Season Sponsor: 2017 BAM Next Wave Festival #Bamnextwave

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

Brooklyn Academy of Music

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

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

Aroundtown

David Dorfman Dance Conceived and directed by David Dorfman

BAM Harvey Theater Nov 8—11 at 7:30pm

Running time: approx. one hour, no intermission

Choreography and text by David Dorfman Dance Music by Sam Crawford, Liz de Lise, and Zeb Gould Dramaturgy by Anne Davison Costume design by Ásta Hostetter Visual media by Shawn Hove Lighting design by Tuce Yasak

Commissioned by BAM

Season Sponsor:

Leadership support for dance at BAM provided by The Harkness Foundation for Dance.

Major support for dance at BAM provided by The SHS Foundation. AROUNDTOWN

Performers David Dorfman Jasmine Hearn Jordan Demetrius Lloyd Nik Owens Kendra Portier Simon Thomas-Train Aya Wilson

Guest performer Lisa Race

Music composed and performed by Sam Crawford, Liz de Lise, David Dorfman, Zeb Gould, and Jeff Hudgins Musical direction by Sam Crawford Dramaturg Anne Davison Costume designer Ásta Hostetter Media designer Shawn Hove Creative consultant David Kyuman Kim Production manager Sarah Lurie Lighting designer Tuce Yasak Projected visual artwork created by Saleha Belgaumi, Kelley Fairman, Rachael Lieblein-Jurbala, and Ruy Zambrano

MUSIC “Take What You Want” (Crawford / de Lise) “Around” (Gould) “Baby Bird” (de Lise) “I Will Wait” (de Lise) “Today” (de Lise)

Aroundtown was made possible by support from the New York State Council on the Arts, New York City Department of Cultural Affairs, the National Endowment for the Arts, Brooklyn Academy of Music, and Harkness Foundation for Dance. Aroundtown was created in part during residencies at The Tisch Dance Residency Festival, Gibney Dance, Brockport Summer Dance, Dancer’s Workshop in Jackson, WY, Ohio University’s Summer Dance Institute, Bates Dance Festival, and as Company-in-Residence at Connecticut College.

Aroundtown also received production development support from LUMBERYARD Contemporary Performing Arts (formerly ADI), hosted through a Creative Development Residency at Jacob’s Pillow. AROUNDTOWN

DAVID DORFMAN JASMINE HEARN JORDAN DEMETRIUS LLOYD

NIK OWENS KENDRA PORTIER LISA RACE

SIMON THOMAS-TRAIN AYA WILSON SAM CRAWFORD

LIZ DE LISE ZEB GOULD JEFF HUDGINS Photo: Yannick Grandmont —David Dorfman persist. Welcome toAroundtown.Enjoy! willbeok.Hopeisnoteasy.dances—to reassureusthateverything Love isnoteasy. Andyetwe “Of courseitwillSam.” Inowwishtherewereplacardsorstreetsignsbillboards,songsand beok,Daddy?” and thunderstormscancellingallflights,“WillWithout hesitation, everything Isaid, back totheUSfromanincredibleandexhaustingtourRussia withonemorelegofthetriptogo aharrowingjourney out intotheworldagain. Irememberwhenoursonaskedmeonenightafter Tonight we’reourowntown—allofus—in adarktheater, seekingawayin... totendernessandthen PROGRAM NOTE AROUNDTOWN

Photo: Jonathan Hsu Who’s Who

DAVID DORFMAN DANCE ments (2005, set to music by composer/trum- David Dorfman Dance (DDD) celebrates its 30th peter Frank London of The Klezmatics); Lightbulb year. Since its founding in 1987, DDD has per- Theory (2004, original commissioned score by formed extensively throughout North and South Michael Wall); Impending Joy (2004, original America, Great Britain, Europe, and Central Asia. commissioned score by Chris Peck); and See DDD has regularly performed in New York City at Level (2003, original commissioned score by major venues including BAM, Joyce Theater, The Chris Peck and visual design by Samuel Topiary). Kitchen, Danspace Project/St. Mark’s Church, La MaMa Theater, The Duke on 42nd Street, DDD is Company-in-Residence at Connecticut The Met Breuer, and the 92Y Harkness Dance College, and has its own Summer Intensive at Festival. David Dorfman, the company’s danc- the college, a Winter Intensive at Gibney Dance ers, and DDD’s artistic collaborators have been in NYC, and appears annually at the Tisch honored with eight Bessie Awards, and DDD is School of the Arts Summer Dance Residency thrilled to return to the BAM Next Wave Festival Program at NYU. for the fifth time. DDD remounted Lightbulb Theory and Impend- DDD promotes the appreciation and critical un- ing Joy as part DanceMotion USASM, a program derstanding of dance by realizing the creation of of the US Department of State’s Bureau of Edu- new works by choreographer David Dorfman and cational and Cultural Affairs, produced by BAM, his artistic collaborators. In advocating his mis- and toured Turkey, Tajikistan, and Armenia in sion “to get the whole world dancing,” Dorfman’s April/May of 2014. In July/August 2014 at Bates work has enjoyed broad and diverse audiences Dance Festival as part of DanceMotion nationally and internationally. DDD creates dance USAsm’s US-based residency, DDD collaborated that seeks to de-stigmatize the notion of acces- with Korhan Basaran and a company of rising sibility and interaction in postmodern dance by stars of Istanbul and Armenia’s growing con- embracing audiences with visceral, meaningful temporary dance scene to create UNSETTLED, dance, music, and text. By sustaining a vision an evening-length meditation on reconciliation to create innovative, inclusive, movement-based which premiered to sold-out houses at the BAM performance that is radically humanistic, DDD Fishman Space in August 2014, and toured maintains a core commitment to examine and Armenia and Turkey in Spring 2015. unearth issues and ideas that enliven, incite, and excite audiences in dialogue and debate about For 30 years, DDD has effectively engaged audi- social change and a myriad of other topics. ences worldwide, with community-based projects playing an important role, particularly in the Come, and Back Again, DDD’s last evening- 1990s. In Out of Season (The Athletes Project) length work, is an exploration of the virtuosity and Familiar Movements (The Family Project), of daily life, mortality, and the junk we keep the members of the company rehearsed and or discard. Driven by the charged poetry and performed with groups of volunteer athletes or raw ferocity of the 90s Atlanta band Smoke, family members selected in the communities to the dancers and musicians embark on a kinetic which the company toured. In No Roles Barred, anthem of reckless personal abandon—taking DDD examined the personal roles assumed, on time, and how memory influences our elastic formed, and interwoven in our modern social existence. Come, and Back Again was commis- construct, engaging groups ranging from corpo- sioned by and had its New York premiere at the rate executives and “at-risk” youths to college BAM Next Wave Festival in October 2013 and is administrators, doctors, carpenters, and social part of the company’s touring repertoire. dance enthusiasts. The company’s three community projects have been presented more than 30 Other creative projects include: Prophets of Funk times in 18 states and two foreign countries. (set to the music of Sly and the Family Stone); Disavowal (inspired by radical abolitionist John In March 2016 DDD performed at the opening Brown); underground (inspired by The Weather day of the Met Breuer Museum in New York City, Underground, 2006 Next Wave); Older Testa- dancing to an original live score by Ken Thomson Photo: Jonathan Hsu Who’s Who

