2016 Next Wave Festival

SEP 2016

2016 NEXT WAVE FESTIVAL

Ellen Carey, Dings and Shadows, 2012

Published by: Season Sponsor: 2016 BAM Next Wave Festival #monumentalBAM

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 monumental

BAM Howard Gilman Opera House Sep 16 & 17 at 7:30pm

Running time: approx. one hour & 25 minutes, no intermission

The Holy Body Tattoo Music by Godspeed You! Black Emperor Choreography by Dana Gingras and Noam Gagnon

Direction Dana Gingras Text by Jenny Holzer Films by William Morrison Lighting design by Marc Parent

BY YOUR RESPONSE TO DANGER IT IS EASY TO TELL HOW YOU HAVE LIVED AND WHAT HAS BEEN DONE TO YOU. YOU SHOW WHETHER YOU WANT TO STAY ALIVE, WHETHER YOU THINK YOU DESERVE TO AND WHETHER YOU BELIEVE IT’S ANY GOOD TO ACT. —Jenny Holzer Season Sponsor:

Support for the Signature Artist Series provided by Howard Gilman Foundation.

Leadership support for dance at BAM provided by the Doris Duke Charitable Foundation and The Harkness Foundation for Dance.

Major support for dance at BAM provided by The SHS Foundation. monumental

DANCERS Caroline Gravel Louis-Elyan Martin Louise-Michel Jackson Esther Rousseau-Morin Kim de Jong Sovann Prom Tep Shay Kuebler Jamie Wright Nic Lydiate

Choreographic remount & rehearsal director Sarah Williams Costumes Marilène Bastien Costume assistant Chantal Bachand Technical director Dave Bourdages Stage manager Claudia Couture Sound Yann Dupuis Producer Sarah Rogers Produced by Animals of Distinction Live collaboration initiated by David Sefton

The choreographers wish to gratefully acknowledge the creative contribution of the original cast to the choreographic process and development of monumental: Ric Brown, Sarah Doucet, David Flewelling, Andrea Gunnlaugson, Day Helesic, Farley Johansson, Blair Neufeld, Sonja Perreten, and Sarah Williams.

World premiere of monumental with live music performed by Godspeed You! Black Emperor: January 28, 2016

Co produced by National Arts Centre, Ottawa PuSh International Performing Arts Festival, Vancouver Adelaide Festival of Arts Place des Arts Montréal Luminato Festival, Toronto Edinburgh International Festival BAM for the Next Wave Festival

Special thanks to Jim Smith/Eponymous who produced monumental in 2005 and to the National Arts Centre in Ottawa which co-produced and premiered the original version on February 24, 2005.

Thank you to the many people who contributed to this project from its initial inception in 2005 to its current incarnation in 2016: Chantal Deeble, Menno Plukker, Cathy Levy, Yannick Grandmont, Justin Evans, Camille Gingras, Steven R Gilmore, Erik Whittaker, The Simons Foundation, Luminergie, Tiago Chasqueira, and Guillaume Cavalière.

Animals of Distinction Board of Directors: Suzanne Hawkes, Patty Jones, Dianne Kennedy, Patricia Kim, Mike Magee, Marie Brassard, Daniel Canty, Karine Denault, Line Nault, Sonya Stefan and Roger Tellier-Craig. animalsofdistinction.org

Rehearsals for monumental with Godspeed You! Black Emperor were supported through a residency at Place des Arts, Montreal.

Animals of Distinction also gratefully acknowledges the support of the Canada Council for the Arts and the Conseil des Arts et des Lettres du Quebec. monumental

CAROLINE GRAVEL LOUISE-MICHEL KIM DE JONG SHAY KUEBLER JACKSON

NIC LYDIATE LOUIS-ELYAN MARTIN ESTHER ROUSSEAU- SOVANN PROM TEP JAMIE WRIGHT MORIN

NOAM GAGNON DANA GINGRAS MARC PARENT SARAH WILLIAMS

Godspeed You! Black Emperor. Photo Yannick Grandmont Wh

Who’s Who

DANA GINGRAS (choreographer) is a Montreal forms. The work of AoD has been presented based choreographer, filmmaker, performer, and nationally and internationally across many teacher. Gingras’ 25-year career has moved different platforms including live performance, across mediums and artistic practices. She has film, design, visual art, and new media. Smash worked on collaborations with cultural icons Up (2008), which premiered at the FTA in such as William Gibson and Jenny Holzer. Montreal, is a collaboration with animator and Musical collaborators include underground programmer James Paterson and Amit Pitaru. legends like GY!BE, The Tindersticks, Warren What Is Mine Is Yours (2011), a performance Ellis, The Tiger Lillies, and Steven Severin of and video installation, was created for the Los Siouxse and the Banshees. She has co-created Angeles County Museum of Art. The company’s multi-media works with filmmakers, animators, first full-length piece, Heart as Arena (2011), and programmers including William Morrison, a co-commission by the CanDance Network Vincent Morriset, James Paterson, and Amit and the FTA, was created with radio sound Pitaru. Her work perceives the nature of dance artist Anna Friz. Somewhere Between Maybe as a condition of risk and an embrace of that (2015) premiered at L’Agora de la Danse in risk. The goal of the work is to amplify the sense Montreal and featured a score by The Caretaker. of what the limits of physical possibility are, to Gingras has also directed numerous short films make innovation in movement visible by putting funded by the Bravo!Fact film program and the body at its limit state. Gingras is an associate most recently filmed Chainreaction (2014) as dance artist of Canada’s National Arts Centre. part of a residency at EMPAC in Troy, NY. The film premiered at TIFF in Toronto and has since THE HOLY BODY TATTOO was formed in been screened at numerous festivals world wide. 1993 by Dana Gingras and Noam Gagnon. The In 2016 under the direction of Gingras, AoD company changed the landscape of Canadian produced The Holy Body Tattoo’s last work, dance, earning numerous awards and honors monumental (2005), this time with Godspeed for its stage and film work. our brief eternity, You! Black Emperor playing live. This expanded premiering in 1996, won the Dora Mavor Moore version of the piece premiered at the Queen Award for Best Ensemble Performance. The work Elizabeth Theatre in Vancouver as part of the has been performed more than 100 times in PuSh Festival on January 28, 2016. Since then, Canada, Europe, the US, and was performed for it has been performed at the Adelaide Festival, the last time in Australia at the Sydney Opera Montreal’s Place des Arts, Grand Théâtre House in 2007. Circa (2000), was the recipient Quebec, as a part of the Luminato Festival at the of the inaugural Rio Tinto Alcan Performing Arts Hearn Generating Station in Toronto, and most Award. The piece has been performed around recently at the Edinburgh International Festival. the world, including at Ein Fest in Wuppertal, Germany at the invitation of Pina Bausch, and GODSPEED YOU! BLACK EMPEROR began at London’s Barbican Theatre. Other critically with Efrim, Mauro, and Moya in the early 90s, acclaimed works include Running Wild (2004) playing a handful of shows and recording a and monumental (2005). self-released cassette as a trio before deciding to transform the group into a large band. ANIMALS OF DISTINCTION (AoD), was Recruiting numerous Montreal musicians founded in 2006 as a satellite company of The through 1995—96, GYBE mounted sense- Holy Body Tattoo, and is the multimedia dance rattling wall-of-sound performances, featuring as company for the independent work of Artistic many as 14 musicians and several 16mm film Director Dana Gingras. AoD functions as a projectors, before recording their debut vinyl-only type of framework for contemporary practice, Constellation album in 1997. They transformed as a point of intersection where the social a warehouse space into the Hotel2Tango, a kinaesthetic, and the possibilities of physical DIY hive of activity with band rehearsal rooms, thinking can be visualized in choreographic ideas silkscreen and wood shops, and weekend shows with different collaborations and with other art that took place under the radar. The group Who’s Who

