2013 Next Wave Festival DEC 2013

George Segal, Torso: Hand on Thigh, 1978

Published by: BAM 2013 Next Wave Festival sponsor BLEED Tere O’Connor Tere O’Connor Dance #TereOConnor 2013 Next Wave Festival Choreography by LOCATION: RUN TIME: DATES: no intermission Approx 60min BAM Fisher (Fishman Space) Dec 13at10pm Dec 11—14at7:30pm Executive Producer Joseph V. Melillo, President Karen BrooksHopkins, Vice ChairmanoftheBoard Adam E.Max, Vice ChairmanoftheBoard William I.Campbell, Chairman oftheBoard Alan H. Fishman, AcademyBrooklyn ofMusic The SHSFoundation The HarknessFoundation forDance fordanceatBAM provided by Major support Gilmore Foundationthe Mertz BAM Fisher providedby fornewdancepresentationsinthe Support BAM 2013NextWave Festival sponsor BAM Fisher 2013 Next Wave Festival Bleed was made possible by the Creation of the component works of New England Foundation for the Arts’ Bleed was made possible thanks to: National Dance Project, with lead funding from the Doris Duke Charitable Secret Mary was supported by the BLEED Foundation and additional funding Lower Manhattan Cultural Council from The Andrew W. Mellon Founda- and presented at the River to River tion and the Boeing Company Chari- Festival in July 2012. table Trust; The MAP Fund, a program Choreography of Creative Capital supported by the poem was commissioned by New Tere O’Connor Doris Duke Charitable Foundation and York Live Arts and made possible, the Andrew W. Mellon Foundation; in part, by the National Endowment Composition/Sound Design the Campus Research Board and the for the Arts. Additional support was James Baker Creative Research Board in the School provided by contributors to the Dance of Fine and Applied Arts at the Uni- Theater Workshop Commissioning Lighting design versity of Illinois Urbana-Champaign; Fund at New York Live Arts. Premiere Michael O’Connor the Maggie Allesee National Center for November 2012. Choreography at Florida State Univer- Costume Design sity; and Big Tree Productions, Inc. Sister was commissioned by The Walter Dundervill Tere O’Connor Dance is supported by Krannert Art Museum at the University The National Endowment for the Arts, of Illinois in Urbana Champaign for the Performers the New York State Council on the Open Studio series. Premiere Septem- Tess Dworman, devynn emory, Arts, the New York City Department of ber 2013. Natalie Green, Michael Ingle, Cultural Affairs, and individual donors. Ryan Kelly, Oisín Monaghan, Tere O’Connor is a participant in Cynthia Oliver, Heather Olson, Lower Manhattan Cultural Council’s Mary Read, Silas Riener, Extended Life Dance Development David Thomson program made possible in part by The Andrew W. Mellon Foundation. musicians Chris Gross, cello Tere O’Connor is a recipient of a Julia Read, voice Process Space 2013 artist residency James Baker, all other instruments made possible by Lower Manhattan and vocals Cultural Council to develop BLEED.

Portions of the movement material for this work were created in collaboration with the dancers. I thank them for their creativity, generosity, and rigor during this process. I am wholly indebted to these amazing people whose exquisite contributions make the work possible. —Tere O’Connor

Photo: Oisín Monaghan and company by Chris Cameron 2013 Next Wave Festival Choreographer’s Note qualities. My experience with craft- Thank you for coming to see our work touring nationally and internationally. ing dances has been a journey away and the work of others engaged in He has created numerous commis- BLEED is the culminating work of from the exigencies of definition or dance, this fragile yet powerful form. sioned works for other dance a two-year project during which I resolution that might be useful in I would love to hear from you. You companies including the Lyon Opera constructed three other pieces—Secret the construction of “cogency.” I have can go to our process blog where I Ballet, White Oak Dance Project, and Mary, poem, and Sister—all from very moved decidedly towards abstraction will repost these notes and where you a solo for Mikhail Baryshnikov, Indoor different source materials and each and its potential to mirror conscious- can leave your own thoughts— Man. O’Connor received a 2013 Doris with an entirely different cast. I then ness. Contradictory impulses coexist bleedtereoconnor.org Duke Performing Artist Award, is a collapsed these into this fourth work, in my works. A search for singularity 2009 United States Artist Rockefeller simultaneously remembering and of meaning gives way to a complex Fellow, and a 1999 Guggenheim forgetting the previous dances. All 11 weave of disparate elements. I work Fellow. He has received awards from of the magical performers from the with a willfully convoluted palette the Foundation for Contemporary Arts, other works are here, yet the move- where recognizable imagery and the Who’s Arts International’s DNA Project, and ment material is gone. Ghosts of the anomalous enjoy equal value. I am Creative Capital. He has been honored other dances resonate through the not looking to shape hidden stories with three Bessie Awards—one for new work and shape its form, but they into dance but rather to understand Heaven Up North in 1988, another in are subterranean and exert their pres- how the sequencing of events accrues 1999 for sustained achievement, and sure on this new construction from the meaning in choreography. The viewer Who the third in 2005 for Frozen Mommy. caves of memory. joins me in the definitions of the His work has been supported over the parts, but I must provide a structural years by the National Endowment for The ephemeral—overly romanticized frame that allows for this and perhaps Tere O’Connor Dance the Arts, the New York State Council in dance history in my opinion—is an promotes the dislodging of memo- Company History on the Arts, the NYC Department of actual tool for me and is integral to my ries in the viewer in order that they Cultural Affairs, NEFA/National Dance process. In this expanded version of a might comingle with the images of Tere O’Connor Dance was founded Project, the New York Foundation concept that has always been central the dance. People’s projections are in 1982 to support the work of Tere for the Arts, the MAP Fund, Jerome for me, erasure is a form of construc- braided with my construction to final- O’Connor in association with dancers Foundation, Altria Group, Inc., the tion. Each image or section of a dance ize the work. and collaborators. The company Harkness Foundation for Dance, and is absent in the next, but its essence aims to challenge the boundaries the Mid Atlantic Fund for US Artists. remains to color the forthcoming I am conflicted about author’s notes, of dance by constructing a complex events. I craft these wafts of memory so forgive me this indulgence. I am dance language, to present the O’Connor was the 2013 chair of the into my choreography, privileging just attempting to help the viewer works created to broad audiences, Chime Without Borders mentorship them over the recapitulation of dance come on board with what might feel and to pass this creative information program initiated by the Margaret movements. Because inference, es- like an enigmatic project. The intense on through extensive teaching and Jenkins Dance Company in San Fran- sence, quality, reference, and affect complexity of living on earth right now dialogues. With more than 36 cisco. A much sought-after teacher, he seem to be some of the purveyors of finds a good friend in dance. Spending works, the company has performed has taught extensively at universities meaning in dance, I long ago ceded some time with an information system throughout the US and in Europe, and festivals around the world. He is any desire for the expression of spe- that does not hope to deliver mes- Canada, and South America. currently a Center For Advanced Stud- cific ideas to the ambiguous contours sages but rather acts as a container ies professor in dance at the Univer- and endless associative pathways of for multiple individual responses sity of Illinois at Urbana-Champaign; the choreographic mind. might prove to be an antidote to the he received a faculty award for excel- polarized dogma that holds our world Tere O’Connor lence in research from the College of Choreographer-Artistic Director This work is sparked by my immersion in its grip. Fine and Applied Arts in the spring of in the poetics of dance and the infor- 2013. Tere O’Connor has been making mation I have gleaned from 30 years dances for 30 years, creating more of wrestling with its indeterminate than 36 works for his company, and 2013 Next Wave Festival dence at Issue Project Room and will Shemy & Company, Megan Sprenger/ be premiering an evening-length work mvworks, Makiko Tamura/small apple

Tess Dworman on January 18 & 19 at the Actors Ryan Kelly co., Christopher Williams Dances and Performer Performer Fund. emory was a 2009 Fresh Tracks Miriam Wolf, among others. Ingle is resident at Dance Theater Workshop, also a freelance lighting designer and Tess Dworman is a Brooklyn-based Ryan Kelly is an artist and dancer a studio series resident at NYLA, and stage manager. Anytime he isn’t doing Who’schoreographer and performer currently living and working between a BAX studio series resident. emory’s something else, he creates work with originally from Chicago. She studied Los Angeles and New York City. He work has been commissioned and his own group Michael and the Go- at the Laban Centre in London and received his MFA from the Interdis- shown at Abrons Art Center with Getters. graduated from the University of Illi- ciplinary Studio in the UCLA depart- Third Bird, and at the Poetry Project, nois at Urbana-Champaign with a BFA ment of art and his BA in comparative Who Movement Research Spring and Fall in dance. From 2008—09, she was a literature from Fordham University. Festival, APAP, DraftWorks at Dans- LinkUP Residency artist at Links Hall Kelly was a Van Lier Fellow at the pace, DNA, AUNTS, Rooftop Series, Oisín Monaghan in Chicago. In New York, her work Whitney Independent Study Program Performer Roulette, and Dixon Place in NYC. has been presented at AUNTS, Center and a member of New York City Ballet Venues include Philadelphia’s Live for Performance Research, Danspace from 1998 to 2002. Since then, he Oisín Monaghan received his BFA in Arts Festival, Philadelphia Dance Project, Dixon Place, Movement has worked as a dancer for numerous dance from Marymount Manhattan Boom’s Motion Pictures, Arts and Research at the Judson Church, and classical and contemporary choreog- College. Trained in both classical ballet Ideas Festival in New Haven, and the Roulette Intermedium. As a performer raphers and directors including Karole and modern, he began studying move- London International Film Festival of her own works, Dworman finds an Armitage, Suzanne Farrell, and Sasha ment at the Martha Graham School at the Place. As a dancer they have interchangeable relationship between Waltz. For the past 10 years, he has of Contemporary Dance. Currently worked with Faye Driscoll, Daria Fain, her choreographic research and the engaged in a collaborative art practice dancing with Robin Becker Dance, Jen Rosenblit, Vanessa Anspaugh, act of performing. In addition to work- with Brennan Gerard. Gerard & Kelly’s John-Mark Owen, Sensedance, and Jules Skloot, and Yve Laris Cohen, ing with Tere O’Connor, she has also work has been shown in visual and Christopher Caines Dance, he returned and Carolee Schneeman in NY and had the pleasure of performing in the performing arts contexts in New York this past summer to Jacob’s Pillow previously with Jérome Bêl, White works of Strauss Bourque-LaFrance, City, nationally, and abroad. Their first to perform in Tere O’Connor’s Cover Oak Dance Project, Rennie Harris Moriah Evans, Marissa Perel, and solo exhibition, Kiss Solo, was held at Boy and toured O’Connor’s piece Pure Movement, anonymous bodies, Mariana Valencia. Kate Werble Gallery in New York in poem this fall. He has performed with and Paule Turner in Philadelphia. 2013. They have an upcoming solo Robin Becker Dance at FIAF and with devynnemorybeastproductions exhibition at The Kitchen in spring Sensedance at the Salvatore Capezio

