N E X T W a V E F E St Iv a L O C T 2 01 8

OCT 2018 OCT NEXT WAVENEXT FESTIVAL

Roy Lichtenstein, Reflections on Hair, 1990

Published by: Season Sponsor:

Dance Company r sa Brown Trisha #BAMNextW L RUN TIME: DATES: OCATION:

ave Approx 1hr BAM F OCT 13at2pm OCT 10—13at7:30pm no intermission

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visionary leadership oftheNextWavevisionary Festival honors JosephV. Melilloandhis36yearsof The 2018Richard B.Fisher NextWave Award GilmoreFoundationby theMertz fordanceattheBAMFisherSupport provided by theVirginia B.Toulmin Foundation composers intheNextWave Festival provided forfemalechoreographersand Support by TheSHSFoundation fordanceatBAMprovided Major support by TheHarknessFoundation forDance fordanceatBAMprovided Leadership support the DorisDuke CharitableFoundation andtheBAMFisherHarvey providedby fordanceattheBAM Leadership support Season Sponsor: Executive Producer Joseph V. Melillo, President Katy Clark, Vice ChairmanoftheBoard William I.Campbell, Chairman oftheBoard Adam E.Max, Brooklyn AcademyofMusic BAM Fisher PROGRAM Trisha Brown Dance Company BALLET (1968) Reconstruction directed by Carolyn Lucas Costume: Trisha Brown rebuilt by Elizabeth Cannon Sound: Ambient Founding Artistic Director Lighting: Beverly Emmons and Choreographer Original Cast: Trisha Brown Trisha Brown Cast: Cecily Campbell Aerial consultant: Bobby Hedglin Taylor Associate Artistic Directors Media consultant: Bill Brand Carolyn Lucas Consulting artist: Jack Warren Diane Madden NY Premiere: Riverside Church Theater, New York, NY, June 19, 1968 Dancers Oluwadamilare Ayorinde Cecily Campbell PAMPLONA STONES (1974) Kimberly Fulmer Leah Ives Reconstruction directed by Cori Olinghouse Amanda Kmett’Pendry In collaboration with Sylvia Palacios Whitman Kyle Marshall Sound: Dialogue, text by Trisha Brown Patrick McGrath Lighting: Beverly Emmons Jacob Storer Original cast: Trisha Brown, Sylvia Palacios Whitman Cast: Leah Ives, Amanda Kmett’Pendry Executive Director Special thanks to Colin Gee for his feedback and dramaturgy Barbara Dufty NY Premiere: 383 West Broadway, New York, NY, June 11, 1974

WORKING TITLE (1985)

Reconstruction directed by Diane Madden and Carolyn Lucas Sound: Peter Zummo, selections from the suite Six Songs: “Sci-Fi,” “Slow Heart,” “Song VI,” “Song IV” Performed by: The Peter Zummo Orchestra Mustafa Khaliq Ahmed (percussion), Guy Klucevsek (accordion), Dave Phillips (bass), Bill Ruyle (marimba and tabla), Peter Zummo (trombone) Costumes: Elizabeth Cannon Lighting: Beverly Emmons Flying by Foy Flying Operators: Philippe Ladue and Libby Polkoski Original Cast: Trisha Brown, Irène Hultman, Carolyn Lucas, Diane Madden, Stephen Petronio, Lisa Schmidt, Vicky Shick, Randy Warshaw Cast: Oluwadamilare Ayorinde, Cecily Campbell, Kimberly Fulmer, Leah Ives, Amanda Kmett’Pendry, Kyle Marshall, Patrick McGrath, Jacob Storer Specials thanks to Vicky Shick and Stephen Petronio

