The Joffrey Ballet, October 15, Tet; Nick Ingam, Conductor

PURDUE CONVOCATIONS IS PROUD TO PARTNER WITH NANSHAN ADVANCED ALUMINUM TECHNOLOGIES, LLC THIS SEASON TO BRING THE KNIGHTS WITH WU MAN, PIPA.

Nanshan America’s new operation in “Nanshan has chosen to support Lafayette will employ approximately Purdue Convocations so that 200 in the company’s first aluminum members of the Greater Lafayette manufacturing plant in the US. With community, Purdue students the latest technology, the Lafayette and faculty can be offered the facility offers world class aluminum opportunity to attend profes- casting and extrusion products for sional artistic performances of the commercial transportation and a broad and diverse nature right automobile industries, distribution here in our community.” markets, and other customers who - David Kummer, Human Resources demand highly engineered products.

A campus visit by the innovative American chamber orchestra, The “Nanshan feels very strongly Knights, and the acclaimed Chinese about its obligation to be a pipa artist, Wu Man, became a good corporate citizen through reality this season through a special its Core Values: partnership with Nanshan America - Commitment to Community Aluminum Technologies, LLC. - Commitment to Customers The company supported a two-day - Commitment to Employees engagement with the artists which Our commitment to our included a public performance, a Community means that we will private campus event and mini-per- strive to maintain strong formance, classroom residencies at relations with business, Purdue and lecture-demonstrations government and community of traditional Chinese pipa music leaders, contractors and for students in the Lafayette School vendors, as well as providing Corporation. These activities support for community initia- promoted intercultural exchange tives that have a meaningful and integration on campus and in impact in our community.” the community, reaching 450 individuals. FEBRUARY 28, 2013 / ELLIOTT HALL OF MUSIC

AGE OF INNOCENCE Choreography by EDWAARD LIANG Music by PHILIP GLASS and THOMAS NEWMAN Costume Design by MARIA PINTO Lighting design by MARK STANLEY, recreated by JACK MEHLER

AFTER THE RAIN Choreography by CHRISTOPHER WHEELDON Music by ARVO PÄRT Costumes Designed by HOLLY HYNES Lighting by MARK STANLEY, Recreated by JACK MEHLER Staged by JASON FOWLER

-INTERMISSION-

LE SACRE DU PRINTEMPS (The Rite of Spring) Pictures of Pagan Russia in Two Acts

Choreography after Vaslav Nijinsky Reconstructed and staged by Millicent Hodson Music by Igor Stravinsky Scenario by Igor Stravinsky and Nicholas Roerich Costumes and décors after Nicholas Roerich Reconstructed and supervised by Kenneth Archer Artistic Supervision of Reconstruction by Robert Joffrey Lighting Design by Jack Mehler after Thomas Skelton Scenic Supervision and Costumes Executed by Robert Perdziola and Sally Ann Parsons

Patrons are requested to turn off pagers, cellular phones, and signal watches during performances. The taking of photographs and the use of recording devices are not allowed in this auditorium. Program and artists subject to change. ASHLEY C. WHEATER Artistic Director

CHRISTOPHER CLINTON CONWAY Executive Director

ROBERT JOFFREY GERALD ARPINO Founder Founder

Artists of The Company MATTHEW ADAMCZYK – DERRICK AGNOLETTI – YOSHIHISA ARAI GUILLAUME BASSO – MIGUEL ANGEL BLANCO – OGULCAN BOROVA – KATHERINE BRUNO – FABRICE CALMELS – RAUL CASASOLA – APRIL DALY – ERICA LYNETTE EDWARDS – YUMELIA GARCIA – CARA MARIE GARY – JOHN MARK GIRAGOSIAN – DYLAN GUTIERREZ – ELIZABETH HANSEN – JAIME HICKEY – RORY HOHENSTEIN – ANASTACIA HOLDEN – DARA HOLMES – VICTORIA JAIANI – FABIO LO GIUDICE – GRAHAM MAVERICK – CAITLIN MEIGHAN – JERALDINE MENDOZA – KATHERINE MINOR – JACQUELINE MOSCICKE – AMBER NEUMANN – ALEXIS POLITO – VALERIE ROBIN – CHRISTINE ROCAS – AARON ROGERS – RICARDO SANTOS – LUCAS SEGOVIA – ABIGAIL SIMON – MICHAEL SMITH – TEMUR SULUASHVILI – JACK THORPE-BAKER – SHANE URTON – ALBERTO VELAZQUEZ – MAURO VILLANUEVA – MAHALLIA WARD – JENNY WINTON – JOANNA WOZNIAK – KARA ZIMMERMAN

