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4.875" x 3.75" UMASS FAC Playbill In this Issue . . .

11 Mark Morris Dance Group 20 Imani Winds with special guest Stefon Harris

26 L.A.Theatre Works RFK: The Journey to Justice

31 Ballet Folkórico de México

40 Fine Arts Center Board and Staff

41 Friends of the Fine Arts Center

42 Business, Friends, Foundations & Organizations

46 Patron Services Information

48 Evacuation Diagram

47 Symbols of Support

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10 Tuesday, February 2, 2010, 7:30 PM UMass Fine Arts Center Concert Hall MARK MORRIS DANCE GROUP CRAIG BIESECKER • SAMUEL BLACK • JOE BOWIE • ELISA CLARK rita DONAHUE • DOMINGO ESTRADA, JR. • LAUREN GRANT JOHN HEGINBOTHAM • DAVID LEVENTHAL • LAUREL LYNCH BRADON McDONALD • DALLAS McMURRAY • AMBER STAR MERKENS MAILE OKAMURA • NOAH VINSON • JENN WEDDEL JULIE WORDEN • MICHELLE YARD MMDG MUSIC ENSEMBLE COLIN FOWLER • WOLFRAM KOESSEL • JESSE MILLS JESSICA TROY • MICHI WIANCKO

Artistic Director Executive Director MARK MORRIS NANCY UMANOFF

MetLife Foundation is the Mark Morris Dance Group’s Official Tour Sponsor.

Major support for the Mark Morris Dance Group is provided by Brooklyn Community Foundation, Carnegie Corporation of New York, JP Morgan Chase Foundation, The Howard Gilman Foundation, William Randolph Hearst Foundation, The Fan Fox and Leslie R. Samuels Foundation, The Shubert Foundation, and Jane Stine and R.L. Stine.

The Mark Morris Dance Group New Works Fund is supported by The Andrew W. Mellon Foundation, Ellsworth Kelly Foundation, The Gladys Krieble Delmas Foundation, The PARC Foundation, Meyer Sound/Helen and John Meyer, and Poss Family Foundation.

The Mark Morris Dance Group’s performances are made possible with public funds from New York City Department of Cultural Affairs; New York State Council on the Arts, a State Agency; and National Endowment for the Arts Dance Program.

Sponsored by

11 Looky Music: Kyle Gann – Studies for Disklavier – “Tango de Chiesa;” “Despotic Waltz;” “Bud Ran Back Out;” “Despotic Waltz;” “Folk Dance for Henry Cowell;” “Texarkana” Costume Design: Elizabeth Kurtzman, Katherine M. Patterson, Isaac Mizrahi, Martin Pakledinaz, Susan Ruddie, Christine Van Loon Lighting Design: Michael Chybowski

Craig Biesecker, Samuel Black, Joe Bowie, Elisa Clark, Rita Donahue, Domingo Estrada Jr., Lauren Grant, John Heginbotham, David Leventhal, Laurel Lynch, Bradon McDonald, Dallas McMurray, Amber Star Merkens, Maile Okamura, Noah Vinson, Jenn Weddel, Julie Worden, Michelle Yard

Commissioned by the Poss Family Foundation Premiere: May 15, 2007 – Institute of Contemporary Art, Boston, MA Music by special arrangement with the composer.

-PAUSE-

All Fours Music: Bela Bartok – String Quartet No. 4 Costume Design: Martin Pakledinaz Lighting Design: Nicole Pearce

Jesse Mills, violin; Michi Wiancko, violin; Jessica Troy, viola; Wolfram Koessel, cello

I. Allegro Samuel Black, Rita Donahue, John Heginbotham, David Leventhal, Amber Star Merkens, Maile Okamura, Noah Vinson, Jenn Weddel

II. Prestissimo, con sordino Craig Biesecker, Bradon McDonald

III. Non troppo lento Craig Biesecker, Lauren Grant, Bradon McDonald, Michelle Yard

IV. Allegreto pizzicato Lauren Grant, Michelle Yard

V. Allegro molto Samuel Black, Rita Donahue, John Heginbotham, David Leventhal, Amber Star Merkens, Maile Okamura, Noah Vinson, Jenn Weddel

Commissioned in part by Cal Performances. Premiere: September 12, 2003 – Zellerbach Hall, Cal Performances, Berkeley, CA Music by arrangement with Boosey & Hawkes, Inc., publisher and copyright owner.

-INTERMISSION-

12 V

Music: Robert Schumann – Quintet in E flat for piano and strings, Op. 44 Allegro brillante In modo d’una Marcia. Un poco largamente – Agitato Scherzo: molto vivace Allegro, ma non troppo Costume Design: Martin Pakledinaz Lighting Design: Michael Chybowski

Jesse Mills, violin; Michi Wiancko, violin; Jessica Troy, viola; Wolfram Koessel, cello; Colin Fowler, piano

Craig Biesecker, Elisa Clark, Rita Donahue, Domingo Estrada Jr., Lauren Grant, John Heginbotham, David Leventhal, Bradon McDonald, Dallas McMurray, Amber Star Merkens, Maile Okamura, Noah Vinson, Julie Worden, Michelle Yard

Premiere: October 16, 2001 – Sadler’s Wells, London, United Kingdom

MARK MORRIS was born on August 29, 1956, Fellow of the MacArthur Foundation in 1991. in Seattle, Washington, where he studied as He has received nine honorary doctorates to a young man with Verla Flowers and Perry date. In 2006, Morris received the New York City Brunson. In the early years of his career, he per- Department of Cultural Affairs Mayor’s Award formed with Lar Lubovitch, Hannah Kahn, Laura for Arts & Culture and a WQXR Gramophone Dean, Eliot Feld, and the Koleda Balkan Dance Special Recognition Award. He is the subject Ensemble. He formed the Mark Morris Dance of a biography by Joan Acocella (Farrar, Straus Group in 1980, and has since created more than & Giroux) and Marlowe & Company published 120 works for the company. From 1988-1991, he a volume of photographs and critical essays was Director of Dance at the Théâtre Royal de la entitled Mark Morris’ L’Allegro, il Penseroso ed il Monnaie in Brussels, the national opera house of Moderato: A Celebration. Morris is a member of Belgium. Among the works created during his the American Academy of Arts and Sciences and tenure were three evening-length dances: The the American Philosophical Society. In 2007, he Hard Nut; L’Allegro, il Penseroso ed il Moderato; received the Samuel H. Scripps/American Dance and Dido and Aeneas. In 1990, he founded the Festival lifetime achievement award. White Oak Dance Project with Mikhail Barysh- nikov. Morris is also much in demand as a ballet The MARK MORRIS DANCE GROUP was formed choreographer. He has created seven works for in 1980 and gave its first concert that year in the San Francisco Ballet since 1994 and received New York City. The company’s touring schedule commissions from American Ballet Theatre, and steadily expanded to include cities both in the the Boston Ballet, among others. His work is U.S. and in Europe, and in 1986 it made its first also in the repertory of the Pacific Northwest national television program for the PBS series Ballet, Dutch National Ballet, New Zealand Ballet, Dance in America. In 1988, MMDG was invited Houston Ballet, English National Ballet, and The to become the national dance company of Royal Ballet. Morris is noted for his musicality Belgium, and spent three years in residence at and has been described as “undeviating in his the Théâtre Royal de la Monnaie in Brussels. The devotion to music.” He has worked extensively company returned to the United States in 1991 in opera, directing and choreographing produc- as one of the world’s leading dance compa- tions for The Metropolitan Opera, New York City nies, performing across the U.S. and at major Opera, English National Opera, and The Royal international festivals. Based in Brooklyn, NY, Opera, Covent Garden. Morris was named a the company has maintained and strengthened

13 14 its ties to several cities around the world, most notably its West Coast home, Cal Performances in Berkeley, CA, and its Midwest home, the Kran- nert Center for the Performing Arts in Urbana, IL. MMDG also appears regularly in New York City, NY; Boston, MA; Fairfax, VA; Seattle, WA; and at the Jacob’s Pillow Dance Festival in Becket, MA. MMDG made its debut at the Mostly Mozart Festival in 2002 and at the Tanglewood Music Festival in 2003 and has since been invited to both festivals annually. The company’s London seasons have garnered two Laurence Olivier Awards. MMDG is noted for its commitment to live music, a feature of every performance on its full international touring schedule since 1996. MMDG collaborates with leading orchestras, opera companies, and musicians including cellist Yo-Yo Ma in the Emmy Award-winning film Fall- ing Down Stairs (1997); Indian composer Zakir Hussain, Mr. Ma and jazz pianist Ethan Iverson in Kolam (2002); The Bad Plus in Violet Cavern (2004); pianists Emanuel Ax, Garrick Ohlsson and Yoko Nozaki for Mozart Dances (2006); and with the English National Opera in Four Saints in Three Acts (2000) and King Arthur (2006), among others. MMDG’s film and television projects also include Dido and Aeneas, The Hard Nut, and two documentaries for the U.K.’s South Bank Show. In the fall of 2001, MMDG opened the Mark Morris Dance Center in Brooklyn, NY, housing rehearsal space for the dance community, outreach programs for local children, as well as a school offering dance classes to students of all ages. For more information, visit www.mmdg.org.

15 THE MMDG MUSIC ENSEMBLE formed in 1996, the Rotterdamse Dansacademie in Holland. He performs with the Dance Group at home and on has performed in New York with David Parker, tour and has become integral to the company’s Takehiro Ueyama, and Nelly van Bommel. Sam creative life. The core group, supplemented first appeared with MMDG in 2005, and became by musicians from a large roster of regular a company member in 2007. guests, has helped the Dance Group achieve an unprecedented streak of close to eight hundred JOE BOWIE was born in Lansing, MI, and began performances with live music. The Ensemble’s dancing while attending Brown University repertory ranges from 17th-century works by where he graduated with honors in English John Wilson and Henry Purcell to more recent and American Literature. In New York he has scores by Lou Harrison and Henry Cowell. The performed in the works of Robert Wilson and Ensemble also presents concerts at the Mark Ulysses Dove and also danced with the Paul Tay- Morris Dance Center and other venues, and lor Dance Company for two years before going participates in the Mark Morris Dance, Music to Belgium to work with Mark Morris in 1989. and Literacy Project in the New York City public school system. ELISA CLARK received her early training from the Maryland Youth Ballet, and her B.F.A. from CRAIG BIESECKER, from Waynesboro, PA, The Juilliard School, under the direction of received a B.S. in Music Education from West Benjamin Harkarvy. She danced with the Lar Chester University of Pennsylvania. While teach- Lubovitch Dance Company, the Nederlands ing music in Philadelphia, he studied ballet Dans Theater, and Battleworks Dance Company, with John White, Margarita de Saa, and Bryan before joining MMDG in 2006. Ms. Clark has also Koulman and worked with choreographers Tim worked with the Alvin Ailey American Dance and Lina Early. In New York City he has worked Theatre, as assistant to Robert Battle. She has with Pascal Rioult, Carolyn Dorfman, New York been on faculty at the American Dance Festival Theater Ballet, Mark Dendy, and Gerald Casel. and teaches for MMDG. She is a 2008-2009 Craig joined MMDG in 2003. Princess Grace Modern Dance Honorarium Award Winner. SAMUEL BLACK is originally from Berkeley, CA, where he began studying tap at the age of 9 RITA DONAHUE was born and raised in Fairfax, with Katie Maltsberger. He received his B.F.A. in VA, and attended George Mason University, Dance from SUNY Purchase, and also studied at where she graduated with honors in Dance and English in 2002. She danced with bopi’s black sheep/dances by kraig patterson and joined MMDG in 2003.

