sign in sign up
<<
Home , Gelsey Bell, Merce Cunningham

2019 Winter/Spring Season

Brooklyn Academy of Music

Adam E. Max, Katy Clark, BAM Board Chair President

William I. Campbell and Nora Ann Wallace David Binder, BAM Board Vice Chairs Artistic Director Night of 100 Solos: A Centennial Event

Choreography by Merce Cunningham

BAM Howard Gilman Opera House Apr 16 at 7:30pm

Running time: approx. 90 minutes, no intermission

Presented without inter- Stager Patricia Lent mission, Events consist of Associate stager Jean Freebury excerpts of dances from the Music director John King repertory and new sequences Set designer Pat Steir arranged for the particular performance and place, Costume designers and builders Reid Bartelme & Harriet Jung with the possibility of several Lighting designer Christine Schallenberg separate activities Technical director Davison Scandrett at the same time. —Merce Cunningham Co-produced by Academy of Music, the Barbican London, UCLA’s Center for the Art of Performance, and the Merce Cunningham Trust

Night of 100 Solos: A Centennial Event is part of the Merce Cunningham Centennial.

Night of 100 Solos: A Centennial Event is generously supported by a major grant from the Howard Gilman Foundation.

2019 Winter/Spring is programmed by Joseph V. Melillo.

Season Sponsor:

Leadership support for at BAM provided by The Harkness Foundation for Dance

Major support for dance at BAM provided by The SHS Foundation

Support for the Signature Artists Series provided by the Howard Gilman Foundation Night of 100 Solos

DANCERS Kyle Abraham, Christian Allen, Mariah Anton (understudy), Reid Bartelme, Jacqueline Bulnes, Cecily Campbell, Peiju Chien-Pott, Maggie Cloud, Jason Collins, Marc Crousillat, Angela Falk, Peter Farrow (understudy), Tamisha Guy, Jacquelin Harris, Forrest Hersey, Eleanor Hullihan, Shayla-Vie Jenkins, Claude “CJ” Johnson, Lindsey Jones, Sara Mearns, Sharon Milanese, Chalvar Monteiro, David Norsworthy, Keith Sabado, Vicky Shick, Joshua Tuason, and Anson Zwingelberg

UNDERSTUDIES Mariah Anton and Peter Farrow

MUSICIANS , Gelsey Bell, John King, Matana Roberts, and Jesse Stiles

ADDITIONAL STAGING AND COACHING Kimberly Bartosik, Michael Cole, Brandon Cowlles, Dylan Crossman, Holley Farmer, Maydelle Fason, Jennifer Goggans, Neil Greenberg, Meg Harper, Joseph Lennon, Rashaun Mitchell, Sandra Neels, Dennis O’Conner, Silas Reiner, Jamie Scott, Derry Swan, Carol Teitelbaum, Melissa Toogood, and Andrea Weber

The Cunningham Centennial is generously supported with major funding from the Merce Cunningham Trust, the Paul L. Wattis Foundation, the Doris Duke Charitable Foundation, the American Express Foundation and Judith Pisar.

Additional funding has been provided by the The Gladys Krieble Delmas Foundation, the Foundation for Contempo- rary Arts, Judy and Alan Fishman, Molly Davies, Myra Malkin and Barbara Pine.

Videographer and Livestream Producer Nel Shelby Productions Executive Producer Ken Tabachnick Creative Producer Trevor Carlson