SCOTT SPECK Music Director NICOLAS BLANC GERARD CHARLES Ballet Master Ballet Master GRACA SALES Ballet Master/Principal Coach

KATHERINE SELIG Principal Stage Manager

AMANDA HEUERMANN Stage Manager

JACK MEHLER, Lighting Director THETHE JOFFREY JOFFREY BALLETBALLET ARTISTSARTISTS OF THE OF COMPANY THE COMPANY

Matthew Adamczyk Derrick Agnoletti Yoshihisa Arai GuillameGuillaume Basso

Miguel Angel Blanco Ogulcan Borova Katherine Bruno Fabrice Calmels

Raul Casasola April Daly Erica Lynette Edwards Yumelia Garcia

Cara Marie Gary John Mark Giragosian Dylan Gutierrez Elizabeth Hansen

Jaime Hickey Rory Hohenstein Anastacia Holden Dara Holmes

Victoria Jaiani Fabio Lo Giudice Graham Maverick Caitlin Meighan Photography by: Tom Nowak THETHE JOFFREY JOFFREY BALLETBALLET ARTISTSARTISTS OF THE OF COMPANY THE COMPANY

Jeraldine Mendoza Katherine Minor Jacqueline Moscicke Amber Neumann

Alexis Polito Valerie Robin Christine Rocas Aaron Rogers

Ricardo Santos Lucas Segovia Abigail Simon Michael Smith

Temur Suluashvili Jack Thorpe-Baker Shane Urton Alberto Velazquez

Mauro Villanueva Mahallia Ward Jenny Winton Joanna Wozniak

Kara Zimmerman Photography by: Tom Nowak AGE OF INNOCENCE PROGRAM NOTES

AGE OF INNOCENCE Choreography by EDWAARD LIANG Music by PHILIP GLASS and THOMAS NEWMAN Costume Design by MARIA PINTO Lighting design by MARK STANLEY, recreated by JACK MEHLER

Ballet Notes: This ballet, inspired Music Credits: by the novels of Jane Austen, Movement 2 & 4 from Symphony No. tells the story of females of the 3, The Secret Agent by Philip Glass late eighteenth century and early © 1995 Dunvagen Music Publishers nineteenth-century. It’s a story Inc. Used by Permission. Performed of societal repression and of the by Bournemouth Symphony Orches- strength of the human spirit. Age of tra, Conducted by Marin Alsop and Innocence was created with funds courtesy of Naxos of America from the Prince Prize for Commis- sioning Original Work, which was “The Poet Acts” from the motion awarded to Edwaard Liang and The picture “The Hours” by Philip Glass, Joffrey Ballet in 2008. Published by Sony/ATV Music Pub- lishing LLC. World Premiere: Michael Riesman, Piano; Lyric Quar- The Joffrey Ballet, October 15, tet; Nick Ingam, Conductor. 2008, Chicago, Illinois, The Auditorium Theatre of LITTLE CHILDREN - END TITLE Roosevelt University written by Thomas Montgomery Newman All Rights owned or administered by © SONGS OF UNIVERSAL, INC. on behalf of NEW LINE MUSIC CORP. (BMI) Used By Permission. AGE OF INNOCENCE PROGRAM NOTES AFTER THE RAIN PROGRAM NOTES

After the Rain® by CHRISTOPHER WHEELDON Music by ARVO PÄRT Costumes Designed by HOLLY HYNES Lighting by MARK STANLEY, Recreated by JACK MEHLER Staged by JASON FOWLER