US Premiere: Walker Art Center, Minneapolis, MN, September 5, 1985 Notes on company in 1971. Throughout the early relationship between dancing, set, and 1970s, Brown’s choreography was rooted music finalized as Lateral Pass, presented Tonight’s Program in a rigorous systematicity, defined by her in September 1985 at New York City use of scores derived from an amalgam Center (the company’s first appearance in This program of three Trisha Brown works of geometric shapes and alpha-numerical a midtown Manhattan venue). Departing from the 1960s, 1970s, and 1980s logic. Created through improvisation, from her prior concern with the black highlights the breadth of Brown’s artistic Pamplona Stones marked a significant box’s geometric logic, Brown’s dance experimentation, her playful wit, and departure from her working methods; concept was two-fold. First, she wanted innovative physical artistry—but also the Brown told critics that its working process to work with the theatrical apparatus: Trisha Brown Dance Company’s current was a welcome relief from the self- the curtain; the theater’s fly gallery (from approach to staging Brown’s works. imposed strictures of her 1970s works. which Graves’ set descended); and the Harkening back to a 1960s aesthetic suspension of a dancer from a rope The presentation of Ballet (1968) was Pamplona Stones is performed in everyday manipulated by the theater’s riggers, inspired by the company’s discovery (and clothes and uses props (a mattress, a evoking the centrality of ropes in Ballet preservation) of a series of color slides chair, rocks, and a suspended textile) in (1968), Man Walking Down the Side of and a six-minute color film, the latter a seemingly innocent child’s game where a Building (1970), and Walking on the showing alternating images of a tutu-clad movement and language are juxtaposed, Wall (1971). Second, she composed Brown inching along on all fours across a and deadpan humor emerges from a the dance by collaging together distinct pair of suspended ropes—one set located combination of imagery and physical/ choreographic phrases, a process that in a green outdoor landscape and the linguistic artistry. That this work remains she compared to Graves’ strategy for other—even more dangerously—on a an anomaly in Brown’s career certainly sculpture-making. Returning to the Manhattan rooftop. Performed on only one owes to its creation through dialogue with name Working Title, this performance occasion in 1968, this reconstruction is Sylvia Palacios Whitman who, during acknowledges that the dance has been based on documentary photographs that this period, developed her distinctive removed from the proscenium context for show the film and slides being projected dance-theater, which incorporated objects, which it was made and thereby is also on a make-shift rectangular screen; using both found and made. Appearing casual absent Nancy Graves’ sets and costumes. a nearby ladder, Brown climbed onto two and impromptu, Pamplona Stones was This unadorned version focuses attention suspended ropes, traveling behind the produced through what Brown called on the choreography and brings greater screen and across the stage, using this “memorized improvisation,” and thereby appreciation of Zummo’s complex four- “equipment” to incite awkward, original remained fixed in form throughout its part musical composition in which effects movements in which balance is tentatively four performances, including the initial of sonic transparency and opacity emerge and strenuously achieved in a precarious presentation at Brown’s live/work loft at from shifts between silence, speed, battle with gravity. Ballet is an important 541 Broadway. atmosphere, and musical density. Newly precursor to the iconic Man Walking commissioned costumes by Elizabeth Down the Side of a Building (1970). Working Title premiered in March 1985 Cannon resonate with Graves’ very An ironic commentary on the traditional at Zellerbach Hall at the University of different elaborately sculptural confections, tightrope walk and on the codified California/Berkeley. Launched to fame particularly in their deliberate use of color, language of ballet (a longstanding target with Set and Reset (1983), Brown’s pattern, and texture to generate visual of experimental choreographers working touring schedule exploded; thus as her reverberations among the dancers, and to in the 1960s), Ballet also indulges in a next work developed, she presented it as dramatize changing relationships between distinctly feminine romanticism associated a work-in-progress, mixing and matching individual performers’ roles in solos, duets, with the pink tulle tutu costume, the different units of choreography at different trios, and ensemble dancing. focus of several richly colored close-up performances, accompanied by Peter film images. Zummo’s evolving musical score, and with —Susan Rosenberg dancers clothed in neutral white costumes Consulting Historical Scholar, For Pamplona Stones—which premiered designed by Nancy Graves. Only when the Trisha Brown Dance Company; at the American Dance Festival in June, three collaborators met, at Minneapolis’ Director of MA (Museum Administration) 1974—Brown collaborated with Sylvia Hamline Theater for a residency sponsored Program/Professor of Art History, Palacios Whitman, who joined Brown’s by the Walker Art Center, was the St. John’s University, New York institutional framework associated with Ballet. She was one of the first instruc- dancing—the proscenium stage. CAROLYN LUCAS tors Brown sent to P.A.R.T.S. to construct Associate Artistic Director Set and Reset/Reset, whose collaborative, In her lifetime Trisha Brown was the recipi- interdisciplinary learning process is now Who’s ent of nearly every award available to con- Carolyn Lucas attended North Carolina a cornerstone of the company’s education temporary choreographers. The first woman School of the Arts and graduated with a BFA program. Lucas is currently sharing her first- to receive a coveted MacArthur “Genius” in dance from SUNY Purchase before joining hand knowledge of three decades of dancing, fellowship (1991), Brown was honored by Trisha Brown Dance Company in 1984. teaching, and documenting Brown’s work five fellowships from the National Endow- Lucas originated roles in some of Brown’s for the Trisha Brown Archive. She studies Who ment for the Arts; two John Simon Guggen- most acclaimed works including Lateral Tai Chi with Maggie Newman and Alexander heim Fellowships; and Brandeis University’s Pass (1985), Carmen (1986), Newark Technique with June Ekman. TRISHA BROWN Creative Arts Medal in Dance (1982). In (Niweweorce) (1987), Astral Convertible Founding Artistic Director/Choreographer 1988, she was named Chevalier dans l’Ordre (1989), Foray Forêt (1990), and Astral des Arts et Lettres by the government of Converted (1991). Lucas’ dancing has DIANE MADDEN One of the most acclaimed and influential France. In 1999, she received the New York been described in the New York Times as Associate Artistic Director choreographers and dancers of her time, State Governor’s Arts Award and, in 2003, “affecting in her softly penetrating attack” Trisha Brown’s (1936—2017) groundbreak- was honored with the National Medal of and “especially luminous.” In 1993, Brown Diane Madden attended Hampshire College ing work forever changed the landscape Arts. She has received numerous honorary appointed Lucas as her choreographic as- in Massachusetts before joining the Trisha of art. From her roots in rural Aberdeen, doctorates, is an Honorary Member of the sistant, a position Lucas held for 20 years Brown Dance Company in 1980. Since WA, her birthplace, Brown arrived in New American Academy of Arts and Letters, and before being named associate artistic director then, Madden has danced, directed, taught, York in 1961. A student of Anna Halprin, received a 2011 Bessie Award for Lifetime in 2013. As choreographic assistant, Lucas studied, and reconstructed Brown’s work for Brown participated in the choreographic Achievement. In 2011, Brown received the played an integral role in Brown’s creation nearly 35 years. A much lauded performer, composition workshops taught by Robert prestigious Dorothy and Lillian Gish Prize process in dance and opera, working closely Madden has been described in The New Dunn—from which Judson Dance Theater for making an “outstanding contribution to alongside Brown for pieces including If you York Times as “one of those dancers who was born—greatly contributing to the fervent the beauty of the world and to mankind’s couldn’t see me (1994), its revision to the can make magic out of almost any task.” interdisciplinary creativity that defined 1960s enjoyment and understanding of life.” Her duet You can see us (1995) with Bill T. She has originated roles in works includ- New York. company appeared numerous times at BAM Jones and later Mikhail Baryshnikov; Monte- ing Son of Gone Fishin’ (1981); Brown’s over the years. verdi’s Orfeo (1998), and its revival in 2002; masterwork Set and Reset (1983), for which With the founding of the Trisha Brown Dance El Trilogy (2000); Luci Mie Traditrici (2001); she was recently honored, along with the Company in 1970, Brown set off on her own Today the Trisha Brown Dance Company It’s a Draw (2002); Winterreise (2002) full original cast, by Movement Research in distinctive path of artistic investigation and continues to perpetuate Brown’s legacy with Simon Keenlyside; PRESENT TENSE 2012; Lateral Pass (1985); Carmen (1986); ceaseless experimentation, which extended through its Trisha Brown: In Plain Site (2003); O Zlozony/O Composite (2004) with Newark (Niweweorce) (1987); Astral Con- for 40 years. The creator of over 100 cho- initiative. Through it, the company draws étoiles from the Paris Opera Ballet; Da Gelo vertible (1989), for which she was awarded reographies, six operas, and a graphic artist on Brown’s model for reinvigorating her a Gelo (2006) with Salvatore Sciarrino and a Bessie Award; Foray Forêt (1990); Astral whose drawings have earned recognition in choreography through its re-siting in relation La Monnaie; Rameau’s Pygmalion (2010) Converted (1991); the “running solo” in For numerous museum exhibitions and collec- to new contexts that include outdoor sites with William Christie and Les Arts Floris- M.G.: The Movie (1991); Another Story as in tions, Brown’s earliest works took impetus and museum settings and collections. The sants, Festival d’Aix, Holland Festival, and falling (1993); Yet Another Story as in falling from the cityscape of downtown SoHo, company is also involved in an ongoing Athens Festival; and Brown’s final work for (1994); M.O. (1995) set to Bach’s Musical where she was a pioneering settler. In the process of reconstructing and remounting the Company, I’m going to toss my arms—if Offering; Twelve Ton Rose (1996); Accumu- 1970s, as Brown strove to invent an original major works that Brown created for the you catch them they’re yours (2011) which lation with Talking Plus Repertory (1997); abstract movement language—one of her proscenium stage between 1979 and 2011. premiered at Théâtre National de Chaillot in Monteverdi’s Orfeo (1998); and the interlude singular achievements—it was art galleries, In addition, the company continues its work Paris; many of these works were performed solos Rage and Ladder in El Trilogy (2000). museums, and international exhibitions that to consolidate Trisha Brown’s artistic legacy at BAM. In addition to assisting with new Madden has served as Brown’s personal provided her work its most important pre- through their management of her archives, choreography, directing company rehears- assistant and was the rehearsal director from sentational context. A major turning point in which record her meticulous creative process als and restaging existing choreography on 1984—2000. She continued to teach and Brown’s career occurred in 1979 when she over many decades. the current dancers, Lucas has led projects direct special projects for the company before transitioned from working in non-traditional for companies and institutions around the serving again as rehearsal director from and art world settings to assume the role of a world, including The New School in NYC, 2010—13, when she was named associ- choreographer working within the P.A.R.T.S. in Brussels, and Paris Opera ate artistic director. Through the talents of dancers both within the company and from included in and has been the subject of internationally known schools and compa- many gallery shows in New York City. She GUY KLUCEVSEK DAVE PHILLIPS nies, Madden enjoys keeping Brown’s rich maintains a design studio, Elizabeth Can- Accordionist Bassist and Composer range of choreography alive on stages and non Couture, in Chelsea where she creates alternative sites worldwide. Madden has de- clothing for a private clientele. She has been Guy Klucevsek has toured the world as a Dave Phillips just released the fourth CD veloped an approach to teaching that weaves privileged to work with Trisha Brown on composer, solo accordionist, and bandleader of his jazz group Freedance and is cur- anatomically grounded technique with numerous projects beginning with the song since the mid-1980s. His projects include rently the bassist for the Broadway hit, improvisation, composition, and performance cycle Winterreise in 2002 and extending Polka from the Fringe (1988 Next Wave, The Book of Mormon. He also works with skills. In addition to her own performance to the baroque opera excerpts Les Yeux et toured internationally and recorded on the world music artists Kiran Ahluwalia, Kinan work in collaborative improvisational forms, l’âme and L’Amour au théâtre by Rameau Starkland label) and the group Accordion Azmeh, and Tareq Abboushi, as well as with she is greatly influenced by her study and performed at the Aix-en-Provence festival in Tribe, which toured Europe dozens of times, the adventurous quartet Spooky Actions, practice of Aikido with Fuminori Onuma. 2011. She has costumed three étoiles from released three albums, and was the subject which interprets 20th-century composers Madden is honored to be the recipient of the Paris Opera Ballet for Brown’s piece O of Stefan Schwietert’s documentary film, such as Messiaen and Schoenberg, and two Princess Grace Awards, the first in1986 Zlozony/O Composite in 2004 and recreated Accordion Tribe: Music Travels. One of his includes improvisations between the written and the second for sustained achievement the costumes for the Pennsylvania Ballet in favorite musical experiences was as a guest movements. Phillips received his training at in 1994. 2016 for a festival honoring Brown’s legacy. performer in 1988 on the television program Mannes College and The Juilliard School. She has been honored to continue working Mr. Rogers’ Neighborhood. Klucevsek has He is excited to be a part of Peter Zummo’s with the Trisha Brown Dance Company in released 24 recordings for labels including collaboration with the Trisha Brown MUSTAFA KHALIQ AHMED re-imagining the costumes for some of the Starkland, Tzadik, and Winter & Winter. Dance Company. Percussionist choreographer’s iconic works.

