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Adapted byZviSaharandOdedLittman

Set andcostumedesignbyAyaZaiger Based on stories by Etgar Keret The Cameri Theatre of Tel-Aviv of Theatre Cameri The

#BAMNextWave LOCATION: RUN TIME: DATES: Lighting designbyOferLaufer Dramaturgy byOdedLittman

Suddenly Directed by Zvi Sahar, Music byGaiSherf

PuppetCinema

1hr BAM F DEC 6—9at7:30pm

, nointermission isher (Fishman Space) Executive Producer Joseph V. Melillo, President Katy Clark, Vice ChairmanoftheBoard William I.Campbell, Chairman oftheBoard Adam E.Max, Brooklyn AcademyofMusic The Shubert Foundation,The Shubert Inc. oundation Trust The SHSFoundation The Francena T. Harrison The AchelisandBodmanFoundation provided by: fortheateratBAM Major support Season Sponsor: F BAM Fisher Suddenly NY Premiere Cast Based on stories by Etgar Keret Nadav Assulin In Hebrew with English titles Simcha Barbiro Yuval Segal Director Neta Plotnik Zvi Sahar, PuppetCinema Gony Paz, Puppeteer Ilya Kreines, Cinematographer Adaptation Dani Halifa, Cinematographer Zvi Sahar and Oded Littman

Production manager Dramaturgy Nili Beeri Oded Littman

Technical coordinator Set and Costume design/ Yoav Weiss Visual development Aya Zaiger Stage manager Idan Tamano Lighting design Ofer Laufer Lighting operator Yoav Gindi Music

Gai Sherf Sound operator Naor Izsak Sound effects

Kobe Shmueli Online video director/operator Ohad Levitan Puppet design Gili Kozin Ulmar Translation of the stories Yana Malishev Miriam Shlesinger Amira Pinkas

Translation of the story “What, of this Puppetry director Goldfish, Would You Wish?” Gony Paz Nathan Englander Associate director Title editing Danny Levy Tami Rubin, Omer Strass Assistant director International tours PuppetCinema Yoel Rozenkier as is presenting arts Gal Canetti, Dalit Itai About Suddenly

Suddenly development was supported A writer is sitting alone amid the heap by Asylum Small grant and Gettysburg of rubble that was once his room, his College Research and Development life. Suddenly, a knock on the door: Grant (for designer Eric Berninghausen). three despairing people come up to him in their search for solace and demand Suddenly was developed in part by the that he does what he has decided never Visiting Artist program of Israel Institute, to do again—tell a story. Left with no Washington, DC; the Clarice Smith choice, the writer takes them into his Performing Arts Center; and the Theater, narrative world, where he hopes they Dance, and Performance Studies and will understand the price he pays for the the Gildenhorn Institute for Israel Stud- stories they want to hear. ies at the University of Maryland.

With the following collaborators: Leslie Strongwater (Dramaturgy and Production), Eric Berninghausen (Designer), Mark Costello (Cinematog- rapher, lighting, and projection), Tyler Gunther (Puppet Designer), Chelsey McLaughlin (Puppeteer), and Nitsan Scharf (Puppeteer).

With the support of the Office of Cultural Affairs, Consulate General of Israel in New York. The Cameri’s productions have won more than 120 awards, including the Israel Prize for Lifetime Achievement and Special Contribution to Society and the State of Who’s Israel. The theater received an honorary fellowship from Tel Aviv University for its singular contribution to Israeli culture, for its rich repertoire, and for nurturing excellence Who in all aspects of theatrical performance. The Cameri Theater is supported by the The Cameri Theatre of Ministry of Culture and Sport, the Tel Aviv Tel Aviv Municipality.

The Cameri Theatre of Tel Aviv, founded The North American Tour is made possible in 1944, is the largest theater in Israel, with support of Israel’s Office of Cultural staging up to 12 new productions annually Affairs in North America and Mifal Hapais. along with 20 productions in repertoire. The Cameri has produced some 500 productions Shmulik Ifrah, General Director on its stages, with more than 2,000 Omri Nitzan, Artistic Director performances every year. Ofer Shahal, Chairman of the Board Haviva Hadar, Deputy Director Finance The company includes 80 of Israel’s Sigal Cohen, Director International Relations finest actors, and its plays are directed by Department celebrated directors from Israel and abroad. The theater’s productions are performed in Flights five auditoriums as well as on tour. This is Signal Tours, Alex Morison not the first visit to BAM, and the Cameri Theatre has performed at leading theaters SHMULIK IFRAH and festivals worldwide, including the General Director, The Cameri Theatre Lincoln Center Festival in NY, Barbican in London, Hannover Expo, Washington Shmulik Ifrah, general director of the Shakespeare Festival at Kennedy Center, Cameri Theatre of Tel Aviv-Jaffa and a Gdansk Shakespeare Festival, National graduate of the Beit Zvi Performing Arts Center for the Performing Arts (The Egg) in School, is a trained actor, teacher, director, Beijing, and Moscow Theater of Nations, and independent producer. Ifrah was until and more than 100 international tours with recently the director general and artistic other productions. Forthcoming tours are director of the Be’er Sheva Municipal planned to Europe, North America, and Theater. Ifrah led a substantive change at Australia. the theater, the city, and the Negev Regional Council by transfer of budgets for socio- The Cameri’s yearly international theater cultural activities for the residents of Be’er festival recently included companies such Sheva and the Negev Regional Council. as the Berliner Ensemble (Robert Wilson’s Ifrah is also the founder and director of the The Threepenny Opera and Arturo Ui), the Be’er Sheva Children and Youth Theatre Volksbühne, the Schaubühne, Deutsches which is the first theater of its kind in the Theater (Berlin), National Theater of Negev. Its entire work is dedicated to the Norway, National Theater of the Czech expansion of cultural knowledge and activity Republic, the Public Theater, National for the benefit of the future generations of Theater of China, Shakespeare’s Globe, and the theater, in particular, and the city of more than 70 other theaters worldwide. Be’er Sheva and the Negev in general. Ifrah also founded and managed the Goodman The Creative Team School for Play in the Negev. This is the first drama school established in the Negev, and ETGAR KERET within a relatively short period of time, it has Author become one of the leading drama schools in Israel, with increasing numbers of graduates Born in Ramat Gan in 1967, Etgar Keret’s and teachers among the best performing books have been published in more than professionals in Israel. Every year, there 40 languages. His writing has appeared in are nearly 20 graduates who successfully The New York Times, Le Monde, The New move on to stages in all active theaters, Yorker, The Guardian, The Paris Review, cinema, and television screens in Israel. and Zoetrope: All Story. Over 60 short movies have been based on his stories. OMRI NITZAN Keret resides in Tel Aviv and lectures at Artistic Director, The Cameri Theatre Ben-Gurion University of the Negev. He has received the Book Publishers Association’s Omri Nitzan is himself a prodigious Platinum Prize several times, the Prime director in both theater and opera. Nitzan Minister’s Prize (1996), the Ministry has accumulated many prizes for his of Culture’s Cinema Prize, the Jewish productions in classical and contemporary Quarterly Wingate Prize (UK, 2008), the St. drama. Among his many honors, he is a Petersburg Public Library’s Foreign Favorite five time winner of the Israel Theatre Prize Award (2010), and the Newman Prize for Director of the Year and five-time winner (2012). In 2007, Keret and Shira Geffen of the Israeli Theatre Prize for Production won the Cannes Film Festival’s Camera d’Or of the Year. Nitzan has directed operas for Award for their movie Jellyfish, and the Best the Israel Opera, in Antwerp, and in Tokyo, Director Award of the French Artists and as well as guest performances with Opera Writers’ Guild. In 2010, Keret was honored of Rome, Deutsches Opera Berlin, and the in France with the decoration of Chevalier de Opera Festival in Wiesbaden, Germany, l’Ordre des Arts et des Lettres. Keret’s latest among others. book, The Seven Good Years, was chosen by The Guardian as one of the best biographies and memoirs of 2015. Keret was the winner of the 2016 Charles Bronfman Prize in recognition of his work imparting an inspiring Jewish humanitarian vision.

