2016 Winter/Spring Season JAN 2016

Elizabeth Murray, If Only Cup, 1997—98

Published by: Season Sponsor: BAM 2016 Winter/Spring

Brooklyn Academy of Music Katy Clark, President

Joseph V. Melillo, Executive Producer

Borough of Brooklyn Eric L. Adams, President The 30th Annual Brooklyn Tribute to and

Medgar Evers College City University of New York Dr. Martin Luther King, Jr.

BAM Howard Gilman Opera House January 18, 2016 at 10:30am

Keynote speaker Dr. Michael Eric Dyson

Performers The Brooklyn Interdenominational Choir Kimberly Nichole

The tribute will be followed by a screening in BAM Rose Cinemas of the film The Black Panthers: Vanguard of the Revolution (2015), directed by Stanley Nelson

Season Sponsor:

Target is the presenting sponsor of the Annual Dr. Martin Luther King, Jr. Tribute

Support for the Signature Artist Series provided by The Howard Gilman Foundation. Tribute to Dr. Martin Luther King, Jr.

Dr. Martin Luther King, Jr.

I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their skin, but by the content of their character. —Dr. Martin Luther King, Jr.

Born on January 15, 1929 in Atlanta, GA, Dr. Martin Luther King, Jr. was a man who devoted his life to the fight for full citizenship rights of the poor, disadvantaged, and racially oppressed in the United States.

After receiving a BS in 1948 from Morehouse College, a BD in 1951 from Crozer Theo- logical Seminary, and a PhD in 1955 from Boston University, Dr. King became pastor of the Dexter Avenue Baptist Church in Montgomery, AL. He and his wife, Coretta Scott King, who he met and married while at Boston University, had been living in Montgomery less than a year when Mrs. Rosa Parks defied the ordinance concerning segregated seating on city buses. In reaction to this event, Dr. King successfully organized a year-long bus boy- cott, which catapulted him to national prominence as a leader of the civil rights movement.

After the boycott, Dr. King, who had studied the life and teachings of Mahatma Gandhi, began touring the nation, preaching and further advancing the Indian leader’s doctrine of nonviolent civil disobedience. Meanwhile, Dr. King was also writing his first book, Stride Toward Freedom, which was published in 1958. In 1960 Dr. King and his father became co-pastors of the Ebenezer Baptist Church in Atlanta, and Martin Luther King, Jr. became president of the Southern Christian Leadership Conference. During this time, Dr. King also organized the massive march on Washington on August 28, 1963 in which he delivered his brilliant “I Have A Dream” speech. The January 1964 issue of Time magazine named Dr. King “Man of the Year,” the first black American to receive the honor. Later that year, Dr. King became the youngest recipient of the Nobel Peace Prize at age 35.

Early in 1968, while planning a second march on Washington, Dr. King flew to Memphis, TN, to lend his support to striking laborers. There, on April 4, Dr. King was assassinated. With his violent death, a symbol of moral and social progress in America was lost, and riots were ignited around the country. In 1983, Dr. King’s birthday was designated a national holiday. Who’s Who

DR. MICHAEL ERIC DYSON—who is an Ameri- Publisher’s Weekly, his 2001 book, Holler if You can Book Award recipient and two-time NAACP Hear Me: Searching for Tupac Shakur, helped to Image Award winner—is one of the nation’s most make books on hip hop commercially viable. His influential and renowned public intellectuals. He 2006 book Come Hell or High Water: Hurricane has been named one of the 150 most power- Katrina and the Color of Disaster was the first ful African-Americans by Ebony magazine. The major book on Katrina and probed the racial and Philadelphia Weekly contends that Dr. Dyson class fallout from the storm. Dr. Dyson’s 2005 “is reshaping what it means to be a public New York Times bestseller, Is Bill Cosby Right? intellectual by becoming the most visible black Or Has the Black Middle Class Lost Its Mind?, academic of his time.” helped to jumpstart a national conversation on the black poor that has been called the most Dr. Dyson’s pioneering scholarship has had a important debate in black America since the profound effect on American ideas. His first historic debate between Booker T. Washington book, 1993’s Reflecting Black: African American and W.E.B. Du Bois. His book, The New York Cultural Criticism, helped establish the field Times best-selling April 4, 1968: Martin Luther of black American cultural studies. His next King Jr.’s Death and How It Changed America, book, 1994’s Making Malcolm: The Myth and has been hailed by The Washington Post as “an Meaning of Malcolm X, was named one of the excellent sociological primer on institutionalized most important African American books of the racism in America.” His most recent book, Can 20th century. Dr. Dyson’s first book on Martin You Hear Me Now? The Inspiration, Wisdom, Luther King, 2000’s I May Not Get There with and Insight of Michael Eric Dyson, offers a You: The True Martin Luther King, Jr., made a sampling of his sharp wit, profound thought, and significant contribution to King scholarship by edifying eloquence on the enduring problems of recovering the radical legacy of the slain civil humanity, from love to justice, and the latest top- rights leader. According to book industry bible ics of the day, including race and the presidency. Who’s Who

It is both revealing and relevant, and at once His powerful work has won him legions of ad- thoughtful provoking and uplifting. mirers and has made him what The Washington Post terms a “superstar professor.” His fearless Not only has Dr. Dyson taught at some of the and fiery oratory led the Chronicle of Higher nation’s most prestigious universities—includ- Education to declare that with his rhetorical gifts ing Brown, Chapel Hill, Columbia, and the he “can rock classroom and chapel alike.” Dr. University of Pennsylvania—but his influence Dyson’s eloquent writing inspired Vanity Fair has carried far beyond the academy into prisons magazine to describe him as “one of the most and bookstores, political conventions and union graceful and lucid intellectuals writing on race halls, and church sanctuaries and lecture stages and politics today.” across the world. Dr. Dyson is presently University Professor of Dr. Dyson has appeared on nearly every major Sociology at Georgetown University where, in media outlet, including The Today Show, Night- 2011, he received widespread attention for line, O’Reilly Factor, The Tavis Smiley Show, and his course “Sociology of Hip-Hop: Jay-Z.” His Real Time with Bill Maher—and he has cement- legendary rise—from welfare father to Princeton ed his star appeal on such shows as Rap City, Ph.D., from church pastor to college professor, Def Poetry Jam, and The Colbert Report. He is from a factory worker who didn’t start college also a contributing editor of Time magazine. In until he was 21 to a figure who has become addition, he hosts an hour-long news and talk what writer Naomi Wolf terms “the ideal public program on NPR, The Michael Eric Dyson Show, intellectual of our time”—may help explain why where he delivers thoughtful analysis of today’s author Nathan McCall simply calls him “a street biggest stories from pop culture to race relations. fighter in suit and tie.” Who’s Who

KIMBERLY NICHOLE Seattle-born Kimberly Nichole first appeared on the national music scene during the eighth season of NBC’s The Voice, recognized by the judges for her show-stopping performances, stylish pres- ence, and vocal power. She has since written and released her first rock and soul album, The Yellow Brick Journey, which has had songs featured on MTV, VH1, BET, LOGO, Lifetime, and Showtime. She also appeared as the featured rock performer in the film You’re Not You, directed by George C. Wolfe and starring Hilary Swank. Nichole has brought her savvy showmanship to many New York stages, including the Apollo Theater, Lincoln Center, and Bowery Ballroom. She has performed with many different artists, including Slash, Jason Derulo, Janelle Monae, and Christina Aguilera. Nichole continues to perform with her band and is currently working on her sophomore album entitled The Lonely Bones.

THE BROOKLYN INTERDENOMINATIONAL CHOIR (BIC) The Brooklyn Interdenominational Choir is an ensemble committed to bringing people together through artistic expression. The choir encour- ages members to appreciate, learn about, and celebrate the diverse cultures which make our world great. It is founded by Frank A. Haye who is a conductor, choral director, flutist, composer, and producer. BIC records and ministers in differ- ent venues, including churches, temples, outdoor music festivals, concert halls, and private func- Great City, One Great Choir to the Glory of God.” tions. All members of BIC receive world-class Haye states, “We believe the power of music musical training and opportunities for fellowship transcends our cultural, political, financial, and with artists from diverse ethnic, religious, and religious differences to expose that which we social backgrounds. Its motto is simple: “One truly share: faith, hope, and love.” Kimberly Nichole. Photo: Katie Piper Kimberly Nichole. Photo: Katie

Top photo: Kimberly Nichole, by Katie Piper Lower photo: Brooklyn Interdenominational Choir, courtesy the artists Who’s Who

ERIC L. ADAMS, BROOKLYN BOROUGH Since the beginning of his first term as the PRESIDENT highest-ranking elected official in America’s For the past three decades, Eric L. Adams has fourth-largest city, Adams has worked to make served the residents of the city of his birth as a the popularity of Brooklyn’s brand translate police officer, state senator, and coalition builder. into prosperity for the more than 2.6 million In November of 2013, he was elected to represent Brooklynites that call the borough home. He all of Brooklyn as borough president. Born in is a big believer in the power of connections, Brownsville and educated in the City’s public of bringing together people in need of services school system, Adams is committed to ensuring with resources that have long existed but have Brooklyn’s bright future by helping each and every been underutilized. Adams has opened Brooklyn Brooklynite reach his or her full potential. Borough Hall in ways that it never has been prior, allowing thousands of people to connect Throughout his career, Adams has been an for the first time with government and civic life. effective advocate for Brooklyn, bringing people His agenda cannot be defined by a short list of and communities together to create progres- issues: he is committed to addressing the wide sive change, and working with both the private range of concerns facing Brooklynites. and public sectors to invigorate the borough’s economy by encouraging job growth and invest- In his career as a police officer with NYC Transit ment in every neighborhood. Whether his beat and the NYPD, Adams made the kind of life-and- was on the street or in the halls of government, death decisions that reflect his insight, expertise, Adams has always looked out for Brooklyn’s and poise under fire, resulting not just in his pro- working families and sought to protect our most motion to captain, but earning him the reputation vulnerable residents. He believes that govern- for going above and beyond the call of duty. ment works best when everyone has a chance to In 1995, he co-founded 100 Blacks in Law be heard, and he has resolved to use his office to Enforcement Who Care, an initiative that not only provide an opportunity for diverse groups to work improved NYPD/community relations, but raised together for the common good. funds for worthy causes throughout the city.