Mustafa Khaliq Ahmed is a 35-year col- CORI OLINGHOUSE BILL RUYLE laborator of New York City downtown BEVERLY EMMONS Reconstruction Director, Pamplona Stones Percussionist legends Peter Zummo, Arthur Russell, Elodie Lighting Designer Lauten, Peter Gordon, and Charles Compo. Cori Olinghouse is an interdisciplinary art- Bill Ruyle has been a percussionist, compos- Ahmed’s first CD, Son of the Drumsong, Beverly Emmons has designed for Broadway, ist, archivist, and curator. She danced for er, and collaborator for new music, dance, will be released on Chaos Records this fall, off-Broadway, and regional theater, dance, the Trisha Brown Dance Company from and theater in NYC and abroad for over 40 just in time for this Working Title reunion and opera both in the US and abroad. Her 2002—06 and served as the archive director years. He has performed with numerous with Zummo and the Trisha Brown Dance Broadway credits include Annie Get Your from 2009—18. She is the founder and major ensembles, including The Manhattan Company. Ahmed leads a contemporary Gun, Jekyll & Hyde, The Heiress, Chronicle director of the Portal Project, a living archive Marimba Quartet, Newband (which focuses gospel experience every Sunday morning at of a Death Foretold, Stephen Sondheim’s initiative dedicated to the transmission of on Harry Partch music and instruments), 10am at the First Presbyterian Church in Passion, Abe Lincoln in Illinois, High Roll- performance through archival and curato- La MaMa Experimental Theater Company, Jamaica, Queens. ers, Stepping Out, The Elephant Man, A rial frameworks. Drawing from 20 years the Hudson Valley Philharmonic, and the Day in Hollywood A Night in the Ukraine, of experiential research as a performer in London Contemporary Orchestra. Ruyle The Dresser, Piaf, and Doonesbury. Her improvisational forms, a somatic practitioner, has taught in many educational outreach ELIZABETH CANNON lighting of Amadeus won a Tony award. and time-based media archivist, she uses programs, including the Music Advancement Costume Designer Off-Broadway she lit Vagina Monologues experimental methods to map the embod- Program at The Juilliard School. and has designed many productions with ied knowledge from artists’ practices into Elizabeth Cannon is a clothing designer Joseph Chaikin and Meredith Monk. For interdisciplinary structures. She is currently based in New York City. She studied art at Robert Wilson, she has designed lighting for engaged in a series of projects with chore- SYLVIA PALACIOS WHITMAN the Rhode Island School of Design where she productions spanning 13 years, most notably ographers Jean Butler, Mina Mishimura, Reconstruction, Pamplona Stones received a BFA in illustration. She originally in America, Einstein on the Beach, and the Rashaun Mitchell + Silas Riener, Melinda wrote and illustrated children’s books work- CIVIL WarS Act V. Emmons’ designs for Ring, Gwen Welliver, and Kota Yamazaki. Sylvia Palacios Whitman was born in 1941 ing closely with Pantheon Books and the dance have included works for Trisha Brown, She serves as visiting faculty at Bard College in Osorno, in southern Chile. She studied Gotham Book Mart where she had three solo Martha Graham, and Merce Cunningham. and has lectured at MOMA, Duke University, painting and sculpture at Santiago’s School shows. After a stay in Paris, she became She has been awarded seven Tony nomina- and Lincoln Center, among other institutions. of Fine Arts, before moving to New York City interested in the world of couture and tions, the 1976 Lumen award, two Bessie She holds an MA in performance curation in 1961. In the late 1960s she performed in began designing and fabricating costumes Awards (1984 and 1986), a 1980 Obie for as part of the inaugural class at the Institute the theater works of Robert Whitman, and in and clothing. She has often collaborated Distinguished Lighting, and several Maha- for Curatorial Practice in Performance at 1971 began to work with Trisha Brown, with other artists, and her work has been ram/American Theater Wing Design Awards. Wesleyan University. continuing to perform with her for several years in New York and across the US and lighting designer Beverly Emmons, and the Europe. In 1974 Palacios Whitman pre- artist Nancy Graves, who designed the set KIMBERLY FULMER KYLE MARSHALL sented the first concert of her own works in and costumes. Other choreographers with Dancer Dancer Brown’s studio at 541 Broadway, under the whom Zummo has worked include David overall title Going. In these and subsequent Dorfman, Irène Hultman, Randy Warshaw, Kimberly Fulmer holds a BFA in contem- Kyle Marshall graduated from Rutgers works she and fellow performers used props Debra Wanner, Stephanie Woodard, Stepha- porary dance from the University of North University. He dances with doug elkins cho- and sets of Palacios Whitman’s design, nie Skura, Wendy Perron, Eva Karczag, and Carolina School of the Arts. During the reography, etc. and has worked with Tiffany carrying out activities or tasks that created Risa Jaroslow. Zummo performs with the summer of 2014, she was an apprentice Mills Company and 10 Hairy Legs. In 2014, strong visual images. More recently, Palacios B-Twist Orchestra, under Steve Gaboury’s with Dance Forum Taipei and has also had he organized Kyle Marshall Choreography, Whitman’s drawings and performances have direction, for Marilyn Klaus’ ballet company, the opportunity to perform with Bruce Wood and his work has been performed throughout been shown in the 2013—14 Whitney Mu- Ballets with a Twist. His film music credits Dance Project and Malashock Dance. Fulmer the northeast including Jacob’s Pillow Inside/ seum of American Art exhibition, Rituals of include Second Spring, by Andy Kelleher; has also had the honor and joy of performing Out, Joe’s Pub, NJPAC, NYC Summerstage, Rented Islands: Object Theater, Loft Perfor- Wild Combination, by Matt Wolf; Tramas, works by Trisha Brown, Merce Cunningham, Montclair Dance Festival, and Wassaic Arts mance and New Psychodrama, 1970—89; by Augusto Contento; and Rights of Pass- José Limón, Emery LeCrone, and more. Project. In 2017, Marshall was awarded a and in the 2017—18 Hammer Museum and ing, by Risa Jaroslow. Lately, Zummo has New Jersey Arts Fellowship in Choreography Brooklyn Museum of Art exhibition, Radical been working as a guest artist, assembling and received the Juried Bessie Award in Women: Latin American Art 1960—85. ensembles here and in Europe. LEAH IVES 2018. Dancer For the BAM Fisher performances, Palacios Whitman has contributed to the Trisha OLUWADAMILARE AYORINDE Leah Ives holds a BFA in dance with a minor PATRICK MCGRATH Brown Dance Company’s process of recon- Dancer in movement science from the University Dancer structing Pamplona Stones, a collaborative of Michigan. Ives has since collaborated work she and Brown created in 1974. Oluwadamilare Ayorinde is a Nigerian Ameri- and performed with The A.O. Movement Patrick McGrath was born and raised in can freelance dance artist living in New Jer- Collective/Sarah A.O. Rosner, Avodah Dance Santa Monica, CA. He graduated with a BFA sey. Since graduating from Rutgers Univer- Ensemble, Elizabeth Dishman, Median from New York University’s Tisch School of PETER ZUMMO sity, under the mentorship of Kim Gibilisco, Dance/Alex Springer and Xan Burley, the the Arts in 2016. Prior to that he was a stu- Percussionist he has worked with Colleen Thomas, Bill Leopold Group, and the Peter Sparling Dance dent at the Los Angeles County High School Young, Netta Yerushalmy, Company SBB, Company. In addition to dancing, Ives is also for the Arts. In the past McGrath has worked Peter Zummo’s work as a composer and Douglas Dunn, Kyle Marshall, and Miriam a NY State licensed massage therapist. and performed with BANDPortier, Company trombonist encompasses contemporary, Gabriel + Carlo Antonio Villanueva. He finds Stefanie Batten Bland, and Cherylyn Lavagni- classical, and vernacular styles. It is non- inspiration in the artistic markings and danc- no Dance Works. He started dancing with conforming and still finds a place in any ing of Myssi Robinson. He is pleased to be AMANDA KMETT’PENDRY the Trisha Brown Dance Company in 2017. genre. His most recent recordings, of many, experiencing the repertoire of Trisha Brown Dancer include Lateral Pass and Frame Loop, on with such a caring and talented group. Foom Music; Watermelon Sun, with Tom Amanda Kmett’Pendry is a dancer hailing JACOB STORER Skinner, on Brownswood Recordings; from southern Maryland. Since receiving a Dancer Trombilation, on Faux Amis Records; and CECILY CAMPBELL BFA from The University of the Arts in Phila- Dress Code, on Optimo. Perennial audience Dancer delphia, she has had the pleasure of working Jacob Storer attended the University of favorites include Zummo with an X, on Loris with artists Jonathan Allen, Wally Cardona & Wisconsin—Stevens Point and graduated Records; Experimenting with Household Cecily Campbell is from Santa Fe, NM Jennifer Lacey, Jodi Melnick, Sam Kim, Katie from P.A.R.T.S. in Brussels, Belgium, where Chemicals, on Experimental Intermedia; and and holds a BFA in dance from New York Swords, Teddy Tedholm, Romeo Castel- he worked with various artists across many Slybersonic Tromosome, with Tom Hamilton, University Tisch School of the Arts. She was lucci, the Red Hot Chili Peppers, Adrienne disciplines as part of the three-year training on Penumbra. In recognition of Zummo’s a company member of Shen Wei Dance Arts Westwood and Netta Yerushalmy. She has program. He collaborates with Libby Farr in countless compositions and performances, from 2008—13 and began working with the danced with the Trisha Brown Dance Com- a continuous research project investigating a Gilles Peterson’s Worldwide FM, in London, Trisha Brown Dance Company in 2012. pany since 2016. more Somatic-based approach to ballet and gave him its 2018 Lifetime Achievement is also developing his own work under the Award. After the premiere of Lateral Pass, name Amphigory in collaboration with Theo performed here as Working Title, Zummo Livesey. Storer joined Trisha Brown Dance shared a Bessie Award with Trisha Brown, Company in 2017. Trisha Brown Dance Company, 315 W. 39th Street, Studio 908 Thanks! New York, NY 10018 trishabrowncompany.org Trisha Brown Dance Company gratefully acknowledges the generous ongoing support Board of Trustees: by the Andrew W. Mellon Foundation; Bay Dorothy Lichtenstein, Chair Area Video Coalition; Nathan Cummings Jeanne Linnes, President Foundation; Gladys Krieble Delmas Foundation; Michael Hecht, Treasurer Charles Engelhard Foundation; Howard Jeanne Collins Gilman Foundation; Harkness Foundation for Ruth Cummings Dance; Low Road Foundation; National Film Barbara Gladstone Preservation Foundation; James E. Robison Lawrence P. Hughes Foundation; Rolex Institute; Fan Fox and Leslie Fredericka Hunter R. Samuels Foundation; Shubert Foundation; Anne Livet E. L. Wiegand Foundation; National Endowment Stanford Makishi for the Arts; New York State Council on the Arts Joan Wicks with the support of Governor Andrew Cuomo and the New York State Legislature; and New Trisha Brown, Founding Artistic Director and York City Department of Cultural Affairs, in Choreographer partnership with the City Council. Barbara Dufty, Executive Director Carolyn Lucas, Associate Artistic Director TBDC also extends very special thanks to Trisha Diane Madden, Associate Artistic Director Brown Company Chair Dorothy Lichtenstein, the Anne Dechêne, Company Manager Trisha Brown Company Board of Trustees, and Daniel Feinstein, Development Director all of the Company’s Individual Donors. Adriane Medina, Finance Director Stacy Spence, Education Director Eva Barajas, Marketing Coordinator

