In This Issue

FALL 2019

IN THIS ISSUE

JONATHAN BISS CELEBRATING BEETHOVEN: PART I November 5

DANISH STRING QUARTET November 7

PILOBOLUS COME TO YOUR SENSES November 14–16

GABRIEL KAHANE November 23 MFA IN Fall 2019 | Volume 16, No. 2 ARTS LEADERSHIP FEATURE In This Issue Feature 3 ‘Indecent,’ or What it Means to Create Queer Jewish Theatre in Seattle Dialogue 9 Meet the Host of Tiny Tots Concert Series 13 We’re Celebrating 50 Years Empowering a new wave of Arts, Culture and Community of socially responsible Intermission Brain arts professionals Transmission 12 Test yourself with our Online and in-person trivia quiz! information sessions Upcoming Events seattleu.edu/artsleaderhip/graduate 15 Fall 2019

PAUL HEPPNER President Encore Stages is an Encore arts MIKE HATHAWAY Senior Vice President program that features stories Encore Ad 8-27-19.indd 1 8/27/19 1:42 PM KAJSA PUCKETT Vice President, about our local arts community Sales & Marketing alongside information about GENAY GENEREUX Accounting & performances. Encore Stages is Office Manager a publication of Encore Media Production Group. We also publish specialty SUSAN PETERSON Vice President, Production publications, including the SIFF JENNIFER SUGDEN Assistant Production Guide and Catalog, Official Seattle Manager ANA ALVIRA, STEVIE VANBRONKHORST Pride Guide, and the Seafair Production Artists and Graphic Designers Commemorative Magazine. Learn more at encorespotlight.com. Sales MARILYN KALLINS, TERRI REED Encore Stages features the San Francisco/Bay Area Account Executives BRIEANNA HANSEN, AMELIA HEPPNER, following organizations: ANN MANNING Seattle Area Account Executives CAROL YIP Sales Coordinator Marketing SHAUN SWICK Senior Designer & Digital Lead CIARA CAYA Marketing Coordinator

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Encore Arts Programs and Encore Stages are published monthly by Encore Media Group to serve musical and theatrical events in the Puget Sound and San Francisco Bay Areas. All rights reserved. ©2019 Encore Media Group. Reproduction without written permission is prohibited. ANGELA NICKERSON ANGELA

2 FEATURE

The cast of Indecent in rehearsal at Seattle Rep.

‘Indecent,’ or What it Means to Create Queer Jewish Theatre in Seattle

by DANIELLE MOHLMAN

When Indecent opened at Seattle Rep on September 20, Indecent, which was the seventh- it marked a pretty significant first: the first time this most produced play in the country during the 2018-19 season, accord- theatre has produced a play by Paula Vogel. Vogel, ing to the Theatre Communications who’s arguably one of the most prolific and produced Group—and is likely to remain in the top ten this season as well— contemporary playwrights of our time, has been seen in explores the storied production recent years at Taproot Theatre Company (A Civil War history of Sholem Asch’s God of Christmas: An American Musical Celebration, December Vengeance. Vengeance, which was first read at a salon in Poland 2017) and Strawberry Theatre Workshop (How I Learned in 1906, was met with fear and to Drive, June 2018). But as I combed through Seattle animosity from the start. The Jewish patrons of the arts in Poland Rep’s production history, it became more and more clear refused to support a play that that Paula Vogel’s Seattle Rep debut is long overdue. showed Jews behaving immorally— communing with prostitutes and desecrating the Torah, to start. In an imagined meeting between stage manager Lemml and playwright Eugene O’Neill, one that alludes to O’Neill’s actual defense of God of Vengeance in an obscenity ANGELA NICKERSON ANGELA

encorespotlight.com 3 The cast of Indecent in rehearsal at Seattle Rep.

case, Vogel writes, “They’re gonna those who feel wayward—as “Why must every Jew onstage claim they’re closing it because they grow into their best self.” be a paragon?!!” Asch exclaims, of Homosexualis. That’s bunk. Temple Beth Am is considered angry at the very suggestion. They’re closing it because the a Welcoming Synagogue, meaning Rabbi Benson shared that play shows that every religion— they’re not only actively creating this conversation surrounding even Jews—sell God for a price.” inclusive space for LGBTQIA+ “immoral” Jewish characters being Because, you see, God of Vengeance folks, they’re also striving for a considered anti-Semitic is still was the first Broadway play truly diverse leadership—from very much alive today. “I think to feature a romantic scene the synagogue’s staff and board it’s less about anti-Semitism as between two women. to their student leaders. Rabbi it is about portraying other Jews Rabbi Dana A. Benson, director Benson admitted that there’s badly,” Rabbi Benson said. “There of youth and family learning at still work to do, but that Temple is this concern about how we are Temple Beth Am and an avid Beth Am is committed to putting portraying ourselves because it theatre fan, was kind enough to in that work every day. may not be understood outside our speak with me about the themes One of the central plot points own community. I think this goes of Indecent and what it means to of Indecent is that the Jewish back to, you know the reference have queer Jewish representation gatekeepers in early 1900s theatre in Wet Hot American Summer, and onstage at Seattle Rep. Because refused to support Sholem Asch jokes that are missed and jokes so much of the play is about on God of Vengeance’s production. that are in-group and the way identity, we began with hers. Not only did they disapprove of that they’re coded for us to see or “Ultimately, if we wanted to the female love interests—a hear. Or Larry David’s character in go along the Game of Thrones moment played for laughs in Curb Your Enthusiasm—or Seinfeld. lines of naming ones identities Vogel’s script as the men in the At what point is it humorous? Is it as part of a title,” Rabbi Benson initial 1906 salon reading keep fun? Is it a laugh that’s both in- said, “mine might read: Rabbi refusing to read the female group as well as transcendent?” Dana Benson, Hufflepuff, soft roles—they were scandalized by Rabbi Benson thinks that the Butch, partner of roller derby the final moment of the play: a modern concern of any one Jewish playing librarian, daughter of desecration of the Torah. And character’s portrayal is more about Jewish-Hungarian lineage, child while Asch’s contemporaries it being “bad for Judaism.” “I of compassionate and kind par- are certainly pleased that he’s shouldn’t speak on behalf of the ents, singer of Broadway, creator writing Jewish plays—and in Jewish community,” Rabbi Benson of spiritually accessible learning Yiddish!—they cannot bring said, “but I still think there is opportunities, hoper for a better themselves to support theatre still this sense of pressure, with world, and willing mentor and where Jews are portrayed as none of us wanting to do some- guide for all learners—especially anything less than perfect. thing that would reflect badly on ANGELA NICKERSON ANGELA

4 ANGELA NICKERSON Untitled-3 1 Wills, trusts, foundations, and wealth planning strategies have legal, tax, accounting, and other implications. Clients should consult a or tax advisor. legal consult should Clients and implications. other accounting, have tax, legal, strategies and planning wealth foundations, trusts, Wills, Union Bank is a registered trademark and brand name of MUFG Union Bank, N.A. Bank, Union MUFG of name brand and trademark aregistered is Bank Union FDIC. Member reserved. rights All N.A. Bank, Union MUFG ©2019 My legacy. Mypartner. To visit unionbank.com/theprivatebank contact: or more, learn please future generations. Take the first step the in preservation ensuring of your wealth for your lifetime and need to ensure your wealth transferred is according to your wishes. youhelp navigate the complexities of estate deliver the customized and planning you solutions Private The wealth strategistsbehind. experienced highly and help. Our specialized can Bank can You have you dreams. want Goals to achieve during your lifetime you alegacy want and to leave Lisa Roberts Lisa 415-705-7159 [email protected] Director,Managing Private Wealth Management

4/30/19 12:11 PM The cast of Indecent in rehearsal at Seattle Rep.

the Jewish people. That’s very love in Indecent, which is a complex “This play now much true of our tradition.” and beautiful lens that honors any Andi Alhadeff, who plays community you view it through.” because of Chana, and Cheyenne Casebier, Alhadeff shared that exploring our current who plays Halina, were at the the emotional center of the play— very beginning of their rehearsal the relationship between Chana administration’s process when we spoke about the and Halina and the many forms central themes of Indecent. But it it takes—has been the easiest abhorrent human was clear that the play had hit a part of the entire process. She rights policies. visceral chord for both actors. credits the safe rehearsal room “I love that this play celebrates and the respect of her fellow cast This play now community, love and risk,” Casebier members. “I feel seen and cared said. “It speaks to different forms for by my colleagues,” Alhadeff because it is full of persecution and loss—and being said, “and that is a formula for of love. This play the other. We couldn’t be more the precious and ordinary kind of ready, as both a culture and society, magic that is human connection.” now because we to share and listen to this story.” Director Sheila Daniels was When Alhadeff first encountered initially drawn to Indecent because need to remember.” the play, it felt like the stories these of the inherent theatricality of characters were telling already lived Paula Vogel’s world. Daniels —Sheila Daniels deep inside her bones. “On top of loved the way Vogel played with being one of the most hauntingly epic scope and deeply intimate stunning plays I have ever seen or moments. When I asked her why we read, there was something about need this play now, she was ready this show that simply felt as though with an answer: “This play now it was a part of me,” Alhadeff because of our current adminis- said. “As a Jewish woman, I can tration’s abhorrent human rights certainly speak to the importance policies. This play now because of representation of Jewish stories, it is full of love. This play now particularly ones that move away because we need to remember.” from creating caricatures of obtuse When I asked her what it meant archetypes or solely hold up our to create queer Jewish theatre in scars and our history of tragedy. Seattle, Daniels responded that There is so much joy in what it is it means everything. “I teach,” to move through different layers of Daniels said, “and to know students ANGELA NICKERSON ANGELA

6 ANGELA NICKERSON in the play with Rabbi Benson, Benson, Rabbi play with the in hands. her through sift life feeling of grandparents— her ash the ago, years moment thirty toa back transported was she time, first for the direction stage that read she When reawakening. a as sees Daniels moment that actors’ a outsleeves, of the ing here,”just sitting said. Daniels my feet beneath ashes the feel can “I Auschwitz. through walk her Indecent the into moments unexplainable Holocaust.” the in souls many so we lost lost when of humanity all “They were tiny. of what The scope in,” people said. shipped Daniels they size exact the car of atrain areplica have they where station there. locals two with aday spend to enough fortunate was Daniels and of Łódź district Bałuty the of amount trip. Asignificant a research play, on went toPoland Daniels of it.”me proud apart tobe makes onstage themselves see to get will identities of those one or both inhabit who of mine When I brought up this moment Ibrought upWhen this spill ash with The play begins and intangible brings But Daniels at“We Radegast day that ended this todirect preparation In rehearsal room too, like too, room like rehearsal Indecent Indecent takes place in in place takes feeling feeling - 400 N43rdSt.Seattle,WA. 98103 LIGHTHOUSEROASTERS.COM Roasting finecoffeessince1993 Wholesale andRetail Sales 206-633-4775 ¿ ¿ encorespotlight.com 7 The cast of Indecent in rehearsal at Seattle Rep. DIALOGUE

she turned to a quote from the Talmud, the body of Jewish law. “Rabbi Simcha Bunim said to one of his students ‘You should always keep two pieces of paper, one in each pocket,’” Rabbi Benson para- phrased. “‘The first should say The world was created for my sake and the other should say I am but dust and ashes.’ And that’s to always remind us to live somewhere between humility and divinity. If we live in that balance, perhaps we can offer a little more kindness to the world.”

Indecent runs September 20 to October 26 at Seattle Rep. Tickets are available online at seattlerep.org or by calling the box office at (206) 443-2222. Encore Spotlight: Your backstage pass to each performance. Danielle Mohlman is a Seattle-based playwright and arts journalist. She’s a encorespotlight.com frequent contributor to Encore, where she’s written about everything from the intersection of sports and theatre to the landscape of sensory-friendly performances. Danielle’s work can also be found in American Theatre, The Dramatist and on the Quirk Books blog. JAMES HOLT JAMES ANGELA NICKERSON ANGELA

8 IN THIS ISSUE

Photo: Hibbard Nash

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. encorespotlight.com A-1 Welcome to Meany Center

Dear Friends,

This season we are celebrating the 250th Finckel, Wu Han and Phil Setzer and then birth anniversary of one of the most violinist Midori to our stage. significant and influential composers of the western art music tradition: Ludwig Van Beethoven’s genius was his own, but without Beethoven. the support of his patrons, that genius might never have been able to flourish. Without Through sheer force of musical personality, the generosity of patrons like you, Meany Beethoven constantly pushed music into new Center programs could not continue to make areas, leading the transition from a style full such an impact. If you are inspired by what of poise and balance, into uncharted territory you experience here, please support our characterized by new harmonies, forms programs with a donation. Beethoven would and deep emotional impact. We’re excited thank you! to explore Beethoven’s musical brilliance throughout the season beginning with the Warmly, first of two concerts by pianist Jonathan Biss.

From Biss’s interpretation of Beethoven’s piano sonatas, we’ll move on to the dynamic young Danish String Quartet performing a late Beethoven string quartet, among other Michelle Witt works. The celebration will continue next Executive and Artistic Director calendar year when we welcome David

ADVISORY BOARD

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

A-2 MEANY CENTER FOR THE PERFORMING ARTS President’s Piano President’s Piano Series generously sponsored by JONATHAN BISS ERIC & MARGARET ROTHCHILD Celebrating Beethoven, Part I SEASON SUPPORT COMES FROM November 5 | 7:30 p.m.

BEETHOVEN Piano Sonata No. 4 in E-fl at Major, Op. 7, “Grand Sonata” (1770–1827) Allegro molto e con brio Largo, con gran espressione Allegro Rondo: Poco allegretto e grazioso

MEDIA PARTNER BEETHOVEN Piano Sonata No. 17 in D Minor, Op. 31, No. 2, “Tempest” Largo — Allegro Adagio MEANY CENTER THANKS THE Allegretto FOLLOWING SIGNATURE SPONSORS Kurt Kolb Rachel Warren INTERMISSION ADDITIONAL SUPPORT COMES FROM Katharyn Alvord Gerlich BEETHOVEN Piano Sonata No. 5 in C Minor, Op. 10, No. 1 Nancy D. Alvord Warren & Anne Anderson Allegro molto e con brio Anonymous Adagio molto Randy Apsel Ariel Fund Finale: Prestissimo Sylvia & Stephen Burges Ana Mari Cauce & Susan Joslyn Lili Cheng & Yarom Boss Delaney & Justin Dechant Britt East & Scott VanGerpen BEETHOVEN Piano Sonata No. 23 in F Minor, Op. 57, “Appassionata” Lynn & Brian Grant Family Allegro assai Ira & Courtney Gerlich Richard & Nora Hinton Andante con moto Sally Schaake Kincaid Karen Koon Allegro ma non troppo — Presto Matthew & Christina Krashan Jeﬀ rey Lehman & Katrina Russell Hans & Kristin Mandt Marcella D. McCaﬀ ray Craig Miller & Rebecca Norton Bill & Meg Morgan Chelsey Owen & Robert Harris Seema Pareek & Gurdeep Pall Cecilia Paul & Harry Reinert John C. Robinson & Maya Sonenberg Eric & Margaret Rothchild Don & Toni Rupchock Donald & Gloria Swisher Maryanne Tagney & David Jones Donna & Joshua Taylor

encorespotlight.com A-3 JONATHAN BISS | About the Artist

“Emperor” Concerto. He then brings the new commission to the Dresden Philharmonic, Melbourne Symphony Orchestra and the Wrocław Philharmonic in Poland. Additionally, Mr. Biss performs the “Emperor” with orchestras worldwide, including with the Curtis Symphony Orchestra led by Osmo Vänskä at Carnegie Hall and Philadelphia’s Kimmel Center as part of a seven-city East Coast U.S. tour.