settled into a permanent nine-member lineup a play directed by François Girard. Parent also by late 1998, with Aidan and Bruce on drums, regularly designs for theater, especially with Thierry and Mauro on basses, Efrim, Dave, and directors Martin Faucher and Denis Marleau. Roger on guitars, and Norsola and Sophie on Parent has won two Dora Mavor Moore awards cello and violin, respectively. The band toured (2013 and 2016) for ‘’Oustanding lighting and recorded continuously from 1998—02 design in dance’’ from the Toronto Alliance for and gained a reputation for mesmerizing live Performing Arts. He is currently resident lighting shows marked by orchestral dynamics, epic rock designer for Les Grands Ballets Canadiens de power, and clunky, beautiful film loops. After four Montréal. As a self-taught designer, he has records, GYBE announced an indefinite hiatus earned public and critic recognition around the in 2003. The hiatus ended in December 2010, world for his exceptional works. when the band returned to curate and perform at All Tomorrow’s Parties in the UK, followed DANCERS by extensive international touring. In October 2012, ALLELUJAH! DON’T BEND! ASCEND!, CAROLINE GRAVEL its first recorded work in a decade, was released Caroline Gravel is a dance artist based to widespread critical acclaim. The follow-up, in Montreal. Since 2002, she has made Asunder, Sweet and Other Distress, was released creative contributions, worked, and toured in March 2015. internationally as a solo artist and with Montreal choreographers such as Catherine Gaudet, NOAM GAGNON (choreographer) is the Dana Gingras, Frédérick Gravel, Daniel Léveillé, artistic director of Vision Impure, which he Jean-Sébastien Lourdais, Jacques Poulin-Denis, founded in 2006 in Vancouver, Canada. For and Andrew Turner. Mentored by choreographer Vision Impure, he has created, choreographed, Meg Stuart (Damaged Goods) and directed by and performed in several full-length works, Manon Levac during her MA, she conducted a and has toured extensively throughout Canada. study probing the intricacies of body states and Gagnon is regularly commissioned by dance the discourse of authorship within contemporary artists and companies to create works, and has choreography. In her latest works she explores collaborated with such celebrated artists as Nigel the effect of the plasticity of the body on our Charnock, Daniel Léveillé, The Tiger Lillies, perceptual and emotional senses. Active in her and William Morrison. He has also created a community, Gravel is an invited speaker and series of short films for Bravo!, and is featured teacher in professional and academic contexts. in a Kenneth Sherman short film as part of a In 2014, she was elected at the board of the Knowledge Network series about influential Regroupement québécois de la danse. contemporary artists in British Columbia. For 16 years Gagnon was the co-artistic director LOUISE MICHEL JACKSON of The Holy Body Tattoo. With this he created Louise Michel Jackson received her initial work that received critical and audience acclaim training at the École Supérieure de Danse du around the world. Gagnon is an associate dance Québec, graduating in 1999 before continuing artist of Canada’s National Arts Centre. He is with the Jeune Ballet du Quebec. Since 2002, also the director of Noam Gagnon’s Wellness she has worked for Cas Public, Rubberbandance Center/Beyond Pilates Inc. Group, Jacques Poulin-Denis, Sasha Kleinplatz, Milan Gervais, Laurel Koop, Sylvain Poirier, MARC PARENT has worked as a lighting Patrice Dubois, Caroline Laurin-Beaucage, Alan designer for over 30 years, creating more than Lake, Fréderick Gravel, and Sidi Larbi Cherkaoui/ 100 designs. Since 1990 he has designed for Eastman (in Belgium, 2011—13). In 2007, many choreographers of the contemporary dance she presented her first co-choreographed work, scene in Montreal including Danièle Desnoyers, a project initiated by Hanako Hoshimi-Caines, José Navas, and Daniel Léveillé. At the 2001 Little Bang Theory, involving Lhasa de Sela and Edinburgh Festival he designed Novecento, Plants and Animals. She has been teaching Who’s Who

regularly around Europe and in Canada. Since is the founder and current artistic director of 2012, she has focused on her own research Shay Kuebler Radical System Art in Vancouver, projects in Brussels and Montreal. Canada. shaykuebler.com

KIM DE JONG NIC LYDIATE Kim De Jong grew up in Vancouver and Nicholas Lydiate, was born Norwich, England. completed her training at Arts Umbrella in He immigrated to Saskatoon, Saskatchewan 2001. She first worked for Israeli choreographer at the age of seven and has since resided in Itzik Galili in Groningen, Netherlands in 2004. Canada. His enthusiasm for dance and the She started dancing for the Montreal-based physical theater arts has been prevalent in Compagnie Marie Chouinard in 2006. She his life, along with the support of his family now rehearsal directs for Chouinard and sets and mentors. Lydiate’s early dance training in repertoire internationally. She also dances Saskatoon ranged from ballet and contemporary for Montreal choreographers Frédérick Gravel to tap and hip-hop. This versatility and range (Usually Beauty Fails, 2013), Sylvain Emard of styles are important in his dancing on both (solo, Fragments-Emoi Emoi, 2013, 2015), social and performance levels. Lydiate has been Martin Messier (Corps Mort, 2016), and fortunate in his professional endeavors thus far Caroline Laurin-Beaucage (Si Mon Corps, 2016). to work with Shay Kuebler: Radical System Arts This year is De Jong’s first time dancing for (RSA), Animals of Distinction, Holy Body Tattoo, Animals of Distinction, Dana Gingras, and Noam Wen Wei Dance, and Martha Carter. Gagnon, and their production monumental, and touring with rock band Godspeed! You LOUIS-ELYAN MARTIN Black Emperor. De Jong also choreographs and Born in France, Louis-Elyan Martin studied presented a full-length piece CYCLe2 through English literature and history at Bristol University Tangente Movement Laboratory, Montreal, in in the UK and the University of New South Wales 2014. She is excited to present her next full- in Australia and obtained a masters degree in length piece Unravellin, in collaboration with 2008. Eager to pursue his passion for dance, he artist Brianna Lombardo at Théâtre la Chapelle, interrupted his studies and the same year started Montreal, 2017. a bachelor in contemporary dance at Concordia University, Montreal, Canada. He trained at SHAY KUEBLER l’École de Danse Contemporaine de Montréal and Shay Kuebler began his artistic development graduated in 2012. In 2011, while in Tel-Aviv, at the age of five with dramatic arts at Stage Israel, he began learning GaGa technique with Polaris Theatre Academy, and with martial arts Batsheva Dance Company and Ohad Naharin, in Shito-Ryu Karate. His early artistic growth and started to develop a strong interest in this led to dance and a versatile background in body language. Throughout his artistic growth hip-hop, jazz, tap, contemporary, and ballet. he developed an affinity for dance theater and He continues to pursue and develop his artistic especially performance art. He danced for the range and versatility, which has led him to travel company O’Vertigo from 2012 to 2015 and also and study music, theater, dance, and martial joined the company Destins Croisés. In 2013 arts throughout North America as well as Brazil, he presented his first co-creation with Claudia Japan, and China. As an artist whose foundation Chan Tak Naked and Raw: a nudist happy hour, started in martial arts, he is continually aiming two dancers aiming for nudity. Their second to expand his versatility, and further develop piece, CASH: golden duet, a conservative dance the ability to respond to any choreographic and was presented in 2015. They are currently performance requirement. He has danced for Les working on the last episode of the trilogy Grands Ballet Canadiens, London Contemporary Conceptual tangent: a neo contemporary duet, Dance School, Moment Factory, Scotland’s for intellectual requiem’s 2016—17 season. In Pachamama Theatre, and at the 2010 Olympic 2015 he presented Zikaron, his first solo, and Games. He co-founded The 605 Collective and his first full-length piece, IDdouble, in Canada Photo: Yannick Grandmont

