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Home , Diane Madden, Gotham Book Mart, Guy Klucevsek, Peter Zummo, Pina Bausch, Trisha Brown

Dance Company r sa Brown Trisha #BAMNextWave no intermission LOCATION: RUN TIME: DATES: Approx 1hr, 5mins BAM Fisher (Fishman Space) OCT 13at2pm OCT 10—13at7:30pm

visionary leadership oftheNextWavevisionary Festival honors JosephV. Melilloandhis36yearsof The 2018Richard B.Fisher NextWave Award GilmoreFoundationby theMertz fordanceattheBAMFisherSupport provided by theVirginia B.Toulmin Foundation intheNextWave Festival provided forfemalechoreographersand Support by TheSHSFoundation fordanceatBAMprovided Major support by TheHarknessFoundation forDance fordanceatBAMprovided Leadership support the DorisDuke CharitableFoundation andtheBAMFisherHarvey providedby fordanceattheBAM Leadership support Season Sponsor: Executive Producer Joseph V. Melillo, President Katy Clark, Vice ChairmanoftheBoard William I.Campbell, Chairman oftheBoard Adam E.Max, Brooklyn AcademyofMusic BAM Fisher PROGRAM Dance Company BALLET (1968) Reconstruction directed by Carolyn Lucas Costume: Trisha Brown rebuilt by Elizabeth Cannon Sound: Ambient Founding Artistic Director Lighting: Beverly Emmons and Choreographer Original Cast: Trisha Brown Trisha Brown Cast: Cecily Campbell Aerial consultant: Bobby Hedglin Taylor Associate Artistic Directors Media consultant: Bill Brand Carolyn Lucas Consulting artist: Jack Warren NY Premiere: Riverside Church Theater, New York, NY, June 19, 1968 Dancers Oluwadamilare Ayorinde Cecily Campbell PAMPLONA STONES (1974) Kimberly Fulmer Leah Ives Reconstruction directed by Cori Olinghouse Amanda Kmett’Pendry In collaboration with Sylvia Palacios Whitman Kyle Marshall Sound: Dialogue, text by Trisha Brown Patrick McGrath Lighting: Beverly Emmons Jacob Storer Original cast: Trisha Brown, Sylvia Palacios Whitman Cast: Leah Ives, Amanda Kmett’Pendry Executive Director Special thanks to Colin Gee for his feedback and dramaturgy Barbara Dufty NY Premiere: 383 West , New York, NY, June 11, 1974

WORKING TITLE (1985)

Reconstruction directed by Diane Madden and Carolyn Lucas Sound: , selections from the suite Six Songs: “Sci-Fi,” “Slow Heart,” “Song VI,” “Song IV” Performed by: The Peter Zummo Orchestra Mustafa Khaliq Ahmed (percussion), (accordion), Dave Phillips (bass), Bill Ruyle (marimba and tabla), Peter Zummo (trombone) Costumes: Elizabeth Cannon Lighting: Beverly Emmons Flying by Foy Flying Operators: Philippe Ladue and Libby Polkoski Original Cast: Trisha Brown, Irène Hultman, Carolyn Lucas, Diane Madden, , Lisa Schmidt, Vicky Shick, Randy Warshaw Cast: Oluwadamilare Ayorinde, Cecily Campbell, Kimberly Fulmer, Leah Ives, Amanda Kmett’Pendry, Kyle Marshall, Patrick McGrath, Jacob Storer Specials thanks to Vicky Shick and Stephen Petronio

US Premiere: , Minneapolis, MN, September 5, 1985 Notes on company in 1971. Throughout the early relationship between dancing, set, and 1970s, Brown’s choreography was rooted music finalized as Lateral Pass, presented Tonight’s Program in a rigorous systematicity, defined by her in September 1985 at use of scores derived from an amalgam Center (the company’s first appearance in This program of three Trisha Brown works of geometric shapes and alpha-numerical a midtown venue). Departing from the 1960s, 1970s, and 1980s logic. Created through improvisation, from her prior concern with the black highlights the breadth of Brown’s artistic Pamplona Stones marked a significant box’s geometric logic, Brown’s dance experimentation, her playful wit, and departure from her working methods; concept was two-fold. First, she wanted innovative physical artistry—but also the Brown told critics that its working process to work with the theatrical apparatus: Trisha Brown Dance Company’s current was a welcome relief from the self- the curtain; the theater’s fly gallery (from approach to staging Brown’s works. imposed strictures of her 1970s works. which Graves’ set descended); and the Harkening back to a 1960s aesthetic suspension of a dancer from a rope The presentation of Ballet (1968) was Pamplona Stones is performed in everyday manipulated by the theater’s riggers, inspired by the company’s discovery (and clothes and uses props (a mattress, a evoking the centrality of ropes in Ballet preservation) of a series of color slides chair, rocks, and a suspended textile) in (1968), Man Walking Down the Side of and a