnikov, found that new forms of artistry were possible as one member among many in his performances with Aliad Fund Nancy K. Kalodner the Mark Morris Dance Group, and with the company he co-founded with Morris in 1990, the White Oak Dance Project. Rick & Nurit Amdur Amy & Richard Kohan Across Morris’ dances—from the early hit Gloria (1981), to the mid-career masterpiece Grand Duo (1993), to more recent MARK MORRIS DANCE GROUP Mica Bernas Candace* & Rick Beinecke Lizbeth & George Krupp achievements like Socrates (2010) and The (2015)—he has demonstrated an almost peerless facility in choreographing Karlie Budge** Linda & Bob Berzok Jack & Elizabeth Meyer, in honor of contrapuntal groups. Brandon Cournay Sydelle & Lee Blatt Diane & Deval Patrick David Carlisle & Morene Bodner Hans* & Kate Morris While Morris’ arrival and early successes threw many audiences and critics back on their heels, the radicalism of his Domingo Estrada, Jr. Chervenak-Nunnallé Foundation Gov. Deval L. & Diane Patrick more recent phase has been all too easily misapprehended. This is in part because it’s really an intensification—although Lesley Garrison* Neil* & Kathleen Chrisman Claudia Perles a significant one—of the musical and group sensibilities that have distinguished him from the outset. The difference is Lauren Grant that he has not only heightened the interdependence of dance and music in his choreography, but has extended this to Ranny Cooper & David Smith Caren & Barry Roseman Sarah Haarmann Jeffrey Davis & Michael T. Miller Hunter K. Runnette* & Mark P. VandenBosch an institutional interdependence between the making of music and the making of dance. Morris’ use of live music has David DeFilippo & Lisa Shapiro, in memory of Naomi Seligman & Ernie von Simson evolved from a preference to an imperative. His company has expanded to include not only superlative dancers, but an Deepa Liegel** Robert Gittleman Mark Sena & Linda Saul-Sena in-house collection of superlative musicians, all of whom now tour as the Mark Morris Dance Group and Music Ensemble. Aaron Loux Morris has occasionally taken the helm of this ensemble himself as one of its conductors, making him perhaps the only Hermine Drezner Natalie & Howard Shawn Laurel Lynch* Sheila Drill Lisbeth Tarlow & Stephen Kay major choreographer whose career has spanned both stage and orchestral pit. A live-music ethos also guides the broader Nancy & Michael Feller Roger Tilles mission of the entire Mark Morris Dance Center in Brooklyn: its classes feature accompaniment by everything from pianos Dallas McMurray David & Nina Fialkow in honor of Stephen Weiner & Donald Cornuet to djembe drums, and its pioneering Dance for PD® (Parkinson's Disease) initiative stresses the cognitive, physical, and Minga Prather** social benefits of doing accessible movement in response to live music. Deval & Diane Patrick and Mark A. Leavitt Ellen Weissman Brandon Randolph Mark & Liz Williams Jeanne Donovan Fisher Morris’ work to integrate music and dance is on the one hand a reversion to Western traditions (especially of the Nicole Sabella Joan* & Charlie Gross Elaine* & Irving Wolbrom seventeenth and eighteenth centuries, when choreographers were almost always also musicians). On the other hand, it follows from Morris’ embrace of several global traditions that thrive on the unification of music and dance, the live Christina Sahaida * Former Trustees, staff, faculty, interns, interaction of which allows performers and spectators alike to engage in a nuanced exchange of aesthetic sensations. In Billy Smith The School’s dancers, or artists-in-residence particular, Morris has for decades made close study of how gesture and sound interact in classical Indian dance; while Noah Vinson ‡ Deceased he rarely draws on odissi or bharata natyam directly, these and other forms have served as crucial models for his own innovations. MMDG MUSIC ENSEMBLE Colin Fowler INSTITUTIONAL SUPPORT Few choreographers have thrived in as wide a range of venues as Morris, who has devised work for both grand Georgy Valtchev As of May 23, 2019 major support for Jacob’s Pillow has been generously provided by the proscenium stages and intimate black box theaters. Upon his appointment in 1988 to head the dance division of the L’Allegro, il following institutions: The Arison Arts Foundation; Arnhold Foundation; The Barr Foundation; Théâtre Royal de la Monnaie in Brussels, Morris developed large-scale productions of enduring importance: Penseroso ed il Moderato Dido and Aeneas The Hard Nut The Barrington Foundation; Berkshire Taconic Community Foundation; Blue Cross Blue Shield (1988), (1989), and (1991). He has choreographed seminal opera Nixon in China of Massachusetts; The Chervenak-Nunnallé Foundation; The Feigenbaum Foundation; Gladys productions—from the premiere of (Houston Grand Opera, 1987) to landmark revivals of baroque operas Platée *Alumni of The School at Jacob's Pillow Krieble Delmas Foundation; The Ford Foundation; Howard Gilman Foundation; Harkness like (Royal Opera, 1997)—and enjoyed commissions from the world’s foremost ballet companies. Morris is equally Foundation for Dance; William Randolph Hearst Foundation; The John S. and James L. celebrated for the sweep of his more intimate chamber compositions, for which the Pillow has always been a special ** MMDG Apprentice Knight Foundation; Massachusetts Cultural Council, a state agency; MassDevelopment; The home. Not only has the MMDG appeared in over twenty seasons at the Pillow, but residencies here have contributed to Andrew W. Mellon Foundation; Mertz Gilmore Foundation; New England Foundation for the the development of several dances, including celebrated works like The Hard Nut, Grand Duo, and Falling Down Stairs, Arts; National Endowment for the Arts; Onota Foundation; The Prospect Hill Foundation; a 1995 collaboration with the cellist Yo-Yo Ma that was filmed in the Doris Duke Theatre for broadcast on the PBS series The Shubert Foundation; The Robert and Tina Sohn Foundation; The Spingold Foundation; “Inspired by Bach.” Talented Students in the Arts Initiative, a collaboration of the Doris Duke Charitable © 2019 Seth Stewart Williams and Jacob’s Pillow Dance Festival Foundation and Surdna Foundation; The Thompson Family Foundation; The Velmans Seth Stewart Williams, assistant professor at Barnard College of Columbia University, is a scholar of dance history and Foundation; Weissman Family Foundation; and Jacob’s Pillow Business Partners. Renaissance literature. He first came to the Pillow as a student at The School, and returned as a performer in the Festival. After work with Seán Curran and Donald McKayle, and as a supplemental dancer to MMDG, he received his doctorate in English literature from Columbia. See a longer version of this essay, including analysis and footage of three Morris dances, at danceinteractive.jacobspillow.org