ZVI SAHAR Director/Adaptation

Zvi Sahar holds a BA (cum laude) from the department of theater at the University of Haifa (2010) and is also a graduate of the Yoram Loewenstein Performing Arts Studio (2006). He has won grants from the America-Israel Cultural Foundation and the Foundation.

Sahar attended Puppet Lab in New York (2011), where he developed the language of PuppetCinema, a theater stage language combining puppets and closed circuit video. He was a guest lecturer at the University Hazira Performance Art Arena. Alongside his of Maryland school of theater, dance, and work as a creator he gives various workshops performance studies (2016). He directed and courses for youth, students, and young the Hazira Performance Art Arena produc- creators, and also practices therapy. tion of The Road to Ein Harod (Salt of the Earth, 2014 Next Wave) in Berlin, Croatia, AYA ZAIGER and Poland; Planet Egg, a miniature puppet Set & Costume designer theater performance (Hong Kong National Festival, festivals in Denmark, Italy, Estonia, Aya Zaiger, artist and designer, specializes Czechoslovakia, and around the US); and in developing visual concepts as an art, set, Gulliver at Hazira Performance Art Arena and costume designer. Zaiger holds a BA in Jerusalem (premiere at the International (cum laude) in set and costume design from Festival of Puppet Theatre in Jerusalem, Shenkar College of Engineering and Design, August 2017). and an MA in art studies from Bezalel As an actor Sahar has performed with Academy of Arts and Design. She is currently director Rina Yerushalmi’s Itim Ensemble participating in The Road to Ein Harod (di- in Three Sisters, A Midsummer Night’s rected by Zvi Sahar) onstage as a performer Dream, and Witchcraft (directed by Yael and photographer, and offstage as a designer Ronen); and with Be’er Sheva Theatre in and member of the production development The Count of Monte Cristo, A Comedy of team. Her first solo exhibition To Infinity Errors, The Seagull, and The Office. Together was mounted in April 2015 at Ramat Gan with director Oded Littman he adapted and Museum of Israeli Art. She is currently work- performed in Richard III at Tmu-na Theatre ing on an independent video art project. She and Tonight: Oedipus at Hasimta Theatre. lives and works in Tel Aviv. He is the father of Aya and Ella and Dafna’s best friend. OFER LAUFER Lighting designer ODED LITTMAN Adaptation/Dramaturgy Ofer Laufer graduated from HIT-Holon Insti- tute of Technology, department of industrial Director, dramaturg, and theater teacher, design. He has created designs and lighting Oded Littman holds a BA in directing from objects for many artists, including Uri Shafir Kibbutzim College of Education, an MA in (Somewhere in the Now); Ido Feder (Wigit); theater and performance from Bern Uni- Guy Biran (Book of Joshua, The General versity of the Arts (HKB), and an MA is and the Sea, Nefilim); Zvi Sahar (Gulliver); psychodrama therapy. He has created a Mark Eliyahu (Mekudeshet Festival); Tami number of independent productions in Israel, Leibovitz; CutOutClub; Jane Bordeaux, and including Richard III at Tmu-na Theatre others. His light installations include the and Tonight: Oedipus at Hasimta Theatre. Hedim Festival 2016 and Nightlight Festival From 2010—14 he lived in Switzerland 2016. Other lighting designs include where he worked as a director, dramaturg, Uri Shafir and Ido Feder (Curtain Up, 2015); and performer in various theaters, including Nava Frenkel (Learning Songs at the Israel the Bern Municipal Theatre, Dampfzentrale Festival, 2015; Talia Beck (W); Anat Danieli Center for Contemporary Dance in Bern, (Ana Vagana); and others. and various fringe venues around Switzer- land. He was also the regular dramaturg for GAI SHERF choreographer and performer Emma Murray Music and supervised and mentored MA student projects in the performing arts. He recently Gai Sherf is an original music and sound returned to Israel and currently works as a creator for theater and dance. He is a dramaturg and co-creator in various produc- member of the Hummingbird ensemble, the tions, including The Road to Ein Harod at Flora Trio, and various musical ensembles past and present. Plays and performances Cast for which he created the music include The

Road to Ein Harod at Hazira Performance NADAV ASSULIN Art Arena; W and Botanica by choreogra- pher Talia Beck; Savannah, Gulliver, and Nadav Assulin, born in Jerusalem in 1971, Terminal by Amit Drori; Josefina by Josef is a graduate of the Jerusalem Arts High Sprinzak; All the Flowers Await You, a musi- School, served in the IDF Theater Unit, and cal performance; and others. Schmetterling, graduated from Nissan Nativ Acting Studio. a music/theater performance based on an He started his career at the Cameri Theatre original instrument he invented, won the in 1997. Among the theater productions in Akko Festival of Alternative Theatre Award which he has performed are Twelfth Night, in 2005. He graduated from the School of Murder, Petra, Mr. Wolf, Match Making, Visual Theatre in Jerusalem, where he has An Enemy of the People, Cabaret Levin, been teaching for six years. Recital, Singles Popper, Gorodish, The Ke-

tubah, Hamlet, Sallah Shabati, The Servant KOBE SHMUELI of Two Masters, A Comedy of Errors (for Sound effects his role of silversmith he was nominated for the Israeli theater award as the actor of the Kobe Shmueli studied at Rimon School of year), On the Run, Requiem, Rendezvous Jazz and Contemporary Music, and sound Hotel, As You Like It, The Commissioner of engineering at Sapir Academic College. He the Human Resources, Shira (Agnon), and has played saxophone and keyboards in A Child of My Own (Hagit Rachabi). He has numerous ensembles and currently engages also directed numerous plays at the Nissan mainly in musical production, composi- Nativ Studio Theater and the IDF. tion, and recording in his studio in Jaffa.