six-minute color film, the latter a seemingly innocent child’s game where a Building (1970), and Walking on the showing alternating images of a tutu-clad movement and language are juxtaposed, Wall (1971). Second, she composed Brown inching along on all fours across a and deadpan humor emerges from a the dance by collaging together distinct pair of suspended ropes—one set located combination of imagery and physical/ choreographic phrases, a process that in a green outdoor landscape and the linguistic artistry. That this work remains she compared to Graves’ strategy for other—even more dangerously—on a an anomaly in Brown’s career certainly sculpture-making. Returning to the Manhattan rooftop. Performed on only one owes to its creation through dialogue with name Working Title, this performance occasion in 1968, this reconstruction is Sylvia Palacios Whitman who, during acknowledges that the dance has been based on documentary photographs that this period, developed her distinctive removed from the proscenium context for show the film and slides being projected dance-theater, which incorporated objects, which it was made and thereby is also on a make-shift rectangular screen; using both found and made. Appearing casual absent ’ sets and costumes. a nearby ladder, Brown climbed onto two and impromptu, Pamplona Stones was This unadorned version focuses attention suspended ropes, traveling behind the produced through what Brown called on the choreography and brings greater screen and across the stage, using this “memorized improvisation,” and thereby appreciation of Zummo’s complex four- “equipment” to incite awkward, original remained fixed in form throughout its part musical composition in which effects movements in which balance is tentatively four performances, including the initial of sonic transparency and opacity emerge and strenuously achieved in a precarious presentation at Brown’s live/work loft at from shifts between silence, speed, battle with gravity. Ballet is an important 541 Broadway. atmosphere, and musical density. Newly precursor to the iconic Man Walking commissioned costumes by Elizabeth Down the Side of a Building (1970). Working Title premiered in March 1985 Cannon resonate with Graves’ very An ironic commentary on the traditional at Zellerbach Hall at the University of different elaborately sculptural confections, tightrope walk and on the codified California/Berkeley. Launched to fame particularly in their deliberate use of color, language of ballet (a longstanding target with Set and Reset (1983), Brown’s pattern, and texture to generate visual of experimental choreographers working touring schedule exploded; thus as her reverberations among the dancers, and to in the 1960s), Ballet also indulges in a next work developed, she presented it as dramatize changing relationships between distinctly feminine romanticism associated a work-in-progress, mixing and matching individual performers’ roles in solos, duets, with the pink tulle tutu costume, the different units of choreography at different trios, and ensemble dancing. focus of several richly colored close-up performances, accompanied by Peter film images. Zummo’s evolving musical score, and with —Susan Rosenberg dancers clothed in neutral white costumes Consulting Historical Scholar, For Pamplona Stones—which premiered designed by Nancy Graves. Only when the Trisha Brown Dance Company; at the American Dance Festival in June, three collaborators met, at Minneapolis’ Director of MA (Museum Administration) 1974—Brown collaborated with Sylvia Hamline Theater for a residency sponsored Program/Professor of Art History, Palacios Whitman, who joined Brown’s by the Walker Art Center, was the St. John’s University, New York institutional framework associated with Ballet. She was one of the first instruc- dancing—the proscenium stage. CAROLYN LUCAS tors Brown sent to P.A.R.T.S. to construct Associate Artistic Director Set and Reset/Reset, whose collaborative, In her lifetime Trisha Brown was the recipi- interdisciplinary learning process is now Who’s ent of nearly every award available to con- Carolyn Lucas attended North Carolina a cornerstone of the company’s education temporary choreographers. The first woman School of the Arts and graduated with a BFA program. Lucas is currently sharing her first- to receive a coveted MacArthur “Genius” in dance from SUNY Purchase before joining hand knowledge of three