Who’s Who

and France. This fall he premieres his new work JAMIE WRIGHT Titanomachie at Festival Quartiers Danse in Jamie completed her bachelor’s degree in dance Montréal. at York University (Toronto) in 1997. During this period, she worked with artists such as SOVANN PROM TEP Holly Small (Toronto), Kevin Finnan (England), Sovann Rochon-Prom Tep started his dance and Peter London (New York City). Arriving career as a b-boy, performing with the in Montreal in 1999, Wright quickly became Sweet Technique crew. His breaking led him to active in the dance community, both socially travel in many countries to battle, judge, or teach and artistically. As a dancer, she has contributed at an early age. Passionate about the expression to the choreographic careers of artists such as of the body, he entered a contemporary dance José Navas, Ginette Laurin, Estelle Clareton, program at L’École de Danse Contemporaine de and Frédérick Gravel, participating in research Montréal from which he graduated in 2015. He and performing their works on stages around is now working with Rubberbandance Group and the world. Parallel to her performing career, Animals of Distinction. Wright teaches regularly at the pre-professional and professional level, and contributes to ESTHER ROUSSEAU-MORIN creative processes as an outside observer and/ Promoted in 2007 from the School of or rehearsal director. monumental is the second Contemporary Dance in Montreal (EDCM), Esther collaboration between Wright and Dana Gingras, Rousseau-Morin has since collaborated with after Somewhere Between Maybe, which choreographers such as Séverine Lombardo, premiered in 2014 in Montreal. Dany Desjardins, Jacques Poulin-Denis, Rosy Simas, Hélène Langevin, Harold Rhéaume, and SARAH WILLIAMS (rehearsal director) Danièle Desnoyers. She is currently working with Sarah Williams is a dancer, rehearsal director Alan Lake, Estelle Clareton, Montréal Danse, and choreographer. She has performed Caroline Laurin-Beaucage, Marie Béland, Sylvain nationally and internationally, on stage and in Lafortune, Olivier Kemeid, Noam Gagnon, film, in the works of prominent directors and and Dana Gingras. Rousseau-Morin continues choreographers, such as with Édouard Lock and her development by participating in training Robert Lepage. She often co-creates with artists workshop such as Transformation Dance, from other disciplines, including photographer/ Springboard Dance, Bates Dance Festival, and visual artist Don Gill, musician/composer ImPulsTanz in Vienna, for which she received a Jackie Gallant, video artist Nikki Forrest, and scholarship from the Canada Council for the Arts theater director/performer Marie Brassard. in 2012. As a teacher, she acts as an assistant In 2015 she choreographed and co-directed to Sylvain Lafortune’s partnering classes. Dawns Ysbrydion/Ghost Dance with Welsh performance artist Eddie Ladd. After touring the UK, it received three Wales Theatre Awards nominations. Williams performed in the original version of monumental. She has returned to the production to remount and rehearsal direct. A monumental undertaking

By Jennifer Perras | Jun 2, 2016 NG: We both love Robert Longo’s Men in the Cities and this inspired the concept that became After a 10-year hiatus, Vancouver’s explosive monumental. I believe the work is even more contemporary dance company The Holy Body relevant today, so that factored into our decision Tattoo returns to the stage, reuniting with to remount it. Cathy Levy from Canada’s National Montréal’s post-rock legends Godspeed You! Arts Centre was one of the first to endorse this Black Emperor to bring their epic collaboration, project in the beginning, and it has taken years monumental, on a Canada and international of preparation (with very fervent believers in the tour, with original music performed live. Jennifer work like David Sefton of the Adelaide Festival Perras talked with the show’s creators and cho- and our producer Sarah Rogers for example) to reographers Dana Gingras and Noam Gagnon get this monumental work rolling again. alongside original cast member and 2016 rehearsal director Sarah Williams. DG: The original production of monumental began as a piece we created in 1993 called Jennifer Perras: Noam and Dana, how did you White Riot (named after the song by The Clash) meet? What drew you to collaborate to form The for seven dancers including Noam and myself. Holy Body Tattoo? We realized there was a bigger idea there and shelved it until we had more resources and the Dana Gingras: We met at an audition for the ability to execute it properly. dance company EDAM in 1997. Immediately, We restarted it again in 2003 as monumen- Noam and I became inseparable. We were tal—the same year that Godspeed You! Black known as the “terrible twins” and had a serious Emperor went on an indefinite hiatus. Because of reputation for reckless abandon and irreverence this, we never entertained the idea that we could in the face of what was going on around us. Total do the piece with the band playing live. enfants terribles… By 2010 the band was back together and this For whatever reason, we both felt a huge need opened up the possibility that we could remount to fiercely and violently push our bodies and the show with live music. Getting from that selves in a way few people, or the culture around point to the version of the show currently touring us, could tolerate. Our collaboration really came (Vancouver’s PuSh Festival, Adelaide Festival, out of this hunger we shared to make work that Luminato Festival, and more) took almost five would push us beyond any limit we thought years of hard work and logistics. we had… and we definitely got what we were looking for! JP: What has it been like, coming back to As a result, we both reached some serious monumental after 10 years? breaking points, physically, artistically and emo- tionally. Thankfully, I see now that getting to the NG: It’s been “monumental” for me but with a other side of that made me saner. BIG “M” this time!

Noam Gagnon: We shared the same vision, DG: Information and technology have evolved same work ethic, same values to break the rules massively since the piece premiered in 2005, and push boundaries and create a physical and the way these things are currently shaping language that met our insatiable desire to push the human condition makes the work incred- ourselves to the limits. ibly timely. Living in the post-consumer internet era, the psychological implications of privileg- JP: Could you tell us about the original produc- ing a consumerist agenda clashing with the tion of monumental? Why the decision to individual’s aspirations for psychological, social, remount the show a decade later? and spiritual fulfillment unfortunately seem even more prescient today than they did when we originally created the piece. A monumental undertaking

I have always been interested in making chore- cast during the last part of the creation process ography that looks at how we might test, express and performed in every show. This time, they and enhance our human experience in a culture asked me if I would direct the remount of the that is increasingly mediated by technology. work and be the rehearsal director. Remounting It is essential for me to make dance that makes monumental was a “monumental” task because the body present and brings focus back to the there was a new cast and that meant teaching physical, as the body’s ever more complicated nine different parts. But by physically relearning relationship with technology keeps reducing the a good portion of the work, I was able to transmit body’s presence in the real. the choreography to the dancers. And, luckily, an original cast member gave me her movement JP: What about you, Sarah? Could you tell us notes from one of the first versions of the work. about your role with the production? I’m excited to be a part of this version of monumental. The content is just as relevant SW: Ten years ago, Dana and Noam invited me today as it was 10 years ago, perhaps even more to dance in the original production. I joined the so. Also, I like the idea of introducing Photo: Yannick Grandmont Photo: Yannick A monumental undertaking

contemporary dance to Godspeed You! Black Each time we get back together, rehearse and Emperor audiences and vice versa. perform the work there are subtle developments between the music and choreography making JP: Do you approach the piece differently as a the process very alive and dynamic. dancer versus a rehearsal director? JP: Sarah, what does performing with a live SW: Yes, the approach is very different for the band mean for the dancers? two roles. As a dancer, I was responsible for the through-line and interpretation of my own role SW: As a dancer, performing monumental to in the piece. As the rehearsal director, I need to live music is exciting and a privilege. It was keep track of the choreography for each of the wonderful to dance to the recorded soundtrack, nine dancers and make sure their interpretation, but there is nothing comparable to performing movement quality, and nuances are in line with with a live band. It adds another eight people the direction of the work. I want each dancer to to the ephemeral element of the performance. reach their maximum potential. I also look at all Although the dancers have set choreography and other elements in the piece and offer my opinion the music is composed, all of the performers are and observations to Noam and Dana. individuals so there will always be a uniqueness and humanity in each performance. Having a JP: As you mentioned, Dana, monumental was live band means the dancers have to listen and initially performed to a recorded track. Ten years cannot presume the music will sound exactly the later, it is being performed with a live band. Can same as the last time. This enriches the connec- you talk about this collaboration with Godspeed tion between music and movement. You! Black Emperor? JP: What are the demands of the show on the DG: The original version of monumental used performers? a lot of the band’s first album—f#a#∞—plus some other sourced music and original electronic SW: monumental is a difficult piece. It takes in- sections that were not by Godspeed. tense focus for the complete duration of the per- For this new production, we wanted to make formance. Dancers are trained to move through the most of the band performing live so we re- space and stay connected to the floor beneath scored the work. The band was very open to let- them, but this work is performed on plinths so ting us suggest a kind of map that respected the they need to apply these same ideas but up off original arcs of the choreography and from there the floor and within very confined dimensions. we worked out tempo, duration, and transitions It’s also a work that is very much about a group in rehearsal. The way we rehearse choreography identity, yet the dancers are isolated on their own is very different from the way the band normally individual boxes. practices, so it was interesting to bring these two ecosystems together. JP: What do you hope the audience takes away For this current version we kept some of the with them when they see the show? original songs from f#a#∞, a few of which the band haven’t played live for a long time. We DG: That’s not for me to decide. I hope that they also added some parts from Asunder, Sweet are shaken. and Other Distress (their recording from 2015) and some material they haven’t recorded yet but NG: A powerful, visceral experience that I hope have been playing live on recent tours. They also they’ll never forget. worked out a couple of drumming sections that are original for monumental. —Jennifer Perras, Luminato Festival Photo: Yannick Grandmont Photo: Yannick ©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 A cropped photographA cropped of Merce photographA croppedCunningham’s of Merce photograph Cunningham’s How Toof How MercePass, To Pass, Kick, Cunningham’s Kick, Fall Fall and Run Run How To Pass, Kick, Fall and Run omitting John Cage omittingsitting John stage Cageomitting left. sitting Merce Johnstage left.CunninghamCage Merce sitting Cunningham stageDance Dance left. Company Company Merce 1970 Cunningham1970 Dance Company 1970 Photo: JamesPhoto: Klosty, James courtesy Klosty, courtesy Photo:BAM BAM Hamm James Hamm Archives Klosty, courtesy BAM Hamm Archives A cropped photograph of Merce Cunningham’s How To Pass, Kick, Fall and Run omitting John Cage sitting stage left. Merce Cunningham Dance Company 1970 Photo: James Klosty, courtesy BAM Hamm Archives