and band throughout the day in the Sunken on PBS’ Great Performances November 17 at Garden. The company embarked on a landmark 9pm); Ibsen’s An Enemy of the People at Yale tour to Athens, Greece in the summer of 2016, Rep; Our Town, a co-production of Deaf West working with community athletes, dancers, and Pasadena Playhouse; Assassins at and mixed-ability movers to animate the new Yale Rep; and the original musical Green Violin Stavros Niarchos Foundation Cultural Center for at the Prince Music Theater in Philadelphia, its Metamorphosis Festival. This past summer, for which he won a 2003 Barrymore Award for in addition to its usual action-packed residen- best choreography. cies at Connecticut College and NYU Tisch, DDD ventured to a different Athens (OH)/Ohio U. to In 2012, Dorfman appeared on several episodes ignite its inaugural Summer Dance Institute as of A Chance to Dance, a reality show on the guest company. OvationTV starring the Ballet Boyz. The Boyz also invited DDD to make a short video for BBC Aroundtown had its world premiere at Bates Channel 4 Random Acts. We Don’t Own a Dog Dance Festival on July 13, 2017, and its NY can be seen at http://www.balletboyz.com/ Premiere on November 8, 2017. videos/we-dont-own-a-dog-c4-random-act/. Dorf- daviddorfmandance.org man tours an evening of solos and duets, Live Sax Acts, with dear friend/collaborator Dan Froot, THE COMPANY most recently in New York City and at the Harare International Festival of the Arts in Zimbabwe. DAVID DORFMAN (choreographer, dancer, As a performer, he toured internationally with Kei musician), artistic director and founder in 1987 Takei’s Moving Earth and Susan Marshall & Co. of David Dorfman Dance (DDD), has also been DD hails from Chicago and holds a BS in Busi- professor of dance at Connecticut College since ness Administration from Washington University 2004 and Chair (2007—17). Dorfman received in St. Louis (1977) and an MFA in Dance from a Guggenheim Fellowship in 2005 to continue Connecticut College (1981). DD continually his research and choreography in the topics of thanks the late Daniel Nagrin and the indomi- power and powerlessness, including activ- table Martha Myers for being his dance mom ism, dissidence, and underground movements, and dad; his late parents, Oscar and Jeanette, culminating in DDD’s, underground (2006 Next for inspiring him to dance to heal and instilling Wave), which toured for four years engaging the importance of a good joke; and his in-house community dance casts at each venue. DD has “family project,” Lisa and Samson, for sharing also been honored with four fellowships from with him the practice of unconditional love. the National Endowment for the Arts, three New York Foundation for the Arts fellowships, an JASMINE HEARN (performer) is a Bronx-based American Choreographer’s Award, the first Paul choreographer, performer, and dancer. A native Taylor Fellowship from The Yard, and a Bessie for Houstonian, she graduated magna cum laude DDD’s community-based project Familiar Move- from Point Park University with a BA in dance. ments (The Family Project). His work has been Hearn travels around the world to showcase commissioned widely in the US and in Europe, her choreographic work and to participate in most recently by Dancing Wheels (Cleveland, multidisciplinary collaborations. Currently, she OH), who performed his Imagine, if you will ….. is a collaborator with Alisha B. Wormsley, David at Ailey Citigroup Theater (NYC), AXIS Dance Dorfman Dance, Helen Simoneau, and Tara Company (Oakland), and Bedlam Dance Com- Aisha Willis. pany (London). His forays into theater include choreography for a new Tony Award-winning JORDAN DEMETRIUS LLOYD (performer) is a play, INDECENT, by Paula Vogel and Rebecca dance artist currently based in New York City. Taichman, that ran at Broadway’s Cort Theater Originally from Albany, NY, Lloyd graduated from for four months this year, and for which DD the College at Brockport where he performed received a Lucille Lortel Award and Chita Rivera works by Maura Keefe, Alexandra Beller, and Nomination for best choreography for the play’s Laura Peterson. He has collaborated and per- off-Broadway run last year (INDECENT will air formed for Karl Rogers/Red Dirt Dance, Netta Who’s Who