His work includes the soundtrack (music, SIMCHA BARBIRO effects, and foley) for Planet Egg, and the sound arrangement and recording for Salt of Simcha Barbiro graduated from Beit Zvi the Earth (2014 Next Wave), in addition to School of Performing Arts in 1991 where writing music and composing soundtracks he won the Zvi Kalir Prize for excellence. for films. Among the many productions in which he has performed are: Here Comes Elijah DANNY LEVY (Akko Festival of Alternative Theatre); Dot Associate director and Anton, Arsenic and Old Lace, A Winter Festival, Good Guys, of the Jews, Cry Danny Levy holds a BA in theater the Beloved Country, Melinki, Three Sisters, directing and education from Kibbutzim The Good Soldier Svejk, Jaffar in Nasr College of Education, and an MA from the e-Din, Marco/Rabbi Aharon Vistoso in interdisciplinary program in the arts at Tel Bustan Sepharadi, and Winnie in The Aviv University. He adapted and directed Odd Couple (Habima Theatre); The Lower Exercise for Beginners of 25 and Over Depths, Pal Joey, Feste in Twelfth Night, as part of his graduation project. He was Lord Hastings in King Richard III (Hasifriya assistant director on the Jerusalem Khan Theatre); The Blue Angel, Pantalone in Theatre production of Man Equals Man, The Servant of Two Masters (Be’er Sheva and the Cameri Theatre production of On Theatre); Yvonne Princess of Burgundy, the Grill. He served as artistic advisor for Chico in The Dog’s Will (Jerusalem Khan Pinter First Floor at the Rega Ehad Festival Theatre:); Benny Southstreet in Guys and and created Begedadam at the Creating a Dolls (Beit Lessin Theatre); Lice, The Wom- Place Festival. an Before Me (Tmu-na Theatre); Li Ho’s Jewelry Box (Tzavta Theatre); Weisskopf in Ghetto (Hebrew Theatre); Theatre Games Show (Orna Porat Theatre for Children and as European Capital of Culture 2015. He Youth); and Thomas Mowbray/Gaoler in won the Best of Russia photography compe- King Richard II, Lord Hastings in King Rich- tition in 2012 and as part of the award he ard III, Herr Morschel/Lauterbach/Jenke/ participated in a touring exhibition in Russia Nurse in Little Man, What Now?, Lennox and Europe. Additional photographs and in Macbeth, Card player/Montfleury/Monk/ illustrations have been published on various Cadet/Sister Claire in Cyrano de Bergerac, media channels: Walla, Ynet, Eretz Acheret, Kosich in Ivanov, Brown in The Three- and others. His work has also been shown penny Opera, Beck in Mephisto, Rummel in the art exhibitions La Culture, Winter in The Pillars of Society, and Inspector in Time, Creator’s Line, and others. The Human Resources Manager (Cameri Theatre). His work in cinema and television GONY PAZ includes The Hard Core, Sport Theatre, Emergency Room, Murder at the Dead Gony Paz, interdisciplinary creator, Sea, Zap to One, Hedgehogs, HaNephilim, performer, puppeteer, and tap dancer, The Island, La La Land, Naor’s Friends, graduated from the Jerusalem School of Gary Mandelbaum, Polishuk, Ron, Ruling Visual Theatre and won the Jerusalem Family, and Celebrations. He produced and Foundation Prize for Excellence. She also collaborated on Classic Duets and Songs graduated from the Holon School of the from Musicals, and wrote and collaborated Art of Puppetry and the School of Medical on the Another Matter radio show and the Clowning, and in the past 10 years she has satirical Breakfast with Freddy. He also puppeteered and done voiceovers in a wide does voiceovers for television and cinema. range of productions and television shows for children and adults. These include Little DANI HALIFA Monsters, Red and Dvir, , and Adventures of a Pale Blue Donkey. Dani Halifa graduated from the Jerusalem Her work in opera includes Maesa Pedro’s School of Visual Theatre in 2016. For the Puppet Show and The Empress’ Feet. She last four years she has produced The Op- appeared in Yellow Curtains for Mario, What posite of Alive, a performance by Michal Happened to My Voice?, and Challenging Vaknin. She took part in the Jerusalem Death. She recently created a performance Season of Culture in 2014—16 and won titled You’re Not to Blame performed at the Jerusalem Mayor’s Prize for directing Tmu-na Festival in 2016 and the children’s What’s All the Noise? She has created three play Night Journey with Michal Ben-Anat, visual performances at the Tower of David. which was performed by the Train Theatre at the 2016 Jerusalem International Puppet ILYA KREINES Theatre Festival.

Ilya Kreines, illustrator, painter, graphic NETA PLOTNIK designer, cinema, and stills photographer, is a graduate of Bezalel Academy of Arts Neta Plotnik did her military service in IDF and Design Visual Communication Depart- Theatre and studied at the Nissan Nativ ment and a workshop on documentary Acting Studio in Tel Aviv, where she was filmmaking with Eldad Rafaeli. He was awarded two grants for excellence. Her work director of photography for the films I Clown in cinema includes Maya (a film by Michal You, Child’s Play, Daria, and Noam. He Bat-Adam), and in television, Loving Anna illustrated Tauride Garden for Samokat Pub- and Tel Aviviot on Channel 10, Danny Hol- lishing House, Moscow, in 2014, and has lywood on Yes TV, and School for Witches illustrated and published three other books. on Logi. Theater credits include A Midsum- The book Back and Forth was exhibited in mer Night’s Dream (Tmu-na Theatre), and Pilsen as part of the events for Pilsen Mekubalin Umehadkim (Kibbutz Theatre, winner of the Children’s and Youth Actor the actor and the audience, and together of the Year Award for her leading role). Her with Oded Littman, created independent previous work with the Cameri Theatre in- productions in which we integrated cludes Orli in Meagre Fish, Miki in The New elements of closed-circuit video (Richard III, Criminals, Victoire in Hotel Rendezvous, and Tmu-na Theater). Phoebe in As You Like It. Planet Egg YUVAL SEGAL One evening I was having dinner at my Yuval Segal was born in Tel Aviv and parents’ house. We ate eggs, while my graduated from the New Actors Workshop father fixed an old radio. Suddenly, my egg in New York under the tutelage of director seemed to me like the ground of a planet Mike Nichols. He began his acting career and the particles my father had dismantled as a child at Beit Lessin Theatre in Marvin’s like its tiny inhabitants. We soldered some Room, Conversations with My Father, and electronic components, took a black canvas A Letter to Noa. In New York he performed backdrop from my mom’s studio, and with with the Third Premise Theater Company a camera lens aimed at plate height we in Rosencrantz and Guildenstern Are Dead created a picture from a science fiction and directed and acted with the Chalk Circle movie—intergalactic life. This is how Theater Company in Virtual Reality and Planet Egg was born (co-director, Michal Nevermore—An Evening with Poe. In cin- Vaknin), the first production in the style ema he performed in Or and Nerds Club— of PuppetCinema. Only then I still did not The Movie, and on television in The Paja- know I would call this my style. mas, HaHafranim, Comeback, Our Town, Dan and Muesli, The Eighties, Friendship, After a while I took part in the PUPPET and Sabri Maranan. He was screenwriter for LAB in New York (St. Ann’s Warehouse), The Pajamas, Alifim, Sabri Maranan, and where artists from different aesthetics meet HaNefilim, and he has done voiceovers for for a year and receive training and artistic many shows and animated films, including accompaniment to develop a style and a Sanjay in Sanjay and Craig, and show to be presented at the festival at the in , and the end of the year. After the debut of Planet Egg, lead role in Cars 3. His previous work with I was intrigued by the parallel between the the Cameri Theatre includes Stempenyu, action of photography and the action of the Punk Rock, Requiem, Macbeth, Everybody puppet animation—two manipulative actions Wants to Live, Friedman in Gorodish, Jonah aimed at creating the illusion of life. Since in Bad Jews, Maxim in Hotel Rendezvous, then, the video and the puppets (the stage and Silvius in As You Like It. illusion of making the inanimate come alive) have become an integral part of my work— not just as an aesthetic expression of the About PuppetCinema dramatic content, but one of its key elements as a creative starting point (one in which the By Zvi Sahar mechanism behind the illusion is exposed).