2014. Theatre. Monaghan has been photo- devynn emory graphed by distinguished photogra- Performer Natalie Green phers Peter Lindbergh, Mario Testino, Performer Terry Tsiolis, Ryan McGinley, Kenneth devynn emory is a dancer-choreog- Michael Ingle Willardt, and John Rusnak and has rapher, healer, and teacher living in Performer Natalie Green has danced for Rose- appeared in various fashion maga- New York. In addition to running their Anne Spradlin, Anna Sperber, Levi zines and campaigns. Earlier this year, company devynnemory/beastproduc- Michael Ingle was born and raised Gonzalez, Juliette Mapp, and Daniel Monaghan acted in the short film The tions, an umbrella for choreography, in Topeka, KS. He began dancing Linehan. Green’s own choreography White Roses and shot with fashion sound and text, materials, music at the University of Kansas while has been presented at Dance Theater photographer Ali Mahdavi in France. videos, drag, and curated themed earning his BFA in art history. Since Workshop, Danspace Project’s Food He is honored to be a part of Bleed shows, emory also dances for Head- moving to New York City in 2007, for Thought, Catch, Brooklyn Arts and is grateful for the support and long Dance Theater and is thrilled to he has performed with Hilary Easton Exchange, and Movement Research at profound artistry of his fellow dancers. be working with Tere O’Connor Dance. + Company, Tere O’Connor Dance, the Judson Church About Town. emory is currently an artist-in-resi- Laura Peterson Choreography, Deganit 2013 Next Wave Festival thrilled and honored to be dancing with Grossfield, Ashley Smith Steele (Red Tere O’Connor. Dive), and Larissa Velez-Jackson. Cynthia Oliver Olson has received two Bessie Awards, Silas Riener Performer one for her performance in Castro’s Performer Dark Horse/Black Forest, and the Cynthia Oliver grew up in the US Virgin Heather Olson Performer other for her body of work with Tere Silas Riener grew up in Washington, Who’sIslands and came into art via a child- O’Connor. DC. He graduated from Princeton hood filled with black bodies moving in Heather Olson is a dancer and University with a degree in comparative Afro-Caribbean time, space, and form, choreographer who has been based literature and certificates in creative and the incongruous mixture of Euro- in New York City since 1997. Her writing and dance, with a focus on pean dance dramas and site-specific Mary Read Who Performer linguistics. As a dancer he has worked choreography has been commissioned improvisational performance via the by the Chocolate Factory (Shy showoff, with Chantal Yzermans, Takehiro tutelage of Atti van den Berg, a former 2011), the Olga Zitluhina Dejas Kom- Mary Read received her early training Ueyama, Christopher Williams, Jonah Kurt Jooss dancer-performer. Moving in panija in Riga, Latvia (Your Experience with Arlene Begelman, Robert Maio- Bokaer, and Rebecca Lazier. He was this way led her to a career in NYC and Here, 2010), Sugar Salon (in the river, rano, and Barbara Braverman at the a member of the Merce Cunningham abroad in the world of performance 2009), and Dance Theater Workshop School of Performing Arts in New Mil- Dance Company from November 2007 art and experimental dance. She has (Curious awake not possible, 2008). ford, CT. Later, at Hampshire College, until its closure at the end of 2011, danced with many companies includ- Her work has also been presented by she studied dance and choreography and received a 2012 Bessie Award for ing the David Gordon/Pick Up Perfor- Aunts, Danspace Project, Galapa- with Cathy Nicoli, masked theater with his performance in Cunningham’s Split mance Company, Ronald K. Brown/EV- gos Art Space, La MaMa, Movement Davor Dicklich, and psychoanalysis Sides. While performing with MCDC, IDENCE, and Bebe Miller. In the black Research at Judson Church, CATCH, with Annie G. Rogers. Since moving to Riener completed his MFA in dance at avant-garde theater world, she has Solonova Arts Festival (at PS122), the New York in 2009, Read has been a NYU’s Tisch School of the Arts (2008). performed in numerous works includ- International Computer Music Confer- dancer for Vanessa Anspaugh, Hilary Since 2010, he has collaborated with ing plays by Laurie Carlos and Ntozake ence, Gorillafest and LIT at 100 Grand, Clark, Lily Gold, Molly Poerstel, Katy poet Anne Carson and choreographer Shange. Her own work, a mélange and Creature Feature in Berlin, Ger- Pyle, Jen Rosenblit, Jacob Slominski, Rashaun Mitchell, with whom he of dance, theater, and spoken word, many. She was the recipient of a 2011 Larissa Velez, and Enrico Wey. She continues to develop new projects. He incorporates the textures of Caribbean BAX space grant and was one of three has also been an insurance claims has taught workshops and technique performance with African and Ameri- artists selected for the 2008/2009 associate, a caseworker for the Institute classes at Concord Academy Sum- can sensibilities. Named “Outstanding Sugar Salon, a creative residency, of Community Living, an afterschool merStages and throughout Turkey at Young Choreographer” by the German performance, and mentoring program teacher, a graduate student at NYU’s several universities; he is currently on magazine Ballettanz early in her career, created by Wax in partnership with the Silver School of Social Work, and a faculty in the dance program at Princ- Oliver has since received numerous Barnard College dance department of babysitter. Read began dancing with eton University. He was the movement grants and awards including a Bes- Columbia University. As a performer, Tere O’Connor in May 2012. She is designer for the architecture and design sie Award for her work Death’s Door, Olson has worked with Tere O’Connor honored to be a part of his work. firm the Harrison Atelier in 2012 and an Illinois Arts Council Choreography Dance since 1997 and has appeared choreographed the site-specific perfor- Fellowship, a Creative Capital award, a in 10 works with the company. She mance/installations Pharmacophore: Rockefeller Multi-Arts Production grant, also served as rehearsal director for Architectural Placebo at the Storefront a CalArts Alpert Award nomination, Day, a solo O’Connor created for Jean for Art and Architecture, and VEAL at and most recently a University Scholar Butler. Olson worked closely with the Invisible Dog Art Center. His own Award from the University of Illinois, Yanira Castro + Company (renamed: work has also been seen at CATCH Urbana-Champaign, where she is acanarytorsi) from 2000—2009, and as part of LMCC’s River to River professor of dance. Oliver holds a PhD appearing in seven dance installations, Festival. Along with Rashaun Mitch- in performance studies from New York and has also appeared in the work ell he was named one of the Dance University and is the author of Queen of Jennifer Allen, Ivy Baldwin, Faye Magazine “25 to Watch” for 2013, and of the Virgins: Pageantry and Black Driscoll, Levi Gonzalez, Stacy is a member of LMCC’s Extended Life Womanhood in the Caribbean. She is Dance Development Program. 2013 Next Wave Festival mance Network, Movement Research, Los Angeles and the contemporary and Trisha Brown Dance Company. An music festival in Santa Cruz. He has David Thomson ongoing advocate for dance and the conducted a number of Composers Walter Dundervill Performer Costume Designer empowerment of artists, he was one Portrait concerts at Miller Theater of the founding members of Dancer’s including those of Pierre Boulez (lead- David Thomson has worked as a col- Walter Dundervill’s choreography has Forum and has served on the boards ing the US premiere of Derive II), Toru Who’slaborative artist in the fields of music, been presented at Dance Theater of Bebe Miller/Gotham Dance, Dance Takemitsu and Jason Eckhardt, and dance, theater, and performance Workshop, The Chocolate Fac- Theater Workshop, and currently John Zorn. Baker was a conductor with such artists as Mel Wong, Jane tory, Movement Research at Judson New York Live Arts. He holds a BA in for many years of Broadway shows Comfort, Bebe Miller (1983—86; Church, Participant Inc., NADA via Interdisciplinary Studies from SUNY including The King and I, The Sound 2003—06), Remy Charlip, Trisha Cafe Dancer, and The Solo in Azione Who Purchase. Thank you Tere O’Connor for of Music, The Music Man, Oklahoma, Brown (1987­—93), Susan Retho- Festival in Milan, Italy. He has re- this beautiful opportunity! An Inspector Calls, and La Bohème. rst, David Roussève, Ralph Lemon ceived Bessie Awards as a performer An active composer of electro-acous- (1999—present), Muna Tseng, Sekou in RoseAnne Spradlin’s under/world, tic music, Baker received a Bessie Sundiata, Meg Stuart, Dean Moss/ for the costume design of Luciana Award for composition for dance. He Layla Ali, Alain Buffard, Deborah Hay, Achugar’s Puro Deseo, and for the James Baker has written extensively for the theater, and Marina Abramovic, among many Composer visual design of his own choreog- for various ensembles with electron- others. He was a founding member of raphy Aesthetic Destiny 1: Candy ics, and a number of pieces for long- the Drama Desk-nominated a capella James Baker is principal percussionist Mountain. He worked with O’Connor time collaborator Tere O’Connor. As a performance group, Hot Mouth. His of the New York City Ballet Orchestra, as set designer for Wrought Iron Fog percussionist he appears frequently own work has been presented by The music director and conductor of the in 2010. Dundervill is a member of with Orpheus, was a member of the Kitchen, Danspace Project at St Mark’s Composers Conference at Wellesley the Artist Advisory Council at Move- American Composers Orchestra and Church, Dance Theater Workshop, College, and director of the Percussion ment Research. He was a 2012—13 the Eos Orchestra, and has played Roulette, and Movement Research at Ensemble at the Mannes College of Studio Series resident at New York with the New York Philharmonic, the Judson Church. Thomson has been Music. Baker is the conductor of both Live Arts and a 2010­—11 Move- Paris Opera Orchestra, the Czech Phil- artist-in-residence at Dance Theater the New York New Music Ensemble ment Research artist-in-residence. He harmonic Orchestra, and the Royal Workshop, Movement Research, and the Talea Ensemble. He is guest was a co-curator of Hardcorps, the Danish Orchestra, among others. He Baryshnikov Arts Center, Gibney Dance conductor of the Slee Sinfonietta at Movement Research Spring Festival in has appeared as a soloist at the Carn- Center, and at LMCC Governors Island. the Institute for 21st Century Music in 2010. He has taught and performed egie Hall Making Music series (with Thomson was honored with two Bessie Buffalo. He has led the Orchestra of as a guest artist at the University of Hans Werner Henze), Lincoln Center Awards, for sustained achievement in the League of Composers and Specu- Wisconsin (Madison), Frostburg State Festival, Prague Spring Festival, New 2001 and as part of the creative team lum Musicae in concerts in New York University (MD), the Theater Magde- York City Ballet, and at the Santa Fe for Bebe Miller’s Landing/Place in and around the US and has conducted burg (Germany), and for ClassClass- and Moab chamber music festivals. 2006. He is a 2012 USA Ford Fellow, concerts with Ensemble ACJW at Carn- Class in NYC. Dundervill received a He has played on many soundtracks a 2013 NYFA Fellow in choreogra- egie Hall, with the Cygnus Ensemble BFA in painting and drawing from the for film and television and has ap- phy, and a 2014 MacDowell Fellow. at the Library of Congress and in NY, University of Georgia. peared with Wayne Shorter, Dizzy Gil- Thomson has served on the faculties of the Tactus Ensemble at the Manhattan lespie, Dave Brubeck, Jimmy Webb, the NYU Experimental Theater Wing, School of Music, Ensemble 21, and Aretha Franklin, Carly Simon, Michel Sarah Lawrence, The New School, and the DaCapo Chamber Players, among Legrand, Jazz at Lincoln Center, Movement Research. He has worked many others. He has also conducted Branford Marsalis, Pablo Ziegler, and as an arts administrator and database at the Darmstadt, Wien Modern, and many other jazz and pop performers. consultant for several organizations Monadnok music festivals. Baker has including New York Foundation for the both played and conducted at the Bang Arts, Merce Cunningham Foundation, on a Can marathon and has conducted Dieu Donné Papermill, National Perfor- at the Monday Night Concerts in 2013 Next Wave Festival at the 2012 Darmstadt International ing), and her writing has recently Festival, the 2012 Harvard Summer been published in NYC in Das ver- Michael O’Connor Composition Institute, and the 2013 messene Paradies Positionen zu New Lighting Designer Kingston Chamber Music Festival. He York (published by Haus der Kulturen was also a founding member of the Welt/Theater der Zeit), and in Dance Michael O’Connor is proud and hon- iO Quartet, the quartet-in-residence Theatre Journal, TDR, Women and Who’sored to have been working with Tere at SUNY Purchase from 2006—08, Performance, and Contemporary. O’Connor since 1998. Recent designs recipients of the 2008 Chamber Music She has been a lecturer in the history include: Hurry (Project Arts Centre, America Commissioning Grant, and of art and visual culture department Dublin), Who’s Your Daddy? (Irish prize-winners at Chamber Music at Rhode Island School of Design Rep), Next to Normal (CAP 21), Secret Who Yellow Springs. In 2006 he premiered since 2005 and is a PhD candidate in Mary and poem (NYLA), A Celebra- Milton Babbitt’s More Melismata for performance studies at Tisch School tion of Harold Pinter (Irish Rep), In solo cello. In his work as an educa- of the Arts/NYU. She founded and di- and Out (Danspace Project), American tor, Gross teaches at Lehigh University rected jennjoygallery in San Francisco Clock (AADA), Cover Boy (Danspace and is on the teaching artist faculty from 1997—2000. Project), Noctu (Irish Rep), Jimmy of the New York Philharmonic. He is Titanic (Drilling Company), Lend Me also a certified Suzuki instructor and a Tenor (Gallery Players), New Works has published articles in the Journal Studio (LAByrinth Theatre), Moonfleece of the Suzuki Association of America. (45th Street Theater), Oliver! (David F. He holds degrees from Juilliard and Clune Center), Snapshot Plays (Theatre Oberlin College and is currently a CV 54), and Spring Awakening (AADA). Starr doctoral fellow at Juilliard. O’Connor is also the resident lighting designer for the American Academy of Dramatic Arts in New York City. Julia Read Vocals