decades of dancing, fellowship (1991), Brown was honored by Trisha Brown Dance Company in 1984. teaching, and documenting Brown’s work five fellowships from the National Endow- Lucas originated roles in some of Brown’s for the Trisha Brown Archive. She studies Who ment for the Arts; two John Simon Guggen- most acclaimed works including Lateral Tai Chi with Maggie Newman and Alexander heim Fellowships; and Brandeis University’s Pass (1985), Carmen (1986), Newark Technique with June Ekman. TRISHA BROWN Creative Arts Medal in Dance (1982). In (Niweweorce) (1987), Astral Convertible Founding Artistic Director/Choreographer 1988, she was named Chevalier dans l’Ordre (1989), Foray Forêt (1990), and Astral des Arts et Lettres by the government of Converted (1991). Lucas’ dancing has DIANE MADDEN One of the most acclaimed and influential France. In 1999, she received the New York been described in as Associate Artistic Director choreographers and dancers of her time, State Governor’s Arts Award and, in 2003, “affecting in her softly penetrating attack” Trisha Brown’s (1936—2017) groundbreak- was honored with the National Medal of and “especially luminous.” In 1993, Brown Diane Madden attended ing work forever changed the landscape Arts. She has received numerous honorary appointed Lucas as her choreographic as- in before joining the Trisha of art. From her roots in rural Aberdeen, doctorates, is an Honorary Member of the sistant, a position Lucas held for 20 years Brown Dance Company in 1980. Since WA, her birthplace, Brown arrived in New American Academy of Arts and Letters, and before being named associate artistic director then, Madden has danced, directed, taught, York in 1961. A student of , received a 2011 Bessie Award for Lifetime in 2013. As choreographic assistant, Lucas studied, and reconstructed Brown’s work for Brown participated in the choreographic Achievement. In 2011, Brown received the played an integral role in Brown’s creation nearly 35 years. A much lauded performer, composition workshops taught by Robert prestigious Dorothy and Lillian Gish Prize process in dance and , working closely Madden has been described in The New Dunn—from which for making an “outstanding contribution to alongside Brown for pieces including If you York Times as “one of those dancers who was born—greatly contributing to the fervent the beauty of the world and to mankind’s couldn’t see me (1994), its revision to the can make magic out of almost any task.” interdisciplinary creativity that defined 1960s enjoyment and understanding of life.” Her duet You can see us (1995) with Bill T. She has originated roles in works includ- New York. company appeared numerous times at BAM Jones and later ; Monte- ing Son of Gone Fishin’ (1981); Brown’s over the years. verdi’s Orfeo (1998), and its revival in 2002; masterwork Set and Reset (1983), for which With the founding of the Trisha Brown Dance (2000); Luci Mie Traditrici (2001); she was recently honored, along with the Company in 1970, Brown set off on her own Today the Trisha Brown Dance Company It’s a Draw (2002); Winterreise (2002) full original cast, by in distinctive path of artistic investigation and continues to perpetuate Brown’s legacy with ; PRESENT TENSE 2012; Lateral Pass (1985); Carmen (1986); ceaseless experimentation, which extended through its Trisha Brown: In Plain Site (2003); O Zlozony/O Composite (2004) with Newark (Niweweorce) (1987); Astral Con- for 40 years. The creator of over 100 cho- initiative. Through it, the company draws étoiles from the ; Da Gelo vertible (1989), for which she was awarded reographies, six , and a graphic artist on Brown’s model for reinvigorating her a Gelo (2006) with Salvatore Sciarrino and a Bessie Award; Foray Forêt (1990); Astral whose drawings have earned recognition in choreography through its re-siting in relation La Monnaie; Rameau’s Pygmalion (2010) Converted (1991); the “running solo” in For numerous museum exhibitions and collec- to new contexts that include outdoor sites with William Christie and Les Arts Floris- M.G.: The Movie (1991); Another Story as in tions, Brown’s earliest works took impetus and museum settings and collections. The sants, Festival d’Aix, Holland Festival, and falling (1993); Yet Another Story as in falling from the cityscape of downtown SoHo, company is also involved in an ongoing Athens Festival; and Brown’s final work for (1994); M.O. (1995) set to Bach’s Musical