2015 Next Wave Festival NOV 2015

Shinique Smith, Magnetic Beam, 2015

Published by: Season Sponsor: #BAMNextWave #YouUsWeAll

Brooklyn Academy of Music

Alan H. Fishman, Chairman of the Board

William I. Campbell, Vice Chairman of the Board

Adam E. Max, Vice Chairman of the Board

Katy Clark, President

Joseph V. Melillo, Executive Producer YOU US WE ALL BAM Harvey Theater Nov 11—14 at 7:30pm

Running time: one hour & 20 minutes, no intermission

Music by Shara Worden Text, direction, and design by Andrew Ondrejcak B.O.X. (Baroque Orchestration X)

Season Sponsor:

Leadership support for opera at BAM provided by Aashish & Dinyar Devitre

Endowment funding has been provided by The Andrew W. Mellon Foundation Fund for Opera and Music-Theater

Major support for opera at BAM provided by The Francena T. Harrison Foundation Trust YOU US WE ALL

CAST HOPE Shara Worden VIRTUE Helga Davis LOVE Martin Gerke DEATH Bernhard Landauer TIME Carlos Soto

B.O.X. ENSEMBLE A Continuo/Rythm Section Theorbo, artistic direction Pieter Theuns Harpsichord, organ Anthony Romaniuk Baroque harp Jutta Troch Drums, percussion Mattijs Vanderleen

An Alta Capella of Winds Cornett, flutes Lambert Colson Cornett, trumpet Jon Birdsong Sackbut (baroque trombone) Liza Malamut

A Consort of Viols Treble viol, bass viol Liam Byrne Bass viol Pieter Vandeveire Violone Christine Sticher

PRODUCTION CREDITS Stage, light, costume, projection design Andrew Ondrejcak Choreographer Seth Stewart Williams Production dramaturg Anne Seiwerath Executive producer/tour management ArKtype/Thomas O. Kriegsmann

Production manager/lighting director Davison Scandrett Production stage manager Valerie Oliveiro Assistant stage manager Nina Segal Video design consultant Andrew Bauer Video supervisor Tei Blow Co-lighting design Lutz Deppe Co-costume design Zane Philstrom Assistant director Cecile Tonizzo Sound design David Schnirman/Hear No Evil Wig design Rick Gradone Make-up design Marco Campos Assistant, costumes and wardrobe Baille Younkman Assistant, costumes Julie Michaels Production assistant Veerle Van Rossom

YOU US WE ALL is commissioned by B.O.X. (Baroque Orchestration X), co-produced by ArKtype, deSingel International Arts Campus, Antwerp, Belgium and Kampnagel Sommerfestival, Hamburg, Germany, with the support of the Flemish Authorities Carlos Soto. Photo Hans Stockmans Transformed tosong andvoice,offeredgenerouslybySharaWorden Invented and fashioned by our kingdom’s artiste AndrewOndrejcak Invented andfashionedbyourkingdom’sartiste upon the eleven, twelve, thirteen, and fourteen dayesofNovember upon theeleven, andfourteen twelve,thirteen, Applied anddigestedbyB.O.X. underthehandofPieter Theuns and forourmostgraciousMasteroftheRolls JosephV. Melillo given bytheRightHonourableBrooklynAcademyofMusique in theGreatCollectiveProgress towardshisRedemption, a riteforHumankindpersonatedasmasqueatcourt at the BAM Harvey TheaterinBrooklyn, NewYorkat theBAMHarvey for thesoulsofallherewitness Two-thousand years, fifteen YOU USWEALL You. For: YOU US WE ALL

Enter the Baboons, after whose dance, being antic and delightful, they returned to their tree… —George Chapman, stage direction from The Memorable Masque of the Middle Temple and Lincoln’s Inn (1613)

The epigraph to Andrew Ondrejcak’s libretto for YOU US WE ALL comes from a court masque, staged for the delight of a royal and aristocratic audience during the reign of James I of England. Court masques, which combined music, drama, dance, and lavish sets and costumes, were performed during the 16th and 17th centuries in countries throughout Western Europe, but reached their zenith (in both extravagance and artistic refinement) in James I’s court.

Shara Worden (composer/performer) and Andrew Ondrejcak (playwright/director/designer) cite court masques as their inspiration for YOU US WE ALL, but they skew their source by endowing emblematic figures—Virtue, Love, Death, Hope, and Time—with human idiosyncracies and by replacing references to Roman gods with references to pop divas. It’s fitting, then, that “Enter the baboons…” is a stage direction from the antimasque portion of The Memorable Masque of the Middle Temple and Lincoln’s Inn. In an antimasque (such as the baboons’ interlude), impudent forces invade a scene, disrupting the orations of the masque’s classical, mythical, or allegorical figures.

Like the seasonal revelry of carnival that gives way to Lent, the antimasquers’ reign is but a brief one. This is because the antimasque exists to be disbanded, when stately figures return to the stage to reassert dramatic order and, by implication, royal authority (a gratifying conclusion for the intended audience at court). Rather than presenting a pageant divided into masque and antimasque, Ondrejcak and Worden have united the two, and the masquers of YOU US WE ALL, rather than banishing wildness, bring beastliness with them when they enter.

In Chapman’s stage directions, the baboons retreat at the end of their antimasque to a “vast, withered, and hollow tree,” which stands opposite the silver-wreathed masquers’ temple, with a frieze “enriched with carvings, all showing greatness and magnificence.” (The designer of both tree and temple was the famed architect Inigo Jones, perhaps best known for the sets and costumes he designed for masques written by Ben Jonson.) On Ondrejcak’s oil slick of a stage, there’s no tree to which baboons can be driven, and no temple where the virtuous can take shelter. Yet even as YOU US WE ALL resists the poles of masque and antimasque, it embraces spectacle. In homage to the labor-intensive craft of Jones’ elaborate scenery, Ondrejcak creates a digital backdrop that reveals an artist’s hand; he chooses not to conceal the cursor of a computer mouse used to manipulate the projected images.

YOU US WE ALL is the product of an ongoing collaboration between Ondrejcak and Worden, who write words and music, respectively and in that order. In the text Ondrejcak provides to inspire Worden’s compositions, he gives cues about phrasing through typography. A song for Love drips down the page:

I HAVE LOVE TO GIVE Acts of shame beget Acts of mercy BULLETS ARE MY LOVE.

I sin

so I will suffer,

so I will be redeemed:

by you.

Turning the words into songs, Worden creates fully orchestrated compositions, here arranged specifically for B.O.X. (Belgium-based Baroque Orchestration X). Although B.O.X.’s musicians are masters of baroque musical practice, playing instruments such as the lute and harpsichord, the ensemble is known for its performances of contemporary music—often premiering new works—making it an apt partner for Worden, a classically-trained rock musician.

In song, the figures of the masque—whose defining characteristics are laid out in spoken poetry at the opening of the performance—begin to reveal all the ways that they don’t live up to their names. As masque and antimasque bleed into one another, the carapace of typology flakes away, exposing humanity in all its appetites and contradic- tions. The audience watches the remote become familiar, and beneath the yards of fabric and sculpted wigs, sees beating, animal hearts. —Anne Seiwreath Shara Worden. Photo: Hans Stockmans Who’s Who

SHARA WORDEN (composer, performer) was Works & Process curated by Robert Wilson) and born in diamond-rich Arkansas and raised all Veneration #2 (2013, SCAD Museum of Art), around the country. This songwriter, multi- WONDER/LUST (2011). In 2013, Ondrejcak instrumentist, singer, and composer came from was artist in residence at the Baryshnikov Arts a musical family of traveling evangelists. Having Center and at the Lower Manhattan Cultural decided to pursue a musical degree, she went on Council. In 2010, he re-performed the work of to study operatic voice at the University of North Marina Abramovic in The Artist is Present at Texas. After moving to New York via Moscow, MoMA. Upcoming: Elijah Green (March 2016) she chose to focus on arranging and began at The Kitchen. While making experimental studying classical composition with composer/ theater, Ondrejcak was asked to conceptualize performer Padma Newsome (Clogs). Worden a fashion show—thus began his career as then began issuing recordings as her chamber an art director and production designer. His pop band, My Brightest Diamond, releasing four work appears in Vogue, Bazaar, Italian Vogue, albums: Bring me the Workhorse (2006), A Wallpaper*, W, and V, among others. He is the Thousand Sharks’ Teeth (2008), All Things Will art director for Vivienne Westwood’s upcoming Unwind (2011), and This is My Hand (2014). retrospective; he art directed her shows in Paris Recent years have found Worden in the role Fashion Week (2015). As an arts educator, of composer as much as songwriter. She has Ondrejcak teaches workshops on Performance received numerous composer commissions that + Design at Domaine de Boisbuchet in Lessac, include work for the yMusic ensemble at Lincoln France and has been a lecturer at MoMA since Center’s American Songbook series (2011), 2003. Brooklyn Youth Chorus (2012), Brooklyn Rider (2012), Young New Yorkers’ Chorus (2013), PIETER THEUNS (theorbo, artistic direction), Nadia Sirota (2013), Clara Schumann Children’s after starting on electric guitar, obtained a Choir (2014), Roomful of Teeth (2015), and So master’s degree in classical guitar from the Percussion (2015). Worden has performed her LUCA School of Arts (formerly known as works with the San Francisco Symphony, BBC Lemmensinstitute) in Leuven, Belgium. He then Concert Orchestra, North Carolina Symphony, discovered the world of early music and obtained American Composers Orchestra, and the a bachelor’s degree in theorbo and historical Indianapolis Symphony. Additionally, many performance practice at the Royal Conservatory composers, songwriters, and filmmakers have of Brussels. In 2010 he founded B.O.X. sought out Worden’s distinctive voice, including (Baroque Orchestration X). B.O.X. premiered David Lang, David Byrne, Sarah Kirkland Snider, at TEDx Flanders with baroque orchestrations Sufjan Stevens, Bryce Dessner, Steve Mackey, of PJ Harvey and Radiohead (2010). Other the Decemberists, Laurie Anderson, Meshell notable collaborations include Sága (2011) Ndegeocello, Matthew Ritchie, and Matthew with Belgium-based pop band Dez Mona, and Barney. Worden currently resides in Detroit, MI The Loom of Mind (2015) with Icelandic stars with her son. Mugison and Petur Ben. Theuns also founded a baroque trio called Bel Ayre in 2010, and ANDREW ONDREJCAK (writer, director, he has performed all over Europe in such designer) was born and raised in Mississippi. He prestigious festivals and concert halls as deSingel studied architecture and painting at Savannah (Antwerp), BOZAR (Brussels), Holland Festival College of Art and Design then playwriting at (Amsterdam), and the Festival of the Venetian Brooklyn College under Mac Wellman and Erin Centre for Baroque Music (Venice). Courtney. He is currently artist in residence at Park Avenue Armory (2015) and will be in HELGA DAVIS (Virtue) was featured in the residence at the Watermill Center (2016). His 25th anniversary production of Einstein on works include FEAST (2012, 2014) at The the Beach by Robert Wilson, Philip Glass, and Public Theater’s Under the Radar Festival), Lucinda Childs (2012 Next Wave Festival). Veneration #1 (2011, Guggenheim Museum’s She performed at the Park Avenue Armory in Who’s Who