Christopher Gross Julia Read is a fiddlist, singer, and Cellist songwriter who lives in Brooklyn. She enjoys collaborating with artists in Following his performance of Brian different media and, when she is not Ferneyhough’s Time and Motion Study touring, teaches ESL to adults. II for solo cello at the Lincoln Center juliaread.bandcamp.com Festival, The New York Times wrote, “...for 20 minutes this skinny young cellist with a punkish haircut seemed like a musical master of the uni- Jenn Joy verse...” As an active freelance per- Writer-Documentarian former of contemporary music in New York City, Gross has premiered works Jenn Joy is a writer, teacher, and editor by composers as diverse as Pierre based in NYC. She is co-editing a book Boulez, Milton Babbitt, Olga Neuwirth, with André Lepecki, Planes of and Anthony Cheung. He is a founding Composition: Dance, Philosophy, and member of the Talea Ensemble featured the Global (Seagull Press, forthcom-

Photo: Ryan Kelly and Natalie Green by Chris Cameron Thank you!

Thank you to Michael O’Connor and Walter Dundervill for their excellent work. And special thanks to composer James Baker whose precise and beautiful voice is so closely woven into my dances, delicately shaping them over all these years.

Thanks to my longtime friend and colleague Laurie Uprichard who is project manager for this work. Her expertise and calm demeanor have been indispensable. She is magic.

My thanks to Jenn Joy who has been my partner in developing the blog and feedback sessions during this period. Our efforts are available at bleedtereoconnor.org

Thanks to Dianne and Dan Vapnek and the Vapnek Family Fund, Jeanne Markel and Chris Wedge, Brian MacDevitt, Diana Perron, and all of our patrons and funders. You are the most crucial link, and we are very grateful.

Thank you as well to: Michael Ingle, Julia Read, Chris Cameron, Chris Gross, Jennifer Callienes, Sara Nash, Jan Erkert, Karen Graham, Lucien Zayan, Carla Peterson, Sam Miller, Kathleen Harleman, Janet Stapleton, Judy Hussie-Taylor, Roger Hubeli & Julie Larson, and Joe Melillo & everyone at BAM.

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Salutes Dec 2013

Contents

ABT’s The Nutcracker King Lear

Photo: Gene Schiavone Frank Langella. Photo: Johan Persson

Behind the scenes hijinx at ABT’s Nutcracker. Frank Langella takes on the king of roles in Chichester Festival Theater’s production of Shakespeare’s Lear, directed by Angus Jackson DanceMotion USASM by Brian Scott Lipton This cultural exchange program is shared by more people than ever through expanding online tools by Tanya Calamoneri

Cover Artist

George Segal (1924—2000), a native New Yorker who showed with the Pop artists in the 1960s, was one of the most recog- nized sculptors of the 20th century. He was represented by the Sidney Janis Gallery for over 30 years and his signature plaster figures are in museum collections throughout the world. His best known bronze public commissions include the FDR Memorial, 1991 (Washington, DC); The Commuters, 1980 (Port Authority Bus Terminal, New York); and the commemorative bronze, Gay Liberation, 1980, in Sheridan Square, New York. In 1999 Segal received the National Medal of Honor from President Clinton. The artist’s many museum exhibitions include retrospectives at the Whitney Museum and Jewish Museum in New York and the Hirshhorn Museum and Sculpture Garden, Smithsonian Institu- tion in Washington, DC. Segal has been praised for the delicacy and intimacy of his figures and for the range of themes he has undertaken. Casting directly from his models, as the artist stated, his sculptures retain an indelible element of the sitter’s spirit and uniqueness. The fragment shown here, Torso: Hand on Thigh, conveys the complex mood, gesture, and sensuality of a woman.