Notes

The Merce Cunningham Dance Company (then cities on both sides of the Atlantic, is the largest Merce Cunningham and Dancers) first performed Cunningham Event ever undertaken. BAM, at the Brooklyn Academy of Music on Jan 20, the Center for the Art of Performance at UCLA, 1954. The program was Suite by Chance, and the Barbican, London, are presenting this Fragments, Septet, Banjo, and Dime a Dance. one-time birthday Event in collaboration with the The company returned later that year (when Merce Cunningham Trust. In acknowledgment Minutiae premiered, which marked the begin- of Cunningham’s long-standing commitment to ning of a long, steady relationship with Robert technology and accessibility, all three portions of Rauschenberg), twice in 1957, and then not the Event are being live-streamed, making this again until 1966. Two years later, BAM President evening a truly global Event. and Executive Producer asked the company and American On each of the three stages, 25 dancers will Dance Theater to be resident companies at BAM. perform 100 solos choreographed by Merce Cun- This invitation solidified a relationship between ningham. Authorized stagers—all of whom are BAM and MCDC that lasted until it disbanded, former Cunningham dancers—have composed in 2011, after Cunningham’s death in 2009. these solos into a choreographic Event following Over the decades, the company appeared at their understanding of Cunningham’s aesthetics BAM 89 times, with the last performance here and processes. Alongside them, nearly half of on April 19, 2009, at the end of a run in which the total alumni of the MCDC have participated Cunningham’s last piece, Nearly 90, premiered in staging the works, passing the information on his 90th birthday—10 years ago today, April residing in their bodies to a new group of danc- 16, 2009. ers, many of whom never danced with, or even met, Cunningham. Night of 100 Solos: A Centennial Event brings the Cunningham legacy back to BAM, where so Consistent with Cunningham’s methodology, the much of the foundation of Cunningham’s longev- dancers have all rehearsed in silence and will ity was nurtured. This Event, spread across three only hear the live music accompaniment—which Night of 100 Solos—Notes is composed and performed by a team in each now see that there is a clear pathway to pass city led by one of the former MCDC musicians— on the intimate knowledge of those on whom when they perform. Also consistent with Cun- Merce Cunningham first staged his work. Also, ningham’s practice, and making the connection there continues to be a hungry and interested again to technology, each city’s stage design will audience, appreciating the unique, revolutionary feature a digital artwork created by a visual artist. work that Merce Cunningham and his collabora- tors (including , , In presenting Night of 100 Solos, the Merce and ) did to reveal new ways of look- Cunningham Trust and its three partners hope to ing at and experiencing the world. This body of demonstrate that the Cunningham legacy is alive work is as relevant and engaging today as it was and well and that his work can be performed by over the 70 years of Merce Cunningham’s career. a diverse group of dancers. In addition, we can

A Note from Judith Pisar, former Executive know, did not need to be in sync with steps); Director of Merce Cunningham’s company and and then would come the sets and costumes. former Director of Music at BAM Thus came together some of the greatest creative minds of the post-War era: John Cage and other The first thing that struck me about Merce composers like , Morton Feldman, Cunningham, when we met in the early 1960s, or Toshi Ichiyanagi; visual artists like Jasper was the strength of his quiet presence. He Johns, Robert Rauschenberg, , Marcel moved with the soft grace of a panther. At Duchamp, Buckminster Fuller, , Bill first, a bit intimidating, he soon became warm Anastasi, and Dove Bradshaw. These artistic pio- and affectionate. neers, many of whom had met at , revolutionized the world of dance. It was music that led me to the world of dance. I was representing John Cage through “The Several years after accepting that job, I moved Composer Speaks”—the lecture bureau I had to Paris with my husband, Samuel Pisar, and established for composers who were breaking ran the American Center on Boulevard Raspail, through onto the world stage. Merce took a keen where I invited Merce and John to perform. interest in our work. The trust that he and John When I told them that the audience would in- gave to the timid young woman I was then was clude some famous French intellectuals and per- no different than the trust they lavished upon so sonalities, John chuckled: “Then Merce and I are many young artists and performers in all fields. going to be particularly naughty!” They of course had a triumph. In those days they were perhaps One morning, as our first musical season was more beloved, and better understood, in Western wrapping up, John came over to my office with Europe than in the United States. They returned a totally unexpected offer. Did I want to manage often, under the guidance of the marvelous Merce Cunningham’s dance company? At first, Benedicte Pesle—one of the greatest champions I demurred: “John, I know a thing or two about of American contemporary art in Europe. music… But dance?” It did not take him long to convince me. And thus began the greatest of ad- It is difficult to believe that Merce would be 100 ventures, that would take us to the four corners this year. He seemed at once immortal and eter- of the earth, where there was a stunning thirst nally youthful. The magic he communicated from for the American avant-garde. the stage to his audience is, to this day, unlike anything I have ever seen. And I feel humbled Merce had a charismatic and mysterious pres- and proud to have helped to bring to the world ence. Yes, he was introverted and shy. But he some of America’s true greatness. could also be terribly funny. One of his favorite things was to sneak out and meet me at MoMA Judith Pisar, UNESCO Special Envoy for Cultural to catch a Fred and Ginger movie. Onstage, Mer- Diplomacy, was the Executive Director of Merce ce was pure magic, breaking barriers with every Cunningham’s company from 1965—68, in step. The image of him sitting in a grand plié in tandem with Lew Lloyd. During this time, she es- Summerspace is forever etched in my mind. tablished a lifelong friendship with Cunningham The creative process was totally unique: First and Cage. She continues to be an unwavering he would choreograph the piece; then he would supporter of their work. commission or select the music (which, as we Who’s Who

