Theater Dance Music

at the Edlis Neeson Theater

Winter/Spring

Manual Cinema Ragamala Dance and Rudresh Mementos Mori Mahanthappa Jan 15–18, 2015 Song of the Jasmine Apr 10–12, 2015 Stan’s Cafe The Cardinals International Contemporary Ensem- Jan 22–24, 2015 ble (ICE): Anna Thorvaldsdottir In the Light of Air Sònia Sánchez Apr 26, 2015 Le Ça (The Id) Feb 13–15, 2015 Creative Music Summit: Nicole Mitchell Mariano Pensotti May 2, 2015 Cineastas (Filmmakers) Renée Baker Feb 26–Mar 1, 2015 May 3, 2015

Joffrey Academy of Dance Third Coast Percussion with Winning Works: Choreographers Glenn Kotche of Color Wild Sound Mar 7–8, 2015 May 21–22, 2015

The Seldoms Power Goes Mar 20–29, 2015 Sound Credits General operating support for The Lead support for the MCA Stage New Seldoms is provided in part by the Works Initiative is provided by Lyndon Baines Johnson New England Foundation for the Arts Elizabeth A. Liebman. The Seldoms Special Message to the Congress: with funding from the Doris Duke The American Promise (on the Voting Charitable Foundation. Generous support for MCA Dance is Rights Act), March 1965 Address to provided by David Herro and Jay Power Goes the Nation Announcing Steps to Limit The Seldoms are also supported by Franke. the War in Vietnam and Reporting The Richard H. Driehaus Foundation His Decision Not to Seek Reelection, and the MacArthur Fund for Arts and The Seldoms: Power Goes is supported March 20–22 and March 31, 1968 Culture; The Donnelley Foundation; by a National Performance Network the Ginger Farley Charitable Trust; (NPN) Creation Fund Project co- Lyndon Baines Johnson Jesser, Ravid, Jason Basso and Farber, commissioned by the MCA in 26–29, 2015 Phone Conversation with Joe Haggar LLP; and many generous individuals. partnership with Southern Illinois (Tailor), August 1964 University Edwardsville, and NPN. The Seldoms are in residency at Additional support comes from the NPN Lyndon Baines Johnson Pulaski Park, through the Chicago Forth Fund and Performance Residency Phone Conversation with Congressman Park District’s Arts Partners in Program. Major contributors of NPN Adam Clayton Powell, March 1965 Residence Program, which unites include the Doris Duke Charitable artists and communities in Chicago’s Foundation, Ford Foundation, and the Lyndon Baines Johnson parks. National Endowment for the Arts (a Phone Conversation with Lady Bird federal agency). Johnson, March 1964 Special thanks to William Frederking and Brian Kuhlmann for photography. Lyndon Baines Johnson Thank you to our individual donors From “Excerpts of Selected Telephone for Power Goes: Craig Ahmer, Kelly Photo: William Frederking Conversations of President Lyndon Anderson, Kim Baker, Julie Ballard, Baines Johnson,” October 1, 2003 and Don and Ann Beeson, Timothy Bowser, “The Humor of LBJ,” Centennial Edition, Margi Cole, Kate Corby, Jamie Corliss, Carrie Hanson, Director/ Chorus The Seldoms developed Power 2008 (Produced by LBJ Library and Jenny Dzuibla and Chase Gruszka, Museum, 2313 Red River, Austin TX Jill Ellington, Liscel Esguerra, Bob Choreographer (Mar 20–22) Goes in part through the MCA 78705) Faust, Cheryl Flack, Stuart Flack, The Seldoms: Power Goes is made Stuart Flack, Playwright Dwight Alaba Stage/New Works Initiative, Barack Obama Ezra Hausman, Robert Hausman, Odele possible by the New England “A More Perfect Union,” March 2008 Hawkins, Heejai, David Henderson, Foundation for the Arts’ National Bob Faust, Video and Sabrina Danielle Baranda which provided commissioning Stephen Hnatow, Connie Howard, Dance Project, with lead funding from Barack Obama Kristina Isabelle, Sean Kelley, Jim the Doris Duke Charitable Foundation Installation Jacob Buerger support and a production State of the Union Address, January Kenny, Barbara Koenen, Ashley Vaughan and The Andrew W. Mellon Foundation, 2015 Kloet, Theo Kuczarski, Mary Ann with additional support from the Mikhail Fiksel, Sound Design Jamie Corliss design residency. Established Lajoie, Andres Lemus, Liberty, Jane National Endowment for the Arts. and Composition Cristina Granados in 2014, the New Works Initiative Barbara Jordan Madden, Mel Martinez, Dan McEnerney Democratic National Convention and Melissa Matarrese, Charles Julie E. Ballard, Lighting Design Lauren Kunath meaningfully expands MCA Keynote Speech, 1976 McClellan, Maura