George Segal, Torso: Hand on Thigh, 1978. Painted plaster, 22”x13”x7”. The proceeds from the sale of this work benefit BAM. Art © The George & Helen Segal Foundation / Licensed by VAGA, NY. To purchase, contact BAMart at 718.636.4101 or email us at [email protected]. King Lear #KINGLEAR Frank Langella and Lauren O’Neil. Photo: Johan Persson Frank On Langella’s Lear by Brian Scott Lipton

It’s long been a truism in theatrical circles that “It’s a play I always admired, and connected every actor of a certain age considers his career with emotionally, from the first time I saw it with incomplete until he has played the title role in Robert Stephens at the Royal Shakespeare Com- Shakespeare’s King Lear. Without question, the pany when I was a teenager. I even remember Bard’s proud monarch is a banquet for every the standing ovation,” says Jackson. “Then, a seasoned thespian to feast on. Now, Tony Award few years ago I did a production of Bingo by winner Frank Langella tackles the role. Edward Bond at the Young Vic with Patrick Stewart. That play is a bit of a riff on Lear and Similarly, many a great director, from John I did a lot of research on Lear while doing it. It Houseman to Jonathan Miller, has put his own got me thinking about the themes of the play, stamp on Lear. Now, Angus Jackson takes his especially how people abuse their power and turn with this classic play. His production arrives then injustice occurs. Plus, I love these dark, epic at the BAM Harvey Theater on January 7 for a plays with these very compromised characters five-week run after a month-long stint at Eng- whose fortunes keep changing. It’s like a roller- land’s Chichester Festival. coaster ride.”

“Angus Jackson’s excellent production becomes Not surprisingly, Jackson was determined to put the theatrical equivalent of a pressure cooker, his own stamp on the production. “One of the scalding in its intensity,” writes Charles Spencer first things I talked about with my team is the of the Daily Telegraph. “Throughout, the play importance of the role of the Earl of Gloucester. emerges with clarity and insight as well as He’s really Lear’s alter ego—another old man dramatic power.” who’s having trouble with his children. I wanted King Lear this production to really balance these two stories have. That’s true of Lear’s daughters, Goneril and and for the audience to see the parallels,” says Regan, as well as Edgar and Edmund. The only Jackson. “I also wanted Lear to have a young difference between then and now is what the Fool (to be played by Harry Melling of the Harry next generation is willing to do to get it. These Potter films). I thought it would be an interesting people live in a much more brutal world than we to have this bright, boyish presence who keeps do, and Lear really is a brutal play.” pointing out the older man’s folly.”

Equally important to Jackson are the show’s Brian Scott Lipton was editor-in-chief of visual elements. “I really felt I wanted something TheaterMania.com and currently covers theater different, and that meant everything in it should for IN New York, Where, Edgeonthenet.com, TDF be very elemental,” says Jackson. “Anything the Stages, TheaterPizzazz.com, and Cititour.com. actors touch should be real, which means we’re using things like real stone, real wood, real wa- ter. It also points out the fact that before the play begins, Lear has only walked on this beautiful palace floor, but once he steps out into the rest of the world, the ground literally becomes uneven.”

If Jackson’s approach means the cast has to get a bit dirty, so be it. “When Edgar (played by Sebastian Armesto) smears mud on his face, it’s real mud,” says Jackson. “And Frank is being very bold. We soak him with water, muddy him, and he gets right in there.”

Not surprisingly, Jackson is ecstatic to be work- ing with Langella. “We met when he was doing Frost/Nixon over here and I think we started talking about this production when we met again in London about a year ago. We both wanted it to be quite simple when it needs to be, but emotional when it gets emotional. The idea is not to pull any punches. It’s not meant to be a polite production,” he says. “As you know, Frank is a truly red-blooded actor. He has fulfilled that obligation in terms of the play; he’s terrifying on stage. And the full company shares that sense of fearlessness.”

One thing Langella and Jackson found they had in common, especially as it relates to Lear, is their experiences as fathers. “Frank has talked to me about rearing children and the experience of growing older along with your children,” says Jackson. “My son is only seven, but I think a lot about the father-son relationship as well. It’s nat- ural that the next generation is going to replace you, and they’re going to want what you already Frank Langella. Photo: Johan Persson Frank American Ballet Theatre Kenneth Easter and Justin Souriau-Levine. Photo: Gene Schiavone Kenneth Off Center: Nutcracker Memories Giant gingerbread cookies? Skiing rats? It’s all Kenneth Easter, ABT Corps de Ballet part of a dancer’s annual Nutcracker ritual. One year, while performing with Miami City Here, four Nutcracker veterans share some of Ballet, it was a typical show until the “Waltz of their fondest and funniest memories. the Flowers,” when we began to smell smoke. Everyone backstage was alarmed, but the bal- Rachel Moore, ABT CEO lerinas continued to make their entrances as the During the mid-1980s, American Ballet music played. Eventually, one of the stage man- Theatre performed The Nutcracker at the agers figured out that one of the lights above the Shrine Auditorium in Los Angeles for three stage had caught fire and yelled out to clear the weeks each December. On New Year’s Eve, stage. The only dancer that didn’t hear was Dew- ABT dancers would take “liberties” with the drop, who was concentrating on her upcoming choreography, with the idea that it would be fouetté turns.The conductor, still focused on the a “Nutty Nutcracker.” One year, when I was a musicians and the ballerina, was unaware the member of the corps de ballet and in the Snow fire alarm had sounded. Needless to say, the the- Scene, Larry Pech, a member of the corps ater was cleared safely, but not before Dewdrop playing the role of one the Rats, made a special went out and completed her 24 fouettés alone appearance. Dressed in his rat costume, Larry onstage with burning red gel from the lights donned a pair of roller skates and ski poles, and above raining down around her. Not a show I went gliding through the snow scene, dodging us think I’ll ever forget. “Snowflakes.” It was a moment to remember! Justin Souriau-Levine, Jacqueline Kennedy Onassis School Student My most memorable experience performing The Nutcracker was as the Little Mouse with ABT. My dresser, Angel, gets me into costume most days and makes sure it stays in perfect condition. One day, during my scene with the Polichinelles, I was sliding across the stage and ripped my costume completely open at the knee. I ran offstage and my chaperone called Angel. He ran down to me as quickly as he could with a needle and thread and saved my costume by sewing it back together before I had to run onto stage again. After that, I called him “Super Angel”!

Zhong-Jing Fang, ABT Corps de Ballet The first time I ever performed in a production of The Nutcracker was in Kevin McKenzie’s ver- sion with ABT. My role was the giant gingerbread cookie, which jumps off the Christmas tree and is eaten by the Mouse King. As I had just come to America from China, it was also my first experi- ence with any type of Christmas celebration. That first Nutcracker experience became one of my most memorable holidays. Justin Souriau-Levine. Photo courtesy ABT Photo: Marty Sohl BAM

Official hotel for BAM Salutes Thanks to our Next Wave Festival supporters

BAM 2013 Next Wave Festival sponsor New and expanded programming and Next Wave Festival supporters: capital initiatives at BAM made possible by Rose M. Badgeley Residuary major operating, capital and endowment Charitable Trust support from The Irene Diamond Fund brigitte nyc Support for new presentations in the BAM Brooklyn Community Foundation Fisher provided by the Rockefeller Brothers Epstein Teicher Philanthropies Fund The Harkness Foundation for Dance Suzie & Bruce Kovner Programming in the BAM Howard Gilman Leadership support for Next Wave Art Leon Levy Foundation Opera House is supported and endowed provided by Agnes Gund and Toby Devan Frederick Loewe Foundation, Inc. by The Howard Gilman Foundation. Lewis McKinsey & Company, Inc. Programming in the BAM Harvey Theater The Ambrose Monell Foundation is endowed by the Doris Duke Charitable The Rolex Institute supports emerging Henry and Lucy Moses Fund, Inc. Foundation. Programming in the BAM artists at BAM Samuel I. Newhouse Foundation, Inc. Lepercq Space is supported by The The Reed Foundation Lepercq Charitable Foundation. Diverse Voices at BAM sponsored by: The Morris and Alma Schapiro Fund The SHS Foundation The Steinberg Screen at the BAM Harvey The Shubert Foundation, Inc. Theater is made possible by The Joseph S. The Skirball Foundation and Diane H. Steinberg Charitable Trust Zero Calorie Sweetener of the The Harold and Mimi Steinberg Next Wave Festival: Charitable Trust Leadership support for opera at The Winston Foundation, Inc. BAM provided by The Andrew W. Ann Ziff Mellon Foundation, The Peter Jay Sharp Foundation, and Proud supporter of BAM

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Major support for opera at BAM The BAM facilities are owned by the provided by Aashish & Dinyar Devitre. City of New York and benefit from public funds provided through the New York City Additional support provided by The BAMcafé Live sponsor: Francena T. Harrison Foundation Trust. Department of Cultural Affairs with support from Mayor Michael R. Bloomberg; Cultural Affairs Commissioner Kate D. Levin; the Leadership support for War Sum Up New York City Council including Council provided by The Barbro Osher Pro Speaker Christine C. Quinn, Finance Suecia Foundation Endowed funds supporting the Next Wave Committee Chair Domenic M. Recchia Jr., Festival: The Howard Gilman Foundation; Cultural Affairs Committee Chair Jimmy Global Connections at BAM sponsored by: Lila Wallace-Reader’s Digest Endowment Van Bramer, the Brooklyn Delegation of the Fund for Community, Educational, and Council, and Councilwoman Letitia James; and Brooklyn Borough President Marty Public Affairs Programs at BAM; The Markowitz. BAM 2013 Music Sponsor: SHS Foundation; The Andrew W. Mellon Foundation Fund for Opera and Music- Title sponsor for BAM Rose Cinemas and Theater; The Peter Jay Sharp Fund for BAMcinématek: Opera and Theater; The Ford Foundation Leadership support for music commissions at BAM provided by The Virginia B. Fund to Support Collaborative Creativity BAM Rose Cinemas are named in Toulmin Foundation Among U.S. Artists; Estate of Richard B. recognition of a major gift in honor of Fisher; BAM Fund to Support Emerging Jonathan F.P. and Diana Calthorpe Rose, Leadership support for Sider provided by and Local Musicians; The Starr Foundation; and have been generously supported by The Jerome Robbins Foundation, Inc. Next Wave Forward Fund: Altria Group, The Peter Jay Sharp Foundation and the Estate of Richard B. Fisher The presentation of Come, and Back Again Inc./Founding Sponsor “Supporting the and Play/Pause is made possible Spirit of Innovation”; and The Devitre Fund. Programming in the BAM Lepercq Space by the New England Foundation for the is supported by The Lepercq Charitable Arts’ National Dance Project BAM Marquee sponsor: Foundation Support for The Humans provided by Agnes Gund BAM would like to thank the Brooklyn Delegations of the New York State Assembly, Joseph R. Lentol, Delegation Support for new dance presentations in the Official hotel for BAM: Leader; and New York Senate, Senator BAM Fisher provided by the Mertz Gilmore Velmanette Montgomery, Delegation Foundation Leader.