A cropped photograph of Merce Cunningham’s How To Pass, Kick, Fall and Run omitting John Cage sitting stage left. Merce Cunningham Dance Company 1970 Photo: James Klosty, courtesy BAM Hamm Archives Sep 2016

Contents

Letter to a Man Brooklyn/Paris Exchange

Mikhail Baryshnikov in Letter to a Man. Photo: Lucie Jansch monchichi. Photo: Grant Halverson ADF Robert Wilson directs Mikhail Baryshnikov in A new cultural exchange initiative begins between Letter to a Man, based on Nijinsky’s diaries. Brooklyn and Paris. by Marina Harss by Susan Yung

Neither Shen Wei bridges dance and visual art in this work to Morton Feldman’s score to text by Samuel Beckett by David Hsieh

BAMbill Cover

Ellen Carey is the 2016 Next Wave Festival BAMbill 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, and Rosemarie Trockel. The works are for sale; proceeds benefit BAM’s artistic programming. For more information, contact BAM’s visual art department at [email protected] or 718.636.4101.

Ellen Carey (b. 1952 USA) is an educator, independent scholar, guest curator, photographer, and lens-based artist whose unique experimental work spans several decades. Four works from Carey’s ongoing series Dings & Shadows—photograms created by the artist through a performa- tive process in the dark room—are featured on the BAMbill and are on view in the Dorothy Levitt Lobby of the Peter Jay Sharp Building. Carey describes these works as “fresh interpretations partnered with freewheel- ing experiments untethered by rules, formal structures, or conventional procedures.” Carey received an MFA from SUNY Buffalo, and has had solo exhibitions at the Wadsworth Atheneum (Hartford, CT), Cleveland Center for Contemporary Art (OH), International Center for Photography (NYC), and has been included in numerous group exhibitions including MIT, the Ellen Carey Smithsonian (DC), and the Albright Knox (Buffalo). Her work was shown Dings and Shadows, 2012 in The Unbearable Lightness, a spring 2016 group exhibition at the Color photogram, 40” x 30” Centre Pompidou in Paris. She is represented by JHB Gallery in New York, Courtesy of the artist and JHB Gallery and M+B Gallery in Los Angeles. @BAM_Brooklyn #LetterToAMan Mikhail Baryshnikov. Photo: Lucie Jansch Mikhail Baryshnikov.

by Marina Harss A Man of Letters “I am one of Nijinsky’s voices,” Mikhail highly poetic, often extremely lucid, spiritually Baryshnikov commented to a French publication searching texts. Much of the writing reveals a about Robert Wilson’s new one-man-show Letter man desperately shuffling the decks in his mind, to a Man, at the BAM Harvey (Oct 15—30). The looking for an answer to who he is. God figures one-hour play is based on the diaries of dancer prominently, as do death, war, and sex. He is a and choreographer Vaclav Nijinsky who, despite man on the edge but also a potent writer; we feel a short career, left a deep and lasting mark on his vertigo. “I’m standing in front of a precipice 20th-century dance. (He created two landmark into which I may fall,” he writes, “but I am not works of ballet modernism, L’Après-midi d’un afraid to fall therefore I won’t fall.” (The diaries Faune and Le Sacre du Printemps.) The fact were published in a 1999 unexpurgated English that Nijinsky’s dancing was never captured on version, edited by Joan Acocella.) film and that much of his own choreography was lost to time adds to his mystique. Tragically, he Until he began the diaries, Nijinsky’s life went insane at the age of 29 and spent the rest was defined mainly by external forces: an of his life in and out of sanatoriums. The voices extraordinary physical gift; an unusual, Baryshnikov refers to are the disordered identities androgynous beauty; domineering figures—his that collide in his diaries. impresario and his wife—who made important decisions. He was adulated, called “le dieu de These entries, written in 1919 before Nijinsky’s la danse,” but behaved passively. He writes, “I diagnosis (schizophrenia) and internment, are an have lived for only six months”—in other words, extraordinary document— a moment-by-moment since he began writing. His notebooks are his record of a mind losing its bearings. But their last gasp. interest isn’t solely psychological. These are also #LetterToAMan Oct 15—30

Nijinsky was born in Kiev to Polish parents who attempt to evoke the life of the renowned dancer. performed on the Eastern European equivalent Baryshnikov’s Nijinsky is a clown, a carnival of the vaudeville circuit. He studied dance at the barker, a mask. Though he moves in stylized Imperial Theater School in St. Petersburg, joined steps, at times dancing, his movements are like the Imperial Ballet in 1907, and quickly became echoes, however precise, elegant, and beautifully a top dancer there, known for his soaring jump contoured. This is Baryshnikov, after all. As and powerful, sensual stage presence. It was he has said, the show is really about words: said that he lingered in the air at the apex of a “a strange parallel story about the voice of this leap as if resting there. person.”

In 1908 he was taken in hand by impresario Marina Harss writes on dance for The New York Sergei Diaghilev, founder of the Ballets Russes, Times, The New Yorker, The Nation, Dance which conquered Europe with innovative, Magazine, The Guardian, and online. provocative ballets. (Diaghilev was an early employer of George Balanchine.) Nijinsky quickly became his lover and star, dancing many of the plum roles: the poet in Les Sylphides, the androgynous Spirit in Le Spectre de la Rose, the despondent puppet in Petrouchka, the Blue God in Le Dieu Bleu. Then he began making ballets—strange, radical works that used angular, un-balletic shapes and explored suggestive themes. L’Après-midi d’un Faune ends with an act of self-pleasure; Jeux, now lost, implies an erotic game for three.

But things spiraled out of control. In 1913, partly in defiance of Diaghilev, Nijinsky married a Hungarian hanger-on, Romola de Pulszky, causing a rupture with his mentor. By the end of 1917, estranged from Diaghilev and living in a chalet in St. Moritz, his career essentially finished, Nijinsky unraveled. He drew wild sketches filled with circles and eye-like shapes; one is recreated in Letter to a Man. He began the diaries—the first titled “On Life,” another “On Death.” A further notebook includes unsent letters to important people in his life, including Diaghilev. That note, known as “Letter to a man”—Diaghilev is never named—gave Robert Wilson his title.

It is a hard letter to read: “I cannot call you by name. I am not afraid of you. I know you hate me. I love you as a human being. I do not want to work with you. I want to tell you one thing. I work a lot. I am not dead. I am alive.” And more: “I don’t want your smile, for it smells of death.” After pages of repeated phrases and made up words, it ends: “Sleep in peace, rockabye, bye. Bye. Bye. Bye.”