where she was a pioneering settler. In the process of reconstructing and remounting the Company, I’m going to toss my arms—if Offering; Twelve Ton Rose (1996); Accumu- 1970s, as Brown strove to invent an original major works that Brown created for the you catch them they’re yours (2011) which lation with Talking Plus Repertory (1997); abstract movement language—one of her proscenium stage between 1979 and 2011. premiered at Théâtre National de Chaillot in Monteverdi’s Orfeo (1998); and the interlude singular achievements—it was art galleries, In addition, the company continues its work Paris; many of these works were performed solos Rage and Ladder in El Trilogy (2000). museums, and international exhibitions that to consolidate Trisha Brown’s artistic legacy at BAM. In addition to assisting with new Madden has served as Brown’s personal provided her work its most important pre- through their management of her archives, choreography, directing company rehears- assistant and was the rehearsal director from sentational context. A major turning point in which record her meticulous creative process als and restaging existing choreography on 1984—2000. She continued to teach and Brown’s career occurred in 1979 when she over many decades. the current dancers, Lucas has led projects direct special projects for the company before transitioned from working in non-traditional for companies and institutions around the serving again as rehearsal director from and art world settings to assume the role of a world, including The New School in NYC, 2010—13, when she was named associ- choreographer working within the P.A.R.T.S. in Brussels, and Paris Opera ate artistic director. Through the talents of dancers both within the company and from included in and has been the subject of internationally known schools and compa- many gallery shows in New York City. She GUY KLUCEVSEK DAVE PHILLIPS nies, Madden enjoys keeping Brown’s rich maintains a design studio, Elizabeth Can- Accordionist Bassist and range of choreography alive on stages and non Couture, in Chelsea where she creates alternative sites worldwide. Madden has de- clothing for a private clientele. She has been Guy Klucevsek has toured the world as a Dave Phillips just released the fourth CD veloped an approach to teaching that weaves privileged to work with Trisha Brown on composer, solo accordionist, and bandleader of his group Freedance and is cur- anatomically grounded technique with numerous projects beginning with the song since the mid-1980s. His projects include rently the bassist for the Broadway hit, improvisation, composition, and performance cycle Winterreise in 2002 and extending Polka from the Fringe (1988 Next Wave, The of Mormon. He also works with skills. In addition to her own performance to the baroque opera excerpts Les Yeux et toured internationally and recorded on the world music artists Kiran Ahluwalia, Kinan work in collaborative improvisational forms, l’âme and L’Amour au théâtre by Rameau Starkland label) and the group Accordion Azmeh, and Tareq Abboushi, as well as with she is greatly influenced by her study and performed at the Aix-en-Provence festival in Tribe, which toured Europe dozens of times, the adventurous quartet Spooky Actions, practice of Aikido with Fuminori Onuma. 2011. She has costumed three étoiles from released three albums, and was the subject which interprets 20th-century composers Madden is honored to be the recipient of the Paris Opera Ballet for Brown’s piece O of Stefan Schwietert’s documentary film, such as Messiaen and Schoenberg, and two Princess Grace Awards, the first in1986 Zlozony/O Composite in 2004 and recreated Accordion Tribe: Music Travels. One of his includes improvisations between the written and the second for sustained achievement the costumes for the Ballet in favorite musical experiences was as a guest movements. Phillips received his training at in 1994. 2016 for a festival honoring Brown’s legacy. performer in 1988 on the television program Mannes College and The . She has been honored to continue working Mr. Rogers’ Neighborhood. Klucevsek has He is excited to be a part of Peter Zummo’s with the Trisha Brown Dance Company in released 24 recordings for labels including collaboration with the Trisha Brown MUSTAFA KHALIQ AHMED re-imagining the costumes for some of the Starkland, Tzadik, and Winter & Winter. Dance Company. Percussionist choreographer’s iconic works.