Nick Kolin, Production Manager Oluwadamilare Ayorinde and Patrick McGrath in Working Title . Photo by Stephanie Berger Leo Janks, Production Manager/Lighting Supervisor Jessie Ksanznak, Stage Manager David Thomson, Archive Technical Consultant Anne Boissonnault, Archivist Ben Houtman, Audiovisual Archivist Susan Rosenberg, Consulting Historical Scholar Jennifer Lerner, Public Relations Thérèse Barbanel, Les Artscéniques, International Représentation Colette de Turville, International Représentation Elsie Management, Laura Colby, Director: Exclusive Representation in North America Interns: Maya Weiss, Ruby Pittman, Kristen Leach, Stefanie Schwimmbeck

Please consider a tax-deductible donation online or via check payable to Trisha Brown Company Inc. Thank you for your generous support!

BAM®, Brooklyn Academy of Music, Next Wave®, and Teknopolis® are trademarks of Brooklyn Academy of Music, Inc. © Brooklyn Academy of Music, Inc. (2018). The Richard B. Each year, members of the Fisher family help BAM select a recipient who best exemplifies Dick’s forward-thinking ethos and passion for the arts, using this opportunity to celebrate Richard B. Fisher in perpetuity. Past recipients have included Pina Bausch, Charles Mee, Bill T. Jones, Robert Wilson, Mark Morris, Kronos Quartet, Anne Bogart, Fiona Shaw, Brooklyn Youth Chorus, James Thierrée, David Lang and Ivo van Hove. The 2018 Richard B. Fisher Next Wave Award honors BAM Executive Producer Joseph V. Melillo. Fisher Joe began his journey at BAM when Harvey Lichtenstein hired him to curate the first Next Wave Festival in 1983. That year’s festival included works by Philip Glass, Trisha Brown, and Lucinda Childs—artists who would later Next Wave Award define Joe’s singular legacy. In his over three-decade tenure at BAM, Joe has provided a global platform for more than 7,000 artists from more than 45 countries. Through his longstanding commitment to excellence and innovation across artistic disciplines, he has immeasurably changed the way we look at the performing arts.

In honor of his 35 years of visionary Behind great arts presenters are great leadership, BAM and the Fisher family supporters, and few of BAM’s friends have will present Joe with the Fisher Award—a deserved that title more than Richard beautifully designed walking stick by B. Fisher (1936—2004). A visionary Fort Greene sculptor/designer Chris in both professional and philanthropic Gullian, who drew his inspiration from endeavors, Dick championed the creation Dick’s interests and the architecture of of a strong endowment to enable BAM BAM’s Peter Jay Sharp Building. to continue presenting its signature groundbreaking programming, even in Melillo: Jesse Winter Photo of Joseph V. It is fitting that this year’s Award difficult times. ceremony will take place on stage in the BAM Richard B. Fisher Building As Chairman of the BAM Endowment following the opening night performance Trust from 1992—2004, Dick shared of a retrospective triptych by the Trisha Brown Dance Company. This is the financial expertise from years as first time the Fisher Award will be presented in the building which now serves president, chairman, and chairman as a physical remembrance of Dick on BAM’s campus. Since its opening emeritus of Morgan Stanley. Dick’s generosity throughout his life continued in 2012 the BAM Fisher has provided an intimate and versatile venue for even after his passing in the form of a landmark bequest. To honor Dick’s performers in dance, theater, and music, as well as BAM’s education and friendship to BAM and recognize the legacy of progressive arts presentations community programs. Trisha Brown Dance Company has appeared 9 times he helped ensure in Brooklyn, BAM inaugurated the annual Richard B. Fisher over the last 40 years on BAM’s stages, and this tenth appearance is the first Next Wave Award in 2006. performance by the Company in the BAM Fisher. Trisha Brown in Pamplona Stones (1974). Photo: Johan Elbers