DOMINGO ESTRADA, JR., a native of Victoria, TX, has recently acquired a B.F.A. in Ballet and Modern Dance at Texas Christian University. Currently, he also works with choreographers Leslie Scott, BODYart Dance; Mary Seidman, Mary Seidman & Dancers; and Christian von Howard, Von Howard Project. He made his debut with the Mark Morris Dance Group during The Hard Nut at Cal Performances, Berkeley, in 2007 and became a company member in 2009. Domingo would like to thank God, his family and all who support his passion!

COLIN FOWLER (piano) hails from Kansas City, Kansas and began studying piano at the age of five. After attending Interlochen Arts Academy, he received his Bachelors and Masters Degrees at The Julliard School, where he studied organ with Gerre Hancock and piano with Abbey Simon. He has played and directed music across the country, at venues including Carnegie Hall, Alice Tully Hall, Jazz at Lincoln Center, and The Library of Congress. Colin has also performed with the American Brass Quintet, Deborah Voight, James Galway, and at many of the churches and syna-

16 gogues in New York. Broadway credits include Hard Nut, L’Allegro, il Penseroso ed il Moderato, the recent revival of 42nd Street and the current and Romeo & Juliet, on Motifs of Shakespeare. production of The Tony Award winning musical, He is a faculty member of the Mark Morris Dance Jersey Boys. Colin is the Chair of the Theory and Center in Brooklyn, and teaches technique and Ear Training department at Nyack College, where repertory at schools and universities. He is one he is a full-time professor and conductor of the of the founding teachers of MMDG’s Dance for Nyack College Chorale. He has played with the Parkinson’s program, and leads classes around MMDG Music Ensemble since 2006. the world for people with PD. Raised in Newton, MA, he received his early training from Boston LAUREN GRANT, born and raised in Highland Ballet School, and graduated from Brown Uni- Park, Illinois, has danced with the Mark Morris versity with honors in English Literature. He is Dance Group since 1996. Appearing in over 40 married to fellow dancer Lauren Grant. of Mark Morris’ works, she performs leading roles in The Hard Nut and Mozart Dances. Ms. LAUREL LYNCH began her dance training in Grant has been featured in Time Out New York, Petaluma, CA. After a few too many Nutcrackers Dance Magazine, the book Meet the Dancers, she moved to New York to attend The Juilliard and is the subject of a photograph by Annie School where she performed works by Robert Leibovitz. She graduated with a B.F.A. from New Battle, Margie Gillis, José Limón, and Ohad York University’s Tisch School of the Arts. Ms. Naharin. Since graduation in May 2003, Laurel Grant is on faculty at MMDG’s school and also has danced for Dušan Týnek Dance Theatre, Sue teaches dance internationally. She is married to Bernhard Danceworks, Pat Catterson, Stephan fellow dancer David Leventhal. Koplowitz, and T.E.A. (Transpersonal Education and Art). She performed at the Festival Oltre Pas- JOHN HEGINBOTHAM is from Anchorage, AK. so in Lecce, Italy and appeared as a guest artist He is a graduate of The Juilliard School (BFA with Petaluma City Ballet. Laurel performed with ‘93) and has danced in the companies of Susan MMDG as an apprentice in 2006 and became a Marshall, Pilobolus Dance Theater (guest artist), company member in 2007. John Jasperse, and Ben Munisteri. His choreography is featured in the work of recording artists BRADON McDONALD received his B.F.A. from Fischerspooner, and in Champ: A Space Opera The Juilliard School in 1997. He danced with the (New York International Fringe Festival). As a Limón Dance Company for three years and was teacher, John works regularly with members of the recipient of the 1998 Princess Grace Award. the Brooklyn Parkinson Group. He joined the He has choreographed and presented his own Mark Morris Dance Group in 1998. works internationally, served as choreographer for seven Juilliard Opera Company produc- WOLFRAM KOESSEL (cello) Since moving to tions under director Frank Corsaro, and was the New York in 1991 cellist Wolfram Koessel has choreographic assistant to Donald McKayle at established himself as a much sought after the Alvin Ailey American Dance Theater. Bradon chamber musician, soloist, recording artist joined MMDG in 2000. and contractor in the New York music scene. He has performed with MMDG since 1999 and DALLAS McMURRAY, from El Cerrito, CA, began was music director from 2004-2008. In 2006 Mr. dancing at age 4, studying jazz, tap, and acrobat- Koessel joined the world renowned American ics with Katie Maltsberger, and ballet with Yukiko String Quartet, with whom he performs in the Sakakura. He received a B.F.A. in dance from the foremost concert halls throughout the world, California Institute of the Arts. Dallas performed collaborating frequently with today’s leading with the Limón Dance Company in addition to artists. Mr. Koessel appears with a wide range works by Jiri Kylian, Alonzo King, Robert Moses, of ensembles and groups, most notably and and Colin Connor. Dallas joined MMDG per- frequently with the Orpheus Chamber Orches- formed with MMDG as an apprentice in 2006 and tra. He has supervised and performed music for became a company member in 2007. Warner Brothers, American Express, and many independent film companies besides organizing AMBER STAR MERKENS is originally from hundreds of classical orchestra and chamber Newport, OR, where she began her dance train- music concerts during the last decade in NYC. ing with Nancy Mittleman. She received her He is on the faculty of the Manhattan School of B.F.A. from The Juilliard School in 1999 and then Music and the Aspen Music Festival. Mr. Koessel danced with the Limón Dance Company for two resides with his wife, pianist and writer J. Mae years. She is a recipient of the 2001 Princess Grace Barizo, in Manhattan. Award and has presented her own choreography both in New York and abroad. Amber joined DAVID LEVENTHAL has danced with MMDG MMDG in 2001. since 1997. He performs principal roles in The

17 JESSE MILLS (violin) graduated with a Bachelor from Boulder Ballet Company near where she of Music degree from The Juilliard School in grew up in Longmont, Colorado. She holds a 2001. He has performed as soloist with the Juil- B.F.A. from Southern Methodist University and liard Pre-College Chamber Orchestra, the Teatro also studied at Boston Conservatory, Colorado Argentino Orchestra in Buenos Aires, Argentina, University and The Laban Center, London. Since the New Jersey Symphony, the Sarah Lawrence moving to New York in 2001, Ms. Weddel has College Symphony, the Plainfield Symphony, created and performed with RedWall Dance the Hudson Valley Philharmonic, and Aspen Theater, Sue Bernhard Danceworks, Vencl Dance Music Festival’s Sinfonia Orchestra as winner Trio, Rocha Dance Theater, TEA Dance Company of the Festival’s E. Nakamichi Violin Concerto and with various choreographers including Alan Competition. Mills received an Aspen Music Danielson and Ella Ben-Aharon. Ms. Weddel Festival String Fellowship in 1997. As a chamber performed with MMDG as an apprentice in 2006 musician Mills has performed at Lincoln Center’s and became a company member in 2007. Alice Tully Hall, New York City’s Merkin Concert Hall and Bargemusic, the Rising Stars series at MICHI WIANCKO (violin) has performed with Caramoor, the Ravinia Festival’s Bennett-Gordon orchestras including the New York Philharmonic Hall, and at the Marlboro Music Festival. He has and Los Angeles Philarmonic, and in recital performed chamber music with such artists as and chamber appearances across the nation. Richard Goode, David Soyer, Donald Weilerstein, Michi made her New York solo recital debut at Anton Kuerti, Peter Wiley, Miriam Fried, Claude Carnegie Hall’s Weill Recital Hall after winning Frank, and Fred Sherry. He was a member of the 2002 Concert Artists Guild International the FLUX Quartet from 2001-2003. Currently, Competition. She was featured as an “Artist Mills is a member of Nurse Kaya, an ensemble to Watch” on the cover of the January 2007 comprised of string quartet plus bass and drums issue of SYMPHONY Magazine. She has toured which exclusively plays compositions written extensively throughout the country as soloist, by its members. Mills is also a member of the recitalist, and chamber musician, and has ap- Denali Trio, with cellist Sarah Carter and pianist peared in venues such as the Kennedy Center, Ashley Wass. This is his first season performing Sydney Opera House, Metropolitan Museum of with the MMDG Music Ensemble. Art, National Gallery, Library of Congress, New YorkTown Hall, Philadelphia Chamber Music MAILE OKAMURA is originally from San Diego, Society, and numerous others. Michi has toured CA. She was a member of Boston Ballet II in with Musicians from Marlboro as well as the Los 1992-93 and Ballet Arizona in 1993-96. She has Angeles Piano Quartet. In March 2007 she gave danced with choreographers Neta Pulverm- the world premiere of a concerto written for her acher, Zvi Gotheiner, and Gerald Casel, among by Margaret Brouwer, which she performed with others. Maile began working with MMDG in Cleveland’s CityMusic Orchestra. Michi is also 1998 and became a company member in 2001. the singer and songwriter for her project called Kono Michi, comprised of string quartet, upright JESSICA TROY (viola), a native New Yorker, has bass and drums. Kono Michi has performed in played with the Mark Morris Dance Group Music Merkin Hall, Symphony Space’s Thalia Theater, Ensemble since 1998. She wears a wide variety Brooklyn’s BAM Café and Barbes, and the World of freelance hats; a member of the Brooklyn Café Live in Philadelphia. Her self-produced Philharmonic, she has recently performed with debut album of original music called “9 Death Sequitur, the new music ensemble, on baroque Haiku” has recently been released. A native viola with Renee Fleming on the David Letter- of Southern California, Michi began her violin man Show, and everything in between. She has studies at the age of 3. She studied with Donald participated at many illustrious chamber music Weilerstein at the Cleveland Institute of Music, festivals, including Prussia Cove and Marlboro-- and completed her Master’s degree at The Juil- she can be heard on the latter’s 50th anniversary liard School, working with Robert Mann. CD. She is a proud resident of MMDG’s own Fort Greene neighborhood in Brooklyn. JULIE WORDEN graduated from the North Carolina School of the Arts and joined MMDG NOAH VINSON received his B.A. in Dance from in 1994. Columbia College Chicago, where he worked with Shirley Mordine, Jan Erkert, and Brian Jef- MICHELLE YARD was born in Brooklyn, NY, and frey. In New York, he has danced with Teri and began her professional dance training at the New Oliver Steele and the Kevin Wynn Collection. He York City High School of the Performing Arts. Upon began working with MMDG in 2002 and became graduation she received the Helen Tamiris and B’nai a company member in 2004. Brith awards. For three years she was a scholarship student at the Alvin Ailey Dance Center, and JENN WEDDEL received her early training attended New York University’s Tisch School of the