Yerushalmy, Tammy Carrasco/Wild Beast Dance, and at workshops in France, Denmark, England, and David Dorfman Dance. He pursues his own Hong Kong, Argentina, Sweden, Finland, and choreographic endeavors and has shown work Russia, as well as at the Bates and American throughout the state. Dance Festivals. Race’s film collaboration with Shawn Hove, Folded, has been screened at the NIK OWENS (performer) is from Altadena, CA Sans Souci Festival, Dance for Reel, and Light where he began his movement experience with Moves Festival of Screendance. In the spring of gymnastics at age three and continued at a com- 2017, she was choreographic assistant to David petitive level until he was 19. He began dancing Dorfman for a production of Sondheim & Weid- at Wesleyan University and graduated with a BA man’s Assassins at Yale Repertory Theater. in dance and a certificate in environmental studies. He’s worked with Nicholas Leichter, Tania SIMON THOMAS-TRAIN (performer) began Isaac, and Kyle Abraham and has performed dancing at Middlebury College, transitioning from works by Vanessa Tamburi, the Dance Exchange, an extensive background in competitive cross Gierre Godley’s Project 44, Mersiha Mesihovic’s country skiing to graduate with a BA in dance CircuitDebris, Helen Simoneau Danse, and and architectural studies in 2009. Since then Abdul Latif’s D2D/T. Owens currently dances he has had the pleasure of working with Tiffany with Raja Kelly’s thefeath3rtheory, Bryn Cohn + Rhynard/Big Action Performance Ensemble, Artists, Tiffany Mills Company, and David Satya Roosens, Attack Theatre, Megan Bascom Dorfman Dance. and Dancers, Alexandra Beller/Dances, Tiffany Mills and Company, Rosie Herrera Dance The- KENDRA PORTIER (performer) is a performer, ater, Red Dirt Dance, Vanessa Anspaugh, Pavel teacher, and dancemaker based in NYC. Direct Zustiak|palissimo, Boomerang, David Dorfman from Ohio, Portier trained and performed with Dance, and most recently with the Bessie Award- BalletMet and received a BFA with honors from winning Then She Fell and The Grand Paradise, the Ohio State University. She has since become both by Third Rail Projects. He is the co-founder a nationally recognized teaching and choreo- and co-artistic director of The Space We Make. graphic artist at numerous colleges, festivals, and dance institutions, with her professional AYA WILSON (performer) is a dance artist cur- commissions organized under the moniker rently residing in Brooklyn. Originally of Normal, BAND | portier. A member of DDD since 2010, IL, she graduated with a BFA in dance from the Portier continues to perform with Vanessa Justice University of Iowa. In New York, Wilson has had Dance; collaborate with Annie Kloppenberg & the pleasure of working with choreographers Company; remains on faculty at Gibney Dance including Tara Willis, Kensaku Shinohara, Sarah Center; and is an MFA candidate at the Univer- Council Dance Projects, Mariah Maloney Dance, sity of Illinois Urbana-Champaign. Nadia Tykulsker/Spark(edIt) Arts, Kendra Portier/ BAND | portier, Sarah A.O. Rosner/the LISA RACE (guest performer) spent much of her A.O. Movement Collective, and most recently career as a performer, teacher, and choreog- with Doug Varone and Dancers and David rapher in New York before heading north to Dorfman Dance. She also teaches at Gibney Connecticut. She received a 1995 Bessie Award Dance Center, and occasionally creates her own as a member of David Dorfman Dance (1989— choreographic work. 2000) and continues as a guest with the company. Her work has been seen at the former KELLIE LYNCH (company member) is a New DTW, Danspace Project, Dancenow, and Move- Haven-based dancer who has been perform- ment Research at Judson Church in NYC. Race ing and creating with Adele Myers and Dancers is an associate professor of dance at Connecticut since 2008. She has had the great privilege of College, having joined the faculty in 2007. She working with Doug Elkins Choreography, Etc. received an MFA in dance from Hollins Univer- for a number of years, and is currently working sity/ADF the same year. Race has taught and/ with Kate Weare Company. In the last few years or made dances at many destinations, including she has also worked with Saar Harari and Lee ImpulsTanz (Austria), Kalamata Festival (Greece), Sher, Annie Kloppenberg, Nicole Stanton, and Who’s Who