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 Oct 2018

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Satyagraha Kreatur

Photo: Markus Gårder Gandhi, by way of Philip Glass and Sweden’s Cirkus Cirkör and Folkoperan. By Rebecca Ritzel Photo: Sebastian Bolesch Sasha Waltz & Guests create a riveting alien dancescape with collaborators Iris Van Herpen, The White Album Soundwalk Collective, and Urs Schönebaum. Joan Didion’s iconic essay is brought to vivid life by By Susan Yung director Lars Jan. By Nicole Serratore

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Roy Lichtenstein was one of the most influential and innovative artists of the second half of the 20th century. He is preeminently identified with Pop Art, a movement he helped originate, and his first fully achieved paintings were based on imagery from comic strips and advertisements and rendered in a style mimicking the crude printing processes of newspaper reproduction. These paintings reinvigorated the American art scene and al- tered the history of modern art. Lichtenstein’s success was matched by his focus and energy, and after his initial triumph in the early 1960s, he went on to create an oeuvre of more than 5,000 paintings, prints, drawings, sculptures, murals and other objects celebrated for their wit and invention. —Avis Berman

In 1983, Roy Lichtenstein designed BAM’s inaugural Next Wave Festival poster and journal cover. Now, 35 years later, his widow Dorothy Lichtenstein has generously donated another Roy Lichtenstein print to Roy Lichtenstein serve as the 2018 Next Wave Festival BAMbill cover to honor Joseph V. Reflections on Hair, 1990. Lithograph, Melillo in his final year as BAM’s executive producer. screenprint, woodcut, metalized PVC collage, embossing on mold-made Somerset paper. 56-1/8” x 45”. Gift of Dorothy Lichtenstein Reflections on Hair is available for purchase with all proceeds going to in honor of Joseph V. Melillo. Front cover and support BAM programs. To inquire, please contact Alli Arnold by email at image above: © Estate of Roy Lichtenstein [email protected]. Satyagraha soars Satyagraha received its NewYork Citypremiere Next Wave Festival. Callitahomecoming,since of ExecutiveProducer JosephV. Melillo’sfinal receive itsAmerican premiereatBAMaspart premiered twoyearsagoinStockholm andwill Satyagraha byFolkoperan/Cirkus Cirkör and atroupethatelevatescircusas high art. hit foracompanydedicatedtopopularizing opera The resultingproductionhasbeen an unexpected in SouthAfrica. nonviolent protest,andayoungGandhi’stravels and settledonPhilipGlass’operaaboutpeace, grandItalianbombastbehind treatment, theyleft operas thatmightlendthemselvestothecircus Asthewomensearchedforother performers. with acrobats,tight-ropewalkers,andother they losttherightstostagePuccini’s finalopera Cirkör, respectively, werehardatworkonitwhen directorsofFolkoperan andCirkusthe artistic Mellika MelouaniMelaniandTilde Björfors, production ofTurandot. oddly bethebestthingtoarisefromacancelled onOct31,may opening attheBAMHarvey The SwedishtouringproductionofSatyagraha, @BAM_Brooklyn Photo: Markus Gårder By Rebecca Ritzel although theFolkoperan board wasskeptical. minimalism madesense, gears to20th-century rights toTurandot wereinjeopardy, switching When shereturned toSwedenandlearnedthe to Satyagraha.” “Wesuburban Stockholmheadquarters. listened athercompany’s recently inaninterview recalled listening tootherthings,”Björfors got tiredoflisteningtoTurandot , sowestarted were inresidenceplanningtheirTurandot. “We andAustraliandesignerDanPotraBjörfors on Long IslandattheWatermill Center, where This Satyagrahacollaborationwasactuallyborn up todate.” opera canbe,”Melanisaid.“Itisopera,butit budget andattendance.“We wanttoexpandwhat 2011, andhasvastlyincreasedthecompany’s a theaterbackgroundtookoverthecompanyin under Melani’sleadership.Theoperadirectorwith toured toBAM—and thefirst has Folkoperan that 2017) butthefirsttimeinnearlytwodecades European refugeecrisis,wasatBAMinJune responsetothe Brooklyn (Limits,thecompany’s in seasons thatCirkus Cirkörhasperformed at BAMin1981.It’sthesecondtimethree 2018 Next Wave @BAM_Brooklyn Satyagraha

The company strives to perform as many six soloists, a choir of eight, and fewer than 20 works as possible in Swedish, and Melani was players in the orchestra. (A few musicians have proposing to let a circus director take the helm of voluntarily joined the circus tableau, and none an opera sung in Sanskrit. “Everyone around us have been injured in rehearsal, Melani said.) The thought we were crazy,” Melani said. “And maybe production’s popularity is due in part to circus that’s true; we are a little crazy.” performers—trampoline jumpers, hoop spinners, and tight-rope walkers who metaphorically Björfors nearly always commissions scores depict Gandhi’s revelatory studies in non-violent for Cirkus Cirkör shows. It’s unusual for her to resistance. But Melani said audiences do not connect with an extant work of contemporary turn out just for the thrills— they connect classical music, so she felt strongly that as long with Gandhi’s message and with the music. as Glass approved, they should do Satyagraha. Satyagraha is only the second Philip Glass opera And he did. to be performed in the Scandinavian country, and the circus opera is winning over new fans to the “I felt I understood Philip Glass, and I felt that American composer who will receive a Kennedy I knew how circus acts could work with the Center Honor in December. music,” she said. “When you see the circus artists practice, it is like a constant meditation. Melani said, “The whole experience is an art They can practice balance for hours. Satyagraha form, from the first note to the last.” became some kind of magic.” It also sold out, with more than 70 performances in Stockholm to date. Rebecca J. Ritzel is a journalist based in “It is a very happy success story,” Melani said. Washington, DC who contributes to The Washington Post and other publications. The musical forces for this Folkoperan production are scaled back from the original scoring, with © 2018 Brooklyn Academy of Music, Inc. All rights reserved. Photo: Markus Gårder 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 Kreatur Photo Sebastian Bolesch

By Susan Yung Kreatur’s Creators Berlin-based choreographer Sasha Waltz has that were the first witnesses of a radical change shown her daring breadth in dance-theater at in our social and sonic landscape, living memo- BAM—from the formal eloquence of Continu rials. Each of these buildings is made of multiple (2015) to the operatic madness of Gezeiten layers of history, sleeping layers, each with its (2010), which literally set the house on fire. The own narrative. Through the act of recording members of her company alternately thrive, band and re-composing we have re-awakened these together, or challenge the parameters given by narratives and memories left behind by their each distinctive production. inhabitants and held tightly inside the walls of these buildings. We picked up the traces left Kreatur (2018), her fifth work at BAM (Nov behind by the thousands of souls who lived and 2—5), is a collaboration between Waltz and a suffered in between those walls. We approached team of artists contributing vividly imaginative the composition as a musical abstraction derived elements. Soundwalk Collective created the from the resonance of these buildings, industrial soundscape by recording inside of buildings with machinery, and factory acoustics, as well as their histories—what the trio terms psychogeography. empty spaces today. The echoing sound of their Sites used to record the pulsing, evocative score architecture is far more eloquent than their empty include Gedenkstätte Berlin-Hohenschönhausen, spaces suggest. Their empty space is memory.” a former Stasi prison specializing in psychological torture; and Berghain Berlin, once a turbine The striking costumes for Kreatur were created hall in a power plant in East Germany, and in by Iris Van Herpen, a Dutch designer known for its most recent incarnation one of the foremost radical concepts and using technology to realize clubs for techno music. them. She can articulate the human frame by exaggerating its structure. For Kreatur, she In a conversation with Sasha Waltz, Stephan emphasizes the individual by nestling the body Crasneanscki of Soundwalk Collective spoke within an airy, shimmering cloud of metal wool, about creating sound for the project. “A starting giving each dancer a cocoon that protects even point of our conversations in this collaboration while it is glowingly transparent. Black and white was the Stasi. We recorded sounds of various plastic sheaths are scored in wavy lines, allowing architectures symbolizing control, and embody- them to stretch and contract with movement. A ing mass-production, capitalist power, revolu- performer bristles with long spikes which simul- tion—landmarks of 20th-century architecture taneously fascinate and repel others. Prismatic TBHC was founded in 1845 and BAM was founded in 1861. Together, we share more than 325 years of serving Brooklyn!