Throughout his career, Mr. Biss has been an advocate for new music. Prior to Beethoven/5, he commissioned Lunaire Variations by David Ludwig, Interlude II by Leon Kirchner, Wonderer by Lewis Spratlan, and Three Pieces for Piano and a concerto by Bernard Rands, which he premiered with the Boston Symphony Orchestra. He has also premiered a piano quintet by William Bolcom.

Mr. Biss’s projects represent his complete approach to music-making Photo: Benjamin Ealovega and connecting his audience to his own passion for the music. Previous onathan Biss is a world- works and musical thought through a projects have included an exploration renowned pianist who channels wide variety of projects, In 2011, Mr. of composers’ “Late Style” in various his deep musical curiosity Biss set out on a journey to record concert programs. Schumann: intoJ performances and projects the composer’s 32 piano sonatas on Under the Infl uence was a 30-concert in the concert hall and beyond. In nine discs over nine years. The project exploration of the composer’s role in addition to performing with today’s concludes with the fi nal volume to musical history, for which Mr. Biss also leading orchestras, he continues be released in the fall of 2019 and recorded Schumann and Dvořák piano to expand his reputation as a a complete box set scheduled for quintets with the Elias String Quartet teacher, musical thinker and one of release in 2020, both on Orchid and wrote A Pianist Under the Infl uence. the great Beethoven interpreters Classics. Complementing this cycle of our time. Mr. Biss was recently is the online Coursera lecture series Mr. Biss represents the third named co-artistic director alongside Exploring Beethoven’s Piano Sonatas, generation in a family of professional Mitsuko Uchida at the Marlboro of which the fi nal two sets of lectures musicians that includes his Music Festival, where he has spent will appear in September and January, grandmother Raya Garbousova, one thirteen summers. He also leads a at which time all the sonatas will have of the fi rst well-known female cellists massive open online course (MOOC) been examined. (for whom Samuel Barber composed via Coursera, which has reached his Cello Concerto), and his parents, more than 150,000 people from Mr. Biss has taken a diff erent violinist Miriam Fried and violist/ nearly every country in the world. approach to surveying Beethoven’s violinist Paul Biss. Growing up He has written extensively about the fi ve piano concertos, embarking on a surrounded by music, Mr. Biss music he plays, and has authored commissioning project, Beethoven/5, began his piano studies at age six, three e-books, including Beethoven’s that pairs each Beethoven concerto and his fi rst musical collaborations Shadow, the fi rst Kindle Single written with a new concerto composed were with his mother and father. by a classical musician, published by in response. This season, Mr. Biss He studied with Evelyne Brancart Rosetta Books in 2011. premieres Brett Dean’s Gneixendorfer at Indiana University and with Leon Musik with The Swedish Radio Fleisher at the Curtis Institute of For more than a decade, he has fully Symphony Orchestra, performing Music, where he is now on faculty immersed himself in the music of the concerto in Stockholm alongside and holds the Neubauer Family Chair Beethoven, exploring the composer’s the work that inspired it, Beethoven’s in Piano Studies.

A-4 MEANY CENTER FOR THE PERFORMING ARTS JONATHAN BISS | About the Program

Piano Sonata No. 4 in E-fl at Major, from Classical poise to seemingly exploits of Scarlet Pimpernel when Op. 7, “Grand Sonata” (1797) limitless Romantic impulse — the the Eroica or the C Minor Symphony LUDWIG VAN BEETHOVEN very tendency that alarmed Haydn is being played.” in his student’s Op. 1, No. 3 piano Master pianist that he was, it is trio in C Minor. A roiling trio-like Fanciful or otherwise, the popular no surprise that Beethoven’s 32 central section might have added to sonata makes its musical and keyboard sonatas occupied him for Haydn’s discomfort. dramatic points without the need for most of his life. Indeed, no other programmatic explanations. More format resulted in so large a number The concluding Rondo: Poco Allegretto meaningful is its primary tonality, D of works fl owing from his restless e grazioso opens gracefully before minor, a key long used by composers pen. The Sonata in E-fl at Major, evolving into a more turbulent state as the harmonic crucible for drama, Op. 7 marked a step forward from of mind, especially during a mid- struggle and even demonic urgency. the Opus 2 set. The opening Allegro movement episode of stereotypically molto e con brio begins with a quietly Beethovenian storminess. Other The Largo introduction to the urgent and improvisatory sequence episodes further the dual nature of fi rst movement of the “Tempest” of thematic fragments. Rapid scales the music, dancing between unforced immediately establishes a mood of and obsessive repeated notes in the lyricism and forcefulness. If the mystery fashioned from a slowly left hand impart an assertive attitude listener might understandably expect rising rippled chord that serves to that already leaves behind the far a fi nal burst of virtuosity, Beethoven launch a highly contrasting and less rowdy demeanor of his erstwhile does not oblige but returns to the impetuous Allegro built from rapid mentor Haydn and the deep-felt but grace of the opening pages. and agitated neighboring notes. The civilized outpourings of Mozart. The eff ect is riveting as it is eminently above-mentioned scales may suggest Piano Sonata No. 17 in D Minor, practical as a means of creating the Czerny exercises pianists fi nd Op. 31, No. 2, “Tempest” (1802) powerful, surging drama. As he would useful but ultimately emotionally LUDWIG VAN BEETHOVEN famously do in the fi rst movement of unsatisfying. In Beethoven’s hands, the Fifth Symphony, where he posits however, they are truly galvanic and Ever wonder why some titles are a lovely solo oboe passage before are punctuated continuously by put in italics and others are merely returning to the front line of confl ict, explosive sforzandos and tantalizing sandwiched between quotation herein he interrupts the tumult with a detours into kaleidoscopically varied marks? The simple answer is that pair of lyrical utterances that heighten emotional states. if the title is given by the composer the overall eff ect. it appears italicized; if added later The ensuing Largo, con gran espressione (generally by a publisher eager to A similar rippled chord opens the takes the listener in a private world enhance sales), it’s a nickname, as second movement, an Adagio in of internal rumination and an with Beethoven’s Piano Sonata in B-fl at, a key often used by composers improvisatory essay fi lled with sudden D Minor, Op. 31, No. 2, “Tempest” to establish an aristocratic mien. silences that intensify the nascent (or “Der Sturm” in German). In the Here the composer invites the Romanticism of this early work. The case of this passion-fi lled sonata, listener into an inner world of left hand punches out roaming single the sobriquet derived from an consummate grace and illusory tones while the right hand fi lls in the assertion by the composer’s early simplicity of utterance. Occasional blanks with increasingly expressive biographer Anton Schindler that the hints of ominous recollection can chords. The whole movement has an work in question was inspired by be sensed in expectant diminished exploratory feel to it. Shakespeare’s eponymous play. chords, and even more so in short fi gures in the bass that seem to Simply marked Allegro, the third With a mix of irony and skepticism, anticipate the fateful bass motives in movement retrospectively serves the eminent British music scholar Schubert’s penultimate piano sonata as a transition between a courtly Donald Tovey noted: “With all the — also in B-fl at. minuet and a less confi ned scherzo tragic power of its fi rst movement, (often considered Beethoven’s the D Minor Sonata is, like Prospero, The disquieting fi nale, marked invention). The music begins with almost as far beyond tragedy as Allegretto, surges forward with a gently rolling theme emphatically it is beyond mere foul weather. unstoppable fervor, galvanized by a posited against a roiling counter- It will do you no harm to think of much-repeated four-note theme (three theme that refl ects the diff erence Miranda at bars 31–38 of the slow shorts and one long note). A forceful between minuet and scherzo. movement...but people who want descending phrase furthers the near- Frequent sudden shifts into the to identify Ariel and Caliban and the tragic intensity of the music echoing, minor and boundless impatience castaways, good and villainous, may perhaps, Beethoven’s awareness and anticipate the composer’s evolution as well confi ne their attention to the despair over his descent into deafness.

encorespotlight.com A-5 JONATHAN BISS | About the Program

This last-named factor certainly The concluding Finale: Prestissimo escapade. As with the opening helps explain his decision to end the opens with a quirky theme and movement, this fi nale incorporates movement in the minor rather than soon amps up motoric energy several written-out cadenzas. Ever revert to a D-major conclusion, which replete with rapid scales, Punchy more breathless than the main his forebears and contemporaries chords add further impetus to the body of the movement, Beethoven would most likely have done. racing scales, often interrupted by appends a Presto coda with a new the quirky opening theme. After a theme that directs us to a fi nal Piano Sonata No. 5 in C Minor, pause, a quieter section recalls the cadence in F minor. Atypically for Op. 10, No. 1 (1798) Adagio before returning to the fi nale’s fi nales of Classical era music, the LUDWIG VAN BEETHOVEN headlong pace. A spirited passage piece ends darkly. slows and allows the movement to The fi nal decade of the 18th end quietly. An additional word about the century found Beethoven building a evolution of the piano adds to our strong reputation as a pianist with Piano Sonata No. 23 in F Minor, appreciation of the “Appassionata.” extraordinary gifts of improvisation Op. 57, “Appassionata” (1805) The instrument itself underwent and a forceful style that threatened LUDWIG VAN BEETHOVEN enormous changes during to burst the seams of Classical Beethoven’s life, growing from a decorum. Naturally, the emerging The “Appassionata” Sonata (the title wood-framed, thin-stringed, fi ve- pianoforte served as a battleground was added by a Hamburg-based octave instrument to a steel-framed, for his aspirations as a composer. publisher in 1838) is the last of seven-plus octave behemoth during His set of the three Op. 10 piano his middle period piano sonatas which period the strings increased sonatas, written between 1796 to achieve permanent status as in number, tensile strength and and 1798, already reveal elements a recital hall icon. In its extreme thickness. Beethoven pushed the of increasingly muscular and contrasts of terrifying power and limits of every piano he owned, and emotionally rich expressiveness, while dark mystery, challenging technical the massive sonorities, vehement still injecting humorous asides that hurdles and orchestra-like drama, sforzandos and huge dynamic recall Haydn. it exemplifi es the power and range of the “Appassionata” tested assertiveness of this period. instruments as virtually nothing that The opening Allegro molto e con brio preceded it. The fortuitous — if ironic begins with a quick chord yielding to Marked Allegro assai the very opening — combination of the composer’s a rising “Mannheim rocket” theme of the fi rst movement jolts the increasing deafness and accelerating that launches the movement and listener with dramatic alterations advances in both metallurgy and alternates with brief quieter phrases. of stern and economical thematic concert hall size all contributed to the A lyrical version of the main theme material. The primary theme in size and scope of this quintessentially provides contrast, yet the sense of octaves is quiet, but distinctly dramatic piano sonata. urgency is still felt. Another lyrical ominous and sets the mood for the variant is stated before returning entire movement. It is a splendid © 2019 Steven Lowe to the opening moments, again rapprochement between seriousness reverting to the lyrical mood. A bright of intent and virtuosity; this same key change emerges after a brief duality applies equally to the fi nale. “breathing moment.” The movement Note that the key of F minor requires has a distinctly improvisatory and the very lowest note — a steely and mercurial feel. potent tonic F — on the piano when Beethoven wrote the “Appassionata” The central Adagio molto is the sonata, a clear indication of his acute longest movement and opens with sense of instrumental drama. an embellished tender theme at far remove from the impetuous fi rst As if to recover one’s composure, movement. Descending and rising the following Andante con moto is an scales emerge before leading to unassuming set of four variations, lyrical phrases interspersed with clear and undemanding of both more rising/falling scales. A few fi ngers and mind. quirky phrases and recurring scalar passages do not roil the proceedings, What follows next is a thrilling Allegro and in fact, emphasize aﬀ ecting ma non troppo — Presto that whirls warmth and lyricism. The movement forward with demonic energy in the ends quietly. guise of a virtual perpetual motion

A-6 MEANY CENTER FOR THE PERFORMING ARTS International Chamber Music PROGRAM SUPPORT COMES FROM DANISH STRING QUARTET

Prism I MEDIA PARTNER November 7 | 7:30 p.m.

MEANY CENTER THANKS THE BACH The Well-Tempered Clavier, Book II, Fugue No. 7 FOLLOWING SIGNATURE SPONSOR (1685–1750) in E-fl at Major, BWV 876 (arr. Mozart) M. Elizabeth Halloran

ADDITIONAL SUPPORT COMES FROM SHOSTAKOVICH Quartet No. 15 in E-fl at Minor, Op. 144 Katharyn Alvord Gerlich Nancy D. Alvord (1906–1975) Elegy: Adagio Warren & Anne Anderson Serenade: Adagio Anonymous Randy Apsel Intermezzo: Adagio Ariel Fund Nocturne: Adagio Sylvia & Stephen Burges Ana Mari Cauce & Susan Joslyn Funeral March: Adagio molto Lili Cheng & Yarom Boss Helen Curtis Epilogue: Adagio Delaney & Justin Dechant Britt East & Scott VanGerpen Lynn & Brian Grant Family INTERMISSION Ira & Courtney Gerlich Karen Koon Matthew & Christina Krashan BEETHOVEN Quartet No. 12 in E-fl at Major, Op. 127 Hans & Kristin Mandt Marcella D. McCaﬀ ray (1770–1827) Maestoso: Allegro Craig Miller & Rebecca Norton Adagio Chelsey Owen & Robert Harris Cecilia Paul & Harry Reinert Scherzo: Vivace John C. Robinson & Maya Sonenberg Finale: Allegro Eric & Margaret Rothchild Richard Szeliski & Lyn McCoy Don & Toni Rupchock Maryanne Tagney & David Jones Donna & Joshua Taylor

The Danish String Quartet has recorded for ECM, DaCapo and CAvi-Music/BR Klassik.