From 2006 until his election to borough gender discrimination, domestic violence, and president in 2013, Adams represented the 20th elder abuse. He also proposed legislation to Senate District—which includes Borough Park, reform campaign financing, address inequities in Flatbush, Crown Heights, Park Slope, Prospect sentencing depending on the crime, restrict out- Heights, Sunset Park, and Windsor Terrace, sourcing, and improve the availability of quality working tirelessly to address a broad range of health care and affordable housing. Throughout issues affecting constituents, from civil rights and his legislative career, Adams championed com- public safety to transparency in government and munity and economic development in his district quality of life. He organized support against the and borough-wide. NYPD’s controversial “stop and frisk” policy, and led efforts on behalf of gun control. As a legisla- Adams has also served on the board of the tor, Adams’ record in the New York State Senate Eastern District Counseling Service, an organiza- was one that underscores his strong commitment tion assisting former substance abusers to live to the rights of those from every walk of life, productive lives without dependency on drugs or including protecting the right to privacy, sup- alcohol. Adams maintains residences in Bedford- porting marriage equality, defending a woman’s Stuyvesant and Prospect Heights, where he has right to choose, as well as fighting for students’ resided for over 20 years. He enjoys riding the rights, workers’ rights, and animal rights. His streets of Brooklyn on his bicycle, meditation, work involved efforts to prevent racial profiling, and exploring new cultures and places. Who’s Who

DR. RUDOLPH F. MEDGAR EVERS COLLEGE was founded as CREW is President a result of collaborative efforts by community of Medgar Evers leaders, elected officials, the chancellor, and the College in Brook- board of trustees of the City University of New lyn, NY. A lifelong York. The college, named for the late civil rights educator and author, leader Medgar Wiley Evers (1925—1963), was Dr. Crew’s career established in 1970 with a mandate to meet has spanned from the educational and social needs of the central the classroom to Brooklyn community. The college is committed the chancellorship to the fulfillment of this mandate, and to the of the nation’s larg- belief that education has the power to positively est school district, transform the lives of individuals and is the right New York City Public Schools. In 2012, Dr. of all individuals in the pursuit of self-actualiza- Crew was selected to serve as Oregon’s first tion. Consequently, the college’s mission is to Chief Education Officer. Dr. Crew is a renowned develop and maintain high-quality, professional, leader and reformer who has made it a mission career-oriented undergraduate degree programs to improve student achievement, especially for in the context of liberal education. The college poor and minority students. The Chancellor’s offers programs both at the baccalaureate and at District, The Parent Academy, and the School the associate degree levels, giving close attention Improvement Zone are among Dr. Crew’s in- to the articulation between the two-year and the novations that are considered national models four-year programs. The college has a commit- for reform. These successful strategies have ment to students who desire self-improvement, engaged parents, business, and political leaders, a sound education, an opportunity to develop a and the community, ensuring students achieve personal value system, and an opportunity to higher levels of success and are prepared for the gain maximum benefits from life experience and global challenges ahead. Dr. Crew has served on their environment. Medgar Evers College is a numerous boards, including Lincoln Center for senior college of the City University of New York, the Performing Arts, Communities in Schools, the nation’s leading urban university compris- Al Shanker Institute, and the Public Education ing 11 senior colleges, six community colleges, Network. He is the recipient of many awards, a graduate school, a law school, a medical including the NAACP Educational Leadership school, and an affiliated school of medicine, with Award, the Arthur Ashe Leadership Award, and degree-credit students and adult and continuing the AASA National Superintendent of the Year. education students enrolled from throughout the Dr. Crew’s acclaimed book, Only Connect: The five boroughs of the city of New York. Informa- Way to Save Our Schools, continues to guide a tion is available on the CUNY website (cuny.edu) vital public discussion. and the Medgar Evers College website (mec.cuny.edu). Who’s Who

BROOKLYN ACADEMY OF MUSIC (BAM) is school residency, is part of the Brooklyn Reads recognized internationally for its innovative literacy through spoken word program working programming of dance, music, theater, music- specifically with high school males. BAM’s role theater, and opera. In addition to presenting in Brooklyn has expanded with the creation of leading national and international artists, BAM BAMcafé and BAM Rose Cinemas. As part of identifies and supports the work of groundbreak- BAMcinématek, its repertory film program, BAM ing contemporary artists in the performing arts annually presents FilmAfrica, the best of the with its Next Wave Festival, founded in 1983, African Film Festival, during DanceAfrica, as well one of the world’s most important cultural as New Voices in Black Cinema every spring, co- festivals. America’s oldest performing arts center presented by ActNow Foundation. President Katy in continuous operation, BAM has presented Clark began at BAM in 2015, joining longtime performances since 1861. BAM also serves New Executive Producer Joseph V. Melillo. York City’s diverse population through a wide variety of educational and community programs TARGET Minneapolis-based Target Corporation and unique partnerships. BAM collaborates every (NYSE: TGT) serves guests at 1,805 stores and year with the Bedford Stuyvesant Restoration at Target.com. Since 1946, Target has given 5 Corporation for its annual DanceAfrica festival, percent of its profit to communities, which today providing a curriculum on the culture of the visit- equals more than $4 million a week. For more ing company available to hundreds of young peo- information, visit Target.com/Pressroom. For a ple and offering the opportunity for students from behind-the-scenes look at Target, visit Target. Restoration to perform with the visiting company. com/abullseyeview or follow @TargetNews on The Black Male Achievement Program, an in- Twitter. Related Events

Black Panthers from Sacramento, Free Huey Rally, Bobby Hutton Memorial Park in Oakland, CA, 1969. Photo courtesy of Pirkle Jones and Ruth-Marion Baruch

Book signing in BAMcafé Jan 18 at 1pm Dr. Michael Eric Dyson signs copies of his books available at the Greenlight kiosk.

Film at BAM Rose Cinemas The Black Panthers: Vanguard of the Revolution (2015) Directed by Stanley Nelson Jan 18 at 1pm, FREE. Seating is first come, first served This groundbreaking documentary looks at the history of the Black Panther Party, considering the political and social aims of the organization during the civil rights era and the black revolutionary spirit it inspired. Combining archival footage with the voices of party leaders, journalists, and criminal justice and government officials, the film reflects on the ambitions and legacies of the Black Panthers, exposing students to an important and under-explored dimension of US political history. Post-film Q&A with director Stanley Nelson.

Art exhibition in BAMcafé Jan 15—18 BAM presents Picture the Dream, a community art exhibition featuring works by students from the New York City Housing Authority (NYCHA) Atlantic Terminal Community Center, operated by Univer- sity Settlement. For the eighth year in a row, BAM partners with NYCHA to offer free art workshops to children living in Brooklyn public housing residences. This year, students from the Atlantic Terminal Community Center created original artwork inspired by Dr. King’s dream of freedom and equality. Brooklyn Academy of Music Katy Clark, President Joseph V. Melillo, Executive Producer

Brooklyn Borough President Eric L. Adams and

Medgar Evers College City University of New York Dr. Rudolph F. Crew, President

Present

30th Annual Brooklyn Tribute to Dr. Martin Luther King, Jr.

10:30am, January 18, 2016 BAM Howard Gi lman Opera House

The tribute will be followed by a book signing with Dr. Michael Eric Dyson (BAMcate), and screenings of the film The Black Panthers: Vanguard of the Revolution (2015), directed by Stanley Nelson (BAM Rose Cinemas).

Season Sponsor: Bloomberg Philanthropies Target is the presenting sponsor of the Annual Dr. Martin Luther King, Jr. Tribute

Support for the Signature Artist Series provided by The Howard Gilman Foundation. Related free events

Book signing in BAMcafe Jan 18 at 1pm Dr. Michael Eric Dyson signs copies of his books available at the Greenlight kiosk.

Film at BAM Rose Cinemas The Black Panthers: Vanguard of the Revolution (2015) Directed by Stanley Nelson Jan 18 at 1pm, FREE. Seating is fi rst come, first served This groundbreaking documentary looks at the history of the Black Panther Party, consider­ ing the political and socia l aims of the organization du ring the civil rights era and the black revolutionary spi rit it inspired. Combini ng archival footage with the voices of party leaders, journalists, and criminal justice and government officials, the film reflects on the ambitions and legacies of the Black Panthers, exposing students to an important and under-explored dimension of US political history. Post-film Q&A with director Stanley Nelson.

