In This Issue

MAY 2019

IN THIS ISSUE

YEKWON SUNWOO May 4

LILA DOWNS May 21

ALEXANDER STRING QUARTET with JOYCE YANG May 22

April/May 2019 Volume 15, No. 6

APRIL/MAY 2019

Paul Heppner President

Mike Hathaway Contents Senior Vice President Feature Kajsa Puckett 3 Equity, Diversity and Vice President, Sales & Marketing Inclusion in Seattle Genay Genereux Theatre Accounting & Office Manager Dialogue Production Susan Peterson 9 Reel Grrls Vice President, Production Intermission Brain Transmission Jennifer Sugden Assistant Production Manager 14 Test yourself with our trivia quiz! Ana Alvira, Stevie VanBronkhorst Production Artists and Graphic Designers

Sales Marilyn Kallins, Terri Reed Encore Stages is an Encore Arts San Francisco/Bay Area Account Executives Program that features stories about Devin Bannon, Brieanna Hansen, our local arts community alongside Amelia Heppner, Ann Manning information about performances. Seattle Area Account Executives Encore Arts Programs are publications Carol Yip of Encore Media Group. We also publish Sales Coordinator specialty publications, including the Marketing Official Seattle Pride Guide and the Shaun Swick SIFF Guide and Catalog. Learn more Senior Designer & Digital Lead at encoremediagroup.com

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2 ENCORE STAGES Equity, Diversity and Inclusion in Seattle Theatre

Pride and Prejudice directed by Desdemona Chiang. Pittsburgh Public Theater (2018). Photo by Michael Henninger.

Danielle Mohlman Over the last few years, equity, diversity writers—the content creators of the and inclusion have become goals of theatre—and released information that continues her theatre companies across the United doesn’t feel all that surprising: of all exploration of equity, States. But what does that look like the major cities surveyed, Seattle has in practice? We spoke with four the most room to grow. Between 2011 diversity and inclusion theatres in Seattle who put these goals and 2017, only 8% of produced plays in in Seattle’s theatre at the center of their practice and Seattle were written by artists of color asked them to share their successes, and only 24% by women. community by speaking aspirations and the areas they feel need with local artists and improvement. The Count certainly has its own room to grow. It’s impossible to count every organizations about single theatre in Seattle, let alone every recent achievements In October 2018, the Dramatists theatre in the country, so they created Guild and The Lilly Awards released a set of guidelines to generate the most and trials they have The Count 2.0, a national census representative survey. To start, the faced. that analyzed data from six seasons theatre must be a non-profit with at of theatre, 2011 to 2017, looking at least a decade of experience profes- the production history of theatres sionally producing plays or musicals. of all sizes. The Count was focused Each theatre surveyed produced at on playwrights, lyricists and book least three plays or musicals each

encoremediagroup.com/programs 3 “It means upending the apple cart,” Zeyl said. “Change to power structures must happen from the bottom up and the top down. It means remaining open to having every aspect of your organization challenged and changed. It means empowering youth voice and centering the vision and talents of the future.”

Chavira added that wrestling with these inequities isn’t easy.

“It means talking about white Sara Porkalob and her grandmother Maria Dedra D Woods in Wild Horses by Allison supremacy,” Chavira said. “There in Dragon Lady. Intiman Theatre (2017). Gregory. Intiman Theatre (2018). Photo by will be tough conversations to have Photo by Robert Wade. Naomi Ishisaka. with your team and facing years of oppression can be challenging.”

Chavira pointed out that he’s the first executive director of color in Intiman’s 45-year history—and that equity, diversity and inclusion should extend far beyond the stage to include administration and executives as well. Chavira, who identifies as Latinx, Mexican-American and queer, moved to Seattle two years ago to take over the executive director role.

In 2018, Intiman retired their $2.7 million debt and are now operating debt-free. Cast of Native Gardens by Karen Zacarías. Intiman Theatre (2018). Photo by Naomi Ishisaka. “But we’re super lean,” Chavira said. “It’s time to grow our company. Our mission is flourishing and audiences season, with each production running to artists of color; Native American, want more diverse narratives on stage.” longer than 21 performances. And the Indigenous and First Nations artists; theatre had to be routinely reviewed, women; non-binary and gender And as they flourish, Intiman is either nationally or regionally. non-conforming artists; LGBTQIA2+ examining how they can become more artists; Deaf artists; and artists with inclusive. And while The Count didn’t release disabilities—and regional endeavors, data on generative artists who identify like The Women’s Voices Theatre “We are learning constantly,” Zeyl as queer, non-binary or disabled, the Festival in Washington, D.C. But what said. “Guarding the intersection statistics still feel like a challenge to are Seattle theatres doing to meet this of professional theatre-making theatres. A challenge to create theatre challenge? and community storytelling that looks more like our world. takes humbleness, dexterity and a At Intiman Theatre, Artistic Director willingness to throw the rule book out There are national efforts to meet this Jennifer Zeyl and Executive Director the window.” challenge, like The Jubilee, a nationwide Phillip Chavira are using a compact theatre festival featuring works by and impactful mission to guide their artists who have traditionally been way. Simply put, Intiman “wrestles with Pratidhwani’s mission centers on excluded—including but not limited American inequities.” creating performance opportunities

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Untitled-2 1 2/19/19 4:20 PM “Our entire organization is fluent in ASL,” Liang said. “The majority are Deaf, and represent a range of professionals and community members who believe in supporting the Deaf arts community. There is not enough visibility for Deaf artists and their contributions to the art world, and there aren’t enough professional opportunities for Deaf artists to hone their skills. We want to change that.”

In Liang’s experience, most arts organizations don’t plan for Deaf and disabled access. I and You by Lauren Gunderson, a co-production with Theater Schmeater. Photo by Dave Hastings. “As an artist and an arts administrator, I want the ability to go to any event, any time I want, without having to struggle for artists of South Asian descent. about diversity and inclusion when to request interpreters beforehand,” Agastya Kohli, artistic director of the programming their season. Liang said. “My professional and organization’s Drama Wing, explained artistic growth has been stunted by that this often materializes in produc- “We are creating a space where we the lack of options available to me. ing plays with an India-centric view. naturally tell stories that look ‘diverse’ The same is true for many Deaf and But that’s not a hard and fast rule. to the dominant culture of Seattle,” disabled artists.” Kohli said. “To us, these are not stories “We’ve produced plays written of ‘others’—these stories are not Liang understands from experience specifically with Indian characters, as ‘different’. These are our stories. They that making performances accessible well as plays that were not written for ground us in a foreign land. They allow takes time and resources. She Indian actors at all,” Kohli said. “We are us to exist in two different worlds at challenges theatres and other developing, fostering and maintaining the same time.” arts organizations to budget for a thriving pipeline of artists that all interpreting, captioning, audio theatres in Seattle benefit from and can descriptions and other neurodiverse enrich their works with.” Identity is at the center of Deaf and physical accommodations. Spotlight’s work as well. Patty Liang, This season, Pratidhwani partnered the organization’s executive director, Deaf Spotlight started a short play with both Forward Flux Productions identifies as Deaf, feminist, Chinese- festival to see Deaf performances, and Theater Schmeater to co-produce American and someone who believes stories and experiences on stage. A Small History of Amal, Age 7 and I and strongly in giving back to her Kellie Martin, who identifies as You, respectively. community. both queer and Deaf and uses the pronouns “ze” and “zir,” runs the “Pratidhwani is an engine that is “You cannot ignore the intersecting festival each year. enabling equity, diversity and inclusion identities that make you who you not just within our footprint in perfor- are,” Liang said. “As a community “I never thought I would fall in love mance arts, but well beyond the scope member, I want to see the Deaf arts with theatre,” Martin said. “In college, of just our productions,” Kohli said. community thrive, especially women I realized that theatre is rich with and artists of color. I want to help depth in terms of analyzing each Pratidhwani exists to nourish and Deaf people succeed as professional character’s role on the stage and the nurture the Indian community in artists without having to let go of stories that made them who they are. Seattle, from both an audience and their dreams.” I like to make people think. As an art artist perspective. Kohli, who identifies advocate, I often see the potential in as a director, producer and actor Deaf Spotlight’s mission is to showcase people from my community, and I who happens to be Indian, shared and celebrate Deaf culture and Ameri- want to help Deaf artists thrive in their that the organization doesn’t think can Sign Language through the arts. creative fields.”

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Untitled-2 1 12/17/18 4:34 PM creative team. But I think a lot of times they begin with the text. I think they do it because they have to, not because they want to.”

But that’s not the only way to make change in regional theatre.

Over the course of our conversation, Chiang brought up Mixed Blood Theatre Company in Minneapolis, a theatre Jennifer Zeyl also cited as an inspiration for her own work.

“I don’t question their motives,” Chiang said. “It’s not about inclusivity or diversity. It’s actually about justice. Jack Reuler at Mixed Blood is very concerned about justice and access. The Crucible directed by Desdemona Chiang. PlayMakers Repertory Company (2016). And it’s not just about the optical Photo by Jon Gardiner. representation of brown bodies on stage. He’s genuinely interested in an economic justice.” Martin shared that ze admires the six an Asian female director working playwrights who were featured in the nationally, she’s in demand. Chiang explained the theatre’s Radical 2019 festival. Hospitality program for communities “I’m a commodity,” Chiang joked. that didn’t have a way to physically get “I’m really excited for these playwrights “Right? I’m very useful. Because to the theatre. Reuler set up free buses to grow, evolve and to create even if someone wants to produce for folks with transportation needs and more plays with their own authentic Shakespeare, it’s like ‘Oh! We could provided free tickets for low income experience—rather than having totally diversify our season if we have audience members. hearing playwrights write for Deaf Desdemona direct Shakespeare.’ Or actors,” Martin shared. “I love seeing the if ACT wants to do an Asian play. “This is the tricky part when we’re Deaf, hard of hearing and DeafBlind The fact of the matter is, the number talking about diversity and inclusion,” communities have a chance to share of directors who work on a regional Chiang said. “We’re talking about ‘Oh, their artistic expression.” theatre level who can check off ‘Asian’ let’s just show more brown people.’ and check off ‘female’ are very few.” And I don’t think that’s the solution. Martin is continuing to hone zir craft, And that’s actually pretty problematic. but wishes access to workshops, panels Chiang walks into any meeting with Because what we’re not dealing with and forums was a given. a LORT (League of Resident Theatres) is how it affects the injustice in our establishment knowing that she’s society.” “I don’t want to feel frustrated at valuable because of how she presents. not having access to these types However, Chiang often only sees those That sounds like an excellent challenge of professional development diversity boxes checked on the one to Seattle theatres. ■ opportunities,” Martin said. “I want show she’s hired on. accessibility available without having to ask in advance, including “I think what a lot of theatres do, when Danielle Mohlman is a nationally produced interpreters and relevant assistive they’re looking at the leading edge for feminist playwright and arts journalist based technology.” diversity, is that they look at the plays in Seattle. Her play Nexus is among the 2015 they’re programming,” Chiang said. Honorable Mentions on The Kilroys list. “Right? ‘We want to program writers She is an alumnus of the inaugural class of Playwrights’ Arena at Arena Stage and the Desdemona Chiang, a freelance of color.’ Or more female or non-binary 2018 Umbrella Project Writers Group. director who identifies as both Chinese writers. And from there, hopefully that www.daniellemohlman.com and American, understands that as opens up some opportunities for the