DANCERS He started Cunningham training in 1999 with Cathy Kerr at SUNY Purchase and continued KYLE ABRAHAM is the proud recipient of a periodically at the Cunningham studio. Reid & 2018 Princess Grace Statue Award. Previous Harriet have received fellowships at Center for awards include the 2012 Jacob’s Pillow Dance Ballet and the Arts and the New York Public Award, a 2012 United States Artists Fellowship, Library. They have made commissioned work for a 2013 MacArthur Award, and a 2016 Doris the Museum of Art and Design and Guggenheim Duke Award for his achievements in dance. In Works & Process. addition to founding and directing his dance company A.I.M., Abraham has created works for JACQUELINE BULNES, from Miami, FL, trained Hubbard Street Dance Chicago, Wendy Whelan’s with Edmundo Ronquillo of the Ballet Nacional Restless Creature, several works for Alvin Ailey de Cuba and received a BFA from New World American Dance Theater, and most recently The School of the Arts. As former soloist with the Runaway for Ballet’s 2018 Fall Dance Company and Dance Fashion Gala. Abraham is a visiting professor in Theatre of Harlem, Bulnes toured Italy for four residence at UCLA. years as movement director and choreographer before moving to London for a year to restage CHRISTIAN ALLEN was raised in Cambridge, both Graham and Limón’s repertoire at Trinity La- MA and began studying dance at age five with ban. Her work as director and choreographer has JAM’NASTICS INC., a local hip-hop company. been shown in festivals around Italy, Scotland, His formal dance training began in high school England, Miami, and New York. Bulnes performs where he studied ballet, modern, and improvi- as soloist with the Limón Dance Company. sational dance. He received his BFA in dance at SUNY Purchase. Allen has performed repertory CECILY CAMPBELL was born in Santa Fe, NM pieces by NØA Dance, GREYZONE NYC, Gregory and is based in New York. She is a member of Dolbashian, Adam Barruch, Gabrielle Lamb, Dance Company, which she joined Shannon Gillen, Roy Assaf, Aszure Barton, Kyle in 2012, and previously danced with Shen Wei Abraham, Brian Brooks, Emily Molnar, Merce Dance Arts from 2008—13. She holds a BFA in Cunningham, Trisha Brown, Bill T. Jones, and dance from ’s Tisch School Kimberly Bartosik/daela. of the Arts. Campbell is a long-time admirer of Merce Cunningham’s work, collaborative MARIAH ANTON (understudy) is from Long partners, and dancers. Island, NY, where she studied with Jo-Ann Hertz- man. Anton is studying for a BFA at the Universi- PEIJU CHIEN-POTT, from Taiwan, is a principal ty of North Carolina School of the Arts where she dancer for Martha Graham Dance Company. She received the Sarah Graham Kenan Scholarship. received a BFA from Taipei National University At UNCSA she has studied many techniques of the Arts and a Merit Scholarship at Merce and performed works by Martha Graham, Merce Cunningham Studio, where she studied with Cunningham, Charles Czarny, Ming-Lung Yang, Cunningham in 2008. Chien-Pott has been hon- Alexei Kremnev, Larry Keigwin, José Limón, Tim ored with the Positano Premia la Danza “Léonide Miller, Natalie Desch, Dawn Bazemore, and Juel Massine,” an honoree of Women’s History Lane. She’s taken workshops with the Merce Month, a Bessie Award, “People of the Year” by Cunningham Trust, Stephen Petronio, Complex- PAR Performing Arts of Taiwan, an Outstanding ions Contemporary Ballet, Jessica Lang Dance, Dance Artist Award from the government of and Rioult Dance. Taiwan, and the Capri International Award in Dance, among others. REID BARTELME, along with Harriet Jung, is co-design director at Reid & Harriet Design. He MAGGIE CLOUD grew up in Sarasota, FL and was a dancer at Ballet Met and the Alberta Ballet graduated from Florida State University with a before returning home to New York to dance with BFA in dance. She has worked with choreogra- Shen Wei Dance Arts and later the Lar Lubovitch phers including Moriah Evans, Beth Gill, John Dance Company. He has also danced in work by Jasperse, Pam Tanowitz, and Gillian Walsh. Kyle Abraham, Jack Ferver, and Douglas Dunn. Since 2012, Cloud has regularly attended class- Who’s Who