Art exhibition in BAMcate Jan 15-18 BAM presents Picture the Dream, a community art exhibition featuring works by students from the New York City Housing Authority (NYCHA) Atlantic Terminal Community Center, operated by University Settlement. For the eighth year in a row, BAM partners with NYCHA to offer free art workshops to children living in Brooklyn public housing residences. This year, students from the Atlantic Terminal Community Center created original artwork inspired by Dr. King's dream of freedom and equality. 30th Annual Brooklyn Tribute to Dr. Martin Luther King, Jr.

Keynote speaker Dr. Michael Eric Dyson

Emcee Laurie A. Cumbo, New York City Council Member

Musical performances by The Brooklyn Interdenominational Choir Kimberly Nichole

Remarks by Katy Clark, BAM President (in alphabetical order) Bill de Blasio, New York City Mayor Yvette Clark, US Congresswoman Kirsten Gillibrand, US Senator Melissa Mark-Viverito, New York City Council Speaker Ken Thompson, Brooklyn District Attorney

Video presentation Eric L. Adams, Brooklyn Borough President

Program subject to change. Lift Every Voice (first and third verses)

Lift every voice and sing, til earth and heaven ring, Ring with the harmon ies of Liberty; Let our rejoicing rise High as the listening skies Let it resound loud as the rolling sea.

Si ng a song full of the faith that the dark past has taught us Si ng a song full of the hope that the present has brought us, Facing the sun of our new day begun, Let us march on ti ll victory is won.

God of our wea ry years, God of our si lent tears , Thou who has brought us thus far on the way; Thou who hast by thy might, led us into the light, Keep us forever in the path, we pray.

Lest our feet stray from the places, our God, where we meet thee, Lest ou r hearts, drunk with the wine of the world, we forget thee; Shadowed beneath thy hand, may we forever stand, True to our God, true to our native land.

Words James Weldon Johnson Music Rosamond Johnson ©2015 Viacom Inc. All rights reserved. rights All Inc. ©2015 Viacom

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

A cropped photograph of Merce Cunningham’s How To Pass, Kick, Fall and Run omitting John Cage sitting stage left. Merce Cunningham Dance Company 1970 Photo: James Klosty, courtesy BAM Hamm Archives Jan 2016

Contents

The Mariinsky Theatre at BAM The Cherry Orchard

Newark. Photo: Stephanie Berger Uliana Lopatkina. Photo: Valentin Baranovsky Uliana Lopatkina. Photo: Valentin Photo: Viktor Vasiliev Ballerina Maya Plisetskaya has profoundly influenced An account of the uneasy creation of Chekhov’s The our era’s great dancers. Why? by Susan Yung Cherry Orchard, which the Maly Theatre brings to BAM. by Carol Rocamora BAMcinématek: Michael Mann A series looks at Michael Mann’s audacious films. by Nick Pinkerton

BAMbill Cover

Elizabeth Murray is the 2015—16 Winter/Spring BAMbill Cover Artist, part of BAM’s tradition of visual art on the cover of BAMbill. Since 1983, dozens of artists have par- ticipated, including Roy Lichtenstein, Andy Warhol, Chuck Close, Rosemarie Trockel, and more. If Only Cup is featured in Heart & Mind, an exhibition of works by Murray on view at BAM through Feb 14, organized by Pace Gallery in conjunction with BAM and Trisha Brown Dance Company. Murray’s visual design can be seen in this season’s presentation of Brown’s 2003 work PRESENT TENSE. For more information, please contact BAM Visual Art at [email protected] or 718.636.4101.

Elizabeth Murray (1940—2007) was born in Chicago and received a BFA (Art Institute of Chicago) and an MFA (Mills College, Oakland, CA). Murray’s paintings and drawings blur the distinction between abstraction and representation, and her shaped canvases challenge traditional concepts of painting. She received numerous honors, including the Skowhegan Medal for Painting (1986); a MacArthur Fellowship (1999), and a College Art Association Distinguished Artist Award for Lifetime Achievement (2006). Murray’s work has been the subject of more than 70 solo exhibitions worldwide. The Dallas Museum of Art organized a 1987 retrospective of her work, which traveled to Elizabeth Murray venues including the Museum of Fine Arts, Boston; Museum of Contemporary Art, Los If Only Cup, October 1997—January 1998 Angeles; Walker Art Center, Minneapolis; and Whitney Museum of American Art. Eliza- Oil on canvas and plywood, 68” x 72” beth Murray, the 2005 retrospective at MoMA, New York, traveled to Institut Valencià Photograph by Tom Barratt, courtesy Pace Gallery d’Art Modern in Spain in 2006. In 2007, her work was included in the Italian Pavilion © The Murray-Holman Family Trust / Artist Rights at the 52nd Venice Biennale, and she designed mosaic murals for two New York City Society (ARS), New York, courtesy Pace Gallery, subway stations—59th St./Lexington Ave. in Manhattan and 23rd Street/Ely Ave. in New York Queens. Her work is featured in collections including Art Institute of Chicago; Detroit Institute of Arts; Museum of Contemporary Art, Los Angeles; Museum of Fine Arts, Boston; Museum of Fine Arts, Houston; Nelson-Atkins Museum of Art, Kansas City; San Francisco Museum of Modern Art; Walker Art Center, Minneapolis; and Whitney Museum of American Art, Metropolitan Museum of Art, and MoMA, New York. @BAM_Brooklyn #Mariinsky

ITAR-TASS Photo Agency ITAR-TASS Maya Plisetskaya. Photo: Maya Plisetskaya. Photo:

Honoring Maya

by Susan Yung Plisetskaya

Dance may be the most viscerally affecting Of the teacher, in the 1976 book Portrait of of art forms, but its evanescence is painfully Plisetskaya (Progress Publishers, Moscow), apparent when considering the bygone stars Maya said: “Her lessons provided a unique of, for example, ballet—in this case, Russian combination of academic grounding and at the prima ballerina assoluta Maya Plisetskaya same time full inner freedom and an awareness (1925—2015), whose career reached its height of one’s power over one’s own body.” Vaganova’s mid-20th century. Most people, even ballet fans, skill was so great, she adds, that “she could have little first-hand knowledge of this famous teach an elephant to dance.” dancer. And yet she has exerted a profound influence on the genre and its current standard- Her American debut was belated, relative to bearers, such as the Mariinsky Theatre’s Diana the trajectory of her career. The USSR was Vishneva and Uliana Lopatkina, who bring four under Communist rule, and her political Maya-inspired programs to BAM in February, beliefs may have hindered her freedom to tour with the Mariinsky’s magnificent orchestra led with the Bolshoi. (She even signed a petition by Maestro Valery Gergiev, who was a friend of against elevating the reputation of Stalin.) But Plisetskaya’s. With the help of archival troves when she finally appeared in New York, her and the ubiquity of video, we can glean why she performance matched advance buzz. New York made such an impression on our era’s artists. Times’ critic John Martin gushed, “To see a body so responsive to the theatrical moods of From the outset, there’s a divide—Plisetskaya the passing moment, so creatively energized, was a Bolshoi ballerina, and we will be seeing and so completely without technical problems Mariinsky stars paying her tribute. But there’s is quite an experience. And when it belongs to a deep-rooted connection: In 1943, for three so enchanting a personality, it becomes doubly months, Maya studied with Agrippina Vaganova, so. No wonder audiences scream and yell with after whom the Mariinsky’s legendary Vaganova delight whenever she appears.” His gratitude Ballet Academy is named (although she extended to Krushchev: “Spasibo, Nikita assumed leadership of it long after its founding). Sergeyevitch!,” he ended the review. @BAM_Brooklyn Feb 24—28

Ms. Plisetskaya’s widower and another Gergiev With the Bolshoi, Plisetskaya performed for intimate, was in attendance.” She spent the latter President Kennedy in his first outing after the part of her life living with Shchedrin in Munich, Cuban Missile Crisis in November of 1962. The distanced from the Bolshoi. First Lady, Jacqueline Kennedy, and daughter Caroline had watched a company rehearsal that BAM audiences will see Lopatkina perform The afternoon. Caroline was so taken that she asked Dying Swan, a solo for which Plisetskaya was to watch another rehearsal. It is during that famous. In Portrait of Plisetskaya, she revealed tumultuous era of US-Soviet relations, when war insight on her interpretation. “In Dying Swan, for seemed a hair-trigger away, and figures such as example, the arms are the swan itself, its fight Rudolf Nureyev were defecting, that Plisetskaya’s against death. The arms are its swan song, its popularity peaked. melody.” She added, “It’s important to dance the music, not to the music.” New York Times critic Clive Barnes reviewed a 1963 London Bolshoi performance of Don Additional highlights will include other roles Quixote, and wrote, “Miss Plisetskaya, practically danced by Plisetskaya, such as excerpts from snarling with happiness, swept through it La Rose Malade, Carmen Suite, and Melody, exultantly and triumphantly. Her wild pantherine choreographed by Plisetskaya’s uncle, Assaf leaps and rapid turns were breathtaking; this was Messerer, and numerous others. The Mariinsky bravura dancing of simple greatness.” Orchestra will also present a program of Prokofiev’s five piano concertos performed by While Plisetskaya performed outside of the four stellar pianists, conducted by Gergiev. USSR in classic Bolshoi ballets such as Giselle and Swan Lake, she was also featured in Soviet Susan Yung is Senior Editorial Manager at BAM. fare such as Spartacus, a vivid spectacle of flash and power. But she also guested with Maurice Béjart’s Ballet of the 20th Century, dancing in Boléro, which he created for her. As Barnes noted in The Times: “Béjart and Plisetskaya have something very much in common—they are rebels, populists and both have a mixture of intensity and sincerity that is all but unbearable, but comes across as true. They also both share a special view of the physicality, even the sensuality, of dance. … The collaboration between Béjart and Plisetskaya might at first sight seem odd. But when you look at it, it really isn’t. They are both classical ruffians, and they are both intensely concerned with immediate communication with audiences.”

