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Man to A Wales MillenniumCentreProduction Translated byAlexandraWood #BAMNextW L RUN TIME:1hr, 15mins DATES: OCATION: By ManfredKarge

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Executive Producer Joseph V. Melillo, President Katy Clark, Vice ChairmanoftheBoard William I.Campbell, Chairman oftheBoard Adam E.Max, Brooklyn AcademyofMusic The Shubert Foundation,The Shubert Inc. The SHSFoundation The Francena T. Harrison The AchelisandBodmanFoundation provided by: fortheateratBAM Major support Season Sponsor:

F oundation Trust BAM Fisher ABOUT Man to Man

Man to Man Manfred Karge’s Man to Man tells the story of Ella: a woman forced to adopt the identity of her dead husband in Performer Production Manager order to survive in Nazi Germany. Maggie Bain Martin Hunt

Compromising her own identity for Playwright Company Stage Manager survival, Ella is plunged into a new Manfred Karge Sarah Thomas masculine world of beer, schnapps, and poker—a claustrophobic existence Translation Technical Stage Manager dominated by the fear of discovery Alexandra Wood Angus Foster and the changing face of authority in a volatile 20th-century Germany. Directed by Assistant Stage Manager

Bruce Guthrie & Scott Graham Katie Bingham Shunted from one memory to another,

the audience experiences the full force Set and Costume Design Production Electrician of this all-consuming one-woman play, Richard Kent Mollie Tuttle confronting the horror of the Second World War from a unique and deeply Lighting Design American Stage Manager personal perspective. Rick Fisher R. Michael Blanco

In this new English adaptation of the Sound Design German masterpiece by Alexandra Mike Walker The Actors are appearing with the per- Wood, directors Bruce Guthrie and mission of Actors’ Equity Association. Frantic Assembly’s Scott Graham Video Design re-imagine this seminal text alongside Andrzej Goulding The American Stage Manager is a a stellar creative team. member of Actors’ Equity Association.

Music composed by The production was created at Wales Matthew Scott Millennium Centre in February 2015 and transferred to the Edinburgh Fringe Voice & Dialect Coach Festival in August of that year. Hugh O’Shea

Produced by Pádraig Cusack

Wales Millennium Centre’s license to present Manfred Karge’s Man to Man is granted by Rosica Colin Limited, London, by arrangement with henschel SCHAUSPIEL, Berlin