18 Arts, where she graduated with a B.F.A. Michelle Music Coordinator Bruce Lazarus joined MMDG in 1997. Mom, thank you. Maintenance Ramon Calderon MARK MORRIS DANCE GROUP STAFF Booking Representation Michael Mushalla Artistic Director Mark Morris (Double M Arts & Events) Executive Director Nancy Umanoff Media and General Consultation Services William Murray (Better Attitude, Inc) Legal Counsel Mark Selinger (McDermott, PRODUCTION Will & Emery) Technical Director Johan Henckens Accountant O’Connor Davies Munns & Dobbins, Rehearsal Director Matthew Rose llp Lighting Supervisor Keri Thibodeau Orthopaedist David S. Weiss, M.D. (NYU-HJD Wardrobe Supervisor Katherine M. Patterson Department of Orthopaedic Surgery) Sound Supervisor Jim Abdou Hilot Therapist Jeffrey Cohen

ADMINISTRATION Thanks to Maxine Morris. General Manager Aaron Mattocks Company Managers Adrienne Bryant, Sincerest thanks to all the dancers for their Daniel A. Finney dedication, commitment, and incalculable Chief Finance Officer Elizabeth Fox contribution to the work. Finance Associate Marea Chaveco Additional funding has been received from MARKETING/DEVELOPMENT the Altman Foundation; Capezio Ballet Makers Director of Marketing and Development Dance Foundation; The Buck Family Foundation; Lauren Cherubini Joseph and Joan Cullman Foundation for the Associate Director, Marketing and Corporate Arts, Inc.; The Harkness Foundation for Dance; Support Christy Bolingbroke The Iovino Family Foundation; Leon Lowenstein Special Projects Manager Alexandro Pacheco Foundation; Materials for the Arts; McDermott, Development Associate Kelly Sheldon Will & Emery; New England Foundation for the Development Assistant Moss Allen Arts; USArtists International; and the Friends of Marketing Assistant Ashley Matthews the Mark Morris Dance Group. Office Assistant Jay Selinger For more information contact: EDUCATION MARK MORRIS DANCE GROUP Director of Education Eva Nichols 3 Lafayette Avenue School Administrator Diane Ogunusi Brooklyn, NY 11217-1415 School Bursar Marc Castelli Tel: (718) 624-8400 Fax: (718) 624-8900 DANCE CENTER OPERATIONS [email protected] Studio Manager Karyn Treadwell www.mmdg.org Production and Facilities Manager Matthew Eggleton Assistant Facilities Manager Chris Sperry Administrative Assistant Hilary Tanabe Receptionists Sara Genoves-Sylvan, Colleen Macomber

19 Wednesday, February 3, 2009, 7:30 PM Bowker Auditorium IMANI WINDS WITH SPECIAL GUEST STEFON HARRIS

Imani Winds VALERIE COLEMAN, flute TOYIN SPELLMAN-DIAZ, oboe MARIAM ADAM, clarinet JEFF SCOTT, French horn MONICA ELLIS, bassoon STEFON HARRIS, vibraphone & marimba

There will be a post-performance discussion with the artists in the rear of the Concert Hall immediately following the concert.

Funded in part by the Expeditions program of the New England Foundation for the Arts, made possible with funding from the National Endowment for the Arts, with additional support from the six New England state art agencies.

Sponsored by

20 Program

Red Clay and Mississippi Delta (2009) V COLEMAN (b. 1970)

Woodwind Quintet (1948) Elliott CARTER (b. 1908) I. Allegretto II. Allegro giocoso

Homage to Duke Jeff SCOTT (b. 1967)

Quintette en forme de Choros, Heitor VILLA-LOBOS for wind quintet (1928) (1887-1959)

INTERMISSION

The Anatomy of a Box: Stefon HARRIS (b. 1973) a sonic painting in wood, metal and wind

With special guest, Stefon Harris, vibraphone & marimba

Recordings, Imani Winds: Koch International Classics Recordings, Stefon Harris: Concord Records and Blue Note Records

21 Artist Biographies

Valerie Coleman A native of Louisville, Kentucky, the Multi-Arts Production Fund, a grant given to Valerie Coleman began her music studies at the “support innovative new works in all disciplines age of eleven and by the age of fourteen, had writ- and traditions of performing arts.” ten three symphonies and won several local and Valerie has a double Bachelor’s degree in Theory/ state competitions. Valerie Coleman is not only Composition and Flute Performance from Boston the founder of Imani Winds, but is blessed to be a University and a Master’s degree in Flute Perfor- resident composer of the ensemble, giving Imani mance from the Mannes College of Music. She Winds their signature piece “Umoja” (which is listed studied flute with Julius Baker, Alan Weiss, and as one of the “Top 101 Great American Works” by Mark Sparks; composition with Martin Amlin and Chamber Music America). In addition to her signifi- Randall Woolf; and has served on the faculty of cant contributions to wind quintet literature, Val- The Juilliard School’s Music Advancement Program erie has a works list for various winds, brass, strings and Interschool Orchestras of New York. Currently, and full orchestra published by International Opus she is on the advisory panel of the National Flute and in the near future, Theodore Presser. Association. Prior to her solo debut at Carnegie Hall, Ms. Toyin Spellman-Diaz has developed a reputation Coleman was the understudy for flautist Eugenia as a world-class oboist. As an orchestral musician, Zukerman at Lincoln Center, featured soloist in she has performed in the New York Philhar- the Mannes 2000 Bach Festival, two-time laure- monic, the Chicago Symphony, the Chicago Civic ate of the Young Artist Competition at Boston Orchestra, the Milwaukee Symphony, Brooklyn University, recipient of the Aspen Music Festival Philharmonic, and Orchestra of St. Lukes and has Wombwell Kentucky Award, and was the inau- worked with such conductors as Kurt Masur, Dan- gural recipient of the Michelle E. Sahm Memorial iel Barenboim, Pierre Boulez, Christoph Eschen- Award at the Tanglewood Festival. Recently, she bach, and Mstislav Rostropovitch. As an educator, was a guest artist at the Chenango Music Festival, she has written two music-telling performances teaching artist for Chamber Music Society of pieces for Imani Winds, a performance practice Lincoln Center, recipient of Meet the Composer’s that incorporates music into the telling of a story Edward and Sally Van Lier Memorial Award, and by using the instruments as props and as integral was showcased on the New York classical radio parts of the story-telling process. Ms. Spellman- station WQXR. Most recently, she is a recipient of Diaz was acclaimed as a “standout oboist with

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22 LLC MENTORS © 2009 MARKET UMASS Playbill 4.875 x 3.75 093584_UMASS_Playbill.indd 1 10/8/09 11:45:39 AM smooth, controlled tone and excellent technique” Chamber Music Lincoln Center, Prussia Cove Festi- in the Washington Post when she performed val in England, 92nd St. Y, Rockport Music Festival, the Goosens Oboe Concerto at the Kennedy Carmel Bach Festival, La Jolla Music Festival, Center. She has also performed concerti with the Chamber Music Northwest, as well as with Paquito Chicago Civic Orchestra, Manhattan Virtuosi, and D’Rivera and David Shifrin. As a founding member the Antara Ensemble. She attended the Oberlin of the internationally acclaimed, TransAtlantic En- Conservatory where she achieved her Bachelor semble (Clar, Vn, Pno) she has performed through of Music degree, and received her Masters and Europe and the East Coast in a wide range of Professional Studies degrees from the Manhattan music including that of Imani Winds’ Jeff Scott School of Music. Ms. Spellman-Diaz has studied and Valerie Coleman. She has also been invited with Joe Robinson, James Caldwell, Joe Turner, to give solo recitals in Spain, Geneva, London, and Alex Klein. She is currently on faculty of the and continues to work with several pianists from Manhattan School of Music, Precollege Division. different regions celebrating music of their native Mariam Adam, a native of Monterey, California, countries. has become an internationally distinguished A native of Queens, NY, Jeff Scott started the clarinetist and chamber musician. Chosen to be French horn at age 14, receiving a scholarship to one of the last students of legendary clarinetist go to the Brooklyn College Preparatory Division. Rosario Mazzeo, she developed a colorful career His greatest influence however, came from his on the West Coast appearing with the Sacramento first teacher, Carolyn Clark, who taught the young Symphony, Monterey County Symphony, and Mr. Scott for free, giving him the opportunity to several others while still an undergraduate. She study music when resources were not available. participated with the Eastman Music Summer He received his Bachelor’s degree from Manhattan Festival, toured with various jazz ensembles, School of Music, and Master’s Degree from SUNY at sometimes as the drummer, in Japan and North Stony Brook. During those years Mr. Scott studied America, and received such awards such as the with Jerome Ashby, David Jolley, Scott Brubaker, Hans Wildau Young Musicians Award, Sacramento and William Purvis. It was during his collegiate stud- Concerto Competition Winner, AFS Scholar, Bank ies that Mr. Scott learned wind quintet repertoire of America Artists Scholar before moving to the through intense coaching with the late Samuel East Coast for graduate studies at the Manhattan Baron and other members of the New York Wind School of Music. She has since performed with Quintet. As the French Hornist for the Mercury

23 Brass Quintet, Mr. Scott has given many workshops Bassoonist Monica Ellis, a native of Pittsburgh, and performances under the auspices of Arts Gen- PA, discovered the joy of making music at the age esis, Young Audiences of New York, and the Midori of four. Encouraged by her father, the late jazz Foundation. Mr. Scott is also the co-founder of the saxophonist Clarence Oden, she began playing jazz band “The New Jazz Resolution.” the clarinet, saxophone, and later the piano. After Mr. Scott has been a member of The Lion King being introduced to the bassoon in middle school, orchestra on Broadway since 1997, and has she studied with Mark Pancerev of the Pittsburgh performed in other Broadway shows such as, On Symphony throughout high school. Ms. Ellis went the Town and Showboat. Mr. Scott also enjoys an on to receive her Bachelor of Music degree from active career as a studio musician. He can be hear Oberlin College Conservatory of Music, studying on many movie soundtracks including Spike Lee’s with George Sakakeeny. While at Oberlin, she par- Clockers, featuring music by Terrence Blanchard, ticipated, as both an instructor and performer, in and on recordings with notable artists such as, the Panama Project; a month long camp for young Chico O’Farill, Robin Eubanks, Freddy Cole, and Panamanian students. She then received her Jimmy Heath among others. Additionally, he has Master of Music degree from the Juilliard School toured with artists such as Barbra Streisand and and also attended Manhattan School of Music in Luther Vandross and is a member of the Alvin Ailey the Orchestral Performance Program, studying and Dance Theater of Harlem Orchestras. with Frank Morelli at both institutions. Mr. Scott’s arranging and composing credits are Residing in Harlem, Ms. Ellis is an active New York many, and include scoring the off-Broadway freelancer, having performed with the Chamber production of Becoming Something, The Canada Music Society of Lincoln Center, Absolute En- Lee Story, and many arrangements and original semble, Lincoln Center Jazz Orchestra, American works for wind and brass quintet, horn quartet, Symphony Orchestra, and the Alvin Ailey Dance and jazz ensembles. Theatre, just to name a few. Mr. Scott was recently appointed as a member of Also a passionate teacher, Ms. Ellis has served the Horn faculty of the music department at Mont- on the faculties of the Mannes College of Music clair State University, in Montclair New Jersey. Preparatory Division, Brooklyn College School of Music, and Juilliard’s Music Advancement Program. She is also a well renowned clinician, and has given master classes and solo recital performances across the country. Vibraphonist-composer Stefon Harris is heralded as “one of the most important young artists in jazz” (The Los Angeles Times). He is unquestion- ably developing what will be a long and extraor- dinary career. Stefon Harris’ passionate artistry, energetic stage presence, and astonishing virtuosity have propelled him into the forefront of the current jazz scene. Widely recognized and lauded by both his peers and jazz critics alike, the 30-year-old is committed to both exploring the rich potential of jazz composition and blazing new trails on the vibraphone. A graduate of the Manhattan School of Music, he received a B.A. in Classical Music and an M.A. in jazz performance. Stefon is a recipient of the prestigious Martin E. Segal Award from Lincoln Center and has earned back to back-to-back Grammy nominations for Best Jazz Album including The Grand Unification Theory (2003), the 2001 release Kindred (Blue Note), and his 1999 release Black Action Figure (Blue Note), which was nominated for Best Jazz Instrumental Solo. North Sea Jazz (Netherlands) named Harris for the prestigious International 2002 Bird Award for Artist Deserving Wider Recognition. He has been voted Best Mallet player by the Jazz Journalist Association (2003,