Your tax dollars make BAM programs Official piano for BAM: possible through funding from: DMUSA Trotting theGlobe DanceMotion USA 1901 totheearly1920s,HolmestreatedBAM Through aninnovativeprogramcalled DanceMo Today BAMcontinues thetradition, witha twist. and ahostofotherculturalnaturalwonders. audiences tovividhistoriesofoldGranada,the only aboutfar-flung placesonemightneverhave culture throughits artists. coronation oftheEthiopianemperor, ethnogra- phies offishingandfarmingpracticesinSiam, stages asfarback1861.Beyondthedrawof worldly crowd,attractedtothearrayofinterna- BAM’s audienceshavealwaysbeenadecidedly Department ofStatetoreinvigorate theuseof Department ventor Burton Holmes,whonarratedbreathtak- ventor Burton Opera Housetohearlecturesby“travelogue”in- Since 2009, BAMhasworked closelywith the ing slideshowsandfilmsofhisadventures. From the chancetotravel(heardofTimor-Leste?) eyes,learningnot the worldthroughadancer’s tion USA these first-rateproductions,peopleflockedtothe andcompaniespresentedonour tional artists but alsogainingan appreciationofanother Sean Curran Company in Ashgabat, Turkmenistan. Photo: John Pendleton SM , ouraudienceshaveawindowon SM - as many as 40 workshops and 10 performances as many40workshopsand10 performances American artists tofacilitateculturaldialogue American artists exchanges asculturalambassadors.Eachcom- ences have withpeoplefrom eitherlocation—the often the first encounter participants andaudi- thefirstencounterparticipants often comprising BAMExecutiveProducer JosephV. matic interest,foratotaloffourweeks—offering pany travelstothreecountriesina region that prepared forengagingindirectperson-to-person panies thatrepresentthebestofAmericandance. munity, Bureauof andtheUSStateDepartment’s It hasprovenawildly successfulventureforall with countriessuchasRussia, China, Vietnam, Israel, Algeria,Bolivia,andBangladesh.Apanel Melillo, leadersfromtheAmericandance com- US and the host country—and wehear timeand US andthe hostcountry—and financial and community support, theyarewell financial andcommunitysupport, Education andCulturalAffairsselectdancecom- Since manycompanieshavedevelopedanex- involved: the workshops and performances are involved: theworkshops andperformances to localaudiences. pre-selectsbasedondiplo the StateDepartment tensive outreach program asameansofsecuring # otinusa dancem by Tanya Calamoneri SM - again how stereotypes fall away and real friend- Group journeys to Burma, Cambodia, and Timor- ships emerge. Leste in October/November 2014. Dances in these countries have roots in Indian dance and During the 2012 season, DanceMotion USASM are noted for their captivating “tribungi” (three launched a social media component to offer angled stance), intricately-layered costumes, audiences in the US a chance to watch the and storytelling hand and eye gestures. (BAM experience unfold. As photos and videos flowed audiences might remember the dazzling gold through various online platforms, people from headdresses and meditative gamelan music across the tour countries joined in the conversa- in the 2013 Royal Ballet of Cambodia’s The tion and began to talk. Dancers in Bangladesh Legend of Apsara Mera.) MMDG has developed and Algeria connected; a Philly hip-hop fan relationships with artists in Burma and Cambo- saw hip-hop in the Ukraine, audiences in Spain dia through previous tours, and we look forward tuned in to a Livestream program with Argentin- to possible collaborations and an insider look at ean artists—and a new community was born. the rigorous dance training in South East Asia through their eyes.. In the virtual world, BAM’s audiences can vicari- ously experience the excitement of American Connect: dancemotionusa.org dance artists as they explore far corners, from Ilo Ilo in the Philippines to Krasnoyarsk in Siberia. DanceMotion USASM offers an unprecedented Tanya Calamoneri is DanceMotion USASM project window into the living chronicle of culture. manager.

This coming season, American dancers again take us around the world. Athletic and energetic David Dorfman Dance explores three countries along the Silk Road: Turkmenistan, Uzbekistan, and Turkey in April/May 2014. The former Soviet Republics initiated a resurgence of traditional dance following their independence, in an effort to solidify a national identity. See whirling silk costumes with trailing braids on women and fur hats and boots on men, percussive steps, and animated hand gestures. Live music with a rich vocal tradition that bears resemblance to Middle Eastern tones often accompanies dancing. Tur- key has quite a varied dance tradition, including a folk dance tradition dating back to the Ottoman Empire, a distinct style of belly dance that in- cludes the dancers playing zils (finger cymbals), and the Sufi fraternity of Whirling Dervishes who spin for hours in moving meditation.

Los Angeles-based urban Latin sensation CONTRA-TIEMPO meets their social-dance coun- terparts in Bolivia, Chile, and Ecuador in May/ June 2014. Spanish and indigenous influences mingle: the rhythmic footwork of Chile and Bo- livia’s cueca resembles flamenco, as do the large skirts which Ecuadorian dancers brandish as they circle and stomp in pairs. We are curious to see CONTRA-TIEMPO’s Cuban salsa and dance- theater vocabulary dialogue with traditional and contemporary dance in South America.

Seminal modern company Mark Morris Dance Illstyle & Peace Productions in Minsk, Belarus. Photo: Darrin Ross Productions Illstyle & Peace BAM

Zero Calorie Sweetener of the Next Wave Festival Salutes Upcoming Events

BAM 2014 WINTER/SPRING SEASON BAMCAFÉ LIVE WORLD-CLASS THEATER, DANCE, MUSIC & OPERA FREE MUSIC FRI & SAT NIGHTS. BAR OPENS AT 6PM King Lear | By William Shakespeare | Chichester Ayanna Lee | Jan 3 at 9pm Festival Theatre | Directed by Angus Jackson Mary Halvorson Quintet| Jan 4 at 9pm Jan 7—Feb 9 | HT Migguel Anggelo | Jan 10 at 9pm Threefifty | Jan 11 at 9pm Green Porno: Live on Stage | Conceived and performed Onaje Allan Gumbs & New Vintage by Isabella Rossellini | Written by Jan 17 & 18 at 9pm Isabella Rossellini and Jean-Claude Carrière Elisabeth Lohninger | Jan 31 at 9pm Staged by Muriel Mayette | Jan 16—25 | FS TALKS The Annual Brooklyn Tribute to Dr. Martin Luther King, Jr. | Presented by BAM, Office of the Brooklyn Green Porno with Isabella Rossellini | Jan 21 Borough President, and Medgar Evers College of post-show | FS The City University of New York | Jan 20 | OH King Lear: A Look into the BAM Hamm Archives with James Shapiro and Sharon Lehner BAMCINEMATÉK Jan 30 at 6pm | FS REPERTORY, CLASSICS, FESTIVALS, PLUS SPECIAL GUESTS King Lear: Behind the Scenes| with Neil Kutner, Roberto Rossellini’s Stromboli (6:50pm) & Audrey Hoo, and Elizabeth Moreau | Feb 1, 9am—6pm David Lynch’s Blue Velvet (9:30pm) | Isabella BAM Fisher (Leavitt Workshop) and HT (includes class, Rossellini in person at both screenings! | Jan 13| BRC performance ticket, and post-show wrap-up) EAT, DRINK & BE LITERARY BAMKIDS

Salman Rushdie | Moderated by Deborah Treisman MUSIC, FILM, PERFORMANCES, AND WORKSHOPS FOR FAMILIES Jan 29, 6:30pm | BC The Pop Ups: Radio Jungle (music/puppets) Jan 11 at 2pm | FS

BC=BAMcafé | BRC=BAM Rose Cinemas | FS=BAM Fisher (Fishman Space) HT=BAM Harvey Theater | OH=BAM Howard Gilman Opera House . Photo: Jody Shapiro Green Porno Thanks to the many Ignite campaign donors for supporting innovative arts education at BAM.

Ignite campaign co-chairs are Richard Feldman of The SHS Foundation and actor-artist Lucy Liu.

$500,000 and above $25,000 and above The Irene Diamond Fund The Achelis Foundation The Leona M. & Harry B. Jody & John Arnhold Helmsley Charitable Trust BNY Mellon Stavros Niarchos Foundation The Barker Welfare Foundation The SHS Foundation John Blondel Simon & Eve Colin Foundation, Inc. The Jessica E. Smith and Kevin R. Brine Charitable Trust $100,000 and above Linda & Adam Chinn Altman Foundation The Corinthian Foundation Booth Ferris Foundation Constans Culver Foundation Brooklyn Community Foundation William A. Douglass Chase MaryAnne Gilmartin Della Rosa Family Foundation Charles Hayden Foundation Goldman Sachs Gives Grace Lyu-Volckhausen The Rita and Alex Hillman Foundation James I. McLaren & Lawton W. Fitt Stephanie & Timothy Ingrassia Anna Kuzmik Sampas The Emily Davie & Joseph S. Kornfeld Howard Silverman Foundation Jennifer Small & Adam Wolfensohn Pierre and Tana Matisse Foundation The Rockefeller Foundation New York City Cultural $10,000 and above Innovation Fund American Express Martha A. & Robert S. Rubin Bloomingdale’s Fund of the Macy’s Foundation The Peter Jay Sharp Foundation brigitte nyc Target Donald Capoccia in memory of Felicia Garcia Joseph LeRoy & Ann C. Warner Fund Mark Diker & Deborah Colson Anonymous Dow Jones & Company, Inc. Barry M. Fox $50,000 and above John N. & Gillett A. Gilbert Barclay’s Nets Community Alliance In Memory of Robert Sklar Con Edison Penn & Diane Holsenbeck Judith R. & Alan H. Fishman Merrill Lynch & Co. Foundation, Inc. MetLife Foundation Michael Palm Foundation National Grid Tracey & Phillip Riese The David Rockefeller Fund, Inc. Sills Family Foundation May & Samuel Rudin Family Foundation, Inc. Ted Snowdon Joseph and Sylvia Slifka Foundation Sam & Ellen Sporn Surdna Foundation, Inc. Joseph A. Stern Pedro Jose Torres & Cecilia Picon Time Warner Inc. Anonymous Michael Tuch Foundation, Inc.