Meredith Lyons. She is a co-founder and artistic the guitar at a young age. After graduating from director of the New Haven-based Elm City Dance Indiana University in 2003 he moved to New Collective, founded in 2008. Lynch’s choreog- York City and took a position at the downtown raphy has been commissioned, produced, and recording studio of composer Philip Glass. Soon performed throughout the Northeast including at after, he began creating and performing his Bates Dance Festival as an emerging choreogra- own music as a solo artist and with his bands, pher. As a guest artist, she has taught at several Bowery Boy Blue and Swojens. In addition to colleges and universities in New England includ- performing with David Dorfman Dance, he ing Connecticut College and Wesleyan University. has also worked with director/choreographer Lynch holds a BA in Dance from Rhode Island Yara Travieso. College and a MFA in Dance from Smith College. ÁSTA BENNIE HOSTETTER (costume designer) DESIGNERS AND COLLABORATORS has designed for dance: Custodians of Beauty, Painted Bird: Strange Cargo (Palissimo); NYC SAM CRAWFORD (composer/musician) com- theater: Fulfillment Center (MTC), The Wolves pleted degrees in English and audio technology (Playwrights Realm), The World My Mamma at Indiana University in 2003. A move to New Raised (Clubbed Thumb), The Terrifying (Abrons York City led him to Looking Glass Studios where Arts Center) Porto, Miles for Mary (Bushwick he worked on film projects with Philip Glass and Starr), Men on Boats (Playwrights Horizons), Björk. His recent sound designs and composi- Smokefall (MCC), John (Signature), 10 out of tions have included works for the Bill T. Jones/ 12, Generations (Soho Rep). Hostetter is a mem- Arnie Zane Company (Venice Biennale, 2010), ber of minor theater, The Mad Ones, and Target Kyle Abraham (Pavement, 2012), Camille A. Margin Theater. Brown and Dancers (BLACK GIRL: Linguistic Play, 2016), and David Dorfman Dance’s Come, SHAWN HOVE (visual/media designer), artistic and Back Again (BAM Next Wave, 2013). La director of shove gently dance/theatre, received Medea, Crawford’s live multi-media collabora- his MFA in choreography and dance technol- tion with director Yara Travieso, premiered at PS ogy from the Ohio State University and his BFA 122’s Coil Festival in 2017. in Dance from Cornish College of the Arts. He is a multidisciplinary dance artist investigat- ANNE DAVISON (dramaturg) is a New York- ing and working in dance as a choreographer, based theater and dance dramaturg. She has dancer, collaborator, educator, lighting designer, collaborated with David Dorfman Dance since and media artist. From 2005—10, he was on the development and premiere of Come, and faculty/staff at OSU’s Department of Dance. Back Again (BAM Next Wave 2013). Other For 10 years he served as co-video director felicitous collaborations include Alex Timbers and alongside Peter Richards at the Bates Dance Michael Friedman’s musical adaptation of Love’s Festival, where they documented the festival’s Labour’s Lost (Shakespeare in the Park) and events. He is currently on staff at BDF as a Timbers and Friedman’s Bloody Bloody Andrew media consultant. Hove has worked with artists Jackson (Public Theater and Broadway); Doug Wade Madsen, Deborah Wolf, Crispin Spaeth, Elkins Choreography, etc’s o, round desire, The Norah Zuniga Shaw, Meghan Durham, Noelle Weight of Smoke (Paul Taylor American Modern Chen, Elephant Jane, Race Dance, and many Dance), Hapless Bizarre, Mo(or)town/Redux, and others. John Mueller’s Dance Film Archives has Fräulein Maria; Mark Gindick’s one-clown show commissioned Shawn to help create DVDs on Wing-Man; and Jane Comfort and Company’s Loie Fuller’s Fire Dance, Leonide Massine’s Gaîté Beauty. She received an MFA from Yale School Parisien, and Symphonie Fantastique. Hove of Drama. is currently on faculty at Connecticut College where he teaches dance production and dance ZEB GOULD (composer/musician), a New York- media-based courses, as well as serving as their based composer and guitarist, was born and production coordinator. bred in Indianapolis, IN where he began playing

Photo: Jonathan Hsu Who’s Who

JEFF HUDGINS (musician), a transplanted taught with Young Arts Miami. De Lise recently Texan whose music has been described as joined Odd Gift Records, a music and art collec- “somewhat menacing” (New York Music Daily), tive that aims to connect artists in Philadelphia, is a founding member of local NYC group Bom- New York, and Boston by curating diverse, bay Rickey. He has toured in the US and Europe, intentional performances. De Lise has been a has premiered music by John Zorn, Tim Berne, company musician with David Dorfman Dance and John Harbison, has performed in Kamala since 2013 and is honored to have been a part Sankaram’s award-winning steampunk murder of the journey to Aroundtown. mystery opera, Miranda (2012), and most recently in Yara Travieso’s dance/live-video show, SARAH LURIE (production manager) is a New La Medea (2017). In addition to Bombay Rickey, York-based production manager and lighting he writes for the NYC groups Anti-Social Music designer. She is a founding member of harunalee and Opera on Tap, and performs with Matt Bauer theater company. Recent management credits and Lizzie & the Makers, among many others. include: American Realness Festival, House of Hudgins’ first home in San Antonio—with its Realness (Wiener Festwochen); John Jasperse’s vibrant Tejano, country, and early 80s local punk Remains and Within Between; US and interna- scene—would prove to be a continuing musical tional tour of Miguel Gutierrez’s Age & Beauty inspiration, but a move to Boston prompted him trilogy, DEEP Aerobics, HEAVENS WHAT HAVE I to focus on jazz, Hindustani, Yiddish, Brazilian, DONE, and and lose the name of action. and classical music in his studies at Berklee and New England Conservatory. Moving to Brooklyn TUCE YASAK (lighting designer) graduated from in 1998 led him to meet members of Anti-Social the department of industrial design at Middle Music, through which he would meet Sankaram. East Technical University in Turkey in 2004. She Sankaram shared her plans to perform the works worked for XXI Architecture and Design Maga- of Yma Sumac in the inaugural form of Bombay zine as the editor of industrial design. Following Rickey, and found an immediate and enthusi- the magic of light, she moved from Istanbul to astic band member in Hudgins, who has added New York in 2009. She has been collaborating Mediterranean and Balkan flair to the ensemble. with choreographer Korhan Basaran since 2011 He is currently working with Bombay Rickey on in both NYC and Istanbul. She designed for the follow-up to its debut record, 2014’s award- Unsettled, choreographed by David Dorfman and winning Cinefonia. Korhan Basaran, commissioned by DanceMotion USASM, which premiered at BAM in August 2014 LIZ DE LISE (composer/musician) is a song- and toured to Istanbul and Yerivan in March writer, singer, and guitarist from Philadelphia. 2015. She has collaborated with choreographer She makes dreamy pop music with Mark Watter Raja Feather Kelly of Feath3r Theory since 2015, and a drum machine in their Philly band, and has toured with Latin American dance Lizdelise. They just returned from a national, theater company Contra Tiempo with the recent two-month tour in support of their first full-length piece Agua Furiosa as lighting director since Jan- album released this past September (with the uary 2016. She has designed for Yara Travieso’s help of the stellar Sam Crawford, Zeb Gould, La Medea which premiered in January 2017 at and Jeff Hudgins) and are working on their next BRIC Media Arts. Recent collaborations include recording. De Lise studied cultural anthropol- Another F*cking Warhol Production with Raja ogy at Connecticut College where she wrote the Feather Kelly at the Kitchen, HayDay MayDay EP, To & Fro, based on ethnographic research Parfait with Daria Fain, and 4 Nights of Dream with street kids in Portland, OR. She performs directed by Alec Duffy at Japan Society (NYC and as Band Medea in Yara Travieso’s new work, La Tokyo). Upcoming collaborations are Memoires Medea, and is presently collaborating on a new of a Unicorn by Marjani Forte and Marigram by piece by choreographer/film maker Liz Charky. Annie Wang. Yasak is very happy to collaborate She teaches with Build-a-Bridge International on Aroundtown with David Dorfman Dance and and Lume Creative Learning Studios, and has be a part of the 2017 Next Wave Festival. DAVID DORFMAN DANCE

SPECIAL THANKS DAVID DORFMAN DANCE/ ART SWEATS, INC.