8 ENCORE STAGES IN THIS ISSUE

Photo: Marcela Taboada

TABLE of CONTENTS INTRODUCING THE 2019–2020 SEASON

The University of Washington acknowledges the Coast Salish people of this land, the land that touches the shared waters of all tribes and bands within the Suquamish, Tulalip and Muckleshoot nations. encoremediagroup.com/programs A-1 Welcome to Meany Center

Dear Friends,

Here we are at the end of another season there are Meany staff members in the lobby — one filled with energy, virtuosity and who would be happy to help you with your creativity across all our series — and we are subscription this evening. Or you can renew grateful for the opportunity to have shared your subscription online at meanycenter.org. it with you. I can’t think of a better send-off than the performance you’re here to see I hope to see you all here again next season. tonight. In the meantime, enjoy the performance tonight. But even as this season ends, we are looking forward to the next one. The 2019–2020 Warmly, Season will see several audience favorites return to our stage such as Grupo Corpo, the Danish String Quartet, Garrick Ohlsson, Hélène Grimaud, and David Finckel, Wu Han and Philip Setzer (to name just a few). There Michelle Witt will be some exhilarating new faces as well — Executive and Artistic Director Jomama Jones, RUBBERBANDance Group and Gabriel Kahane will be making their Meany Center debuts. P.S. If you add a donation of $50 or more to your subscription tonight, you’ll receive If you are a current subscriber or if you are chocolate and a flower as a token of our thinking about subscribing for the first time, appreciation.

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 / Kyra Hokanson Gray Gregory Wallace Jeff Seely / K. Freya Skarin / Rich Stillman / 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 President’s Piano President's Piano Series generously sponsored by YEKWON SUNWOO ERIC & MARGARET ROTHCHILD

May 4 | 7:30 p.m. SEASON SUPPORT COMES FROM

SCHUMANN Variations on an Original Theme in E-flat Major (1810–1856) Geistervariationen, WoO 24 Variation I Variation II: Canonisch Variation III: Etwas belebter Variation IV Variation V

SCHUMANN Fantasie in C Major, Op. 17

(1810–1856) Durchaus phantastisch und leidenschaftlich vorzutragen. MEDIA PARTNER Mässig. Durchaus energisch. Langsam getragen. Duchweg leise zu halten.

INTERMISSION MEANY CENTER THANKS THE FOLLOWING SIGNATURE SUPPORTERS LISZT Three Concert Études, S.144 Heidi Charleson (1811–1886) Il lamento La leggierezza ADDITIONAL SUPPORT COMES FROM Un sospiro Estate of Ellsworth C. Alvord † Nancy D. Alvord † Katharyn Alvord Gerlich SCHUBERT Four Impromptus, D.935, (Op. posth. 142) Warren & Anne Anderson Randy Apsel (1797–1828) No. 1 in F Minor: Allegro moderato Ariel Fund No. 2 in A-flat Major:Allegretto Sven & Melinda Bitners Stephen & Sylvia Burges No. 3 in B-flat Major:Andante Ana Mari Cauce & Susan Joslyn Delaney & Justin Dechant

No. 4 in F Minor: Allegro scherzando Britt East & Scott VanGerpen Gail Erickson & Phil Lanum Ira & Courtney Gerlich Lynn & Brian Grant Family M. Elizabeth Halloran Sally Schaake Kincaid Matthew & Christina Krashan Jeffrey Lehman & Katrina Russell Hans & Kristin Mandt Craig Miller & Rebecca Norton Bill & Meg Morgan Chelsey Owen & Rob Harris Seema Pareek & Gurdeep Pah Estate of Mina Person † Estate of Carmel Hennessy Pope † Eric & Margaret Rothchild Don & Toni Rupchock David & Marcie Stone Donald & Gloria Swisher Estate of Barbara Weinstein †

encoremediagroup.com/programs A-3 YEKWON SUNWOO | About the Artist

countries. He has also performed at prominent music festivals including the Aspen, Grand Teton and Duszniki International Music Festivals. Last spring, he undertook a nine-city tour of the U.S. with the National Orchestra of Cuba.

An avid chamber musician, Mr. Sunwoo’s partners have included the Jerusalem and Brentano String Quartets, violinists Benjamin Beilman and Ida Kafavian, cellists Edgar Moreau, Gary Hoffman and Peter Wiley, and pianist Anne-Marie McDermott. He has toured Costa Rica, Guatemala and Panama with the Kumho Asiana Cultural Foundation, performed for the Chamber Music Society of Lincoln Photo: Jeremy Enlow Center’s Inside Chamber Music Lectures, and been invited to old medalist of the performs chamber music with the Summit Music, Bowdoin Fifteenth Van Cliburn the New York Philharmonic String International and Toronto International Piano Quartet. Summer Music Festivals. Competition, pianist Yekwon G Last season, Decca Gold released In addition to the Cliburn gold Sunwoo, 29, has been hailed for his “unfailingly consistent Cliburn Gold 2017 two weeks after medal, Mr. Sunwoo has won first excellence” (International Piano) his Cliburn win, which includes his prizes at the 2015 International and celebrated as “a pianist who award-winning performances of German Piano Award in Frankfurt, commands a comprehensive Ravel’s La Valse and Rachmaninoff’s the 2014 Vendome Prize held at the technical arsenal that allows him Second Piano Sonata. Verbier Festival, the 2013 Sendai to thunder without breaking a International Music Competition sweat” (Chicago Tribune). A powerful Born in Anyang, South Korea, and the 2012 William Kapell and virtuosic performer, he also, Mr. Sunwoo gave both his recital International Piano Competition. in his own words, “strives to reach and orchestra debuts in 2004 in Seoul. In previous seasons, Mr. Sunwoo began learning piano for the truth and pure beauty at age 8. He earned his bachelor’s in music.” Mr. Sunwoo has performed as soloist with the Baltimore degree at the Curtis Institute The first Korean to win Cliburn Symphony Orchestra under Marin of Music, master’s degree at gold, Mr. Sunwoo’s 2018–19 Alsop, The Juilliard Orchestra with The Juilliard School, and artist season features concerto Itzhak Perlman at Avery Fisher diploma at the Mannes School performances with the Munich Hall, Houston Symphony Orchestra of Music, studying with Seymour Philharmonic under Valery Gergiev with James Feddeck, Fort Worth Lipkin, Robert McDonald and in Seoul, Frankfurter Opern Symphony Orchestra with Leonard Richard Goode, respectively. und Museumsorchester under Slatkin and Nicholas McGegan, He currently studies with Bernd Sebastian Weigle, Orchestra i National Orchestra of Belgium, Goetzke at Hochschule für Musik, Pomeriggi Musicali under Daniele Sendai Philharmonic Orchestra, Theater und Medien, Hannover. Callegari, and a European tour with Royal Scottish National Orchestra Mr. Sunwoo credits each teacher the KBS Symphony. He extensively and others. He has appeared in for their guidance in his artistic tours Japan including Tokyo, Sendai recital at Carnegie Hall, Wigmore development and approach. Hall in London, Elbphilharmonie in and Shizuoka. Solo recitals bring A self-proclaimed foodie, him to Houston’s Society of the Hamburg, Hamarikyu Asahi Hall in Tokyo, Radio France and Salle Mr. Sunwoo enjoys finding pho Performing Arts, Washington in each city he visits and takes Performing Arts, Texas Performing Cortot in Paris, Kumho Art Hall in Seoul, and throughout South pride in his own homemade Arts, Seattle’s Meany Center, Korean soups. Portugal’s Casa da Musica and the Korea, Germany, Switzerland, Hong Kong Arts Festival. He also Prague and Morocco, among other