McDanel, Sheena Medina, Jonathan Meyer, Cora Miller, and Technical Direction Dina Liberatore Stage’s ongoing commitment to Dave Brubeck Raquel Monroe, Jessica Morris, Laura “Unsquare Dance,” 1961 Murphy, Mark O’Brien, Bruce Ortiz, Michael J. Kramer, Dramaturgy Anna Rodimtseva supporting artists and bringing Townes Van Zandt Onye Ozuzu, Nick Paul, Maria Pinto, Jeff Hancock, Costume Design Andy Slavin important new performances to Lynn Pounian, Connie Pruett, Ann “Brazos River Song,” 1994 Additional funding for Power Goes Rice, Raphanthony Ritual, Olivia is provided by The Boeing Employee’s Sarah Krepp, Visual Design Jelani Smith audiences. Jimi Hendrix Bustos Rodriguez, Lynn Rogers, Matt Community Fund and by “New Stages “Purple Haze,” 1967; “Fire,” 1967; Rothwell, Connie and Kent Sabin, Contributions Porscha Spells For Dance”, a program administered “Star Spangled Banner,” 1969 Grant Sabin, Ida Sabin, Laura Samson, by Dance/USA in partnership with Liviu Pasare, Video Projections Elizabeth Wood Running time is seventy-five Sara Samuels, Mark Schulze, Simon Audience Architects. Leadership Sinek, David Sutor, Amanda Timm, Support for the New Stages for Dance Buck Blue, Installation Rigging Misha Woodward minutes with no intermission. Chrysty Jessamyn Trocio, Benjamin II Initiative is provided by MetLife Holliday Wardell, Carolyn Watson, Christina Gonzalez-Gillett, Karen Yatsko Foundation. This project is partially Kacy Winarski, Liz Wolfe, Matt Young. supported by a CityArts Grant from Assistant Director Deepest gratitude to the Museum of the City of Chicago Department of Contemporary Art Chicago and Peter Cultural Affairs & Special Events, Philip Elson, Media and (Mar 26–29) Taub and Yolanda Cesta Cursach of the and by the Arts Work Fund for Technology Coordinator Dwight Alaba MCA Stage Performance Program. Organizational Development. Sabrina Danielle Baranda Gratitude to Bonnie Brooks, Ginger Farley, William Frederking, Todd Movement Design and Shanna Fragen Hanson, Chuck Harper, and Brian Shaw for your generous time, expertise, Performance by The Seldoms Rebeca Garza Griffin and support given to Power Goes. Ensemble Lauren Kunath Philip Elson Ann Libera Christina Gonzalez-Gillett Chloe Grace Michels Damon D. Green Umi Nakamura Edlis Neeson Javier Marchán-Ramos Kyra Peterson Theater Amanda McAlister-Howard Anna Rodimseva Cara Sabin Andy Slavin Elizabeth Wood Karen Yatsko Bottom Left: The Seldoms John F. Kennedy in 1963, to the presi- Artists Up Close Photo: William How to Get Power Frederking by Michael J. Kramer dency. Johnson’s career was tainted by MCA Stage’s series of artist-centered Left: controversy, questionable ethics, and talks, workshops, and open studios The Seldoms Dramaturg, The Seldoms backroom deals that epitomized the Photo: William allows the public to engage with Frederking Visiting Assistant Professor, History worst of insider Washington politics and artists in intimate settings to provide and American Studies, Northwestern corruption. Nonetheless, when he a closer look at the creative process. University took office, Johnson also oversaw the Join us today. passage and implementation of trans- “What I believe is always true about formative civil rights legislation and MCA Studio: Open Doors power is that power always reveals.” social welfare initiatives. A man Earlier in March, as part of the Open — Robert Caro, Lyndon Baines obsessed with accruing individual Doors program, museum visitors were Johnson biographer power, he sought to wield it in service invited inside the theater to observe of the collective good. the artists working on the production. Lyndon Baines Johnson was an imposing man. Six foot three, with a lust Johnson’s larger-than-life persona MCA Talk MCA Talk: Bodies on the Line for domination and control that was and the swirling tumult of the First Night Mar 28, 1–3 pm legendary, he rose from the destitute 1960s serve as the starting point for Mar 20 and 27 To create Power Goes, Carrie Hanson but beautiful Hill Country region of The Seldoms’ Power Goes. Audience members are invited to studied the figure of Lyndon Baines Texas to Senate Majority Leader in stay after the performance for a Johnson as a point of inquiry into the 1955, to the vice presidency in 1960, This multimedia dance work is not The Seldoms Photo: William