I took my first steps in the theater in Yoram Salt of The Earth Levinstein’s acting studio. I started working with Rina Yerushalmi as part of the Itim With these insights I began working on the Ensemble, and later at the Be’er Sheva next project, Salt of the Earth (2014 Next Theater. At the same time, I continued to Wave). A new element was added to the study theater at the University of Haifa puppets and video that I wanted to animate and looked for my artistic language as a on the stage—the scenography. The show storyteller. I was particularly interested in the opens with a thousand pounds of salt direct and unmediated encounter between poured on the stage of the theater, which form the various landscapes the protagonist but the drama is also in the hands of the one inhabits. The camera moves between these waiting for the delivery, the one who goes landscapes and produces, with different down to the defense as well as the one who angles of photography, varying relations sneaks in and dunks. between the audience and the puppet. The developing style began to focus on The Process of the Current Production simultaneous images—what was happening on the stage and what was happening on the Following the performances of Salt of screen, and on the combination of dramatic The Earth, I was invited to teach the and visual language. PuppetCinema language at the University of Maryland in the US in 2016 as part of the The Artistic Principles visiting artist program of the Schusterman Foundation. As Jim Henson’s alma mater, As a storyteller, I use all tools at my disposal the university fosters a contemporary to convey to the audience—my partner in curriculum that incorporates puppetry, this story—what is going on in my head and theater, and video. in my heart. For the class course I was looking for material The theater enables a rich encounter of that would contain fantasy, human sensitivity, different media on stage. I look for the and realistic simplicity. Choosing Etgar Keret best way to convey the story in the most was obvious to me—a writer, through which precise way: The actor offers contact with American students could learn about Israeli the audience, the text, plot and poetry, the literature and culture and connect to stories on scenery, the lighting, and the costumes the universal human level. create the ultimate illusion. The puppet invites the audience to take part in creating During the preparation for the course I the emotions (as the puppet does not focused on Keret’s book of short stories express the emotion as an actor does, but Suddenly, a Knock on the Door. I felt that invites the audience to charge the puppet there was something that could connect with his own feelings). the stories to a whole performance, which would expose their need to be part of a story. Like walking down a street where our With Oded Littman, I started working on the attention is split between store windows, adaptation while at the same time creating phone calls to someone, the crosswalk, the visual aspects of the show at the Clarice the sidewalk, and the sky, I try to create Smith Performing Arts Center along with the a complex picture on the stage with theater, dance, and performance studies independent and equal focus centers. I program at the University of Maryland believe we are capable of simultaneously together with Leslie Strongwater and Eric viewing different focal points, and my role Berninghausen, long time PuppetCinema as director is to offer the audience a clear collaborators living in Maryland. narrative structure, while allowing it to look at other happenings that will support the It was only natural to end the process of stage action. development with a full production in Israel. I am very happy about the production house The artistic challenge is to synchronize a found in the Cameri Theatre, and also multitude of bodies, actions, and media, to pleased to return the show to UMD to the allow the audience the choice to look at both Clarice and to return once again to BAM, the film and the way it works, while listening completing more than one circle. to the story. Like watching a basketball game, the main action is held by the ball, Photo: PuppetCinema man and wanted the waitress to see that. Fungus Five months had passed since his divorce, and that sentence and a half was the closest By Etgar Keret he’d come in that period to having an intimate Translated by Sondra Silverston conversation with a pretty girl. This story isn’t about him either. The skinny guy fell to the café floor. His stomach hurt more than he thought it ever Traffic was jammed up all the way to the could. A series of involuntary spasms shook hospital. The skinny guy, who was lying in his body. “This is what it must be like when the back of the car, moaned in an almost you’re going to die,” he thought. “But this inaudible voice and drooled on the uphol- can’t be the end. I’m too young, and it’s too stery of the dark-skinned bald guy’s new Alfa embarrassing to die like this, in shorts and sports model. When he got divorced, his Crocs, on the floor of a café that was once friends told him that he had to replace his trendy but hasn’t been making a go of it for family-sized Mitsubishi with something else, years.” The guy opened his mouth to scream a bachelor’s car. Girls learn a lot about you for help, but he didn’t have enough air in from the car you drive. A Mitsubishi says: his lungs to let out a scream. This story isn’t wiped out divorced guy seeks shrew to take about him. place of last bitch. An Alfa sports car says: a cool guy, young at heart, seeks adventure. The waitress who went over to the skinny That skinny guy convulsing in the back guy was named Galia. She never wanted seat was a kind of adventure. The bald guy to be a waitress. She’d always dreamed of thought, “I’m like an ambulance now. I don’t teaching school. But there’s no money in have a siren but I can beep for other cars teaching school, and there was in waitress- to let me pass, go through red lights, like in ing. Not an awful lot, but enough to cover the movies. While he was thinking all that, her rent and all. That year, she’d started he almost floored the gas pedal. While he studying special education at Beit Berl Col- was thinking all that, a white Renault van lege. On the days she was at school, she crashed into the side of his Alfa. The driver worked the night shift at the café. Not even of the Renault was religious. The driver of a dog came to the café at night, and she the Renault didn’t have his seat belt on. The earned less than half the tips, but school was crash killed him on the spot. This story isn’t important to her. “Are you okay?” she asked about him either. the guy on the floor. She knew he wasn’t, but she asked anyway, out of embarrass- Whose fault was the crash? The dark-skinned ment. This story isn’t about her either. bald guy who accelerated and ignored the stop sign? Not really. The van driver who “I’m dying,” the guy said, “I’m dying, call an didn’t buckle his seat belt and was driving ambulance.” over the speed limit? Not him either. There’s only one person responsible for that accident. “There’s no point,” said a dark-skinned, bald Why did I invent all these people? Why did guy sitting at the bar reading the finan- I kill a guy wearing a yarmulke who never cial pages. “It’ll take about an hour for the did anything to me? Why did I make a non- ambulance to get here. They cut their budget existent guy have pain? Why did I destroy a down to the bone. They work Saturday hours dark-skinned bald guy’s family unit? The fact all week now.” While the man was telling her that you invent something doesn’t exempt that, he was hauling the skinny guy onto his you from responsibility, and unlike life, back, and added, “I’ll take him the ER. My car where you can shrug and point up to God in is parked right outside.” He did that because heaven, there’s no excuse here. In a story, he was a good man, because he was a good you’re God. If your protagonist failed, it’s only because you made him fail. If something bad happened to him, it’s only because you wanted it to. You wanted to watch him wal- low in his own blood. Photo: PuppetCinema My wife comes in the room and asks, “Are you writing?” She wants to ask me some- thing. Something else. I can see it on her face, but at the same time, she doesn’t want to interrupt me. She doesn’t want to, but she already has. I say yes, but never mind. This story isn’t working. It’s not even a story. It’s an itch. It’s a fungus under my fingernail. She nods as if she understands what I’m talking about. She doesn’t. But that doesn’t mean she doesn’t love me. This story is about us.

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Contents

Black Superheroes Ancient Girl Power, Rejuvenated Tamara Dobson in Cleopatra Jones . Tamara Photo courtesy Warner Bros./Photofest Photo courtesy Warner

Gulaim. Photo courtesy the artist. BAMcinématek presents the series Fight the Power: Qyrq Qyz, from the Aga Khan Music Initiative, is a Black Superheroes on Film, from Feb 2 to 18. multimedia work revolving around the story of 40 By Maureen Masters Girls, an ancient tale from Central Asia. It comes to BAM on Mar 23 & 24. Behind the Scenes By David Hsieh Meet Jackie David and Raven Jones, who have been ushers at BAM for 25 years.