A-4 MEANY CENTER FOR THE PERFORMING ARTS YEKWON SUNWOO | About the Program

Variations on an Original innig” (“quiet, earnest”), the theme The first movement of the Theme in E-flat Major (drawn from his String Quartet Fantasie, Durchaus phantastisch Geistervariationen, WoO 24 No. 2 from 1842) is quietly reflective und leidenschaftlich vorzutragen (1854) and touching; it serves as the (“to be performed throughout with ROBERT SCHUMANN basis for five variations. The first fantasie and passion”), captures variation adds filigree to the theme the dual nature of the composer — Robert Schumann is not counted and a slight increase in energy. personified in his prose writings as among music’s great prodigies, an The ensuing variants maintain Eusebius (Apollo, god of light and honor bestowed upon Mozart and internalized and implicit sadness, measure) and Florestan (Dionysus, Mendelssohn, to name but the most even with additional figuration god of intoxication and passion). famous among those who fulfilled and subtle increases in emotional Wild desperation and profound early promise. Still, Schumann’s temperature. The entire piece is less introspection polarize his labile talent was observed in childhood a reaching out than an invitation to mood-shifts (and presage as well among other gifts he manifested, the composer’s private musings. the bi-polar nature of the mental especially a literary bent. During illness that would end his life in much of his troubled lifetime (he Fantasie in C Major, Op. 17 (1836) an asylum). It is a measure of died in an insane asylum) he was ROBERT SCHUMANN Schumann’s greatness that this known better for his writings about tempestuous movement, bursting music than for his writing of music, Robert Schumann composed most with contradictory feelings and which says less about the quality of his solo piano music in the 1830s, conveying a palpable sense of Fantasie of the latter than the prescience of including his in C major making it all up on the spot, is a the former. His early recognition of (1836), a paean of love to his future carefully constructed sonata-like Brahms, his insights into Chopin and wife, Clara, née Wieck. Schumann movement. The very opening theme other composers of his time and had served as her teacher when undergoes a series of modifications earlier eras, are still worth reading. he was 26 years old and she but until morphing into its inspiring 17. When her father, the eminent derivation — “Nimm sie bin denn, Having ruined his hand before a pedagogue Friedrich Wieck learned diese Lieder” (“Take them, beloved, promising career as pianist took of their intentions, he did everything these songs I sang you”) from off, he shifted into composition. in his power to prevent them from Beethoven’s above mentioned cycle. Most of his solo piano music marrying or even seeing each other, derives from the 1830s, but he including a period of enforced After so emotionally strenuous and returned to writing for his chosen separation during the mid-1830s. wide-ranging a first movement, instrument periodically for the The bereft Schumann composed Schumann provides a march listed remainder of his life. In 1854, he the Fantasie under those conditions, as Mässig. Durchaus energisch composed the Geistervariationen writing to Clara, that it was “the (“moderato, energetic throughout”). (“Ghost Variations”), aka Theme most passionate thing I have ever This comparatively straightforward and Variations in E-flat Major, WoO composed—a deep lament for essay creates stability, clarity 24. By this time, Schumann was in you.” Even without this confessional and steadfast consistency. It also the grip of mental illness, which explanation, Schumann’s feelings provides a good transition to the prompted him to commit himself for Clara can be divined in the third and final movement,Langsam to an asylum in Bonn-Endenich, quotation (from the poet August getragen. Duchweg leise zu halten where he died two years later. The Wilhelm Schlegel) he affixed to the (“Adagio sostenuto, sempre curse of this disorder led critics to title page of the score: “Through all piano”). The overall mood here denigrate various late works, which the sounds in earth’s motley dream, is otherworldly, even spiritual, eventually have been restored one soft note can be heard by him and expresses the composer’s to the repertoire. The “Ghost who listens stealthily.” resignation to separation from Variations” have not been revived, Clara. In “real life,” of course, the though more pianists are exploring Schumann had initially intended the composer was relentless in his Fantasie the long-neglected work. While as his contribution to defray pursuit of his beloved, marrying working on the composition, the the cost of a memorial statue to her in 1840 after a court decided bedeviled artist was beset with Beethoven, a project that never came against her father’s attempts to hallucinations ranging from ecstasy to fruition. Adding to the confusion, block their union. to fearsome despair, leading him to Schumann dedicated it not to Clara, throw himself into the Rhine at the not even to Beethoven, but to Liszt. Three Concert Études, S.144 height of winter’s chill. Nonetheless, the completed work (1848) reflects the music of Beethoven, FRANZ (FERENC) LISZT Still, Schumann was able to complete including echoes of the “Emperor” the work, using a theme previously Concerto’s slow movement and an A measure of Liszt’s pianistic skill composed but forgotten in the haze explicit reference to the song-cycle lay in his initial encounter with of mental illness. Marked “Leise, An die Ferne Geliebte. Chopin’s challenging études, which

encoremediagroup.com/programs A-5 YEKWON SUNWOO | About the Program he sight-read at full speed. Liszt was Un sospiro (“A sigh”) in D-flat major in length and less ambitious, his two an admirer of the French-Polish concludes the set. A melody that sets of Impromptus, Opp. 90 and composer and emulated his shorter- conveys both drama and lyricism 142, date from his penultimate year, lived contemporary in a number of courses through the piece, 1827. Like their large-scale sonata his own etudes, which included the frequently shifting from one hand brethren, the Impromptus are finely set of three such works, the Trois to the other, and often accompanied polished, utterly exquisite gems, études de concert, S. 144. As can be by passages of mounting intensity. highly varied in Romantic mood and inferred by the collective title, these Though composed mid-century, masterly in their distilled emotional three works were conceived of both the harmony and overall timbres utterance. for their didactic value as studies anticipate Liszt’s later music, which for aspiring pianists as well as for laps at the shore of Debussy’s The four Impromptus that comprise concert performance. He composed Impressionism. the Op. 142 set vary considerably them ca. 1848 and dedicated them in their poetic utterance. In fact, to his uncle, Eduard Liszt, who Four Impromptus, D.935 No. 1 in F minor veers between managed the composer’s business (Op. posth. 142) (1827) dark-toned melancholy and implicit affairs for many years. FRANZ SCHUBERT mania, enhanced in a typically Schubertian manner by frequent Early editions of the three pieces did Schubert was the shortest-lived of alternations between major and not carry the subtitles added later. the great composers. Had Beethoven minor keys — a gambit used with As mentioned above in relation to or Haydn died as young, their places equal power by Mahler many Beethoven, named titles can add to in history might well have been decades later. a work’s popularity and give a clue seriously altered, for neither of (often arbitrary) as to the nature these masters had developed his art No. 2 in A-flat, a virtual Minuet and of a composition. Like Chopin, who as fully as had Schubert by the end Trio, vaguely recalls Beethoven had an aversion to tacked-on titles, of his adolescence. Sonata No. 26, cast in the same key. Liszt also preferred to leave fanciful A rich series of plangent chords interpretations to the listener. In roughly fifteen years of active underpins a sweet melody flowing writing, he penned more than above the harmonic support; the The firstÉtude , Il lamento (“The 600 surviving songs. The sum of “Trio” offers contrast in nearly lament”) shows up less frequently works in all areas — symphonies, continuous arpeggiated triplets in public recitals than its brethren chamber works, operas, etc. — over unforced but urgent figures in the group. Cast in A-flat major, its numbered around 1000. Schubert’s in the bass. brief and improvisatory cadenza- music shows astonishing lyric like passage serves as a dazzling and harmonic originality, thorough The third piece, in B-flat, is a set of throat-clearing gesture that yields familiarity with established classical theme and five variations. Schubert graciously to the main theme that forms, and a poet’s gift to tap here drew from the entr’acte from rhapsodizes lyrically throughout deeply into the human soul. his incidental music to Rosamunde the duration of this longest number (which is almost identical with the in the set. Though not labeled as Though he played violin beginning slow movement from his A-minor a set of continuous variations, in his youth, he was most fluent at String Quartet, D. 804). the essentially unchanging tune the piano. He was not considered undergoes a varied accompaniment. a virtuoso, but his expressive Schubert closes the Op. 142 musicianship was appreciated by foursome with a comparatively The second Étude, in F minor, those fortunate enough to hear him virtuosic entry in F minor that bears the sobriquet La leggierezza play. Some of his piano music was suggests Hungarian folk- and gypsy/ (“Lightness”) and is strongly evoca- actually a bit beyond his technical Roma-music, no doubt influenced tive of Chopin. A brief introduction prowess, including the accompani- by his two summers in the employ growing out of rising scalar motion ment to his first published song (not of the famed Esterházy family — leads to a main section in which first written, however),Erlkönig . He Haydn’s long-time patron. Meters graceful arabesques float by, often reportedly fudged somewhat by sim- constantly shift between duple repeated in subtly differentiated plifying the left-hand accompani- and triple meters, heightened by iterations of the primary thematic ment when he played through it. heavily accented passagework, material. Rising and falling chromatic and unexpected and imaginative scalar passages abound in the The final year of his brief stay on harmonic changes. A long coda climactic central section, yet overall earth yielded two epic masterpieces leads to an exciting descending the music requires a delicacy of in the sonata repertory, those in A scalar avalanche of six octaves. touch rather than brute power. As major and B-flat major respectively — both of them demanding high © 2019 Steven Lowe if to gently underline that point, the Étude ends serenely. degrees of technique and even greater gifts of expression. Shorter

A-6 MEANY CENTER FOR THE PERFORMING ARTS World Music and Theater SEASON SUPPORT COMES FROM LILA DOWNS May 21 | 8 p.m.

Lila Downs, vocals Paul Cohen, music director, saxophone Josh Deutsch, trumpet George Saenz, trombone, accordion MEDIA PARTNER Rafael Gomez, acoustic & electric guitar Sinuhe Padilla, acoustic guitar, jarana Giovanni Buzzurro, bass Nikki Campbell, percussion Yayo Serka, drums ADDITIONAL SUPPORT COMES FROM

Linda & Tom Allen The program will be announced from the stage. Estate of Ellsworth C. Alvord † Nancy D. Alvord † There will be no intermission. Katharyn Alvord Gerlich Randy Apsel Ariel Fund Ana Mari Cauce & Susan Joslyn Delaney & Justin Dechant Britt East & Scott VanGerpen Gail Erickson & Phil Lanum Ira & Courtney Gerlich Lynn & Brian Grant Family Matthew & Christina Krashan Jeffrey Lehman & Katrina Russell Craig Miller & Rebecca Norton Chelsey Owen & Robert Harris Estate of Mina Person † Estate of Carmel Hennessy Pope † Joseph Rothberg & Susan Corwin Eric & Margaret Rothchild Richard Szeliski & Lyn McCoy

encoremediagroup.com/programs A-7 LILA DOWNS | About the Artist

Photo: Marcela Taboada

conic Grammy and Latin justice, sharing stories that too Lila has graced the stages of Grammy Award winning often go untold. many of the world’s most singer Lila Downs is one prestigious festivals and venues of the world’s most singular Lila weaves various musical forms including Jazz at Lincoln Center, I with traditional Mexican and and powerful voices, whose Carnegie Hall and the Hollywood compelling stage presence and native Mesoamerican music, sing- Bowl. She has been invited to poignant storytelling transcend ing in Spanish, English and the sing at the White House, and all language barriers. Raised languages of the Mixtec, Zapotec, performed on the Academy in Minnesota and Oaxaca, this Maya and Nahuatl cultures. Her Awards and Latin Grammy Awards global superstar’s exquisite tremendous voice and the origi- telecasts. Her music has also artistry bridges traditions nality of her compositions create been included in several feature from across the Americas, with a musical concept that is highly films such asThe Counselor, Tortilla influences ranging from the folk innovative and unique. She is not Soup, Real Women Have Curves, and ranchera music of Mexico simply a Mexican artist, a jazz, The Three Burials of Melquiades and South America to North blues or a world music artist — Estrada, Carlos Saura’s Fados, American folk, jazz, blues, and there is no real way to categorize Mariachi Gringo, and Hecho en hip-hop. As a passionate human- her music except to say it is an Mexico. Lila released her new rights activist, Lila’s lyrics often exciting fusion of international album, Al Chile, in May 2019 highlight issues relating to social sounds and musical genres.

A-8 MEANY CENTER FOR THE PERFORMING ARTS International Chamber Music SEASON SUPPORT COMES FROM ALEXANDER STRING QUARTET WITH PIANIST JOYCE YANG May 22 | 7:30 p.m.

