OCTOBER 2018

IN THIS ISSUE

NRITYAGRAM VICENTE AMIGO DANCE ENSEMBLE October 19 October 4-6

MARC-ANDRÉ ST. LAWRENCE HAMELIN STRING QUARTET October 17 October 25 October 2018 Volume 15, No. 2

FALL 2018

Paul Heppner President

Mike Hathaway Contents Vice President Feature Kajsa Puckett 3 The Future is Female Vice President, Marketing & Business Development Dialogue Genay Genereux 9 Courtney Sale on Accounting & Office Manager The Velveteen Rabbit Production at Seattle Children's Susan Peterson Theatre Design & Production Director 13 Geoff Larson on Jennifer Sugden Assistant Production Manager illuminating literature with music Ana Alvira, Stevie VanBronkhorst Production Artists and Graphic Designers Intermission Brain Transmission

Sales 15 Test yourself with our Amelia Heppner, Marilyn Kallins, Terri Reed trivia quiz! San Francisco/Bay Area Account Executives Encore Stages is an Encore Arts Joey Chapman, Brieanna Hansen, Program that features stories about Ann Manning, Wendy Pedersen Seattle Area Account Executives our local arts community alongside information about performances. Carol Yip Encore Arts Programs are publications Sales Coordinator of Encore Media Group. We also publish Marketing City Arts, a monthly arts & culture Shaun Swick magazine, and specialty publications, Senior Designer & Digital Lead including the Offical Seattle Pride Guide and the SIFF Guide and Catalog. Learn Ciara Caya Marketing Coordinator more at encoremediagroup.com

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2 ENCORE STAGES The Future (of Seattle Theatre) is Female

(from left) Haysam Kadri as Rasheed, Arden Pala as Zalmai, Nadine Malouf as Laila, Nikita Tewani as Aziza and Denmo Ibrahim as Mariam in A Thousand Splendid Suns, A.C.T. San Francisco. Photo by Jim Cox.

Female playwright- According to a nationwide study by genderqueer and non-binary conducted by Theatre Communications folks, which only make up 0.004% director teams are still Group, during the 2016–17 theatre of produced plays nationwide. a rarity nationwide, season, only 26% of produced plays were written by female playwrights. This But theatre companies across Seattle but this fall is full of statistic is personal to me. I’m a female- are doing their part to balance the women-led projects. identifying playwright working nation- scales and bring gender parity to ally. I’m a speck on that scale, but I do their stages. I had the opportunity to Danielle Mohlman count. Which is why I’m a little ashamed speak with women championing other explores four plays to say I was actually excited to see this women—artists from Seattle Repertory number. For several years, I’d been Theatre, ArtsWest, Washington coming to Seattle telling folks that female playwrights Ensemble Theatre and Seattle Public that showcase the make up only 20% of produced plays. Theatre. These theatres are not only That six percent jump—that’s huge! producing plays by female playwrights, talent, wit and power they’re also enlisting female directors of women. I don’t have to tell you that 26% to take the reins. Females are strong as is an abysmal statistic. And this hell, y’all. number doesn’t even include plays

encoremediagroup.com/programs 3 Nadine Malouf as Laila and Antoine Yared as Tariq in A Thousand Splendid Suns, The cast, musician and composer, David Coulter, in A Thousand Splendid Suns, A.C.T. A.C.T. San Francisco. Photo by Jim Cox. San Francisco. Photo by Jim Cox.

Carey Perloff, director ofA Thousand playwright for the job. She was familiar The play just finished a run at A.C.T. Splendid Suns at Seattle Repertory with Ursula Rani Sarma’s writing in San Francisco, part of a planned Theatre, fell in love with Khaled through a play produced at A.C.T.’s collaboration between A.C.T. and Hosseini’s novel—of the same name— Young Conservatory. Perloff was drawn Seattle Repertory Theatre. as soon as she read it. She was directing to the poetry of Sarma’s playwriting. Scorched by Wajdi Mouawad, a play “I have always found Seattle audi- set in the Middle East, at the time and ences to be adventurous, engaged turned to Hosseini’s novel as a piece of and generous,” Perloff said. “I also research and inspiration. She found the “The fact that I, a know that Seattle audiences are novel so richly drawn, so captivating, young woman of excited about work from diverse that she wanted to see the story on cultures and multiple points of stage—as soon as possible. Perloff, then color, get to direct view. This is such an unusual piece the artistic director of A.C.T. in San in every way, both in terms of form Francisco, met with Hosseini, who lives this piece . . . means and content, so it’s exciting to think in the Bay Area, and asked if he would that the seats at the of it playing in a city with such a consider allowing A.C.T. to adapt his strong theatre tradition and a really novel for the stage. table are shifting . . .” committed public.”

“For the most part, when we read news Perloff was quick to add that this isn’t a about Afghanistan it focuses on war “She has a stunning visual sense and literal adaptation of Khaled Hosseini’s and destruction,” Perloff said. “ButA an ability to convey extreme emotion novel. Rather, it’s a reimagining— Thousand Splendid Suns is a gorgeous without excess,” Perloff said. Sarma had utilizing all the tools of theatre at its story of three generations of women experience writing adaptations, which disposal, including live scoring using over a twenty-five-year period, forging was important to Perloff. But more found instruments like saws and bed a very unlikely friendship and finding importantly, she had a connection springs to create the music of this love—and even joy—in a whole new to Afghanistan and the characters world. future, amidst political chaos.” Hosseini had created. “She knew the part of the world that Khaled was “Seattle is in for a treat!” Perloff said. Once Hosseini agreed to the adapta- writing about, so her lens was personal, tion, Perloff set out to find the perfect intimate and true.”

4 ENCORE STAGES A Thousand Splendid Sunsruns October 5 to November 10 at Seattle Repertory Theatre.

Dominique Morisseau’s Skeleton Crew, the final play in her three-play cycle “The Detroit Projects,” was the third most produced play in the United States last season. It’s also the play that ArtsWest has chosen to open their 2018–19 season—an ensemble drama about one of the last auto stamping plants in Detroit and the people who work there.

Jay O’Leary, the play’s director, describes Skeleton Crew as a play about survival Jason Bowen, Caroline Stefanie Clay and Shannon Dorsey in Skeleton Crew, Studio and having power over your own soul. Theatre. Photo by Teresa Wood.

“Skeleton Crew explores how we persevere,” O’Leary said. “The humans within this play are very good at what they do. They are funny. They are smart. They are passionate. The key to surviving and thriving in life in general is how we fight. Do we fight with the soul in mind or do we fight with bitterness and ugliness within our hearts? These questions directly apply to our socio-political climate right now. The more ugliness we give, the more ugliness we receive.”

O’Leary added that not only are these characters dealing with how to survive a potential job loss, they’re also navigating morality and whether their definition of right and wrong can change when their hopes, dreams, even their next meal, are all in jeopardy. Caroline Stefanie Clay and Tyee Tilghman in Skeleton Crew, Studio Theatre. Photo by Teresa Wood.

O’Leary discovered Morisseau’s plays at a point of frustration. their rhythms into the marrow of your stage and screen as fully fleshed out “I was screaming about how desper- bones. That’s how she builds up the human beings, rather than grotesque ately we need playwrights who are humans of her scripted worlds—from stereotypes. female-identifying artists of color,” the universal dust that creates the sack O’Leary said. “My friend tossed over of blood and water which cradle our “The fact that I, a young woman of “The Detroit Projects” and I was imme- souls.” color, get to direct this piece out here in diately in awe of this woman’s power very white Seattle means that the seats and poetry. Dominique Morisseau’s She added that the people in Morisseau’s at the table are shifting,” O’Leary said. words sing and pulsate and thump plays are so rarely seen depicted on And she’s determined not only to take

encoremediagroup.com/programs 5 that seat, but to make the table bigger and producers dedicated to achieving than it’s ever been. “Because who the gender parity on stage. hell wants to eat the same bland meal with the same exact people over and “The Kilroys have exposed a messed-up over again? I don’t, and neither do you.” system that was essentially created to keep marginalized voices and identities Skeleton Crew runs September 20 to out of the conversation,” Detzer said. October 14 at ArtsWest Playhouse and “They took the idea that there are no Gallery. great women or trans playwrights and completely struck it down. What an amazing gift they have given us, the ability to move on to the next impor- Maggie Rogers discovered Sheila tant question: Why the f— aren’t these Callaghan’s playwriting her senior year plays being produced?” of high school. She was auditioning for college acting programs and fell in love Everything You Touch runs September 21 with a monologue from Tumor. to October 8 at 12th Avenue Arts.

“Sheila Callaghan’s work keeps popping up in my life as a constant reminder to take risks,” Rogers said. “Her work Washington Ensemble Theatre isn’t the is exciting to me because she doesn’t only company in town working with a apologize or write ‘pretty’ people. Her Kevin Kelly as Victor, Cheyenne Barton Kilroys founder. Tanya Saracho, perhaps characters are raw, visceral and in as Esme and Kiki Abba as Jess; the cast best known as the showrunner of Vida, of Everything You Touch, Washington your face.” is also fighting for nationwide gender Ensemble Theatre. Photo by Kendall Lauren. parity on stage. Her play Fade opens at Years later, Rogers is directing the Seattle Public Theatre this month. Northwest premiere of Everything You Touch at Washington Ensemble on public transit, by drunk dudes on “The Kilroys are such a valuable Theatre, her directing debut with the Capitol Hill—and have investigated resource for me,” said Director Pilar company. why it hurts so badly, even though I O’Connell. “The celebration of female know a stranger’s opinion should not and female-identifying playwrights and “What I love so much about this play hold any weight.” folks of color is incredibly important.” is that it is a love letter to every person who thought they were not enough,” Samie Smith Detzer, Washington O’Connell first encountered Saracho’s Rogers said. “It bluntly tackles body Ensemble Theatre’s artistic director, work when she was in college. She was image, food shaming, anxiety and the agrees that now is the perfect time to researching Latinx artists working horrors of going home, in a way that produce this play. nationally and stumbled upon Teatro deeply resonates with my dark sense Luna in Chicago, a theatre company of humor.” “This play is particularly potent when Saracho co-founded with collaborator you consider that we have only begun Coya Paz. O’Connell dug deeper, read- And she knows it’s a play that Seattle to scratch the surface of understanding ing every Saracho play she could find. needs right now. the degree to which our society believes that our bodies do not personally “I was drawn to Fade because I was “Seattle loves to pride itself on being belong to us,” Detzer said. “This play looking for a smart show that gave me politically correct, but I feel like fat explores how we can own our bodies. a different perspective of the Latinx shaming is the only widely accepted Plus, it’s funny! And witty! And experience,” O’Connell said. “This play prejudice in the city, and the country raunchy! And sweet!” addresses the idea of classism within for that matter,” Rogers said. “When your own culture, and although it is I moved to Seattle I found that I was In addition to being a prolific playwright a Latinx story, I think it’s universally often the fattest person in the room and writer and executive producer on relatable.” and a hot commodity on the Tinder Shameless, Sheila Callaghan is also a dating scene. Over the past three years founding member of The Kilroys, a O’Connell added that she loves I have grappled with being called fat— group of female-identifying playwrights Saracho’s style—witty and realistic

6 ENCORE STAGES My legacy. My partner.

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EAP full-page template.indd 1 7/25/18 1:30 PM Annie Dow in Fade, Primary Annie Dow and Eddie Martinez in Fade, Primary Stages. Photo credit unknown. Stages. Photo credit unknown.

with just a hint of film magic. It’s forward to sharing this play with price of ambition many women and a combination that’s incredibly Seattle audiences. women of color face in white and male appealing to actors. dominated professions,” Lareau said. “We were drawn to Fade because of “Through this microcosm of a play, we Seattle Public Theatre’s co-artistic the intersectional conversation it see the larger struggles faced by women director, Annie Lareau, is looking presents around class, culture and the in the workplace—all while calling into question the world of television and how it perpetuates dangerous stereotypes and the responsibility we have for shifting them.”

Fade runs October 12 to November 4 at Seattle Public Theatre.

This fall—and throughout the entire 2018–19 theatre season—make a commitment to see more plays by female and non-binary playwrights. Dig into The Kilroys list, reward theatres that demonstrate gender parity on their stages. Because who knows? You may be part of a national shift, one that will make today’s 26% feel like ancient history. ■

Danielle Mohlman is a nationally produced feminist playwright based in Seattle. Her play Nexus is among the 2015 Honorable Mentions on The Kilroys list. She is an alumnus of the inaugural class of Playwrights’ Arena at Arena Stage and a member of the 2018 Umbrella Project Writers Group.

8 ENCORE STAGES IN THIS ISSUE

Photo Credit: Virginia Rodriguez

UPCOMING PERFORMANCES

Taiwan Philharmonic with Stephen Hough | November 3 TABLE of CONTENTS Compagnie Käfig | November 8-10 Letter from the Director | A-2 Brooklyn Rider | November 13 Nrityagram Dance Ensemble | A-3 Kurbasy | November 16 Marc-André Hamelin | A-11 Turtle Island Quartet | December 8 Vicente Amigo | A-17 Alonzo King LINES Ballet | January 10-12 St. Lawrence String Quartet | A-19 Jeremy Denk | January 15 Your Guide to Meany Center | A-23 Tanya Tagaq | February 8 Thanks to Our Donors | A-24 Filippo Gorini | February 15 Mark Morris Dance Group | February 21-23 Emerson String Quartet | March 6 Daymé Arocena | March 16 Emanuel Ax | April 2 Ballet Preljocaj | April 4-6 Alsarah & The Nubatones | April 13 Time for Three | April 18 MOMIX | April 25-27 Yekwon Sunwoo | May 4 Lila Downs | May 21

Alexander String Quartet with Joyce Yang | May 22 Welcome to Meany Center

Dear Friends:

Welcome to the opening performances of theater has been such a part of her life that our 2018-2019 Season! in 2018 she made a significant Leadership Gift to Meany Center, for which we are Those of you who are long-time patrons of deeply grateful. Meany Center might have noticed something different — our mainstage theater has a new Her support ensures that future generations name: The Katharyn Alvord Gerlich Theater. will not only have the opportunity to experience extraordinary live performing Renaming the mainstage theater of Meany artists on this stage, but also furthers artistic after so many years (the current Meany Hall exploration, risk-taking, and the creative was built in 1974) represents a significant and process itself. meaningful shift for us. Meany Hall itself was named for someone who made an important I hope your experience here is also difference to the UW campus community. inspirational, tonight and for many years to Now the mainstage theater bears the name come. I am honored to welcome you to the of an individual whose impact on the arts Katharyn Alvord Gerlich Theater. in our community and on campus is also transformational.