Mustafa Khaliq Ahmed is a 35-year col- CORI OLINGHOUSE BILL RUYLE laborator of New York City downtown BEVERLY EMMONS Reconstruction Director, Pamplona Stones Percussionist legends Peter Zummo, Arthur Russell, Elodie Lighting Designer Lauten, Peter Gordon, and Charles Compo. Cori Olinghouse is an interdisciplinary art- Bill Ruyle has been a percussionist, compos- Ahmed’s first CD, Son of the Drumsong, Beverly Emmons has designed for Broadway, ist, archivist, and curator. She danced for er, and collaborator for new music, dance, will be released on Chaos Records this fall, off-Broadway, and regional theater, dance, the Trisha Brown Dance Company from and theater in NYC and abroad for over 40 just in time for this Working Title reunion and opera both in the US and abroad. Her 2002—06 and served as the archive director years. He has performed with numerous with Zummo and the Trisha Brown Dance Broadway credits include Annie Get Your from 2009—18. She is the founder and major ensembles, including The Manhattan Company. Ahmed leads a contemporary Gun, Jekyll & Hyde, The Heiress, Chronicle director of the Portal Project, a living archive Marimba Quartet, Newband (which focuses gospel experience every Sunday morning at of a Death Foretold, Stephen Sondheim’s initiative dedicated to the transmission of on Harry Partch music and instruments), 10am at the First Presbyterian Church in Passion, Abe Lincoln in Illinois, High Roll- performance through archival and curato- La MaMa Experimental Theater Company, Jamaica, Queens. ers, Stepping Out, The Elephant Man, A rial frameworks. Drawing from 20 years the Hudson Valley Philharmonic, and the Day in Hollywood A Night in the Ukraine, of experiential research as a performer in London Contemporary Orchestra. Ruyle The Dresser, Piaf, and Doonesbury. Her improvisational forms, a somatic practitioner, has taught in many educational outreach ELIZABETH CANNON lighting of Amadeus won a Tony award. and time-based media archivist, she uses programs, including the Music Advancement Costume Designer Off-Broadway she lit Vagina Monologues experimental methods to map the embod- Program at The Juilliard School. and has designed many productions with ied knowledge from artists’ practices into Elizabeth Cannon is a clothing designer Joseph Chaikin and Meredith Monk. For interdisciplinary structures. She is currently based in New York City. She studied art at Robert Wilson, she has designed lighting for engaged in a series of projects with chore- SYLVIA PALACIOS WHITMAN the Rhode Island School of Design where she productions spanning 13 years, most notably ographers Jean Butler, Mina Mishimura, Reconstruction, Pamplona Stones received a BFA in illustration. She originally in America, Einstein on the Beach, and the Rashaun Mitchell + Silas Riener, Melinda wrote and illustrated children’s work- CIVIL WarS Act V. Emmons’ designs for Ring, Gwen Welliver, and Kota Yamazaki. Sylvia Palacios Whitman was born in 1941 ing closely with Pantheon Books and the dance have included works for Trisha Brown, She serves as visiting faculty at Bard College in Osorno, in southern Chile. She studied Gotham Book Mart where she had three solo , and . and has lectured at MOMA, Duke University, painting and sculpture at Santiago’s School shows. After a stay in Paris, she became She has been awarded seven Tony nomina- and Lincoln Center, among other institutions. of Fine Arts, before moving to New York City interested in the world of couture and tions, the 1976 Lumen award, two Bessie She holds an MA in performance curation in 1961. In the late 1960s she performed in began designing and fabricating costumes Awards (1984 and 1986), a 1980 Obie for as part of the inaugural class at the Institute the theater works of Robert Whitman, and in and clothing. She has often collaborated Distinguished Lighting, and several Maha- for Curatorial