es given by the Cunningham Trust, participated TAMISHA GUY, a native of Trinidad and Tobago, in restaging workshops for How to Pass, Kick, began her formal dance training at Ballet Tech, Fall and Run and Un Jour ou Deux. She has the New York City Public School for Dance under been on faculty at Chen Dance Center, Brook- the direction of Eliot Feld. She attended LaGuar- lyn Arts Exchange, and University of the Arts dia High School and SUNY Purchase College, Pre-College Summer Institute. She is currently where she studied Cunningham Technique with studying at Tri-State College of Acupuncture. Jean Freebury. In 2013, Guy graduated with honors from SUNY Purchase and joined Martha JASON COLLINS is from Defreestville, NY and Graham Dance Company. In 2016, Guy was received his BFA from The . selected as one of Dance Magazine’s “25 to Living in Brooklyn, Collins works with Pam Ta- Watch” and received the Princess Grace Fellow- nowitz Dance and also performs with Crossman ship. She joined Kyle Abraham’s A.I.M. in 2014. Dans(c)e, Metropolitan Opera, Ryan McNamara, The Bang Group, and Danielle Russo. Collins JACQUELIN HARRIS, born in Charlotte, NC, has participated in Cunningham Trust workshop studied under Lori Long at Dance Productions reconstructions of Ocean, Locale, and Cross Studios, then at Joffrey Ballet School and Jacob’s Currents, and was featured in Scenario at Vail Pillow. Harris, an honors graduate from the Ailey/ Dance Festival in 2018. He is also co-founder Fordham Program, has a BFA in dance from of HEWMAN, a collaborative collective of artists Fordham University. Recipient of a Silver ARTS bent on widening the potential for equality and em- award from the National Foundation for the pathy between dance audiences and performers. Advancement of the Arts, she was a Presidential Scholar in the Arts semifinalist. She is among MARC CROUSILLAT works with the Trisha Dance Magazine’s 2016 “25 to Watch” and Brown Dance Company and Netta Yerushalmy. received a 2017 Princess Grace Fellowship. She He has performed in the works of John Jasperse, joined the Alvin Ailey American Dance Theater in Tere O’Connor, Gerard & Kelly, and Wally Car- 2014 and studied Cunningham Technique with dona & Jennifer Lacey. He has taught master Carol Teitelbaum. classes at Yale University, Duke University, the University of the Arts, and the Jerusalem FORREST HERSEY trained at the University of Academy of Music and Dance, among others. Louisville and the Youth Performing Arts School He earned a BFA in dance at the University of in Kentucky and holds a BFA in dance from the Arts. He received a 2016 Princess Grace SUNY Purchase, where he performed works by Award Dance Fellowship, and was listed as one Ohad Naharin, Azsure Barton, Greg Dolbashian, of Dance Magazine’s “25 to Watch” in 2017. Ori Flomin, and Shannon Gillen. He has per- In 2012, he participated in Rashaun Mitchell’s formed with Rashaun Mitchell + Silas Riener, staging of How to Pass, Kick, Fall and Run. Nelly Van-Bommel, ZviDance, and Gabrielle Lamb’s Pigeonwing Dance. He has also per- ANGELA FALK is a native of Lafayette, CA. She formed sections of Cunningham’s Springweather was introduced to Cunningham Technique at The and People. Hersey was included in Transmis- Juilliard School, from which she graduated in sions, an exhibit by Nick Mauss at the Whitney 2017 and received the Joseph W. Polisi “Artist Museum of American Art. He currently dances as Citizen” award. She is a member of the Limón for Liz Gerring Dance Company. Dance Company and resides in New York City. Falk has also performed with the CCN - Ballet ELEANOR HULLIHAN has performed and col- de Lorraine in Nancy, France and Buglisi Dance laborated with Rashaun Mitchell + Silas Riener, Theater in New York City. John Jasperse, Tere O’Connor, Jimmy Jolliff, Beth Gill, Jennifer Monson, Sarah Michelson, Andrew PETER FARROW (understudy) is originally Ondrejcak, Sufjan Stevens/Jessica Dessner, Mike from Richmond, VA. He is a recent graduate of Mills, and Zeena Parkins. She was a DanceWEB The Juilliard School who studied Cunningham scholar and a curator for Movement Research. Technique under Jean Freebury and performed She teaches body conditioning at ABT Jacque- in Juilliard’s production of Sounddance. He is line Kennedy Onassis School, Sarah Lawrence currently performing in Sleep No More in NYC. College, and privately in NYC. Hullihan first en- Who’s Who