Kathy Alvord Gerlich is well known in our region for her forward-thinking philanthropic work in support of arts and culture, and her Michelle Witt personal connection to Meany goes back Executive and Artistic Director decades to her youth when she attended performances here with her parents. This

ADVISORY BOARD

Craig Miller, President Seema Pareek EMERITUS BOARD Joel Baldwin Darcy Paschino Linda Linford Allen / Linda Armstrong / Ross Boozikee John Robinson Cynthia Bayley / Thomas Bayley / Cathryn Luis Fernando Esteban Donald Rupchock Booth-LaForce / JC Cannon / Elizabeth Cooper / Davis B. Fox Marcie Stone Gail Erickson / Ruth Gerberding / Randy Kerr / Brian Grant Donald Swisher Susan Knox / Matt Krashan, Emeritus Artistic Aya Hamilton Rick Szeliski Director / Sheila Edwards Lange / Frank Lau / Becky Harris David Vaskevitch Lois Rathvon / Dick Roth / Eric Rothchild / Jeff Seely / K. Freya Skarin / Rich Stillman / Kyra Hokanson Gray Gregory Wallace David Stone / Lee Talner / Thomas Taylor / Cathy Hughes Mark Worthington Ellen Wallach Yumi Iwasaki Kathleen Wright O. David Jackson Ellsworth C. “Buster” Alvord, In memoriam EX-OFFICIO MEMBERS Dr. Susan Joslyn Betty Balcom, In memoriam Sally Kincaid Ana Mari Cauce, UW President Ernest Henley, In memoriam Kurt Kolb Robert C. Stacey, Dean, College of Arts & Sciences Mina Person, In memoriam Jeff Lehman Catherine Cole, Divisional Dean of the Arts Jerome Sanford, Sr. In memoriam Chelsey Owen

A-2 MEANY CENTER FOR THE PERFORMING ARTS World Dance Series World Dance generously sponsored by NRITYAGRAM GLENN KAWASAKI

DANCE ENSEMBLE SUPPORT COMES FROM in collaboration with THE CHITRASENA DANCE COMPANY October 4-6 | 8 p.m. SAMHĀRA

Artistic Director / Choreographer / Sound Design Surupa Sen YOUTH MATINEE SPONSORS

Music Composer Rhythm Composers Pandit Raghunath Panigrahi Dhaneswar Swain (India) Presanna Singakkara (Sri Lanka) Surupa Sen

Dancers (Nrityagram) Surupa Sen Bijayini Satpathy Pavithra Reddy Akshiti Roychowdhury Prithvi Nayak MEANY CENTER THANKS THE Urmila Mallick FOLLOWING SIGNATURE SPONSOR Yumi Iwasaki & Anoop Gupta Dancers (Chitrasena) Cathy and David Hughes Thaji Dias Sandani Sulochani ADDITIONAL SUPPORT COMES FROM Musicians (India) Jateen Sahu: lead vocal & harmonium Estate of Ellsworth C. Alvord † Nancy D. Alvord † Rohan Dahale: chants & mardala percussion Katharyn Alvord Gerlich Parshuram Das: bamboo fl ute Glenn Kawasaki, Ph.D. Marcella D. McCaff ray Musicians (Sri Lanka) Estate of Mina Person † Waruna Shri Hemachandra: Kandyan drum Eric & Margaret Rothchild Stephen & Sylvia Burges Ana Mari Cauce & Susan Joslyn Surupa Sen: off -stage voice & manjira Delaney & Justin Dechant Britt East & Scott VanGerpen Gail Erickson & Phil Lanum Assistant Choreographer Research / Costumes Master Tailor Estate of Carmel Hennessy Pope † Ira & Courtney Gerlich Heshma Wignaraja Bijayini Satpathy Ghulam Rasool Lynn & Brian Grant Family (Chitrasena) Jeff rey Lehman & Katrina Russell Craig Miller & Rebecca Norton Executive Producer / Technical Director / Lighting Designer Chelsey Owen & Robert Harris Lynne Fernandez Cecilia Paul & Harry Reinert Ariel Fund Estate of Fern Rogow † William Calvin and Katherine Graubard M. Elizabeth Halloran Nrityagram—The Dance Village, India Matthew & Christina Krashan Lois Rathvon www.nrityagram.org | [email protected] | www.facebook.com/nrityagram Joseph Saitta Exclusive USA Tour Representation Richard Szeliski & Lyn McCoy Pentacle | www.pentacle.org Ellen Wallach & Thomas Darden Sandy Garcia | [email protected]

The performance runs for 95 minutes including a 20 minute intermission

encoremediagroup.com/programs A-3 NRITYAGRAM DANCE ENSEMBLE | Thursday, Oct. 4 & Saturday, Oct. 6

ARPANAM

A prayer to invoke the benevolence of Goddess Parvati and seek her blessings.

Oh Mother, Supreme power of the Universe, you are music and dance and beauty and might. Shiva’s beloved, you are grace and compassion. You are the radiance of a thousand suns. Grant us the vision to behold you within.

This is followed by a dance that combines the fi ve elements — earth, water, fi re, air, ether — to make a ritual off ering.

Dancers: Bijayini Satpathy, Surupa Sen, Pavithra Reddy, Thaji Dias, Sandani Sulochani

SHIVA ASHTAKAM (Ode to Shiva)

To Him we bow. The reason unto all reason.

Magical serpents lovingly garland his powerful frame. While the crescent moon glitters in his hair. And a shining tiger skin adorns his loins.

He is Shiva!

The Yogi with a blissful countenance, to whom Yoga itself submits.

Perfect lover to his consort Parvati, he is also Bhairavā, with matted locks and blood-stained eyes, at once terrifying and astounding.

He is Shiva!

The Cosmic dancer who creates and destroys universes.

To Him we bow. The reason unto all reason.

Dancers: Bijayini Satpathy, Surupa Sen, Pavithra Reddy

INTERMISSION

A-4 MEANY CENTER FOR THE PERFORMING ARTS KRISHNA’S LAMENT

A poem from the Gita Govinda is interpreted through facial expressions (bhava) and gestures (mudra). Written in Sanskrit in the 12th century by the poet saint Jayadeva, the Gita Govinda is a romantic ballad about the immortal love of Radha and Krishna. It is a song of love and longing that reflects theVaishnava belief that all humankind is feminine energy (Radha) constantly seeking union with the one male godhead (Krishna).

Radha sees the eternally charming and uncommitted Krishna, frolicking with a multitude of women and is broken-hearted, once more. Krishna berates himself for hurting Radha.

Angered, she left with a crushed heart. Damn you Krishna, for not stopping her!

What could she be doing, and saying, in her eternal pain? Damn you Krishna, for hurting her!

I imagine her angry face, I see her everywhere, and longingly await her eager embrace.

Forgive me beloved! I will never hurt you again. Allow me a glimpse of your beauty and dispel my pain and suffering!

Dancer: Surupa Sen

ĀLĀP

The Kandyan and Odissi dance traditions meet in space, to challenge, combine and embrace each other through musical conversation and rhythmic dialogue.

Dancers: Akshiti Roychowdhury, Prithvi Nayak, Pavithra Reddy, Urmila Mallick, Thaji Dias, Sandani Sulochani

encoremediagroup.com/programs A-5 NRITYAGRAM DANCE ENSEMBLE | Friday, Oct. 5 ARPANAM A prayer to invoke the benevolence of Goddess Parvati and seek her blessings.

Oh Mother, Supreme power of the Universe, you are music and dance and beauty and might. Shiva’s beloved, you are grace and compassion. You are the radiance of a thousand suns. Grant us the vision to behold you within.

This is followed by a dance that combines the fi ve elements — earth, water, fi re, air, ether — to make a ritual off ering.

Dancers: Bijayini Satpathy, Surupa Sen, Pavithra Reddy, Thaji Dias, Sandani Sulochani

SRI DEVI A dance in praise of the Mother Goddess.

As we brave new journeys, we ask the divine presence of the Mother Goddess to light our path.

Oh Mother, Supreme power of the Universe, grant us the vision to behold you within.

From you comes all life and into you we must all return.

At your feet, we off er our dance.

Dancers: Bijayini Satpathy, Pavithra Reddy, Urmila Mallick, Akshiti Roychowdhury, Prithvi Nayak

INTERMISSION

MUROLI PANI (Abhinaya)

Abhinaya refers to the gestural language of Indian dance and theatre. Murali paani, interpreted through facial expressions (bhava) and gestures (mudra), is an Oriya poem set to music.

Look at him… the one with the fl ute in his hands. A sculpture of incomparable beauty, his glittering blue body rivals the very gems of heaven. His glance is the passionate arrow of the god of love. And the arch of his brow, the bow from which the arrows fl y.

He is Krishna Infi nite lover In the sensuous sound of his fl ute, my senses are lost.

Dancers: Akshiti Roychowdhury, Urmila Mallick, Prithvi Nayak

ĀLĀP

The Kandyan and Odissi dance traditions meet in space, to challenge, combine and embrace each other through musical conversation and rhythmic dialogue.

Dancers: Akshiti Roychowdhury, Prithvi Nayak, Pavithra Reddy, Urmila Mallick, Thaji Dias, Sandani Sulochani

A-6 MEANY CENTER FOR THE PERFORMING ARTS NRITYAGRAM DANCE ENSEMBLE | About the Artists

Photo Credit: Wildlight

SAMHĀRA a unique collaboration that weaves and made it accessible to an urban, The Samhāra project brings together together distinct dance styles to create contemporary audience. two dance traditions, Odissi from an entirety and connects us to our India, and Kandyan dance from Sri ancient “wholeness” — almost as if the ODISSI Lanka, both of which began in temples Indian Ocean never separated us. For centuries, a temple has looked as ritual performance. In Sanskrit, out at a turbulent sea, its walls Samhāra means a collection, practice, KANDYAN DANCE dancing a prayer to the rising sun. skill, compilation, or drawing together. Kandyan dance comes from Kandy, an Magnifi cent ruins like these, in area in the central hills region in Sri Odisha in eastern India, confi rm that The idea of a cross-cultural Lanka. According to legend, the origins Odissi was performed as far back as collaboration sprang from a study of the dance lie in an exorcism ritual 200 BCE. Originally a sacred ritual of the Natya Shastra, an Indian known as the Kohomba Kankariya, dedicated to the gods, Odissi is one treatise on the performing arts that which was performed by shamans of the oldest dance traditions in the encompasses theatre, dance and from India, who came to the island world. Its sinuous forms, languorous music, which was written between 200 on the request of a king suff ering limbs and rapt expressions frozen BCE and 200 CE. Sometimes referred from a mysterious illness. After the in stone tell of a past rich in dance, to as the fi fth Veda, the Natya Shastra performance of the ritual, the illness music, myth and legend. is said to belong to Jambudwipa, and vanished and the local people adopted ancient Puranic geography tells us that the dance. Odissi speaks of love and union, Jambudwipa refers to Eurasia. With this between human and divine, sacred geography, the cultural unity Originally performed by dancers who transporting viewers to enchanted of the whole region was a compelling were identifi ed as a separate caste and worlds of magic and spirituality. Its idea. aligned to the Temple of the Tooth, the sensuousness and lyricism refl ect Working from the premise that the dance declined when support from the both the motifs of Odisha temple Natya Shastra is the root of all dance Kandyan kings ended in the colonial sculpture as well as the poetry from traditions in Jambudwipa, we began period. the deep wellsprings of Oriya music. with fi nding a vocabulary of dance using the performance practice of Kandyan Dance was adapted for the NRITYAGRAM DANCE ENSEMBLE India and Sri Lanka. stage in the 1940s by Chitrasena. His Nrityagram (which means dance wife and dance partner, Vajira, was village) is located outside Bangalore, After our four-year interaction with the fi rst professional female Kandyan India. It was founded in 1990 by the Chitrasena family, it became dancer, and together they established Odissi dancer Protima Gauri, who apparent that the two regions had Kandyan dance as a performance art. converted ten acres of farmland shared elemental connections by way Their popularity helped to reduce the into a setting for the study, practice of dance. This unifi ed search yielded caste barriers surrounding the dance and teaching of dance. Nrityagram

encoremediagroup.com/programs A-7 NRITYAGRAM DANCE ENSEMBLE | About the Artists is India’s fi rst modern Gurukula, the The uniqueness and depth of the dance from a rich repertoire of dance and realization of founder Protima Gauri’s curriculum at Nrityagram is unparalleled drumming pieces, to acclaimed dream of reviving this ancient model of and strengthens its position as a ground- original ballets and productions living and learning. breaking institution. The Nrityagram inspired by ancient rituals and Dance Ensemble is regarded as one of contemporary culture. Karadiya Nrityagram is dedicated to creating the foremost dance companies of India, (1961), Nala Damayanthi (1963), excellence through the traditional performing all over the world, including Nrithanjali (1965), Kinkini Kolama method of learning, the Guru Shishya an annual tour to the United States. (1978), Shiva Ranga (1984), Parampara, similar to modern-day Chandalika (1996) and Bera-Handa mentorship. Nrityagram is a center Although steeped in and dedicated to (2001) are some of the most of learning where dancers from all ancient practice, the Ensemble is also renowned productions. More over the world live in an atmosphere committed to carrying Indian dance recently, the Chitrasena Dance that nurtures artistic exploration and into the 21st century. Enabled by Company has brought to the stage development. Learning is a way of life grants from international arts funding The Art of Chitrasena (2006), Kumbi and students have a rare opportunity to organizations, Nrityagram’s dancers Kathawa (2007), Dancing for the imbibe the spirit of the gurus by living not only explore creative expansions Gods (2010), Devanjali (2015) and with them and observing their creative of tradition but are also able to Guru Gedara Festival (2018). The endeavors. commission fresh compositions from creative partnership and the fi rst leading Indian classical musicians. collaborative production, based For more than two decades, Guru Surupa on an invitation extended to the Sen and Guru Bijayini Satpathy have Nrityagram has presented six full- Chitrasena Dance Company by researched and expanded the vocabulary length ensemble shows, which are Śrī: Nrityagram, led to the much- of Odissi dance and have developed an In Search of the Goddess (2000), Ansh acclaimed production Samhāra aesthetic style that distinguishes the (2004), Sacred Space (2006), Pratimā: (2012). Nrityagram Gurukula. Refl ection (2008), Samhāra (2012) and Śriyah (2016); and two full-length duet As the Chitrasena Dance Company With over 200 students, Nrityagram shows, Samyoga (2012) and Songs celebrates its 75th year in 2018, the fosters the artistic, intellectual and of Love and Longing (2013). All are third generation is led by Heshma personal growth of the dancers, and choreographed by Surupa Sen. Wignaraja, artistic director and prepares them for successful and eldest granddaughter of Chitrasena productive lives as artists and citizens, THE CHITRASENA DANCE COMPANY and Vajira, who continues the legacy as well as to become leaders in their Founded by Guru Chitrasena with a of her grandparents. Experimenting professions. The aim is to prepare vision to inspire and exhilarate through without compromise and using dancers for careers that combine the traditional dances and drums traditional dance language and performance with teaching, community of Sri Lanka, the Chitrasena Dance form to push boundaries, the new outreach and leadership. To enrich Company has been at the forefront work off ers a fresh perspective, their practice, dancers are taught yoga, of transforming the traditional arts while upholding Guru Chitrasena’s meditation and martial arts along with landscape of the island. Chitrasena is philosophy that “the new is but an Sanskrit and ancient dance scriptures. recognized for rescuing the traditional extension of the old.” Choreographers, musicians, writers dances that were confi ned to village and theater practitioners from all over settings and presenting them to THE COMPANY the world visit to perform and conduct audiences in Sri Lanka and across the workshops and seminars in their area of world. The Company was founded in Surupa Sen (Artistic Director, practice. 1943 and initially nurtured under the choreographer, soloist) was the creative genius of Chitrasena, and fi rst student to graduate from The training system includes a unique, later together with his wife Vajira. Nrityagram. She began her Odissi scientifi c body-conditioning program They worked tirelessly for decades to training with the architect of Odissi, that is sourced from yoga, Natyashastra, carefully distill ancient rhythmic rituals, Guru Kelucharan Mahapatra. She Kalaripayattu, western fi tness methods by reviving and refi ning elements of it also studied Odissi with Guru and Odissi exercises. This training while staying fi rmly rooted in the old, Protima Gauri and Abhinaya method is designed to increase the and developed an authentic dance (expressional dance) with Guru performance lifespan of a dancer and is language. Kalanidhi Narayanan. Surupa shares sought after by accomplished dance and an artistic partnership with Bijayini movement professionals from diff erent For over seven decades the Chitrasena Satpathy for over two decades. disciplines. Dance Company has given life to Together they have researched compelling performances ranging and developed the vocabulary of