Zakarias Grafilo, violin 1 Frederick Lifsitz, violin 2 MEDIA PARTNER Paul Yarbrough, viola Sandy Wilson, cello Joyce Yang, piano

PROGRAM | WHAT IS LOST? WHAT REMAINS? ADDITIONAL SUPPORT COMES FROM Samuel Adams, composer in residence with the Chicago Symphony Orchestra, Estate of Ellsworth C. Alvord † explores the resonance of Mozart with his own unique musical voice, asking Nancy D. Alvord † Katharyn Alvord Gerlich what is kept — or lost — if a piece were to build itself? Warren & Anne Anderson Randy Apsel Ariel Fund Stephen & Sylvia Burges Ana Mari Cauce & Susan Joslyn Delaney & Justin Dechant MOZART Quartet No. 1 for Piano & Strings in G Minor, K. 478 Britt East & Scott VanGerpen (1756–1791) Allegro Gail Erickson & Phil Lanum Ira & Courtney Gerlich Andante Lynn & Brian Grant Family M. Elizabeth Halloran Allegro moderato Chelsey Owen & Robert Harris Matthew & Christina Krashan Jeffrey Lehman & Katrina Russell SAMUEL ADAMS Quintet with Pillars Hans & Kristin Mandt (b. 1985) Pillar I Craig Miller & Rebecca Norton Cecilia Paul & Harry Reinert Part I Estate of Mina Person † Estate of Carmel Hennessy Pope † Pillar II Eric & Margaret Rothchild Part II Don & Toni Rupchock David & Marcie Stone Pillar III Donald & Gloria Swisher Estate of Barbara Weinstein †

INTERMISSION

MOZART Quartet No. 2 for Piano & Strings in E-flat major, K. 493 (1756–1791) Allegro Larghetto Allegretto

encoremediagroup.com/programs A-9 ALEXANDER STRING QUARTET | About the Artist

Among the eminent musicians with whom the Alexander String Quartet has collaborated are pianists Joyce Yang, Roger Woodward, Anne-Marie McDermott, Jon Nakamatsu, Menahem Pressler, Marc-André Hamelin and Jeremy Menuhin; clarinetists Joan Enric Lluna, David Shifrin, Richard Stolzman and Eli Eban; soprano Elly Ameling; mezzo-sopranos Joyce DiDonato and Kindra Scharich; violinist Midori; violist Toby Appel; cellists Lynn Harrell, Sadao Harada and David Requiro; and jazz greats, Branford Marsalis, David Sánchez and Andrew Speight.

The quartet has also established itself as an important advocate of new music through over 30 commissions from such composers as Tarik O’Reagan, Jake Heggie, Cindy Cox, Augusta Read Thomas, Martin Bresnick, César Cano and Photo: Rory Earnshaw Pulitzer Prize-winner, Wayne Peterson. A new work for piano he Alexander String and universities across the North quintet from Samuel Carl Adams Quartet formed in New American continent. The quartet premieres in early 2019 with York City in 1981, capturing recently returned as faculty to pianist Joyce Yang. The quartet international attention as the the Yale School of Music’s Norfolk has worked with many composers T including Aaron Copland, George first American quartet to win Chamber Music Festival, a nexus of the London International String their early career. The ASQ’s tour Crumb and Elliot Carter, and has Quartet Competition in 1985. of Poland for the Beethoven Easter long enjoyed a close relationship The Alexander has performed in Festival was documented in the with composer-lecturer Robert the major music capitals of five award-winning film,Con Moto: The Greenberg, performing numerous continents, securing its standing Alexander String Quartet (2017), by lecture-concerts with him annually. among the world’s premiere the Documentary Film Institute at The Alexander String Quartet ensembles. Widely admired for San Francisco State University. is a major artistic presence in its interpretations of Beethoven, its home base of San Francisco, Mozart and Shostakovich, Recording for the Foghorn Classics label, their 2018 release of Mozart’s serving since 1989 as Ensemble the quartet’s recordings of in Residence for San Francisco the Beethoven, Bartók and Piano Quartets with Joyce Yang has received critical acclaim. Other Performances and directors of Shostakovich cycles have all won the Morrison Chamber Music international critical acclaim. major releases have included the combined string quartet Center in the College of Liberal The Alexander’s annual calendar cycles of Bartók and Kodály, the and Creative Arts at San Francisco of concerts includes engagements string quintets and sextets of State University. The quartet at major halls throughout North Brahms with Toby Appel and has received honorary degrees America and Europe. The quartet David Requiro, the Schumann and from Allegheny College and has appeared at Lincoln Center, Brahms piano quintets with Joyce Saint Lawrence University, and the 92nd Street Y, and the Yang and the Beethoven cycle. Presidential medals from Baruch Metropolitan Museum in New Their catalog also includes the College (CUNY). The Alexander York City; Jordan Hall in Boston; Shostakovich cycle, Mozart’s Ten plays on a matched set of the Library of Congress and Famous Quartets and the Mahler instruments made in San Francisco Dumbarton Oaks in Washington; Song Cycles in new transcriptions by Francis Kuttner, known as the and chamber music societies by Zakarias Grafilo. Ellen M. Egger quartet.

A-10 MEANY CENTER FOR THE PERFORMING ARTS ALEXANDER STRING QUARTET | About the Artist

of the summer festival circuit with School with Dr. Yoheved Kaplinsky. frequent appearances on the During her first year at Juilliard, programs of the Aspen Summer Yang won the pre-college division Music Festival, La Jolla SummerFest Concerto Competition, resulting in and the Seattle Chamber Music a performance of Haydn’s Keyboard Society. Concerto in D with the Juilliard Pre- College Chamber Orchestra. After Other notable orchestral winning the Philadelphia Orchestra’s engagements have included the Greenfield Student Competition, she Chicago Symphony, Los Angeles performed Prokofiev’s Third Piano Philharmonic, Philadelphia Concerto with that orchestra at just Orchestra, San Francisco Symphony, twelve years old. She graduated Deutsches Symphonie-Orchester from Juilliard with special honor as Berlin, the BBC Philharmonic, as well the recipient of the school’s 2010 as the Toronto, Vancouver, Sydney, Arthur Rubinstein Prize, and in 2011 Melbourne and New Zealand she won its 30th Annual William A. symphony orchestras. She was also Petschek Piano Recital Award. featured in a five-year Rachmaninoff concerto cycle with Edo de Waart and the Milwaukee Symphony, to which she brought “an enormous palette of colors, and tremendous emotional depth” (Milwaukee Sentinel Journal).

In solo recital, Yang has performed at New York City’s Lincoln Center and Metropolitan Museum, the Kennedy Center in Washington, oyce Yang first came to D.C., Chicago’s Symphony Hall and international attention in 2005 Zurich’s Tonhalle. In 2018, Musica SEATTLE when she won the silver medal Viva presented Yang in an extensive CHAMBER Jat the 12th Van Cliburn International recital tour throughout Australia. MUSIC Piano Competition. The youngest As an avid chamber musician, Yang contestant at 19 years old, she took SOCIETY has collaborated with the Takács JAMES EHNES home two additional awards: Best Artistic Director Quartet for Dvořák and Schubert’s Performance of Chamber Music “Trout” Quintet with members of (with the Takàcs Quartet), and Best the Emerson String Quartet at the Performance of a New Work. In 2006 Mostly Mozart Festival at Lincoln Tickets on Yang made her celebrated New York Sale Now! Center. She has also fostered an Philharmonic debut alongside Lorin from $55 enduring partnership with the Maazel at Avery Fisher Hall along Alexander String Quartet, releasing with the orchestra’s tour of Asia, a highly praised recording of making a triumphant return to her SUMMER FESTIVAL Mozart’s piano quintets. hometown of Seoul, South Korea. JULY 1-27, 2019 Born in 1986 in Seoul, South Korea, ILLSLEY BALL NORDSTROM RECITAL HALL at Benaroya Hall In the last decade, Yang has Yang received her first piano lesson blossomed into an “astonishing from her aunt at the age of four. BOX OFFICE artist” (Neue Zürcher Zeitung), She quickly took to the instrument, 206.283.8808 // seattlechambermusic.org showcasing her colorful musical which she received as a birthday personality in solo recitals and present. By the age of ten, she collaborations with the world’s top had entered the School of Music orchestras and chamber musicians. at the Korea National University She received the 2010 Avery Fisher of Arts, and went on to make a Career Grant and earned her number of concerto and recital first Grammy nomination for her appearances in Seoul and Daejeon. recording of Franck, Kurtág, Previn In 1997, Yang moved to the United & Schumann with violinist Augustin States to begin studies at the Hadelich. She has become a staple pre-college division of the Juilliard