24 2002, 2001, and 2000), Debut Artist of the Year versities throughout the country. He is currently by Jazztimes, Downbeat’s Critics Poll Winner for Artist in Residence at San Francisco Performances Vibraphone and Rising Star, Vibraphone (2003), and in 2002 at the Isabelle Stewart Gardner Mu- Newsweek’s Best Jazz CD, Best New Talent and seum in Boston. In addition he has been an active 1999-2000 Readers Poll Best Vibraphonist by member of the Executive Board of Directors for Jazziz Magazine and Chicago Tribune’s Debut of Chamber Music America. the Year. Blackout, Stefon’s new project featuring a hybrid Mr. Harris has performed at many of the world’s of acoustic music and progressive sounds will most distinguished concert halls, including Lin- debut its CD, Evolution, in April, 2004 and embark coln Center’s Alice Tully Hall, The Kennedy Center, on a national tour. Praised for “pursing jazz on it’s San Francisco’s Herbst Theater, UCLA’s Royce Hall, own terms” (Washington Post). the band features Chicago’s Symphony Center, Detroit’s Orchestra Casey Benjamin (alto sax), Marc Cary (keyboards), Hall, and The Sydney Opera House. He has toured Darryl Hall (bass) and Terreon Gully, and has and recorded with the Chamber Music Society of performed to sold out crowds at The Kennedy Lincoln Center and performed his original com- Center and North Sea Jazz Festival. The 2003 positions with the Dutch Metropole Orchestra in release of The Grand Unification Theory an eleven- Den Hague. He has toured South Africa, Brazil and movement piece featuring Latin, classical, African Europe performing at the North Sea Jazz Festival, and jazz influences earned a Grammy nomination, Istanbul Jazz Festival, and the Umbria Jazz Festival JAZZIZ Critics Choice, and 4-star reviews from among others. In 2001 he premiered The Grand Downbeat Magazine, Rolling Stone and The Los Unification Theory a full length concert piece Angeles Times. His premiere as a leader, A Cloud commissioned by the Troy Savings Bank Music of Red Dust, was voted Best Debut Recording at Hall which was later presented at the New Jersey the 1999 New York Jazz Awards. In addition to Performing Arts Center. He has also appeared at leading his own band, Mr. Harris has recorded as the legendary Playboy Jazz Festival, Montreal Jazz part of the Classical Jazz Quartet, a series of jazz Festival, and the Orange County Performing Arts interpreted classics with Kenny Barron, Ron Carter, Center. Most recently Mr. Harris received a com- and Lewis Nash. He has also recorded and toured mission from the Wharton Center for Performing with many of music’s greatest artists, including Arts, Michigan State University which debuted Joe Henderson, Wynton Marsalis, Cassandra Wil- in 2005. son, Buster Williams, Kenny Barron, Charlie Hunter, An active educator, Mr. Harris conducts over 100 Kurt Elling, Cyrus Chestnut, Steve Coleman, and clinics and lectures annually at schools and uni- Steve Turre among many others. The best coverage in Franklin County and the North Quabbin Region.

TheRecorder 25 Tuesday, February 23, 2010, 7:30 PM UMass Fine Arts Center Concert Hall L.A. THEATRE WORKS SUSAN ALBERT LOEWENBERG, PRODUCING DIRECTOR RFK: THE JOURNEY TO JUSTICE by Murray Horwitz and Jonathan Estrin Directed by John Rubinstein John F. Kennedy...... John Heard Robert F. Kennedy...... Henry Clarke Louis Martin...... John Wesley Harris Wofford...... Ross Hellwig Martin Luther King, Jr...... Kevin Daniels

The L.A. Theatre Works’ RFK: The Journey to Justice is a commission led by the University of Notre Dame’s DeBartolo Performing Arts Center, and co-commissioned by the Clarice Smith Performing Arts Center at the University of Maryland, Stanford Lively Arts at Stanford University, and the Modlin Center for the Arts at the University of Richmond.

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26 Following Robert F. Kennedy’s Path to Justice

In the spring of 1963, U.S. Attorney General is not one that Robert Kennedy intended to take Robert F. Kennedy, concerned about rising racial on. His initial ambivalence—he and his brother tensions in the North and South, and look- courted black voters in 1960 as a way of helping ing for fresh ideas on how to cope with civil to shore up JFK’s presidential election bid—has rights problems, convened two meetings with been largely forgotten over time and in light of African-American writer James Baldwin. Baldwin his later achievements. But the ensuing eight had been sharply critical of President John F. years—chronicled in our play—contained a Kennedy for not being more forceful about the series of incidents, growing relationships, and civil rights struggle gripping the United States. social changes that put RFK at the forefront of At the conclusion of the first meeting (held at the fight for civil rights. He was a man with a Kennedy’s home in Virginia), Kennedy asked strong sense of right and wrong, both morally Baldwin to put together some of his “best people and legally. Deeply moved by the injustices he in New York” to “talk this whole thing over.” The saw through the multiple arrests of Martin Luther group that met with Kennedy at his New York King on trumped-up charges, the humiliations City apartment included Baldwin and his actor suffered by black students trying to get an edu- brother David, Pulitzer Prize-winning playwright cation, and the lack of employment and business Lorraine Hansberry, singers Harry Belafonte and opportunities for blacks, RFK’s strides towards Lena Horne, psychologist Dr. Kenneth B. Clark, achieving equality began with legislative mea- consul to the Ghandi Society Clarence B. Jones, sures, eventually expanding his concerns beyond and Freedom Rider Jerome Smith. The result was Black-White issues to fundamental issues such unexpected for both sides. Kennedy—publicly as worker’s rights and poverty—issues that went tight-lipped about the meeting—expressed pri- beyond race. vately his shock that his brother’s administration It’s strangely appropriate that Loewenberg wasn’t lauded by blacks for its efforts, who told located writers for the RFK play as the 40th him that if this is the best he could do, then the anniversary of RFK’s shocking assassination best was not enough. Kennedy was humiliated by approached, through a chance meeting at a the group’s desperate laughter and surprised by screening of RFK Remembered, the film commis- so much anger. “We were a little shocked by the sioned by the Kennedy family after RFK’s death extent of his naïveté,” James Baldwin explained and shown at the 1968 Democratic National afterwards. Baldwin noted that he and his friends Convention. Loewenberg connected with an left the meeting convinced that Kennedy didn’t old friend, actor/writer/director Murray Horwitz understand the full extent of the growing racial and they discussed the project. Horwitz—who struggles in the North. had been a supporter of Eugene McCarthy in From this footnote tto history comes the the 1968 campaign—recalls the continuing play that you will watch tonight. L.A. Theatre devotion and excitement expressed by anyone Works Producing Director Susan Loewenberg who worked with RFK. In short time, Horwitz and remembers hearing about the Baldwin-Kennedy writing partner/TV producer and writer Jonathan meeting, whose cast of characters sounded like Estrin were engulfed in reading RFK’s eloquent it could have been dreamed up by a Hollywood speeches, numerous Kennedy biographies, producer posing a “what if” scenario. Loewen- period newspaper articles and editorials, and berg wondered about what happened within transcripts of Senate hearings. In the RFK files at the walls of the Kennedy apartment. She also the John F. Kennedy Presidential Library in Bos- wondered about the dramatic possibilities to ton copies of telegrams, drafts of campaign flyers be found in the story of “Bobby” Kennedy, the and speeches, hate mail letters, and itineraries scrawny seventh child of Joseph P. Kennedy from RFK’s many fact-finding tours were found. and Rose Fitzgerald Kennedy, who grew up to Robert Drew’s 1963 documentary Crisis: Behind be a fierce football end, staunch protector of a Presidential Commitment, which follows RFK his adored older brother John, and a combative and Governor George Wallace through the days criminal justice prosecutor, Attorney General, leading up to the integration of the University New York State Senator, and presidential candi- of Alabama, depicts the atmosphere of the At- date. The possibility of exploring the co-existing torney General’s office, the tension of the time dualities of RFK’s persona—the Attorney General and situation, and gave the writers a first-hand who ordered the wire-tapping of Martin Luther view of how the Kennedy brothers interacted King Jr.’s phones alongside the grim-faced, much- with each other. moved visitor who talked to children on visits to Perhaps more valuable than the historical homes of the Appalachian poor—was too good records are the personal accounts of RFK’s hu- to pass up. mour, hard work, and faith in justice. A number The role of hero of the civil rights movement of RFK’s confidantes and staff gave interviews to