A-8 MEANY CENTER FOR THE PERFORMING ARTS Odissi dance and have developed a style the globe. Pavithra joined the Nrityagram Too, the junior dance that distinguishes the dancers of the Nrityagram Dance Ensemble in ensemble. Nrityagram School. As a child she studied 1993 and has performed solo and Bharatanatyam to which she attributes with the Ensemble at some of the Prithvi Nayak (dancer) started her her pre-occupation with form and line. most prestigious venues across Odissi training with Surupa Sen’s Attracted to choreography from her first India and the world. In addition weekly classes in Bangalore in 2012 exposure to western dance, she has to being a full-time performer, and was soon accepted as a day worked with dancers and choreographers Pavithra also teaches dance at scholar to train more intensively from across the world. She has a keen Nrityagram. at Nrityagram. She was included talent for music and rhythm composition in Nrityagram Too, the junior and has worked closely with composer Akshiti Roychowdhury (dancer) dance ensemble, in 2014, and now Pt. Raghunath Panigrahi. Surupa has joined the Nrityagram Gurukula for apprentices as a performer while she choreographed six full-length ensemble residential basic training in 2011, continues her graduate studies. shows for Nrityagram, which are Śrī: In after which she was offered the Search of the Goddess (2000), Ansh (2004), opportunity to continue advanced Urmila Mallick (dancer) was 8 Sacred Space (2006), Pratimā: Reflection training and apprentice with the when she watched a Nrityagram (2008), Samhāra (2012) and Śriyah (2016); Nrityagram Dance Ensemble. A performance and knew she wanted and two full-length duet shows Samyoga recipient of a special scholarship be a dancer. She started training at (2012) and Songs of Love and Longing (2013). for five years, Akshiti has trained Nrityagram when she was 13 while under the direct mentorship of completing school. After completion Bijayini Satpathy (dancer) made Surupa Sen and Bijayini Satpathy. of high school, she took a gap Nrityagram her home in 1993. Her initial In addition to training, she is an year to live full-time at the dance Odissi training was in Odisha from the assistant teacher in the outreach village where she continues to train age of 7 until she moved to Nrityagram. program for children. She is under the tutelage of Surupa Sen Bijayini, in partnership with Surupa working towards her solo debut and Bijayini Satpathy. She received Sen has created an aesthetic style of and is also a performer with the Cornelia and Michael Bessie Odissi dance that is the hallmark of Nrityagram. Bijayini’s research on the moving body in all its possibilities has resulted in a scientific body training program for Nrityagram, sourced from yoga, Natyashastra, Kalaripayattu, western fitness methods and Odissi body- conditioning exercises. This makes practice of dance injury-proof and increases the performance life-span of a dancer. She has also developed an expanded, systematic Performing 20th century and accessible training program for Odissi masterpieces including Bartók’s Piano Sonata, dancers, which is equally valuable for Stockhausen’s Klavierstück XI, beginners, advanced learners, performers and works by Satie. and teachers. As Director Dance Education, Bijayini works on extending the vocabulary of the traditional Odissi form and formulating Nrityagram’s dance pedagogy. She is also responsible for all outreach activities. FACULTY RECITAL Pavithra Reddy (dancer) was the first student to graduate from Nrityagram’s rural outreach program. She came to CRISTINA VALDÉS, Nrityagram in 1990 from a nearby village and was selected to receive special FRI. OCTOBER 26, 2018 training. She learned Odissi under the MEANY THEATER, 7:30 PM PIANO TICKETS: $20 ($10 STUDENTS/SENIORS) tutelage of Surupa Sen and Bijayini Satpathy, and has worked with dancers WWW.MUSIC.WASHINGTON.EDU - 206.543.4880 and movement specialists from across

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Foundation Scholarship to support region. At present, he is percussionist her training at Nrityagram. She is at the dance village and travels and working towards her solo debut and performs with the Ensemble. OCT is a performer with Nrityagram Too, 23 the junior dance ensemble. Parshuram Das (bamboo fl ute) studied at the Music College in Bhubaneswar, Thaji Dias (dancer) is currently the Odisha. His guru is Pt. Mohini Mohan principal dancer of the Chitrasena Pattnaik. In addition to working as Dance Company and is the youngest a freelance music accompanist, he granddaughter of Sri Lanka’s eminent teaches at Utkal University of Culture, Music of Today: Mivos Quartet dance duo, Chitrasena and Vajira. She Bhubaneswar. He has been with The New York City based quartet started learning Kandyan dancing Nrityagram since 2002. performs music by UW faculty composers Huck Hodge and Joël-François Durand. from her aunt Upeka Chitrasena at 7:30 pm Meany Theater the age of 7, and began touring with Waruna Sri Hemachandra (Kandyan the Dance Company at 12 when she drum) started to learn Kandyan dance received the rare opportunity to and drumming from the age of 7 participate in the prestigious Theatre under the tutelage of Guru Udaya Priya OCT Du Soleil in Paris as a guest of Ariane Kumara and joined the University of 27 Mounchkine, touring with Upeka in Visual and Performing Arts to pursue 2000. Since then, she has performed his studies in performing arts. He as a member of the Chitrasena Dance became a professional drummer in Company to local and international 2006 with the National Youth Council audiences and festivals. Thaji has performing group. He joined the been a part of Samhāra since the start Chitrasena Dance Company in 2013 and has toured with the show in the and has been part of Samhāra since U.S., Mexico, the U.K., the Far East, Sri January 2017. Lanka and India. Guest Artist Concert: Lynne Fernandez (Executive Producer, Robyn Schulkowsky, percussion Sandani Sulochani (dancer) obtained lighting designer, technical director) New Music’s high priestess of percussion a degree in visual and performing arts has worked as an actress and lighting performs music by Christian Wolff, Josef Anton Riedl, and others. from the University of Kelaniya, Sri designer with many notable directors 7:30 pm Meany Studio Theater Lanka, and has completed a two-year including Barry John, Joy Michael, Ranjit diploma in choreography and studied Kapoor and Lillete Dubey, and was classical Indian music. She joined the one of the fi rst professional lighting Chitrasena Kalayathanaya (School) designers in India. Her theater work NOV in January 2014 as part of a special has been presented at the Edinburgh 2 dance scholarship program. After Festival Fringe, in the West End and completing her training, she joined off -Broadway. She came to Nrityagram the Chitrasena Dance Company in 1993 as a production and technical and has been part of Samhāra since consultant to the newly founded January 2017. Ensemble. She stayed on as technical director and in 1997 was appointed Jateen Sahu (lead vocal, harmonium) Executive Director of the Nrityagram learned Odissi singing under the Village, School and Ensemble. As tutelage of Guru Ramahari Das at Executive Director, she is responsible UW Symphony with The Music College, Odisha. He lives for administration, fundraising and Sæunn Thorsteinsdóttir, cello in Mumbai and has worked with project development. Her recent David Alexander Rahbee and Ludovic Morlot Nrityagram since 2008. He is also a projects include Kula, a residence conduct, with music by Brahms, Bloch, concert singer. where arts practitioners can live and and Hindemith. 7:30 pm Meany Theater create new work, and a performing Rohan Dahale (mardala percussion) arts center comprising a theater, an began his training with Guru exhibition space and rehearsal studios. Kelucharan Mahapatra and has She has also overseen the emergence continued to learn from Guru of the Ensemble on the international MORE AT: WWW.MUSIC.WASHINGTON.EDU Banamali Maharana for the past arena. ArtsUW TICKET OFFICE: 206.543.4880 twelve years. He lives in Mumbai and accompanies Odissi dancers from the

A-10 MEANY CENTER FOR THE PERFORMING ARTS President’s Piano President’s Piano Series generously sponsored by MARC-ANDRÉ HAMELIN ERIC & MARGARET ROTHCHILD

October 17 | 7:30 p.m. SUPPORT COMES FROM

BACH Chaconne from Violin Partita No. 2 (1685–1750) in D Minor, BWV 1004

FEINBERG Piano Sonata No. 3 (1916–17) (1890–1962) Prelude Funeral March Sonata: Allegro appassionato

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INTERMISSION

WEISSENBERG Six Arrangements of Songs Sung (1929–2012) by Charles Trénet MEANY CENTER THANKS THE Coin de rue FOLLOWING SIGNATURE SPONSOR Vous oubliez votre cheval Kurt Kolb En avril, à Paris Boum! ADDITIONAL SUPPORT COMES FROM

Vous qui passez sans me voir Estate of Ellsworth C. Alvord † Ménilmontant Nancy D. Alvord † Katharyn Alvord Gerlich Estate of Mina Person † CASTELNUOVO-TEDESCO Cipressi (Cypresses) Eric & Margaret Rothchild (1895–1968) Donald & Gloria Swisher Estate of Barbara Weinstein † Warren & Anne Anderson CHOPIN Polonaise-Fantaisie in A-Flat Major, Op. 61 Sven & Melinda Bitners Stephen & Sylvia Burges (1810–1849) Ana Mari Cauce & Susan Joslyn Delaney & Justin Dechant Britt East & Scott VanGerpen CHOPIN Scherzo No. 4 in E Major, Op. 54 Gail Erickson & Phil Lanum Estate of Carmel Hennessy Pope † Ira & Courtney Gerlich Lynn & Brian Grant Family Sally Schaake Kincaid Jeff rey Lehman & Katrina Russell Hans & Kristin Mandt Craig Miller & Rebecca Norton Chelsey Owen & Robert Harris Ariel Fund M. Elizabeth Halloran Matthew & Christina Krashan Bill & Meg Morgan Seema Pareek & Gurdeep Pall Don & Toni Rupchock Marc-André Hamelin records exclusively for Hyperion Records, Ltd. David and Marcie Stone Marc-André Hamelin appears by arrangement with Colbert Artists Management, Inc. Charlotte Schroeder, President 307 Seventh Avenue, Suite 2006 New York, NY 10001

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Chaconne from Violin Partita of composition that is akin to the something so excessive that most No. 2 in D Minor, BWV 1004 oft-used “variations on a ground” pianists wouldn’t touch it. But I fi nd (1717-20) (Purcell, especially) and the the Sonata to be such a powerful JOHANN SEBASTIAN BACH passacaglia (used elsewhere by statement that it would be a true Arr. Ferruccio Busoni (1892) Bach and other Baroque masters, injustice if it were relegated to as well as fi nding renewed life oblivion. The majority of Bach’s solo in such 20th-century composers instrumental and chamber as Benjamin Britten and Dmitri The only publication of the third works date from the fruitful Shostakovich). Bach’s Chaconne sonata came in 1974, twelve years period he spent in service of is an unsurpassed example of after Feinberg died, as part of the Prince of Cöthen from masterly structure as well as a a complete edition of his piano 1717-23. Though earlier statement of deep expressiveness; music edited by his pupil Vladimir composers wrote music for to many listeners and performers Natanson. The composer Anatoly unaccompanied violin, e.g., the music conveys nearly tangible Alexandrov, a longtime friend of Biber’s Mystery Sonatas, only spirituality. Feinberg’s, helped shape the work Bach’s three sonatas and three into its published form, although partitas remain a major part of This epic movement has inspired the extent of his and Natanson’s the violin repertoire today. many musicians to transcribe it contributions remains unclear. for other instruments, including Without going into complex specifi cs, According to Bach’s eldest lute, guitar and especially piano, it should be said that much of their son, Carl Philipp Emanuel, his for which no less than Brahms editorial work gives the impression father was an accomplished produced a version for left hand. of being unfi nished. Solving even violin player who understood Why? Most likely because it just some of the sonata’s problems the instrument fully. One of required a technique that paralleled requires a detailed examination of the remarkable characteristics the diffi culty of Bach’s violin Feinberg’s manuscript. It’s obvious of the Sonatas and Partitas is original, including the need for a that in certain places, especially in how Bach has circumvented pianist to roll chords in the manner the opening Prelude, Alexandrov’s problems relating to the of the violin’s curved fi ngerboard. role amounted to outright re- violin’s curved fi ngerboard composition. In that case, and with its attendant diffi culty The best-known piano version is in many other instances, I have of accommodating the unquestionably Ferruccio Busoni’s adhered faithfully to Feinberg’s own independent lines of version, which in sheer sonority text. contrapuntal writing. Many suggests a near-orchestral color guitarists have transcribed and sheer heft. Busoni, of course, If you look chronologically at these works for their six- was not merely a superb pianist, Feinberg’s fi rst six sonatas (out of stringed instrument. The fl at but a fi ne composer. His majestic the twelve he eventually produced), fi ngerboard of a guitar, plus the arrangement of the Chaconne you can defi nitely chart a gradual, fact that you can pluck strings creates a sonic world that also even inevitable progression from individually since a guitarist refl ects his understanding of the sunlit optimism to utter blackness is not encumbered by a bow, organ. Whereas Bach ends the and despair. The third sonata fi ts makes it easier to handle movement on a unison, Busoni very well within this framework — Bach’s polyphony. Not so for cannily expands it to a full-throated its passion and intensity is colored the violinist, which is one of the D-major chord. by a pronounced darkness and reasons why Bach’s Sonatas inevitability. and Partitas (ca. 1720) have © Steven Lowe remained a true benchmark for Despite the presence of a funeral the aspiring fi ddler. march, there is no evidence of an Piano Sonata No. 3 (1916-17) overall program. The initial Prelude Bach closes the D Minor Partita SAMUEL FEINBERG is but a short mood-setter, leaving with an epic Chaconne— much unsaid, and opening the rather than a dance-based NOTES BY MARC-ANDRÉ HAMELIN door to the tragedy of the next number—that lasts as long This work is among the few movement. Feinberg’s treatment of as the fi rst four movements that Feinberg didn’t publish in the Funeral March concept is very combined. Here we encounter his lifetime; he recycled two of unusual. Although the necessary an extraordinarily inventive its sections into his fi rst piano regularity of the pulse is present, set of variations on a repeated concerto and discarded the rest. the music alternates freely between harmonic sequence—a kind Perhaps he felt that he’d created 3-, 4-, 5- and 6-beat bar-lengths, and