At BAM, we will see the film of Plisetskaya dancing Boléro, accompanied by Gergiev leading the Mariinsky Orchestra. The New York Times’ James Oestreich covered it when it was performed at the 2015 Verbier Festival (Switzerland): “Ms. Plisetskaya’s dancing on the film is utterly captivating in its simplicity, and Mr. Gergiev managed the tricky task of wedding the musical performance to its every subtly shifting beat. The Russian composer Rodion Shchedrin, Uliana Lopatkina. Photo: Valentin Baranovsky Uliana Lopatkina. Photo: Valentin TAKING OFF 5,000 TIMES A DAY. TAKING ON EVERYTHING ELSE. Delta is proud to be the offical airline of BAM. @BAMcinématek #MichaelMann To James Caan in Thief . Photo courtesy MGM/Photofest the

By Nick Pinkerton

BAMcinématek presents Heat & Vice: The Films rather Limitthan props, from handguns to heat lances. of Michael Mann, Feb 5—16. Running alongside Mann’s documentary impulse, however, is his presentational conception Michael Mann’s films combine a verbal of the cinematic world, a perspective tending taciturnity with a baroque visual style. They toward the theatrical and artificial more aren’t much for talking, but they’re something traditionally associated with, say, Japanese to see. His protagonists, the loquacious title cinema. Embellishing the film with rain, neon, character of Ali (2001) being an outlier, don’t a Tangerine Dream soundtrack, and a few have time to dilly-dally or mince words. Instead expressive camera gestures, Mann creates a they fall back on a few tried-and-true pragmatic half-mythological Chicagoland. In the blue-collar personal codes that Mann’s aficionados can actioner, overt stylization was held as something recite, mantra-like: “Life is short. Time is luck,” suspect and sissified, ostracized to the musical or, “There hasn’t been a hard time invented that comedy. Along with Japanophile Paul Schrader’s we can’t handle.” American Gigolo, released the previous year— and the launch of MTV, with which Thief’s Frank (James Caan), the safecracker protagonist appearance was almost exactly contemporary— of Mann’s revolutionary theatrical feature debut, Mann’s film was one exemplar of a sea change Thief (1981), says what he means once, clearly, in the integration of overt stylization into new and with the intention of being understood. sectors of American popular culture, with Miami Largely shot on the streets, alleys, and industrial Vice, the television show that he produced for fringes of Mann’s hometown, Chicago, Thief five seasons beginning in 1984, leading the way. is grounded in authenticity and firsthand knowhow—a solid relationship to the physical facts More than a mere follower of fashion, Mann of the world—that marked ’70s American action understands how changing technology shapes films. The dialogue is criminal argot and shop talk; the look of the world—he’s a gearhead with a the characters are drawn from local lore, police passion for deep-dive research, which puts him blotters, and direct experience. Cops and crooks are in good stead with his reported forthcoming Enzo played by actual cops and crooks (Dennis Farina Ferrari biopic. He never neglects to show the and John Santucci); the film uses working tools fiber-optic strings that make the modern world CELEBRATE COMMUNITY

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work, either through the manufacture of mass Mann has always been fascinated by the media in Ali and The Insider (1999), or in its unseen, ineffable connections which draw people role in conducting three generations of state-of- together from across great divides—and physical the-art nationwide investigations in Manhunter passion and emotional harmony are of central (1986), Heat (1995), and Miami Vice (2006) importance within his action stories. The Last of (Or a J. Edgar Hoover-retro version of the same the Mohicans (1992) contains the most obvious in 2009’s Public Enemies.) manifestation of Mann’s Romanticism, as well as his most cogent and classical set pieces. In Because tech is used in a practical, matter-of- his late period, Mann has taken to working in fact way in Mann’s films, they don’t date like impressionistically smeared camerawork, up-the- showroom productions that proudly roll out the nose angles, handheld tumult—the cinematic latest model. Blackhat (2015) is perhaps unique equivalent of “loose brushwork.” in redeeming that often loathed subgenre, the cyber-thriller—a movie that actually gets the Mann’s cinema today is a liminal, margin- feel of living in the digital drift. Among major walking art—whether pushing a narrative as studio directors, Mann was an early adopter of far as possible into the realm of abstraction digital photography, converting completely with while attempting to keep it working as a Collateral (2004), never trying to replicate film satisfying genre piece, or shooting in extreme but rather exploring the new potentialities of the low light-conditions as to produce a “noisy” digital image in both texture and the capacity image, pushed until it starts to break into its to shoot action. The result—a frantic and constituent parts. A line from Miami Vice— percussive new kind of duck-and-cover screen typically overblown, cocksure, and quite cool— firefight. encapsulates his all-in approach to each new project: “Let’s take it to the limit one more time.” Far from fitting the stereotype of the cold-blooded technician, Mann makes films which fairly throb Nick Pinkerton is a New York-based writer. with emotion. From the lay-it-on-the-line diner His work appears regularly in Film Comment, scene between Caan and Tuesday Weld in Thief Artforum, Sight & Sound, Frieze, Reverse Shot, to its reincarnation with Chris Hemsworth and and Little White Lies. There hasn’t been a hard Tang Wei in a Koreatown restaurant in Blackhat, time invented that he can’t handle.

. in Miami Vice and Colin Farrell Jamie Foxx Photo: courtesy Universal Pictures/Photofest 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 12–4pm (performance days only) 718.636.4182 BAM.org/blog [email protected] BAM Harvey Theater and BAM BAMwifi_forBK Fisher box offices open 90 minutes Lost & Found Facebook.com/BAMstage prior to curtain on performance 718.636.4150, Mon—Fri: 9am—5pm @BAM_Brooklyn days (same-date ticket sales and pick-up only). Restrooms BAMorg/video BAM Howard Gilman Opera House: Group Sales mezzanine and balcony level LOCATIONS For ticket orders of 10 or more (handicapped accessible: 718.623.7885 | [email protected] orchestra level and BAMcafé) PETER JAY SHARP BUILDING 30 Lafayette Ave BAM Rose Cinemas BAM Harvey Theater: BAM Howard Gilman Opera House Advance Ticket Sales: lobby and gallery level Lepercq Space/BAMcafé 877.789.MOVIE BAM Rose Cinemas BAM.org/#film BAM Fisher: Hillman Attic Studio Info: 718.636.4100 lower lobby, 4th floor, and 7th floor

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Please Note

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 Thanks to our Winter/Spring Season supporters

Season Sponsor: Global Tour Premier Partner of King and Major support for BAM provided by: Country

Programming in the BAM Howard Leadership support for King and Country Gilman Opera House is supported and Major support for Les Fêtes Vénetiennes provided by: endowed by: provided by the Selz Foundation.

Additional support for Les Fêtes Major support for King and Country Programming in the BAM Harvey Theater Vénetiennes provided by Anne H. Bass; provided by Alan Jones & Ashley Garrett; is endowed by the Doris Duke Charitable Norman S. Benzaquen; Mary Sharp and Katheryn C. Patterson & Thomas Foundation. Cronson; Michael E. & Mary Gellert; The L. Kempner Jr.; and Jewish Communal Fan Fox & Leslie R. Samuels Foundation; fund. Additional support provided by Major Supporter of BAM Harvey Theater and Sam & Ellen Sporn. Mercedes T. Bass; and Robert & Teresa Programming: Lindsay. Leadership support for dance at BAM provided by: Major Sponsor of BAMcafe Live:

Major Sponsor of BAM’s Winter/Spring Programming in the BAM Lepercq Space Season: is supported by The Lepercq Charitable Leadership support for opera at BAM Foundation. provided by Aashish & Dinyar Devitre. Title Sponsor of BAM Rose Cinemas and Winter/Spring Season supporters: Official Airline of BAM: BAMcinématek: Booth Ferris Foundation brigitte nyc William I. Campbell & Support for Muslim Stories: Global to BAM Rose Cinemas are named in Local provided by the Building Bridges Christine Wächter-Campbell recognition of a major gift in honor of Charina Endowment Fund Program of the Doris Duke Foundation for Jonathan F.P. and Diana Calthorpe Rose, Islamic Art. The Gladys Krieble Delmas Foundation and have been generously supported by Epstein Teicher Philanthropies