Ann Hamilton’s The Event of a Thread (2012) Britten’s A Midsummer Night’s Dream, Tolomeo with music by David Lang; Paola Prestini’s in Handel’s Giulio Cesare, the Sorceress in Oceanic Verses (2013) at the Barbican as Purcell’s Dido and Aeneas, and the Devil in part of Nico Muhly’s Scream and an Outrage Detlev Glanert’s Jest, Satire, Irony. Landauer Festival; ELSEWHERE (2012 Next Wave), by has taught at the Department of Early Music cellist Maya Beiser with music by Missy Mazzoli; of Vienna Conservatoire, and since 2005 at The Temptation of St. Anthony (2004 Next Austrian Masterclasses. Current projects include Wave) directed by Robert Wilson with libretto a production of George Benjamin’s opera Written and score by Bernice Johnson Reagon; and The on Skin with the Landestheater Detmold and the Blue Planet by Peter Greenaway directed by Royal Opera Stockholm, and the world premiere Saaskia Boddeke. Davis received a BRIC Media of a sitcom-opera series by Austrian composer Arts’ Fireworks grant for her new original work, Bernhard Gander. Cassandra (2014). CARLOS SOTO (Time) is also a director and MARTIN GERKE (Love) has performed many designer. Works include GIRLMACHINE with roles including Papageno (Die Zauberflöte), Charles Chemin, Pig Pig Pig, and a short Papacoda (Eine Nacht in Venedig) at dance-theater work featured in an evening of Stadttheater Hildesheim, Landestheater Detmold, performance curated by Robert Wilson at the Kammeroper Schloß Rheinsberg, Hebbel am Guggenheim Museum. Pace Gallery (New Ufer, and Neukölln Opera, and Golaud (Pelléas York) exhibited Soto’s video work in 2013. A et Mélisande), directed by Miriam Salevic. He site-specific performance created with Davide debuted in 2010 as Figaro in Mozart’s The Balula premiered at the Palais de Tokyo. He is Marriage of Figaro at Theater für Niedersachsen developing a new evening-length theater work in and Don Giovanni at Hochschule für Musik residency at the Watermill Center. Since 1997 Hanns Eisler. Gerke has also performed in he has worked as a performer, designer, and Wanderland by Beate Baron, Genoel Rühle assistant on numerous productions with Robert in Saalbau Neukölln, Kopernikus by Claude Wilson, most recently The Life and Death of Vivier, and Der Sonne entgegen by Lucia Marina Abramovic. He redesigned the costumes Ronchetti, directed by Michael von zur Mühlen. for Einstein on the Beach and recently designed He appeared in all three productions directed the costumes for Adam’s Passion, a collaboration by Willy Decker at the RuhrTriennale, a Mozart with Wilson and Estonian composer Arvo Pärt. pastiche directed by Vera Nemirova, Liszt’s Don Upcoming works with Wilson include a musical- Sanche (Alidor), Wotan in The Jaffa Oranges theater work about tragic Brazilian soccer star of Richard W.: An Israeli Rheingold at the Garrincha, and a new opera creation with Radialsystem in Berlin, at the Theater Chur and composer Paola Prestini. the Rotterdam Operadagen, and as Escamillo in Carmen at Theater Rampe Stuttgart. JON BIRDSONG (cornetto, trumpet) was born in Texas, where he studied jazz and trumpet at BERNHARD LANDAUER (Death) began the University of NorthTexas. He has extensive as soloist with the Boys’ Choir of Wilten experience in the pop music world as player Monastery, and later studyied at the Vienna and arranger, recording and touring with Beck, Academy of Music. He has created roles in Calexico, Beth Orton, Miho Hatori, and Smokey works by Giorgio Battistelli, René Clemencic, Hormel. He is currently living in Antwerp Christof Dienz, Richard Dünser, Sarah where he has been working with groups such Nemtsov, Alfred Schnittke, Lin Wang, and as Liesa Van der Aa, Think of One, Flat Earth Simon Wills in productions by Philippe Arlaud, Society, Koen DeCauter, and dEUS, in addition Nicolas Brieger, Nick Broadhurst, Brigitte to running his own group Spiral Consort and Fassbaender, Achim Freyer, Harry Kupfer, and solo projects. Recent works include a recording David Pountney. Favorite roles include Fyodor of music for conch shells (Spiral Consort) and in Mussorgsky’s Boris Godunov, Oberon in a project mixing original music for trumpet Martin Gerke. Photo: Hans Stockmans

Who’s Who

with toy pianos, manipulated music boxes, and others. In 2012 she founded the Weckmann electronics, recorded in an abandoned fort in Project, a Boston-based collective dedicated Belgium. After being asked to play the cornetto to resurrecting and performing rarely-heard in a theater piece in 2008, he became involved 17th-century compositions for a wide range of in an intensive study of this instrument and the audiences. Malamut holds degrees from the repertoire and performance practice of the early Eastman School of Music and Boston University, baroque period. and is currently pursuing the degree of Doctor of Musical Arts in historical trombone at Boston LIAM BYRNE (treble viol, bass viol) spends most University, where she studies with Greg Ingles. of his time playing either very old or very new music. For several years he was a member of the ANTHONY ROMANIUK (harpsichord, organ) viol consort Fretwork, and he has worked with is active as a soloist, chamber musician, and many leading European early music ensembles accompanist on piano (modern and historical), including the Sixteen, i Fagiolini, Dunedin harpsichord, and organ. Based in Brussels, Consort, Le Concert d’Astrée, Phantasm, he studied at the Manhattan School of Music, and Concordia. He also collaborates with a the Royal Conservatoire at the Hague, and wide variety of composers and non-classical the Amsterdam Conservatorium. Notable musicians, having made new works with Valgeir collaborations include those with Patricia Sigurðsson, Nico Muhly, Edmund Finnis, Damon Kopatchinskaja, the Australian Chamber Albarn, the Hidden Cameras and others. He Orchestra, and Vox Luminis. Since 2012 he holds a BMus from Indiana University and an has served as a faculty member at the Royal MPhil from Oxford University. Byrne is professor Conservatoire in Brussels. of viola da gamba at the Guildhall School in London. CHRISTINE STICHER (violone, double bass) was born in Germany in a small town with a LAMBERT COLSON (cornetto) has studied vivid music scene. She studied double bass recorder, cornetto, and historical performance and violone studies at the Mozarteum in practice in several prestigious European schools Salzburg, Austria, and at the equally renowned such as the Koninklijk Conservatorium in Royal Conservatoire in The Hague. Sticher Brussels, Schola Cantorum Basiliensis in Basel, has performed a broad opera and symphonic and Escola Superior de Música de Catalunya in repertoire with many modern orchestras, as Barcelona. He works frequently with ensembles well as specializing in baroque, performing the such as Le parlement de musique (Martin romantic repertoire on gut strings with the likes Gester), Scherzi Musicali (Nicolas Achten), of Simon Rattle and Vladimir Jurowski. Sought Les Paladins (Jérôme Correas) and L’Echelle after for her stylish continuo and ensemble (Charles Barbier), and Liesa van der Aa. Along playing, Sticher enjoys a career freelancing with running his own ensembles Qualia and with the most high profile baroque ensembles InAlto, he has worked with the composers Zad throughout Europe. Moultaka, Fabrice Fitch, and Bernard Foccroulle, and takes part in various improvised music JUTTA TROCH (baroque harp) earned a master’s projects. degree at the Royal Conservatory of Antwerp with Sophie Hallynck. She has experience on classical LIZA MALAMUT (baroque trombone) regularly and baroque as well as on contemporary appears as a sackbut specialist with America’s harps. Troch completed a master course in premier early music groups. She has performed contemporary music with Ictus and the Spectra with the Boston Early Music Festival, Green Ensemble at the conservatory of Ghent. She is Mountain Project, Boston Camerata, Boston the harpist of Besides and Nadar, contemporary Baroque, Piffaro the Renaissance Band, Dark music ensembles. On the baroque harp, she Horse Consort, Trinity Baroque Orchestra, the is one of the cornerstones of B.O.X. With the Clarion Society, Grand Harmonie, and many alternative pop group Dez Mona she created Who’s Who

and recorded the opera Sága. In addition, she DAVISON SCANDRETT (production manager, plays as a freelance modern harpist with many lighting supervisor) has supervised lighting different ensembles and orchestras. and technical production for more than 1000 performances in 46 states and 27 countries, MATTIJS VANDERLEEN (drums, percussion) most notably serving as director of production studied at the Rotterdam Pop Academy, prior to for the Merce Cunningham Dance Company which he earned a master’s degree in classical from 2008—12. Other production management percussion at the Royal Brussels Conservatory. credits include works by Miguel Gutierrez, He took master classes from Steven Shick, Jennifer Monson, and Sarah Michelson; Katharzina Mychka, Sigiswald Kuiken, Stéphane Wendy Whelan’s recent solo project Restless Galland, and Teun Verbruggen. He has long Creature; the ongoing international tour of An experience playing in modern-orchestral, pop, Iliad starring Denis O’Hare; and Lincoln Center rock and electronic contexts with such groups Festival’s presentations of the National Ballet as Arno, Bl!ndman, Toneelgroep Amsterdam of China and Kafka on the Shore at the Koch (Roman Tragedies), Les Ballets C de la B Theater. Scandrett has also emerged as a (Ashes), YaMo, Lenin, and Nailpin. He currently leading visual designer for the dance community, plays with B.O.X. and his own bands Tommigun, creating lighting for Pam Tanowitz, Rashaun Sunday Bell Ringers and [sic]. Mitchell, Silas Riener, Rebecca Lazier, Harrison Atelier, and Paris Opera Ballet. Scandrett was PIETER VANDEVEIRE (viola da gamba) earned the recipient of a 2007 Bessie Award for his two master’s degrees—one for double bass and collaboration with Sarah Michelson and Parker another for viola da gamba—with Lode Leire and Lutz on the visual design of DOGS (2006 Next Philippe Pierlot, respectively. In 2009 Vandeveire Wave) and is a graduate of the North Carolina won first prize at the international competition School of the Arts. for viola da gamba in Seville. He teaches both instruments at the music academies of Lebbeke ZANE PIHLSTROM (co-costume designer) and Bornem. His double bass has carried him has worked internationally on scenery and/or to the most divergent musical worlds: classical, costumes for Eurydice at the Finnish National swing jazz, or world music. As a gamba player Theater (Helsinki); Macbeth at the Volksbühne he specializes in baroque music, playing am Rosa-Luxemburg-Platz (Berlin); Heart of a concerts with ensembles such as Bel Ayre. Dog and Uncle Vanya at Uppsala Stadsteater (Sweden); for The King Stag at Shanghai LUTZ DEPPE (co-lighting designer) has worked Academy (China); 4:48 Psychosis at Shanghai as a photographer for various record labels like Dramatic Arts Center (China); The Seagull at Wergo, Torofon, and Weltwunderrecords, and the City Theater of Reykjavik (Iceland); Bambiland publishers Du Mont, Prestel, Edition Cantz. He and Our Class at National Theater of Lithuania/ has participated in several exhibitions in Berlin, Oskaras Korsunovas Theater (Lithuania). In Hannover, and Koln. In 1995, he worked for the New York Pihlstrom frequently collaborates first time exclusively with light. With Susanne with Beth Morrison Projects. Through BMP he Linke, he designed the lighting for her dance film has or is designing operas for composers Missy Maerkische Landschaften. After that, he assisted Mazzoli, Mohammed Fairouz, Paola Prestini, Jean Kalman for the Opera de Lyon in Lenz, an Scott Wheeler, and Zhou Long. Since 2008 Zane opera by Wolfgang Rhim. He has since worked has been the resident designer for Company with many dance companies, directors, and XIV, a New York based neo-baroque dance composers. He won the 2003 Time Out Award company. In 2014, Pihlstrom was nominated for in London for Yoshi Oida’s The Maids. His light a Drama Desk award for his costume design for installations have been seen at the EXPO 2000 Nutcracker Rouge. at the Cité de la Musique, Paris, in 2003 and in St. Elisabeth church (Berlin) in 2010. RICK GRADONE (wig design) studied art history, which informs his work as a hair and Who’s Who