Letter to a Man, starring Baryshnikov and staged in Wilson’s surrealist, hyper-precise style, is based on these texts. It doesn’t analyze them, or Mikhail Baryshnikov. Photo: Lucie Jansch Mikhail Baryshnikov. celebratecelebrate artsarts & cultureculture

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BAM_5.25x8.357.indd 1 12/30/15 4:00 PM BAM_5.25x8.357.indd 1 12/30/15 4:00 PM @BAM_Brooklyn @BAM_Brooklyn #BrooklynParisExchange . Photo: Gennadi Novash portrait of myself as my father

by Susan Yung Brooklyn + Paris = amis! In 2004, BAM’s then-leader Harvey Lichtenstein takes place in an ad-hoc boxing ring, and enjoins said in Newsweek, “Brooklyn is the Left Bank the milieu of sports to appraise the public of New York City.” The new Brooklyn/Paris consumption of the male body. chipaumire—a Exchange proactively manifests this metaphorical Brooklynite born in Zimbabwe—is acclaimed bond between the two cities. BAM’s Executive for her fearless and powerful performances that Producer Joseph V. Melillo has selected two include threads of African dance woven into Brooklyn companies which make their Paris something irrefutably contemporary. The Paris debuts, and has entrusted Emmanuel Demarcy- Mota of Paris’ Théâtre de la Ville to choose two Parisian groups (in New York debuts); all four will perform in both cities. It places faith in, foremost, the artists, but also the curators’ choices and the respective discerning audiences.

Demarcy-Mota, whose productions of Ionesco’s Rhinoceros and Pirandello’s Six Characters in Search of an Author have been presented in the Next Wave, noted, “BAM and Théâtre de la Ville are sister theaters, with common values based on community and global involvement, as well as artistic audacity.” FROM BROOKLYN

portrait of myself as my father (Sep 14—17, Fisher) by nora chipaumire, with electric Senegalese performer Kaolack (Pape Ibrahima Ndiaye), delves into preconceptions about black maleness through the prism of the choreographer’s absentee father. The action Minuit . Photo: Géraldine Aresteanu CELEBRATE COMMUNITY

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B000611_Aug2015_CRA_CommADBAM.indd 1 8/25/15 10:09 AM #BrooklynParisExchange Sep 14—Oct 15 venue, Théâtre des Abbesses – Théâtre de la Ville, presents the show from Sep 28 to Oct 1; the production is co-presented by BAM, 651 ARTS, and Théâtre de la Ville.

The Civilians’ The Undertaking (Sep 21—24, Fisher) is written and directed by Steve Cosson in collaboration with Jessica Mitrani. This production, presented in The Civilians’ highly

engaging and intimate style through acting, The Undertaking . Photo: Zach Hyman video, and song, explores no less than death and afterlife. Mining interviews with more than Monchichi, by Company Wang Ramirez, features 200 people either professionally connected with Honji Wang (Korean-German) and Sébastien death, or who have had near-death experiences, Ramirez (Spanish-French) in an intriguing the show morphs from an earnest exploration portrait of a pair with bonds forged on and off through personal anecdotes and boozy stage. Their respective heritages and nationalities ramblings. It will also be presented at Théâtre reflect an ascendant trend toward greater des Abbesses – Théâtre de la Ville (Oct 5—8). internationalism. Each choreographer/dancer brings unique gifts to the sui generis composite FROM PARIS style: Wang a lithe blend of ballet and martial arts; Ramirez a b-boy’s hip-hop chops. The duo In Minuit, Yoann Bourgeois investigates the dances on a visually striking Beckettian set to phenomenon of weightlessness through inventive pulsing electronic music. They take the Fisher experimentation with a panoply of props and stage from Oct 12 to 15, and Théâtre du Rond- furniture pieces including, notably, a trampoline Point (in partnership with Théâtre de la Ville) and a staircase. This respected nouveau cirque from Feb 14 to 18, 2017. artist, a co-director of Centre Chorégraphique National, Grenoble, renders poetic his interpre- This curatorial partnership extends to BAM’s and tation of the laws of physics, working with and Théâtre de la Ville’s audiences the opportunity surmounting all-powerful gravity. The choreo- to savor new theatrical experiences in intimate graphed movements are so precisely planned settings, chosen by curators on similar and seamlessly accomplished that they seem wavelengths. After all, what are amis for? surreal. Minuit will be performed at the Fisher from Oct 5 to 8, and in Paris at Espace Pierre Susan Yung is BAM’s senior editorial manager. Cardin, Théâtre de la Ville, Jun 6—15, 2017. monch ichi . Photo: Christopher Duggan, courtesy Jacob’s Pillow BAM Directory

STAY CONNECTED BAM Box Office Patron Services BAM.org Peter Jay Sharp Building For donors who make an annual Mon–Sat: 12–6pm; closed holidays contribution of $1,500 or more: #BAMNextWave Sun: 90 minutes prior to first 718.636.4182 BAMwifi_forBK curtain on performance days [email protected] @BAMstage BAM Harvey Theater and BAM Lost & Found @BAM_Brooklyn Fisher box offices open 90 minutes 718.636.4150, Mon—Fri: 9am—5pm prior to curtain on performance YouTube.com/BAMorg days (same-date ticket sales and Restrooms BAM.org/blog pick-up only). BAM Howard Gilman Opera House: LOCATIONS mezzanine and balcony level Group Sales (handicapped accessible: PETER JAY SHARP BUILDING For ticket orders of 10 or more orchestra level and BAMcafé) 30 Lafayette Ave 718.623.7885 | [email protected] BAM Howard Gilman Opera House BAM Harvey Theater: Lepercq Space/BAMcafé BAM Rose Cinemas lobby and gallery level BAM Rose Cinemas Advance Ticket Sales: Hillman Attic Studio 877.789.MOVIE BAM Fisher: BAM.org/#Film lower lobby, 4th floor, and 7th floor BAM HARVEY THEATER Info: 718.636.4100 651 Fulton St Headphones Box office opens 30 minutes before BAM offers infra-red listening devices BAM FISHER the first screening of the day. for the hearing impaired; please 321 Ashland Pl inquire at the coat check. Fishman Space BAM Rose Cinemas is wheelchair OTHER Hillman Studio accessible. Infra-red headsets for Rooftop Terrace and Stutz Gardens the hearing impaired are available; Administrative Offices Leavitt Workshop inquire at the box office. 718.636.4111

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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 Special thanks to our Next Wave Festival supporters

Season Sponsor: Programming in the BAM Howard Major support for BAM 2016 Next Gilman Opera House is supported Wave Festival provided by the and endowed by: Jerome L. Greene Foundation.

Leadership support for opera at BAM Major Sponsor: provided by Aashish & Dinyar Devitre Official Airline of BAM: and The Andrew W. Mellon Foundation.

Programming in the BAM Harvey Theater Leadership support for dance at BAM Next Wave Festival supporters: is endowed by the Doris Duke Charitable provided by: Rose M. Badgeley Residuary Foundation. Programming in the BAM Charitable Trust Lepercq Space is supported by The brigittenyc Lepercq Charitable Foundation. Citi Foundation Charina Endowment Fund Major support for BAM provided by: Faye Driscoll is the recipient of The The Gladys Krieble Delmas Foundation Harkness Dance Residency at the BAM The Dermot Company, Inc. Fisher in 2016. Epstein Teicher Philanthropies Official Beverage of BAM: Forest City Ratner Companies Support for Muslim Stories: Global to The Grand Marnier Foundation Local provided by the Building Bridges The Francena T. Harrison Title Sponsor of BAM Rose Cinemas and Program of the Doris Duke Foundation for Foundation Trust BAMcinématek: Islamic Art. The Lupin Foundation The Ambrose Monell Foundation Morgan Stanley BAM Rose Cinemas are named in Henry and Lucy Moses Fund, Inc. recognition of a major gift in honor of Samuel I. Newhouse Foundation Leadership support for French Jonathan F.P. and Diana Calthorpe Rose, Laura Pels International Foundation programming at BAM provided by The and have been generously supported by for Theater Florence Gould Foundation. The Peter Jay Sharp Foundation, and the Pfizer Inc. Estate of Richard B. Fisher. The Reed Foundation Major Sponsor of BAMcafé Live: The Jerome Robbins Foundation, Inc. The Steinberg Screen at the BAM Harvey The Morris and Alma Schapiro Fund Theater is made possible by The The Scherman Foundation, Inc. Leadership support for Scandinavian Joseph S. and Diane H. Steinberg The Peter Jay Sharp Foundation programming provided by The Barbro Charitable Trust. The SHS Foundation Osher Pro Suecia Foundation. The Shubert Foundation, Inc. The BAM facilities are owned by the The Harold and Mimi Steinberg Onassis Programs at BAM: City of New York and benefit from public Charitable Trust funds provided through the New York The TinMan Fund City Department of Cultural Affairs Virginia B. Toulmin Foundation with support from Mayor Bill de Blasio; The Winston Foundation, Inc. Support for dance at the BAM Fisher Cultural Affairs Commissioner Tom provided by the Mertz Gilmore Finkelpearl; the New York City Council Endowed funds supporting the Next Foundation. including Council Speaker Melissa Mark- Wave Festival: The Howard Gilman Viverito, Finance Committee Chair Julissa Foundation; Lila Wallace-Reader’s BAM Community Programs Sponsor: Ferreras, Cultural Affairs Committee Digest Endowment Fund for Community, Chair Jimmy Van Bramer, the Brooklyn Educational, and Public Affairs Programs Delegation of the Council, and Council at BAM; The Andrew W. Mellon Member Laurie Cumbo; and Brooklyn Foundation Fund for Opera and Music- Programming in the BAM Fisher by Borough President Eric L. Adams. Theater; The SHS Foundation; The Peter New York City artists supported by the Jay Sharp Fund for Opera and Theater; Rockefeller Brothers Fund. BAM would like to thank the Brooklyn The Ford Foundation Fund to Support Delegations of the New York State Collaborative Creativity Among U.S. Sponsor of emerging international Assembly, Joseph R. Lentol, Delegation Artists; Estate of Richard B. Fisher; BAM artists at BAM: Leader; and New York Senate, Fund to Support Emerging and Local Senator Velmanette Montgomery, Musicians; The Starr Foundation; Next Delegation Leader. Wave Forward Fund: Altria Group, Inc./ Founding Sponsor “Supporting the Spirit Your tax dollars make BAM programs of Innovation”; and The Devitre Fund. Support for Kings of War provided by the possible through funding from: Performing Arts Fund NL. Official Piano for BAM: Leadership support for BAM Visual Art provided by Agnes Gund, and Toby Devan Lewis.