Ernst Busch Acting School in Berlin. He BRUCE GUTHRIE has appeared in Hauptmann’s Die Ratten Director (The Rats), as well as in Wedekind’s Lulu, at the Maxim Gorki Theater. In Bruce Guthrie recently directed a new UK the last few years Karge has been active Who’s production of Jonathan Larson’s legend- as an actor and director at the Berliner ary musical Rent (St James Theatre and Ensemble, taking major roles in Richard UK tour); Constellations by Nick Payne II, Mother Courage und Ihre Kinder, and (Singapore Repertory Theatre); The Last Die Heilige Johanna der Schlachthoefe. Mermaid with Charlotte Church (Festival Who His productions include Schweyk in the of voice, Wales Millennium Centre); Man Second World War, Fear and Suffering to Man by Manfred Karge (Wales Mil- MANFRED KARGE of the Third Reich, The Caucasian Chalk lennium Centre and Edinburgh Festival Author Circle, and The Hanns Eisler Revue. 2015); Lotty’s War by Giuliano Crispini Karge has two books published by and Clare Slater (UK Tour); Bakersfield Manfred Karge was born in 1938. After Alexanderverlag, Berlin. Mist starring Kathleen Turner and Ian Mc- drama school, he was invited by Helene Photo: Maggie Bain by Wolf Marioh Photo: Maggie Bain by Wolf Diarmid (Duchess Theatre); An Incident at Weigel—world-famous actor, director, the Border by Kieran Lynn (Finborough & ex-wife of Bertolt Brecht, and one-time ALEXANDRA WOOD Trafalgar Studios); The Merchant of Ven- head of the Berliner Ensemble—to join English Language Author MAGGIE BAIN ice, Othello, and Twelfth Night (Singapore the Berliner Ensemble in 1961. In 1963 Actor Repertory Theatre, Fort Canning Park, he began work with Matthias Langhoff Alexandra Wood is an award-winning Singapore); and Stories by Heart, written and also started his career as an actor in British dramatist. Her plays include The Originally from Scotland, Maggie Bain by and starring multi-award-winning actor feature films. Human Ear (Paines Plough); Ages (Old grew up in England, moving to London John Lithgow (Lyttelton NT). Guthrie also Vic New Voices); Merit (Plymouth Drum); for drama school. She recently completed wrote and directed events celebrating the In 1969 Karge and Langhoff moved to the The Initiate (Paines Plough, winner of filming First & Only, a film adaptation of centenary of the Welsh Guards in 2015. Volksbuehne, East Berlin. In 1975 they a Scotsman Fringe First); The Empty Peter Flannery’s best-selling novel of the These took place at the Royal Welsh staged the premiere of Heiner Mueller’s Quarter (Hampstead); an adaptation of same name. Other credits include Emma College of Music and Drama and the Die Schlacht (The Battle). Productions Jung Chang’s Wild Swans (Young Vic/ Rice’s A Midsummer Night’s Dream Principality Stadium, Cardiff. followed in Hamburg, Geneva, Cologne, ART); The Centre (Islington Community (Shakespeare’s Globe); Man to Man and Hanover. Claus Peymann installed Theatre); Unbroken (Gate); The Lion’s (Wales Millennium Centre and Edinburgh Karge at the Schauspielhaus Bochum. Mouth (Rough Cuts/Royal Court); The Fringe Festival 2015); The Blood Is Strong SCOTT GRAHAM Productions took place in Paris, Zurich, Eleventh Capital (Royal Court); and the (Finborough Theatre); Beautiful Burnout Director Stuttgart, and other cities. In 1982 radio play Twelve Years (BBC Radio 4). (Frantic Assembly, UK Tour); Henry V and the world premiere of Karge’s first play A Doll’s House (Theatre Delicatessen); and Scott Graham is artistic director and co- Jacke Wie Hose was staged at the Short plays include Pope’s Grotto (Paines Love of the Nightingale (Rough Fiction). founder of Frantic Assembly, for which Schauspielhaus Bochum, directed by Plough/Come to Where I’m From); My TV and film credits include Happiness he recently directed Things I Know to Karge. Under the English title Man to Name Is Tania Head (Decade/Headlong); (David Austen Studios for Channel 4/Ran- Be True, No Way Back, Othello, and Man, Tilda Swinton played the character, and work for the Royal Court, Oxford dom Acts); Making Ugly (Vernon Films); The Believers. He has been nominated Max Gericke (Traverse Theatre, Edinburgh School of Drama, Rose Bruford College, Lady Randy in Lady Randy: Churchill’s for an Olivier and a Tony Award for best 1987; Royal Court Theatre 1988), and Dry Write, Nabokov, and Curious Mother (Channel 4 & Flame TV); and choreography for the multi-award-winning the production was filmed. Karge’s second Directive. Wood is a past winner of the Crisis Control (BBC). NT production The Curious Incident of play Conquest of the South Pole followed George Devine Award and was the Big the Dog in the Night-Time. For Frantic (Traverse Theatre 1988; Royal Court Room playwright-in-residence at Paines In addition to her theater, film, and televi- Assembly he has co-directed Little Dogs, 1988) and was also filmed. Plough in 2013. sion