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encorespotlight.com A-7 DANISH STRING QUARTET | About the Artist

Chamber Music Competition in the Netherlands, as well as the Audience Prize at the Trondheim International String Quartet Competition in 2005. In 2009, the Danish String Quartet won First Prize in the 11th London International String Quartet Competition, now known as the Wigmore Hall International String Quartet competition, and return to the celebrated London concert hall frequently. The Quartet was the awarded the 2010 NORDMETALL- Ensemble Prize at the Mecklenburg- Vorpommern Festival in Germany, and in 2011, they received the Carl Nielsen Prize, the highest cultural honor in Denmark.

In 2019, the Quartet received a Grammy nomination for Prism I in the category of Best Chamber Music/Small Ensemble Performance, the fi rst disc of a fi ve-album project Photo: Courtesy of the Artist for the ECM label. Each Prism program is an exploration of the mong today’s many String Quartet was named in 2013 as symbiotic musical and contextual exceptional chamber BBC Radio 3 New Generation Artists relationships between Bach fugues, music groups, the and appointed to the The Bowers Beethoven string quartets, and Grammy-nominatedA Danish String Program (formerly CMS Two) at the works by Shostakovich, Schnittke, Quartet continuously asserts its Lincoln Center in NYC. Bartok, Mendelssohn and Webern, preeminence. The Quartet’s playing forming an expertly curated musical refl ects impeccable musicianship, The group takes an active role in evolution within each individual sophisticated artistry, exquisite reaching new audiences through program and across the entire clarity of ensemble and, above special projects. In 2007, they Prism repertory. In addition to the all, an expressiveness inextricably established the DSQ Festival, now subsequent recording releases bound to the music, from Haydn in its 12th year, which takes place for the Prism recording project, to Shostakovich to contemporary in an intimate and informal setting performance ventures include the scores. Their performances bring at Copenhagen’s Bygningskulturens full Prism cycle at La Jolla Music a rare musical spontaneity, giving Hus. In 2016, they inaugurated a Society over the span of fi ve audiences the sense of hearing even new music festival, Series of Four, in concerts in November 2019 and treasured canon repertoire as if for which they both perform and invite the complete Beethoven cycle at the fi rst time, and exuding a palpable colleagues — the Ebène Quartet, Chamber Music Society of Lincoln joy in music-making that has made mandolin player Chris Thile, among Center in February 2020. them enormously in-demand on main others — to appear at the venerable concert stages throughout the world. Danish Radio Concert Hall. Concerts Violinists Frederik Øland and Rune this season include collaborations Tonsgaard Sørenson and violist Since its debut in 2002, the Danish with pianist Gabriel Kahane and Asbjorn Norgaard met as children String Quartet has demonstrated violinist Pekka Kuusisto. at a music summer camp where a special aﬃ nity for Scandinavian they played soccer and made music composers, from Nielsen, Hans The Danish String Quartet has together. As teenagers, they began the Abrahamsen, Bent Sørensen and received numerous citations and study of classical chamber music and traditional Nordic folk music, alongside prizes, including First Prize in the were mentored by Tim Frederiksen of music of Mozart and Beethoven. Danish Radio Chamber Music Copenhagen’s Royal Danish Academy The recipient of many awards and Competition, the Vagn Homboe of Music. In 2008, the three Danes prestigious appointments, including String Quartet Competition and were joined by Norwegian cellist the Borletti Buitoni Trust, the Danish the Charles Hennen International Fredrik Schøyen Sjölin.

A-8 MEANY CENTER FOR THE PERFORMING ARTS DANISH STRING QUARTET | About the Program

The Well-Tempered Clavier, Book II, not have written so great an opus the moribund condition that ended his Fugue No. 7 in E-fl at Major, simply to prove a pedagogical point; life a year later. The work is cast in six BWV 876 (arr. Mozart) (1742) the range of musical invention and movements without breaks (marked JOHANN SEBASTIAN BACH emotional breadth has assured its with a dash denoting attacca). endless fascination for players and Bach’s works for solo keyboard listeners alike. The lengthy opening Elegy: Adagio are a source of unending joy and evolves slowly in the manner of discovery. Irresistible dance suites — In setting introductory preludes in a fugue, gently prodded on with variously named “English,” “French” opposition to “learned” fugues, Bach repeated notes (violin or viola) soon and the generic “Partitas” — the creates balanced musical structures echoed by the remaining strings. so-called “Goldberg” Variations, boasting exhilarating contrasts of Spare, remote textures prevail, two- and three-part Inventions tempo, mood and color. Typically, suggesting resignation and even and literally hundreds of other the preludes sound improvisatory, acceptance. By far the longest pieces fi ll many of the 56-tome lyrical or dance-like and essentially movement, Shostakovich moves from complete edition of his works, linear. The richly polyphonic fugues, E-fl at minor into C major, perhaps, as the Bach Gesellschaft. Perhaps the on their part, function as a grand has been noted, as a refl ection of the greatest of Bach’s clavier works casebook on how to compose innocence of this earlier quartet. are the two books that comprise music of outstanding contrapuntal Das wohltempirierte Clavier. After complexity while retaining a distinct The Serenade: Adagio opens with Mozart’s move to Vienna in 1781, fl esh-and-blood aliveness. They are a long-held note that grows from court offi cial Gottfried van Swieten an endless source of delectation barely audible to “very, very, very lent him many manuscripts of Bach’s and study for the expert, yet entice loud (the composer’s specifi c music, which overwhelmed and even the casual listener through marking). A forceful and unstable inspired Mozart to arrange various their abundantly attractive themes, sequence of tones and rests creates Bach keyboard works in expanded exciting harmonic sequences, and an atmosphere of terror. A songlike instrumental versions that helped the sheer emotional depth of their melody from the fi rst violin off ers him absorb the contrapuntal individual utterances. little balm, but rather unease wizardry by his predecessor. accented by sudden emotionally Note that the Prelude of No. 7 in unsettling sforzandos. On the title page of the manuscript E-fl at delights by virtue of its engaging of Book I (1722), Bach explains that melodiousness. The fugue bears close In the ensuing Intermezzo: Adagio, the he composed these Preludes and resemblance to the Prelude tune, fi rst violin stormily assails the senses Fugues “…for the profi t and use of seeking complementarity rather than as the cello seems to watch the musical youth desirous of learning contrast. frenzied proceedings while intoning a and especially for the pastime of soft pedal point that tries to stabilize those already skilled in this study.” Quartet No. 15 in E-fl at Minor, the threatening maelstrom. Yet the more pressing reason behind Op. 144 (1974) it and Book II, written some 20 years DMITRI SHOSTAKOVICH The fourth movement, Nocturne: later was to persuade the musical Adagio begins with an arpeggio world that equal temperament was By the time Shostakovich composed accompaniment that supports a superior to the older “mean” tuning his fi nal quartet, No. 15, in 1974, mournful theme from the viola, and its variants. The new system Joseph Stalin had been dead for eventually joined by the other was essential for the increasingly 21 years. Though the Soviet Union instruments. A central hymn- chromatic music that permeated still existed as a feared entity in the like chordal episode creates the future harmonic landscape. West, a certain amount of cultural an introspective and musing Composers increasingly strayed thaw gave artists greater freedom for atmosphere, neither violent not further from the tonic or home key, stylistic exploration that had been at consoling. A series of plucked strings requiring keyboard instruments to time fi ercely threatened during the off ers sonorous contrast. sound in tune in any key. ‘30s and post-war ‘40s. Physically, Shostakovich suff ered considerably The penultimate Funeral March: Each book contains 24 Preludes and during the fi nal half-decade of his life, Adagio recalls the “Funeral March Fugues — a pair in each minor and but he felt freer to express himself of a Hero” from the Op. 26 Piano major key arranged in ascending musically without the need to couch Sonata of Beethoven, who was a order, i.e., C major, C minor, C-sharp his music self-protectively. strong infl uence on Shostakovich’s major, C-sharp minor, D major, D musical thinking. A rising theme can’t minor and so forth. A composer of Shostakovich composed the Quartet help but remind American listeners transcendent genius, Bach could No. 15 while hospitalized, refl ecting of “Taps.”

encorespotlight.com A-9 DANISH STRING QUARTET | About the Program

Marked Epilogue: Adagio, the His three Op. 59 Razoumovsky and admonition that this was, indeed, concluding movement begins with single Op. 74 Harp quartet — bolder, music for another time. a chord followed by rapid quaking more explorative and personality- fi gures (perhaps akin to the “quaking assertive — capture the essence The quartet in E-fl at, Op. 127, was of the soul” as pianist Claudio Arrau of his middle period. The Op. 95 one of three commissioned by Prince described trills in Beethoven’s late Serioso quartet of 1810 is the last Nikolai Galitzin, a Russian noble piano sonatas). Shostakovich draws of this genre until the mid-1820s and amateur cellist. Beethoven and varies thematic material from and conveys the ardor of the began work on it in May 1824 and the preceding movements. As if to middle period while hinting at the completed it the following February. mirror his own thoughts embracing sublimities and future-mindedness Unlike Opp. 130, 131 and 132, the both naïve hope and despair, the of the fi nal quartets. Op. 127 quartet (and his fi nal work in harmonies shift between the major this genre, Op. 135) is laid out in the and the minor. The fi ve “late” quartets and Grosse traditional four-movement schema. Fuge (the original fi nale to his The E-fl at quartet opens with a slow String Quartet No. 12 in E-ﬂ at Op. 130 quartet) all date from Maestoso introduction comprised of Major, Op. 127 (1825) 1824–26 and show Beethoven at richly textured homophonic chords LUDWIG VAN BEETHOVEN his most refl ective, experimental, heavily accented and is followed by a rhythmically quirky and quicker sequence of themes marked Beethoven’s 16 quartets fall harmonically novel. This was music teneramente (“tenderly”). The solemn conveniently into the three periods that puzzled many performers and introductory chords reappear twice many commentators use to listeners at the time. Its strangeness during the movement, separated by defi ne his life’s work. The six Op. was long attributed to his deafness; music of contrasting linearity and 18 quartets, completed in 1800, Tchaikovsky thought him mad, yet higher voltage. Though not called such, demonstrated the young composer’s in our own time an appreciation for the Adagio second movement is a set absorption and mastery of models their depth and strikingly “modern” of fi ve variations based on two themes inherited from Haydn and Mozart. tone bears out Beethoven’s notable for their noble simplicity.

The Scherzando vivace is at great ILLSLEY BALL NORDSTROM RECITAL HALL at Benaroya Hall remove from the rarifi ed beauty of the sublime Adagio. Here Beethoven revels in the earthly delights of WINTER propulsive rhythms and dazzling instrumental virtuosity. The Finale bears no tempo indication but calls FESTIVAL for speed and deftness of execution. Rhythmically active and often light JANUARY 17-26, 2020 in mood, the music sails forward, yet curiously ends with a coda that is paced far slower than the rest of movement. Even so, the concluding moments suggest a positive mood, perhaps a personal celebration of the composer’s return to the world of quartet-writing.

PART 1 JANUARY 17-19 with the Ehnes Quartet Single Tickets on sale

Oct. 28 seattlechambermusic.org

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A-10 MEANY CENTER FOR THE PERFORMING ARTS World Dance orld ance Series generously underwritten by T D D IUS I G m r ss ATHARN ARD GERIH

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ance aptains EAN ENTER THANS THE H W ING SIGNATURE SNSRS Leonard ostello Patricia Mcenzie Tuck Hoo U hamber Singers irector G B ADDITINA SURT ES R Linda Thomas Allen atharyn Alvord Gerlich Production Manager Nancy . Alvord A B Anonymous Production Stage Manager Randy Apsel Ariel Fund Touring Technical irector E T Cristi Benefi eld Senior ompany Manager L Sharon Gantz Bloome Sylvia Stephen Burges Programming evelopment Manager H Ana Mari auce and Susan oslyn Technical irector Lili heng arom Boss Helen urtis Props Technician L elaney and ustin echant Britt East Scott anGerpen Lighting Supervisor W Lynn Brian Grant Family Education ommunity Engagement E Ira ourtney Gerlich Richard Nora Hinton Marketing Manager B Hugues Hoppe Sashi Raghupathy Administrative Assistant atherine avid Hughes L umi Iwasaki Anoop Gupta aren oon Matthew hristina rashan Jeff rey Lehman & Katrina Russell Hans and ristin Mandt Touring IMG Artists 1.212.994.3500 imgartists.com Marcella D. McCaff ray General inquiries 1.860.868.0538 infopilobolus.org raig Miller Rebecca Norton Tour Marketing and Publicity Maor Marketing, Inc. helsey Owen Robert Harris Seema Pareek and Gurdeep Pall PILOBOLUS.ORG ecilia Paul and Harry Reinert ohn . Robinson Maya Sonenberg Maor support for Pilobolus Artistic Programming provided by the National Endowment Eric and Margaret Rothchild Richard Szeliski Lyn Mcoy for the Arts, which believes that a great nation deserves great art, and by The Shubert Maryanne Tagney and avid ones Foundation. onna oshua Taylor George ilson laire Mclenny Ellen allach Thomas arden

encorespotlight.com A-11 IUS | About the Program

EYE OPENING reated by Rene aworski, and Matt ent in collaboration with Nathaniel Buchsbaum, rystal Butler, Benamin oalter, Isabella iaz, achary Eisenstat, Heather Favretto, asey Howes, Nile Russell, acob Michael arren Performed by Nathaniel Buchsbaum, rystal Butler, uincy Ellis, Heather Favretto, asey Howes, ustin Norris, acob Michael arren Art Direction Greg Laﬀ ey Lighting esign Trevor Burk Sound esign avid an Tieghem Special thanks to Mark Fucik, Emily ent, Itamar ubovy, and our friends at RadioLab.

PILOBOLUS IS A FUNGUS Music yon, yon by ake Runestad Performed by The U hamber Singers Editing Oriel Pe’er and Paula Salhany

GNOMEN horeography Robby Barnett and onathan olken in collaboration with Matt ent, Gaspard Louis, Trebien Pollard, Mark Santillano Performed by Nathaniel Buchsbaum, uincy Ellis, ustin Norris, acob Michael arren Music Paul Sullivan Throat Singing Matt ent ostume esign onstruction Eileen Thomas Lighting avid M. hapman This piece is dedicated to the memory of our friend and colleague, im Blanc. It was made possible in part by contributions from his family and friends as well as by a commission from the American ance Festival with support from the onnecticut ommission on the Arts, the National Endowment for the Arts and the Philip Morris ompanies, Inc., New Production Fund.