BAMbill Cover

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

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

Published by: Season Sponsor: Rafferty has participated in group shows including the Aspen Art Museum; Sara Greenberger Rafferty and in New York at Neuberger Museum (Purchase); Gagosian Gallery; Comedian’s Costume: Cover for 2017 Next and Jewish Museum. She is included in the collections of the Museum of Wave Festival BAMbill, 2017. Courtesy of the Modern Art and Whitney Museum of American Art, among others. Rafferty artist and Rachel Uffner Gallery, New York lives and works in Brooklyn. Black Superheroes Superheroes onFilm drawstogether adiverse BAMcinématek’s series Fight thePower: Black and complement the releaseofBlackPanther, Forest Whitaker. Clark adds,“tobothcelebrate Bassett, MichaelB. Jordan, DanielKaluuya,and Chadwick Boseman, Lupita Nyong’o, Angela constellation oftopblacktalent,including Black Panther’s largecastfeaturesaremarkable fantasy genre.” in therepresentationofblackcharacters inthe “and isrightlyseenasanewhighwatermark anticipated blockbustersoftheyear,” saysClark, Station, Creed),isoneofthemosthotly Panther, directedbyRyanCoogler( Fruitvale Senior ProgrammerBlack AshleyClark. “Marvel’s The seriesisprogrammedbyBAMcinématek of superheroes. reimagining thetextbookdefinition of African-Americanfictionalcharacterswhile 28 featureshighlightingthetenaciousspirit and Blaxploitationfilms,theseriesincludes daring elementsofsciencefiction, comicbook, Film 2—18.Drawingfromthemore , February presents Fight thePower: BlackSuperheroeson BlackPantherof Disney’s , BAMcinématek Taking release inspirationfromthiswinter’s @BAM_Brooklyn By MaureenMasters the Blade filmseries,Spawn (1997,Dippe) pages ofcomicbooks, includingselectionsfrom The seriesincludes fourfilmsstraightfromthe Sat bytheDoor(1973,Dixon). anti-establishment cultclassic,TheSpookWho Coney), BlackDynamite(2009,Sanders),and (1971,Parks),Shaft Space IsthePlace(1974, Jones (1973,Starrett),Foxy Brown(1974,Hill), memorable heroiccharactersincluding Cleopatra includes othericonicBlaxploitation filmswith unconventional accomplices.Fight the Power he dodgespolicearrestwithhelpfromsome male prostituteSweetSweetback(Peebles) as in this70sBlaxploitationthrillerthatfollows (1971). Van Peebles wrote,directed, andstars Peebles’ SweetSweetback’sBaadassssSong 2withMelvinVanThe seriesbeginsFebruary it covered.” Wesley SnipesinBlade—Fight the Power has under-appreciated comicbookforebearslike pioneers, toBlackPanther’s superheroicyet Blaxploitation kingsandqueenstoAfrofuturistic the pathforBlackPanther. From subversive heroes; thiscastofmemorablecharacterslaid and groundbreakingfictionalblackscreen and internationalrangeofmythical,fantastical, #BAMcinematek

Tamara Dobson in Cleopatra Jones. Photo courtesy Warner Bros./Photofest #BAMcinematek Feb 2—18 and Catwoman (2004, Pitof). Based on the naturalistic film about a street magician; Attack Marvel character Blade, the 1998 the Block (2011, Cornish) stars John Boyega hit film, written by David S. Goyer and directed and is set in a South London invaded by angry by Stephen Norrington, drew a cult following aliens; in Jim Jarmusch’s Ghost Dog: The Way and subsequent film franchise. Wesley Snipes of the Samurai (2000), Forest Whitaker plays a stars as Blade—the half-human, half-vampire hired hitman that lives by the code of the ancient out to avenge his mother’s death and rid the samurai; and Kirikou and the Sorceress (1998, world of vampires. In 2002, Guillermo Del Toro Ocelot & Burlet) is an animated film influenced directed the sequel, Blade II, wherein Blade by West African folk tales about a newborn baby (Snipes) joins forces with vampires to combat a with the ability to speak and walk who saves his new type of deadly monster. Based on the comic village from an evil witch. book hero of the same name, Spawn features Michael Jai White as hell’s reluctant soldier. And Fight the Power also includes a few films in Catwoman, based on the DC Comic, Halle with unconventional superheroes, including Berry stars as a shy graphic designer, who, upon Candyman (1992, Rose), and George Romero’s discovering a grave industry secret, is killed and Night of the Living Dead (1968). Candyman’s reborn with cat-like reflexes. Tony Todd is an anti-hero in a film rich in compelling racial and social commentary. Duane A selection of films spotlight fantasy and science Jones was one of first black actors to play a lead fiction heroes. These films include The Brother role in a mainstream American horror film, as From Another Planet (1984, Sayles) about a Ben in Night of the Living Dead. mute, black extraterrestrial with a gift of technical wizardry who escaped from another planet, only Follow BAMcinématek on social media and to end up in New York. The Meteor Man (1993, BAM.org for a complete list of series films as well Townsend) tells the story of a schoolteacher as announcements of special guest appearances. who develops superpowers after being struck by a meteor and uses his new found powers to Maureen Masters is BAM’s cinema publicity fight crime in his neighborhood; Sleight (2016, manager. J.D. Dillard) infuses fantastical elements in a © 2017, Brooklyn Academy of Music, Inc. All rights reserved. . Photo courtesy Warner Bros. Halle Berry in Catwoman . Photo courtesy Warner WORKING IN CONCERT KAUFMAN ELLIOTT PHOTO: IS WHAT WE DO. Fly toward something better with the help of 80,000 Delta employees who do everything they can to help you explore what’s possible. @BAM_Brooklyn #BAMWinterSpring Qyrq Qyz. Photo courtesy the artists. Qyrq Qyz by David Hsieh ANCIENT GIRL POWER, REJUVENATED Qyrq Qyz is an ancient oral epic widespread in Central Asia. It tells of 40 teenage girls, led by Central Asia is landlocked and perennially their leader Gulaim, who rise up from a land contested. Containing an area of roughly 1.5 ravished by (male) invaders and secure freedom, million square miles, it is hemmed in by Russia, justice, and prosperity for their people. Uzbek China, the South Asia subcontinent, and the filmmaker Saodat Ismailova has long been Middle East, with some of the most arid places fascinated by this legend, and the ubiquitous on earth. Deserts and nomadic life have presence of the number 40 in her culture. “This been co-dependent through human history. number appears prominently in most spiritual No wonder this region has produced some rituals of Central Asia, whether for purification, of the fiercest warriors on horseback that mourning, healing, fertility, or life transitions,” she humankind has known. said in an email interview. “Everyone you know in Central Asia knows the story of Forty Girls. Every Even though for at least 1000 years Central region and most villages have their own Qyrq Asia has been at the crossroads of the east Qyz—a well or a stone, where people are healed, and west, people outside the region seem blessed, and purified; places where women to know more about what passed through it restore their fertility and pray for the continuity of (Roman coins, Persian glasses, Byzantine icons, their family lineage.” Islamism, Buddhism, silk, tea, etc.) than what was produced within it (except, perhaps, those Ismailova wanted to present the story in a form unstoppable warriors). Fortunately scholars, relevant to our time. She also wanted to celebrate artists, museums, and institutions have begun its “girl power” theme. At a showing of the short to correct the ignorance in recent years, most filmGulaim she made based on the legend, she noticeably through the Silk Road Project founded met Theodore Levin, an ethnomusicologist at by Yo-Yo Ma. Another piece of knowledge will be the Aga Khan Music Initiative, who shared her proffered when BAM presents a major multimedia enthusiasm in introducing the story to a wider music work called Qyrq Qyz (Forty Girls) in audience. Their idea was to create a multimedia March, 2018. concert experience that combined images and TBHC was founded in 1845 and BAM was founded in 1861. Together, we share more than 325 years of serving Brooklyn!