countered the Cunningham Technique at UNCSA Wang Ramirez, and Jodi Melnick in New Bodies. with Brenda Daniels and graduated from NYU Mearns was featured in Matthew Bourne’s Tisch Dance (BFA). She was born in Seattle and The Red Shoes, performed Dances of Isadora lives in Brooklyn. Duncan in one of her five Fall for Dance festival appearances, and will perform in the New York SHAYLA-VIE JENKINS is a performer, teacher, City Center Encores production of I Married an and creator currently based in Philadelphia, Angel. She is a Benois de la Danse and a Prin- PA. She received her BFA from the Ailey/ cess Grace Award nominee, and a winner of the Fordham program and recently completed her 2018 Bessie Award for Outstanding Performer. MFA at Smith College. Jenkins spent a decade (2005—15) performing with Bill T. Jones/Arnie SHARON MILANESE is a teaching and perform- Zane Dance Company. She has also worked ing artist based in New York City. She holds a with artists including Alicia Hall Moran, Gus BFA in dance performance from Southern Meth- Solomons jr, Yanira Castro, Rebecca Lazier, and odist University, is a certified Pilates instructor Yara Travieso. Jenkins recently began an assis- and bodyworker, and teaches professional ballet tant professorship in the School of Dance at the classes worldwide. Milanese has been dancing University of the Arts, and is involved in creative for Dance Company since 2009, projects with Ni’Ja Whitson and Susan Marshall. and was appointed rehearsal director in 2014. She has set Childs’ work on Lyon Opera Ballet, CLAUDE “CJ” JOHNSON hails from Chicago, IL and on students at Barnard College and George where he began his formal dance training at Chi- Mason University. cago Academy for the Arts under the direction of Randy Duncan. He continued his dance training CHALVAR MONTEIRO began studying dance at SUNY Purchase, where he was awarded the at Sharron Miller’s Academy for the Performing Adopt-A-Dancer Scholarship. At Purchase, he Arts. He continued his studies at The Ailey performed works by choreographers Johannes School and received a BFA in dance from SUNY Weiland, Aszure Barton, Doug Varone, Kevin Purchase, where he was introduced to the Wynn, Rosalind Newman, Alexandra Beller, and Cunningham Technique. He performed Cun- Stuart Loungway, and studied Cunningham Tech- ningham’s Duets staged by Carol Teitelbaum. He nique under Jean Freebury. Johnson currently has also performed works by Paul Taylor, Helen resides in NYC and joined Kyle Abraham’s A.I.M. Pickett, Kevin Wynn, and Doug Varone. Monteiro in 2017. danced with Elisa Monte Dance, Keigwin + Company, Sidra Bell Dance NY, BODYTRAFFIC, LINDSEY JONES is originally from St. Louis, MO Kyle Abraham/A.I.M., Ailey II, and is currently a and lives in NYC. She graduated with a BFA from dancer with Alvin Ailey American Dance Theater. SUNY Purchase, where she was introduced to Cunningham’s work. She continued her studies DAVID NORSWORTHY is a Canadian dance art- at the Professional Training Program at Westbeth ist based in Toronto. He has performed with Peg- and has participated in numerous workshops gy Baker Dance Projects, Toronto; Dancenorth, offered by the Cunningham Trust. Jones is hon- Melbourne; Brian Brooks, New York; and Skånes ored to be part of Alla Kovgan’s 3-D Cunningham Dansteater, Malmö. His choreographic presen- documentary film that will premiere in the Spring tations include Our Voices, Stockholm; Wave of 2019. She works with Dance Heginbotham, Rising, New York; and CanAsian Dance, Toronto. Pam Tanowitz Dance, Kimberly Bartosik/daela, Norsworthy is recipient of the 2016 Ron Lenyk Sally Silvers, Bill Young, and Caleb Teicher & Co. Award and one of three finalists for the Toronto Arts Foundation’s 2018 Emerging Artist Award. SARA MEARNS, originally from Columbia, SC, is He first encountered Cunningham Technique a principal dancer with and and repertory at The Juilliard School, where he resides in NYC. Mearns entered the School of earned his BFA in 2013. American Ballet in 2001 and became principal dancer with NYCB in 2008. She has worked KEITH SABADO was born in Seattle and with the Paul Taylor Dance Company, Company began his dance training at the University of Who’s Who