work Bain is also a Learn & Train Lovesong, Beautiful Burnout, Stockholm, Practitioner for Frantic Assembly, teaching pool (no water), Dirty Wonderland, With Claus Peymann, Karge went to the physical theater skills and devising tech- Rabbit, Peepshow, and Underworld. His Burgtheater Vienna in 1986 to stage work niques for schools and theater companies director/performer credits include Hymns, by Brecht, Fuehmann, Jelinek, and others. throughout the world. Tiny Dynamite, On Blindness, Heavenly, From 1993 onwards, he has managed the Sell Out, Zero, Flesh, Klub, and Look seen with the Monteverdi Choir’s triple bill cible and UK Tour); Oliver! (Grange Park Opera); and Silent Night (Philadelphia Back in Anger.Other directing credits of Orfeo, Ulisse, and Poppea (UK, Europe, Opera); Outside Mullingar (Ustinov, Bath); Opera, US tour). Goulding was recently include Man to Man at Wales Millennium New York), and forthcoming work includes The Colby Sisters Of Pittsburgh, Pennsyl- nominated for the first ever Whatsonstage Centre and Home for the National Theatre Billy Elliot (Tokyo); Forbidden City (Singa- vania, A Boy and His Soul, Paper Dolls, award for video design (Groundhog Day) of Scotland. His choreography/movement pore); and Cell Mates (Hampstead). and Multitudes (Tricycle); Bad Jews, and a Welsh Theatre Award for design direction credits include The Merchant of (Ustinov Bath, St James, Arts, Haymarket, (The Last Mermaid). agoulding.com Venice for Singapore Repertory Company; and UK Tour); Handbagged (Tricycle, Praxis Makes Perfect for National Theatre MIKE WALKER Vaudeville, and UK Tour); Macbeth, Shef- Wales; The Canticles at Brighton Festival/ Sound Design field Mysteries (Sheffield Crucible); The MATTHEW SCOTT Aldeburgh Music; Husbands & Sons, Port, Dance of Death (Donmar Trafalgar); The Composer Hothouse, and Market Boy at the National Mike Walker trained at Guildhall School of Merchant of Venice (Singapore Repertory Theatre; and Dr. Dee for Manchester Music and Drama in London. His many Theatre); Murder Ballad and Josephine Matthew Scott trained at the Guildhall International Festival/ENO. With Steven designs for the National Theatre include Hart Poetry Week (Arts Theatre); Unfaith- School and City University London, at the Hoggett and Bryony Lavery, he created It Three Winters, Chewing Gum Dreams, ful (Found 111); Watership Down (The Berlin Hochshule für Musik and in New Snows, a National Theatre Connections Home, Hymn, St. Matthew Passion, Major Watermill); The Cocktail Party (Print York, where he worked as music assistant play and, with Steven Hoggett, wrote The Barbara, Caroline or Change, and Jerry Room); Communicating Doors (Menier to Lotte Lenya. He has written music for Frantic Assembly Book of Devising The- Springer–The Opera, for which he won the Chocolate Factory); Neighbors and Clock- many plays including premieres by Sir atre (Routledge 2nd ed.). Scott Graham is first Olivier Award for best sound design. work (Hightide Festival); Man to Man Tom Stoppard, Alan Bennett, Richard a visiting professor in theater practice at Recent productions include Lady in the (Wales Millenium Centre); The El Train Bean, Harold Pinter, David Edgar, Mark Coventry University. Van (TRB); Forbidden City (Esplanade (Hoxton Hall); Disco Pigs and Mrs. Lowry Ravenhill, and Howard Barker. He was Singapore); Great Wall (Drama Centre, and Son (Trafalgar Studios 2); 13 (NYMT, a member of cult systems band The Lost Singapore); Our Ladies of Perpetual Apollo), and Titanic—Scenes from the Jockey, and has produced Trans Global RICK FISHER Succour (NTS/Duke of York’s); Rent British Wreck Commissioners Inquiry: Underground, Anthony and the Johnsons, Lighting Design (UK Tour); Wild Honey (Hampstead); 1912 (MAC Theatre, Belfast). Martha Wainwright, and Faithless, among The Last Mermaid (Wales Millennium others. His work in television includes Born in Philadelphia, Rick Fisher is the Centre); Flowers for Mrs. Harris, (Crucible, Middlemarch and Drop the Dead Donkey. winner of two Olivier Awards and two Sheffield); Hobson’s Choice (Vaudeville); ANDRZEJ GOULDING Films include The Landgirls, The Feast of Tony Awards for best lighting design Hapgood (Hampstead); For Services Video Design July, and King Girl. He is music consultant for An Inspector Calls and Billy Elliot Rendered (Chichester); The Tempest (Fort to the National Theatre where he was (Broadway). His recent theater designs Canning, Singapore); Temple (Donmar Andrzej Goulding works as a video, head of music for 10 years, and he is include Consent (National Theatre); Filthy Warehouse); Taken at Midnight (Chich- projection, and set designer internationally currently a professor at the University of Business (Hampstead); Rent (St. James, ester; Haymarket); Arturo Ui (Chichester; across all forms of live performance. Southampton in the UK. London, and national