Practice in Performance at 1971 began to work with Trisha Brown, with other artists, and her work has been ram/American Theater Wing Design Awards. . continuing to perform with her for several years in New York and across the US and lighting designer Beverly Emmons, and the Europe. In 1974 Palacios Whitman pre- artist Nancy Graves, who designed the set KIMBERLY FULMER KYLE MARSHALL sented the first concert of her own works in and costumes. Other choreographers with Dancer Dancer Brown’s studio at 541 Broadway, under the whom Zummo has worked include David overall title Going. In these and subsequent Dorfman, Irène Hultman, Randy Warshaw, Kimberly Fulmer holds a BFA in contem- Kyle Marshall graduated from Rutgers works she and fellow performers used props Debra Wanner, Stephanie Woodard, Stepha- porary dance from the University of North University. He dances with doug elkins cho- and sets of Palacios Whitman’s design, nie Skura, Wendy Perron, Eva Karczag, and Carolina School of the Arts. During the reography, etc. and has worked with Tiffany carrying out activities or tasks that created Risa Jaroslow. Zummo performs with the summer of 2014, she was an apprentice Mills Company and 10 Hairy Legs. In 2014, strong visual images. More recently, Palacios B-Twist Orchestra, under Steve Gaboury’s with Dance Forum Taipei and has also had he organized Kyle Marshall Choreography, Whitman’s drawings and performances have direction, for Marilyn Klaus’ ballet company, the opportunity to perform with Bruce Wood and his work has been performed throughout been shown in the 2013—14 Whitney Mu- Ballets with a Twist. His film music credits Dance Project and Malashock Dance. Fulmer the northeast including Jacob’s Pillow Inside/ seum of American Art exhibition, Rituals of include Second Spring, by Andy Kelleher; has also had the honor and joy of performing Out, Joe’s Pub, NJPAC, NYC Summerstage, Rented Islands: Object Theater, Loft Perfor- Wild Combination, by Matt Wolf; Tramas, works by Trisha Brown, Merce Cunningham, Montclair Dance Festival, and Wassaic Arts mance and New Psychodrama, 1970—89; by Augusto Contento; and Rights of Pass- José Limón, Emery LeCrone, and more. Project. In 2017, Marshall was awarded a and in the 2017—18 Hammer Museum and ing, by Risa Jaroslow. Lately, Zummo has New Jersey Arts Fellowship in Choreography Brooklyn Museum of Art exhibition, Radical been working as a guest artist, assembling and received the Juried Bessie Award in Women: Latin American Art 1960—85. ensembles here and in Europe. LEAH IVES 2018. Dancer For the BAM Fisher performances, Palacios Whitman has contributed to the Trisha OLUWADAMILARE AYORINDE Leah Ives holds a BFA in dance with a minor PATRICK MCGRATH Brown Dance Company’s process of recon- Dancer in movement science from the University Dancer structing Pamplona Stones, a collaborative of Michigan. Ives has since collaborated work she and Brown created in 1974. Oluwadamilare Ayorinde is a Nigerian Ameri- and performed with The A.O. Movement Patrick McGrath was born and raised in can freelance dance artist living in New Jer- Collective/Sarah A.O. Rosner, Avodah Dance Santa Monica, CA. He graduated with a BFA sey. Since graduating from Rutgers Univer- Ensemble, Elizabeth Dishman, Median from New York University’s Tisch School of PETER ZUMMO sity, under the mentorship of Kim Gibilisco, Dance/Alex Springer and Xan Burley, the the Arts in 2016. Prior to that he was a stu- Percussionist he has worked with Colleen Thomas, Bill Leopold Group, and the Peter Sparling Dance dent at the Los Angeles County High School Young, Netta Yerushalmy, Company SBB, Company. In addition to dancing, Ives is also for the Arts. In the past McGrath has worked Peter Zummo’s work as a composer and Douglas Dunn, Kyle Marshall, and Miriam a NY State licensed massage therapist. and performed with BANDPortier, Company trombonist encompasses