Donate today and your gift will be matched dollar for dollar. Give at BAM.org /Ignite

Photo: Nina Mouritzen Adi Shamir&RichardD.Baron Thomas Scott Brian &StephanieNigito Peter &JennaNashel &AndreaBozzo John Martinez Marks Paneth &ShronLLP Elizabeth &MatthewLuckett François &CalleenLetaconnoux Michele &DavidJoerg Hewitt School Regina M.Griffin David W. Fitts Jeanne DonovanFisher Tim &CeceliaCrowhurst Alida Brill Emma Bloomberg&ChristopherFrissora $2,500 andabove Victor R. Wright Foundation Jo Vanderbeek Steinway &Sons Rush Foundation PhilanthropicArts E. John&Patricia Rosenwald New York StateCouncilontheArts Robin &EdgarLampert Debbie Klein Katie Kleber John P. AndAnneWelsh McnultyFoundation Justin Haythe Agnes Gund Dennis &CarrieGross David Geiger Steven &SusanFelsher Samuel Feldman &MarilynMeyerhoff Robert andMercedesEichholzFoundation David Edelstein Rebekah Coleman &IanRusten Lawrence Chanen $5,000 andabove Anonymous Nora AnnWallace &JackNusbaum Viacom Jennie &Jake Blair Simon Black Antonella Bertello Dayle Berke &DavidShapiro Tony Bechara Beamon&Eddie Joyce Martine Felice Forer Axelrod Douglas &CarlaAlbrect $1,000 andabove Cynthia Young &GeorgeEberstadt Michael Whittingham Heather White&MarkProcopio Robert Watt &DawnBradford John Madsen&DeirdreVon Dornum Sashi &NicholasValtz Raul Suarez Stribling &Associates,LTD. Dr. AxelStawski Jeffrey Soref Nancy Smid&JohnKing Timothy &JulieSebunya Joseph &MarilynSchwartz William E.Sanford Thomas &GeorginaRusso L Rodriguez Villa Gabriel &LindsayPizzi ParkerGary Bianca Orlando&BillMcGinty NYC &Company Stephen &MaribelleLeavitt The KrumholzFoundation Jeff Kovach David Kaplan Barbara Julius&MarcSilberberg Mark H. Jackson The William Talbott HillmanFoundation Manuela Herzer Jillian &SamHerschkowitz John Hart Happy Family Elizabeth Haddad Willie Hacker Lorie &ErikGoshin Barnier James Goldfarb&Catheryn Jeff Gates&MichaelMoran Andrew &Blake Foote Katherine &Luke Fichthorn Teri Everett&MarkDavidson Jennie &RichardDescherer Francesca Defeo Catherine C.Cox Regina &Bill Bronson Bill Borrelle questions [email protected]. with correctionsor Please contacttheDevelopmentdepartment List asofJuly31,2013 ignite BAM

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STAY CONNECTED BAM Box Office (in person) BAMcafé BAM.org Peter Jay Sharp Building Reservations and information Advance sales 718.623.7811 BAM.org/blog Mon–Sat: 12noon–6pm BAMwifi_forBK BAMbus BAM Harvey Theater box office Facebook.com/BAMstage 718.636.4100 opens 90 minutes prior to curtain Make your reservation up to @BAM_Brooklyn on performance days. 24 hours prior to curtain time. youtube.com/BAMorg Group Sales Lost & Found For ticket orders of 10 or more 718.636.4150, Mon—Fri: 9am—5pm LOCATIONS 718.623.7885 | [email protected] Restrooms Peter Jay Sharp Building BAM Rose Cinemas BAM Howard Gilman Opera House: 30 Lafayette Avenue Advance Ticket Sales: mezzanine and balcony level BAM Howard Gilman Opera House 877.789.MOVIE (handicapped accessible: Lepercq Space/BAMcafé BAM Rose Cinemas BAM.org or movietickets.com orchestra level and BAMcafé) Hillman Attic Studio Info: 718.636.4100 BAM Harvey Theater: Box office opens 30 minutes before lobby and gallery level BAM Harvey Theater the first screening of the day. 651 Fulton Street BAM Fisher: BAM Rose Cinemas is wheelchair lower lobby, 4th floor, and 7th floor BAM Fisher accessible. Infra-red headsets for 321 Ashland Place the hearing impaired are available; Headphones Fishman Space inquire at the box office. BAM offers infra-red listening devices Hillman Studio for the hearing impaired; please Rooftop Terrace and Stutz Gardens Student Rush Info Leavitt Workshop inquire at the coat check. http://www.bam.org/student-rush

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Warning The photographing, OF THE HOUSE STAFF. Thoughtless agents are represented by the videotaping, or sound recording of persons annoy patrons and endanger Association of Theatrical Press Agents any performance or the possession the safety of others by lighting and Managers, of any device for such inside this matches or smoking in prohibited Local #18032, theater, without written permission areas during the performances and IATSE, AFL-CIO. of the management, is prohibited intermissions. This violates a New by law. Violators may be punished York City ordinance and is punishable Food and drinks are not permitted by ejection and may be liable for by law. —Fire Commissioner in the BAM Howard Gilman Opera money damages. House or BAM Harvey Theater. BAM backstage employees are Fire Notice The exit indicated by a represented by the BAM is a charter member of the red light and sign nearest to the seat International Alliance of League of Historic American Theaters you occupy is the shortest route to Theatrical Stage Employees and an affiliate member of the League the street. In the event of fire or other (I.A.T.S.E.). of American Theaters and Producers. emergency, please WALK TO THAT Children under five not admitted EXIT, FOLLOWING THE DIRECTIVES BAM theater managers and press unless explicitly noted. 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 $500,000 and above $100,000 and above Richard B. Fisher & Jeanne The Campbell Family Foundation Michael Bailkin, Marvin Levine, Donovan Fisher The Devitre Fund Jesse Masyr, David Stadtmauer The Howard Gilman Foundation Judith R. & Alan H. Fishman Robert & Joan Catell Fund for The Peter Jay Sharp Foundation Charles J. & Irene F. Hamm Education Programs Lila Wallace-Reader’s Digest Maribelle & Stephen Leavitt Neil D. & Kathleen M. Chrisman Endowment Fund for Community, Diane & Adam E. Max Mr. & Mrs. Henry Christensen III Educational, & Mary & Jim Ottaway Jr. in honor of Madison S. Finlay Public Affairs Programs Ruth Blackburne Ottaway Francena T. Harrison Rockefeller Brothers Fund Performance Fund $1,000,000 and above Jonathan F.P. & Diana V.C. Rose Rita K. Hillman Altria Group, Inc./Next Wave Martha A. & Robert S. Rubin HSBC Bank USA, N.A. Forward Fund Nora Ann Wallace & Jack Nusbaum Independence Community Bank BAM Fund to Support Emerging Stephanie & Tim Ingrassia and Local Musicians $250,000 and above Mr. & Mrs. Edgar A. Lampert Brooklyn Community Foundation The Bohen Foundation Annie Leibovitz & Studio The Irene Diamond Fund The Jessica E. Smith and Kevin R. Leo Burnett, USA Doris Duke Charitable Foundation Brine Charitable Trust James McLaren & Lawton Fitt Emily H. Fisher The Charles & Valerie Diker Dance Sarah G. Miller & Frank L. Coulson The Ford Foundation Fund to Endowment Fund The Morgan Stanley Community Support Collaborative Creativity The Horace W. Goldsmith Foundation and Educational Fund Among U.S. Artists Michael Bancroft Goth Endowed J.P. Morgan & Co. Incorporated The Andrew W. Mellon Foundation Annual Performance Fund The Jerome Robbins Foundation, Inc. Fund For Opera & Music-Theater William Randolph Hearst May & Samuel Rudin Family Bruce C. Ratner Endowment for Education and Foundation William Boss Sandberg Humanities Programs Mr. & Mrs. Ame Vennema The Peter Jay Sharp Fund for Opera The Rita & Alex Hillman Foundation Verizon Communications and Theater Carole & Irwin Lainoff The Isak and Rose Weinman The SHS Foundation Maxwell Family Fund in Community Foundation in honor of Madame The Starr Foundation Funds, Inc. Lilliana Teruzzi The Geraldine Stutz Trust, Inc. The Winston Foundation Anonymous

As of July 1, 2013

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

For more information on the BAM Endowment or on Planned Giving opportunities please contact Denis Azaro at 718.636.4193 or [email protected]. All inquiries will remain strictly confidential. BAM Supporters & Patrons

BAM wishes to thank our patrons for all the operating, capital, and endowment support you’ve given us over the past year. (List represents gifts between November 1, 2012—November 1, 2013)