tour); What’s in a Duchess); Crazy for You (Novello; Regent’s His video designs include Groundhog Day Name (Birmingham); Florian Zeller’s The Park); Drawing the Line (Hampstead); and (Broadway, Old Vic); People, Places and Father (Gate, Dublin); Strife (Chichester); The Herd and Disgraced (The Bush). With Things (West End/ National Theatre, St. HUGH O’SHEA Stella (London/Amsterdam); The Last his company, Loh Humm Audio, Walker Ann’s Warehouse, NYC); Sweet Bird of Voice and Dialect Coach Mermaid with Charlotte Church (Wales provides audio design and engineering Youth and The Boy in the Striped Pyjamas Millennium Centre); Judas Kiss (BAM services for theaters. (Chichester Festival Theatre); No’s Knife Hugh O’Shea’s theater credits include The Spring 2016, Toronto, London); Waste (Old Vic Theatre, Abbey Theatre); The Maids, Doctor Faustus, and The Com- (National Theatre, London); The Audience Suicide and From Morning To Midnight mitments (Jamie Lloyd Company/ ATG); (West End and Broadway); An Inspector RICHARD KENT (National Theatre); Room (Theatre Royal Man to Man (Wales Millennium Centre); Calls (on tour), and Matthew Bourne’s Set & Costume Design Stratford East, Abbey Theatre); Rent (St. Bugsy Malone, Herons, Cinderella, and Swan Lake (London, LA, Broadway, James Theatre, UK tour); 1984 (Northern Tipping the Velvet (Lyric Hammersmith); international tour). Richard Kent’s many design credits Ballet); Coriolanus (Donmar Warehouse); Pride and Prejudice (Sheffield Crucible); include The Country Girls (Chichester); La Cenerentola (Opera North); Into the Breaking the Code (Royal Exchange The- Musical and opera work includes Billy Dead Funny (Vaudeville Theatre); The Hoods (Peacock Theatre); The Last Mer- atre, Manchester); The Odyssey (Liverpool Elliot (current UK national tour, also Lon- Mentalists (Wyndhams); Richard II maid (Wales Millennium Centre); Hansel Everyman); Oh What a Lovely War (ATG); don, Broadway, Australia, Holland, US (Donmar Warehouse); A Winter’s Tale and and Gretel (Vienna State Opera); Relative The Light of Heart (Clwyd Theatr Cymru); tour) and Sunny Afternoon (West End and Cymbeline (The Globe); Anything Goes Values (West End); Carousel (Barbican); and Uncle Vanya (St. James); and In the UK tour). His designs may currently be and This Is My Family (Sheffield Cru- The Impresario/Le Rossignol (Santa Fe Heights (Southwark Playhouse). His television work includes Happy Valley, Peaky The Centre has been described by Lord Blinders, Nigel Farage Gets His Life Back, R. MICHAEL BLANCO Wales Millennium Andrew Lloyd Webber as the best theater Houdini and Doyle, Vera, The A Word, American Stage Manager built in the world in the last 50 years. Home Fires, and The Last Kingdom. Film Centre includes: Tombraider, Guernsey, Entebbe, R. Michael Blanco’s many credits include HHHH, Churchill, and Jungle Book. The Beauty Queen of Leenane and A Man With a vision is to inspire our nation and MARKETING O’Sheahas taught at the Royal of Good Hope (BAM); Six Characters in impress the world, Wales Millennium Cen- Joe Public Central School of Speech & Drama, Search of an Author; Karole Armitage’s The tre is the country’s home of performing art, LAMDA, ALRA, Rose Bruford, and the Predator’s Ball; Jonathan Miller’s St. Mat- creativity, and culture. An iconic landmark PUBLIC RELATIONS Identity School of Acting. thew Passion and Così fan tutte (Théâtre based in the Bay region of Wales’ Capital Elin Rees de la Ville); White Devil and Hedda Gabler City, the Centre was opened by Her Public Eye for Maggie Bain (Sydney Theater Company); Uncle Vanya/ Majesty the Queen in 2004 and is home PÁDRAIG CUSACK Twelfth Night (BAM Spring 2003, Donmar to eight resident organizations includ- SPONSORS Producer Warehouse); and Don Carlos, A Midsum- ing Welsh National Opera, BBC National The Peterson Family, Cardiff mer Night’s Dream, and Hecuba (Royal Orchestra of Wales, and National Dance Pádraig Cusack studied at Trinity College, Shakespeare Company). His Metropolitan Company. With thanks to Dublin, Royal Northern College of Music, Opera House work includes Kirov Ballet, DaisyChain PR, The Dickson Minto Manchester, and University College, Cork. Bolshoi Ballet, and Robert Wilson’s Le The Centre welcomes over 1.5 million Charitable Trust, Emma Evans, and Grace He has produced and toured productions Martyre de Saint Sebastian. visitors a year, making it Wales’ number Nelder. over four continents winning awards in one visitor attraction. Up to 1000 jobs the UK, US, and Australia. Recent projects are sustained on its 7.5 acre site and it for Wales Millennium Centre include Tiger contributes over £75m annually to the Bay/The Musical (Cape Town; Cardiff) economy of Wales. and La Voix Humaine. National Theatre credits include My Country: A Work in The Centre is internationally recognized for Progress; Jeremy Deller’s commemorative its