MAGNIFICO Movement oncept Pilobolus Animation Peter Sluszka, ohn Harrison Music relude by Ola Geilo Performed by The U hamber Singers Editing R.. Glass, Greg ondon

WARP & WEFT reated by Rene aworski and Matt ent in collaboration with Mark Fucik and rystal Butler, Isabella iaz, Heather Favretto, asey Howes Performed by rystal Butler, Heather Favretto, asey Howes Music Thao Nguyen ostumes Mrion Taln Lighting iane Ferry illiams Sound esign avid an Tieghem arp et 2018) is commissioned by AF with support from the oris ukeSHS Foundations Award for New orks and Mary uke Biddle Foundation.

INTEIION

A-12A-1 MEANY CENTER FOR THE PERFORMING ARTS IUS | About the Program

QUIZZASSA Music Merril G. Performed by The U hamber Singers

SYMBIOSIS horeography Michael Tracy in collaboration with Otis ook and Rene aworski Performed by Heather Favretto and acob Michael arren Music Morangoalmost A ango by Thomas Oboe Lee was written for and performed by the ronos uartet and appears on the Nonesuch recording hite Man Sleeps. God Music from lack Angels by George rumb and Fratres by Arvo Prt were performed by the ronos uartet and appear on the Nonesuch recording released 1985–1995. ongGe by ack Body was written for and performed by the ronos uartet and appears on the recording Early Music. ostumes Angelina Avallone Lighting Steven Strawbridge

UP! reated onceived by Pilobolus, with Professor aniela Rus and MIT istributed Robotics Lab Music assacaglia by aroline Shaw Performed by The U hamber Singers ideo Oriel Pe’er

BRANCHES reated by Rene aworski and Matt ent in collaboration with Itamar ubovy, Mark Fucik and Antoine Banks-Sullivan, Nathaniel Buchsbaum, rystal Butler, Isabella iaz, Heather Favretto, acob Michael arren Performed by Nathaniel Buchsbaum, rystal Butler, uincy Ellis, Heather Favretto, asey Howes, acob Michael arren Music avid an Tieghem, avid arling, Riley Lee, Olivier Messiaen, avid Poe Sound esign avid an Tieghem ostume esign Liz Prince Lighting esign Thom eaver ranches premiered at acob’s Pillow ance Festival InsideOut Series, une 21, 2017, and was commissioned by acob’s Pillow ance Festival and the National Endowment for the Arts, which believes a great nation deserves great art.

This program is subect to change.

encorespotlight.com A-1A-13 PILOBOLUS | About the Artist

Photo: Hibbard Nash

or 47 years, Pilobolus has perform our work for over 300,000 THE COMPANY tested the limits of human people across the U.S. and around physicality to explore the the world each year. In the last year, Itamar Kubovy (executive producer) Fbeauty and the power of connected Pilobolus was featured on The Late has overseen Pilobolus since 2004. bodies. We continue to bring this Show with Stephen Colbert, NBC’s He founded Pilobolus’s International tradition to global audiences through TODAY Show, MTV’s Video Music Collaborators Project, inviting our post-disciplinary collaborations Awards, The Harry Connick Show, ABC’s artists and thinkers from diverse with some of the greatest infl uencers, The Chew and the CW Network’s fi elds to participate in Pilobolus’s thinkers, and creators in the world. Penn & Teller: Fool Us. Pilobolus collaborative choreographic process. Now, in our digitally driven and has been recognized with many He grew the business of Pilobolus increasingly mediated landscape, prestigious honors, including a TED Creative Services, developing custom we also reach beyond performance Fellowship, a 2012 Grammy Award movement and storytelling for fi lm, to teach people how to connect Nomination, a Primetime Emmy advertising and corporate events, and through designed live experiences. Award for Outstanding Achievement launched the Five Senses Festival. We bring our decades of expertise in Cultural Programming and Kubovy co-founded the Freeman telling stories with the human form to several Cannes Lion Awards at the Design Council on Live Experience. He show diverse communities, brands, International Festival of Creativity. grew up in New Haven and studied and organizations how to maximize In 2015, Pilobolus was named philosophy at Yale. group creativity, solve problems, one of Dance Heritage Coalition’s create surprise, and generate joy “Irreplaceable Dance Treasures”. Renée Jaworski (co-artistic director) through the power of nonverbal Pilobolus has collaborated with more has an extensive performance communication. than 25 brands and organizations and creative career working with in fi nance, retail, media, fashion, Pilobolus since 2000. She serves as Pilobolus has created and toured sports, and more to create bespoke choreographer and creator for exciting over 120 pieces of repertory to more performances for television, fi lm and projects and collaborations for stage, than 65 countries. We currently live events. fi lm and video as well as overseeing

A-14 MEANY CENTER FOR THE PERFORMING ARTS PILOBOLUS | About the Artist the daily functioning and long term Outside of traditional theatre, Michael Tracy (charter artistic director, planning for the company’s creative Quincy also dances for a variety of choreographer) was raised in New endeavors. As a teacher, she facilitates N.Y.C. drag artists, including Juicy England. He met the other Pilobolus workshops and group projects in Liu and Miz Cracker. Quincy joined founders at Dartmouth in 1969 and diverse communities with dancers Pilobolus in 2017. became an artistic director after and non-dancers alike. Renée lives in graduating magna cum laude in 1973. Connecticut with her husband and Heather Favretto (dance captain) He toured with Pilobolus for 14 years daughter and a menagerie of animals. grew up in N.J. and started dancing and has choreographed and directed young. She loved it so much, she the company ever since. He has set Matt Kent (co-artistic director) married it. She joined Pilobolus in his work on the Joff rey, Ohio, Hartford, danced for Pilobolus from 1996–2004, 2010 and has been lucky enough to Nancy and Verona Ballets, and with and helped create more than two form incredible lifelong friendships Pilobolus, choreographed a production dozen pieces, including classics while performing around the world. of Mozart’s Magic Flute. He taught at like Gnomen and A Selection, a She has a B.F.A. in dance from Yale University for two decades and collaboration with Maurice Sendak. Rutgers University. lives in northwestern Connecticut. He has since directed for the stage and screen choreographing on Casey Howes (dancer) is a Brooklyn Jonathan Wolken (1949–2010) (co- horses, Chinese acrobats, giant based dancer and choreographer. Born founder, choreographer) co-founded Michael Curry puppets, zombies on and raised in Los Angeles, she has been Pilobolus in 1971 and remained the Walking Dead, jugglers, break dancing her entire life, beginning at The one of its artistic directors as well dancers, actors, LED umbrellas and Colburn School. She has performed as director of development until his dancers. He was nominated for Best works by Martha Graham, Alvin Ailey, death on June 13, 2010. Mr. Wolken Choreography by the L.A. Drama Shannon Gillen of Vim Vigor and Ron graduated from Dartmouth College Critics Circle for The Tempest. Amit of Batsheva. After graduating with a degree in Philosophy. During SUNY Purchase’s Conservatory of his career, he created 46 works for Nathaniel Buchsbaum (dancer) Dance with a B.F.A. in dance, she has Pilobolus, in collaboration with its Manipulator of light and shadow, trained across Europe and has danced other artistic directors, with guest student of the ephemeral, harnesser for Lauren Beirne Dance Works. artists and as sole choreographer. of momentum, walker of the physical He also choreographed for the plane. quick of tongue, slow of mind. Justin Norris (dancer), a Glyndebourne Festival Opera’s When he isn’t touring the earth, Massachusetts native, is a self-taught production of Maurice Sendak’s delighting both young and old with his student of multimedia expressions Where the Wild Things Are, and nimble, scantily clad acts of physical ranging from graffi ti to fi ne art to created Oneiric, featured in a jointly storytelling, he is most likely dwelling dance. Norris began working in graffi ti produced Danish Television feature in Brooklyn with his tall, striding and found his love for movement at for members of the Royal Danish friend Jake and his silver-haired pal the Pioneer Valley Performing Arts Ballet. Over the years he taught many Quincy. He joined Pilobolus in 2012. High School. In 2009 he received workshops and was dedicated to the the James Baldwin Scholarship to furtherance of Pilobolus technique Krystal Butler (dancer) began her Hampshire College for visual art and not only in dance but as a model for training at Duke Ellington School began his more formal investigation creative thinking in any fi eld. of the Arts. She attended dance into dance. Justin is a freelance visual programs such as AAADT Summer creator, think tank and problem Anna Bate (production Intensive, ADF, EMIA and Arke solver. He joined Pilobolus in 2007. manager) joins Pilobolus after Danza. After graduating from LIU, 3+ years production managing she performed with the companies, Jacob Michael Warren (dance musical theatre tours at TROIKA INSPIRIT and Forces of Nature Dance captain) hails from N.Y.C., where he Entertainment including The Color Theater. In 2010, she joined Pilobolus. spends most of his time trying to Purple, Love Never Dies and The Krystal enjoys teaching and traveling. decide if he’s a musician, an actor or Bodyguard. She has previously a dancer. When he’s not dancing with worked at GALA Hispanic Theatre, Quincy Ellis (dancer) began training Pilobolus, he’s plays with his band, Utah Shakespeare Festival, and the as a gymnast and fi gure skater in the Harmonica Lewinskies. Milwaukee Rep. She is a graduate of Maine before earning an acting Marquette University with a degree degree from Emerson College. Robby Barnett (co-founder, in theatre arts. He has been performing and choreographer) was born and raised teaching for the past ten years with in the Adirondack Mountains and Josh Sandberg (technical director) is companies such as The MoveShop, attended Dartmouth College. He a U.S. Army veteran born a raised in DeFunes Dance and Theatre Raleigh. joined Pilobolus in 1971. California. He’s spent over 11 years

encorespotlight.com A-15 PILOBOLUS | About the Artist on the road with touring theatrical Jillette of Penn & Teller) and New York and uliet, The Big nie, Born esterday, shows and these shows have sent productions of Looking at Christmas Arcadia, The Normal eart, eckless, him around the world twice. and American Love Se Death. Film An nemy o the People, Mrs Warrens and TV credits include Mom, My Cray Proession, A Behanding in Spokane, A Eric Taylor (touring technical Girlriend, The Aristocrats and The Man or All Seasons, nherit the Wind, director) is from Tennessee where immy immel Sho. Froen, Ater Miss ulie, udgment at he spends his time working as a Nuremerg, The Constant Wie, The rigger and stagehand for area theater Thao Nguyen (composer) grew Crucile, Three Days o ain, The Best productions and corporate events. up in Falls Church, VA, where she Man. Off -Broadway: Wit, The Piano Eric toured with Pilobolus from fi rst played guitar at the age of Lesson, Through a Glass Darkly, o 2011–201. 12. She spent most of her 20s Learned to Drive. Film/TV: Buried touring, supporting several critically Prayers, Working Girls, Penn Teller, Krista Mickelson (stage manager) acclaimed albums. She’s worked with Wooster Group. Dance: Twyla Tharp, is a freelance stage manager and vaunted artists including Andrew Doug Varone, Elizabeth Streb, Elisa production manager based out of Bird, Mirah, Laura Veirs and producer Monte, Michael Moschen. Percussionist Chicago. She has previously worked Tucker Martine. She toured the with Laurie Anderson, Talking Heads, with The Ruffi ans’ Burning Bluebeard U.S. with the nationally syndicated Brian Eno and Steve Reich. Lifeline Theatre, and with companies NPR radio program adiola. Her including Barrel of Monkeys, The Neo- most recent album, A Man Alive, was Angelina Avallone (costume Futurists, The Hypocrites and Haven released in March 2016. designer) has collaborated with Theatre Company. Pilobolus Dance Theatre on over avid oe (composer) performed, 1 productions as costume and Charlie Weber (lighting supervisor) is composed and produced the music set designer. Her work as been a light designertechnician currently for Shadoland and Shadoland seen at the Kennedy Center, The based in Chicago. Educated at The Ne Adventure. He has toured Joyce Theater, The American Dance Western Washington University in the world with Bob Dylan, Joan Baez Festival, Wolf Trap, The Shubert Theater Bellingham, Charlie has found lighting and Tori Amos, and his songs have and The Emerson Theater. Her creative work across the country as well as been recorded by several other credits also include designs for The internationally. artists, including T-Bone Burnett, Public Theater in New York City, Joe’s Curtis Stigers, Grace Kelly, the cast of Pub at the Public, The Rainbow indsey Siders (props technician) Nashville and Daryl Hall. David’s work Room, Yale Repertory Theatre, Yale graduated from Illinois State also appears in a variety of fi lm and University Theatre, Circus Flora University in 2015 with a B.S. in television proects. He has scored at the Kennedy Center, Syracuse theatre designproduction and a numerous fi lms and was named a Stage, Actors Theater of Louisville, minor in dance. She has worked composer fellow of the Sundance Kentucky, The Children’s Theatre as the Dance Division production Institute in 2009. Solo recordings Company in Minneapolis, Paper Mill coordinator for the TN Governor’s include God The Girl, The Late Playhouse in New Jersey and others. School for the Arts, as the production Alum, Love s ed, The Copier Music Her credits on Broadway include stage manager for the Peoria or Cedar Lake Contemporary Ballet associate costume designer on The Ballet, as a production intern at the and his self-titled debut, produced by Scarlet Pimpernel and Once pon A American Dance Festival and for T-Bone Burnett. Mattress. She studied fashion design DanceMotion USA at BAM in N.Y.C. in Florence, Italy and received her She has worked with Pilobolus since aul Sullivan (composer) has M.F.A. from the Yale School of Drama. December 2016. composed fourteen scores for Pilobolus since 190. He has i rince (costume designer) Steven Banks (creative collaborator) appeared as a conductor, performer designs costumes for dance, theater Emmy-nominated head writer of and composer on and off Broadway. and fi lm and has designed costumes SpongeBo Suarepants, he wrote Paul currently lives on the coast of for numerous Pilobolus productions. and starred in the critically acclaimed Maine where he composes music for Her costumes have been exhibited one-man play ome ntertainment his own record label, River Music. at The Cleveland Center for Center which aired on Showtime and Paul’s award-winning piano albums Contemporary Art, The New York is featured on HULU. He also created include Sketches o Maine, A isit to the Public Library for the Performing and starred in the national PBS series ockies, Folk Art, Nights in the Gardens Arts, Snug Harbor Cultural Center The Steven Banks Sho. His young o Maine and Circle ound the Season. and Rockland Center for the Arts. adult novel, ing o the Creeps, was She received a 1990 New York Dance published by Knopf. His plays include avid an Tieghem (sound designer) and Performance Award (BESSIE) for Love Tapes (co-written with Penn Broadway: Dout, The Lyons, omeo costume design as well as a 200