contemporary, Gabriel + Carlo Antonio Villanueva. He finds Stefanie Batten Bland, and Cherylyn Lavagni- classical, and vernacular styles. It is non- inspiration in the artistic markings and danc- no Dance Works. He started dancing with conforming and still finds a place in any ing of Myssi Robinson. He is pleased to be AMANDA KMETT’PENDRY the Trisha Brown Dance Company in 2017. genre. His most recent recordings, of many, experiencing the repertoire of Trisha Brown Dancer include Lateral Pass and Frame Loop, on with such a caring and talented group. Foom Music; Watermelon Sun, with Tom Amanda Kmett’Pendry is a dancer hailing JACOB STORER Skinner, on Brownswood Recordings; from southern Maryland. Since receiving a Dancer Trombilation, on Faux Amis Records; and CECILY CAMPBELL BFA from The University of the Arts in Phila- Dress Code, on Optimo. Perennial audience Dancer delphia, she has had the pleasure of working Jacob Storer attended the University of favorites include Zummo with an X, on Loris with artists Jonathan Allen, Wally Cardona & Wisconsin—Stevens Point and graduated Records; Experimenting with Household Cecily Campbell is from Santa Fe, NM Jennifer Lacey, Jodi Melnick, Sam Kim, Katie from P.A.R.T.S. in Brussels, Belgium, where Chemicals, on Experimental Intermedia; and and holds a BFA in dance from New York Swords, Teddy Tedholm, Romeo Castel- he worked with various artists across many Slybersonic Tromosome, with Tom Hamilton, University Tisch School of the Arts. She was lucci, the Red Hot Chili Peppers, Adrienne disciplines as part of the three-year training on Penumbra. In recognition of Zummo’s a company member of Shen Wei Dance Arts Westwood and Netta Yerushalmy. She has program. He collaborates with Libby Farr in countless compositions and performances, from 2008—13 and began working with the danced with the Trisha Brown Dance Com- a continuous research project investigating a Gilles Peterson’s Worldwide FM, in London, Trisha Brown Dance Company in 2012. pany since 2016. more Somatic-based approach to ballet and gave him its 2018 Lifetime Achievement is also developing his own work under the Award. After the premiere of Lateral Pass, name Amphigory in collaboration with Theo performed here as Working Title, Zummo Livesey. Storer joined Trisha Brown Dance shared a Bessie Award with Trisha Brown, Company in 2017. Trisha Brown Dance Company, 315 W. 39th Street, Studio 908 Thanks! New York, NY 10018 trishabrowncompany.org Trisha Brown Dance Company gratefully acknowledges the generous ongoing support Board of Trustees: by the Andrew W. Mellon Foundation; Bay Dorothy Lichtenstein, Chair Area Video Coalition; Nathan Cummings Jeanne Linnes, President Foundation; Gladys Krieble Delmas Foundation; Michael Hecht, Treasurer Charles Engelhard Foundation; Howard Jeanne Collins Gilman Foundation; Harkness Foundation for Ruth Cummings Dance; Low Road Foundation; National Film Barbara Gladstone Preservation Foundation; James E. Robison Lawrence P. Hughes Foundation; Rolex Institute; Fan Fox and Leslie Fredericka Hunter R. Samuels Foundation; Shubert Foundation; Anne Livet E. L. Wiegand Foundation; National Endowment Stanford Makishi for the Arts; New York State Council on the Arts Joan Wicks with the support of Governor Andrew Cuomo and the New York State Legislature; and New Trisha Brown, Founding Artistic Director and York City Department of Cultural Affairs, in Choreographer partnership with the City Council. Barbara Dufty, Executive Director Carolyn Lucas, Associate Artistic Director TBDC also extends very special thanks to Trisha Diane Madden, Associate Artistic Director Brown Company Chair Dorothy Lichtenstein, the Anne Dechêne, Company Manager Trisha Brown Company Board of Trustees, and Daniel Feinstein, Development Director all of the Company’s Individual Donors. Adriane Medina, Finance Director Stacy Spence, Education Director Eva Barajas, Marketing Coordinator