TBHC is the Official Healthcare Provider of BAM. #BAMWinterSpring Mar 23 & 24

live music, casting young female musicians from fire. This four-fold structure runs through the different Central Asian countries as the core of film, musical composition, lighting, costumes the presentation. and stage design. The narrative story is recited in different voices and Central Asian languages, The Aga Khan Music Initiative is an interregional subtitled in English. The traditional repertoire of music and arts education program with worldwide the show is carefully selected to fit the emotional performance, outreach, mentoring, and artistic structure of the narration and consists of melodies production activities. With the support of AKMI and songs mostly performed by women in and its director Fairouz Nishanova, Ismailova was Central Asia. Songs about longing, landscape, able to dive deep into the project, assembling friendship, horses, and homeland represent a new a creative team, including one of the most interpretation of Qyrq Qyz today.” prominent contemporary Uzbek composers, Dmitri Yanov-Yanovsky. She spent more than a Central Asian peoples are no more monolithic year conducting a “talent search” in Central Asia. than its geography, which contains deserts, mountains, steppes, and permafrost. But they all Ismailova said, “we invited over 100 young share this legend, albeit with distinct local flavors. women to a casting session in search of The musicians performing on stage reflect this our Gulaim for the film. We found her in variety. Gumshagul Bekturganova and Gumisay Aysanem Yusupova, a first-year acting student Berdikhanova are from Karakalpakstan, a from Karakalpakstan. The film was shot in culturally autonomous region of Uzbekistan Karakalpakstan, on the sites of Qyrq Qyz ruins, that borders the Aral Sea. Aziza Davronova and in one of the oldest mosques of Tashkent, the is from Uzbekistan. Saltanat Yersultan, capital city of Uzbekistan. Arailym Omirbekova, and Tokzhan Karatai are from Kazakhstan. Makhabat Kobogonova is And to create a live experience, she is confronted from Kyrgyzstan. with the challenge of working with traditional music while escaping conventional forms of They are under the direction of Raushan concert presentation. “We set out to push the limits of the concert stage to create a hybrid of film and performance that also includes moments of text recitation—an homage to the old epic bards of Central Asia. To achieve this, I invited lighting artist and choreographer Séverine Rième to develop the stage Photo: Ian Douglas movement of the performers. For the stage design and costumes I invited Kamilla Kurmanbekova, a Kazakh scenographer and artist whom I met when we both represented Central Asia in the 2013 Venice Biennale. We decided to strip the stage to its minimal material expression, using only one element: 40 handmade kurpachas—Central Asian traditional textile-encased floor mats that can be found in every household and are a central artifact of everyday life.”

“The performance alternates between narration of the film and the live musicians who recite, sing, murmur, and act onstage. The structure of the whole performance is inspired by Zoroastrian cosmology and its four Saodat Izmailova. Photo courtesy the artist. essential elements: earth, air, water, and BAM Directory

STAY CONNECTED BAM Box Office Patron Services BAM.org Peter Jay Sharp Building For donors who make an annual Mon–Sat: 12–6pm; closed holidays contribution of $1,500 or more: #BAMNextWave Sun: 90 minutes prior to first 718.636.4182 BAMwifi_forBK curtain on performance days [email protected] @BAMstage BAM Harvey Theater and BAM Lost & Found @BAM_Brooklyn Fisher box offices open 90 minutes 718.636.4150, Mon—Fri: 9am—5pm prior to curtain on performance YouTube.com/BAMorg days (same-date ticket sales and Restrooms BAM.org/blog pick-up only). BAM Howard Gilman Opera House: LOCATIONS mezzanine and balcony level BAM Rose Cinemas (handicapped accessible: PETER JAY SHARP BUILDING Advance Ticket Sales: orchestra level and BAMcafé) 30 Lafayette Ave BAM.org/#Film BAM Howard Gilman Opera House Info: 718.636.4100 BAM Harvey Theater: Lepercq Space/BAMcafé lobby and gallery level BAM Rose Cinemas Box office opens 30 minutes before Hillman Attic Studio the first screening of the day. BAM Fisher: lower lobby, 4th floor, and 7th floor BAM HARVEY THEATER BAM Rose Cinemas is wheelchair 651 Fulton St accessible. Infra-red headsets for Headphones the hearing impaired are available; BAM offers infra-red listening devices BAM FISHER inquire at the box office. for the hearing impaired; please 321 Ashland Pl inquire at the coat check. Fishman Space Student Rush Info Hillman Studio www.BAM.org/student-rush Rooftop Terrace and Stutz Gardens OTHER Leavitt Workshop Late Seating Administrative Offices Late seating is solely at the discre- 718.636.4111 Brooklyn, NY 11217 tion of management. Ticketed seats [email protected] are not guaranteed past curtain time. Rental Information 718.636.4198 | [email protected] TICKETS BAM.org/rentals SERVICES BAM Ticket Services BAM Visual Art Performance tickets and info Membership 718.636.4194 718.636.4101 | [email protected] 718.636.4100 BAM.org/BAMVisualArt [email protected] [email protected] Level 5 special access to orchestra seats, Questions and Comments call Ticket Services at 718.636.4100 Group Sales [email protected] For ticket orders of 10 or more BAMcafé BAM.org/contactus 718.623.7885 | [email protected] Reservations/info: 718.623.7811

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

BAM thanks our friends and supporters who have paid tribute to Harvey Lichtenstein’s visionary leadership by making a charitable contribution to the BAM Harvey Fund. To join them in honoring Harvey, please visit BAM.org/Harvey. Your support ensures that daring contemporary work continues to flourish at the institution he loved so much. @BAM_Brooklyn #BAMWinterSpring

Orazbaeva, a distinguished Kazakh performer of the two-stringed fiddle qobyz. Uzbek percussionist Alibek Kabdurakhmanov adds a contemporary, atmospheric dimension to the score. Ismailova believes the ensemble will do a good job of “representing the diverse vocal timbres and musical instruments of the region. The musicians have developed their skills within their traditions and in some cases learned to play instruments, such as the jetigen, a type of hammer dulcimer, that are rarely used today.”

It seems fitting that a group of people known for their battle skills would produce the legend of Qyrq Qyz. But this phenomenon is not limited to Central Asia, from China’s Hua Mulan to Greece’s Amazon to France’s Joan of Arc, people around the world worship their female warriors, real or fictional. Ismailova thinks the overwhelming patriarchal history throughout mankind creates ripe ground for such stories. “What could be a greater imaginary challenge and fascination than a young, beautiful, smart, and strong Amazon on a horse? A rapprochement of elemental contrasts—virginity and death, tenderness and violence, beauty and war—will always captivate people’s imaginations.” The legend of Qyrq Qyz is traditionally told by male bards. But “we live in a time when women are finding new forms of emancipation,” and in creating her female-dominated presentation of Qyrq Qyz, Ismailova hopes it will be “one of the projects that illuminates and contributes to expanding the boundaries of female expression.”

Qyrq Qyz (Forty Girls) will be performed at the BAM Harvey Theater on March 23 & 24.