Major support for BAM Hamm Archives provided by Charles J. & Irene Hamm, and the Leon Levy Foundation. @BAM_Brooklyn #ShenWei Photo: Stephanie Berger

From Olympics by David Hsieh to Neither In 2002, just two years after Shen Wei founded the BAM audience will see from October 5 to 8, Shen Wei Dance Arts, Anna Kisselgoff wrote in when his world premiere Neither comes to the The New York Times: “If there is something to Howard Gilman Opera House. write home about in the dance world, it is the startlingly imaginative work of the Chinese-born Neither is a 60-minute monodrama for soprano choreographer Shen Wei.” and orchestra composed by the American modernist Morton Feldman to a text by the The verdict was prescient. As a dancer and Irish playwright Samuel Beckett. Their 1977 choreographer, Shen Wei has performed on the collaboration has been called an “anti-opera” world’s greatest stages and museums, including because of their mutually professed aversion to one of the biggest—the 2008 Beijing Summer wedding words to music. Shen Wei, searching Olympics, when he choreographed the segment for a new inspiration and challenge for his BAM called “Scroll” for the opening ceremony. With a debut, was fascinated by “the complexity and single “qin” (an ancient Chinese plucked string difficulty” posed by both the music and text. instrument) providing the lean, spare music, a “I really want to see what I can add to their dozen dancers moved on a giant sheet of cotton genius,” Shen said, “And how my visual creation paper laid at the center of Beijing National and movement can help illuminate the world Stadium “Bird’s Nest.” As they spun and twisted, created in their work.” their paint-soaked sleeves marked the paper— mysterious until the end, when a giant Chinese Beckett’s text contains a mere 16 lines starting landscape emerged. with “to and fro in shadow from inner to outer shadow / from impenetrable self to impenetrable Although less than six minutes long, the dance unself by way of neither.” It is hardly “theatrical” felt both grand and intimate—simultaneously in any traditional opera sense. Feldman’s music drawing you in and expanding the imagination. can strengthen or dilute this unconventionality by It evoked ancient Chinese tradition yet projected making the soprano sing drawn-out phrases in a completely modern look, qualities not her highest register, rendering the text completely uncommon in Shen’s work. These are traits that incomprehensible. The orchestral writing is cont. #Neither Oct 5—8 dense in texture and dynamic but slow in tempo, creation. “A stage contains many ‘spaces.’ Every making use of melodically restricted repetition. one of them can be used to illuminate my idea, be it dance, set, costumes, lighting. When I look Where others see difficulty, Shen sees at a stage, it’s a synthetic picture I see in my head.” stimulation. He was so absorbed by the creation of Neither in the past year that he completely This all-around artistic expression took root ignored his other artistic pursuit—painting. (A early on. He learned Chinese opera, calligraphy, work from a different period comprises part of the and painting from his father, a playwright set.) “Their genius forces me to go deeper. It’s not and director steeped in traditional Chinese art just about understanding the music and the text. forms. He studied Western painting and nearly It’s also about understanding how the composer pursued visual art. But he decided to become interpreted the text with music; then figure out a dancer and moved to Guangzhou to attend how I can add another dimension.” the first Western modern dance program in China. In 1995 he relocated to the US on a The set he designed is taken from the “door” dance scholarship, and stayed, dancing with image in the text. “The door is a human concept. Murray Louis and Martha Clarke. He developed It divides as well as connects spaces,” Shen his own dance movement called “Natural Body said. He also devised an ingenious way to reflect Development Dance Technique,” containing light, another major motif in the text. Strategic much that he learned, including Chinese opera use of projections will help audiences see the and tai chi. “It adheres to no one discipline, no text. But the dance itself is abstract, as is all his one tradition,” explains Shen. choreography. Maintaining a regular dance company in New Abstraction, modernity, and synthesis are York is a herculean effort, but Shen takes a characteristics that connect Shen Wei’s oeuvre. philosophical point of view. “Life is like climbing His dances are non-narrative. He has used music stairs. Every step is a challenge. And you can’t by Reich, Xenakis, Ligeti, and Taverner, as well get to the next level by skipping it. But as you as Buddhist chant. His paintings are abstract in learn more, with increasing understanding of form, although their monocolor evokes Chinese yourself and the world, hopefully it gets easier ink painting. Shen is as much a painter as a and easier.” choreographer and has designed his own sets and costumes from the start. To him, movements David Hsieh is a publicity manager at BAM. and visual elements are a holistic process of Photo: Stephanie Berger 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 Richard Hulbert BAM Fund to Support Emerging Endowment Fund Independence Community Bank and Local Musicians The Horace W. Goldsmith Foundation Miriam Katowitz & Arthur Radin Brooklyn Community Foundation Michael Bancroft Goth Endowed Mr. & Mrs. Edgar A. Lampert The Campbell Family Foundation Annual Performance Fund Annie Leibovitz & Studio The Irene Diamond Fund William Randolph Hearst Leo Burnett, USA Doris Duke Charitable Foundation Endowment for Education and James McLaren & Lawton Fitt Emily H. Fisher Humanities Programs Sarah G. Miller & Frank L. Coulson Judith R. & Alan H. Fishman The Rita & Alex Hillman Foundation The Morgan Stanley Community The Ford Foundation Fund to Carole & Irwin Lainoff and Educational Fund Support Collaborative Creativity Maxwell Family Fund in Community J.P. Morgan & Co. Incorporated Among U.S. Artists Funds, Inc. Nash Family Foundation Diane & Adam E. Max The Jessica E. Smith and Kevin R. The Jerome Robbins Foundation, Inc. The Andrew W. Mellon Foundation Brine Charitable Trust May & Samuel Rudin Family Fund For Opera & Music-Theater The Geraldine Stutz Trust, Inc. Foundation Bruce C. Ratner Anonymous Edward Spilka William Boss Sandberg $100,000 and above Axel Stawski & Galia Meiri The Peter Jay Sharp Fund for Opera Michael Bailkin, Marvin Levine, Mr. & Mrs. Ame Vennema and Theater Jesse Masyr, David Stadtmauer Verizon Communications The SHS Foundation Robert & Joan Catell Fund for The Isak and Rose Weinman The Starr Foundation Education Programs Foundation in honor of Madame $500,000 and above Charina Endowment Fund Lilliana Teruzzi The Devitre Fund Neil D. & Kathleen M. Chrisman The Winston Foundation Mr. & Mrs. Henry Christensen III Anonymous For more information on the BAM Endowment please contact As of August 1, 2016 William Lynch at 718.636.4186 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 William Winthrop Parsons Bettina Bancroft William Josephson Marie D. Powers Robert & Joan Catell Charlotte & Stanley Kriegel David L. Ramsay, MD Neil D. Chrisman Edgar A. Lampert William Boss Sandberg Mr. & Mrs. Henry Christensen III Harvey Lichtenstein Louis Sanders Mallory Factor Phyllis Holbrook Lichtenstein Harriet L. Senz Madison S. Finlay William Lynch Toni Mendez Shapiro Richard B. Fisher Georgene M. Maxwell Bella F. Stoll Judith R. & Alan H. Fishman Scott C. McDonald Lynn M. Stirrup Barry M. Fox Joseph V. Melillo PaulaMarie Susi Rita Hillman Evelyn & Everett Ortner Judge Franklin R. Weissberg Barbara T. Hoffman Frank J. & Adeline Pannizzo Carol Yorke & Gerard Conn