Ballet Notes: Christopher Wheel- World Premiere: don’s After the Rain is a ballet of January 22, 2005, New York City bold movements and heartfelt emo- Ballet, New York State tion. In Part I, danced to the first Theater, New York movement of Pärt’s Tabula Rasa, the three couples’ opening move- Joffrey Premiere: ments find the men lying on the October 13, 2010, Auditorium floor with the women standing over Theatre of Roosevelt University, them, en pointe, with their left legs Chicago, IL thrust in the air. From that power- ful image, the couples perform a Music Credits: series of intricate lifts and turns Arvo Pärt Ludus from TABULA that often mirror one another. They RASA and SPIEGEL IM SPIEGEL are dressed in steel gray, reflecting Used by arrangement with Europe- the striking backdrop, in which a an American Distributors Company, revolving palette of grays resembles U.S. and glass covered with raindrops. The Canadian agent for Universal Edi- colors and mood shift dramatically tion Vienna, publisher and copy- in Part II, a pas de deux danced to right owner Spiegel im Spiegel. The ballerina is dressed in pink and her partner is bare chested. In a series of unfold- ing partnering moves, the dancers explore the shifting emotions of their relationship. At times they are close and tender with one another, while at other times they inhabit the same space but are separated and searching for one another. The ballet is short in length–lasting about 22 minutes–but rich in inven- tion and feeling. Repertory notes courtesy of and adapted from New York City Ballet Online Repertory Index. THE RITE OF SPRING PROGRAM NOTES

LE SACRE DU PRINTEMPS (The Rite of Spring) Pictures of Pagan Russia in Two Acts

Ballet Notes: Vaslav Nijinsky, as realized, a ballet completely apart a member of Diaghilev’s Ballets from the norm of their day. The Russes, was one of the greatest movements that Nijinsky devised dancers of the 20th century as well were so unfamiliar to the as an innovative choreographer. Le classically trained dancers that Sacre du Printemps gave him the many of them rebelled against the opportunity to revolutionize dance, steps he required. But he stood stimulated by his close collabora- firm. Stravinsky’s polyrhythms were tors, Igor Stravinsky, the composer monumentally difficult. Diaghilev and Nicholas Roerich, the scenar- asked a pupil of Jaques-Dalcroze ist and designer. All three felt the (founder the music study system, desire to break free from Eurhythmics) to assist Nijinsky prevailing classical ballet and evoke with the score for the corps de the primitive soul of their native ballet. Her name was Marie Russia, return to colorful peasant Rambert who later directed the costumes and the vast stony regions Ballet Rambert in London. Nijinsky of the Slavic north. Stravinsky created the role of the Chosen One captured in his music the first in Le Sacre for his sister, Bronislava, moment of the Russian Spring, who became pregnant and could which, as he said, was like the not perform. She was replaced by whole world suddenly cracking. Maria Plitz who danced the role Roerich and Stravinsky conceived a to acclaim. By the final rehearsals, pagan rite involving elders of a tribe most of the dancers believed in the watching the annual fertility ritual ballet, though everyone, including where a young girl dances herself to Diaghilev, was anxious about the death. Such a work was audience reaction to the new work. The Rite of Spring, 1913

In fact, at the premiere in Paris in original. This reconstruction is a 1913, pandemonium broke out in testimony to the ardent desire of the theatre with audience members Robert Joffrey and Gerald Arpino to howling, whistling and catcalling in revive rare classics which the response to the violent fertility rite, company still presents with great drowning out the music and care, allowing audiences to fighting in the aisles. There was experience the defining treasures chaos at the Théâtre des Champs- of ballet. Elyssées and the ensuing riot has become legend. Le Sacre du World Premiere: Printemps nevertheless, made a Diaghilev’s Ballets Russes, May 29, profound impression, considered 1913, Theatre des Champs-Elysees, by many to be the tumultuous birth Paris, France. of modernism in ballet. Stravinsky’s score of Le Sacre du Printemps is in US & Joffrey Premiere: the repertoire of most of the world’s The Joffrey Ballet, September 30, great orchestras and more than 200 1987, Dorothy Chandler Pavilion, choreographers have since done Los Angeles, CA creations to the score, but only The JoffreySacre turned legend back into artifact. It was meticulously researched and reconstructed by Millicent Hodson and Kenneth Archer and is recognized internationally as the closest possible version of Nijinsky’s THE RITE OF SPRING PROGRAM NOTES

ACT I —Adoration of the Earth Spring. The Earth is covered with flowers. The Earth is covered with grass. A great joy reigns over the Earth. The men join in the dance and invoke the future according to the rites. The Sage among all the Ancestors (Elders) participates in the glorification of the Spring. All are made one (led to unite) with the abundant and rich Earth. Everyone tramples the Earth with ecstasy.