striking architecture and was recently piece we’re here because we’re here (with declared a National Treasure by the Na- 1418 Now); The James Plays, People, tional Lottery. The Centre has a 1900-seat One Man, Two Guvnors (world tour); Grief, lyric theater designed for opera, large Phèdre (international tour); The Year of scale musicals, ballet, and contemporary Magical Thinking (European tour); Waves dance. Other performance spaces include (world tour); Happy Days (world tour); The a 250-seat studio theater, a dance house, History Boys (world tour); and The Power 350-seat recital hall, accommodation for Book (European tour). He produced the up to 200 young people, and a state-of- Abbey Theatre production of The Plough the-art recording facility. and the Stars (US tour), and his New York/ Broadway credits include My Eyes Went The Centre has predominantly been a Dark, A Girl is a Half-formed Thing, Not I/ presenting house for the very best produc- Footfalls/Rockaby (BAM Next Wave 2014), tions from across the globe, and has most riverrun (BAM Next Wave 2014), John recently embarked on producing its own Gabriel Borkman (BAM Spring 2011), work. From main stage musicals, festivals, The Pitmen Painters, Waves, Happy Days and large scale cultural events to a strong (BAM Spring 2008), Primo, and Not creative learning strategy which focuses on About Nightingales. giving a voice to all, the Centre aims to en- gage a widespread audience and increase participation in the arts. Photo: Maggie Bain by Polly Thomas privilege of literature to show her deception Can you still make plays about working Mahagonny, only to find that the songspiel Manfred Karge— as such a perfect act.” class struggles when your paying audience version he wanted to stage had been lost The Brandenburg Beckett: is made up of a much wealthier segment of in the archives. So Karge simply wrote a the last living link to A 1987 production of the play, at the society? “The middle classes,” says Karge, “Brecht-sounding” script around the songs German theater’s golden age Traverse in Edinburgh, launched the career “are interested in these struggles because and put on the show, only confessing the by Philip Oltermann of Tilda Swinton: her cross-dressing mas- they always worry about losing their status extent of his poetic licence to Weigel after the terclass in a film version five years later led and slipping down the pecking order. But, premiere had been a success. It’s late afternoon, the matinee performance to Sally Potter casting her in Orlando. Man of course, it is a problem for playwrights has just finished, and tourists are now to Man lived on even after Brunner died in interested in working class life that we don’t In the late 1960s, Karge and some others swarming round the legendary Berliner En- 2002; by Karge’s own reckoning, it has been always have the audience we wish for. It was left because they felt the theater was inter- semble theater, looking straight through the performed “on nearly every continent”, with different back when the Berliner Ensemble preting its founding father’s work too literally. old man drifting about in a checked shirt and new productions currently showing in Stock- first opened. You had whole factory brigades They began practicing Brechtian theater—but tracksuit bottoms, unaware that he’s the last holm, Amsterdam, Johannesburg, Budapest, or school classes going to the theater. A ticket without Brechtian plays—at other venues living link to the golden era of German stage. and Istanbul. used to cost 1.50 East German marks. Now around Germany, as the playwright’s rela- Only a few budding actors stop, whisper and people pay 40.” tives were withholding performance rights. stare in awe at Manfred Karge and his great In the 1980s, part of the appeal of Karge’s Brecht’s theater, Karge says, has always silver mane. monologue was that it breathed new life into Brecht has been a constant presence in been less about theorizing than about boiling a dying genre: working-class theater. “Almost Karge’s career, even though the two men things down to basics. “What I learnt from Karge, now 77, has been called “East all of the 15 plays I have written are about never met. Born in the Brandenburg region Brecht is that every performance starts from Germany’s Orson Welles” or “the Bran- little people,” he says. “I have never been in 1938, Karge was talent-spotted by the zero. Brecht never tried to confuse people— denburg Beckett”—though those aren’t interested in the lives of kings and queens. playwright’s second wife Helene “Helli” he wanted to tell stories and be understood.” comparisons he is comfortable with. “Don’t All those films about Hitler, they just bore Weigel while still at drama school and asked get me wrong,” he says, as we take our seats me; we all know the Nazis at the top were to join the cast at the Berliner Ensemble, He