$500,000 and above IFC Henry and Lucy Moses Skadden, Arps, Slate, Kevin Lauri brigitte nyc Stephanie & Timothy Fund, Inc. Meagher & Flom LLP François & Calleen Brooklyn Borough Ingrassia Donald R. Mullen Jr. Joseph and Sylvia Slifka Letaconnoux President’s Office Frederick Iseman National Endowment for Foundation The Levine Foundation Brooklyn Community Kia Motors USA the Arts Brian Stafford Estate of Phyllis H. Foundation The Emily Davie & Joseph Samuel I. Newhouse Starry Night Fund Lichtenstein The Irene Diamond Fund S. Kornfeld Foundation Foundation, Inc. The Harold and Mimi John Lipsky & Zsuzsanna Dormitory Authority of the Stephen & Maribelle Leavitt The Barbro Osher Pro Steinberg Charitable Karasz State of New York The Lepercq Charitable Suecia Foundation Trust Carley Roney & David Liu Estate of Richard B. Fisher Foundation Arthouros Pozov The Geraldine Stutz The Lupin Foundation Jeanne Donovan Fisher Toby Devan Lewis The Reed Foundation Trust, Inc. Briehan Lynch & Alexander Ford Foundation The Rita and Alex Hillman Sarah & Spencer Robertson Barbara & David Zalaznick Evis The Howard Gilman Foundation Rockefeller Brothers Fund Ann Ziff M&T Bank Foundation National Grid Jonathan F.P. & Diana Anonymous Mattis Family Foundation Goldman Sachs Gives New York State Council on Calthorpe Rose Mr. Hamish Maxwell The Leona M. & Harry B. the Arts Anna Kuzmik Sampas $10,000 and above Scott C. McDonald Helmsley Charitable News Corporation The Morris and Alma Absolut Vodka, Seagram Constance & H. Roemer Trust Foundation Schapiro Fund Americas McPhee Diane & Adam E. Max Pepsi-Cola Bottling Jennifer Small & Adam The Aeroflex Foundation Medgar Evers College Gifts McKinsey & Company, Inc. Company of New York Wolfensohn Roger Alcaly & Helen and Grants New York City Department May & Samuel Rudin Santander Bodian Joyce F. Menschel of Cultural Affairs Family Foundation, Inc. Surdna Foundation, Inc. Susan L. Baker & Michael Merrill Lynch & Co. NYC Economic Pablo Salame Joseph LeRoy & Ann C. R. Lynch Foundation, Inc. Development Corporation The Fan Fox & Leslie R. Warner Fund The Barker Welfare Edward S. Moore PASNY Samuels Foundation, Anonymous Foundation Foundation Martha A. & Robert S. Inc. The Howard Bayne Fund Morgan Stanley Rubin The Shubert Foundation, $25,000 and above Tony Bechara Charles M. Nathan & Alisa The New York City Council Inc. The Achelis Foundation Roger & Brook Berlind F. Levin The Peter Jay Sharp The Skirball Foundation Jody & John Arnhold Best of Brooklyn, Inc New England Foundation Foundation Joseph A. Stern Rose M. Badgeley The Bloomingdale’s Fund of for the Arts’ National The SHS Foundation Target Residuary Charitable the Macy’s Foundation Dance Project The Starr Foundation Time Warner Inc. Trust Donald Capoccia in New York State Office of The Joseph S. and Diane Pedro Jose Torres & Cecilia BNY Mellon memory of Felicia Garcia Parks, Recreation and H. Steinberg Charitable Picon Mercedes T. 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Richard Klein & Susan Darrell Susan Snodgrass Speyer Foundation Holland Ilana Pachter & William Lavinia Branca Snyder Todd & Treacy Gaffney Dennis Klejna Wynn Kenneth Soehner Duane McLaughlin & M. Jayme Koszyn & Thomas Meredith Palmer James Sollins Salomé Galib O’Handley

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 Beth Rudin DeWoody Alberto Sanchez Charles J. Hamm Mark Diker Timothy Sebunya Barbara B. Haws, C.A. Chairman of the Board Andre Dua Adi Shamir William Josephson Alan H. Fishman Brendan J. Dugan Danny Simmons Mary Kantor Thérèse Esperdy Jessica Smith John Lipsky Vice Chairmen of the Board Teri Everett Brian Stafford Laurie Mallet William I. Campbell Mallory Factor Axel Stawski Cathy-Ann Martine Adam E. Max Ronald E. Feiner, Esq. Joseph A. Stern Elaine Weinstein Richard E. Feldman, Esq. Pedro J. Torres Hon. Franklin R. Weissberg President Steven G. Felsher John L. Usdan Vaughn C. Williams, Esq. Karen Brooks Hopkins Jeanne Donovan Fisher Brigitte Vosse Barry M. Fox Nora Ann Wallace BAM Endowment Trust Chair Secretary MaryAnne Gilmartin Adam Wolfensohn Timothy J. Ingrassia Joseph V. Melillo Robert M. Greenberg Claire Wood G. Penn Holsenbeck Andrew Zolli Vice Chair Treasurer Anne Hubbard Norman L. Peck James I. McLaren Mark H. Jackson Ex Officio Derek Jenkins Hon. Michael R. Bloomberg Treasurer President Emeritus Daniel A. Klores Hon. Christine C. Quinn Keith Stubblefield Harvey Lichtenstein Edgar A. Lampert Hon. Marty Markowitz François Letaconnoux Hon. Kate D. Levin Members Members Gary Lynch Felice Forer Axelrod William A. Douglass III Jeffrey H. Barker Martin F. Mertz Lela Goren Steven G. Felsher Tony Bechara Patricia E. Michels Jamie Snow Markowitz Elizabeth Holtzman René Böttcher Ahrin Mishan James I. McLaren Gordon Bowen Donald R. Mullen Jr. Chairmen Emeriti Gabriel Pizzi Linda Chinn William A. Perlmuth Neil D. Chrisman Alberto Sanchez Henry Christensen III David L. Ramsay, M.D., M.Ed. Seth S. Faison Timothy Sebunya Pamela A. Codispoti Frances A. Resheske Bruce C. Ratner R. Edward Spilka David E.R. Dangoor Sarah C. Robertson Nora Ann Wallace Cheryl Della Rosa Jonathan F.P. Rose Honorary Trustees Henry Christensen III, Ex Officio Dinyar S. Devitre Anna Kuzmik Sampas Robert L. Forbes Thérèse Esperdy, Ex Officio Alan H. Fishman, Ex Officio

BAM Staff

Karen Brooks Hopkins, President R. Michael Blanco, DanceMotion Ryan Gastelum, Danielle Colburn, Ron London, Ass’t Mailroom Clerk Joseph V. Melillo, Executive USASM, Project Director Michele Byrd-McPhee, Production Jean Smith, Steve McDowell, Producer Tanya Calamoneri, DanceMotion Coordinators Building Services Associates USASM, Project Manager Yeji Cha, Administrative Coordinator Alysha Wright, Building Operations Alice Bernstein, Executive Vice Sophia Shackleton, DanceMotion Quentin Mariano, Liz McGlone, Coordinator President USASM, Project Coordinator Interns Harsh Lochan, Building Operations Matthew Bregman, Vice President Leigh Beaulieu, DanceMotion Assistant for Development USASM Intern Stage Crew Stephanie S. Hughley, Vice Danny Kapilian, Producer, R&B Thomas Paulucci, Crew Chief Building Maintenance President of Education & Festival, MetroTech Cyrus Similly, Head Carpenter, OH Anthony Shields, Maintenance Humanities Steven Serafin, Special Consultant Timothy Fuller, Flyman, OH Supervisor Soo Pak, Vice President of & Editor, BAM: The Complete James D’Adamo, Head Electrician,OH Carl Blango, Calvin Brackett, Marketing & Communications Works Amy Domjan, Assistant Electrician, OH Ronald Hunter, Maintainers Keith Stubblefield, Chief Financial Bill Horton Jr., Master of Properties, Officer and Vice President of Archives OH Security Finance & Administration Sharon Lehner, Director of Archives Marc Putz, Sound Engineer, OH Melvin Patterson, Manuel Taveras, Sarah Gentile, Digital Project James Kehoe, Head Carpenter, HT Supervising Attendant Guards President’s Office Archivist John Manderbach, Head Kenneth Aguillera, Collie Dean, Grace Eubank, Project Coordinator Louie Fleck, Archives Coordinator Electrician, HT Senior Attendant Guards Michael Hurst, Administrative Ryan Evans, Joseph Bradshaw, Edward Donohue, Master of Marlon Desouza, Felix Jusino, Assistant Karyn Anonia, Processing Archivists Properties, HT Kevin Lemon, Teonia Smith, Andel Anita Goss, Volunteer Librarian Alison Dabdoub, Sound Engineer, HT Thomas, Michael Whyte, Attendant BAM Rose Cinemas Arielle Cohen, Bree Midavaine, Joe Werner, Assistant Carpenter, HT Guards Efi Shahar, Cinema Executive Maximilien Letaconnoux, Interns Oscar Gruchalski, Utility Man Manager Larysa McKenna, Jonna Pressman, Richard Wurzbach, Utility Man Custodial Services Michael Katz, Projectionist Volunteers Mary Lou Houston, Wardrobe Ramon Cabassa, Custodial Adam Goldberg, Assistant Manager Supervisor Supervisor Andreea Drogeanu, Davina Roberts, General Management Allan Boyce, Ludlow Chamberlain, Anthony Shields Jr., Head Floor Staff Patrick J. Scully, General Manager Artist Services Isaias Flores, Mayra Guillen, Sarah Bierenbaum, Assistant Mary Reilly, Director of Artist Services Brezhnev Mesa, Ron Rathan, Akeon BAMcinématek General Manager Rachel Katwan, Artist Services Thomas, Custodians Gabriele Caroti, Director Kevin Condardo, GM Budget Manager Nellie Killian, David Reilly, Manager Stacey Dinner, Artist Services Development Programmers Jaclyn Bouton, Sara Danielsen, Coordinator Individual Giving Lisa Thomas, Publicist Project Managers Jeannine Baca, Artist Services William Lynch, Director of Andrew Chan, Marketing Coordinator Molly Rodino, GM Coordinator, Representative Leadership Gifts Jesse Trussell, Programming Assistant Budgets & Contracts Britany Polites, Fisher Representative Barbara Cummings, Director of Hannah Thomas, Publicity & Liana Agredo, Project Coordinator Development Marketing Assistant Morgan Green, Administrative Theater Management Glenn Alan Stiskal, Director of Assistant Christine M. Gruder, Theater Manager Major Gifts Artistic Programming Nivia Prescod, BAM Fisher Front John L. Jones, Associate Theater Gwendolyn Dunaif, Associate Stonie Darling, Department of House Rep. & Rentals Asst. Manager Director, Major Gifts & Patron Manager Dakota Scott, Intern Sonia Clayton, Jacqueline David, Programs Ross Marshall, Manager of Artistic Leroy Houston, Theater Staff Richard Serrano, Research Manager Planning Production Supervisors Holly Shen Chaves, Curator of Hannah Rubashkin, Intern Neil Kutner, Director of Production Spider Duncan Christopher, Visual Arts Don Coleman, Production Manager BAMbus Manager Ben Lasser, Major Gifts Coordinator Programs & Curatorial Josh Escajeda, Associate Elizabeth Sarkady, Administrative Nick Schwartz-Hall, Line Producer Production Manager Building Operations Coordinator Amy Cassello, Associate Producer, Paul Bartlett, Jennifer Grutza, Samuel Velez, Security Manager Travis Calvert, Major Gifts Next Wave Festival Audrey Hoo, Dylan Nachand, Wilbur Alvanza, Building Manager Assistant Darrell M. McNeill, Associate Elizabeth Moreau, Production Darryl Halickman, Project Manager Catherine Charnov, Major Gifts Producer, Music Supervisors Markee Glover, Mailroom Clerk Intern BAM Staff