A-16A-1 MEANYA CENTER FOR THE PERFORMING ARTSA PILOBOLUS | About the Artist

Charles Flint Kellogg Award in Arts and Lucille Lortel. He is co-chair of the been seen at NYSFPublic Theatre, and Letters from Bard College. design department at Yale School of Primary Stages, Signature Theatre, Drama and resident lighting designer 37ARTS, Cherry Lane, Lincoln Center Mrion Taln (costume designer) for the Yale Repertory Theatre. Festival, CenterStage, Syracuse Stage, has worked closely with artists, Milwaukee Rep, Cleveland Playhouse, directors and performers in New Thom Weaver (lighting designer) Roundhouse Theatre, Cincinnati York and across the country. Some studied at Carnegie-Mellon and Yale Playhouse, Spoleto Festival USA, of her dance design credits include and has previously worked with Matt Pittsburgh Public Theatre and Yale Bryan Arias One Thousand Million Kent and Pilobolus on Teller and Rep. He has received three Barrymore Seconds, Gibney Dance Company, Aaron Posner’s The Tempest at Chicago Awards, four Helen Hayes nominations When Breath Becomes Air, Charlotte Shakespeare Theatre. His work has and two AUDELCO Awards. Ballet (201), The Sky Seen rom the Moon, The Juilliard School, A ather Lovely Thing for Jacob’s Pillow and Fold y Fold for AspenSanta Fe Ballet among others. SheshBesh Saturday, January 18, 2020 avid M Chaman (lighting designer) was Director of Production 7:30 pm | $19–$49 for Pilobolus from 197 to 1997. An Arab-Jewish ensemble searching for an elusive His early credits include many balance of East and West in music, SheshBesh summers with the Berkshire Theatre embodies two cultures living together in harmony. Festival and Jacob’s Pillow Dance Three members of the Israel Philharmonic Orchestra play alongside four of the finest Festival and winters on the road musicians from Israel’s Arab community. with rock, mime and dance tours. He has designed the lighting for 6:00 pm | FREE Pre-Show Artist Talk numerous Pilobolus works including Co-presented by ECA and the University Day To, Bonsai, Particle oo and of Washington Bothell Aons. Other work includes assistant In 2007, SheshBesh was awarded the European lighting designer for the 197 Medal of Honor for commitment to tolerance Spoleto Festival USA and Production and mutual respect in a turbulent Middle East. In this pre-show program, Manager of the 191 American the artists will speak to a model of two cultures living together in Dance Festival. His lighting designs harmony, and the belief that music can build bridges between people. can also be seen in the repertory of Peter Pucci Plus Dancers. He was Director of Production for Jacob’s Pillow and Director of Facilities and Production at the Colonial Theatre in Pittsﬁ eld, Massachusetts.

Stehen Strawbridge (lighting designer) has many works in the repertory of Pilobolus Dance Theatre. His designs have been seen on International Guitar Night’s Broadway, oﬀ -Broadway and at th most maor regional theaters and 20 Anniversary Tour opera houses across the country. Wednesday, March 4 | 7:30 pm | $19–$49 Internationally he has designed the Each year, International Guitar Night’s founder Brian Gore invites a new lighting for maor premiers in Bergen, cast of guitar luminaries from around the world for special concert tours of Copenhagen, Hong Kong, Lisbon, North America highlighting the diversity of the acoustic guitar. Munich, Naples, Sao Paulo, Stockholm The 20th special Anniversary Tour features guest host Mike Dawes, and Vienna. He has been recognized joined by electrifying jazz virtuoso Olli Soikkeli from Finland, with numerous awards and Hawaiian slack key master Jim Kimo West, nominations including the American and Cenk Erdog˘an from Turkey with an Theatre Wing, Bay Area Theatre Critics intriguing, exotic style on fretless guitar. Circle, Connecticut Critics Circle, 425.275.9595 | 410 Fourth Ave N., Edmonds | ec4arts.org | Helen Hayes, Henry Hewes Design

encorespotlight.com A-1A-17 PILOBOLUS | About the Artist

iane Ferry Williams (lighting from Ashland University in Ohio with a lectric Play, Stage iss, Father Comes designer) is a freelance lighting designer theatre maor and a M.F.A. in theatrical ome rom the Wars, The Lion, and who has lit over 300 productions of design from Northwestern University. the feature ﬁ lms Some elvet Morning, theatre, dance, dance festivals and Loitering With ntent, Dil Dahdakne Do opera in the U.S., Canada, Europe and Neil atel (scenic design) Recent and HBO’s Peabody Award winning n Asia. Awards include a Jeﬀ Award, an works include the New York Treatment. His awards include an Obie After Dark Award, a Carbonelle Award premieres of Perect Arrangement, Award Helen Hayes Award, Henry and six Drammy awards. She has a B.A. The Way We Get By, Mr Burns A Post Hewes and Drama Desk nominations.

W CHAMBER SNERS The niversity o Washington Geoff rey Boers is director of Sorano Chamber Singers is a professional choral activities at the University Sylvia Jones level choir consisting of graduate of Washington, a program widely Janelle Maroney and advanced undergraduate recognized as forward thinking, Katrina Turman music maors, as well as advanced unique, and of great distinction. Jo Beth Wasicek musicians of maors from across Under his direction, the graduate Kaylee Pigott the UW community. Established as choral program has developed a Sadie Quinsaat the Madrigal Singers in the 1930’s singular mission to nurture the Jada Jenkins under the direction of composer hole student as conductor-teacher- Ariona Thompson Gerald Kechley, the group gained servant-leader-scholar. This vision Joslyn Thomas recognition through its notable has led the program to become one conductors Rodney Eichenberger of the most vibrant and innovative Alto and Joan Conlon. Acclaimed for in the country, attracting students Tiff any Walker its vocal prowess and artistic from around the world interested Elisabeth Crabtree expression, the choir focuses on in exploring the future of our art. Madison Lombardo performing challenging repertoire Through his teaching he is exploring Tina Tran of all periods with particular the evolution of conducting gesture Athena Beebe emphasis on performing art music and rehearsal pedagogy and their Maddie Ile of our time. Under the direction connection with the emerging Ellie Harrison of Geoff rey Boers, the group has neuroscience of mirror neurons, Lauren Wells gained a national and international empathy, perception, learning, Jennifer Rodgers reputation with performances and personal transformation. His at the Canadian National Music exploration has led to new thoughts Tenor Festival, the national conventions about conducting and teaching Simon Hill of Orff Kodaly Society, GALA, and with regard to breath, movement, Eric Jeff ords College Music Society, regional artistry, personal awareness, and Keoni Dilay conventions of ACDA andMENC, as cultural development. Recently, his Samuel Kui well as four international tours to the work has led to the mentoring of Isaac Tian Baltic countries (2000, 200, 2010, local choral cohorts of teachers and Timothy Little 2013) and to Hungary (2007). Most conductors who are interested in Mark Petty recently, the choir returned to the building professional communities Alexander Nguyen Baltic to participate in the Latvian of ongoing mentorship and musical National Song Festival during the development. He has developed Bass summer of 2013. such mentorship programs across Davis Ferrero the United States and Canada. In Richard Carrick addition to these thoughts about John O’Kane mentorship he is actively working Luke Duroc-Danner with other leaders in ACDA and Will Schlott NAfME to develop a more unifi ed achary Shafer and useful system for development Ben Luedcke of musicianship, assessment, Alex Mason adudication, and repertoire grading. Austin French Frank Goess

A-18A-1 MEANYA CENTER FOR THE PERFORMING ARTSA Crossroads BIL SSO SUPPO OS O November 23 | 8 p.m.

abriel Kahane piano, guitar, vocals

Ted oor drums

FREQENC I P Michael Jinsoo im violin, artistic director Jennier Caine rovine violin Melia Watras viola Sunn Thorsteinsdttir cello IIOL SUPPO OS O Linda Thomas Allen Katharyn Alvord Gerlich Nancy D. Alvord Anonymous Ariel Fund Randy Apsel The program will be announced from the stage Ana Mari Cauce and Susan Joslyn Lili Cheng Yarom Boss Delaney and Justin Dechant Britt East Scott VanGerpen Ira Courtney Gerlich Hugues Hoppe Sashi Raghupathy Catherine David Hughes Yumi Iwasaki Anoop Gupta Karen Koon Matthew Christina Krashan Hans and Kristin Mandt Marcella D. McCaﬀ ray Craig Miller Rebecca Norton Chelsey Owen Robert Harris Seema Pareek and Gurdeep Pall Cecilia Paul and Harry Reinert John C. Robinson Maya Sonenberg Eric and Margaret Rothchild Richard Szeliski Lyn McCoy Maryanne Tagney and David Jones Donna Joshua Taylor

encorespotlight.com A-19 GABRIEL KAHANE | About the Artist

Photo: Courtesy of the Artist

he day after the 2016 Kahane has collaborated with a critically lauded staged versionPhoto: Spencer of Pinson presidential election, singer- diverse array of artists, including Paul The Ambassador, directed by Tony- songwriter Gabriel Kahane Simon, Sufjan Stevens, Andrew Bird, winner John Tiﬀ any, and returning Tboarded a train at Penn Station Blake Mills and Chris Thile, the front in 2017 with 8980: Book of Travelers, and traveled 8,980 miles around man of Punch Brothers, for whom directed by Daniel Fish. He is also the continental U.S. with no phone Kahane opened forty concerts in the the composer-lyricist of the musical or internet access, talking to U.S. in 2015 and 2016. As a composer, February House, which premiered in dozens of strangers in an attempt he has been commissioned by the 2012 at the Public Theater. to better understand his country American Composers Orchestra, the and fellow citizens. The resulting Brooklyn Academy of Music, Carnegie A graduate of Brown University and album, Book of Travelers, marks Hall, A Far Cry, the Los Angeles two-time MacDowell Colony fellow, Kahane’s debut for Nonesuch Philharmonic, the Oregon Symphony Kahane lives in Brooklyn, N.Y. Records. By turns sprawling and and Orpheus Chamber Orchestra, intimate, this collection of songs with whom he toured in the spring FREQUENCY is at once a prayer for empathy of 2013, performing Gabriel’s Guide Michael Jinsoo Lim, violin and reconciliation, as well as an to the 48 States, an hour-long cycle Jennifer Caine Provine, violin unflinching examination of the on texts from the WPA American Melia Watras, viola complex and often troubled history Guide Series. Other orchestral Sæunn Thorsteinsdóttir, cello of the United States. highlights include solo appearances with the Los Angeles Chamber Hailed by King FM-Seattle’s Second Over the last decade, Kahane has Orchestra, Colorado Symphony, St. Inversion as a “dream string trio,” quietly established himself as a Paul Chamber Orchestra, and The Frequency presents innovative, songwriter all his own, grafting a Knights, with whom Kahane recorded invigorating and intriguing chamber deep interest in storytelling to a keen his orchestral song cycle Crane music concerts. Joining together sense of harmony and rhythm. His Palimpsest, following a performance distinguished artists from two major label debut, The Ambassador, a at Tanglewood’s Ozawa Hall. acclaimed chamber groups, the study of Los Angeles seen through Corigliano Quartet and Decoda, the lens of ten street addresses, was An avid theater artist, Kahane has Frequency is a modular chamber hailed by Rolling Stone as “one of the appeared twice at the BAM Next music group, breaking into diﬀ erent year’s very best albums”. Wave Festival, in 2014 with the parts to present solos, duos and trios,

A-20 MEANY CENTER FOR THE PERFORMING ARTS GABRIEL KAHANE | About the Artist while also expanding with guest world premiere recordings of and Co-Artistic Director of Decoda, artists to perform in a variety of her own compositions. Watras Aﬃ liate Ensemble of Carnegie Hall. formations. Frequency members is professor of viola and chair Sæunn serves on the faculty of the have performed as soloists and of strings at the University of University of Washington in Seattle, chamber musicians worldwide, in Washington, where she holds the teaching cello and chamber music. leading concert halls such as Carnegie Adelaide D. Currie Cole Endowed Hall, Alice Tully Hall, Weill Recital Hall, Professorship. Watras has given Ted Poor is a Seattle-based Suntory Hall and Disney Hall. viola and chamber music classes drummer whose adventurous, soulful around the world, and frequently playing has vaulted him to the stages Violinist Michael Jinsoo Lim has returns to her alma mater, Indiana of some of today’s most important been praised by Gramophone for University, as a guest professor. musicians and placed him among playing with “delicious abandon,” drummers most in demand. After and hailed by the Los Angeles Times Icelandic-American cellist Sæunn graduating from the Eastman School as a “conspicuously accomplished Thorsteinsdóttir enjoys a varied of Music in 2003, Ted moved from his champion of contemporary music.” career as a performer, collaborator hometown of Rochester, NY to New He is concertmaster and solo violinist and educator. She has appeared York City, where he quickly made an of the Pacifi c Northwest Ballet as soloist with the Los Angeles impression on its jazz and indie-rock Orchestra; serves as artistic director Philharmonic, NDR Elbphilharmonie music communities. In his ten years and violinist of the Seattle-based Orchester, BBC Symphony in N.Y.C., Ted appeared on dozens ensemble Frequency; is director and Orchestra and Toronto Symphony of recordings and shared the stage co-founder of Planet M Records; and Orchestra, among others, and with many world-renowned artists teaches at Cornish College of the her recital and chamber music such as Bill Frisell, Pat Metheny, Kurt Arts. His discography can be found performances have taken her across Rosenwinkel, Cuong Vu, Ben Monder, on Naxos, Planet M, Sono Luminus, the US, Europe and Asia. Sæunn Myra Melford, Mark Turner, Gabriel DreamWorks, Albany, Bridge, CRI, is cellist of Seattle based trio, Kahane, My Brightest Diamond, Bayer Records, RIAX and New Focus. Frequency, and a founding member Aaron Parks and Ralph Alessi.