27 Horwitz and Estrin—interviews that provided As a graduate student in the history depart- enormously helpful character details and went ment at UCLA, I was, in 1968, taking a seminar on beyond the historical record of the personal biography, taught by the late Fawn Brodie, whose journey of RFK. Journalist John Seigenthaler— biographies of Thomas Jefferson, Joseph Smith RFK’s administrative aide whose Southern drawl and Richard Nixon, among others, were both well and humour comes across in news clips and known and controversial, informed as they were accounts of the era—first met Kennedy in 1957 by psychoanalytic theory and concepts. and remained close with him to the end—de- For my seminar paper, I had chosen Robert spite having tried to convince his friend not to Kennedy as my subject, and the intent of the run for president. Seigenthaler’s insight into the paper was “to examine the major forces that solitary, internal changes undergone by RFK after have shaped Robert Kennedy’s personality and the President’s assassination helped guide the determined his pattern of behavior.” In short, writers as they explored RFK’s emergence from under the influence of my professor, I had set his brother’s shadow. Frank Mankiewicz—who myself the goal of “psychoanalyzing” RFK. Leav- worked as RFK’s press secretary during his years ing aside the merits of this method as well as the in the Senate and later went on to become CEO merits or shortcomings of the paper, here is what of NPR—told the writers exactly what happened happened. on a horrible night in April 1968 when RFK faced an urban crowd in Indianapolis that had not yet It is June 4, 1968. I am sitting in front of the heard that Martin Luther King Jr. had been shot television, watching the post election party and killed. Also on board to provide comments in the ballroom of the Ambassador Hotel in and relevant historical material was presidential downtown Los Angeles. Robert Kennedy is biographer and columnist Richard Reeves. These giving a rousing victory speech and I am put- and many other firsthand, eyewitness accounts ting the finishing touches on my paper. I am helped Horwitz and Estrin dramatize the com- literally on the last page. A little after midnight, plexity of RFK’s personality and his struggle for as I am writing the final paragraph, sleepy yet civil rights and other causes. exhilarated, Kennedy’s aides decide to take him through the kitchen and we see them leaving the The play you’ll see tonight is the result of the ballroom. I can hear the local anchor announcing extensive research and exploration described the entourage’s movements as they enter the above. But this is not a time piece depicting kitchen. Then I watched in horror as chaos and frozen moments. Kennedy’s achievements—at confusion erupted on the screen and learned the time so controversial and ground-breaking— that the person I had intimately come to know have become part of the fabric of American life. had been gunned down. I struggled over the But had Kennedy not taken a gutsy, hard-nosed next few days to find an ending to the paper, but view towards legislative innovations, and later a nothing seemed right. I had lost my objectivity, heartfelt approach to the construction of social and I was in despair over the senselessness of his and economic development programs, many death. I ended the paper with this sentence: “But Americans wouldn’t have enjoyed the rights with the death of his brother John, the spotlight and prosperity of the last 40 years. As we enter turned on him, and drawn to it like a moth to a the age of Barack Obama, it’s well worth look- flame, he didn’t have a chance.” ing back at the complexities of one of the men who indirectly made it possible for Obama to History and my own maturity have tempered sit where he does now. And to contemplate the those sentiments and given me a less simplistic possibilities of what else might have been, had perspective, as will this play. RFK been President himself. – Elizabeth Bennett, Dramaturg and Researcher Biographies JONATHAN ESTRIN (Author) Jonathan Estrin Susan Loewenberg, Producing Director Notes started out as a theatre director, the only one of When we received the offer to create an his many professions for which he was actually original L.A. Theatre Works docudrama from four trained. He has been a writer-producer of award of our outstanding and longtime presenters, the winning TV and film for 30 years and has written University of Notre Dame, Stanford, the Univer- for, among others, Elizabeth Taylor, Colleen sity of Maryland, and the University of Richmond, Dewhurst, Jon Voigt, Lou Gossett Jr., Sharon we were elated and then challenged by the Gless, and Tyne Daly. His most recent credits formidable task of choosing just the right sub- include the Showtime original movie, JASPER, ject. Despite the many ideas offered by our staff TEXAS and an adaptation of Pat Conroy’s THE and the writers and academics we consulted, WATER IS WIDE. Currently, he is the President of one subject kept coming back to me, perhaps the Constitutional Rights Foundation, a nonprofit because it also haunted me. I had unfinished dedicated to educating tomorrow’s citizens and business with Robert Kennedy. helping K-12 students become informed and en-

28 gaged participants in our democracy. Estrin was A LESSER GOD (Tony, Drama Desk, L.A. Drama the Executive Vice-President of AFI, the American Critics Circle Awards), FOOLS, THE CAINE MUTINY Film Institute, where he was responsible for its COURT-MARTIAL, HURLYBURLY, M. BUTTERFLY, renowned conservatory, as well as AFI’s film festi- LOVE LETTERS, GETTING AWAY WITH MURDER, vals, digital laboratory and exhibition programs. RAGTIME; London: ENIGMATIC VARIATIONS; Off- Prior to AFI, Estrin was the Dean of the College Broadway: COUNSELLOR-AT-LAW (Lucille Lortel of Media Arts & Design at Drexel University. He Award, Outer Critics’ Circle and Drama League redesigned the college’s offerings, creating new nominations), ROSENCRANTZ AND GUILDEN- programs in Digital Media, Architecture and STERN ARE DEAD, URBAN BLIGHT, CABARET Music Industry—complete with its own record VERBOTEN; Regional: THREE HOTELS, ARMS AND label. For the past 10 years, Estrin has served THE MAN, STREAMERS, CANDIDA, THE TEMPEST, as Chairman of the Board of Operation USA, an SIGHT UNSEEN, BROKEN GLASS. FILMS INCLUDE: international medical relief and development 21 GRAMS, JEKYLL, RED DRAGON, MERCY, KID agency that has sent over $300 million in goods COP, ANOTHER STAKEOUT, SOMEONE TO WATCH to 81 countries. This is the second play he has OVER ME, DANIEL, THE BOYS FROM BRAZIL, written with Mr. Horwitz and, despite that, they ZACHARIAH. TV series: Crazy Like A Fox, Family remain close friends. (Emmy nomination); close to 200 Movies of the Week and episodes. Composed music for films MURRAY HORWITZ (Author) has had an ex- Jeremiah Johnson, The Candidate and over 50 traordinarily varied career in the arts and public TV programs. Hosted radio program “Carnegie life. His accomplishments in the performing arts Hall Tonight” for six years and has recorded over include authoring the hit Broadway musical Ain’t 75 books-on-tape. His greatest joy has been par- Misbehavin’, writing the song lyrics for John Har- ticipating in the lives of his five children: Jessica, bison’s The Great Gatsby at the Metropolitan Op- Michael, Peter, Jacob and Max. era, and originating the hit public radio comedy quiz, Wait, Wait…Don’t Tell Me. He has served SUSAN ALBERT LOEWENBERG (Producing as Acting Director of the NEA’s Opera-Musical Director) is founder and Producing Director of L.A. Theater program, Vice President of Cultural Pro- Theatre Works, a non-profit broadcasting and the- gramming at NPR, and founding Director of the atre organization. Ms. Loewenberg has produced AFI Silver Theater and Cultural Center. The winner award-winning radio dramas, plays and films in of three Peabody Awards, numerous ASCAP Los Angeles, New York and London. Under her songwriting awards, Tony, Obie, and N.Y. Drama supervision, L.A. Theatre Works has amassed the Critics Circle awards (for Ain’t Misbehavin’), the largest library of recorded stage plays in America, National Medal of Arts (for NPR Cultural Program- garnering numerous awards from the Corpora- ming), and the Order of Arts and Letters from the tion for Public Broadcasting, the Writers Guild, government of France, Murray began his career The American Library Association, Publishers’ as a clown in the Ringling Bros., Barnum & Bailey Weekly and others. She is Executive Producer and Circus. host of L.A. Theatre Works’ “National Broadcast Series,” a weekly two-hour syndicated radio show JOHN RUBINSTEIN (Director) Previous work broadcast on NPR stations across the country. at L.A. Theatre Works: directed TOP SECRET: THE A graduate of Sarah Lawrence College, she has BATTLE FOR THE PENTAGON PAPERS, THE CAINE served on innumerable boards and panels, MUTINY COURT-MARTIAL, TOP GIRLS, FALSET- including the National Endowment for the Arts, TOS, HAY FEVER, MONTICELLO, SIGHT UNSEEN, the California Arts Council and was co-chair of and LOST IN YONKERS; acted in JOHNNY-ON- the League of Producers and Theatres of Greater A-SPOT, THE BROTHERS KARAMAZOV, FALLEN Los Angeles. From 1996-2002, Ms. Loewenberg ANGELS, and THE DIARY OF ANNE FRANK; served on the Board of Directors for Federal co-directed and acted in COUNSELLOR-AT-LAW. Prison Industries, a presidential appointment. Other directing: Off-Broadway: PHANTASIE, She is also a member of the Board of Directors of NIGHTINGALE, THE OLD BOY; Williamstown: The Center for Public Integrity and also served THE ROVER, LES LIAISONS DANGEREUSES; Cape on the Board on The Fund for Independence in Playhouse: WAIT UNTIL DARK; UCLA: COMPANY; Journalism in Washington D.C. She served for NYU: THREE SISTERS, MACBETH; Los Angeles: several years as a member of the regional panel A LITTLE NIGHT MUSIC, INTO THE WOODS, THE of the President’s Commission on White House MUSIC MAN, THE RIVALS, GUYS AND DOLLS, and Fellowships. Ms. Loewenberg is the author of a COUNSELLOR-AT-LAW (Ovation, L.A.D.C.C Awards number of articles that have appeared in Ameri- for acting and directing); Directed TV films A Mat- can Theatre Magazine, The Los Angeles Times ter Of Conscience (Emmy Award: Best Children’s and various professional journals. She is married Special) and Summer Stories, episodes of Nash to Ezra Suleiman, Professor of Political Science at Bridges, and High Tide. As an actor: Broadway: Princeton University, and has two children, Sam PIPPIN (Theater World Award), CHILDREN OF and Anna Sophie, both journalists.