ACT II —The Sacrifice After the day: after midnight. On the hills are the consecrated stones. The (young) maidens carry-out the mystical games and look for the Great Path. They glorify, they exalt the maiden who is designated to be the chosen one of the god. They call the Ancestors, venerated witnesses. And the wise Ancestors of Men contemplate the (Dance of ) Sacrifice. It is thus they sacrifice to Yarilo* the magnificent, the flaming.

—From the original program, May 29, 1913, Theatre des Champs-Elysees, Paris, France

The 1987 Joffrey Ballet produc- and Albert Museum, for research tion was made possible, in part, and material for the costumes for by grants to the company and to the 1987 production of Le Sacre du Millicent Hodson from the National Printemps. Also to Parmenia Migel Endowment for the Arts, the L.J. Ekstrom, Stravinsky-Diaghilev Skaggs and Mary C. Skaggs Foun- Foundation, New York; Boris dation, and the New York State Kochnov; Ballet Rambert Archives, Council on the Arts and to Kenneth London; Dr. and Madam Svetslav Archer from the Indian Council Roerich ’ Olga Rumyanseva, Roerich for Cultural Relations. Costumes Study, Oriental Museum, Moscow. were made possible, in part, by a gift from The Los Angeles Friends of *In pre-Christian Slavic mythology, The Joffrey Ballet. Special Thanks Yarilo was thought to be the sun- to Philip Dyer, Consultant and Sara deity and ancient spirit of light and C. Woodcock, Research Assistant creativity. to The Theatre Museum, Victoria ABOUT EDWAARD LIANG

Choreographer Age of Innocence

Edwaard Liang was born in Taipei, Company. Mr. Liang’s Distant Cries, Taiwan. He was raised in Marin danced by NYCB Principal County, California, and began his Dancers Peter Boal and Wendy ballet training at the age of five at Whelan, was premiered to rave Marin Ballet. In 1989, Mr. Liang reviews from the New York Times entered the School of American for the Joyce Theatre, New York Ballet. He joined New York City City Ballet Gala, and City Center. Ballet in the spring of 1993, and that Edwaard Liang has since same year he was a medal winner at choreographed ballets for many the Prix de Lausanne International companies and projects such Ballet Competition and received as New York City Ballet, Pacific the Mae L. Wien Award. He was Northwest Ballet, Joffrey Ballet, San promoted to Soloist in 1998. Mr. Francisco Ballet, Shanghai Ballet, Liang danced with NYCB until Washington Ballet, Hubbard Street 2001, when he joined the Broadway 2, National Ballet of Novosibirisk, cast of Fosse, performing a leading Guggenheim’s Works and Process, principle role. In 2002, Mr. Liang Morphoses the Wheeldon became a member of acclaimed Company. Mr. Liang was named Nederlands Dans Theater 1, where one of the TOP 25 to Watch for 2006 he danced, choreographed and by Dance Magazine for staged ballets. After returning from choreography, winner of the 2006 Holland, Mr. Liang returned to New National Choreographic York City Ballet from 2004-2007. Competition, and invited to be a He has also performed as a Guest part of the 2007 National Artist with various companies, Choreographers Initiative. Mr. some being the Norwegian National Liang was featured in the New Ballet and Complexions. York City Ballet Workout book, the accompanying video, and Richard Edwaard Liang has choreographed Corman’s book of photographs a number of works. He started with Glory. Mr. Liang’s television Nederlands Dans Theater 1 appearances include the nationally workshop, Flight of Angels, which televised PBS Great Performances has since been staged for many broadcast Dance in America: From companies. Mr. Liang was invited Broadway: Fosse, which has to create a piece for the 2004 New subsequently been made into a York Choreographic Institute and DVD. He was also nominated for choreographed a piece for the the Golden Mask Award for opening of the Cedar Lake Dance Choreography in Russia. ABOUT CHRISTOPHER WHEELDON