Jennifer Caine Provine, violinist, is associate concertmaster of the Pacifi c Northwest Ballet Orchestra and FACULTY RECITAL violinist of the Volta Piano Trio, with whom she has performed extensively throughout the Northwest and Piano Trios abroad. She has been heard on national radio stations and has recorded three discs on the Con Brio label to critical acclaim. She was assistant director and resident violinist at the Icicle Creek Music Center in Leavenworth, WA from Beethoven Faculty colleagues Craig Sheppard, 2007–2010, and has appeared regularly on several chamber music piano; Sæunn Thorsteinsdóttir, cello; series in the Seattle area. Jennifer is and Rachel Lee Priday, violin, present a graduate of Harvard University and the ﬁrst of a four-concert performance the Royal College of Music in London. over two seasons of the complete Beethoven piano trio cycle. Hailed by Gramophone as “an artist of commanding and poetic personality” and by The Strad as “staggeringly virtuosic,” violist/ December 9 - 7:30 pm composer Melia Watras has February 29 - 7:30 pm expanded the viola repertoire, Gerlich Theater- Meany Hall through composing, commissioning, $20 ($10 students/seniors) debuting and recording new works. She has recorded six critically ArtsUW TICKET OFFICE 206.543.4880 acclaimed solo albums. Her latest, WWW.MUSIC.WASHINGTON.EDU Schumann Resonances, includes

encorespotlight.com A-21 A Q UESTION of EMPATHY Q: A SEASON-LONG EPLORATON

With ariel ahane who are people of color I also mean poor white folk who are Q: ARI N EAH WT S T L MPT bemused by and resentful of the e T idea that they have such a thing as privilege. And I suppose that My father is a musician and my awareness of my own privilege has mother is a psychologist. So only grown out of looking deeply to be a bit glib as the product into the experience of others. So If I’m going to of my parentage, it’s almost there’s an interesting feedback impossible for me not to let loop there. my fascination with human engage with psychology enter deeply into PLS S TM W the work I do. Increasingly, I fi nd PC T TS myself interested in stories that CLTT SS people and involve people whose experiences CCT TW PPL are radically diff erent than my ideas that own. That diff erence might have On September 11th, 2001, I was a to do with gender or race, or it unior in college. The president of might have to do with political the university I attended convened are at a great outlook, cultural sensibilities or a vigil that night in a lecture hall, socioeconomic status. Often, it’s and invited students to come to some combination of any number microphones at the front of the remove from of those things. And if I’m going to hall to share whatever they were engage with people and ideas that feeling at the moment. One young my own life, are at a great remove from my own woman, I don’t remember anything life, then the only way to do that is about her except that her voice through empathy and imagination. was shaking, came down to one then the only of the microphones and asked W S TSTC C if we could all sing Tomorrow LP T from nne. And we all did. And way to do that WSS TS it was... a weirdly sacred act of communion. A few years later, is through As I’ve become increasingly aware after I’d graduated from college, of the incredible privilege that I one of my fi rst jobs was working have the privilege of a straight, on a new musical, directed by empathy and cis, white man, raised in an upper- Martin Charnin, who wrote the middle-class family whose cultural lyrics for nne, and who sadly ust connections almost certainly passed away a few months ago. imagination. played a role in umpstarting my Martin could be a mean old man, career it’s felt all but impossible but I grew fond of him over the — GABRIEL KAHANE for me not to try to leverage that weeks that I worked with him, and privilege to try to lift up those one night, over gin-and-tonics, who are marginalized, oppressed, I told him the story of singing and ignored and I don’t ust Tomorrow on September 11th mean those who are women, with a bunch of terrifi ed college who are gay, who are trans, kids. And he burst into tears.

A-22 MEANYA CENTER FOR THE PERFORMING ARTSA YOUR GUIDE TO MEANY CENTER

FOOD & BEVERAGE EVACUATION SMOKING POLICY IN MEANY HALL In case of fi re or other emergency, please Smoking is not permitted on the University Food and beverage stations are located follow the instructions of our ushers, who of Washington campus. in the main lobby and downstairs at are trained to assist you. To ensure your the Gallery Café on the east side of the safety, please familiarize yourself with the PARKING OPTIONS lower lobby. The stations are open one exit routes nearest your seat. Limited, underground paid parking is hour prior to the performances and at available in the Central Plaza Parking Garage, intermission. ADMISSION OF CHILDREN located underneath Meany Hall. There Children fi ve years of age or older are are also several surface lots and on-street RESTROOMS welcome at all Meany Center performances. parking within walking distance of Meany. Restrooms are located on the lower and A ticket is required for admission. upper lobby levels. MEANY HALL ART EXHIBIT WHEELCHAIR SEATING Visit the Meany Center Art Exhibit in the Lower LATE ARRIVAL Wheelchair locations and seating for patrons Lobby for an installation of work by students in Unless noted otherwise, all World Dance with disabilities are available. Requests for the UW School of Art + Art History + Design. and Crossroads evening performances accommodation should be made when begin at 8 p.m. Special Event, Piano and purchasing tickets. TAPESTRIES DISPLAYED ON STAGE Chamber Music Series events begin at The artwork on display on stage during Piano 7:30 p.m. Out of respect for the artists FIREARM POLICY and Chamber Music events are tapestries and seated patrons, late seating may be Possession or use of fi rearms, without woven by Danish artist Charlotte Schrøder. limited. Late arrivals will be escorted into special written permission from UW Police, the theater at appropriate intervals, to is prohibited on the UW Campus. Find the ADDRESS & CONTACT INFORMATION be determined by the artists and theater complete policy at washington.edu. Meany Center for the Performing Arts personnel. University of Washington, INFRARED HEARING DEVICES Box 351150 CELL PHONES, Meany Hall (main stage) is equipped with Seattle, WA 98195-1150 CAMERAS & OTHER an infrared hearing system. Headsets are Phone: 206-543-4882 / Fax: 206-685-2759 ELECTRONIC DEVICES available at no charge. Please speak with meanycenter.org Please turn off these devices before an usher. A driver’s license or credit card is performances. Because of contractual required as collateral. ArtsUW Ticket Offi ce obligations with our artists, the use of 1313 NE 41st Street photographic recording equipment is FRAGRANCES Seattle, WA 98105 prohibited. Flash cameras can be disruptive In consideration of patrons with scent allergies, Ph: 206-543-4880 | Toll-free: 800-859-5342 and dangerous to some artists. please refrain from wearing perfume, cologne Fax: 206-685-4141 or scented lotions to a performance. Email: [email protected] LOST & FOUND Offi ce Hours: Mon–Fri, 11 A.M.–6 P.M. Contact the House Manager immediately CANCELLATIONS following the performance or contact the Due to unforeseen circumstances, we Meany Hall Box Offi ce Meany Hall House Manager’s offi ce at sometimes have to cancel or postpone The Meany Hall Box Offi ce opens one hour [email protected] or 206-543-2010. performances. All programs, dates and before the performance and is located in artists are subject to change. Meany Hall’s main entrance.

MidoriJANUARY 23

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

PRODUCER’S CIRCLE Jonas Barklund PATRON Clark Sorensen & Susan Way ($25,000+) Jillian Barron & Jonas Simonis (between $500 and $999) Sheehan Sullivan & Peter Finch Katharyn Alvord Gerlich Thomas Bayley Kim Gittere Abson & Michael Scupine Mark & Liza Taylor Sylvia & Steve Burges Mel Belding & Kathy Brostoff Charles Alpers & Ingrid Peterson Sarah Temple & Peggy Johnston Craig Miller & Rebecca Norton Luther Black & Christina Wright John & Nancy Angello Gayle & Jack Thompson Maryanne Tagney and David Jones William D. Bollig Anonymous Kris & Epaminondas Trimis Pat Braus & Holly Boone Jean-Loup & Diane Baer Pieter & Tjitske Van der Meulen DIRECTOR’S CIRCLE Kalman Brauner & Amy Carlson Lauret Balloun Omar Vasquez (between $10,000 and $24,999) Laurie Lootens Chyz & Grant Chyz Louisa Barash & Scott David David Wang Linda & Tom Allen Thomas Clement Cathryn Booth-LaForce & Robert & Andrea Watson Nancy D. Alvord† Consuelo & Gary Corbett W Kenneth LaForce Stephen & Debra Wescott Warren & Anne Anderson Richard Cuthbert & Heida Brenneke Valerie & Todd Yerkes Ariel Fund Cheryl Redd-Cuthbert Gene Brenowitz & Karen Domino Ryan & Heidi York Ana Mari Cauce and Susan Joslyn Anita & Jack Dingrani David & Deborah Buck Delaney and Justin Dechant John† & Kathy Ehrenberg Rita Calabro GREAT PERFORMER Britt East & Scott VanGerpen James Fesalbon & Edward Darr Mariann Carle & Thomas Manley (between $250 and $499) Lynn & Brian Grant Family Dr. Melvin & Nanette Freeman Carolyn Caster & Cynthia Mullis Sharon Armstrong Ira & Courtney Gerlich Jim & Missy Garcia Timothy Cliff ord Lisa Baldwin & John Cragoe Sally Schaake Kincaid Ruth Gerberding Michael Cohen & Jutta Joesch Trudy Baldwin Hans and Kristin Mandt Kyra Hokanson Gray Jill Conner Robert Bergman Marcella D. McCaff ray Arthur & Leah Grossman Margaret Crastnopol & Charles Purcell Dianne Calkins Chelsey Owen & Robert Harris Aya Stark Hamilton Judith Cushman & Robert Quick Sharon & Craig Campbell Cecilia Paul and Harry Reinert Wolfram & Linda Hansis Suzanne Dewitt & Ari Steinberg Sandra & Daniel Ciske John C. Robinson & Maya Sonenberg Hylton & Lawrence Hard Toby Diamond Fran Clifton Eric and Margaret Rothchild Kara D. Hefl ey In Memory of Toby Faber R. Bruce & Mary-Louise Colwell Susan Herring Gary Fallon & Leona DeRocco Jackie & Kent Craver SERIES BENEFACTOR Peter Hiatt & Ronald Huden Pamela Fink & Michael Bevan Leroy & Marybeth Dart (between $5,000 and $9,999) Paul & Alice Hill Susan Fischer Misti Davis Anonymous Jonathan & Deborah Himmelfarb Albert Fisk & Judith Harris Susan & David Dolacky Randy Apsel Hsiao-Wuen Hon Corinne Fligner & Mark Wener Christopher Drajem Cristi Benefi eld Ann Hu Stuart Fountain & Thomas Highsmith Ian Einman Sharon Gantz Bloome Mary & Michael Hudspeth Sergey Genkin & Nelli Tkach Robin & Douglas Ferguson Lili Cheng & Yarom Boss Ilga Jansons & Mike Dryfoos Ramona Memmer & Lester Goldstein Gerald Folland Helen Curtis Mary E. & Giff ord Jones Christopher & Amy Gulick Gary Fuller & Randy Everett Richard & Nora Hinton Julia Kalmus & John Lillard Emile F. Haddad & Terryll Bailey Janet Geier & Peter Seitel Hugues Hoppe & Sashi Raghupathy Deborah Katz Susan & Richard Hall Earl & Nancy Grout Catherine & David Hughes Glenn Kawasaki, Ph.D. Steven Haney Supriya Kulkarni & Jayant Gupchup Yumi Iwasaki & Anoop Gupta Beverly & Otis Kelly Katherine Hanson & Michael Schick Rebekah Harris Karen Koon Randy & Kimberly Kerr Shawn Harmon David Hewitt & Marcia Wagoner Matthew & Christina Krashan Kelly Kleemeier & David Dickson Phyllis Hatfi eld Robert C. Jenkins Jeff rey Lehman & Katrina Russell Susan Knox & Weldon Ihrig Dr. Karen Henley & Marcia Kamin Bill & Meg Morgan Kayleen & Tony Kohler Dr. Laurie Goldman Mary & George Kenny Seema Pareek & Gurdeep Pall Leander Lauff er & Patricia Oquendo Susan Hert & William Levering III Leslie Kincaid & Nick Lawrence Don & Toni Rupchock Jeff rey & Barbara Mandula Janet Hesslein & Murl Sanders Frederick Klein IV Donald & Gloria Swisher James & Rebecca McLean Robert Hirsch Eric Larson & Teresa Bigelow Richard Szeliski & Lyn McCoy Tomilynn & Dean McManus Kate Hokanson Thomas & Rhoda Lawrence Donna & Joshua Taylor Yoshi & Naomi Minegishi Randy & Gwen Houser Eli Livne, Ph.D. & Dr. Esther Karson George Wilson & Claire McClenny Margaret Dora Morrison Joan Hsiao & James Bromley Dr. E. Ludman & Mr. D. Birch Ellen Wallach & Thomas Darden Sayantani Mukherjee Brian Hulse & Julia Paden Gwendolyn Lundberg & James & Pamela Murray Melanie Ito & Charles Wilkinson David Aggerholm EVENT SPONSOR John O’Connell & Joyce Latino O. David Jackson Barbara Mack (between $2,500 and $4,999) Gerald Parks H. David Kaplan Lynda Mapes & Douglas MacDonald Anonymous Richard & Sally† Parks Ronit Katz & Hank Levy Donna McCampbell Anne-Lise & Scott Bean Darcy & Enzo Paschino Aaron Katz & Kate Dougherty Ms. Mary M. Mikkelsen Sven & Melinda Bitners Kenneth & Monica Payson Marianne & Frederick Kiga Eric & Trisha Muller Ross Boozikee Michael & Susan Peskura David Kimelman & Karen Butner Caroline Normann William Calvin & Katherine Graubard Dick & Jill Rice Joseph & Anne-Marie Knight Nenita Odesa Heidi Charleson Joshua & Michelle Rodriguez Frank & Joanna Lau Harry & Mariette O’Donnell Leonard Costello & Patricia McKenzie Joy Rogers & Robert Parker Chris & Tammy Laws Bryn Parish Susan & Lewis Edelheit Joseph Saitta Margaret Levi & Robert Kaplan James Phelps & Ena Urbach Gail Erickson & Phil Lanum Cathy Sarkowsky Betsy Lieberman & Richard Groomer Sasha Philip & Neil Bacon Davis Fox & Rosemary Coleman Amy Scott & Stephen Alley Michael Linenberger & Sallie Dacey Wendy & Murray Raskind M. Elizabeth Halloran David Skar & Kathleen Lindberg Pierre & Felice Loebel Chet Robachinski Elizabeth Hebert Virginia Sly Dennis Lund & Martha Taylor Barbara & Mark Roller The Hokanson Family Carrie Ann Sparlin Melodie Martin & Kenneth Dayton Bette Round Tuck Hoo Robert & Robin Stacey Michael & Nancy Matesky Mig Schaaf & Stuart Dunwoody Bernita W. Jackson Ethel & Bob Story Robin McCabe Eric Schlegel & Mary Stout Patricia & Paul Kimerer Bonnie Swailes Christopher & Mary Meek Laurie Snider Kurt Kolb Dale Sylvain & Thomas Conlon John & Gail Mensher Patricia Tall-Takacs & Gary Takacs Kimberly and Mark Parris Lee & Judith Talner Kevin Murphy & Karen Freeman Robin Thomas Lois Rathvon John & Teresa Tippett Anne Stevens Nolan & William Nolan Diana & Richard Thompson Dave & Marcie Stone Lorraine Toly John Nemanich & Ellendee Pepper Michelle & Stephen Turnovsky Gregory Wallace & Craig Sheppard Judy Tsou & David Carlson Amanda Overly Joella Werlin Rachel Warren Matthew Uyttendaele & Jason Reuer Sam Whiting Michelle Witt & Hans Hoff meister Elizabeth Johnston Carrie Rhodes John & Lynn Williams Manijeh Vail John Rochford & Nick Utzinger Deborah Wilson & Ngan Chong Teng DISTINGUISHED PATRON Michael & Courtney Vint Stephanie & Steve Rostad John V. Worthington (between $1,000 and $2,499) Ernest Vogel & Barbara Billings Zoe Rothchild & Wade Kramer Osamu Yamamoto Joan Affl eck-Smith & Nepier Smith Kathleen Wright & Dr. Martin Greene Scott Schenker Lee & Barbara Yates Kenneth & Marleen Alhadeff Marsha Wright† Sigmund & Ann Snelson Carol Young Gretchen & Basil Anex Igor Zverev & Yana Solovyeva Marcia Sohns & Mark Levy Maxine Zemko