conversation with Carrie Hanson relationship between power and social and, finally, upon the assassination of merely a biographical study of LBJ, Frederking and collaborators, moderated by change. During LBJ’s presidency many Peter Taub, Director of Performance talked of “putting bodies on the line” as Programs, and Yolanda Cesta Cursach, struggles over civil rights, Vietnam, and Associate Director of Performance other issues raged. Programs. For this talk Hanson convenes Mark K. Updegrove (Director of the LBJ Presidential Library and author of Indomitable Will: LBJ in the Presiden- cy), S. Elise Archias (Associate Profes- sor, School of Art and Art History at the University of Illinois Chicago), Michael Dawson (John D. MacArthur Professor of Political Science and the College at the University of Chicago), and Stuart Flack (playwright) for a vigorous discussion of power’s role in making—or blocking—progress. Moderated by Michael J. Kramer, historian on the faculty of Northwestern University and dramaturg for The Seldoms. however. It uses Johnson to explore the concept of power and social change in American life from a much wider angle. It may seem unlikely to use dance to consider the relationship between power and social change. But the ways in which these issues relate to the body; physical movements parallel social movements; and motion, stance, positioning, space, duration, perfor- mance, and interaction affect public life reveal dance to be one of the best forms for addressing how power and social change function.

LBJ’s political prowess was linked to his physical presence. He famously employed the “Johnson Treatment,” leaning into other politicians when seeking to intimidate, control, or cajole them. He also knew how to stay still: according to his celebrated biographer Choreographer Carrie Hanson’s with issues of control, intransigence, The Seldoms Photo: William Robert Caro, he often sat silently in the reading of Caro’s LBJ biography during and change at stake. In all cases, Frederking chambers of Congress for long periods 2012, an election year that saw Ameri- the body—both individually and of time, taking in legislative protocols cans frustrated by what felt like the collectively, as a social entity—is the and rules. partisanship and stalemate of national essential medium in Power Goes. politics in the United States, inspired Probing the relationship of power He was a master of the tactile in all the questions in Power Goes: to persistence, hindrance, impasse, The Seldoms its dimensions, whether in the vatism often rooted in a visceral Photo: William stamina, alteration, surprise, and cloakrooms of Washington insider loathing of Johnson’s Great Society Frederking How is power wielded for social transformation with dance allows politics or on the campaign trail. programs. Far more tragically, LBJ change—or for the blockage of The Seldoms to access levels of Incidentally, he loved to dance. chose to escalate American involve- substantive social transformation? information and meaning that language ment in the Vietnam War, a trauma so What is power, exactly, and how cannot reach. Johnson was not the only one inter- damaging to his reputation that he did does it course through our culture, ested in power during his presidency. not run for reelection in 1968 even our institutions, our interactions, “Put your body on the line!” That is He was pushed to action by grassroots though he won his 1964 presidency by our things, our very bodies? what protesters insisted had to be done struggles by civil rights freedom fighters a landslide. to oppose or change the policies of and others (the question of who At the center of Power Goes is move- public figures like LBJ during the 1960s. deserves credit for the political break- As Robert Caro contends, Johnson’s ment. In some sections, Hanson’s Power Goes asks us to think about throughs of the 1960s remains contest- story sheds light on broader questions dancers work against each other in how embodiment mattered then, and ed, as demonstrated by the controver- of power. “I don’t think of my books duets and group pieces of opposition, continues to matter, to the workings of sies over representations of Johnson in as being biographies,” Caro explained manipulation, and conflict. In others, power. Looking back to the