encoremediagroup.com/programs A-11 ALEXANDER STRING QUARTET | About the Program

Quartet No. 1 for Piano and G Minor Piano Quartet, on the other moderato, this movement is a Strings in G Minor, K. 478 (1785) hand, is laid out in true chamber deftly constructed rondo filled with WOLFGANG AMADEUS MOZART fashion, as a conversation among humorous asides and Haydn-esque equivalent participants. surprises. Over roughly two decades beginning in the 1760s, Franz Typically, most Classical-era © 2019 Steven Lowe Joseph Haydn transformed the composers confined their music to light-hearted, outdoors-oriented major keys, a reflection of the rosy Quintet with Pillars (2018) string quartet into maturity, optimism of the self-proclaimed SAMUEL ADAMS drawing on his knowledge of Age of Enlightenment, a viewpoint both Baroque polyphony and the already under strenuous attack Scored for string quartet and piano newer homophonic Classical style. in such literary masterpieces as prepared with digital resonance. By the mid-1780s, his younger Voltaire’s Candide. Mozart used Duration: c. 28 minutes colleague Mozart paid tribute to minor keys sparingly, but always Commissioned by Arizona Friends the older master in a set of six effectively. As is well-known, he of Chamber Music, sponsored by quartets “dedicated to Haydn.” For had a special resonance to G minor, Shirley Chann; The Robert and Margrit the next two-plus centuries the analogous to Beethoven’s choice of Mondavi Center for the Performing string quartet has served as the C minor when dealing with themes Arts, UC Davis; San Francisco primary chamber format. The piano of darkness and adversity. Mozart’s Performances; and Soka University quintet, which adds a piano to the only two minor-key symphonies are of America for the Alexander String string quartet, had also found a cast in G minor, as is his relentlessly Quartet and Joyce Yang. Premiered by comfortable niche by the closing agitated String Quintet, K.516. the Alexander String Quartet and Joyce years of the eighteenth century. Yang on February 13, 2019. The imposing presence of the piano The galvanic, even threatening gave that combination a concerto- vigor of the Piano Quartet, K.478, Quintet with Pillars explores the like “heft.” Additionally, it was tailor- provides a powerful anticipation of question: what would it sound like made for existing string quartets the darker complexion of Romantic- if a piece were to build itself? To that could easily be joined by a era music, though it undoubtedly answer this question, I had to first keyboardist. drew some of its forcefulness from construct the “piece” (Part II) before Haydn’s “Sturm und Drang” (“storm pulling it apart to reveal the process The piano quartet, on the other and stress”) symphonies from the of its becoming (Part I), making hand, was not nearly as popular a late 1760s and 1770s. much of the compositional process format. In 1785, the publisher Franz similar to solving a temporal puzzle. Anton Hoffmeister asked Mozart The G Minor Quartet’s bold Allegro surges menacingly, its serious Three short episodes—or pillars— to create three such works for use buttress the larger musical arc and by amateur players. Only two came demeanor heightened through irregularities of phrasing that would serve as markers for the beginning, to fruition, largely because the middle and end of the form. first piece, in G minor, proved far have proved difficult for amateur beyond the technical capacity of musicians to perform and even Much to my surprise, writing this most amateur musicians, prompting sophisticated listeners of the time work was an emotionally charged Hoffmeister to ask Mozart not to to fully assimilate. experience propelled not so much complete the project. Mozart, by the Andante by the joy of creation (though I time he received and complied with The that follows, in safe and serene B-flat major, would have enjoyed composing it immensely) the “cease and desist” request, had but by an urgency to make things already composed the second work, been entirely more to general liking, its primary melody reflecting the whole again. I began sketching K.493, in E-flat major. Quintet with Pillars composer’s operatic experience in the spring and orientation to vocal melody. So of 2018 and completed the score To be sure, earlier piano quartets the following October. My deepest had been composed by others. A too does its second theme, achingly sad in the manner of the Countess’ gratitude to The Alexander String major challenge in writing for that Quartet and Joyce Yang for their format lay in an essential difference music in Le nozze di Figaro, which dates from the same period. intrepid spirits in bringing this music between Mozart’s conception to life. and that of C.P.E. Bach and his The finale fits the mold of 18th younger brother Johann Christian © Samuel Adams Bach. Their works were essentially century esthetics by not returning keyboard pieces with optional to the first movement’s home key string parts. Until Mozart, works for of G minor, but rather providing piano and strings (including violin/ a “happy ending” to a piece piano sonatas) were treated as begun in an uncompromisingly Allegro piano music. Mozart’s impassioned turbulent manner. Marked

A-12 MEANY CENTER FOR THE PERFORMING ARTS INTERNATIONAL CHAMBER MUSIC Danish String uartet Noember Orlando Consort Februar WORLD DANCE erusalem uartet arch Hagen uartet April Sanai uu | October Daid Fincel u Han with hilip Seter a 8 ilobolus | Noember Brian Broos oing Compan | an Feb rupo Corpo | Februar PRESIDENT’S PIANO RBBERBANDance roup | April arric Ohlsson October Step Afria | a onathan Biss Noember onathan Biss December CROSSROADS Hlne rimaud arch The aco De uca roect October on imura arer April abriel ahane Noember Nia Februar 8 SPECIAL EVENTS Third Coast ercussion a idori with ean-es Thibaudet anuar os Angeles aster Chorale arch omama ones TBD On Sale August

MEANYCENTERORG 20-54-40

encoremediagroup.com/programs A-13 ALEXANDER STRING QUARTET | About the Program

MAY Quartet No. 2 for Piano and sweeter and quieter moments to 24-25 Strings in E-flat Major, K. 493 provide contrast with the animated (1786) rhythms that propel the music WOLFGANG AMADEUS MOZART onward. There are also delectable moments of “echo” passagework The year 1786 was especially between the piano and the strings, productive for Mozart: six piano a characteristic that heightens concertos alone flowed quickly contrasts of timbre. from his racing mind, and if that weren’t enough, Le nozze di Figaro © 2019 Steven Lowe wowed Viennese audiences. In early IMPFest XI June, a mere month after Figaro’s Guest artists Lucia Pulido (voice, cuatro) and premiere, the Quartet No. 2 for Stomu Takeishi (bass) headline the Eleventh Improvised Music Project Festival. Piano and Strings in E-flat Major, 7:30 pm Meany Studio Theater K. 493, came to light. If its dramatic predecessor in G minor bespeaks of the composer’s darker angst- possessed side, the new work basked JUN in the life-giving ambience 4 of a sun-drenched day-scape. The change in perspective is evident in the very opening bars of the first movement Allegro, an orchestra- like and seemingly improvisatory statement of big-hearted openness boldly announced with strong support from the piano. It is from ETHNOMUSICOLOGY VISITING ARTIST the piano that the second subject Heri Purwanto: Javanese Gamelan emerges before being given Master musician Heri Purwanto from over to the violin for additional Indonesia performs with his UW students commentary. Though less forceful and special guests in this evening of gamelan music and dance. than the primary theme it reinforces 7:30 pm Gerlich Theater (formerly Meany Theater) the overall joie de vivre albeit in a somewhat subdued fashion. Even a brief excursion in the minor, plus episodes of skilled counterpoint, do JUN not dim the overall spirit a whit. The 7 exuberant and theme-rich Allegro is almost as long as the two remaining movements combined, and though the strings provide a distinct presence, the piano part is quite virtuosic.

A rising and gentle arpeggio figure on the piano initiates the Larghetto. UW SYMPHONY & COMBINED CHOIRS However, the strings take the lead in Britten: War Requiem, Op. 66 giving voice to the beguiling melodies Conducted by Geoffrey Boers, with in this song-like movement, while the members of the Seattle Modern Orchestra, piano weaves fantastic embroidery Seattle Girls’ Choir, Seattle Chamber Singers, around center-stage activity. and guest soloists. 7:30 pm Gerlich Theater (formerly Meany Theater) The work concludes with a Rondo marked Allegretto, begun with an irresistibly charming folk-like ditty courtesy of the piano. Soon, however, the trio of strings jumps MORE AT: WWW.MUSIC.WASHINGTON.EDU into the frolicsome fray, taking time ArtsUW TICKET OFFICE: 206.543.4880 throughout the movement to explore

A-14 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 Office 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 Office 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 Office The Meany Hall Box Office 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 office at [email protected] or 206-543-2010.

EVACUATION In case of fire 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 five 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 firearms, 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 difference for is required as collateral. as well as ensure the continuation of something they believe in, too.

encoremediagroup.com/programs A-15 FRIENDS OF MEANY CENTER Many thanks to the following donors whose generous support make our programs possible:

PRODUCER’S CIRCLE John C. Robinson & Maya Sonenberg Michael & Susan Peskura Nenita Odesa ($25,000+) Donna & Joshua Taylor Dick & Jill Rice Amanda Overly Gregory Wallace & Craig Sheppard Douglas & Claudia Ross Barbara Lycett & John Parchem † Estate of Ellsworth C. Alvord Rachel Warren Evelyn Simpson Geoff Prentiss † Nancy D. Alvord Michelle Witt & Hans Hoffmeister Sigmund & Ann Snelson Jason Reuer Katharyn Alvord Gerlich Carrie Ann Sparlin Carrie Rhodes Glenn Kawasaki, Ph.D. DISTINGUISHED PATRON Bob & Robin Stacey John Rochford & Nick Utzinger Marcella D. McCaffray (between $1,000 and $2,499) Ethel & Bob Story Joy Rogers & Robert Parker Craig Miller & Rebecca Norton Bonnie Swailes Werner & Joan Samson † Estate of Mina Person Joan Affleck-Smith & Nepier Smith Dale Sylvain & Thomas Conlon Cathy Sarkowsky Eric & Margaret Rothchild Kenneth & Marleen Alhadeff Lee & Judith Talner Michael Scupine & Kim Gittere Abson Donald & Gloria Swisher Stephen Alley & Amy Scott John & Teresa Tippett Marcia Sohns & Mark Levy Maryanne Tagney & David Jones Jillian Barron & Jonas Simonis Lorraine Toly Clark Sorensen & Susan Way † Estate of Barbara Weinstein Cynthia & Christopher Bayley Nancy Tosta & Bob Ewing Carol Swayne & Guy Hollingbury Thomas Bayley Barbara Trenary Patricia Tall-Takacs & Gary Takacs DIRECTOR’S CIRCLE Mel Belding & Kathy Brostoff Judy Tsou & David Carlson Mark & Liza Taylor (between $10,000 and $24,999) Cristi Benefield Matt Uyttendaele & Elizabeth Johnston Kris & Epaminondas Trimis Luther Black & Christina Wright Anonymous Manijeh Vail Pieter & Tjitske Van der Meulen Sharon Gantz Bloome Josephus Van Schagen & Marjon Floris Shu-Chin & Wenshyan Wang Warren & Anne Anderson William D. Bollig Sven & Melinda Bitners Michael & Courtney Vint David Wang Cathryn Booth-LaForce Ernest Vogel & Barbara Billings Joella Werlin Stephen & Sylvia Burges & W. Kenneth LaForce Ana Mari Cauce & Susan Joslyn Robert & Andrea Watson Stephen & Debra Wescott Kalman Brauner & Amy Carlson David & Mary Williams Drs. Crispin S. Wilhelm & Sundee L. Morris Delaney & Justin Dechant Lawrence & Kathleen Brennan Britt East & Scott VanGerpen Kathleen Wright & Dr. Martin Greene Valerie & Todd Yerkes Virginia Burdette & Gary Wieder Marsha Wright Gail Erickson & Phil Lanum Mariann Carle & Thomas Manley GREAT PERFORMER Ariel Fund Cashpot Shabu Shabu LLC Estate of Carmel Hennessy Pope† PATRON (between $250 and $499) David B. Chow (between $500 and $999) Ira & Courtney Gerlich Laurie Lootens Chyz & Grant Chyz Sharon Armstrong Lynn & Brian Grant Family Thomas Clement John & Nancy Angello Robert Babs Sally Schaake Kincaid Consuelo & Gary Corbett Anonymous Trudy Baldwin Jeffrey Lehman & Katrina Russell Margaret Crastnopol & Charles Purcell Charles Alpers & Ingrid Peterson Lisa Baldwin & John Cragoe Hans & Kristin Mandt Richard Cuthbert & Cheryl Redd-Cuthbert Jean-Loup & Diane Baer Mike & Marie Bender Chelsey Owen & Robert Harris Anita & Jack Dingrani Louisa Barash & Scott David Robert Bergman Cecilia Paul & Harry Reinert Susan & Lewis Edelheit Jonas Barklund Joseph Bosco John† & Kathy Ehrenberg Pat Braus & Holly Boone John Brasino SERIES BENEFACTOR Jim & Missy Garcia Heida Brenneke Nathaniel Brown (between $5,000 and $9,999) Ruth Gerberding Gene Brenowitz & Karen Domino Paul Brown & Amy Harris Linda & Tom Allen Carolyn & Gerald Grinstein Natalie Brown Dianne Calkins Anonymous Arthur & Leah Grossman David & Deborah Buck Inez Caspi Randy Apsel Terri Hamilton Leo Butzel & Roberta Reaber Carolyn Caster & Cynthia Mullis Estate of Fern Rogow† Wolfram & Linda Hansis Timothy Clifford Jan & Bill Corriston William Calvin & Katherine Graubard Hylton & Lawrence Hard Ken Cogen Judith Cushman & Robert Quick Helen Curtis Kara D. Hefley R. Bruce & Mary-Louise Colwell Leroy & Marybeth Dart M. Elizabeth Halloran Michael Heltsley Jill Conner Cynthia L. Doll & Greg C. Nelson Richard & Nora Hinton Timmy Hendrickson Suzanne Dewitt & Ari Steinberg Arlene Ehrlich Yumi Iwasaki & Anoop Gupta Susan Herring Margaret Dunn Ian Einman Karen Koon Ryan & Steve Hess Luis Fernam & Isabelle Marie Esteban Pamela Fink & Michael Bevan Matthew & Christina Krashan Jonathan & Deborah Himmelfarb Thomas Faber & Laura Townsend Faber Susan Fischer Bill & Meg Morgan Hsiao-Wuen Hon Robin & Douglas Ferguson Janet Geier & Peter Seitel Seema Pareek & Gurdeep Pall Peter Hiatt & Ronald Huden Albert Fisk & Judith Harris Susan & Russell Goedde Lois Rathvon Paul & Alice Hill Stuart Fountain & Thomas Highsmith Tim Groggel & Annette Strand Don & Toni Rupchock Peter Hoffmeister & Meghan Barry Sergey Genkin & Nelli Tkach Emile F. Haddad & Terryll Bailey Joseph Saitta Kyra Hokanson Gray Richard Groomer & Betsy Lieberman Rebekah Harris Dave & Marcie Stone Ann Hu Susan & Richard Hall Shelley Hartnett Richard Szeliski & Lyn McCoy Mary & Michael Hudspeth Steven Haney Melanie Ito & Charles Wilkinson Ellen Wallach & Thomas Darden O. David Jackson Katherine Hanson & Michael Schick Marica Kamin George Wilson & Claire McClenny Ilga Jansons & Michael Dryfoos Phyllis Hatfield Michael & Nancy Kappelman Mary E. & Gifford Jones Stephen & Sarah Hauschka Paul Kassen EVENT SPONSOR Deborah Katz Dr. Karen Henley & Dr. Laurie Goldman Ronit Katz & Hank Levy (between $2,500 and $4,999) Beverly & Otis Kelly Susan Hert & William Levering III Marcia G. Killien, Ph.D. Randy & Kimberly Kerr Tuck Hoo Frederick Klein IV Anonymous Leslie Kincaid & Nicholas Lawrence Randy & Gwen Houser Arni Hope Litt Anne-Lise & Scott Bean Kelly Kleemeier & Dave Dickson Brian Hulse & Julia Paden Eli Livne, Ph.D. & Dr. Esther Karson Janet Boguch & Kelby Fletcher Susan Knox & Weldon Ihrig Robert C. Jenkins Dr. E. Ludman & Mr. D. Birch Ross Boozikee Kayleen & Tony Kohler Julia Kalmus & John Lillard Barbara Mack Heidi Charleson Karen Lane Aaron Katz & Kate Dougherty Lynda Mapes & Douglas MacDonald Lili Cheng & Yarom Boss Leander Lauffer & Patricia Oquendo David Kimelman & Karen Butner William & Holly Marklyn Toby Diamond Chris Laws Joseph & Anne-Marie Knight Michael Mathieu Davis Fox & Rosemary Coleman David Skar & Kathleen Lindberg Frank & Joanna Lau Robin McCabe Dr. Melvin & Nanette Freeman Jeffry & Barbara Mandula Teresa Lawson Christine Meinhold Walter Gray Melodie Martin & Kenneth Dayton Margaret Levi & Robert Kaplan Ms. Mary M. Mikkelsen Elizabeth Hebert Barbara Martyn Michael Linenberger & Sallie Dacey Eric & Trisha Muller The Hokanson Family Jim & Rebecca McLean Dennis Lund & Martha Taylor Caroline Normann Hugues Hoppe & Sashi Raghupathy Tomilynn & Dean McManus Michael & Nancy Matesky James Phelps & Ena Urbach Catherine & David Hughes Robin Mendelson & Joss Delage Ramona Memmer & Lester Goldstein Chet Robachinski Bernita W. Jackson Jane Miyamoto-Dell’isola & Lawrence John & Gail Mensher Barbara & Mark Roller Patricia & Paul Kimerer Dell’Isola Linda & Peter Milgrom Bette Round Kurt Kolb Margaret Dora Morrison Mary Monfort & Kevin Coulombe Jennifer Salk & David Ehrich Leonard Costello & Patricia McKenzie Sayantani Mukherjee M. Lynn Morgan Eric Schlegel & Mary Stout Yoshi & Naomi Minegishi James & Pamela Murray Kevin Murphy & Karen Freeman Mark & Patti Seklemian John O’Connell & Joyce Latino Richard & Sally Parks Eugene & Martha Nester Mark Teitelbaum Kimberly Parris Gerald Parks Margarete Noe Robin Thomas Darcy & Enzo Paschino Kenneth & Monica Payson Anne Stevens Nolan & William Nolan Gayle & Jack Thompson

A-16 MEANY CENTER FOR THE PERFORMING ARTS Michelle & Stephen Turnovsky Singer & John Griffiths / Douglas Smith / Mani & Karen David & Anne Gilbert / Elizabeth Gilchrist & John Clarkson Valeri & Eugenia Vinyar Soma / Harold & Ruth Spalter / Derek Storm & Cynthia / Linda Gorton & Ken Bounds / Earl & Nancy Grout / Dr. James B. & Judith B. Wagonfeld Gossett / Pamela Stromberg / Stella Suzara / Rachel Stephen Haeck / Denise Hastings / Ellen & Jerry Hendin / Greg Wetzel Swerdlow / Virginia Sybert & Peter Byers / Sarah Temple / Judith Herrigel / Anne Herrmann & Albert Ortiz / Alistair John & Lynn Williams David & Barbara Thomas / Mary Anne Thorbeck / Myrna & Cynthia Hirst / Keri Holmboe / Mary Anne Howard / Deborah Wilson & Nqag Chong Teng & Donald Torrie / Dorene & Dennis Tully / Frits van Oppen Heidi Hummel / David Johnson / Duane & Erica Jonlin / John V. Worthington / Phyllis Van Orden / Yvonne & Bruno Vogele / Kaoru Margot Kadesch / Phyllis Kaiden / Linda Kent & James Osamu Yamamoto Wada / Patricia Wahl & Dean Wingfield / Debora & David Corson / Forest & Cristina Key / Gur Kimchi / Lee Klastorin Lee & Barbara Yates Wakeley / Michele Wang & Gregory Carter / Jerry Watt & & Ralph Walden / Jennifer Kraft & Chris Pesce / Daniel & Igor Zverev & Yana Solovyeva Vreni Arx / Larry & Lucy Weinberg / Ann & Richard Weiner / Sandra Kraus / Carla & David Lawrence / Arlene Levy / Merle Weiss & Diane Pien / Bruce & Christine White / Karin James & June Lindsey / Larry Macmillan & Billie Young / KEY PLAYER Williams / Phillip & Constance Winberry / Carolyn Wood Linda Maki / William & Judith Matchett / Sean McCain / (between $100 and $249) / Nancy Worden & William Reed / Ying Gi Yong / Ryan & Brian McHenry / Ted Mears / Barbara Mericle / Sharon Heidi York / Carol Young / Evgueni & Tatiana Zabokritski Metcalf & Randall Smith / Eric Michelman & Patricia Anonymous / Laila Adams / James Adcock & Anne Otten / / Nancy & Robert Zager / Shirley Zaic & Eric Johnson / Shanley / Marilyn Milberger / Sheree Miller & Benjamin Mary Alberg / Kathryn Alexandra & Steven Rubey / Frank Lawrence Zeidman & Linda Tatta / Maxine Zemko Greer / Stephen Miller / Jocelyn & Michael Miller / Harold & Nola Allen / Julie Anderson / Timothy & Susan Anderson & Susan Mozer / Susan Mulvihill & James Liverman / Ellen / Samia Ashraf & Lewis Davidson / Ruth & Mark Balter / FRIEND & George Naden / Christopher Newell / Linda Oshins / Dana & Rena Behar / Robin Bentley / Wendy Besse / Marcia (between $50 and $99) Barbara O’Steen & R. Howard Mitchell / Tracy & Todd & David Binney / David Bird / James & Edith Bloomfield / Ostrem / Raymond Pendergast / Philip Porach & Ronald Beverly Bodansky / Daniel Branstetter & Barbara Kesler / Suzanne & Marvin Anderson / Anonymous / Jill Bader Niemeyer / Colette Posse / Nicole Quinones / Meryl Shannon Bruce / Robin Calderon / Carol & Henry Cannon / Elisabeth Beaber / John & Terry Berg / Thomas Bird Retallack / Ellen & Dan Roach / David & Joanne Rudo / Frances Carr / Robert Catton / Pamela & Robert Center / / Helen Bodkin / Lee Anne Bowie / Richard Brandon / / William Sandal / Mary Jo Schreifels & Ronald Jones / Leroy Chadwick / Robert & Molly Cleland / Leslie & Libby Elaine Brighton / Shannon Bryan & William Molloy / James Stephen & Loretta Schuler / Charles Smith & Olga Smith / Cohen / Richard & Dorothy Cole / Marjolyn Conrad / Burkman / Zbigniew Butor / Susan Buttram & David Frost Christopher & Ann Smith / Jeffrey & Alice Snyder / H. Anne Elizabeth Cooper / Kathy Cowles & Bradford Chamberlain / / Scott & Jayme Canfield / Connie Case / Phyllis & Alan Solomon / Donna Sunkel / W. Michael Thompson / Peter Jean Crill / Gavin Cullen & David Jamieson / Janice DeCosmo Caswell / Sing Chao / Merrilee Conway & James Young / Thurlow / Mary Vanveen & Charles Carosella / Silvia Vega & David Butterfield / Barbara DeCoster / Celeste & Eduardo Anne & George Counts / Barbara Courtney / Christopher / Carol Wallace & Durlin Hickok / Liz Wallace / Kymberly & Delostrinos / Kathleen Dickeman / Theodore Dietz / Susan Curry / Suzanne Di Lanzo / Daphne Dilley / Janice Dilworth Jeremy Waltmunson / Grace Wang / Greta & Joseph Ward & David Dolacky / Nancy Dorn / Jeanne Dryfoos / Laurie & Gregory Denton / William & Laura Downing / Kathleen / Gail & John Wasberg / Becky Woodworth Ann & C. Bert Dudley / Elizabeth C. Duffell & Brad Wilke / & Edward Dunn / Sally & Jeff Eagan / Robert & Ingrid JoLynn Edwards & Hal Opperman / Joan & Brian Edwards Eisenman / William Elwell / Susan Fisher / Daniel Gamelin / / Richard Eide / Lynne & Hollie Ellis / Patricia Emmons & Shmuel El-Ad / David Doody & Michael Erickson / Gary Fuller & Randy Everett / Susan Ewens / Alan & Jane Fantel This listing includes endowment founders and endowment donors from July 1, 2017 to June 30, / Polly & Eric Feigl / Jane Fellner & Neal Friedman / Judith Gillum Fihn & Stephan D. Fihn / Laura Finn / Gerald Folland 2018. For more information on how to make a gift through your will or trust, or to name Meany / Brenda Fong / Jacqueline Forbes & Douglas Bleckner / Center for the Performing Arts as a beneficiary of your retirement plan or insurance policy, Susanne Foster / William Friedman / Susan & Albert Fuchs please call 206-685-1001 or 800-284-3679 or visit www.uwfoundation.org/giftplanning. / 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 / Willa & Walter Halperin / Eric Hansen & Jody LaBissoniere / Shuko Hashimoto / John & Geraldine Hay / Dandan He / JACK Kathryn Heafield & Guy Sattler / Helen Henley / Lori Hess & Benjamin Miller / Janet Hesslein & Murl Sanders / David Hewitt & Marcia Wagoner / Norman Hollingshead/ Roy Hughes / Margaret Hunt / Patricia Hynes / Joshua Jacobs / Quartet Sibyl James / Linda & Christopher Johnson / Robert Johnson & Heather Erdmann / James & Elaine Klansnic / Adam Kline & Genie Middaugh / Nancy & John Kloster / Joan Human Subjects Klyn / Lillian Koblenz / Glen Kriekenbeck & Quentin King / Amelia Kwan / 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 The quartet's brain waves / Christine Moss / Richard & Dora Moxon / Joseph & Kay Neal / John Nemanich & Ellendee Pepper / Betty Ngan & generate music in the Tom Mailhot / Marianne Nijenhuis / Mark Novak & Katrin culmination of the group’s Pustilnik / Martin Oiye & Susan Nakagawa / Bruce & Linda extended UW residency Olson / Angela Owens / Cathryn Palmer / Elizabeth Park with UW neuroscientists / Margaret Paternek / Jeanne Peterson / Karen Peterson and faculty composers / Gregory & Margaret Petrie / Sandra Piscitello / Susan Juan Pampin and Porterfield / T. David & Gloria Prins / James & Ruth Raisis / Wendy & Murray Raskind / Dennis Reichenbach / Matt Richard Karpen. Reichert / Carrie Richard / Carla Rickerson / Paula Riggert / Rachel & David Robert / Sam & Josie Roskin / John & Janet Rusin / Jesse Salomon / Norman & Elisabeth Sandler / SAT. MAY 18, 2019 - MEANY HALL - 7:30 PM Laura Sargent / Robert & Doris Schaefer / Charles Schooler TICKETS: $20 ($10 STUDENTS/SENIORS) - MUSIC.WASHINGTON.EDU - 206.543.4880 / Janet Schweiger / Jean Schweitzer / Noah Scooler / Charyl & Earl Sedlik / Julie & Reza Sharif / Roberta Sherman & MADE POSSIBLE THROUGH THE UW CREATIVE FELLOWSHIPS INITIATIVE Charles Meconis / John Sindorf & Mary Ann Bolte / Hazel WITH FUNDING FROM THE MELLON FOUNDATION.