My adult artistic life has been indelibly shaped BOARD OF DIRECTORS by BAM and its Next Wave Festival—I have Chloe Carlson received crucial inspiration and sustenance from David Dorfman the institution for 35 years. To Joseph V. Mel- Ginger Gillespie* illo—thank you for your unwavering trust in my Michael Howett artistic process and product and for allowing me David Kyuman Kim (and all of us) to experience the bounty of BAM Julie Leff* for all these years; to the memory of Harvey Paul O’Neil Lichtenstein himself bounding backstage to hug Karen Waltuck* me after our first NWF appearance; to Katy Clark for taking BAM into the next decades; and to all *Thank you to our BAM Event Committee! the incredible staff at BAM who have assisted me/us so expertly, many whom I have known ADVISORY BOARD now for three decades. There is no other place David Jaffe I’d rather celebrate DDD’s 30th! Giant thanks Andrea Lanoux to all the current, past, and future DDD folk for Ioulia Loubkina giving me the time of my life—the opportunity to Jane Simmons Meiser create/collaborate unabashedly with movement, Rudy Nickens text, music, visuals, and laughter; to our staff for Linda Visscher working so diligently and generously to keep us a float with aplomb; to Karl Rogers, Sara Gibbons, Artistic Director: David Dorfman Marion Spencer, Kellie Lynch, Sasha Peterson, Company Manager: Ashley Richard Katya Lazor, Becca Loevy, Nora Fox, Julia Ka- Development & Administrative Coordinator: back, David Jaffe, Rachel Boggia, Michael Reidy, Jane Bowers Bates College, Ani Javian, Pamela Pietro, Cathy Development Consultant: Sarah Benvenuti Teixeira, Ruth Moe, Adrienne Willis, Babs Case, Creative Consultant & Scholar-in-Residence: Amanda Flosbach, Erin Roy, Pam Tatge, Laura David Kyuman Kim Faure, and so many others who have contributed DDD Intern: Sofia Franklin so mightily to Aroundtown in so many ways; to David Waltuck for your generous gastronomical For bookings, contact: contribution to our 30th anniversary celebra- Sandy Garcia, tion; and to my lovely family for alerting me to Pentacle the joy of living each and every day. 212.278.8111 ext. 3425 [email protected] | pentacle.org

Consider making a tax-deductible donation to DDD (checks payable to “Art Sweats, Inc.” at PO Box 1227 Peter Stuyvesant Station NY, NY 10009) or online at daviddorfmandance.org.

Follow DDD: Facebook @DavidDorfmanDancePage Twitter and Instagram @dorfmandance

Final Size: 5.25" x 8.375" • Ratio: 1' = 1' • Resolution: 300 DPI • Color: CMYK 24781 BAM Salute Ad 4C Viacom_2015 A cropped photographA cropped of Merce photographA croppedCunningham’s of Merce photograph Cunningham’s How Toof How MercePass, To Pass, Kick, Cunningham’s Kick, Fall Fall and Run Run How To Pass, Kick, Fall and Run omitting John Cage omittingsitting John stage Cageomitting left. sitting Merce Johnstage left.CunninghamCage Merce sitting Cunningham stageDance Dance left. Company Company Merce 1970 Cunningham1970 Dance Company 1970 Photo: JamesPhoto: Klosty, James courtesy Klosty, courtesy Photo:BAM BAM Hamm James Hamm Archives Klosty, courtesy BAM Hamm Archives A cropped photograph of Merce Cunningham’s How To Pass, Kick, Fall and Run omitting John Cage sitting stage left. Merce Cunningham Dance Company 1970 Photo: James Klosty, courtesy BAM Hamm Archives

A cropped photograph of Merce Cunningham’s How To Pass, Kick, Fall and Run omitting John Cage sitting stage left. Merce Cunningham Dance Company 1970 Photo: James Klosty, courtesy BAM Hamm Archives Nov 2017

Contents

HOME Tesseract

Photo: Maria Baranova Photo: Mick Bello Geoff Sobelle explores whether building a house Tesseract comprises a 3D film and live performance makes it a home—while we watch. by Charles Atlas, Rashaun Mitchell, and Silas Reiner. By Christian Barclay By Susan Yung

Bangsokol Composer Him Sophy discusses Bangsokol, a requiem for lost lives. By Sarah Garvey

BAMbill Cover

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

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

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

Q&A with Geoff Sobelle By Christian Barclay What’s home? Geoff Sobelle’s HOME, in which a house is a medium that is defined by three-dimensional constructed, is at the BAM Harvey from Dec space, can you render a thing like “home?” 6 to 10. How did you approach the technical challenge of What drew you to the idea of exploring the building a house onstage, before an audience? relationship between “house” and “home”? Steven Dufala and Steve Cuiffo are the two When I first starting thinking about HOME, I designers most principally involved with the was on the heels of my last independent work, illusions and design of the house as you see The Object Lesson (2014 Next Wave). I was it on stage. There are a great many people looking for a subject that everyone could relate involved—a host of technical gurus (most to. No matter where you’re from or your current notably an amazing technical director named situation, I would imagine that just about Chris Swetcky) and all of our designers. But in everyone is concerned with their housing and the beginning, the conversation boiled down their sense of “home.” to set design and illusion. I wanted to create an impression of time-lapse where you witness As we moved further into the process, the the evolution of an empty space––a stick-frame relationship between “house” and “home” becomes a full-blown house that’s eventually became more immediate, more fundamental. abandoned––all in an hour. There was something about a definitive form vs. something much less defined. I began to ask We talked endlessly about different techniques, people what they meant by home. It was a hard settling on some time-honored techniques that thing for people to put into words. For the most have been employed by magicians for the past part, people would define it as a “feeling.” A 200 years, but rarely seen in this context. Out feeling of home. You know it when you’re there of respect to that great legacy of illusionists, I’ll and you know when you’re not there, but it’s have to leave it at that. not exactly an address. So how, in the theater, #BAMNextWave Dec 6—10