Choreographer After the Rain

A former dancer with The Royal After creating Mercurial Ma- Ballet and soloist with New York noeuvers for NYCB’s Spring 2000 City Ballet (where he served as Diamond Project, Wheeldon retired Resident Choreographer from from dancing to concentrate on 2001 to 2008), Wheeldon founded choreography. In NYCB’s Morphoses in 2007 with the goal of 2000-2001 season, he served as the introducing a new spirit of company’s first Artist in Residence, innovation to classical ballet by creating two ballets: Polyphonia, set fostering collaboration among to piano music by Györgi Ligeti, and choreographers, dancers, visual Variations Sérieuses, set to a score artists, designers, composers, and by Felix Mendelssohn. In July 2001, others who can bring new life and Wheeldon was named NYCB’s first perspective to ballet. Resident Choreographer. During his appointment, Wheeldon Born in Yeovil, Somerset, England, choreographed works that included Wheeldon began his ballet training Morphoses and Carousel (A Dance) at eight years old and began (2002); Carnival of the Animals and studying at The Royal Ballet School Liturgy (2003); After the Rain and at eleven. Wheeldon joined The An American in Paris (2005); Royal Ballet in 1991 and won the Klavier (2006), The Nightingale and Gold Medal at the Prix de the Rose (2007) and Rococo Lausanne competition that year. Variations (2008) . In 1993, Wheeldon was invited to become a member of New York City Wheeldon was the recipient of the Ballet, where he was promoted to Dance Magazine Award and the soloist in 1998. Wheeldon London Critics’ Circle Award for choreographed his first work for Best New Ballet for Polyphonia in NYCB, Slavonic Dances, for the 1997 2005; a performance of the work by Diamond Project and, in NYCB dancers received the collaboration with artist Ian Olivier Award. In 2006, DGV Falconer, created Scènes de Ballet (Danse à Grande Vitesse) was for the School of American Ballet’s nominated for an Olivier Award. 1999 Workshop Performances and Additional honors include the NYCB’s 50th anniversary season. Martin E. Segal Award from Lincoln Center and the American Choreography Award. ABOUT VASLAV NIJINSKY

Choreographer Le Sacre du Printemps

Vaslav Nijinsky was born in Kiev, individual poses and group probably in 1889. His parents were movements that seemed completely artists of the Wielki Theatre in divorced from even Fokine’s ballet Warsaw and performed throughout vocabulary. Nijinsky found Poland and the Russian empire. inspiration in the dancing of Nijinsky, and later his sister Isadora Duncan, the archeological Bronislava, trained at the Impe- paintings of Nicholas Roerich and rial Ballet School in St. Peters- the art of the avant-garde in Russia burg. Their ability was recognized and France. quickly and both joined the Mariin- sky Theatre upon graduation. He ended his professional ballet career at twenty-nine with a private Sergei Pavlovich Diaghilev was a performance in Switzerland. He prominent member of St. was diagnosed with schizophrenia Petersburg’s intellectual and cul- and spent much of his remaining tural life, dedicated to presenting 30 years in treatment, although his Russian creativity to Western diary and extraordinary drawings Europe. In 1909, he brought a testify to his enduring genius. company from the Imperial Theatre to Paris, led by Nijinsky with Anna Biographical information from Pavlova. Their dancing, designs by The New York Public Library Russian artists, and the new repertoire won enormous accolades and established Diaghilev and Nijinsky, an openly gay couple, as the centers of the Western Europe’s artistic elite.

Vaslav Nijinsky choreographed four works: L’Après-midi d’un Faune (1912), Jeux (1913), Le Sacre du Printemps (1913), Till Eulenspiegel (1916). All were controversial in their time. All retain their ability to shock, both as documented in contemporary graphics and as reconstructed in performance. From photographs, one can see the ABOUT ASHLEY WHEATER

Artistic Director The Joffrey Ballet

Born in Scotland and raised in England, Mr. Wheater was trained at the Royal Ballet School. Mr. Wheater began his professional career with The Royal Ballet, and danced at the London Festival Ballet, The Australian Ballet, the Joffrey Ballet and San Francisco Ballet. In 1997, he became Ballet Master at the San Francisco Ballet, and in 2002, Assistant to the Artistic Director.