encoremediagroup.com/programs A-17 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 Ellsworth C. and Nancy D. Alvord Endowment Fund “If I have seen a Endowed Fund William A. Friedman Estate of Ellsworth C. Alvord* Eric & Margaret Rothchild little further, it is Windsor R. Utley*† Arts Al!ve Student Fund for Exploring Estate of Barbara L. Weinstein† only by standing the Performing Arts Phillip & Constance Winberry Susan Knox & Weldon Ihrig* on the shoulders Mina Brechemin Person Nancy and Eddie Cooper Endowed Fund Endowed Fund of Giants." for Music in Schools Estate of Mina B. Person*† — BERNARD OF CHARTRES Dave & Marcie Stone* Gloria Wilson Swisher Music Education Katharyn Alvord Gerlich Endowment for and Outreach Endowment From Haydn to Mozart to Artistic Excellence Bernita W. Jackson Beethoven to the Beatles, Katharyn Alvord Gerlich* Donald & Gloria Swisher* each generation owes its George Wilson & Claire McClenny progress to the ones that Elaine and Ernest Henley Endowment Deborah Wilson and Ngan Chong Teng for Classical Music David and Mary Willams came before. Dr. Joseph Bosco, III Dr. Jane B. Fellner & Neal S. Friedman * Endowment Founder You, too, can be a giant. Helen Henley † Deceased Elaine & Ernest Henley*† Katherine Jane Hanson, Ph.D. Matching Corporate Gifts CONSIDER A GIFT to the & Prof. Michael Schick Adobe Systems, Inc. Meany Center through your Dr. Joshua J. Jacobs AT&T Foundation will, trust or retirement plan, Dr. Richard A. Mesher & Cynthia S. Lee Chevron Corporation Frits W. Van Oppen City of Seattle and help future generations Prof. T. David & Gloria Prins East West Bank of artists and arts lovers see Google, Inc. a little further by standing on Catherine and David Hughes Asian IBM Corporation your shoulders. Programming Endowment Intel Corporation Catherine & David Hughes* Merck Company Foundation Ann Hu Microsoft Corporation Contact: Amelia Kwan Puget Sound Energy Cristi Benefield, Director of Shell Oil Company Philanthropy, Meany Center Matt Krashan Endowed Fund for Artistic State of Washington and Educational Excellence in the The Boeing Company 206-616-6296 Performing Arts The K Foundation [email protected] Matthew & Christina Krashan T-Mobile USA, Inc. meanycenter.org/donate 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 beneficiary of your retirement plan or insurance policy, please call 206-685-1001 or 800-284-3679 or visit www.uwfoundation.org/giftplanning.

A-18 MEANY CENTER FOR THE PERFORMING ARTS MEANY CENTER INSTITUTIONAL SUPPORTERS 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 Office of Arts & Culture / U.S. Bank

UP TO $9,999

Banner Bank / East West Bank / Horizons Foundation / KEXP 90.3 FM* / Ladies Musical Club / Peg and Rick Young Foundation / New England Foundation for the Arts / 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* / 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 significant recognition throughout the season and an array of benefits catered to your organization's goals. For more information, please contact the Meany Center Philanthropy Department at (206) 685-2819.

encoremediagroup.com/programs A-19 MEANY CENTER AND ARTSUW TICKET OFFICE STAFF

Michelle Witt, Executive and Artistic Director Rosa Alvarez, Director of Patron Services Melanie Muradian, Assistant to the Executive Director Liz Wong, Assistant Director of Patron Services Keeli Erb, Patron Services Associate Sarah Wilke, Senior Director for Planning and Operations Colette Moss, Patron Services Associate Abbey Willman, Patron Services Associate Michelle J. Ward, Director of Finance Cathy Wright, Patron Services Associate Yevgeniy Gofman, Accountant Eric Schielmann, Fiscal Specialist Patron Services Assistants Danielle Blevens Elizabeth C. Duffell, Director of Artistic Engagement Elaine Currie Kaeline Kine, Artist Engagement Coordinator Kelli Hong Kristen Kosmas, Creative Fellowships Coordinator Julia Loyd Charlotte Schoen, Student Engagement Intern Merewyn Lynn Jinnie Yi, UW Student Engagement Assistant Kendall Massey Lily Dittrich, Education Office Assistant Mariama Sidibe Paquita Esterly, Green Room Assistant Lauren Widaman

Cristi Benefield, Director of Philanthropy Lead Ushers Alix Wilber, Grants and Communications Manager Raine Myrvold Erin Candee, Philanthropy Coordinator C.J. Pier Juliet Romano-Olsen, Development Student Assistant Levi Sy Arthur Grossman, Phil Lanum, Photographers Griffin Withington

Teri Mumme, Director of Marketing and Communications Ushers Cynthia Mullis, Marketing and Communications Manager Altaire Anderson Julie Yuan, Marketing Assistant Emily Asplin Dan Neifert, Graphic Design Intern Frances Bueno Ana Constantin Laura McKee, Tessitura Administrator Ryan Farris Gretchen Shantz, IT Administrator Abbi Helms Jared Kawasawa Tom Burke, Technical Director Laura Keil Brian Engel, Lighting Supervisor Daniel Matheson Juniper Shuey, Stage/Video Supervisor Abby Ryiter Matt Starritt, Audio Supervisor Owen Stevens Doug Meier, Studio Theatre Stage Technician Joslyn Thomas Emma Turner Nancy Hautala, Audience Services Manager Tom Highsmith, Lead House Manager Noah Duffy, House Manager Duncan Greeley, House Manager

Catering by

A-20 MEANY CENTER FOR THE PERFORMING ARTS Dialogue Encore Stages in conversation

Reel Grrls’ Tapestry 360 camp (2018). Photo courtesy of Reel Grrls.