During the production, several different activities that you choose to make a home is an intimate and gatherings take place within the house. space. It’s a space that is a reflection of you and Considering all of the events that take place a creation of you, it is made of the debris and within a home, how did you decide which ones detritus around you. It’s your spider web and to present? your beaver den. It is wholly created by you and those that you have chosen to live with. We had to strike a balance. I wanted to find Home seems to be defined by a combination of moments that could tell time. The audience the architecture of the house and the memories would witness a development of time take place, of the people that passed through it. Each ghost without having to pin too much narrative on any adds some layer to this psychic striation that one person that passes through the space. It was creates the bedrock of this strange phenomenon important that we give an impression of moving we call home. bodies through a single space, throughout time. I wanted to translate a sense of falling forward, but This is the same with the theater. Performance without the structure of a “story.” is a kind of shell that is offered to an audience in hopes that they will enter into it. People come I chose things that would read to an audience, and (hopefully) house their own imaginative and that our performers could make their selves into the structure that they see on stage. own. Sometimes they were for comedic effect This is how the empathy machine of theater and sometimes they were poignant, but the fundamentally works. impression is that your life just goes on running away like a rodeo––your house is really just So, in this way of thinking, it felt natural to bring the container. the audience into the house that we build each night on stage. The show is built in such a way Audience participation is a large part of your as to win the trust of the audience so that they work. In the case of HOME, how––if at all–– will want to stand up and enter the house. They does it change the structure, tone or content are the structure and content of this piece. We are of the piece? wholly there to activate them in body and mind.

When thinking about HOME, I considered how I Christian Barclay is a publicist at BAM. personally live in my house and the relationship between private and public spheres. The house © 2017 Brooklyn Academy of Music, Inc. All rights reserved. Photo: Maria Baranova WORKING IN CONCERT KAUFMAN ELLIOTT PHOTO: IS WHAT WE DO. Fly toward something better with the help of 80,000 Delta employees who do everything they can to help you explore what’s possible. @BAM_Brooklyn #BAMNextWave Charles Atlas. Photo: Mick Bello

Q&A with Rashaun Mitchell and Silas Riener, by Susan Yung

TesseractTesseract, a work by Charles Atlas, Rashaun in mysterious ways, often layered with other Mitchell, and Silas Riener at the BAM Harvey influences until they become unrecognizable or from Dec 13 to 16, is in two parts: a 3D dance take on new meanings. The “desert scene” may film, and a live performance with video. The three or may not relate to Frank Herbert’s novel Dune. artists all worked with Merce Cunningham. We worked with excellent costume fabricators and artists Julia Donaldson and Yvette Helin, both Can you talk about the visual concepts and of whom take our hare-brained ideas and make costumes in the film? Were there any specific them a wearable reality. sources or influences? Discuss the technical side of the film— The visual design is based on a spectrum of ideas collaborating with Charles Atlas, the set designs ranging from exposed and conspicuous imagery and fabrication, the shoot, the integration of to notions of concealment and camouflage. the green screen elements, how long the whole There’s a foundation question about how process took... bodies might exist in different environments, how we might assimilate or rebel in a given The process took 2½ years. Initial conversations setting. We explore the disembodiment of shape about science fiction grew into brainstorming in abstract geometry and how it might refer sessions that were mostly eclipsed by the back to something on a body, a landscape. technical realities and the financial concerns We found anchors in Flatland: A Romance of with mounting something so ambitious. We Many Dimensions, a satirical 1880s novel and conceived of the sets and the brought in images animated film of politics set in a geometrical for the team at EMPAC to construct to our universe, the low-budget film Cube 2: Hypercube, specific measurements. The “kaleidoscope” a futuristic experiment where the participants are scene was made of many interconnected, faceted in a disorienting cube that keeps changing. triangles that ultimately form a supine human figure disguised as a mountain range. Another But influences are so hard to track. They scene was a reworking of figurative and abstract splinter and unravel over time and then emerge tapestries that were printed and designed by BAM

Salutes #BAMNextWave Dec 13—16

Fraser Taylor and used in a previous piece as a each individual dancer’s choreography. He is the backdrop. Here they were placed throughout the seventh dancer in the work. stage space to create multiple “rooms.” The green screen shoot was the most unplanned scene. How involved is Charles Atlas in Ryan’s We had all worked with green screens before so movements, and what is his role (if any) during we knew many decisions could be made in post- the performance? production. The background desert topography was added later. The final duet scene is composed of Charlie is usually stationed in the back of the tubular crinoline, a stretchy, reflective material that house and is responsible for mixing the live we hung throughout the theater like jungle vines. images and the pre-designed images. It’s a live act. The creation of Ryan’s choreography and How do you two collaborate on choreography? camera angles was very collaborative. It reflects We argue until we don’t anymore. We take turns a mixture of our conceptual and spatial demands bossing each other and the dancers around. We as well as Charlie’s process of responding to work on multiple things at once. We are interested the choreography and the techncial demands of in the blurring of authorship. producing a potent and incisive image.