make-up designer. He is a founding member of his research centers on Renaissance literature, the art band Hi Fashion for which he designs especially drama. costumes, hair, and makeup. For the stage, he has designed for Atlantic Theater Company, ArKtype/THOMAS O. KRIEGSMANN (executive Mobius Group, Columbia University, and Local producer) serves as director of programs at 112 but his primary work is in fashion, where he New York Live Arts and founded ArKtype in imbues his love of classical art with alternative 2005. His work as producer and tour manager punk aesthetics. His work appears in Vogue, includes projects with Mikhail Baryshnikov, Bazaar, Marie Claire, Glamour, Interview, Nylon, Peter Brook, Yael Farber, Annie-B Parson & Paul and Jalouse, to name a few. Lazar, Lisa Peterson, Phantom Limb Company, Jay Scheib, Peter Sellars, Julie Taymor, Tony DAVID A. SCHNIRMAN/HEAR NO EVIL (sound Taccone, Victoria Thierée-Chaplin, World/ design, engineering) brings 30-plus years of Inferno Friendship Society, and many more. He experience to this project. Broadway productions recently premiered Big Dance Theater’s Man include Bug Music, Salome, Band in Berlin, in a Case with Mikhail Baryshnikov, the US The Wind in the Willows, K2, Twice Around the premiere of Nalaga’at Deaf-Blind Theater’s Not Park, and The Ritz. Other credits include live by Bread Alone, and Jay Scheib’s Platonov. broadcasts for WFUV Radio, Rosanne Cash, Ongoing collaborations include works with 600 Antony and the Johnsons, Rufus Wainwright, Highwaymen, Rude Mechs, Theater for a New Dan Zanes, Ollabelle, Lou Reed, Amy Helm, Audience, Soho Rep, Brent Green, Sam Green, Ben Neill, David Byrne, Martha Wainwright, and on Christeene. Upcoming premieres include the Roches, the Lone Bellow, St. Ann’s Jessica Blank & Erik Jensen’s How to Be a Rock Warehouse, Atomic Bomb: the Music of William Critic, Byron Au Yong and Aaron Jafferis’ Trigger, Onyeabor (BAM, 2014), and many Hal Willner and Andrew Ondrejcak’s Elijah Green with John productions. Schnirman received the Barrymore Jasperse. arktype.org Award for best sound design for the 1998 Prince Music Theater’s production of Band in Berlin. He played the role of the sound man, “CH,” in the For further information on YOU US WE ALL, movie Greetings from Tim Buckley. please contact:

SETH STEWART WILLIAMS (choreographer), Thomas O. Kriegsmann, President during his performance career, appeared with ArKtype a variety of companies, including Mark Morris PO Box 180241 Dance Group, New York Baroque Dance Brooklyn, NY 11218 Company, and Séan Curran Company. As a Tel: +1(917)386-5468 specialist in early dance, he works on the Fax: +1(347)889-5031 popular and theatrical dances of the 15th to [email protected] 18th centuries. He is a doctoral candidate in arktype.org English literature at Columbia University, where SKYPE: arktypetok

SPECIAL THANKS TO: Joseph V. Melillo and the Brooklyn Academy of Music, András Siebold and the Kampnagel, Jerry Aerts and the deSingel Arts Campus, Emil Kang and Carolina Performing Arts, Jan De Vroede, Ayco Duyster, Thomas Goorden, Jenn Dees, Lieselot De Wilde, Ellen Wezenbeek & Huis Happaert, Erin Courtney & Mac Wellman, Peter Bernaerts, Lieve Leemans, Sofie Tack, Johanna Peeters, Patrick Vanderborght, Tom Roelofs, Christine Sticher, Ilse Moors, Tanya Selvaratnam, Madeleine Claus & Pedro Soler, Jeroen Theuns, Hendrik-Jan Peeters, Dirk Steenhaut, James Worden, Constantine Worden, Laura Berman, Kristin Kuster, Sarah Kirkland Snider, Steve Mackey, Nico Muhly, David Lang, Gabe Kahane, Jonathan Bepler, Detroit Symphony Orchestra, Ann Parsons & Erik Ronmark, Gary Wasserman, Greg Baise, Brianne Almeida & Amber Bemnister at Lalaland Artists, Victoria Roe & Justin Becker, Andrea Troolin at Ekonomisk Management ©2015 Viacom Inc. All rights reserved. rights All Inc. ©2015 Viacom

Final Size: 5.25" x 8.375" • Ratio: 1' = 1' • Resolution: 300 DPI • Color: CMYK 24781 BAM Salute Ad 4C Viacom_2015 BAM Photo Archive: James Klosty Nov 2015

Contents

Walking with ‘Trane The Hard Nut

Photo: Rick McCollough Jawole Willa Jo Zollar answers some questions about the inspiration for Urban Bush Women’s new piece.

Photo: Susana Millman Steel Hammer Mark Morris Dance Group members share anecdotes The SITI Company explores the multi-faceted lore about The Hard Nut, which brings its singular joy back behind the John Henry folk tune. to BAM this holiday season. by Robert Wood

BAMbill Cover

SHINIQUE SMITH is the 2015 Next Wave Festival Cover Artist, part of BAM’s tradition of visual art on the cover of BAMbill. Since 1983, dozens of artists have participated, including Roy Lichtenstein, Andy Warhol, Chuck Close, Rosemarie Trockel, and more. Three new artworks created by Smith will rotate between Sep–Dec 2015. These archival inkjet prints, each 22” x 30”, are available to purchase for $1200 individually or $3500 for all three. Proceeds benefit BAM. For inquiries or to purchase, please contact BAM Visual Art at [email protected] or 718.636.4101.

Shinique Smith (b. 1972, Baltimore, MD) is a New York-based artist whose work is inspired by the vast nature of things that we consume and discard, which resonate on a personal and social scale. The graffiti of her youth, Japanese calligraphy, and abstraction are influences from which she extracts “the graceful and spiritual qualities in written word and the everyday.” Over her career, Smith has had more than 20 solo exhibitions and has exhibited internationally, including at the Brooklyn Museum of Art, Deutsche Guggenheim (Berling), Los Angeles County Museum of Art, Museum of Contemporary Art (North Miami), The New Museum, and MOMA/PS1. Most recently, the Museum of Fine Arts, Boston mounted a solo exhibition titled Shinique Smith: Bright Shinique Smith, Magnetic Beam, 2015, 22”x30”, Matter, which featured 30 key works from the past decade alongside recent archival inkjet print. Photo courtesy the artist. work. Smith earned her BFA and MFA from Maryland Institute College of Art and Master of Arts in Teaching from the School of the Museum of Fine Arts and Tufts University. She is represented by James Cohan Gallery, New York and Shanghai, David Castillo Gallery in Miami, and Brand New Gallery, Milan. #BAMNextWave #UrbanBushWomen Photo: Rick McCollough

Walking, and dancing,with ‘Trane

Urban Bush Women’s suite, Walking with Q: What’s the structure of Walking with ‘Trane? ‘Trane (Dec 9—12, Harvey Theater) is a dual celebration of the company’s 30th anniversary, A: Walking with ‘Trane is conceived as a concept and the 50th of the release of A Love Supreme, album with a Side A and Side B, inspired by John Coltrane’s album that spurred founder the musical life and spiritual journey of John Jawole Willa Jo Zollar and company to create Coltrane, a composer at the forefront of music this work. Talvin Wilks is the dramaturg, with innovation in a racially-charged America of the scores by George Caldwell and Philip White. ’50s and ’60s. Informed by the unpredictability Zollar answered some questions about ‘Trane. of the bandstand—the “band state”—the scary, risky place that potentially extends into transcendence, this ethereal investigation lives Q: What about Coltrane’s music inspired you to within multiple layers of Coltrane’s music, make a suite? Coltrane’s spirituality, and Coltrane’s life. Side A: Just A Closer Walk With ‘Trane is a A: When I first heard Coltrane’s A Love Supreme conjuring of Coltrane’s essence and his journey, as a college student in the ’70s it made an based in rooted understandings of his music immediate impact on me, like so many others and known traditions pushed into heightened who encountered the music. I felt the deep performance states—from cool to hot, from spirituality of the music and it inspired many ancient field hollers to gospel cadences that conversations among my friends about the drive a spiraling physical journey through echoes nature of love, spirituality, and art. It refelcted of the blues, bebop, hard bop and free states, a generation of spiritual quest that Coltrane scored by Philip White. captured that did not deny the political, the Side B: Freed (Om) explores the artistic imprint anguish, the love that was permeating society; of Coltrane’s A Love Supreme, composed by he accessed that in the music. George Caldwell and played live. #BAMNextWave Dec 9—12