Washington. He was a longtime member of the Charlotte Ballet, his performance work includes Mark Morris Dance Group. He danced for many , Johan Inger, Javier de Frutos, years with White Oak Dance Project, perform- Robyn Mineko-Williams, Myles Thatcher, Bryan ing dances by many choreographers, including Arias, and Medhi Walerski. Cunningham. He was invited to dance with the Lucinda Childs Dance Company for its 20th an- MUSICIANS niversary and later staged Childs’ Radial Courses on students from Sarah Lawrence College while DAVID BEHRMAN (small acoustic instruments, on faculty there. He currently teaches Pilates and laptops and electronics) has been active as movement rehabilitation privately, conditioning a composer and artist since the 1960s. Over at ABT Jacqueline Kennedy Onassis School, and the years he has made sound and multimedia performs with . installations for gallery spaces as well as compo- sitions for performance in concerts. He had long VICKY SHICK, born in Budapest, Hungary, associations with the Merce Cunningham Dance received a performance Bessie for her time in the Company, John Cage, and David Tudor, and was Trisha Brown Dance Company. She has collabo- a co-founder, with , rated with many other choreographers, including and , of the Sonic Arts Union. duets with Cunningham dance icons Meg Harper and Robert Swinston. Shick has shown her own GELSEY BELL (voice, vocoder, metallophone, pieces and received her second Bessie for her col- electronics) is a singer, songwriter, sound artist, laborative work with artist Barbara Kilpatrick. Shick and scholar. She received a 2017 Music/Sound teaches at Movement Research, at various colleges, Award from the Foundation for Contemporary and internationally. She was a two-time Movement Arts, had work included in PS 1’s Greater New Research Artist in Residence, a grant recipient York exhibit, and has released multiple albums, from the Foundation for Contemporary Arts, a DiP including Ciphony with John King. She is a Gibney grantee, and a Guggenheim Fellow. core member of thingNY, Varispeed, and the Chutneys, and has collaborated with multiple JOSHUA TUASON is a dance artist and teacher choreographers, including Kimberly Bartosik, originally from San Francisco, where he began Yasuko Yokoshi, Biba Bell, and Anna Sperber. his training at the San Francisco Ballet, and later obtained a BFA from Marymount Manhattan Col- JOHN KING (music director; electronics, viola, lege. He was a member of the Martha Graham guitar), composer, guitarist, and violist, has re- Ensemble and has participated in various recon- ceived commissions from Kronos Quartet, Ethel, structions of Cunningham’s work with the Cun- Bang on a Can All-Stars, Mannheim Ballet, New ningham Trust. He was a member of Stephen York City Ballet/Diamond Project, Stuttgart Ballet, Petronio Company (2009—17). He currently and Merce Cunningham Dance Company. His freelances and has collaborated with various music has been performed at The Kitchen, BAM, artists, including Mark Morris, Ian Spencer Bell, Lincoln Center, The Knockdown Center, and Rou- Ellen Cornfield, Wendy Osserman, Pat Catterson, lette. He received the 2014 Award for Sound/ Xavier Cha, Sally Silvers, and Pam Tanowitz. Music from the Foundation for Contemporary Arts, as well as the 2009 Alpert Award for the ANSON ZWINGELBERG, from Myrtle Beach, Arts in Music. SC, began ballet training under Liza Mata, and later studied at SC Governor’s School for the MATANA ROBERTS (alto saxophone) is an Arts and Humanities under Stanislav Issaev internationally documented mixed media sound and Josée Garant. He received a BFA from The artist and musician. Juilliard School (2017), where he performed work by Merce Cunningham, José Limón, JESSE STILES (electronics), from Boston, is an Paul Taylor, Richard Alston, Matthew Neenan, electronic composer, performer, installation artist, Zvi Gotheiner, and Loni Landon, performed at and software designer. Stiles’ work has been fea- Guggenheim Works & Process, participated tured at internationally recognized institutions in- in Springboard Danse Montréal, and Merce cluding the Smithsonian American Art Museum, Cunningham Trust workshops. Since joining Lincoln Center, Whitney Museum of American Night of 100 Solos