29 Actors L.A. Theatre Works performance is immediate, spontaneous, and features a first-rate cast, live John F. Kennedy: JOHN HEARD—well sound effects, and a connection to the audience known film and television actor, Obie Award rarely felt in a traditional theater setting. This winner and Emmy nominee (The Sopranos). Has theater… is an event. been seen recently on television in Law & Order, The Sopranos, Entourage, CSI:Miami, Prison Break Today, LATW’s Audio Theatre Collection includes and in the films The Great Debaters with Denzel more than 400 classic and contemporary titles– Washington, American Gothic, Steel City, and The the largest library of its kind in the world. Much Guardian among many others. lauded, the L.A. Theatre Works Audio Theatre Col- lection is available in over 8,500 libraries and has Robert F. Kennedy: HENRY CLARKE, a received awards from the Audio Publishers As- terrific young stage actor (remember RFK was sociation, the Corporation for Public Broadcast- only 35 in 1960), who has appeared in numerous ing, Publisher’s Weekly, Writer’s Guild of America, productions for A.R.T, Shakespeare & Co., and American Library Association, Grammy Awards others, and on TV in Chuck and with the Boston and many others. Additionally, over 2,500 high Pops’ Brush Up Your Shakespeare. schools nationwide use the recordings and ac- companying study guides to teach language arts, Louis Martin: JOHN WESLEY, a well-known literature, history and civics through LATW’s Alive actor who has appeared in over 90 films and & Aloud educational outreach program. LATW’s television movies including; Missing in Action, newest initiative, The Play’s the Thing for Higher Big Fish, Remember the Titians, 48 Hours, and Education, is making over 300 digitized works The Twenty. from our collection available to universities and Other actors of note: colleges across the country for use in a variety of disciplines. For more information on these pro- ROSS HELLWIG (Harris Wofford) who has grams, LATW’s Audio Theatre Collection, national been seen in TV’s Numb3rs, Law & Order: SVU, radio broadcast information and other exciting Guiding Light. KEVIN DANIELS (Martin Luther projects, visit www.latw.org. King, Jr.) whose credits include Twelfth Night at Lincoln Center and on TV: Ladder49, Law & Order, For L.A. Theatre Works: Third Watch, and Buffy the Vampire Slayer. Producing Director: Susan Albert Loewenberg Authors: RFK: The Journey to Justice: L.A. Theatre Works Mission and Background Jonathan Estrin and Murray Horwitz Under the leadership of Producing Director, Director: John Rubenstein Susan Albert Loewenberg, L.A. Theatre Works Managing Director: Vicki Pearlson (LATW) has been the foremost radio theater Business Manager: James Ott company in the United States for more than Associate Producers: Jennifer Brooks two decades. Broadcast in America on NPR, and Robert Blasko internationally on the BBC, CBC, Voice of America Graphic Design: Dennis Ramirez and many other English language networks, Senior Radio Producer: Jeff Rogers LATW has single-handedly brought the finest Associate Radio Producer: Myke Weiskopf recorded dramatic literature into the homes of Audio Sales Director: Trond Knutsen millions. The company records the majority of Post-Production Coordinator: Ronn Lipkin its productions annually in Los Angeles before Director of Educational Outreach: an enthusiastic and loyal audience of season Michael Aspinwall subscribers. Works by Eugene O’Neill, David Publicity & Public Relations: Lucy Pollak Henry Hwang, Athol Fugard, Wendy Wasserstein, If you are interested in becoming a “Producing Neil Simon, David Mamet, Charlayne Woodard, Partner” by making a donation to L.A. Theatre Arthur Miller, and others have been performed Works, a §501(c)(3) non-profit corporation, or and recorded by LATW with casts of the most wish to join our mailing list, please visit our critically acclaimed film and stage actors. On website at: www.latw.org or write to: the road, LATW has delighted audiences with its unique live radio theater style performances in L.A. Theatre Works over 150 small towns and major cities, including 681 Venice Boulevard New York, Boston, Washington and Chicago. An Venice, CA 90291

30 Tuesday, March 2, 2010, 7:30 PM UMass Fine Arts Center Concert Hall

Columbia Artists Music LLC & The UMass Fine Arts Center

Present

Amalia Hernández’s BALLET FOLKLÓRICO DE MÉXICO

AMALIA HERNÁNDEZ, FOUNDER NORMA LÓPEZ HERNÁNDEZ, ARTISTIC DIRECTOR Salvador López López, General Director

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31 Dancers Valadez Martínez Alberto Acuña Enriquez Silvia Vázquez Maya Rodrígo Albores Silva Rachel Zapata Lara Edson Alberto Arrieta León Mónica Lizeht Zapata Lara Héctor Paulino Barrera Herrera Eréndira Bibiano Reveles Yesena Musicians Chávez Lira Livia De la Rosa Martínez Tomas Coronel Jiménez Sophia Abigail González Guevara Juan Antonio Díaz Lozano Fabiola Gómez Villafuerte Jaime Fuentes Prieto Pamela Guadalupe González Nerey Miguel García Carmona Diana Yesika Lemus Lemus Salvador García Regalado Aquino Merari Argelia Martínez Vázquez Guillermo Florencio Guzmán Vega Ana Laura Medina Ramos Héctor Heatley Tejada Ana Herrera Castelán Viridiana Medina Ramos Humberto Kawano Medina Roalía Medina Ramos José Landa León Anahí Montero Aguilar Jesús Mendoza Saucedo Alma Nayelli Pérez Amador Eloy Morales Fierro Angélica Pérez Amador Hugo Ortega Espinoza Ana María Salinas Cruz Jesús Pérez Altamirano Nair Alejandra Salinas Cruz Esteban Pérez Loredo Jesica Yisrel Miriam Toledano Rescalvo Adib Wuilliams Pérez Serrano Brenda Isabel Torres Contreras Catarino Quiñones García Jade Arianna Rodríguez Zúñiga Irene Isabel Administrative Staff Rosas Ávalos Mónica Becerril Ortiz Laura Sánchez Cortés Katyana Claverán Zaldivar Mariana Sanchez Villegas Mónica Vázquez del Arenal Andrés Vázquez Cuesta Viridiana Álvarez Aliaga Alex Coordinators Barrera Palacios Aarón Antunez Tiburcio Flavio Carlos Camacho Santiago Isaias Villanueva González José de Jesús Cortés González Víctor Hugo Jiménez Pichardo Carlos José Covarrubias Hueta Miguel Ángel Quiñones García Jade Arianna Díaz Fores Luis Antonio Díaz Carlos Enrique García González Baruck Maldonado Garibay Leila Mireya García Sandoval Héto Hugo González Camacho Ricardo Technicians Hernández Martínez Tonatiuh Ricardo Barrios Gómez José Juárez Muciño José Omar Cedillo Jiménez Pedro Lara Cortés José Agustín López Cedillo Aldo Misael Lemus Lemus Gustavo Márquez Vázquez Jesús López Reyes Rayumdo Rodríguez Ramírez Raymundo Arturo Márquez Rodríguez Oscar Sánchez Perafán Juan Iván Nájera Aguilar Sergio Zúñiga Jaimes Rafael Padrón Cruz Francisco Pérez Díaz Juan José COLUMBIA ARTISTS MUSIC LLC Pérez Patraca Iván Arturo Jean-Jacques Cesbron, President/Tour Direc- Quitanar Robredo Moisés tion Robellada Monzón Jonathan Christian Lisa Willis, Operations Manager Serafín Guiérrez Diego Abraham Sarah Davis, Tour Coordinator Torres Chávez Jorge Jessica Gloria, Production Coordinator Torres David Carlos

32 23 Amalia Hernández and the Ballet Folklórico de México

In 1952, dancer and choreographer AMALIA HERNÁNDEZ founded the Ballet Folklórico de México, having embarked at a very early age on a never-ending quest to rescue the dancing traditions of Mexico. This vital search became a basic need to express not only in Mexico, but also in the rest of the world. Her goal was to share the beauty of the Universe in motion through Mexican dances from the Pre-Colombian era, the Hispanic Viceroy period, and the popular period of the Revolutionary years.

In 1954, Amalia began to garner recognition as a highly respected cultural representative of Mexico. In her earliest ballets, the audience sees the present time fade before their eyes, as they enter into a journey through the past: the lords of heaven and earth come back to life, the jaguars, the gods born of human flesh; and thirty different cultures that blossomed in centuries past leave behind a trail of color. All of these elements together gave Amalia Hernández the inspiration to create the Ballet Folklórico de México.

A weekly program on Mexican television sponsored by the government aired the Ballet’s initial performances. Merely a few years into their formation, the company achieved a degree of international success that has been maintained for over fifty years. Amalia Hernandez and Ballet Folklórico de México have since created over forty ballets for upwards of seventy dancers. The music, technical rigor, elaborate costuming and Amalia’s choreography have helped the Ballet and its followers dis- seminate the zest for r ich Mexican tradition and folklore throughout the world.

Since 1959, the company has been permanently housed at the Palace of Fine Arts in Mexico City. The institution has two main artistic companies called The First Company and the Resident Company, both whom alternate tours and performances in México and abroad.

The company has currently given over 5,000 performances, and both Amalia Hernandez and the Ballet Folklórico de México have been distinguished with more than 200 awards recognizing their artistic merits.

Program I. THE GODS A dialogue is presented between man and his Gods as a summary of Aztec theology. We dance in the fields of divine mystery that spins around a cosmological conception, and we go beyond Life to touch on the beginning of Creation. In this dance, there is a specific place for the Sun and the Moon, the Gods of War, the Flowers and the Myths, and they are all implicit in a movement that charms us, yet at the same time, terrifying our hearts. We hear familiar rhythms that cause our soul to magically recall strange experiences and sensations that have to do with Life and Death: offerings to the Gods, feast for the people, in order to hide the horror of the Unknown; of destruction, of hunger and of sacrifice. All of these things are transformed before our eyes into music and dance.

The Gods of the Four Cardinal Points are responsible for giving Life, and Man celebrates this in a dance, offering his sacrifice. He lights up the stage where he lives with faith; simultaneously, the fumes of incense that float to the deepest recesses of the world try to uproot the evil that stalks his Paradise. II. GUERRERO GUERRERO The title comes from the name of the hero Vicente Guerrero who had warlike courage, also known as guerrero. LAS AMARILLAS Calandria is the name of a yellow and orange bird whose song is both powerful and beautiful. EL GUSTO El Gusto is a Mexican tap dance from the coast of Guerrero performed in the towns of Zirandaro and Altamirano.

33 III. REVOLUTION Modern Mexico began with the Revolution of 1910. For the first time in the country’s history, Mexican women joined men in their political struggle. This ballet is dedicated to the soldaderas, the women who supported their men and even bore arms with them in Mexico’s fight for liberty. Contrasted with these footsore men and women is a group of young aristocrats dancing European polkas, flirting and unconcerned with the people’s fight for freedom. A group of revolutionaries breaks up this party, brandishing their weapons. Now it is the peasants who dance popular dances like La Adelita in the aristocratic drawing room, with their compatriot Juana Gallo, the famous capitana. At the end of this movement, the revolutionaries march towards their new destiny. IV. CHARREADA The Rope Dance Country Love Dance V. TLACOTALPAN FESTIVITY January 31st marks the celebration of the Candelaria Virgin in the town of Tlacotalpan. Stages are built in the main square where musicians and dancers dance to fandangos. This celebration is characterized by the use of the mojigangas, enormous puppets that symbolize different cultural figures and archetypal human characteristics. The music is characterized by the sound of drums such as congas, common in the festive carnival season of the Caribbean.

The Dance of the Fisherman...... The Clown The Indian Maria ...... La Jarocha, or woman from Vera Cruz Jarochos, musicians from Veracruz...... The Angel La Morena ...... The Moor The Cuckoo Bird...... The African Boy The Fan Dance...... The Indian Girl-Maria El Coco...... The Devil La Bamba...... The Crier La Sarna ...... The African Girl The Fans

~ ~ I N T E R M I S S I O N ~ ~ VI. THE FEATHER DANCE The name guelaguetza, meaning “offering”, is specific to this ballet inspired by the ancient custom of the Zapotec Indians. The Zapotec Indians believed in showing hospitality to their guests and respect to their governors through the language of music and dance. The most spectacular dance in this Mexican region is the “Feather Dance,” which requires great agility and intricate movements, as the performance must perfectly manipulate richly-adorned feather headdresses.

The state of Oaxaca also has another welcoming dance called Jarabes, which was originated by another Indian race living in this region, the Mixtec people.