Q: Do you feel your choreography compares in Q: What compelled you to choose the some ways to jazz? Do you allow your dancers composers who are providing the music? the freedom to improvise within a given framework? A: I wanted Side A and Side B to have very A: What I’m seeing is the development of different sound scores. For Side A, I wanted

group vocabulary and idiosyncratic vocabulary. electronic Photo: David Cooper Lisa Ryder. as an expression of contemporary Group Vocabulary is the language that is being music and in my own mind’s musings, a developed, Idiosyncratic Vocabulary is the score possibility where Coltrane might have ventured if from which the dancer responds and lives in the he had lived during the time that electronic music moment in response to what is happening with offered new possibilities of sound. Philip White the music and the other performers. We are the is an experimental composer with an extensive music; we are not dancers interpreting the music. background in what is commonly called “jazz.” Our vocabulary is the music for the audience; I first met George Caldwell through his work it is best revealed in silence. When music that with Dianne McIntyre and fell in love with his we commonly call jazz is written about, who approach to music making. is playing with the musician is as important as the composer. But in dance, the dancers are not Q: Is the inclusion of a man a first for UBW? as acknowledged for their contribution in the And what prompted that? process. The dancers are building an ability to create in the moment. A: No, he is not the first. I work with who interests me. Photo: Rick McCollough Photo courtesy Carlotta Films US US Photo courtesy Carlotta Films TAKING OFF 5,000 TIMES A DAY. TAKING ON EVERYTHING ELSE. Delta is proud to be the offical airline of BAM. #BAMNextWave #SteelHammer Photo: Michael Brosilow

So Many by Robert Wood John Henrys

It’s been said that you can never sing a folk But the details are predictably fuzzy. Was John song twice. Folk songs are living organisms, not Henry 5’1” or 6’1”? Was his wife Polly Ann or Sally reproducible objects, the argument goes, existing Ann? Did his hammer shine like silver or gold? to perpetually renew the contract between universal myths and the gritty particulars of our Wolfe’s answer, according to her libretto, is lives. Sometimes, because songs migrate and yes. A patchwork of juxtaposed nouns and the oral tradition gets creative, those particulars adjectives plucked from the story’s myriad work their way into the songs themselves and variants, her libretto celebrates proliferation and variations proliferate. A Scottish glen becomes pluralism—an American crazy quilt of contested, a Virginia holler, a silver dagger becomes a pen telephone-gamed fact. On stage, four female knife, rosy-red lips become lily-white hands. The vocalists take on the role of stoic Appalachian details change so that the myths don’t have to. balladeers, impassively conveying the ballad’s litany of discrepancies. Through an acerbic Such is the case with the “The Ballad of John post-minimalism, fleshed out by banjos, jaw Henry,” whose 200+ documented versions harps, guitars, and other instruments played form the basis of Pulitzer Prize-winning by the Bang on a Can All-Stars, they repeat, composer Julia Wolfe’s work Steel Hammer foreshorten, and linger over phrases as though and its theatrical adaptation, which comes to trying on the variants for size. BAM in December. The story of John Henry is a familiar one: a spike-driving railroad worker of Words have become raw material, stripped Bunyonesque strength beats a steam drill in a of context. And if folklore typically relies on contest to bore through a mountain, only to “die archetypes to work properly—the Trickster, with his hammer in his hands.” That folk music however tricky, the Tragic Hero, however tragic— historian Alan Lomax called the legend “possibly then this is its radical inversion: a hypnotic America’s greatest piece of folklore” is no wonder: celebration of content over narrative form in the mythos of the railroad, man vs. machine service of a bustling musical machine. anxiety, bootstraps individualism—the muscular American imaginary is there in its entirety. CELEBRATE COMMUNITY

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The more traditional storytelling in Steel prison laborer who’d been falsely convicted. Hammer falls to six actors from Anne Bogart’s Foundational myth had been built on the back of SITI Company, who, along with step dancing the oppressed. and other choreography (by Barney O’Hanlon), offer theatrical interludes between musical In another segment, a woman recalls meeting movements. Yet in keeping with Wolfe’s oblique Henry at the age of 12 while he worked as a approach to the tale, the interludes take an pig slaughterer in the post-reconstruction south. alternative path as well. Using different texts Conditions were dire for blacks (“sanitation was written by playwrights Kia Corthron, Regina an unuttered idea”), she reminds the audience, Taylor, Carl Hancock Rux, and Will Power—each and Henry, out of breath, seemed to be on the of whom was tasked with telling the John Henry run from something. “Every man is an end in tale in their own idiosyncratic ways—the actors himself,” Henry says to her in passing, his days delve into the John Henry subconscious. of freedom presumably numbered. The stream drill is rendered as one foe among many. Myths repress, after all. We often can romanticize them only because their gritty In another, John Henry is in jail with no release preconditions are kept out of sight. In the case date in sight. What will we tell our kids?, he of John Henry, always portrayed as African- wonders through the bars to his wife. Their American, those givens are inescapably linked solution: an unlikely tale about how their father to race. How, after all, did John Henry end up died while at his railroad job, but not before working on the railroad in the first place? What beating the odds in a contest with a machine. would lead a person to fight for his job to the point of exhausting himself to death? “For me,” Anne Bogart has said, “this project is not about getting to the absolute truth of this In Steel Hammer’s first segment, a subtle contest tale. It’s about how we mold stories for the times of representation plays out. A group of largely we live in.” white town folk take turns recounting the legend with wide-eyed wonder before another woman, The details change, and yet our myths live on. referencing historical likelihood, tempers their story: John Henry worked the railroads as a Robert Wood is a copywriter at BAM. Photo: Michael Brosilow BAM Directory

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Warning The photographing, the safety of others by lighting BAM theater managers and press videotaping, or sound recording of matches or smoking in prohibited agents are represented by the any performance without written areas during the performances and Association of Theatrical Press Agents permission of the management, is intermissions. This violates a New and Managers, prohibited by law. Violators may be York City ordinance and is punishable Local #18032, punished by ejection and may be by law. —Fire Commissioner IATSE, AFL-CIO. liable for money damages. BAM backstage employees BAM is a charter member of the Fire Notice The exit indicated by a are represented by the League of Historic American Theaters red light and sign nearest to the seat International Alliance of and an affiliate member of the League you occupy is the shortest route to Theatrical Stage Employees of American Theaters and Producers. the street. In the event of fire or other (I.A.T.S.E.). Children under five not admitted emergency, please WALK TO THAT unless explicitly noted. EXIT, FOLLOWING THE DIRECTIVES OF THE HOUSE STAFF. Thoughtless persons annoy patrons and endanger Thanks to our Next Wave Festival supporters

Season Sponsor: BAM dedicates the 2015 Next Wave Next Wave Festival supporters: Festival to the late Ronald E. Feiner—a The Achelis Foundation treasured BAM board member for 28 Booth Ferris Foundation years, our indispensable legal counsel, brigitte nyc and valued advisor. William I. Campbell & Programming in the BAM Howard Gilman Christine Wächter-Campbell Opera House is supported and endowed BAM 2015 Music Sponsor: Charina Endowment Fund by The Howard Gilman Foundation. The Gladys Krieble Delmas Foundation Programming in the BAM Harvey Theater Epstein Teicher Philanthropies is endowed by the Doris Duke Charitable Endowed funds supporting the Next Jeanne Donovan Fisher Foundation. Wave Festival: The Howard Gilman Judith R. & Alan H. Fishman Foundation; Lila Wallace-Reader’s Frederick Loewe Foundation Major support for Refuse the Hour is Digest Endowment Fund for Community, The Francena T. Harrison Foundation provided by the Marian Goodman Gallery. Educational, and Public Affairs Programs Trust at BAM; The SHS Foundation; The Stephanie & Timothy Ingrassia Leadership support for dance at BAM Andrew W. Mellon Foundation Fund for Diane & Adam E. Max provided by: Opera and Music-Theater; The Peter The Ambrose Monell Foundation Jay Sharp Fund for Opera and Theater; Henry and Lucy Moses Fund, Inc. The Ford Foundation Fund to Support Donald R. Mullen Jr. Collaborative Creativity Among U.S. Samuel I. Newhouse Foundation, Inc. Artists; Estate of Richard B. Fisher; BAM The Reed Foundation Leadership support for opera at BAM Fund to Support Emerging and Local The Jerome Robbins Foundation, Inc. provided by Aashish & Dinyar Devitre. Musicians; The Starr Foundation; Next The Morris and Alma Schapiro Fund Wave Forward Fund: Altria Group, Inc./ The Scherman Foundation The Rolex Institute supports emerging Founding Sponsor “Supporting the Spirit The SHS Foundation artists at BAM of Innovation”; and The Devitre Fund. The Shubert Foundation, Inc. The Harold and Mimi Steinberg Support for new dance presentations in Official Airline of BAM: Charitable Trust the BAM Fisher provided by the Mertz The TinMan Fund Gilmore Foundation. The Virgina B. Toulmin Foundation Two Trees Management Company Generous funding for Tabac Rouge The BAM facilities are owned by the The Winston Foundation, Inc. provided by Edward Jay Wohlgemuth. City of New York and benefit from public Estate of Martha Zalles funds provided through the New York Generous funding for Umusuna provided City Department of Cultural Affairs Title Sponsor of BAM Rose Cinemas and by Daniel Clay Houghton. with support from Mayor Bill de Blasio; BAMcinématek: Cultural Affairs Commissioner Tom Leadership support for BAM Visual Art Finkelpearl; the New York City Council provided by Agnes Gund and Toby Devan including Council Speaker Melissa Mark- Lewis. Viverito, Finance Committee Chair Julissa Ferreras, Cultural Affairs Committee BAM Rose Cinemas are named in recognition of a major gift in honor of Programming by New York City Artists in Chair Jimmy Van Bramer, the Brooklyn Jonathan F.P. and Diana Calthorpe Rose, the BAM Fisher supported by Rockefeller Delegation of the Council, and Council and have been generously supported by Brothers Fund. Member Laurie Cumbo; and Brooklyn Borough President Eric L. Adams. The Peter Jay Sharp Foundation, and the Estate of Richard B. Fisher. Leadership support for Scandinavian BAM would like to thank the Brooklyn programming provided by The Barbro Delegations of the New York State The Steinberg Screen at the BAM Harvey Osher Pro Suecia Foundation. Assembly, Joseph R. Lentol, Delegation Leader; and New York Senate, Senator Theater is made possible by: Presentations from Muslim majority Velmanette Montgomery, Delegation countries supported by the Building Leader. Bridges Program of the Doris Duke Foundation for Islamic Art. Official Beverage of BAM: Programming in the BAM Lepercq Space is supported by The Lepercq Charitable Major support for Savannah Bay provided Foundation. by The Florence Gould Foundation with BAM would like to thank the Brooklyn additional support from Laura Pels. Your tax dollars make BAM programs Delegations of the New York State possible through funding from: Assembly, Joseph R. Lentol, Delegation BAM Marquee Sponsor: Leader; and New York Senate, Senator Velmanette Montgomery, Delegation Leader.