In 2007, Mr. Wheater was appoint- ed Artistic Director of The Joffrey Ballet. New work is the life blood of a company, and he has introduced numerous premieres to the repertoire. In 2008, the Boeing Corpora- tion recognized his commitment to community outreach and diversity in the world of dance, presenting him the “Game Changer” award. In 2010, Mr. Wheater, representing The Joffrey Ballet, was named Lin- coln Academy Laureate, the highest honor presented by the State of Illinois. COMPANY HISTORY JOFFREY BALLET

The Joffrey Ballet has been hailed Official School of The Joffrey as “America’s Company of Firsts.” Ballet, and collaborations with The Joffrey Ballet’s long list of myriad other visual and “firsts” includes being the first performing arts organizations. dance company to perform at the Classically trained to the highest White House at Jacqueline standards, The Joffrey Ballet Kennedy’s invitation, the first to ap- expresses a unique, inclusive pear on television, the first Ameri- perspective on dance, proudly can company to visit Russia, the reflecting the diversity of America first classical dance company to go with its company and audiences multi-media, the first to and repertoire which includes commission a rock ‘n’ roll ballet, major story ballets, reconstructions the first and only dance company of masterpieces and contemporary to appear on the cover of Time works. Founded by visionary magazine, and the first company to teacher Robert Joffrey in 1956, have had a major motion picture guided by celebrated based on it, Robert Altman’s The choreographer Gerald Arpino Company. from 1988 until 2007, The Joffrey Ballet continues to thrive under For more than a half-century, The internationally renowned Artistic Joffrey Ballet’s commitment to Director Ashley C. Wheater and taking world-class, artistically Executive Director Christopher vibrant work to a broad and varied Clinton Conway. The Joffrey Ballet audience has created a solid has become one of the most revered foundation that continues to and recognizable arts organizations support the company’s in America and one of the top dance unprecedented capacity for companies in the world. achieving important “firsts.” Today, the Joffrey, which has been hugely successful in its former residences in New York and Los Angeles, lives permanently in its brilliant new facility, Joffrey Tower, in the heart of America, Chicago, Illinois. The company’s commitment to accessibility is met through the most extensive touring schedule of any dance company in history, an innovative and highly effective edu- cation program including the much lauded Joffrey Academy of Dance, INFO TO KNOW

Restrooms are located Children While we encourage early at the north and south introduction to the arts, we also wish ends of the lower lobby to provide the best environment for of Elliott Hall. Additional all of our patrons. Our child policy is restrooms are located at as follows: the north and south ends of each balcony. Loeb Playhouse • We request that children under restrooms are located off of the lobby 6 years of age not be brought to down one flight of stairs. Additional performances, except those labeled restrooms are located on the main “Family” in our brochure or web site. floor of Stewart Center. • Infants on laps are only permitted Accessibility questions at family shows. All patrons, including should be directed to infants on laps, must have a ticket due any usher or house staff to fire marshal requirements. member. Seats, ramps, restrooms, drinking Expecting a call or page? Leave fountains, and reserved parking spaces your pager, name, and seat location are provided for patrons in need at all with the house staff and they will venues. Accessibility brochures are discreetly retrieve you from the available at the box office. event. The number to leave with your service for emergencies is Sound enhancement headsets and 765-494-3918. earplugs are available at no charge from the house staff. Building emergencies will be announced and directions given from Large print programs are available the stage. upon request. See an usher for a copy. Box Office Cameras and recording 765-494-3933 | 800-914-SHOW equipment are prohibited TDD Relay 765-496-1343 unless by special Hours for Elliott Hall Box Office permission of Convocations and the Monday-Friday: 10 am-4:30 pm artist. Flash photography is prohibited at all times. Hours for Loeb Playhouse Box Office Monday-Friday: 10 am-6 pm First aid and lost and found can be The venue box office is open two accessed by contacting any usher or hours before and until intermission on house staff member. show days.

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