The Peter Jay Sharp Foundation, and the Jeanne Donovan Fisher Estate of Richard B. Fisher. Judith R. & Alan H. Fishman The Francena T. Harrison Leadership support for Scandinavian The Steinberg Screen at the BAM Harvey Foundation Trust programming provided by The Barbro Theater is made possible by The Joseph Stephanie & Timothy Ingrassia Osher Pro Suecia Foundation. S. and Diane H. Steinberg Charitable David L. Klein, Jr. Foundation Trust. Diane & Adam E. Max Hellenic Humanities programs The Ambrose Monell Foundation supported by: Official Beverage of BAM: Henry and Lucy Moses Fund, Inc. Donald R. Mullen Jr. Samuel I. Newhouse Foundation, Inc. BAM Community Programs Sponsor: The Reed Foundation Major support for French programming The Jerome Robbins Foundation, Inc. at BAM provided by: The Fan Fox & Leslie R. Samuels Foundation, Inc. Endowment support for the Winter/ The Morris and Alma Schapiro Fund Spring Season: The Andrew W. Mellon The Scherman Foundation Foundation Fund for Opera and Music- The SHS Foundation Theater; The Peter Jay Sharp Fund The Shubert Foundation, Inc. Presenting Sponsor of the for Opera and Theater; Lila Wallace- Dr. Martin Luther King Jr. Tribute The Harold and Mimi Steinberg Reader’s Digest Endowment Fund for Charitable Trust Community, Educational, & Public Affairs The TinMan Fund The BAM facilities are owned by the Programming; The SHS Foundation; City of New York and benefit from public The Winston Foundation, Inc. Estate of Richard B. Fisher; The Starr Estate of Martha Zalles funds provided through the New York Foundation; Nora Ann Wallace and Jack City Department of Cultural Affairs Nusbaum; The Devitre Fund; and the Major supporter of BAM: with support from Mayor Bill de Blasio; BAM Fund to Support Emerging and Cultural Affairs Commissioner Tom Local Musicians. Finkelpearl; the New York City Council BAM would like to thank the Brooklyn including Council Speaker Melissa Mark- BAM Marquee Sponsor: Viverito, Finance Committee Chair Julissa Delegations of the New York State Ferreras, Cultural Affairs Committee Assembly, Joseph R. Lentol, Delegation Chair Jimmy Van Bramer, the Brooklyn Leader; and New York Senate, Senator Velmanette Montgomery, Delegation Delegation of the Council, and Council BAM.org sponsor: Member Laurie Cumbo; and Brooklyn Leader. Borough President Eric L. Adams. Your tax dollars make BAM programs Official Piano for BAM: possible through funding from: @BAM_Brooklyn #TheCherryOrchard Photo: Viktor Vasiliev

By Carol Rocamora The Maly’s Cherry

“My darling, how hard it was for me to write that The idea for his last play came to him in late play.” 1901, but he didn’t begin work on it till the summer of 1902. His wife Olga Knipper (the So wrote an ailing 43-year-old playwright named Art Theatre’s leading lady) was recovering from Anton Chekhov, when he sent The Cherry peritonitis after a traumatic miscarriage, and Orchard to his wife at the Moscow Art Theatre Stanislavsky offered the grieving couple his in October 1903. Whereas each of his previous estate for the summer. Depressed, Olga begged plays had taken him only weeks to write, this one Chekhov to write another play for the company. took him almost two years. It would be his last. “I have the title—“The Cherry Orchard,” he replied (recalling his beloved trees at Melikhovo, Chekhov’s first symptoms of consumption came his abandoned dacha in the north). A motley in 1884, the year he graduated from medical assortment of guests and servants—including school. He ignored the warnings. “It’s probably a strange governess, a clumsy footman, and a just a burst blood vessel,” he wrote dismissively, lively maid—were also summering there, and plunging into work. During the next year he Chekhov, the great observer of human behavior, would practice medicine, write 100 short stories, began assembling a cast of characters in his and experiment with vaudeville. imagination.

But the symptoms persisted, with hemorrhages Still, he procrastinated. Throughout the fall and in 1886, 1889, and 1897—when the official winter, he distracted himself with a rewrite of diagnosis came. His doctors banished him to On the Harmful Effects of Tobacco, his favorite Yalta, “my hot Siberia,” as he called it, far from monologue. Stanislavsky and Nemirovich- Moscow and the Russian countryside that he Danchenko (the Art Theatre’s co-founders) wrote loved. Even in decline, he managed to write letters entreating him to finish the play—but to three of his four masterworks: The Seagull no avail. In April 1903, he came to Moscow (1896), Uncle Vanya (1897), and The Three to be with Olga, offering the excuse that he Sisters (1901). was blocked. “Anyway, I can only manage six #TheCherryOrchard Feb 17—27

or seven lines a day,” he wrote, as his illness in Act IV, as she exits into the unknown. The progressed. Cherry Orchard offers Chekhov’s farewell to the Russia he knew. The decline of the landed Then finally in mid-September, back in Yalta, he gentry, the emancipation of the serfs, the rise of sent the finished play to Moscow. The company industrialism, the emergence of the middle class, read the script, and Stanislavsky telegrammed the ineffectiveness of the intelligentsia, the seeds him, ecstatic: “The author is a genius… How we of revolution—all the great changes he saw in wept!” his lifetime are incorporated in four defining acts, as his characters deal with the present and face “Wept?” Chekhov replied, bewildered. “But The a future Chekhov would never live to see. Cherry Orchard is a comedy!” He barraged the company with letters, giving detailed instructions Lev Dodin, inspired interpreter of Chekhov’s on how to play each role. Alarmed by reports plays, has dazzled audiences with his of Stanislavsky’s direction, Chekhov insisted on productions at the Maly Theatre in St. Petersburg coming to Moscow to attend rehearsals, sick as and around the world. His celebrated Platonov he was. “He wants a train in Act II?! Frogs and played at London’s Barbican Center (2007), corncrakes?! Stanislavsky must be stopped!” he while his passionate Uncle Vanya (2010) and wrote Olga, enraged at Stanislavsky’s habit of haunting Three Sisters (2012) were performed drowning his plays in irritating sound effects. to great acclaim at BAM, which welcomes the return of Maly Theatre from Feb 17—27. On opening night, January 17, 1904, they dragged him up on stage. He was so weak that Carol Rocamora’s translations of Chekhov’s he could hardly stand, and could not control complete dramatic works, as well as her his coughing. Deeply moved, the audience and biography Anton Chekhov: A Life in Four Acts, the cast (including Olga as Ranevskaya and are published by Smith & Kraus. Stanislavsky as Gaev) applauded him. He died 5-½ months after the play opened. He was 44.

“Good bye old life, hello new life!” cries Anya Stanislav Nikolski and Polina Prikhodko. Photo: Viktor Vasiliev Prikhodko. Stanislav Nikolski and Polina 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 Independence Community Bank BAM Fund to Support Emerging Endowment Fund Miriam Katowitz & Arthur Radin and Local Musicians The Horace W. Goldsmith Foundation Mr. & Mrs. Edgar A. Lampert Brooklyn Community Foundation Michael Bancroft Goth Endowed Annie Leibovitz & Studio The Campbell Family Foundation Annual Performance Fund Leo Burnett, USA The Irene Diamond Fund William Randolph Hearst James McLaren & Lawton Fitt Doris Duke Charitable Foundation Endowment for Education and Sarah G. Miller & Frank L. Coulson Emily H. Fisher Humanities Programs The Morgan Stanley Community Judith R. & Alan H. Fishman The Rita & Alex Hillman Foundation and Educational Fund The Ford Foundation Fund to Carole & Irwin Lainoff J.P. Morgan & Co. Incorporated Support Collaborative Creativity Maxwell Family Fund in Community Nash Family Foundation Among U.S. Artists Funds, Inc. The Jerome Robbins Foundation, Inc. Diane & Adam E. Max The Jessica E. Smith and Kevin R. May & Samuel Rudin Family The Andrew W. Mellon Foundation Brine Charitable Trust Foundation Fund For Opera & Music-Theater The Geraldine Stutz Trust, Inc. Edward Spilka Bruce C. Ratner $100,000 and above Axel Stawski & Galia Meiri William Boss Sandberg Michael Bailkin, Marvin Levine, Mr. & Mrs. Ame Vennema The Peter Jay Sharp Fund for Opera Jesse Masyr, David Stadtmauer Verizon Communications and Theater Robert & Joan Catell Fund for The Isak and Rose Weinman The SHS Foundation Education Programs Foundation in honor of Madame The Starr Foundation Charina Endowment Fund Lilliana Teruzzi $500,000 and above Neil D. & Kathleen M. Chrisman The Winston Foundation The Devitre Fund Mr. & Mrs. Henry Christensen III Anonymous

For more information on the BAM Endowment please contact As of September 1, 2015 Denis Azaro at 718.636.4193 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 Stephanie Franco at 718.724.8137 or [email protected]. All inquiries will remain confidential. BAM

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Salutes Upcoming Events @BAM_Brooklyn