Official Piano for BAM: BAM.org sponsor: #BAMNextWave #TheHardNut Lauren Grant. Photo Susanna Millman L-R: Julie Worden, June Omura, Mark Morris, June Omura, Mark Morris, Julie Worden, L-R:

Hard Nut Nuggets Mark Morris Dance Group returns to BAM with to do!”), he was ready to go. I was naughty Fritz, The Hard Nut (Dec 12—20) choreographed by and Mark was now my mother. Scary—for both Mark Morris in 1991 to Tchaikovsky’s beloved of us! Nutcracker, op. 71, with sets by Adrianne Lobel (after Charles Burns) and costumes by Martin The surprise, in performance, was that Mark’s Pakledinaz. Some members of the company “inner mom” turned out to be so genuinely shared anecdotes from the ballet’s history. sweet. Loving, even! Onstage as Fritz, I suddenly felt that no matter how badly I misbehaved, JUNE OMURA (MMDG company member I would be treated with gentle fondness. This 1988—2008; “Fritz” in The Hard Nut Mrs. Stahlbaum loved her troublesome boy 1994—2015) Once, when the inimitable Peter unconditionally, and was the kindest parent Wing Healey was injured and the character of you’d ever want to grow up with. Now that I Mrs. Stahlbaum had not yet been thrillingly re- am the mother of a darling nine-year-old son, created by John Heginbotham, there were two the memory of having once been Mark’s Mrs. memorable performances of The Hard Nut in Stahlbaum’s little boy is a dear one. I like to Edinburgh when Mark Morris stepped into the imagine that some version of Mark’s mother, role of my mom, uncomfortable high heels and Maxine Morris, was worked into his portrayal all. Every character in the party scene has a of Mrs. Stahlbaum, and that, as Fritz, I am different “track,” and Mark was already in it as experiencing what it was like to be Mark as a a hilariously drunken party guest, so re-learning son—just as he, perhaps, was experiencing the scene from such a different perspective had what it might have been like to be Maxine. Every to have been stressful, even for Mark. But after mother, and every son, should get such a chance running through it a few times (I remember his for perspective. directions to “Keep talking!” and “Tell me what #TheHardNut Dec 12—20

STACY MARTORANA always meant to do. The nerves quickly changed (MMDG company to excitement, and the thrill of watching Mark member since 2012; in the moment was just one of many wonderful “Barbie”/Arabia) I was memories I have had performing in The Hard hired into the Mark Nut. Morris Dance Group as a full time company LAUREN GRANT (MMDG Company member member in November since 1996; “Marie” since 1998) Onstage, the 2012, and my first Mark Morris Dance Group will present a brilliant show after that was take on The Nutcracker story, but offstage, The Hard Nut, in the cast and crew of The Hard Nut must Berkeley, CA. It was simultaneously execute a different show—one my first time dancing in the show. I had thought in which dancers dodge moving floor-to-ceiling that after being hired, I would be less nervous set pieces; wig and wardrobe personnel perform performing, but alas, me being the crazy, highly choreographed quick-changes; and tutu- nervous nelly that I was, I was more nervous! clad “Snowflakes” systematically shimmy off I wanted to prove that I was worthy of this their accumulated confetti. In the final scene position I was given. One of my roles was in the of Act 1 the audience is treated to one of the Arabian dance, and I had no idea how difficult it most surprising and magical blizzards. From would be. We are dressed in long robes, literally the wings, I watch my colleagues’ crystalline from head to toe, and wear sunglasses, making precision in form, space, and rhythm. They seem it difficult to see while on stage. Much of the to float through the air as would a lacy snowflake choreography includes getting down to the floor, catching a current of air. And then… group after then getting back up. During one show, my group, these heavenly snowflakes rush around foot got caught in my costume, and it was clear the wings—sweat pouring off their foreheads, to me immediately that I was not going to be gasping for breath, spitting out ingested able to free it before going offstage! I somehow “snow”—only then to re-enter the stage space managed to rise to a flamingo-like position, and and seamlessly resume their cascading eddies, while all the other dancers were able to walk effectively transporting the viewers to a strange around the stage, I had to continue on, hopping and wondrous winter landscape. on one foot in order to keep up—no easy feat while trying to balance with limited vision! I managed to get through the dance, and no one from the audience ever mentioned anything about it to me. I can’t wait to perform that role again this year! Photo: Susana Millman

NOAH VINSON (MMDG company member since 2004; France) I remember my very first Amber Star Merkens, Noah Vinson performances of Mark Morris’ production of The Hard Nut. These were back in 2002 at BAM. I was extremely nervous when I found out that I would be dancing in the Arabian dance with Mark Morris as the lead. During one performance, something wasn’t right. We were supposed to enter from stage left carrying Mark, but as the music from the previous section was ending, we quickly realized that he was not there. In a panic, we got into position and made our entrance like we were supposed to, but without our lead. Suddenly, Mark came jumping out of the wings from the opposite side of the stage, in full character, as if that’s what he was Securing BAM’s Future

BAM Endowment A great institution is built upon on a secure future. At BAM, a growing endowment is the foundation for expansive programming that continues to set new standards for artistic daring and excellence. The BAM Endowment provides the financial underpinning to launch new artistic initiatives, plan for future years, seize opportunities for institutional advancement, and confront unanticipated challenges. BAM sincerely thanks those listed below for their generous support in securing BAM’s future.

$5,000,000 and above Charles J. & Irene F. Hamm Ide & David Dangoor Richard B. Fisher & Jeanne Stephanie & Tim Ingrassia Thérèse M. Esperdy & Robert G. Donovan Fisher Maribelle & Stephen Leavitt Neborak The Howard Gilman Foundation Mary & Jim Ottaway Jr. in honor of Madison S. Finlay The Peter Jay Sharp Foundation Ruth Blackburne Ottaway Forest City Ratner Companies Lila Wallace-Reader’s Digest Rockefeller Brothers Fund Francena T. Harrison Endowment Fund for Community, Jonathan F.P. & Diana V.C. Rose Performance Fund Educational, & Martha A. & Robert S. Rubin Rita K. Hillman Public Affairs Programs Nora Ann Wallace & Jack Nusbaum HSBC Bank USA, N.A. Goldman Sachs Gives at the $1,000,000 and above $250,000 and above recommendation of Anne Hubbard Altria Group, Inc./Next Wave The Bohen Foundation & Harvey Schwartz Forward Fund The Charles & Valerie Diker Dance Independence Community Bank BAM Fund to Support Emerging Endowment Fund Miriam Katowitz & Arthur Radin and Local Musicians The Horace W. Goldsmith Foundation Mr. & Mrs. Edgar A. Lampert Brooklyn Community Foundation Michael Bancroft Goth Endowed Annie Leibovitz & Studio The Campbell Family Foundation Annual Performance Fund Leo Burnett, USA The Irene Diamond Fund William Randolph Hearst James McLaren & Lawton Fitt Doris Duke Charitable Foundation Endowment for Education and Sarah G. Miller & Frank L. Coulson Emily H. Fisher Humanities Programs The Morgan Stanley Community Judith R. & Alan H. Fishman The Rita & Alex Hillman Foundation and Educational Fund The Ford Foundation Fund to Carole & Irwin Lainoff J.P. Morgan & Co. Incorporated Support Collaborative Creativity Maxwell Family Fund in Community Nash Family Foundation Among U.S. Artists Funds, Inc. The Jerome Robbins Foundation, Inc. Diane & Adam E. Max The Jessica E. Smith and Kevin R. May & Samuel Rudin Family The Andrew W. Mellon Foundation Brine Charitable Trust Foundation Fund For Opera & Music-Theater The Geraldine Stutz Trust, Inc. Edward Spilka Bruce C. Ratner $100,000 and above Axel Stawski & Galia Meiri William Boss Sandberg Michael Bailkin, Marvin Levine, Mr. & Mrs. Ame Vennema The Peter Jay Sharp Fund for Opera Jesse Masyr, David Stadtmauer Verizon Communications and Theater Robert & Joan Catell Fund for The Isak and Rose Weinman The SHS Foundation Education Programs Foundation in honor of Madame The Starr Foundation Charina Endowment Fund Lilliana Teruzzi $500,000 and above Neil D. & Kathleen M. Chrisman The Winston Foundation The Devitre Fund Mr. & Mrs. Henry Christensen III Anonymous

For more information on the BAM Endowment please contact As of September 1, 2015 Denis Azaro at 718.636.4193 or [email protected].

Photo: Peter Jay Sharp Building, by Ben Cohen Securing BAM’s Future

Planned Giving Another way to help BAM prepare for the future is by making a provision in your estate plans. You create a legacy for many generations to come and ensure BAM’s excellence continues for the next 150 years. Existing options for planned giving include making a bequest in your will, and naming BAM as a beneficiary in your retirement plan or insurance policy, among others. Unless otherwise specified by a donor, it is BAM’s policy to apply planned gifts toward its endowment. Individuals who have made such gifts are recognized in the select group of patrons known as BAM Angels.

Our special thanks to the foresight of the charitable BAM Angels listed below.

BAM Angels Denis Azaro Karen Brooks Hopkins Marie D. Powers Bettina Bancroft William Josephson David L. Ramsay, MD Robert & Joan Catell Charlotte & Stanley Kriegel William Boss Sandberg Neil D. Chrisman Edgar A. Lampert Louis Sanders Mr. & Mrs. Henry Christensen III Harvey Lichtenstein Harriet L. Senz Mallory Factor Phyllis Holbrook Lichtenstein Toni Mendez Shapiro Madison S. Finlay William Lynch Bella F. Stoll Richard B. Fisher Georgene M. Maxwell Lynn M. Stirrup Judith R. & Alan H. Fishman Scott C. McDonald PaulaMarie Susi Barry M. Fox Evelyn & Everett Ortner Judge Franklin R. Weissberg Rita Hillman Frank J. & Adeline Pannizzo Carol Yorke & Gerard Conn Barbara T. Hoffman William Winthrop Parsons

For more information on Planned Giving opportunities please contact Stephanie Franco at 718.724.8137 or [email protected]. All inquiries will remain confidential. BAM

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Continu. Photo Sebastian Bolesch BAM Supporters & Patrons

BAM wishes to thank our patrons for all the operating, capital, and endowment support you’ve given us over the past year. (List represents gifts between July 23, 2014—July 23, 2015)