past to the film Selma). LBJ’s success in in a 2012 interview. “My interest is in they organize into a cooperative try to make sense of the present, The getting Congress to adopt his policies power. How power works.” It is this assembly, marching in solidarity. Often, Seldoms put themselves on the line also helped to power the rise of the larger issue of power and how it works as in life, the dance mixes the two: and dance where history, giving us the New Right, with its reactionary conser- that pulsates through Power Goes. contentiousness and concord mingle, Johnson Treatment, looms over our own time. “LBJ has been hurling himself about “This great, rich, restless country can Creative Music Summit: Washington like an elemental force. . . offer opportunity and education and Nicole Mitchell to be plain about it, he has won our hope to all: black and white, North and admiration. . . Johnson is impulsive, South, sharecropper and city dweller. May 2 emotional, sentimental, sensitive, These are the enemies: poverty, bumptious, corny, prolix, able, and ignorance, disease. They are the Texan. He’s also on the right side of enemies and not our fellow man, not some fine things and is pushing them our neighbor. And these enemies with skilled and ferocious energy.” too, poverty, disease and ignorance, —Richard Strout, Columnist, we shall overcome.” The New Republic, 1964 —Lyndon Johnson

“. . . above all he was a man steeped “In the white community, the path to a in politics. Politics was not an avocation more perfect union means acknowledg- with him. It was it. It was the vocation. ing that what ails the African American It was his life, it was his religion, it was community does not just exist in the his family . . . Every time you saw him minds of black people. That the legacy it wasn’t like seeing a man; it was like of discrimination—and current incidents seeing an institution, a whole system of discrimination, while less overt than that just encompassed you. Johnson in the past—are real and must be thought he could pick up the globe and addressed, not just with words, but with walk off with it.” deeds.” The Seldoms —Hubert Humphrey —Barack Obama Photo: William Frederking

Composing for her electroacoustic Black Earth Theater Ensemble, flutist Nicole Mitchell reframes movements for social change using science Dance fiction and film in her work Mandorla Awakening: Music Emerging Worlds. The ensemble performs to a new film by visual artist Ulysses Jenkins, who at the discusses his collaboration with Nicole Mitchell following the performance. Edlis Buy tickets online Neeson Nicole Mitchell. Courtesy of the Artist. Photo: Bob Fila. at mcachicago.org Theater About the Artists temporary Art Chicago, the (BA) and Lighting Design Faust has been recognized nationally Theater for Music and Dance, the (MFA) from Kent State University and and internationally, with exhibitions at The Seldoms Columbia College Dance Center, and the University of Florida, respectively. the Society of Typographic Arts, Expo are in their thirteenth season. Under the Contemporary Dance , DSGN CHGO, and the Lon- Carrie Hanson’s direction, the company Ohio have presented the group, which Philip Elson don Creative Competition. His work has is committed to bringing audiences an has also performed across the US. is a dance artist engaging with various also appeared in publications such as expanded experience of dance that arenas of dance research and perfor- Communication Arts and Print. ignites thought and understanding of The Seldoms have developed signifi- mance, including live performance, real-world issues from dance’s own cant international connections, touring dance for camera, dance education, Mikhail Fiksel unique, embodied perspective. With in Russia, Canada, and Taiwan, and experimental collaboration. He is a composer/designer/DJ based in dance at the center of the work, the where—with generous funding from the premiered his first full-length work, NYC and Chicago who works at the company’s vision extends to a total MacArthur Foundation—the group Terms and Conditions, at Links Hall in sonic intersection of classical, jazz, action and environment and includes collaborated in 2012 with WenChung Chicago. Elson has worked with electronic music, and sound design. collaboration with artists and practitio- Lin’s