2016 WINTER/SPRING SEASON BAMCAFÉ LIVE

BAM and Knight Blanc present FREE MUSIC FRI & SAT NIGHTS The Glory of the World | By Charles Mee | Directed by TAYE JOHNSON | Feb 5 at 9pm Les Waters | Actors Theatre of Louisville | Through Sugartone Brass Band | Feb 6 at 9pm Feb 6 | HT Tulivu and Seasoned Elegance | Feb 12 at 9pm globalFEST On the Road—Creole Carnival | Gordon Chambers | Feb 13 at 9pm Feb 21 | OH SUGA BUSH | Feb 19 at 9pm The Cherry Orchard | By Anton Chekhov | Def Stories | Feb 20 at 9pm Maly Drama Theatre of St. Petersburg, Russia | TALKS Directed and adapted by Lev Dodin | Feb 17—27 | HT Into the Archives: The Cherry Orchard | In conjunction BAM and the Mariinsky present with The Cherry Orchard | With Sharon Lehner and Folk, Form, and Fire: The Prokofiev Piano Concertos | Ethan Hawke (others TBC) | Feb 24 at 6pm | BRC Mariinsky Theatre, St. Petersburg | Conducted by Valery Gergiev | Pianists: George Li, Alexander Toradze, Daniil UNBOUND Trifonov, Sergey Redkin, Sergei Babayan | Feb 24 | OH Unbound: Ben Rawlence in Conversation with K’naan A Tribute to Maya Plisetskaya | Mariinsky Theatre, St. Co-presented by BAM and Greenlight Bookstore | Petersburg | Musical direction by Valery Gergiev | Release of City of Thorns | Feb 12 at 7:30pm | FS Diana Vishneva & Uliana Lopatkina | With soloists of EAT, DRINK & BE LITERARY the Mariinsky Ballet | Feb 25—28 | OH Marlon James | Moderated by Lorin Stein | Presented BAMCINÉMATEK in partnership with the National Book Foundation | Feb 16 at 6:30pm | BC REPERTORY, CLASSICS, FESTIVALS

Heat and Vice: The Films of Michael Mann BAMKIDS Feb 5—16 | BRC Witches’ Brew Feathers of Fire: A Persian Epic (Shadow Puppet Feb 17—29 | BRC Theater) | Hamid Rahmanian, Larry Reed, Shadowlight Productions | Feb 5—7 | FS BAMkids Film Festival | Feb 27 & 28 | BRC

BC=BAMcafé | BRC=BAM Rose Cinemas | FS=Fishman Space (BAM Fisher) | HS=Hillman Studio (BAM Fisher) HT=BAM Harvey Theater | OH=BAM Howard Gilman Opera House | MM=Mark Morris Dance Center Photo by Valentin Baranovsky © State Academic Mariinsky Theatre Photo by Valentin in a Room. Diana Vishneva in Woman 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 Oct 28, 2014—Oct 28, 2015)

$500,000 and above The Harkness Foundation Time Warner Inc. Charitable Trust José Parlá brigitte nyc for Dance The TinMan Fund The Barker Welfare Foundation William & Laura Taft Paulsen Brooklyn Borough The Francena T. Harrison Toll Brothers City Living The Howard Bayne Fund Laura Pels International President’s Office— Foundation Trust Pedro Jose Torres & Cecilia Roger & Brook Berlind Foundation for Theater Eric Adams Stephanie & Timothy Ingrassia Picon Mr. & Mrs. Tony Bowe Pfizer Inc. William I. Campbell & Kate Spade Virginia B. Toulmin The Brooklyn Brewery Plaza Construction Christine Wächter- The Kovner Foundation Foundation Donald A. Capoccia Corporation Campbell The Lepercq Charitable Anonymous Goldman Sachs Gives at Lyon & Hilary Polk The City of New York— Foundation the direction of R. Martin Maya Polsky Bill de Blasio, Mayor Toby Devan Lewis $25,000 and above Chavez Daniel Porter & Melanie Doris Duke Charitable James I. McLaren & Lawton A24 Films Credit Suisse Judd Foundation W. Fitt Roger Alcaly & Helen Bodian Crown Acquisitions Marcel Przymusinski Jeanne Donovan Fisher Nash Family Foundation Jody & John Arnhold Pam Daley & Randy Phelps William & Katherine Rayner Judith R. & Alan H. New York State Council on BNY Mellon Beatrice & James Del The Reed Foundation Fishman the Arts Mercedes T. Bass Charitable Favero David Richenthal Ford Foundation Onassis Cultural Center NY Corporation Ahmad Deek & Marie-Line William D. & Susan Kahan The Howard Gilman Norman & Liliane Peck Anne H. Bass Grinda Rifkin Foundation Pepsi-Cola Bottling Tony Bechara The Dermot Company, Inc. Max Rifkind-Barron Goldman Sachs Gives Company of New York Norman S. Benzaquen DeWitt Stern The River Café Goldman Sachs Gives at The Jerome Robbins Charles Hayden Foundation Jean and Louis Dreyfus Mr. & Mrs. Theodore C. the recommendation of Foundation, Inc. Jim Chervenak Foundation, Inc. Rogers Anne Hubbard & Harvey May and Samuel Rudin Linda & Adam Chinn Carol & Roger Einiger Saul & Devorah Sherman Schwartz Family Foundation, Inc. Mr. & Mrs. Henry Mallory & Elizabeth Factor Fund Jaharis Family Foundation Martha A. & Robert S. Rubin Christensen III Linda & Martin Fell Timothy & Julie Sebunya JPMorgan Chase & Co. The Fan Fox & Leslie R. Citi Foundation FirstService Residential The Evelyn Sharp Robin & Edgar Lampert Samuels Foundation, Inc. CompassRock Real Estate LLC Estate of Richard B. Fisher Foundation Diane & Adam E. Max The Morris and Alma The Corinthian Foundation Fribourg Family Foundation Sills Family Foundation The New York City Council— Schapiro Fund Constans Culver Foundation Alvin E. Friedman-Kien & Susan & Larry Sills Brooklyn Delegation Selz Foundation Mark Diker & Deborah Colson Ryo Toyonaga Simon Sinek The New York City Council— The Shubert Foundation, Inc. Epstein Teicher Philanthropies Jacques and Natasha In Memory of Robert Sklar Melissa Mark-Viverito, Edward Spilka Barry M. Fox Gelman Foundation Sam & Ellen Sporn Speaker Axel Stawski & Galia Meiri Google GGMC Parking, LLC Jean Stein New York City Department Joseph A. Stern The Grand Marnier Foundation David & Susie Gilbert John Strasswimmer of Cultural Affairs Viacom Robert M. Greenberg & MaryAnne Gilmartin Merryl H. & James S. Tisch New York City Economic The Winston Foundation, Inc. Corvova Choy Lee Beth & Gary Allen Glynn Turner Construction Development Corporation Anonymous The William and Mary Goldman, Sachs & Co. Company PASNY Greve Foundation Elaine Golin United American Land The SHS Foundation $50,000 and above Hasty Pudding Institute Pamela Grace Wendy vanden Heuvel Jessica E. Smith & Kevin Gordon Bowen of 1770 Great Performances Margo & Anthony Viscusi R. Brine Citi Miriam Katowitz & Arthur The Green Fund Inc. White & Case LLP Ronald P. Stanton/The Con Edison Radin The Grodzins Fund James Wilentz & Robin Delancey Foundation Ide & David Dangoor Dan & Abbe Klores Henry B. & Karoly S. Gutman Maxwell The Joseph S. and Diane H. The Gladys Krieble Delmas Kohn Pedersen Fox The Marc Haas Foundation, WSP Cantor Seinuk Steinberg Charitable Trust Foundation Associates PC Inc. Richard C. Yancey United States Department of Steven & Susan Felsher Philippe & Posey Krakowsky Mr. & Mrs. Burton K. Haimes Carol Yorke & Gerard Conn State, Bureau of Educa- Fleurs Bella Robert & Teresa Lindsay Dozier Hasty & Nancy Barbara & David Zalaznick tional and Cultural Affairs Susan L. Foote & Stephen John Lipsky & Zsuzsanna Havens-Hasty Estate of Martha Zalles David & Jane Walentas L. Feinberg S. Karasz Cheryl Henson & Ed Finn Pia & Jimmy Zankel Jed Walentas & Kate Gotham Organization, Inc. The Frederick Loewe The Jim Henson Anonymous Engelbrecht The Florence Gould Foundation, Inc. Foundation The Robert W. Wilson Foundation Gary Lynch & Kate Hall Cecilia & James Herbert $5,000 and above Charitable Trust Barbara Haws & William Goldman Sachs Gives at Sophie Hughes Albee Development LLC Josephson the recommendation of David & Debra Humphreys Alice M. & Thomas J. Tisch $250,000 and above Penn & Diane Holsenbeck David & Susan Marcinek Hunter Roberts Foundation American Express Daniel Clay Houghton Mr. and Mrs. James S. Construction Group Allran Electric LLC Bloomberg Philanthropies Richard Hulbert Marcus Investors Foundation Matthew & Krista Charina Endowment Fund Frederick Iseman The Maurice Marciano J.F. Stearns Co. LLC Annenberg Aashish & Dinyar Devitre Alan Jones & Ashley Garrett Family Foundation John Civetta & Sons AvalonBay Communities Doris Duke Foundation for The Emily Davie & Joseph Mertz Gilmore Foundation Gene & Terry Kaufman Inma Barrero Islamic Art S. 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Brad Lander, New the Macy’s Foundation John L. & Eva Usdan National Endowment for The Scherman Foundation, York City Council Peter S. Britell/Venable LLP The Wall Street Journal the Arts Inc. François & Calleen The Brodsky Organization Nora Ann Wallace & Jack Samuel I. Newhouse Bartholomew A. Sheehan & Letaconnoux Brooklyn Gin Nusbaum Foundation, Inc. Sheila A. Cain Lettire Construction Natasha Chefer Anonymous The New York Community Sidley Austin LLP Corporation Neil & Kathleen Chrisman Trust Social Discovery Ventures The Levine Foundation Pamela Codispoti & Mark $100,000 and above The Barbro Osher Pro Joseph and Sylvia Slifka The Bertha and Isaac Habner Altman Foundation Suecia Foundation Foundation Liberman Foundation Ofer Cohen & Melissa Bank of America Katheryn C. Patterson & Brian Stafford Lynn J. Loacker Dibella Frances Bermanzohn & Thomas L. 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39223-AD-BBPH.indd 1 12/14/15 12:20 PM BAM Supporters & Patrons