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Tisch Delancey Foundation Anonymous Google Great Performances Turner Construction Company United States Department of The Grand Marnier The Green Fund Inc. United American Land State, Bureau of Educational $50,000 and above Foundation The Grodzins Fund Margo & Anthony Viscusi and Cultural Affairs Gordon Bowen Robert M. Greenberg & Henry B. & Karoly S. Gutman White & Case LLP David & Jane Walentas Citi Corvova Choy Lee The Marc Haas Foundation, James Wilentz & Robin Jed Walentas & Kate Con Edison Hasty Pudding Institute Inc. Maxwell Engelbrecht The Gladys Krieble Delmas of 1770 Mr. & Mrs. Burton K. Haimes WSP Cantor Seinuk The Robert W. Wilson Foundation In Memory of Robert Sklar Dozier Hasty & Nancy Richard C. Yancey Charitable Trust Brendan & Barbara Dugan Miriam Katowitz & Arthur Havens-Hasty Barbara & David Zalaznick Anonymous Steven & Susan Felsher Radin The Jim Henson Estate of Martha Zalles Fleurs Bella Kohn Pedersen Fox Foundation Pia & Jimmy Zankel $250,000 and above The Florence Gould Foundation Associates PC Cheryl Henson & Ed Finn Anonymous Charina Endowment Fund Susan L. Foote & Stephen Philippe & Posey Krakowsky Cecilia & James Herbert Dow Jones Foundation L. Feinberg Robert and Teresa Lindsay Sophie Hughes $5,000 and above Doris Duke Foundation for Gotham Organization, Inc. John Lipsky & Zsuzsanna Hunter Public Relations Jacqueline & Joseph Islamic Art The William and Mary S. Karasz Hunter Roberts Aguanno First New York Partners Greve Foundation The Frederick Loewe Construction Group Albee Development LLC Management The TinMan Fund Foundation, Inc. Investors Foundation Alice M. & Thomas J. Tisch Forest City Ratner Barbara Haws & William Gary Lynch & Kate Hall J. F. Stearns Co. 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Kordestani Hackett Stavros Niarchos Foundation Grace Lyu-Volckhausen Barbara & Richard Moore Jay Kriegel & Kathryn Alan & Leslie Beller John L. & Eva Usdan Pierre and Tana Matisse National Grid McAuliffe (Tides Richard & Bridget Bennett Nora Ann Wallace & Jack Foundation The Nets Foundation Foundation) Denise Bernardo & Nusbaum MetLife Foundation Laura Pels International Eileen M. Lach Eddie Muentes The Ambrose Monell Foundation for Theater Solange Landau Paula & Earl Black $100,000 and above Foundation Renova Hon. Brad Lander, The Bloomingdale’s Fund of Altman Foundation Henry and Lucy Moses Richard & Elizabeth Witten New York City Council the Macy’s Foundation American Express Fund, Inc. Family Foundation François & Calleen Peter Britell Bank of America National Endowment for Bette & Richard Saltzman Letaconnoux The Brodsky Organization Frances Bermanzohn & the Arts Joseph and Sylvia Slifka Lettire Construction Corp. 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Freedman & Beth Rudin DeWoody R/GA $10,000 and above Rachel McPherson Carla E. Craig Thérèse M. Esperdy & Rockefeller Brothers Fund Arthur F. & Alice E. Adams Medgar Evers College Gifts Crunch Robert G. Neborak Sarah & Spencer Robertson Charitable Foundation and Grants Hon. Laurie Cumbo, Charles J. & Irene F. Hamm May and Samuel Rudin Linda & Max Addison Merrill Lynch & Co. New York City Council The Harkness Foundation Family Foundation, Inc. The Aeroflex Foundation Foundation, Inc. Peter Curran for Dance Goldman Sachs Gives at Paul Allen Moët Hennessy USA Joan K. Davidson (The J.M. The Francena T. Harrison the direction of Pablo J. Allan Arffa & Kay Matschullat Edward S. Moore Kaplan Fund) Foundation Trust Salame Takis C. Anoussis Foundation BAM Supporters & Patrons

Robert Davoli & Eileen Anthony Schlesinger & Sebastian Cucullu James R. Marshall Muyee Alie McDonagh Anne Forward Martha DeRight John Martinez & Andrea Jonathan & Jennifer Soros Elizabeth De Cuevas Amy Schulman & David Katie Dixon Bozzo Mark Almeida & Theresa Ahmad Deek & Marie-Line Nachman Cathy Martine & Ronald Mia Mather Galvin Grinda Amy Sherman-Palladino Dolecki McCormack Baron Salazar, Amazon Payments Diana Diamond & The Shubert Organization, Inc. Douglas Elliman Real Estate Inc. Stephanie Ansin John Alschuler SimplexGrinnell Andre & Stephanie Dua Kathryn A. McDonald appleseeds Charles & Valerie Diker Simon Sinek Eagle Masonry Corp Alice McKown Milton & Sally Avery Arts Frederick N. & Michele Ellynne Skove Frederick Eberstadt Sharon & Curtis Mechling Foundation Oka Doner SL Green Suzan & Fred Ehrman Robert Menschel Peter Balis & Brian Goldston Doubleday Broadway Brian Snyder Gail Erickson & Christa Rice Martin F. & Selma E. 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Trent Mr. Charles Cahn & Dr. Joyce F. Menschel Regina & Bill Bronson Christine La Monica Lunn Susan Unterberg Nancy Maruyama Mr. & Mrs. Richard L. Brooklyn Flea Peter & Karen Labbat Vanetta Vancak Charles Carberry Menschel The Brooklyn Hospital Center Hugh & Betsy Lamle Bernardette Vaskas Louanna Carlin & Jane Virginia & Timothy Millhiser Andrew D. Brown Foundation Dino Veronese Hamburger The Moody’s Foundation By Brooklyn Nancy N. Lassalle Diana Viñoly Interiors Marie Carney Linda & Stuart Nelson Sol W. & Hermina Cantor Helena Lee & Richard Klapper Thomas Von Foerster Lise Carter New York City Department Foundation Roseanne Legrand Cynthia Wainwright & Carolina Carvalho-Cross for the Aging Capezio/Ballet Makers Jonathan E. Lehman Stephen Berger Robert & Joan Catell New York Hotel Trades Dance Foundation, Inc. Hon. 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Resheske The Aaron Copland Fund Richard Lynn & Joseph Evall Anonymous (6) Coordinated Metals Inc. Tracey & Phillip Riese for Music, Inc. Dianne Mackenzie Joseph Cosgriff Rush Philanthropic Arts Breukelein Institute/Dennis Anne Mackinnon $1,500 and above Peter & Mary Coy Foundation Corrado Madiba Restaurant Brice Acosta Curtis Cravens Jack Sanderson The Cowles Charitable Trust Allison & Joe Magliocco Caroline P. Addison Michael Crowley Sarah I. Schieffelin Dr. Rudolph F. Crew Laurie Mallet/Ozone Alexandra Alger Michele Cubic & Raymond Residuary Trust The Criterion Collection Design, Inc. Daniel Algrant Velazquez LOCAL COLLECTIVE