Nick Kolin, Production Manager Oluwadamilare Ayorinde and Patrick McGrath in Working Title . Photo by Stephanie Berger Leo Janks, Production Manager/Lighting Supervisor Jessie Ksanznak, Stage Manager David Thomson, Archive Technical Consultant Anne Boissonnault, Archivist Ben Houtman, Audiovisual Archivist Susan Rosenberg, Consulting Historical Scholar Jennifer Lerner, Public Relations Thérèse Barbanel, Les Artscéniques, International Représentation Colette de Turville, International Représentation Elsie Management, Laura Colby, Director: Exclusive Representation in North America Interns: Maya Weiss, Ruby Pittman, Kristen Leach, Stefanie Schwimmbeck

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BAM®, Brooklyn Academy of Music, Next Wave®, and Teknopolis® are trademarks of Brooklyn Academy of Music, Inc. © Brooklyn Academy of Music, Inc. (2018). The Richard B. Each year, members of the Fisher family help BAM select a recipient who best exemplifies Dick’s forward-thinking ethos and passion for the arts, using this opportunity to celebrate Richard B. Fisher in perpetuity. Past recipients have included , Charles Mee, Bill T. Jones, Robert Wilson, Mark Morris, Kronos Quartet, Anne Bogart, Fiona Shaw, Brooklyn Youth Chorus, James Thierrée, David Lang and Ivo van Hove. The 2018 Richard B. Fisher Next Wave Award honors BAM Executive Producer Joseph V. Melillo. Fisher Joe began his journey at BAM when hired him to curate the first Next Wave Festival in 1983. That year’s festival included works by Philip Glass, Trisha Brown, and —artists who would later Next Wave Award define Joe’s singular legacy. In his over three-decade tenure at BAM, Joe has provided a global platform for more than 7,000 artists from more than 45 countries. Through his longstanding commitment to excellence and innovation across artistic disciplines, he has immeasurably changed the way we look at the performing arts.

In honor of his 35 years of visionary Behind great arts presenters are great leadership, BAM and the Fisher family supporters, and few of BAM’s friends have will present Joe with the Fisher Award—a deserved that title more than Richard beautifully designed walking stick by B. Fisher (1936—2004). A visionary Fort Greene sculptor/designer Chris in both professional and philanthropic Gullian, who drew his inspiration from endeavors, Dick championed the creation Dick’s interests and the architecture of of a strong endowment to enable BAM BAM’s Peter Jay Sharp Building. to continue presenting its signature groundbreaking programming, even in Melillo: Jesse Winter Photo of Joseph V. It is fitting that this year’s Award difficult times. ceremony will take place on stage in the BAM Richard B. Fisher Building As Chairman of the BAM Endowment following the opening night performance Trust from 1992—2004, Dick shared of a retrospective triptych by the Trisha Brown Dance Company. This is the financial expertise from years as first time the Fisher Award will be presented in the building which now serves president, chairman, and chairman as a physical remembrance of Dick on BAM’s campus. Since its opening emeritus of Morgan Stanley. Dick’s generosity throughout his life continued in 2012 the BAM Fisher has provided an intimate and versatile venue for even after his passing in the form of a landmark bequest. To honor Dick’s performers in dance, theater, and music, as well as BAM’s education and friendship to BAM and recognize the legacy of progressive arts presentations community programs. Trisha Brown Dance Company has appeared 9 times he helped ensure in Brooklyn, BAM inaugurated the annual Richard B. Fisher over the last 40 years on BAM’s stages, and this tenth appearance is the first Next Wave Award in 2006. performance by the Company in the BAM Fisher. Trisha Brown in Pamplona Stones (1974). Photo: Johan Elbers