WCdance. The Seldoms are also companies and artists such as Same His design for dance includes produc- ners in fields as diverse as architecture, well known for their major, site-specific, Planet Different World, The Dance tions of The Seldoms, Lucky Plush installation, video, sound, and fashion. multi-disciplinary works in unconven- COLEctive, tEEth, Khechari Dance Productions, and The Nexus Project. tional sites, such as an architectural Theater, Colleen Halloran, Liz Burritt, Other recent endeavors include With full-length works on pressing salvage warehouse, a truck garage, Paige Cunningham, Matthew Hollis, Jyl theatrical designs and compositions for issues, such as the recent economic and an Olympic-sized outdoor pool. Fehrenkamp, Laboratory Dancers, and Manhattan Theatre Club, Williamstown recession and the ongoing climate Muscle Memory Dance Theatre. His Theatre Festival, The Goodman change debate, they have built a Julie E. Ballard choreographic work has been show- Theatre, The New Victory, The Old reputation for “well-crafted and re- is a Chicago-based professional cased in Chicago as part of the Harvest Globe Theatre, Long Wharf Theatre, searched works that don’t hold forth a theatrical technician, specializing in Festival, The Open Space Project, Cleveland Playhouse, American political agenda, but look instead at lighting design, photography, and Poonie’s Cabaret, and other events. He Conservatory Theatre, Victory Gardens, how these towering issues reflect back production/stage management. She holds a Bachelor of Fine Arts in dance Dallas Theater Center, Berkeley on our own humanity” (New City, which was the Lighting Director at the Dance from Columbia College Chicago. Elson Repertory Theatre, The Geffen Play- named The Seldoms Best Local Dance Center of Columbia College for nearly has been a member of The Seldoms house, Second Stage Theatre, Writers Company in 2012). Power Goes was eight years, and is owner/operator of since 2008 and is also the ensemble’s Theatre, Timeline, The Hypocrites, awarded a 2014 National Performance OverlapLighting, her freelance produc- Media and Technology Coordinator. Redmoon Theater, Tukkers Connexion Network Creation Fund and a National tion company. Ballard is Stage Man- (Arhnem, Holland), and Festival FILO Dance Project Production Grant. ager for Hubbard Street Dance Chicago Bob Faust (Londrina, Brazil). Recent film work Stupormarket, which examined the and Technical Director for The Sel- creates visceral visual and contextual includes scores for feature films Glitch, 2008 economic crisis, was named doms. She works in Chicago for Same art experiences that draw upon the lan- The Wise Kids, and In Memoriam. He “Best of 2011” by the Chicago Tribune, Planet Different World, Deeply Rooted guage and tools of design and typog- performs as a DJ for his live music Chicago Reader, and TimeOut Chicago. Dance Theatre, and Kristina Isabelle raphy. He is the Principal and Creative ensemble Seeking Wonderland. He has Dance. She also works in Cleveland for Director for Faust, a cultural branding received seven Joseph Jefferson Nationally recognized collaborators Marquez Dance Project and Travesty and communications studio. He is also Awards for sound design and composi- include the International Contemporary Dance. Ballard has served as the the Studio/Special Projects Director tion, a Lucille Lortel Award, a Garland Ensemble (ICE), composer/sound Production/Stage Manager for the for artist Nick Cave, with whom he col- Award, an After Dark Award for a new designers Richard Woodbury and American Dance Festival (2003–2004) laborates on both exhibition design and original musical, and the Michael Mikhail Fiksel, architect Joel Huffman, and Lighting Supervisor for David performance works. Faustʼs approach Maggio Emerging Designer Award. He playwright Stuart Flack, visual artists Dorfman Dance (2006–2008) and has to work can be seen in his monthly, is an Artistic Associate with TimeLine Fraser Taylor and Anna Kunz, percus- toured to national and international anonymous series of typographic Theatre, Teatro Vista, and Redmoon sionist Timothy Daisy, and fashion venues in San Francisco, New York, installations, Full Moon Projects, which Theater and on the faculty of Loyola designers Anke Loh and Maria Pinto. Siberia, Germany, South