Membership Education Benjamin Cohen, Associate Fiscal Katherine King, Director of Steven McIntosh, Director of Director of Video Adam Sachs, Fiscal Manager Membership Programs Education & Family Programs Jacob Strauss, Digital Marketing Douglas Fischer, Fiscal Coordinator Sarah Mischner, Membership John P. Tighe, Assistant Director Manager Manager John S. Foster, Education Manager Aaron Weibel, Digital Product Government & Community Bruce Smolanoff, Telefund Eveline Chang, Verushka Wray, Coordinator Affairs Manager Program Managers Nicholas Breul, Digital Production Tamara McCaw, Director of Cheryl-Lyn Miller, Membership Victoria Collado, Education Intern Assistant Government & Community Assistant Suzanne Youngerman, Curatorial Alexander Guns, Catherine Lee, Affairs Jessica Benton, Allison Bodwell, Consultant Video Production Assistants Dewonnie Frederick, Community Danielle Davenport, Jennifer Affairs & Bazaar Coordinator Douglas, Jahna Ferron-Smith, Humanities Marketing Victor Rodriguez, Government & Benjamin Gansky, David Violaine Huisman, Director of Gillian Fallon, Director of Community Affairs Assistant Goldstein, Justin Gray, Kelley Humanities Marketing Green, Allie Harris, Kimberly Molly Silberberg, Humanities Raphaele de Boisblanc, Program Human Resources Howard, Samantha Inniss, Coordinator Manager Seth Azizollahoff, Director of Melissa Krzywicki, Stephanie Alix Rosenfeld, Humanities Intern Claire Frisbie, Marketing Manager Human Resources Lane, Jacklyn Lawrence, Anthony Robert Wood, Copywriter Jenny Rodriguez, Human Marino, Emilie McDonald, LEAD INSTRUCTORS Jenny Choi, Copy Editor Resources Manager Rhonda Merrill, Christie Neptune, Joshua Cabat, Young Film Critics Lily Friedman, Operations Cynthia Smith, Payroll Manager Adrienne Reynolds, Matthew Michael LoMonico, Shakespeare Manager Teisha Stallings, Benefits Specialist Savarese, Naomi Schegloff, Teaches Teachers Britt Aronovich, Marketing Analyst Sajal Javid, HR Recruiter Joshua Smilovitz, Amanda Wilder, Gwendolyn Kelso, Young Allison Kadin, Marketing Nicholas Marshall, Intern Stephen Williams, Saarah Zebede, Shakespeare Coordinator Membership Representatives Jenny Rocha, Dancing into the Jamie Kraus, Marketing Projects Information Technology Future Coordinator William Allen Lee III, Director of INSTITUTIONAL GIVING Pat Hall, BAM/Restoration Rhea Daniels, Intern Information Technology Clemente Luna, Director of DanceAfrica Coordinator Thomas Brown, Tessitura Institutional Giving Mo Beasley, Arts & Justice Strategic Marketing Business Manager Bethany Basile, Institutional Program Molly Meloy, Director of Strategic Ira Sibulkin, Associate Director Giving Manager Marketing of IT Kailin Husayko, Grants Writer TEACHING ARTISTS Melanie Cherry, Justin Monsen, Chris Tusciuk, Web Development Kaitlyn McKeon, Institutional Sarah Abrams, Harold Marketing Managers Manager Giving Coordinator Akyeampong, Sékou Alájé, Jessica Goldschmidt, Copywriter Timothy Assam, Systems Anthony Mercado, Intern Jennifer Armas, Melissa Brown, Administrator Mahogany Browne, Chia-Ti Chiu, Ticket & Customer Services Svetlana Mikhalevskaya, Database Corporate Relations Darian Dauchan, Emily Davis, G. 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Venture, Ticket Services Manager Gwendolyn Pointer, Director, Ingrid Gordon, Lauren Keating, Manager Matthew Taylor, Web Developer Corporate Sponsorships/New Nicole Kempskie, Farai Malianga, Giovanny Lopez, Ticket Services John Roshen, Jersy Rodriguez, Business Development Geneva Manley, Hector Morales, Coordinator Network Analysts Mimi Meserve, Manager, Corporate Kwesi Nkroma, Lauretta Noble, Latasha McNeil, Assistant Manager Susan Bishop, Administrative Relations LeeAnet Noble, Gene Osborne, Ryan Mauldin, Senior Ticket Coordinator Mariam Rahmani, New Business Pamela Patrick, Baba Wali Services Representative Lucas Austin, Assistant Desktop Development Coordinator Rahman, Mike Ramsey, Gwenyth Brandii Banks, Anaïs Blin, Analyst Rebecca Carew, Sponsorship Reitz, Najee Ritter, Victor Sanchez, Monique Davis, Robert Ebanks, Assistant Robby Stamper, Rohiatou Siby, Miranda Gauvin, Joya Harris, Elizabeth Simmons, Karen Sindy Jean, Katora Matthews, Audience Research & Analysis Patron Services Thornton-Daniels, Leese Walker, Edgar Mendoza, Warren Ng, Elsie George A. Wachtel Ramzi Awn, Director of Patron Adia Whitaker Pacella, Shanice Tulley, Noel Vega, Services Althea Wilkinson, Ticket Services Bookseller Michael Kendrick, Manager of Marketing & Representatives Greenlight Bookstore Patron Services & Donor Relations Communications Jessica Hindle, Patron Services Box Office Finance & Administration European Production Coordinator Fred Dorso, Treasurer Finance & Administration Representative Rachel Cordeiro-Perez, Intern Victor Jouvert, First Assistant Ellen Leszynski, Administrative On Tour Ltd., Roger Chapman Treasurer Coordinator Special Events Kevin McLoughlin, Charlie Dolce, Film Buyer Margaret Breed, Director of Russell Grier, Assistant Treasurers Finance Adam Birnbaum Special Events Kozue Oshiro, Controller Marissa Neiman, Special Events Publicity Tameka White, Accounting Immigration Counsel Manager Sandy Sawotka, Director of Manager Jonathan Ginsburg, Fettman, James Vause, Special Events Publicity Claudia Bailey, Budget Manager Tolchin and Majors, PC Coordinator Joe Guttridge, Associate Director Samuel Grello, Accounts Jessica Hackett, Paloma Wake, of Publicity Receivable Coordinator Insurance Broker Special Events Assistants Susan Yung, Publications Manager Brian Gee, Accounting Associate Dewitt Stern Adriana Leshko, Sarah Garvey, David McCullough, Accounting Endowment & Planned Publicity Managers Coordinator Legal Counsel Giving David Hsieh, Publicist Ronald E. Feiner PC Denis Azaro, Endowment & Lauren Morrow, Publicity Assistant Special Projects Planned Giving Director James Sutton, Publications Jeremy Dewey, Director, Project Medical Consultants Alexandra Biss, Board Relations Assistant Management Ahmar Butt, MD; Anders Cohen, Coordinator Katie Dixon, Director, Special MD Design Projects Education & Humanities Clara Cornelius, Director of Design Restaurateur Shana Parker, Director of Adam Hitt, Patrick Morin, Senior Capital Projects Great Performances Operations for E&H Designers Jonathan Jones, Director, Capital Jennifer Leeson, Operations Ryan Rowlett, Senior Interactive Projects 11.15.13 Manager for E&H Designer Matthew Baclini, Capital Projects Nathan Gelgud, Box Office Katie Positerry, Interactive Analyst Manager Designer Carl Gillen, Capital Projects Cathleen Plazas, Internship Michelle Angelosanto, Designer Manager Coordinator Casey Cleverly, Design Studio Laura Grady, Capital Projects Tamar MacKay, Education Coordinator Coordinator Assistant Rebekah Gordon, Administrative Digital Media Assistant Stephen Litner, Director of Digital Media