Art, and Park Avenue Armory. He has appeared Cunningham Technique and repertory workshops multiple times at Carnegie Hall, performing as a at the Cunningham Studio in the late 1980s. soloist with electronic instruments. In recent years, she has staged Cunningham’s work for companies, conservatories, schools, and CREATIVE COLLABORATORS museums worldwide.

MERCE CUNNINGHAM (1919—2009) is wide- JEAN FREEBURY (associate stager) danced for ly considered to be one of the most important Merce Cunningham Dance Company from 1992 choreographers of all time. His approach to per- until 2003. She has taught Cunningham Tech- formance was groundbreaking in its ideological nique and repertory since 1996. She is currently simplicity and physical complexity: he applied on faculty at The Juilliard School, SUNY Pur- the idea that “a thing is just that thing” to chore- chase, and the Cunningham Trust. She has been ography, embracing the notion that “if the dancer staging Cunningham’s work since 2010 and is a dances, everything is there.” Cunningham was four-time Merce Cunningham Fellow. born in Centralia, WA, and attended the Cornish School in Seattle. There, he was introduced to PAT STEIR (set design) is an American painter. the work of Martha Graham (he would later have Her early work was loosely associated with con- a six-year tenure as a soloist with her company) ceptual art and , however, she is best and met John Cage, who would become the known for her abstract dripped, splashed, and greatest influence on his practice, his closest poured “Waterfall” paintings, which she started collaborator, and his life partner until Cage’s in the 1980s. Steir has had retrospectives and death in 1992. In 1948, Cunningham and Cage exhibitions all over the world, including the Tate began a relationship with the famed experimen- Gallery in London, and shows at the Brooklyn tal institution Black Mountain College, where Museum and the New Museum of Contempo- Cunningham first formed a dance company to rary Art that traveled throughout Europe. She is explore his convention-breaking ideas. Merce represented at the Metropolitan Museum of Art, Cunningham Dance Company (originally called Museum of , and the Tate Gallery. Merce Cunningham and Dance Company) would remain in continuous operation until 2011, with REID BARTELME and HARRIET JUNG (cos- Cunningham as artistic director until his death tume designers) founded Reid & Harriet Design in 2009. Over the course of his 70-year career, in 2011. They have designed costumes for many Cunningham choreographed 180 dances and dance productions internationally. They have over 700 Events. Cunningham proposed a num- produced their own costume-centric dance per- ber of radical innovations on how movement and formances at the Guggenheim and the Museum choreography are understood, and sought to find of Art and Design in New York City. Reid & Harri- new ways to integrate technology and dance. With et Design aims to expand the notions of costume long-term collaborations with artists like Robert in dance performance and to evolve traditional Rauschenberg, Jasper Johns, Charles Atlas, and notions of collaboration. Reidandharriet.com Elliot Caplan, Cunningham’s sphere of influence also extended deep into the visual arts world. TREVOR CARLSON (creative producer) is a cul- Cunningham earned some of the highest honors tural manager and producer working more than bestowed in the arts, and his dances have been 25 years with artists. He is the former executive performed by renowned companies worldwide. director of Merce Cunningham Dance Compa- ny where he was active in the creation of new PATRICIA LENT (primary stager) was a member works and the formation of the Legacy Plan. He of the Merce Cunningham Dance Company is co-founder of Thorus Arts as well as performer (1984—93) and White Oak Dance Project in Not a moment too soon, a theater piece about (1994—96). She then taught elementary school his shared journey with Cunningham in his final at PS 234 in Lower Manhattan (1998—2007). years. Carlson is a graduate in dance from The In 2009, Lent was named a trustee of the Merce Juilliard School and trustee of both the John Cunningham Trust, and currently serves as the Cage Trust and the Merce Cunningham Trust. Trust’s director of licensing. She began teaching THE MERCE CUNNINGHAM TRUST NIGHT OF 100 SOLOS TEAM The Merce Cunningham Trust preserves, enhanc- Executive Producer: Ken Tabachnick es, and maintains the integrity of Cunningham’s Creative Producer: Trevor Carlson artistic work and processes, and makes his Primary Stager (London): Daniel Squire works available to the public. Established by Assoc. Stager (London): Ashley Chen Cunningham in 2000, the Trust promotes Cun- Assoc. Stager (London): Cheryl Therrien ningham’s artistic legacy as a living, breathing Primary Stager (NYC): Patricia Lent thing, passed down to those who embody, view, Assoc. Stager (NYC): Jean Freebury or perceive it. The Trust looks toward a vital Primary Stager (LA): Andrea Weber future, forging community by promoting public Assoc. Stager (LA): Dylan Crossman engagement with Cunningham’s work, cele- Music Director: John King brating his unique contributions, and seeing his Publicists: Blake Zidell & Associates influence reflected in the works of new genera- Assoc. Producer (NYC): Rebecca Wilhelms Douglas tions of choreographers and dancers. Front of House Manger (NYC): Alexandra Felicetti Sets and Props Coordinator: Andrew Jordan Cunningham Technique is a registered trademark Preservation Videographers: Dancing Camera of the Merce Cunningham Trust. (Nic Petry and Julie Rooney)