A-12 MEANY CENTER FOR THE PERFORMING ARTS most of the movement is cast in a six additional pages, extending to perform popular music lest regular pattern of quintuplets. But the idea of a coda into outright their careers be tarnished by it is a tribute to Feinberg’s craft surrealism, erasing any hope association with such “lesser” that none of this feels in any way of positivity by yanking us back music (which in this country unnatural. to the minor mode, and taking included film scores). Times have pianistic complexity into uncharted changed, and performers and We now come to the main section regions. But all things must come composers have rediscovered the of the entire work, a movement so to an end, and the sonata does, fertile material available in other far removed from convention that eventually, with a final upward musical genres, e.g., jazz, folk, if the sonata had seen the light of flourish and three decisive slaps in pop, international, hip-hop, etc. day instead of having been buried the face. Let us recall that Bach, Mozart for so many years, it surely would and countless other composers have created a major sensation. I must gratefully acknowledge the dating back as far as the middle assistance of Feinberg specialist ages have appropriated “non- This sonata-allegro opens Nicolo Figowy for his kind and serious” music for their own ordinarily enough: a passionate, precious help in providing a copy compositions, with no loss of full-blooded first theme is of Feinberg’s original manuscript status. boldly presented, followed by a of this sonata, without which contrasting, gentler second theme learning and playing the work In the 1950s, an LP titled “Mr. and the usual closing ideas that would have been pointless. Nobody Plays Trenet” emerged wrap up proper sonata-form on the Lumen label. “Mr. Nobody” expositions. All of this naturally Six Arrangements of Songs Sung was a protective pseudonym for leads us to expect a development by Charles Trénet (1950) the elegant virtuoso pianist Alexis section that predictably weaves ALEXIS WEISSENBERG Weissenberg, whose musical all of this material together in tastes were wide and varied, and various ways. But instead, after It wasn’t that long ago that included such astonishing works this exposition is repeated, we classical musicians were loath as Olivier Messiaen’s Turangalila, a are treated to a violent change of scenery. Feinberg here grabs us by the scruff of the neck and forcibly turns our heads in a completely different direction. After a few bars of aimless, quasi-atonal frenzy, a demented fugue unfolds in a totally unrelated key, without any thematic relationship to what preceded, and with a mechanistic hysteria unequalled even by Prokofiev. Although not overly extended, this section is long enough to make us wonder how Feinberg could ever possibly lead us back to the opening material. FACULTY RECITAL But, through an elaborate series of tenuous modulations, the home key is gradually reached, and a grand, more opulently scored SÆUNN recapitulation now stands before us. THORSTEINSDÓTTIR, But before we reach the end, Feinberg has another surprise up his sleeve. As we hear the CELLOTUE. OCTOBER 16, 2018 music progressing to a satisfying MEANY THEATER, 7:30 PM TICKETS: $20 ($10 STUDENTS/SENIORS) Performing music by Schubert, conclusion in the relative major Brahms, Strauss, and Webern. key, Feinberg takes us through WWW.MUSIC.WASHINGTON.EDU - 206.543.4880 With Alexandra Joan, piano.

encoremediagroup.com/programs A-13 MARC-ANDRÉ HAMELIN | About the Program massive piece featuring an ondes Jews, Castelnuovo-Tedesco century, Frédéric Chopin brought martenot. rightly fl ed the continent in Italian bel canto melody and tone 1939 in the face of mounting production to the keyboard, no The French vocalist and anti-Semitism as Hitler’s baleful mean feat with a Rube Goldberg songwriter Charles Trenet (1913– infl uence over Fascist Italy grew mechanism pieced together with 2001) exemplifi ed the gracious, steadily. After initially living in countless parts of metal and wood often tongue-in-cheek lyricism New York, the composer ended plus adhesives. Along with virtually of that nation’s sophisticated up in Hollywood and, in 1946, everyone else at the time, Chopin popular music. Weissenberg’s became an American citizen. adored the music of Bellini and his arrangements of six Trenet songs As a teacher at the former Los violin-playing counterpart, Paganini, elevates what some might have Angeles Conservatory of Music transferring the legato potentialities characterized as cocktail music to (eventually changing its name of the human voice and the violin to an artistic level. The moods may to the California Institute of the the otherwise percussive keyboard. be light and even sentimental, Arts) his students included such Not until Debussy do we encounter a but the writing is masterly and dominant composers of fi lm as composer who so fully extended the demanding of virtuosic technique. Jerry Goldsmith, Henry Mancini, piano’s sonoric range. André Previn and John Williams. “Coin de rue” conjures a wistful By the middle 1840s, Chopin’s ambience refl ecting France’s Memories of the cypress trees congenitally frail constitution early embrace of jazz before in the small Tuscan town was further weakened by the most countries, including our of Usigliano di Lari, where deterioration of his relationship with own. “Vous oubliez votre cheval” Castelnuovo-Tedesco spent many George Sand (Mme. Dudevant), a also evokes jazz, though here summers, inspired him in 1960 situation exacerbated by the actions the music virtually jumps off to compose Cipressi (Ricordando i of her son and daughter in driving a the keyboard with great vitality, cipressi d’Usigliano di Lari), Op. 17, permanent wedge between the two occasionally suggesting Gershwin. which he eventually transcribed lovers. In a clearly depressed state The third song, “En Avril, à Paris,” for orchestra. of mind, the composer fashioned is delectably sentimental and his Polonaise-Fantasie in A-Flat Major, beguilingly lyrical. The work opens with slowly rising Op. 61. The music’s form, advanced and solemn chords, soon followed harmony and complex psychological “Boum!” is a quirky number that by a melody with recurring bell- state puzzled no less than Liszt, not begins with a sparkling note high like tones in the right hand with exactly a slouch in matters of far- on the keyboard, soon gaining still resonating chords below. As reaching harmonic experimentation. momentum and bursting with it unfolds, the music becomes Many listeners and sophisticated energy. The penultimate laid back increasingly ardent. The repeated musical commentators remained “Vous qui passez sans me voir” tones expand to forceful chords, equally uncomprehending of this lovingly mimics creative noodling though the prevailing mood confessional work by a man sensing à la cocktail music. The fi nal song, is dreamlike and evocative. A the closeness of his passing. “Ménilmontant,” abounds in rapid recurring appoggiatura suggests passagework with the right hand a nexus with traditional Spanish The Polonaise-Fantasie begins with skipping over the keyboard urged music and Maurice Ravel, himself a wispy, fragmented introduction on by jabbing chords. Spanish/Basque and heir to growing out of a two-chord Debussy (another loyal fan sequence that eventually leads to Cipressi (Ricordando i cipressi of Spanish music). A series of a main theme. Increasingly, the d’Usigliano di Lari) (1960) descending scales leads to the ever-changing music becomes MARIO CASTELNUOVO-TEDESCO fi nal pages, rich in broken chords seemingly episodic, challenging and ending quietly as befi ts a both the pianist and the listener Florentine by birth, Mario reminiscence. to integrate the shifting textures Castelnuovo-Tedesco studied at and multiple theme-fragments into that city’s conservatory, where Polonaise-Fantasie No. 7 a coherent entity. Several themes he mentored with composer in A-Flat Major, Op. 61 (1846) appear either openly or in subtle Ildebrando Pizzetti. The young FRÉDÉRIC CHOPIN shadows. The adventuresome man’s reputation gained support harmonies are decades ahead from Alfredo Casella, a major Taking full advantage of the rapid of their time. Perhaps easiest to fi gure in 20th-century Italian modernization of the piano in the grasp upon initial acquaintance music. Like so many European fi rst several decades of the 19th is the rapt and meditative central

A-14 MEANY CENTER FOR THE PERFORMING ARTS “Piu lento,” the source of some repeated hearing. Its special of the material in the work’s blending of seriousness and stupendous coda. The range levity recalls the effectiveness of expression throughout the of, say, Shakespeare’s Hamlet Polonaise-Fantasie touches in its opposition of dramatic upon innermost tenderness and comic elements to and elsewhere erupts into heighten the overall power. fierce outbursts of martial heroism. Even in his use of trills © 2018 Steven Lowe toward the end of the piece, Chopin takes us far beyond mere embellishment into the deepest resonances in his troubled psyche. The legendary Chilean pianist Claudio Arrau’s BODYVOX’S characterization of such trills in “BLOODYVOX” late Beethoven as “the quaking BLOOD RED IS THE NEW BLACK of his soul” could just as easily Saturday, October 27 | 7:30 pm | $19–$59 been conferred on Chopin’s late Start with a group of beautiful and talented piano music. dancers, add a hint of Hitchcock, a touch of Vampire, top it off with a healthy dose of ghosts Scherzo No. 4 in E Major, and zombies, and you get BloodyVox, a dance theater experience that mines cinema, folklore, Op. 54 (1842) and our collective nightmares to bring the season FRÉDÉRIC CHOPIN of spirits and All Hallows’ Eve to life.

“Scherzo” means joke in Italian. It was Beethoven who BELLA GAIA initiated its use in replacing the Thursday, January 17 | 7:30 pm | $19–$44 traditional and courtly minuet of Experience an unprecedented NASA-powered the Classical symphony. But as immersive experience, inspired by astronauts who spoke of the life-changing power of seeing the great symphonist showed, the Earth from space. Illuminating the beauty especially in the fifth and ninth of the planet both natural and cultural and symphonies, the term must the interconnectedness of all things on Earth, not be taken literally. Chopin’s this live concert blends music, dance, and four Scherzos are mini-dramas, NASA-immersive imagery to turn the stage planetary. This event will include a pre-show talk not the least bit jocular in their 6:00–6:40 pm in the theatre. passion and expressiveness. The first three are notably tempestuous if not wild in their NAI-NI CHEN DANCE emotional abandon, which gives COMPANY & AHN TRIO, the lie to the absurd notion that “A QUEST FOR FREEDOM” Chopin’s music is effeminate or Saturday, February 23 | 7:30 pm | $34–$59 decadent. The final Scherzo is Inspired by the personal stories of Nai-Ni Chen, the least overtly dramatic and, a Taiwanese choreographer-dancer who perhaps as a consequence, the emigrated to America, and the Ahn Trio, three sisters born in Seoul, Korea, who moved to least known. New York, this production examines leaving one’s home, family and friends to embrace new dreams This fourth Scherzo, cast in and freedom. This event will include a pre-show E major, is leavened with talk 6:00–6:40 pm in the theatre. elements of humor, and is more 10% discount for Seniors 62+ & Military on events presented by ECA! obviously connected to the form’s original meaning as a kind of musical joke. Somewhat ec4arts.org | 425.275.9595 diffuse in its wandering form, and far gentler in overall mood, 410FOURTHAVENUENORTH it is a work that gains through EDMONDSWA98020

encoremediagroup.com/programs A-15 MARC-ANDRÉ HAMELIN | About the Artist

Photo Credit: Sim Canetty Clarke

ianist Marc-André Hamelin is International Piano Competition He was honored with the 2014 knownP worldwide for his unrivalled in 2017 where each of the 30 ECHO Klassik Instrumentalist blend of consummate musicianship competitors performed Hamelin’s of Year (Piano) and Disc of the and brilliant technique in the Toccata on L’Homme Armé which Year by Diapason magazine and great works of the established marked the fi rst time the composer Classica magazine for his three- repertoire, as well as for his intrepid of the commissioned work was also disc set of Busoni: Late Piano exploration of the rarities of the a member of the jury. Although Music and an album of his own 19th, 20th and 21st centuries — in primarily a performer, Mr. Hamelin compositions, Hamelin: Études, concert and on disc. has composed music throughout which received a 2010 Grammy his career; the majority of his works nomination (his ninth) and a fi rst This season includes Mr. Hamelin’s are published by Edition Peters. prize from the German Record return to Carnegie Hall for a recital Critics’ Association. on the Keyboard Virtuoso Series Mr. Hamelin records exclusively for plus recitals in Montreal, Seattle, Hyperion Records. His most recent Mr. Hamelin makes his home Berlin, Florence, Salzburg, Wigmore releases are a disc of Schubert’s in the Boston area with his Hall and Istanbul, among others. Piano Sonata in B-Flat Major and wife, Cathy Fuller. Born in Hamelin appears with the BBC Four Impromptus, a landmark disc Montreal, Marc-André Hamelin Scottish Symphony Orchestra, of Stravinsky’s The Rite of Spring and is the recipient of a lifetime the Los Angeles, Stuttgart and Concerto for Two Pianos with Leif achievement award from Moscow State Philharmonics, the Ove Andsnes, Morton Feldman’s For the German Record Critic’s Vancouver, Cincinnati and Oregon Bunita Marcus, and Medtner’s Piano Association. He is an Offi cer of Symphonies, and tours in Europe Concerto No. 2 and Rachmaninov’s the Order of Canada, a Chevalier with the Amsterdam Sinfonietta. Piano Concerto No. 3 with the de l’Ordre du Québec, and a London Philharmonic Orchestra member of the Royal Society of He was a distinguished member and Vladimir Jurowski. Canada. of the jury of the 15th Van Cliburn

A-16 MEANY CENTER FOR THE PERFORMING ARTS World Music & Theater SUPPORT COMES FROM VICENTE AMIGO October 19 | 8 p.m.