For more information on Planned Giving opportunities please contact William Lynch at 718.636.4186 or [email protected]. All inquiries will remain confidential. BAM

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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 27, 2015—July 27, 2016)

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Cumbo Bank of America Radin Gutman The New York City Linda & Adam Chinn Dan & Abbe Klores The Marc Haas Foundation, $5,000 and above Council—Melissa Mark Mr. & Mrs. Henry Christensen III Philippe & Posey Krakowsky Inc. Linda & Max Addison Viverito, Speaker Con Edison The Frederick Loewe Mr. & Mrs. Burton K. Takis C. Anoussis New York City Department Ide & David Dangoor Foundation, Inc. Haimes Gina Argento & John Ciafone of Cultural Affairs Della Rosa Family Foundation Martellus Cheryl Henson & Ed Finn David Bank & Jason R. New York City Economic The Dermot Company, Inc. McKinsey & Company, Inc. The DuBose and Dorothy Stone Development Corporation Barry M. Fox Mertz Gilmore Foundation Heyward Memorial Nathaniel Beck & Karen The SHS Foundation Gotham Organization, Inc. Moet Hennessy USA Foundation Hackett Jessica E. Smith & Kevin Agnes Gund National Grid Sophie Hughes Alan & Leslie Beller R. Brine Barbara Haws & William New York State Office of David & Debra Humphreys JJ & Michelle Berney Ronald P. Stanton Josephson Parks, Recreation and Will & Prattana Kennedy Elaine S. Bernstein United States Department Frederick Iseman Historic Preservation Alexander E. Kipka & The Bloomingdale’s Fund of of State, Bureau of Alan Jones & Ashley Garrett Paul, Weiss, Rifkind, Katherine Nintzel the Macy’s Foundation Educational and Cultural The Emily Davie & Joseph Wharton & Garrison David L. Klein, Jr. Foundation Barbara & Christopher Brody Affairs S. Kornfeld Foundation The Pinkerton Foundation Kameron M. Kordestani Brooklyn Gin The Robert W. Wilson The Lepercq Charitable Gabriel & Lindsay Pizzi Joan Kreiss Steven & Alexandra Cohen Charitable Trust Foundation Renova Eileen M. Lach Foundation Anonymous (2) Gary Lynch & Kate Hall Rubin Fortunato & Harbison Solange Landau Timothy & Carol Cole Pierre and Tana Matisse P.C. 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BAM Staff

Katy Clark, President Catherine Crider, Zoc Schott, Nicholas Varacalli, Master of BUILDING MAINTENANCE Joseph V. Melillo, Executive Makeba Hall-Wilson, Interns Properties, OH Anthony Shields, Maintenance Producer Anita Goss, Volunteer Librarian Marc Putz, Sound Engineer, OH Supervisor Alice Bernstein, Executive Vice James Kehoe, Head Carpenter, HT Steve McDowell, Lead Maintenance President VISUAL ART Joseph Werner III, Asst. Carpenter, HT Technician John Lanasa, Vice President of Holly Shen, Curator of Visual Arts John Manderbach, Head Daniel Curato, Calvin Brackett, Marketing & Communications Mary Gordanier, Visual Arts Electrician, HT Ronald Hunter, Maintainers Keith Stubblefield, Chief Financial Coordinator Edward Donohue, Master of Carl Blango, Asst. Maintainer Officer and Vice residentP of Olivia Jacobs, Intern Properties, HT Finance & Administration Alison Dabdoub, Sound Engineer, SECURITY GENERAL MANAGEMENT HT Melvin Patterson, Supervising PRESIDENT’S OFFICE Patrick J. Scully, Assoc. Vice Tom Holler, Richard Wurzbach, Attendant Guard Alexandra Biss, Director of Board President & General Manager Utility Men Kenneth Aguillera, Collie Dean, Relations Sara Danielsen, Assoc. General Ginger Blake, Wardrobe Supervisor Senior Attendant Guards Michael Doyle, Administrative Manager, Fisher Building Bobby Arnold, Juan Lebron, Lead Coordinator Liz Zieminski, GM Budget Manager ARTIST SERVICES Guards Andrea Montesdeoca, Jaclyn Bouton, Senior Project Mary Reilly, Director of Artist Marlon Desouza, Kevin Lemon, Administrative Asst. Manager Services Teonia Smith, Andel Thomas, Liana Agredo, Project Manager Stacey Dinner, Artist Services Michael Whyte, Attendant Guards ARTISTIC PROGRAMMING Chris Mode, GM Coordinator, Manager Stonie Darling, Department Budgets & Contracts Jeannine Baca, Britney Polites, CUSTODIAL SERVICES Manager Samuel Denitz, GM Coordinator Artist Services Representatives Ramon Cabassa, Custodial Juan Pablo Siles, Coordinator of Cady Knoll, Fisher FOH Sarah Silverblatt-Buser, Fisher Artist Supervisor Artistic Planning Representative and Rentals Services Representative Elaine Colon, Jean Smith, Lead Coordinator Custodians PROGRAMS & CURATORIAL Lucy Petropoulos, Intern THEATER MANAGEMENT Yossess Allen, Allan Boyce, Ludlow Nick Schwartz-Hall, Line Producer Christine M. Gruder, Theater Chamberlain, Isaias Flores, Mayra Amy Cassello, Assoc. Producer, PRODUCTION Manager Guillen, Ron Rathan, Akeon Next Wave Festival Neil Kutner, Director of Production John L. Jones, Assoc. Theater Thomas, Custodians Darrell M. McNeill, Assoc. Producer, Collin Costa, Dylan Nachand, Manager Music Assoc. Production Managers Sonia Clayton, Jacqueline David, EDUCATION & HUMANITIES & R. Michael Blanco, DanceMotion Paul Bartlett, Ryan Gastelum, Leroy Houston, Theater Staff BAMCINÉMATEK USASM, Project Director Jennifer Grutza, Brian Sciarra, Supervisors Shana Parker, Director of Sarah Horne, DanceMotion USASM Courtney Wrenn, Production Operations for E&H Project Manager Supervisors BUILDING OPERATIONS Jennifer Leeson, Operations Paige Haroldson, DanceMotion Danielle Colburn, Laura Williams, Cameron Christensen, Director of Manager for E&H USASM, Project Coordinator Palmer Johnston, Production Building Operations Victoria Collado, Education Petra Laohakul, Jason Collins, Coordinators Roger Davis, Security Manager Coordinator DanceMotion USASM Project Assts. Heli Soell, Admin. Coordinator Wendy Berot, Project Manager Nora Tjossem, Education Assoc. Danny Kapilian, Producer, R&B Eric Ayala, Eh-Den Perlove, Interns Lynn Alexander, Facilities Manager Festival, MetroTech Kevin Cecil, Building Operations BAM ROSE CINEMAS Steven Serafin, Special Consultant & STAGE CREW Coordinator Efi Shahar, Cinema Executive Editor, BAM: The Complete Works Thomas Paulucci, Crew Chief Markee Glover, Logistical Services Manager Oscar Gruchalski, Head Carpenter, Coordinator Michael Katz, Projectionist ARCHIVES OH Robyn Goldstein, Logistical Adam Goldberg, Asst. Manager Sharon Lehner, Director of Archives Paul McManus, Asst. Carpenter/ Services Asst. Andreea Drogeanu, Anthony Louie Fleck, Archives Manager Flyman, OH Ahmad Ghany, Raul Gotay, Shields Jr., Patrece Stewart, Mary Rhymer, Kendra Williams, James D’Adamo, Head Anthony Sam, Building Services Head Floor Staff Archives Assts. Electrician,OH Assocs. Jan Carr, Evelyn Shunaman, Amy Domjan, Asst. Electrician, OH Danny Jiang, CMMS Assistant Processing Archivists BAM Staff