These dances have light and lyrical steps and are performed to the accompaniment of a typical village band. VII. WEDDING IN THE HUASTECA On the day of his wedding, a young rancher finds a beautiful young Indian girl and cannot resist the temptation of romance with her. Meanwhile, at the Village church, the bride begins the preparations for their wedding. When the groom finally arrives, the couple begins a dance and all the neighbors join in and court her. In the midst of the general gaiety her groom’s rival arrives. In seconds, the hap- piness of the celebration disappears as the two men get hold of their machetes and fight until the rival dies. The party continues, as is tradition in that region. The bride and groom finally leave for the church in total splendor but leave behind the mourners in the plaza who are the only memory of the fight and death of the rival.

34 VIII. LIFE LIKE A GAME In this dance, the game is controlled by the devil. He handles all characters as if they are marionettes and with their cords, he manipulates their destiny. Reality and fantasy interact when the devil uses both “cupid” and “death” to perform a tangled love story between a bride, her groom and her lover. 1. The Plaza (Rondas) a. Childhood Games b. “Games” of Love The Devil The Cupid The Bride The Groom The Lover The Jicotillo 2. The Fair a. Gambling Games b. The Lottery La Cucaracha The Golden Fighting Cock The Purple Fighting Cock The Little Death 3. The Ball a. Social Games b. The Roulette c. Games of Death

IX. DEER DANCE The Yaqui people, who have a reputation for being excellent hunters, have managed to be the only indigenous culture to preserve their cultural autonomy in the face of Spanish colonialism. Free from any racial mingling or modern cultures, the Yaquis continue hunting with bows and arrows, cultivat- ing the land according to their ancestor’s methods and celebrating their ritual dances with hermetic fervor. The Deer Dance is part of a rite that is organized in preparation for a hunt. It said to bring luck and a bountiful profit to those who participate. X. JALISCO The state of Jalisco is the land of the Charros, the Chinas and the Mariachis. Since the last century it has become a symbol of Mexican nationality. The Charros of Jalisco are known for their high spirits and joyous grasping of life. Jalisco’s folklore captures the soul of Mexico in its sensual music, refined dances and dazzling costumes. For this reason the Ballet Folklórico de México culminates every performance with this ballet. It opens with a Mariachi parade playing lively sones at the start of a fiesta. In the background is the traditional gazebo found in all the provincial plazas of Mexico. During this colorful fiesta, the songs and dances of Jalisco: The Snake, El Tranchete, La Negra and El Jarabe Tapatío, the famous Mexican Hat Dance are performed. At the end of the performance, the dancers salute the audience with an abundance of colorful paper streamers.

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39 BOARD & FINE ARTS CENTER STAFF

FRIENDS BOARD OF DIRECTORS MARKETING AND DEVELOPMENT director of development, Lucia Miller Ian H. Fraser, Chair HONORARY director of marketing, Shawn Farley Nnenna Freelon community relations manager, Anna Robbins Legrand Hines, Jr., Michael Haley director of graphics and communication, Yvone Mendez Vice Chair Jimmy Heath interim marketing & development assistant, Jessica Barker Sheila Jordan marketing assistant, Jorge Luis González Mary-Ellen Anderson Yusef Lateef marketing intern, Martín Meccouri William Baczek Stan Rosenberg Marc Berman George Trakas BOX OFFICE Martha Borawski Brandt Billy Taylor manager, Steven Coombs assistant manager, Richard Ballon Rebecca Caplice Peter Tolan Kevin J. Chrobak Lois Torf PRODUCTION SERVICES A. Rima Dael director of operations, Lewis E. Louraine, Jr. William A. Darity EMERITI associate director of operations, Fritz Farrington Steven K. Daury Frederick Tillis, Director assistant technical director, Bob Mahnken Allen Davis Emeritus lighting director, Erica McIntyre JoAnne Finck audio director, Michael McLaughlin Lori J. Friedman Frank Anderson production stage manager, Brenda Cortina Mansour Ghalibaf Barbara C. Bernard audience services manager, Nicole Young Fran Goldsher Richard Covell office manager, Racquel Caposella Nancy J. Hamel Honore David Justine G. Holdsworth Betsy Egan EDUCATION Motoko Inoue Carl Eger program director, arts council, Sally O’Shea Aaron Julien Seymour Frankel associate director of academic programs, John Jenkins Alexandra Kennedy Arnold Friedmann academic program manager, lively arts, Donna Carpenter interim program director, jazz in july, Frank Newton James Mallet Gwendolyn Glass Gregory A. Malynoski J. Lynn Griesemer PERFORMING ARTS PROGRAMS Isolda Ortega-Bustamante Alfred L. Griggs Asian Arts & Culture Tini Sawicki Joan Haley director, Ranjanaa Devi Nanami Shiiki Merilee Hill assistant to the program director, Sue McFarland William T. Stapleton Bill Hogan Sarah Tanner Dolly Jolly Center Series Karen A. Tarlow David Martula director of programming, Kathryn Maguet William H. Truswell, MD. Kathy Mullin assistant director of programming, Halina Kusleika Sandra Parent Lorna M. Peterson VISUAL ARTS PROGRAMS Zina Tillona University Gallery Rob Yacubian director, Loretta Yarlow gallery manager, Craig Allaben business manager, Lori Tuominen ADMINISTRATION collection registrar, Justin Griswold director, Dr. Willie L. Hill, Jr. curator of education, Eva Fierst associate director, Dennis Conway assistant to director, Kate Copenhaver Augusta Savage Gallery director, Terry Jenoure BUSINESS OFFICE gallery manager, Alexia Cota director of administration and finance, Margaret Curtiss business office manager, Sonia Kudla Hampden & Central Galleries technical systems manager, Christine Texiera director, Anne La Prade bookkeeper, Cyn Horton gallery manager, John Simpson department assistant, Connie Whigham

40 Thank you to all the Friends of the Fine Arts Center who play an integral part in making possible our performances, exhibits and educational programs. We especially want to recognize the following donors whose generosity helps to support artist educational residencies, the Angel Ticket program, our several endowments, and our unrestricted annual fund benefiting all programming. Fine Arts Center donors make a difference!

INDIVIDUALS Robert Mugar Yacubian Kirsten Pitts Chancellor’s Circle Benefactor David & Sharon Rogalski $10,000 & above $500–$999 Margaret Rosenberry Jacob Epstein Richard Peter Beck Elizabeth Souza & William Stapleton Tom Friedman Martha Borawski & Bill Brandt Jane & Peter Stein Lynn Hecht Schafran Eric Carle Roberta Uno Joel Sternfeld A. Rima Dael & Brandon Braxton Edward W. Westhead Frederick C. & E. Louise Tillis Steven & Alejandra Daury Lynn Peterfreund Peter & Leslie Tolan Don & Honoré David Jeanine Young-Mason Donna Estabrooks Richard L. Weil Jr. Leadership Circle Linda & Ralph Faulkingham $5,000–$9,999 Jayant & Alissa Haksar Patron John & Patricia Kendzierski Michael & Joan Haley $100–$249 Richard Yarde Alexandra Kennedy & James Haug Anonymous Donors Nicholas B. Kuckel Ira S. & Bina G. Addes Presenter’s Circle Carol LaRocca Douglas W. Adler $2,500–$4,999 James Mallet Harry & Mary Beall Anonymous Donor John J. McCarthy III Paul & Marie Appleby Tria Giovan Scott Prior & Nanny Vonnegut Ronald Archer Sally & Al Griggs Lorna Ritz Charles & Deborah Austin Motoko Inoue Harry & Charlena Seymour Judith & James Averill Robert Lyons Benedict Smar Joe M. Baillie Ruth K. Webber Andrew H. Balder & Cynthia A. Director’s Circle Deter Wisniewski Sommer $1,000–$2,499 Steve Berlin-Chavez Anonymous Donor Sustainer Olivia Bernard Mary-Ellen & Jeffrey J. Anderson $250–$499 Linda Delone Best in memory Karen Cooper Norma Akamatsu of Sandy Fullen William A. & Trudy Darity Eiko S. Blow Robert & Carol Biagi Roger E. & JoAnne J. Finck Alan Calhoun & Barbara Aiken Jeff & Marilyn Blaustein Ian H. Fraser & Pamela Bartlett Dhipati & Anjusree Chanda Patricia L. Branch Gwendolyn Glass Michael Cohen Carolyn Brooks TR Rosenberg & Laurel Glocheski Seymour Frankel Michael Bulman & Ronnie Steven & Fran Goldsher Arnold & Susi Friedmann Janoff-Bulman Bryan C. Harvey & J. Lynn Griesemer Nancy & Bruce Goldstein Anne & Anthony Burton Marie Hess Paul & Nancy Hamel Barton Byg & Jan Whitaker Beverly & Willie L. Hill Jr. Harold & Frances Hatch Elizabeth & Thomas Caine John & Justine Holdsworth Carolyn Hayden Melvin Carlson Elizabeth Lee Loughran James H. Langford Roland & Elizabeth S. Chilton Kathy & Walter Mullin Peter & Maija Lillya Dr. & Mrs. Charles E. Clapp Sandra & Mark Parent David & Carole Malek Christin A. Couture Lorna & Dale Peterson Kenneth Mallette Jean Rydberg Dempsey & Marc Berman & Betsy Stone Greg & Kathy Malynoski David Dempsey Daniel J. Sullivan ‘65 Arthur & Elaine Mange Kelly & Charlie DeRose Sarah & Mark Tanner Stephen & Jennifer Page Mindy Domb & Matthew Sadof Karen A. Tarlow & John A. Montanari Mark & Joanne Peterson Jasmine Elefherakis Zina Tillona Fritz Farrington & Suzanne Hayden Carolyn Webb Marc & Laura Feller