Vicente Amigo, lead guitar Añil Fernández, guitar Ewen Vernal, bass Paquito González, cajón MEDIA PARTNER Rafael de Utrera, vocals

ADDITIONAL SUPPORT COMES FROM THE PROGRAM WILL BE ANNOUNCED FROM THE STAGE. Estate of Ellsworth C. Alvord † THERE WILL BE NO INTERMISSION. Nancy D. Alvord † Katharyn Alvord Gerlich Estate of Mina Person † Eric & Margaret Rothchild Ana Mari Cauce & Susan Joslyn Delaney & Justin Dechant Britt East & Scott VanGerpen Gail Erickson & Phil Lanum Estate of Carmel Hennessy Pope † Ira & Courtney Gerlich Lynn & Brian Grant Family Jeff rey Lehman & Katrina Russell Craig Miller & Rebecca Norton Chelsey Owen & Robert Harris Ariel Fund Matthew & Christina Krashan Joseph Rothberg & Susan Corwin Richard Szeliski & Lyn McCoy

encoremediagroup.com/programs A-17 VICENTE AMIGO | About the Artist

Photo courtesy of artist

ulti-Latin Grammy Award-winning He gained early recognition while He did so much for fl amenco guitar that VicenteM Amigo, known as one of the accompanying singer El Pele (Manuel we are all indebted to him.” Thoughtful most dazzling fl amenco guitarists of Moreno Maya), with whom he recorded and introspective, Amigo pauses before his generation, is considered to be the Poeta de Esquinas Blandas (1988). That putting his work as a player in a larger successor to Paco de Lucía. Hailing from same year, Amigo also launched his solo context. “I’m a guitarist, but I love music Córdoba, Spain, he has toured the world, career. He soon built an international well beyond my instrument,” he says. receiving many of Spain’s most important reputation performing with Camarón “Music is my life.” awards and honors. Amigo is a guitarist de la Isla—arguably the most important respected and admired for his constant singer in modern fl amenco history—and In his recording career over the last 30 artistic thirst and capacity for innovation with artists such as John McLaughlin, Al Di years, Amigo has released eight albums, and renovation. Meola, Brazilian singer-songwriter Milton each embraced by the public and critics: Nascimento, and Spanish pop superstar De mi Corazón al Aire (1991), Vivencias Amigo’s list of international accolades Alejandro Sanz. Imaginadas (1995), Poeta (1997), Ciudad includes a Latin Grammy for Best de las Ideas (2000), Un Momento en el Flamenco Album (2017, 2001), being Amigo has won several fl amenco guitar Sonido (2005) and Paseo de Gracia (2009). named Best Guitar Player by Guitar Player prizes and appeared at Leyendas de Tierra (2013) emerged as Amigo’s most Magazine (1993), and winning First Prize at la Guitarra (Legends of the Guitar), an innovative and global release to date and the Flamenco Guitar International Contest international event celebrated in Spain was nominated for a 2013 Latin Grammy. (Badajoz 1988). He was nominated for that served as a preview of the Seville Recorded in London with members of two more Latin Grammys in 2006 and Expo in 1992, representing fl amenco Mark Knopfl er’s band and the Scottish 2013 (each for Best Flamenco Album), and with Paco de Lucía. De Lucia, who passed folk group Capercaillie, Tierra features won the “Patriarch of Flamenco” Award at away in February 2014, became a lifelong all music composed by Amigo and the 2010 Flamenco Summit. friend and admirer. Those who make arranged with Dire Straits keyboardist sports-like comparisons, or are eager to Guy Fletcher. In his eighth studio record, Born in 1967 in Guadalcanal, a small bestow the unwanted mantle of “the next Memoria de los Sentidos (2017), Vicente village in Seville, Spain, Vicente Amigo Paco de Lucia” fail to grasp the depth of Amigo returns with his most traditional Girol grew up and lives in Córdoba, in their relationship, which is underscored fl amenco album, the class of fl amenco Andalusia. He started studying guitar by the fact that they became compadres, which is felt and expressed by very few when he was eight with maestros such as godfathers to each other’s children: Amigo artists. For this album, which includes El Merengue (Rafael Rodríguez Fernández) to De Lucia’s daughter Antonia; De Lucia Requiem, a moving tribute to his mentor, and El Tomate (Juan Muñoz Expósito), to Amigo’s youngest son, Marcos. Paco de Lucia, Amigo gathered the top and at 15 became an apprentice of the “Such is life. I play guitar because when active fl amenco artists: Potito, El Pele, great Manolo Sanlúcar, in whose group I was 3 years old, I saw Paco de Lucia on Miguel Poveda, Pedro el Granaino, Niña he worked for several years. He played on TV and it stayed with me,” recalls Amigo. Pastori and Farruquito. Sanlúcar’s masterpiece Tauromagia (1988), “Later we became friends and shared considered one of the most important many great times. For all fl amencos, fl amenco albums of all time. Paco is the greatest. He opened paths. A-18 MEANY CENTER FOR THE PERFORMING ARTS International Chamber Music SUPPORT COMES FROM ST. LAWRENCE STRING QUARTET October 25 | 7:30 p.m.

Geoff Nuttall, violin

Owen Dalby, violin MEDIA PARTNER Lesley Robertson, viola Christopher Costanza, cello

MEANY CENTER THANKS THE PROGRAM | HAYDN DISCOVERY FOLLOWING SIGNATURE SPONSOR The father of the string quartet, Joseph Haydn is too often regarded as an opening act: Walter Gray pleasant appetizer music before the main course of a concert program. In Haydn Discovery, Geoff Nuttall and his St. Lawrence String Quartet colleagues will reveal Haydn’s genius, fi rst ADDITIONAL SUPPORT COMES FROM unpacking this masterpiece via “active listening,” then off ering a full performance. Estate of Ellsworth C. Alvord † Nancy D. Alvord † Katharyn Alvord Gerlich Estate of Mina Person † HAYDN String Quartet in F Minor, Op. 20, No. 5 Eric & Margaret Rothchild (1732-1809 ) Allegro moderato Donald & Gloria Swisher Estate of Barbara Weinstein † Menuetto Warren & Anne Anderson Adagio Stephen & Sylvia Burges Ana Mari Cauce & Susan Joslyn Finale: Fuga a due soggetti Delaney & Justin Dechant Britt East & Scott VanGerpen Gail Erickson & Phil Lanum Estate of Carmel Hennessy Pope † INTERMISSION Ira & Courtney Gerlich Lynn & Brian Grant Family Jeff rey Lehman & Katrina Russell Hans & Kristin Mandt ADAMS Selections from “John’s Book of Alleged Dances” Craig Miller & Rebecca Norton Chelsey Owen & Robert Harris (b. 1947) Toot Nipple Cecilia Paul & Harry Reinert Pavane: She’s so Fine Ariel Fund M. Elizabeth Halloran Stubble Crotchet Matthew & Christina Krashan Alligator Escalator Don & Toni Rupchock David and Marcie Stone

BEETHOVEN String Quartet in F Major, Op. 135 (1770-1827) Allegretto Vivace Lento assai, cantanto e tranquillo Grave, ma non troppo tratto – Allegro

The St. Lawrence String Quartet appears by arrangement with David Rowe Artists (www.davidroweartists.com). St. Lawrence String recordings can be heard on EMI Classics and ArtistShare (www.artistshare.com). The St. Lawrence String Quartet is Ensemble-in-Residence at Stanford University (www.slsq).

encoremediagroup.com/programs A-19 ST. LAWRENCE STRING QUARTET | About the Program

String Quartet in F Minor Op. 20, 20, the historical development of Selections from “John’s Book of No. 5 (1772) Haydn’s quartets reaches its goal; Alleged Dances” (1994) FRANZ JOSEPH HAYDN further progress is not progress in JOHN ADAMS any historical sense, but simply the Haydn was the son of a peasant diff erence between one masterpiece John Adams’ well-deserved reputation shepherd. Even at the height of his and the next.” as one of America’s most frequently considerable fame, Haydn never lost performed and widely appreciated his preference to be around plain In the middle register, Haydn posits living composers continues unabated. people. He began as an artisan in the opening theme of the fi rst Born into a musically gifted family the Baroque manner and ended movement with the fi rst violin, its in Worcester, MA, the 1971 Harvard his long career as a master of darkish demeanor refl ective of Sturm graduate moved to California where music, a true artist. Born 18 years und Drang. Soon, however, the tenor he taught at the San Francisco before the death of J.S. Bach, his lightens and brightens as the music Conservatory of Music and served as life straddled the high Baroque and moves into the major. The mid- composer in residence for the San the Classical eras. His training in the movement development shows the Francisco Symphony from 1979-85; former style endowed him with a composer’s ample gifts in creatively The SFS continues to perform new great gift for counterpoint, which playing with the thematic material, works by Adams, led by its music he used even during the evolution which is further amplifi ed in the director Michael Tilson Thomas. of the largely homophonic style recapitulation. The closing coda of the Classical period. Technically revisits the dark opening ambience. Adams draws on music from a broad Haydn did not invent the symphony, range of styles and periods, ranging which was highly experimental Haydn chooses to place the Minuetto from the 17th-century Baroque (as during his formative years, but he second and maintains the minor in the haunting slow movement of developed it from a short, Italianate tonality. Here, as in the opening his Violin Concerto) to contemporary entertainment into the dominant movement, the mood is tinged with popular culture (many works), and orchestral form of the Classical and anxiety and dark passion until the maintains an abiding love for the Romantic eras. Trio smiles with sunlight in the major music of Jean Sibelius. Shortly after before recapping the minor-key “A” composing his fi rst Violin Concerto He did essentially the same thing section. (1994), which draws upon a ground for the emerging string quartet. bass used by Henry Purcell in the 17th In both genres he passed along Gentle and unforced, the sweet century, he shifted his focus to the fully worked out models for Adagio bears the balmy atmosphere late 20th century in “John’s Book of Mozart, Beethoven and virtually all of a siciliano rhythm that is a Alleged Dances.” The Kronos Quartet composers since. Haydn’s desire to world apart from the turbulence gave the premiere on November 19, increase emotion led to more use implied or expressed in the fi rst 1994 at California Center for the Arts, of minor keys, especially in Sturm two movements. As the music Escondido. und Drang works of 1770s. His string progresses, Haydn enriches textures quartets defi ne the independence through additive fi ligree that are de In a note for the publisher Boosey & of the four instruments that have facto variations. Hawkes, Adams noted: “The Alleged constituted the ever-vital quartet Dances were the next pieces written format for nearly two-and-a-half The highly fugal Finale reminds us of after the Violin Concerto, a complex centuries. Adapting outdoor- Haydn’s youth as an active purveyor work that took a full year to compose.” oriented entertainment music from of Baroque counterpoint, which The Concerto emboldened me to the middle of the 18th century never failed him in his long and go further with string writing, and often performed by roving street productive life. Two diff erent fugue some of the techniques and gestures musicians, Haydn began writing subjects support and contrast with I’d touched on in it appeared again quartets in a simple, lyrical non- one another: one slow and built in the new string quartet, only in a contrapuntal style that echoed upon large intervallic leaps (and less earnest guise. The “Book” is a reactive taste against Baroque sounding positively Handelian as collection of ten dances, six of which polyphony. well as Mozart’s Dies irae from the are accompanied by a recorded Requiem, composed almost 20 years percussion track made of prepared In 1772, Haydn composed six later than the Op. 20 quartets), the piano sounds. The prepared piano quartets, Op. 20, known collectively other quicker-paced and overtly was, of course, the invention of John as the “Sun” Quartets because of the scalar in shape. The movement and Cage, who fi rst put erasers, nuts, bolts, cover art of the fi rst edition of 1774. entire quartet closes on a pair of and other damping objects in the The eminent British commentator, strongly infl ected chords. strings of the grand piano, thereby Donald Tovey, opined, “With Op. transforming it into a kind of pygmy

A-20 MEANY CENTER FOR THE PERFORMING ARTS gamelan. In the original version of Sendak? Scratchy scales and creepy, grow from a slowly unfolding Alleged Dances, the prepared piano scary pizzicatos prevail. hymn-like theme that weds psyche/ sounds were organized as loops soul and body into unity. Yet within installed in an onstage sampler, and String Quartet in F Major, Op. 135 this probing expression of doubt one of the quartet players triggered (1826) and pain there are unmistakable them on cue with a foot pedal. This LUDWIG VAN BEETHOVEN glimmers of hope, especially in made for a lot of suspense in the live the exquisite lullaby that ends the performance—perhaps too much, Given the trailblazing nature of movement. (Listen to the closing as the potential for crash-and-burn Beethoven’s four previous “late” Adagio of Mahler’s Third Symphony: was so high that Kronos eventually quartets beginning with Op. 127, it not only mirrors the mood persuaded me to create a CD of some aficionados have dismissed but has a melodic and harmonic the loops, a decision that allowed his final entry as a comfortable passage that clearly comes from the for significantly less anxiety during throwback to the time-limited, pages of this movement.) concerts. The dances were “alleged” traditional four-movement format because the steps for them had yet of Haydn and Mozart. To do so is Beethoven admitted to his to be invented (although by now a to not fully appreciate the process publisher that he had great number of choreographers, including of economical reduction that difficulty with the finale: “Here, my Paul Taylor, have created pieces Beethoven may have exercised in dear friend is my last quartet. It around them). The general tone is this comparatively brief farewell to will be the last; and indeed, it has dry, droll, sardonic.” Reprinted with kind the quartet medium, indeed to all given me much trouble. For I could permission of www.earbox.com composition. Composed the year not bring myself to compose the before his death, the F-Major Quartet last movement. But as your letters According to the composer, the balances the renewed vigor of his were reminding me of it, in the end order of dances is not fixed. Tonight’s youthful compositions with wise I decided to compose it. And that is concert utilizes four of the 10 lessons learned from a lifetime of the reason why I have written the “alleged” dances scored only for the writing music. motto: ‘The difficult decision—Must “normal” instruments. it be? —It must be, it must be!’” The Allegretto that opens the Op. 135 The energetic, even breathless Toot Quartet presents a number of short, As might be expected, the finale Nipple is led by the cello, then handed pithy and protean motives—“theme- begins with an introductory three- over to the viola. lets” if you prefer—that he joins, splits note musical translation of the up and uses as myriad germs for the verbal question posited in the Adams describes Pavane: She’s so unfolding of the entire movement. above epistle: “Must it be?” (This Fine as “a quiet, graceful song for Everything suggests a distillation potent thematic germ found new a budding teenager…listening to a of his great gift for variation and life in Franck’s Symphony in D favorite song on her boombox.” The elaboration, seamless lyricism, Minor.) Harsh, dissonant chords high tessitura of the cello limns the humor and faultless, imaginative pierce the heart before Beethoven sonic portrait. An uptick of energy counterpoint, exemplified in a deft answers the question by switching forms the middle section of the fugal episode. into the major, inverting the theme number. Bluegrass elements add to so that the third note no longer the proceedings. A dancing syncopated scherzo ends in an upward questioning follows. Marked Vivace, the music sense but rather asserts an Stubble Crotchet is “a sawed-off stump leaps forward with great energy optimistic rejoinder. He had created of a piece” writes the composer, moderated by lightness of mood a similar, though less truly serious adding, “Dry bones and hardscrapple that occasionally borders on mania. shift in his earlier Piano Sonata, Op. attacks…An early morning shave with Throughout much of the movement, 81a, known as either Das Lebewohl an old razor.” Here, too high rhythmic Beethoven divides the ensemble or Les adieux (“Farewell”). It is as energy propels the music onward. into two entities: the violins skitter if to say “Life has been hard, but and soar above the harmonic with the wise lessons learned by The intriguingly titled Alligator underpinning supplied by the viola maturity, it has, after all, been a Escalator inspired Adams to note, and cello. good run!” “The long sluggish beast is ascending from the basement level of the local As is often the case with Beethoven, © 2018 Steven Lowe Macy’s all the way to the top of the the Lento—the longest movement of store and then back down again… the Quartet—reveals his inner feeling Mothers are terrified, children and spiritual aspirations. Brooding, fascinated.” Anyone for Maurice even stark, the progressing variations

encoremediagroup.com/programs A-21 ST. LAWRENCE STRING QUARTET | About the Artist