David Hsieh is a publicity manager at BAM.

© 2017, Brooklyn Academy of Music, Inc. All rights reserved. Gulaim . Photo courtesy the artists. #BAMNextWave BEHIND THE SCENES

L-R: Raven Jones and Jackie David. Photo: David Hsieh

Long-time BAM audiences will recognize Jackie JD: After a year I became a supervisor. One day David and Raven Jones, two stalwarts on the Christine [Gruder, theater manager] asked me usher floors for the past 25 years. When they to fill in for someone who couldn’t come in, and started (within three months of each other), the that was it—I was promoted. Harvey Theater was still called the Majestic and the Rose Cinemas were the Carey Playhouse, RJ: Being an usher at BAM is very intense. You where a 35-year-old Robert Lepage made his have to be on top of everything. You have to BAM debut with a one-man show Needles and keep everything flowing. Every usher has a “sta- Opium. Neither of them expected to stay “more tion” to be in. You cannot leave that station. You than two or three years.” But a quarter-of-a-cen- don’t just disappear after you seat the audience. tury later, they have seen BAM grow along with their own families. They spoke with BAMbill. JD: Before the house opens, I check it from top to bottom: make sure the lights are on and the Jackie David: I started because of my brother. exit doors are clear. After the show we check the He was an assistant manager in ticket services house to make sure nothing is left. then. He told me about the usher opening and I started in September, 1992. Actually two of my RJ: When we had our 15th anniversary, all the brothers used to work here. ushers gave us a cake. We cut the cake and they said, “Feed the bride!” so we fed each other Raven Jones: It’s a family legacy! I started in De- cake. I will always remember that day. cember, 1992. My first show was Mark Morris’ The Hard Nut. I also came because one of my JD: Some of the board members and patrons brothers was a choreographer and wanted to see know us by name. That make us feel very the show from the audience’s point of view. special. I was a school teacher. He said this would be perfect because I finish at three o’clock and RJ: They’ll share stories about their kids and I’ll could jump on a train and get here on-time. share stories about my grandchildren. It feels I intended to be here only two or three years. very nice. But that BAM thing happened and I kept up coming back. It has been a very rewarding and © 2017, Brooklyn Academy of Music, Inc. All rights reserved. challengeing experience. Securing BAM’s Future

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

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

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

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

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

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

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

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

Upcoming Events Jan 12&13at9pm|BC Angela Johnson|InconjunctionwithTribute toDr. LutherKing,Jr. Martin Jan 15at10:30am|OH of TheCityUniversityNewYork Presented byBAM,BrooklynBorough President EricL.Adams,andMedgarEversCollege TributeThe 32ndAnnualBrooklyn toDr. King,Jr. Luther Martin Jan 27 at 1pm | Pre-screening | lectureat12pm|BRC 1pm at 27 Jan Puccini’s Tosca Institutional Radio Choir, 2017. Photo: Beowulf Sheehan BC=BAMcafé |BRC=BAM Rose Cinemas|FLL=Fisher Lower Lobby |FS=Fishman Space(BAMFisher) | HT=BAM Harvey Theater | OH=BAMHowardGilman OperaHouse|MM=Mark MorrisDance Center HT=BAM Harvey 2018 WINTER/SPRING THE MET:THE IN HD LIVE BAMCAFÉ LIVE @BAM_Brooklyn

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 October 15, 2016—October 15, 2017)