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plastic sheets refract and clone their bearers. through a shift of perception—is always available to us. There is always a solution. With this lad- The lighting, by Urs Schönebaum, pushes to der, we are able to change where we are going, extremes the charged psychological tension in a positive, new, different way. As individuals, onstage. Alternating between otherworldly lumi- as society. We have control.” nosity and inky darkness, the effect transports viewers into the fantastical, at times ominous Upending gender norms is another theme in world created by the collaborators. A few key set Kreatur. Waltz notes, “The greatest moment of elements offer the performers options—a stepped not just dominance but actual violence in Krea- wall forces an individual to choose a direction; tur is coming from a woman, not a man. I think a wooden beam is manipulated and brandished it is important to see that there is this potential in in myriad ways. In Kreatur, these elements women, and break the idea that only men can be combine to transport viewers to an intriguing dominating or violent, because women also can alienscape where the actions of an individual can have their dark side.” ineffably alter the environment. By raising collective awareness, Waltz hopes Waltz spoke about the potential for large-scale that true change, and love, are possible. “Before societal change, symbolized in Kreatur’s set piec- being able to resist, we must accept that there is es. “We can literally shift power, but only through this monster which wishes to control us. The fear awareness. A journalist whom I spoke with of this monster, of this control, alone is enough brought up a very interesting experience regard- to paralyze us. But through awareness, at a ing this. While watching Kreatur, he noticed the certain moment the collective realizes its power. various fragments of architecture on the stage. Through awareness and resistance, we can To most, they appear as just simple pieces, but actually begin to destroy this monster. Without his shift in perception transformed these into the this control or fear of control, we are finally able form of a ladder—an escape ladder. Through a to love again.” slight shift in his thinking, these pieces became symbolic of an actual escape. We too can find Susan Yung is senior editorial manager at BAM. this escape ladder. Regardless of how critical or precarious our situation seems, this escape— © 2018 Brooklyn Academy of Music, Inc. All rights reserved. Kreatur . Photo Sebastian Bolesch @BAM_Brooklyn The White Album Photo: Lars Jan

The White Album Comes Alive By Nicole Serratore “We tell ourselves stories in order to live.” “It is a very personal monologue. She uses a tremendous amount of theatrical and cinematic With that succinct opening sentence in her language to describe her experience in the essay, The White Album, Joan Didion probes world—in terms of being a character, needing to the identity of the artist, the act of writing, and hear cues, and feeling like she needed a script our compulsion towards narrative. But is her but she had lost it,” notes Jan. She analyzes her storytelling an artistic venture or a cry for help— own off-kilter performance of her life. or both? Didion gave permission for this venture and The essay involves 15 vignettes in which Jan’s broad-spectrum artistic background, Didion flits between her own breakdown and which is fitting for this adaptation from page- hospitalization, her relationship to the Charles to-stage. Jan’s work with his performance lab Manson trial, a recording session with The Early Morning Opera moves between visual Doors, the shooting of Huey P. Newton, and the and performing arts. He has straddled the San Francisco State College strikes. personal and political as well. Jan’s The Institute of Memory was a multimedia performance Didion gives voice not only to herself as a writer that used photographs, reenactments, and but to a distinct place and time—America from surveillance records to search for truth in his 1966 to 1971, when the country was wracked late father’s past. With Holoscenes, a durational with division. As a journalist, she was on the front installation on climate change, he placed lines. In her words, “I offer only that an attack of performers in a massive aquarium which rapidly vertigo and nausea does not now seem to me an filled with water, leaving them to manage tasks inappropriate response to the summer of 1968.” under a deluge. Jan has always worked from his Her unsteadiness then reflected America’s. own writing, but Didion’s essay has followed him For artist Lars Jan, The White Album remains for 20 years. The chance to engage with it was “one of the great pieces of literature of our too tantalizing. time” and one that begged for theatricalization. cont. Thanks to our Next Wave Festival supporters

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It also allows Jan to collaborate on-stage with between 1968 and 2018. To do this, the main his partner in life for the first time. Actor Mia audience for the show (Nov 28 to Dec 1) will sit Barron will perform the text of the essay (save in the BAM Harvey Theater, but another smaller quotations). Typically, Barron works in new play audience composed of local students, artists, development and Jan in visual and performance and activists will be in a windowed, sound-proof art. But with “the quality of the text, and Joan box on stage. Within that box, Jan intends to Didion, this is where our two paths have “take the late 60s and distill it into a party.” naturally crossed,” he says. That young activist audience will bring its own perspective to the events of the past. In her essay, Didion explores some of the battles over race and economic justice in the As the essay works on two levels, so too will the 1960s. But on stage Jan delves the legacy of theater piece. “She’s trying to tell the story of the those events for movements such as Occupy country and of the time, and she’s also telling Wall Street and Black Lives Matter, and what the story of herself,” Jan suggests. Didion zooms “contemporary America has to learn from the in and out in her writing, so the show moves movements of the late 60s.” between the “internal and macroscopic.” With Didion’s instability will come spatial flux on-stage Moreover, Didion’s depth of analysis varies on with the two audiences, Barron, and the box. these potent issues. Fifty years later, this gives Jan an opportunity to scrutinize the material Fifty years on, we will experience this expressive anew. “I’m interested in not only what she and intimate voice that Jan will put “into body, covered and how she covered it, but also what flesh, and blood in space.” she missed,” Jan says. Nicole Serratore is is a freelance theater To look at those gaps and resonances, Jan is journalist and critic in New York City. creating a dynamic performance space which he hopes will incite conversation and collision © 2018 Brooklyn Academy of Music, Inc. All rights reserved. Photo: Lars Jan Securing BAM’s Future

BAM Endowment A great institution is built upon on a secure future. At BAM, a robust endowment is the foundation for our adventurous programming and archival, community, and educational initiatives. BAM sincerely thanks those listed below for their generous support of the BAM Endowment. $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 Performance Endowment Fund for Community, Jonathan F.P. & Diana V.C. Rose Fund Educational, & Public Affairs Martha A. & Robert S. Rubin Rita K. Hillman Programs Nora Ann Wallace & Jack Nusbaum HSBC Bank USA, N.A. Goldman Sachs Gives at the $1,000,000 to $4,999,999 $250,000 to $499,999 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 Axel Stawski & Galia Meiri The Peter Jay Sharp Fund for Opera $100,000 to $249,999 Mr. & Mrs. Ame Vennema and Theater Michael Bailkin, Marvin Levine, Verizon Communications The SHS Foundation Jesse Masyr, David Stadtmauer The Isak and Rose Weinman The Starr Foundation Robert & Joan Catell Fund for Foundation in honor of Madame The Thompson Family Foundation Education Programs Lilliana Teruzzi Charina Endowment Fund The Winston Foundation $500,000 to $999,999 Neil D. & Kathleen M. Chrisman Anonymous The Devitre Fund Mr. & Mrs. Henry Christensen III As of August, 2018

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The Richard B. The Richard B. Next Wave Award Each year, members of the Fisher family help BAM select a recipient who best exemplifies Dick’s forward-thinking ethos and passion for the arts, using this opportunity to celebrate Richard B. Fisher in perpetuity. Past recipients have included Pina Bausch, Charles Mee, Bill T. Jones, Robert Wilson, Mark Morris, Kronos Quartet, Anne Bogart, Fiona Shaw, Brooklyn Youth Chorus, James Thierrée, David Lang and Ivo van Hove. The 2018 Richard B. Fisher Next Wave Award honors BAM Executive Producer Joseph V. Melillo for his 35 years of visionary leadership.