Photo Credit: Marco Borggreve

odern...dramatic...superb... dedicated to the music of Haydn music program, and frequently wickedly“ M attentive...with a hint and recording his ground-breaking collaborates with other of rock ‘n’ roll energy...” are just set of six Op. 20 quartets in high- departments including the Schools a few ways critics describe the defi nition video for a free, universal of Law, Medicine, Business and musical phenomenon that is the release online in 2017. According to Education. The Quartet performs St Lawrence String Quartet. The The New Yorker, “…no other North regularly at Stanford Live, hosts an SLSQ is renowned for the intensity American quartet plays the music annual chamber music seminar, of its performances, its breadth of Haydn with more intelligence, and runs the Emerging String of repertoire, and its commitment expressivity, and force...” Quartet Program through which to concert experiences that are they mentor the next generation at once intellectually exciting Established in Toronto in 1989, of young quartets. In the words and emotionally alive. Recent the SLSQ quickly earned acclaim of Alex Ross of The New Yorker: highlights include performances at top international chamber “The St. Lawrence are remarkable of John Adams’s Absolute Jest for music competitions and was soon not simply for the quality of their string quartet and orchestra with playing hundreds of concerts per music making, exalted as it is, but Gustavo Dudamel and the Los year worldwide. They established for the joy they take in the act of Angeles Philharmonic, and with an ongoing residency at Spoleto connection.” Marin Alsop and the Baltimore Festival USA, made prize-winning Symphony, as well as the recordings for EMI of music by European premieres of Adams’s Schumann, Tchaikovsky and Second Quartet. Golijov, earning two Grammy nominations and a host of other Fiercely committed to collaboration prizes before being appointed with living composers, the SLSQ’s ensemble-in-residence at Stanford fruitful partnership with Adams, University in 1999. Jonathan Berger, Osvaldo Golijov and many others has yielded At Stanford, the SLSQ is at the some of the fi nest additions to the forefront of intellectual life on quartet literature in recent years. campus. The SLSQ directs the The Quartet is also especially music department’s chamber

A-22 MEANY CENTER FOR THE PERFORMING ARTS YOUR GUIDE TO MEANY CENTER

FOOD & BEVERAGE IN MEANY HALL FRAGRANCES TAPESTRIES DISPLAYED ON STAGE Food and beverage stations are located in In consideration of patrons with scent The artwork on display on stage during Piano the main lobby and downstairs at the Gallery allergies, please refrain from wearing and Chamber Music events are tapestries Café on the east side of the lower lobby. perfume, cologne or scented lotions woven by Danish artist Charlotte Schrøder. The stations are open one hour prior to the to a performance. performances and at intermission. ADDRESS & CONTACT INFORMATION CANCELLATIONS Meany Center for the Performing Arts RESTROOMS Due to unforeseen circumstances, we University of Washington, Restrooms are located on the lower sometimes have to cancel or postpone Box 351150 and upper lobby levels. performances. All programs, dates and artists Seattle, WA 98195-1150 are subject to change. Phone: 206-543-4882 / Fax: 206-685-2759 LATE ARRIVAL meanycenter.org Unless noted otherwise, all World Dance SMOKING POLICY and World Music evening performances Smoking is not permitted on the University ArtsUW Ticket Offi ce begin at 8 p.m. Special Event, Piano, and of Washington campus. 1313 NE 41st Street Chamber Music Series events begin at Seattle, WA 98105 7:30 p.m. Out of respect for the artists PARKING OPTIONS Ph: 206-543-4880 | Toll-free: 800-859-5342 and seated patrons, late seating may Limited, underground paid parking is Fax: 206-685-4141 be limited. Late arrivals will be escorted available in the Central Plaza Parking Garage, Email: [email protected] into the theater at appropriate intervals, located underneath Meany Hall. There Offi ce Hours: Mon-Fri, 11 A.M. – 6 P.M. to be determined by the artists and are also several surface lots and on-street theater personnel. parking within walking distance of Meany. Meany Hall Box Offi ce The Meany Hall Box Offi ce opens one hour CELL PHONES, CAMERAS & OTHER before the performance and is located in ELECTRONIC DEVICES MEANY HALL ART EXHIBIT Meany Hall's main entrance. Please turn off these devices before Visit the Meany Center Art Exhibit in the performances. Because of contractual Lower Lobby for an installation of work obligations with our artists, the use of by students in the UW School of Art + Art photographic recording equipment is History + Design. prohibited. Flash cameras can be disruptive and dangerous to some artists.

LOST AND FOUND Contact the House Manager immediately following the performance or contact the Meany Hall House Manager's offi ce at [email protected] or 206-543-2010.

EVACUATION In case of fi re or other emergency, please follow the instructions of our ushers, who are trained to assist you. To ensure your safety, please familiarize yourself with the exit routes nearest your seat. THANK YOU ADMISSION OF CHILDREN KATHY GERLICH! Children fi ve years of age or older are welcome at all Meany Center performances. A ticket is required Meany Center was honored this world class artists on our stage for for admission. year to receive a leadership gift from many years to come. In recognition of

WHEELCHAIR SEATING Katharyn Alvord Gerlich. An inspiring Kathy’s long and generous support, Wheelchair locations and seating for philanthropist, artist and arts lover the Meany Mainstage Theater will be patrons with disabilities are available. Requests for accommodation should and supporter, Kathy started coming renamed the Katharyn Alvord Gerlich be made when purchasing tickets. to Meany with her late parents Nancy Theater starting this fall. and Buster Alvord when she was in FIREARM POLICY Possession or use of fi rearms, without high school. Today she has tickets to We hope that in addition to honoring special written permission from UW Police, every Meany performance! this remarkable woman, it will also is prohibited on the UW Campus. Find the complete policy at washington.edu. serve as an example to other women The Katharyn Alvord Gerlich philanthropists who might one day INFRARED HEARING DEVICES Meany Hall (main stage) is equipped with Endowment for Artistic Excellence walk into the Katharyn Alvord Gerlich an infrared hearing system. Headsets are will help support the commissioning Theater and think that maybe they available at no charge. Please speak with an usher. A driver's license or credit card of new works and artist residencies could make a lasting diff erence for is required as collateral. as well as ensure the continuation of something they believe in, too.

encoremediagroup.com/programs A-23 FRIENDS OF MEANY CENTER Many thanks to the following donors whose generous support make our programs possible:

PRODUCER’S CIRCLE Donna & Joshua Taylor Bonnie Swailes Werner & Joan Samson ($25,000+) Gregory Wallace & Craig Sheppard Dale Sylvain & Thomas Conlon Cathy Sarkowsky George Wilson & Claire McClenny Lee & Judith Talner Michael Scupine & Kim Gittere Abson Estate of Ellsworth C. Alvord† Michelle Witt & Hans Hoff meister Lorraine Toly Carol Swayne & Guy Hollingbury † Nancy D. Alvord Nancy Tosta & Bob Ewing Patricia Tall-Takacs & Gary Takacs Katharyn Alvord Gerlich DISTINGUISHED PATRON Barbara Trenary Mark & Liza Taylor Glenn Kawasaki, Ph.D. (between $1,000 and $2,499) Manijeh Vail James & Phyllis Anne Terrell Marcella D. 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Bollig Jonas Barklund Sharon Armstrong Warren & Anne Anderson Cathryn Booth-LaForce Ross Boozikee Robert Babs Sven & Melinda Bitners & W. Kenneth LaForce Pat Braus & Holly Boone Trudy Baldwin Stephen & Sylvia Burges Kalman Brauner & Amy Carlson Heida Brenneke Lisa Baldwin & John Cragoe Ana Mari Cauce & Susan Joslyn Lawrence & Kathleen Brennan Natalie Brown Mike & Marie Bender Delaney & Justin Dechant Virginia Burdette & Gary Wieder David & Deborah Buck Robert Bergman Britt East & Scott VanGerpen Mariann Carle & Thomas Manley Leo Butzel & Roberta Reaber Joseph Bosco Gail Erickson & Phil Lanum Cashpot Shabu Shabu LLC Timothy Cliff ord John Brasino Ariel Fund David B. Chow Ken Cogen † Gene Brenowitz & Karen Domino Estate of Carmel Hennessy Pope Thomas Clement R. 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Hefl ey Sergey Genkin & Nelli Tkach Janet Geier & Peter Seitel Estate of Fern Rogow† Michael Heltsley Richard Groomer & Betsy Lieberman Susan & Russell Goedde William Calvin & Katherine Graubard Timmy Hendrickson Susan & Richard Hall Tim Groggel & Annette Strand M. Elizabeth Halloran Susan Herring Steven Haney Emile F. Haddad & Terryll Bailey Yumi Iwasaki & Anoop Gupta Ryan & Steve Hess Katherine Hanson & Michael Schick Rebekah Harris Karen Koon Peter Hiatt & Ronald Huden Stephen & Sarah Hauschka Shelley Hartnett Matthew & Christina Krashan Peter Hoff meister & Meghan Barry Susan Hert & William Levering III Kara Hefl ey Bill & Meg Morgan Kyra Hokanson Gray Paul & Alice Hill Michael & Nancy Kappelman Seema Pareek & Gurdeep Pall Mary & Michael Hudspeth Tuck Hoo Paul Kassen Lois Rathvon O. David Jackson Randy & Gwen Houser Marcia G. 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Mikkelsen (between $2,500 and $4,999) Leander Lauff er & Patricia Oquendo Teresa Lawson Eric & Trisha Muller Chris Laws Michael Linenberger & Sallie Dacey Caroline Normann Anonymous David Levy Dennis Lund & Martha Taylor James Phelps & Ena Urbach Anne-Lise & Scott Bean David Skar & Kathleen Lindberg Jeff rey & Barbara Mandula Chet Robachinski Heidi Charleson Melodie Martin & Kenneth Dayton Michael & Nancy Matesky Barbara & Mark Roller Toby Diamond Barbara Martyn Ramona Memmer & Lester Goldstein Bette Round Janet Boguch & Kelby Fletcher Tomilynn & Dean McManus John & Gail Mensher Jennifer Salk & David Ehrich Davis Fox & Rosemary Coleman Robin Mendelson & Joss Delage Linda & Peter Milgrom Eric Schlegel & Mary Stout Dr. Melvin & Nanette Freeman Jane Miyamoto-Dell’isola & Lawrence Mary Monfort & Kevin Coulombe Mark & Patti Seklemian Walter Gray Dell’Isola M. Lynn Morgan Mark Teitelbaum Elizabeth Hebert Sayantani Mukherjee Kevin Murphy & Karen Freeman Robin Thomas The Hokanson Family James & Pamela Murray Eugene & Martha Nester Gayle & Jack Thompson Hugues Hoppe & Sashi Raghupathy Richard & Sally Parks Margarete Noe Michelle & Stephen Turnovsky Catherine & David Hughes Gerald Parks Anne Stevens Nolan & William Nolan Valeri & Eugenia Vinyar Bernita W. Jackson Kenneth & Monica Payson Nenita Odesa Dr. James B. & Judith B. Wagonfeld Kurt Kolb Dick & Jill Rice Amanda Overly Greg Wetzel Leonard Costello & Patricia McKenzie Douglas & Claudia Ross Barbara Lycett & John Parchem Osamu Yamamoto Yoshi & Naomi Minegishi Evelyn Simpson Geoff Prentiss Lee & Barbara Yates John O’Connell & Joyce Latino Sigmund & Ann Snelson Jason Reuer Igor Zverev & Yana Solovyeva Darcy & Enzo Paschino Carrie Ann Sparlin Carrie Rhodes John C. Robinson & Maya Sonenberg Bob & Robin Stacey John Rochford & Nick Utzinger Ethel & Bob Story Joy Rogers & Robert Parker