41 Oriole & Sidney Feshbach Meredith B. Raymond Agnes, Jean & Roger Gosselin Edith Fierst Ronald A. & Michelle Rice Jorge Luis Gonzalez & Beth Fraser Lori J. Friedman Joan H. Rosenbaum Walter A. & Florence Haas Maurille & Janice Fournier Senator Stan Rosenberg Dwight L. Hall Dr. & Mrs. Robert W. Gage Barbara & David Rothenberg Erin Halpin Sally & Richard Giglio Eileen P. & Paul L. Rotty Ira & Patricia Hare Bill & Connie Gillen Margery H. Roy Ruth Harms Michael & Sandra Gillis Jay Schafer Patricia Hayes Marcia & Sheldon Goldman Anne Scigliano Eric & Yehudit Heller Robert Gordon Amilcar Shabazz Bill Henry Raymond & Jacquelyn Grant Melanie Gallo & Stan Smith Marjorie Hess & Rudolph Talaber Charles Hadley Mary Sorcinelli Michelle Holland Louise R. Hammann Robert & DiAnn Speth Gretchen Jacob William Harris Brendan Stecchini & Paula Hodecker Lawrence & Janice Koss Meg & Allen Hart Sharon Swihart Gary & Nancy Lamoureaux Sarah L. Hawes Jack Szpiler & Colleen Ahern John D. Leone Leta Herman Pamela Tillis Kristin Leutz Doris R. Holden Michele Topor Cheryl Lichwell Richard L. & Camilla S. Humphreys John & Peggy Townsend Donald Logie Becky Ikehara Daniel Trenner Nancy Maglione William Irvine & Susan Leschive Chinua & Mikiko Thelwell Judith Mann Chip Jackson Lori & Mark Tuominen Carmela Marzano Willard M. Johnson Sara & Joel Upton George & Esterica McGill Nancy Katz Elizabeth J. Vastine Michael J. Menne Jeffrey L. Kaufman Patricia Vidil Hayley Mermelstein Barbara Keegan Jane Vogl Charlotte Meyer Diane E. Kelton Pauline Volpe Amy Mittelman & Aaron Berman Edmund M. Keyes Thomas Warger Charles & Kay Moran Ruth Kjaer Joan Welch Gillian Morbey Representative Stephen & Nancy Winter in memory Kathleen Morrissey-Morini Suzanne Kulik of Jerry Winter Harold Mosher Kenneth & Joan Langley Vivian Wnuk David & Betsy Mullins Robert Littman in honor of Jacob Susan & Stephen Wood Harriet Naughton Littman ‘09 Jonathan A. & Meg Kelsey Wright Carl G. Neal E. Holland & Marilyn Low Ruth Yanka Linda Overing & John Ryan Thomas J. Luck & Elizabeth Kidder Marsha & Bill Zimmer Gerald L. Paist James Lumley Marianne Pedulla Lewis & Caden Mainzer Friend Sidney Poritz Meryl Mandell & Stephen Smulski $50–$99 Pat Powers James E. Marquis Anonymous Donors William & Marietta Pritchard David & Tanyss Martula Ron Ackerman & Cleo Gorman Joan & Monroe Rabin Kenneth McCormick Jill P. Anderson Thomas E. Radlo Patricia McGarry Ruth Devine Anthony James & Janice Ratner Linda C. McInerney Justine Bertram William & Pricilla Rice Daniel & Ellen Melley Jeffrey G. & Karen Boshart Steven, Anna & Calder Robbins Susan B. Meyer Jim Bothwell George Schreiber Thomas Meyers L. Squire & Carol Bressor Elizabeth A. Silver Lucia N. Miller Daniel & Susan Carmody K. Marilyn Stampa Francis & Nancy Mirkin Michael Childs & Diane Amsterdam David & Nina Steinberg Mark Mitchell Deene D. & Ann Clark Otto & Diana Stein Hannah Morehouse Sheila & Michael Connelly Robert Stern & Judith S. Glaser Suzannah Fabing & Lynda Copeland Arvid Tenney James A. Muspratt Dennis Conway & Steven Light Betty Veres Thurston Thomas P. Navin Sylvia Cuomo Nancy & Philip Torrey Dorothy Nemetz & John Todd Nancy E. Schroeder & Bernice L. Troutman Rebecca Nordstrom Julia L. Demmin Andree Uhlig Thomas O’Brien Sharon L. Downs Marion & Robert Waleryszak Jeanne O’Connell Rita & Oscar Edelman George & Judy Wardlaw Robert & Carol Ostberg Jan Esselen Virginia & Bill Wolf Gordon & Cindy Palley Julius & Edith Fabos Michele Zimmerman Naomi & Micha Peleg Jeffrey & Donna Fitzgerald Alexander & Harriet Pollatsek Raissa K. Fitzgerald BUSINESSES Patricia & Donald Polonis Richard A. Fleischer Chancellor’s Circle Nicholas P. Poshkus Timothy & Mary Foster $10,000 & above Robert & Jeanne Potash Daniel P. Freeman Bank of America Stanley J. Rabinowitz Lucia Gettier Coca-Cola Bottling Company 42 Intelicoat Technologies Salsarengue Restaurant & Seafood Publishing, Inc. The Valley Advocate University Products, Inc. North Amherst Motors WRSI 93.9 The River WEBS Collision Repair Ctr. WFCR 88.5 FM Northampton Chamber WGBY TV 57 of Commerce Benefactor Northampton Youth & Leadership Circle $500–$999 Community Rowing $5,000–$9,999 Bacon & Wilson The Porches Inn Baystate Medical Practices Bank of Western Massachusetts Salon 241 Daily Hampshire Gazette The Colonnade Spirit Haus The Davis Financial Group Greenfield Cooperative Bank Michele Topor, Inc. E. Osterman Gas Service, Inc. Hotel Commonwealth Whole Foods Fathers & Sons, Inc. Jones Group Realtors Finck & Perras Insurance Agency The LIFT FOUNDATIONS & The Hotel Northampton Sandri Co. ORGANIZATIONS Hampshire Hospitality Group Thomson Financial Management American Friends Service La Prensa/LinkLatinos.com Travel Impressions Committee Northampton Cooperative Bank UMass Music & Dance Department The Andy Warhol Foundation Pioneer Valley Travel Whalen Insurance for the Visual Arts, Inc. Rainbow Times Bank of America Foundation Silverscape Designs Sustainer Chamber Music America TD Bank $250–$499 Community Foundation of WEIB 106.3 Smooth FM Amherst-Oakham Auto Western Massachusetts Recycling, Inc. Consulate General of Presenter’s Circle The Artisan Gallery the Netherlands $2,500–$4,999 Bose Corporation Five Colleges, Inc. Bassette Company Business Alliance Services Five College Center for Cooley Dickinson Hospital Danish Inspirations at East Asian Studies Dell Inc. Danco Modern Five College Dance Department Easthampton Savings Bank DJ Bongohead Massachusetts Cultural Council El Sol Latino Four Seasons Wine & Liquors McCluskey Foundation Falcetti Music Hampshire Regional YMCA New England Foundation FamilyFun Magazine Mini Fenway Park for the Arts Fly by Night Orchards Golf Club New England Revolution Juster Pope Frazier, Architects Pivot Media, Inc Charitable Foundation PeoplesBank Rigali & Walder Orthodontics Non-Profit Finance Fund The Recorder Romney Associates, Inc. Springfield Symphony Chorus Tiger Press Shiva Shakti Power Vinyasa Yoga Springfield Symphony Orchestra United Bank Swiss Consulate of New York United Wealth Management Group Patron Student Affairs Cultural Smallcorp $100–$249 Enrichment Fund Wm. Baczek Fine Arts 20th Century Illuminations TD Bank Charitable Foundation William Truswell/Aesthetic Laser A2Z Science & Learning Store University of Massachusetts & Cosmetic Surgery Center Allen House Victorian Inn Amherst Alumni Association Amherst Cinema Arts Center University Women Angelo’s Golden Harvest VSA Arts of Massachusetts Director’s Circle Anita Eliason Designs Vidda Foundation $1,000–$2,499 Bayside Resort Applied Mortgage Financial Berkshire East Ski Area MATCHING GIFTS Services Corp. Cathy Cross Aetna Foundation, Inc. Don Muller Gallery Changes Salon Fleet Foundation Group Eric Carle Studio Collette Vacations General Electric Fund Fallon Community Health Plan Crump ‘n Fox Golf Club Lucent Technologies Foundation Fierst, Pucci & Kane LLP Elements Hot Tub & Spa Massachusetts Mutual Life Florence Savings Bank Eric Carle Museum of Insurance Co. Green Living Picture Book Art Metropolitan Life Insurance Co. Greenfield Savings Bank Green Street Café New Alliance Foundation Pioneer Valley Periodontics Hadley Garden Center PeoplesBank Les Campbell, Sky Meadow The House on the Hill Price Waterhouse Coopers Photo Gallery Jacob’s Pillow Dance Festival Sovereign Bank The Log Cabin Banquet & Meeting Judie’s Restaurant House Kripalu Center for Yoga & Health Pioneer Valley Hotel Group Liquors 44 Prudential Sawicki Real Estate Modern Memoirs Private

43 44 45 Patron Services loops and headsets are available for patrons with hearing impairments Refreshments and may be checked out with an ID Concessions are available before the in the lobby prior to the performance. performance and during intermission for Compatible with most ALS systems and most Center Series Concert Hall events. in compliance with the ADA. A credit For patrons in our wheelchair section, card, driver’s license, or valid student please notify an usher and they will be ID will be held as security while devices happy to bring the refreshments to you. are in use.

Restrooms Emergency Closing Restrooms are located on the lower In case of emergency, the lighted, red, level of the Fine Arts Center Concert exit sign near your seat is the shortest Hall adjacent to the University Gallery route to the exterior of the building. For and in the Concert Hall main lobby. your safety, please check the location of When available there are additional the exit closest to your seat and review restrooms in the Rand Theater area. the evacuation map included in this Fully accessible restrooms are available playbill. Also, follow the in the Concert Hall and Bowker directions provided by the ushers. Auditorium. Restrooms in the Concert Hall for the mobility impaired are located Accessible Parking in the lobby and the refuge area outside An access-parking permit or plates section 3 on house right. must be visible to parking attendants.

Drinking Fountains For Your Viewing Pleasure Drinking fountains are located on the Check out what’s on view in the lower level of the Concert Hall near the University Gallery. The University restrooms and in the lobby. Gallery is located on the lower level of the Concert Hall and is open one hour Late Seating prior to the start of performances and Patrons arriving after the start of the during intermission. The Gallery is also performance will be seated at an open to the public Tuesday through appropriate break. Friday, 11am to 4:30pm, and Saturday and Sunday, 2 to 5pm. Pagers and Cell Phones Please turn off all pagers and cell Performance Cancellation phones when entering the seating area. Fine Arts Center performances are rarely canceled and only in the case On Call Service of severe weather. If a performance is Doctors and persons needing canceled, you can call the Box Office emergency call service are asked to at 1-800-999-UMAS or 545-2511 leave their name and seat location with or tune in to the following radio and the box office. If you keep a pager with television stations: public radio station you, please use the silent, vibration WFCR 88.5FM, WRNX 100.9FM/ option. WPNI 1430AM, WHMP 99.9FM, WMUA, WRSI 95.3FM, WHYN, WMAS, Cameras and Recording Devices WWLP-TV22 and WGGB-TV40. If a The taking of photographs or recording performance is canceled, patrons may the performance in any way is strictly exchange tickets for another event prohibited. (subject to availability), may receive a credit on their account, or may request For Hearing-Impaired Patrons a refund. Assisted listening devices: Induction Please recycle your playbill in the lobby.

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We invite you to visit us today. Call 413-586-2902 Rockridge Retirement Community 25 and 37 Coles Meadow Road Northampton, MA 01060

www.rockridgema.org EQUAL HOUSING OPPORTUNITY

UMass Fine Arts Center playbill; Full Page; Full Color; 4.875 x 7.75 Specs: Electronic files should be in a PDF format. When saving in PDF, please embed all fonts and include high-resolution graphics. We can also accept Photoshop, Illustrator, and InDesign files. Please include all fonts and artwork for the ad. We can accept Macintosh files if they’re burned to a CD. A proof (color if applicable) must be provided for all files. Color advertising spaces are limited. Please email electronic files directly to [email protected] or call 413-545-4159 silverscape designs is proud to offer support to the arts on the stage at the umass fine arts center we are also thrilled to offer you art necklaces you can wear and bring home by somers