BAM.ORG/LOCALCOLLECTIVE

BAM Supporters & Patrons

Ellen & John Curtis Noa Guy Joseph Lovett & James Pauline Pinto Gayatri Spivak Peter & Katharine Darrow Gunilla Haac Cottrell Daria Pizzetta Jonathan Sporn Karen Dauler & Gaston Silva Helen & Peter Haje Reed Lowenstein Carl Podwoski & Virginia Samarith Srey Megan P. Davis Patricia Hallstein & Axel Ann M. & Mitchell A. Lovejoy Barbara Stanton Monique Davis Kramer Lowenthal Paul & Marjorie Possick Shirley Staples & Donald Trayton Davis Cynthia Hammond & Jane Macan John Michael Powers, Jr. Vangel Sabina & Adam Deaton Joseph Samulski Ann MacDonald & Charles Sandra Pierson Prior Gillian Steel Jeffrey Deitch Jennifer Hand & Thomas Raubicheck Greg Pucillo Judy & Michael Steinhardt DeLaCour Family Foundation Tierney John Macintosh & Anna Verdi Leslie & David Puth Jeanne & Steven Stellman Diana Delmonte-Wong & Joan & Douglas B. Hansen Macro Sea Inc. Theodore Quinn Dr. Susan Stewart Adrian Wong Robert E. Hansmann Edward Mafoud Tom Quinn & Celeste Wright Gail Stone & Matt Fishbein Linda Dennery Anna & Raja Harb Brian & Florence Mahony Les Ramsey Leila Straus Elizabeth Denys Hugh & Tiziana Hardy Dr. Robert Maki Christopher Rapcewicz & The Dorothy Strelsin Jennie L. & Richard K. David Hariton & Thomas Matthew Mallow Claudia Bungaro Foundation Descherer Lippy Ronald Daignault & Teresa Stephen Raphael & Ellen Katherine Sugg Brooke Devine Harrison Atelier Maloney Marks Kathleen Sullivan Edwin & Paula DeYoung Joyce & Ira Haupt II Anne Maltz Alex Rappaport Sukey Tamarkin Anne & John Dockery Douglas & Jessica Healy Andrea Marber Bridget Read Gabrielle Tana Lynn Dolnick Drew & Amy Hearon Nadja Marcoz Eric Reiner Julie Tarney Donaldson Acoustics Co., Inc. Joanna Hedge Barbara Marcus & Michael Samuel Reinhart Ronald & Adele Tauber Miriam Donoho Robert & Barbara Heelan Pollack Me & Ro Josephine & Philip Teverow Donna & Mitchell Drach Isaac & Sheila Heimbinder Marriott International Richmond Hills High School Theater for a New Audience Catherine Dumait-Harper & Kris Heinzelman Phillip Marriott & Susannah Katherine E. Ringer Theatrical Wardrobe Union, Alan Harper Jeffrey Henigson Taylor John Rockwell & Linda Local 764 Allison Dunn Edward Henry John Marshall & Seriti Yamini Mevorach Liz Thompson Violet & Christopher Eagan Jeffery Hentze Lori Marshall The Rodgers & Hammerstein Thornton Tomasetti Marty Ellington Herrick, Feinstein LLP Nina Matis Organization Charlotte L. Thorp Cristina Enriquez-Bocobo & Adam & Sita Hess Jerri & Tom Mayer Paul A. Rogers Catherine K. Tice Cody J. Smith Adria & Donald Hillman Liese & Peter Mayer Connie & Ted Roosevelt Dr. Irena Tocino Lorren Erstad & David Lerner HK Organization Deborah McAlister & Beverly & William Rosoff Coralie Toevs Boris Evelkin The Hoffman Law Firm Christopher Jones Erin Ross Carol Tolan Richard & Florence Fabricant Frank Holozubiec Joseph McDonagh James & Eliza Rossman Michael & Keren Toledano Bill & Jan Farber David Howe & Charlene Dale McDonald Max Rothman Manny Torrijos & Jing Joe Fazio & Scott Hunter Wang Travis McGhie & Thomas Maisie Rubinstein Shang Tan Martin Feinman & Amy Dennis Hranitzky Mizer Lisa & Jonathan Sack Bill Updegraff & Aliza Cooney Whitney Hunter-Thomson Dr. James & Mrs. Jane S. Gerald Saliman & Bartfield Michael & Nancy Feller IATSE - Theatrical Stage McGroarty Raymond Vallejo Chauncey Upson Edith Ferber Employees Local 4 Gordon McLeod & Melanie Mina Samuels & David Foster Frederick Victor Richard Feuring & Charles Sam Ibrahim Grisanti Nancy Sands Patricia Voight & Rachel Krewson Pamela Jackson Susan Meirs Lori Saperstein Wolff Katherine & Luke Fichthorn Beth Jacobs & Dr. Keith Robert Menschel Save Mor Copy Center Vollmuth & Brush Joan Salwen Fields Gottesdiener Claudine & Aeric Meredith- Rosemary Scanlon David Wagner Carl & Merle Fieser Steven & Susan Jacobson Goujon Michele & Jose Scheinkman Ethan J. Wagner & Thea Flanders House Anthony Johnson Danny & Audrey Meyer Douglas & Ans Schickler Westreich Karen L. & Evan L. Flatow T. Radey Johnson & Jane Daniel Michalow Ellen Schleifer & Jordan Katz Marcus Wainwright & Arthur & Susan Fleischer Platt Franny Milberg Lynn Schneider Glenna Neece Jeffrey Fleishhacker Barbara Julius & Marc Diane Miller Lynn C. Schneider Leigh & Robin Walters Lydia Foo Silberberg Judith Scofield & David Miriam Schneider Barbara & Sedgwick Ward Andrew & Blake Foote Genevieve Kahr & Dan C. Miller Roberta Schneiderman Seth Washinsky James Fowler Freedberg Sandra and Lowell Mintz Florian Schodel Janet C. Waterhouse PhD Katherine Franke Shari Kaplan Darcy Miro & Ross Tuttle Ellen Schonfeld William Webb Christopher W. Franklin Alex & Ada Katz Lucy Mitchell-Innes Gabriel & Jolie Schwartz Kathy & Bill Weigel Zhauna Franks & Daniel Aaron & Jacquie Katzel Donald & Gwen Moffat Richard Schwartz & Gita Sandra & George Weiksner Rechelbacher Sebastian & Hilke Kaupert Adrian Mojica Martohardjono Laurie & David I. Weiner M. Derene & Julius Frazier Susan Kellman Nikki Mondschein Ralf Schwieger Earl D. & Gina Ingoglia Lauri Freedman Jessie Kelly Maria Montoya Carl Scott Weiner Andrew Freireich & Tina Suzanne Greene & John John Morning Dr. & Mrs. Thomas P. 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Gilmartin Sue Lehmann Ilana Pachter & William Wynn Matthew Patrick Smyth Rachel Wood & Scott Olsen Lauren C. Glant & Michael Richard Levy & Lorraine Meredith Palmer Susan Snodgrass Fred Wright J. Gillespie Gallard Cheryl Paradis & Gene Kenneth Soehner Aamir Wyne Esq. June Goldberg Jeffrey Lewis & Karin McCullough James Sollins Michael Young & Debra Susan Goldberg & Simon Liu Miller-Lewis Gwenevere Parker Andrew P. Solomon & Raskin Roanne Goldfein Keisha A. Lightbourne Estelle Parsons Elizabeth Bartman The Zeitz Foundation Elaine Goldman Chamberlain & Mathieu Kirk & Sue Patrick Richard & Mimi Somerby Jory Zimmerman Amy Kern & John M. S. Chamberlain Robert H. Pees Sarah & R. Sorenson Frank & Arrien Zinghini Goldsmith Emma Lindsay Bill & Patty Dugan Perlmuth Melissa Schiff Soros Anonymous (8) I. Michael Goodman & Simon Lipskar & Kate Amy Perry Annaliese Soros Judith Uman Zuckerman Alexandra & Frederick Peters Ellen Sorrin July 23, 2015 David & Elaine Gould Keith Lloyd Christopher Petescia & Beth Dr. Rogelio Sosnik & Dr. Jane & Jean-Marie Grenier Cary Lochtenberg & Jan Petescia Irene Cairo Bill Grogan Lochtenberg Antonia Pew André Spears & Anne Rosen David Gruber Rachel Loeb & Zachary Block Andrew Pinkowitz & Mary David Spears Amy & Ronald Guttman Randy Lott Pinkowitz Joseph Spiegel

BAM greatly appreciates all contributions in support of our work. We apologize for any inaccuracies. Please contact the Development Department at [email protected] with any corrections. BAM Board

Brooklyn Academy of Music Cheryl Della Rosa Timothy Sebunya John Lipsky Dinyar S. Devitre Bartholomew A. Sheehan III Laurie Mallet Chairman of the Board Mark Diker Jessica Smith Cathy-Ann Martine-Dolecki Alan H. Fishman Andre Dua Brian Stafford David L. Ramsay, M.D., M.Ed. Brendan J. Dugan Axel Stawski Elaine Weinstein Vice Chairmen of the Board Thérèse Esperdy Joseph A. Stern Hon. Franklin R. Weissberg William I. Campbell Teri Everett Pedro J. Torres Vaughn C. Williams, Esq. Adam E. Max Mallory Factor John L. Usdan Richard E. Feldman, Esq. Brigitte Vosse BAM Endowment Trust Chair President Steven G. Felsher Nora Ann Wallace Timothy J. Ingrassia Katy Clark Jeanne Donovan Fisher Veronica Westberg Barry M. Fox Adam Wolfensohn Vice Chair Secretary MaryAnne Gilmartin Claire Wood Gabriel Pizzi Joseph V. Melillo Robert M. Greenberg Andrew Zolli G. Penn Holsenbeck Treasurer Treasurer Anne Hubbard Ex Officio Keith Stubblefield James I. McLaren Mark H. Jackson Gina Argento Daniel A. Klores Lori Luis Members Presidents Emeriti Philippe Krakowsky Laura Popa William A. Douglass III Karen Brooks Hopkins Edgar A. Lampert Steven G. Felsher Harvey Lichtenstein Gary Lynch Chairmen Emeriti Elizabeth Holtzman Patricia E. Michels Neil D. Chrisman James I. McLaren Members Ahrin Mishan Seth S. Faison Norman L. Peck Tony Bechara Donald R. Mullen Jr. Bruce C. Ratner Alberto Sanchez Fran Bermanzohn William A. Perlmuth Timothy Sebunya Gordon Bowen David L. Picket Honorary Trustees R. Edward Spilka Linda Chinn Frances A. Resheske Robert L. Forbes Nora Ann Wallace Henry Christensen III Sarah C. Robertson Charles J. Hamm Henry Christensen III, Ex Officio Pamela A. Codispoti Jonathan F.P. Rose Barbara B. Haws, C.A. Thérèse Esperdy, Ex Officio Dr. Rudolph F. Crew Anna Kuzmik Sampas William Josephson Alan H. Fishman, Ex Officio David E.R. Dangoor Alberto Sanchez Mary Kantor

BAM Staff

Katy Clark, President Evelyn Shunaman, Processing John Manderbach, Head Marlon Desouza, Kevin Lemon, Joseph V. Melillo, Executive Archivists Electrician, HT Teonia Smith, Andel Thomas, Producer Jan Carr, Digital Content Writer Edward Donohue, Master of Michael Whyte, Attendant Guards Alice Bernstein, Executive Vice Anita Goss, Volunteer Librarian Properties, HT President Regina Carra, Christina Kennedy, Alison Dabdoub, Sound Engineer, HT CUSTODIAL SERVICES Stephanie S. Hughley, Vice Ivonne Paredes, Anika Paris, Jarin Oscar Gruchalski, Utility Man Ramon Cabassa, Custodial Supervisor President of Education, Schexnider, Mark Toepfer, Rebecca Richard Wurzbach, Utility Man Yossess Allen, Allan Boyce, Ludlow Humanities, Cinema & Cinématek Walsh, Kendra Williams, Interns Ginger Blake, Wardrobe Supervisor Chamberlain, Isaias Flores, Mayra John Lanasa, Vice President of Larysa McKenna, Volunteer Guillen, Ron Rathan, Akeon Thomas, Marketing & Communications ARTIST SERVICES Custodians Riccardo Salmona, Vice President GENERAL MANAGEMENT Mary Reilly, Director of Artist Services for Institutional Advancement Patrick J. Scully, General Manager Stacey Dinner, Artist Services Manager DEVELOPMENT Keith Stubblefield, Chief Financial Sara Danielsen, Assoc. General Jeannine Baca, Britney Polites, Lucile Hecht, Administrative Asst. Officer and iceV President of Manager, Fisher Building Artist Services Representatives to Vice President for Institutional Finance & Administration Carrie W. Reynolds, Assoc. General Sarah Silverblatt-Buser, Fisher Artist Advancement Manager Services Representative PRESIDENT’S OFFICE Liz Zieminski, GM Budget Manager BOARD RELATIONS & ENDOWMENT Michael Doyle, Administrative Jaclyn Bouton, Senior Project THEATER MANAGEMENT Denis Azaro, Board Relations & Coordinator Manager Christine M. Gruder, Theater Manager Endowment Director Liana Agredo, Jessie Fairbanks, John L. Jones, Assoc. Theater Alexandra Biss, Manager of Board ARTISTIC PROGRAMMING Project Managers Manager Relations Stonie Darling, Department Manager Chris Mode, GM Coordinator, Sonia Clayton, Jacqueline David, Ross Marshall, Manager of Artistic Budgets & Contracts Leroy Houston, Theater Staff CORPORATE RELATIONS & Planning Samuel Denitz, Admin. Asst. & Supervisors SPONSORSHIP Juan Pablo Siles, Programming BAMshop Liaison Chantal Bernard, Director of Intern Denis Horan, Intern BUILDING OPERATIONS Corporate Relations Cameron Christensen, Director of Ashley Jacobson, Senior Corporate PROGRAMS & CURATORIAL PRODUCTION Building Operations Relations Manager Nick Schwartz-Hall, Line Producer Neil Kutner, Director of Production Rohan Bhasin, Facilities Manager Elizabeth Sarkady, Business Amy Cassello, Assoc. Producer, Collin Costa, Dylan Nachand, Wendy Berot, Project Manager Development Manager Next Wave Festival Assoc. Production Managers Summer Krounbi, Building Rebecca Carew, Corporate Darrell M. McNeill, Assoc. Producer, Paul Bartlett, Ryan Gastelum, Operations Coordinator Sponsorship Manager Music Jennifer Grutza, Elizabeth Moreau, Markee Glover, Mailroom Clerk Katerina Patouri, Sponsorship Asst. Rachel Katwan, Asst. Line Producer Brian Sciarra, Production Robyn Goldstein, Mailroom Asst. R. Michael Blanco, DanceMotion Supervisors Kevin Cecil, Building INDIVIDUAL GIVING USASM, Project Director Danielle Colburn, Laura Williams, Operations Asst. Barbara Cummings, Director of Ashley Yergens, DanceMotion Palmer Johnston, Production Elaine Colon, Jean Smith, Building Development USASM, Project Coordinator Coordinators Services Assoc. William Lynch, Director of Paige Haroldson, DanceMotion Heli Soell, Admin. Coordinator Steve McDowell, Auxiliary Technician Leadership Gifts USASM, Project Asst. Violaine Crespin, Lynn Koek, Interns Glenn Alan Stiskal, Director of Jason Collins, DanceMotion BUILDING MAINTENANCE Major Gifts USASM Intern STAGE CREW Anthony Shields, Maintenance Gwendolyn Dunaif, Assoc. Danny Kapilian, Producer, R&B Thomas Paulucci, Crew Chief Supervisor Director, Major Gifts & Patron Festival, MetroTech Cyrus Similly, Head Carpenter, OH Daniel Curato, Calvin Brackett, Programs Steven Serafin, Special Consultant Paul McManus, Asst. Carpenter/ Ronald Hunter, Maintainers Richard Serrano, Research Manager & Editor, BAM: The Complete Flyman, OH Carl Blango, Asst. Maintainer Ben Lasser, Manager, Patron Program Works James D’Adamo, Head Electrician,OH Travis Calvert, Project Coordinator, Amy Domjan, Asst. Electrician, OH SECURITY Major Gifts ARCHIVES Nicholas Varacalli, Master of Chris Thompson, Security Manager Sharon Lehner, Director of Archives Properties, OH Melvin Patterson, Manuel Taveras, INSTITUTIONAL GIVING Sarah Gentile, Digital Project Archivist Marc Putz, Sound Engineer, OH Supervising Attendant Guards Clemente Luna, Director of Louie Fleck, Archives Manager James Kehoe, Head Carpenter, HT Kenneth Aguillera, Collie Dean, Institutional Giving Bree Midavaine, Mary Rhymer, Joseph Werner III, Asst. Carpenter, HT Senior Attendant Guards BAM Staff