A-24 MEANY CENTER FOR THE PERFORMING ARTS KEY PLAYER Wang & Gregory Carter / Jerry Watt & Vreni Arx / Larry Cynthia Hirst / Keri Holmboe / Mary Anne Howard / Heidi (between $100 and $249) & Lucy Weinberg / Ann & Richard Weiner / Merle Weiss Hummel / David Johnson / Duane & Erica Jonlin / Margot & Diane Pien / Bruce & Christine White / Karin Williams / Kadesch / Phyllis Kaiden / Linda Kent & James Corson / Anonymous / Laila Adams / James Adcock & Anne Otten / John & Margaret Williams / Phillip & Constance Winberry Forest & Cristina Key / Gur Kimchi / Lee Klastorin & Ralph Mary Alberg / Kathryn Alexandra & Steven Rubey / Frank / Carolyn Wood / Nancy Worden & William Reed / Ying Walden / Jennifer Kraft & Chris Pesce / Daniel & Sandra & Nola Allen / Julie Anderson / Timothy & Susan Anderson Gi Yong / Ryan & Heidi York / Carol Young / Evgueni & Kraus / Carla & David Lawrence / Arlene Levy / James / Samia Ashraf & Lewis Davidson / Ruth & Mark Balter Tatiana Zabokritski / Nancy & Robert Zager / Shirley Zaic & & June Lindsey / Larry Macmillan & Billie Young / Linda / Dana & Rena Behar / Robin Bentley / Wendy Besse Eric Johnson / Lawrence Zeidman & Linda Tatta / Maxine Maki / William & Judith Matchett / Robin McCabe / Sean / Marcia & David Binney / David Bird / James & Edith Zemko McCain / Brian McHenry / Ted Mears / Barbara Mericle Bloomfield / Beverly Bodansky / Daniel Branstetter & / Sharon Metcalf & Randall Smith / Eric Michelman & Barbara Kesler / Shannon Bruce / Robin Calderon / Carol FRIEND Patricia Shanley / Marilyn Milberger / Sheree Miller & & Henry Cannon / Frances Carr / Robert Catton / Pamela & (between $50 and $99) Benjamin Greer / Stephen Miller / Jocelyn & Michael Robert Center / Leroy Chadwick / Robert & Molly Cleland / Miller / Harold & Susan Mozer / Susan Mulvihill & James Leslie & Libby Cohen / Richard & Dorothy Cole / Marjolyn Suzanne & Marvin Anderson / Anonymous / Jill Bader Liverman / Ellen & George Naden / Christopher Newell Conrad / Elizabeth Cooper / Kathy Cowles & Bradford / Elisabeth Beaber / John & Terry Berg / Thomas Bird / Linda Oshins / Barbara O’Steen & R. Howard Mitchell / Chamberlain / Jean Crill / Gavin Cullen & David Jamieson / Helen Bodkin / Lee Anne Bowie / Richard Brandon / Tracy & Todd Ostrem / Raymond Pendergast / Douglas / Judith Cushman & Robert Quick / Janice DeCosmo & Elaine Brighton / Shannon Bryan & William Molloy / James Perry / Michael & Susan Peskura / Philip Porach & Ronald David Butterfield / Barbara DeCoster / Celeste & Eduardo Burkman / Zbigniew Butor / Susan Buttram & David Frost Niemeyer / Colette Posse / Nicole Quinones / Meryl Delostrinos / Kathleen Dickeman / Theodore Dietz / Susan / Scott & Jayme Canfield / Connie Case / Phyllis & Alan Retallack / Ellen & Dan Roach / David & Joanne Rudo & David Dolacky / Nancy Dorn / Jeanne Dryfoos / Laurie Caswell / Sing Chao / Merrilee Conway & James Young / / William Sandal / Mary Jo Schreifels & Ronald Jones / Ann & C. Bert Dudley / Elizabeth C. Duffell & Brad Wilke / Anne & George Counts / Barbara Courtney / Christopher Stephen & Loretta Schuler / Charles Smith & Olga Smith JoLynn Edwards & Hal Opperman / Joan & Brian Edwards Curry / Suzanne Di Lanzo / Daphne Dilley / Janice Dilworth / Christopher & Ann Smith / Jeffrey & Alice Snyder / H. / Richard Eide / Lynne & Hollie Ellis / Patricia Emmons & & Gregory Denton / William & Laura Downing / Kathleen Anne Solomon / Donna Sunkel / W. Michael Thompson Shmuel El-Ad / David Doody & Michael Erickson / Gary & Edward Dunn / Sally & Jeff Eagan / Robert & Ingrid / Peter Thurlow / Mary Vanveen & Charles Carosella / Fuller & Randy Everett / Susan Ewens / Alan & Jane Fantel Eisenman / William Elwell / Susan Fisher / Daniel Gamelin / Silvia Vega / Carol Wallace & Durlin Hickok / Liz Wallace / / Polly & Eric Feigl / Jane Fellner & Neal Friedman / Judith David & Anne Gilbert / Elizabeth Gilchrist & John Clarkson Kymberly & Jeremy Waltmunson / Grace Wang / Greta & Gillum Fihn & Stephan D. Fihn / Laura Finn / Gerald Folland / Linda Gorton & Ken Bounds / Earl & Nancy Grout / Joseph Ward / Gail & John Wasberg / Becky Woodworth / / Brenda Fong / Jacqueline Forbes & Douglas Bleckner / Stephen Haeck / Denise Hastings / Ellen & Jerry Hendin / John V. Worthington Susanne Foster / William Friedman / Susan & Albert Fuchs Judith Herrigel / Anne Herrmann & Albert Ortiz / Alistair & / Kai Fujita / Stanley & Marion Gartler / Jennifer Gaus & David Lion / Gene & Evelyn Gershen / Brian Giddens & Steve Rovig / George Gilman / Katya Giritsky / Sara Glerum / J. David Godwin & Virginia Reeves / Peter Goldman & Martha Kongsgaard / Frances H. Goldman Fund of the Greater Cincinnati Foundation / Anne Good / Jennifer & Henry Gordon / Catherine Gorman / Gene Graham / Chris Gross / Lynn Hagerman & James Hummer / Eric Hansen & Jody LaBissoniere / Shuko Hashimoto / John & Geraldine Hay / Dandan He / Kathryn Heafield & Guy Sattler / Helen Henley / Lori Hess & Benjamin Miller / Janet Hesslein & Murl Sanders / David Hewitt & Marcia Wagoner / Jonathan & Deborah Himmelfarb / Norman Hollingshead/ Roy Hughes / Margaret Hunt / Patricia Hynes / Melanie Ito & Charles Wilkinson / Joshua Jacobs / Sibyl James / Linda & Christopher Johnson / Robert Johnson & Heather Erdmann / Ronit Katz & Hank Levy / James & Elaine Klansnic / Adam Kline & Genie Middaugh / Nancy & John Kloster / Joan Klyn / Lillian Koblenz / Glen Kriekenbeck & Quentin King / Phyllis Lamphere / Rosalie Lang / Deborah & David Larson / Lauren & David Lawson / Peter LeVeque / Kathryn Lew & Dennis Apland / James & Marianne LoGerfo / Gwendolyn Lundberg & David Aggerholm / Lisa & Ross Macfarlane / Sara Magee / John & Katharina Maloof / Wendy Marlowe / Tessa Matthey & Peter Durkee / Lila May / Mary V. McGuire / Robert & Catherine McKee / Michael & Noor McMann / Susan L. McNabb / Richard Mesher & Cynthia Lee / Charles & Lynn Meyer / Michael & Sarajane Milder / Eleanor Miller & Lucas Butler / Reza & Carol Moinpour / Steve Moody / David Morris / Anne Morrison / Christine Moss / Richard & Dora Moxon / Joseph & Kay Neal / John Nemanich & Ellendee Pepper / Betty Ngan & Tom Mailhot / Marianne Nijenhuis / Mark Novak & Katrin Pustilnik / Martin Oiye & Susan Nakagawa / Bruce & Linda Olson / Angela Owens / Cathryn Palmer / Elizabeth Park / Margaret Paternek / Jeanne Peterson / Karen Peterson / Gregory & Margaret Petrie / Sandra Piscitello / Susan Porterfield / T. David & Gloria Prins / James & Ruth Raisis / Wendy & Murray Raskind / Dennis Reichenbach / Matt Reichert / Carrie Richard / Carla Rickerson / Paula Riggert / Rachel & David Robert / Sam & Josie Roskin / John & Janet Rusin / Jesse Salomon / Norman & Elisabeth Sandler / Laura Sargent / Robert & Doris Schaefer / Charles Schooler / Janet Schweiger / Jean Schweitzer / Noah Scooler / Charyl & Earl Sedlik / Julie & Reza Sharif / Roberta Sherman & Charles Meconis / John Sindorf & Mary Ann Bolte / Hazel Singer & John Griffiths / Douglas Smith / Mani & Karen Soma / Harold & Ruth Spalter / Derek Storm & Cynthia Gossett / Pamela Stromberg / Stella Suzara / Rachel Swerdlow / Virginia Sybert & Peter Byers / Sarah Temple / David & Barbara Thomas / Mary Anne Thorbeck / Myrna & Donald Torrie / Dorene & Dennis Tully / Frits van Oppen / Phyllis Van Orden / Yvonne & Bruno Vogele / Kaoru Wada / Patricia Wahl & Dean Wingfield / Debora & David Wakeley / Michele

encoremediagroup.com/programs A-25 ENDOWMENT AND PLANNED GIFTS Many thanks to the following individuals for supporting the future of Meany Center through planned gifts and contributions to our endowment:

Planned Gifts Live Music for World Dance Series Anonymous Endowed Fund Linda & Tom Allen Kai Fujita Ellsworth C. & Nancy D. Alvord† Dandan He Wimsey J.N. Cherrington Bernita W. Jackson Consuelo & Gary Corbett Gwendolyn Lundberg Bill† & Ruth Gerberding & David Aggerholm Matthew & Christina Krashan Sayantani Mukherjee Margaret Dora Morrison Cecilia Paul & Harry Reinert* Cecilia Paul & Harry Reinert Gregory Petrie & Margaret Petrie Mina B. Person† Lois Rathvon Meany Center Education Endowment Dave & Marcie Stone Kalman Brauner & Amy Carlson Donald & Gloria Swisher Jackie Forbes & Douglas W. Bleckner Lee & Judy Talner Jill S. Hanley Conner Ellen J. Wallach Meany Center Programming “If I have seen a Ellsworth C. and Nancy D. Alvord Endowment Fund Endowed Fund William A. Friedman little further, it is Estate of Ellsworth C. Alvord* Eric & Margaret Rothchild Windsor R. Utley*† only by standing Arts Al!ve Student Fund for Exploring Estate of Barbara L. Weinstein† on the shoulders the Performing Arts Phillip & Constance Winberry Susan Knox & Weldon Ihrig* of Giants." Mina Brechemin Person —BERNARD OF CHARTRES Nancy and Eddie Cooper Endowed Fund Endowed Fund for Music in Schools Estate of Mina B. Person*† Dave & Marcie Stone* From Haydn to Mozart to Gloria Wilson Swisher Music Education Beethoven to the Beatles, Katharyn Alvord Gerlich Endowment for and Outreach Endowment Artistic Excellence Bernita W. Jackson each generation owes its Katharyn Alvord Gerlich* Donald & Gloria Swisher* progress to the ones that George Wilson & Claire McClenny came before. Elaine and Ernest Henley Endowment for Classical Music * Endowment Founder You, too, can be a giant. Dr. Joseph Bosco, III † Deceased Dr. Jane B. Fellner & Neal S. Friedman Helen Henley Matching Corporate Gifts CONSIDER A GIFT to the Elaine & Ernest Henley*† Adobe Systems, Inc. Meany Center through your Katherine Jane Hanson, Ph.D. AT&T Foundation will, trust or retirement plan, & Prof. Michael Schick Chevron Corporation and help future generations Dr. Joshua J. Jacobs City of Seattle Dr. Richard A. Mesher & Cynthia S. Lee East West Bank of artists and arts lovers see Frits W. Van Oppen Google, Inc. a little further by standing on Prof. T. David & Gloria Prins IBM Corporation your shoulders. Intel Corporation Catherine and David Hughes Asian Merck Company Foundation Contact: Programming Endowment Microsoft Corporation Catherine & David Hughes* Puget Sound Energy Cristi Benefi eld, Director of Shell Oil Company Philanthropy, Meany Center Matt Krashan Endowed Fund for Artistic State of Washington 206-616-6296 and Educational Excellence in the The Boeing Company [email protected] Performing Arts The K Foundation meanycenter.org/donate Matthew & Christina Krashan T-Mobile USA, Inc. Lee & Judy Talner U.S. Bank (*Multiple Founders) United Way of Greater Los Angeles United Way of King County United Way of Snohomish County Wells Fargo, LLC

This listing includes endowment founders and endowment donors from July 1, 2017 to June 30, 2018. For more information on how to make a gift through your will or trust, or to name Meany Center for the Performing Arts as a benefi ciary of your retirement plan or insurance policy, please call 206-685-1001 or 800-284-3679 or visit www.uwfoundation.org/giftplanning.

A-26 MEANY CENTER FOR THE PERFORMING ARTS MEANY CENTER SEASON SPONSORS We are deeply grateful to the following corporations, foundations and government agencies whose generous support make our programs possible:

$100,000 AND ABOVE

The Andrew W. Mellon Foundation

$25,000 AND ABOVE

Classical KING FM 98.1* / National Endowment for the Arts / Nesholm Family Foundation

$10,000 - $24,999

4Culture / ArtsFund / Microsoft / Seattle Offi ce of Arts & Culture / U.S. Bank

UP TO $9,999

Banner Bank / The Boeing Company / East West Bank / Horizons Foundation / KEXP 90.3 FM* / KUOW 94.9 FM* Ladies Musical Club / Peg and Rick Young Foundation / Washington State Arts Commission / Western States Arts Federation

BUSINESS CIRCLE SPONSORS

Agua Verde Cafe Catering / Classical Wines from Spain / College Inn Pub / Hotel Deca* / Fran's Chocolates* / Macrina Bakery* Madres Kitchen* / Pagliacci* / North City Bistro* / Theo Chocolate* University Inn* / Watertown Hotel*

CAMPUS + COMMUNITY PARTNERS

Arts Impact / ArtsUW / Burke Museum / Cornish College of the Arts / Department of Near Eastern Languages and Civilization / Henry Art Gallery / Ladies Musical Club / Langston Hughes Performing Arts Institute / Live Music Project / Nordic Heritage Museum / Seattle Art Museum / Seattle Music Partners Seattle Public Schools / Second Inversion / Scan Design / UW Alumni Association / UW American Indian Studies / UW Canadian Studies / UW Dance Department / UW Intellectual House / UW First year programs / UW Graduate School / UW Libraries / UW Residential Life Program / UW School of Drama / UW School of Music / Velocity Dance Center

* Denotes full or partial gift in kind.

Join an impressive roster of companies of all sizes that support Meany Center, its mission, and its performances. Sponsors receive signifi cant recognition throughout the season and an array of benefi ts catered to your organization's goals. For more information, please contact the Meany Center Philanthropy Department at (206) 685-2819.

encoremediagroup.com/programs A-27 MEANY CENTER AND ARTSUW TICKET OFFICE STAFF

Michelle Witt, Executive and Artistic Director Rosa Alvarez, Director of Patron Services Rita Calabro, Managing Director Liz Wong, Assistant Director of Patron Services Scott Coil, Director of Finance and Administration Colette Moss, Patron Services Associate James Fesalbon, Fiscal Specialist Keeli Erb, Patron Services Associate Yevgeniy Gofman, Accountant Patrick Walrath, Patron Services Associate Cathy Wright, Patron Services Associate Laura McKee, Tessitura Administrator Gretchen Shantz, IT Administrator Patron Services Assistants Danielle Blevens Cristi Benefi eld, Director of Philanthropy Kelli Hong Alix Wilber, Grants and Communications Manager Kendall Massey Erin Candee, Philanthropy Coordinator Mariama Sidibe Lauren Widman Elizabeth C. Duff ell, Director of Artistic Engagement Kaeline Kine, Artist Engagement Coordinator Lead Ushers Kristen Kosmas, Creative Fellowships Coordinator Raine Myrvold Charlotte Schoen, Student Engagment Intern Levi Sy Griffi n Withington Teri Mumme, Director of Marketing and Communications Rob Noland, Graphic Designer Ushers Cynthia Mullis, Interim Marketing Manager Altaire Anderson Son Bui, Marketing Assistant Frances Bueno Arthur Grossman, Phil Lanum, Photographers Ana Constantin Ryan Farris Tom Burke, Technical Director Laura Freeman Brian Engel, Lighting Supervisor Abbi Helms Juniper Shuey, Stage/Video Supervisor Jared Kawasawa Matt Starritt, Audio Supervisor Laura Keil Doug Meier, Studio Theatre Stage Technician Daniel Matheson C.J. Pier Nancy Hautala, Audience Services Manager Abby Ryiter Tom Highsmith, Lead House Manager Owen Stevens Noah Duff y, House Manager Joslyn Thomas Duncan Greeley, House Manager Emma Turner Natalie Harrington, House Manager

Catering by

A-28 MEANY CENTER FOR THE PERFORMING ARTS Dialogue Encore Stages in conversation

Ashley Byam as Boy, Christian Roe as Rabbit and Stephen Kennedy as Narrator in The Velveteen Rabbit, Unicorn Theatre. Photo by Manuel Harlan.