In part 2, Ryan [Thomas Jenkins] is almost like How did you come to collaborate with Charles? another dancer on stage. Are his movements as choreographed as the dancers’, or does he have We first worked with Charlie in the Merce some leeway in his patterns? Cunningham Dance Company on numerous film/ dance projects so we had a shared history and Ryan’s pathways and timing are completely model for collaborating. Charlie approached us in choreographed. The equipment is very heavy 2014 to work on the EMPAC commission. While and takes up a lot of space. The framing of the in Troy, NY, we went to the movie theater together shots is so sensitive that he has to be incredibly to see 3D films whenever we could. exacting in performance in order for the image to be captured in the right way. He has to know Susan Yung is senior editorial manager at BAM. his own choreography, the camera tracking, and © 2017 Brooklyn Academy of Music, Inc. All rights reserved. Photo: Ian Douglas BAM Directory

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Warning The photographing, the safety of others by lighting BAM theater managers and press videotaping, or sound recording of matches or smoking in prohibited agents are represented by the any performance without written areas during the performances and Association of Theatrical Press Agents permission of the management, is intermissions. This violates a New and Managers, prohibited by law. Violators may be York City ordinance and is punishable Local #18032, punished by ejection and may be by law. —Fire Commissioner IATSE, AFL-CIO. liable for money damages. BAM backstage employees BAM is a charter member of the Fire Notice The exit indicated by a are represented by the League of Historic American Theaters red light and sign nearest to the seat International Alliance of and an affiliate member of the League you occupy is the shortest route to Theatrical Stage Employees of American Theaters and Producers. the street. In the event of fire or other (I.A.T.S.E.). Children under five not admitted emergency, please WALK TO THAT unless explicitly noted. EXIT, FOLLOWING THE DIRECTIVES OF THE HOUSE STAFF. Thoughtless persons annoy patrons and endanger BAM Harvey Fund Honoring the late BAM President and Executive Producer Harvey Lichtenstein Photo: Bengt Wanselius

BAM thanks our friends and supporters who have paid tribute to Harvey Lichtenstein’s visionary leadership by making a charitable contribution to the BAM Harvey Fund. To join them in honoring Harvey, please visit BAM.org/Harvey. Your support ensures that daring contemporary work continues to flourish at the institution he loved so much. Never forget @BAM_B piano trio (piano, violin, andcello)called Regarding mymusiccompositions, Icomposeda in Bangsokol. symphonic pieceofmusichonoring thesesouls Pot? Indeed,inCambodiatherehasn’t beena civil warandduringthegenocidalregime ofPol Cambodian peoplewhowerekilled during the work: howcanwecommemoratethe twomillion cametomewithanideaforanewmusical Arts, Todd, ofCambodianLiving whoisthe co-founder one ofmydearAmericanfriends,Mr. Charley would bemynextcomposition. Atthattime, Where ElephantsWeep tothinkofwhat , Istarted the2008worldpremiereofmyopera After a while? it somethingthatyouhavewantedtodofor this comeabout?Was itarecentideaoris How didtheideafordoingarequiemlike Gilman OperaHouseonDec15&16. libretto byTrent Walker—at theBAMHoward directed/designed bydirectorRithyPanh, with Him SophycomposedmusicforBangsokol— rooklyn

Memory Memory

through my PhD, I honestly have two really great through my PhD,Ihonestly havetworeallygreat family buteducated inWestern classicalmusic who wasbornina traditionalCambodianmusic Cambodian traditional music.Asacomposer how muchtheyknowaboutWestern and It dependsontheknowledgeof audiences— that audienceswillhearinthispiece? What arethetraditionalandWestern elements world premiereofmyoperain2008. We the hadtheideatocreatethisworksinceafter an ancientCambodianreligiouschantingstyle. along withachoirandtwosoloistswhosingin such asKhmerharpsandWestern stringorchestra traditional ensembleincludingancientinstruments symphonic musicworkwhichcombinesa Bangsokol: ARequiem forCambodia Cambodia, andtwofromNewZealand. with threedifferentcomposers—me,from Strike , inthemusiccyclecalledOCambodia!, 2011 IcomposedanotherworkcalledTheFirst Moscow StateTchaikovsky Conservatory, andin From Darknessin1990whenIwasastudentat by SarahGarvey Q&A withHimSophy #BAMNe is a new is anew xtWave

Photo: Tey Tat Keng #BAMNextWave Dec 15 & 16 backgrounds from traditional Cambodian and of Cambodia in New York, Mr. Prim Phloeun Western classical music knowledge that help me (executive director of Cambodian Living Arts) to compose and create a lot of new music. came up with the idea to invite Rithy Panh to collaborate with me using Bangsokol’s music, Can you tell us a bit more about the definition of and Mr. Phloeun asked me to create the music “Bangsokol”? How does it relate to this work? to accompany the old Russian film, which has no spoken text. The film is called Bolshevik. Over Bangsokol is a traditional ceremony (ritual) in 15 days I worked on it, and we performed in Buddhist religion. Most of Cambodians who Chaktomuk Hall and it was a really big success. believe in Buddhism organize this ritual every At that time Mr. Rithy Panh was director of an year, especially during the time of Phchum Bend international film festival and he liked my music [a 15-day Cambodian ceremony celebrating the that accompanied that Russian film very much. end of Buddhist lent]. People offer food, fruit, Upon the suggestion from Mr. Prim Phloeun, Rithy and other needs, and pray to their ancestors and Panh and I agreed to collaborate on the Bangsokol wish for people who’ve already passed away to project from that time in 2014 until now. rest in peace and calm. Meanwhile, the ritual of Bangsokol also prays for living people to be What excites you most about this piece? healthy, happy, and have good lives. My idea is The World is Our Home. How did you come to collaborate with film director Rithy Panh? Sarah Garvey is associate director of publicity at BAM. I heard the name Rithy Panh a long time ago, but I had never met him. I think Rithy Panh had © 2017 Brooklyn Academy of Music, Inc. All rights reserved. also heard about me. In 2014 after the Season Him Sophy. Photo: Chenla Media Him Sophy. Securing BAM’s Future

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

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

For more information on the BAM Endowment please contact As of August 1, 2016 William Lynch at 718.636.4186 or [email protected].