BAMCINÉMATEK Kyle Richardson, Alison CORPORATE RELATIONS & Iman Bance, AP Administrator Gabriele Caroti, Director Whitworth, Designers SPONSORSHIP Douglas Fischer, Budget Analyst Nellie Killian, Jesse Trussell Ben Katz, Video Production Chantal Bernard, Director of Yusuf Siddiquee, Fiscal Programmers Manager Corporate Relations Coordinator Ryan Werner, Programmer at Kaitlyn Chandler, Video Editor Terrance Knox, Director of New Meaghan McLaughlin, Finance Large Jenny Choi, Publications Manager Business Development Asst. Hannah Thomas, Marketing & Seán McKeithan, Copywriter Ashley Jacobson, Senior Programming Asst. Shu Chun Xie, Creative Services Corporate Relations Manager GOVERNMENT & COMMUNITY Project Manager Elizabeth Sarkady, Business AFFAIRS EDUCATION Kati Rehbeck, Creative Services Development Manager Dewonnie Frederick, Community Steven McIntosh, Director of Asst. Rebecca Carew, Corporate Affairs & Bazaar Manager Education & Family Programs Sponsorship Manager John P. Tighe, Asst. Director of DIGITAL MEDIA Katerina Patouri, Sponsorship HUMAN RESOURCES Education Aaron Weibel, Director of Digital Asst. Seth Azizollahoff, Director of Eveline Chang, Mikal Lee, Production Human Resources Verushka Wray, Program Josephine Llorente, Digital INDIVIDUAL GIVING Samara Alexander, HR Manager Managers Media Coordinator Barbara Cummings, Director of Cynthia Smith, Payroll Manager Joy Nam, Admin. Asst. Sarah Hayes, Digital Media Development Alexis Boehmler, Benefits Coordinator William Lynch, Director of Manager HUMANITIES Leadership Gifts Ariel Rivera, Via Clemena, Violaine Huisman, Director of MARKETING Glenn Alan Stiskal, Director of HR Assts. Humanities Shannon Lacek, Director of Major Gifts Molly Silberberg, Humanities Marketing INFORMATION TECHNOLOGY Manager Raphaele de Boisblanc, Senior INSTITUTIONAL GIVING William Allen Lee III, Director of Marketing Manager Clemente Luna, Director of Information Technology LEAD INSTRUCTORS Allison Kadin, Marketing Institutional Giving Thomas Brown, Business Joshua Cabat, Young Film Critics Manager Kailin Husayko, Semra Ercin, Analytics Manager Jen Armas, Samara Gaev, Arts Rhea Daniels, Marketing Institutional Giving Managers Ira Sibulkin, Assoc. Director of IT & Justice Coordinator Stephanie Caragliano, Institutional Svetlana Mikhalevskaya, Jenny Rocha, Dancing into the Laura Scholl, Marketing Giving Coordinator Database Developer Future Operations Manager Rebecca Russell, Intern Jason Q. Minnis, IT Project Michael LoMonico, Shakespeare Britt Aronovich, Marketing Manager Teaches Teachers Revenue Manager MEMBERSHIP Matthew Taylor, Andrei Iliescu, Hannah Thomas, Marketing & Claire Charlesworth, Director of Web Developers TEACHING ARTISTS Programming Assoc. Membership Jersy Rodriguez, Technical Raquel Almazan, Jennifer Anna Troester, Marketing Asst. Sarah Mischner, Membership Support Manager Armas, Brigitte Barnett-Loftis, Lucy Grebin, Marketing Intern Manager Tamar Audate, Tim Chawaga, Gideon Bautista, Rebecca Bliss, Bruce Smolanoff, Telefund Technical Support Techs Stacey Bone Gleason, Mahogany AUDIENCE DEVELOPMENT & Manager Susan Bishop, Admin. Brown, Melissa Brown, Chia-Ti STRATEGIC PLANNING Cheryl-Lyn Miller, Membership Coordinator Chiu, Darian Dauchan, Harris Molly Meloy, Director of Audience Coordinator Lucas Austin, Junior Desktop Eisenstadt, Imani Faye, Kimani Development & Strategic Analyst Fowlin, Mtume Gant, Ingrid Planning PATRON PROGRAMS & DONOR Gordon, Pat Hall, Mel House, Joaquin Esteva, Advertising COMMUNICATIONS PROJECT MANAGEMENT Albert Iturregui-Elias, Gwendolyn Manager Gwendolyn Dunaif, Director Jeremy Dewey, Director, Project Kelso, Nicole Kempskie, Abigail Claire Frisbie, Content Marketing of Patron Programs & Management & Strategic Levine, Spencer Lott, Gladys Manager Communications Planning Maldonado, Farai Malianga, Nathan Gould, Marketing Richard Serrano, Research Ellen Leszynski, Project WT McRae, Elia Monte Brown, Manager, Development Manager Manager Michael Mullen, Kwesi Nkroma, Chris Tyler, Content Marketing Travis Calvert, Project Coordinator Devin Norik, Pamela Patrick, Coordinator Maayan Dauber, Patron Program Drew Petersen, Korey Phillips, Sharlene Chiu, Customer Loyalty & Coordinator Audience Research & Analysis Mike Ramsey, Gwenyth Reitz, Strategy Manager George A. Wachtel Billy Schultz, Jen Shirley, Marcus PATRON SERVICES Smalls, Sara Stranovsky, Keomi TICKET SERVICES Ramzi Awn, Director of Patron Bookseller Tarver, Karen Thornton Daniels, G. Scott Kubovsak, Director of Services Greenlight Bookstore Jono Waldman, Sarah Wansley, Ticket Services Michael Kendrick, Manager of Adia Whitaker, Todd Woodard Kevin McLoughlin, Head Patron Services & Donor European Production Treasurer Relations Representative MARKETING & Russell Grier, First Asst. Treasurer Jessica Hindle, Patron Services On Tour Ltd., Roger Chapman COMMUNICATIONS Victor Jouvert, Charlie Dolce, Kyle Coordinator COMMUNICATIONS Williams, Asst. Treasurers Annie Steingold, Patron Services Film Buyer Sandy Sawotka, Director of Royda C. Venture, Ticket Services Asst. Adam Birnbaum Communications Manager Sarah Garvey, Assoc. Director Georgina Richardson, Customer SPECIAL EVENTS Immigration Counsel of Publicity Care Manager Margaret Breed, Director of Jonathan Ginsburg, Fettman, Susan Yung, Senior Editorial Latasha McNeil, Asst. Manager Special Events Tolchin and Majors, PC Manager Ryan Mauldin, Ticket Services Grace Eubank, James Vause, Adriana Leshko, Senior Publicity Coordinator Special Events Managers Insurance Broker Manager Saul Almiachev, Kiana Bilal Mack, Kimberly Howard, Special Events Dewitt Stern David Hsieh, Maureen Masters, Anaïs Blin, Lucca Damilano, and Major Gifts Assoc. Publicity Managers Justin Dash, Evan Dice, Robert Catherine Charnov, Special Events Medical Consultants Christian Barclay, Christina Ebanks, Miranda Gauvin, Coordinator Ahmar Butt, MD Norris, Publicists Greg Garner, Edgar Mendoza, Anders Cohen, MD Melina Gills, Publicity Asst.— Warren Ng, Elsie Pacella, Angela FINANCE & ADMINISTRATION Cinématek Romualdez, Allyson Steele, CAPITAL PROJECTS Restaurateur James Sutton, Publications Asst. Noel Vega, Ticket Services Jonathan Jones, Director, Capital Great Performances Representatives Projects CREATIVE Andrew Sloat, Creative Director DEVELOPMENT FINANCE Aug 15, 2016 Patrick Morin, Assoc. Director Lucile Hecht, Administrative Asst. Kozue Oshiro, Controller of Design to Vice President for Institutional Tameka White, Asst. Controller Katie Positerry, Interactive Advancement Claudia Bailey, Adam Sachs, Designer Assoc. Directors of Finance Brian Gee, Accounting Manager