Courtney Sale describes herself as a director who’s passionate about new work and devised theatre. As the artistic director of Seattle Children’s Theatre, Sale has directed adaptations of Black Beauty and The Little Prince. But her work isn’t just limited to theatre for young audiences. Sale proudly collaborates with a number of nationally produced playwrights, including Steven Dietz, Kirk Lynn and Allison Gregory. Encore Stages had a chance to speak with her about the upcoming production of The Velveteen Rabbit at Seattle Children’s Theatre, a co-production with the Unicorn Theatre in London. The play runs November 1 to December 30 at Seattle Children’s Theatre.

What drew you to The Velveteen compassion takes time, action and Rabbit? Why this play now? evolving understanding. Once we truly Courtney Sale, artistic director of Seattle know those civilizing emotions, we can Children’s Theatre. Photo by Eva The Velveteen Rabbit is a story for overcome anything—even if it means Blanchard. multi-generational audiences always we experience loss. worth revisiting. For me, the play I was at a funeral a few years ago reminds us that love is a verb. The where a religious scholar said the only work of deepening kindness and way to take loss out of life is to take

encoremediagroup.com/programs 9 Christian Roe as Rabbit and Ashley Byam as Boy in The Velveteen Rabbit, Unicorn Theatre. Photo by Manuel Harlan.

love out of life. That idea has stuck indelible responsibility to make sure with me. As our world becomes more each of them knew how much I loved complicated and frightening, taking them! time to meditate on how to love one To me, what is exciting about Margery another is a radical act. The opportunity Williams’ language is that it takes the to gather in community and practice shape of the patience and generosity that idea across generations is wholly exhibited in the way my mom read compelling. to me as a child. The story holds a particular quality and slower time When did you become familiar signature—something I find lacking in with Margery Williams’ work? some of children’s entertainment today. What is it about her writing that excites you? The Velveteen Rabbit is directed by Purni Morell, former artistic director of My mom read the story many times to the Unicorn Theatre in London. What me. Not only a fabulous parent, she is drew you to Purni as a director? What wonderful with children—one of her was it about Unicorn that promoted you many gifts. My mom taught me how to partner with them on this play? to treat young people. She was patient Khanh Doan as Prince and Sydney between each page, comforting in her We are delighted to have Purni’s work Andrews as Fox in The Little Prince, voice and indulgent to every question on our stages at SCT. This is the first Seattle Children’s Theatre. Photo by I asked. The Velveteen Rabbit was one time we’ve worked together. What I Elise Bakketun. of the first books I read as a child that love about Purni is her fierce intellect made me see my toys anew. I owned and uncanny sense of humor. We a few Care Bears and the night after share a paramount value in that the I read the story I had to sleep with all work we make for children should of them tucked into my bed. I felt an flatter their intellect and imagination.

10 ENCORE STAGES JEWELERS & GALLERY When Only the Best Will Do

Family Owned Celebrating 40 Years

3500 Factoria Blvd. S.E., Bellevue, WA . 425.643.2610 . www.dacels.com

Untitled-1 1 7/5/18 11:29 AM This iteration of the play has received successful runs in both New York and London. We were thrilled we are able to bring the physical production from the UK to Seattle, as well as cast two local Seattle actors in the show. Those actors will rehearse in London in October. Like SCT, Unicorn Theatre holds a commitment to producing the highest quality work for children. We are like- minded in our dedication to new work. It’s a natural fit.

What are you most looking forward to about this production?

This iteration of the story activates all the things I want in a theatre experience—rough magic, beautiful language, playful physicality, live music—all built upon a story with real meaning and substance. The ability to invite the audience in through Khanh Doan as Prince and Sydney Andrews as Geographer in The Little Prince, Seattle multiple sensory experiences is always Children’s Theatre. Photo by Elise Bakketun. something I want to create in the theatre.

Are there any female playwrights, directors, choreographers or musical theatre writers—working in Seattle or VISIT CORNISH nationwide—that you’d like to shout out?

Learn More About BFA in Absolutely! Seattle enjoys one of the Performance Production most dynamic concentration of amaz- or Theater ing female directors and playwrights in the nation. I am so inspired by the artistry around me. To name a few: Allison Gregory, Cheryl West, Karen OPEN HOUSE & Hartman, Desdemona Chiang, Rosa AUDITIONS Joshi, Anita Montgomery, Valerie Curtis Newton, Elizabeth Heffron, Sheila Oct 12 Daniels, Jane Jones and the list goes on! Nov 17—18 Dec 2 Is there anything else you’d like to share about The Velveteen Rabbit? Feb 23—24 Whether you are young, recently young or previously young, this is a story for you. In the darkest time of the year as the days get shorter, it is such a great story to warm critical aspects of our humanity— cornish.edu namely, unconditional love. ■ Danielle Mohlman

12 ENCORE STAGES Dialogue Encore Stages in conversation

Nick Droz, musician of Bushwick Book Club. Photo by Libby Lewis.

Ever been inspired to write a song based on Moby-Dick or Ready Player One; The Outsiders or Delta of Venus? The Bushwick Book Club is a group of musicians who create original compositions inspired by books they read. These compositions are then presented to a live audience and their fellow songwriters. Encore Stages recently sat down with Geoff Larson, Bushwick’s executive director, to discuss playing bass, Commander Toad and how music can help illuminate literature.

What’s your background? executive director role at Bushwick and producing events, education programs I’m the executive director of Bushwick and recorded music in the Seattle area. Northwest, the parent organization to The Bushwick Book Club Seattle and What is Bushwick Book Club and how Geoff Larson, executive director of STYLE: Songwriting Through Youth did you get involved in it? Bushwick Northwest. Photo by Wade Trenbeath. Literature Education. I graduated from Western Washington University with a Our goal is to ignite passion for degree in Classical Performance on the literature and support musicians in upright bass while studying Jazz and their creative endeavors. More than I moved to NYC in 2009 with my jazz Composition. I’ve spent 20 years work- anything, Bushwick is a community quartet, Das Vibenbass. While living ing as a professional musician in a for artists to gather and share their in the city I ended up performing with variety of styles, having the opportunity compositions while supporting those a variety of groups and seeing some to tour the world. I now focus on my around them. amazing performances, including The

encoremediagroup.com/programs 13 Bushwick Book Club right there in writers. I have to note that Mary Doria Bushwick, Brooklyn. It was one of the Russell’s The Sparrowhas become one most electric songwriting showcases I of my top reads. It feels so real to me. had ever seen. When I made the move back to Seattle, I knew I would need to How does one become involved in start up a Bushwick chapter. I gathered Bushwick? Are you seeking out singers? a crew and we performed our first event in 2010. Bushwick is always looking for more musicians to perform in our How can music help illuminate programs. All you need to do is share literature? How can literature help one song inspired by the written word illuminate music? with us, and provide us with your Read and Destroy, musicians of Bushwick online presence. We love meeting Book Club. Photo by Marc La Pierre. Music is something that can bring out new performers and bringing more emotions in an unexpected way. The artists together to foster support and way a performer choses to represent collaboration. their inspiration certainly challenges We also love volunteers! It’s a Rollins, is a fantastic experience, and I each listener with their own experience wonderful way to help our organization cannot wait for this second performance with the same text. Each reader has a charge forward and get the chance (we did Parable of the Sower last season). unique take on a single passage and to support local artists and see our Octavia Butler is one of the best science will represent their experience accord- performances. You can volunteer by fiction writers I’ve read, and the musi- ingly. And then a listener will even have contacting us through our web page. cians found so much to create. a different inspiration from the music. It’s a beautiful cycle of ideas and Favorite Bushwick memories? If you could perform in front of any creation. Attaching a story to music author, living or dead, who would you can help bring a listener on a journey. Bushwick has too many to count—from pick? What sort of tune would you play? This is something I always love to do our multiple performances at Benaroya with my instrumental music. I love Hall and McCaw Hall, to performing This answer could change on any given hearing what journey a listener created with a full orchestra at Town Hall day, but I’ll pick one for today. I’m going while listening to my music. It’s actually Seattle. My favorite moment is picking with Mary Doria Russell. I know that the a game I like to play inside the classroom up a guitar and performing that first song I would write would be inspired by with our education program, STYLE. song back in 2010. It was my first The Sparrowand would be performed performance on guitar and vocals and with my upright bass with my dropped What books growing up touched my goal was to make sure everyone was D. There would be a solid drone with you? What books have you gravitated comfortable to bring their own songs to that low note and throughout the rest towards as an adult? this audience. of the bass giving sense of urgency and waiting (I know it’s weird). I think In my youth, I loved adventure and What are you looking forward to most I might focus on the loneliness our exploration. These have been found in next season? characters might feel while on a long the simplicity of Beverly Cleary or in journey through . . . Ok I won’t give Commander Toad, although I could I am ecstatic that we will have a place anything away. Read the book! not deny the beautiful poetry of Shel to call home next season. Thank you Silverstein or Dr. Seuss. I have fond to the Hugo House for providing us How can someone help Bushwick? memories of my parents reading me with a location for most of our events. those stories. As I grew into high school Our partnerships are a big deal to us. Come to a show. Bring your friends! age, I found Kurt Vonnegut, still one of This also includes Town Hall Seattle, You won’t be disappointed, and you’ll my favorite writers, and John Steinbeck. Seattle Arts & Lectures, The Vera be supporting local musicians. ■ As an adult, I’ve counted heavily on Project, Jack Straw Cultural Center and those around me to guide me towards Seattle7Writers. Jonathan Shipley is a freelance writer living what they love. Science fiction is some- As for our events, I’m looking forward in West Seattle. He’s been published in the thing I love beyond all. The creativity to our Parable of the Talents event on Los Angeles Times, Fine Books & Collections and thought towards the future cannot April 20, 2019 at Town Hall Seattle. Magazine, and Seattle Magazine, among be matched with these incredible Working with our curator, KEXP’s Riz others.

14 ENCORE STAGES Intermission Brain Transmission Are you waiting for the curtain to rise? Or, perhaps, you’ve just returned to your seat before the second act and have a few minutes to spare? Treat your brain to this scintillating trivia quiz! Email us the answer to the last question and have a chance to win tickets to a show!

1) Coming to Meany Hall on October 17, Marc-André Hamelin will showcase his prodigious talent on the piano. Who invented the piano?

a) Jean-Pian Forté b) Bartolomeo Cristofori c) Giovanni Battista Guadagnini d) Sébastien Érard Steinway grand piano with the fan 2) A People’s History will be performed by Mike Daisey at shaped strings disposition Seattle Repertory Theatre October 17–November 25. In this series of monologues, Daisey contrasts what he was taught in history class with Howard Zinn’s book A People’s 4) Arms and the Man by George Bernard Shaw will play History of the United States. Howard Zinn collaborated on October 23–November 18 at Seattle Shakespeare an extensive comic book adaptation entitled A People’s Company. From what Shavian play was the Broadway History of American Empire, published in 2008. Who was musical My Fair Lady adapted? the cartoonist who co-authored and drew this hefty tome? a) Major Barbara a) Mike Dawson b) Pygmalion b) Mike Allred c) Mrs. Warren’s Profession c) Mike Konopacki d) You Never Can Tell d) Mike Grell 5) At Meany Center on November 13, string quartet Brooklyn 3) On October 12–November 11, ACT Theatre will present Rider will perform. This young group recorded music by Oslo, a new play dramatizing the signing of the very the composer Phillip Glass in 2011. For what movie did real 1993 Oslo Accords between the Israelis and the Phillip Glass win a Golden Globe for his original score? Palestinians, as agreed by leaders Yitzhak Rabin, the prime minister of Israel, and Yasser Arafat, chairman of a) The Truman Show the Palestine Liberation Organization. Who was prime b) The Hours minister of Israel directly after Rabin? c) Kundun d) Notes on a Scandal a) Benjamin Netanyahu b) Ehud Olmert Bonus Question c) Ariel Sharon What was the last arts performance you attended that you d) Shimon Peres liked best and why? Email your response to [email protected]

with “Trivia Quiz” in the subject line.

for the same award. same the for for 2003 in and for 1998 in nominated also was Glass Dallwitz. von The Hours Hours The Kundun

. Glass won the Golden Globe for best original score in 1999 for this film, which he shared with Burkhard Burkhard with shared he which film, this for 1999 in score original best for Globe Golden the won Glass . – a 5.) Loewe. Frederick by music and Lerner Jay Alan by lyrics The Truman Show Truman The

debuted on Broadway in 1956 with book and and book with 1956 in Broadway on debuted musical The . – b 4.) 1984. in and 1977 in beginning served previously having minister, prime as term third his was It My Fair Lady Lady Fair My Pygmalion

collection of New York University’s Tamiment Institute Library & Robert F. Wagner Labor Archives. 3.) d – Shimon Peres. Peres became prime minister in 1995 after Rabin’s assassination. assassination. Rabin’s after 1995 in minister prime became Peres Peres. Shimon – d 3.) Archives. Labor Wagner F. Robert & Library Institute Tamiment University’s York New of collection

artist has enjoyed a long career as a political cartoonist and has published six books of labor cartoons with his business partner Gary Huck. Their original artworks are in the permanent permanent the in are artworks original Their Huck. Gary partner business his with cartoons labor of books six published has and cartoonist political a as career long a enjoyed has artist 1.) b – Bartolomeo Cristofori. The Italian master craftsman (b. 1655–d. 1731) created the first pianos around the turn of the 18th century. 2.) c – Mike Konopacki. The Wisconsin-based Wisconsin-based The Konopacki. Mike – c 2.) century. 18th the of turn the around pianos first the created 1731) 1655–d. (b. craftsman master Italian The Cristofori. Bartolomeo – b 1.)

encoremediagroup.com/programs 15