Photo: Peter Jay Sharp Building, by Ben Cohen Securing BAM’s Future

Planned Giving Another way to help BAM prepare for the future is by making a provision in your estate plans. You create a legacy for many generations to come and ensure BAM’s excellence continues for the next 150 years. Existing options for planned giving include making a bequest in your will, and naming BAM as a beneficiary in your retirement plan or insurance policy, among others. Unless otherwise specified by a donor, it is BAM’s policy to apply planned gifts toward its endowment. Individuals who have made such gifts are recognized in the select group of patrons known as BAM Angels.

Our special thanks to the foresight of the charitable BAM Angels listed below.

BAM Angels Denis Azaro Karen Brooks Hopkins William Winthrop Parsons Bettina Bancroft William Josephson Marie D. Powers Robert & Joan Catell Charlotte & Stanley Kriegel David L. Ramsay, MD Neil D. Chrisman Edgar A. Lampert William Boss Sandberg Mr. & Mrs. Henry Christensen III Harvey Lichtenstein Louis Sanders Mallory Factor Phyllis Holbrook Lichtenstein Harriet L. Senz Madison S. Finlay William Lynch Toni Mendez Shapiro Richard B. Fisher Georgene M. Maxwell Bella F. Stoll Judith R. & Alan H. Fishman Scott C. McDonald Lynn M. Stirrup Barry M. Fox Joseph V. Melillo PaulaMarie Susi Rita Hillman Evelyn & Everett Ortner Judge Franklin R. Weissberg Barbara T. Hoffman Frank J. & Adeline Pannizzo Carol Yorke & Gerard Conn

For more information on Planned Giving opportunities please contact William Lynch at 718.636.4186 or [email protected]. All inquiries will remain confidential.

Suddenly. Photo: Puppet Cinema BAM Supporters & Patrons

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Virginia B. Toulmin Foundation

for support of female composers and choreographers in the Next Wave Festival Salutes Special thanks to our Next Wave Festival supporters

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

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

Daniel Gonzalez Matthew & Sabrina Leblanc Brandon Nelson & Iman Karen Schlesinger Constance Casey & Dr. I. Michael Goodman & Abdul-Rahman Lediju & Criner Nelson Miriam Schneider Harold Varmus Judith Uman Angela Nurse-Lediju Consulate General of The Dr. Michael Schober Peter Ventura & Adria Crum Erwin Gorostiza Janice Lee Netherlands in New York Florian Schodel Raymond & Priscilla Vickers Larry E. Dumont, M.D. & Lisa Lee New York State Assembly – Patricia Schoenfeld Diana Viñoly Interiors Martin Gould Roseanne Legrand Peter Abbate Christopher J. Scholz & Patricia Voight & Rachel Stephen R. Greenwald & Sue Lehmann New York State Assembly – Ines Elskop Wolff Rebecca A. Sullivan Barbara Lemperly Grant James F. Brennan Ellen Schonfeld Mr. Bernd Vollmuth The Green-Wood Cemetery Garrick Leonard & Leslie Sheila Nevins Nancy Schwartz Sternoff David Wagner Mimi & Bill Grinker Feder Kiersten Nieuwejaar Richard Schwartz & Gita Ethan J. Wagner & Thea Bill Grogan Susana T. 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Migdal Susan and Elihu Rose Gabrielle Tana Loukin Timothy Milford & Liza Foundation Inc. Julie Tarney Peter Keegan Velazquez Andrea M. Rosen Cadogan Tate Susan Kellman Jason Miller & Ileana Lawrence Rosenthal Ronald & Adele Tauber Jessie Kelly Salazar Beverly & William Rosoff Josephine & Philip Teverow Suzanne Greene & John Judith Scofield Miller & James & Eliza Rossman Win & Lisa Thin Kelly David C. Miller Elizabeth A. Rovere Grace & John Timberlake David Kemp Virginia & Timothy Millhiser Melissa Bowen Rubin & Narcissa & John Titman Younghee Kim-Wait & Jarett Iliana F. Mindlin Joshua Rubin Dr. Irena Tocino F. Wait Sandra & Lowell Mintz Maisie Rubinstein Coralie Toevs Cubie King Jr. Michele Mirman Ann Rudovsky Limor Tomer Mr. Steve Reich & Ms. Donald & Gwen Moffat Lisa & Jonathan Sack Jenny Tolan & Catesby Beryl Korot Claire Molloy & Seth Lloyd Josh Safran & Jess Perrin Bennette Kramer & Eliot Maria Montoya Camacho Manny Torrijos & Jing Long Marissa M. Moore Jennifer Sage & Nicolas Shang Tan Kenneth & Susan Kramer Norma & Randy Moore Grabar Stephen Touhey Ashwin Krishnan Evangeline Morphos S. Gerald Saliman & Lane Trippe & Marian Joan Kronick Kathy Morton & David Raymond Vallejo Sabety Rob Krulak Nadelman Mina Samuels & David Linnet Tse & John Forsyth Roberta Krumholz Sammy & Merle Moultrie Foster Jonathan & Cynthia Uejio Edward & Phyllis Edward Nahem Val Schaffner Bill Updegraff & Aliza Kwalwasser Mr. Robert Napier & Ms. Michele & Jose Bartfield Helen & James Lally Sharon Napier Scheinkman Chauncey Upson Robert S. Langley Charles M. Nathan & Alisa Douglas & Ans Schickler Valery Upson Drs. John & Judie LaRosa F. Levin Evan & Lee S-K Sonia Valentin & Frank Jess Latham Laura Naylor Anthony Schlesinger & Fernandez Raymond Learsy Brian Negri Anne Forward BAM greatly appreciates all contributions in support of our work. We apologize for any inaccuracies. Please contact the Development Department at [email protected] with any corrections. BAM Board

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

BAM Staff

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

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