Joe began his journey at BAM when Harvey Lichtenstein hired him to curate the first Next Wave Festival in 1983. That year’s festival Photo of Richard B. Fisher: Bill Ray Photo of Richard B. Fisher: included works by Philip Glass, Trisha Brown, Behind great arts presenters are great supporters, and Lucinda Childs—artists who would later and few of BAM’s friends have deserved that title define Joe’s singular legacy. In his over three- more than Richard B. Fisher (1936—2004). A decade tenure at BAM, Joe has provided a global visionary in both professional and philanthropic platform for more than 7,000 artists from more endeavors, Dick championed the creation of a than 45 countries. Through his longstanding strong endowment to enable BAM to continue commitment to excellence and innovation presenting its signature groundbreaking across artistic disciplines, he has immeasurably programming, even in difficult times. changed the way we look at the As Chairman of the BAM Endowment Trust from performing arts. 1992—2004, Dick shared financial expertise from years as president, chairman, and chairman emeritus of Morgan Stanley. Dick’s generosity throughout his life continued even after his passing in the form of a landmark bequest. To honor Dick’s friendship to BAM and recognize the legacy of progressive arts presentations he helped ensure in Brooklyn, BAM inaugurated the annual Photo of Joseph V. Melillo : Jesse Winter Richard B. Fisher Next Wave Award in 2006. BAM Supporters & Patrons

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

BAM Staff

Katy Clark, President ARCHIVES Samuel Denitz, GM Supervisor Audrey Rosenblith, Joseph V. Melillo, Executive Sharon Lehner, Director of Archives Cady Knoll, Operations & Rentals Artist Services Representatives Producer Louie Fleck, Archives Manager Manager, BAM Fisher David Binder, Artistic Director Evelyn Shunaman, Processing Sarah Kelly Konig, Admin. Asst. SECURITY Designate Archivist Scott Shaw, Security Director Coco Killingsworth, Vice President Anita Goss, Volunteer Librarian PRODUCTION Bobby Arnold, Asst. Security of Education & Community Denis Azaro, Volunteer R. Michael Blanco, Director of Manager Engagement Mackeba Braham, Intern Production Shaunte Snipes, Admin. Coordinator Bill Kramer, Vice President of Dylan Nachand, Production Manager Collie Dean, Supervising Attendant Development BAM ROSE CINEMAS Collin Costa, Production Manager, Guard John Lanasa, Vice President of Gina Duncan, Assoc. Vice Fisher Building Kenneth Aguillera, Michael Whyte, Marketing & Communications President, Cinema Paul Bartlett, Senior Production Senior Attendant Guards Patrick J. Scully, Vice President & BAMCINÉMATEK Supervisor Juan Lebron, Lead Guard General Manager Ashley Clark, Senior Repertory Ryan Gastelum, Olivia O’Brien, Marlon Desouza, Yasmin Diaz, Keith Stubblefield, Chief Financial Film Programmer Brian Sciarra, Courtney Wrenn, Kevin Lemon, Teonia Smith, Andel Officer and iceV President of Jesse Trussell, Repertory Film Production Supervisors Thomas, Kelly Wheaton, Attendant Finance & Administration Programmer Tony Crawford, Palmer Johnston, Guards Ryan Werner, Programmer at Large Laura Williams, Production PRESIDENT’S OFFICE Natalie Erazo, Department Coordinators THEATER MANAGEMENT Michael Doyle, Manager Coordinator Bianca Davies, Admin. Coordinator Christine M. Gruder, Theater Andrea Montesdeoca, CINEMA OPERATIONS Claire Gresing, Nadine Mahmoud, Manager Administrative Asst. Efi Shahar, Cinema Executive Production Interns John L. Jones, Assoc. Theater Manager Kourtney Charles, Melo Davis, Manager BOARD RELATIONS Jesse Green, BAM Cinema Samuel Ravelo, Fellows in Sonia Clayton, Jacqueline David, Alexandra Biss, Director of Board Technical Manager Stagecraft Leroy Houston, Theater Staff Relations Michael Katz, Projectionist Supervisors Alison Midgley, Board Relations Assoc. Adam Goldberg, Asst. Manager STAGE CREW Andreea Drogeanu, Anthony Thomas Paulucci, Crew Chief EDUCATION AND COMMUNITY HUMAN RESOURCES Shields Jr., Patrece Stewart, Oscar Gruchalski, Head Carpenter, ENGAGEMENT Seth Azizollahoff, Assoc. Vice Head Floor Staff OH OPERATIONS President, HR John Manderbach, Head Electrician, Shana Parker, Director of Samara Alexander, Assoc. Director, HUMANITIES OH Operation HR Molly Silberberg, Assoc. Director, Nicholas Varacalli, Master of Jennifer Leeson, Senior Operations Cynthia Smith, Payroll Manager Humanities Properties, OH Manager Alexis Boehmler, Benefits Manager Lucy Petropoulos, Humanities Marc Putz, Sound Engineer, OH Sommer McCoy, Operations Gerard Franco, HR Coordinator Assistant Wayne Brusseau, Asst. Carpenter, Manager Courtney Best, Administrative Asst. OH Leo Paredes, Operations VISUAL ART James Kehoe, Head Carpenter, HT Coordinator ARTISTIC PROGRAMMING Holly Shen, Curator of Visual Arts Joseph Werner III, Asst. Carpenter, HT, Zunairis Velazquez, Education Stonie Darling, Assoc. Director, Alli Arnold, Visual Arts Development Chris Wilenta, Head Electrician, HT Operations Intern Artistic Programming Dept. & Sales Manager Sean Kelly, Asst, Sound & Video Juan Pablo Siles, Manager of Morgan King, Program Asst. Edward Donohue, Master of COMMUNITY ENGAGEMENT Artistic Planning Properties, HT Schawannah Wright, Director of GENERAL MANAGEMENT Alison Dabdoub, Sound Engineer, HT Community Programs PROGRAMS & CURATORIAL Liz Zieminski, Director, GM Tom Holler, Richard Wurzbach, Dewonnie Frederick, Community Amy Cassello, Producer Budgets & Contracts Utility Men Affairs & Bazaar Manager Sarah Horne, DanceMotion USASM Alexander Orbovich, Assoc. Ginger Blake, Wardrobe Supervisor Patricia Fogah, Community Affairs Project Director General Manager & Bazaar Asst. Danny Kapilian, Producer, R&B Jaclyn Bouton, Senior Project ARTIST SERVICES Festival, MetroTech Manager Mary Reilly, Director of Artist Services EDUCATION FAMILY PROGRAMS Steven Serafin, Special Consultant; Liana Agredo, Project Manager Stacey Dinner, Artist Services Steven McIntosh, Director of Editor, BAM: The Complete Works Jimmy Walden, Budget & Contract Manager Education & Family Programs & BAM: The Next Wave Festival Manager Paloma Estévez, Britney Polites, Ava Kinsey, Assoc. Director of Johanie Olivero, Project Supervisor Education BAM Staff