A-24 MEANY CENTER FOR THE PERFORMING ARTS KEY PLAYER Hornoch & Candice McCoy / David & Barbara & James Luby / Naoko Forderer / Lisa Frenkel & (between $100 and $249) Thomas / W. Michael Thompson / Mary Anne James Mullins / Anne Futterman / Daniel Gamelin Laila Adams / Kathryn Alexandra & Steven Rubey Thorbeck / Peter Thurlow / Phyllis Van Orden / / David & Anne Gilbert / Elizabeth Gilchrist & / Julie Anderson / Timothy & Susan Anderson / Yvonne & Bruno Vogele / Patricia Wahl & Dean John Clarkson / Katya Giritsky / Joan & Steven Anonymous / Colin Aymond & Julia Barrett / Kevin Wingfi eld / Debora & David Wakeley / Carol Goldblatt / Ludmila Golubev / Christie Hammond / Badgley / Bill Ballard / Laura & Jim Ballard / Ruth Wallace & Durlin Hickok / Grace Wang / Larry Krista Harris / James Heher & Leslie Fields / Judith & Mark Balter / Mike & Marie Bender / Robin & Lucy Weinberg / Ann & Richard Weiner / Lily Herrigel / Vada Higbee / Keri Holmboe / Mary Bentley / Beth Berman / Andrea Black / William Werner / Seiko Werts / Bruce & Christine White Anne Howard / Derek Howison / Chris Hurley Bogardus / David & Joyce Brewster / Kayla & / Karin Williams / Philip & Constance Winberry / & Marlys Erickson / James Jorgensen / Margot Carl Brodkin / Virginia Burdette & Gary Wieder / Donna Wolter / Carolyn Wood / Becky Woodworth Kadesch / Sandra & Daniel Kraus / Bruce Landon & Susan Buttram & David Frost / Robin Calderon / Alexander Wu / Evgueni & Tatiana Zabokritski / Atsuko Osawa-Landon / Bryan LaPorte & Kathleen / Beatriz Guimaraes / Frances Carr / Phyllis & Lawrence Zeidman & Linda Tatta Schroeder / Carla & David Lawrence / Joanne Laz / Alan Caswell / Robert Catton / Pamela & Robert Olivia Lee / Arlene Levy / Erika Lim / James & June Center / Leroy Chadwick / Michael & M. Gayle FRIEND Lindsey / Vivian MacKay / Larry Macmillan & Billie Charlesworth / Robert & Molly Cleland / Leslie & (between $50 and $99) Young / Linda Maki / William & Judith Matchett / Libby Cohen / Richard & Dorothy Cole / Jan & Bill Suzanne & Marvin Anderson / Jill Bader / Carolyn Brian McHenry / Ted Mears / Sharon Metcalf & Corriston / Kathy Cowles & Bradford Chamberlain Bain & Victor Araya / Wendy & Jonathan Bannister Randall Smith / Sheree Miller & Benjamin Greer / Jean Crill / Gavin Cullen & David Jamieson / / Laura Baumwall / Elisabeth Beaber / Thomas / Susan Mulvihill & James Liverman / Colleen Janice DeCosmo & David Butterfi eld / Barbara Bird / Frances Blair / Ruth Blaw / Julia Bledsoe & Murphy / Ellen & George Naden / Mark Novak DeCoster / Paula Deutsch / Kathleen Dickeman Brian Johnston / Debra Booth / Lee Anne Bowie / Linda Oshins / Barbara O’Steen & Howard / Christine Disteche & Raymond Monnat / David / Keely Bowman Bell / Elaine Brighton / Shannon Mitchell / Judith Ostrow / Karen Peterson / James Doody & Michael Erickson / Jeanne Dryfoos / Bryan & William Molloy / Robert Burgess & Marie & Ruth Raisis / Michael Ramirez / Beverly & Eddie Laurie Ann & C. Bert Dudley / Robert & Donna Eble / James Burkman / Susan Butler / Zbigniew Reed / Cynthia Richardson / Ellen & Dan Roach Dughi / Kathleen & Edward Dunn / Margaret Butor / Leo Butzel & Roberta Reaber / Charlotte / David & Joanne Rudo / William Sandal / Mary Dunn / Deborah & L. Jay Field / Sally & Jeff Eagan / & Wiliam Byers / Linda & Peter Capell / Christine Schlater / Stephen & Loretta Schuler / Herbert Jeremy Ekonian / Lynne & Hollie Ellis / Lynda Emel & Paul Carr / Marian Childs / Mona Ching / Erica & Elaine Selipsky / Diane Shannon / Frederick & Carter Bentley / Patricia Emmons & Shmuel Coleman / Marjolyn Conrad / Patricio Conteras Simons / Robert Simpson Jr. / Hazel Singer & John El-Ad / Marilyn Endriss / Jean Falls / Youssef & / Andrea Copping & Alan Christie / Barbara Griffi ths / Martine Smets / Christopher & Ann Valerie Faury / Polly & Eric Feigl / Melanie Field Courtney / Scott Crawford / Carol Cummings / Smith / Douglas & Katherine Smith / Sara Smith / Brenda Fong / Jacqueline Forbes & Douglas Christopher Curry / Annette de Soto / Celeste / Hank & Dorothy Stephens / Marcia & Douglas Bleckner / Susanne Foster / William Friedman & Eduardo Delostrinos / Martha Dietz / Janice Stevenson / Mark Sullivan / Cheryl Uyeji / Arthur / Susan & Albert Fuchs / Kai Fujita / Matthew Dilworth / William & Laura Downing / Michael & Harriet Vogel / Joseph & Greta Ward / Jenna Gani / Stanley & Marion Gartler / Brian Giddens Dryja / Robin Dushman & Richard Salomon / Warren / Gail & John Wasberg / Jenny Whitmer / & Steve Rovig / Harold Gillies / George Gilman / Richard Eide / Robert Eisenman & Ingrid Lahti / Susan Whitmore / Karl & Jill Woelfer / Mark & Amy Sara Glerum / J. David Godwin & Virginia Reeves William Elwell / Elizabeth Erickson / Susan Ewens Worthington / Robert Zauper / Susan & Russell Goedde / Catherine Gorman / Gene Graham / Frank & Susan Grijalva / Chris Gross / Lynn Hagerman & James Hummer / Willa This listing includes endowment founders and endowment donors from July 1, 2018 to June 30, 2019. & Walter Halperin / Shuko Hashimoto / John & For more information on how to make a gift through your will or trust, or to name Meany Center Geraldine Hay / Kathryn Heafi eld & Guy Sattler / Richard & Tandy Hennings / Doris & Percy Hill / for the Performing Arts as a benefi ciary of your retirement plan or insurance policy, please call Alix Wilber & Andrew Himes / Peter Hoff meister 206-685-1001 or 800-284-3679 or visit www.uwfoundation.org/giftplanning. & Meghan Barry / Danae Hollowed / Sue Hou / Patricia Hynes / Belle Imm / Richard & Rosemary James / Sibyl James / David Johnson / Linda & Christopher Johnson / Robert Johnson & Heather Erdmann / Duane & Erica Jonlin / Danielle Joyce / Michael & Nancy Kappelman / Paul Kassen / James & Elaine Klansnic / Adam Kline & Genie Middaugh / Nancy & John Kloster / Joan Klyn / Jean & David ORLANDO Koewler / Glen Kriekenbeck & Quentin King / Divya Krishnan / Amelia Kwan / Rosalie Lang / Inge & Leslie Larsen / Deborah & David Larson / Lauren & David Lawson / Teresa Lawson / Peter LeVeque / Kathryn Lew & Dennis Apland / Lisa & Ross Macfarlane / Sara Magee / Lynne Magie / Suresh SION OF JOAN OF ARC & Anjali Malhotra / John & Katharina Maloof / THE PAS Constance Mao / Wendy Marlowe / John Martines Consort & Joel Gibson / Tessa Matthey & Peter Durkee / FEBRUARY 4 Lila May / Mary V. McGuire / Robert & Catherine McKee / Susan L. McNabb / Robin Mendelson & Joss Delage / Gabrielle Metz-Virca / Michael & Sarajane Milder / Linda Mitchell / Reza & Carol Moinpour / David Morris / Roger Morris / Anne Morrison / Christine Moss / Linda & Alan Murray / Joseph & Kay Neal / Cynthia L. Doll & Greg C. Nelson / Marianne Nijenhuis / David Norman / Colette Ogle / Martin Oiye & Susan Nakagawa / Simon & Carol Ottenberg / Robert Otto / Gloria & Dan Overgaard / Angela Owens / David Owsiany & Everett Seven / Cathryn Palmer / Elizabeth Park / Gerald Paulukonis / Jeanne Peterson / Lisa Pfeiff er / Zaiga Phillips / Sandra Piscitello / Susan Porterfi eld / Amit Ranade & Jennifer Faubion / Dennis Reichenbach / Meryl Retallack / Carrie Richard / Carla Rickerson / Paula Riggert / Rachel & David Robert / Sam & Josie Roskin / John & Janet Rusin / Margaret Sandelin / Laura Sargent / Charles Schooler / Mary Jo Schreifels & Ronald Jones / Jean Schweitzer / Noah Scooler / Roberta Sherman & Charles Meconis / John Sindorf & Mary Ann Bolte / Mani & Karen Soma / Harold & Ruth Spalter / Eric & Beatriz Stollnitz / Derek Storm & Cynthia Gossett / Annette Strand & Tim Groggel / Pamela Stromberg / Carol Swayne & Guy Hollingbury / Brian Taberski / Peter Tarczy-

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

Planned Gifts Matt Krashan Endowed Fund Anonymous for Artistic & Educational Excellence Linda & Tom Allen in the Performing Arts Ellsworth C. & Nancy D.Alvord† Lee & Judy Talner Wimsey J.N. Cherrington (*Multiple Founders) Consuelo & Gary Corbett Bill† & Ruth Gerberding Live Music for World Dance Series Matthew & Christina Krashan Endowed Fund Tomilynn & Dean McManus Kai Fujita Margaret Dora Morrison Bernita Wilson Jackson Cecilia Paul & Harry Reinert Sayantani Mukherjee Mina B. Person† Cecilia Paul & Harry Reinert* Lois Rathvon Lorraine Toly Dave & Marcie Stone Donald & Gloria Swisher Meany Center Education Endowment Lee & Judy Talner Kalman Brauner & Amy Carlson “If I have seen a Ellen J. Wallach Jill Conner Kathy Cowles & Bradford Chamberlain little further, it is Ellsworth C. & Nancy D. Alvord Jacqueline Forbes & Douglas Bleckner Endowed Fund only by standing Estate of Ellsworth C. Alvord* Meany Center Programming Lynda Mapes & Douglas MacDonald Endowment Fund on the shoulders Philip & Constance Winberry Arts Al!ve Student Fund for Exploring of Giants.” the Performing Arts Mina Brechemin Person Endowed Fund — BERNARD OF CHARTRES Frances Blair Estate of Mina B. Person* Doris & Percy Hill Derek Howison Gloria Wilson Swisher Music From Haydn to Mozart to Susan Knox & Weldon Ihrig* Education & Outreach Endowment Beethoven to the Beatles, Belle Imm John & Nancy Angello each generation owes its James Jorgensen Bernita Wilson Jackson progress to the ones that Donald & Gloria Swisher* came before. Sylvia & Steve Burges Meany Center George Wilson & Claire McClenny for the Performing Arts Endowment Deborah Wilson & Ngan Chong Teng Sylvia & Steve Burges* You, too, can be a giant. * Endowment Founder † Deceased Nancy & Eddie Cooper Endowed Fund CONSIDER A GIFT to the for Music in Schools Meany Center through your Dave & Marcie Stone* Matching Corporate Gifts Adobe Systems, Inc. will, trust or retirement plan, Katharyn Alvord Gerlich Endowment AT&T Foundation and help future generations for Artistic Excellence Chevron Corporation City of Seattle of artists and arts lovers see Katharyn Alvord Gerlich* East West Bank a little further by standing on Google, Inc. your shoulders. Elaine & Ernest Henley Endowment IBM Corporation for Classical Music Intel Corporation Katherine Hanson & Michael Schick Merck Company Foundation Contact: † Elaine & Ernest Henley* Microsoft Corporation Cristi Benefi eld, Director of Dr. Karen Henley & Dr. Laurie Goldman Puget Sound Energy Philanthropy, Meany Center John Martines & Joel Gibson Shell Oil Company 206-616-6296 State of Washington Catherine & David Hughes The Boeing Company [email protected] Asian Programming Endowment The K Foundation meanycenter.org/donate Catherine & David Hughes* T-Mobile USA, Inc. Ann Hu U.S. Bank Amelia Kwan United Way of Greater Los Angeles Sayantani Mukherjee United Way of King County United Way of Snohomish County Wells Fargo, LLC

This listing includes endowment founders and endowment donors from July 1, 2018 to June 30, 2019. For more information on how to make a gift through your will or trust, or to name Meany Center for the Performing Arts as a benefi ciary of your retirement plan or insurance policy, please call 206-685-1001 or 800-284-3679 or visit www.uwfoundation.org/giftplanning.

A-26 MEANY CENTER FOR THE PERFORMING ARTS MEANY CENTER 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 Oﬃ ce of Arts & Culture / U.S. Bank

UP TO $9,999

Banner Bank / Horizons Foundation / KEXP 90.3 FM* Ladies Musical Club / Peg and Rick Young Foundation Western States Arts Federation / Scan | Design / Chamber Music America

BUSINESS CIRCLE SPONSORS

Classical Wines from Spain / Fran’s Chocolates* / Macrina Bakery* / 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 / UW Alumni Association UW American Indian Studies / UW Canadian Studies UW Dance Department / UW Intellectual House / UW First year programs / UW Graduate School / UW Libraries UW Residential Life Program / UW School of Drama UW School of Music / Velocity Dance Center

*Denotes full or partial gift in kind.