McNeil Joanna Hedge Solomon Elizabeth Peyton Irene Cairo Jennie L. & Richard K. Robert & Barbara Heelan Brian & Florence Mahony Andrew Pinkowitz & Mary André Spears & Anne Rosen Descherer Isaac & Sheila Heimbinder Dr. Robert Maki Pinkowitz David Spears Brooke Devine Kris Heinzelman Matthew Mallow Pauline Pinto Joseph Spiegel Edwin & Paula DeYoung Jeffrey Henigson Ronald Daignault & Teresa Daria Pizzetta Gayatri Spivak Anne & John Dockery Edward Henry Maloney Carl Podwoski & Virginia Jonathan Sporn Lynn Dolnick Jeffery Hentze Anne Maltz Lovejoy Samarith Srey Donaldson Acoustics Co., Inc. David & Jennifer Herman- Andrea Marber Elizabeth Polanco Barbara Stanton Miriam Donoho Feldman Nadja Marcoz Paul & Marjorie Possick Shirley Staples & Donald Donna & Mitchell Drach Herrick, Feinstein LLP Barbara A. 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Brooklyn Academy of Music Cheryl Della Rosa Alberto Sanchez Mary Kantor Dinyar S. Devitre Timothy Sebunya John Lipsky Chairman of the Board Mark Diker Bartholomew A. Sheehan III Laurie Mallet Alan H. Fishman Andre Dua Jessica Smith Cathy-Ann Martine-Dolecki Brendan J. Dugan Brian Stafford David L. Ramsay, M.D., M.Ed. Vice Chairmen of the Board Thérèse Esperdy Axel Stawski Elaine Weinstein William I. Campbell Teri Everett Joseph A. Stern Hon. Franklin R. Weissberg Adam E. Max Mallory Factor Pedro J. Torres Vaughn C. Williams, Esq. Richard E. Feldman, Esq. John L. Usdan President Steven G. Felsher Brigitte Vosse BAM Endowment Trust Chair Katy Clark Jeanne Donovan Fisher Nora Ann Wallace Timothy J. Ingrassia Barry M. Fox Veronica Westberg Secretary MaryAnne Gilmartin Adam Wolfensohn Vice Chair Joseph V. Melillo Robert M. Greenberg Claire Wood Gabriel Pizzi G. Penn Holsenbeck Andrew Zolli Treasurer Anne Hubbard Treasurer James I. McLaren Mark H. Jackson Ex Officio Keith Stubblefield Grant S. Johnson Gina Argento Presidents Emeriti Daniel A. Klores Lori Luis Members Karen Brooks Hopkins Philippe Krakowsky Laura Popa William A. Douglass III Harvey Lichtenstein Edgar A. Lampert Steven G. Felsher Gary Lynch Chairmen Emeriti Elizabeth Holtzman Members Patricia E. Michels Neil D. Chrisman James I. McLaren Tony Bechara Ahrin Mishan Seth S. Faison Norman L. Peck Fran Bermanzohn Donald R. Mullen Jr. Bruce C. Ratner Alberto Sanchez Gordon Bowen William A. Perlmuth Timothy Sebunya Linda Chinn David L. Picket Honorary Trustees R. Edward Spilka Henry Christensen III Frances A. Resheske Robert L. Forbes Nora Ann Wallace Pamela A. Codispoti Sarah C. Robertson Charles J. Hamm Henry Christensen III, Ex Officio Dr. Rudolph F. Crew Jonathan F.P. Rose Barbara B. Haws, C.A. Thérèse Esperdy, Ex Officio David E.R. Dangoor Anna Kuzmik Sampas William Josephson Alan H. Fishman, Ex Officio

BAM Staff

Katy Clark, President Jan Carr, Digital Content Writer John Manderbach, Head Marlon Desouza, Kevin Lemon, Joseph V. Melillo, Executive Anita Goss, Volunteer Librarian Electrician, HT Adrienne Smith, Teonia Smith, Producer Regina Carra, Christina Kennedy, Edward Donohue, Master of Andel Thomas, Michael Whyte, Alice Bernstein, Executive Vice Jarin Schexnider, Mark Toepfer, Properties, HT Attendant Guards President Rebecca Walsh, Kendra Williams, Alison Dabdoub, Sound Engineer, HT Stephanie S. Hughley, Vice Interns Oscar Gruchalski, Utility Man CUSTODIAL SERVICES President of Education, Richard Wurzbach, Utility Man Ramon Cabassa, Custodial Supervisor Humanities, Cinema & Cinématek GENERAL MANAGEMENT Ginger Blake, Wardrobe Supervisor Yossess Allen, Allan Boyce, Ludlow John Lanasa, Vice President of Patrick J. Scully, General Manager Chamberlain, Isaias Flores, Mayra Marketing & Communications Sara Danielsen, Assoc. General ARTIST SERVICES Guillen, Ron Rathan, Akeon Thomas, Riccardo Salmona, Vice President Manager, Fisher Building Mary Reilly, Director of Artist Services Custodians for Institutional Advancement Carrie W. Reynolds, Assoc. General Stacey Dinner, Artist Services Manager Keith Stubblefield, Chief Financial Manager Jeannine Baca, Britney Polites, EDUCATION & HUMANITIES & Officer and iceV President of Liz Zieminski, GM Budget Manager Artist Services Representatives BAMCINÉMATEK Finance & Administration Jaclyn Bouton, Senior Project Sarah Silverblatt-Buser, Fisher Artist Shana Parker, Director of Manager Services Representative Operations for E&H PRESIDENT’S OFFICE Liana Agredo, Jessie Fairbanks, Jennifer Leeson, Operations Michael Doyle, Administrative Project Managers THEATER MANAGEMENT Manager for E&H Coordinator Chris Mode, GM Coordinator, Christine M. Gruder, Theater Manager Jackie Katz, Education Assoc. Budgets & Contracts John L. Jones, Assoc. Theater Victoria Collado, Education Asst. ARTISTIC PROGRAMMING Samuel Denitz, Admin. Asst. & Manager Rebekah Gordon, Admin. Stonie Darling, Department Manager BAMshop Liaison Sonia Clayton, Jacqueline David, Coordinator Ross Marshall, Manager of Artistic Cady Knoll, FOH Representative, Leroy Houston, Theater Staff Planning Fisher Supervisors BAM ROSE CINEMAS Juan Pablo Siles, Programming Carmel Curtis, Lucy Petropoulos, Efi Shahar, Cinema Executive Intern Interns BUILDING OPERATIONS Manager Cameron Christensen, Director of Michael Katz, Projectionist PROGRAMS & CURATORIAL PRODUCTION Building Operations Adam Goldberg, Asst. Manager Nick Schwartz-Hall, Line Producer Neil Kutner, Director of Production Rohan Bhasin, Assoc. Director of Andreea Drogeanu, Brente Kelly, Amy Cassello, Assoc. Producer, Collin Costa, Dylan Nachand, Building Operations Davina Roberts, Anthony Next Wave Festival Assoc. Production Managers Wendy Berot, Project Manager Shields Jr., Head Floor Staff Darrell M. McNeill, Assoc. Producer, Paul Bartlett, Ryan Gastelum, Summer Krounbi, Building Music Jennifer Grutza, Elizabeth Moreau, Operations Coordinator BAMCINÉMATEK Rachel Katwan, Asst. Line Producer Brian Sciarra, Production Markee Glover, Mailroom Clerk Gabriele Caroti, Director R. Michael Blanco, DanceMotion Supervisors Robyn Goldstein, Mailroom Asst. Nellie Killian, David Reilly, USASM, Project Director Danielle Colburn, Laura Williams, Kevin Cecil, Building Programmers Paige Haroldson, DanceMotion Palmer Johnston, Production Operations Asst. Jesse Trussell, Programming Asst. USASM, Project Asst. Coordinators Elaine Colon, Jean Smith, Building Ryan Werner, Programmer at Jason Collins, DanceMotion Heli Soell, Admin. Coordinator Services Assoc. Large USASM Intern Violaine Crespin, Lynn Koek, Interns Steve McDowell, Auxiliary Technician Danny Kapilian, Producer, R&B EDUCATION Festival, MetroTech STAGE CREW BUILDING MAINTENANCE Steven McIntosh, Director of Steven Serafin, Special Consultant Thomas Paulucci, Crew Chief Anthony Shields, Maintenance Education & Family Programs & Editor, BAM: The Complete Cyrus Similly, Head Carpenter, OH Supervisor John P. Tighe, Asst. Director of Works Paul McManus, Asst. Carpenter/ Daniel Curato, Calvin Brackett, Education Flyman, OH Ronald Hunter, Maintainers Eveline Chang, Mikal Lee, Verushka ARCHIVES James D’Adamo, Head Electrician,OH Carl Blango, Asst. Maintainer Wray, Program Managers Sharon Lehner, Director of Archives Amy Domjan, Asst. Electrician, OH Cathleen Plazas, Program Sarah Gentile, Digital Project Archivist Nicholas Varacalli, Master of SECURITY Coordinator Louie Fleck, Archives Manager Properties, OH Melvin Patterson, Manuel Taveras, Malcolm Jackson, Education Bree Midavaine, Mary Rhymer, Marc Putz, Sound Engineer, OH Supervising Attendant Guards Program Intern Evelyn Shunaman, Processing James Kehoe, Head Carpenter, HT Kenneth Aguillera, Collie Dean, Nora Tjossem, Humanities and Archivists Joseph Werner III, Asst. Carpenter, HT Senior Attendant Guards Education Events Intern BAM Staff