Africa, and the have been installed throughout Chi- University Chicago and the University Venues such as the Museum of Con- Netherlands. She holds degrees in cago (Spreading Truth) and the US. of Chicago. Stuart Flack Damon D. Green Molly Shanahan Mad/Shak, and The ment. He is also an editor in the Design, has had work produced at many of the is the founder of TEXTUREDance Stu- Dance COLEctive, among many other Publishing, and New Media Department leading theaters in the United States, dio, an urban dance school located on ensembles. at the Museum of Contemporary Art including Southcoast Rep (Costa Chicago’s North Side. His performance Chicago. His book, The Republic of Mesa, CA), Culture Project (New York), collaborations with choreographers Carrie Hanson Rock: Music and Citizenship in the Interact (Philadelphia), Victory Gar- Darrell Jones and Paige Cunningham- has created over twenty-five works Sixties Counterculture, was published dens (Chicago), and The Contemporary Calderalla fuse vogueing and contem- for The Seldoms since founding the by Oxford University Press in 2013. American Theater Festival (Washington, porary ballet. He performed and led company in 2001. Many of them have He is the cofounder of the Northwestern DC). His plays include Sydney Bechet workshops in vogueing at the Isadora been multidisciplinary projects with University Digital Humanities Labora- Killed a Man, Jonathan Wild, Home- International Festival of Contemporary artists working in visual arts, music/ tory and is developing a multimedia land Security, and For Eddie and Float- Dance in Krasnoyarsk, Russia, and sound design, fashion design, and ar- project about the Berkeley Folk Music ers. He is currently creating a new play the World Dance Alliance Conference chitecture. With The Seldoms, she has Festival (1958–1970). He is involved based on the nonfiction book Black Festival in Vancouver, Canada. In 2010, been recognized for creating work for with the Chicago Dance History Project, Like Me by Howard Griffin. It will premiere Timeout Chicago named Green one unusual spaces, such as cargo contain- an oral history and archival documenta- as part of the 2015 season at Steppen- of the “Top 10 Men of Dance.” He has ers and truck depots. Giant Fix, which tion of dance in the Chicago region. wolf Theatre. He is the former Execu- performed with The Seldoms for the took place in an empty Olympic-sized He graduated from Columbia University tive Director of the Chicago Humanities past six years. outdoor pool, was named by Time Out and received his Ph.D. from the Univer- Festival, the largest festival of arts and Chicago one of the best dance mo- sity of North Carolina-Chapel Hill. He ideas in the US, and is the former Editor Jeff Hancock ments of the decade. Marchland, her blogs about art, culture, and politics at and Publisher of the McKinsey Quar- works in dance as an instructor, per- collaboration with visual artist Fraser Culture Rover. terly, a journal of business, economics, former, choreographer, and costume Taylor, received its world premiere and policy. He is also a guitarist with designer. He is a lecturer at Northwest- at MCA Stage in 2010. More recently, Sarah Krepp the Chicago Jazz Orchestra. ern University and an adjunct faculty Hanson’s creative work has involved is a painter and installation artist who member at Columbia College Chicago. research and embodiment of social, has shown nationally and international- Christina Gonzalez-Gillett He was a founding member of River political, and historical issues. She ly. Her work is included in many corpo- grew up in the Chicago area. She North Dance Chicago and danced for presses dance performance to speak to rate and private collections, and her re- received a BFA in Dance from the Uni- Hubbard Street Dance Chicago, Jan larger public issues. Hanson is recipi- cent awards include a residency at Cill versity of Illinois at Urbana-Champaign Erkert & Dancers, Dance Kaleidoscope, ent of a Chicago Dancemaker’s Forum Railaig, Ireland. With an MFA from The and an MA in Dance Studies from and Same Planet Different World, Lab Artists award, two Illinois Arts School of the Art Institute of Chicago London’s Laban Centre (now known where he was a Co-Artistic Director. Council Fellowships, and a and a BS from Skidmore College, she as Trinity Laban