Eveline Chang, Mikal Lee, Verushka Natalia Flores, Graphic Design Stephanie Caragliano, Institutional Allan Boyce, Calvin Brackett, Wray, Program Managers Intern Giving Manager Ronald Hunter, Maintainers Sasha Metcalf, Program Analyst | Emma Kilroy, Institutional Carl Blango, Asst. Maintainer Mellon/ACLS Public Fellow DIGITAL MEDIA Giving Asst. Quincy Simmons, Education Aaron Weibel, Director of Digital CUSTODIAL SERVICES Asst./BOLD Fellow Production MAJOR GIFTS & PATRON Ramon Cabassa, Custodial Nico Dodd, Manager of Email PROGRAMS Supervisor LEAD INSTRUCTORS Operations Stacy Margolis, Assoc. VP of Derrek Demary, Jean Smith, Lead Jennifer Armas, Mtume Gant, Sarah Hayes, Manager of Website Major Gifts & Patron Programs Custodians Arts & Justice Operations Ramzi Awn, Director of Patron Yossess Allen, Ludlow Jenny Rocha, Dancing into the Alison Kozol, Manager of Digital Services Chamberlain, Isaias Flores, Future Operations Barbara Cummings, Director of Mayra Guillen, Ron Rathan, Michael LoMonico, Shakespeare Development Akeon Thomas, Jerry Wright, Teaches Teachers AUDIENCE DEVELOPMENT & Maayan Dauber, Director of Custodians Lonnie Woods III, Brooklyn MARKETING Patron Programs Interns for Arts and Culture Charlotte Levitt, Director of Audience William Lynch, Director of FINANCE Instructor Development & Marketing Leadership Giving & Special Kozue Oshiro, Controller Raphaele de Boisblanc, Assoc. Projects Tameka White, Asst. Controller TEACHING ARTISTS Director of Marketing Michael Kendrick, Senior Claudia Bailey, Adam Sachs, Raquel Almazan, Gideon Bautista, Allison Kadin, Senior Marketing Manager of Patron Services & Assoc. Directors of Finance Morris Beasley, Rebecca Bliss, Stacey Manager Donor Relations Brian Gee, Accounting Manager Bone Gleason, Mahogany Brown, Sharlene Chiu, Senior Manager, Jessica Hindle, Patron Services Tyler Cleveland, Staff Accountant Melissa Brown, Chia-Ti Chiu, Darian Audience Development & Manager Heli Soell, Budget Analyst Dauchan, Harris Eisenstadt, Imani Insights Deema Salem, Patron Programs Chaya Coppersmith, AP Faye, Okai Fleurimont, Kimani Fowlin, Vilina Phan, Marketing Manager Manager Administrator Samara Gaev, Ingrid Gordon, Pat Hall, Lori Zakalik, Senior Cinema Jesse Rose-Pulitzer, Major Gifts & Meaghan McLaughlin, Fiscal Chelsea Harrison, Mel House, Albert Marketing Manager Patron Programs Asst. Coordinator Iturregui-Elias, Devin Kawaoka, Abigail Andrew Rubenbauer, Marketing Meredith Kelly, Patron Services Paige Haroldson, Finance Asst. Levine, Spencer Lott, GV Maldonado, Manager, Development Intern Farai Malianga, WT McRae, Anthony Shamim Hossain, Advertising INFORMATION TECHNOLOGY Merchant, Elia Monte Brown, Coordinator MEMBERSHIP & DEVELOPMENT William Allen Lee III, Assoc. Michael Mullen, Janet Onyenucheya, Anna Troester, Marketing Manager OPERATIONS Vice President of Information Pamela Patrick, Mike Ramsey, Lindsay Brayton, Marketing & Claire Charlesworth, Director of Technology Gwenyth Reitz, Efeya Sampson, Publicity Asst. Membership & Development Jason Q. Minnis, Assoc. Director, Victor Sanchez, Jashua SaRa, Billy Jasmine Blake-Swaby, Content Operations IT Development Schultz, Lauren Sharpe, Jen Shirley, Strategy Intern J Olson, Assoc. Director, Ira Sibulkin, Assoc. Director, IT Elizabeth Simmons, Marcus Smalls, Development Operations & Technical Services Šara Stranovsky, Taylor Steele, Karen TICKET SERVICES Analytics Svetlana Mikhalevskaya, Thornton-Daniels, Jono Waldman, G. Scott Kubovsak, Director of Travis Calvert, Senior Manager, Database Developer Sarah Wansley, Adia Whitaker, Todd Ticket Services Budget & Operations Matthew Taylor, Senior Web Woodard Kevin McLoughlin, Head Treasurer Cheryl Miller, Membership Developer Russell Grier, First Asst. Treasurer Manager Benjamin James, Andrei Iliescu, MARKETING & Victor Jouvert, Charlie Dolce, Kyle Elizabeth Sarkady, Project Man- Web Developers COMMUNICATIONS Williams, Asst. Treasurers ager, Crediting & Operations Jersy Rodriguez, Technical Ece Ozaman, Admin. Asst. to VP of Royda C. Venture, Assoc. Director, Richard Serrano, Research Manager Support Manager Marketing & Communications Ticket Services Bruce Smolanoff, Assoc. Director, Tamar Audate, Technical Support Britt Aronovich, Marketing Georgina Richardson, Customer Telefund Manager Tech Revenue Manager Care Manager Steven Knudsen, Development Susan Bishop, Admin. Coordinator Frank Marsilio, Marketing Latasha McNeil, Asst. Manager Operations Coordinator Kenneth Flores, Senior Desktop Operations Manager Ryan Mauldin, Ticket Services Emily Searles, Membership Asst. Analyst Coordinator Lucas Austin, Rafael Iglesias, COMMUNICATIONS Miranda Gauvin, Ticket Services SPECIAL EVENTS Desktop Analysts Sandy Sawotka, Director of Senior Representative James Vause, Special Events Communications Saul Almiachev, Anaïs Blin, Director INSTITUTIONAL ADVOCACY Sarah Garvey, Assoc. Director Shadell Brown, Lucca Damilano, Grace Eubank, Special Events Ellen Leszynski, Senior of Publicity Justin Dash, Robert Ebanks, Manager Manager Susan Yung, Senior Editorial Greg Garner, Liana Jackson, Gina Dyches, Special Events Katerina Patouri, Capital Projects Manager Andy Mines, Warren Ng, Coordinator & Government Affairs Manager David Hsieh, Publicity Manager Edward Raube-Wilson, Angela Hector Rios, Special Events Asst. Maureen Masters, Cinema Romualdez, Allyson Steele, Audience Research & Analysis Publicity Manager Noel Vega, Ticket FINANCE & ADMINISTRATION George A. Wachtel James Sutton, Publications Asst. Services Representatives CAPITAL PROJECTS Bookseller Jonathan Jones, Director, Capital Greenlight Bookstore CREATIVE SERVICES DEVELOPMENT Projects European Production Representative Andrew Sloat, Creative Director Olivia Jacobs, Admin. Asst. to Daniel Costa, Capital Projects On Tour Ltd., Roger Chapman Patrick Morin, Assoc. Director the VP of Development Manager of Design Film Buyer Joseph Kaplan, Alison Whitworth, CORPORATE RELATIONS & FACILITIES MANAGEMENT Adam Birnbaum Designers SPONSORSHIP James Boese, Director of Facilities Immigration Counsel Ben Katz, Video Producer Chantal Bernard, Director of Lynn Alexander, Facilities Manager Jonathan Ginsburg, Fettman, Kaitlyn Chandler, Video Editor & Corporate Relations & Danny Jiang, Engineering Project Tolchin and Majors, PC Motion Designer Sponsorship Manager Andi Floyd, Blue Skies Joseph Barglowski, Video Editor Rebecca Carew, Associate Director Markee Glover, Logistical Services Immigrations Services, LLC Dorothea Trufelman, Asst. Video of Corporate Partnerships & Coordinator Insurance Broker Editor Sponsorships Ronald Jones, Admin. Coordinator Dewitt Stern Jenny Choi, Publications Manager Mari Ogino, Corporate Relations & Joshua Allen, Ahmad Ghany, Raul Charity Coleman, Farah Haidari, Sponsorship Manager Gotay, Ron Hayes, Anthony Sam, Medical Consultants Copywriters Clara Hung, Sponsorship. Asst. Building Services Assocs. Ahmar Butt, MD Kati Rehbeck, Creative Services General Counsel Project Coordinator INSTITUTIONAL GIVING BUILDING MAINTENANCE Mark Jackson Annie Heath, Creative Services Clemente Luna, Director of Anthony Shields, Maintenance Restaurateur Asst. Institutional Giving Supervisor Great Performances Mariana Sanchez Bueno, Video Kailin Husayko, Assoc. Director Steve McDowell, Lead Intern of Institutional Giving Maintenance Technician Aug 1, 2018