$500,000 and above The Fan Fox & Leslie R. $25,000 and above Elizabeth De Cuevas Showtime brigittenyc Samuels Foundation, Inc. Roger Alcaly & Helen Bodian Emme & Jonathan Deland Sills Family Foundation The Brooklyn Hospital The Shubert Foundation, American Express and Phyllis Levin Susan & Larry Sills Center Inc. Sarah Arison The Dermot Company, Inc. Simon Sinek Brooklyn Borough The Joseph S. and Diane Jody & John Arnhold Charles & Valerie Diker In Memory of Robert Sklar President’s Office— H. Steinberg Charitable Rose M. Badgeley Dow Jones & Company, Jean Stein Eric Adams Trust Residuary Charitable Inc. Judy & Michael Steinhardt Jeanne Donovan Fisher Joseph A. Stern Trust Douglas Durst Laurie M. Tisch Illumination Judith R. & Alan H. Theater Subdistrict Council The Barker Welfare Steven & Jennifer Fund Fishman Time Warner Inc. Foundation Eisenstadt Trust for Mutual Howard Gilman Foundation Pedro Jose Torres & Cecilia Anne H. Bass Fred Eychaner Understanding Diane & Adam E. Max Picon Tony Bechara Mallory & Elizabeth Factor Teresa Tsai The City of New York— Robert L. Turner The Brooklyn Brewery MaryAnne Gilmartin Wendy vanden Heuvel Bill de Blasio, Mayor John L. & Eva Usdan Robert & Joan Catell Elaine Golin White & Case LLP The New York City The Wall Street Journal Charles Hayden Foundation Pamela Grace James Wilentz & Robin Council—Brooklyn Jim Chervenak Great Performances Maxwell Delegation $50,000 and above Citi Foundation The Marc Haas Foundation, The Milton & Beatrice Wind The New York City The Achelis and Bodman Pamela Codispoti & Mark Inc. Foundation Council—Laurie A. Foundation Habner Mr. & Mrs. Burton K. Carol Yorke & Gerard Conn Cumbo Jonathan & Jessika Steven & Alexandra Cohen Haimes Barbara & David Zalaznick The New York City Auerbach Foundation The Jim Henson Pia & Jimmy Zankel Council—Melissa Mark Sarah Billinghurst & Ide & David Dangoor Foundation Zipcar Viverito, Speaker Howard Solomon Mark Diker & Deborah & Ed Finn Anonymous (6) New York City Department Jonathan Bilzin Colson Edward Herlihy of Cultural Affairs Bloomberg Philanthropies The Dutch Performing Arts The DuBose and Dorothy $5,000 and above New York City Economic Natasha Chefer & Joel Fund NL Heyward Memorial Fund Jad Abumrad & Karla Development Corporation Tompkins Giorgio Armani Corporation Sophie Hughes Murphy Stavros Niarchos Linda & Adam Chinn Robert M. Greenberg & John & Samantha Hunt Takis C. Anoussis Foundation Mr. & Mrs. Henry Corvova Choy Lee IATSE - Theatrical Stage David Bank & Jason R. PASNY Christensen III Henry B. & Karoly S. Employees Local 4 Stone The SHS Foundation Con Edison Gutman Frederick Iseman Hugo Barreca & Wendy United States Department Constans Culver Foundation Hasty Pudding Institute Consulate General of Israel Schlemm of State, Bureau of Suzy & Anthony Davis of 1770 Japan-US Friendship Mickey & Martin Baumrind Educational and Cultural Della Rosa Family Barbara Haws & William Commission Nathaniel Beck & Karen Affairs Foundation Josephson Alan Jones & Ashley Garrett Hackett Anonymous Andre & Stephanie Dua Ralph Herzka J. J. Kasper Jr. Alan & Leslie Beller Epstein Teicher Penn & Diane Holsenbeck Gene & Terry Kaufman Elaine S. Bernstein $250,000 and above Philanthropies Richard Hulbert Will & Prattana Kennedy Alison Blood Bloomberg Family Steven & Susan Felsher Miriam Katowitz & Arthur Alexander E. Kipka & The Bloomingdale’s Fund of Foundation Barry M. Fox Radin Katherine Nintzel the Macy’s Foundation First New York Partners The Freeman Foundation Dan & Abbe Klores David L. Klein, Jr. Nick Boris Management Fribourg Family Foundation Philippe & Posey Foundation Sol W. & Hermina Cantor Forest City Ratner Georgene Maxwell Krakowsky Kameron M. Kordestani Foundation Companies Remainder Trust John Lichtenstein Joan Kreiss Centerbridge Partners LP Jerome L. Greene Gotham Organization, Inc. The Frederick Loewe Eileen M. Lach Beverly & Herbert Chase Foundation Agnes Gund Foundation, Inc. Solange Landau Isaac Chera The Rita and Alex Hillman Charles J. & Irene F. Hamm David & Susan Marcinek Leon Levy Foundation Lois Chiles & Richard Gilder Foundation The Francena T. Harrison Pierre and Tana Matisse The Bertha and Isaac Neil & Kathleen Chrisman Goldman Sachs Gives at Foundation Trust Foundation Liberman Foundation Stephen J. Clearman & the recommendation of Daniel Clay Houghton National Grid John Lipsky & Zsuzsanna Renee Iacone Anne Hubbard & Harvey William R. Kenan Jr. Linda & Stuart Nelson S. Karasz Timothy & Carol Cole Schwartz Charitable Trust Gabriel & Lindsay Pizzi Briehan Lynch & Alexander The Aaron Copland Fund The Andrew W. Mellon The Emily Davie & Joseph Richenthal Foundation Evis for Music, Inc. Foundation S. Kornfeld Foundation Sarah & Spencer Robertson M&T Bank The Cowles Charitable Trust Axel Stawski & Galia Meiri Rachel & Jean-Pierre Robert S. Rubin Donna Marshall & Lee Stuart D. Freedman & Carla Stawski Lehmann Bette & Richard Saltzman Marshall E. Craig Nora Ann Wallace & Jack The Lepercq Charitable Bartholomew A. Sheehan & Scott C. McDonald Crunch Nusbaum Foundation Sheila A. Cain Medgar Evers College Gifts Joan K. Davidson (The J.M. Gary Lynch & Kate Hall Sidley Austin LLP and Grants Kaplan Fund) $100,000 and above Grace Lyu-Volckhausen Sam & Ellen Sporn Michael Palm Foundation Peter Davidson & Drew Altman Foundation Mertz Gilmore Foundation Brian Stafford Moet Hennessy USA McGhee (The J.M. 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Programming in the BAM Howard Gilman Leadership support for dance at BAM Leadership support for every season Opera House is supported and endowed provided by: provided by the BAM Board of Trustees, by the Howard Gilman Foundation. led by Adam E. Max, Chair & Programming in the BAM Harvey Theater William I. Campbell, Vice Chair. is endowed by the Doris Duke Charitable Foundation. Programming in BAM’s Xavier Cha is the recipient of Support preserving the vitality of Lepercq Space is supported by The The Harkness Dance Residency at BAM programming provided by the Lepercq Charitable Foundation. the BAM Fisher in 2017. Lichtenstein family and generous donors to the BAM Harvey Fund. Major support for Crossing provided by Official Airline of BAM: Robert L. Turner. Next Wave Festival supporters: Rose M. Badgeley Residuary Major Sponsor Charitable Trust Official Healthcare Provider of BAM: BNY Mellon brigittenyc Leadership support for opera at BAM The Gladys Krieble Delmas Foundation provided by: Epstein Teicher Philanthropies Aashish & Dinyar Devitre Fribourg Family Foundation The Andrew W. Mellon Foundation The Francena T. Harrison Title Sponsor of BAM Rose Cinemas Foundation Trust Major support for The Fountainhead and BAMcinématek: The DuBose and Dorothy Heyward and Bangsokol provided by Memorial Fund Edward Jay Wohlgemuth. The Kovner Foundation M&T Bank Major support for The Fountainhead BAM Rose Cinemas are named in The Ambrose Monell Foundation provided by The Dutch Performing Arts recognition of a major gift in honor of Morgan Stanley Fund NL. Jonathan F.P. and Diana Calthorpe Rose, Henry and Lucy Moses Fund, Inc. and have been generously supported by Samuel I. Newhouse Foundation, Inc. Onassis Programs at BAM supported by: The Peter Jay Sharp Foundation, and the Stavros Niarchos Foundation Estate of Richard B. Fisher. Donald A. Pels Charitable Trust Pfizer Inc. The Steinberg Screen at the BAM Harvey The Reed Foundation Major support for Principles of Theater is made possible by The The Jerome Robbins Foundation, Inc. Uncertainty, Buffer, and A Billion Nights Joseph S. and Diane H. Steinberg The Morris and Alma Schapiro Fund On Earth provided by Agnes Gund. Charitable Trust. The Scherman Foundation, Inc. The SHS Foundation Leadership support for BAM Visual Major support for BAM Hamm Archives The Shubert Foundation, Inc. Art provided by Agnes Gund and provided by Charles J. & Irene F. Hamm. The Harold and Mimi Steinberg Toby Devan Lewis. Charitable Trust BAM would like to thank the Brooklyn The TinMan Fund Major Sponsor of BAM Community Delegations of the New York State Virginia B. Toulmin Foundation Programs: Assembly, Joseph R. Lentol, Delegation Leader; and New York Senate, Senator The BAM facilities are owned by the Velmanette Montgomery. City of New York and benefit from public funds provided through the New York Endowed funds supporting the Next City Department of Cultural Affairs Wave Festival: The Howard Gilman Your tax dollars make BAM programs with support from Mayor Bill de Blasio; Foundation; Lila Wallace-Reader’s possible through funding from: Cultural Affairs Commissioner Tom Digest Endowment Fund for Community, Finkelpearl; the New York City Council Educational, and Public Affairs Programs including Council Speaker Melissa Mark at BAM; The Andrew W. Mellon Viverito, Finance Committee Chair Julissa Foundation Fund for Opera and Music- Ferreras, Cultural Affairs Committee Chair Theater; The SHS Foundation; The Peter Jimmy Van Bramer, Councilmember Jay Sharp Fund for Opera and Theater; Laurie Cumbo, and the Brooklyn The Ford Foundation Fund to Support Delegation of the Council; and Brooklyn Collaborative Creativity Among U.S. Borough President Eric L. Adams. Artists; Estate of Richard B. Fisher; BAM Fund to Support Emerging and Local Official Piano for BAM: Musicians; The Starr Foundation; Next Wave Forward Fund: Altria Group, Inc./ Founding Sponsor “Supporting the Spirit of Innovation”; and The Devitre Fund. BAM Supporters & Patrons

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

BAM Staff

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

EDUCATION OPERATIONS Alyson Cardenas, Graphic Design Stephanie Caragliano, Institutional Steve McDowell, Lead Shana Parker, Director of Intern Giving Coordinator Maintenance Technician Operations for Education Georgette Alimperti, Institutional Allan Boyce, Calvin Brackett, Jennifer Leeson, Operations DIGITAL MEDIA Giving Intern Ronald Hunter, Maintainers Manager for Education Aaron Weibel, Director of Digital Carl Blango, Asst. Maintainer Sasha Metcalf, Program Analyst Production MAJOR GIFTS & PATRON Nora Tjossem, Education Miles Bridges, Sarah Hayes, PROGRAMS CUSTODIAL SERVICES Coordinator Alison Kozol, Digital Media Stacy Margolis, Assoc. 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