Conservatory for His recent choreography includes Miss Award for performance. Dance Maga- is Professor Emerita of Art and former Music and Dance), under the tutelage Saigon, at the Paramount Theatre, and zine named her one of “25 to Watch” in Chair of the Painting Program in the of Rosemary Butcher and Dr. Valerie work for the ACDFA National Gala, at 2012. She teaches at the Dance Center School of Art and Design at the Univer- Rimmer. In London, she also taught the Kennedy Center in Washington, DC. of Columbia College Chicago and has sity of Illinois at Urbana-Champaign. In at Kingston University and danced He has been designing and construct- been a guest instructor at many uni- 2003, she became the founding and on- professionally with independent cho- ing costumes for more than twenty versity programs, most recently at the going director of Dialogue Chicago, an reographers and several companies, years. In 2007 he formed his costume National Taiwan University of the Arts interdisciplinary critique/seminar that including BlueWhite under the direction design company, -ish. His recent and her alma mater, Texas Christian includes artists from painting, installa- of Melanie Clarke. She taught at The costume design includes Lucky Plush’s University. She holds an MA in Dance tion, performance, and time arts. She is Dance Center of Columbia College The Queue, Striding Lion’s Ameri- Studies from Laban London. the curator for Gallery 175, Chicago. from 2004–2012 and teaches company can Me and DADA/GERT, and Peter class for The Seldoms. She is certified Carpenter’s Rituals of Abundance for Michael J. Kramer Javier Marchán Ramos in Laban Movement Analysis and is Lean Times. He has created costumes holds a visiting assistant professor- is from Waukesha, Wisconsin. He also a certified Pilates instructor with for River North Dance Chicago, Hub- ship at Northwestern University, where started in dance as a youth, attending over eight years teaching experience in bard Street Inside/Out, he teaches history, American studies, raves across the Midwest. He has a the Chicago area. Dance Chicago, Danceworks Chicago, digital humanities, and civic engage- BFA with Dean’s Honors in Dance from the University of Wisconsin in Milwau- currently pursuing an MFA degree in Thank you Friends of the MCA Stage $500–999 kee, working with guest artist Amii Art and Technology at the School of the Leslie Bodenstein and LeGendre and Danceworks, the com- Art Institute of Chicago and is advanc- Lead support for the 2014–15 $10,000–24,999 Jason Pickleman pany Wild Space Dance, and Eric ing an academic approach to video for season of MCA Stage is prov ided Shawn M. Donnelley and Julie and Shane Campbell Bradley for an ACDFA gala perfor- performance as a faculty member at by Elizabeth A. Liebman. Christopher M. Kelly Terri and Stephen Geifman mance. He has also studied in Mel- DePaul University. Ginger Farley and Bob Shapiro Mark Light bourne, Australia at Victoria College Additional generous support Andreas Walburg-Wolfegg Anonymous of Art and Melbourne University. In Cara Sabin is provided by David Herro and addition to performing, he runs a mo- has a BFA from The Dance Center of Jay Franke, Caryn and King $5,000–9,999 $499 and under bile therapeutic massage service and Columbia College, studying under Harris, and Lois and Steve Eisen Sara Albrecht Jane & Issi designs/produces one-of-a-kind winter Bonnie Brooks, and an MPP from the and the Eisen Family Foundation. Ellen Stone Belic David Brown accessories called “dayjobbes.” He has Harris School. She has performed in Patricia Cox Coleen Kealey danced with The Seldoms since 2010. productions at the Kennedy Center The MCA is a proud member of Pamela Crutchfield MCA North Shore Affiliates in Washington, DC; at Lincoln Center’s Museums in the Park and Karen and Jim Frank Jane Mordini Amanda McAlister-Howard Out of Doors Festival; and at Solar receives major support from the The Irving Harris Foundation Matthew F. O’Connor is originally from Nashville, Tennessee. 