Kailin Husayko, Semra Ercin, Malcolm Jackson, Education DIGITAL MEDIA AND PROJECT Seon Gomez, Staff Accountant Institutional Giving Managers Program Intern MANAGEMENT Iman Bance, Accounting Asst. Stephanie Caragliano, Institutional Nora Tjossem, Education Events Aaron Weibel, Manager of Web Adam Sachs, Fiscal Manager Giving Coordinator Intern Production Douglas Fischer, Yusuf Siddiquee, Rebecca Russell, Intern Jamie Kraus, Nancy Chow, Digital Fiscal Coordinators HUMANITIES Media Coordinators MEMBERSHIP Violaine Huisman, Director of Josephine Llorente, Digital GOVERNMENT & COMMUNITY Sarah Mischner, Membership Humanities Production Asst. AFFAIRS Manager Molly Silberberg, Humanities Casey Cleverly, Creative Services Tamara McCaw, Director of Bruce Smolanoff, Telefund Manager Project Manager Govt. & Community Affairs Manager Shu Chun Xie, Creative Services Dewonnie Frederick, Community Cheryl-Lyn Miller, Membership LEAD INSTRUCTORS Assoc. Affairs & Bazaar Manager Coordinator Joshua Cabat, Young Film Critics Ilex Bien-Aime, Govt. & Kate Rakowski, Telefund Assistant Samara Gaev, Arts & Justice MARKETING Community Affairs Coordinator Shannon Alexander, Jessica Michael LoMonico, Shakespeare Shannon Lacek, Director of Benton, Allison Bodwell, Teaches Teachers Marketing HUMAN RESOURCES Stéphanie De Latour, Justin Gray, Jenny Rocha, Dancing into the Raphaele de Boisblanc, Senior Seth Azizollahoff, Director of Kimberly Howard, Samantha Future Marketing Manager Human Resources Inniss, Melissa Krzywicki, Emilie Pat Hall, BAM/Restoration Andrew Chan, Melanie Cherry, Cynthia Smith, Payroll Manager McDonald, Joe Mulligan, Adrienne DanceAfrica Coordinator Allison Kadin, Marketing Samara Alexander, HR Manager Reynolds, Amanda Wilder, Managers Alexis Boehmler, Human Membership Representatives TEACHING ARTISTS Rhea Daniels, Marketing Coordinator Sarah Abrams, Sékou Alájé, Coordinator Naila Mahmood, HR PATRON SERVICES Jennifer Armas, Brigitte Barnett- Laura Scholl, Marketing Operations Coordinator, Benefits Ramzi Awn, Director of Patron Loftis, Rebecca Bliss, Melissa Manager Services Brown, Mahogany Browne, Britt Aronovich, Marketing INFORMATION TECHNOLOGY Michael Kendrick, Manager of Chia-Ti Chiu, Darian Dauchan, Revenue Manager William Allen Lee III, Director of Patron Services & Donor Harris Eisenstadt, Imani Faye, Catherine Charnov, Marketing Asst. Information Technology Relations Kimani Fowlin, Ana Garcia, Glenn Thomas Brown, Business Jessica Hindle, Patron Services Gordon, Ingrid Gordon, Rachael AUDIENCE DEVELOPMENT & Analytics Manager Coordinator Holmes, Mel House, Albert STRATEGIC PLANNING Ira Sibulkin, Assoc. Director of IT Alexander Jofe, Annie Steingold, Iturregui-Elias, Gwendolyn Kelso, Molly Meloy, Director of Audience Timothy Assam, Systems Patron Services Assts. Nicole Kempskie, Abigail Levine, Development & Strategic Administrator Spencer Lott, Farai Malianga, Planning Svetlana Mikhalevskaya, Database PLANNED GIVING Hector Morales, Michael Mullen, Joaquin Esteva, Advertising Developer Stephanie Franco, Director of Kwesi Nkroma, Devin Norik, Manager Jason Q. Minnis, IT Project Planned Giving Gene Osborne, Pamela Patrick, Claire Frisbie, Content Marketing Manager Drew Petersen, Korey Phillips, Manager Matthew Taylor, Andrei Iliescu, SPECIAL EVENTS Katie Issel Pitre, Mike Ramsey, Nathan Gould, Marketing Manager, Web Developers Margaret Breed, Director of Gwenyth Reitz, Najee Ritter, Victor Development Jersy Rodriguez, Technical Special Events Sanchez, Jen Shirley, Robby Chris Tyler, Content Marketing Asst. Support Manager Grace Eubank, James Vause, Stamper, Rohiatou Siby, Keomi Sharlene Chiu, Customer Loyalty & Susan Bishop, Admin. Coordinator Paloma Wake, Special Events Tarver, Karen Thornton-Daniels, Strategy Manager Lucas Austin, Junior Desktop Managers Leese Walker, Adia Whitaker, Todd Analyst Woodard TICKET SERVICES VISUAL ART G. Scott Kubovsak, Director of PROJECT MANAGEMENT Holly Shen, Curator of Visual Arts SUMMER ASSISTANTS Ticket Services Jeremy Dewey, Director, Project Mary Gordanier, Visual Arts Jenna Boscoe, Alejandra Duque Russell Grier, First Asst. Treasurer Management & Strategic Coordinator Cifuentes, Heather Janneck, Victor Jouvert, Kevin McLoughlin, Planning John Meyer Charlie Dolce, Asst. Treasurers Marissa Angelucci, MBA Intern EDUCATION & HUMANITIES & Royda C. Venture, Ticket Services BAMCINÉMATEK MARKETING & Manager Shana Parker, Director of COMMUNICATIONS Georgina Richardson, Customer Audience Research & Analysis Operations for E&H COMMUNICATIONS Care Manager George A. Wachtel Jennifer Leeson, Operations Sandy Sawotka, Director of Latasha McNeil, Asst. Manager Manager for E&H Communications Ryan Mauldin, Ticket Services Bookseller Jackie Katz, Education Assoc. Sarah Garvey, Assoc. Director Coordinator Greenlight Bookstore

Victoria Collado, Education Asst. of Publicity Edward Raube-Wilson Senior Rebekah Gordon, Admin. Susan Yung, Senior Editorial Ticket Services Representative European Production Coordinator Manager Saul Almiachev, Anaïs Blin, Louisa Representative Adriana Leshko, Senior Publicity de Butts, Justin Dash, Dominique On Tour Ltd., Roger Chapman BAM ROSE CINEMAS Manager Delgado, Evan Dice, Robert Efi Shahar, Cinema Executive David Hsieh, Publicity Manager Ebanks, Miranda Gauvin, Joya Film Buyer Manager Christian Barclay, Baha Harris, Sophie McNeill, Warren Adam Birnbaum Michael Katz, Projectionist Ebrahimzadeh, Christina Ng, Elsie Pacella, Edward Raube- Adam Goldberg, Asst. Manager Norris, Publicists Wilson, Tara Ricasa, Shanice Immigration Counsel Andreea Drogeanu, Brente Kelly, James Sutton, Publications Asst. Tulley, Noel Vega, Jimmy Weaver, Jonathan Ginsburg, Fettman, Davina Roberts, Anthony Hannah Thomas, Press & Althea Wilkinson, Ticket Services Tolchin and Majors, PC Shields Jr., Head Floor Staff Marketing Assoc. Representatives Insurance Broker BAMCINÉMATEK CREATIVE FINANCE & ADMINISTRATION Dewitt Stern Gabriele Caroti, Director Andrew Sloat, Creative Director CAPITAL PROJECTS Nellie Killian, David Reilly, Patrick Morin, Assoc. Director Jonathan Jones, Director, Capital Medical Consultants Programmers of Design Projects Ahmar Butt, MD Jesse Trussell, Programming Asst. Ryan Rowlett, Senior Interactive Matthew Baclini, Capital Projects Anders Cohen, MD Ryan Werner, Programmer at Designer Analyst Large Katie Positerry, Interactive Laura Grady, Capital Projects Restaurateur Designer Manager Great Performances EDUCATION Kyle Richardson, Designer Steven McIntosh, Director of Benjamin Cohen, Assoc. Director FINANCE & ADMINISTRATION Education & Family Programs of Video Ellen Leszynski, Project Oct 15, 2015 John P. Tighe, Asst. Director of Ben Katz, Video Production Manager Education Manager Eveline Chang, Mikal Lee, Kaitlyn Chandler, Alexander Guns, FINANCE Verushka Wray, Program Video Editors Kozue Oshiro, Controller Managers Jenny Choi, Publications Manager Tameka White, Asst. Controller Cathleen Plazas, Program Seán McKeithan, Robert Wood, Claudia Bailey, Budget Manager Coordinator Copywriters Brian Gee, Accounting Assoc. David McCullough, Budget Coordinator