Thank you to Ana Campbell, Julie George, Kristy STAGERS AND COACHES: Geslain, Christopher Hampson, Joe Harrell, Ed Cédric Andrieux, Kimberly Bartosik, Lisa Bou- Henry, Maurine Knighton, Tim McClimon, Joseph dreau, Thomas Caley, Ashley Chen, Michael Mitchell, Laura Packer, Judith Pisar, Rachael Cole, Brandon Cowlles, Dylan Crossman, Shearer, Stacy Tennenbaum, and Paul Wattis. Julie Cunningham, Paige Cunningham, Emma Diamond, Foofwa d’Imobilité, Holley Farm- Special Thanks to Kristy Edmunds, Joseph V. er, Maydelle Fason, Victoria Finlayson, Jean Melillo, and Toni Racklin. Freebury, Jennifer Goggans, Alan Good, Neil Greenberg, Meg Harper, Susana Hayman-Chaf- Very special thanks for the generous support pro- fey, Joseph Lennon, Patricia Lent, Larissa Mc- vided by Abraham in Motion (A.I.M.), Alvin Ailey Goldrick, Rashaun Mitchell, Marcie Munnerlyn, American Dance Theater, Charlotte Ballet, The Sandra Neels, Dennis O’Conner, Banu Ogan, Juilliard School, Kimberly Bartosik/Daela, Limón Jared Phillips, Albert Reid, Silas Reiner, Kristy Dance Company, Liz Gerring Dance Company, Santimyer-Melita, Jamie Scott, Daniel Squire, Martha Graham Dance Company, New York Jeannie Steele, Derry Swan, Carol Teitelbaum, City Ballet, Pam Tanowitz Dance, Trisha Brown Cheryl Therrien, Melissa Toogood, Megan Walk- Dance Company, and University of North Caroli- er-Straight, and Andrea Weber na School of the Arts. Thanks to the Mark Morris Dance Center for hosting a series of Cunningham MCT TRUST STAFF Master Classes. Executive Director: Ken Tabachnick Director of Licensing: Patricia Lent The rehearsal space for the creation period of Program Coordinator: Jennifer Goggans Night of 100 Solos is thanks to the Baryshnikov Director of Media: Daniel Madoff Arts Center and especially Georgiana Pickett and Admin. Assistant: K. Gary Champi Mikhail Baryshnikov. Scholar in Residence: Nancy Dalva Audiovisual Archivist: Benjamin Houtman John Cage’s 4’33” used with permission by C.F. Peters and with thanks to the John Cage Trust. Centennial Producer: Trevor Carlson Centennial Admin. Assistant: Caroline Haidet

MCT TRUSTEES Trevor Carlson, Laurence Getford, Laura Kuhn, Patricia Lent, Rashaun Mitchell, Jeff Seroy, Allan Sperling, Robert Swinston