HUMANITIES Andrew Chan, Melanie Cherry, INSTITUTIONAL GIVING Ilex Bien-Aime, Govt. & Violaine Huisman, Director of Allison Kadin, Marketing Clemente Luna, Director of Community Affairs Coordinator Humanities Managers Institutional Giving Molly Silberberg, Humanities Rhea Daniels, Marketing Kailin Husayko, Semra Ercin, HUMAN RESOURCES Manager Coordinator Institutional Giving Managers Seth Azizollahoff, Director of Laura Scholl, Marketing Operations Stephanie Caragliano, Institutional Human Resources LEAD INSTRUCTORS Manager Giving Coordinator Samara Alexander, HR Manager Joshua Cabat, Young Film Critics Britt Aronovich, Marketing Rebecca Russell, Maayan Dauber, Cynthia Smith, Payroll Manager Samara Gaev, Arts & Justice Revenue Manager Interns Alexis Boehmler, Benefits Jenny Rocha, Dancing into the Catherine Charnov, Marketing Asst. Manager Future MEMBERSHIP Viadelie Clemena, Adam Lagosz, AUDIENCE DEVELOPMENT & Claire Charlesworth, Director of Interns TEACHING ARTISTS STRATEGIC PLANNING Membership Jennifer Armas, Brigitte Barnett- Molly Meloy, Director of Audience Sarah Mischner, Membership INFORMATION TECHNOLOGY Loftis, Rebecca Bliss, Melissa Development & Strategic Manager William Allen Lee III, Director of Brown, Mahogany Browne, Darian Planning Bruce Smolanoff, Telefund Information Technology Dauchan, Harris Eisenstadt, Joaquin Esteva, Advertising Manager Thomas Brown, Business Imani Faye, Kimani Fowlin, Manager Cheryl-Lyn Miller, Membership Analytics Manager Glenn Gordon, Ingrid Gordon, Claire Frisbie, Content Marketing Coordinator Ira Sibulkin, Assoc. Director of IT Mel House, Albert Iturregui- Manager Kate Rakowski, Telefund Assistant Timothy Assam, Systems Elias, Gwendolyn Kelso, Nicole Nathan Gould, Marketing Manager, Eva Marie Arena, Jessica Benton, Administrator Kempskie, Abigail Levine, Spencer Development Allison Bodwell, Kenneth Fitts, Svetlana Mikhalevskaya, Database Lott, Michael Mullen, Pamela Chris Tyler, Content Marketing Asst. Kimberly Howard, Melissa Developer Patrick, Drew Petersen, Korey Sharlene Chiu, Customer Loyalty & Krzywicki, Thomas Lawler, Emilie Jason Q. Minnis, IT Project Phillips, Mike Ramsey, Gwenyth Strategy Manager McDonald, Samantha Osborne, Manager Reitz, Najee Ritter, Jen Shirley, Brittany Remington, Adrienne Matthew Taylor, Andrei Iliescu, Robby Stamper, Keomi Tarver, TICKET SERVICES Reynolds, Itamar Segev, Terence Web Developers Adia Whitaker, Todd Woodard G. Scott Kubovsak, Director of Swiney, Amanda Wilder, Jersy Rodriguez, Technical Ticket Services Membership Representatives Support Manager MARKETING & Russell Grier, First Asst. Treasurer Susan Bishop, Admin. Coordinator COMMUNICATIONS Victor Jouvert, Kevin McLoughlin, PATRON SERVICES Lucas Austin, Junior Desktop COMMUNICATIONS Charlie Dolce, Asst. Treasurers Ramzi Awn, Director of Patron Analyst Sandy Sawotka, Director of Royda C. Venture, Ticket Services Services Communications Manager Michael Kendrick, Manager of PROJECT MANAGEMENT Sarah Garvey, Assoc. Director Georgina Richardson, Customer Patron Services & Donor Jeremy Dewey, Director, Project of Publicity Care Manager Relations Management & Strategic Susan Yung, Senior Editorial Latasha McNeil, Asst. Manager Jessica Hindle, Patron Services Planning Manager Ryan Mauldin, Ticket Services Coordinator Adriana Leshko, Senior Publicity Coordinator Alexander Jofe, Annie Steingold, Manager Edward Raube-Wilson Senior Patron Services Assts. Audience Research & Analysis David Hsieh, Maureen Masters, Ticket Services Representative George A. Wachtel Publicity Managers Saul Almiachev, Kiana Bilal Mack, PLANNED GIVING Christian Barclay, Baha Anaïs Blin, Lucca Damilano, Stephanie Franco, Director of Bookseller Ebrahimzadeh, Christina Justin Dash, Evan Dice, Robert Planned Giving Greenlight Bookstore Norris, Publicists Ebanks, Miranda Gauvin, Sophie James Sutton, Publications Asst. McNeill, Warren Ng, Elsie Pacella, SPECIAL EVENTS European Production Hannah Thomas, Press & Traiquan Payne, Edward Raube- Margaret Breed, Director of Representative Marketing Assoc. Wilson, Noel Vega, Ticket Services Special Events On Tour Ltd., Roger Chapman Sarah Sgro, Intern Representatives Grace Eubank, James Vause, Paloma Wake, Special Events Film Buyer CREATIVE DEVELOPMENT Managers Adam Birnbaum Andrew Sloat, Creative Director Lucile Hecht, Administrative Asst. Patrick Morin, Assoc. Director to Vice President for Institutional VISUAL ART Immigration Counsel of Design Advancement Holly Shen, Curator of Visual Arts Jonathan Ginsburg, Fettman, Ryan Rowlett, Senior Interactive Mary Gordanier, Visual Arts Tolchin and Majors, PC Designer BOARD RELATIONS & Coordinator Katie Positerry, Interactive ENDOWMENT Insurance Broker Designer Denis Azaro, Board Relations & FINANCE & ADMINISTRATION Dewitt Stern Kyle Richardson, Alison Endowment Director CAPITAL PROJECTS Whitworth, Designers Alexandra Biss, Manager of Board Jonathan Jones, Director, Capital Medical Consultants Jessie Zo, Laura Bussanich, Relations Projects Ahmar Butt, MD Design Interns Matthew Baclini, Capital Projects Anders Cohen, MD Benjamin Cohen, Assoc. Director CORPORATE RELATIONS & Analyst of Video SPONSORSHIP Laura Grady, Capital Projects Restaurateur Ben Katz, Video Production Manager Chantal Bernard, Director of Manager Great Performances Kaitlyn Chandler, Alexander Guns, Corporate Relations Video Editors Ashley Jacobson, Senior Corporate FINANCE & ADMINISTRATION Jenny Choi, Publications Manager Relations Manager Ellen Leszynski, Project Nov 27, 2015 Robert Wood, Senior Copywriter Elizabeth Sarkady, Business Manager Seán McKeithan, Copywriter Development Manager Casey Cleverly, Creative Services Rebecca Carew, Corporate FINANCE Project Manager Sponsorship Manager Kozue Oshiro, Controller Shu Chun Xie, Creative Services Katerina Patouri, Sponsorship Asst. Tameka White, Asst. Controller Assoc. Claudia Bailey, Budget Manager INDIVIDUAL GIVING Brian Gee, Accounting Manager DIGITAL MEDIA AND PROJECT Barbara Cummings, Director of David McCullough, Budget MANAGEMENT Development Coordinator Aaron Weibel, Manager of Web William Lynch, Director of Seon Gomez, Staff Accountant Production Leadership Gifts Iman Bance, Accounting Asst. Nancy Chow, Digital Media Glenn Alan Stiskal, Director of Adam Sachs, Fiscal Manager Coordinator Major Gifts Douglas Fischer, Yusuf Siddiquee, Josephine Llorente, Digital Gwendolyn Dunaif, Assoc. Fiscal Coordinators Production Asst. Director, Major Gifts & Patron Programs GOVERNMENT & COMMUNITY MARKETING Richard Serrano, Research Manager AFFAIRS Shannon Lacek, Director of Travis Calvert, Project Coordinator, Tamara McCaw, Director of Marketing Major Gifts Govt. & Community Affairs Raphaele de Boisblanc, Senior Dewonnie Frederick, Community Marketing Manager Affairs & Bazaar Manager