goes on: “I still notice a difference in the theater’s sweltering beer garden, “I pigs. To me, the most interesting thing about where he stayed for an initial nine-year stint, between actors who started out in West wouldn’t want to compare myself to Beckett. the Nazi period is how the working class then returned for good in 1993. Originally Germany and those who were trained in As a playwright, I was always the opposite. people coped.” set up by the administrators of the Soviet- the East. The western actors are often trying Beckett knew exactly how he wanted his occupied zone to invigorate East Berlin’s to express their inner state; their acting is plays to be performed. Mine don’t even have In Ella Gericke’s case, coping with National cultural life, the theater became a militant less about telling a story than discovering stage directions.” Socialism requires the same cold-hearted bastion of Brechtian philosophy after his yourself. In the East, our training was much pragmatism that led her to assume her hus- death in 1956—a cultural temple dedicated more focused on technique.” Even now, he Given such a lack of authorial ego, it seems band’s identity. In one scene, the dialogue to preserving the idea of epic theater, which says, members of the audience come up to even more remarkable that, when Karge describes the grey walls of a cell. We assume maintained that audiences should not be him after shows to praise him for eventually departs the stage for good, he’ll Gericke has been caught out and ended up fooled into empathy by the empty trappings his elocution. leave behind at least one of the great modern in prison—until we realize that she is not the of realism, but jerked into critical reflec- classics of European theater. Man to Man prisoner, but the guard. To dodge the draft, tion, if not action. If one were to believe the Is Brecht’s idea of epic theater still relevant? was originally written in the summer of 1982 Karge’s cross-dressing anti-hero has joined ensemble’s outgoing director, that original “It is—because the subjects Brecht was as a favor to Lore Brunner, Karge’s Austrian the Nazis’ paramilitary arm, the SA. spirit is currently more under threat than interested in are still alive. That’s not partner, a veteran ensemble-player who ever, particularly by the kind of postmodern necessarily good news for Brecht; he had always wanted a solo piece. An urban But while Man to Man is unmistakably showmanship that many veterans fear will might have been happy to find out that the legend, related by a friend, served as the a play about working life, it rises above be imported to the city by the new head of problems he was interested in are no longer premise: in the middle of Weimar Republic- kitchen-sink realism, mixing working class Berlin’s experimental Volksbühne theater, around. If there was no more capitalism, era depression, Ella Gericke assumes the slang with expressionist poetry and Goethe ex-Tate Modern director Chris Dercon. “We Saint Joan of the Stockyards wouldn’t need identity of her deceased husband Max in quotation, all the while pursuing a ques- are currently witnessing European theater’s to be performed. But it’s all still here, that’s order to hold on to his job as a crane opera- tion that remains relevant even in 2015: if Waterloo,” Claus Peymann recently told Ger- the mad thing. We are going in circles. The tor, precariously manoeuvring around a world human beings under capitalism are solely man weekly Die Zeit, “and sadly Germany excesses of capitalism aren’t dying down – of sweat, machismo, and cheap liquor. defined by their employment status, does has become the main battlefield.” they are getting worse and worse. And until their gender, personality, and emotional life that stops, Brecht remains relevant.” Only years after the play had premiered in matter at all? Karge is decidedly less terrified. The strict Bochum, in December 1982, did Karge rules of epic theater may have been what This article appeared in The Guardian receive a newspaper cutting in the post that Bertolt Brecht’s short story The Job, based on first attracted him to Brecht, but he found on August 3, 2015. Reproduced by kind showed that his play was in fact based on a the same true-life story as Man to Man, puts breaking them easier than many people do permission of The Guardian. true story: the real Ella had managed to it succinctly: “Woman became man within now. In his first year at the ensemble, he and keep up her act for a total of 12 years. “And days, via the same route that man had be- a friend convinced Weigel to let them put on I thought I had merely been claiming the come man over the course of millennia: the Brecht’s opera Rise and Fall of the City of process of production.” MEMBER

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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