Nancy Chang is the Reel Grrls believes that youth voice and media representation matter. Since 2001, Reel Grrls has been a community driven non-profit that centers on grrls (they use executive director of “rr” to be inclusive of gender non-conforming youth). The organization supports Reel Grrls. Encore sat them on their path as they transition into young adults by equipping them with down with her recently social justice values, media literacy skills and access to mentors and tools to create media that matters to them. Reel Grrls helps them find their path as professional to discuss arts education, media makers. The organization does this through three tracks: teaching culture shifts and the traditional film, web content and immersive technology. Twin Peaks reboot. Encore: How did you get involved in been trailblazing. Reel Grrls started Reel Grrls? before YouTube and mobile devices— NC: In 2014 I learned there was an these major disruptors are opening a opportunity at Reel Grrls to reflect whole can of worms of impact to our on the organization’s 14-plus years of collective humanity and we have all pioneering work in advancing womxn just been along for the ride. With that, media makers—that “x” signifies the keeping Reel Grrls open and viable the inclusion of gender non-conforming last four years has been a challenge people—I was attracted to the work of in a rapidly changing city. It is hard reflecting for an organization that had for those not making tech salaries

encoremediagroup.com/programs 9 JUNE 6 JUNE 30

Reel Grrls’ Tapestry 360 camp (2018). Photo courtesy of Reel Grrls.

by Imbolo Mbue Buy Tickets Today! BOOK-IT.ORG • 206.216.0833

A CONCERT OF HOPE

Featuring World Musician Yuval Ron and Select Ensemble Members Saturday, June 22, 7:30 PM St. Mark’s Episcopal Cathedral Reel Grrls’ Tapestry 360 camp (2018). Photo courtesy of Reel Grrls. Seattle, Washington

A Benefit for to survive, let alone a small scrappy in other technical programs. Our grrls feminist media organization. aren’t just wanting to learn skills to be What does Reel Grrls offer that other a flawless technical film maker—they media production classes/courses want to be creating content that is don’t? shifting culture and puts us all in touch with our humanity. I have learned from young filmmakers who have taken other courses from other organizations that Reel Grrls Who have been some notable goes beyond providing the technical instructors at Reel Grrls? instruction. Our program team Reel Grrls has had a variety of amazing www.rootsofsouthsudan.org cares about the student as a whole. people instruct. Lila Kitaeff was We offer a community, we talk about one of the first staff members and BUY TlCKETS AT: www.rootsbenefitconcert.brownpapertickets.com values and social justice—these now they run KUOW’s RadioActive conversations just aren’t happening Program. Anita Sarkeesian of Feminist

10 ENCORE STAGES Frequency worked with us on a vlogging workshop. Megan Griffiths and Lacey Leavitt are both Seattle film legends. Angela Bernardoni worked on the Twin Peaks reboot. Documentarian Jill Freidberg is currently highlighting the gentrification in the Central Area with a community project called Shelf Life. Reel Grrls also worked with Tracy Rector to launch Longhouse Media and train Native youth.

“Our grrls aren’t just wanting to learn skills to be a flawless technical film maker—they want to be creating content that is shifting culture and puts us all in touch with our humanity.”

What have been some notable successes of work done by young womxn in the program? Wynter Rhys is 18 and working on her first full length. She is super talented and focuses on narrative suspense. Tani Ikeda, a former board member, started her own non-profit called imMEDIAte Justice and is making amazing music videos and documentaries.

What are some of your favorite memories working at Reel Grrls? The memorable moments are tied to seeing the transformation of young people in our programs and how they continue to stay involved. We have two board members that are

encoremediagroup.com/programs 11 alums of the program—Julia Levy and Sarah Greenleaf. I have really enjoyed working with them and developing a stronger network for feminist media makers to be well supported.

Last February, I met up with alums in New York City. One of them, Ayanda Chisholm, told me that she really appreciated that Reel Grrls provided a feminist set to experience, because now as a freelancer she can see the difference in non-feminist sets. She let me know that she is focused on creating and working only on feminist sets. Ayanda busted my own personal

Edgar Arceneaux: “our grrls . . . Library of Black Lies aren’t the ones NOV 17, 2018 –JUN 2, 2019 Edgar Arceneaux. Library of Black Lies [detail]. 2016. Wood, mirrored glass, needing saving, mylar, newspaper, hard-bound books, sugar crystals, lighting fixtures, audio component. Photo: Jonathan Vanderweit. since we are HENRY ART GALLERY HENRYART.ORG teaching them the skills to be powerful when they do meet a Harvey—they know their value and can speak up and fight for themselves.”

doubts of focusing my work on creating safe learning spaces centered Nydia Kehnle; Tessellation 4 Kim Eichler-Messmer; Barn (Remnant) on grrls—because at the end of the See 60 innovative and day they have to go into the world of MODERN QUILTS inspiring quilts on display the Harvey Weinsteins. It has helped Designs of the New Century at the Whatcom Museum me to reframe my work and see our grrls as those that aren’t the ones June 1 - August 25, 2019 in Bellingham, Wash. needing saving, since we are teaching them the skills to be powerful when they do meet a Harvey—they know their value and can speak up and fight for themselves.

12 ENCORE STAGES What are you most looking forward to in 2019? In 2019 our team has grown and I am GiveBIG is back! thrilled to go out into the community and talk about the amazing work we have been moving forward on with our MAY 8, 2019 partners, like our Learning Immersive Tech pilot program that addresses the need for low-income students of color in Seattle and South King County to gain equitable access to STEM fields through arts education. Our state is investing in the creative economy and we want to make sure that we correct the lack of diversity amongst tech workers and provide youth of color, that are not traditionally represented in the field, a path to co-create with adults the future of their education, economic success and how we explore humanity through immersive tech. POWERED BY 501 COMMONS I am also looking forward to working with the new leadership on my board led by Jennifer King, of Microsoft Education; Emily Guillen, of the I give. Henry Art Gallery; Elizabeth Mazé, of The Derschang Group; and Michael Herschensohn, of the Washington State Arts Alliance. You give. How can someone help your organization? We currently are looking for people to help us move our ambitious year We give, forward through board and committee service, event volunteers, community partners, clients, sponsors and donors. Yes, you can hire Reel Grrls together. Productions to produce your company or organization’s media production needs! Nonprofit Registration for the area’s To learn more about Reel Grrls and how largest day of online giving is open at to get involved, visit reelgrrls.org. ■ GiveBIG2019.org

Jonathan Shipley is a freelance writer living in West Seattle. He’s been published SPONSORS in the Los Angeles Times, Fine Books & Collections Magazine, and Seattle Magazine, among others.

encoremediagroup.com/programs 13

ENCORE STAGES ENCORE

1.) d. Yasushi Nakamura. Born in Tokyo, Japan in 1980, Nakamura grew up in Washington and graduated from Newport High School in 2000, before going on to Berklee and Juilliard. 2.) b. 1740. This anthology of fairy tales and ghost stories was published after the author’s death. Songling is thought to have written it between 1670 and 1707. 3.) a. “All the world’s a stage” begins the speech known as “The Seven Ages of Man,” delivered by the melancholic Jacques, to the father of the play’s heroine, Rosalind. 4.) d.Up in the Air. Vardalos wrote the screenplays for My Big Fat Greek Wedding and Connie and Carla, and co-wrote Larry Crowne with Tom Hanks, who also starred in the film. 6.) b. Seattle. Our city is also the

northernmost U.S. metro area.

d) Up in the Air the in Up

c) Larry Crowne Larry . with “Trivia Quiz” in the subject line subject the in Quiz” “Trivia with

b) Connie and Carla and Connie Email your response to [email protected] [email protected] to response your Email

a) My Big Fat Greek Wedding Greek Fat Big My

liked best and why? best liked

Which of the following movies is not written by Vardalos? by written not is movies following the Which of What was the last arts performance you attended that you you that attended you performance arts last the was What

adapted for the stage by actress and writer Nia Vardalos. Vardalos. Nia writer and actress by stage the for adapted Bonus Question Bonus

Sugar” advice columns by memoirist Cheryl Strayed. It was was It Strayed. Cheryl memoirist by columns advice Sugar”

May 17–June 23. This play is based on the collection of “Dear “Dear of collection the on based is play This 23. May 17–June

will run run will Theatre, Repertory Seattle At 4) Tiny Beautiful Things Things Beautiful Tiny

some have greatness thrust upon ’em.” upon thrust greatness some have

“Some are born great, some achieve greatness, and and greatness, achieve some great, born are “Some d)

great stage of fools.” of great stage

“When we are born, we cry that we are come to this this to come are we that cry we born, are we “When c) Montreal d)

“These violent delights have violent ends . . .” . . ends violent have delights violent “These b) Ottawa c)

merely players . . .” . . merely players Seattle b)

“All the world’s a stage, and all the men and women women and men the all and stage, a world’s the “All a) Toronto a)

from this play? from this States city is the furthest north? furthest the is city States

Bard’s oeuvre. Which of the following Shakespeare quote is is quote Shakespeare following the of Which oeuvre. Bard’s a small store in Toronto, Ontario. Which Canadian or United United or Canadian Which Ontario. Toronto, in store small a

nonpareil and some of the most famous speeches from the the from speeches famous most the of some and nonpareil of generational conflict in a Korean-Canadian family who own own who family Korean-Canadian a in conflict generational of

disguise features fully-developed female characters, hijinks hijinks characters, female fully-developed features disguise Theatre Company. This dramedy, now also a TV sitcom, tells tells sitcom, TV a also now dramedy, This Company. Theatre

Company April 23–May 19. This comedy of romance and and romance of comedy This 19. 23–May April Company staged at Taproot Taproot at staged see will 22 15–June May 5) Kim’s Convenience Convenience Kim’s

comes to Seattle Shakespeare Shakespeare Seattle to comes Shakespeare’s 3) As You Like It It Like You As

600 d) Toronto Harbour. Toronto

1178 c) (left) Seattle skyline and Elliott Bay. (right) Toronto skyline from from skyline Toronto (right) Bay. Elliott and skyline Seattle (left)

1740 b)

1901 a)

, by Pu Songling. When was this published? this was When Songling. Pu by , Studio

on a fantastic tale as collected in in collected as tale fantastic a on Strange Stories from a Chinese Chinese a from Stories Strange

in love with a girl in a mural and joins her in it. The story is based based is story The it. in her joins and mural a in girl a with love in

(The Painting on the Wall) about a traveler who falls falls who traveler a about Wall) the on Painting (The La Fresque Fresque La

Ballet Preljocaj comes to Meany Center April 4–6, performing performing 4–6, April Center Meany to comes Preljocaj Ballet 2)

Yasushi Nakamura Yasushi d)

Christian Sands Christian c)

Melissa Aldana Melissa b)

Bria Skonberg Bria a) will perform. Which performer grew up in the Seattle area? Seattle the in up grew performer Which perform. will

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at Seattle Theatre Group’s Moore Theatre. During this 60th 60th this During Theatre. Moore Group’s Theatre Seattle at

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