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

encorespotlight.com A-27 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 Elaine Currie Elizabeth C. Duff ell, Director of Artistic Engagement Kelli Hong Kaeline Kine, Artist Engagement Coordinator Julia Loyd Kristen Kosmas, Creative Fellowships Coordinator Merewyn Lynn Charlotte Schoen, Student Engagement Intern Kendall Massey Paquita Esterly, Green Room Student Assistant Leanna Naji Alexandria Exley, Artist Engagement Student Assistant Mariama Sidibe Maria Rivera, Artist Engagement Student Assistant Lauren Widaman

Cristi Beneﬁ eld, Director of Philanthropy Lead Ushers Alix Wilber, Grants and Communications Manager Ana Constantin Erin Candee, Annual Giving & Events Manager Lindsay Hanlon Cadence Luchsinger, Philanthropy Student Assistant Laura Keil Arthur Grossman, Phil Lanum, Photographers Raine Myrvold

Teri Mumme, Director of Marketing and Communications Ushers Cynthia Mullis, Marketing and Communications Manager Emily Asplin Francesca Penchant, Graphic Designer Greta DuBois Dan Neifert, Graphic Design Intern Connor Espig Kenny Pham, Marketing Assistant Rachel Fung Charlie Glaser Laura McKee, Tessitura Administrator Janani Iyer Gretchen Shantz, IT Administrator Pearl Lam Daniel Matheson Tom Burke, Technical Director Gio Navarro Brian Engel, Lighting Supervisor Pihla Pekkarinen Juniper Shuey, Stage/Video Supervisor Ignacio Re Matt Starritt, Audio Supervisor Sara Rraklli Doug Meier, Studio Theatre Stage Technician Samantha Schrantz Owen Stevens Nancy Hautala, Audience Services Manager Ashley Techavimol Noah Duff y, Lead House Manager Joslyn Thomas Levi Sy, House Manager Emma Turner

Catering by

A-28 MEANY CENTER FOR THE PERFORMING ARTS DIALOGUE

John Turman hosting the Tiny Tots Meet the Host concert series. of Tiny Tots Concert Series

by DANIELLE MOHLMAN

When John Turman moved to Seattle in 2015, hosting the Tiny Tots concert series was the furthest thing from his mind. He’d just graduated from Rice University and, after deciding to turn down a principal horn position at the and have fun and recognize the St. Paul Chamber Orchestra, joined the horn section at musicians. And we really wanted the Seattle Symphony. Now entering his fifth season with to change things up with our Tiny the Symphony and his second season as the Tiny Tots Tots programming, so we kind of scrapped the entire thing and concert series host, this Austin native is happy to now started from the ground up. And call Seattle home. we started writing our own scripts. Our main thing is it’s all based on really great music. We wanted “There’s just an action and typically left out of symphony to program some pieces with activism that I feel here in Seattle,” performances. How did you become substantial weight in the classical Turman said. “And politically, it’s involved in this concert series as cannon—because there are so many amazing. I hear more voices here a host? What drew you into this pieces that not only the kids can than anywhere else.” I had the age group? enjoy, but the parents as well. pleasure of speaking with Turman just before the start of the 2019-20 John Turman: When Amy Heald, And just knowing that learning Seattle Symphony season about our associate director of collab- classical music early on helps with his role as a host, and how that orative learning, joined the Seattle complex processing later in life. role has deepened his understand- Symphony a couple of years ago, And not pandering and saying that ing of early childhood education. she said “Let’s bring some of these this is “children’s music.” Because Symphony musicians onstage for all music can be children’s music. Danielle Mohlman: The Tiny Tots these kids.” It was an age we were concerts are geared toward children kind of missing out on. Because Exactly. It’s this cognitive devel- ages zero to five, a demographic they absolutely can understand opment cycle that Amy [Heald] JAMES HOLT JAMES ANGELA NICKERSON ANGELA

encorespotlight.com 9 John Turman hosting the Tiny Tots concert series.

educated me about when she show, a brass quintet for another, Austin, Texas and bought me a brought me on to host. Danielle a percussion trio and a string three-quarter size classical guitar. Kuhlmann was the first host of quartet. And the final concert I was seven. And I thought, “Oh this structure of Tiny Tots that is a big chamber orchestra. yeah, I’m Stevie Ray Vaughan over we’re using right now. We had a here.” And then he bought me a woodwind quintet play a show Bringing it all together. guitar book. And it was just when and then Danielle read a book to I was learning how to read, so I go along with this composition. Yeah, exactly. So now we have learned how to tune the guitar And then the next year, Amy this whole program where the myself, and I learned how to read approached me and asked if I kids will see every instrument the first three lines of the treble wanted to host. And I said yes, of represented on stage throughout clef. That moment of getting that course. I love music education and the Tiny Tots series. Which is guitar and making sound on my I come from a background, you so much different than what we own for the first time was some- know, Texas high school—really were doing before. And we’re so thing that really, really drove solid music educators. I’ve known excited because people really do home that I wanted to do this. I a lot of great educators through- enjoy that. They enjoy taking wanted to learn this. And both out my life and I’m very grateful their kids to see a show for thirty my parents were in the Longhorn and privileged to have had that. minutes and they enjoy the Band [at the University of Texas, And so I’m really excited to give programming. And I hope they Austin]—that’s how they met. that back in this way. I’m still enjoy the characters that we get performing and people know that introduced to. I’m usually always Wow. I play in the Symphony and that’s wearing some type of sequined part of the fun. I’m like the friend garment—something that’s visually Yeah. And then band started for me who says, “Here’s what things are appealing. Stimuli is a big thing in sixth grade. And at the instru- really like in the Symphony.” And in their life right now. Sequins are ment petting zoo, the shortest line these kids are all zero to five and golden. Sequins are the key here. was for the French horn. And I I’m like, “You guys belong here thought it was really cool. And my just as much as the adults do.” Switching gears a little bit: when Aunt Betty Lou said, “You know, did you first discover your passion John, this is the most challenging Yeah! for music. Do you remember how instrument in the orchestra.” old you were? And I said, “Oh I can’t back down So Amy and I started brainstorm- from a challenge.” And I had some ing. It was her idea to do standard I do. I remember the exact moment. incredible music educators. My chamber music pieces, so we It was when my Grandpa Tom band director got me a CD of the have a woodwind quintet for one took me into the music store in Canadian Brass and The Planets. JAMES HOLT JAMES

10 Oh I love The Planets.

Right? It just kind of triggered my hunger. It really just activated the nerd inside. I loved organizing chamber music ensembles with my friends. And then I was drum major in high school and I loved being that kind of role model for band kids. And, you know, being in band is hard. Being in high school is hard. And I was happy to be a friend and mentor to a lot of people through that.

The Tiny Tots concert series at the Seattle Symphony begins on October 4 and 5 with The Percussion: 5, 6, Pick Up Sticks and continuing on with The Brass: March of the Toys on December 6 and 7. A full schedule of this season’s Tiny Tots concerts can be found at seattlesymphony.org.

Danielle Mohlman is a Seattle-based playwright and arts journalist. She’s a frequent contributor to Encore, where she’s written about everything from the intersection of sports and theatre to the landscape of sensory-friendly performances. Danielle’s work can also be found in American Theatre, The Dramatist and on the Quirk Books blog. JAMES HOLT JAMES

encorespotlight.com 11 12 3 2 1 IntermissionBrain Transmission chance to win tickets to an upcoming performance. Better yet, send us your answer to the bonus question for a you could treat your brain to this scintillating trivia quiz. Why stare at your phone for the hundredth time today when D C B A in the play? the following doesnotappear and Roman goddesses.Whoof appearances by three Greek control andmagicfeatures This tale ofshipwreck, familial October 15–November 10. Seattle Shakespeare Company The Tempest D C B A for whatisnowwhichborough? of Churches,the City another name New Yorker AnnaZiegler, isfrom will beperformed. The playwright, Seattle Rep, October 11–November 17at D C B A spend hischildhood? life inParis, France. Where didhe Chopin spentmuchofhisadult and promoter ofFrédéric Chopin. performer Ohlsson isanexpert Garrick Ohlssonwillperform. onOctober 1, Arts Performing At MeanyCenterforthe Minerva Iris Ceres Juno Manhattan The Bronx Brooklyn Queens Klow, Syldavia Warsaw, Poland Berlin, Germany Nice, France The Great Moment willplay at

@encorespotlight. tag and media to answer social your post to:line subject the in “Trivia Quiz” with answer your Email why? and best liked you that attended you performance arts last the was What BONUS 5 4 D C B A was his? the followingCatholiccardinals well-to-do patrons—which of Ludwig van Beethoven hadseveral recordings ofBeethoven’s music. Biss hasmademore thanten Jonathan Bisswillperform. At MeanyHallonNovember 5, D C B A the lasttwoyears? following hasnotbeenstagedin Puget Soundregion. Whichofthe have around beenperformed the other plays andadaptations Dietz’s Aprolificperformed. artist, adaptation of November 17,Steven Dietz’s At ACT Theatre October 18– [email protected] Children’s Theatre Go, Dog,Go! Giovanni de’ Medici BrownFinger” Mordecai “Three Cardinal Richelieu Archduke Rudolph Driftwood Players Yankee Tavern Lonely Planet Last oftheBoys Dracula atSeattle atWest ofLenin atEdmonds atSeattleRep willbe

or or

1—C Chopin1—C was born in what was then the Duchy of Warsaw, a state established by Napoleon in 1807 and which was dissolved 2—B Thisin 1815. moniker dates from the mid-19th century, before Brooklyn was absorbed into the growing city of New York. 3—D Minerva is a goddess of strategic warfare and may not have been thought thematically appropriate include to in the wedding scene in which the other goddesses appear. 4—All of the above. All of these have been staged since 2018. 5—A The youngest son of Emperor Leopold II, Rudolph was a close friend of Beethoven and the only one who paid Beethoven the pension he and others promised.

DIALOGUE DIALOGUE

Paul Heppner

We’re Celebrating 50 Years of Arts, Culture and Community

For the past fifty years, it has been our pleasure to Having worked with Encore since provide audiences with performance programs, festival you were a young man, you’ve seen guides and magazines that reflect and enhance the better than most the changes that have occurred in Seattle’s arts organizations of our community. community—the good and the bad. How has Encore adapted amongst Although you may not know it, a career change that brought his these changes? Encore has published many of passion for the arts to fill a need in the programs that you’ve read the Portland performing arts scene We were just talking about this at performances throughout the by launching Encore Magazine the other day—when I arrived in Greater Seattle Area and the San for the Arts. That quickly evolved Seattle in 1985, state of the art was Francisco Bay Area. Encore has into the programs for Portland an IBM Selectric typewriter! The become an established partner Opera and Encore arts programs. outstanding thing to note over to arts organizations throughout the years has been the appreciable these communities, and to Partnerships with arts organizations growth in depth and quality of the celebrate the fiftieth anniversary, are essential to your business—how performing arts, as well as the we talk to the president of Encore, did those relationships start? breadth and sophistication of the Paul Heppner, about Encore’s respective audiences. Interestingly history, its purpose, and the arts Librettos and theatre programs enough, even with the advent of the communities Encore serves. were commonplace, especially in internet in our data driven world, Europe where my dad collected the theatre program has remained Ciara Caya: Fifty years is quite the many souvenir programs. Creating a cherished part of the live perfor- milestone. Can you tell me a bit programs (typesetting, layout mance experience. Unlike the mass about how Encore was founded? and printing) in those days was media (print, digital or electronic) extremely labor intensive and attending a live performance is Paul Heppner: My dad, Philbrook performing arts organizations were enhanced by simply turning the Heppner, loved music, arts and, not set up to handle the production pages and reading a program that most of all, the opera. After having necessary, so a mutually beneficial gives you compelling and thought- worked as an architect, he made service model was developed. ful content about the people and

encorespotlight.com 13 CALENDAR

Encore publishes for over twenty organizations in the Greater Seattle Area and the San Francisco Bay Area.

the performances—it truly can philanthropy). We’ve been long- play a leading role in supporting make the event transformative. time supporters and fans of SIFF the great works of organizations and believe in our work with, that are transforming and building As the publisher of arts and support of Seattle Pride. This this region. We believe that finding organizations’ programs, year we were thrilled to begin smart ways to integrate media in Encore is usually (pardon the working with Seafair and all that it meaningful ways for consumers is pun) behind the scenes. In represents to our city and region. key, and we are focused on devel- what other ways are you and Over the years we’ve also provided oping products and programs that Encore involved with the Seattle support to smaller organizations— expand and enhance opportunities community and with the arts one of our favorites is Music4Life for all of our stakeholders. We’ve organizations you partner with? because of its impact on the lives of recently launched encorespotlight. young people in our public schools. com to start addressing the dis- We’re extremely proud to have tressing lack of arts coverage in had the privilege to work with, So, now that you have the first major media. Through this website and support through our work, fifty under your belt, what’s on we are also continuing our work numerous organizations outside stage for the next fifty? with youth, having partnered in the performing arts world. Last part with the amazing Press Corps year we were an integral part of a We’ve learned that the fulcrum for at TeenTix to provide both a plat- team of committed arts leaders to evolving our business centers on form (in print and digitally) for work with Seattle Foundation to providing services that connect the these amazing young journalists. transition and insure the future arts, culture and our community. of GiveBIG (the annual day of We recognize and are excited to SHAUN SWICK SHAUN ARTIST THE OF COURTESY

14 SHAUN SWICK

COURTESY OF THE ARTIST CALENDAR Seattle Symphony October 24–26 Schumann PianoConcerto Seattle Opera October 19–November 1 Cinderella ACT Theatre October 18–November 17 Dracula Tacoma Live Arts October 17–November 3 Shakespeare inLove Arts Meany CenterforthePerforming October 17–19 Sankai Juku Seattle Shakespeare Company October 15–November 10 TempestThe Seattle Rep October 11–November 17 The Great Moment Explore a full-season performing arts calendaratencorespotlight.com. arts Explore afull-seasonperforming Upcoming Events Seattle Symphony November 21–23 Stravinsky The RiteofSpring GroupSeattle Theatre November 15–24 Mrs. Krishnan’s Party India Ink Theatre Company: Ballet Pacific Northwest November 8—17 Locally Sourced Arts Meany CenterforthePerforming November 7 Danish StringQuartet Village Theatre November 7–February 2 Guys &Dolls Tacoma Live Arts November 2 Duke Ellington Orchestra Broadway at The Paramount October 29–November 3 Miss Saigon arts &culture tickets. Teens canenjoy tons of affordable events It’s FREEtosignup teentix.org to thearts! Your ticket entitles youto$5 for thepassthat with TeenTix! encorespotlight.com 17–19 atMeanyCenter. October Juku willperform dance troupe Sankai The JapaneseButoh 15 A MIDSUMMER NIGHT’S DREAM BY WILLIAM SHAKESPEARE

OCT 27 - 29 · SIFF FILM CENTER

NOV 10 - 12 · SIFF FILM CENTER Hansard by Simon Woods

For tickets and info visit siff.net