1’s Solar-Powered Dance Festival in Chicago Park District. Susie Karkomi and Jacquelyn Paine and She trained and performed with The New York. She is a strength and Marvin Leavitt Robert Barr School of Nashville Ballet and has a conditioning coach and manager at The Martha Struthers Farley Richard Poston BA in Dance from Columbia College CrossFit Defined. She has performed and Donald C. Farley Jr. Kazu Yamamoto Chicago. She has worked with and with The Seldoms since 2005. Family Foundation Anonymous performed works in New York and Chi- Maya Polsky cago by choreographers Lar Lubovich, Brian Shaw Carol Prins and John Hart Banu Ogan, David Parsons, Michael is a founding member of the physi- Cole, Angie Hauser, and Liz Burritt. She cal theater company Plasticene, with $1,000–4,999 has choreographed for various dance whom he created and performed origi- Amphion Foundation, Inc. films in Chicago, several of which nal work for seventeen years. He has Leigh and Henry Bienen have been featured at CFANN and worked with choreographers Jan Erkert, Sarai Hoffman and Stephen Pratt Dance Films Association in New York Julia Rhoads, Rachel Damon, and Cynthia Hunt and Philip Rudolph City. She has led dance workshops Nana Shineflug and performs in Erica Maecenas in Nashville for teens, and in Chicago Mott’s Cowboys and Vikings project. Susan Manning and she trains the elderly and pre- and post- He directed the short film Four Mono- Doug Doetsch natal adults in movement and Pilates. logues, written by Aram Saroyan, about Herbert R. and Paula Molner She has performed with The Seldoms Russian poets in the Stalinist period. Sharon Oberlander since 2007. He has performed with numerous the- Elizabeth Price and Lou Yecies aters in Chicago; in various festivals; Cheryl and John Seder Liviu Pasare and off-Broadway, in The Strangerer by Ms. Patricia F. Sternberg has a Chicago-based practice creating Mickle Maher. His most recent direct- As of March 2015 visual experiences using new media ing project was Terminal One, which and technology. He works as a video was performed in Dublin and Chicago. designer, cinematographer, editor, and Shaw is a Professor in the Theatre animator and has produced, directed, Department of Columbia College. He is and performed for live events. He currently playing Clov in Endgame with frequently collaborates with theaters The Hypocrites at the Den Theater. and artists including Luftwerk, Red- Chicago Downtown/ moon Theater, Chicago Children’s Magnifi cent Mile The MCA is a proud partner of the Theater, and Collaboraction. He is Foundation Season Sponsor Preferred Hotel Partner National Performance Network Courtesy guidelines and information

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MCA Stage’s groundbreaking performances are an integral Lost and Found part of MCA Chicago’s artist-activated, audience-engaged To inquire about a lost item, call the programming. Along with the museum’s exhibitions and museum at 312.280.2660. Unclaimed educational initiatives, they encourage a broad and diverse articles are held for thirty days. community to experience and discuss the work and ideas of living artists. Seating Please switch off all noise-making King Harris, Chair of Performance Programs the Board of Trustees Peter Taub, Director devices while you are in the theater. Madeleine Grynsztejn, Yolanda Cesta Cursach, Pritzker Director Associate Director Teresa Samala de Guzman, Cameron Heinze, Manager Patrons are seated at the manage- Deputy Director Richard Norwood, Theater Michael Darling, James W. Production Manager ment’s discretion. Food and open Alsdorf Chief Curator Alex Benjamin, Intern beverage containers are not allowed Noelia Cruz, Intern in the seating area. House Management Performance Committee Kevin Brown, Associate Lois Eisen, Chair Phill Cabeen, Associate Ellen Stone Belic Tiffany Goodman, Associate Reproduction Patricia Cox Quinlan Kirchner, Associate Ginger Farley Unauthorized recording and repro­ Jay Franke Box Office John C. Kern Matti Allison, Manager duction of a performance is prohibited. Lisa Yun Lee Phongtorn Phongluantum, Elizabeth A. Liebman Assistant Manager Paula Molner Molly Laemle, Coordinator General information Sharon Oberlander Amy Esposito, Associate Maya Polsky Caitin Joseph, Associate 312.280.2660 D. Elizabeth Price Alexandra Kavanau, Associate Carol Prins Alex Manges, Associate Cheryl Seder Diandra Miller, Associate Box office Patty Sternberg Richard Tomlinson Program notes compiled 312.397.4010 by Yolanda Cesta Cursach Volunteer for performances 312.397.4072 [email protected]

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